Integrated Composition, Improvisation, and Technology (ICIT)

NEW GRADUATE PROGRAM

Master of Arts (MA) and Doctor of Philosophy (PhD)

Integrated Composition, Improvisation, and Technology (ICIT)

Department of Music

Claire Trevor School of the Arts University of California, Irvine

Approved Unanimously by the Senate faculty in Music, UCI October 16, 2013

TABLE OF CONTENTS New Graduate Program — Department of Music

Summary provided for the Dean’s Five-Year Perspective for New Academic Programs, Claire Trevor School of the Arts

Letters of Support

Letters from Dean, Associate Dean, and Chair Letter from Library New academic program: Master of Arts (MA) and Doctor of Philosophy (PhD) in Integrated Composition, Improvisation, and Technology (ICIT)

Full proposal according to CCGA guidelines Documentation for new program

Proposed Catalog Copy Proposed Web Copy New course action form and syllabus

Curricula Vitæ of Core and Affiliated Faculty

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Five-Year Perspective for New Academic Programs Claire Trevor School of the Arts

New Graduate Program

Department of Music

Master of Arts (MA) and Doctor of Philosophy (PhD) Integrated Composition, Improvisation, and Technology (ICIT)

Anticipated Action: The Department of Music in the Claire Trevor School of the Arts at UC Irvine proposes to implement a new graduate degree program: a Master of Arts (MA) and Doctor of Philosophy (PhD) in Integrated Composition, Improvisation, and Technology (ICIT). The Music Department already offers a Master of Fine Arts (MFA) emphasis in ICIT that has attracted national attention as an innovative paradigm in graduate music study. The Department now proposes to extend ICIT as a doctoral degree that will best prepare graduates for scholarly and creative careers in the field. The proposal is being submitted for approval in the 2013-2014 academic year; it is anticipated that recruitment for the new program will begin in fall 2014 in order for students to begin the program in the 2015-2016 academic year. Reasons: ICIT represents a new approach to graduate music education, merging traditionally separate fields of music study in a way that better reflects actual professional music practice in the creative fields of new music composition, improvisation, and digital technology. Graduate music degrees in the United States are structured around categories that have changed little in the last fifty years. In particular, there has been a division between composition, improvisation, and technology; these three areas have been taught as separate domains of inquiry and research. However, the history of musical creativity of the last three decades has shown that this division is no longer relevant for a large and influential group of artists worldwide. Traditional binaries—such as jazz/classical, composer/performer, electronic/acoustic, and Western/non-Western—are insufficient for understanding and teaching the vast complexity of contemporary musical practices, yet university programs for the most part have not addressed this new synthesis. Relationship to Existing Programs: The Music Department currently offers an MFA degree with emphases in ICIT and in various areas of traditional instrumental performance; ICIT students comprise approximately half of the graduate student body in Music. The MFA, while standard in the disciplines of Art, Drama, and Dance, is not a standard degree type in Music. In response to the need for a doctoral program that trains future professors to address recent changes in the music world, and in response to the UCI initiative to increase its PhD student population, the Music Department intends to convert its existing ICIT MFA into a MA program and a PhD program. The existing MFA programs in performance, conducting, and musicology will remain unchanged. The PhD program will increase and improve enrollments in ICIT, and will raise the profile of the Department and the School within the UCI campus and externally.

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Program Differentiation: There are extremely few comparable programs that exist among UC campuses and other California independent universities. The vast majority of Music programs delineate specialties in traditional ways. A very few programs do embrace interdisciplinarity, but a curriculum such as that of ICIT—designed specifically to target the nexus of composition, improvisation, and technology—is unique to the UC system. One doctoral program that is related to ICIT, while still reflecting a distinct profile in crucial ways, is the “Integrative Studies” (IS) emphasis at UC San Diego. However, it is important to note that the UCSD Music Department offers distinct and traditional doctoral emphases in Composition, Computer Music, and Performance; in contrast, ICIT brings together Composition, Improvisation and Technology under the same umbrella, and emphasizes the ways in which those disciplines are intensely interrelated in modern practice. Many doctoral students in UCSD’s IS emphasis focus strictly on scholarly writing and go on to pursue careers as musicologists or ethnomusicologists; ICIT, on the other hand, is focused fully on those who wish to engage a new and integrative model of music making. The Performer-Composer DMA at CalArts, a relatively new program designed “for artist-scholars whose work exhibits an integration of their compositional and performance practices,” also appears to bear some similarity to the proposed ICIT PhD. At the CalArts program, however, only 2-3 applicants are admitted each year; such low enrollment numbers do not oversaturate what is perceived to be a growth area in graduate music programs. Resources: Because the MFA is considered a terminal degree (albeit a nonstandard one in the field of music), the ICIT MFA program has already been structured as a sort of fledgling PhD. The current MFA program in ICIT is quite demanding, requiring a substantial written thesis, a major capstone project, coursework covering each of the three component areas, and ongoing production of new creative work. In the new program, the thesis demands of the MA will be reduced slightly, while the intense research and dissertation aspects will be shifted upward to the PhD level. ICIT has recently added two Senate faculty lines thanks to the Scholarship on Diversity initiative, so ICIT currently enjoys a favorable teacher-student ratio and can accommodate the increase in enrollment and teaching needs foreseen as a result of this new program. The computer and equipment resources of ICIT are already substantial, due in large part to the Remi Gassmann endowment in support of electronic music and the diverse facilities that have been installed using Gassmann funds. Improved staff support for these facilities will likely be needed as the PhD program grows. Library resources, graduate student workspace, and administrative assistance are also adequate for the initial stages of the PhD, and will be subject to normal growth needs thereafter. Funding: The University’s rebenching initiative aims to have 12% of the campus’ total student population be PhD students, placing the Irvine campus on a track to increase PhD students by 200 over 4 years. A memo from the UCI Graduate Dean and the Graduate Council Chair, distributed earlier this year, states that the campus will provide new funding to promote growth in new PhD enrollment. Funding for the 2013-14 academic year will increase $25,000 to $30,000 per PhD student enrolled above the previous year’s numbers. This is indicative of the positive and timely climate within which we propose our ICIT PhD program. Although there is never a guarantee that such sources of funding will continue to be made available on a regular basis, the current

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multi-year horizon of positive outlook towards increased funding in PhD programs encourages us to pursue the implementation of this new MA/PhD with the confidence that funding demands for teaching assistantships, tuition waivers, and fees for most students will be met. Given the University’s current mission to expand degree programs at the doctoral level, we anticipate procuring additional funding to support the financial needs of PhD students in ICIT. With the addition of PhD students comes an increase in high-quality teaching assistance in support of undergraduate courses to larger numbers of students, improving the Department's service to the campus as a whole. Student Body: The existing ICIT MFA is a 2-year program in which the total group of students in any given year has ranged from 8 to 12. The projected number of students to be admitted at the PhD level is 4 students per cohort each year. Based on the normative in-residence (pre-candidacy) period of the combined MA/PhD, it is anticipated that the total number of graduate students in ICIT will therefore increase somewhat in its first year (2015-2016) and could be significantly larger by its third year. As noted above, the Department can accommodate this projected initial growth. Because the ICIT program addresses multiple approaches to contemporary music, the range of students is quite broad demographically and stylistically. ICIT opens the door for a diversity of students with different approaches to music making who would not likely be considered in a traditional PhD music program. Professional Opportunities: Although most UC campuses have doctoral programs in music, few are explicitly designed to focus on integrating diverse creative and scholarly approaches to music. The absence of existing doctoral programs similar to the one proposed here makes an assessment of opportunities for placement of graduates difficult. However, it is well understood that most departments seek new faculty who can address multiple areas of expertise. By providing integrated training in composition, computer music, and improvised music, ICIT graduates are prepared to fill many sorts of roles. Nearly all of the alumni of the existing ICIT MFA program who have applied for doctoral studies have been accepted. This success rate demonstrates that the students in our existing Master’s program are receiving valuable training, are producing impressive work, and are following diverse paths in existing doctoral programs. One can infer from the success rate of ICIT MFA graduates entering doctoral programs elsewhere that a) the various types of graduates produced by ICIT are valued by universities that currently have high-level music departments with doctoral programs, and b) the UCI Music Department’s ICIT program is succeeding at the Master’s level and is itself poised to offer doctoral-level professional training. Campus Contact: The new program proposal is authored by four professors in Music who comprise the core faculty group of ICIT. For more information please contact Dr. Christopher Dobrian, Professor of Music, 303 Music and Media Building, UC Irvine, Irvine CA 92697-2775, [email protected], 949-824-7288, 949-824-4914 (fax). Signed,

Christopher Dobrian Professor of Music

Claire Trevor School of the Arts MAB 200 Office of the Dean Irvine, CA 92697-2775 (949) 824-8792 (949) 824-2450 Fax October 22, 2013 DR. JUTTA HECKHAUSEN CHAIR OF THE GRADUATE COUNCIL RE: Integrated Composition, Improvisation, and Technology (ICIT) Doctoral Program Proposal It is with great pleasure that I recommend and support the Department of Music Integrated Composition, Improvisation, and Technology (ICIT) PhD proposal without reservation. The ICIT PhD program will be one of but a handful of doctoral programs in the country exploring this exciting but not well-charted territory. It will undoubtedly raise the research profile of the University, the Claire Trevor School of the Arts, and the Music Department, in both national and international arenas. Besides attracting superior applicants to the ICIT program, more advanced students will produce better quality scholarship, research, and artistic work in ICIT, raising the level of the whole department. More competitive selectivity will, in turn, give the Department a more robust pool to draw from, thus improving the undergraduate program as well. Moreover, the additional of this program will concurrently support the University's push to increase its graduate imprimatur and create opportunities for external support. Currently, the Music Department is well situated to expand its mission. Recent hires in the areas of world music (Ko Umezaki) and jazz (Nicole Mitchell), in conjunction with the other ladder faculty in the department and across the school roster, provide a solid intellectual base to move forward and mint PhDs who are well prepared to teach a modernized music curriculum. Furthermore, the Department's substantial interdisciplinary footprint underscores one of the more unique aspects of the program, welcoming students who wish in their doctoral work, to transcend the distinction between scholarship and music-making—and to do so in an innovative and complementary way. The School is well aware of the resource issues associated with such an endeavor. While I am confident that we can establish the program without any new faculty, I will seek to leverage the visibility of the new program and to begin the process of developing additional faculty resources; these may include Unit 18 funding and/or a new Senate faculty hire, which will eventually bring additional teaching resources to the entire department, not only the ICIT area. Thank you for your serious consideration of our proposal. With regards,

Joseph S. Lewis, III Dean, Claire Trevor School of the Arts Director, Beall Center for Art and Technology

UNIVERSITY OF CALIFORNIA, IRVINE SANTA BARBARA • SANTA CRUZ BERKELEY • DAVIS • IRVINE • LOS ANGELES • MERCED • RIVERSIDE • SAN DIEGO • SAN FRANCISCO

IRVINE: CLAIRE TREVOR SCHOOL OF THE ARTS

MUSIC DEPARTMENT October 20, 2013 PROFESSOR JUTTA HECKHAUSEN CHAIR, GRADUATE COUNCIL I write to indicate my strong support of the Department of Music’s proposed PhD degree in Integrated Composition, Improvisation, and Technology (hereafter: ICIT). The proposal is well argued and, to my mind, convincing of both the desirability and need for such a program. I do not need rehearse those arguments here. What I can add from my perspective as department chair is that I believe the program is eminently “doable.” I do not anticipate an immediate need for new faculty resources, although, of course, as the program grows that circumstance may well change. What will be required right away is adequate support to make competitive offers to potential new students. The Department very likely will need to consider shifting a portion of its current graduate-student funding allocation away from the MFA program and toward the PhD program. But the Graduate Division will also need to increase the Department’s block funding and TA allocations. This is critical, as internal reallocation of departmental funding at current levels could not begin to create the pool necessary for us to compete with the likes of Stanford and those other programs nationally with which we will be competing for the best students whose interests are aligned with those of our faculty in ICIT. This proposed program is the outgrowth of our current MFA degree in ICIT, which has been our largest and most successful graduate program since it opened in 2008. In any given year, students in the ICIT program have constituted around 50% of our overall student body. (The rest are distributed among several performance tracks.) Music-performance students have many programs from which to choose, including several located in Southern California, most of which are far larger than ours and therefore offer many performance opportunities that we are unable to match. By contrast, potential students who wish to integrate work in composition, improvisation, and music technology have many fewer programs from which to choose. And what they find when they explore what we have on offer is a strong core faculty in all the relevant areas, active in their own careers but dedicated teachers as well. There is every reason to believe that this core group, joined by affiliated faculty in musicology and performance and from other schools on campus, will develop an imaginative and rigorous doctoral program that meets a real need in contemporary graduate education in music. I close with some background and context. Although the Master of Fine Arts degree has long been the standard terminal degree in creative writing, drama, dance, and art, it is not – and has never been – the standard terminal degree in music. In fact, UC Irvine is among the very few universities in the United States to offer such a degree in music. For students whose primary work lies in the scholarly study of music – musicologists in the broadest sense and at some universities composers as well – the terminal degree is the standard Doctor of Philosophy (with the Master of Arts often taken along the way). For students whose primary interests involve the performance and in some cases the composition of music, the terminal degree is the professional Doctor of Musical Arts (with the Master of Music often taken along the way). (One rough way to think of this split it to consider whether one’s work would qualify for support from the National Endowment of the Humanities (PhD) or the National Endowment of the Arts (DMA), although, to be sure, this binary

UNIVERSITY OF CALIFORNIA - (letterhead for interdepartmental use)

breaks down with respect to composers, who are primarily artists rather then humanists and yet may have earned a PhD degree.) In a sense, the ICIT program straddles this divide. It is designed for composers and performers of contemporary music who have a strong interest in original research at the highest level. Within the context of UC Irvine, such a program is best suited to be offered as part of a rigorous PhD degree program. If approved, the proposed program would be our first doctoral degree program in music, bringing Irvine in line at last with all other UC campuses with the exception, for obvious reasons, of Merced and San Francisco. I urge its approval.

David Brodbeck Chair and Professor of Music

UNIVERSITY OF CALIFORNIA, IRVINE

UC IRVINE LIBRARIES

_____________________________________________________________________________

7 November 2013

TO: Professor Christopher Dobrian

FROM: John Renaud, Assistant University Librarian for Research Resources

RE: Library response to the Department of Music’s proposal for a Master of Arts (MA) and Doctor of Philosophy (PhD) in Integrated Composition, Improvisation, and Technology (ICIT)

_____________________________________________________________________________

The UCI Libraries support the Department of Music’s proposal for a Master of Arts (MA) and Doctor of Philosophy (PhD) in Integrated Composition, Improvisation, and Technology (ICIT). The program will fulfill important needs for students, faculty, and for the discipline.

This proposal builds upon the existing concentrations in Department of Music. The UCI Libraries have worked to develop strong collections supporting the programs on which these new degrees will build. The UCI campus also has the advantage of relying upon the Claire Trevor School of the Arts’ Arts Media Center for the building of music audio collections.

The proposal indicates that the programs will be supported by current faculty and that the targeted enrollment will rise incrementally over several years. The proposal notes that library resources are deemed sufficient for these initial phases and would then be subject to normal growth moving forward. These factors indicate that the collection needs to support this program can be addressed through the Libraries’ existing collection funds.

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Title New academic program: Master of Arts (MA) and Doctor of Philosophy (PhD) in Integrated Composition, Improvisation, and Technology (ICIT) Department of Music, UC Irvine

Date of Preparation January 6, 2014

Contact information Principal authors Michael Dessen, Associate Professor of Music, [email protected] Christopher Dobrian, Professor of Music, [email protected] Nicole Mitchell, Professor of Music, [email protected] Kojiro Umezaki, Assistant Professor of Music, [email protected] Additional advisors Kei Akagi, Chancellor’s Professor of Music, [email protected]

Section I. Introduction 1. Aims and objectives of the program. The Department of Music currently offers an innovative Master of Fine Arts (MFA) emphasis in Integrated Composition, Improvisation, and Technology (ICIT) that has attracted national attention as a new paradigm in graduate music study. We now propose to extend ICIT as a doctoral degree that will best prepare graduates for scholarly and creative careers in the field. Graduate music degrees in the United States are structured around categories that have changed little in the last fifty years. In particular, there has been a division between composition, improvisation, and technology; these three areas have been taught as separate domains of inquiry and research. However, the history of musical creativity of the last three decades has shown that this division is no longer relevant for a large and influential group of artists worldwide. Their works can only be seen as a new synthesis of hitherto separate methodologies and concerns. Traditional binaries—such as jazz/classical, composer/performer, electronic/acoustic, and Western/non-Western—are

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insufficient for understanding and teaching the vast complexity of contemporary musical practices, yet university programs for the most part have not addressed this new synthesis. Music academics across the country are well aware that traditional curricular frameworks no longer suffice for training 21st-century musicians. While there is certainly endless possibility in teaching classic repertoires, there is a strong consensus in our field that new approaches are needed. To this day, most composition programs teach European classical methods of creating notated scores, while performance skills and improvisation traditions are addressed in separate degree tracks. Computer music is often relegated to separate programs of study as yet another form of specialization, and “world” music is almost always taught within separate programs where faculty and students have little or no interaction with programs in composition, improvisation, or technology. There needs to be a paradigm shift in the very conception of musical training at the graduate level. This will call for a new generation of thinkers and artists who, having been trained from the start in new approaches to musical creativity, will become the leading wave for university programs that reflect this emerging development. That is why we propose a doctoral program in this field. With the MFA emphasis in ICIT, we have established a more integrative and interdisciplinary model that provides students with a solid foundation not only for understanding modern classic styles, but also for confronting the exciting array of practices and discourses that shape late 20th- and early 21st-century music. While the Master’s program covers the current reality of contemporary music and the new synthesis of genres and disciplines with a broad lens, true scholarship and rigorous research can only be addressed by a PhD program. This PhD track will have a powerful impact on training a new generation of faculty members who are able to respond to the rapidly changing academic job market. Many music departments today seek hires that can help integrate distinct areas of study and diversify their curriculum, but in a classic catch-22 scenario, few applicants with traditional academic credentials have these qualifications because hardly any doctoral programs along such lines exist. This doctoral program will be distinctive within the UC system and will bring national attention to the Music Department as a leader in new paradigms of graduate training in music. In contrast to offering yet another doctoral program in traditional music specializations—e.g., “Jazz Studies”, “Composition”, or “Computer Music”—which reinforce conventional divisions, we see our new program as a logical and overdue response to the University’s mission of fostering interdisciplinarity as well as excellence in research and creative work. We will encourage student collaboration and partnerships with other units on campus, including not only other departments in the School of the Arts but also departments and programs such as African-American Studies, Asian American Studies, Anthropology, and other areas focused on critical issues in contemporary cultural and artistic production. Embracing all modern types of original music making (composer, performer, improviser, technologist, critical thinker, and

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experimenter, drawing on classical, jazz, experimental, and world music traditions), ICIT is designed to be more relevant to the international networks of innovative musicians who understand that such integrative modes have long been a lingua franca outside of academia. We believe that the interdisciplinary scope of our program is what high-level students from diverse backgrounds demand. We have already observed, based on our recruiting process for the MFA degree, that offering a PhD will put us in a better position to attract such students. The framework for establishing this new doctoral program is already in place. The Integrated Composition/Improvisation/Technology PhD proposal is an extension of the successful Master’s program we have already built on this new paradigm, and capitalizes on an exceptional synergy among the shared interests of the senate faculty members who are the “core faculty” of ICIT: Professor Christopher Dobrian, Professor Nicole Mitchell, Associate Professor Michael Dessen, and Assistant Professor Kojiro Umezaki. All four are composers, and all work both in notated and non-notated forms of music, including improvisation. All four are active as performers, and their music depends upon the vitality of performance and collaboration in the creative process. All four are involved with electronic and digital music technologies. While they all share a deep respect for the significance of Western classical music and “mainstream” jazz in contemporary culture, as well as sharing reference points in multiple traditions, each is actively involved with complex new musical practices that defy such simple categorizations. By systematically merging these three areas—composition, technology and improvisation—as mutually supporting components of a new paradigm of creativity, the ICIT program reflects the sort of interdisciplinarity that will be standard in the 21st century. 2. Historical development of the field. The individual components of Integrated Composition, Improvisation, and Technology have existed as hitherto separate fields of inquiry, with composition being historically the oldest, and both technology and improvisation becoming more prevalent over the past two decades on UC campuses and across the nation. As stated previously, ICIT does not duplicate any existing UC doctoral program. While other campuses have graduate programs emphasizing one or more of these areas, we feel there are currently none that espouse the foundational level of integration that we propose here. Furthermore, once the ICIT PhD is official, it will be one of an extremely small number of doctoral programs of its sort nationwide. For the past several years, creative endeavors outside of academia have emphasized this very convergence of the methods of Composition, Improvisation, and Technology. Traditional categories and barriers are becoming obsolete. Renowned violinist Regina Carter was selected in 2006 to be a MacArthur Foundation Fellow for her work in

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combining technology with jazz improvisation; performer and composer John Zorn was likewise honored for his role in creative activity that defies traditional categorization. Ornette Coleman, known as the pioneer of revolutionary methods for jazz improvisation and composition, was recently awarded the 2007 Pulitzer Prize for music; a 1994 recipient of the MacArthur “Genius” award, he has also been inducted into the prestigious American Academy of Arts and Letters. In fact, out of the 32 musician recipients of the MacArthur award since its inception, well over half are people who embody the spirit of ICIT. Indeed, our own ICIT faculty member Professor Nicole Mitchell has recently been recognized by the Herb Alpert Award in the Arts and the Doris Duke Foundation’s Performing Artist Award. There is now a new generation of composers whose works strive to present in notated form music that sounds improvised to the human ear. The work of musician/scholar George Lewis and the transcultural explorations of cellist Yo-Yo Ma, to name just two examples, attest to a new model of creativity where old distinctions between academic areas are no longer tenable. The proposed program will implement at the university level a new style of music making that is now highly valued by composers, performers, and thinkers as a contemporary approach to the creative process. 3. Timetable for development of the program. In its first year of existence, the ICIT Master’s emphasis welcomed nine students in fall 2008: seven new students and two transferring from our traditional emphases in Jazz Studies and Composition and Technology. Several of our other most promising candidates indicated that UCI would have been their first choice if a doctorate were offered. In each subsequent year, some students whom we accepted but who chose other schools over UCI indicated that their preference was based at least in part on the opportunity to continue to doctoral studies. Given the demonstrated appeal of the existing Master’s program in ICIT and the expected popularity of the proposed new doctoral program, it is reasonable to expect that graduate enrollment in the area will continue to be strong. Assuming the doctoral program is approved in a timely manner, we propose to advertise the new program in early fall 2014 and to accept applicants for fall 2015. That will potentially permit some students entering in fall 2013 to apply to continue as PhD students in fall 2015 if their work in the ICIT Master’s program is of high quality. Once the MA/PhD program is in place, we anticipate being able to accommodate up to four new PhD-level students per year. In the existing MFA ICIT emphasis, enrollment has averaged five new entering students each year, resulting in a total cohort of ten students. In the new program, Master’s enrollment will continue at that rate, and up to four Master’s degree graduates will begin to enter the PhD program. Once the PhD program is fully enrolled, there will be an expected maximum of about eight PhD students—four pre-candidacy and four in the dissertation stage. Together with the Master’s students, that will mean a total ICIT cohort

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averaging eighteen students. The ICIT program thus stands to bring graduate enrollment in Music to significantly higher numbers in conjunction with the existing MFA programs in other emphases. 4. Relation of the proposed program to existing programs on campus and to the Campus Academic Plan. As a new intersection of several hitherto independent fields, an exciting aspect of ICIT is that the innovative scholarly work and teaching of the core faculty already bridges separate areas of inquiry. Esteemed affiliated colleagues in Musicology regularly teach ICIT-related seminars and participate in thesis review committees. ICIT currently has affiliated faculty composer-performers from Jazz Studies, Dance, and Sound Design. Chancellor’s Professor and renowned jazz pianist-composer Kei Akagi, a co-founder of the ICIT MFA emphasis, also regularly contributes to ICIT committees, although his responsibilities to the undergraduate jazz program have prevented him from continuing as core ICIT faculty. Within the School of the Arts, the core faculty regularly collaborate with the departments of Dance, Drama, and Art on newly-composed multi-arts performance projects. Members of the core faculty are also affiliated with related academic fields elsewhere on campus. Professor Umezaki is a member of the Center for Asian Studies. Professor Dobrian holds a joint appointment with the Department of Informatics (I&CS) and is a faculty affiliate of the Center for Asian Studies. Furthermore, ICIT students are able to take courses with faculty in other schools such as Professor Robert Garfias whose work internationally in the music of Pacific Rim cultures is well documented. Interdisciplinary and multidisciplinary studies are core components of the proposed graduate program. ICIT provides opportunities for collaborations in Art (sound sculpture, installation, and video art), Dance (composition of dance scores for new choreography, motion capture technology applied to musical control), and Drama (sound design and original music for theatrical productions) within the Claire Trevor School of the Arts. In keeping with current practices in faculty teaching and research, active participation with the Schools of Engineering, I&CS, Humanities (Asian American Studies, African American Studies), and Social Sciences (Anthropology) is expected. The university’s strategic plan, A Focus on Excellence: A Strategy for Academic Development at the University of California, Irvine, 2005-2015, specifies that the university “will further strengthen its research and educational programs, extend its influence, and continue to raise its visibility and reputation as one of the best comprehensive research universities in the country.” This proposed new doctoral program integrating composition, improvisation, and technology aggressively embraces this charge. Through its multi- and inter-disciplinary focus, it will significantly grow the graduate program in music and the arts. In keeping with the university’s strategic plan,

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the program is an innovative one that will enhance the intellectual rigor of the arts and increase the visibility and viability of the graduate program in Music. The university mission statement also calls for attracting “the best graduate students in the U.S. and the world through programs that offer the opportunity to conduct cutting-edge research under the direction of renowned faculty.” Further emphasized are interdisciplinarity and diversity as essential components for excellence in graduate study in the 21st century. The graduate program in ICIT embraces every aspect of the strategic plan’s stated goals for attracting, retaining, and graduating the very best creative musicians in the state and beyond. We have no doubt that this program, with its 21st-century approach to the intersections of the arts and technology will produce the next leaders in these areas. As such, it offers a unique education that blends music making, academics, and hands-on experience. The program strongly upholds the university’s diversity efforts in terms of curricular content, attracting and retaining a diverse faculty, and recruiting and graduating students who will contribute to the conversation of global and cultural perspectives in art, acknowledging the contributions of underrepresented populations. Effect of the proposed program on undergraduate programs offered by the sponsoring department(s). As a result of the approval of the ICIT Master’s emphasis in 2007 and the Music Department’s concurrent application to obtain new faculty lines for Scholarship for Diversity, the Department was granted two new faculty lines in direct support of ICIT. The first of those lines was filled by Assistant Professor Umezaki and the second was filled by Professor Mitchell. Professor Umezaki has already extended our undergraduate teaching resources by providing teaching expertise in music technology, interactive computer music, and integration of Asian and American music. Professor Mitchell has extended our resources for jazz studies, improvisation, and multidisciplinary arts performance. Thus, the expansion of the ICIT-related faculty contributes to the health of the Music Department as a whole by providing new strengths and enhancing existing strengths. These new hires brought in under the Scholarship for Diversity program have contributed to undergraduate teaching by increasing the teaching ranks overall and by introducing new courses in areas that were under-represented in the undergraduate curriculum such as improvisation and non-Western music. An unquantifiable but equally important aspect of strengthening the ICIT graduate program is the positive role that a strong graduate program has in enhancing undergraduate quality. The standards of excellence of undergraduate work have already been, and will continue to be, informed by the undergraduate students’ exposure to the professional and scholarly milieu of an excellent advanced graduate program. In addition, increasing both our faculty and our graduate student population enables the Music Department to offer more large lecture courses for non-majors, as well as specialized courses for majors in topics that are currently rarely offered in our curriculum.

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Given the research specializations that new faculty and graduate students in the proposed program bring, this growth stands to expand the Department’s course offerings for both majors and non-majors into a diverse range of areas including Asian American, non-Western, and popular forms. 5. Interrelationship of the program with other University of California institutions. See below, Section III.6. 6. Department or group that will administer the program. This program is proposed in the UCI Music Department. 7. Plan for evaluation of the program within the offering departments(s) and campuswide. After three full years of implementation, the departmental Graduate Committee will perform an interim review of the ICIT program to monitor its effect within the department and address any problems raised. This review will consider evaluations solicited from students who have been in the program, commentary solicited from all Music faculty, and a self-evaluation report from the ICIT faculty. The results of this evaluation will be reported to the department chair. After five full years of implementation, the Music Department will perform a comprehensive review of the ICIT program to evaluate its success. This review will include assessment of all normal quarterly student evaluations, established exit polling of graduating students of the program, review of the careers or advanced scholarly paths of those students who have graduated from the program. The results of this evaluation will be submitted to the Dean of the Claire Trevor School of the Arts. Additionally, the department receives an external review every seven years as part of the periodic external review of the School. Careful scrutiny of the operation and success of the doctoral program would naturally be included in that review.

Section II. Program 1. Undergraduate preparation for admission. There does not currently exist any one undergraduate program that specifically addresses the tenets of ICIT. ICIT proposes to establish a structured environment for new paradigms of creativity that have emerged in the world outside of academia. Composition, technology, and improvisation studies—the areas that ICIT proposes to integrate—currently exist as separate programs at undergraduate institutions.

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Prospective applicants for ICIT must possess a Bachelor of Arts in Music, or a BMus degree. It is expected that an applicant’s undergraduate training would have an emphasis in one of the three component areas. At the same time, because ICIT also seeks to transcend the composer/performer/technologist distinction, applicants must demonstrate proficiency in vocal or instrumental performance commensurate with at least two years of individual undergraduate instruction, including exposure to improvisation and non-notated music. Applicants should show comfort with composing original music, and familiarity with the use of computers for the following tasks: score writing, audio synthesis & sound processing, sequencing, and sampling. The initial review of an applicant’s transcript will focus on the nature and degree of balance between composition, technology, and improvisation/jazz studies to be found during the applicant’s undergraduate training. While a BA in Music or a BMus is necessary for admission to ICIT, the transition from an applicant’s undergraduate training to ICIT need not be linear. It is expected that some of the more promising applicants may come from a professional career in music, and that they will seek to broaden and enhance their creativity through the ICIT environment. The basic level of competence required for admission will remain the same for such applicants. However, the higher level of maturity and artistic judgment that such applicants would bring to ICIT is indeed attractive, and this possibility is a vital component of the ICIT vision. Applicants to ICIT will go through the following process, all of which must be satisfactorily completed for successful admission:

Composition portfolio Applicants must submit two original compositions in score form. Applicants may also submit up to two audio recordings of improvised or electronic music.

Curriculum vitæ

Applicants must submit a list of original compositions, performances, computer programs, and other relevant professional experience.

Writing

Applicants must submit a sample of academic writing on a critical or analytical music topic, demonstrating writing and critical thinking skills that show promise for doctoral-level work.

Audition

Applicants must demonstrate a level of vocal or instrumental proficiency, including the ability to improvise. Although a live audition is desirable, material may be submitted by an audio or video recording if necessary.

Personal Statement

Applicants submit a description of their experience, primary interests, and creative career goals specifically relevant to integrating composition, improvisation, and technology.

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Interview Applicants who reach the final stage of review will be interviewed to ascertain general creative directions, balance of skills and concepts, and suitability to the ICIT environment.

2. Foreign language requirement. There is no specific foreign language requirement for entrance to this program. Foreign language proficiency will not be required for acquisition of the Master’s degree in ICIT, but will be required for advancement to candidacy in the doctoral program. Before advancing to candidacy, PhD students must demonstrate a reading knowledge of a language other than English, at a level sufficient to conduct research in that language. This requirement may be met either by attaining a passing score in a translation examination administered by the department or by earning a grade of B or higher in level 2C (representing ability equivalent to two full years) of an approved undergraduate language course. 3. Program of study. a. Specific fields of emphasis Integrated Composition, Improvisation, and Technology (ICIT). This includes the traditional disciplines of composition, jazz performance and composition, free improvisation, and computer music composition, as well as critical and analytical study of those disciplines. The ICIT program endeavors to train musicians to have substantial competency in all of those disciplines, and to integrate them in their creative music practice. b. Plan Master of Arts (MA) and Doctor of Philosophy (PhD). An MA degree in Music is currently standard in the UC system and the rest of the U.S. The proposed ICIT MA is a Plan I Master’s degree that will replace the existing (but non-standard) Master of Fine Arts (MFA) emphasis in ICIT, and the PhD will then extend that training to the doctoral level. An MA by itself is normally considered a non-terminal degree in Music, in preparation for doctoral studies or for direct entry into the music profession. Successful completion of the MA (or comparable degree from another institution) is a requirement for entry into the PhD program in ICIT, but completion of the ICIT MA does not guarantee acceptance into the ICIT PhD program. Students will be admitted into ICIT at either the MA or PhD level. To enter at the MA level, students must have completed a BA in Music or a BMus degree. For details of the entrance requirements, see Section II.1 above. To enter at the PhD level, students must have completed the MA in ICIT or an appropriate relevant Master’s degree at another institution. Because most Master’s degrees at other institutions that focus on only one particular area of ICIT will usually not have included some of the key core courses of the

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ICIT MA, it is anticipated that students entering the PhD program from other institutions will take about two quarters longer to complete the PhD than those students who come directly from the ICIT MA. In short, the PhD program will be somewhat different for students who did their Master’s degree elsewhere than for those who completed the MA in ICIT; details of those differences are explained in the following paragraphs, Sections II.3c-d. During the first year of this new program's existence, there will be students who entered the MFA program in the previous year and who are continuing in the second year of their MFA. Those students who are midway in the MFA at the time of the change will complete their MFA in ICIT according to the UCI General Catalogue that was in effect the year they entered. The curricula are sufficiently similar between the existing MFA and new MA that this transition will not pose any problem for the students or for the faculty in terms of offering the courses necessary for them to complete their MFA requirements. Those students may apply for admission into the PhD program as would any other student who has a Master's degree, but their status as a current MFA student does not give them an advantage or an assumption of admission into the PhD program. c. Unit requirements The number of required units of credit for the MA in ICIT is 54, normally comprised of twelve 4-unit graduate courses, two 2-unit graduate courses, and two 1-unit graduate courses. It is expected that students will normally spend two years—six quarters—in residence to complete the program. A full-time graduate course load is 12 units per quarter, so six quarters of full-time graduate study will generally entail a total of at least 72 units in all. Beyond the required 54 units, students can fulfill their full-time course load with elective graduate courses or appropriate upper-division electives. The number of additional required units for the PhD, assuming completion of the MA requirements, is 28, normally comprised of five 4-unit graduate courses, one 4-unit preparatory course for qualifying exams, and two 2-unit graduate courses. The number of required units for the PhD for students entering at the PhD level from another institution is 48, normally comprised of ten 4-unit graduate courses, two 2-unit graduate courses, and one 4-unit qualifying exam preparation course. It is possible that one or two of the course requirements will have been satisfied by comparable courses in the student’s Master’s degree study and can therefore be omitted from the requirements. Such omissions will be considered by means of a transcript review for each student upon matriculation into the PhD program, and the requirements will be revised accordingly. This review will be performed by the ICIT faculty in consultation with the UCI School of the Arts Office of Student Affairs graduate advisor, and approved by the Department chairperson at the outset of the student’s residency. Thus, for a student completing both MA and PhD in ICIT at UCI, the total required units for a PhD will be 84. For a student entering at the PhD level, the total required units for

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the PhD will be 48, or potentially fewer in the case of approved substitutions given coursework at the student’s previous institution. In addition to the coursework, the PhD carries the requirement of foreign language proficiency, qualifying exams, and dissertation. d. Required and recommended courses. REQUIRED COURSES FOR THE MA: • Seminar in Creative Practices [Composition and Performance] (MUS 209); two quarters for 4 units each, equaling 8 units; to be taken by all students during their first year Fall and Winter quarters (taught by a different ICIT faculty member each quarter) • Computer Music Composition and Production (MUS 215A); one quarter for 4 units (offered once every year) • Computer Music Programming (MUS 215B); one quarter for 4 units (offered every year) • Critical Studies in Music (MUS 235); one quarter for 4 units (offered at least once every two years) • Bibliography and Research; one quarter for 4 units (offered at least once every two years) • Theoretical ICIT seminars (MUS 236); two quarters for 4 units each (at least 1 course offered per year). May satisfy one quarter (4 units) with a seminar chosen from the 201, 220, or 230 series or an approved comparable graduate seminar in another department. • Practical ICIT seminars (MUS 237); two quarters for 4 units each (at least 1 course offered per year). • Graduate Ensemble (MUS 276); two quarters for 2 units each, equaling 4 units (offered at least once every year) • Composition Lessons (MUS 212); two quarters for 4 units each, equaling 8 units; to be taken by all students during their second year (taught by ICIT faculty) • ICIT Colloquium (MUS 239); two quarters for 1 unit, to be taken winter quarter of the each year in the MA program; coordinated each year by a faculty member, for presentation of current research by PhD students, faculty, and visiting scholars (offered once every year) REQUIRED COURSES FOR THE PHD (FOR CONTINUING ICIT STUDENTS): • Composition Lessons (MUS 212); two quarters for 4 units each, equaling 8 units (taught by ICIT faculty) • Theoretical ICIT Seminars (MUS 236); two quarters for 4 units each, equaling 8 units (at least 1 course offered per year) May satisfy one quarter (4 units) with a seminar chosen from the 201, 220, or 230 series or an approved comparable graduate seminar in another department. • Practical ICIT Seminars (MUS 237); one quarter for 4 units (at least one course offered per year)

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• Graduate Ensemble (MUS 276); one quarter for 2 units (offered at least once every year) • Directed Research (MUS 250)—Qualifying Exam Study; one quarter for 4 units, to be taken at the end of coursework (taught by dissertation committee chairperson) • ICIT Colloquium (MUS 239); one quarter for 2 units, to be taken winter quarter of the first year in the PhD program; coordinated each year by a faculty member, for presentation of current research by PhD students, faculty, and visiting scholars (offered once every year) REQUIRED COURSES FOR THE PHD (FOR STUDENTS WITH A NON-ICIT MASTER’S DEGREE): • Computer Music Composition and Production (MUS 215A); one quarter for 4 units (offered once every year) • Computer Music Programming (MUS 215B); one quarter for 4 units (offered every year) • Critical Studies in Music (MUS 235); one quarter for 4 units (offered at least once every two years) • Bibliography and Research; one quarter for 4 units (offered at least once every two years) • Theoretical Seminars (MUS 236); two quarters for 4 units each, equaling 8 units (at least 1 course offered per year). May satisfy one quarter (4 units) with a seminar chosen from the 201, 220, or 230 series or comparable approved graduate seminar in another department. • Practical Seminars (MUS 237); two quarters for 4 units each, equaling 8 units (at least 1 course offered per year). • Lessons (MUS 212); two quarters for 4 units each, equaling 8 units (taught by ICIT faculty)* One quarter may be replaced by Music 209 Creative Practices, at the discretion of the faculty. • Graduate Ensemble (MUS 276); one quarter for 2 units each (offered at least once every year)* • Directed Research (MUS 250)—Qualifying Exam Study; one quarter for 4 units, to be taken at the end of coursework (taught by dissertation committee chairperson)* • ICIT Colloquium (MUS 239); one quarter for 2 units, to be taken winter quarter of the first year in the PhD program; coordinated each year by a faculty member, for presentation of current research by PhD students, faculty, and visiting scholars (offered once every year)* * Not eligible for equivalency from another institution RECOMMENDED GRADUATE-LEVEL ELECTIVE COURSES: • Analysis (MUS 201); one quarter (4 units) focusing on analysis of contemporary music; offered at least once every two years; taught by various faculty • Seminar in Music History (MUS 220); one quarter (4 units), may be repeated for credit; offered at least once every year; taught by various faculty

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• Seminar in Contemporary Music (MUS 230); one quarter (4 units), may be repeated for credit; offered at least once every year; taught by various faculty • Directed Reading (MUS 250); one quarter (4 units), supervised research, may be repeated for credit; taken by agreement with an appropriate supervising faculty member • Graduate Ensemble (MUS 276); one quarter (2 units), may be repeated for credit; offered at least once every year MUS 236 THEORETICAL SEMINARS: (COURSE TOPICS WILL VARY EACH YEAR; AT LEAST TWO COURSES OFFERED PER YEAR):

Time Structure in Music (Dobrian) Algorithmic Composition (Dobrian) Machine Musicianship (Umezaki) Inter-cultural Improvisation (Umezaki) Emerging Media for Musicians (Umezaki) Black Music (Dessen, Mitchell) Women Trailblazers in Experimental Music (Mitchell) Contemporary and Experimental Vocal Music (Mitchell) Spectromorphology: Electroacoustic and Texture-based Music Analysis (Mitchell) Advanced Improvisational Harmony (Akagi) Seminar in Persian Music (Omoumi)

MUS 237 PRACTICAL SEMINARS: (COURSE TOPICS WILL VARY EACH YEAR; AT LEAST ONE COURSE OFFERED PER YEAR):

Developing New Interfaces for Music Making on Mobile Devices (Dobrian, Umezaki)

Multimedia Programming (Dobrian, Umezaki) Advanced Production Techniques for Performance and Recording (Dobrian,

Umezaki) Musician as Entrepreneur (Mitchell, Umezaki) Improvisation (Dessen, Mitchell) Advanced Rhythm Seminar (Dessen) Advanced Jazz Ensemble (Akagi) Telematic Performance (Dessen) Multi-Arts Collaboration (Mitchell) Narrative-based Music Composition (Mitchell)

e. When a degree program must have licensing or certification, the requirements of the agency or agencies involved should be listed in the proposal, especially the courses needed to satisfy such requirements. This stipulation is not applicable in this case.

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4. Field examinations—written and/or oral. There is no general field exam attempting to be comprehensive of all aspects of ICIT. However, it is expected that the questions in the qualifying exam described below will be formulated in such a way as to require the student to demonstrate a thorough understanding of how her/his area of specialization fits in the context of important prior work. 5. Qualifying examinations—written and/or oral.

As stated in Senate Reg. 918, “the Candidacy Committee is comprised of five faculty who are voting members of the University of California Academic Senate or by equivalent scholarly standing, by exception. Non-voting Senate members; faculty members from other universities; or non-Senate faculty with equivalent scholarly standing will be considered for general membership on the committee on an exception basis only. Candidacy committee members need not necessarily be from the Irvine Division -- but a majority and not all must hold primary or joint appointments in the student's department.” In the spring quarter of the first year of PhD study, each student, in consultation with the ICIT faculty, designates one of the core ICIT faculty as his/her Candidacy Committee chair. When nearly finished with coursework, the student signs up for Qualifying Exam Study with the Candidacy Committee chair. Together they designate the remaining four committee members, and submit the list of members to the department chair for approval. At that same time, the student also submits to the chair a dissertation prospectus outlining the proposed topic, methodology and relevant details (e.g. instrumentation, length, technological resources, etc.). The chair coordinates with the other committee members to create a set of questions that integrate the topics covered in the student’s coursework while also being tailored to his/her interests and intended dissertation topic. These questions are presented to the student by the end of the first full week of classes, and by the end of the seventh week of the quarter the student is required to produce a response of no more than 20 pages. The chair evaluates both the paper and the prospectus and provides written feedback, with additional input from the committee members. The chair and committee members may request revisions to the paper or prospectus. Once this process is complete, the student schedules a time for the oral examination with the Candidacy Committee. At that meeting, the members of the Candidacy Committee discuss both the paper and the prospectus with the student, and determine whether the student will be admitted to candidacy for the PhD degree. 6. Thesis and/or dissertation. Upon advancement to candidacy, the student, in consultation with the ICIT faculty, forms the Doctoral Committee, which in normal circumstances will be identical to the Candidacy Committee. The doctoral committee is composed of (at least) three voting

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members of the Academic Senate (not necessarily the Irvine Division). In exceptional cases a member may be a person of equivalent scholarly standing, subject to approval by the department chair. A majority of the committee, but not necessarily all, shall be affiliated with the Department of Music, and the chairperson must hold a principal appointment in the Music Department. The Doctoral Committee supervises the preparation and completion of the dissertation and the final examination. The PhD dissertation in ICIT combines innovative creative activity with scholarly research. The goal of the dissertation is to address a major intellectual issue in the integration of composition, improvisation, and technology, and to make an original contribution to existing knowledge of that issue through research and new artistic work. This is to be accomplished by four steps that can be summarized as hypothesis, research, analysis, and original music: 1) identification of a specific technical or artistic focus that integrates composition, improvisation and technology, 2) fundamental research necessary to contextualize that topic within past and current practice, by studying the relevant repertoire, historical and theoretical scholarship, and current musical practices, 3) written exposition and defense of original ideas that extend and innovate existing knowledge or practices, and 4) public presentation of new creative work that exemplifies those ideas. The tangible product will be a written dissertation that presents and contextualizes substantial innovative work in integrated composition/improvisation/technology, and music of significant scope that clearly demonstrates that work. 7. Final examination. The dissertation committee is chaired by a member of the core ICIT faculty and must include at least one other member of the Senate faculty in Music. A third committee member must be a UC Senate faculty from outside the UCI Music Department, and a fourth member must be a qualified faculty from any department including Music. Prior to the final examination the student must present the dissertation to the committee with adequate time for review, feedback, and revision. Once the committee members have had the opportunity to evaluate the dissertation fully, and the student has had time to revise it according to their commentary, a public meeting will be scheduled for the student to defend the work in response to criticism from the committee. After that public meeting, the committee will meet privately to make a decision whether to approve the work. Approval requires a majority decision by the faculty committee.

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8. Explanation of special requirements over and above Graduate Division minimum requirements. The normal minimum requirement for a one-year MA degree at UCI is 28 units. As this is a two-year MA program, the required courses comprise a total of 54 units plus a portfolio of written and musical work. Normative time for advancement to candidacy in doctoral programs at UCI varies by department, but is generally about 3 years. Normative time for completion of doctoral degrees at UCI also varies by department, but is generally 5 years. For ICIT, the normative time for advancement to candidacy is 9 quarters (3 years) for students entering at the MA level. The normative time for completion of the degree is anticipated at 12 to 15 quarters (4-5 years). Thus, this proposed program is essentially in line with UCI Graduate Division norms. For students who enter at the PhD level with a masters degree from another institution, normative time for advancement to candidacy is 5 quarters, and normative time for completion of the degree is 8 quarters. 9. Relationship of master’s and doctor’s programs. A student entering without a Master’s degree is accepted into the ICIT MA program, with the understanding that completion of the MA in good standing qualifies the student to apply to enter the PhD program but does not guarantee automatic advancement. During the second year of the MA in ICIT, the student can apply to continue immediately into the PhD program, contingent on successful completion of the MA prior to entering the PhD. The MA in ICIT is designed to be a complete and unified degree in its own right while also being the crucial first part of a complete doctoral program. The nature of subject integration in ICIT, the unique combination of required course topics, and the design of the MA as an integral part of a full four-year trajectory to a PhD are the reasons why students who enter at the PhD level with a Master’s degree obtained elsewhere will almost certainly require additional time to complete the coursework that is particular to ICIT, much of which is concentrated in the MA curriculum. Because a doctorate is the expected terminal degree in Music, most students enter graduate studies with the hope of obtaining a doctoral degree, so it is anticipated that students who complete the MA in ICIT with distinction will most often continue into the PhD program.

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10. Special preparation for careers in teaching. Students who complete the PhD program will almost invariably have received experience as teaching assistants in the Department, will have been immersed in a rigorous scholarly and artistic environment for four years of graduate study, and will have received a training that is exceptionally modern and forward-looking in the American academic environment. As noted in Section III.2 below, the type of diverse knowledge and integrative approach to music making that is espoused by ICIT prepares students especially well for successful placement in teaching careers. The Music Department does not offer a Master’s degree in Music Education, which is generally required for elementary and secondary public school teaching. However, some graduates of the current Master’s program go directly into teaching at private schools or community colleges. Many others proceed directly into doctoral programs at other universities, which is testament to the strength and reputation of the existing Master’s degree program at UCI. 11. Sample program. The following table shows an example of a normal schedule for a student’s four-year curriculum in the program.

Fall 1 Creative Practices Seminar (209)

Bibliography and Resarch (200)

Theoretical Seminar (236)

Winter 1 Creative Practices Seminar (209)

Computer Music Composition (215A)

Practical Seminar (237)

Spring 1 Elective Computer Music Programming (215B)

Graduate Ens. (276) / University Teaching

Fall 2 Lessons (212) Critical Studies Seminar (235)


Winter 2 Lessons (212) Elective Practical Seminar (237)

Spring 2 Elective

Elective Graduate Ens. (276) / University Teaching

Fall 3 Lessons (212) Elective / University Teaching


Winter 3 Lessons (212) ICIT Colloquium (239) / University Teaching

Practical Seminar (237)

Spring 3 Directed Reading (250) for Qualifying Exam Study

Graduate Ens. (276) / University Teaching


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Fall 4 Directed Reading for Dissertation Research

(in PhD candidacy) (in PhD candidacy)

Winter 4 Directed Reading for Dissertation Research


Spring 4 Directed Reading for Dissertation


The following table shows the impact on course staffing in a typical year. Note that:

1. MUS 200, Bibliography and Research, is taught by non-ICIT core faculty. 2. MUS 212 is individual composition lessons, which are divided up among the core

ICIT faculty. 3. MUS 250 is likewise taught one-on-one, divided up among the core ICIT faculty. 4. Course topics for MUS 236 and MUS 237 seminars will vary, and may include

seminars taught by affiliated or non-ICIT faculty.

FALL WINTER SPRING

M212 M212 M212

M235 M236 M237

M209 M209 M215B

[M200] M215A M276 (2 units)

M250 M239 (2 units)

A more detailed analysis of course staffing and faculty workload is provided in Section V below. 12. Normative time from matriculation to degree. Normative time is six quarters (two years) for the Master’s Degree, and an additional six quarters (two years) for the PhD program, for a total of four years. For students who enter at the PhD level with a Master’s degree from another institution, normative time to advance to candidacy is expected to be five quarters, for the reasons stated in Section II.9 above, plus three quarters for the dissertation for a total of eight quarters. What policies or other incentives will assure that students make timely progress toward degree completion in the proposed program? The main obstacle to timely completion in most graduate programs is slow or poor-quality work on the qualifying exam and/or dissertation. This curriculum addresses that

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common problem directly by a) requiring that all first-year PhD students take the ICIT colloquium to begin consideration of potential dissertation topics immediately, b) making qualifying exam preparation the focus of a required course, c) requiring students’ participation in the collaborative graduate ensemble to encourage and facilitate creative productivity and mutual support, and d) including in the ICIT coursework the type of research and creative work that ultimately forms the dissertation.

Section III. Projected need 1. Student demand for the program. Although the kinds of musical integration we propose in ICIT are widely practiced outside of academia, they are barely represented at all in graduate music programs. Very few graduate degree programs in the United States explicitly embrace the kind of integrated curriculum we have already established in ICIT, and of those that do exist, even fewer offer doctoral degrees. For example, Wesleyan University offers a well-known degree in “experimental music,” but as an MA only; similarly, the University of Michigan offers one of the few existing graduate music degrees in Improvisation, but only as a Masters of Music. As a result, there are very few comparable degree programs to consult for admissions statistics in order to demonstrate student demand for doctoral level studies in ICIT. Two such doctoral programs that are known for their hybrid, integrative approach to music study are the “Performer-Composer” DMA emphasis at the California Institute of the Arts, and the PhD emphasis in “Integrative Studies (IS)” at the University of California, San Diego. (The latter is also discussed in Section III:6 below.) David Rosenboom, the Dean of Music at the California Institute of the Arts (Calarts), reports that Calarts does virtually no advertising or outreach for the Performer-Composer DMA program, but that despite this fact, they still receive roughly 25 applications per year, and only admit 2 new students per year. David Borgo, a Professor of Music at UCSD in the IS area, reports that IS receives applications “somewhere in the 25-50 range, perhaps a few more on a good year,” and that “we usually can't admit more than 4 or 5 in recent years, and there have been years we only admitted 2 due to funding constraints.” Such statistics, showing that these programs accept only in the range of 8%-12% of the applications they receive, suggest strong demand for doctoral programs along the lines of ICIT. Other forms of evidence for student demand are also anecdotal, but, for us, still compelling. Since the inception of the MFA in ICIT, numerous applicants to ICIT have expressed their preference to enter into a program that will lead to a doctoral degree and asked whether we plan to offer a doctoral degree in ICIT, to the point where we needed to list a “FAQ” on this topic on our website. Students who were admitted to ICIT but

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chose not to attend have most often cited the lack of a doctoral track as a primary reason for choosing to attend another university. Graduates from the ICIT MFA program have repeatedly expressed the need for more time to absorb the complexities of the topics covered in the MFA, and they have expressed interest in continuing with further development using ICIT approaches, yet they have concluded that most traditional PhD music programs offer limited opportunities for them to continue their creative work in similar directions. Because ICIT will more accurately reflect new and emerging practices in contemporary music, there already exists a large number of people who will find the new program attractive. Often these are people who are underrepresented in normal music programs. Our new program will specifically target such people for recruitment; their interests will already be addressing the areas that we will emphasize, such as Asian American and African American music, new media technology in live performance, contemporary popular forms and styles, and the creative intersections of improvisation and composition. By focusing on new musical forms and genres that involve a more diverse population inherently, the program invites people from those communities to enter academia. In addition, there are professional musicians working actively in the fields of jazz, composition, and electronic music who have the desire to return to school to complete their studies. Many of them have either already acquired a Masters degree or prefer to enter a program where they can pursue a PhD. 2. Opportunities for placement of graduates. Although most UC campuses have doctoral programs in music, few are explicitly designed to focus on integrating diverse creative and scholarly approaches to music. As stated in Section I, our position is that there is a need for more support in academia for coming generations of musicians who value developing a diversified set of skills and knowledge in order to build a career. In fact, our interest in further expanding the current MFA program is partially based on an observation that top tier research universities in this country (and perhaps worldwide) are lagging in support for what is already a reality for the practicing musician. Universities are more and more seeking faculty with diverse skills, yet very few universities nationwide offer integrative programs to train such diverse faculty, including the UC campuses. This is the classic catch-22 scenario referred to previously—the curricular structure and the focus of most traditional doctoral programs do not address today’s demand for the integration of creative modes among artists/musicians. Most doctoral programs tend to reinforce standard categorizations, and thus tend to exclude musicians who are interested in studying the type of integration espoused in ICIT. We feel that such exclusion, while often unintentional, keeps such people out of the academic job market and thus inhibits the gradual evolution of music faculty that needs to occur in order for universities to remain current and relevant. The absence of existing doctoral programs similar to the one proposed here makes an assessment of opportunities for placement of graduates difficult. However, it is well

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understood that most departments seek new faculty who can address multiple areas of expertise. By providing integrated training in composition, computer music, and improvised music, ICIT graduates are prepared to fill many sorts of roles. The existing ICIT MFA program has had excellent success placing its graduates into doctoral programs. Nearly 100% of the graduates who applied to doctoral programs were accepted, most at other UC campuses in Composition, but also in Music Technology at McGill University and in Interdisciplinary Arts (a performance studies program) at Ohio University. This success rate demonstrates that the students in our existing Master’s program are receiving valuable training, are producing impressive work, and are following diverse paths in existing doctoral programs. Other Master’s graduates of ICIT have found immediate placement in such diverse work as chief technology officer for a mobile software development company, software developer in the studio of a successful Los Angeles film composer, and accompanist in a New York ballet company, while most others are actively performing and recording as professional musicians. One can infer from the success rate of ICIT MFA graduates entering doctoral programs elsewhere that a) the various types of graduates produced by ICIT are valued by universities that currently have high-level music departments with doctoral programs, and b) the UCI Music Department’s ICIT program is succeeding at the Master’s level and is itself poised to offer doctoral-level professional training. 3. Importance to the discipline. Institutionally, at UCI and elsewhere, music has been taught in reference to the history and tradition of classical music as a discipline. Jazz, new music and electronic music emerged in the latter half of the 20th century. ICIT’s program was designed to extend UCI’s traditional music program in the direction of innovation, a direction that has been already been addressed by most other art disciplines at the university-level, including visual art, graphic design, video, film, choreography, etc. Innovation and invention are extremely important to the future direction of music. In fact, the presence of ICIT’s PhD program will parallel UCI’s commitment in the many other departments that undertake critical research of current trends and that promote future innovations and discoveries. 4. Ways in which the program will meet the needs of society. At the core of what motivates this proposal is a recognition that the needs of the 21st-century musician are rapidly evolving and have outpaced changes within academia. There are very few forms and practices of music these days that at some point in the process do not rely on technology to some degree (for example, a typical recording session by a symphony orchestra involves piecing together best takes of sections of a work with the latest digital audio workstations). The need for musicians to embrace entrepreneurship—and therefore rely on a variety of skills, not just those directly related to music—trends upwards. Conservatories such as Eastman and Johns

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Hopkins/Peabody have actively pursued integrating support for the development of entrepreneurial skills in their curriculum in response to changes in the job climate for musicians, one in which orchestras struggle to restructure their businesses and major record labels continue to look for solid footing as more and more musicians now seek to manage their own careers by closing the gap between themselves and their audiences. This proposed doctoral program is also designed to reflect interests in transnational musical practices that correspond to contemporary trends in global thinking. As part of the greater Pacific Rim community, and concomitant with the UCI’s diverse student body, core and affiliated faculty members of ICIT have research interests that do not simply examine cultural and musical practices of “other” nations and communities, but rather seek to situate non-Western music within 21st-century musical practices in the United States. The Department of Music at UCI is fortunate to have one of this country’s premiere experts on the Persian classical radif system in Professor Hossein Omoumi, who is also recognized as one of the world’s great performers of the ney (Persian end-blown flute) and an innovator of traditional Persian instruments. Professor Robert Garfias in the Department of Anthropology is one of the pioneers in the field of ethnomusicology, with a deep interest in the musics of the historic Silk Road. Assistant Professor Kojiro Umezaki, a core member of the ICIT faculty, has been performing internationally for over 12 years as a shakuhachi (Japanese end-blown flute) player with The Silk Road Ensemble (Yo-Yo Ma, Artistic Director), an ensemble engaging in the performance and creation of cross-cultural music with a specific emphasis on innovation and tradition among classical traditions of Asia and the West. Core ICIT faculty members Michael Dessen and Christopher Dobrian draw inspiration from and integrate concepts and practices from Hindustani and Korean traditional and classical musics, respectively, in their creative work. And, in addition to having been one of the leading forces behind the Association for the Advancement of Creative Musicians (AACM), core ICIT faculty member Professor Nicole Mitchell is an internationally celebrated and award-winning performer and composer whose activities as a top-tier artist bridge many genres and serve as a model for musicians who engage in musical and cultural exchange at a global level. In short, the foci of this program—technology, diversified skills in performance and improvisation, original composition, and entrepreneurial and global thinking—are designed to model a reality going forward. The musicians we envision graduating from the ICIT PhD program will not only have transferable skills in the 21st-century job market, but will, alongside their peers aligned with other professions, serve as key thinkers and artists for the coming generations. 5. Relationship of the program to research and/or professional interests of the faculty. Founded by UCI professors Christopher Dobrian, Kei Akagi, Michael Dessen, and Rae Linda Brown, the ICIT MFA emphasis was originally created to support close-knit

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collaboration with regard to their own research and creative/professional interests. Their vision was to create a new program that improves the relevancy of UCI’s Music Department offerings with regard to contemporary practices, and that encourages such study among graduate students. Newer faculty hires Kojiro Umezaki and Nicole Mitchell were selected for ICIT because their creative work directly relates to the goals of the program. Each faculty member represents a unique approach to the integration of composition, improvisation, and technology through his/her research and creative work, as described in Section IV. 6. Program differentiation. There are extremely few comparable programs that exist among UC campuses and other California independent universities. Below is a list of doctoral programs in music within the UC system followed by a discussion of the extent to which there is any overlap with the PhD program proposed in this document.

Berkeley Composition, Ethnomusicology, History and Literature (PhD)

Los Angeles Composition, Ethnomusicology, Musicology (PhD) Performance and Conducting (D.M.A.)

Santa Barbara Composition, Ethnomusicology, Musicology, Theory (PhD) Performance and Conducting (D.M.A.)

Riverside Musicology, Ethnomusicology, Composition (PhD)

Davis Musicology, Ethnomusicology, Composition and Theory (PhD)

San Diego Composition, Computer Music, Integrative Studies (PhD) Contemporary Music Performance (DMA)

Santa Cruz Composition, Computer-assisted (Algorithmic) Composition, World Music

Composition (D.M.A.) Cross-cultural and Interdisciplinary Studies in Musicology (PhD)

A few of the programs listed above do embrace interdisciplinarity, and there are surely programs that will accept doctoral-level projects that cross the conventional boundaries within music departments regardless of the title of the program. However, a program with a curriculum such as proposed in this document—designed specifically to target the nexus of composition, improvisation, and technology—is unique to the UC system. In the UC system, the one doctoral music program that is most closely related to ICIT, while still reflecting a distinct profile in crucial ways, is the “Integrative Studies” (IS)

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emphasis at UC San Diego. The IS emphasis fills an important need in the system and nationwide, in that it welcomes students who do not wish to make a distinction in their doctoral work between scholarship and music making. However, it is important to note that in addition to IS, the UCSD Music Department offers separate doctoral emphases in Composition, Computer Music, and Performance. As a result, composers, performers, and technologists applying to do a doctoral degree in music at UCSD must specify whether their emphasis will be in one of those three areas or in IS, which is a hybrid scholar-artist curriculum. In contrast, our proposed doctoral emphasis in ICIT brings together Composition, Improvisation and Technology under the same umbrella, and emphasizes the ways in which those disciplines are intensely interrelated in modern practice. Another important distinction is that critical studies—while still being a crucial part in the ICIT curriculum in the form of seminar, qualifying exam, and dissertation requirements—does not play the same kind of core role in ICIT as it does in the IS program. Many doctoral students in UCSD’s IS emphasis focus strictly on scholarly writing and go on to pursue careers as musicologists or ethnomusicologists. ICIT, on the other hand, is not designed to train non-practicing musicologists and is instead focused fully on those who wish to engage a new and integrative model of music making. For these reasons, we feel strongly that ICIT does not represent an overlap with the IS emphasis at UCSD, but rather expands upon the same impulse towards interdisciplinarity and new paradigms that inspired the IS program at its inception, while doing so in a distinctive and complementary way. It is also important to mention the extensive collaborations that have been taking place for years between core ICIT faculty and faculty in the UCSD Music Department, both in the classroom and on stage. Michael Dessen and Nicole Mitchell have collaborated extensively with faculty at UCSD such as Mark Dresser (Performance), Anthony Davis (IS) and David Borgo (IS), and both Dessen and Mitchell have performed and presented at UCSD in recent years. Christopher Dobrian also has a longstanding relationship with the UCSD Music Department, has been invited to teach master classes in composition at UCSD, and has facilitated presentations at UCI by UCSD faculty such as Lei Liang (Composition) and Miller Puckette (Computer Music). One particular example pointing to the potential for future interaction between the two departments is a co-located graduate seminar in winter 2013 that was co-taught by Michael Dessen (ICIT, UCI), Roger Reynolds (Composition, UCSD) and Mark Dresser (Performance, UCSD). The students and faculty met together as a single group using advanced audio-video teleconferencing technologies, and the seminar centered on telematic (networked) performance and multimedia documentation. It included 6 MFA students from Irvine’s ICIT program and 14 UCSD graduate students who spanned all the different graduate emphases there. Together the students realized highly complex, networked, collaborative projects that reflect the potential of these new technologies as well as the artistic and intellectual synergy between our two departments. We are excited about the many opportunities for future collaboration with the UCSD Music Department, and we are confident that establishing a doctoral emphasis in ICIT will only add to the fruitful relationships already well established among our faculty and students.

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The DMA at UCSC is the next most recently added doctoral program in music. Although UCSC has established its own designated specializations within the field of composition, it is focused quite clearly on training composers, with relatively little focus on interactive realtime computer music performance, and no doctoral program in improvisation or jazz. Notable doctoral programs in music at other California independent universities include:

USC Historical Musicology, Choral and Sacred Music; Classical Guitar;

Composition; Early Music Performance; Jazz Studies; Keyboard Collaborative Arts; Keyboard Studies; Music Education; Music History and Literature; Organ Studies; Strings; Studio/Jazz Guitar; Vocal Arts; Winds and Percussion (D.M.A.)

Historical Musicology (PhD) Stanford

Musicology, Computer-Based Music Theory and Acoustics, Composition (PhD)

CalArts Performer-Composer (D.M.A)

The program at USC, with its focus on instrumental performance and established areas of musicology, composition, music education, and history/literature, largely operates within and adheres to the longstanding music-conservatory model and has very little in common with our proposed program. Likewise, the doctoral programs at Stanford are defined along traditional disciplinary lines such as Composition, Musicology, and Computer Music. The Composition program is a DMA degree that is regarded highly for its culture of complex and rigorous thought associated with modern concert music, but is largely unconcerned with transcultural, jazz, or popular practices. The PhD in Computer-Based Music Theory and Acoustics is focused primarily on the research and development of digital technologies. The Performer-Composer DMA program at CalArts, a relatively new doctoral program designed “for artist-scholars whose work exhibits an integration of their compositional and performance practices,” appears to bear some similarity to our proposed ICIT PhD. While the CalArts program will be a “competitor”, only 2-3 applicants are admitted there each year. We take the position that such low enrollment numbers do not oversaturate what we perceive to be a growth area in graduate music programs. Furthermore, CalArts is a private institution where tuition and fees are significantly higher than in the UC system. Our program will offer a very competitive course of study designed to attract serious music practitioners who are developing new modes of creative expression.

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Section IV. Faculty The core faculty group of the ICIT program consists of four professors whose specializations are highly complementary in the areas of composition, improvisation, and technology. Several other members of the Music Department contribute as affiliated faculty by teaching relevant seminars and independent studies, consulting on research topics, and serving as members of thesis committees. Additionally, there are composers and media artists in other departments of the Claire Trevor School of the Arts who are considered affiliated faculty of ICIT, who serve roles similar to the affiliated faculty within the Music Department. The listing below includes the names, ranks, degrees, and specializations of the core and affiliate faculty. Complete curricula vitae are included in a separate document. Additional information about the professors' contributions to the ICIT curriculum can be found later in this section as well as in Section V, Courses. Core Faculty: Michael Dessen, Associate Professor of Music; PhD in Critical Studies and Experimental Practices, University of California, San Diego; composition, improvisation, telematic (networked) performance, live electronic performance, historiography of late twentieth-century jazz and experimental music, performer of trombone. Christopher Dobrian, Professor of Music (joint appointment in Informatics); PhD in Composition, University of California, San Diego; instrumental and digital composition, interactive computer-mediated performance, artificial intelligence, performer of classical guitar. Nicole Mitchell, Professor of Music; MM in Classical and Jazz Flute Performance, Northern Illinois University; jazz and open improvisation, jazz and classical composition, multimedia performance, performer of flute. Kojiro Umezaki, Assistant Professor of Music; MA in Electro-acoustic Music, Dartmouth College; instrumental and digital composition, interactive computer music performance, multicultural and world music, performer of shakuhachi. Affiliated faculty in Music: Kei Akagi, Chancellor's Professor of Music; B.A. in Humanities, International Christian University, Tokyo; jazz and open improvisation, jazz composition, electronic music, performer of piano. Amy Bauer, Associate Professor of Music; PhD in Music Theory, Yale University; contemporary classical music, tonal and post-tonal music theory.

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David Brodbeck, Professor of Music; PhD in History of Music, University of Pennsylvania; Central European music of the 19th century, history of rock. Margaret Murata, Professor of Music; PhD in Music History and Theory, University of Chicago; classical music history, performance practice, analysis and criticism. Hossein Omoumi, Maseeh Professor of Persian Performing Arts; PhD in Architecture, University of Florence; Persian music performance and history, performer of ney. Colleen Reardon, Professor of Music; PhD in Musicology, University of California, Los Angeles; Italian music of the 17th century, bibliography and research. Cecilia Sun, Assistant Professor of Music, PhD in Musicology, University of California, Los Angeles; experimental music since 1960, performance practice, critical studies. Stephen Tucker, Associate Professor of Music; DMA in Conducting, University of California, Los Angeles; orchestral and chamber music conducting, orchestration. Affiliated faculty in Arts: Stephen Barker, Professor of Drama; PhD in Literary Theory and Criticism, University of Arizona; performance studies, critical and aesthetic theory. Michael Hooker, Professor of Drama; MFA in Performing Arts Design/Technology, CalArts School of Theatre; composition of music for theatre, theatrical and architectural sound design, recording arts. Vincent Olivieri, Associate Professor of Drama; MFA in Sound Design, Yale School of Drama; composition of music for theatre, theatrical sound design, interactive sound art. Alan Terricciano, Professor of Dance; MA in Theory, Eastman School of Music; composition for dance, performer of piano. Other affiliated faculty: Robert Garfias, Professor of Anthropology; PhD in Ethnomusicology, University of California, Los Angeles; ethnomusicology, music of Japan, Latin American music. The core ICIT faculty group is exceptionally well formulated to address the integration of genres and practices. Its members all actively compose in classical, jazz, and non-Western contexts, both with and without the incorporation of improvisation and technology. They deal with improvisation involving varying degrees of structure and stylistic convention, both in instrumental ensembles and in realtime human-computer

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interaction. And they incorporate innovative digital technology as a fundamental component for exploring new models of creativity and performance. Each of the core faculty is expert in at least two, if not all three, of the constituent fields—composition, improvisation, and music technology—and each is active in multiple genres of music making. All regularly present their work nationally and internationally. Professors Dessen and Mitchell do most of the teaching of improvisation in free and jazz settings; Professor Umezaki teaches non-Western improvisational practices, and Professor Dobrian teaches interactive computer music improvisation. Professors Dobrian and Umezaki do most of the teaching of computer music, focusing on production and programming of realtime applications; Professor Dessen teaches telematic performance, and Professor Mitchell teaches multidisciplinary and multimedia performance. All four teach composition, incorporating improvisation and technology to varying degrees, and all four mentor thesis work and a variety of performances. Among the affiliate faculty, as a distinguished jazz composer and performer Professor Akagi takes an active role advising students on their compositions and performances, and teaches advanced harmony and jazz composition. Professors Bauer and Sun frequently teach ICIT-related graduate seminars in contemporary music, including critical and analytic studies, and they actively advise on thesis committees. All of the affiliated professors contribute to thesis advising and offer relevant graduate seminars.

Section V. Courses The ICIT MFA program has already been in operation for five years, and the faculty have been continually revising and refining the curriculum during that period. Therefore, the vast majority of the courses needed for the PhD program are already in place and the curriculum has been proven effective. Some graduate courses not specific to ICIT—such as Bibliography and Research, Analysis, Seminar in Music History, and Seminar in Contemporary Music—have always been available to ICIT students as electives and will continue to be taught. Music 200 Bibliography and Research, a course that was previously elective, will become a requirement in the new curricular design. Preparatory study for the PhD qualifying exam and dissertation will be done using the existing course number Music 250 Directed Reading. Additional topics can be easily adopted either as theoretical or practical ICIT seminars. The existing course number Music 236 ICIT Seminar will be converted to two related course numbers: Music 236 Theoretical Seminar and Music 237 Practical Seminar. This

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is a simple bureaucratic procedure and does not require extensive new curriculum design. Similarly, Music 215 Music Technology, which was required to be taken twice in the MFA program, will be converted to two related course numbers: Music 215A Computer Music Composition and Production and Music 215B Computer Music Programming. Music 215B may be repeated for credit as an elective so that students can develop ever more advanced techniques. A new course number Music 276 Graduate Ensemble will be a performance ensemble for graduate students, effectively a graduate version of the existing Music 176 Chamber Ensembles that is required for all performance students. Participation in Music 276 will be required of MA students for at least two quarters, and will be required of PhD students for at least one quarter. The course will be open for elective participation by non-ICIT graduate performance students, and even for advanced undergraduate students as deemed appropriate. This ensemble will focus on performance of contemporary music, and will thus serve two important purposes: it will institutionalize and promote the performance of contemporary music repertoire in the department, and it will promote collaborative performance among the graduate student body and the upper-division undergraduates. Here are listed the existing graduate courses that are directly relevant to the ICIT curriculum, with their catalog descriptions. The list is followed by a listing of the proposed new course numbers and a discussion of course staffing. Existing undergraduate courses, available as electives: 131 Post-Tonal Theory (4). Study of significant harmonic, rhythmic, and structural practices since 1900. Analysis and written work exploring free atonality and serialism; neo-tonal practices such as use of extended tertian harmonies, modalism, pandiatonicism, and non-tertian harmonies; structural principles such as aleatory, metric modulation and minimalism. 132 Jazz Theory (4). Study of jazz harmony and melody construction in improvisation. Covered topics include terminology, chord symbols, notation, voicings, and scales as commonly used in jazz and popular music. Issues regarding tonality and ramifications of the blue scale are also examined. 136 Instrumentation (4). Ranges and capabilities of modern orchestral instruments. Exercise in writing for various combinations of wind, string, and percussion instruments and for full orchestra. 142 Studies in Baroque Music (4). Variable topics. 143 Studies in Classical Music (4). Variable topics. 144 Studies in Romantic Music (4). Variable topics. 145 Studies in Twentieth-Century Music (4). Variable topics.

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146 Studies in Jazz Music (4). Variable topics. 147 Studies in Music Technology (4). Variable topics. 148 Studies in Ethnomusicology (4). Variable topics. 149 Studies in Music History (4). Variable topics. 182 Advanced Jazz Combo (2). Small-group jazz ensemble and improvisational workshop. Range of music covered encompasses the full traditional jazz from improvised ragtime up through the most current avant-garde musical techniques. 183ABC Jazz Composition (4) Performance and lecture course for writing and performing original jazz compositions. Emphasis is placed on composing as a way to create new improvisational frameworks. Cyclical forms, modal compositions, blues-oriented compositions, ballad writing, non-functional harmony, contemporary forms, free-bop, current trends, modern tonal-center compositions, intervallic compositions, and alternate rhythms. Existing graduate courses: 200 Bibliography and Research (4). A systematic introduction to the bibliographical tools both in the general field of music and in the students' areas of specialization. 201 Analysis (4, elective). Various approaches to analysis through concentrated study of a number of selected works. 209 Seminar in Creative Practices (4) Core first-year seminar required for graduate students in the Integrated Composition, Improvisation, and Technology emphasis. Composition and presentation of original student works, lecture, and discussion. May be repeated for credit. 212 Composition (4) Intensive individual lessons in composition. May be repeated for credit. 213 Orchestral Conducting (4, elective). Intensive private instruction in instrumental conducting. 215 Music Technology (4). Studies in the history, literature, composition, and performance of electronic and computer music, including instruction in the theory and usage of prevalent music technology. May be repeated for credit. 220 Seminar in Music History (4). Variable topics. 230 Seminar in Contemporary Music (4). Special seminar projects dealing with contemporary music with emphasis on analytical techniques and style criticism.

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231 Improvisation (4). Introduces the practice and history of improvisation in diverse fields of Western music since 1950. Performance projects and group critiques; weekly reading and listening assignments; participation in a class concert; and a research paper. 235 Critical Studies in Music (4). A critical examination of Western music traditions, institutions, and aesthetics, employing new scholarship in music and new critical studies in other disciplines. 236 Seminar in Integrated Composition, Improvisation, and Technology (4). Seminar studying new genres and topics that integrate composition, improvisation, new technologies, and non-classical cultures. Variable topics. 239 Thesis Colloquium (1 to 2). Second-year ICIT students present their thesis work-in-progress for discussion and criticism. Faculty and visiting artists/scholars also present their current work. 240 Graduate Projects (4, elective). Substantial projects in performance, conducting, or composition (other than those specifically required for the degree), accompanied by a summary paper. 250 Directed Reading (4). Individual research projects, resulting in the writing of a substantial paper pertaining to the principal area of concentration. 399 University Teaching (1 to 4). Limited to Teaching Assistants. Proposed new graduate course namings and numberings: Music 215A Computer Music Composition and Production (4). [Replaces the first quarter of 215.] Composition and production of music using personal computers for digital signal processing and control of synthesizers. Practical application of digital audio production software and MIDI, and investigation of new ideas in computer-aided composition. Lectures/demonstrations, analysis of recorded music, compositional exercises, and original composition. Instruction and projects are carried out in state-of-the-art facilities using industry-standard software. Music 215B Computer Music Composition (4). [Replaces the second quarter of 215.] Study of artistic issues and programming techniques involved in the development of realtime computer music applications. Theoretical background, basic tenets of programming, and practical exercises in programming interactive computer music and multimedia works. May be repeated for credit. Music 236 Theoretical Seminar (4). [One of two variable-topics seminars replacing the existing 236.] Variable topics. Theoretical and analytic studies of advanced concepts

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relevant to modern composition, improvisation, and new technologies. May be repeated for credit. Music 237 Practical Seminar (4). [One of two variable-topics seminars replacing the existing 236.] Variable topics. Development of specific advanced techniques and skills for specialized approaches to composition, improvisation, music technology, and professional development. Music 239 Thesis Colloquium (2). [Credit hours changed from "1 or 2" to "2".] Doctoral students present their dissertation work-in-progress for discussion and criticism. Faculty and visiting artists/scholars also present their current work. Proposed new graduate course: Music 276 Graduate Ensemble (2). Graduate student chamber ensemble for contemporary repertoire, collaborative and experimental performance, and readings/performances of newly composed works. May be repeated for credit. Course staffing and workload In any new program, it is important to consider what personnel resources will be required to deliver the curriculum reliably, and what effect the program will have on existing programs. These matters have been considered carefully, and the program has been designed to minimize additional resources required. It is important to note several factors that make staffing the PhD program entirely feasible. The current MFA program in ICIT is quite demanding, requiring a substantial written thesis, a major capstone project, coursework covering each of the three component areas, and ongoing production of new creative work. Although the sophistication of student work in a two-year MFA program cannot possibly be as high as in a four- or five-year PhD program, the format and demands of the ICIT MFA are higher than in most two-year master's programs, and are already approaching those of a doctoral program. Most graduates of the ICIT MFA have remarked on the intense demands of the program, wishing that it could be extended to at least three years. In short, because the MFA is considered a terminal degree (albeit a nonstandard one in the field of music), the ICIT MFA program has already been structured as a sort of fledgling PhD. Thanks to the Scholarship on Diversity initiative at UCI, the Music Department has been fortunate to make two outstanding senate faculty hires since the initiation of the ICIT MFA. Thus, the teacher-student ratio of the existing ICIT program is currently unusually good, and has room for some expansion of student population as would be expected with the introduction of the PhD program. ICIT seminar sizes are currently quite small, and in most cases could increase by at least 50% without detrimental effect.

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Care has been taken in the design of the PhD curriculum to minimize the number of new courses added. Because there are already several variable-topic courses being offered on a regular basis — 220, 230, 236, 240, 250 — the size of all graduate seminars is small and the range of seminars offered is estimable. Relevant graduate seminars are already regularly offered by the affiliate faculty, and these will only be strengthened by the addition of doctoral-level students. Any new faculty hires will of course strengthen the department's ability to staff a wide range of courses both undergraduate and graduate. The core ICIT faculty currently contribute at least 50% of their teaching load to the undergraduate program. Even if that ratio needs to shift somewhat in the direction of more graduate teaching, they will continue to teach some proportion of undergraduate courses. The likely staffing of the ICIT-related courses is as follows, which is essentially the staffing already in practice. Music 200 — Reardon; Music 201 — Bauer; Music 209 — shared equally by all core ICIT faculty; Music 212 — shared equally by all core ICIT faculty; Music 215AB —Dobrian, Umezaki; Music 220 — affiliate faculty and other musicology faculty; Music 230 — affiliate faculty; Music 235 — Dessen; Music 236 — shared equally by all core ICIT faculty, with some seminars by affiliate faculty; Music 237 — shared equally by all core ICIT faculty; Music 250 — shared equally by all core ICIT faculty; Music 276 — Mitchell, Tucker. A calculation of the effects of the proposed curriculum changes on faculty workload reveals the following implications. Class size of certain graduate seminars will likely increase somewhat, but the change will not require that those courses be taught any more frequently. The increase in class size is necessary and good in the case of some graduate seminars which currently are often undersized—such as Music 220, 230, and 236—and is quite tenable in the other seminars. Music 209 and Music 212 workloads will be very slightly reduced for core ICIT faculty, but this reduction will be offset by the increased need for Music 236/237 and 276. The net effect is that there will be no increase in faculty course load for seminars. An increase in workload for the core ICIT faculty will occur, however, because of the need for their supervision of PhD exam preparations and dissertations. This will mostly be reflected in an increased enrollment in Music 250 Directed Reading, which is currently not required but which will be required once for each PhD student for exam preparation and subsequently for dissertation advising. Based on the projection of four 1st-year PhD students taking 250 for their qualifying exam preparation each year, and four 2nd-year (ABD) PhD students at any given time, the 250 requirement represents an increase in workload equivalent to two advisees (comparable to private students) per ICIT core member per year. ABD advising will not be as intensively frequent (i.e., need not require weekly meetings), but still requires considerable devotion of faculty attention and time. Exam preparation and dissertation advising are currently not accounted for in

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the Music Department’s faculty workload policy. The Department will need to devise a formula that adequately credits ICIT faculty for their work without causing an undue negative effect on the department's ability to deliver the necessary undergraduate teaching. This will eventually require an increase in Unit 18 funding for teaching to cover undergraduate teaching previously done by ICIT core faculty, and by the fourth year of this program increased fulltime teaching personnel—either Professor-series faculty or Lecturer with security of employment—will likely be called for. This projected need for increased faculty resources is addressed in Section VI.1 below.

Section VI. Resource requirements 1. FTE Faculty: We do not require any new FTE for the initial implementation of this program. The current core ICIT MFA faculty are sufficient to support the projected enrollment numbers provided in this document. That said, after the first years of the existence of the PhD program, as advanced students begin preparation for their comprehensive exams and advance to candidacy, there will necessarily be an increased workload for the ICIT core faculty in terms of advising, teaching Directed Readings, and supervising dissertations. This eventual increased graduate workload for the ICIT core faculty implies a reduction in their ability to contribute to teaching the undergraduate curriculum. It is the goal of the department to increase overall enrollment numbers and grow the program. Doing so will call for enlarging the core ICIT faculty group and/or increasing funding for undergraduate teaching. Thus, it’s expected that by no later than year four of the implementation of this new PhD program, 2018, an increase in faculty resources in Music will be indicated. The eventual need for more undergraduate teaching resources could be addressed with an increase in Unit 18 funding for lecturers to teach more undergraduate classes, or eventually with a Senate faculty member. 2. Library Acquisition: We do not require any immediate new library acquisition resources for implementation of this program beyond what is currently allotted for music acquisitions. Many relevant materials have already been acquired in recent years to support our current MFA emphasis in ICIT and the previous MFA emphases in Jazz Studies and Composition and Technology. In addition, unlike traditional composition programs which center on fully-notated, paper scores, much of the research that we anticipate our doctoral students doing involves new formats from composers working in quasi-oral, improvisatory traditions, and such materials are often unavailable for library acquisition. We will naturally continue to acquire scores, books and other materials as part of the standard, ongoing process of teaching and research support, but we are confident that the existing library budget is sufficient for supporting this program in its early stages. 3. Computing Costs: We do not require any immediate new computing resources for the initiation of this program. Despite a general need within the School for improved financial support of academic computing, computer-based classrooms for teaching computer

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music are adequate at this stage. We have already established sufficient computing labs and equipment to sustain the program during the first four years. Students currently have access to several electronic music studios and computing labs, including the Realtime Experimental Audio Laboratory (REALab); the Gassmann Electronic Music Studio; the CAC Recording Studio; the Arts Media Center; the xMPL (Experimental Media Performance Laboratory); the CLASSic Studio (Classic Laboratory for Analog Sound Synthesis); and two audio recording/production studios maintained by the Sound Design MFA emphasis in the Drama department that are also available to graduate students in Music. 4. Equipment: We do not require any major new equipment to establish this program. The computer music studios mentioned above in Section VI.3 contain a wealth of equipment that is sufficient for our students' needs in the near term, including much audio-video equipment available for checkout through both the Arts Media Center and the Realtime Experimental Audio Laboratory (REALab). Maintenance of these studios and equipment is funded primarily by the Gassmann Electronic Music Studio, an endowed facility of the Claire Trevor School of the Arts. Installation, upgrade, and maintenance of these many technological facilities has long been provided by Gassmann Studio director Christopher Dobrian. However, it is virtually unheard of for such an active computer music program not to have one or more specialized and dedicated staff support personnel knowledgeable in the fields of recording, digital audio technology, and music-specific hardware and software. The program can succeed initially with the current personnel, but dedicated staff support of the technology and production needs of ICIT is strongly recommended. 5. Space and Other Capital Facilities: In order to start the PhD program we do not require new facilities. In recent years, largely to support the needs of ICIT MFA students, we have done extensive work in the old Motion Capture Studio in the Music and Media Building to transform it into a space that can be used for informal concerts—including networked, multi-site “telematic” performances—as well as rehearsals and recordings. This space and the other existing rehearsal and performance spaces used by our department are sufficient to support the enrollment numbers we project for the initial stages of the program. Significantly, we have begun planning with our Dean and Assistant Dean to propose a small capital improvement grant in order to move the Gassmann Studio from its current location in the Mesa Office Building (MOB) to a more suitable location, and to improve the existing practice facilities in the MOB in order to provide students with better quality rehearsal and experimentation space. Although the change in MOB is not required to establish the new program, we feel that this is an ideal moment to improve this space, and that doing so will prepare us for the enrollment growth we feel would be ideal within the first four years. 6. Other operating costs: With the exception of the need for staff support personnel specific to music technology as noted in Section VI.4, we do not anticipate that the

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program will require significant increased administrative operating costs initially. A small amount of recruitment funding from Graduate Division to advertise the new PhD program is a reasonable one-time allocation to anticipate. Once the PhD program is fully occupied, assuming there is no reduction in Master’s students in non-ICIT emphases, the total graduate student population of the department will have increased by approximately 40%. That increase implies an increased administrative workload for the Department’s MSO, the Department’s Graduate Director, and the School’s Graduate Advisor. Reassessment of the administrative workload will be included in the three-year internal review of this new PhD program. The foregoing discussion of resources is presented in the following table showing projected needs and actions in the first years of the PhD program. Graduate student support funding will be treated separately in Section VII below.

2014-‐2015 (year 0)

Advertising & recruiting One-‐time modest allocation from Graduate Division

Space upgrades Campus small capital improvement grant

2015-‐2017 (years 1 &2)

Dedicated technology staff Ongoing need for new staff position

Initial growth of PhD student body No new administrative funding needs

2017-‐2018 (year 3)

Increased PhD advising and teaching Modest increase in Unit 18 funding

2018-‐2019 (year 4)

Full load of dissertation advising for ICIT New faculty position in Music recommended

Full student body Review need for increase in administrative staff in Music

Section VII. Graduate Student Support The current ICIT MFA program, which has graduated 23 students as of the 2012-13 academic year, has historically been able to provide students with sizable amounts of funding. The existing ICIT MFA program has averaged 5 new students each year. Since

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the ICIT MFA is a 2-year program, the total group of ICIT students in any given year has ranged from 8 to 12. Almost all ICIT students, including those entering with out-of-state status, have had their tuition and fees waived for the full amount and have been offered 25% teaching assistantships. The existence of an MA/PhD in ICIT will very likely cause the overall number of applicants to increase. We will continue the average admission of 5 MA students each year, but we anticipate that no more than 4 per year will advance into the PhD. Thus, the projected number of students to be admitted at the PhD level is 4 students per cohort each year. Most likely this number will be phased in over the first three years of the program: first 1 new PhD student, then 2, then 4. Based on the normative in-residence (pre-candidacy) period of the combined MA/PhD, it is anticipated that the total number of funded graduate students in ICIT will increase somewhat in the first year and will be significantly larger by the third year. Assuming that the current average of 5 new ICIT Master’s students admitted per year is maintained, as the PhD student body is phased in this would mean 11 ICIT students total in the first year, 13 in the second year, 16 in the third year, and 18 in the fourth year. The rate of increase to a full complement of 18 ICIT students could be accelerated if there is sufficient graduate student funding available. Based on historical precedent for the student body of ICIT, it is reasonable to predict that each incoming class (at the MA level) will be composed, on average, of 2 California residents, 2 students from elsewhere in the U.S., and 1 foreign student. Calculating the exact cost of funding graduate students involves several variable factors including the number of California residents, the number of U.S. citizen non-residents of California (who are eligible to establish CA residency after their first year here), the number of foreign students (who usually are not eligible to establish CA residency), the number of years of funding committed, and the level of funding offered. The per-year cost of funding a California resident student for a teaching assistantship and all fees and expenses associated with registration is approximately $25,000. The per-year cost of providing similar funding, including out-of-state tuition, for a non-resident student is approximately $40,000 (one year only for U.S. citizens, multiple years for foreign students). If we use precedent—2 California residents, 2 U.S. non-residents, and 1 foreign student— to project forward for each year’s incoming MA class, and we use the proposed phase-in model—1 new PhD student, then 2, then 4—to predict total student body size, and we fund each student fully for four years (or two if they enter at the PhD level), the amount of graduate student funding required in the first four years of the new program will be $350,000 in 2015-2016; $400,000 in 2016-2017; $475,000 in 2017-2018; and $540,000 in 2018-2019 when the ICIT PhD program reaches its full projected capacity of 10 MA students and 8 PhD students. The program could run with lesser funding by reducing the number of students or reducing the number of years of funding; however, the former solution could lead to seminar sizes below the campus minimum, and the latter solution would leave PhD students unfunded while doing their dissertation

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work. Thus, we feel that $540,000 is the correct eventual target amount for a fully-funded fullsize PhD in ICIT by 2018. For 2013-2014 the Music Department was allocated $475,000 in combined block fellowship funds, TA salaries, and TA-related fee remissions for all its existing MFA programs. So it is clear that as the PhD program develops there will be a need for substantially increased graduate student funding devoted to the Music Department in order for the program to be a complete success. Given the University’s current mission to expand degree programs at the doctoral level, we anticipate being able to make a strong case for procuring additional funding to support the financial needs of PhD students in ICIT. The University’s rebenching initiative aims to have 12% of the campus’ total student population be PhD students, placing the Irvine campus on a track to increase PhD students by 200 over 4 years. This is indicative of the positive and timely climate within which we propose our ICIT PhD program. A memo from the UCI Graduate Dean and the Graduate Council Chair, distributed earlier this year, states that the campus will provide new funding to promote growth in new PhD enrollment. Funding for the 2013-14 academic year will increase $25,000 to $30,000 per PhD student enrolled above the previous year’s numbers. The Graduate Division at UCI has in recent years, including earlier this year, offered Graduate Growth Incentive Awards with the goal of increasing the availability of extramural funding to support the graduate student population. Individual awards have averaged $20,000 for the last two years. Although there is never a guarantee that such sources of funding will continue to be made available on a regular basis, the current multi-year horizon of positive outlook towards increased funding in PhD programs encourages us to pursue the implementation of this new MA/PhD with the confidence that funding demands for teaching assistantships, tuition waivers, and fees for most students will be met. With the addition of PhD students comes the ability for an increase in high-quality teaching assistance in support of undergraduate courses. We anticipate the department being able to support more courses to larger numbers of students campuswide. We view such increases as an opportunity to extend course options, not only to the School of the Arts, but in service to the campus as a whole. This increase in “student credit-hours” served by the Music Department will permit us to request additional funding for graduate students commensurate with increases in service to the School of the Arts and the University. Such funding will build on the existing support for all graduate degree tracks in the Music Department. Federal research grants are not commonly a source of graduate funding in music. However, because of the anticipated strong technological focus of students admitted to the proposed doctoral program, advanced research in music technology at UCI is likely to increase, potentially making UCI eligible for such grants.

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Section VIII. Governance The new program will be administered by the Music Department and will adhere to the Department’s existing bylaws.

Section IX. Changes in Senate regulations The new program will not require any changes in Senate Regulations at the Divisional level or in the Academic Assembly.

Section X. Diversity By design, ICIT attracts students from diverse backgrounds and interests, with combined strengths in the fields of music technology, Asian American music, African American music, and/or music composition. MFA candidates from 2008-2013 have shown evidence that diversity is a cornerstone of the ICIT program. The student body so far has been pleasingly diverse in terms of demographics, backgrounds, and stylistic interests. 1. Criteria for admission. The criteria for admission into the ICIT PhD program present a broad opportunity for students from disparate music specializations to enter the program. Beyond the requirement that ICIT applicants have a prior degree in music, and that they meet the academic requirements of the UC system, the specific ICIT admission criteria require students to submit music scores, a curriculum vitae showing the depth and breadth of their creative work, written samples showing their skills in musical analysis and/or critical theory, and audio samples of their work. The range of submissions of their music portfolio expansively considers work in chamber music, orchestral music, jazz, electronic music, pop, improvised music, world music and beyond. This opens the door for a diversity of students with different approaches to music making who would not likely be considered in a traditional PhD music program. 2. Culture of inclusion and community. The ICIT core faculty has established a rapport of mutual respect and support of each other as colleagues; as a group we emphasize the importance of community to each new body of students that enters the program. Students are encouraged to share their creative ideas and are given tools for constructive criticism of each others’ work. The idea of mentorship is exemplified between ICIT faculty mentors and students, and peer mentorship is also encouraged, resulting in an inclusive and equitable climate. Each quarter there is at least one class that all students within one level of the program take as a group, furthering their sense of connection and collaboration. Each academic year,

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ICIT students take music seminars and colloquia together as a unit. Additional academic and social activities are scheduled throughout the year for ICIT students and faculty on and off-campus, including informal concerts, jam sessions, and gatherings, to strengthen the sense of community and inclusion between all students in the program. ICIT students also serve as mentors for many UCI undergraduate music students, by including them in their projects and exposing them to contemporary music practices. Core faculty of the ICIT program work with all ICIT students, offering them exposure to diverse perspectives on the approaches integrating composition, improvisation and technology. 3. Programs that enhance diversity. To enhance exposure to diverse practices, there are frequent additional workshops and performances on campus targeted specifically for the ICIT program, but inclusive to the entire UCI academic community. Most of these events are organized under two existing faculty-curated series for guest artists and scholars: the Gassmann Electronic Music Series and the ICIT New Ears Series. Both series bring internationally acclaimed artists whose practice is exemplary to the ICIT program. The Gassmann Series brings diverse artists whose practices are in the fields of computer and electronic music. ICIT New Ears has a focus on bringing artists from under-represented backgrounds in the fields of jazz and contemporary music to do workshops and performances. 4. Retention efforts. Because the ICIT program necessitates multiple skills and approaches in contemporary music, and because there are few programs nationwide that are equipped to thoroughly prepare a student in all the skills utilized as an ICIT student, it is not unusual for a student to have a deficiency in at least one of the three aspects of the program (composition, improvisation or technology). Student deficiencies are targeted within the first two quarters by faculty and are given guidance by one or more of the core ICIT faculty to take appropriate classes (whether additional to the program or within the program) in order to satisfy the deficiency. If necessary, students are also offered independent study to work on a specific skill one-on-one with a core faculty member. International students with deficiencies in writing in English are directed to available on-campus resources to address their deficiency. Periodically, core faculty—as well as the Department’s graduate director and the School’s graduate advisor—meet with ICIT students for supportive mentoring to make sure they are on track with their studies and projects.

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Catalog Copy

Proposal for PhD in Music with emphasis in Integrated Composition, Improvisation and Technology

Doctor of Philosophy Program

Degree Offered PhD in Music, with emphasis in Integrated Composition, Improvisation, and Technology (ICIT).

Admission In addition to meeting all general requirements for admission to graduate study,

applicants should hold a B.A. in Music or a B.Mus. Applicants must demonstrate proficiency in vocal or instrumental performance commensurate with at least two years of individual undergraduate instruction, including exposure to improvisation and non-notated music.

The online application must be submitted and all supporting materials must be received by January 15. Supporting materials must include the following: Composition portfolio; Academic writing sample; Performance audition (live or video); Personal statement; and Curriculum vitae.

Applicants are expected to have good general knowledge of music history and music theory and competence in basic musicianship skills. Entering students will be given diagnostic tests in these areas prior to the beginning of classes and will be expected to remedy any evident deficiencies during the first year in residence.

Required Courses For students entering at the Masters level, the normative time to degree is six quarters

(two years) for the Master’s Degree, and an additional six quarters (two years) for the PhD program. For students who enter at the PhD level with a masters degree from another institution, normative time for advancement to candidacy is 5 quarters, and normative time for completion of the degree is 8 quarters. Required courses for the MA: Bibliography and Research (MUS 200), one quarter for 4 units Seminar in Creative Practices (MUS 209), two quarters for 4 units each Computer Music Composition and Production (MUS 215A), one quarter for 4 units Computer Music Programming (MUS 215B), one quarter for 4 units Critical Studies in Music (MUS 235), one quarter for 4 units Theoretical ICIT seminars (MUS 236), two quarters for 4 units each; May satisfy one

quarter (4 units) with a seminar chosen from the 201, 220, or 230 series or an approved comparable graduate seminar in another department

Practical ICIT seminars (MUS 237), two quarters for 4 units each Graduate Ensemble (MUS 276), two quarters for 2 units each

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Composition Lessons (MUS 212), two quarters for 4 units each ICIT Colloquium (MUS 239), two quarters for 1 unit each

Required courses for the PhD (for continuing ICIT students) Composition Lessons (MUS 212), two quarters for 4 units each Theoretical ICIT Seminars (MUS 236), two quarters for 4 units each; May satisfy one

quarter (4 units) with a seminar chosen from the 201, 220, or 230 series or an approved comparable graduate seminar in another department

Practical ICIT Seminars (MUS 237), one quarter for 4 units Graduate Ensemble (MUS 276), one quarter for 2 units Directed Research (MUS 250), one quarter for 4 units ICIT Colloquium (MUS 239), one quarter for 2 units

Required courses for the PhD (for students entering with a non-ICIT Masters degree) Bibliography and Research (MUS 200), one quarter for 4 units Computer Music Composition and Production (MUS 215A), one quarter for 4 units Computer Music Programming (MUS 215B), one quarter for 4 units Critical Studies in Music (MUS 235), one quarter for 4 units Theoretical Seminars (MUS 236), two quarters for 4 units each; May satisfy one quarter

(4 units) with a seminar chosen from the 201, 220, or 230 series or comparable approved graduate seminar in another department

Practical Seminars (MUS 237), two quarters for 4 units each Lessons (MUS 212), two quarters for 4 units each*. One quarter may be replaced by

Music 209 Creative Practices, at the discretion of the faculty. Graduate Ensemble (MUS 276), one quarter for 2 units each* Directed Research (MUS 250), one quarter for 4 units* ICIT Colloquium (MUS 239), one quarter for 2 units*

* Not eligible for equivalency from another institution Language Requirement Before advancing to candidacy, PhD students must demonstrate a reading knowledge of a language other than English, at a level sufficient to conduct research in that language. This requirement may be met either by attaining a passing score in a translation examination administered by the department or by earning a grade of B or higher in level 2C (representing ability equivalent to two full years) of an approved undergraduate language course. Advancement to Candidacy

Candidacy Committee chairs are assigned in the spring quarter of the first year of PhD study. When nearly finished with coursework, the student signs up for Qualifying Exam Study with the Candidacy Committee chair, designates the remaining four committee members, and submits to the chair a dissertation prospectus. The candidacy exam consists of a response of roughly 20 pages to a set of questions provided by the committee, followed by an oral examination with the Candidacy Committee.

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Dissertation The dissertation committee is chaired by a member of the core ICIT faculty and must

include at least one other member of the Senate faculty in Music. A third committee member must be a UC Senate faculty from outside the UCI Music Department, and a fourth member must be a qualified faculty from any department including Music.

The PhD dissertation in ICIT combines innovative creative activity with scholarly research. The goal of the dissertation is to address a major intellectual issue in the integration of composition, improvisation, and technology, and to make an original contribution to existing knowledge of that issue through research and new artistic work. The tangible product will be a written dissertation that presents and contextualizes substantial innovative work in integrated composition/improvisation/technology, and music of significant scope that clearly demonstrates that work.

AboutThe Department of Music at the University of California, Irvine invites applications to a newMA/PhD program in Integrated Composition, Improvisation, and Technology (ICIT). The programis taught by a core faculty whose work embraces diverse forms of music making, challengingconventional distinctions between classical composition, computer music, improvisation, andjazz. Students will receive close personal attention from faculty, and are encouraged to work oninterdisciplinary projects. We seek students with a strong foundation who wish to develop newcreative work integrating a wide range of contemporary music and ideas.

In addition to four core ICIT faculty, the Music Department includes many other performers,musicologists, theorists and historians, making for a rich environment in which to develop criticalskills that are essential for the 21stcentury musician. The Claire Trevor School of the Arts ishome to excellent graduate programs in Dance, Drama, and Studio Art. UC Irvine is a quicklygrowing campus within one of the nation’s leading research university systems. Located nearthe coast in Orange County, Irvine is an hour south of Los Angeles, a major art world center withvibrant contemporary music scenes.

Applicants with a Bachelors degree will enter at the Masters level and will generally complete theMasters Degree (MA) in two years (6 quarters) and, if accepted to continue, will complete thePhD after an additional two years (6 quarters). Those already holding a Masters Degree in arelated field may apply to enter at the PhD level and will generally complete the PhD in onequarter less than three years (5 quarters for advancement to candidacy and 3 subsequentquarters for completing the dissertation).

Many students receive tuition waivers and stipends in return for working as teaching assistants.Applicants entering at the Masters level should possess an undergraduate degree in music or anequivalent level of training, and should demonstrate potential for creative and innovative work.Applicants entering at the PhD level should have qualifications similar to those entering at theMasters level, but should already hold a Masters degree in a field related to one or more keyareas in ICIT (composition, improvisation, and technology).

ICIT is an innovative program seeking to break down traditional limitations of academicprograms, focusing on contemporary modes of creative music making and the criticaldiscourses surrounding them. If you have questions or are interested in applying, please reviewthe pages linked above, and then contact one of our core faculty with any further questions. Wewelcome your inquiries and proposals.

Syllabus Course Number: Music 276 Course Title: Graduate Ensemble I. Course Goals and Description:

Graduate Ensemble (Music 276) is a contemporary music research and performance ensemble designed for MFA and PhD students to perform and create music at a near-‐professional level. Students must audition to be enrolled. In this course, musicians form a community and explore a range of compositional and/or improvisational forms in an ensemble setting with the goal of integrating new performance methods. With a focus on music that includes composition, technology and improvisation, the ensemble will rehearse, develop and perform a diverse repertoire by innovative composers of the 21st century, in addition to new works by selected Graduate Ensemble members. Participating students will be encouraged to develop their own authentic language of improvisation, composition, and musical aesthetics. Selected members of the Graduate Ensemble will also have the opportunity to direct the ensemble.

II. Course Activities:

1. In the course students will learn about and be engaged in activities including:

• conducted improvisation • composition • game pieces • graphic scores • open improvisation • time-‐based scores • chamber ensemble playing • electro-‐acoustic music • gestural music

2. Other topics covered may include:

• experimentalism • microtonalism • micro-‐rhythmical systems • interdisciplinary work • algorithmic music • atonality • minimalism • extended techniques

III. Grading and Course Requirements:

1. Attendance/Participation (35%). This is a participation-‐based course where students engage in active dialogue, listening, rehearsal and performance. Students are expected to learn their individual music parts through practice outside of class. More than one excused absence or evidence of not practicing outside of class can result in the lowering of a student’s grade. 2. Paper/Music Composition (20%). Some students will be selected to create a composition to be performed by the ensemble. All other students will be required to write a ten-‐page research paper based on a topic related to this course. The instructor will announce further details. 3. Performance (30%). Graduate Ensemble members are required to do one performance at the end of the semester where they will utilize the knowledge they have gained in class. 4. Reading/Listening Assignments (15%). There will be some reading and listening assignments given throughout the quarter connected with the repertoire focused on by the ensemble. IV. Explanation of Potential Course Overlap Music 276 is similar to the undergraduate course Music 176. Music 176 provides an entry-‐point into contemporary music for students at varying skill levels. Music 276, intended for only high-‐level music students (a majority of whom will be MFA and doctoral students) will cover more advanced repertoire at a considerably faster pace than Music 176. V. Concurrent Enrollment As this course is intended primarily for graduate students, only a select few undergraduates at an exceptional level (through audition) will be accepted into Music 276. Therefore, those undergraduates who are accepted will be expected to meet the same course requirements as the graduate students.

Curricula Vitæ of Core and Affiliated Faculty

Core Faculty:

Michael Dessen, Associate Professor of Music Christopher Dobrian, Professor of Music (joint appointment in Informatics Nicole Mitchell, Professor of Music Kojiro Umezaki, Assistant Professor of Music Affiliated faculty in Music:

Kei Akagi, Chancellor's Professor of Music Amy Bauer, Associate Professor of Music David Brodbeck, Professor of Music Margaret Murata, Professor of Music Hossein Omoumi, Maseeh Professor of Persian Performing Arts Colleen Reardon, Professor of Music Cecilia Sun, Assistant Professor of Music Stephen Tucker, Associate Professor of Music Affiliated faculty in Arts:

Stephen Barker, Professor of Drama Michael Hooker, Professor of Drama Vincent Olivieri, Associate Professor of Drama Alan Terricciano, Professor of Dance Other affiliated faculty:

Robert Garfias, Professor of Anthropology

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Michael Dessen Associate Professor of Music, Integrated Composition, Improvisation and Technology area (ICIT)

Music Department, Claire Trevor School of the Arts, University of California, Irvine305 Music and Media Building, University of California, Irvine, Irvine, CA 92697-2775Tel: (949) 824-6615 Email: [email protected] Website: http://www.mdessen.com

Education Ph.D. in Music, University of California, San Diego, 2003Emphasis: Critical Studies / Experimental Practices (Department of Music) Committee: George E. Lewis (chair), Anthony Davis, Nancy Guy, George Lipsitz, Bennetta Jules-RosetteDissertation title: Decolonizing Art Music: Scenes from the Late Twentieth-Century United States

Masters in Music, University of Massachusetts, Amherst, 1996Emphasis: Jazz CompositionStudies with Yusef Lateef and Salvatore Macchia

Bachelors in Music with Highest Honors, Eastman School of Music, Rochester, New York, 1989Emphasis: Performance (Trombone)

Recordings as a leader Resonating Abstractions (Clean Feed Records, forthcoming March 2014)Michael Dessen TrioMichael Dessen (composition/trombone/computer), Christopher Tordini (bass), Dan Weiss (drums)

Forget the Pixel (Clean Feed Records, May, 2011)Michael Dessen TrioMichael Dessen (composition/trombone/computer), Christopher Tordini (bass), Dan Weiss (drums)

Between Shadow and Space (Clean Feed Records, 2008)Michael Dessen TrioMichael Dessen (composition/trombone/computer), Christopher Tordini (bass), Tyshawn Sorey (drums)

Lineal (Circumvention Music, 2007)Compositions by Michael DessenPerformed by Michael Dessen (trombone), Mark Dresser (bass), Susie Ibarra (drums), Vijay Iyer (piano), Terry Jenoure (violin), Jorge Roeder (bass) and Bob Weiner (drums)

Recordings as co-leader Eyes In the Back Of My Head, by Cosmologic (Cuneiform Records, 2008)Compositions by Michael Dessen, Nathan Hubbard and Jason RobinsonJason Robinson (saxophones), Michael Dessen (trombone), Scott Walton (bass), Nathan Hubbard (drums)

III, by Cosmologic (Circumvention Music, 2005)Compositions by Michael Dessen, Nathan Hubbard and Jason Robinson

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Syntaxis, by Cosmologic (Circumvention Music, 2002)Compositions by Michael Dessen, Nathan Hubbard and Jason Robinson

Staring at the Sun, by Cosmologic (Circumvention Music, 2000)Compositions by Michael Dessen, Nathan Hubbard and Jason Robinson

Selected recordings as a sideperson Nourishments, by the Mark Dresser Quintet (Clean Feed, 2013)

Passages, by Didier Petit and Alexandre Pierrepont (Rogue Art, 2012)

Accretions Anniversary Compilation, (Accretions, 2010)

Dear Annex, by Marcelo Radulovich (Titicacaman Records, 2010)

Fingerprint, by Jason Robinson (Circumvention, 2007)

Belladonna, by Daniel Lanois (Anti, 2005)

Vital Signs, by Jaime Valle (BluePort Jazz, 2004)

Skeleton Key Orchestra, by Nathan Hubbard (Circumvention, 2003)

Hybrid Vigor, by Marcos Fernandes (Accretions, 2002)

Tandem, by Jason Robinson (Accretions, 2002)

Hello, by Marcelo Radulovich (Accretions, 2002)

Tania, by Anthony Davis (Koch, 2001)

Mystery is His Story, by Chris Merz (WP, 1997)

Fantasia for Flute, by Yusef Lateef (YAL, 1996)

Selected recordings as producerGuts: Bass Explorations, Investigations and Explanations, by Mark Dresser (Kadima DVD/CD, 2010)Co-producer of audio recording and DVD interviews

Selected telematic (networked) performances:Virtual Tour: A Reduced Carbon Footprint Concert Series. Three networked performances on concecutive nights between UC San Diego and 3 remote sites, featuring compositions by Mark Dresser, Michael Dessen, Nicole Mitchell, Gerry Hemingway, Matthias Ziegler, Marty Ehrlich, Jason Robinson and Sarah Weaver, and with additional performers Min Xiao Fen, Matt Wilson, Jane Ira Bloom, Ray Anderson, and Bob Weiner. Co-directed by Mark Dresser and Michael Dessen. April 5-7, 2013.

Inspiralings 2. A networked performance between UC San Diego and New York University, featuring compositions by Mark Dresser, Sarah Weaver and Michael Dessen. Performed by (in NYC) Oliver Lake, Ikue Mori, Jane Ira Bloom, Amir ElSaffar, Thomas Ulrich, Sarah Weaver and (in San Diego) Mark Dresser, Nicole Mitchell, Michael Dessen and Joshua White. Video by Sarah Jane Lapp and John Crawford; scenic design by Victoria Petrovich. November 2, 2011.

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Telemotions 2011. Performed on April 16 and 17, 2011, Telemotions was a year-long project involving original music composed and performed by Mark Dresser (bass), Myra Melford (piano) and Michael Dessen (trombone), as well as scenic design by Victoria Petrovich and telematic video by John Crawford. Funded by the University of California Institute for Research in the Arts (UCIRA) and by the California Institute for Telecommunications and Information Technology (Calit2), this project was our most ambitious telematic collaboration to date, involving workshops throughout the year culminating in two April concerts networked between the Calit2 buildings on UC's Irvine and San Diego campuses.

Inspiraling: Telematic Jazz Explorations. A networked performance between UC San Diego and New York University, co-presented by Roulette Intermedia. Compositions by Oliver Lake, Gerry Hemingway, Mark Dresser and Sarah Weaver. Performed by Oliver Lake, Gerry Hemingway, Amir ElSaffar and Sarah Weaver (at NYU) and Mark Dresser, Hafez Modirzadeh, Michael Dessen and Alex Cline (at UCSD). June 13, 2010.

Jazz Telemotions: A Networked Trio Concert. Composed and performed by Mark Dresser (bass), Myra Melford (piano), and Michael Dessen (trombone), with scenic designer Victoria Petrovich and intermedia artist John Crawford. Networked performance between UC Irvine and UC San Diego. May 12, 2010.

Faultlines: A Multi-Site Networked Concert. Networked performance between UC Irvine, CA and Buckley Hall, Amherst College, MA. Compositions by Jason Robinson and Michael Dessen, performed by Jason Robinson (saxophone/computer) and Michael Dessen (trombone/computer). April 25, 2010.

Latent Potentials. Networked performance among UC Irvine and UC San Diego. New compositions by Michael Dessen, Christopher Dobrian and Shahrokh Yadegari with telematic video by John Crawford. Michael Dessen (trombone), Edwin Harkins (trumpet), Mark Dresser(bass), Nathan Hubbard (percussion), Dhiren Panikker (piano) and others. December 13, 2009.

Transcontinental Circuits: A Multi-Site Networked Concert. UC Irvine, Stanford University, and Amherst College. Michael Dessen (trombone/computer/composition), Jason Robinson (saxohpone/computer/composition) and Adnan Marquez-Borbon (saxophone/computer/composition). April 3, 2009.

Multiplicities: An Inter-Arts Telematic Performance. UC San Diego and UC Irvine. Mark Dresser (bass) and Michael Dessen (trombone/computer), co-directors and composers, with Myra Melford (piano, composition), Oguri (dance), Billy Mintz (drums) and Nancy Ostrovsky (painting). October 25, 2008.

Telematic Concert between UC San Diego, Stanford University and UC Berkeley. Mark Dresser (bass, composition), Michael Dessen (trombone, composition), Myra Melford (piano, compositon), Chris Chafe (cello, composition), David Wessel (electronics), Billy Mintz (drums) and Phillip Larson (voice). February 13, 2008.

PQ Sceneofest (Czech Republic). Duo networked performance between Prague and Irvine, CA with Shahrokh Yadegari (computer) and Michael Dessen (trombone). June 18, 2007.

Awards and GrantsJazz Composers Orchestra Institute (JCOI), a project of the American Composers Orchestra, 2013:Selected to compose Slippages for the JCOI readings with the La Jolla Symphony, Steven Schick conductor, September 2013.

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Fromm Foundation Commission, 2012:$10,000 commission for a concert-length trio for trombone, bass and drums.

Chamber Music America: New Jazz Works award, 2011:$20,000 award to compose for Resonating Abstractions, a concert-length work for the Michael Dessen Trio, and for ensemble development.

Outstanding Graduate Research in African and African American Studies Award, 2001:African and African American Studies Research Project, University of California, San Diego.

Jimmy Cheatham Graduate Student Jazz Scholarship, 2000-2002:University of California, San Diego.

Humanities Fellowship and Dissertation Grant, 1997-2001University of California, San Diego.

Performer's Certificate in Trombone, 1989:Award for distinction in performance, Eastman School of Music, Rochester, NY.

Professional Development WorkshopsJazz Composers Orchestra Institute (JCOI), sponsored by the American Composers Orchestra and Columbia University. Selected from a national pool of applicants to participate in a week-long workshop, August, 2012, UC Los Angeles, CA.

Peer-reviewed articles and book sections "New Polyphonies: Score Streams, Improvisation and Telepresence." Leonardo Music Journal (forthcoming), v.20, November/December 2010.

"Asian Americans and Creative Music Legacies." Critical Studies in Improvisation / Etudes Critiques en Improvisation, 1:3, 2006. Online: http://www.criticalimprov.com.

"Improvising in a Different Clave: Steve Coleman and AfroCuba de Matanzas." In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, ed. Ajay Heble and Daniel Fischlin. Wesleyan University Press, 2004.

Other writings Preface to Yusef Lateef's Songbook, FANA Publications, 2005.

"Taking It to the Academy." Review of the "Improvising Across Borders" conference at UC San Diego. Musicworks magazine, No. 74, 1999.

"Taking Chances: The Musical Craft of Yusef Lateef." Musicworks magazine, Fall, 1998.

Conference papers, panels and invited presentations"The Music Is Rising": Jazz Legacies and Composing for Improvisers in the 21st Century." Presentation on the CSU Fullerton New Music Festival Composer-Performer Symposium. March 3, 2012.

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Panel on telematics, Music and Audio Research Laboratory at New York University (via Skype). April 22, 2011.

Lectures at l'Université Paris Sorbonne during faculty exchange residency. March 14-25, 2011.

"Telematic Performance." Panel with Mark Dresser, Shahrokh Yadegari, Jason Robinson, Michael Dessen and (via Skype) and Chris Chafe. Sonic Diasporas Festival, UC San Diego, CA. Jan. 21, 2010.

"New Polyphonies: Score Streams, Improvisation and Telepresence." Paper presentation, Composer-Performer Symposium, CSUF New Music Festival, 2010.

"Telematics and Improvisation at the Turn of the 21st Century." Paper presentation, University of California Institute for Research in the Arts (UCIRA), State of the Arts Conference, 2008.

"Jazz, Improvisation, Race and Power in Higher Education." Paper presentation, Critical Studies and Experimental Practices Division colloquium (Music Department), University of California, San Diego. 2007.

"Institutionalizing “new territories”? Jazz, Improvisation, Race, and Power in Higher Education." Paper presentation, "L'improvisation dans tous ses états" colloquium, University of Montreal, Quebec, Canada, 2007.

"Creative Music In and Beyond the Academy: Community Engagement and Experimental Music." Panelist, Trummerflora Collective's Spring Reverb Festival, Center for Research in Computing and the Arts, University of California, San Diego, CA, 2007.

"Intimate distance: Race and experimental music in 1970s New York." Paper presentation, Composer au XXIe siècle / Composition in the 21st Century conference, Université de Montréal, Quebec, 2007.

"Improvising in Ivory Towers." Paper presentation, Jazz, Improvisation and Cultural Studies Colloquium. University of Guelph, Ontario, 2005.

Panel on South Asian and African American music. Panelist, South Asia Humanities Conference, Yale University Center for British Art. Panelists included Paul Gilroy, Arjun Appadurai, Vyjayanthi Rao, Rudresh Mahanthappa and Vijay Iyer. New Haven, CT, 2003.

"'Downtown,' Improvisation and Cultural Mobility." Paper presentation, Annual Meeting of the Society for Ethnomusicology, Detroit, MI, 2001.

"Cross-Cultural Experimentalism: Grupo Afro-Cuba de Matanzas and Steve Coleman's Mystic Rhythm Society." Paper presentation, Annual Meeting of the Society for Ethnomusicology. Toronto, Ontario, 2000.

"Experimentación e identidad cultural en una colaboración musical." Paper presentation (in Spanish), Simposio Sobre Cultura Cubana: Identidad y Nacionalidad conference, Santiago, Cuba, 2000.

"Diasporic aesthetics of experimentalism." Paper presentation, Conference on Improvisation and Culture (George E. Lewis, organizer), California Institute of the Arts, Valencia, CA, 2000.

"Steve Coleman, the Mystic Rhythm Society, and AfroCuba de Matanzas." Paper presentation, Jazz, Improvisation and Cultural Studies Colloquium, University of Guelph, Ontario, 1999.

"The Cultural Politics of Improvised Music in Colleges and Universities." Paper presentation, Jazz, Improvisation and Cultural Studies Colloquium. University of Guelph, Ontario, 1998.

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Conference and panel organizing Conference co-organizer: "ICIT Symposium: New Directions in Graduate Music Programs." University of California, Irvine, March 1-3, 2013.

Roundtable organizer and chair: "Improvisation, transculturalism, and social change: Asian American Creative Music and the San Francisco Bay Area," at the American Studies Association annual meeting. Panelists included Deborah Wong, George Yoshida, Mark Izu, Donna Lee Kwon, John Carlos Perea, and Jason Robinson. Oakland, CA, 2006.

Conference co-organizer: "Improvising Across Borders: An Inter-disciplinary Symposium on Improvised Music." Drafted call for papers, co-organized international roster of guest artists and scholars, secured funding, and managed symposium. University of California, San Diego, CA, 1999.

Teaching positionsUniversity of California, Irvine:Associate Professor of Music, 2011-presentAssistant Professor of Music, 2006-2011

Hampshire College, Amherst, MA:Visiting Assistant Professor of Music, 2004-2006Adjunct Assistant Professor of Music, 2002-2004

Amherst College, Amherst, MA:Visiting Lecturer, Black Studies and Music Departments, 2006

University of California, San Diego:Associate in Music, 2000-2001Teaching Assistant, 1998-2000

University of Massachusetts, Amherst:Lecturer, 1996-1997Teaching Assistant, 1994-1996

Selected Internal Grants, University of CaliforniaCo-wrote DECADE Grant with Prof. Christopher Dobrian. $7,000 to support improving graduate diversity through expanding recruitment. Spring, 2012.

California Institute for Telecommunications and Information Technology (Calit2): Strategic Research Opportunities Program grant, 2011. $20,000 support for experimental telematic research between UC Irvine and UC San Diego. Co-investigator. Supported "Telemotions 2011" project.

UC Institute for Research in the Arts (UCIRA). Performance Practice & Research Grant, 2010. $5,000 support for experimental telematic research between UC Irvine and UC San Diego. Co-investigator. Supported "Telemotions 2011" project.

Intel/UCI People and Practices Research Initiative. Improvising Community: A Telematic Collaboration, 2009. Co-principal investigator. $2,500 support for "Latent Potentials" project.

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Selected Academic Service, University of California

Music Department: Director of Graduate Studies, 2011-2012.Member, Graduate Committee, 2009-2011.Member, Search Committee, Composer-improviser, Assistant Professor, 2010-2011.Member, Undergraduate Committee, 2008-2009.Member, Search committee, Musicology, Assistant Professor, 2008-2009.Member, Search Committee, Composer-improviser, Assistant Professor, 2007-2008.Co-drafted new Music Department MFA emphasis in Integrated Composition, Improvisation and Technology (ICIT), 2007-2008.Undergraduate Curriculum Task Force, Fall 2007.

School of the Arts: Chair, Faculty Research Grants Committee, 2011-2012.Faculty Research Grants Committee, 2010-2011.Faculty Research Grants Committee, 2009-2010.

UC Irvine Campus:Chair, Academic Senate Committee on International Education, 2012-13.Member, Academic Senate Committee on International Education, 2010-12.

UC System:Advisory Board Member, University of California Institute for Research in the Arts (UCIRA), 2012-2015.Member, Review Committee for Undergraduate Major, UC San Diego Music Department, 2012.

1

Christopher Dobrian

76 Harvey Ct School of the Arts — Music Irvine, CA 92617-4070 303 Music & Media Building (949) 307-8619 University of California Irvine, CA 92697-2775 Email: [email protected] (949) 824-7288 Web: http://music.arts.uci.edu/dobrian

Curriculum Vitæ

Current Employment

Professor of Music, School of the Arts, University of California, Irvine (UCI); 1996-. Director of the Gassmann Electronic Music Studio and the Realtime Experimental Audio Laboratory; Producer-Director of the Gassmann Electronic Music Series; teacher of courses in composition, theory, and computer music.

Education

Ph.D. in Music Composition; University of California, San Diego (UCSD); 1994 Doctoral dissertation was Poems of Passage, a composition for orchestra employing conglomerate orchestral textures. Ph.D. studies specialized in orchestral texture with Joji Yuasa, music pedagogy and epistemology with Edwin Harkins, and computer algorithms for cognition and composition with George Lewis. Primary teachers of composition were Robert Erickson and Joji Yuasa; also studied composition with Morton Feldman (1987), Vinko Globokar (1986), and in seminar with Roger Reynolds (1985). Studied classical guitar with the Spanish masters Celín and Pepe Romero.

Master of Arts in Music Composition; UCSD; 1985 Primary teacher of composition was Bernard Rands; also studied composition with Joji Yuasa and Will Ogdon. Studied computer music with F. Richard Moore and Mark Dolson, classical guitar with Celín and Pepe Romero, and conducting with Thomas Nee.

Bachelor of Arts in Music, with emphasis in Composition and Classical Guitar; University of California, Santa Cruz (UCSC); 1982 Awarded Highest Honors in the Major by the Board of Studies in Music. Studied composition with David Cope, electronic music with Gordon Mumma, orchestration with Sherwood Dudley, and classical guitar with Richard Stover.

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Compositions

Upon Reflection (2013) solo version for piano and computer. Premiered at Daniel Recital Hall, Greenville, SC, February 2013.

Upon Reflection (2012) for piano four hands. Premiered at Izumity 21 Small Hall, Sendai, Japan, December 2012.

Gestural (2012) for digital piano and computer. Premiered at Kino Siska, Ljubljana, Slovenia, September 2012.

Unpredictable You (2012) for piano and computer. Premiered at Winifred Smith Hall, Irvine, CA, February 2012.

Sueño (2012) for guitar, Disklavier, and interactive computer system. Premiered at Winifred Smith Hall, Irvine, CA, February 2012.

This & That (2012) for piano, trumpet, and bass. Premiered at Winifred Smith Hall, Irvine, CA, February 2012.

In the In-Between (2010) for trombone, bass, and piano. Premiered at Winifred Smith Hall, Irvine, CA, January 2010.

Echo Chamber (2009) for voice with audio networking and realtime audio and video processing. Premiered at Winifred Smith Hall, Irvine, CA, December 2009.

Tautology for Two (2009) for trombone and trumpet in remote locations, with audio networking and interactive computer system. Premiered at Winifred Smith Hall, Irvine, CA in December 2009.

Eve's Rapture (2009) complete composed and recorded musical score for the play of the same name by Bryan Reynolds. Premiered at the Hayworth Theater, Los Angeles, May 2009.

Near and Far (2007) for piano, and computer. Composed in collaboration with Kei Akagi. Premiered at Winifred Smith Hall, Irvine, CA, May 2007.

Cycles Interrupted (2006) for soprano, tenor saxophone, piano, and computer. Premiered at the Live Sampling Festival in Greenville, SC, May 2006.

JazzBot (2005) for Yamaha Disklavier (MIDI enabled piano) and computer-controlled percussion robots. Composed in collaboration with Kei Akagi. Premiered at the Beall Center for Art + Technology, Irvine, CA, March 2005.

Interproviplaytion VI: Mannam (Encounter) (2003) for daegeum (Korean flute) and interactive computer system; premiered in the Seoul International Computer Music Festival, Seoul, Korea, November 2003.

Trans (Interproviplaytion V) (2003) for electric guitar and interactive computer audio processing; premiered in the Nong Electronica festival at the Korean National University of Arts, Seoul, Korea, June 2003.

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In Tongues (Interproviplaytion IV) (2002) with James Newton, for flute and interactive computer audio processing; premiered in the Primavera en la Habana 2002 festival at the Museo de las Bellas Artes, Havana, Cuba, March 2002.

Distance Duo (2001) for Yamaha Disklavier (computer controlled piano) and interactive computer improviser; premiered in the Internet Pianos concert by Kei Akagi and Anthony Davis simultaneously in Winifred Smith Hall, Irvine, California and the Center for Research in Computing and the Arts (CRCA), La Jolla, CA, October 2001.

Play for Me (Interproviplaytion III) (2001) for flutes and six-channel interactive computer audio processing; premiered in Winifred Smith Hall, Irvine, CA, May 2001.

Invisible Walls (2001) for dancers, motion tracking system, and computer-controlled synthesizer; premiered at the Bucksbaum Center for the Arts, Grinnell, IA, March 2001.

The Prince (2001), original music for the play of the same name by Robert Cohen; premiered in Winifred Smith Hall, Irvine, CA, January 2001.

Direct Current (2000) with Kei Akagi, for synthesizer, for the dance work Jam Nation by Donald McKayle; premiered at Arts Week 2000, Irvine, CA, November 2000.

Insta-pene-playtion (Interproviplaytion II) (2000) for computer-processed flute; premiered at the national conference of the Society for Electro-Acoustic Music in the United States (SEAMUS), Baton Rouge, LA, March 2001.

Microepiphanies: A Digital Opera (2000) for two actor-musicians and computer-controlled music, lights, video, and animated projections; premiered in Winifred Smith Hall, Irvine, CA, April 2000.

Interproviplaytion (1999) for computer guitar, synthesizer, and interactive audio processing; premiered in the Salon Auditorio, Universidad Nacional de Quilmes, Quilmes (Buenos Aires), Argentina, October 1999.

Color Catcher (1999) with Ben Israel and Lisa Naugle, for dancer, motion tracking system, and computer-controlled synthesizer; premiered in the UCI Concert Hall, Irvine, CA, February 1999.

Talk to Me (1998), with designer Douglas-Scott Goheen and animator Daniel Beck, an audio-visual interactive computer installation; premiered at Arts Week ’98, Irvine, CA, November 1998.

Cocktail Conversations (1998), computer-composed ambient music for synthesizer; premiered at the 1998 conference of the International Association for Philosophy and Literature in Irvine, CA, May 1998.

There’s Just One Thing You Need To Know (1998), for computer piano and interactive computer system; premiered by Daniel Koppelman in Irvine, CA, April 1998.

Alter Egos (1997), for digitally processed contrabass, synthesizer, and interactive computer system; premiered by Bertram Turtetzky and Daniel Koppelman at the UMKC Conservatory of Music, Kansas City, MO, April 1997.

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The Walls Have Ears (1996), with Damian Catera, audio installation; premiered at the 1996 International Conference of Computer Music, Hong Kong University of Science and Technology, Hong Kong, August 1996.

Metallurgy (1996), for digitally processed violoncello and six brass instruments; premiered by David Gibson at Rensselaer Polytechnic Institute, Troy, NY, March 1996.

Automatic Forms II (1996), for computer-controlled synthesizers; premiered in the concert Essays & Burial, Rensselaer Polytechnic Institute, Troy, NY, March 1996.

Unnatural Selection (1996) for guitar-controlled-computer-controlled synthesizer; premiered by the composer in the concert Essays & Burial, Rensselaer Polytechnic Institute, Troy, NY, March 1996

I, Alone (1995), for violoncello; composed for and premiered by David Gibson at Rensselaer Polytechnic Institute, Troy, NY, 1995.

Poems of Passage (1994), for orchestra.

2-way Dream (1994), with Robert Willey, for synthesizers and interactive software; premiered at the Society of Composers, Inc. regional conference, Albuquerque, NM, April 1994

3-way Dream (1992), with Keith Johnson and Bob Willey, for synthesizers and interactive software; premiered at the MOO presentation, CRCA, UCSD, March 1992.

Sancocho (1992), with César Potes, Rafael Liñán, Greg Main, and Bob Willey, for five instruments and five tapes; premiered at the MOO presentation, CRCA, UCSD, March 1992.

Falsetas Móviles (1991) for solo guitar; premiered in the UCSD Guitars recital, Mandeville Recital Hall, UCSD, December 1991.

Entropy (1991) for Yamaha Disklavier (computer controlled piano) and computer graphics; premiered in the Disklavier Discovery concert series, CRCA, UCSD, September 1991.

Line/Phase Minutiae (1991) for Yamaha Disklavier; premiered in the Disklavier Discovery concert series, CRCA, UCSD, May 1991.

Music for Video (1987-1989), incidental music for video clips, Paris and New York.

Parable (1987) for bass flute, bass oboe, and bass clarinet; premiered in the Unpopular Music concert series, CME, UCSD, May 1987.

ETC (1986) for harp and computer-generated tape; premiered in the Atomicafé concert series, Mandeville Recital Hall, UCSD, October 1986.

Nonyx (1986) for nine instruments; premiered in the Pacific Ring Festival, San Diego, April 1986.

Degueudoudeloupe (1985) for computer-generated tape; premiered in the Atomicafé concert series, Mandeville Recital Hall, UCSD, November 1985.

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Nine Haiku (1985) for mezzo-soprano, flute, and guitar; premiered in Erickson Hall, UCSD, April 1985.

Three-thirty-three (1984), for percussion, tape, and dancers; premiered in the Public Theatre, San Diego, December 1984.

Now and Then (1984) for flute, viola, guitar, and percussion; premiered by SONOR, Mandeville Auditorium, UCSD, November 1984.

Crépuscule (1983) for mezzo-soprano and six instruments; premiered in the Atomicafé concert series, Mandeville Recital Hall, UCSD, May 1984.

In Icy Darkness (1983) for percussion solo; premiered in Erickson Hall, UCSD, December 1983.

Sonatina (1981) for clarinet and prepared piano; premiered in the Performing Arts Recital Hall, UC Santa Cruz, November 1981.

String Quartet No. 1 (1981); premiered at the University of Iowa Music School, April 1981.

Performances

The Music of Conlon Nancarrow concert; presentation of works for player piano, performance of String Quartet; Winifred Smith Hall, Irvine, CA, October 2012.

Sueño for guitar, Disklavier, and interactive computer system; Computer-Mediated concert; Winifred Smith Hall, Irvine, CA, February 2012.

Latent Potentials; performances of Tautology for Two and Echo Chamber; Digital Arts and Culture concert; Winifred Smith Hall, Irvine, CA, December 2009.

Music for Piano and Computer; performances of Line/Phase Minutiae, Unnatural Selection, Entropy, Distance Duo, Near and Far, and There's Just One Thing You Need To Know, with Kei Akagi, piano, Winifred Smith Hall, Irvine, CA, May 2007.

Cycles Interrupted for soprano, tenor saxophone, piano, and computer; Live Sampling Festival, McAlister Auditorium, Furman University, Greenville, SC, May 2006.

Trans (Interproviplaytion V) for electric guitar and interactive computer audio processing; Nong Electronica festival, KNUA Hall, Seoul, Korea, June 2003.

Artful Devices. Performance of Interproviplaytion and Insta-pene-playtion. Concerts at the Center for New Music and Audio Technology, Berkeley; Santa Clara College, Santa Clara; Foothill College, Palo Alto; UCSC Performing Arts Center, Santa Cruz, May 2002.

Invisible Walls for dancer-controlled synthesizer. Winifred Smith Hall, Irvine, May 2001.

Invisible Walls for dancer-controlled synthesizer. Bucksbaum Center for the Arts, Grinnell, Iowa, March 2001.

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Microepiphanies: A Digital Opera with Douglas-Scott Goheen, for two actor-musicians and computer-controlled music, lights, video, and animated projections; premiere performance in Winifred Smith Hall, Irvine, California, April 2000; subsequent performances in the Center for Research in Computing and the Arts, San Diego, April 2000; Second Stage, Santa Cruz, May 2000; Hertz Hall, Berkeley, October 2000; Geiringer Hall, Santa Barbara, October 2000.

Artful Devices. Performance of Interproviplaytion, Unnatural Selection, and Entropy. RPI Chapel and Cultural Center, Troy, NY, October 1999.

Artful Devices: Composition and Improvisation with Computers. Performance of Interproviplaytion, Unnatural Selection, and Entropy. Harper Hall, Furman University, Greenville, SC, October 1999.

Música de Máquinas. Premiere performance of Interproviplaytion; performances of Unnatural Selection, and Entropy. Salon Auditorio, Universidad Nacional de Quilmes, Quilmes (Buenos Aires), Argentina, October 1999.

Talk to Me, with designer Douglas-Scott Goheen and animator Daniel Beck, an audio-visual interactive computer installation. Premiered at Arts Week ’98, Irvine, California, November 1998.

International Association of Philosophy and Literature annual conference. Performance of Cocktail Conversations, Unnatural Selection and Entropy. University of California, Irvine, May 1998.

Christopher Dobrian: Human and Computer Music. Performances of Line/Phase Minutiae, Now and Then, Nonyx, Entropy, Unnatural Selection, Falsetas Móviles, and There’s Just One Thing You Need To Know. UCI Concert Hall, Irvine, April 1998.

Artificial Creativity: In Concert. Performances of Entropy and Unnatural Selection. UCI Concert Hall, Irvine; Center for Research in Computing and the Arts, UCSD, La Jolla, CA; and Performing Arts Concert Hall, UCSC, Santa Cruz, CA; April 1998.

International Modern Music Festival. Performance of Unnatural Selection. Xebec Concert Hall, Kobe, Japan, November 1997.

International Modern Music Festival. Performance of Toward the Sea for guitar and alto flute by Toru Takemitsu, with Xavier Chabot, Xebec Concert Hall, Kobe, Japan, November 1997

The Walls Have Ears. Audio installation at the 1996 International Conference of Computer Music, Hong Kong University of Science and Technology, Hong Kong, August 1996

Essays & Burial. Performance of the premieres of Unnatural Selection, Automatic Forms II, and Metallurgy. RPI Chapel and Cultural Center, Troy, NY, March 1996

Virtual Drums/Robot Pianos. Performance in the premiere of The Seven Wonders of the Ancient World, Part I by David Jaffe. Studio A, UCSD, May 1994

Society of Composers, Inc. Regional Conference. Performance of 2-way Dream with Robert Willey. University of New Mexico, Albuquerque, NM, April 1994

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Trondheim samtidsmusikk festival. Performance of Entropy for Yamaha Disklavier by Christopher Dobrian. Norges Tekniske Høgskole, Trondheim, October 1992

La Música por Computadora en los E.E.U.U. Performance of Entropy for Yamaha Disklavier and computer graphics by Christopher Dobrian. LIPM, Buenos Aires, June 1992

MOO, a concert of group compositions, with César Potes, Rafael Liñán, Greg Main, Bob Willey, and Keith Johnson. Performances of Walk #4, Sancocho, and 3-way Dream. CRCA, UCSD, March 1992

UCSD Guitars, with Rafael Liñán. Performance of Entre Dos Aguas by Paco de Lucia, for two guitars. Mandeville Recital Hall, UCSD, March 1992

UCSD Guitars. Performances of Falsetas Móviles by Christopher Dobrian and Melodies I by Yung Wha Son, for solo guitar. Mandeville Recital Hall, UCSD, December 1991

Disklavier Discovery. Performance of Entropy for Yamaha Disklavier and computer graphics by Christopher Dobrian. CRCA, UCSD, September 1991

Disklavier Discovery. Line/Phase Minutiae for Yamaha Disklavier by Christopher Dobrian. CRCA, UCSD, May 1991

Electric Rags by Alvin Curran, with Alvin Curran and the Rova Saxophone Quartet. Town Hall, New York, March 1990

Miss Behavin’ by Alvin Curran, for MIDI grand piano and synthesizers, with Alvin Curran. The Kitchen, New York, February 1990

Spanish Guitar Music, solo recital. MacBride Auditorium, Iowa City, September 1988

Guitare Classique, duo recital with Lisa Smith. Foyer International d’Accueil de Paris, Paris, August 1988

Concert: La Musique de Yung Wha Son. Performance of Melodies I for solo guitar by Yung Wha Son. Cité Internationale des Arts, Paris, May 1988

Fulbright Fellows, a recital of Fulbright musicians in Paris. Premiere performance of Melodies I for solo guitar by Yung Wha Son. American Embassy, Paris, February 1988

Pacific Ring Festival. Nonyx by Christopher Dobrian, conducted by the composer. San Diego, April 1986

Publicafé. Three-thirty-Three by Christopher Dobrian, with Daryl Pratt and Terry Sprague. Public Theatre, San Diego, December 1984

Atomicafé. Crépuscule by Christopher Dobrian, conducted by the composer. Mandeville Recital Hall, UCSD, May 1984

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Lectures and Publications

Techniques for Polytemporal Composition, published in Emille, The Journal of the Korean Electro-Acoustic Music Society, vol. 10, 2013. Also published in the Proceedings of KEAMSAC 2012.

Interactivity, Schminteractivity: In Search of the Expressive Computer, invited keynote presentation at the CIRMMT Research Symposium, McGill University, Montreal, Canada, May 23, 2013.

Christopher Dobrian: Composition Master Class, invited presentation at the University of California, San Diego, November 7, 2012.

Realtime Stochastic Decision Making for Music Composition and Improvisation, published as a chapter in the book Xenakis Matters, Sharn Kanach, ed., Pendragon Press, 2012.

Auditory + Gestural, two-day invited workshop on computer music and media at Yonsei University, Seoul, Korea, October 23-24, 2012.

Christopher Dobrian: Algorithmic Composition, invited presentation and master class at Korean National University of Arts, October 22, 2012.

A Method for Computer Characterization of 'Gesture' in Musical Improvisation, published in the proceedings of the 2012 International Computer Music Conference, and presented in a lecture-demonstration at Stara Elektrarna, Ljubljana, Slovenia, September 14, 2012.

The World Without Music (Imagine There's No Music), published as a chapter in the book News From Nowhere: A Platform for the Future & Introspection of the Present, Kyungwon Moon and Joonho Jeon, eds., Workroom Press, 2012.

Music Composition as Experiment, and Vice Versa, lecture at the University of California, Irvine, January 25, 2012.

Interactive Computer Music, lecture at the University of California, Santa Cruz, November 19, 2010.

Computer evaluation of musical gesture in sound structure, lecture at the University of California, Berkeley, November 18, 2010.

Research-based composition in recent works, invited presentation at the University of California, San Diego, May 13, 2010.

Algorithmic composition and interactivity in computer music, invited presentation at Harvey Mudd College, Claremont, CA, November 30, 2009.

Tempo-relative timing and its implementation in Max, invited presentation at Juilliard School, New York, October 13, 2009.

Algorithmic Composition, writings on the use of formal systems to generate music and other types of time-based art with computer programs, in the form of 25 chapters each with a working program exemplifying a technique of algorithmic composition using the Max 5 programming environment. Published online September 2009 at http://algocomp.blogspot.com/

Loudness, invited presentation in the California State Summer School for Mathematics and Science, UC Irvine, July 10, 2009.

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L’interaction humain-ordinateur musicale : Quelques objectifs et quelques mythes, invited public presentation (in French) at Maison de la Recherche, Université de Paris-Sorbonne, December 15, 2008.

FTM Tutorial, introduction and seven tutorial chapters explaining the theory and programming of the "FTM & Co." programming extension to the Max computer music programming environment; Paris: IRCAM, 2008.

Christopher Dobrian, invited presentation of recent work (in French) at the Conservatoire Evry Centre Essonne, November 25, 2008.

L’analyse de la musique électroacoustique du point de vue d’un compositeur, invited presentation (in French) at Maison de la Recherche, Université de Paris-Sorbonne, November 13, 2008.

Synthèse et traitement du son, invited presentation (in French) at Maison de la Recherche, Université de Paris-Sorbonne, October 30, 2008.

Le role de la voix dans la musique électroacoustique, invited presentation (in French) at Maison de la Recherche, Université de Paris-Sorbonne, November 6, 2008.

The Creative Computer: Music Composition and Improvisation by Computer, invited public presentation (in English with translation to Japanese) at the Tokyo School of Music, July 20, 2008.

Compositional Method, Compositional Style, invited presentation at the University of California, San Diego, November 8, 2007.

Computer Music, invited presentation at Orange County High School of the Arts, Santa Ana, CA, October 15, 2007.

Wirelessly Interfacing with the Yamaha Disklavier Mark IV, co-authored with Matthew Teeter for the proceedings of the 2007 conference on Sound and Music Computing, Lefkada, Greece, July 2007.

Determining the Feasibility of Networked Musical Performances over WANs, LANs, and WLANs, co-authored with Matthew Teeter and Daniel Lindsey, published in Volume IX of The UCI Undergraduate Research Journal, Spring 2007. Re-edited and published in Journal SEAMUS, Winter/Spring 2010.

Composing Music Using Computers, lecture/demonstration at the Aliso Viejo Public Library, March 14, 2007.

Formal Methods: A Composer's Perspective, lecture/demonstration for Human-Centered Computing in Generating Music, University of Southern California, Los Angeles, CA, March 8, 2007.

Sonification of Numerical Data, lecture for the Beall Center for Art & Technology, Irvine, CA, February 11, 2007.

Computer Music at UC Irvine, lecture at the inaugural meeting of the Southern California Computing in Music (SCCiM) network, University of Southern California, Los Angeles, CA, February 17, 2007.

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Integrating Video, Sound, and Music with MaxMSP and Jitter, lecture/demonstration at the Bellingham Electronic Arts Festival, Northwest Film School, Bellingham, WA, November 30, 2006.

Realtime Stochastic Decision Making for Music Composition and Improvisation, lecture/demonstration at the Symposium on The Creative and Scientific Legacies of Iannis Xenakis, Perimeter Institute for Theoretical Physics, Waterloo, Ontario, Canada, June 10, 2006.

The 'E' in NIME: Musical Expression with New Computer Interfaces, article and lecture (co-authored with Daniel Koppelman) for the 2006 conference on New Interfaces for Musical Expression, Paris, June 7, 2006.

Christopher Dobrian, presentation of recent compositions at UCSB Composers Forum, University of California, Santa Barbara, January 17, 2006.

Composing and Improvising with Computers, lecture at Ehwa University, Seoul, Korea, November 23, 2005.

Interaction/Sound/Image/Performance, Media Arts special lecture, Yonsei University, Seoul, Korea, November 22, 2005.

The Expressive Computer in Interactive Music Performance, lecture at Art Center Nabi, Seoul, Korea, November 21, 2005.

Combining Music and Video Using Jitter, a presentation at the 2004 national conference of the Association for Technology in Music Instruction (ATMI), San Francisco, CA, November 2004.

Strategies for Continuous Pitch and Amplitude Tracking in Realtime Interactive Improvisation Software, a presentation and research paper published in the proceedings of the international Sound and Music Computing 2004 conference, Institut de Recherche et Coördination Acoustique-Musique (IRCAM), Paris, France, October 2004.

The Promise and Challenge of Interactivity, a guest lecture at the Institut Universitari de l’Audiovisual (IUA) of the Universitat Pompeu Fabra (UPF) and at the Institut d'Investigació en Intelligència Artificial (IIIA), a research center of the Consejo Superior de Investigaciones Científicas (CSIC) located at the Universitat Autònoma de Barcelona (UAB), Barcelona, Spain, June 2004.

Cultural 'Content' in Music Made with Computers, a guest lecture at the IUA/UPF and at the IIIA/UAB, Barcelona, Spain, May 2004.

Combining Korean Instruments and Computers in Music Performance, Fulbright Forum lecture, Seoul, Korea, November 2003.

Cultural ‘Content’ in Korean Music Made with Computers, guest lecture for the Korean Studies Forum, Graduate School of International Studies, Yonsei University, Seoul, Korea, October 2003. Published in the Korean Studies Forum journal, 2006.

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Christopher Dobrian, guest lecture at the Korean Electro-Acoustic Music Society, Hanyang University, Seoul, Korea, October 2003.

Concept and Application of Algorithmic Computer Music, guest lecture at the Korea Advanced Institute of Science and Technology, Daejeon, Korea, October 2003.

Gestural Control of Music Using the Vicon 8 Motion Capture System (co-author), an article for the proceedings of the New Interfaces for Musical Expression 2003 Conference, Montréal, Quebec, Canada, May 2003.

Mapping sound to human gesture: demos from video-based motion capture systems (co-author), an article for the proceedings of the 5th International Workshop on Gesture and Sign Language based Human-Computer Interaction, Genoa, Italy, April 2003.

Computer Composer, Computer Improviser, a lecture with music presented in the lecture series “Culture Art and Contents” in the graduate department of digital media studies at Yonsei University, Seoul, Korea, April 2003.

Performing Interactive Music and Video, a lecture-demonstration with music presented in the lecture series “Culture Art and Contents” in the graduate department of digital media studies at Yonsei University, Seoul, Korea, March 2003.

Physical Bases of Musical Sound and Perception, a class presented at the UCI Academy for Lifelong Learning, October 18, 2002.

The Role of Computers in Making Music, a class presented at the UCI Academy for Lifelong Learning, October 25, 2002.

Human and Computer Decision Making in Music, a seminar presented with Daniel Koppelman in the Department of Music at Stanford University, Palo Alto, California, May 9, 2002.

Jitter Tutorial (co-author), tutorial lessons with sample programs written in Max/MSP/Jitter. Published by Cycling 74, San Francisco, 2002.

Aesthetic Considerations in the Use of "Virtual" Music Instruments, an article for the pro-ceedings of the Workshop on Current Research Directions in Computer Music, Institut Universitari de l'Audiovisual, Universitat Pompeu Fabra, Barcelona, Spain, 2001. Also presented in the national conference of the Society for Electro-Acoustic Music in the United States (SEAMUS), Iowa City, Iowa, April 2002, and published in Journal SEAMUS, Spring 2003.

Continually Variable Tunings and Timbres Realizable by Computer, a research paper presented at the Microfest 2001 conference, Pomona, California, April 2001.

Video Motion Tracking for Musical Input, a demonstration presented at the annual conference of the Association for Technology in Music Instruction (ATMI), Toronto, November 2000.

Arguments and Strategies for Interdisciplinarity in the Electronic Arts, a paper presented at the annual conference of ATMI, Toronto, November 2000.

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Programming the Creative Computer: Not Just a Tool, The Computer Has a Musical Mind of Its Own, a lecture-demonstration presented to the ABC Conference of arts educators, Irvine, October 2000.

Artful Devices: Music for Piano and Computers by Christopher Dobrian. Compact disc recording; Daniel Koppelman, piano. Albany, NY: Electronic Music Foundation, 2000.

The Gassmann Electronic Music Studio, a studio report presented at the International Computer Music Conference (ICMC), Berlin, August 2000.

Programming New Realtime DSP Possibilities with MSP, published in the proceedings of the 2nd COST G-6 Workshop on Digital Audio Effects (DAFx99), Trondheim, Norway, 1999.

Computer Pitch Techniques in Musical Composition, published in the proceedings of the First International Symposium on Music and Computers, Corfu, Greece, 1998.

Artistic Experiments in Interactive Computer Music, a lecture-performance of Color Catcher demonstrating dance-generated music and the interactive computer audio-visual installation Talk to Me. World Presidents’ Organization, Irvine, CA, 1999.

The Latest in Computer Music: Max Signal Processing, a lecture-demonstration of the realtime digital signal processing programming environment MSP. Annual conference of the Association for Technology in Music Instruction, San Juan, Puerto Rico, 1998.

Computer Music: Synthesis, Composition, and Performance, a review of the new book by Charles Dodge and Thomas A. Jerse, for Notes, the journal of the Music Librarian’s Association, 1998.

Close to the [Cutting] Edge: New Capabilities in Multimedia Performance, lecture-demonstration of recently developed programming environments for interactive multimedia performance. Gassmann Electronic Music Series, University of California, Irvine, 1998.

MSP User’s Manual and MSP Tutorial, directions for operation, technical documentation, and tutorial lessons with sample programs written in MAX and MSP. Published by l’Institut de Recherche et Coördination Acoustique-Musique, Paris and by Cycling 74, Santa Cruz, CA, 1997, revised 1998.

Computer Composition and Improvisation, lecture-demonstration. Osaka Institute of Technology, Osaka, Japan, 1997.

The MAX Programming Language, lecture-demonstration analyzing the linguistic pros and cons of MAX for programming music applications. USENIX Conference on Domain-Specific Languages, Santa Barbara, CA, 1997.

Human and Machine Concepts of Music, lecture-demonstration, including a performance of the compositions Entropy and Unnatural Selection. UCI Chief Executive Roundtable Retreat, Santa Barbara, CA, 1997.

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MAX Manual Addendum, documentation of features of version 3.5 of the MAX application for Macintosh, with additional tutorial lessons and sample programs written in MAX, ©Opcode Systems, Inc., Menlo Park, CA, 1996.

Music Composition Using Computers, lecture-demonstration, including a performance of the compositions Entropy and Unnatural Selection. Information and Computer Science Colloquium, McDonnell Douglas Auditorium, University of California, Irvine, 1996.

Algorithmic Generation of Temporal Form: Hierarchical Organization of Stasis and Transition, published in the proceedings of the International Computer Music Conference, ICMA, San Francisco, 1995 and the proceedings of the International Symposium of Electronic Art, ISEA, Montreal, 1995.

ICMC Studio Report: iEAR Studios, published in the proceedings of the International Computer Music Conference, ICMA, San Francisco, 1995.

Getting Started With MAX and MAX Reference Manual, directions for operation, technical documentation, and tutorial lessons with sample programs written in MAX, ©Opcode Systems, Inc., Menlo Park, CA, 1995.

Entropy for computer-controlled piano, appears on the compact disc recording Intercambio/exchange, published by CRCA, CCRMA, and LIPM, funded by the Rockefeller Foundation, 1994.

Computer-Mediated Improvisation (2-way Dream), lecture-demonstration, including a performance of the composition 2-way Dream. Society of Composers. Inc. regional conference, Albuquerque, 1994.

Intuition, Taste, and Artificial Intelligence, lecture, Dartmouth College, 1994; University of Virginia, 1993.

Realtime improvising program examples cited in Interactive Music Systems by Robert Rowe. Cambridge, Massachusetts: MIT Press, 1993.

Textural Orchestration, essay, 1993

Music and Language, essay, 1993

Music and Artificial Intelligence, essay, 1993

Aesthetic Decisionmaking with Computers, lecture/demonstration, Art’s Exchange, CRCA, UCSD, 1992

Flamenco Guitar Technique and Harmonic Language, lecture/demonstration, UCSD, 1992

Introduction to MAX, lecture/demonstration, UCSD, 1992

The Basics of MIDI, lecture/demonstration, UCSD, 1992

Thoughts on Composition and Improvisation, essay, 1991

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MAX User’s Manual, directions for operation, technical documentation, and tutorial lessons with sample programs written in MAX, ©Opcode Systems, Inc., Menlo Park, CA, 1990.

Music Programming, essay, 1988

The Use of Pitch Range in Arcana and The Rite of Spring, analysis, 1987

Orchestral Texture in the Music of Debussy and Mahler, analysis, 1986

A New Angle: Algorithmic Composition at UCSD, essay including documentation of the etc music composition program written by the author, 1985

Symmetrical Structures in Bartok's Fourth String Quartet, analysis, 1984

Awards

Fulbright Senior Specialist Fellowship, 2013 Residency in Montreal, Canada, 2013, as visiting researcher at the Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), McGill University.

Faculty Service Award, UCI School of the Arts, 2011

Fulbright Senior Specialist Fellowship, 2008 Residency in Paris France, 2008, to lecture on computer music at the University of Paris - Sorbonne.

Fulbright Foundation Lecturing/Research Fellowship, 2002 Fully-funded one-year residency in Seoul Korea, 2003, to teach computer music at the Korean National University of Arts in Seoul, and to collaborate with performers of traditional Korean instruments.

Excellence in Teaching, UCI School of the Arts, 2000

Chancellor's Award for Excellence in Undergraduate Research, UCI, 2000

Erickson Prize, UCSD Department of Music, 1993 For excellence in research. Awarded for the article Textural Orchestration, analyzing the use of instrumental texture as a primary element in the orchestral music of the 20th century.

San Diego SuperComputer Center Creative Computing Award, San Diego, 1992 Third prize. For Entropy, a musical/visual composition for Macintosh computer and Yamaha Disklavier computer-controlled piano.

Regents Fellowship, University of California, 1983-84

Highest Honors in the Major, UCSC, 1982

Chancellor’s Award for Achievement in the Humanities, UCSC, 1982 For String Quartet No. 1.

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Past Teaching Experience

Korean National University of Arts (KNUA), Seoul, Korea, 2003. Fulbright Foundation fellow and visiting professor, Department of Music, teaching graduate courses in computer music, interactive arts programming, digital video, digital signal processing, and algorithmic composition.

Assistant Professor of Music, Department of the Arts, Rensselaer Polytechnic Institute. 1994-96 Teaching graduate courses in computer music, music programming, interactive arts programming, electronic art theory, music composition, performance, installation, and production.

Associate, musical aesthetics and technology, University of California, San Diego (UCSD), 1994

Teaching Assistant, music technology, UCSD, 1994

Teaching Assistant, history and practice of electronic music, UCSD, 1993

Teaching Assistant, acoustics and recording techniques, UCSD, 1993

Tutor, musicianship, counterpoint, harmony, and analysis for graduate students, UCSD, 1992-1993

Teaching Assistant, theory and musicianship for majors, UCSD, 1991-92

Tutor, musicianship for graduate students, UCSD, 1991

Instructor, guitar, Mesa Community College, San Diego, 1991

Instructor, computer music and MIDI, UCSD Extension, 1990-91

Instructor, guitar, private lessons, 1982-91

Associate, music appreciation, theory & musicianship for non-majors, UCSD, 1986

Teaching Assistant, music appreciation, theory & musicianship for non-majors, UCSD, 1985-86

Teaching Assistant, theory and musicianship for majors, UCSD, 1984-85

Tutor, theory, analysis, harmony, and counterpoint for graduate students, UCSD, 1983-84

Teaching Assistant, theory and musicianship for majors, University of California, Santa Cruz (UCSC), 1981-82

Other Work Experience

Technical Writer for Digital Video, 2002 Co-author of the 321-page documentation for version 1.0 of the Jitter matrix data processing and visualization extensions for the MAX music programming environment for Macintosh. Documentation included the Jitter Manual and the 37-chapter Jitter Tutorial with example software.

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Technical Writer for Computer Music Software, 1997-1998 Author of the 269-page documentation for version 1.0 of the MSP signal processing extensions for the MAX music programming environment for Macintosh. Documentation included the MSP User’s Manual and the 25-chapter MSP Tutorial with example software. Revision 1.1 in June 1998 extended the MSP Tutorial to 29 chapters.

Technical Writer for Computer Music Software, 1996 Author of the 130-page documentation for version 3.5 of the MAX music programming environment for Macintosh by Opcode Systems, Inc. Documentation consisted of the MAX Addendum 3.5 and two additional chapters of the MAX Tutorial with example programs on disk.

Director, iEAR Studios (integrated Electronic Arts at Rensselaer), Rensselaer Polytechnic Institute. 1995-1996. Director of the graduate program in the Arts. The iEAR Studios is a multi-disciplinary multi-studio center for pedagogy and production in computer music, video, and computer imaging and animation, providing a Master of Fine Arts degree in integrated electronic arts.

Executive Producer, Electronic Arts Performance Series. 1995-1996. The primary presenter of contemporary music and multimedia performances in the New York Capital District, featuring leading and emerging artists and theorists in the technological arts.

Technical Writer for Computer Music Software, 1995 Author of the 680-page documentation for version 3.0 of the MAX music programming environment for Macintosh by Opcode Systems, Inc. Documentation included the MAX Reference Manual and Getting Started with MAX, including a 43-chapter instructional tutorial with example programs on disk.

Consultant, Computer Music Studio, Central Michigan University, 1995 Provided research and advice in establishment of CMU’s TIME Studio (Technology in Music Education). Directed final installation of the studio, and demonstrated the finished studio in the official opening for music faculty and campus administrators.

Computer music software tester for Passport Designs, Inc. and Opcode Systems, Inc., 1990-95 Beta tester and consultant in the development of the MAX music programming environment by Opcode Systems, Inc. and the Encore music notation program by Passport Designs, Inc.

Research Associate, Center for Research in Computing and the Arts (CRCA), UCSD, 1990-94 Conducted experiments with the Yamaha Disklavier computer-controlled piano, testing its response to external computer control. This work resulted in documentation of response times, and two pieces composed for the Disklavier: Line/Phase Minutiae (1991) and Entropy (1991). Also conducted experiments in collaborative computer music composition via telecommunication.

Research Assistant / Faculty Studio, UCSD Music Department, 1992-1993 Managed the installation of a music technology studio for faculty research, consisting of networked NeXT and Macintosh computers, MIDI synthesizers and sound processors, and digital recording equipment. In addition to organizing and managing the studio, assisted in the production of rehearsals, recordings, and concerts held in the studio.

SuperUser (lab supervisor), Macintosh Instructional Lab, Music Department, UCSD, 1991-92 Tutored students in the use of MIDI and all music applications for the Macintosh, and developed educational software in HyperCard.

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Technical Writer for Computer Music Software, 1990 Principal author of the 475-page MAX User’s Manual for Opcode Systems, Inc.

Computer Music Programmer, 1988-90 Collaborated with composers Alvin Curran and Richard Teitelbaum on computer environments for improvisation. The composers have used the programs in performances worldwide, in such works as Curran’s Electric Rags I, Miss Behavin’, and Teitelbaum’s Concerto Grosso #2 and other works.

Composer/Arranger, 1987-88 Arranged an album of Christmas music for two guitars for Los Romeros. Also composed incidental music for video clips.

Research Assistant, Center for Music Experiment (CME), UCSD, 1986-87 Performed research in the use of spatial location of sounds as a musical parameter. Wrote software for describing and calculating specific soundpaths of continuously changing velocity, to be correlated with other musical parameters. Also created database and bibliographic search functions for the CME archive. Co-founded and co-managed the Unpopular Music concert series at CME, and stage-managed CME concerts and other events.

Research Assistant to Professor Sherwood Dudley, UCSC, 1982-83 Mr. Dobrian assisted Dr. Dudley in the research of two French operas from the late 18th century at the Bibliothèque Nationale in Paris. The work included research of secondary sources as well as complete proofreading of the first edition scores, in preparation for re-publication by Pendragon Press.

Software Development

Gestural Gesture characterization and response method implemented as an improvising interactive performance system.

JazzBot Interactivity and robotic control programming for piano-controlled robotic musical sculptures. Demonstrated in a performance at the Beall Center for Art + Technology.

Microepiphanies Complete show control and interactivity programming for Microepiphanies: A Digital Opera, an hour-long performance for computer-controlled music, lights, video, and animated projections.

Talk to Me A fully automated interactive computer audio/video installation in which passersby are invited to make sounds which the computer replays in digitally altered form and also records and uses in a musical improvisation. The sound input from the viewer-participants is also used to control changes in computer animations displayed on a video monitor. Programmed using MSP. (Animations by Daniel Beck, sculptural design by Douglas-Scott Goheen.)

The Walls Have Ears A fully automated computer-controlled audio installation in which sounds of the space are periodically recorded and are subsequently processed, fragmented, reordered, and played back

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through a multi-channel sound system. The system continues to record while it is playing, thus recursively recording and playing back fragments of its own output as well as the surrounding sonic activity. Written in collaboration with media artist Damian Catera.

Form Designer An “artificially intelligent” composing program for Macintosh computer. The program composes music for multi-timbral synthesizer (transcribable for orchestra), by designing a formal structure and performing music which realizes that structure.

3-way Dream A MIDI environment for Macintosh computer in which three musicians are able to alter each other’s music in real time; part of an ongoing project in group composition with composers Keith Johnson and Bob Willey.

cloudplayer/curvemaker A program for composing evolving musical textures and multiple independent parameter curves, for use in a MIDI environment.

SY22 Editor/Librarian A Macintosh program for designing and cataloguing sounds on the Yamaha SY22 synthesizer. Currently in use at the UCSD Music Department’s Macintosh Instruction Lab.

Entropy A program for composing granular musical textures which describe continuous transformation along a continuum between entropic and negentropic behavior; used by the author to compose the piece Entropy (1991) for Yamaha Disklavier and computer graphics.

Music Q&A A HyperCard document which teaches the student about different topics of computer music—digital sound, MIDI, etc.—with special emphasis on use of the Macintosh computer.

Teitelbaum Performance System A MIDI program for Macintosh that allows a performer to select a wide variety of musical modifications—delay, transposition, ornamentation, inversion, limiting, feedback, etc.—which the computer will apply in real time in any combination to the music that is played. The program was written according to the specifications of composer/performer Richard Teitelbaum, who uses the system in most of his live performances and in his opera Gollem.

Curran Performance System A MIDI program for Macintosh that allows a performer to select from among a wide variety of musical behaviors for the computer in real time. The program was written according to the specifications of composer/performer Alvin Curran, who has used the system in many of his live electronic music performances, including Miss Behavin’ (1989) for MIDI piano and synthesizers, and Electric Rags (1990) for the Rova Saxophone Quartet and synthesizers.

Soundpath Acceleration Method A battery of programs written in C for use in a UNIX environment in conjunction with the cmusic sound synthesis program. The programs provide a means for the user to describe a path along which a recorded sound will travel, describe the changes in velocity (acceleration/deceleration) that the trajectory will undergo, correlate these changes in velocity with other musical parameters such as pitch, tempo, and dynamics if desired, and then provide data for cmusic to synthesize the resultant stereophonic or quadraphonic “traveling” sound recording.

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etc A program that provides a syntax describing attributes of a musical phrase—tonality, tempo, dynamics, melodic contour and range, etc.—and automatically composes phrases which fulfill those attributes. The output can be used for transcription into standard notation, or to drive a MIDI system, or can be converted (using the adjunct program, output) into data for synthesizing the sound with cmusic. The program was used by the author to compose ETC (1986) for harp and computer-generated tape.

prt A program that provides a syntax for describing progressions of metric modulations and novel mathematical divisions of the octave, to synthesize musical phrases which change meter and tuning in complex ways. It was used by the author to compose Degueudoudeloupe (1985) for computer-generated tape.

Computer Background

Computer Environments: UNIX, Macintosh (all MIDI and audio applications), Windows

Programming Languages: C, C++, Java, Javascript, MAX/MSP/Jitter

Foreign Languages

French, excellent fluency; Spanish, good fluency

Nicole M. Mitchell Creative Flutist/Composer/Educator/Bandleaderwww.NicoleMitchell.com born 1967; Syracuse, New York

EDUCATION2000 Northern Illinois University MM Flute Performance (Jazz and Classical)1998 Chicago State University BA (cum laude) Flute Performance

NOTABLE TEACHERS AND MENTORSFlute Mary Stolper, John Fonville, Ann Laberge, Susan LevitinJazz Jimmy Cheatham, Donald Byrd, Wendall Logan, Art DavisCreative Music George Lewis, Edward Wilkerson, James Newton, Anthony BraxtonComposition John Eaton, Coleridge Taylor Perkinson, Alvin SingletonMusic Theory Ed Klonosky

FELLOWSHIPS 2012 Doris Duke Artist Award2011 Herb Alpert Award in the Arts 3Arts Award in Music Composition2010 Alpert/Ucross Residency Prize2008 3Arts Ragdale Residency Award 2005 Illinois Arts Council Fellowship for Music Composition2002 Illinois Arts Council Fellowship for Music Composition

GRANTS2013 Center for Cultural Innovation Grant 2010 Meet the Composer Creative Connection Grant for Intergalactic Beings2009 Chicago Community Arts Assistance Program (CAAP) Grant 2008 Chamber Music America: New Works Commission

Illinois Arts Council Special Assistance Grant for Xenogenesis Suite Multi-Arts Project2007 Chamber Music America: New Works Grant for Xenogenesis Suite2005 CAAP Grant 2003 Jazz City: Illinois Arts Council funding for multi-arts play (Vision Quest) CAAP Grant 2001 CAAP Grant1999 American Symphony Orchestra League Scholarship1998 American Symphony Orchestra League Scholarship1997 American Symphony Orchestra League Scholarship1990 Ford Mellon Research Grant AWARDS2013 Top Flutist, Downbeat Magazine Flutist of the Year, Jazz Journalist Association 2012 Top Flutist, Downbeat Magazine Flutist of the Year, Jazz Journalist Association Nominated for Rome Prize 2011 Top Flutist, Downbeat Magazine Top Rising Star Flutist, Downbeat Magazine Flutist of the Year, Jazz Journalist Association2010 Artist in Residence, Chicago Jazz Festival

http://www.NicoleMitchell.com

http://www.NicoleMitchell.com

Flutist of the Year, JazzIt Magazine (Italy) Flutist of the Year, Jazz Journalists Association Top Flutist, Downbeat Magazine Top Rising Star Flutist, Downbeat Magazine External Award, University of Illinois, Chicago 2009 Top Rising Star Flutist, Downbeat Magazine2008 Flutist of the Year, Jazz Journalists Association Top Rising Star Flutist, Downbeat Magazine Top Ten, Rising Star Composer, Downbeat Magazine2007 Top Rising Star Flutist, Downbeat Magazine2006 Chicagoan of the Year, Chicago Tribune Who's Who in America Top Rising Star Flutist, Downbeat Magazine2005 Top Rising Star Flutist, Downbeat Magazine 2004 Top 10, Rising Star Jazz Flutist, Downbeat Magazine2003 Nominee for “Alpert Music Award” Top 10, Rising Star Jazz Flutist Downbeat Magazine2003-5 Illinois Arts Tour Roster Artist1998 Winner of the University of Chicago Concerto Competition 1998 Departmental Music Award, Chicago State University IMPROVISING ENSEMBLES - founder/composer/flutist2013-present Sun Dial Ensemble Sun Dial unites luminary musicians from diverse musical communities, connecting forces of bassist Mark Dresser, trombonist Michael Dessen, Nigerian percussionist and cultural visionary Najite Agindotan, Pan Arkestra vocalist Dwight Trible, and Chicago AACM members Nicole Mitchell (flute) and Jeff Parker (guitar). 1998-present Black Earth Ensemble (BEE)

A conceptual ensemble, featuring the original music and multi-arts concepts of Nicole Mitchell. Compositions in the legacy of jazz, experimental music, chamber mu-sic, world music. Trio to nine piece ensemble. Over thirty musicians have been members of Black Earth Ensemble.

2001-present Black Earth Strings (BES) An acoustic quartet, featuring new compositional approaches to a traditional chamber context of flute, violin, cello and string bass. Featured with and without percussion. With Renee Baker violin/viola, Tomeka Reid cello, Josh Abrams bass.

2007-present Black Earth Orchestra (BEO) Mitchell’s largest ensemble for extended works and varied instrumentation. Ranges from eleven to over twenty musicians.2007-present Ice Crystal

Mitchell explores compositions/improvisations through the “watersounds” of vibraphone and flute in a jazz quartet format featuring her flute work. With Jason Adasiewicz (vibes), Josh Abrams (bass) and Marcus Evans (drums).

2008-present Sonic Projections Quartet featuring compositions by Mitchell that explore a bassless jazz setting for piano, sax, flute and drums. With Craig Taborn (piano), David Boykin (reeds) and Chad Taylor (drums)2004-2005 Tindanga Mama

Tindanga Mama brought together some of Chicago's most talented women and girls

through music, colorful imagery and poetry. "Tindanga Mama" is swahili for "She makes her way."

1997-present Dreamseekers A children's program of music and storytelling that bring the spirit and

knowledge of Black History to life.

MUSIC COLLECTIVES - co-founder/composer/flutist2012-present Premiere Trio A collective with bassist Joelle Leandre and vocalist Tom Buckner2007-present Truth or Dare A collective with Renee Baker viola/violin and Shirazette Tinnan percussion focused on free improvisation and contemporary classical music.2005-present Indigo Trio A collective with percussionist Hamid Drake and bassist Harrison Bankhead focused on improvisation with influences of avant guard jazz, soul and funk.2000-present Frequency A collective with saxophonist Ed Wilkerson, bassist Harrison Bankhead and drummer Arveeayl Ra focused on improvisation in the tradition of AACM’s concept of “Great Black Music.”1991-1997 Samana A collective all women's jazz/folk ensemble celebrating the AACM’s concept of “Great Black Music,” featuring multi-instrumentalists Maia, Shanta Nurullah, Aquilla Sadalla, Regina Perkins and Coco Elysses. Historically recognized as the first all-woman’s ensemble of the AACM.

AFFILIATED GROUPS - flute/alto flute/bass flute/piccolo/vocals2006-present Anthony Braxton's 12(+1)tet 2005-present Rob Mazurek's Exploding Star Orchestra 2005-present AACM Great Black Music Ensemble2003-2006 Weekly Free Improv Jam Session, Mestizo Cafe, Chicago with reedist David Boykin1997-present David Boykin Expanse

COMMISSIONS2013 When Life’s Door Opens for Chamber Orchestra, Improvisers, and Vocalists. Com missioned by Tri-Centric Orchestra. Premiered April 2013 at Roulette, New York.

2012 Harambee: Road to Victory for Flute, Choir and Orchestra. Commissioned by Chicago Sinfonietta. Premiered January 2012 with Chicago Sinfonietta at Chicago Symphony Center.

Cave of Self-Induction, two flutes and percussion. Commissioned by International Contemporary Ensemble (ICE). Premiered February 2012 with ICE at Museum of Contemporary Art.

2011 Flight for Freedom for Creative Flute and Orchestra Commissioned by Chicago Composers Orchestra (CCO). Premiered December 2011 with CCO at Garfield Park Conservatory.

Stray Light, sound installation. Commissioned by media artist David Hartt. Premiered

October 2011-February 2012 at Museum of Contemporary Art, Chicago.

Stealing Freedom in Broad Daylight for Orchestra. Commissioned reading for American Composers Orchestra (ACO). Premiered by ACO at Miller Theater, New York, June 2011.

2010 Intergalactic Beings: Xenogenesis II. Commissioned by Chicago Museum of Contemporary Art. Full length, multi-movement piece for nonet. Premiered by Black Earth Ensemble, April 2010 at Museum of Contemporary Art. Arc of O. Commissioned by the Chicago Jazz Festival. A full length work for chamber orchestra and improvisers. Premiered by Black Earth Orchestra at Millennium Park, Chicago Jazz Festival, September 2010.

Mother Nature Suite. Commissioned by the Chicago Jazz Festival. Premiered by Black Earth Ensemble at Chicago Jazz Festival, featuring harpist Edmar Casteneda, September 2010.

2009 Honoring Grace: Michelle Obama. Commissioned by the Jazz Institute of Chicago. Full-length multi-movement suite for septet. Premiered by Black Earth Ensemble, featuring vocalist Dee Alexander at Jazz Institute Gala, Spertus Museum, September 2009.

2008 South Side World, Cubical 4. Commissioned by Now Orchestra. Premiered by Now Orchestra in Vancouver, April 2008. Inside a Dream, for flute, string quartet and piano. Commissioned by Reginald Robinson. Premiered with Reginald Robinson at Chicago Symphony Center, Buntruck Theater, spring 2008.

2007 Many Paths Meet the Sea: A Tribute to Alice Coltrane. Commissioned by Jazz Insti-tute and Chicago Department of Cultural Affairs. A evening-length, multi-movement work for thirteen piece creative ensemble. Premiered summer 2007, featuring pianist Myra Melford at Chicago’s Millenium Park.

2007 Qualities of My Father: A Tribute to Michael E. Mitchell. Commissioned by the Umbrella Organization. An evening-length, multi-movement work for eleven piece chamber ensemble. Premiered November 2007 at Chicago’s Downtown Sound Gallery.

2006-2007 Xenogenesis Suite: A Tribute to Octavia Butler. Commissioned by Chamber Music America’s New Works: Creation and Presentation Program. A evening-length, multi-movement work for nine-piece creative ensemble inspired from Octavia Butler's science fiction novel "Dawn." Premiered summer 2007 at Vision Festival (New York) and winter 2007 at Chicago Cultural Center.

2006 Dream Deferred. Commissioned by the Ravinia Festival Organization. A short piece for classical piano inspired by Robert Shumann's Scenes from Childhood. Premiered at Ravinia, fall 2006.

2006 Harambee Project. Commissioned by Estrada Organization, Poznan (Poland). With a multi-cultural line-up of twelve musicians (from the AACM and Asian Arts Mid-

West) selected by the Jazz Institute of Chicago, Mitchell composed for, rehearsed and conducted the multi-movement suite, Harambee Project. Premiered at the Made In

Chicago Festival in Poznan, Poland.

2006 Love Has No Boundaries, Sweet Tooth and Wondrous Birth for String Quartet. Three arrangements commissioned by the FAQ String Quartet. Premiered at Chicago State University and Classical Symphony Hall, December 2006.

2006 Cause and Effect. Commissioned by the University of Chicago Jazz X-tet. Arranged for large jazz ensemble. Premiered by U of C Jazz X-tet in Fulton Hall, led by Mwata Bowden, University of Chicago 2006.

MULTI-ARTS PROJECT COMMISSION2003 Vision Quest: Hope, Future and Destiny. Commissioned by the Jazz Institute

of Chicago and the Illinois Arts Council. Created and performed a Multi-Art project including music, dance, acting and video. Vision Quest (the work) introduced the urban audience to native american rites of passage as a vehicle for self-actualization and healing. Performance involved over 50 performers of all ages and varied experience in the arts. Composed original music for 10 piece ensemble, wrote dramatic script and served as Artistic Director. Collaborated with videographer, choreographers, theater di-rector and set designer. Premiered at Austin Town Hall, Chicago 2003.

SELECTED DISCOGRAPHY AS COMPOSER/FLUTIST2013 Engraved in the Wind, Nicole Mitchell Solo Flute, Rogue Art (Paris)2013 Aquarius, Nicole Mitchell’s Ice Crystal, Delmark (Chicago)2012 Arc of O, Nicole Mitchell and the An Arche Ensemble, Rogue Art (Paris)2011 Awakening, Nicole Mitchell Quartet, Delmark (Chicago) Before and After, Nicole Mitchell/Joelle Leandre/Dylan van der Sheff, Rogue Art (Paris) The Ethiopian Princess Meets the Tantric Priest, Indigo Trio, Rogue Art (Paris)2010 Emerald Hills, Nicole Mitchell’s Sonic Projections, Rogue Art (Paris)2009 Anaya, Indigo Trio, Rogue Art (Paris) Renegades, Nicole Mitchell’s Black Earth Strings, Delmark (Chicago)2007 Indigo Trio: Live In Montreal, Mitchell/Drake/Bankhead, Greenleaf Music 2008 Xenogenesis Suite, Nicole Mitchell’s Black Earth Ensemble, Firehouse 12 (New York)2007 Black Unstoppable, Nicole Mitchell’s Black Earth Ensemble, Delmark (Chicago)2006 Frequency, Nicole Mitchell/Wilkerson/Ra/Bankhead, Thrill Jockey Records2004 Hope, Future and Destiny, Nicole Mitchell’s Black Earth Ensemble, Dreamtime (Chicago)2002 Afrika Rising, Nicole Mitchell’s Black Earth Ensemble, Dreamtime (Chicago)2001 Vision Quest, Nicole Mitchell's Black Earth Ensemble, Dreamtime (Chicago)

OTHER SELECTED RECORDINGS 2013 Golden State, Harris Eisenstadt’s Golden State2010 Stars Have Stripes, Rob Mazurek’s Exploding Star, Delmark (Chicago)2007 Anthony Braxton: Live at Iridium, Anthony Braxton 12(+1)tet, Firehouse 12 (New York)2007 ICI Ensemble and George Lewis, ICI Ensemble, Pao Records (Germany)2007 We All Come From Somewhere Else, Rob Mazurek’s Exploding Star, Thrill Jockey (Chicago) 2006 In the Context Of, Mike Reed, 482 Music (Chicago)

2005 Bindu, Hamid Drake’s Bindu, Rogue Art (Paris)2002 47th Street Ghost, David Boykin Expanse, Dreamtime (Chicago)2001 Evidence of Life on Other Planets, David Boykin Outet, Thrill Jockey Records (Chicago)2001 Daniel Givens, Age Ensemble, Aesthetics (Chicago)1996 Samana, Samana, StoryWiz Records (Chicago)

NOTABLE PERFORMANCES 2013 Indigo Trio Guelph Jazz Festival Guelph, Canada Tri-Centric Orchestra Roulette New York Black Earth Ensemble Constellation Chicago Black Earth Strings Studio 914 Chicago Sun Dial Ensemble Angel City Jazz Festival Los Angeles Telematic Virtual Tour UC San Diego San Diego Sun Dial Ensemble World Stage Los Angeles Watershed Estrada Poznan, Poland Watershed Sons d’Hiver Festival Paris Tortoise Sons d’Hiver Festival Paris Sonic Projections Blue Whale Los Angeles 2012 Joelle Leandre/Nicole Mitchell Raymond Strid Banelius Blues Festival Paris Joelle Leandre/Nicole Mitchell Raymond Strid Avaulx Jazz Festival Pantin, France Cornish Jazz Ensemble Cornish College of Music Seattle International Contemporary Ens. Museum of Contemporary Art Chicago Joelle Leandre/Nicole Mitchell Tom Buckner Vision Festival New York Nicole Mitchell/Hamid Drake Peter van Bergen/Wilbert de Joode Bimhuis Amsterdam Black Earth Ensemble Heaven Gallery Chicago Nicole Mitchell Solo The Library Cafe Long Beach, Calif Nicole Mitchell and UCSD Ensemble UC San Diego La Jolla, Calif Nicole Mitchell/Anthony Davis UC San Diego La Jolla, Calif Nicole Mitchell/Anthony Davis UC Irvine Irvine, Calif

2011 Indigo Trio Junas Jazz Festival Junas, France Nicole Mitchell/Joelle Leandre Junas Jazz Festival Junas, France Denis Fournier’s Watershed Junas Jazz Festival Junas, France Indigo Trio Maggio Florientino Florence, Italy Indigo Trio Stockholm Jazz Festival Stockholm Indigo Trio Tel Aviv Jazz Festival Tel Aviv Indigo Trio Percussion Fest Nice, France Nicole Mitchell/Anthony Davis Outpost Alburquerque Chicago Composers Orchestra Garfield Park Conservatory Chicago Steve Coleman’s Five Elements Sons d’Hiver Festival Paris Rob Mazurek’s Skull Sessions SESC Pinheiros Sao Paulo, Brazil Rob Mazurek’s Exploding Star Santa Anna Arressi Jazz Festival Sardinia, Italy

Rob Mazurek’s Starlicker Jazz and Wine Festival Cormons, Italy Inspiralings with Mark Dresser and Michael Dessen UC San Diego La Jolla, Calif Truth or Dare Lucca Jazz Donna Lucca, Italy 2010 Black Earth Ensemble Mito Festival Milan Black Earth Ensemble Estrada Poznan, Poland Nicole Mitchell and an Arche Ensemble Made in Chicago Festival Poznan, Poland Michel Edelin Sons d’Hiver Paris Indigo Trio Atlantique Festival Brest Anthony Braxton 12+1 Vancouver Cultural Olympiad Vancouver Mitchell/Lee/Moore/ Van der Sheff Vancouver Jazz Festival Vancouver Chicago Sinfonietta Chicago Symphony Center Chicago Black Earth Ensemble Hyde Park Jazz Festival Chicago Black Earth Ensemble South Shore Jazz Festival Chicago Black Earth Esnemble Museum of Contemporary Art Chicago Black Earth Orchestra Chicago Jazz Festival Chicago Sonic Projections Chicago Jazz Festival Chicago Black Earth Ensemble Chicago Jazz Festival Chicago Nicole Mitchell/Anthony Davis Chicago Jazz Festival Chicago Indigo Trio Roccella Jazz Festival Roccella, Italy

2009 Black Earth Ensemble Sant’Anna Arresi Festival Sardinia, Italy Roscoe Mitchell’s Cards for Orch Sant’Anna Arresi Festival Sardinia, Italy Indigo Trio Sons d’Hiver Festival Paris Black Earth Strings Chicago Jazz Festival Chicago AACM Great Black Music Ensemble Umbria Jazz Festival Perugia, Italy Joelle Leadre/Nicole Mitchell Paul Plimley/Wayne Horvitz Vancouver Jazz Festival Vancouver Joelle Leandre/Joelle Leandre Dylan van der Sheff Vancouver Jazz Festival Vancouver Dave Douglas Ensemble Banff Centre Canada Black Earth Ensemble Tri-C Jazz Festival Cleveland AACM Great Black Music Ensemble Insolent Noise Jazz Festival Pisa, Italy Nicole Mitchell Solo Flute Insolent Noise Jazz Festival Pisa, Italy Truth or Dare Suoni Del Popolo Festival Montreal Indigo Trio Chateau Palmer Cenon, France Indigo Trio Sunset Club Paris Indigo Trio Theatre de la Presquile Ganville, France Indigo Trio Espace Puzzle Caen, France Indigo Trio Casa del Jazz Rome Indigo Trio Made in Chicago Poznan, Poland

2008 AACM Great Black Music Ensemble Sons d’hiver Festival Paris, France Chicago Sinfonietta Chicago Symphony Center Chicago

Indigo Trio Northeastern University Chicago Indigo Trio Vancouver Cultural Center Canada Indigo Trio Jazz Club Hipnoza Katowice, Poland Indigo Trio Centro Cultural del Matadero Huesca, Spain Indigo Trio Antico Teatro Sociale San Vito, Italy Indigo Trio Cinema-Teatro Torresino Padova Italy Indigo Trio Blue Note Club Milan Indigo Trio Teatro Circo Braga Braga. Portugal Indigo Trio Centro Congressi Artemide Castel San Pietro

Frequency Torun Dwor Artusa Torun, Poland Frequency Wrocaw Firlej Jazz Club Wrocaw, Poland Frequency Alchemia Krakow, Poland George Lewis/Hamid Drake/ Nicole Mitchell Outpost Alburqueque

2007 Indigo Trio Insolent Noise Jazz Festival Pisa, ItalyPaul Plimley/Nicole Mitchell Vancouver Jazz Festival CanadaBlack Earth Ensemble Vision Festival New YorkNicole Mitchell Ice and Crystal Chicago Cultural Center ChicagoMillennium Park ChicagoNicole Mitchell’s Qualities Downtown Sound Gallery ChicagoAnthony Braxton 12+1 Victoriaville Jazz Festival Canada Banilieus Blues Festival ParisRob Mazurek’s Exploding Star Guelph Jazz Festival Guelph, CanadaRob Mazurek’s Exploding Star La Sala de Rosa MontrealFrequency Chicago Jazz Festival ChicagoBlack Earth Orchestra Millennium Park Chicago

2006 Black Earth Ensemble La Labbre Nude Festival Rome Nicole Mitchell’s Harambee Project Made In Chicago Festival Poznan, PolandNicole Mitchell/Fred Lonberg Holm Michael Zerang/Lori Freedman Vancouver Jazz Festival Canada

Indigo Trio Banelius Blues Festival Paris Chicago Jazz Philharmonic Chicago Jazz Festival Chicago Anthony Braxton 12+1 Iridium New York George Lewis Project Community Church of NY New York

Premiere of “Dream Deferred” Ravinia Highland Park, Illinois Chicago Jazz Philharmonic Millennium Park Chicago Nicole Mitchell Trio Chicago Cultural Center ChicagoJoffrey Ballet Auditorium Theater Chicago

David Boykin Expanse WTTW's Centerstage Chicago

2005 Black Earth Ensemble Sons d’Hiver Festival Paris, France Black Earth Ensemble Kerava Jazz Festival Kerava, Finland Black Earth Ensemble Museum of Contemporary Art Chicago George Lewis Quartet Vancouver Jazz Festival Vancouver, Canada Indigo Trio Souni de Popolo Festival Montreal, Canada Indigo Trio Deer Isle Jazz Festival Stonington, Maine Muhal Richard Abrams/ AACM 40th Anniv. Gala

Nicole Mitchell Illinois Inst. of Technology Chicago AACM Large Ensemble Chicago Jazz Festival Chicago Rob Mazurek’s Exploding Star Millennium Park Chicago Chicago Jazz Philharmonic Millennium Park Chicago Nicole Mitchell Trio Vision Festival New York

2004 David Boykin Expanse Chicago Cultural Center Chicago Chicago Jazz Philharmonic Chicago Jazz Festival Chicago Black Earth Trio Museum of Contemporary Art Chicago Nicole Mitchell solo Bar Louie Beriut Black Earth Ensemble Composer Series, HotHouse Chicago Black Earth Ensemble WTTW's Centerstage Chicago

2003 Black Earth Ensemble Nouve Forme Festival Verona, Italy George Lewis and ICI Ensemble Carl-Orff-Saal Gasteig Munich Black Earth Quartet Museum of Contemporary Art Chicago

JAZZ/CREATIVE MUSIC RESIDENCIES AND WORKSHOPS2012 Cornish College of the Arts Rehearsed, performed with and conducted a full program of my compositions for Jazz Ensemble with Cornish College Jazz Ensemble

Banelius Blues Jazz Festival, Paris Gave workshop with semi-professionals and youth on jazz and improvisation.

Vancouver High School Jazz Intensive Residency, Vancouver Jazz Festival Directed a high school jazz big band made of students from throughout British

Columbia. Introduced them to creative improvisation. Arranged charts by student jazz composers for the band. Led students in performance of a diverse program including traditional jazz selections, my compositions, student compositions and music by AACM composers.

California Institute of the Arts Did a week-long residency with students in composition, free improvisation, and flute. Rehearsed and conducted large ensemble in conducted improvisation.

University of California, San Diego Did a three day residency including a composition workshop and rehearsal and conducting a creative music ensemble in a full length concert of my compositions including “Arc of O.”

2011 Maggio Florientino, Florence, Italy Composed, arranged and directed a full length concert of music featuring Indigo Trio and the Maggio Florientino Chamber Orchestra. Included special guests: Michael Blake (reeds), Pasquale Mirra (vibes), Renee Baker (violin) Vancouver High School Jazz Intensive Residency, Vancouver Jazz Festival See description for 2012

California Institute of the Arts Workshop on composition for creative music ensembles, focusing on my approach to composition “Xenogenesis Suite.”

2010 Chicago Jazz Festival, Artist in Residence Commissioned to compose, rehearse and perform four concerts of music including: “Arc of O,” with Black Earth Orchestra, duets with pianist Anthony Davis, “Emerald Hills Suite” with Sonic Projections, and “Mother Nature Suite,” with Black Earth Ensemble and harpist Edmar Casteneda.

Arc of O with the An Arche Ensemble, Poznan, Poland Rearranged Arc of O for Chamber Orchestra, improvisers and electronics. Rehearsed and performed a full-length concert with An Arche Ensemble and soloists: David Boykin reeds, Mwata Bowden reeds and Renee Baker violin

Vancouver High School Jazz Intensive Residency, Vancouver Jazz Festival See description for 2012

Sherwood Conservatory Taught a class in jazz and creative improvisation and directed creative flute choir featur-

ing my compositions.

2009 Banff Workshop for Jazz/Creative Music Served on jazz faculty, leading workshops in improvisation and composition for a week-

long international jazz camp.

Oberlin College, Oberlin, Ohio Performed and led workshop with Black Earth Ensemble and jazz students of Oberlin

Conservatory.

Vancouver Creative Music Institute, Vancouver Jazz Festival Taught creative improvisation, composition and led large ensemble of semi-professional musicians from throughout Europe, Canada and U.S.


University of New Mexico, Composer Symposium, Albuquerque Gave presentation on my compositional approaches and workshop with student composers.

California State University Fullerton (CSUF), New Music Festival Rehearsed and presented “Qualities of My Father,” with the CSUF Chamber Ensemble,

“Waterdance” with a chamber trio and a full program of my big band compositions with the CSUF Jazz Band.

University of Kentucky Gave a workshop of extensive techniques and vocalising with the flute for flute students

at the University of Kentucky.

Sherwood Conservatory See description for 2010

2008 Howard University, Washington D.C. Led a flute/composer residency with the flute students and alumni of Howard University. Rehearsed and performed several of my works for flute choir.

Carthage College, Wisconsin Guest Artist with Jazz Ensemble. Workshop in creative music and soloed with ensemble in a concert featuring my compositions for large ensemble.

Dartmouth College, Dartmouth Guest artist and conductor with Jazz Ensemble, presenting a full-length concert of my

compositions for big band.

Amherst College Conducted workshop on free improvisation with guitarist Jeff Parker

Sherwood Conservatory See description for 2010


2007 Banelieus Blues Residency, Paris Led a composer residency with forty-piece ensemble of Parisian musicians. Rehearsed and performed several of my works for large ensemble and led youth workshops with non-musicians.


AACM Great Black Music Ensemble, Chicago Rehearsed and directed AACM Great Black Music Ensemble in a premiere of new work Episodes for Creative Ensemble (Mitchell) featuring alto-saxophonist Matana Roberts at the Velvet Lounge, Chicago

Flute Institute, Sherwood Conservatory, Chicago Taught a class in jazz and creative improvisation and directed creative flute choir featur ing my compositions.

2006 University of Michigan: Ann Arbor Rehearsed and directed student creative music ensemble in a program featuring my compositions. Led performance at Kerrytown Concert House, Ann Arbor.

Guelph Jazz Festival, Canada Jazz in the Schools Program, Conducted workshops on jazz and creative music to seven high school concert and jazz bands.

Guelph University, Canada conducted improvisation and creative music workshop with creative music

ensemble.


Flute Institute, Sherwood Conservatory, Chicago Taught a class in jazz and creative improvisation and directed creative flute choir featuring my compositions.

2005 Vancouver Creative Music Institute, Vancouver, Canada Taught creative improvisation, composition and led large ensemble of semi-professional musicians from throughout Europe, Canada and U.S.

Flute Institute, Sherwood Conservatory, Chicago Taught a class in jazz and creative improvisation and directed creative flute choir featuring my compositions. Assisted in critique of students performing classical flute repertoire.

Haystack Mountain School of Crafts, Maine Led music workshops to visual artists of all levels, helping them to translate their

visual art skills to music performance.

ORCHESTRAL FLUTIST/PICCOLOIST 2005-2011 Chicago Sinfonietta, conductors Paul Freeman, Mae Ann Chen, Leslie Dunner 2005-2010 Joffrey Ballet, conductor Leslie Dunner2010 Tri-Axium Orchestra, conductor/composer Anthony Braxton2004 Harold in Chicago, an Opera composed and conducted by Ed Wilkerson Jr. 2004-2011 Chicago Jazz Philharmonic, conductor/composer Orbert Davis) 2001-2006 New Black Repertory Ensemble, Columbia College 1998 Northern Illinois University Philharmonic (student ensemble) 1997-98 University of Chicago Chamber Orchestra (student ensemble) ORCHESTRA/LARGE ENSEMBLE SOLOIST2011 Chicago Composers Orchestra (Conductor Nicole Mitchell: Flight for Freedom for Creative Flute and Orchestra Chicago Sinfonietta (Conductor Renee Baker) Renee Baker: Divertimento Notte Blu 2008 Carthage College Jazz Ensemble (Director David Ness)2007 Chicago Jazz Philharmonic Orbert Davis: Seraphim, 1000 Questions2006 Chicago Jazz Philharmonic Orbert Davis: Seraphim, 1000 Questions 2006 University of Chicago Jazz X-tet Nicole Mitchell: Cause and Effect2005 New Black Repertory Ensemble A program of works for flute and tape by Ed Bland

2005 Chicago Jazz Philharmonic Orbert Davis: Collective Creativity Suite2004 CUBE Ensemble (composer Janice Misurell-Mitchell)2003 ICI Ensemble, Munich Germany (conductor/composer George Lewis)2001 New Black Repertory Ensemble (conductor/composer Coleridge T. Perkinson)1998 University of Chicago Chamber Orchestra Mozart: Concerto in D major for flute and orchestra

EDUCATIONAL PERFORMANCES2007 EISMA-Black Earth Strings Black Earth Strings performed interactive music programs to over 23 schools

throughout the Evanston school district.2006 Music Alive-Black Earth Ensemble

Black Earth Ensemble performed interactive music programs to over ten schools through the Chicagoland area supported by Music Alive.

2005 EISMA-Black Earth EnsembleBlack Earth Ensemble performed interactive music programs to over 23 schools throughout the Evanston school district.

LECTURES/PANEL DISCUSSIONS 2009 Keynote Speaker “Improvisation, Law and Justice” Conference, Montreal, Canada “Art As Social Discourse: Xenogenesis Suite,” Crossings: Jazzin’ the Cultural Fields, Paris, France “Creative Improvisation and Composition,” Jazz and Creative Music Workshop, Banff, Canada

“The AACM: It’s Role in Chicago and the Musical World” MLA Conference, Chicago.

“The Future of Jazz,” NEA Jazz Panel, Schomburg Center for Research in Black Culture, Harlem

“Black Music and Social Empowerment,” Tufts Univ. Emerging Black Leaders Symposium, Boston2008 “The AACM: A Power Stronger Than Itself,” The Kitchen, New York; Chicago Cultural Center, 2005 “AACM and Music Actuelle,” Guelph Jazz Festival Colloquium, Guelph, Canada

TEACHING 2011-present University of California, Irvine Professor of Music (2013), Integrated Composition, Improvisation and Technology (ICIT). Teaching classes in creative practices, composition, improvisation, the AACM and creative music collectives, jazz history. Range of teaching includes graduates students of ICIT program and non-specialized under graduates.2006-2011 University of Illinois, Chicago Visiting Professor. Taught jazz history (150-200 undergraduate non-music majors), jazz ensemble director.2009-2011 Chicago High School for the Arts Jazz teacher for advanced jazz combo.2006-2009 Wheaton College Adjunct Professor. Jazz ensemble director (music majors and non-majors).

Spring 2006 Northern Illinois University (filled in for professor on sabbatical) Adjunct Professor. Taught jazz history (graduate level course).2001-2007 Northeastern Illinois University at Center for Inner City Studies Adjunct Professor. Taught music fundamentals, jazz history (15-30 undergraduate non- music majors).2001-2006 Chicago State University Adjunct Professor. Taught flute, music theory I and II to undergraduate music majors.

ADDITIONAL EDUCATIONAL WORK1999-2010 Teaching Artist, Ravinia Festival Organization Performed over a dozen fifteen-week arts integration residencies at high-risk Chicago Public Elementary Schools in partnership with classroom teachers supported by Ravinia Festival Organization. Enhanced school curriculum, and helped to increase the self- esteem of youth through engaging children in singing, songwriting, percussion, and drama.

2004-2006 Education and Community Coordinator, Jazz Institute of Chicago * Facilitated in the development of the Jazz Links program for young musicians * Coordinated community jazz concerts in different parks throughout the city of Chicago * Contributed to layout/design of JazzGram newsletter * Wrote press releases for upcoming events

2000-2001 Teaching Artist, Dusable Museum Worked as a visiting artist in Wendall Smith Elementary School for an eight week residency, enhancing school curriculum and increasing the self-esteem of youth through music. 1995-present Private Flute Instructor

ORGANIZATION MEMBERSHIP/VOLUNTEER ADMINISTRATIVE WORK2010-present Tricentric Foundation, board member2006-present International Society of Improvising Musicians (ISIM), general member2006-2007 National Academy of Recording Arts and Sciences (NARAS), board member1995-present Association for the Advancement of Creative Musicians (AACM) * President 2009-2011, Co-President 2006-2009, Vice President 2004-2006

* Helped to organize AACM 40th and 45th Anniversary Celebrations* Facilitated three year partnership with Sons d’Hiver Festival and AACM* Co-curated AACM concerts at Sons d’Hiver Festival 2006-2008* Acquired grants repetitively from the Oak Foundation, MacArthur, Illinois Arts Council, City Arts* Facilitated the expansion and retention of new members* Did committee work to organize the AACM 40th Anniversary Gala* Co-founded the Chicago Creative Music Institute (partnering with the Chicago Jazz Festival in 2009) and the AACM Creative Music Workshop (partnering with University of Illinois, Chicago, 2010). A series of workshops on creative approaches to composition and improvisation which featured faculty including Roscoe Mitchell (Mills College), William Parker (bassist/composer, New York), Ellen Waterman (University of Guelph) and others.* Spearheaded and organized fundraising and publicizing efforts for Fred Anderson’s

Velvet Lounge relocation* Facilitated permanent residence of AACM Music School at Chicago State University* Facilitated partnership between AACM Music School and the Chicago Park District* Taught ensembles, flute and music theory at AACM Music School (1996-2002)

2007-present Jazz Institute of Chicago, board member, education committee (2007-2011), general member (2011-present)2005-present Chamber Music America, ensemble member2000-present ASCAP, composer/publisher member

Kojiro UmezakiAssistant Professor of Music, Integrated Composition, Improvisation, and Technology area (ICIT)Department of Music, Claire Trevor School of the Arts, University of California, Irvine303 Music and Media Building, University of California, Irvine, Irvine, CA 92697-2775

Email : [email protected] : +1 (347) 393-9309Web: kojiroumezaki.com

Research Areas

shakuhachi performancemusic production and compositioncross-cultural musicreactive/interactive realtime music systemsmobile music systems

Education

A.M. Electro-acoustic Music, Dartmouth College, 1993Thesis work in composition for shakuhachi and interactive music system. Committee members: Kathryn Alexander(chair), Jon Appleton, Charles Dodge.

B.S. Computer Science, Lafayette College, 1990Minor in music with a concentration in composition of electronic music.

Teaching Positions and Courses Taught

Assistant Professor of Music, University of California, Irvine, 2008-presentCore faculty member of the Integrated Composition, Improvisation, and Composition (ICIT) M.F.A. track.Undergraduate courses: Music Technology and Computers, Computer Music Programming, Silk Road Music.Graduate Courses: Seminar in Creative Practices, Seminar in Non-Western Improvisation, Interactive ArtsProgramming.

Instructor, McGill University, 2000-2007Undergraduate courses: Fundamentals of New Media, Introduction to Digital Audio. Graduate courses: InteractiveMusic Systems.

Visiting Instructor, Dartmouth College, Spring 1997 and Winter 1998Undergraduate course: Introduction to the Composition of Electro-acoustic Music.

Visiting Instructor, Lafayette College, Spring 1996Undergraduate courses: Composition Using Electronic Media, Composing with Digital Audio.

Assistant, Kunitachi College of Music, 1993-1994Instructed required composition course in computer music to undergraduate composition majors at the Center forComputer Music and Music Technology (CCMMT).

Co-instructor, Lafayette College, Winter Session 1991Undergraduate introductory jazz experience course.Kojiro Umezaki CV 1

Recordings (Solo/Co-leader)

Beat Infraction. Beat in Fractions. Healthy Boys, 2007. HBCD017. Shakuhachi, electronics.

Extraditional: New Pieces for the Shakuhachi. Healthy Boys, 1999. HBCD000. Shakuhachi, guitar, electronics,vibraphone.

Recordings (Performer/Composer)

A Playlist Without Borders. The Silk Road Ensemble w/ Yo-Yo Ma. Sony Masterworks, September 24, 2013.Shakuhachi;; Ensemble Representative (4-person Team).

Live From Tanglewood. The Silk Road Ensemble w/ Yo-Yo Ma. Sony Masterworks, September 24, 2013.Shakuhachi. DVD. Morgan Neville, Director. 105 minutes.

Electroacoustic Music. Jon Appleton. Rattmuntcho matta, 2010. Shakuhachi.

Lullabies & Protest Songs, Vol. 1. Ted Coffey. Everglade Records, 2010. Shakuhachi.

Dominant Curve. Brooklyn Rider. In a Circle Records, 2010. Shakuhachi/composer.

Off the Map. The Silk Road Ensemble. World Village, 2009. 468095. Shakuhachi.

Songs of Joy and Peace. Yo-Yo Ma and Friends. Sony BMG, 2008. B001BN1V8U. Shakuhachi.

New Impossibilities. The Silk Road Ensemble with the Chicago Symphony Orchestra. Sony BMG, 2007.B000RIWAYE. Shakuhachi.

Appassionato. Yo-Yo Ma. Sony BMG, 2007. B000KWZ7DS. Shakuhachi.

Scenes of Spirits. The Graham Ashton Brass Ensemble. Signum Classics, 2007. Shakuhachi.

Gush 3. Various Artists. Mahriz Mehr Publications, 2007. Shakuhachi.

Silk Road Journeys: Beyond the Horizon. The Silk Road Ensemble. Sony BMG, 2005. B0007TFHEI. Shakuhachi.

The Silk Road: A Musical Caravan. Various Artists. Smithsonian/Folkways, 2002. B000063NDQ. Shakuhachi.

The East Infection. Ramasutra (a.k.a. Dj Ram). Tox Records, 1999. TOX3032. Shakuhachi.

Recordings (Producer/Co-producer/Other)

Ancestors Call. Huun Huur Tu. World Village, 2010. Music producer/co-producer.

Eternal. Huun Huur Tu. Electrofone Music, 2009. B002HFMWDE. Music consultant.

Crossroads Exchanges. Various Artists. The Silk Road Project, 2007. Co-producer.

Kojiro Umezaki CV 2

Les Noces. The Dmitri Pokrovsky Ensemble. Wea/Atlantic/Nonesuch, 1994. #79335. Assistant engineer.

Select Original Works (Commissioned)

Side In Side Out for the Silk Road Ensemble and electronics. (2012-3)Commissioned by the Silk Road Project. Workshop performance at Harvard University (January 23, 2012).Premiered at the Sanders Theatre, Harvard University and programmed on Spring 2013 Silk Road Ensemble U.S.tour.

For Zero for percussion, electronics, and mobile devices (optional). (2010)Commissioned by Joseph Gramley. Premiered at the Bruno Walter Studio, Julliard Summer Percussion Seminar,Julliard School of Music (July 26, 2010).

(Cycles) America for percussion and fixed sound. (2009)Commissioned by Joseph Gramley. Premiered at the University of Michigan.

(Cycles) what falls must rise for shakuhachi, string quartet, realtime processing, and fixed sound. (2009)Commissioned by Dartmouth College and the Hopkins Center. Premiered at the Dartmouth College with BrooklynRider.

Select Original Works (Shakuhachi/Electronics/Other)

Tsuru no Ongaeshi for narrator, shakuhachi, cello and percussion (2013).Premiered at Sanders Theater, Harvard University, March 12, 2013.

“...seasons continue, as if none of this ever happened...” for shakuhachi and electronics (2011).Premiered at Michael Schimmel Center for the Arts, River To River Festival, New York City, July 12, 2011.

Altær for shakuhachi, realtime processing, and fixed sound (1993, 2008).Performances at the International Computer Music Conference '09 (McGill University, selected by jury), University ofRichmond, and premiered at UC Irvine.

108 for shakuhachi and interactive music system (1992, 2006-7).Performances at the Art Institute of Chicago, University of Virginia, Columbia Museum of Art, Museum RietbergZurich, American Museum of Natural History.

Aldo, Bleu, Ciel Veut, GoAheadRich, IntroPrayer, JazRab, Kooks-EarChanges, LadySmooth, Magma,

OK2DOSO, Orange, PerfectMoment, Questlaw, RudeGroove, Shwouingue, TakeItEasy, Tapis, $5.75 forshakuhachi, electronics, double-bass, percussion/drums (2004-7). Co-composer in Beat in Fractions.

La 3ième Langue for shakuhachi and fixed sound (1998).

Select Original Works (Mixed Media)

Blue and White for the Silk Road Ensemble, narration, and video (2007). Co-composer and co-writer.Premiered at the Art Institute of Chicago. Performed at the Museum Rietberg Zurich.

Manas for the Silk Road Ensemble, narration, and video (2004). Video and co-director.Premiered at The British Library.

Kojiro Umezaki CV 3

Journey to the South for the Silk Road Ensemble, narration, and video (2004). Co-writer and co-director.Premiered at The Peabody-Essex Museum.

Film Projects

Extraditional. Ken J. Sackheim, Director (2001). Composer.

Wallace's Line. Ken J. Sackheim, Director (1997). Music director.

A Dog Race in Alaska. Bart Freundlich, Director (1993). Sound designer.

Select Performances as Featured Artist (Solo and Collaborative)

Carlsbad Village Theater, Carlsbad, CA. Carlsbad Music Festival - "Wu Man and Friends." With Wu Man, MarkDresser, Kjell Nordeson. (9/22/12).The San Diego Museum of Art, James S. Copley Auditorium. Art of Élan - "Liánjie 連結". (3/27/12).UC Irvine, Irvine Barclay Theatre. With Maggie Parkins and UCI Symphony Orchestra. (3/15-16/12).UC Irvine, Smith Hall. Gassman Electronic Music Series, "Computer-Mediated: New works for computer-mediatedinstruments". With Chris Dobrian, Kei Akagi, Michael Dessen, Chris Lavender. (2/16/12).Pan-Asian Music Festival, Stanford University. With Faraz Minooei, Jin Hi Kim, Wang Fei /Xie Xiaoze. (2/10/12).Elsie Mitchell Memorial Service, Mt. Auburn Cemetery, Cambridge, MA. Private event. (12/3/11)Rubin Museum, New York City. With Shane Shanahan. (10/07/11).Merkin Hall, New York City (9/11/11).Lensic Theater, Santa Fe, NM (7/6/11).Museum on International Folk Art, Santa Fe, NM (7/3/11).Winifred Smith Hall, UC Irvine (10/10/10).Winifred Smith Hall, UC Irvine (10/9/10).Silk Road Project, Harvard University (9/10/10).Bruno Walter Studio, Julliard Summer Percussion Seminar, Julliard School of Music (7/26/10).Make Music New York Festival, 14th Street and 9th Avenue Pedestrian Oasis, New York City. Performance of"Mobile In C". 2 shows. With Chris Lavender. (6/21/10).Bowers Museum, Santa Ana, CA (5/15/10).Winifred Smith Hall, UC Irvine (5/8/10). "Silk Dragons" featuring Darryl Taylor. Alan Terriciano, composer.Shakuhachi and furuhachi.Bowers Museum, Santa Ana, CA (5/2/10). Cherry Blossom Festival. Performance of traditional works. With FarazMinooei.Drom, New York City (3/19/10).Irvine Barclay Theatre, UC Irvine (3/5/10).American Museum of Natural History, New York City (1/3/10).American Museum of Natural History, New York City (11/15/09). 3 shows. With Shane Shanahan.International Computer Music Conference. Montreal, Canada. (August 2009)WKCR. New York, NY, USA. (December 2008)United Nations Chapel. New York, NY, USA. (December 2008)New York University w/ Colin and Eric Jacobsen. New York, NY, USA. (December 2008)University of Richmond. Richmond, VA, USA. (November 2008)University of California, Irvine. Irvine, CA, USA. (October 2008)Weill Recital Hall w/ The Academy. New York, NY, USA. (February 2008)Skidmore College w/ The Academy. Saratoga Springs, NY, USA. (February 2008)The Greenwich Village Orchestra. New York, NY, USA. (November 2007)Columbia Museum of Art. Columbia, SC, USA. (April 2007)

Kojiro Umezaki CV 4

University of Virginia. Charlottesville, VA , USA. (February 2007)Makor / Steinhardt Center. New York, NY, USA. (March 2006)Japan Society. New York, NY, USA. (May 2003)Installation w/ Berrisford Boothe. African American Museum. Philadelphia, PA, USA. (September 2000)Interview. CNN Asia Network. Tokyo, Japan. (November 1999)International Computer Music Conference. Beijing, China. (October 1999)New Cinema New Media Festival. Montréal, Québec, Canada. (October 1999)SEAMUS Conference. Dartmouth College. Hanover, NH, USA. (April 1998)Second International Festival of Electro-acoustic Music. The College of Santa Fe. Santa Fe, NM, USA. (April1998)Seventh International Festival of Electroacoustic Music. Havana, Cuba. (February 1998)3rd Biennial São Paulo International Festival of Architecture. São Paulo, Brazil. (November 1997)International Computer Music Conference. Banff, Alberta, Canada. (September 1995)São Paulo SESC Concert Series. São Paulo, Brazil. (August 1995)Second Computer Music Conference. Rio Grande do Sul, Brazil. (August 1995)Alternativa Festival. Moscow, Russia. (May 1995)Dark Music Days Festival. Reykjavik, Iceland. (February 1995)Vermont Public Radio. Windsor, Vermont, USA. (December 1994)Kunitachi College of Music. Tokyo, Japan. (September 1994)Televised and live performances. Moscow, Russia. (September 1993)

Select Performances with The Silk Road Ensemble

Farkas Hall, Harvard University. (8/7/13)Schermerhorn Symphony Center, Nashville, TN. (3/23/13)Newlin Hall, Norton Center for the Arts, Danville, KY. (3/21/13)EKU Center for the Arts, Eastern Kentucky University, Richmond, KY. (3/20/13)Indiana University Auditorium, University of Indiana, Bloomington, IN. (3/18/13)Hill Auditorium, University of Michigan, Ann Arbor, MI. (3/16/13)EJ Thomas Hall, University of Akron, Akron, OH. (3/14/13)Sanders Theatre, Harvard University. (3/12/13)Sentry Theater, Stevens Point, WI. (10/18/12)Orchestra Hall, Symphony Center, Chicago, IL. (10/13/12)Janikies Theater, Bryant University, RI. (10/9/12)Zeiterion Performing Arts Center, New Bedford, MA. (10/7/12)Matthews Theatre, McCarter Center, Princeton, NJ. (10/5/12)New World Center, Miami Beach, FL. (10/3/12)Memorial Hall, University of North Carolina, Chapel Hill, NC. (9/30/12 & 10/1/12)Farkas Hall, Harvard University. (7/27/12)Ozawa Hall, Tanglewood Music Center, Lenox, MA (6/22/12 & 6/24/12)Seoul Arts Center, Seoul, South Korea. (3/12/12)National Centre for the Performing Arts, Beijing, China. (3/10/12)Xi'an Concert Hall, Xi'an, China. (3/9/12)Shanghai Grand Theater Performing Arts Center, Shanghai, China. (3/7/12)Hangzhou Grand Theater, Hangzhou, China. (3/6/12)Guangzhou Opera House, Guangzhou, China. (3/4/12)City Hall Concert Hall, Hong Kong. (3/3/12)Kirkland House, Harvard University. (1/23/12)globalFEST 2012, Webster Hall, New York City. (1/8/12)WNYC Soundcheck w/ John Schaefer. (1/6/12)

Kojiro Umezaki CV 5

Sir Bani Yas Forum 2011, Qasr Al Sarab Resort, UAE. (11/19/11)New College Theatre, Harvard University (09/27/11)International Festival of Arts & Ideas, New Haven, CT (06/11/11)Summer Stage - Central Park, New York City (06/07/11)New Jersey Performing Arts Center, Newark, NJ (06/04/11)Orpheum Theatre, Vancouver (04/10/11)Mondavi Center, Jackson Hall, Davis (04/08/11)Davies Symphony Hall, San Francisco (04/07/11)Zellerbach Hall, Berkeley (04/06/11)Walt Disney Concert Hall, Los Angeles (04/04/11)Wortham Theater Center, Houston (04/02/11)Majestic Theater, San Antonio (03/31/11)Morton H. Meyerson Symphony Center, Dallas (03/30/11)Bass Concert Hall, Austin (03/28/11)Sanders Theatre, Harvard University, Cambridge (03/27/11)Overture Center for the Arts, Madison, WI (08/22/10)Ravinia Festival, Ravinia Pavilion, Highland Park, IL (08/20/10)Pabst Theater, Milwaukee, WI (08/19/10)Memorial Auditorium, UNC Chapel Hill, Chapel Hill, NC (08/17/10)Orchestra Hall, Detroit, MI (08/15/10)Blossom Music Center, Cleveland, OH (08/14/10)CMAC Performing Arts Center, Rochester, NY (08/12/10)Mann Center for the Performing Arts, Philadelphia, PA (08/11/10)Zeiterion Theatre, New Bedford, MA (08/09/10)Tanglewood Music Center, Lenox, MA (08/08/10)Esplanade Concert Hall, Singapore (04/30/10)Esplanade Concert Hall, Singapore (04/29/10)Thailand Cultural Centre, Bangkok, Thailand (04/27/10)Jhihde Theatre, Kaohsiung, Taiwan (04/25/10)Taichung Fulfillment Amphitheatre, Taichung, Taiwan (04/24/10)Taipei National Concert Hall, Taipei, Taiwan (04/22/10)Macao Cultural Centre, Macao (04/20/10)Seoul Arts Center, Seoul, South Korea (04/18/10)Special Exhibition, "Traveling the Silk Road," American Museum of Natural History (01/10/10)Memorial Church, Harvard University, Cambridge, MA (10/22/09)Bucharest National Opera House (George Enescu International Festival), Bucharest, Romania (09/19/09)KKL Luzern (Lucerne Festival), Lucerne, Switzerland (09/17/09)Kölner Philharmonie, Cologne, Germany (09/15/09)Centre for Fine Arts, Brussels, Belgium (09/14/09)Vlaamse Opera (Flanders Festival International Ghent), Belgium, Ghent (09/13/09)Royal Albert Hall (BBC Proms), United Kingdom, London (09/11/09)Damrosch Park, Lincoln Center, New York City (06/09/09)Alice Tully Hall (Great Performers Series Concerts), Lincoln Center, New York City (06/05-06/09)Roy Thomson Hall, Toronto, Ontario, Canada (03/19-20/09)Orchestra Hall, Minneapolis, MN (03/16-17/09)Hill Auditorium, Ann Arbor, MI (03/13-14/09)Strathmore Hall, North Bethesda, MA (03/11/09)Symphony Hall (Celebrity Series of Boston), Boston, MA (03/08-09/09)Providence Performing Arts Center (FirstWorks), Providence, RI (03/06/09)Museum of Islamic Art, Doha, Qatar (11/22-23/08)

Kojiro Umezaki CV 6

United Nations (United Nations Day), New York City (10/24/08)

2008 Japan tour: Matsumoto, Nagoya, Tokyo, Osaka, Okayama, Kumamoto2007 China tour: Shanghai, Suzhou, Hong Kong, Beijing2007 Special Olympics Opening Ceremonies, Shanghai China2007 Europe tour: Académie musicale de Villecroze, Lucerne Festival, Museum Rietberg Zurich2006-7 Silk Road Chicago Season: Symphony Hall, Millennium Park, Art Institute of Chicago, University of Chicago,Northwestern University2007 U.S. West Coast tour: Santa Barbara, Seattle, Berkeley2006 Middle-East tour: Baku, Azerbaijan and Tel Aviv Israel

Other select engagements (August 2001 to present):

Sidney Harmon Hall, Washington, D.C.Augusta State University, Augusta, GARubin Museum, New York, NYHarvard University , Cambridge, MAKyushu National Museum, Dazaifu, Fukuoka-ken, JapanNara National Museum, Nara, JapanWorld Exposition, Aichi Prefecture, JapanRhode Island School of Design, Providence, RI, USATanglewood, Lennox, MA, USAEsplanade Concert Hall, Singapore, Republic of SingaporePeabody-Essex Museum, Salem, MA USARoy Thomson Hall, Toronto, Ontario, CanadaRoyal Ontario Museum, Toronto, Ontario, CanadaSmithsonian Folk Life Festival, Washington, D.C., USASuntory Hall, Tokyo, JapanBenaroya Hall, Seattle, WA, USACarnegie Hall, New York, NY, USAUniversity of California Berkeley, Berkeley, CA, USATED Conference, Monterey, CA, USASchleswig-Holstein Music Festival, Schleswig-Holstein, Germany

Select Performances with Brooklyn Rider

Jifukuji, Kesennuma, Miyagi, Japan. (11/26/11)@btf Gallery, Tokyo, Japan. (11/25/11)Williams Center for the Arts, Lafayette College, Easton, PA (09/20/11)Michael Schimmel Center for the Arts, River to River Festival, New York City (07/12/11)Laguna Playhouse, Laguna Beach Music Festival, Laguna Beach, CA (02/10/11)Washington Historic Courthouse, Stillwater Music Festival, Stillwater, MN (08/27/10)Southern Theater, Minneapolis, MN (08/24/10)Angel Orensanz Foundation, New York City. CD release show for Dominant Curve. (03/15/10)The Andaluz Hotel, Albuquerque, NM (02/12/10)The Loft, UC San Diego, La Jolla, CA (02/11/10)Irvine Barclay Theatre, UC Irvine, Irvine, CA (02/10/10)NUBLU, New York City (11/15/09)Swasey Chapel, Denison University. (New Music Festival). (3/28/09)Rollins Chapel, Dartmouth College. (2/21/09)

Kojiro Umezaki CV 7

Select Performances with Beat in Fractions

2007Pop!. Montreal.

2006La Kémia. Montreal. (4 engagements)Le Pharaon Lounge. Montreal.Le Be-bop. Montreal.Le Quai des Brumes. Montreal. (2 engagements)

2005Cafe Campus. l'OFF festival de jazz de Montréal benefit. Montreal.House of Jazz. Le Festival des Rythmes du Monde. Montreal.Le Quai des Brumes. l'OFF festival de jazz de Montréal. Montreal.Suoni per il Popolo: Popolo dans le Parc. Montreal.Le Divan Orange. Montreal.The Peabody-Essex Museum. Salem, Massachusetts.

2004Le St-Ciboire. Montreal.NYKS. Montreal. (2 engagements)Le Cheval Blanc. Montreal.Le Quai des Brumes. Montreal.The Peabody-Essex Museum. The Silk Road Project museum residency. Salem, Massachusetts.

Select Awards/Nominations

2011 Grammy Awards. Silk Road Ensemble album Off the Map nominated in Classical Crossover category.Designated as sole representative for ensemble at Feb 13, 2011 awards ceremony.

2010 Grammy Awards. Yo-Yo Ma and Friends album Songs of Joy & Peace recipient of Classical Crossovercategory. Recorded one track as member of Silk Road Ensemble on CD. Recorded solo track for website-onlydownload.

Select Grants

The Silk Road Project, Inc. Rivers Project grant for development of new work. PI(100%). $2000. (7/19/12).

Meet the Composer. MetLife Creative Connections. PI(100%). $500. (2/6/11-2/13/11)

Select Grants, Internal (UC Irvine)

CTSA Faculty Travel and Research Grant. PI (100%). $392. (9/16/12-9/15/13)CTSA Faculty Travel and Research Grant. PI (100%). $837. (9/16/11-9/15/12)CORCL Special Research Grant Application. PI (100%). $3450. (9/1/09-12/31/10)CTSA Faculty Travel and Research Grant. PI (100%). $1275. (9/16/08-9/15/09)

Published Writings

Kojiro Umezaki CV 8

“Approaches to Collaboration in a Digital Music Ensemble,” Proceedings of the 12th International Conference onNew Interfaces for Musical Expression (NIME), University of Michigan, May 21-23, 2012.

“The MInC Player Management System,” Proceedings of Symposium on Laptop Ensembles and Orchestras(SLEO) 2012, Louisiana State University, April 15-17, 2012.

“Bringing Silk Road Music to Japan,” Calliope, Cobblestone, Peterborough, NH, 2007.

“New control technologies for virtual orchestra playback,” Proceedings of Joint Meeting: 140th Meeting ofAcoustical Society of America and NOISE-CON 2000, Newport Beach, California, Dec. 3-8, 2000.

“The future role of Japanese musicians and composers in music-technology,” Proceedings of the InternationalComputer Music Association, San Jose, California, Oct. 14-18, 1992.

Conferences, Panels, Residencies, and Invited Presentations (2009-present)

Harvard University, Graduate School of Education. Faculty, "The Arts and Passion-Driven Learning" professionaleducation summer institute. (8/6-9/13)

President's Committee on the Arts and the Humanities Annual Turnaround Arts Conference, Wye Conference Center,MD w/ Shane Shanahan and Cristina Pato. (6/23-24/13)

Danville High School, Danville, KY, "Music Along the Silk Road" students program. Audience: 300 middle and highschool students. Presenter in a non-lead role. (3/21/13)

Indiana University, Auer Hall, "Creating a Life in Music" w/ university students and open to the public. Presenter in anon-lead role. (3/18/13)

University of Akron, EJ Thomas Hall, "Music Along the Silk Road" students program. Audience: 400 middle and highschool students. Presenter in a non-lead role. (3/14/13)

Harvard University, "Mahindra Humanities Center Symposium on Cultural Citizenship." Yo-Yo Ma, Homi Bhabha,Diana Sorensen, moderators. Performances of two musical works with the Silk Road Ensemble. (3/9/13)

Pace Gallery, New York City w/ Chuck Close, Shane Shanahan, and Cristina Pato. President's Committee on theArts and the Humanities, Turnaround Arts initiative. (12/17/12)

Lame Deer School, Northern Cheyenne Reservation, Montana w/ Damian Woetzel, Shane Shanahan, and CristinaPato. President's Committee on the Arts and the Humanities, Turnaround Arts initiative. (10/22-23/12)

Sentry Theater, Stevens Point, WI. Silk Road Ensemble "Music Along The Silk Road" students program. Co-leaderw/ Sandeep Das. (10/16/12)

University of Wisconsin-Stevens Point, "Improvisation" w/ university music students. Coaching in a non-lead role.(10/16/12)

University of Wisconsin-Stevens Point, "New Music Side-by-Side" w/ university music students. Coaching for windplayers in a non-lead role. (10/15/12)

Kojiro Umezaki CV 9

University of Wisconsin-Stevens Point, Michelson Hall, Stevens Point, WI. Silk Road Ensemble "Music Along TheSilk Road" students program. Co-leader w/ Sandeep Das. (10/15/12)

Chicago Civic Orchestra, "New Music Side-by-Side" w/ orchestra members. Coaching for wind players in a non-leadrole. (10/12/12)

Chicago Civic Orchestra, "Making a Life with Music" w/ orchestra members. Non-lead role. (10/11/12)

Princeton University, "New Music Side-by-Side" w/ university music students. Coaching for wind players. Non-leadrole. (10/4/12)

University of North Carolina, Chapel Hill, NC. "Music & Culture" freshmen seminar. Professor Emil Kang, instructor.Co-leader w/ Wu Man and Eric Jacobsen. (9/27/12)

Harvard University, Graduate School of Education. Faculty, "The Arts and Passion-Driven Learning" professionaleducation summer institute. (7/27-29/12)

University of Michigan, 12th International Conference on New Interfaces for Musical Expression (NIME) 2012.Co-author for Ian Hattwick poster session "Approaches to Collaboration in a Digital Music Ensemble". (5/21-23/12)

MIT Media Lab. Guest presenter, "The Itinerant Musician: Mobile Music and the Shakuhachi." (4/30/12)

Louisiana State University, Symposium on Laptop Ensembles and Orchestras (SLEO) 2012. Approved posterpresentation (w/ Chris Lavender), published in proceedings, and "Mobile In C" YouTube clip added to LSU SLEOvideo archive. (4/15-17/12)

Stanford University, Pan-Asian Music Festival. Panel member, "From the Silk Road to Today’s World of Music."(2/11/12)

Stanford University. 2012 National Consortium for Teaching about Asia (NCTA) East Asia Seminar for the StanfordProgram on International and Cross-Cultural Education (SPICE). Presentation on “Silk Road Music” w/ FarazMinooei. (2/10/12)

Harvard University, January term residency, "Keeping the Score." (1/15/12-1/24/12)

The American School in Japan, Tokyo, Japan. Masterclasses/performances with Brooklyn Rider for elementary,middle, and high school students. (11/22-11/25/11)

Harvard University. Residency with the Silk Road Ensemble. (09/22/11-09/27/11)

Lafayette College. Guest lecturer/performer for undergraduate world music class. Topic: "The Shakuhachi".(09/20/11)

The Hartt School. Guest lecturer/performer for undergraduate and graduate composers. Topic: "The ItinerantMusician: Some Ideas for Music with Mobile Devices (and Shakuhachi?)". (09/14/11)

University of North Texas. Guest lecturer/performer for undergraduate and graduate composers. Topic: "The ItinerantMusician: Some Ideas for Music with Mobile Devices (and Shakuhachi?)". (03/30/11)

Indiana University. Guest lecturer via Skype for undergraduate world music class. Topic: "The Shakuhachi".

Kojiro Umezaki CV 10

(03/04/11)

Osher Life Long Learning Institute, Irvine, CA. Guest lecturer/performer. Topic: "The Shakuhachi". (03/03/11)

Sage Hill School, Newport Beach. Guest presenter/performer w/ Colin Jacobsen. Topic: "Composing withNon-Western Instruments". (02/08/11)

Bowers Museum, Santa Ana, CA. Guest lecturer/performer. Topic: "The Shakuhachi". (05/20/10)

Stanford University. Guest lecturer/performer for Stanford Program on International and Cross-Cultural Education.Topic: "The Shakuhachi and the Silk Road". (01/22/10)

Stanford University. Guest lecturer/performer for undergraduate world music class. Topic: "The Shakuhachi".(12/01/09)

Manhattan School of Music. Guest presenter/performer w/ Shane Shanahan for Silk Road Project workshop.(11/06/09)

Harvard University. Residency with the Silk Road Ensemble. (10/20/09-10/22/09)

Tokyo School of Music. Tokyo, Japan. Guest lecturer. "Shakuhachi and Improvisation." (July, 2009)

Society for Electro-acoustic Music in the United States (SEAMUS) conference, Fort Wayne, ID. Invited panelist."Production Values, Qualities of Sound and Electroacoustic Music." (April, 2009)

Denison University, Granville, OH. Guest lecturer. Demonstration/lecture on shakuhachi. (March, 2009)

Dartmouth College. Hanover, NH. Guest lecturer with string quartet, Brooklyn Rider. Graduate and undergraduatecourses: Silk Road Music, Global Sounds, Systems of Musical Thought, Chamber Ensemble. (February, 2009)

Dartmouth College. Hanover, NH. Invited presenter. "Commercial Interactive Music Software." Computer Music:Genre, Product and Research Conduit. Squam Lake, Holderness, NH. (January, 2009)

Graduate Committees, UC Irvine

M.F.A. Integrated Composition, Improvisation, and Technology

As committee chair: Michael Matthews (2013), Yunxiang Gao (2012), Christopher Lavender (2011), IanHattwick (2011), Isshin Oikawa (2010)As committee member: Jared Mattson (2013), Kelly Moran (2012), Martin Jaroszewicz (2010), Faraz Minooei(2010)

Select Academic Service, UC Irvine

April 2013 - Authored article, "Extreme, But Not Far: Cultivating the Citizen Artist" for Claire Trevor School of theArts publication Emergence (Spring 2013 edition).

Fall 2012 - Music Department representative on organizing committee for November 9, 2012 Claire Trevor School ofthe Arts Open House event, including performance of “Nesting of the Cranes” for solo shakuhachi.

Summer 2012 - Faculty advisor for UCI COSMOS California State Summer School for Math and Science course


titled, "Mobile Digital Media.” July 19, 2012 presentation via Skype (45 minutes) titled “Mobile Music Making.”

Winter & Spring 2012 - Faculty advisor for Philip Marazita senior project (B.A. Music) and Campus-wide HonorsProgram.

Winter 2012 - Faculty mentor for UCI Butterworth Product Development Competition - Team Kiwi (Juan Cortez,Jason J. Lee, Albert Law, and Kevin Lu).

Winter 2012 - Coordinator for undergraduate admissions auditions for winds and brass (Classical).

Fall 2012 - Initiator of successful proposal for Claire Trevor School of the Arts Summer Academy program onmusic-making with mobile devices.

11/9/11 - Presenter at Claire Trevor School of the Arts Contemporary Arts Center Opening Event on music-makingwith mobile devices.

Select Professional Service

Computer Music Journal. Reviewer. Outside reviewer for 2 of 21 paper submissions for upcoming Computer MusicJournal on mapping. (Reviews submitted on August 5, 2013)

Conference and Panel Organization

ICIT Symposium 2013. Co-administrator for online proposal submissions system (EasyChair), moderator of onepanel session, and logistical support for evening activities. (UCI, March 1-3, 2013)

Music and Media Software Development

For Zero iOS app released on iTunes App Store (9/27/12)https://itunes.apple.com/us/app/for-zero/id559800351

Consultant, Software Designer and Engineer, 1999-2008Commercial design and development of Sinfonia (Realtime Music Solutions, LLC), an integrated interactivesequencer/software sampler, and RehearScore (Music Theatre International, Inc.) and AccompanEase (Rogers &Hammerstein, Inc.), rehearsal software for musical theater works.

Lehigh University, Visiting Researcher, 1996-1997Design and development of experimental performance system for realtime visual and instrumental performance.

The Synclavier Company, Senior Software Engineer, 1995-1996

Patents

Smith, David;; Bianchi, Fred;; Umezaki, Kojiro, "Music performance system," U.S. Patent 20,080,184,869(Application), August 7, 2008.

Smith, David;; Bianchi, Fred;; Umezaki, Kojiro, "Music performance system," U.S. Patent 6,696,631 (Grant), February24, 2004.


Finance (High Yield Asset Management)

Nomura Securities International, Analyst, 1991

Nomura Securities International, Intern, Summer 1990

Kidder, Peabody Inc., Intern, Fall 1988/Summer 1989/Winter 1990

Languages

Native fluency in Japanese and English. Basic French.


1

Kei Akagi University of California, Irvine Claire Trevor School of the Arts

Music Dept. 303 Music & Media Bldg.

Irvine, CA 92697-2775 [email protected]

CURRICULUM VITAE

September 2013 AREA OF SPECIALIZATION Improvisation, composition, jazz theory, jazz performance, jazz piano EDUCATION 1971-75 International Christian University, Tokyo, Japan – B.A. Degree in Humanities ACADEMIC EXPERIENCE 2004-present: UCI Chancellor’s Professor

Recipient of the title of Chancellor's Professor; awarded to University of California, Irvine faculty of Professor rank who have demonstrated unusual academic merit and show unusually high promise for continued scholarly achievement. Title conferred for a five-year renewable term; renewed in 2009

2011-present: Professor VI - Music Dept., Claire Trevor School of the Arts, University of California, Irvine 2006-2010: Professor V - Music Dept., Claire Trevor School of the Arts, University of California, Irvine 2003-2006: Professor III - Music Dept., Claire Trevor School of the Arts, University of California, Irvine 2000-2003: Professor I - Music Dept., Claire Trevor School of the Arts, University of California, Irvine 1996-2000: Lecturer - Music Dept., Claire Trevor School of the Arts, University of California, Irvine ADMINISTRATIVE POSITIONS 1) Claire Trevor School of the Arts - Interim Associate Dean (Winter 2004)

• Responsible for overseeing graduate studies programs for all School of the Arts departments; duties included: allocation of graduate fellowships, Teaching Assistantships, graduate housing to departments; policy guidance for individual graduate programs.

• Oversaw ACE (Arts, Computing, Engineering) program • Chair of School of the Arts Production Committee • Assisted the Dean in personnel reviews and actions

2) Music Dept. - Interim Chair (Fall 2001)

• Responsible for department fiscal budget, personnel reviews and actions, curriculum revision

2

TEACHING Courses Taught: (*: course design by Kei Akagi) Music 36A-B Jazz Theory I* & II* (1997-2008; superseded by Music 132 and Music 232) Music 78A, B History of Jazz I* & II* Music 132 Jazz Theory* (originally Music 36A-B) Music 165 Advanced Piano Music 176 Chamber Ensemble: Jazz Music 181A-B-C Jazz Improvisation* Music 182 Advanced Jazz Combo Music 183A-B-C Jazz Composition* Music 185 Jazz Rhythm Section* Music 209 Creative Practices Music 211 Instrumental Literature Music 212 Graduate Composition Music 232 Advanced Improvisational Harmony* Main Teaching Duties:

• Designed and implemented complete curriculum for undergraduate jazz studies area of Music Dept.

• Overseeing undergraduate jazz program, including:

- supervising auditions - programming senior recitals - organizing quarterly “Small-Group” concerts

• Affiliated faculty member of Integrated Composition, Improvisation, and Technology (ICIT), an MFA program implemented by the Music Dept. in Fall 2008

- participated in program design - curator & coordinator for yearly ICIT concerts “An Evening of New Graduate Work” (until 2013)

• Directed MFA program in Jazz Studies (merged with ICIT in 2009) • Member of 26 MFA graduate thesis committees, including 15 as chair

• Affiliated faculty member of Dept. of Asian American Studies

3

CREATIVE ACTIVITY

I. Recordings: 1) As leader: 2007: Liquid Blue (VideoArts Music) 2006: Live – Shapes in Time (VideoArts Music) 2004: Modern Ivory – Playing The Legends of Piano (VideoArts Music) 2003: A Hint of You (VideoArts Music) 2001: Palette (VideoArts Music) 2000: New Smiles and Traveled Miles (Groove Note: international release of 1998 Japanese release)

Viewpoint (VideoArts Music) 1998: New Smiles and Traveled Miles (Media Ring) 1994: Mirror Puzzle (Audioquest Music) 1992: Playroom (Mesa/Bluemoon) 1983: The Earth (Japan Columbia) 2) As co-leader: 2003: Grand New Touch – Fumio Karashima & Kei Akagi (VideoArts Music) 1998: Three Generations: The Kennedy Center Concert Vol. 1 (King Records)

Three Generations: The Kennedy Center Concert Vol. 2 (King Records) 1992: AAJT - Sound Circle with Rufus Reid and Akira Tana (Evidence) 3) As contributing artist: (*: Kei Akagi listed as arranger and/or producer) 2011: Yoshiaki Masuo: One Word (http://www.ymasuo.com/OneWord_E.htm) 2009: Yoshio Suzuki: My Dear Pianists (One) 2007: Bobby Shew: Cancao do Amor (Torii Reords) 2003: Masao Homma: Fushisokyo – Music of Masao Homma III (ALM Records Brothers) 2002: Miles Davis: The Complete Miles Davis At Montreux (Warner)

Miles Davis: Highlights from the Complete Miles Davis at Montreux (Warner Brothers) 2001: Tony Lujan: You Don’t Know What Love Is (Bella Records) 2000: Jacintha: Autumn Leaves* (Groove Note) 1999: Stanley Turrentine: Do You Have Any Sugar? (Concord)

Jacintha: Here's to Ben* (Groove Note)

4

Masao Homma: Cross-Mode (Fontec) 1997: Bobby Shew: Playing With Fire (MAMA)

Lee Oskar: So Much in Love* (Tokuma)

1996: Miles Davis: Live Around the World (Warner Brothers)

Bunny Brunel: Momentum (America) 1995: Andrea Marcelli: Oneness (Lipstick) 1994: James Newton: Suite For Frida Kahlo (Audionquest Music) 1992: Tony Lujan: Zulu (Moo) 1991: Stanley Turrentine: Live at Blues Alley (Blues Alley)

Joey Sellers: Pastels, Ashes (9Winds)

Frank Gambale: Note Worker (JVC)

1990: Miles Davis: Dingo (Warner Brothers)

Loren Pickford: Dancing in the Spirit Fire (Cexton)

Joey Sellers: Something for Nothing (9Winds) 1989: Airto Moreira: Samba de Flora (Montuno)

Rick Zunigar: New Frontier (Headfirst)

Frank Gambale: Live (Legato) Frank Gambale: Thunder From Down Under (Legato)

1988: Airto Moreira: The Magicians (Concord) 1987: Frank Gambale: Present for the Future (Legato) 1986: Al DiMeola: Tirami Su* (Manhattan)

Airto Moreira: Aqui Se Puede (Montuno) Frank Gambale: Brave New Guitar (Legato)

1985: Airto Moreira: Three-Way Mirror (Reference)

Flora Purim: Humble People (Concord)

Brian Bromberg: New Day (Black Hawk) Gary LeFebvre: Another Time, Another Place (Limited Edition)

1983: Kazumi Watanabe: Mobo Vol. 1 (Domo)

Kazumi Watanabe: Mobo Vol. 2 (Domo)

Bunny Brunel: Ivanhoe (Baybridge) 1981: Gary Lefbvre: Gary Lefbvre Quartet (Discovery)

5

II. Recorded Original Compositions: All compositions published by Red Castle Music (BMI) 2007: Recorded on CD Liquid Blue by Kei Akagi:

A Smile in the Rain Liquid Blue Ripple Effect If Ants Read Poetry, They’d Be Less Nervous Winter Light The Children Play Another Way Home Recorded on JJAZZ Net Internet Broadcast Shikakugai Katsudou Minor Sedation It Usually Isn’t 2005: Recorded on CD Live – Shapes in Time by Kei Akagi:

Tri-Cat-Ism Perhaps With You

Water Garden Shapes in Time Violet Blue Night Shade Night Runners 2004: Recorded on CD Modern Ivory by Kei Akagi:

Ivory Silhouette

2003: Recorded on CD A Hint of You by Kei Akagi: Evening Hymn A Hint of You Vertical Fragments Hough Avenue Stomp

Glance 2001: Recorded on CD Palette by Kei Akagi:

Heart of Palms Needle Play

Day’s End Figures Elsinore Autumns Past Once Upon a T

2000: Recorded on CD Viewpoint by Kei Akagi:

Four-Cat Strut Private Intersection

Tagger's Delight A Waiting's View

Spin Cycle Side Room

1998: Recorded on CD New Smiles and Traveled Miles by Kei Akagi:

Traveled Miles Crosslink Yesterdreams New Smiles

Recorded on CD The Kennedy Center Concert Vol. 1, Kei Akagi – co-leader:

Thou Art Taylor Made 1997: Recorded on CD Playing With Fire by Bobby Shew:

Spiral Dreams

6

Broadway Manor Mayhem 1994: Recorded on CD Mirror Puzzle by Kei Akagi:

Virtual Drive-by Too Much Remembered Monday's Marilyn Splinter Unity Mirror Puzzle

1992: Recorded on CD AAJT - Sound Circle by Kei Akagi, Rufus Reid, Akira Tana: Cotati 1991: Recorded on CD Playroom by Kei Akagi:

Silent Partner Mari Der Hexenkessel BWB Tony M. Robinesque Dolce's Dance Vasanti's Blues Pt. V Playroom

1988: Recorded on CD The Magicians by Airto Moreira:

Jennifer 1986: Recorded on CD Aqui Se Puede by Airto Moreira:

The Return 1980: Recorded on CD The Earth by Kei Akagi: The Earth Pt. I-V III. Other Compositions: 2012: “Dance” – Performed by Kei Akagi for UCI Medal Dinner, UCI Bren Events Center, collaboration, performing original solo piano composition written for dance piece “Crosslight” choreographed by Professor of Dance Lisa Naugle 2012: “Folk Song” - For “Dance Visions,” UCI Claire Trevor Theater, collaboration, as musical director and performer for “Copy, right?” choreographed by Assistant Professor of Dance Sheron Wray 2009: Noir - Performed by Kei Akagi Tokyo Trio and the UCI Symphony Orchestra, Stephen Tucker

conductor. Original music composed by Kei Akagi and Alan Terricciano for Noir, a work choreographed by Donald McKayle, Prof., UCI Dance Dept. Performed Feb. 5-8 at Irvine Barclay Theater for UCI Dance Visions.

2005: BeatBeatific - Performed by UCI faculty/professional ensemble; Kei Akagi - piano. Original

music composed by Kei Akagi for BeatBeatific,, a work choreographed by Donald McKayle, Prof., UCI Dance Dept. Performed Feb. 24-27 at Irvine Barclay Theater for UCI Dance Visions.

2003: Chief Concern – Composed by Kei Akagi. Original music for multi-media project under Associate

Professor Ulysses Jenkins of UCI Studio Art Dept. entitled "Notions of Freedom: Obscurity". Recorded by UCI faculty/professional ensemble on Nov. 16, 2003

2000: Direct Current - Co-written with Chris Dobrian, Associate Prof., UCI Music Dept. as music used

for “JamNation”, a collaboration with Donald McKayle, Prof., UCI Dance Dept. Performed as part of Artsweek 2000 at UCI Barclay Theatre.

1999: theater music: “Bay Attack” (Tokyo Japan) - electronic music for outdoor play, 1995: textbook example: “Kei's Blues” – published in "Bunny Brunel's Bass Secrets" (Bunny Brunel,

Mel Bay Publications, 1995), p. 217

7

1994: piano composition: “Improvisation No. 41” - performed by Mari Homma, 1994, Sendai, Japan 1988: musical: “Dansu Wa Umaku Odorenai” (Tokyo Japan) - two-week musical; original music and

arrangements of songs by others 1986: piano composition: “Dance No. 32” - performed by Mari Homma, 1988 and 1991, Sendai, Japan 1985: TV music: “Asahi Homecast” (Los Angeles,CA: U.S.) 1984: TV music: “Asahi Homecast” (Los Angeles,CA: U.S.) 1982: TV music: “The Earth” (Tokyo, Japan) - program music for science documentary "Newton

Special" IV. Performance Videos: 1990: Miles Davis: Miles in Paris (WEA Music Video) 1988: Airto Moreira and Flora Purim: The Latin Jazz All Stars V. Major Ensembles & Touring Groups: 1991-2000: Stanley Turrentine 1993-1994: Sadao Watanabe 1989-1991: Miles Davis 1986-1988: Al di Meola 1986: Jean-Luc Ponty 1985-1988: James Newton 1985: Alan Holdsworth 1984-1985: Joe Farrell 1979-1985: Airto Moreira & Flora Purim 1977-1978: Eddie Harris 1976: Art Pepper 1975: Blue Mitchell VI. Performances (2000 – present): 2013

4/26-27 - Faculty Recital, UCI Winifred Smith Hall with Kei Akagi & Friends 5/30 – Blue Whale, Los Angeles, Ca. , co-leader, with Darek Oles and Jason Harnell 8/24 - Naru, Tokyo, Japan with Kei Akagi Trio 8/25 – Cochi, Tokyo, Japan with Kei Akagi Duo 8/27 - Dolphy, Yokohama, Japan with the Kei Akagi Trio 8/28 - Jazz Flash, Niigata, Japan with Kei Akagi Trio 8/29 - Member’s Club, Kuroiso, Japan with Kei Akagi Trio 8/30 – Jazz Me Blues Nola, Sendai, Japan, with Kei Akagi Trio 9/5 - New Combo, Hakata, Japan with Kei Akagi Trio 9/6 - Roulette, Kurume, Japan with Kei Akagi Trio 9/7 - Base-1, Beppu, Japan with Kei Akagi Trio 9/8 – Jazz Izakaya Mine, Tottori, Japan with Kei Akagi Trio 9/9 - Black & Tan, Higashi Hiroshima, Japan with Kei Akagi Trio 9/11 - Sometime, Tokyo, Japan with Kei Akagi Trio 9/12 - Jazz Café Space 1497, Kumagaya, Japan with Kei Akagi Trio 9/13 - Pit Inn, Tokyo, Japan with Kei Akagi Trio

2012 2/3-4 - Faculty Recital, UCI Winifred Smith Hall, with Kei Akagi & Friends

8

2/11 – African American Art Song Alliance Conference, UCI Winifred Smith Hall, ensemble member for performance of “Vanqui” (comp. Leslie Burrs) featuring Carmen Balthrop 2/16 – Gassmann Concert “Computer Mediated,” UCI Winifred Smith Hall, collaboration, performing “Unpredictable You” and “Near and Far” composed by Professor of Composition Christopher Dobrian for interactive piano 2/22-26 – Dance Visions, UCI Claire Trevor Theater, collaboration, as musical director for “Copy, right?” choreographed by Assistant Professor of Dance Sheron Wray 4/28 – joE-LeSs ShOe, UCI Winifred Smith Hall, soloist for ensemble led by Jason Harnell 5/4 – Saddleback College, Mission Viejo, Ca. with Joey Sellers Jazz Aggregation 8/8 – Sendai, Japan as ensemble member of Oikawa Quartet 8/16 – Mr. Kelly’s, Osaka, Japan with Kei Akagi Trio 8/17 – Speak Low, Hiroshima, Japan with Kei Akagi Trio 8/18 – Lovely, Nagoya, Japan with Kei Akagi Trio 8/24 – Member’s Club, Kuroiso, Japan with Kei Akagi Trio 8/28 - Hot House, Tokyo, Japan with Kei Akagi Duo 8/31 - Naru, Tokyo, Japan with Kei Akagi Trio 9/1 - Aketa, Tokyo, Japan with Akira Sakata and Tamaya Honda 9/2 - Cabin, Atsugi, Japan with Kei Akagi Duo 9/3 - Pit Inn, Tokyo, Japan with Kei Akagi Trio 9/5 - Sometime, Tokyo, Japan with Kei Akagi Trio 9/6 – Jazz Flash, Niigata, Japan with Kei Akagi Trio 9/7 – Body & Soul, Tokyo, Japan with Kei Akagi Trio 11/14 - Regents Point, Irvine, Ca. with Kei Akagi Duo 10/27 – UCI Medal Dinner, UCI Bren Events Center, collaboration, performing original solo piano composition written for dance piece “Crosslight” choreographed by Professor of Dance Lisa Naugle 12/3 – Izumity, Sendai, Japan, solo and duet performance as part of “An Evening of American Piano Music;” premiered “Upon Reflection,” a piano work for four hands, composed by UCI Professor of Composition Christopher Dobrian 12/8 – Saitama-ken Kenkatsu Sougou Center Hall, Saitama, Japan with Kei Akagi Trio 12/9 - Aketa, Tokyo, Japan with Kei Akagi Duo 12/10 - Hot House, Tokyo, Japan, solo piano 12/11 - Dolphy, Yokohama, Japan with the Kei Akagi Trio 12/14 - Naru, Tokyo, Japan with Kei Akagi Trio 12/16 – Naadam, Nara, Japan, solo piano 12/18 – Daphne, Kamakura, Japan with Kei Akagi Quartet 12/22 - Time & Style, Tokyo, Japan, solo piano 12/24 – Pit Inn, Tokyo, Japan with Kazumi Watanabe and Tamaya Honda

2011

1/21-22 - Faculty Recital, UCI Winifred Smith Hall, with Kei Akagi Trio 2/28 – National Theater, Doha, Qatar with Kei Akagi Trio 3/2 – Yared Music School, Addis Ababa, Ethiopia with Kei Akagi Trio 3/3 – Maison de la Culture du Japon a Paris, Paris, France with Kei Akagi Trio 4/8 – Benefit Concert for Japan Relief, UCI Winifred Smith Hall with Darek Oles 12/10 - Time & Style, Tokyo, Japan, solo piano 12/11 - Hot House, Tokyo, Japan with Kei Akagi Duo 12/15 - Sometime, Tokyo, Japan with Kei Akagi Trio 12/20-21 - Naru, Tokyo, Japan with Kei Akagi Trio 12/23 - Base-1, Beppu, Japan, solo piano

2010

1/22-23 - Faculty Recital, UCI Winifred Smith Hall, with Kei Akagi & Friends 4/12 - Irvine Valley College Performing Arts Center, Irvine, Ca. with Michael Dessen & Darek Oles 8/7 -Pit Inn, Tokyo, Japan duet concert with pianist Fumio Karashima 8/8 -Hot House, Tokyo, Japan with Kei Akagi Duo 8/11 - Aketa, Tokyo, Japan, as part of Tamaya Honda Quartet 8/13 -Jazz Flash, Niigata, Japan with Kei Akagi Trio 8/14 -Back Drop, Nagano, Japan with Kei Akagi Trio 8/19 -New Combo, Hakata, Japan with Kei Akagi Trio 8/20 -Base-1, Beppu, Japan with Kei Akagi Trio 8/21 -Body & Soul, Tokyo, Japan with Kei Akagi Trio

9

8/25 -Miles Café, Tokyo, Japan with Kei Akagi Trio 8/26 -Lovely. Nagoya, Japan with Kei Akagi Trio 8/27 -Koln, Fuji, Japan with Kei Akagi Trio 8/28 -Naru, Tokyo, Japan with Kei Akagi Trio 9/1 -Sometime, Tokyo, Japan with Kei Akagi Trio 9/3 -Dolphy, Yokohama, Japan with Kei Akagi Trio 9/4 - Pit Inn, Tokyo, Japan with Kei Akagi Trio 11/10 -Regents Point, Irvine, Ca. with Kei Akagi Duo 11/28 – Hitotsubashi University, Kunitachi, Japan with Kei Akagi Quartet 12/3 – Aketa, Tokyo, Japan with Kei Akagi Trio 12/4 – Jazz Café Space 1497, Kumagaya, Japan with Kei Akagi Trio 12/10 – Time & Style, Tokyo, Japan with Kei Akagi Trio 12/12 – Cabin, Atsugi, Japan with Kei Akagi Trio 12/14 – Hot House, Tokyo, Japan with Kei Akagi Duo 12/15 – Hot House, Tokyo, Japan, solo piano 12/16 – Sometime, Tokyo, Japan with Kei Akagi Trio 12/17 - Naru, Tokyo, Japan with Kei Akagi Trio 12/18 - Pit Inn, Tokyo, Japan with Kei Akagi Trio

2009

2/5-8 - Dance Visions, Irvine Barclay Theater, collaboration, performance of dance piece “Noir,” music composed by Kei Akagi and choreographed by Professor of Dance Donald McKayle 2/12-13 - Faculty Recital, UCI Winifred Smith Hall, with Kei Akagi Trio Reviewed by Rick Stein, SPARK-E’S PLACE ((internet blog: http://sparkoc.blogspot.com/2009/02/night-at-improv-kei-akagi.html) 5/5 - Jazz Bakery, Los Angeles, Ca., with Roberto Miranda, James Newton, Sonship Theus 7/18 -Naru, Tokyo, Japan with Kei Akagi Trio 7/19 -Naru, Tokyo, Japan with Kei Akagi Trio 7/25 -Kuchiyan Jazz Festival, Kuchiyan, Japan with Kei Akagi Quartet 9/8 -Izumity 21, Sendai, Japan, Memorial Concert for Masao Homma, partial solo recital 9/12 -Body & Soul, Tokyo, Japan with Kei Akagi Trio 9/16 -Miles Café, Tokyo, Japan with Kei Akagi Trio 9/17 -Sometime, Tokyo, Japan with Kei Akagi Trio 9/18 -Lovely. Nagoya, Japan with Kei Akagi Trio 9/19 - Kelly’s, Osaka, Japan with Kei Akagi Trio 9/20 -Palette, Tottori, Japan with Kei Akagi Trio 9/21 -Desafinado, Wakayama, Japan with Kei Akagi Trio 9/22 -Billie, Shimonoseki, Japan with Kei Akagi Trio 9/24 -New Combo, Hakata, Japan with Kei Akagi Trio 9/25 -Kyuu Mitsui Minato Club, Ohmuta, Japan with Kei Akagi Trio 9/26 -Base-1, Beppu, Japan with Kei Akagi Trio 10/3 - House, Tokyo, Japan, solo piano 10/4 -Hot House, Tokyo, Japan duet with Kei Akagi Duo 10/6 -Cabin, Atsugi, Japan with Kei Akagi Trio 10/7 -Pit Inn, Tokyo, Japan with Kei Akagi Trio 10/21 - Steamer’s, Fullerton, Ca. as part of Joey Sellers Jazz Aggregation, 11/17 -Regents Point, Irvine, Ca. with Kei Akagi Duo 12/5 -Naadam, Nara, Japan, solo piano 12/6 -Creole, Osaka, Japan, solo piano 12/12 -Base-1, Beppu, Japan, solo piano 12/14 -Motion Blue, Yokohama, Japan with Kei Akagi Trio 12/17 -Hot House, Tokyo, Japan duo with Kei Akagi Duo 12/18 -Time & Style, Tokyo, Japan with Kei Akagi Trio 12/19 -Time & Style, Tokyo, Japan with Kei Akagi Trio 12/21 –Aketa, Tokyo, Japan, guest soloist with Tamaya Honda Trio

12/25 -Hakujyu Hall, Tokyo, Japan, solo piano 2008

1/25-26 - Faculty Recital, UCI Winifred Smith Hall, with Kei Akagi & Friends 3/21 -Body & Soul, Tokyo, Japan with Kei Akagi Trio 3/22 -Newbury, Utsunomiya, Japan with Kei Akagi Trio 3/23 -Monk’s, Koriyama, Japan with Kei Akagi Trio

10

3/24 -Members’ Club, Kuroiso, Japan with Kei Akagi Trio 3/26 -Koln, Fuji, Japan with Kei Akagi Trio 3/27 -Ups, Koga, Japan with Kei Akagi Trio 3/29 -Pit Inn, Tokyo, Japan with Kei Akagi Trio 3/30 -Pit Inn, Tokyo, Japan with Kei Akagi Trio 4/2 -Kamome. Yokohama, Japan with Kei Akagi Trio 4/3 -Cot’s Field, Inuyama, Japan with Kei Akagi Trio 4/4 -Lovely. Nagoya, Japan with Kei Akagi Trio 4/5 -Lovely. Nagoya, Japan with Kei Akagi Trio 4/6 -Keyboard, Toyota, Japan with Kei Akagi Trio 6/11 - Regents Point, Irvine, California, with UCI Graduate Student Ensembles 6/16 -Pasadena Jazz Institute, Pasadena, California, solo piano 8/20 -Miles Café, Tokyo, Japan with Kei Akagi Trio 5/21 - Yamaha International, Buena Park, Ca., with Bobby Shew 8/21 -Bird, Hiroshima, Japan with Kei Akagi Trio 8/23 -Tohaku Concert Hall, Tottori, Japan with Kei Akagi Trio 8/24 -Billie, Shimonoseki, Japan with Kei Akagi Trio 8/28 -New Combo, Hakata, Japan with Kei Akagi Trio 8/29 -Roulette, Kurume, Japan with Kei Akagi Trio 8/30 -Base-1, Beppu, Japan with Kei Akagi Trio 9/4 -Pit Inn, Tokyo, Japan with Kei Akagi Trio 9/5 -Lovely. Nagoya, Japan with Kei Akagi Trio 9/6 -Mr. Kelly’s, Osaka, Japan with Kei Akagi Trio 9/7 -Naadam, Nara, Japan with Kei Akagi Trio 9/10 -Partia, Niigata, Japan with Kei Akagi Trio 9/11 - Swing, Takasaki, Japan with Kei Akagi Trio 9/12 -Cabin, Atsugi, Japan with Kei Akagi Trio 9/13 -Body & Soul, Tokyo, Japan with Kei Akagi Trio 9/15 -Naru, Tokyo, Japan with Kei Akagi Trio 12/4 -Cabin, Atsugi, Japan with Kei Akagi Duo 12/6 -Billie, Shimonoseki, Japan with Kei Akagi Trio 12/11 -Ups, Koga, Japan with Kei Akagi Duo 12/14 -Kawai Hall, Sendai, Japan with Kei Akagi Duo 12/19 -Time & Style, Tokyo, Japan with Kei Akagi Trio 12/21 -Time & Style, Tokyo, Japan with Kei Akagi Trio

2007

1/17 - Belage, Los Angeles, California, with Kevin Crabbe Quartet 2/2 - Idyllwild, Ca., with Joey Sellers/Paul Carmin 2/8 Saddleback College, Mission Viejo, California, with Kei Akagi Trio 2/16-17 - Faculty Recital, UCI Winifred Smith Hall, with Kei Akagi Trio 5/2 - “Music for Piano and Computer by Kei Akagi and Christopher Dobrian”, UCI Winifred Smith Hall 8/22- Miles Café, Tokyo, Japan with Kei Akagi Trio 8/24 -Lovely. Nagoya, Japan with Kei Akagi Trio 8/26 -Pit Inn, Tokyo, Japan with Kei Akagi Trio 8/27 -Jyouge Garou, Hiroshima, Japan with Kei Akagi Trio 8/28 -Billie, Shimonoseki, Japan with Kei Akagi Trio 8/30 -New Combo, Hakata, Japan with Kei Akagi Trio 9/2 -Base-1, Beppu, Japan with Kei Akagi Trio 9/9 -Aomori Concert Hall, Aomori, Japan, partial solo recital for concert of the music of Masao Homma 9/11 -Miyako Concert Hall, Miyako, Japan with Kei Akagi Trio 9/12 -Aizu Wakamatsu, Japan, with Kei Akagi Quartet 9/14 -Body & Soul, Tokyo, Japan with Kei Akagi Trio 9/15 -Body & Soul, Tokyo, Japan with Kei Akagi Trio 9/17 - Aketa, Tokyo, Japan, as part of Tamaya Honda Trio 10/12 -CSU Bakersfield, California, with Kei Akagi Trio 11/29 -Lovely. Nagoya, Japan with Kei Akagi Trio 11/30 -After Dark, Gifu, Japan with Kei Akagi Trio 12/1 -Naadam, Nara, Japan with Kei Akagi Trio 12/2 -Mr. Kelly’s, Osaka, Japan with Kei Akagi Trio 12/4 -Time & Style, Tokyo, Japan with Kei Akagi Trio

11

12/6 -Kamome, Yokohama, Japan with Kei Akagi Trio 12/9 -Hot House, Tokyo, Japan, solo piano 12/15 -Hananoyakata, Furukawa, Japan with Kei Akagi Trio 12/16 -Mingus, Fukushima, Japan with Kei Akagi Duo 12/21 -Time & Style, Tokyo, Japan with Kei Akagi Trio 12/22 -Time & Style, Tokyo, Japan with Kei Akagi Trio

2006

2/3-4 - Faculty Recital, UCI Winifred Smith Hall, with Kei Akagi & Friends 2/6 - Steamers, Fullerton, Ca., with Evan Stone Quartet 3/16 -Regents Point, Irvine, Ca., with Kei Akagi Duo 3/25 - Body & Soul, Tokyo, Japan with Kei Akagi Trio 3/26 - Pit Inn, Tokyo, Japan with Kei Akagi Trio 3/27-Ups, Koga, Japan with Kei Akagi Trio 3/28 - Motion Blue, Yokohama, Japan, with Takao Uematsu Quintet 3/30 -Lovely. Nagoya, Japan with Kei Akagi Trio 3/31 -Creole, Kobe, Japan with Kei Akagi Trio 4/4 -Alphy, Tokyo, with Kei Akagi Duo 5/10 - A Tribute to Bernard Gilmore, UCI Winifred Smith Hall, partial solo piano performance 8/10 -Dolphy, Yokohama, Japan with Kei Akagi Trio 8/11 -Body & Soul, Tokyo, Japan with Kei Akagi Trio 8/12 -Body & Soul, Tokyo, Japan with Kei Akagi Trio 8/13 -Naru, Tokyo, Japan with Kei Akagi Trio 8/18 -Time & Style, Tokyo, Japan with Kei Akagi Trio 8/19 -Partia, Niigata, Japan with Kei Akagi Trio 8/20 -Jazz No Yakata, Nangou, Japan with Kei Akagi Trio 8/21 -Jyoudo Ga Hama Concert Hall, Miyako, Japan with Kei Akagi Quartet 8/24 -New Combo, Hakata, Japan with Kei Akagi Trio 8/27 -Base-1, Beppu, Japan with Kei Akagi Trio 8/28 -Fuudo, Kurosaki, Japan with Kei Akagi Trio 8/29 -Misono, Kurashiki, Japan with Kei Akagi Trio 9/1 -Ups, Koga, Japan with Kei Akagi Trio 9/2 -Pit Inn, Tokyo, Japan with Kei Akagi Trio 9/3 -Pit Inn, Tokyo, Japan with Kei Akagi Trio 9/6 -Live The Palette, Tajimi, Japan with Kei Akagi Quartet 9/7 -Lovely. Nagoya, Japan with Kei Akagi Quartet 9/8 -Lovely. Nagoya, Japan with Kei Akagi Quartet 9/9 -Jazz Festival, Izu, Japan with Kei Akagi Quintet 9/10 -Koln, Fuji, Japan with Kei Akagi Quartet 12/7 -Naru, Tokyo, Japan with Kei Akagi Trio 12/9 -Grappa’s Cellar, Hong Kong, with Kei Akagi Quartet 12/10 -Grappa’s Cellar, Hong Kong, with Kei Akagi Quartet 12/14 -Sometime, Tokyo, Japan with Kei Akagi Trio 12/15 -Mr. Kelly’s, Osaka, Japan with Kei Akagi Trio 12/16 -Naadam, Nara, Japan with Kei Akagi Trio 12/17 –Lovely, Nagoya, Japan with Kei Akagi Quartet 12/20 -Gran Boa, Kuroiso, Japan with Kei Akagi Quartet 12/21 -Beat Club, Utsunomiya, Japan with Kei Akagi Quartet 12/23 -Time & Style, Tokyo, Japan with Kei Akagi Trio 12/24 -International Christian University, Tokyo, Japan, soloist for the Modern Music Society annual concert

2005

1/8 - Nechita Center for the Arts, Lutheran High School of Orange County, Ca., with Bobby Shew Quintet 1/9 - Spaghettini, Seal Beach, Ca., with Evan Stone Quartet 2/20 - Spaghettini, Seal Beach, Ca., with Evan Stone Quartet 2/24, 26-27 - Dance Visions, performance of BeatBeatific 3/8 - Spaghettini, Seal Beach, Ca., with Evan Stone Quartet 3/18 - “Jazzbots,” UCI Beall Center, collaboration, solo piano performance with interactive programming by Associate Professor Christopher Dobrian, UCI Music Dept. 4/10 - Spaghettini, Seal Beach, Ca., with Evan Stone Quartet

12

7/9 -Ups, Koga, Japan with Kei Akagi Trio 7/12 -Black Saint, Narashino, Japan with Kei Akagi Trio 7/14 -Dolphy, Yokohama, Japan with Kei Akagi Trio 7/17 -Iwamisawa Jazz Festival, Iwamisawa, Japan with Kei Akagi Quintet 7/20 -Canvas, Iida, Japan with Kei Akagi Trio 7/21 -Viebo, Yokkaichi, Japan with Kei Akagi Trio 7/22 -Lovely. Nagoya, Japan with Kei Akagi Trio 7/23 -Lovely. Nagoya, Japan with Kei Akagi Trio 7/26 -Cafeis, Tokyo, Japan with Kei Akagi Trio 7/27 -Hot House, Tokyo, Japan with Kei Akagi Trio 7/29 -Body & Soul, Tokyo, Japan with Kei Akagi Trio 7/30 -Body & Soul, Tokyo, Japan with Kei Akagi Trio 8/10 - Spaghettini, Seal Beach, Ca.,with Evan Stone Quartet 8/24 -Roulette, Kurume, Japan with Kei Akagi Trio 8/25 -New Combo, Fukuoka, Japan with Kei Akagi Trio 8/28 -Base-1, Beppu, Japan with Kei Akagi Trio 8/29 -Misono, Kurashiki, Japan with Kei Akagi Trio 8/31 -Pit Inn, Tokyo, Japan with Kei Akagi Trio 9/1 -Pit Inn, Tokyo, Japan with Kei Akagi Trio 9/2 -Sendai Sensai Fukkou Kinnen Hall, Sendai, Japan with Kei Akagi Quartet 9/3 -To-o Gijuku High School, Hirosaki, Japan with Kei Akagi Quartet 9/4 -Pia, Aomori, Japan with Kei Akagi Quartet 11/10 -Vibrato, Beverley Hills, Ca. with Zane Musa group 12/2 -Granboa, Kuroiso, Japan with Kei Akagi Trio 12/3 -La Cienaga, Utsunomiya, Japan with Kei Akagi Trio 12/4 -Sometime, Tokyo, Japan with Kei Akagi Trio 12/7 -Lovely. Nagoya, Japan with Kei Akagi Trio 12/8 -Sarai, Matsuzaka, Japan with Kei Akagi Trio 12/9 -Mr. Kelly’s, Osaka, Japan with Kei Akagi Trio 12/10 -Naadam, Nara, Japan with Kei Akagi Trio 12/11 -After Dark, Gifu, Japan with Kei Akagi Trio 12/14 -Naru, Tokyo, Japan with Kei Akagi Trio 12/15 -Time & Style, Tokyo, Japan with Kei Akagi Trio 12/16 -Jazz-Is, Yokohama, Japan with Kei Akagi Trio

2004

1/29 -Spazio, Los Angeles, Ca., with Bobby Shew Quartet 2/6 - Spaghettini, Seal Beach, Ca., with Evan Stone Quartet 2/8 -Kikuya, Huntington Beach, Ca., with Evan Stone Quartet 3/20 -Overstreet’s Bar, Newport Beach, Ca., with UCI Graduate Student Ensembles 4/8 -Maple House, Tokyo, Japan, with Kei Akagi Trio 4/9 -Body & Soul, Tokyo, with Kei Akagi Trio 4/16 - Los Angeles County Art Museum, Los Angeles, Ca., with Piotr Baron Quartet 4/22 - Steamer’s, Fullerton, Ca., with Piotr Baron Quartet 4/27 - UCI Winifred Smith Hall, Master Class Concert, with Piotr Baron Quartet 5/22 -Overstreet’s Bar, Newport Beach, Ca., with UCI Graduate Student Ensembles 6/11 -Kikuya, Huntington Beach, Ca., Evan Stone Quartet 6/27 -Spaghettini, Seal Beach, Ca., with Evan Stone Quartet 7/16 -Ups, Koga, Japan with Kei Akagi Trio 7/17 -Grand Valley, Utsunomiya, Japan with Kei Akagi Trio 7/18 -Granboa, Kuroiso, Japan with Kei Akagi Trio 7/19 -Jiyuugaoka Studio, Mito, Japan with Kei Akagi Trio 7/23 -Body & Soul, Tokyo, Japan with Kei Akagi Trio 7/24 -Body & Soul, Tokyo, Japan with Kei Akagi Trio 7/26 -Hananoyakata, Furukawa, Japan with Kei Akagi Trio 7/29 -After Dark, Gifu, Japan with Kei Akagi Trio 7/30 -Lovely, Nagoya, Japan with Kei Akagi Trio 7/31 -Lovely, Nagoya, Japan with Kei Akagi Trio 8/1 -Keyboard, Toyota, Japan with Kei Akagi Trio 8/18 -Motion Blue, Yokohama, Japan with Kei Akagi Trio 8/19 -New Combo, Fukuoka, Japan with Kei Akagi Trio 8/22 -Base-1, Beppu, Japan with Kei Akagi Trio 8/24 -Itsutsuya Pastel Hall, Kokura, Japan with Kei Akagi Trio

13

8/25 -Misono, Kurashiki, Japan with Kei Akagi Trio 8/29 -Yomiuriland East Jazz Festival, Tokyo Japan with Kei Akagi Trio 8/31 -Hotel Yonekura, Ikeda-cho, Japan with Kei Akagi Trio 9/1 -This Is, Kushiro, Japan with Kei Akagi Trio 9/2 -Sougou Bunka Hall, Nakashibetsu, Japan with Kei Akagi Trio 9/4 -Jazz Fool, Kitami, Japan with Kei Akagi Trio 9/5 -Hotel Maple, Nayoro, Japan with Kei Akagi Trio 9/9 -Pit Inn, Tokyo, Japan with Kei Akagi Trio 9/10 -Pit Inn, Tokyo, Japan with Kei Akagi Trio 9 /12 -Center for Contemporary Graphics and Art, Sukagawa, Japan with Kei Akagi Quartet 10/15-16 Faculty Recital, UCI Winifred Smith Hall, with Kei Akagi Duo 10/30 - Vibrato, Los Angeles, Ca. with Ben Clatworthy Quartet 11/11 - Bash 2004, Anaheim, Ca., with Joey Sellers Jazz Aggregation 12/1 -Ikspiari, Maihama, Japan with Kei Akagi Trio 12/2 -Partia, Niigata, Japan with Kei Akagi Trio 12/3 -Lovely, Nagoya, Japan with Kei Akagi Trio 12/4 -Naadam, Nara, Japan with Kei Akagi Trio 12/6 -Naru, Tokyo, Japan with Kei Akagi Trio

2003

1/16 - Rancho Mirage, Ca., with Bobby Shew Quintet, January 16, 2003 2/19 UCI Winifred Smith Hall, Mike Garson Residency concert, guest soloist 4/4 -Body & Soul, Tokyo, Japan, with Kei Akagi Trio 4/5 -Naru, Tokyo, Japan with Kei Akagi Trio 5/15 El Cajon Performing Arts Center, El Cajon, California, with Asian-American Jazz Orchestra 6/28 - Overstreet’s Bar, Newport Beach, Ca., with UCI Graduate Student Ensembles 7/16 -Black Saint, Narashino, Japan with Kei Akagi Trio 7/17 -Dot Cool, Shizuoka, Japan with Kei Akagi Trio 7/18 -Lovely, Nagoya, Japan with Kei Akagi Trio 7/19 -Lovely, Nagoya, Japan with Kei Akagi Trio 7/21 -Presevens, Saitama, Japan with Kei Akagi Trio 7/23 -Granboa, Kuroiso, Japan with Kei Akagi Trio 7/24 -Ups, Koga, Japan with Kei Akagi Trio 7/25 -Body & Soul, Tokyo, Japan with Kei Akagi Trio 7/26 -Body & Soul, Tokyo, Japan with Kei Akagi Trio 7/29 -Hananoyakata, Furukawa, Japan with Kei Akagi Trio 7/30 -Zecana, Ishinomaki, Japan with Kei Akagi Trio 7/31 -Nagano Jazz Festival, Nagano, Japan with Kei Akagi Quartet 8/1 -Partia, Niigata, Japan with Kei Akagi Trio 8/16 -Kawaichiginzaclub, Tottori, Japan with Kei Akagi Trio 8/17 -Tsuji Honten, Katsuyama, Japan with Kei Akagi Trio 8/19 -Chicken George, Kobe, Japan with Kei Akagi Trio 8/21 -Itsutsuya Pastel Hall, Kokura, Japan with Kei Akagi Trio 8/22 -New Combo, Fukuoka, Japan with Kei Akagi Trio 8/24 -Base-1, Beppu, Japan with Kei Akagi Trio 8/29 -Misono, Kurashiki, Japan with Kei Akagi Trio 8/30 -Naadam, Nara, Japan with Kei Akagi Trio 9/1 -Endless, Sohma, Japan with Kei Akagi Trio 9/5 -Yamaha Hall, Sapporo, Japan with Kei Akagi Trio 9/6 -To-oh Gijuku High School, Hirosaki, Japan with Kei Akagi Trio 9/7 -Center for Contemporary Graphics and Art, Sukagawa, Japan with Kei Akagi Quartet 9/9 -Pit Inn, Tokyo, Japan with Kei Akagi Trio 9/10 -Pit Inn, Tokyo, Japan with Kei Akagi Trio 9/13 -Marunouchi Biru, Tokyo, Japan with Kei Akagi Trio 10/10-11 Faculty Recital, UCI Winifred Smith Hall, with Kei Akagi Trio 11/11 - Spaghettini, Seal Beach, Ca., with Evan Stone Quartet 11/8 - Overstreet’s Bar, Newport Beach, Ca., with UCI Graduate Student Ensembles 12/26 - Spaghettini, Seal Beach, Ca., with Evan Stone Quartet

2002

2/2 - Catalina Bar & Grill, Los Angeles, Ca., with Wallace Roney Quintet 5/2 -Nottingham Gallery, Newport Beach, California, with the Kei Akagi Trio

14

5/20 - Jazz Bakery, Los Angeles, Ca., with Tony Lujan Quintet 5/21 - California State Polytechnic University, Pomona, Ca., with Tony Lujan Quintet 5/24 - Irvine Barclay Theater, performance of dance piece “Ash,” music composed by Professor of Dance Alan Terricciano, choreographed by Professor of Dance Donald McKayle 6/10 - Westin Hotel LAX, Los Angeles, Ca., with Ben Clatworthy Quartet 7/17 -Dolphy, Yokohama, Japan, with Kei Akagi Trio 7/17 -Black Saint, Narashino, Japan, with Kei Akagi Trio 7/19 -Lovely, Nagoya, Japan with Kei Akagi Trio 7/20 -Lovely, Nagoya, Japan with Kei Akagi Trio 7/23 -Hananoyakata, Furukawa, Japan with Kei Akagi Trio 7/24 -Zecana, Ishinomaki, Japan with Kei Akagi Trio 7/26 -Body & Soul, Tokyo, Japan with Kei Akagi Trio 7/27 -Body & Soul, Tokyo, Japan with Kei Akagi Trio 7/29 -Granboa, Kuroiso, Japan with Kei Akagi Trio 7/30 -Ups, Koga, Japan with Kei Akagi Trio 8/2 -Naadam, Nara, Japan with Kei Akagi Trio 8/3 -Akarenga Jazz Festival, Maizuru, Japan with Kei Akagi Trio 8/17 -Ichikura, Katsuyama, Japan with Kei Akagi Trio 8/18 -Higashi-Hiroshima Koumin Kaikan, Higashi-Hiroshima, Japan with Kei Akagi Trio 8/20 -Mobs, Tottori, Japan with Kei Akagi Trio 8/21 -Imazuya, Yonago, Japan with Kei Akagi Trio 8/22 -Hagi, Japan with Kei Akagi Trio 8/23 -Fuudo, Kurosaki, Japan with Kei Akagi Trio 8/24 -Base-1, Beppu, Japan with Kei Akagi Trio 8/25 -Itsutsuya Pastel Hall Kokura, Japan with Kei Akagi Trio 8/27 -Misono, Kurashiki, Japan with Kei Akagi Trio 8/31 -Tendo Jazz Festival, Tendo, Japan with Kei Akagi Trio 9/1 Sendai, Japan, solo piano 9/2 Sendai, Japan, solo piano 9/4 -Kiyota High School, Sapporo, Japan with Kei Akagi Trio 9/6 -Iai Gakuin, Hakodate, Japan with Kei Akagi Trio 9/7 -Sapporo, Japan with Kei Akagi Trio 9/9 -Pit Inn, Tokyo, Japan with Kei Akagi Trio 9/10 -Pit Inn, Tokyo, Japan with Kei Akagi Trio 9/13 Tokyo Opera City, Tokyo, Japan, duet with pianist Mari Homma 10/26 - Faculty Recital, UCI Winifred Smith Hall, solo piano concert 11/24 Kamakura Performing Arts Center, Kamakura, Japan, duet concert with pianist Fumio Karashima 12/12 - KJAZ Festival, Long Beach, Ca., KJAZ Festival with Bobby Shew Big Band

2001

2/24 - Grapevine, Los Angeles, Ca. as part of Ben Clatworthy group 4/11 UCI Winifred Smith Hall, with the Asian-American Orchestra - Chancellor’s Distinguished Fellows series residents. 4/19 Santa Ana, Ca., Town and Country Philharmonic Society concert, solo piano 4/28 - Ventura, Ca., with Jonathan Dane Quartet 5/17 Wiener Neustadt, Austria, as soloist with group “Four Front” 5/18 Neusiedl am See, Austria, as soloist with group “Four Front” 5/19 Puchberg am Schneeberg, Austria, as soloist with group “Four Front” 5/20 Bad Fischau-Brunn, Austria, as soloist with group “Four Front” 7/20 -Dolphy, Yokohama, Japan with Kei Akagi Trio 7/21 -Fenix Jazz Festival, Miyazaki, Japan with Kei Akagi Trio 7/24 -Space Astro, Hirosaki, Japan with Kei Akagi Trio 7/25 -Hananoyakata, Furukawa, Japan with Kei Akagi Trio 7/26 -Charlie’s Antiques, Ishinomaki, Japan with Kei Akagi Trio 7/27 -Body & Soul, Tokyo, Japan with Kei Akagi Trio 7/28 -Body & Soul, Tokyo, Japan with Kei Akagi Trio 8/2 -Keyboard, Toyota, Japan with Kei Akagi Trio 8/3 -Lovely, Nagoya, Japan with Kei Akagi Trio 8/4 -Lovely, Nagoya, Japan with Kei Akagi Trio 8/18 -JazzTown, Imabari, Japan with Kei Akagi Trio 8/19 -JazzTown, Imabari, Japan with Kei Akagi Trio 8/20 -St. Germain, Niihama, Japan with Kei Akagi Trio

15

8/21 -Gretsch, Matsuyama, Japan with Kei Akagi Trio 8/24 -Misono, Kurashiki, Japan with Kei Akagi Trio 8/25 -Fuudo, Kurosaki, Japan with Kei Akagi Trio 8/26 -Base-1, Beppu, Japan with Kei Akagi Trio 8/27 -Itsutsuya Pastel Hall, Kokura, Japan with Kei Akagi Trio 8/30 -Teruraito, Yonago, Japan with Kei Akagi Trio 8/31 -Satin Doll, Fukuchiyama, Japan, solo piano 9/1 -Naadam, Nara, Japan with Kei Akagi Trio 9/3 -Granboa, Kuroiso, Japan with Kei Akagi Trio 9/4 -Ups, Koga, Japan with Kei Akagi Trio 9/5 -Pit Inn, Tokyo, Japan with Kei Akagi Trio 9/6 -Pit Inn, Tokyo, Japan with Kei Akagi Trio 10/16 - Faculty Recital, UCI Winifred Smith Hall, with Kei Akagi & Friends 10/17 - “Internet Pianos,” UCI Winifred Smith Hall, collaboration, a realtime duo piano concert over the internet, with interactive programming by Associate Professor Christopher Dobrian, UCI Music Dept

2000

3/14 - New Orleans, La. with Stanley Turrentine Quintet 3/20 Sendai, Japan as solo pianist, premiering “Aria” by Masao Homma 4/2 Kennedy Center, Washington D.C. as part of the Matsuri All Stars 4/13 - The Jazz Spot, Los Angeles, Ca. with Art Davis Trio 4/28 - Mario’s, Riverside, Ca. with Jason Harnell Trio 5/5-6 - Orange County Performing Arts Center Founders Hall, with James Newton Quartet 5/11 UCI Winifred Smith Hall, collaboration, Kei Akagi Trio with Yusef Komunyakaa, Chancellor’s Distinguished Fellows resident 5/18-21 - Blues Alley, Washington D.C. with Stanley Turrentine Quintet 5/28 -Santa Barbara City College, Santa Barbara, Ca. with the Kei Akagi Trio 6/7 California Riverside Ballet, Riverside, California, solo piano 6/11 - Annapolis, Maryland with Stanley Turrentine Quintet 6/17 - Philadelphia, Pa.,with Stanley Turrentine Quintet 6/18 - Chicago, Ill., with of Stanley Turrentine Quintet, June 18, 2000 6/24 - Newport Jazz Festival in New York, Lincoln Center, New York, with Stanley Turrentine Quintet 7/4 – Hana-no-yakata, Furukawa, Japan with the Kei Akagi Trio 7/5 – Ohdate Shimin Kaikan Hall, Ohdate, Japan with the Kei Akagi Trio 7/6 – Kanamori Hall, Hakodate, Japan with the Kei Akagi Trio 7/7 – Sapporo Arc City Hotel, Sapporo, Japan with the Kei Akagi Trio 7/8 – Bud, Aomori, Japan with the Kei Akagi Trio 7/10 Sendai, Japan solo piano 7/13 – Koln, Fuji, Japan with the Kei Akagi Trio 7/14 – Lovely, Nagoya, Japan with the Kei Akagi Trio 7/15 – Lovely, Nagoya, Japan with the Kei Akagi Trio 7/16 – Matsuyama Fukushi Center, Matsuyama, Japan with the Kei Akagi Trio 7/18 – St. Germain, Niihama, Japan with the Kei Akagi Trio 7/19 – Kobe Youshu Club, Imabari, Japan with the Kei Akagi Trio 7/20 – Yamaha Takamatsu, Takamatsu, Japan with the Kei Akagi Trio 7/21 – Body and Soul, Tokyo, Japan with the Kei Akagi Trio 7/22 – Body and Soul, Tokyo, Japan with the Kei Akagi Trio 7/23 – Jam, Kisarazu, Japan with the Kei Akagi Trio 7/25 – Dolphy, Yokohama, Japan with the Kei Akagi Trio 7/27 – Ups, Koga, Japan with the Kei Akagi Trio 8/3 – Work Plaza Kashiwazaki, Kashiwazaki, Japan with the Kei Akagi Trio 8/4 – Nagano Jazz Festival in Chitose Park, Nagano, Japan with the Kei Akagi Trio 8/5 – Ishiyama Shalom, Church, Kuroiso, Japan with the Kei Akagi Trio 8/18 – Base-1, Beppu, Japan with the Kei Akagi Trio 8/19 – Roulette, Kurume, Japan with the Kei Akagi Trio 8/20 – Country 99, Isahaya, Japan with the Kei Akagi Trio 8/21 – Itsutsuya Pastel Hall, Kitakyushu, Japan with the Kei Akagi Trio 8/22 – Kitanoya, Miyazu, Japan with the Kei Akagi Trio 8/24 – Sakai-minato Kairiku Unsou, Yonago, Japan with the Kei Akagi Trio 8/25 – Tsuji Honten, Katsuyama, Japan with the Kei Akagi Trio 8/26 – Naadam, Nara, Japan with the Kei Akagi Trio

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8/27 – Mobs, Tottori, Japan with the Kei Akagi Trio 8/28 – Misono, Kurashiki, Japan with the Kei Akagi Trio 8/29 – Rag, Kyoto, Japan with the Kei Akagi Trio 9/2 – Tatou, Tokyo, Japan with the Kei Akagi Trio 9/3 – CCGA, Sukagawa, Japan with the Kei Akagi Trio 9/6 – Black Saint, Narashino, Japan with the Kei Akagi Trio 9/7 – Shinjuku Pit Inn, Tokyo, Japan with the Kei Akagi Trio 9/8 - Shinjuku Pit Inn , Tokyo, Japan with the Kei Akagi Trio 9/29 - Arco Plaza, Los Angeles, Ca. with Qi Chao Liu group 10/17 - Grapevine, Los Angeles, Ca. as part of Ben Clatworthy group 11/18 - Irvine Barclay Theater, Irvine, Ca. as guest soloist with the UCI Jazz Orchestra 11/9-12 - Irvine Barclay Theater, Irvine, Ca.collaboration, as musical director for the premiere of “Jamnation”, a work choreographed by Donald McKayle (UCI Dance Dept.) for Artsweek 2000

VII. Major Performances Prior to 2000: 1999:

• 32 performances with Kei Akagi Trio in U.S. and Japan • 10 U.S. performances with Stanley Turrentine Quintet • 2 U.S. performances with James Newton

Major venues and events: Lovely (Nagoya: Japan) – Kei Akagi Trio Pit Inn (Tokyo: Japan) – Kei Akagi Trio Body & Soul (Tokyo: Japan) – Kei Akagi Trio Bluenote (New York, NY: U.S.) - Stanley Turrentine Quintet Blues Alley (Washington, D.C.) – Stanley Turrentine Quintet

1998: • 33 performances with Kei Akagi Trio in U.S. and Japan • 28 U.S. performances with Stanley Turrentine Quintet

Major venues and events: Lovely (Nagoya: Japan) – Kei Akagi Trio Pit Inn (Tokyo: Japan) – Kei Akagi Trio Body & Soul (Tokyo: Japan) – Kei Akagi Trio Blues Alley (Washington, D.C.) – Stanley Turrentine Quintet

1997:

• 29 performances with Kei Akagi Trio in U.S. and Japan • 21 U.S. performances with Stanley Turrentine Quintet • 2 U.S. performances with James Newton

Major venues and events: Lovely (Nagoya: Japan) – Kei Akagi Trio Pit Inn (Tokyo: Japan) – Kei Akagi Trio Body & Soul (Tokyo: Japan) – Kei Akagi Trio Kennedy Center (Washington, D.C.: U.S.) - Kei Akagi & Co. Zao Jazz Festival (Yamagata: Japan) – Kei Akagi Trio Blues Alley (Washington, D.C.) – Stanley Turrentine Quintet

1996:

• 17 performances with Kei Akagi Trio in U.S. and Japan • 27 U.S. performances with Stanley Turrentine Quintet • 3 U.S. performances with James Newton • 4 performances with Charnett Moffet Trio in U.S. and Canada

Major venues and events: Lovely (Nagoya: Japan) – Kei Akagi Trio Pit Inn (Tokyo: Japan) – Kei Akagi Trio Body & Soul (Tokyo: Japan) – Kei Akagi Trio

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Montreal Jazz Festival (Montreal: Canada) - Charnett Moffet Trio Village Vanguard (New York, NY: U.S.) - Stanley Turrentine Quintet

1995:

• 15 performances with Kei Akagi Trio in U.S. and Japan • 16 U.S. performances with Stanley Turrentine Quintet • 3 U.S. performances with James Newton • 5 U.S. performances with Charnett Moffet Trio • 20 performances in Japan with Sadao Watanabe Group

Major venues and events: Pit Inn (Tokyo: Japan) – Kei Akagi Trio Mt. Fuji Jazz Festival (Fuji: Japan) – Sadao Watanabe Group

1994:

• 9 performances with Kei Akagi Trio in U.S. and Japan • 19 U.S. performances with Stanley Turrentine Quintet • 1 U.S. performance with Eddie Harris • 5 performances in Japan with Charnett Moffet Trio • 38 performances with Sadao Watanabe Group in U.S., Singapore, Indonesia, Japan • 7 performances with Slide Hampton in U.S., France, Slovenia, Holland

Major venues and events: Mt. Fuji Jazz Festival (Fuji: Japan) – Sadao Watanabe Group Bluenote (Jakarta: Indonesia) - Sadao Watanabe Group Lincoln Center (New York, NY: U.S) – Slide Hampton Congress Hall (Den Haag: Netherlands) - Slide Hampton Osaka Bluenote (Osaka: Japan) – Charnett Moffet Trio Fukuoka Bluenote (Fukuoka: Japan) – Charnet Moffett Trio

1993:

• 28 U.S. performances with Kei Akagi Quartet • 66 performances with Stanley Turrentine Quintet in U.S., Canada, Austria, Holland, Trinidad • 3 U.S. performances with James Newton

Major venues and events: Congress Hall (Den Haag: Netherlands) - Stanley Turrentine Quintet Montreal Jazz Festival (Montreal: Canada) - Stanley Turrentine Quintet

1992:

• 22 performances with Kei Akagi Quartet in U.S. and Japan • 50 performances with Stanley Turrentine Quintet in U.S., Japan, Germany, St. Croix, Nassau • 8 U.S. performances with James Newton • 10 U.S. performances with Steve Turre Group

Major venues and events: Pit Inn (Tokyo: Japan) – Kei Akagi Quartet Keystone Korner (Tokyo: Japan) - Kei Akagi & Co. The Forum (Leverkusen: Germany) - Stanley Turrentine

1991:

• 14 performances with Kei Akagi Quartet in U.S. and Japan • 73 U.S. performances with Stanley Turrentine Quintet • 2 U.S. performances with James Newton

Major venues and events: Pit Inn (Tokyo: Japan) - Kei Akagi Quartet Ureshino Jazz Festival (Kyuushu: Japan) – Kei Akagi Quartet

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1990: • 6 performances with Kei Akagi Quartet in U.S. and Japan • 87 performances with Miles Davis Group in U.S., Italy, England, Scotland, France, Holland

Germany, Switzerland, Spain, Portugal, French West Indies, Canada, Japan, Greece • 16 U.S. performances with Steve Turre & Robin Eubanks Group • 6 performances in Japan with Frank Gambale Group

Major venues and events with Miles Davis Group: Massey Hall (Toronto: Canada) Montreal Jazz Festival (Montreal: Canada) Grammy Awards Show (Los Angeles, CA: U.S.) UCSD (La Jolla, CA.: U.S.) Hammersmith Odeon (London: U.K.) Pantages Theater (Toronto: Canada) Constitution Hall (Washington, DC: U.S.) Opera House (Boston, MA: U.S.) Blues Alley (Tokyo: Japan) Music Hall (Hannover: Germany) Philharmonie Gasteig (Munich: Germany) Old Opera House (Frankfurt: Germany) Pallas Theatre (Athens: Greece) Avery Fisher Hall (New York, NY: U.S.) Jardins de Cimiez (Nice: France) Congress Hall (Den Haag: Netherlands) Hollywood Bowl (Los Angeles, CA U.S.) Le Zenith (Paris: France)

1989:

• 8 U.S. performances with Kei Akagi Quartet • 71 performances with Miles Davis Group in U.S., Portugal, Italy, France, England, Wales

Germany, Belgium, Switzerland, Spain, Austria, Hungary, Holland • 2 U.S. performances with James Newton

Major venues and events with Kei Akagi Group: Globe Theater (Tokyo: Japan) Major venues and events with Miles Davis Group: Avery Fisher Hall (New York, NY: U.S.) Jardins de Cimiez (Nice: France) Congress Hall (Den Haag: Netherlands) Hollywood Bowl (Los Angeles, CA U.S.) Le Zenith (Paris: France) Palacio de Deportes (Barcelona: Spain) Z-Zeit Tent (Vienna: Austria) Budapest Sports Hall (Budapest: Hungary) Coliseo Dos Regreios de Lisboa (Lisbon: Portugal) Club Geosala Di Euritimia (Italy: Rome) Teatro Orfeo (Milan: Italy) Meriadec (Bordeaux: France) Stora Scenen (Stockholm: Sweden) Palais de Congres (Strasbourg: France) International Arena (Birmingham: U.K.) Royal Festival Hall (London: U.K.) Apollo Theater (Manchester: U.K.)

1988: Major venues and events with Al Di Meola Group:

Volkshaus (Switzerland: Zurich) Teatro Orfeo (Milan: Italy) Tenda Pianeta (Rome: Italy) Teatrotenda Parten (Naples: Italy) Kongresshaus (Salzberg: Austria) Sofiensaele (Austria: Vienna) Sporthall (Hungary: Budapest)

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Deutsches Museum (Munich: Germany) Fabrik (Germany: Hamburg) Berliner Ensemble (East Berlin: East Germany) Philharmonie (West Berlin: Germany) Saga (Copenhagen: Denmark) Draken (Stockholm: Sweden) Ancien Belgique (Belgium: Brussels) Hammersmith Odeon (London: U.K.) Salle du Vigeau (Bordeaux: France) C.C. de Cimiez (France: Nice) Espace Julien (Marseille: France) Istanbul Jazz Festival (Istanbul: Turkey) Montreal Jazz Festival (Montreal: Canada) 1985: Major venues and events with Airto Moreira Group:

Newport Jazz Festival (Newport, RI: U.S.) Montreaux Jazz Festival (Montreaux: Switzerland) Montreal Jazz Festival (Montreal: Canada) 1983: Monterey Jazz Festival (Monterey, CA: U.S.) 1981: Carnegie Hall (New York, NY: U.S) VIII. Broadcasts: 2012: Music Bird - Internet broadcast (http://musicbird.jp/programs/live-works/) of 12/22/12 solo piano concert recorded at Time & Style, Tokyo, Japan. February 9, 2013 2010: FM Japan Broadcast – “Nightly Yours” with Sadao Watanabe accompanied by the Kei Akagi

Trio, September 4, 2010 (Tokyo) 2008: BS-i Broadcast (video) – “Music Tide” - Live broadcast of December 22, 2007 performance

(Tokyo) JJAZZ Net Internet Broadcast – Live recording of September 13, 2007 performance (Tokyo)

2007: NHK-TV Broadcast – “Miles Davis Special”; May 29; interview (Tokyo) 2006: NHK-FM Broadcast - “Session 505” April 5 (Tokyo, Japan) 2005: Tokyo Inter FM, Marunouchi Cool Struttin’

- weekly hour-long program on jazz in which I was the sole DJ and announcer; four programs; includes live performances by Kei Akagi Trio - broadcast 2005 August 7, 14, 21, 28

FM Fukushima, Japan

- two 30-minute segments; interviews - broadcast 2005 September 24, October 1

2004: Radio Nikkei Broadcast, July 14 (Tokyo, Japan) – 30-minute interview

NHK-FM Broadcast - “Session 505” July 25 (Tokyo, Japan)

2003: NHK-FM,Broadcast– Sept. 14 (Sendai Japan) One-hour performance for program “Live from

Johzenji Jazz Festival” 2001: NHK-FM Broadcast - “Session 505” July 30 (Tokyo, Japan)

TBS-TV Broadcast (video) - Sept. 7 (Tokyo, Japan). Appearance and performance on “News 23”, a national news program

2000: NHK-FM Broadcast - “Session 505” July 30 (Tokyo, Japan).

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IX. Publications: 1) Articles by Kei Akagi: “Performance Spaces: Transcending a Dichotomy” (Time & Style: Where Do We Come From?; publication of Time & Style, Japan, December 2007) “A Closed and Sacred Place” (Swing Journal; magazine; Japan; November 2007. Article on Miles Davis’ compositional style.) “Miles and Musical Trust” (Swing Journal; magazine; Japan; November 2006) "Honing Intution, In Light of the Essence of Freedom as Found in Jazz”( Port Sapie; publication of Hakodate University, Japan, July 2002.) JazzLife(magazine; Japan) – August 1995. Article on jazz theory. JazzLife (magazine; Japan) – July 1995. Article on jazz theory. JazzLife (magazine; Japan) – June 1995. Article on jazz theory. JazzLife (magazine; Japan) – May 1995. Article on jazz theory JazzLife (magazine; Japan) – April 1995. Article on jazz theory. JazzLife (magazine; Japan) – March 1995. Article on jazz theory. 2) CD Reviews Liquid Blue

Swing Journal (magazine; Japan) – January 2008 CD Journal (magazine; Japan) – January 2008 Jazz Life (magazine; Japan) – January 2008 Intoxicate (magazine; Japan) – January 2008 FM Fan (magazine; Japan) – January 2008 Japan Times (newspaper; Japan) – January 2008

Live – Shapes in Time

Swing Journal (magazine; Japan) – April 2006 Intoxicate (magazine; Japan) – April 2006

Modern Ivory

JazzLife (magazine; Japan) – July 2004 Swing Journal (magazine; Japan) – July 2004

A Hint of You

JazzLife (magazine; Japan) – July 2003 Swing Journal (magazine; Japan) – July 2003

Grand New Touch

Swing Journal (magazine; Japan) - May 2003 Palette

Swing Journal (magazine; Japan) - Dec. 2001 Swing Journal (magazine; Japan) - July 2001

New Smiles and Traveled Miles Jazz Improv (magazine, U.S.) - ?, 2002 L.A. Jazz Scene (publication of Los Angeles Jazz Society; U.S.) - August 2001 Jazzette (publication of Santa Barbara Jazz Society; U.S.) - July 2001 Stereophile (magazine; U.S) - February, 2001. High Fidelity (internet review) - January 2001 Jazz 52 d St. (internet review) - 2000 Audiophile Audition (internet review) - Dec. 2000

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Prosound (magazine; U.S.) – October 1998 Jazz Life (magazine; Japan) - Nov. 1998 Swing Journal (magazine; Japan) – August 1998

3) Concert reviews: Spark-e’s Place (internet blog: http://sparkoc.blogspot.com/2009/02/night-at-improv-kei-akagi.html) - February 2009. Review of 2/12 UCI concert Mutsu Shinpo (newspaper: Japan) – September 2005. Review of 9/3/05 To-0 Gijuku High School performance Jazznin (magazine: Japan) – February 2005. Review of 12/6/04 Naru concert To-o Nippou (newspaper: Japan) - August 2003. Review of 9/6/03 To-o Gijuku High School concert Asahi Shinbun (newspaper: Japan) - August 2003. Review of 7/25/03 Body & Soul concert Moji Guide (webpage) - May 2003. Review of 4/5/03 Naru concert JazzLife (magazine; Japan) - January 2003 – review of 11/24/02 Kamakura Performing Arts Center concert Swing Journal (magazine; Japan) - November 2002: Review of 9/10/02 Shinjuku Pit Inn concert 4) Interviews: "Pit Inn Entertainment Nightly #14," JJAZZ NET (internet magazine; http://www.jjazz.net) - September, 2013. Internet interview on Kei Akagi Trio for 2013 summer tour of Japan. Jazz Japan (magazine; Japan) – Feb. 2013. Article on 12/23/12 Master Class at Somethin' Jazz Club, Tokyo, Japan. Includes interview with Kei Akagi. Bravo (magazine; Japan) – December 2009. Interview on forthcoming 12/25/09 solo piano concert at Hakujyu Hall, Tokyo, Japan Jazz Bass Player Vol. 5 (magazine; Tokyo) – November 2009. Interview on Ron Carter and Marcus Miller Sankei Shinbun (newspaper; Japan) – August 2009. Interview on Miles Davis and African-American music in Asia Playboy (magazine; Japan) –August 2008. Interview on CD Liquid Blue HK Magazine (newspaper; Hong Kong) – December 2006. Interview on 12/9-10 Grappa’s Cellar performance South China Morning Post (newspaper; Hong Kong) – December 2006. Interview on 12/9-10 Grappa’s Cellar performance Mainichi Shinbun (newspaper; Japan) – August 2006. Interview on CD Live - Shapes in Time Intoxicate (magazine; Japan) –June 2006. Interview on CD Live - Shapes in Time Jazzwise (magazine; U.K.) – May 2006. Interview on Miles Davis Swing Journal (magazine; Japan) – April 2006. Interview on CD “Live - Shapes in Time Keyboard (magazine: Japan) - October 2004: Interview on CD Modern Ivory Asahi Shinbun (newspaper: Japan) - Interview on concert tour Swing Journal (magazine; Japan) - July 2004: Interview on CD Modern Ivory Jazz-Nin (magazine: Japan) - November 2003: Interview on music

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Akita Nippou (newspaper: Japan) - August 2003: Interview on concert tour Saga Shinbun (newspaper: Japan) - August 2003: Interview on concert tour San-in Shinbun (newspaper: Japan) - August 2003: Interview on concert tour Nishi Nihon Shinbun (newspaper: Japan) - August 2003: Interview on concert tour Akita Sakigake Shinbun (newspaper: Japan) - August 2003: Interview on concert tour Yomiuri Shinbun (newspaper: Japan) - August 2003: Interview on concert tour Keyboard (magazine: Japan) - August 2003: Interview on concert tour and CD A Hint of You Japan Times (newspaper: Japan) - August 2003: Interview on concert tour Swing Journal (magazine; Japan) July 2003: Interview on concert tour and CD A Hint of You Asahi Shinbun (newspaper; Japan) - August 9, 2002. Interview on Hakodate University residency Hokkaido Shinbun (newspaper; Japan) - August 9, 2002. Interview on Hakodate University residency JazzTimes (magazine; U.S.) - March 2002. Interview on Miles Davis Swing Journal (magazine; Japan) - October 2001. Interview on Miles Davis Asahl Shinbun (newspaper; Japan) - August 2001. Interview on concert tour and CD Palette Downbeat (magazine; U.S.) - May 200 1. Interview on Miles Davis Swing Journal (magazine; Japan) - July 2001. Interview on CD Palette Musica Nova (magazine; Japan) - November 2000. Interview on music education Kahoku Shinpo (newspaper; Japan) - Sept. 8, 2000. Interview on concert tour and jazz education Jazziz (magazine; U.S.) - Jan. 1995. Interview on CD Mirror Puzzle JazzTimes (magazine; U.S.) – Dec. 1994. Interview on CD Mirror Puzzle 5) Books that mention/interview Kei Akagi M/D: A Theory of Miles Davis (Naruyoshi Kikuchi, Esquire Magazine Japan, Tokyo, 2008) THE LAST MILES (George Cole, University of Michigan Press, Ann Arbor, 2005) COMPLETE HISTORY OF MILES (Takao Ogawa, Heibon-sha, Tokyo, 2002) MILES BEYOND - THE ELECTRIC EXPLORATIONS OF MILES DAVIS, 1967-1991 (Paul Tingen, Billboard Books, 2001) MILES: THE DEFINITIVE BIOGRAPHY (Ian Carr, Thunder’s Mouth Press, 1998) JAZZ LIVES (Gene Lees, Firefly Books,1992) MILES: THE AUTOBIOGRAPHY (Miles Davis with Quincey Troupe, Simon & Schuster, 1990) 6) Articles that mention Kei Akagi Hokkaido Tsushin (newspaper: Japan) - August 2004 - Article on Hakodate University residency

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Hakodate Shinbun (newspaper: Japan) - August 2004 - Article on Hakodate University residency To-o Nippou (newspaper: Japan) - August 2003: Article on 9/6/03 concert in Hirosaki, Japan Asahi Shinbun (newspaper: Japan) - August 2003: Article on 9/6/03 concert in Hirosaki, Japan Hokkaido Shinbun (newspaper; Japan) - ?, 2002. Article on 9/6/02 concert in Hakodate, Japan Hakodate Shinbun (newspaper; Japan) - August 9, 2002: Article on Hakodate University residency Swing Journal (magazine; Japan) - Dec. 2000. Article on Miles Davis Jazziz (magazine; U.S.) - Feb. 1995. Article on state of jazz X. Other Creative Activity: Original factory programming for electronic instruments: 1998 Casio Computer Co., Ltd. MZ-2000 1997 Casio Computer Co., Ltd. CTK-811 EX Casio Computer Co., Ltd. CTK-711EX 1996 Casio Computer Co., Ltd. WK-1500

PROFESSIONAL COMPETENCE AND RECOGNITION

I. Honors and Awards: Playboy 2008 Japan Jazz Awards: CD Liquid Blue voted Best Album by Domestic Artist Swing Journal 2002 Japan Readers Poll. Voted #4 by general reader public in jazz piano category Swing Journal 2001 Jazz Disk Award (Japan). CD Pallete voted #3 in Japanese jazz releases category Downbeat 1982 Readers Poll (U.S.) - voted 9th in Electric Piano category by general reader public. II. Invited Presentations: November 29, 2012: lecture on oral tradition - Miyagi Gakuin College, Sendai, Japan July 21, 2009: lecture on jazz methods - Tokyo School of Music, Tokyo, Japan January 27, 2007: “History of American Jazz” - Saddleback College Emeritus Institute Distinguished Guest Lecture Series, Mission Viejo, California May 1, 2004: “Los Angeles Philharmonic Presents Jazz at Walt Disney Concert Hall” Presentation/performance at pre-concert event “Upbeat Live” for LA Philharmonic concert featuring Herbie Hancock; Walt Disney Concert Hall, BP Hall, Los Angeles, California III. Adjudications: August 2005 to 2007: Member of Arts Recognition and Talent Search panel, National Foundation for Advancement in the Arts

- documented in television production “Rehearsing a Dream” (2005); broadcast nationally on HBO

February 7, 2010: “Music Center Spotlight Awards”, semi-finalist adjudicator Music Center, Performing Arts Center of Los Angeles County, Los Angeles, California

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January 27, 2007: “Music Center Spotlight Awards”, semi-finalist adjudicator Zipper Hall, The Colburn School of Music, Los Angeles, California January 29, 2006: “Music Center Spotlight Awards”, semi-finalist adjudicator Zipper Hall, The Colburn School of Music, Los Angeles, California February 15, 2005: “Music Center Spotlight Awards”, semi-finalist adjudicator Zipper Hall, The Colburn School of Music, Los Angeles, California February 15, 2004: “Music Center Spotlight Awards”, semi-finalist adjudicator Zipper Hall, The Colburn School of Music, Los Angeles, California IV. Residencies: August 4-10, 2004 - Visiting Professor, Hakodate University, Hakodate, Japan 14-part lecture series on “Methods and History of Jazz” given to approximately 20 students at the sophomore/junior level. Sept. 12, 2003 - Visiting Professor, Senzoku Gakuin College, Yokohama, Japan 2-hour lecture on jazz history given to approximately 100 students at the sophomore/junior level August 3-7, 2003 - Visiting Professor, Hakodate University, Hakodate, Japan 10-part lecture series on “Methods and History of Jazz” given to approximately 20 students at the sophomore/junior level. August 5-9, 2002 - Visiting Professor, Hakodate University, Hakodate, Japan 10-part lecture series entitled "Methods and History of Jazz", given to 20 students (non-majors) at the sophomore level. V. Master Classes & Clinics: 2012: Naadam, Nara, Japan, December 15 Somethin' Jazz Club, Tokyo, Japan, December 23 2011: Yared Music School, Addis Ababa, Ethiopia, March 2 Somethin' Jazz Club, Tokyo, Japan, December 16 Base-1 Jazz School, Beppu, Japan, December 22 2010: Base-1 Jazz School, Beppu, Japan, August 17-18- with Kei Akagi Trio Miles Café, Tokyo, Japan, December 11 2009: Base-1 Jazz School, Beppu, Japan, December 10-11 Miles Café, Tokyo, Japan, December 13 2008: Base-1 Jazz School, Beppu, Japan, August 28-29 - with Kei Akagi Trio Miles Café, Tokyo, Japan, December 13 2007: Saddleback College, Mission Viejo, California, February 8 - with Kei Akagi Trio CSU Bakersfield, California, October 12 - with Kei Akagi Trio Base-1 Jazz School, Beppu, Japan, August 31-September 1 - with Kei Akagi Trio Miles Café, Tokyo, Japan, December 8 2006: Base-1 Jazz School, Beppu, Japan, August 25-26 - with Kei Akagi Trio 2005: Base-1 Jazz School, Beppu, Japan, August 26-27 - with Kei Akagi Trio 2004: Hakodate University, Hakodate, Japan, August 10 - demonstration of improvisation techniques

Base-1 Jazz School, Beppu, Japan, August 20-21 - with Kei Akagi Trio 2003: Hakodate University, Hakodate, Japan, August 5 – demonstration of improvisation techniques

Base-1 Jazz School, Beppu, Japan, August 23 - with Kei Akagi Trio

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Senzoku Gakuin College, Yokohama, Japan, Sept. 12 – ensemble class 2002: Hakodate University, Hakodate, Japan , August 7 – demonstration of improvisation techniques Kiyota High School, Sapporo, Japan, Sept. 4 – with Kei Akagi Trio lai High School, Hakodate, Japan, Sept. 6 – with Kei Akagi Trio 2000: Santa Barbara City College, Santa Barbara, CA., May 28 – with Kei Akagi Trio 1999: Friends of Contemporary Music (Japan) - lecture on jazz history Sendai Yamaha (Japan) - lecture on jazz rhythms 1998: University of California, Irvine - with Kei Akagi Trio Sendai Yamaha (Japan) - lecture on jazz harmony 1997: University of California, Irvine - with Kei Akagi Quartet 1995: Santa Barbara City College - with Kei Akagi Trio 1994: Shinjuku Pit Inn (Japan) - lecture on jazz theory San Bernardino High School - with Anthony Brown Trio 1993: California Institute of the Arts - with Kei Akagi Quartet 1992: University of California, Santa Barbara - with Kei Akagi Trio

Inglewood High School (Los Angeles) - with Louis Taylor Group Lincoln High School (Los Angeles) - with Tony Lujan Quintet 1990: California Institute of the Arts - with Kei Akagi Trio

SERVICE I. University Wide: November 2009 - Referee for Adjunct Associate Professor candidate at UCLA Dept. of Ethnomusicology – jazz trumpet position 2006: Performance – Lauds & Laurels Awards Ceremony (April 27, UCI Alumni Association) 2003-2006: Member of Ph.D. thesis committee for doctoral candidate, UCLA Dept. of Musicology July 2002 – Referee for Adjunct Assistant Professor candidate at UCLA Dept. of Ethnomusicology – jazz drumming instructor position July 2002 – Referee for Adjunct Assistant Professor candidate at UCLA Dept. of Ethnomusicology – jazz saxophone instructor position June 2002 – Referee for Assistant Professor candidate at UC San Diego, Dept. of Music – jazz instructor position II. Campus: Spring Quarter 2006: Committee on Committees – interim member Spring Quarter 2003: Member of Search Committee for Dean of UCI Claire Trevor School of the Arts III. School: Chair of Search Committee for Claire Trevor School of the Arts Associate Dean (Winter-Spring 2004)

26

IV. Department: Committee member for:

• Performance Council (2007 – present) • Undergraduate Task Force (2007) – member of committee to revise undergraduate curriculum for

Music Dept. Bachelor of Arts and Bachelor of Music programs • Committee to formulate departmental policy on piano use (2007) - chair

Search committee member for:

• Integrated Composition, Improvisation, Technology (ICIT) position (Winter-Spring 2010) • Integrated Composition, Improvisation, Technology (ICIT) position (Winter-Spring 2008) • Composition position (Winter-Spring 2006) • Department Chair (Winter-Spring 2004)

Coordinated Master Classes at UCI for: • Take 6 (2000) • Asian-American Jazz Orchestra (2002) • Piotr Baron (2004) • Joe Chambers (2005) • Tomokazu Sugimoto & Tamaya Honda (2007, 2009, 2011) • Dave Liebman (2010) • joE-LeSs ShOe (2012)

Graduate Advisor (Fall 2002-Spring 2004) V. Community: November 2010: Lecture – Academy for Lifelong Learning; lecture on jazz April 2010: Lecture - University High School, Irvine California November 2007: Lecture – Peninsula Committee; Palos Verdes, California; lecture on jazz October 2007: Lecture – Academy for Lifelong Learning; lecture on jazz June 2006: Performance - Katrina Benefit Concert, First United Methodist Church, Redondo Beach, California April 2006: Performance – Lauds & Laurels Awards Ceremony (UCI Alumni Association) March 2005: Performance – Turtle Rock Elementary School February 2004: Performance - Academy for Lifelong Learning, Irvine United Congregational Church May 2003: Performance - First United Methodist Church, Redondo Beach, California April 2002: Lecture – Academy for Lifelong Learning; 3-part lecture series on jazz

AMY M. BAUER, Ph.D. 3043 Contemporary Arts Center, UC Irvine CA 92697, tel. (949) 824-6615

[email protected] DEGREES May 1997 Yale University, Ph.D. Music Theory

Dissertation: “Compositional Process and Parody in the Music of György Ligeti” Examines parody and compositional process in Ligeti's works from the early 1950s through the mid-1980s as a doubly-coded, paradoxical synthesis of musical texts that establishes a critical distance from an original text or set of conventions. Various models of critical distance–canonic structure, mannerist style, modality, allusions to late nineteenth-century works, and the influence of non-Western music–are presented as specific examples of ironic "trans-contextualization" and inversion, within the context of contemporary post-serial and avant-garde European music.

August 1987 University of Wisconsin-Madison, MM. Music Theory, Minor: Ethnomusicology

Thesis: “Miles Davis and the Evolution of the Jazz Rhythm Section in his Quintets of 1956 and 1964” Transcription and analysis of four recorded performances from 1956 and 1964, contrasting the interplay of soloists and each member of the rhythm section in the 1956 and 1964 incarnations of the Miles Davis Quintet.

May 1983 St. Norbert College, De Pere, WI, B.M. cum laude; Major: Piano Perf. Minor: German PROFESSIONAL EMPLOYMENT July 2005- Associate Professor of Music Theory, Department of Music, Claire Trevor School of

the Arts at the University of California, Irvine. Coordinator of the Theory Program

Developed and taught a four-quarter undergraduate theory sequence, undergraduate analysis course, introduction to music and graduate courses in tonal and post-tonal analysis. Developed and supervised a new two-quarter course in Music Fundamentals. Taught graduate seminars in Post-1945 Music, the Music of Ligeti and Spectral Music. Supervised independent studies in counterpoint, research and analysis and one UTeach course. Chaired one MFA committee and sat on nine MFA committees, one undergraduate Honors committee, and one Ph.D. committee in Cognitive Science. Committee member for PhD. In musicology, University of Oslo..

July 2001- Assistant Professor of Music Theory, Department of Music, Washington University, St

Louis, Coordinator of the Undergraduate Theory Program

Developed and taught a four-semester undergraduate theory sequence that incorporated linear analysis, modal and 18th-century counterpoint and form. Taught graduate courses in music theory and the analysis of 20th c. music, and seminars in the theory and analysis of post-1945 music and readings in music theory. Member of four Ph.D. committees in music theory and musicology.

1998-2001 Assistant Professor of Music Theory, Department of Music Theory and Composition,

West Chester University, PA Adjunct Lecturer, Swarthmore College

At WCU, taught a four-semester undergraduate theory sequence, musicianship and ear-training. Taught graduate courses in 18th c. counterpoint, and seminars in Schenkerian Analysis, Theories of World Music and Theory and Analysis of post-1945 music. Directed MM thesis in Music Theory. At Swarthmore, taught course in advanced analysis and directed two independent studies.

1995-1998 Visiting Assistant Professor of Music Theory, Conservatory of Music, University of

Missouri-Kansas City Taught a four-semester undergraduate theory sequence, Ear-training and musicianship, form and analysis, 16th c, counterpoint and advanced ear-training for 20th c. music. Taught graduate courses in post-18th c. counterpoint and Musical Cultures of the World, and graduate seminars in Schenkerian Theory and Analysis, the Music of György Ligeti, Theory and Analysis of Musical Rhythm, and Cross-Cultural Influences on 20th c. Concert Music. Directed 5 graduate independent studies and served on semester performance studies. Directed DMA dissertation in Viola.

1994-1995 Visiting Instructor of Music Theory, University of Colorado at Boulder 1989-1994 Teaching Fellow, History of Jazz, Music Theory, and Ethnomusicology Yale University 1993-1994 Instructor in World Music, Education Center for the Arts, New Haven, CT BOOKS Ligeti’s Laments: Nostalgia, Exoticism and the Absolute

When the Hungarian composer György Ligeti passed away in June 2006, he was widely feted as being one of the greatest composers of our time. His complete published works were recorded during his lifetime and his music continues to inspire a steady stream of performances and scholarship. Ligeti's Laments provides a critical analysis of the composer's works, considering both the compositions themselves and the larger cultural implications of their reception. Bauer both synthesizes and challenges the prevailing narratives surrounding the composer's long career and uses the theme of lament to inform a discussion of specific musical topics, including descending melodic motives, passacaglia and the influence of folk music. But Ligeti 'laments' in a larger sense; his music fuses rigour and sensuality, tradition and the new and influences from disparate high and low cultures, with a certain critical and ironic distance, reflected in his spoken commentary as well as in the substance of his music. The notions of nostalgia, exoticism and the absolute are used to relate works of different eras and genres, along with associated concepts of allegory, melancholy, contemporary subjectivity and the voice. (Aldershot, UK: Ashgate, 2011)

REFEREED PUBLICATIONS 2013 “’Soli and Inventions’: An analytical approach to Carlos Chávez’s late, experimental

chamber pieces,” Carlos Chávez and His World (Princeton University Press, forthcoming) 2013 “Ligeti’s Lament and the Spiritual Other,” in Contemporary Music and Spirituality,

Sander van Maas and Robert Sholl, eds. (Aldershot, UK: Ashgate, in press) 2012 "The Cosmopolitan Absurdity of Ligeti’s Late Works," Contemporary Music Review 31/2

(April, 2012): 1–14. 2010 “Philosophy Recomposed: Stanley Cavell and the Critique of New Music,” Journal of

Music Theory, 54.1: 77–92. 2009 “The ‘Other’ of the Exotic: Balinese Music as ‘Grammatical Paradigm’ in the Music of

Ligeti,” Music Analysis 27/ii-iii: 1-36. 2009 “’Give Me Something to Sing About’: intertexuality in Once More With Feeling Sounds

of the Slayer: Music and Silence in Buffy and Angel, edit by Paul Attinello and Vanessa Knights (Aldershot, UK: Ashgate Publishing), 209-34.

2007 “The Impossible Charm of Messiaen’s Chronochromie,” Messiaen Studies, Robert Sholl,

editor (Cambridge: Cambridge University Press), 154-67. 2004 ““Tone-color, movement, changing harmonic planes”: Cognition, Constraints and

Conceptual Blends in Modernist Music,” The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology, Arved Ashby, editor (Rochester: Eastman Studies in Music), 121-52.

2001 “’Composing the Sound itself;’ Secondary Parameters and Structure in the Music of

Ligeti,” Indiana Theory Review, Volume 22, no. 1 (Spring), 37-64. NON-REFEREED PUBLICATIONS AND REVIEWS 2012 Review of György Ligeti: Of Foreign Lands and Strange Sounds, Louise Dushesneau and

Wolfgang Marx, editors, (Woodbridge: The Boydell Press), Music and Letters (in press). 2012 “Free Will and Narrative Closure in Lost,” and “Time Is the Essence,” in Lost Thought:

Leading Thinkers Discuss Lost, Pearson Moore, editor (Inukshuk Press), 199–208 and 231–38.

2011 “György Ligeti,” New Catholic Encyclopedia Supplement 2011: Literature, Music, and

the Arts, vol. 2, Robert Fastiggi, Frank J. Coppa,and Joseph Koterski, S.J., editors (Farmington Hills, MI: Gale), 432–33.

2009 “György Ligeti,” Musicians and Composers of the 20th Century, Chris Moose, editor (Pasadena, CA: Salem Press), 855-60.

2009 Review of Rachel Beckles Willson, Ligeti, Kurtág, and Hungarian Music during the Cold

War (Cambridge: Cambridge University Press, 2007), Music and Letters 90/2: 307-10. 2008 “Conference Report: Messiaen 2008 International Centenary Conference, Birmingham,

England, June 21-24, 2008,” Newsletter of the Ars Lyrica Society for Word-Music Relations, Fall.

2008 ““So much for fate”: Free Will and Narrative Closure in Lost,” Lost Online Studies 2/1,

http://loststudies.com/2.1/so_much_for_fate.html 2007 “Discipline & Punish: The Lost Experience as Panopticon,” Lost Online Studies 1/2,

http://loststudies.com/1.2/discipline.html 2006 “Lost de la Lettre: messages, mistaken identities and the other who really believes,” Lost

Online Studies 1/1, http://loststudies.com/1.1/lostdelalettre.html 2005 Review of Richard Steinitz, György Ligeti: Music of the Imagination (London: Faber and

Faber, 2003), twentieth-century music, Vo. 2, No. 2: 302-309. 1995 Review of Capriccio Nr. 1 /Invention /Capriccio Nr. 2 for piano (1947-48), and Ricercare

per organo (1953) by György Ligeti, MLA Notes (March) CONFERENCE PAPERS 2013 “Genre as émigré: the return of the repressed in Ligeti’s Second Quartet,” 2013 Annual

Meeting of the American Musicological Society, Pittsburgh, Nov. 7–10. 2013 “The ‘harmonic series’ is an artifact”: ideology, process and perception in Georg Friedrich

Haas’s in vain,” Second biennial conference on Tracking the Creative Process in Music/Analyser les processus de création musicale, Montréal, Oct. 10–12.

2013 “The mysteries of Selma, Alabama”: re-telling and revelation in David Lang’s The

Difficulty of Crossing a Field,” Fourth International Conference on Music and Minimalism, Long Beach, Oct. 3–6.

2012 "The Cosmopolitan Imagination in Ligeti’s Wëores Songs," 19th International

Musicological Society 2012 Rome Congress, July 1–7 2012 "The mysteries of Selma, Alabama”: re-telling and remembrance in David Lang’s The

Difficulty of Crossing a Field" Perceptual Tensions, Sensory Resonance: Contemporary Opera and New Music Theatre, University of Toronto, June 8–9

2011 “Viola as the Spectral Subject of Contemporary Music,” and session leader for “The

Boundaries of the Spectral Subject: temporality, vernacular music and the solo viola in the

music of Grisey, Radulescu and Ligeti,” VII European Music Analysis conference, Rome, Italy, September 29 – October 2

2011 “For there will be blood: the ‘imaginary, terrible last judgment’ in Ligeti’s Le Grand

Macabre,” Sonic Doom: Decay, Disease, and Destruction in Music, fifth annual ECHO conference, University of California, Los Angeles, May 13–14

2009 “Lament as Ur-Narrative in Ligeti’s Aventures,” Sixth Biennial International Conference

on Music since 1900, Keele University, UK , July 2-5 2009 “The transparent tangle of history: parody, allusion and desire in Ligeti’s Le Grande

Macabre,” AMS-PCS, Irvine, CA, May 2-3 2009 “The transparent tangle of history: parody, allusion and desire in Ligeti’s Le Grande

Macabre,” Winner, New England Conference on Music Theory Prize, NECMT New Haven, CT April 24-26

2008 ““Time is the essence”: the split subject of Lost,” 2008 Film & History Conference,

Chicago, October 30-November 2 2008 “The Impossible Charm of Messiaen's Chronochromie.” Messiaen 2008 International

Centenary Conference, Birmingham, England, June 21-24. 2008 “The Cosmopolitan Imagination in Ligeti’s Weöres Songs,” American Comparative

Literature Conference, Long Beach, CA, April 24-27. 2007 “The Rule of the Canon in Ligeti’s Études pour Piano (1985-2001)” presented at the

Annual meeting of the Society for Music Theory, Nov. 18. 2007 ““So much for fate”: Free Will and Narrative Closure in Lost,” Annual meeting of the

Mid-Atlantic Popular Culture/American Culture Association. November 2-4. 2006 “The Lament as structural and affective archetype in Ligeti’s First String Quartet,” West

Coast Conference on Music Theory and Analysis, Vancouver, B.C., Canada, April 21-23. 2005 “Transformational Networks and Chaotic Systems and in Ligeti’s ‘Vertige’ and ‘l’escalier

du Diable,’” presented at the Dublin International Conference on Music Analysis, University College Dublin, Ireland, June 23-25.

2005 “De-Tuning the World: tuning, temperament and the “other” in Ligeti’s music,” presented

at the 2005 meeting of the Conference on Interdisciplinary Musicology, Montréal, Mar 10-12.

2004 “The Birth of Spirit from the Tragedy of Music: language and the absurd in late twentieth-

century compositions,” paper accepted to the 2004 Second Annual Hawaii International Conference on Arts & Humanities, Honolulu, January 8-11.

2002 “The Passacaglia and Eternal Return in Bach and Ligeti,” Annual meeting of the Rocky

Mountain Society for Music Theory, April 20-21.

1999 “Cognition, Constraints and Conceptual Blends in Modernist Music,” Annual meeting of

the American Musicological Society, Kansas City Nov. 6. 1998 “Canon as Secret Rule, Science and Chaotic System in Ligeti’s Most Recent Music,” 4th

Annual meeting of the European Music Analysis Conference, October 22, 1999, Rotterdam, the Netherlands; Annual meeting of the Society for Music Theory, Chapel Hill, NC, Dec. 5.

1998 “‘A Sense of Order at a Higher Level:’ The Influence of African Polyphony and

Indonesian Gamelan on the Recent Music of György Ligeti,” Fifth International Symposium and Festival of the Centre for Intercultural Music Arts, London, March 30-April 3.

1998 “The Lady who (swung) the band(s)”: Mary Lou Williams, jazz style, and the “heavenly

city,” Sonneck Society for American Music, Feb. 19. 1997 “‘A Sense of Order at a Higher Level:’ The Influence of African Polyphony and

Indonesian Gamelan on the Recent Music of György Ligeti,”Annual meeting of the Society for Music Theory, Phoenix, Nov. 1

1996 “The Influence of Non-Western Music on Ligeti’s Recent Compositions,” “Memory,

History and Critique: European Identity at the Millennium,” the Fifth Conference of the International Society for the Study of European Ideas (ISSEI), Utrecht, the Netherlands, Aug 22.

1995 “Dialogue, Denotation and Improvisation: Miles Davis and the Evolution of the Jazz

Rhythm Section,” Annual meeting of the Sonneck Society for American Music in Madison WI, April 6.

1994 “‘Through Bruckner’s eyes': Allusion and Influence in the Orchestral Music of Ligeti,”

Perspectives on Anton Bruckner an international symposium, New London, CT, Feb 25. 1993 “Modal Functions and the Unity of Musical Space in Ligeti’s Lontano,” Annual meeting

of the AMS/SMT, Montréal, Nov.. INVITED PAPERS: 2013 Roundtable on “Music Analysis and analysis of creative processes: what can each

contribute to the other?”, Second biennial conference on Tracking the Creative Process in Music/Analyser les processus de création musicale, Montréal, Oct. 10.

2013 “’Let the disease become the cure’: Ligeti's utopian works for organ,” Eastman Rochester

Organ Initiative (EROI) Festival, September 27, 2013. ˚Eastman Rochester Organ Initiative (EROI) Festival, Rochester, September 26–29.

2013 Genre as émigré: the return of the repressed in Ligeti’s Second Quartet," Ligeti and

Hungary: Rootedness and cosmopolitanism, International symposium on July 12–13, Budapest and Szombathely, Hungary

2012 “Cosmopolitan Absurdity in the late music of Ligeti," Integrated Studies and Composition

lecture series, University of California, San Diego Department of Music, May 30. 2012 Symposium presenter, “The Cosmopolitan Imagination in Ligeti's late works,” The Late

Music of György Ligeti, Institute of Musical Research, London University, Mar. 30. 2011 Symposium presenter, “Classical Form and the Sublime Object in Ligeti’s Horn Trio,”

New Directions in Musical Aesthetics: The Twentieth Century and Beyond, The University of Texas at Austin, Feb. 26.

2010 “Compositional process in the Music of Ligeti,” Composition lecture series, California

State Northridge School of music, October 15. 2008 “Poppea gets her just desserts: Mescalina’s lament in Le Grande Macabre,” The

University of California, Santa Barbara, Musicology Lecture Series, Nov. 19. 2008 “Poppea gets her just desserts: Mescalina’s lament in Le Grande Macabre,” The Ohio

State University’s Musicology Lecture Series, Nov. 3. 2005 “Chaotic Systems in Ligeti’s Recent Music,” The Ohio State University’s Musicology

Lecture Series, April 24. 2004 “Ligeti’s Laments,” The Graduate Center at CUNY, April. HONORS AND AWARDS: 2010 Fellow at the 2010 Mannes Institute on Musical Aesthetics, University of Chicago 2009 “The transparent tangle of history: parody, allusion and desire in Ligeti’s Le Grande Macabre,” Winner New England Conference on Music Theory Essay Prize Epsilon Nu Chapter of Phi Kappa Lambda Music Honor Society Psi Chapter of Phi Sigma Iota foreign language honor society Alpha Gamma Chapter of Delta Epsilon Sigma Honor Society Phi Beta Kappa National Scholastic Honor Society GRANTS AND FELLOWSHIPS: Spring 2013 Faculty Research and Travel Grant Spring 2012 Faculty Research and Travel Grant Spring 2011 Faculty Research and Travel Grant 2009-2010 CORCL Faculty Research and Travel Grant Spring 2009 Faculty Research and Travel Grant Spring 2008 Faculty Research and Travel Grant Fall 2008 Sabbatical Release for continuing research Spring 2008 UCI Faculty Career Development Award Spring 2005 Washington University Junior Faculty Research Leave Summer 2000 Pennsylvania State System of Higher Education Grant for Scholarly Research 1992-1993 Sigma Alpha Iota, Yale University Dissertation Fellowship 1987-1992 University Fellowship, Yale University

1989 Yale Summer and Special Program Scholarship PROFESSIONAL SOCIETIES AND ACTIVITIES: EDITORIAL AND EVALUATIVE SERVICE: 2013-15 Editorial Board, Music Theory Online 2013 PhD. committee, Darrell Townsend, “Metaphor, Narrative and Musical Analysis: György

Ligeti’s Compositions from Atmosphères to His Second String Quartet,” University of New England, Australia

2013 Referee tenure case, Chapman University 2013–14 Program committee, “Music, Marxism and the Frankfurt School,” University College

Dublin, July 3–5, 2014 2013 Referee tenure case, Steinhardt School, New York University 2012–13 Program committee and local arrangements chair, West Coast Society for Music Theory 2012 Referee tenure case, George Washington University 2012 PhD. committee, Peter Edwards, "Tradition and the Endless Now: A Study of György

Ligeti's Le Grand Macabre," University of Oslo 2012 Reviewed Robert Gauldin, Harmonic Practice in Tonal Music, 3rd edition (New York:

W.W. Norton, forthcoming) for Norton, and reviewed blind submission of music theory textbook for Cengage Learning

2011 Consulting editor, Music Theory Spectrum, published by Society for Music Theory 2010-11 Program committee, West Coast Society for Music Theory 2008-2013 Submission Reviews for Music Theory Online (3), Twentieth-century music (7), Music

Theory Spectrum (6), Music Analysis (2), and Journal of Music and Mathematics (1) 2008-12 Program committee, Annual New Music Festival, Cal State Fullerton 2009 Book proposal review on Twentieth-century music for Routledge 2008-2013 Consulting work on various publications 2007 Reviewed Steve Laitz, The Complete Musician, 2nd edition (Oxford: Oxford University

Press, 2007), for Oxford 2005-2010 Editor of the peer-reviewed journal Lost Online Studies (loststudies.com) OFFICES AND MEMBERSHIPS HELD: 2013–14 American Musicological Society Council Nominating Committee 2013–15 Council Member, American Musicological Society Fall 2012 Session chair annual meetings of American Musicological Society and Society for

Music Theory 2010-11 Session chair, West Coast Society for Music Theory 2010– Webmaster, West Coast Society for Music Theory 2009-2014 Appointive counselor and program committee, the Pacific Southwest Chapter of the

AMS 2008-09 Session chair, West Coast Society for Music Theory, 2008-12 Program committee and session chair, Annual New Music Festival, Cal State Fullerton 2008 AP College Board Music Theory Colloquium April 11-13 Member of the Society for Music Theory, Society for Ethnomusicology, American Musicological Society, College Music Society, Society for American Music, American Comparative Literature Association, West Coast Society for Music Theory, Music Theory Society of New York State, Pacific

Southwest Chapter of the American Musicological Society, Mid-Atlantic Theory Society, New England Conference of Music Theorists UCI SERVICE ACTIVITIES: COMMITTEE SERVICE: Graduate committees: 2013- Member, PhD Committee, Danny Mann, Cognitive Science 2013 Member, MFA Committee, Matthew Fang, violin 2013 Member, MFA Committee, Pablo Rubio Vargas, ICIT 2013 Member, MFA Committee, Brian K. Smith, voice 2012 Member, MFA Committee, George Macias, guitar 2012 Member, MFA Committee, Elizabeth Lee, violin 2012 Member, MFA Committee, Lee Ann Leung, piano 2012 Member, MFA Committee, Russell Crabtree, choral conducting 2011 Member, MFA Committee, Michael Hernandez, ICIT 2011 Member, MFA Committee, Ian Hattwick, ICIT 2010 Member, MFA Committee, Martin Jaroszewicz, ICIT 2010 Member, MFA Committee, Anthony Centano, guitar 2009-11 Member, Ph.D. Committee, Assal Habibi, Cognitive Science, 2008 Chair, MFA Committee, Jeremie Favreau, piano, 2008 Member, MFA Committee, Carri McKaskill, voice 2007 Member, MFA Committee, Huijae Chung, composition 2007 Member, MFA Committee, Yuliya Minina, piano 2007 Member, MFA Committee, John Armstrong, guitar Promotion and Advancement: 2013 Member, Promotion review committee, David Brodbeck 2013 Member, Merit review committee, Kei Akagi 2012 Member, Merit and mid-career review committee, Cecilia Sun 2012 Member, tenure review committee, Nicole Mitchell 2012 Chair, NSF review committee, Maggie Parkins 2011 Chair, Merit review committee, Hossein Omoumi 2011 Chair, NSF review committee, Theresa Dimond 2010 Member, Promotion review committee, Kei Akagi 2010 Member, Promotion review committee, Robin Buck 2007 Member, Merit review committee, Robin Buck Other: 2011-14; 2008-09 Member, Faculty Graduate committee 2011-13; 2005-09 School of the Arts representative for the UCI Phi Beta Kappa Society 2013 Campus Honors Program (1 quarter) 2009-11; 2013 Member, Faculty Undergraduate committee 2009; 2010-11 UCI Undergraduate Honors Committee

2007-2008 Member, Faculty Search committee for Assistant Professor (Integrated Composition, Improvisation, and Technology),

2005-2006 Member, Faculty Search committee for Maseeh Professor in Persian Performing Arts

2006-08 UCI Subcommittee on Courses 2007-2008 Member, Faculty task force on Undergraduate Curriculum 2005-06 Member, Faculty Subcommittee on External Review, theory OTHER SERVICE: 2011- Webmaster, Music Dept website 2011- Poster design for faculty concerts Spring 2011, 2012 Program, Music Dept. Honors Program Winter 2012 Lecture for Music 156A: Song Literature: German Lieder Winter 2012 Lecture for Music 230: Seminar in Critical Studies Spring 2006 Semifinals Judge for the UCI Music Dept. Concerto Competition, under

Stephen Tucker Spring 2006 Cameo appearance in UCI Opera Gianni Schicchi, directed by Robin Buck Spring 2008 Lecture for Music 122: Piano Literature class Winter 2007 Session Chair, African American Art Song Alliance Conference PERFORMANCE BACKGROUND: 2006 Guccio in University of California, Irvine production of Gianni Schicchi under the

direction of Robin Buck 2003-5 Tambura for Ustad Imrat Kahn, Ustad Wilyat Khan and Shafattulah Khan 1998-2001 Balinese Gamelan Jaya Semara Santi (Swarthmore College) 1992-94 Balinese Gamelan Gong Kebyar Jagat Anyar (Yale University) 1992-93 Ghanaian Drum Ensemble (Yale University) 1989-93 Keyboards, clarinet, percussion for New Music, New Haven (Yale University) 1985-87 Javanese Gamelan and Contemporary Chamber Ensemble, University of Wisconsin,

Madison 1979-2001 Solo piano and accompanist

DAVID BRODBECK

PROFESSOR AND THE ROBERT AND MARJORIE RAWLINS CHAIR OF MUSIC UNIVERSITY OF CALIFORNIA, IRVINE

IRVINE, CA 92697 PHONE (949) 824–4281 • FAX (949) 824–1156

EMAIL: [email protected] Education Ph.D. in the History and Theory of Music, University of Pennsylvania, 1984 M.A. in Music, University of California, Santa Barbara, 1978 B. M. in Composition, summa cum laude, College-Conservatory of Music, University of

Cincinnati, 1976 Academic Employment University of California, Irvine, 2004–

Professor of Music Robert and Marjorie Rawlins Chair of Music

University of Pittsburgh, 1987–2005 (on leave, 2004–2005)

Professor of Music, 1999–2005; Associate Professor, 1993–98; Assistant Professor, 1987–93 Department Chair, 1996–2002; Director of Graduate Studies, 1995–1999; Director of Undergraduate Studies, 1990–1994

University of Southern California

Assistant Professor of Music, 1984–87 Major Fellowships and Awards H. Colin Slim Award, American Musicology Society (for outstanding musicological

article published in the previous year by a scholar beyond the early stages of the career), 2010

Research Fellowship, Alexander von Humboldt-Stiftung (in residence at the Institut für

Musikwissenschaft, Humboldt-Universität zu Berlin), 1994–95 Fellowship for University Teachers, National Endowment for the Humanities, 1987–88 Research Fellowship, National Humanities Center, Research Triangle Park, North

Carolina (declined), 1987–88 Dissertation-Year Fellowship, Martha Baird Rockefeller Foundation, 1983–84

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Research Grants (Not including numerous internal travel grants at UC Irvine and University of Pittsburgh)

Research Grant, Academic Senate Council on Research, Computing and Libraries,

University of California, Irvine, 2010–11 Research Grant, Central Research Development Fund, University of Pittsburgh, 1994 Research Grant, Hewlett International Small Grants Program, 1994 Grant for Travel to International Meetings, American Council of Learned Societies, 1994 Type I Research Grant, Faculty of Arts and Sciences Grants Committee, University of

Pittsburgh, 1992 Research Grant, American Philosophical Society, 1990 Type I Research Grant, Faculty of Arts and Sciences Grants Committee, University of

Pittsburgh, 1990 Travel to Collections Grant, National Endowment for the Humanities, 1990 Research Grant, Central Research Development Fund, University of Pittsburgh, 1988/89 Grant-in-Aid for Dissertation Research, Martha Baird Rockefeller Fund for Music,

1983/84 Publications

Books: Defining Deutschtum: Liberal Ideology, German Identity, and Music-Critical Discourse

in Liberal Vienna. Oxford and New York: Oxford University Press, in press. Brahms: Symphony No. 1. Cambridge: Cambridge University Press, 1997. Brahms Studies. Edited by David Brodbeck. 3 vols. Lincoln: University of Nebraska

Press, 1995–2001.

Critical Editions: Felix Mendelssohn Bartholdy. Hymne, op. 96. Edited by David Brodbeck. Stuttgart: Carus-

Verlag, 1998. Felix Mendelssohn Bartholdy. Psalmen, op. 78. Edited by David Brodbeck. Stuttgart:

Carus-Verlag, 1998.

Articles in refereed books and journals: “‘Poison-flaming Flowers from the Orient and Nightingales from Bayreuth’: On

Hanslick’s Reception of the Music of Goldmark.” In Rethinking Hanslick: Music, Formalism, and Expression, edited by Nicole Grimes, Siobhán Donovan, and Wolfgang Marx, pp. 132–59. Rochester: University of Rochester Press, 2013.

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“Ausgleichs-Abende: The First Viennese Performances of Smetana’s Bartered Bride.”

Austrian Studies 17 (2009): 43–61. “Hanslick’s Smetana and Hanslick’s Prague.” Journal of the Royal Musical Association

134 (2009): 1–36 (awarded the H. Colin Slim Award by the American Musicological Society).

“Dvořák’s Reception in Liberal Vienna: Language Ordinances, National Property, and

the Rhetoric of Deutschtum.” Journal of the American Musicological Society 60 (2007): 71–131.

“On Some Enigmas Surrounding a Riddle Canon by Brahms.” Journal of Musicology 20

(2003): 73–103. “Eine kleine Kirchenmusik: A New Canon, a Revised Cadence, and an Obscure ‘Coda’

by Mendelssohn.” Journal of Musicology 12 (1994): 179–205. “Primo Schubert, Secondo Schumann: Brahms’s Four-Hand Waltzes, Op. 39.” Journal

of Musicology 7 (1989): 58–80. “Dissociation and Integration: The First Movement of Beethoven’s Opus 130” (with

John Platoff). 19th-Century Music 7 (1983/84): 149–62.

Contributions to books: “The Symphony after Beethoven after Dahlhaus.” In The Cambridge Handbook to the

Symphony, edited by Julian Horton, pp. 61–95. Cambridge: Cambridge University Press, 2013.

“Brahms, the Third Symphony, and the New German School.” In Brahms and His

World, rev. ed., edited by Walter Frisch and Kevin Karnes, pp. 95–116. Princeton: Princeton University Press, 2009.

“Medium and Meaning: New Aspects of the Chamber Music.” In The Cambridge

Companion to Brahms, edited by Michael Musgrave, pp. 98–132. Cambridge: Cambridge University Press, 1999.

“Brahms’s Mendelssohn.” In Brahms Studies, vol. 2, edited by David Brodbeck, pp.

209–31. Lincoln: University of Nebraska Press, 1998. “Brahms.” In The Nineteenth-Century Symphony, edited by D. Kern Holomon, pp. 224–

72. New York: Schirmer Books, 1996. “The Brahms-Joachim Counterpoint Exchange; or, Robert, Clara, and ‘the Best

Harmony between Jos. and Joh..’” In Brahms Studies, vol. 1, edited by David Brodbeck, pp. 30–80. Lincoln: University of Nebraska Press, 1994.

“A Winter of Discontent: Mendelssohn and the Berliner Domchor.” In Mendelssohn

Studies, edited by R. Larry Todd, pp. 1–32. Cambridge: Cambridge University Press, 1992.

“Some Notes on an Anthem by Mendelssohn.” In Mendelssohn and His World, edited by

R. Larry Todd, pp. 43–64. Princeton: Princeton University Press, 1991.

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“Brahms’s Edition of Twenty Schubert Ländler: An Essay in Criticism.” In Brahms

Studies: Analytical and Historical Perspectives, edited by George S. Bozarth, pp. 229–50. Oxford: Oxford University Press, 1990.

“Compatibility, Coherence, and Closure in Brahms’s Liebeslieder Waltzes.” In

Explorations in Music, the Arts, and Ideas: Essays in Honor of Leonard B. Meyer, edited by Eugene Narmour and Ruth A. Solie, pp. 411–37. Stuyvesant, N.Y.: Pendragon Press, 1988.

“Dance Music as High Art: Schubert’s Twelve Ländler, Op. 171 (D. 790).” In Schubert:

Critical and Analytical Studies, edited by Walter Frisch, pp. 30–47. Lincoln: University of Nebraska Press, 1986.

Book Reviews:

Review of Robert Schumann and the Study of Orchestral Composition: The Genesis of

the First Symphony, Op. 38, by Jon W. Finson. 19th-Century Music 15 (1991/92): 69–75.

Review of Brahms-Kongress, Wien 1983, edited by Susanne Antonicek and Otto Biba;

Brahms 2: Biographical, Documentary, and Analytical Studies, edited by Michael Musgrave; Johannes Brahms, by Ivor Keys; and Brahms, by Malcolm MacDonald. Notes 38 (1991/92): 86–90.

Review of Johannes Brahms Thematisch-Bibliographisches Werkverzeichnis, by Margit

L. McCorkle. Journal of the American Musicological Society 52 (1989): 417–30. Review of The Music of Brahms, by Michael Musgrave. Journal of Musicology 7, (1989):

403–14. Review of Harmony and Voice Leading, by Edward Aldwell and Carl Schachter.

Perspectives of New Music 21 (1982/83): 425–30.

Shorter articles, liner notes, and program notes: “A Master, a Protégé, and an Epigone.” Program notes for the concert “What Makes A

Masterpiece,” American Symphony Orchestra, January 25, 2013. “Wagner Pro and Contra.” Program notes for the Bard Music Festival, “Wagner and His

World,” August 2009. Liner Notes for Bach-Schumann: Sonatas and Partitas, performed by Haroutune

Bedelian, violin; and Lorna Griffitt, piano. Centaur Recordings, 2007. “No Nature Reserve: Introduction to Brahms’s Chamber Music.” Program note in the

2005 season program booklet for the Aspen Music Festival and School, 2005. Liner Notes for Johannes Brahms, Piano Quintet in F Minor, op. 34, performed by the

Russian-American String Quartet. Quindecim Recordings, 2000. Liner Notes for Johannes Brahms, Clarinet Quintet, op. 115, and String Quartet No. 3,

op. 67, performed by the Russian-American String Quartet (with Luis Humberto Ramos). Quindecim Recordings, 2000.

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Liner Notes for Johannes Brahms, Sonatas Op. 120, No. 1 and No. 2, Two Songs for Alto,

Viola, and Piano, Op. 91, performed by Yuri Bashmet, Mikhail Muntian, and Larissa Diadkova. BMG Classics, 1998.

Essays on Brahms’s Waltzes, Op. 39 and Liebeslieder Waltzes, Op. 52. In The Compleat

Brahms, edited by Leon Botstein, pp. 203–205 and 323–25 (respectively). New York: W. W. Norton, 1998.

Essay on Brahms’s orchestration of pieces from the Liebeslieder Walzer, Op. 52, and

Neue Liebeslieder Walzer, Op. 65, in Dialogues and Extensions, Program booklet of the American Symphony Orchestra, 1997.

“Brahms’s Mendelssohn.” The American Brahms Society Newsletter 15/2 (1997): 1–4. “Brahms’s Schubert.” The American Brahms Society Newsletter 14/1 (1997): 1–4; earlier

version in A Celebration of Titans: Franz Schubert & Johannes Brahms. Program booklet of The Chamber Music Society of Lincoln Center (1997): 3–4.

Liner Notes for Brahms, Piano Pieces. Erato Disques, 1996. “Mahler’s Brahms.” The American Brahms Society Newsletter 10/2 (1992): 1–5. Liner Notes for Johannes Brahms, Sonatas Op. 120, No. 1 and No. 2, Scherzo in c minor,

performed by Barbara Westphal and Ursula Oppens. Bridge Records, 1990. “The Waltzes of Brahms.” The American Brahms Society Newsletter, IV/2 (1986): 1–3.

Conference papers:

“‘Come Out of the Ghetto!’: The Goldmark-Bild of Ludwig Speidel.” 19th Quinquennial Congress of the International Musicological Society, “Musics, Cultures, Identities” (Rome, Italy), July 2012; and the 17th Biennial International Conference on Nineteenth-Century Music (Edinburgh, Scotland), June 2012.

“Rethinking the ‘Billroth Affair.’” American Brahms Society conference, Brahms in the

New Century, City University of New York Graduate Center (New York, NY), March 2012.

“Essentialism, Orientalism, and Musical Identity in Goldmark’s Queen of Sheba.”

American Musicological Society Annual Meeting (Indianapolis, IN), November 2010.

“Hanslick’s Goldmark.” International Conference, Eduard Hanslick: Aesthetic, Critical,

and Cultural Contexts, University College Dublin (Dublin, Ireland), June 2009. “Ausgleichs-Abende: A Czech Opera at a Viennese Ausstellung.” German Studies

Association Annual Meeting (San Diego, CA), September 2007. “‘Was ist deutsch?’ Dvořák and Viennese Critics.” Fourteenth International Conference

on Nineteenth-Century Music, University of Manchester (Manchester, England), June 2006; German Studies Association Annual Meeting (Pittsburgh, PA), September 2006.

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“Viennese Liberalism and the ‘Threat’ of Dvořák’s Sixth Symphony.” American Musicological Society Annual Meeting (Washington, D.C.), November 2005.

“Politics at the Philharmonic: On Music Reception and Constructions of Social Identity

in Liberal Vienna.” German Studies Association Annual Meeting (Milwaukee, WI), September 2005.

“A Battle of the Bands: the Beatles and the Beach Boys in the mid-1960s.” Society for

American Music Annual Meeting (Lexington, KY), March 2002; and International Conference, Beatles 2000, University of Jyväskylä (Jyväskylä, Finland), June 2000.

“On Some Enigmas Surrounding a Riddle Canon by Brahms.” American Brahms Society

Conference, Brahms: Perspectives of Performance (Boston, MA), March 2001. “Allusive Contexts and Autobiographical Content in Brahms’s Chamber Music.” New

Views of Brahms: Music, Context, and Reception conference (University of Kentucky (Lexington, KY), May 1997.

“Brahms’s Mendelssohn.” International Mendelssohn Festival, The Mendelssohns at the

Millennium: Felix Mendelssohn Bartholdy and Fanny Hensel after 150 Years, Illinois Wesleyan University (Bloomington, IL), March 1997.

“Allusions and the Genesis of Brahms’s First Symphony.” Seventh International

Conference on Nineteenth-Century Music, University of Surrey (Guildford, England), June 1994.

“Eine kleine Kirchenmusik: A New Canon, A Revised Cadence, and a ‘Substitute’ Coda

by Mendelssohn.” International Congress of the Gesellschaft für Musikforschung, Musik als Text (Freiburg/Br.), September 1993.

“Notes on a Notenkorrespondenz: The Brahms-Joachim Counterpoint Exchange.” Royal

Musical Association Annual Conference (Southampton, England), March 1993; and American Musicological Society Annual Meeting (Pittsburgh, PA), November 1992.

“A Winter of Discontent: Mendelssohn and the Berliner Domchor.” Mendelssohn

Symposium, Amherst College (Amherst, MA), November 1989. “Sonata Form(s) and Schumann.” American Musicological Society Annual Meeting

(Baltimore, MD), November 1988. “Compatibility, Coherence, and Closure in Brahms’s Liebeslieder Waltzes.” American

Musicological Society (Vancouver, Canada), November 1985. “Brahms’s Edition of Twenty Schubert Ländler: An Essay in Criticism,” American

Musicological Society Annual Meeting (Louisville, KY), November 1983; and International Festival and Conference on the Occasion of the Sesquicentenary of the Birth of Johannes Brahms, Library of Congress (Washington, D.C.), May 1983.

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Invited Papers: “Rethinking the ‘Billroth Affair.’” Humanities conference, “Visions of Europe: Past &

Present,” Department of European Languages and Studies, University of California, Irvine, March 2013.

“‘Come Out of the Ghetto!”: Ludwig Speidel’s Reception of the Music of Carl

Goldmark.” Institute of Cultural Studies and the History of Theater, Austrian Academy of Sciences (Vienna), March 2011.

“Essentialism, Orientalism, and Musical Identity in Goldmark’s Queen of Sheba.” Center

for Jewish Studies, University of Minnesota, Twin Cities (Minneapolis, MN), March 2008; University of Pittsburgh (Pittsburgh, PA), April 2010; Department of German, University of California, Irvine, November 2010.

“Hanslick’s Smetana and Hanslick’s Prague.” Center for Austrian Studies, University of

Minnesota, Twin Cities (Minneapolis, MN), March 2008; and University of California, Santa Barbara, May 2008.

“Dvořák and Liberal Vienna: Language, National Property, and the Rhetoric of

Deutschtum.” University of California, Davis, May 2006; University of California, Los Angeles, November 2006; University of Southern California (Los Angeles, CA), November 2006.

“Politics at the Philharmonic: On Music Reception and Constructions of Social Identity

in Liberal Vienna.” University of Washington, Seattle, March 2005. “‘When Music Got Mixed Up In Politics’: Hearing the Symphony in Liberal Vienna.”

School of Music, Pennsylvania State University (State College, PA), March 2004. “Brahms’s First Symphony.” Analysis seminar at the Curs Monogràfic Johannes Brahms,

Fundació “la Caixa” (Barcelona, Spain), April 1999. “Brahms’s Manfred.” University of Virginia (Charlottesville, VA), September 1996; and

Royal Holloway College, University of London (London, England), April 1995. “Sonata Form(s) and Schumann.” Stanford University (Stanford, CA), May 1987.

Panels Chaired:

“Genre and Topics.” 17th Biennial International Conference on Nineteenth-Century Music (Edinburgh, Scotland), June 2012.

“Simply Brahms.” American Musicological Society Annual Meeting (San Francisco,

CA), November 2011. “On the Receiving End? … Hanslick’s Victims.” International Conference, Eduard

Hanslick: Aesthetic, Critical, and Cultural Contexts, University College Dublin (Dublin, Ireland), June 2009.

“Nietzsche and Wagner.” German Studies Association Annual Meeting (San Diego, CA),

September 2007.

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“Redemptive Wagner: Performance, Politics, and Love.” German Studies Association Annual Meeting (Milwaukee, WI), September 2005.

“Nineteenth-Century German Thought and Music.” American Musicological Society

Annual Meeting (Seattle, WA), November 2005. “Conceptualizing Music: Nineteenth-Century Germany.” American Musicological

Society Annual Meeting (Toronto, Canada), November 2000. Selected Professional Service External Reviewer, Graduate Program in Music, University of California, Davis, January

2013 Member, Council, American Musicological Society, 2000–2002. Co-Chair, Committee on Cultural Diversity, American Musicological Society, 1999–

2001. Member, Board of Directors Nominating Committee, American Musicological Society,

1998. Member, Local Arrangements Committee, Annual Meeting of the American

Musicological Society, 1992. Editor, Brahms Studies, University of Nebraska Press, 1990–2001. Member, Board of Directors, American Brahms Society, 1985–present (President, 1995–

1997; Vice President, 1985–1994). Tenure and promotion reviewer, Ball State University, Clark University, Emory

University, Indiana State University, North Texas University, Reed College, State University of New York at Buffalo, University of California at Los Angeles (2), University of California at Santa Barbara, University of Michigan, University of Notre Dame, University of South Florida.

Manuscript reviewer, AMS Studies (Oxford University Press), Ashgate Publishers,

Cambridge University Press, Duke University Press, Harvard University Press, Indiana University Press, Oxford University Press, Schirmer Books, University of California Press, Journal of the American Musicological Society, Journal of Musicological Research, Journal of Musicology, Journal of the Royal Musical Association, Music and Letters, Notes, Journal of the Society for Musicology in Ireland

Memberships American Musicological Society Society for American Music American Brahms Society German Studies Association References available upon request.

Margaret Murata Irvine, California

June 2013

Curriculum vitae Current position Professor of Music Claire Trevor School of the Arts University of California, Irvine USA 92697-2775 tel: (949) 824-4916 e-mail: [email protected] Degrees A.B. University of Chicago (Music, 1967) with Special Honors A.M. University of Chicago (Musicology, 1971) Ph.D. University of Chicago (Musicology, 1975) Positions University of California, Irvine 1984 - Professor of Music 1979-84 Associate Professor of Music 1973-79 Assistant Professor of Music 1983, 1984 Docente, Corsi Internazionali Musicali, Urbino, Italy summers 1970-71 Lecturer in Music, The University of Chicago 1970-71 Research Assistant to Leonard B. Meyer, The University of Chicago Howard M. Brown, The University of Chicago Margaret Hillis, Chicago Symphony Orchestra Chorus 1970-71 Theory Instructor, Chicago Symphony Orchestra Chorus Residencies 2013 Seminario didattico, Università degli studi di Pavia, Cremona, 7-9 May: La cantata italiana da Pasqualini a Parisotti

2011 Interdisciplinary Music Forum, University of Michigan, 6-7 May: Materials of Music in Material Culture

2001 Fourth Early Music Festival, St. Petersburg, Russia, 1-3

October 2001: Music of the Past as Mirrors of the Present— The Baroque Aria through the Ages 1991 Aston Magna Academy, New Brunswick, New Jersey, June-July 1991: Foundations of the Early Baroque in Rome

Murata C. V. 2 PUBLICATIONS Books Operas for the Papal Court, 1631-1668 (Ann Arbor: UMI Research Press, 1981) Reviewed by F. Della Seta in Nuova Rivista Musicale Italiana 18 (1984): 643-645. Strunk’s Source Readings in Music History: The Baroque, rev. edn; (New York: W. W. Norton, 1998) Passaggio in Italia: Music on the Grand Tour in the Seventeenth Century, Dinko Fabris and Margaret Murata, eds (Turnhout: Brepols, [2013]), in press Thematic Catalogue of Chamber Cantatas by Marc’Antonio Pasqualini Instrumenta series, vol. [3], Journal of Seventeenth-Century Music, forthcoming, 2014. Editions Cantatas by Marc’Antonio Pasqualini, 1614-1691 (New York: Garland Publishing, Inc., 1985). The Italian Cantata in the Seventeenth Century, vol. 3. Two Spiritual Monodies by G. G. Kapsperger (1623), edition for voice and basso continuo with a realization for theorbo, ed. David Dolata and Margaret Murata, Web Library of Seventeenth-Century Music No. 21 (2011) http://www.sscm-wlscm.org/index.php/main-catalogue?pid=26&sid=53:Two- Spiritual-Monodies Articles 1975. “Rospigliosiana, ovvero Gli equivoci innocenti,” Studi Musicali 4: in peer- 131-43. reviewed journals 1977. “Il Carnevale a Roma sotto Clemente IX Rospigliosi,” Rivista Italiana di Musicologia 12: 83-99. 1979. “The Recitative Soliloquy,” Journal of the American Musicological Society 32: 45-73. 1980. “Further Remarks on Pasqualini and the Music of MAP,” Analecta Musicologica 19 (1979): 125-145. 1984. “Classical Tragedy in the History of Early Opera in Rome,” Early Music History 4: 103-136. 1995. “Why the First Opera Given in Paris Wasn’t Roman,” Cambridge Opera Journal 7: 87-105; repr. in Studies in Seventeenth-Century Opera, Beth L. Glixon, ed. (Aldershot: Ashgate, 2010), pp. 285-303. 1998. “Four Airs for Orontea,” Recercare 10: 249-262. 1999. “Dr Burney Bought a Music Book ...,” Journal of Musicology 17: 76- 111.

Murata C. V. / Publications, cont. 3 2003. “‘Singing,’ ‘Acting,’ and ‘Dancing’ in Vocal Chamber Music of the Early Seicento,” Journal of Seventeenth-Century Music 9/1 http://www.sscm-jscm.org/v9/no1/murata.html 2005. “More Observations on Italian Florid Song,” Analecta Musicologica 36: 343-372. Peer-reviewed 1990. “Roman Cantata Scores as Traces of Musical Culture and Signs of its conference Place in Society” in Acts of the 14th Congress of the International papers in Musicological Society, Bologna, 1987 (Turin: EDT), pp. 235-38; 272-Proceedings 284; 326-36. Italian trans. as “La cantata romana fra mecenatismo e collezionismo” in La musica e il mondo. La committenza musicale in Italia tra Quattro e Settecento, C. Annibaldi, ed. (Bologna: Il Mulino, 1993), pp. 253-266. 19932 “Theater à l’espagnole and the Italian Libretto” in Acts of the 15th Congress of the International Musicological Society, Madrid, 1992 in Revista de Musicología 16 (1993): 318-334. Invited 1988. “Scylla and Charybdis, or Steering between Form and Social Context chapters in in Seventeenth-Century Music” in Explorations in Music, the Arts, edited books and Ideas (Festschrift for Leonard Meyer), E. Narmour and R. Solie, eds., (NY: Pendragon Press), pp. 67-85. 1989. “Singing about Singing, or The Power of Music Sixty Years After” in In Cantu et in Sermone (Festschrift for Nino Pirrotta), F. Della Seta and F. Piperno, eds. (Florence: L. S. Olschki and Univ. of Western Australia Press), pp. 363-384. 2003. “Pasqualini riconosciuto” in "Et facciam dolçi canti." Studi in onore di Agostino Ziino in occasione del suo 65° compleanno, B. M. Antolini, T. M. Gialdroni, and A. Pugliese, eds., 2 vols. (Lucca: Libreria Musicale), pp. 655-86. 20041 “Student Music in Italian Colleges, ca. 1675-1720” in Music Observed: Studies in Memory of William C. Holmes, S. Parisi and C. Reardon, eds. Detroit Monographs in Musicology. (Warren: Harmonie Park Press), pp. 353-60. 20042 "Wo di Zitronen blühn: Re-Versions of Arie antiche” in Historical Musicology: Sources, Methods, Interpretations (Festschrift for Robert L. Marshall), S. Crist and R. Marvin, eds. (Rochester: University of Rochester Press), pp. 330-55; pb reissue Rochester, 2008. 2005. “Image and Eloquence: Secular Vocal Music” in The Cambridge History of Seventeenth-Century Music, T. Carter and J. Butt, eds (Cambridge: Cambridge University Press), pp. 378-425.

Murata C. V. / Publications, cont. 4 20081 “Gems, Glories, and Capolavori of Early Italian Opera” in D’une scene à l’autre. L’opéra italien en l’Europe,” Damian Colas and Alessandro di Profio, eds, 2 vols (Liège: Mardaga), 1: 279-301. 2012 “Theatri intra theatrum, or The Church and the Stage in 17th-Century Rome” in Sleuthing the Muse: Essays in Honor of William F. Prizer, Kr. Forney and J. L. Smith, eds (Hillsdale, NY: Pendragon Press), pp. 181-200. 2012 “Dal ridicolo al diletto signorile. Rospigliosi and the Intermedio in Rome,” in La Musique à Rome au XVIIe siècle, C. Panel-Giron and A.- M. Goulet, eds. Collections. (Rome: École française de Rome), pp. 269- 89. 2013 “Cantar ottave – Cantar storie,” in Word, Image and Song, Rebecca Cypess, Beth Glixon, Nathan Link, eds, 2 vols. (Rochester, NY: University of Rochester Press), in press [2015] “Opera as Spectacle, Opera as Drama” in The Cambridge Companion to Early Opera, Martin Adams and Jacqueline Waeber, eds (Cambridge: Cambridge University Press), in press Invited 1987. “P. F. Valentini on Tactus and Proportion” in Frescobaldi Studies, conference A. Silbiger, ed. (Durham, NC: Duke University Press), pp. 327-350. papers in edited books 1998. “‘Quia amore langueo’ or Interpreting Affetti sacri e spirituali” in Claudio Monteverdi. Studi e prospettive.Atti del Convegno, Mantova, 21-14 ottobre 1993, P. Besutti, T. M. Gialdroni, R. Baroncini, eds (Florence: L. S. Olschki), pp. 79-96. 1999. “Music History in the Musurgia universalis of Athanasius Kircher” in The Jesuits: Culture, Sciences, and the Arts, 1540-1773, J. O’Malley, T. F. Kennedy, S. Harriss, et al., eds (Toronto: University of Toronto Press), pp. 190-207. 2005. “Rospigliosi, poeta per musica” in Lo spettacolo del sacro, la morale del profano, Danilo Romei, ed. Beni Culturali / Provincia di Pistoia, vol. 37 (Florence: Edizioni Polistampa, 2005), pp. 113-131. 20071 “Guitar Passacagli and Vocal Arie” in La monodia in Toscana alle soglie del XVII secolo. Atti del Convegno di Studi, Pisa, 17-18 dicembre 2004, Fr. Menchelli-Buttini, ed. (Turin: ETS), pp. 81-116. 20072 “A Topography of the Barberini Music Manuscripts” in I Barberini e la cultura europea del Seicento, Fr. Solinas, L. Mochi Onori, S. Schütze, eds (Rome: De Luca Editori d’Arte), pp. 375-80.

Murata C. V. / Publications, cont. 5 20082 “From Il Cortigiano to The Spectator, or Weighing the Unintended Transformations of Monody” in Vom Preis des Fortschritts. Gewinn und Verlust in der Musikgeschicht, Andreas Dorschel and Andreas Haug, eds. Studien zur Wertungsforschung, vol. 49 (Vienna: Universal Edition), pp. 232-52. 2013 “Tactus, Poetic Meter and Melisma” in Basler Jahrbuch für Historische Musikpraxis 35 (2011), in press [2013] “Musical Encounters Public and Private” in Passaggio in Italia: Music on the Grand Tour in the Seventeenth Century, D. Fabris and M. Murata, eds (Turnhout: Brepols), in press [2014] “The Score on the Shelf: Valuing the Anonymous and the Unheard” in Musical Text as Ritual Object, Hendrik Schulze, ed. (Turnhout: Brepols), in press Reference Entries for The New Grove Dictionary of Opera, S. Sadie, ed. (London: Macmillan, 1992), 4 vols. Composers: A.M. Abbatini; A. Agazzari; A. Cecchini; G. Cornacchioli; S. Landi; M. Marazzoli; D. Mazzocchi; V. Mazzocchi; A. Olivieri; L. Rossi; M. Rossi; M. Savioni; P. F. Valentini; F. Vitali Librettists: D. Benigni; F. Buti; P. Della Valle; O. Castelli; G. Rospigliosi Operas: La catena d’Adone; Chi soffre speri; Dal male il bene; Erminia sul Giordano; La morte d’Orfeo; L’Orfeo (L. Rossi); Il palazzo incantato; Il Sant’Alessio Singers: O. Ceccarelli; D. Dal Pane; M.A. Pasqualini Other: Arioso; Barberini family; Rome to 1680 Entries for The New Grove Dictionary of Music and Musicians, 2d ed. rev., S. Sadie, ed. (London: Macmillan, 2000) A.M. Abbatini, Barberini family, F. Buti, O. Castelli, O. Ceccarelli, A. Cecchini, S. Landi, V. Leopardi, M.A. Pasqualini, G. Rospigliosi, M. Savioni; Rome: secular vocal music to 1680 “Italian Cantata: Baroque” in The Reader’s Guide to Music: History, Theory, Criticism, Murray Steib, ed. (London and Chicago: Fitzroy and Dearborn, 1999) “Castelli, Ottaviano” for Musik in Geschichte und Gegenwart, 2d ed. (Kassel: Bärenreiter Verlag) “Cecconi, Alessandro,” in 17th-Century Music 10/1 (2000): 12 http://sscm-sscm.org/17CM/vol 10 no 1.pdf

Murata C. V. / Publications, cont. 6 Other “The Light of a Thousand Days,” liner notes for Stefano Landi, Il Sant’Alessio, perf. by Les Arts Florissants, Wm. Christie, director; Erato CD 0638-1430-2 (1996), pp. 11-15. Revised and reprinted for perf. by Les Arts Florissants. Barbican Centre, London (Oct. 2007); Korean trans. in Choir and Organ, 83 Dec. 2007): 58-63. “A Display of Genius” (with Christine Jeanneret), in Girolamo Frescobaldi: Toccatas & Partitas (Asnières-sur-Oise: Fondation Royaumont, 2012), limited edition book (1300 exemplars) with two CDs, Fabio Bonizzoni, harpsichord and organ. Only the Bonizzoni interview in the book (translated by Murata and Jeanneret) also appears in the commercially released CD on Glossa GCD 921514 (2012). Italian texts, English trans. and eight edited compositions (with G. Gerbino and V. Coelho) for Giovanni Girolamo Kapsberger: Libro secondo d’arie, perf. by Il Furioso, Victor Coelho, dir., on Toccata Classics TOCC 0027 (2006), pp. 21-37. Italian texts and English trans. of canzonettas by Bellerofonte Castaldi (with David Dolata) for Bellerofonte Castaldi. Battaglia d’amore, Il Furioso, D. Dolata, dir., on Toccata Classics TOCC 0081 (2008), pp. 30-46. In preparation Arnaldo Morelli, Christine Jeanneret, and Margaret Murata, Italian Cantatas in the Biblioteca Casanatense, Rome (Turnhout: Brepols), a study with thematic catalogue Lowell Lindgren and Margaret Murata, The Barberini Manuscripts of Music,

Studi e Testi (Vatican City: Vatican Apostolic Library) L. Lindgren, A. Morelli, and M. Murata, Drammi per musica nella Roma del Seicento (Rome: Deutsche Historisches Institut) Reviews and Reports Bernard Gavoty, Chopin (New York, 1977) in Queen’s Quarterly 85 (1978): 348-349. Peter Conrad, Romantic Opera and Literary Form (Berkeley, 1978) in The German Quarterly 51 (1978): 421-22. Guglielmo Barblan et al., Storia dell’opera, 6 vols., (Turin, 1977) in Notes, Quarterly Journal of the Music Library Association 35 (1978): 299-301. Catherine Massip, La vie de musiciens à Paris au temps du Mazarin (Paris 1976) and Albert Pomme de Mirimonde, L’Iconographie musicale sous les rois Bourbons (Paris, 1975, 1977), 2 vols., in Notes, Quarterly Journal of the Music Library Association 35 (1978): 310-311.

Murata C. V. / Reviews and Reports, cont. 7 Joseph Kerman, Contemplating Music (Harvard University Press, 1985) in Queen’s Quarterly 93 (1986): 209-211. Howard Smither, A History of the Oratorio, vols. 1-2 (Durham, NC, 1977) in Notes, Quarterly Journal of the Music Library Association 34 (1978): 855-857. --------, ed., Antecedents of the Oratorio (Laaber Verlag, 1985). Oratorios of the Italian Baroque, vol. 1, in Notes, Quarterly Journal of the Music Library Association 43 (1986): 399-401. Anne Schnoebelen, ed., Solo Motets from the Seventeenth Century, vols. 1-5 (New York: Garland Publishing, Inc., 1987- ) in Notes, Quarterly Journal of the Music Library Association 46 (1989): 836-39. Emilio de’ Cavalieri, The Lamentations and Responsories of 1599 and 1600, M. C. Bradshaw, ed. (Neuhausen-Stuttgart: Hänssler Verlag, 1990) in Notes. Quarterly Journal of the Music Library Association 49 (1993): 1251-125. L. Bianconi and G. Pestelli, eds., Storia dell’opera italiana, vols. 4-5-6 (Turin: EDT, 1986-87) in Il Saggiatore Musicale 1 (1994): 227-238. Tim Carter and Iain Fenlon, eds., Con che soavità: Studies in Italian Opera, Song, and Dance, 1580-1740 (Oxford: Clarendon Press, 1995) in Opera Quarterly 13 (1997): 153-57. John Walter Hill, Roman Monody, Cantata, and Opera from the Circles around Cardinal Montalto (Oxford: Clarendon Press, 1997) in Journal of the American Musicological Society 51 (1998): 636-644. Stefano Landi, La morte d’Orfeo, Silvia Herzog, ed. (A-R Editions, 1999) in Notes, Quarterly Journal of the Music Library Association 58/1 (2001): 173- 75. Paola Besutti, ed., L'oratorio musicale italiano e i suoi contesti (sec. xvii- xviii). Atti del convegno internazionale (Perugia, 18-20 settembre 1997), (Florence: L.S. Olschki, 2002). Quaderni della Rivista italiana di Musicologia, 35 and Saverio Franchi, ed., Percorsi dell’oratorio (Rome: IBIMUS, 2002), both reviewed in Journal of Seventeenth-Century Music 11/1 (2005); http://www.sscm-jscm.org/v11/no1/murata.html. Claude Palisca, Music and Ideas in the Sixteenth and Seventeenth Centuries, ed. by Thomas J. Mathiesen (Urbana and Chicago: University of Illinois Press, 2006) in Notes, Quarterly Journal of the Music Library Association 63/3 (March 2007): 602.

Murata C. V. / Reviews and Reports, cont. 8 Martha Elliott, Singing in Style: A Guide to Vocal Performance Practices (New Haven and London: Yale University Press, 2006) in Performance Practice Review 12 (2007): <http://ccdl.libraries.claremont.edu/cdm4/ document.php?CISOROOT=/ppr&CISOPTR=2912> Carlo Lanfossi, Un’opera per Elisabetta d’Inghilterra, Le regina Floridea (Milano 1670). Edizione critica del libretto di Teodoro Barbò e della musica di Francesco Rossi, Ludovico Busca, Pietro Simone Agostini. Il Filarete, vol. 263 (Milan: LED Edizioni Universitaria di Lettere Economia Diritto, 2009) in Journal of Seventeenth-Century Music 16/1 (2010), http://www.sscm-jscm.org/v16/no1/mr_murata.html Bernardo Pasquini, Le cantate, ed. Alexandra Nigito (Turnhout: Brepols, 2012), in Notes, Quarterly Journal of the Music Library Association 70/1 (2013): 173-76. ___________________ Report on the International Heinrich Schütz Festival Conference, 17-20 Oct. 1985, Champaign-Urbana, Ill., in Die Musikforschung 39 (1986): 256-57. Report on the Fourth Biennial Conference on Baroque Music, Royal Holloway Bedford New College, Egham (Surrey), 19-22 July 1990 in Early Music 18 (1990): 687. Report on the 57th Annual Meeting of the American Musicological Society, Chicago, Illinois, Nov. 1991 in the AMS Newsletter 22 (1992): 1, 11. Report on the international conference Claudio Monteverdi: Studi e prospettive, Mantua, Italy 21-24, Oct. 1993 in 17th-Century Music 3/2 (1994): 1, 7-9. http://sscm-sscm.org/17CM/vol 3 no 2.pdf Report on the international conference Music and Theater in Seicento Rome, Rome, I.R.TE.M. in 17th-Century Music, vol. 10/2 (2001): 5. http://sscm-sscm.org/17CM/vol 10 no 2.pdf Report on the international conference Culture and Authority in the Baroque, pt. 2, William Andrews Clark Library, Los Angeles in 17th-Century Music 11/1 2001): 7, 9. http://sscm-sscm.org/17CM/vol 11 no 1.pdf Review of the concerts, 25th Annual Holland Festival, Utrecht in 17th Century Music 16/2 (2007): 11-13. http://sscm-sscm.org/17CM/vol 16 no 2.pdf Report on the 18th IMS Congress, Zurich, July 10-15 2007 in 17th-Century Music 17/1 (2007): 6, 11 (with G. Cowart and M. Klaper) http://sscm-sscm.org/17CM/vol 17 no 1.pdf

Murata C. V. / Reviews and Reports, cont. 9 Review of Fr. Cavalli, Eliogabalo, 2007 Aspen Music Festival, cond. by Jane Glover in 17th-Century Music 17/1 (2007): 13-14. http://sscm-sscm.org/17CM/vol 17 no 1.pdf Review of “Quel mirabile sentire …,” concert by Lia Serafini and Marina Bonetti, Festival Val di Vara, Sept. 2008 in 17th-Century Music 18/1 (2008): 12. http://sscm-sscm.org/17CM/vol 18 no 1.pdf Report on the international conference La Musica a Roma nel Seicento. Studi e prospettive di ricerca, École française de Rome, 3-4 June 2010, in 17th- Century Music, 20/1 (Fall 2010): 10, 19. Report on the CLORI database of Italian cantatas, 17th-Century Music, 22/2 (Spring 2013): 13. Selected Papers and Presentations PEER-REVIEWED CONFERENCES (only unpublished papers listed here) (AMS national meetings 1979, 1980, 1984, 1995, 2009; IMS Quinquennial congresses 1982, 1987, 1992, 2012; Baroque Biennial Conferences 1984, 1990, 1994, 2008, 2012; SSCM 1994, 2007, 2009, 2012) “ ‘Cloak and Sword’ in Italian Seventeenth-Century Libretti,” meeting of the American Musicological Society, Nov. 1979, N.Y. (with Thomas Walker) “Formal Entertainment and Opera for the Aristocracy in Seventeenth- Century Rome,” 13th Congress of the International Musicological Society, Strasbourg, France, August, 1982

“The Italian Spiritual Cantata,” First Biennial Conference on Baroque Music, Durham, England, July, 1984 “Arie antiche in the Nineteenth Century,” Fourth Biennial Conference on Baroque Music, Royal Holloway and Bedford New College, Egham (Surrey), July 1990; different versions with new material for the national meeting of the College Music Society, Chicago, IL 10 Nov. 1991; annual meeting of the Society for Seventeenth- Century Music, Eastman School of Music, Rochester, N.Y., 29 April 1994 Metrical Notation and its Meanings: Inquiries into the Persistence of Proportional Mensuration, panel organizer and presenter, Sixth Biennial International Conference on Baroque Music, University of Edinburgh, 7 July 1994 “Pasqualini, Composer,” 15th Annual Conference of the Society for 17th-Century Music, University of Notre Dame, South Bend, IN, 20 April 2007 “Composers’ Holographs among the Barberini Music Manuscripts,” for the 13th Biennial Conference on Baroque Music, Leeds, England, July 2008

Murata C. V. / Presentations, cont. 10 “Toward a Rhetoric of Harmony: ‘Movimenti di anima’ (et di corpo) in the Italian Solo Cantata,” 17th Annual Conference of the Society for 17th-Century Music, Eastman School of Music, University of Rochester, Rochester, NY, April 2009 “Marc’Antonio Pasqualini, a Castrato da Camera,” for the 75th Annual Meeting of the American Musicological Society, Philadelphia, PA, November 2009 “Pasqualini Singing,” lecture-demonstration with Katherine Kaiser, mezzo-soprano, and Arthur Haas, harpsichord, for the 20th Annual Conference of the Society for 17th-Century Music, Metropolitan Museum of Art, New York, NY, April 2012 “Colloquy and Desolation in Italian Spiritual Monody,” for the 19th Quinquennial Congress, International Society for Musicology, Rome, Italy, July 2012 “Passaggi, Tactus and Barring,” for the 15th Biennial International Conference on Baroque Music, Southampton University, Southampton, U.K., July 2012 INVITED PRESENTATIONS (* marks those later published) “Roman Baroque Opera and Cantata,” Colloquium in Musicology, University of California, Berkeley, April 1984; Colloquium in Musicology, University of Illinois at Champaign-Urbana, Oct. 1985 * “Antefatti della Finta pazza parigina,” Opera tra Venezia e Parigi, Fondazione Cini, Venice, Italy, August, 1986 * “Che volete ch’io canti? The Roman Baroque Cantata,” Colloquium in Musicology, Institute for Advanced Studies in Music, King’s College, London, October 1986 Musica barocca italiana: Fortuna attuale e prassi esecutiva, panelist on all-day roundtable, Accademia Chigiana, Siena, Italy, August 1987 * “Musicology and the Undergraduate,” a symposium for the Annual Meetings, the College Music Society and American Musicological Society, New Orleans, October 1987; published as “Musicology and the Music Major” in Symposium 28 (1988): 18-21; reissued separately as CMS Report No. 6 (1989) “The Rise of Professional Opera Singing,” for the lecture series Opera Past and Present, Duke University, Feb. 1988; and The Donald J. Grout Memorial Lecture, Cornell University, Oct. 1989 “ ‘Context’ in Theory and Practice: The Case of the Seventeenth Century in Italy,” for the Symposium on Research Trends in Musicological Studies in the USA and USSR, Tufts University, Medford, Mass., 31 Oct. - 1 Nov. 1988

Murata C. V. / Invited presentations, cont. 11 “Seeking Rome in Rome or Only The Transient Remains and Lasts,” private lecture for the Fellows of the David and Alfred Smart Gallery, The University of Chicago, Chicago, Illinois, 10 Feb. 1990 “Musical Views of Rome,” public lecture, The Smart Gallery, The University of Chicago, 11 Feb. 1990 “Chiaroscuro: The Shaping of the New Music,” for the conference on Art, Music, and Poetry in the Age of Caravaggio, The Metropolitan Museum of Art, New York, April 1990 [Arie antiche in the Nineteenth Century], continuously revised and various versions (from 30-90 minutes) given for Colloquia in Musicology at UCLA, 16 Oct. 1990; Stanford University, 2 May 1991; UC Berkeley, 3 May 1991; vocal performance class, UC San Diego, 20 Jan. 1992; Music History Colloquium, Peabody Institute of Music, Baltimore, Maryland, 10 Nov. 1992; SongFest 2000, Chapman University, Orange, CA, 6 July 2000. “The Arts and the Aristocracy: Public Performance and the Jesuits,” public lecture, Boston College, 14 March 1991 Foundations of the Early Baroque in Rome, lecture series for the Aston Magna Academy, New Brunswick, New Jersey, June-July 1991: I. Antiquity and the Academy II. The Transformation of the Spiritual III. Representation and Spectacle: Varieties of Theater in Rome Expanded, illustrated version of third lecture given for the Colloquium in Musicology, University of Southern California, 24 March 1994 “Interpreting Historical Performance Practices, or What Else to Listen For in Music,” Ethel V. Curry Lecture in Musicology, School of Music, The University of Michigan, Ann Arbor, 3 March 1994; Graduate Colloquium, Department of Music, Rutgers University, New Brunswick, NJ, 28 April 1994 “An Aggregation of Idioms” for a joint session at the annual meetings of the Center for Black Music Research and American Musicological Society, 4 November 1995, New York, NY * “Critiques of Italian Florid Song” for the colloquium in musicology, Eastman School of Music, 11 April 1996 * “Jesuits and Music Histories” for the international conference on The Jesuits: Culture, Learning, and the Arts, 1540-1770, Boston College, 27 May-2 June 1997 * “Rospigliosi poeta per musica” for the international conference on Giulio Rospigliosi, Lo spettacolo del sacro, l’etica del profano, 21-22 September 2000, Pistoia, Italy in conjunction with the 400th anniversary celebrations of his birth

Murata C. V. / Invited presentations, cont. 12 * “Recitar, Cantar, ‘Danzar’” for the international conference In armonia favellare, University of Illinois, Urbana-Champaign, 5-8 Oct. 2000 * “Rospigliosi and the Intermedio in Rome” for the international conference Music and Theater in Seicento Rome, Rome, 9-10 December 2000 Music of the Past as Mirrors of the Present—The Baroque Aria through the Ages, lecture series for the Fourth Early Music Festival, St. Petersburg, Russia, 1-3 October 2001, Nabokov Museum: I. The Rise of Operatic Singing II. How "Ancient" Music Became Classical, 1776-1890 III. The Invention of Early Music and Re-Inventions of the Baroque *“A Topography of the Barberini Music Manuscripts” for I Barberini e la cultura europea del Seicento, 7-11 December 2004, Rome, Italy *“Passacagli and Vocal Music” for La monodia in Toscana alle soglie del secolo XVII. Convegno internazionale di studi, 17-18 December 2004, Pisa, Italy * “Musical Encounters: Public and Private” for Passaggio in Italia: Music on the Grand Tour in Seventeenth-Century Italy,” international conference, Stiftung voor Muziekhistorische Uitvoeringspraktijk, 24-26 August 2006 (co-organizer of conference), Utrecht, The Netherlands *“From Il Cortigiano to The Spectator, or Weighing the Unintended Transformations of Monody” for Gewinn und Verlust in der Musikgeschichte: Auf der Suche nach verspielten Optionen, May 2007, Kunstuniversität, Graz, Austria “The Self and Other in the Italian Cantata,” Rey M. Longyear Lecture in Musicology, Dept of Music, University of Kentucky, Lexington, KY, 19 October 2007 “A Conversion and a Colloquy in Stile recitativo,” Symposium for Wm. F. Prizer, Univ. of Calif., Santa Barbara, 9 May 2008 “Beyond the Visual: Ignatian Exercises and the Spiritual Cantata,” for The Jesuits and Music: Scholarship, Patronage and Performance, 1 September 2008, Villa Le Balze of Georgetown University, Fiesole, Italy. *“Cantata Scores and Ritualizations of the Past: Thoughts on Copies and Holographs” for the conferece (Musical) Text as Ritual Object, Sonderforschungsbereich “Ritualdynamik,” Heidelberg University, 16-17 December, 2009, Heidelberg, Germany Materials of Music in Material Culture—Survival, Collection, and Imbued Objects,

Interdisciplinary Music Forum, University of Michigan, 6-7 May 2011 (2-day residency)

Murata / C.V., cont. 13 *“Tactus, Poetic Meter, and Melisma,” conference on Paradigmen instrumental begleiteten Sologesangs in Mittelalter u. Barock, Schola Cantorum Basiliensis, Basel, Switzerland, Dec. 2011 “Obsolete Musical Objects in Material Culture—Survival, Collection, and Imbued Objects,” colloquium talk, Dept. of Music, UCLA, 23 Feb. 2012

“Survival – Collection – Recollection,” for the conference Mecenazgo y Coleccionismo Musical, VI Coloquio de Musicología, Universidad de Zaragoza, 23-24 Nov. 2012.

“Jephtha’s Daughters and Her Sisters in the Roman Oratories,” Symposium for Lowell Lindgren, Massachusetts Institute of Technology, Cambridge, MA, 3 May 2013.

La cantata italiana da Pasqualini a Parisotti, Università degli Studi di Pavia a Cremona, Cremona, Italy, 7-9 May 2013. I. La cantata italiana dopo il Seicento: dal ricordo ai database II. Marc'Antonio Pasqualini alias “Malagigi”, o Il castrato incantatore III. Gli antenati di Parisotti: diaspora e ritorno IV. Le “arie antiche” nel Novecento contro la “musica antica”

“Castelli satirico,” for the conference Ottaviano Castelli, Università degli Studi di Parma, Parma, Italy, 11-12 May 2013.

“Colpe mie venite a piangere: The Penitential Cantata in Baroque Rome” for the conference Listening to Early Modern Catholicism, The Jesuit Institute, Boston College, 14-16 July 2014

PROFESSIONAL SERVICE American Musicological Society: Vice-President, 1994-96 (elected); Board of Directors, 1988-89 (elected); AMS Council, 1983 (elected). AMS offices (appointed): National Program Committee, 1985, 1990-92 (chair, 1991); Coordinator, Musical Intersections, Toronto 2000 Joint Meeting (between 15 societies), Steering Committee (1995-2000); Committee on the Annual Meeting, 2001-04; Board Committee on the Annual Meeting, 2002-05; Nominating Committee, 1981; Noah Greenberg Committee (chair, 1984); AMS-50 Committee, 1993-94; H. M. Brown Fellowship Committee, 2006-10; chair 2008-10; Editor, Abstracts of papers read, Annual Meeting (Chicago,1991); Abstracts of papers read, Joint Meeting (Toronto, 2000). Pacific-Southwest District Chapter, AMS, Faculty Representative, 1987-2011; co-organizer, Joint Northern and Southern chapter mtg, May 2009

Murata C.V. / Professional service, cont. 14 Society for Seventeenth-Century Music: President (elected), 2000-2003; Program Committee for annual conferences, 1995-96, 1999; organizer, Twelfth annual conference, La Jolla, CA (2004); website manager 2001-12; electronic newslist moderator, 2001- . International Musicological Society: Member, Program Committee for 2002 XVIIth Quinquennial Congress, Leuven, Belgium College Music Society: Advisory Committee for Musicology, 1990-92 Graduate Record Examination (ETS), Music Subject Test Committee, 1995- 2000 Editorial boards: Performers’ Guides series, G. Schirmer, N.Y., Journal of Seventeenth-Century Music (1995-2003); Monumenta Flandriae Musica (2004-09);

Web Library of Seventeenth-Century Music (editorial board, 2003- ); Journal of the American Musicological Society (editorial board, 2011-16). Recercare (advisory board, 2003- ); Opera Musicologica (advisory board, 2009- )

MS and grant reviews (other than editorial board service): ACLS, ANVUR (Italy), BeIPD (Belgium), NEH, Canada Council; Journal of the American Musicological Society, Journal of Seventeenth-Century Music, Music & Letters, Recercare, Il Saggiatore Musicale; Ashgate Publishing, Cambridge University Press, Oxford University Press, St. Joseph University Press, University of California Press, The University of Chicago Press, University of Rochester Press, W. W. Norton, Inc., Thomson/Wadsworth Publishing. PRINCIPAL AWARDS AND GRANTS (SINCE 1970) 1972-73 American Association of University Women Dissertation Fellowship 1974 Instructional Improvement Grant, University of California, Irvine (with Linda Bauer, art historian) 1976 Regents’ Humanities Award, University of California 1978 Faculty Development Award, UC Irvine 1979 Summer Stipend for Research, National Endowment for the Humanities 1984 Distinguished Teaching Award, Alumni Association, UC Irvine 1996 Outstanding Teacher, School of the Arts, UC Irvine 2006 Excellence in Teaching Award (Arts), Division of Undergraduate Education, UC Irvine MISCELLANEOUS / ADMINISTRATIVE Harpsichord continuo performances, lectures, program notes, record liner notes, radio interviews

Murata C.V., cont. 15 School of the Arts: Assistant to the Dean, School of Fine Arts, UC Irvine, 1979-82; Arts Executive Committee, 1973-77 (secretary, 1976-77), 1981-82; Chief Academic Advisor, 1975-76; Arts Research Committee, 1995-98 (chair, 1996-97); Chair, Dept of Music, UC Irvine, 1995-96; acting chair 1983, 1987, 1992. UC Irvine Academic Senate: Vice-Chair/Secretary, 1989-91 and various committees and councils including Interschool Curricula, 1975-77; Courses, 1976-78 (chair Fall, 1978); Planning and Budget, 1978-80, 1991-94 (chair, 1992-93); Education Abroad, 1978-79; 1986-89 (chair and UCEAP, 1988-89); Graduate Council, 1981-84; Research, Computing, and Library Resources, 1997-2000; Academic Personnel, 1983-86, 1988, 2001-04, 2011; Reserve CAP 2008-09; Committee on Committees, 2004-07; Privilege and Tenure, 2010-13. Laguna Beach Chamber Music Society, Board of Directors, 1976-83 PROFESSIONAL SOCIETIES American Musicological Society Early Music America International Musicological Society Società Italiana di Musicologia Society for Seventeenth-Century Music

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COLLEEN ANN REARDON

9 Fuertes Street University of California, Irvine Irvine, CA 92617-4095 Music Department (949) 509-9278 Claire Trevor School of the Arts 303 Music & Media Building Irvine, CA 92697-2775 (949) 824-7183 [email protected] EDUCATION 1987 Ph.D., Music, University of California, Los Angeles 1982 M.A., Music, UCLA 1976 A.B., summa cum laude, Music, UCLA PUBLICATIONS Books (Editor) Music Observed: Studies in Memory of William C. Holmes. Warren, Mich.: Harmonie Park Press, 2004. Holy Concord within Sacred Walls: Nuns and Music in Siena, 1575-1700. New York: Oxford University Press, 2002. (Editor) Musica franca: Essays in Honor of Frank A. D’Accone. Stuyvesant, NY: Pendragon Press, 1996. Agostino Agazzari and Music at Siena Cathedral, 1597-1641. Oxford: Oxford University Press, 1993. Articles in Journals and Composite Books “Oratorio and Sacred Opera in Siena, 1680-1731.” Atti del Congresso internazionale di musica sacra, Pontificio Istituto di Music Sacra, 26 maggio-1 giugno, 2011, Rome, Italy, forthcoming. “Letters from the Road: Giulia Masotti and Cardinal Sigismondo Chigi.” Journal of Seventeenth-Century Music, forthcoming. “Getting Past No or Getting to Yes: Nuns, Divas, and Negotiation Tactics in Early Modern Italy.” In Attending to Early Modern Women: Conflict, Concord, edited by Karen Nelson, 23-43. Newark: University of Delaware Press, 2013. “Siena Cathedral and its Castrati.” In Sleuthing the Muse: Essays in Honor of William F. Prizer, edited by Kristine K. Forney and Jeremy L. Smith, 201-17. Hillsdale, NY: Pendragon Press, 2012.

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PUBLICATIONS, CONT. “Camilla in Siena and Senesino’s Début.” Studi musicali, nuova serie, 2 (2011): 281-325. “Launching the Career of a secondo uomo in Late Seventeenth-Century Italy.” Journal of Seventeenth-Century Music 16, no. 1 (2010). http://www.sscm-jscm.org “Cantando tutte insieme: Training Girl Singers in Early Modern Sienese Convents.” In Young Choristers, 650-1700, edited by Susan Boynton and Eric Rice, 195-215. Woodbridge, UK: Boydell Press, 2008. “Of Saints and Singers: Music at Santi Abbondio e Abbondanzio during the Cinquecento.” In L’ultimo secolo della Repubblica di Siena: Arti, cultura e societa. Atti del Convegno internazionale, Siena 28-30 settembre 2003 e 16-18 novmbre 2004, edited by Mario Ascheri, Gianni Mazoni, and Fabrizio Nevola, 493-99. Siena: Accademia Senese degli Intronati, 2008. Editor, Two motets for soprano and basso continuo by Alessandro Della Ciaia, WLSCM (introduction, critical report, musical edition; posted 25 May 2008). http://aaswebsv.aas.duke.edu/wlscm/Della_Ciaia/Index.html “Fabio Spannocchi: impresario e osservatore del teatro musicale a Siena alla fine del Seicento.” In Archivi, carriere, committenze: Contributi per al storia del Patriziato senese in età moderna, edited by M. Raffaella De Gramatica, Enzo Mecacci, and Carla Zarrilli, 313-23. Siena, 2007. “I monsteri femminili e la vita musicale a Siena, 1550-1700 circa.” In Produzione, circolazione e consumo: Consuetudine e quotidianità della polifonia sacra nelle chiese monastiche e parrocchiali dal tardo medioevo alla fine degli antichi regimi, edited by David Bryant and Elena Quaranta, 167-91. Bologna: Il Mulino, 2006. “’Ha innalzato un muro attorno a me:’ Lamentazioni per monache senesi.” In I monasteri femminili come centri di cultura fra Rinascimento e Barocco, edited by Gianna Pomata and Gabriella Zarri, 27-43. Rome: Edizioni di Storia e Letteratura, 2005. “The Good Mother, the Reluctant Daughter, and the Convent: A Case of Musical Persuasion.” In Many-headed Melodies: Musical Voices of Early Modern Women, edited by Thomasin LaMay, 271-86. Aldershot: Ashgate, 2005. “The 1669 Sienese Production of Cesti’s L’Argia.” In Music Observed: Studies in Memory of William C. Holmes, edited by Colleen Reardon and Susan Parisi, 417-28.Warren, MI: Harmonie Park Press, 2004. “Veni sponsa Christi: Investiture, Profession and Consecration Ceremonies in Sienese Convents.” Musica Disciplina 50 (1996): 271-97.

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PUBLICATIONS, CONT. “Music as Leitmotif in Lousia May Alcott’s Little Women.” Children’s Literature 24 (1996): 74-85. “Insegniar la zolfa ai gittatelli: Music and Teaching at Santa Maria della Scala, Siena, During the Late Sixteenth and Early Seventeenth Centuries.”In Musica franca: Essays in Honor of Frank D’Accone, edited by Irene Alm, Alyson McLamore, and Colleen Reardon, 119-38. Stuyvesant, NY: Pendragon Press, 1996. “Siena, Umanesimo e le prime composizioni sacre di Agostino Agazzari.”In Umanesimo a Siena. Letteratura, arti figurative, musica. Atti del convegno internazionale di studi, Siena, 5-8 giugno 1991, edited by Elisabetta Cioni and Daniela Fausti, 481-9. Siena, 1994. “Music and Musicians at Santa Maria di Provenzano, Siena, 1595-1640.” The Journal of Musicology 11 (1993), 106-32. “Two Parody Magnificats on Palestrina's Vestiva i colli.” Studi musicali 15 (1986): 67-99. Dictionary Articles The New Grove Dictionary of Music and Musicians, second edition. 29 volumes. Edited by Stanley Sadie. London: Macmillan, 2001. “Agazzari, Agostino.” 1: 213-214. Revised and updated 2013. “Siena.” 23: 361-63. Extensively revised and updated, 2013. Reviews Review of Robert L. Kendrick, Celestial Sirens: Nuns and their Music in Early Modern Milan (Oxford: Clarendon Press, 1996). In Journal of the American Musicological Society 50 (1997): 205-11. Review of Craig A. Monson, Disembodied Voices: Music and Culture in an Early Modern Italian Convent (Berkeley, Los Angeles and London: University of California Press, 1995). In Music and Letters 77 (1996): 456-58. PRESENTATIONS “Musical Dispatches from the Early Jerusalem.” Listening to Early Modern Catholicism: New Perspectives from Musicology, Boston College, July 2014. “The Chigi and an operina sacra for Nuns in Siena.” Roman Convent Culture in the Baroque, Rome, Italy, February-March 2014. “Sienese Religious Culture in the Early Seventeenth Century.” Yale University, January 2014. “Oratorio and Sacred Opera in Siena, 1680-1731,” paper presented at the Congresso internazionale di musica sacra, Pontificio Instituto di Music Sacra, Rome, Italy, 30 May 2011.

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PRESENTATIONS, CONT. “Camilla in Siena and Senesino’s Début,” paper presented at the Nineteenth Annual Conference of the Society for Seventeenth-Century Music, Minneapolis, MN, 9 April 2011. “Getting Past No or Getting to Yes: Nuns, Divas, and Negotiation Tactics in Early Modern Italy,” paper presented at the conference “Attending to Early Modern Women: Conflict, Concord,” Adelphi, Maryland, 5 November 2009. “Letters from the Road: Giulia Masotti and Cardinal Sigismondo Chigi,” panel presentation at the Annual Meeting of the American Musicological Society, Nashville, TN, 7 November 2008. “Practice and Patronage Make Perfect: Launching an Operatic Career in Late Seventeenth-Century Italy,” paper presented at the annual meeting of the American Musicological Society, Quebec, Canada, 1 November 2007. “But I don’t have my head in the clouds! The Education of a Sienese Castrato,” paper presented at the Fifteenth Annual Conference of the Society for Seventeenth-Century Music, South Bend, IN, 19 April 2007. “Fabio Spannocchi: impresario e osservatore del teatro musicale a Siena alla fine del Seicento,” paper presented at international conference “Archivi, Carriere, Committenze: contributi per la storia del patriziato senese in età moderna,” Siena, 9 June 2006. “Scrambled Eggs and Hams: Theatrical Music in Siena the End of the Seicento,” paper presented at the Thirteenth Annual Conference of the Society for Seventeenth-Century Music, Evanston, IL, 15 April 2005. “Of Saints and Singers: Music at Santi Abbondio and Abbondanzio during the Cinquecento,” paper presented at “Siena nel Rinascimento: L’ultimo secolo della Repubblica,” Convegno internazionale di studi, Università degli Studi di Siena and University of Warwick, Siena, Italy, 18 September 2004. “‘Just Another Love Story’: Tarchetti, Scola, and the Problems with Sondheim’s Passion,” paper presented at the Biennial Conference of the Society for Italian Studies, Cork, Ireland, 4 July 2003. “The Good Mother, the Reluctant Daughter, and the Convent: A Case of Musical Persuasion,” paper presented at the annual meeting of the Renaissance Society of America, Phoenix, AZ, 11 April 2002. "Return to the city: The Chigi, the convent, and an operina sacra of 1686," paper presented at the annual meeting of the Renaissance Society of America, Chicago, IL, 29 March 2001. also read at "Musica Universalis": A Tribute to Frank D'Accone, University of California, Los Angeles, 2 June 2001.

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PRESENTATIONS, CONT. "'Ha innalzato un muro attorno a me:' Lamentazioni per monache senesi," paper presented at the conference "I monasteri femminili come centri di cultura fra rinascimento e barocco," Bologna, Italy, 9 December 2000. "Devotion and Dilettantism: Aspects of Sienese Repertory after 1600," presentation at the session "Tuscan Repertory" at the annual meeting of the American Musicological Society, Toronto, Canada, 3 November 2000. "I monasteri femminili e la vita musicale a Siena, c. 1550-1700," paper presented at the 23rd Seminario di Studio,"Produzione, circolazione e consumo: per una mappa della musica sacra dal tardo Medioevo al primo Seicento," Fondazione Ugo e Olga Levi, Venice, Italy, 28 October 1999. "'He has blocked my ways with fitted stones': Lamentations for Nuns in 17th-Century Siena," paper presented at the Evelyn Dunbar Early Music Conference and Concert, Northwestern University, Evanston, IL, 1 May 1999. “Alla città ritorna: The Chigi and Opera in Siena, 1669-1686,” paper presented at the Eighth Biennial Conference on Baroque Music, Exeter, England, 12 July 1998. “Music at Ognissanti, Siena, during the Mid-Seicento,” lecture delivered at Cornell University, Musicology Colloquium, 7 April 1997. “A Diva in the Convent: The Spiritual Autobiography of Maria Francesca Piccolomini,” paper presented at the annual meeting of the American Musicological Society, Baltimore, MD, 8 November 1996.

also read at the American Association of Italian Studies Conference, St Louis, MO, 13 April 1996.

“Musica a Siena dal XIII al XVI secolo, roundtable at the 53a Settimana Musicale Senese, Siena, Italy, 13 July 1996. “Cracks in the Convent Wall: Music as Dialogue between Convent and Community,” paper presented at the annual meeting of the Society for Seventeenth-Century Music, Danville, Kentucky, 28 April 1995. “’Foolish Virgins’: Nuns, Music and a commedia spirituale of 1642,” paper presented at the annual meeting of the American Musicological Society, Minneapolis, Minnesota, 28 October 1994.

also read at the Sixth Biennial Conference on Baroque Music, Edinburgh, Scotland, 9 July 1994.

“Music as Leitmotif in Louisa May Alcott’s Little Women,” paper presented at the national conference “Woman: Text, Image,” Binghamton University, 15 April 1994.

6

PRESENTATIONS, CONT. “Agostino Agazzari and Music for the Virgin at Santa Maria di Provenzano, Siena,” paper presented at the Fifth Biennial Conference on Baroque Music, Durham, England, 6 July 1992. “Siena, Umanesimo, e le prime composizioni sacre di Agostino Agazzari,” paper presented at the international conference “Umanesimo a Siena. Letteratura, arti figurative, musica,”Siena, Italy, 8 June 1991. HONORS AND GRANTS National Endowment for the Humanities, Research Fellowship, 2011-12 Claire Trevor School of the Arts, Travel Grant, awarded May 2011 UCI, Single Investigator Innovation Grant (CORCL), awarded 21 May 2008. Claire Trevor School of the Arts, Travel Grant, awarded 10 November 2008. Dean’s Research Semester, Fall 1996 Binghamton University Faculty Research Summer Support Grant, 1995 NEH Summer Stipend, 1994 Fulbright Fellowship for Dissertation Research in Italy, 1985-86 UCLA Alumni Award for Academic Distinction, 1983 Atwater Kent Award, UCLA, Musicology, 1983 Walter H. Rubsamen Award, UCLA, 1981-82 Phi Beta Kappa, 1976 SERVICE American Musicological Society: Ruth A. Solie Prize Committee, 2013-15 Lewis Lockwood Prize Committee, 2004-06 Council Member, 1998-2000 Nominating Committee, 1998 Society for Seventeenth-Century Music: Associate Editor, SSCM Newsletter, 2007-12 Member, Program Committee, 2009 Meeting Vice-President, 2003-06 Chair, Nominating Committee for New Officers, 1996 University of California, Irvine: Associate Dean, 2005-09 Director, Graduate Studies, Music Department, 2009-11; 2012-13 Platform Committee Marshall, Graduation Ceremony, 16 June 2013

7

SERVICE, CONT. Binghamton University: University Curriculum Committee, 1996-2002; 2004-05 International Education Advisory Committee, 2001-05 Library Committee, 2000-05 Campus Fulbright Committee Co-Chair, 2000-02 Member, 1997-2003 Chair, Assessment Category Team, Aesthetics, 2002-04 Harpur College Council, 2000-2001 All-University Personnel Committee, 1997-98 (Minutes Secretary, 1997) General Education Mentoring Program, 1996-97 Executive Council, CEMERS, 1994-95; 1995-97 Binghamton University Music Department: Director of Undergraduate Studies, Spring 1995; 1997-2005 Chair, Ethnomusicologist Search Committee, 2005 Chair, Composer/General Studies Search Committee, 1997 Chair, Library Committee, 1993-2005 Undergraduate Committee, 1993-2005 Recruitment Committee, 1993-2005 Faculty Advisor, Music Club, 1996-99 Finance Committee, 1993-4 Western Kentucky University: Faculty Research Committee, 1992-93 Faculty Development Committee, 1989-92 (Chair, 1990-91) Chair, NASM Self-Study Committee, Library and Facilities, 1990 Library Representative, Music Department, 1988-93 TEACHING EXPERIENCE 2005- Professor of Music, University of California, Irvine Music 40B: History of Music, Medieval-Baroque (music majors) Music 40C: History of Music, Classic-Early Romantic (music majors) Music 145: Sondheim’s Musicals Music 149: Jane Austen and Music Music 199: Independent Study (honors project) Music 200: Bibliography and Research Methods

Thesis Supervision, University of California, Irvine: Pheaross Graham, MFA in Piano Performance, Spring 2011 (Committee member) Matthew Martinez, MFA in Choral Conducting, Spring 2009 (Committee member) Lorraine Joy Welling, MFA in Vocal Performance, Spring 2009 (Committee member)

8

TEACHING EXPERIENCE, CONT. Thesis Supervision, University of California, Irvine (cont.): Marella Feltrin-Morris, “Into Forbidden Territory: The Audacity to Translate into a Second Language,” Ph.D. in Translation Studies, Binghamton University, 19 June 2008. (Committee member) Undergraduate Honors Projects, University of California, Irvine: Julia Damron, “From Flatterzunge to PVC Pipe: Extended Techniques for Clarinet.” June 2011. Diane Schroeder, “Identity in the Modern Drum and Bugle Corps.” June 2010. Caitlyn Christie, “Erik Satie and the Gymnopédies: An Arrangement for Woodwind Quintet.” June 2008. 2003-05 Professor of Music, Binghamton University 1996-2002 Associate Professor of Music, Binghamton University 1993-96 Assistant Professor of Music, Binghamton University

Music 301(W): History of Music, Medieval-Renaissance (music majors) Music 302 (W): History of Music, Baroque-Classical (music majors) Music 303 (W): History of Music, Romantic-Modern (music majors) Music 503: Research Methods and Materials (graduate students) Music 586A: Italian Vocal Repertory (graduate students) Music 586D: Italian Diction (graduate students) Music 597: Independent Study (graduate students) Music 101: Introduction to Music (non-majors) Music 206/280C (W): Opera through the Ages (non-majors)

Music 280G: Sondheim’s Musicals (non-majors) Music 281B: Music and Shakespeare (non-majors) Thesis supervision, Binghamton University: Kimberly Meeker, “Thomas Arne’s English Opera Eliza.” MA thesis in Music History, December, 2007. Jennifer Kobuskie, “From the Gallows to the Brothels and the Ties that Bind.” MA thesis in Music History, Spring, 2002. Kimberly Meeker, “The Tempest as American Opera: Musical Transformations of Shakespeare’s Magical Tale.” BA honors thesis, Spring 2002. Jennifer Gaspar, “The roots of comic opera: Neapolitan opera buffa and La finta cameriera.” BA honors thesis, Spring 1999.

9

TEACHING EXPERIENCE, CONT. Thesis supervision, Binghamton University (cont.): Shawn Weil, “Gustav Holst and Albert Roussel: Two Views of India.” BA honors thesis, Spring, 1998. 1988-93 Assistant Professor of Music, Western Kentucky University Music 326: History of Music, Medieval-Renaissance (music majors) Music 327: History of Music, Baroque-Classic (music majors) Music 328: History of Music, Romantic-Modern (music majors)

Music 430/530: Special Topics in Music Literature (music majors) Music 431: Musical Theater (non-majors) Music 432: Research Techniques in Music (graduate students) Music 153-454: Studio Voice (music majors and non-majors) 1987-88 Visiting Assistant Professor of Music, University of California, Los Angeles Music 2A: Introduction to Music Literature (non-majors) Music 126B: Romantic Music (music majors) Music 126C: 20th-century Music (music majors) Music 189: The Symphony (non-majors) Music 200A: Music Bibliography/Research Methods (graduate students)

CECILIA SUN October 2013

20 Blake Court Irvine CA 92617 (949) 509–9935 [email protected]

Claire Trevor School of the Arts Music Department

303 Music & Media Building Irvine CA 92697–2775

(949) 824–5813 EMPLOYMENT

2010–present Assistant Professor, Department of Music, Claire Trevor School of the Arts, University of California, Irvine

2004–2009 Lecturer in musicology, Arts Music Unit, Sydney Conservatorium of Music, The University of Sydney

EDUCATION Ph.D. in Musicology, University of California, Los Angeles, 2004.

Dissertation: “Experiments in Musical Performance: Historiography, Politics and the Post-Cagean Avant-Garde”

Committee: Robert Fink (chair), Byron Adams, Elisabeth Le Guin, Tamara Levitz, Susan McClary

D.M.A. in Piano Performance and Literature, Eastman School of Music, University of Rochester, 2000.

Primary teacher: Malcolm Bilson M.M. in Piano Performance and Literature, Eastman School of Music, University of Rochester, 1994.

Primary teacher: Barry Snyder B.M. in Piano Performance, Western Australian Conservatorium of Music, Western Australian Academy of Performing Arts, Edith Cowan University, 1991.

Primary teacher: John Roberts

PUBLICATIONS Review of Jeremy Grimshaw, Draw a Straight Line and Follow It: The Music and

Mysticism of La Monte Young. The Journal of the American Musicological Society 66/1 (Spring 2013).

“Malcolm Bilson,” Brian Eno,” “Experimental Music,” “Robert Fink,” and “Frederic Rzewksi” in Grove Dictionary ofAmerican Music, 2nd ed. Edited by Charles Hiroshi Garrett. New York: Oxford University Press.

Sun–2

“Resisting the Airport: Bang on a Can Performs Brian Eno.” Musicology Australia 29 (2007): 136–160.

“The Theatre of Minimalist Music: Towards an Analytical Model.” Context 31 (2006): 37–50.

“Journey to the East: Asian Influences in the Performance History of Terry Riley’s In C.” In Intercultural Music Practice. Sally Mcarthur and Bruce Crossman, ed. Australian Music Centre, 2007.

LECTURES & CONFERENCE PRESENTATIONS Conference Presentations

“Tony Conrad’s Early Minimalism: An Alternate History.” Meeting of Society for Minimalism Music, Long Beach, October 2012.

“Tony Conrad’s Early Minimalism: An Alternate History.” Meeting of the Society for American Music, Little Rock, March 2012.

“Philip Glass’s Einstein on the Beach and a New Kind of Virtuosity.” Meeting of the Musicological Society of Australia, Melbourne, Australia, December 2008.

“Simulations: Towards a Theory of Performance.” Postmodern Theory and Music. University of Melbourne, December 2006.

“Experimenting with Politics: Rzewski’s Attica Pieces.” Meeting of the Society for American Music, Chicago, IL, March 2006.

“Experimenting with Politics: Rzewski’s Attica Pieces.” Meeting of the Musicological Society of Australia, Sydney, Australia, September 2005.

“Experimental Music and the Aesthetic of Failure.” Meeting of the Society for American Music, Eugene, OR, February 2005.

“Resisting the Airport: Bang on a Can Performs Brian Eno.” Meeting of the Society for American Music, Cleveland, OH, March 2004.

“Performing History: Terry Riley’s In C.” Meeting of the American Musicological Society, Houston, TX, November 2003.

“Minimalism’s Myths of Origin.” 3rd Biennial Conference on Twentieth-Century Music, University of Nottingham, June 2003.

“Minimalism’s Myths of Origin.” Meeting of the Society for American Music, Phoenix, AZ, February 2003.

“Performing History: Playing In C As If …” Meeting of the Pacific Southwest chapter of the American Musicological Society, University of California, Los Angeles, February 2002.

“Resisting the Airport: Bang on a Can Performs Brian Eno.” Meeting of the Pacific Southwest chapter of the American Musicological Society, Pomona, CA, February 2001.

“’A Restrained Testament to his Spirit”: Pure Form or Moral Content in Gavin Bryars’ Jesus’ Blood Never Failed Me Yet.” Joint meeting of the Northern California and Pacific Southwest chapters of the American Musicological Society, Reno, NV, April, 2000.

Sun–3

“Analyzing the Unanalyzable: La Monte Young and the Erotics of Experimental Music.” Meeting of the Society for American Music, Charleston, SC, February, 2000.

“Analyzing the Unanalyzable: La Monte Young and the Erotics of Experimental Music.” Meeting of the Pacific Southwest chapter of the American Musicological Society, San Diego, CA, February 2000.

“Beyond Urtext: Editions as Performance and Ideology.” Meeting of the New York State-St. Lawrence chapter of the American Musicological Society, Rochester, NY, February, 1998.

Invited Lectures

“Arvo Pärt’s Credo: Composition in the Time of Crisis.” Saint Katherine College Forum, October 2012.

“Journey to the East: Asian Influences in the Performance History of Terry Riley’s In C.” Keynote address at the Intercultural Music Practice Conference. University of Western Sydney, April 2006.

“Performing History: Terry Riley’s In C.” Mount Allison University, Sackville, New Brunswick, October 2002.

“Period Pianos, Period Editions.” Summer Piano Workshop, Eastman School of Music, Rochester, NY, July, 1996.

AWARDS, FELLOWSHIPS & GRANTS

Sydney Conservatorium of Music, University of Sydney Teaching Award, 2007.

University of Sydney Research and Development Grant (A$12,000), 2006.

Herman and Celia Wise Fellowship for best dissertation chapter, Department of Musicology, University of California, Los Angeles, 2003–2004.

Dissertation Fellowship, UCLA Graduate Division, 2002–2003.

Chancellor’s Fellowship for Doctoral Study, University of California, Los Angeles, 1998–2002.

Carmela and Charles Speroni Award for best paper by a graduate student, Department of Musicology, University of California, Los Angeles, 1999-2000.

Robert L. and Mary L. Sproull Fellowship for Doctoral Study, University of Rochester, 1996–1998.

Fulbright Award for graduate studies at the Eastman School of Music, 1992–1994. TEACHING EXPERIENCE Courses Taught

UNIVERSITY OF CALIFORNIA, IRVINE (2010–present) 20th-Century Music Analysis

Sun–4

Asia in Western Music Experimental Music Gender & Identity in American Popular Music Mozart Music History from Pergolesi to Wagner Music and Gender Stravinsky

THE UNIVERSITY OF SYDNEY (2005–2009)

Advanced Concert Performance Bach Dissertation Seminar European Art-Music Traditions (c. 1900 to present) Fundamentals of Music I & II Introduction to Classicism Mozart and his Times Musicology I Musicology II Music & Gender Music & Politics Music in the Sixties Music History 5 (c. 1900–c. 1950) Stravinsky

ADVISING AND EXAMINING UNIVERSITY OF CALIFORNIA, IRVINE (2010–PRESENT) M.F.A. Committee (Member)

Michael Hernandez Christopher Lavender Kelly Moran Nassif Zakkak Kevin Zhang

B. Mus. Honours Thesis (Advisor)

Felipe Hernandez

THE UNIVERSITY OF SYDNEY (2005–2009)

M.A. Advising (Chair) Jayne McNeill

M.Mus. Advising (Chair) Alana Blackburn Philippa Cook

Honours Student Advising (Chair) Emanuelle Fonsny Christopher May Sarah Penicka

Sun–5

Alex Pozniak Eleanor Wood

SERVICE Member, Education Committee, Society for American Music, 2013–17.

Member, Cambridge University Press Award Committee, Society for American Music, 2013–17.

Session chair, Annual Meeting of the Society for American Music, Charlotte NC, March 2012.

Music Department Undergraduate Committee, UCI, member, 2011–present.

Honors Program Board, UCI, member, 2011–present.

Committee member, Program committee for the 2009 meeting of the Society of American Music in Denver.

Committee member, Mark Tucker Award for Best Student Presentation, Society of American Music, 2008.

Committee member, Postgraduate Committee, Sydney Conservatorium of Music, University of Sydney, 2008–present.

Coordinator, Honours programme, Arts Music Unit, University of Sydney, 2007–present.

Committee member, eMusic Project, Sydney Conservatorium of Music, 2006–2007.

Secretary, Sydney chapter of the Australian Musicological Society, 2006–2008.

Ordinary member, board of Musicological Society of Australia, Sydney chapter, 2005–present.

Programmed and maintained UCLA Department of Musicology web site, 2000–2004. [http://www.musicology.ucla.edu]

Student Representative, Pacific Southwest Chapter of the American Musicological Society, 2001–2003.

National Student Representative, Pacific Southwest chapter of the American Musicological Society, 2001–2002.

Co-Coordinator, Teaching Assistant Training, Department of Musicology, University of California, Los Angeles. November 2001.

Selection committee Member, Ingolf Dahl Award for Best Student Paper, Northern California and Pacific Southwest chapters of the American Musicological Society, 2001.

Coordinator, Distinguished Lecture Series, UCLA Department of Musicology, 1999–2000.

EDITORIAL EXPERIENCE

Founding editor, ECHO: a music-centered journal [http://www.echo.ucla.edu]

Sun–6

Editor-in-chief, ECHO, 2001–2003.

Web programmer, ECHO, 2000–2003.

Assistant editor, ECHO, 1998–2001. PERFORMANCE EXPERIENCE

Many solo and ensemble recitals on modern piano and Viennese fortepiano, 1989–present.

Continuo harpsichord, Musica Humana, UCLA, 1999–2001.

Administrative board and core ensemble, OSSIA, 1997–1998.

Founder, OSSIA New Music Ensemble, 1997.

Member, Gamelan Lila Muni, Eastman School of Music, 1996–1997. PROFESSIONAL AFFILIATIONS

American Musicological Society

Society for American Music

Society for Minimalist Music

28 McClintock Ct. Irvine, CA 92617 949-241-4886 Email:[email protected] Website: tuckerset.com _______________________________________________ EDUCATION

DMA, Conducting, UCLA MMus, Conducting, UCLA BMus, Conducting, Atlantic Union College, Massachusetts

Fellow, Conductor’s Institute, Hartt School of Music, Hartford, Connecticut Diploma, Orchestral Conducting – Wiener Meisterkurse, Vienna Conservatory, Vienna, Austria Participant, International Institute of Symphonic Conducting under Herbert Blomstedt and

Dr. Jon Robertson Conducting Studies, Brooklyn Conservatory of Music, Brooklyn, New York Piano and Conducting Studies, Jamaica School of Music, Jamaica, West Indies

PROFESSIONAL EXPERIENCE CONDUCTING

2000 – Present Orchestra Conductor, University of California at Irvine

Conduct 5 – 6 concerts annually. In addition, lead the orchestra in ballet performances with the Dance Department and the school’s yearly opera performance. Writing program notes for the symphonic concerts and presenting “Pre-Concert Conversations” (pre-concert talks to the audience) before most concerts, an outreach to the university and community at large.

2010 – Present Assoc. Professor, Music, University of California at Irvine Teaching Conducting, Orchestration and Analysis Apr. 23, 2012 Guest Conductor – Irvine Unified School District’s Honor

Concert, Segerstrom Concert Hall. Conductor for orchestra and joint chorus and orchestra performance.

Nov. 11 – Dec. 16, 2011 Visiting Professor and Guest Conductor, National Taiwan

Normal University, Taipei Taiwan.

Dr. Stephen E. Tucker

Conductor

Dr. Stephen Tucker

Taught 7 graduate conductors weekly 1-hour lessons; 2 undergraduate conducting classes (one at National Taipei University of Education) in weekly 2-hour class session; weekly 2-hour Conducting Seminar for 15 graduate conductors from varied areas of concentration (orchestral, choral, and band), and conducted 2 weekly orchestral rehearsals.

Dec. 13, 2011 Conducted concert with the Symphony Orchestra of National Taiwan Normal

University in the Taipei National Concert Hall.

Program included: Beethoven’s Piano Concerto No. 3 Wen-Pin Hope Lee’s Summit Images of Taiwan (premiere) Dvorak’s Symphony No. 8

July – August, 2011 Conductor, Intimate Opera of Pasadena Coached the cast of emerging opera singers in preparation for public

performances of Puccini’s Suor Angelica, along with Gilbert and Sullivan’s Trial By Jury. The month-long effort culminated in 6 public performances in Pasadena.

2007 – 2010 Music Director/Conductor, Buddha’s Light Youth Symphony Orchestra

Conductor of this youth orchestra which combines standard western musical symphonic style with some Chinese traditions.

2002-2010 Assistant Professor, Music, University of California, Irvine Teaching Conducting, Orchestration and Analysis 1999 – 2010 Conductor, Arrowbear Music Camp, California (summers) Training young orchestral musicians over a three-week period, annually, and presenting public concerts at the end of the weeks. Aug 2, 2009 Guest Conductor, Capitol Records, APM recording of

Brandenburg Concertos 2 & 3; Mozart’s Eine Kleine Nachtmusik

Project designed for commercial release in video games. Jun 21 2008 Conductor, Buddha’s Light Youth Symphony Orchestra –

Freemont Concert Jun 15 2008 Buddha’s Light Youth Symphony Orchestra – LA Spring Concert Jun 1 2008 Guest Conductor, Tucson Chamber Orchestra

Program: Villa-Lobos: Bachianias Brasileras No. 15, Haydn: Horn Concert No. 1 (Daniels Katzen, Boston Symphony, soloist), Chavez: Discovery; Arriaga: Symphony in D.

Apr 2007 Guest Conductor, Pacific Symphony Orchestra – Cover and replacement conductor for Andrew Litton, conducted first rehearsal of Rachmaninoff’s Symphony No. 2

Nov - Dec 2007 Guest Conductor, Pacific Symphony Youth Orchestra, preparing Rimsky-Korsakov’s Scheherazade, Strauss’ Serenade for Winds, Sibelius’ Finlandia, Beethoven’s Symphony No. 5, and Mahler’s Symphony No. 2

Dr. Stephen Tucker

Jul 7 2005 Conductor, Fields of Wonder recording, Darryl Taylor, tenor and musicians of the Los Angeles Philharmonic and the Los Angeles Opera Orchestras

Jul 13-25 2005 Haverford Singers Concert Tour, Jamaica, West Indies Apr 3 2005 Special Guest Conductor, No Boundaries Concert, Avery

Fisher Hall, Lincoln Center, New York Performed Ravel’s Concerto for the Left Hand with Nerva Altino, pianist,

and Beethoven’s Choral Fantasy Mar 26 2005 Guest Conductor, Haverford Singers – Handel’s Messiah,

Philadelphia, Pennsylvania March 9-10 2005 Guest Conductor, Stairway of the Stars, Santa Monica Civic

Auditorium, California – Annual Showcase of orchestras of Santa Monica School District’s orchestras

2003-2004 Principal Conductor, Atlantic Union College Symphony, Concerts included:

Apr 17 2004 William Ness, organ soloist (Howard Hanson’s Concerto for Organ, Harp and Strings

Apr 17 2004 Nerva Altino, piano soloist (Tchaikovsky’s Piano Concerto No.1.) Feb 29 2004 Agnes Kael-Nagy, cello soloist (Haydn C major Cello

Concerto) Nov 8 2003 Earl Raney, trumpet soloist (Haydn Trumpet Concerto) Sep 7 2003 Participant in Vachtang Jordania International Conducting

Competition, Kharkov, Ukraine Jun 19 2003 Guest Conductor, Opera Noir – Tribute to Luther Vandross May 10 2003 Guest Conductor, Atlantic Union College Symphony,

Baccalaureate Ceremony May 10 2003 Guest Conductor, An Evening Serenade, with Atlantic Union

College’s Chamber Choir and Orchestra Dec 2001 Guest Conductor, Haverford Singers, Philadelphia (Bach’s Magnificat) Nov 2001 Cover Conductor, Pacific Symphony, Premiere of An

American Requiem, Orange County Performing Arts Center, California

Nov 2001 Guest Conductor, Pacific Symphony Youth Orchestra May 2001 Conductor, Palm Springs Opera Gala Feb 2001 Conductor, Southern California School Band and Orchestra

Association’s “All Southern Orchestra” Feb 2001 Conductor, Long Beach, California, “All City Honor Orchestra” Winter 2001 Music Director/Conductor, Opera Workshop, UCI 2000 Guest Conductor, Los Angeles Master Chorale

Dr. Stephen Tucker

2000 Cover Conductor for David Lobel, Music Director of the Memphis Symphony, at the Long Beach Symphony

1999 – 2000 Conductor, Atlantic Union Chamber Orchestra, Massachusetts Dec 1999 Conductor, UCLA Philharmonia Concert 1999 Recording Conductor, Hungarian National Philharmonic 1999 Conductor, Duke Ellington Centenary Concert, UCLA 1998 – 2000 Music Director, Musical Theater Workshop, UCLA 1998 Conductor, UCLA Philharmonia Concert 1998 Choral Director, Kansas Avenue Adventist Church 1996 – 2000 Artists’ Symphony 1995 – 2000 Music Director, The Polished Pipes (Men’s Chorus) 1993 – 1998 Founder/Music Director, The Neumark Ensemble (Orchestra &

Chorale) 1992, 1994 Recording Conductor, Slovak Radio Symphony, Bratislava, Slovakia May 1992 Conductor, An Evening of French Choral Music, All Saints

Episcopal Church, Riverside – chorus and orchestra Spring 1992 Visiting Conductor, University of California, Riverside 1989 – 1999 Choral Director, All Saints Episcopal Church, Riverside, California 1987, 1988 Guest Conductor – Annual Combined Colleges (MIT, Harvard,

New England Conservatory of Music), Messiah Concerts 1986 Director, Thayer Conservatory Orchestra Chorus 1983 Conductor, Combined Colleges Annual Messiah 1982 Conductor, St. Paul’s Episcopal Church, Gardner, Massachusetts 1978 – 1980 Conductor, Metropolitan Adventist Chorale, New York OTHER MUSICAL ACTIVITIES Jun 2009 Mixing Producer, AMEN Quartet CD, June 2009 Dec 11 2003 Pianist, Horn and Piano Recital, with Daniel Katzen (member of the

Boston Symphony Orchestra), at Descanso Gardens, La Canada – Flintridge, California

1999 Pianist, Duke Ellington Centenary Concert, UCLA 1994 – 1998 Piano Instructor, University of California, Riverside 1998 Organist, Kansas Avenue Adventist Church 1999 Co-Producer/Arranger/Orchestrator Christmas in the Aire, Hungarian

Nat’l Philharmonic, Jaime Jorge, violinist 1996 Orchestrator/Producer/Arranger, A Song For You, Slovak Radio

Dr. Stephen Tucker

Symphony, Jaime Jorge, violinist 1996 Orchestrator/Producer/Arranger, Forever Love, John Larkins 1996 Orchestrator/Producer/Arranger, A Song For You, Slovak Radio

Symphony, Jaime Jorge, violinist 1995 Orchestrator/Co-Producer, I Am Not Worthy, Slovak Radio

Symphony, Jaime Jorge, violinist 1993 Orchestrator, At the Cross, Slovak Radio Symphony, Jaime Jorge 1992 Orchestrator/Arranger, Make Us One, Jackson Family 1991 Orchestrator, Family, Jackson Family 1991 Arranger, You’ll Never Walk Alone, Title Solo, Jaime Jorge 1989 – 1999 Organist, All Saints Episcopal Church, Riverside, California 1982 Organist, St. Paul’s Episcopal Church, Gardner, Massachusetts 1980 – 1984 Organist/Choirmaster, Berea Adventist Church, Boston, Massachusetts

COMPOSITIONS, EDITIONS AND ARRANGEMENTS 2011 Cantata, John Carter – Created Transcription for Countertenor,

received several performaces in 2011 and on January 14, 2012, at Winifred Smith Concert Hall, by Dr. Darryl Taylor.

2010 - New Edition of Duke Ellington’s Ballet: The River (work in progress) 2008 Conjecture, Jason Barabba, composer, recorded by Richard

Stoltzman and the Slovak Radio Symphony, Kirk Trevor, conductor, September, 2008, PARMA Recording.

2006 The Abondonment of Pluto, Jason Barabba, composer, read by orchestra in Bristol, England, awaiting world premiere.

2005 Orchestrations for No Boundaries Concert, (performed at Avery Fisher Hall, New York

1994 Orchestration and Arrangement of Veracini’s Prelude (recorded, Slovak Radio Symphony)

1993 Arrangements and Orchestrations for recording project by Violinist Jaime Jorge.

1984 Transformations, collection of orchestra fantasies based on hymn-tunes

1981 After the Late, Late Show, composed Fanfare for Wind Quintet

Dr. Stephen Tucker

TEACHING EXPERIENCE 2010 – Present Associate Professor, University of California, Irvine 2002 – 2010 Assistant Professor, University of California at Irvine 2008 - 2010 Post-Doctoral Conducting Teacher, Dr. Daniel Cummings,

Conductor, La Sierra University Orchestra Conducting Teacher, Rachael Kone, what about SOKA girl Aug 2005 Private Conducting Teacher, Dr. Frank Restezan, Conductor,

Union College, Lincoln, Nebraska 2003 -2004 Private Conducting Teacher, Earl Raney, Conductor, Wheaton

College Orchestra, Massachusetts 1998 – 2000 Teaching Assistant, Musical Theater Workshop, UCLA 1998 Conductor, Chapel Singers, La Sierra University 1992 – 1999 Lecturer in Piano, University of California, Riverside 1986 – 1987 Band and Choir Director, Greater Boston Academy

COURSES TAUGHT Conducting Orchestration Graduate Analysis Undergraduate Analysis Chamber Ensemble Orchestral Literature

WORKS PREMIERED Dec 2011 Summit Images of Taiwan, Wen-Pin Hope , National Concert Hall, Taipei Apr 2010 Charkhesh , E. Kang, Irvine Barclay Theatre 2009 Derby, Concerto for Orchestra (World Premiere)

KOU CHEATER GIRL Feb 2007 Proof of Ghosts, Ballet, Alan Terriciano, Irvine Barclay Theatre May 10 2006 Breed Street, Overture for Orchestra, Bernard Gilmore, Irvine Barclay Theatre Jun 9 2006 First Suite of Fanfares, for Orchestra, Margaret Murata, Irvine Barclay Theatre Feb 2006 Masque, Song Cycle for Baritone and Orchestra, Alan Terriciano,

Irvine Barclay Theatre Apr 2004 War to End Wars, Opera by Nathan Birmbaum, Claire Trevor Theatre Mar 2004 Local Motion, Christopher Wong, UCI Symphony, Irvine Barclay Theatre May 2003 ‘Dentity Crisis, Opera by Jason Barabba, Winifred Smith Hall

Dr. Stephen Tucker

2001 Concerto for Santoor and Orchestra, Bahram Osqueezadeh, UCI Symphony

2001 Legacy, Ken Steen, West Coast Premiere, Neumark Ensemble at Riverside County Courthouse

1998 Dance Overture, Irving Schlein, UCLA Philharmonia CDs, DVDs, AND RECORDINGS

2007 Fields of Wonder, Robert Owens – Conductor; Darryl Taylor, soloist;

musicians of the LA Philharmonic and LA Opera orchestras, at A to Z Recording Studios, La Verne, California, Albany Records

2005 Stairway of the Stars DVD, Santa Monica Municipal Auditorium Apr 2004 Atlantic Union College Alumni Concert, DVD, recorded and

broadcast by 3 ABN Cable Network 2000 What Sweeter Music, Recording Supervisor, Paradigm Vocal

Ensemble, Texas 1999 Christmas in the Aire, Hungarian Nat’l Philharmonic, Jaime Jorge, violinist 1998 The Best of Paradigm, Recording Supervisor, Paradigm Vocal

ensemble, Texas 1997 Hymns and Spirituals, The Polished Pipes 1996 Locked In, Composer, Sundance Film entry, Lampe Productions 1996 Forever Love, John Larkins 1996 A Song For You, Orchestrator/Conductor/Producer/Arranger, Slovak

Radio Symphony, Jaime Jorge, violinist 1995 I Am Not Worthy, Orchestrator/Conductor/Co-Producer, Slovak

Radio Symphony, Jaime Jorge, violinist 1993 At the Cross, Orchestrator/Conductor, Slovak Radio Symphony, Jaime

Jorge 1992 Make Us One, Orchestrator/Conductor/Arranger, Jackson Family 1991 Family, Orchestrator/Conductor, Jackson Family 1991 You’ll Never Walk Alone, Arranger, Title Solo, Jaime Jorge

Dr. Stephen Tucker

REFERENCES Dr. Scott McBride Smith, professor, University of Kansas [email protected] (785)864-1470 (of) Ms. Suzanna Guzman, mezzo soprano, Los Angeles Opera [email protected] (562)577-6297 (cel) Dr. Jon Robertson, Dean Lynn University, Conservatory of Music, Boca Raton, Fl. – conductor [email protected] (561)237-7702 (of) Professor Daniel Katzen, horn professor, University of Arizona; horn player in the Boston Symphony Orchestra (retired). [email protected] (818)388-3594 Dean Sharon Salinger, dean of undergraduate education, UCI [email protected] (909)910-8163

S T E P H E N B A R K E R , PH.D.

Professor, Associate Dean Claire Trevor School of the Arts University of California at Irvine

[email protected]

C U R R I C U L U M V I T Æ Ph.D. (Literary Theory and Criticism, English Literature), University of Arizona, 1987

M.F.A. (Creative Writing–Fiction), University of Arizona, 1980 M.F.A. (equivalent), London School of Contemporary Dance, London, England, 1974 M.F.A. (equivalent), Studio '68 of Theatre Arts, London, England, 1971 B.A. Amherst College, 1968

PROFESSIONAL EXPERIENCE (selected)

• Associate Dean, Claire Trevor School of the Arts (2010– ) • Chair, Subcommittee on Courses, CEP, UCI (2012– ) • Head of Doctoral Studies, Claire Trevor School of the Arts (2007– 2010) • Core Committee, UCI School of Humanities Critical Theory Emphasis (1996-‐99, 2006– ) • Adjunct Faculty, Visual Studies Program, School of Humanities, UCI (2000–) • Affiliated Faculty, Department of Comparative Literature, School of Humanities, UCI (2004– ) • Core Committee, Arts-‐Humanities/Humanities-‐Arts Degree Program (2003– 2011) • UC systemwide Committee on Committees (2004–6) • Director, University of California Education Abroad Program, Lyon/Grenoble, France, (2000–2002) • Executive Committee, International Association for Philosophy and Literature (1997–2009) • Faculty Assistant to the Chancellor, UC-‐Irvine (1997–1999) • Acting Dean, School of the Arts, UC-‐Irvine (1997) • Professor (Theory, Criticism, Literature), Department of Drama, Claire Trevor School of the Arts, UC-‐

Irvine (1997– ) • Associate Dean, School of the Arts, UC-‐Irvine (1995–1997) • Chair, Department of Studio Art, School of the Arts, UC-‐Irvine (1996–1997) • Chair, Department of Drama, School of the Arts, UC-‐Irvine (1991–95) • Associate Professor (Theory, Criticism, Literature), Department of Drama, School of the Arts, UC-‐

Irvine (1991–97) • Director, Degree Program in Interdisciplinary Studies, School of the Arts, UC-‐Irvine (1990–2000) • Adjunct Faculty, Critical Theory Emphasis, School of Humanities, UC-‐Irvine (1993–) • Assistant Professor, Department of Drama, School of Fine Arts, UC-‐Irvine (1987–91) • Instructor, Department of English and Department of French, University of Arizona (1986–87) • Instructor, Department of English, Pima Community College, Tucson, Arizona (1978–85) • Director, Honors Composition Program, Department of English, University of Arizona (1986–87) • Vice President and Account Executive, DuVal/Wharton Associates Advertising, Tucson, Arizona

(1978–80) • Assistant Artistic Director, Arizona Civic Theater, Tucson, Arizona (1977–78) • Actor/Dancer/Instructor: Moving Being, Cardiff, Wales, U.K. (1974–76) • Professional dancer/choreographer/instructor, London Contemporary Dance Theatre, London,

England and worldwide (British Equity) (1971–74) • Director, Studio ’68 of Theatre Arts, London (drama school) (1971) • Instructor, Studio '68 of Theatre Arts London, London, England (1968–71) • Professional actor and director, London and worldwide (1968–71)

Stephen Barker Page 2 of 17

PUBLICATIONS [Numbered items correspond to documents in current file] BOOKS

—Bodytheory (ed). New York: Continuum Press. At press.

—Signs of Change: Premodern-‐>Modern-‐>Postmodern. (ed.) Albany, New York: SUNY Press. 1996. —Excavations and Their Objects: Freud’s Collection of Antiquity. (ed.) Albany, New York: SUNY Press.

1996. —Autoaesthetics: Strategies of the Self After Nietzsche. London/Atlantic Heights, New Jersey: The

Humanities Press. 1992. BOOK TRANSLATIONS:

—Testing the Limit: Derrida, Henry, Levinas and Phenomenology [L’épreuve de la limite: Derrida, Henry, Levinas et la phénoménologie]. François-‐David Sebbah. Paris: Collège International de Philosophie. 2001. For Stanford University Press, 2012.

—Technics and Time 3: Cinematic Time and the Question of Malaise [La technique et le temps 3: Le temps du

cinéma et la question de mal-‐être]. Bernard Stiegler. Paris: Flammarion. 2001. For Stanford University Press, 2011.

—Taking Care of Youth and the Generations (1) [Prendre soin de la jeunesse et des générations (1)].

Bernard Stiegler. Paris: Flammarion. 2008. For Stanford University Press, 2009. —Technics and Time 2: Disorientation [La technique et le temps 2: Désorientation]. Bernard Stiegler. Paris:

Gallimard. 1996. For Stanford University Press, 2008.

—Imagination of Origin [L’imagination de l’origine]. Gérard Bucher. Albany, NY: SUNY Press. At press. IN PROGRESS:

—Thresholds: The Art of Limit-‐Play [theory] —Bucephalus [novel] —Eleven Veils [short stories]

BOOK CHAPTERS

“Techno-‐pharmaco-‐genealogy.” In Stiegler and Technics. Eds. Christina Howells and Gerald Moore. Edinburgh: University of Edinburgh Press, 2013. “Rien à faire: The Para-‐Messianics of Delay in Godot.” In Rethinking Godot. Ed. Ranjan Ghosh. Amsterdam: Rodopi, 2013. “The Weight of Writing: Lyotard’s Anti-‐Arsthetics in ‘A l’écrit bâté.” In Beyond the Postmodern: Reading the ‘Late’ Lyotard. Ed. Heidi Bickis and Rob Shields. University of Alberta Press. 2012. “De-‐monstration and the Sens of Art.” In Revisiting Jean-‐Luc Nancy. Ed. Peter Gratton and Marie-‐Eve Morin. Albany: SUNY Press. 2011.


“Bernard Stiegler’s Techni-‐Subjective.” In The European Mind: Narrative and Identity Vol. 1. [CDROM]. Henry Frendo, ed. Valetta: Malta University Press, 2007. “Qu’est-‐ce que c’est d’après in Beckettian Time.” In Beckett After Beckett. Ed. S. E. Gontarski and Anthony Uhlmann. Tallahassee, Florida: University of Florida Press, 2006. “Phantasma ex Machina: Derrida’s Illusionary Cultural Aesthetics.” In Interrogating Derrida’s Spectres of Marx. Ed. Leonard Lawlor. Chicago: Northwestern University Press. Forthcoming. “Postmodern Margins of Drama: Heiner Müller’s Parahistory, or Jenseits von Karl und Bert.” In Thinking Culture: Between Philosophy and Literature. Ed. John Burt Foster and Wayne Froman. Chicago: Northwestern University Press. 2001. “DerridaBlanchot: Memorywriting.” In Memory, History, and Critique: European Identity at the Millenium. [CDROM]. Eds. Frank Brinkhuis and Sascha Talmor (Utrecht: ISSEI/University of Humanist Studies, 1998). Cambridge, Mass.: MIT Press. 1997. “Beckett’s Poiesis: Woburn on the Mind and in the (Mind’s) Eye.” In Philosophy and Poetry. Ed. Massimo Verdiccio. Evanston, Illinois: Northwestern University Press. 1997. “Blanchot, Beckett, and the Vitiated Circle.” In Bodytheory. Ed. Stephen Barker. London: Continuum Press. Forthcoming. “Critics, Criticism, and Critique.” In The Cambridge Companion to Arthur Miller. Ed. C.W.E. Bigsby. Cambridge: Cambridge University Press. 1997. “Zarathustra’s Shadow: Virtual Nihilism in a Nonmoral Sense.” In Nietzsche and Nihilism.. Ed. Hartmut Rosenau. Society for the Study of European Ideas: Gräz, Austria. 1997. "The Mirror and the Dagger: Nietzsche and the Danger of Art." In Philosophy and Ideology. Ed. Steve Martinot. New York: SUNY Press. 1997. "Death of A Salesman, the Crisis of Authenticity, and the Tragic Vision." In Approaches to Teaching Arthur Miller's Death of a Salesman. Ed. Matthew Roudané. New York: Publications of the Modern Language Association. 1994. "Lecture and Lecture: Teaching Beckett's Waiting for Godot." In Approaches to Teaching Beckett's Waiting for Godot. Ed. June Schlueter and Enoch Brater. New York: Publication of the Modern Language Association. 1992. "Recovering the Néant: Language and the Unconscious in Beckett." In Psychiatry and the Humanities. Ed. William H. Smith. M.D. Baltimore, Maryland: The Johns Hopkins University Press. 1990. "Conspicuous Absence: Tracé and Power in Beckett." In Rethinking Beckett: Poststructuralist, Philosophical, and Linguistic Approaches. Ed. Lance St.-‐John Butler. London: Macmillan. 1990.

ARTICLES (selected)

“Enchantment, Disenchantment, Re-‐enchantment: Toward a Critical Politics of Re-‐Individuation,” New Formations, A Journal of Culture/Theory/Politics. 2012. “Transformation as an Ontological Imperative: The [Human] Future According to Bernard Stiegler.” Transformations. No. 17, 2009.


“Subjectile Vision: Drawing On and Through Artaud.” In Parallax. Issue 53: “Disturbing Spaces, Impossible Strategies.” October-‐December 2009.

“Threshold (Pro)positions: Touch, Techné, Technics.” In Derrida Today. Vol. 2, No. 1, 2009. 44-‐65.

“Strata / Sedimenta / Lamina: In Ruin(s).” In Derrida Today. Vol. 1, No. 1, 2008. 42-‐58.

“Technics, Technology, and the Para-‐Human.” University of Helsinki, Finland. 2008.

“Bernard Stiegler’s Techni-‐Subjective.” In The European Legacy: Toward New Paradigms. Oxford: Carfax Press, 2007.

“The Abocular Hypothesis, Or ‘Drawing the Blind.” http://www.derridathemovie.com/comment-‐1.html. “Carlotta Ikeda and Laurencine Lot (“Carlotta Ikeda et Laurencine Lot”). (translation). By Jean Verdun. In Carlotta Ikeda: Dance Butô et au-‐delà. Paris: Favre, 2005.

“Turns of Phrase: The Geometry of Shapirean Aesthetics.” In New Nietzsche Studies. Babette Babich, ed. Spring 2004.

“Derrida/Blanchot/Boltanski: Borderdiscourse.” In The Comparatist. Special volume edited by Nikita Nankov. May, 2004. “Nietzsche and the Problems of Techno-Presence.” International Studies in Philosophy. Fall, 1999. “Nietzsche/Derrida, Blanchot/Beckett: Fragmentary Progressions of the Unnamable.” Postmodern Culture 6:1, September, 1995.

"Paysage to Passage: Beckett's Poiesis of the World." The Journal of Beckett Studies. 1994.

"Free Fall?: The Vertigo of the Videated Image." Open Letter. Eighth Series, No. 1. Fall 1991. 19-‐36.

"disorder of the lights perhaps an illusion" Studies in the Literary Imagination. Vol. XXIV, No. 2. Fall 1991. 7-‐28.

"'Am I as much as . . . ": Reflections On the 'I' in Modern Drama." Tucson Weekly, New Times (commissioned by the Arizona Theatre Company; Phoenix, Az.). 1990.

"The Body in Art: New Images of Self." Artweek. 1990.

"From Old Gold to I.O.U.'s: Ike McCaslin's Debased Genealogical Coin." Faulkner Journal. 1989.

"Dramatic Incursions of the Avant-‐Garde: The Problematic Theatricality of Jean Cocteau." Theater Three. 1989.

"Canon-‐fodder: Nietzsche, Jarry, Derrida (The Play of Discourse and the Discourse of Play)." The Journal of Dramatic Theory and Criticism. 1989.

BLOGS

“The Early Plays of Eugene O’Neill.” Review article of the Wooster Group at the Redcat Theatre. At Feedback. http://openhumanitiespress.org/feedback/ 2013. “(Dis)continuities in SpaceTime.” Review article on Einstein on the Beach, presented by the LA Opera, Dorothy Chandler Pavillion, http://openhumanitiespress.org/feedback/.2013.


“In the middle of it.” Review article on “Fa r-‐flung Follows Function,” presentation at the xMPL space, UC-‐Irvine, http://openhumanitiespress.org/feedback/. 2013.

BOOK REVIEWS/REVIEW ESSAYS/PERFORMANCE REVIEWS (selected)

Artaud and His Doubles. By Kimberley Jannarone. Ann Arbor: University of Michigan Press.2010; in

Modern Drama. Forthcoming. (Book review) The Derrida Dictionary. By Simon Morgan Wortham. London: Continuum Press. 2010; for Derrida Today,

2011. (Book review) Samuel Beckett and the End of Modernity. By Richard Begam. Stanford: Stanford University Press, 1996;

in Contemporary Fiction, Spring, 1998. (Book review) After Derrida. By Nicholas Royle. Manchester: Manchester University Press, 1995; in Modern Fiction

Studies, Autumn, 1997. (Book review) Theatre, Theory, Postmodernism. By Johannes Birringer. Bloomington, Indiana: Indiana University Press,

1993; in Gestos, Autumn 1996. (Review essay) The Drama In the Text. By Enoch Brater. Oxford: Oxford University Press. 1994; in Modern Fiction

Studies, Spring 1995. (Book review) A Dictionary of Theatre Anthropology: The Secret Art of the Performer. By Eugenio Barba and Nicola

Savarese. Ed. Richard Gough. Trans. Richard Fowler. London and New York: Routledge. 1991; in Gestos, Winter 1995. (Book review)

Unwording the World. By Carla Locatelli. Philadelphia: University of Pennsylvania Press, 1991; in The

Journal of Beckett Studies, Fall 1993. (Review essay) "The Cirque du Soleil, 1992." In Theatre Journal. Fall, 1992. (Performance review essay) The Eye of Prey: Subversions of the Postmodern. By Herbert Blau. Bloomington: Indiana University Press,

1987; in Discourse (Fall, 1990). (Review essay) Nietzsche: Life as Literature. By Alexander Nehamas. Cambridge, Mass.: Harvard University Press, 1985;

in Cithara (May, 1987). (Book review) VISITING PROFESSORSHIPS (selected)

• University of Leeds, England, School of Art, Art History, and Cultural Studies, 2008.

• University of Richmond, Richmond, Virginia, Department of Philosophy, 2006. • University of Leeds, England, School of Art, Art History, and Cultural Studies, 2005. • University of Leeds, School of Art, Art History, and Cultural Studies. 2004. • SUNY-‐Stony Brook, Departments of Philosophy and Comparative Literature, 2003.

• University of Colorado, Boulder. Department of Comparative Literature. 2003.

• University of Iowa. Department of Comparative Literature. 2002.


EDITORIAL / ADVISORY BOARDS

• Derrida Today. Published journal. University of Edinburgh Press. (Editorial Board, Founding Member)

• The Derrida Unlimited Society. (Advisory Board, Founding Member)

• The Sydney Seminar for the Arts and Philosophy. (Advisory Board, Founding Member)

INVITED PAPERS (selected)

“Chiasmic Sensibilities.” CrisisArt Symposium. Accademia dell’Arte, Arezzo, Tuscany, Italy. 16 July, 2011. “On Lyotard . . . ,” University of Edmonton, Edmonton, Alberta, Canada, February, 2011. “Freud in Derrida,” Derrida After Freud, University of Manitoba/Mosaic, Winnipeg, Canada, October, 2010. “Derrida on Time” (respondent), Second International Conference of Derrida Today, London, England,

August, 2010.

“Freud in Derrida,” Second International Conference of Derrida Today, London, England, August, 2010. “Special Topics in Translatability,” International Society for the Study of European Ideas, Ankara, Turkey,

August, 2010. “Bernard Stiegler and Political Pharmacology,” International Asociation for Philosophy and Literature,

University of Regina, Regina, Canada, May, 2010. “Art of the Fragment-‐Threshold (Schematics/Schismatics),” International Association for Philosophy and

Literature, University of Regina, Regina, Canada, May, 2010. “The Quasi-‐Book.” Seventh International Conference on the Book. University of Edinburgh, Scotland. 17

October, 2009. “Samuel Beckett, Robert Smithson, and Sublime Entropy.” Venice Biennalle. Venice, Italy. 30 July, 2009. “Fragmentary Logic in Beckett and Blanchot.” Brunel University, UK. 5 June, 2009. “Rhetoric and Rausch: de Man on Nietzsche on Value and Style.” De Man Archive Conference, UCI, 24

April, 2009. “Challenge and Opportunity.” Oakland, CA. 3 March, 2009. “Subjectile Thresholds.” University of Leeds, UK. 10 December, 2008. “Technics vs. Technology.” International Society for the Study of European Ideas. Helsinki, Finland. 30

July, 2008. “Technics and the Para-‐Human: Looking for Derrida in Stiegler.” Inaugural conference for Derrida Today.

Sydney, Australia. 11 July, 2008. “Image / Power / Chimera.” International Association for Philosophy and Literature. Melbourne,

Australia. 4 June, 2008.


“Technics, Technology, and the Para-‐Human,” American Comparative Literature Association. Long Beach, CA. 28 April, 2008.

“Layerings/Laminations.” International Association for Philosophy and Literature Conference. University

of Nicosia, Cyprus.7 June, 2007. “Ruins: Derrida/Beckett/Desiderio.” University of Cyprus. 8 June, 2007. “Derrida/Nancy: Le Toucher.” University of Leeds, UK. 03.08.07. “Derrida’s Subjectile Vision: Drawing On and Through Artaud.” Following Derrida: Legacies International

conference. University of Manitoba/Mosaic. Winnipeg, Canada. October, 2006. “The Abocular Hypothesis.” Following Derrida: Legacies International Conference. University of

Manitoba/Mosaic. Winnipeg, Canada. October, 2006. “Simondon → Derrida → Stiegler: Techno-‐Subjectivity.” International Society for the Study of European

Ideas, University of Malta, 25 July 2006. “Narrativity and Subjectivity,” International Society for the Study of European Ideas, University of Malta,

27 July, 2006. “Simondon, Derrida, Stiegler,” ISSEI, University of Malta, 27 July, 2006. “Bernard Stiegler At/On Work.” International Association for Philosophy and Literature, Stasbourg,

France, 9 June, 2006. “Trans(gression/mission/fluence): Martin McQuillan and Para-‐Theory,” International Association for

Philosophy and Literature, Freiburg, Germany, 8 June, 2006. “Turns/Texts/Crypts,” International Association for Philosophy and Literature, Freiburg, Germany, 7

June, 2006. “Archive/Museum, Urban/Exurban: Interrogating Their Dis-‐Contents,” 32nd Annual AAH (Art and Art

History) Conference, University of Leeds, UK, 7 April, 2006. “Au-‐delà des passions : quelques variétés du sublime chez Nietzsche, Beckett, Derrida,” Académie de France

à Rome, Villa Medici, Rome, Italy, 7 March, 2006. “The Tulip, the Ocean, the Colossus, and the Cut: Derrida Reads Kant’s Sublime,” the Society for

Phenomenology and Existential Philosophy, Salt Lake City, Utah, 22 October, 2005. “The Gift of/and Derrida.” Cable Factory. Helsinki, Finland. 5 June, 2005. “The Sublime Now, in Art and Culture.” University of Helsinki, Helsinki, Finland, 6 June, 2005. “Sublime Thresholds,” International Association for Philosophy and Literature, Helsinki, Finland, 7 June,

2005. “Derrida and the Gift,” University of Hawaii Conference in the Arts and Humanities, Honolulu, Hawaii, 16

January, 2005. “Derrida’s Le Passe-‐Partout,” University of Leeds, England, 29 October, 2004. “RobertSmithson/Samuel Beckett,” University of Leeds, England, 27 October, 2004.


“Derrida’s ‘The Truth of Painting,’ University of Leeds, England, 26 October, 2004. “Kerry Vs. Bush,” Universitaire Lyonnais, Avignon, France, 23 September, 2004. “Towers of Babel: Smithson, Beckett, Derrida,” ISSEI conference, University of Pamplona, Pamplona,

Spain, 5 August, 2004. “Sublime Critique: The Sublime Audacity of Jeremy Gilbert-‐Rolfe,” Internation Association for Philosophy

and Literature, University of Syracuse, Syracuse, New York, 25 May, 2004. “The Art of the Sublime,” International Association for Philosophy and Literature Conference, LeMoyne

College, Syracuse, New York, 25 May, 2004. “En Attendant Godot: Beckett en Roussillon,” lecture accompanying performance of Waiting for Godot,

Beckett Center, Roussillon, Vaucluse, France. March, 2003. “Turns of Phrase: The Geometry of Shapirean Aesthetics.” International Association for Philosophy and

Literature conference, University of Leeds, England, 31 May, 2003. “The Abocular Hypothesis; or, Drawing the Blind.” Special Session on Derridathemovie, International

Association for Philosophy and Literature conference, Leeds, England, 30 May, 2003. “Qu’est-‐ce que c’est d’après in Beckettian Time,” International Beckett Conference, University of Sydney,

Sydney, Australia, 8 January, 2003. “Liminal Spaces,” International Association for Philosophy and Literature, Erasmus University,

Rotterdam, Netherlands, 7 June, 2002. “The Future of Drama,” UC—Irvine, 3 March, 2001. “Philosophy for Undergraduates,” Philosophy Society, SUNY-‐Stony Brook, Stony Brook, New York, 3

December, 1999. “Putting a Tree in A Box: Grotowski at UCI,” International Jerzy Grotowski Conference; 30 October, 1999. “Virtual Landscapes,” International Association for Philosophy and Literature, Trinity College, Hartford,

Connecticut, 4 May, 1999. “Making Civility Work,” Los Alamos Laboratories, 18 February, 1999. “The Problematic of Techno-‐Prescience,” by invitation, in the North American Nietzsche Society panel of

the American Philosophical Association Western Region meeting, Hotel Bonaventure, Los Angeles, 27 March, 1998.

“Phantasma ex Machina: Derrida’s Illusionary Cultural Aesthetics,” by invitation, International

Philosophical Society annual conference, St. Michel, Tyrol, Italy. 18 August, 1997. “The Future of Multimedia,” panel at the Multimedia Technology and Applications Conference, Irvine,

California, 24 March, 1997. “Memory’s Double and a Future Poiesis,” session on “Deconstruction and Memory,” ISSEI 1996, University

for the Humanities, Utrecht, The Netherlands, 18 August, 1996.


“Art and/for/of Life,” session on “Postmodern Aesthetics and ‘Future History,’” ISSEI 1996, Utrecht, The Netherlands, 20 August, 1996.

“Postmodern Margins of Dramatic Art,“ International Association for Philosophy and Literature, George

Mason University, Fairfax, Virginia, 10 May, 1996. “DerridaBlanchot: Who’s Reading Whom?” Presented at the annual conference of the

American/International Comparative Literature Association, University of Notre Dame, 13 April, 1996.

“A Look at the Arts: The Trouble with Being Able to See. . . . “ Public presentation commissioned by the UCI

Speaker’s Bureau and delivered throughout Orange County, 1995-‐96. “Blanchot, Beckett, and the Vitiated Circle,” annual conference of the International Association for

Philosophy and Literature, Villanova University, Villanova, Pennsylvania, 12 May, 1995. “Mining and Undermining in the Caves of Culture.” Session on “Deconstruction in the Age of Cultural

Studies.” Modern Language Association international convention, San Diego, December 28, 1994. “Virtual Identity.” Fourth Conference of the International Society for the Study of European Ideas. Carl-‐

Franzens University, Graz, Austria, 23 August, 1994. “Zarathustra’s Shadow: Virtual Nihilism in a Nonmoral Sense.” Fourth Conference of the International

Society for the Study of European Ideas. Carl-‐Franzens University, Graz, Austria, 25 August, 1994. “Nietzsche/Derrida, Blanchot/Beckett—Progressions of the Unnamable.” UC—Santa Cruz, 3 June, 1994. “Synaesthesia In a Nonmoral Sense: Nietzsche, Derrida, and the Aesthetics of Disruption),” International

Association for Philosophy and Literature international conference, University of Alberta, Edmonton, Alberta, Canada, 5 May, 1994.

"James Joyce and the Portrait," Carleton College, Northfield, Minnesota, 5 March, 1993. "Woburn on my Mind and In My (Mind's) Eye," International Association for Philosophy and Literature

international conference, Duquesne University, Pittsburgh, 13 May, 1993. "The Image of Change," International Association for Philosophy and Literature international conference,

Montréal, Canada, 16 May, 1992. "The Limits of Discourse," Association for Theatre in Higher Education national conference, Chicago,

Illinois, 9 August, 1991. "Theory in the Future Tense," International Association for Philosophy and Literature international

conference, Atlanta, Georgia, May 14, 1991. "'Am I as much as': Reflections on the 'I' in Modern Drama," commissioned by the Arizona Theatre

Company, Tucson and Phoenix, Arizona, 25-‐26 February, 1990. "Text, Image, Interpretation: The Performative in Postmodern Art," ATHE National Convention, Chicago;

10 August, 1990. "Playing on the Surface: Strategic Discourses of the Image," a Special Session organized by the

subdivision on "Literature and the other Arts," Modern Language Association, Washington, D.C.; 27 December, 1989.


"Father Figures: Nietzsche, Freud, and the Autoaesthetic Force." Symposium on "Sigmund Freud and Art," coordinated with arrival of the national tour of an exhibition of Freud's antiquities, UC—Irvine; 10 November, 1990.

"Beyond Dialectics: Synaesthesia in Postmodern Art," International Association for Philosophy and

Literature Annual Conference, Emory University; 6 May, 1989. "Free Fall?: The Vertigo of the Videated Image," International Association for Philosophy and Literature

Conference, UC—Irvine, 27 April, 1990. "Responsibility in Education: The Value of Forgetting," English Club, UC—Irvine; 10 November, 1988. "Dramatic Incursions of the Avant-‐Garde: The Problematic Theatre of Jean Cocteau," International Jean

Cocteau Centennial Festival, Irvine, CA; 17 February, 1989. "The Trouble with Jean Cocteau: A Postmodern Loose in the Avant-‐garde," Faculty Forum Lecture, UC—

Irvine; 22 November, 1988. "Paysage to Passage: Beckett's Poeisis of the World," Modern Language Association, New Orleans; 28

December, 1988. "Dramatic Incursions of the Avant-‐Garde: The Problematic Theatre of Jean Cocteau," Conference on "New

Languages for the Stage," University of Kansas; 27 October, 1988. "The Mirror and the Dagger: Nietzsche and the Danger of Art," International Association for Philosophy

and Literature, University of Notre Dame; 2 May, 1988. "A Cautionary and Anticonservative Note for the Humanities," Conference on Collaborative Research in

the Humanities, UC—Riverside; 6 February, 1988. "The Crisis of Nouveauté: The Novel After Derrida," Conference of the American Comparative Literature

Association, Emory University, Atlanta, Georgia; March, 1987. "Nietzsche Beyond Good and Evil: The Metaphor as Power," Modern Language Association, New York;

28 December, 1986. "Conspicuous Absence: Tracé and Power in Beckett's Drama," "Beckett at Eighty" Conference, University

of Stirling, Scotland; 14 August, 1986. "Canon-‐fodder: Nietzsche, Jarry, Derrida," Ninth Triennial Convention of the American Comparative

Literature Association, University of Michigan, Ann Arbor; 20 March, 1986. "Nietzsche, Mallarmé, Joyce: Opening the Dialectics of Writing," Conference on "Avant-‐garde Art and

Literature: Toward a Reappraisal of Modernism," Hofstra University; 15 November, 1985. "The 'je me manque' of John Fowles' Daniel Martin," Twentieth Century Literature Conference, University

of Louisville; 23 February, 1985. OTHER INVITED PRESENTATIONS (selected)

• “Critical Literacy,” UC Board of Trustees, UCI, 23 March, 2011 [this presentation was followed by several others, by invitation, in the greater Irvine area.]

• “Euripides’s The Bacchae, Osher Lifelong Living Institute, Irvine, 2009.


• “Challenge and Opportunity.” Oakland, CA. 3 March, 2009.

• “Technics and the Para-‐Human: Looking for Derrida in Stiegler.” Inaugural conference for Derrida Today. Sydney, Australia. 11 July, 2008.

• “The Gift of/and Derrida.” Cable Factory. Helsinki, Finland. 5 June, 2005.

• “The Perils of Translation and Politics,” KUCI (radio, Orange County, CA), 30 June, 2005. • “The Renaissance Man and the French Connection, an Interview with Jeremy and Stephen Barker”

KUCI (radio, Orange County, CA), 23 June, 2005. • “Derrida’s ‘The Truth of Painting,’ University of Leeds, England, 26 October, 2004.

• “Kerry Vs. Bush,” Universitaire Lyonnais, Avignon, France, 23 September, 2004.

• “En Attendant Godot: Beckett à Roussillon,” lecture accompanying performance of Waiting for Godot,

Beckett Center, Roussillon, Vaucluse, France. March, 2003.

• “Civility and Community,” invitation from the Staff Assembly, UCSB, 4 December, 2002. • “The Civility Dilemma,” invitation from the University Club, UCI, 24 October, 2002. • “The American President and the War of 1812,” invitation from the American Club of Lyon, Lyon,

France; presented at the Institut Lumière, Lyon, 4 March, 2002. • “Samuel Beckett Notre Voisin Provençal: Ses Années à Roussillon,” Médiatèque Aristide Briand, Céreste,

France, 16 August, 2001. • “International Association for Philosophy and Literature at 25,” International Association for

Philosophy and Literature, Spelman College, Atlanta, Georgia, 5 May, 2001. • “Civility and Community,” UC Work/Life Conference, UC—Irvine, 16 June, 2000 [Numerous

subsequent presentations on the UCI campus]. • “Vision and Interpretation: Why Art is Difficult,” Orange County Museum of Art, 16 May, 2000. • “Derrida/Blanchot/Boltanski: Image and Identity,” University of Colorado at Boulder, 23 February,

2000. • “Art/Literature/Interpretation,” Orange County Museum of Art, 1 February, 2000.

• “Thresholds,” Vico Equence International Philosophy and Literature Conference, Vico Ecquence, Italy, 8 January, 2000.

• “Derrida/Blanchot: Memorywriting,” SUNY-‐Stony Brook, 7 December, 1999. • “Civility and Responsibility” presentation for SUNY-‐Stony Brook faculty/staff/administration, 6

December, 1999. • “City as Dream and Nightmare: Illusions and Urban Life,” Orange County Museum of Art, 5 October,

1999.


• “DerridaBlanchot: Borderwriting,” University of Kent at Canterbury Humanities Center, Canterbury, England, 18 September, 1999.

• “Culture Change at the University of California,” UC systemwide Work/Life conference, Irvine, CA,

10/11 June, 1999. • “Civility and Community,” UC-‐Santa Barbara, 30 April, 1999 [two subsequent UCSB visits]. • “Toward a Civil Society,” UC-‐systemwide Counsellors Conference, Newport Marriot, Newport Beach,

29 April, 1999. • “Art and Light,” Orange County Museum of Art, 13 April, 1999. • “Civility at Work,” UCI Medical Center, 8 March, 1999. • “Parallel Universes: The Civility Dilemma,” UCLA Staff Assembly, 10 February, 1999. • “Parallel Universes: The Civility Dilemma,” UC-‐Berkeley, 4 February, 1999 [subsequent invited visits

to UCB for further presentations]. • “Art Over the Edge,” Irvine Art Guild, 23 January, 1999. • “Parallel Universes: The Civility Dilemma,” UC-‐Davis, 7 January, 1999 [subsequent UCD invitations]. • “Art and the City,” Orange County Museum of Art, 5 January, 1999. • “Parallel Universes: The Civility Dilemma,” UCI Staff Forum, 24 November, 1998. • “Civility and Community,” UC-‐Riverside, 23 November, 1998. • “Civility and Community,” UC-‐San Francisco, 21 May, 1998 [Presentation videotaped and broadcast

on closed-‐circuit television throughout the campus]. • “Dangerous Art,” Saddleback College, Laguna Hills, California, 15 May, 1998. • 3+. “Civility and Community,” ABOG Conference, UC-‐San Diego, 22 April, 1998 [Three subsequent

UCSD visits]. • “Civility and Community,” Chancellor’s Retreat, UCI, 17 April, 1998.

• “Civility and the University,” Council of Academic Business Officers, UC-‐Irvine, 29 April, 1997.

• “Civility and community”: More than 50 presentations by invitation throughout the University of

California system and elsewhere in California while Faculty Assistant to the Chancellor at UC-‐Irvine (presentations to groups of students, staff, faculty, and administrators ranging in number from 30-‐500).

• "The Arts and Technology," more than 20 presentations by invitation throughout southern California,

1996-‐98.

• “The Arts: Why Do We Have Them and Why They Can Be So Troublesome,” Chancellor’s CEO Roundtable Retreat, Santa Barbara, California, 25 April, 1997.


• “The Poetics of Culture: Civility in the University,” Campus Human Resource Officers, University of California-‐wide conference, 10 April, 1997.

• “A Look at the Arts: Lessons for An Aesthetic Life, or The Trouble with Being Able to See . . . ,” more than 25 presentations, by invitation, throughout Southern California, 1995-‐97.

• "Samuel Beckett and the Unconscious," Comparative Literature, The University of Iowa, 20 April,

1992. REVIEWS / REVIEWING (selected)

• Derrida Today • MIT Press • Routledge • Mosaic • Parallax • Modern Fiction Studies • The Journal of Beckett Studies • Postmodern Culture • PMLA • SUNY Press • Edinburgh University Press • Philosophy and Rhetoric

DOCTORAL COMMITTEES (2006—) Degree conferred:

• Glyn Thompson, University of Leeds, UK (Arts and Politics; Chair) • Lee Laskin, UCI (Program in Visual Studies) • Annie Moore, UCI (English) • Michael Jaros, UCSD (Theatre) • Anna Cavness, UCI (English) • Karen O’Brien, UCI (Drama) • Cipriana Petri, UCI (Drama) • Amanda Hubbard, UCI (English) • Bernie Richter, UCI (Comparative Literature) • Emma Heaney, UCI (English)

Current committee participation (2010-‐ ):

• Peter Schombert, UCI (Philosophy) • Anna Guercio, UCI (English) • Daniel Moorhead, UCI (Drama) • Maiya Murphy, UCSD (Theatre) • Glenn Kessler, UCI (Drama) • Laura Brueckner, UCSD (Theatre) • Heather Ramey, UCSD (Theatre) • Grace Shinhae Jun, UCSD (Theatre) • Patrice Amon, UCI (Drama; Chair) • Jaye Austin Williams, UCI (Drama) • Kristin Keating, UCI (Drama) • Brandon Granier, UCI (Philosophy/Comparative Literature)


DRAMATURGY AND MENTORING

—Dramaturg: Waiting for Godot, UCI-‐Drama, 2011 —Dramaturg/Mentor: Escape from Happiness. UCI-‐Drama, 2009 —Dramaturg/Mentor: Take Me Out. UCI-‐Drama, 2008 —Dramaturg/Mentor: No Exit. UCI-‐Drama, 2005 —Dramaturg: Endgame. UCI, 2002 —Dramaturg: Home. UCI, 2000 —Dramaturg: Twelfth Night. UCI, 1998 —Creative Consultant/Dramaturg: The Three Penny Opera (Bertolt Brecht). UC-‐Irvine Barclay Theatre.

1992 —Dramaturg: Phèdre (Racine). UCI, 1990 —Dramaturg: The Caucasian Chalk Circle. UCI, 1990

PRODUCTION/PERFORMANCE

—Ahmed the Philosopher, by Alain Badiou (Ahmed), Badiou translation conference, UCI-‐Humanities, 24 February, 2011.

—The Incident at Antioch/Ahmed the Philosopher, by Alain Badiou, culminating event of the conference “Can Art and Politics Be Thought?” at the Hammer Museum, 5 May, 2011. [At the invitation of conference organizer Kenneth Reinhard (UCLA), selected, organized, cast, and performed in readings from Badiou’s plays.] —Founder/Artistic Co-‐Director, Theatre of the Other (TOTO), Irvine, California. 1992. —Co-‐Director, Breath, Samuel Beckett, TOTO (Theatre of the Other), Irvine, CA. 1992/93. —Translator/Adapter/Director/Choreographer: Despoiled Shore/Medeamaterial/Landscape With

Argonauts, Heiner Müller. Assisted by Michael D. Fox. UCI, 1992. —Translator/Adapter/Director/Choreographer: Orphée, Jean Cocteau. International Cocteau Festival.

UCI, 1989. —Director/creator: 20 live and video performance pieces. Washington, D.C. and UCI, 1990.

TEACHING (current selections) —Required annual doctoral seminar in Performance Theory.

—Ph.D. and undergraduate seminars on thematic topics in the arts and philosophy, ranging from “The

Sublime” to single figures (Artaud, Brecht, Beckett, etc.). —Ph.D. seminars in literary and aesthetic theory, criticism, literature, annually since instigation of the

joint UCI/UCSD doctoral program. —Ph.D. seminars in the Critical Theory Emphasis. —Annual teaching of "ArtsCore," a year-‐long entry-‐level course introducing the arts, art theory, and the

power of interpretation to students campuswide (enrollment ∼350). Inaugurated in 1997-‐98; returned to teaching and coordinating the course sequence on return from France.

ARTS:


—Regular undergraduate and graduate courses in playwriting (2003-‐ ) —Regular undergraduate and graduate courses in drama literature, theory, criticism, history —Regular undergraduate and graduate courses in performance theory and aesthetic theory —Annual undergraduate and graduate courses in thematic courses in the works of Samuel Beckett, the

Modernist Avant-‐garde, Dramas of the Self, Drama and Identity, Representation and Conceptions of Reality, Literary and Aesthetic Theory and Practice, Greek Tragedy and Its Modern Echoes, etc.

—co-‐wrote the joint UC-‐Irvine/UC-‐San Diego doctoral program in Drama and Theatre; currently Head of

the UCI program, and teaching and advising in the program on both campuses —As Director (and the only permanent faculty member) in the School of the Arts Program in

Interdisciplinary Studies (a B.A.-‐granting program), devised and taught all of courses in that program, including Crossing Boundaries: An Interdisciplinary Exploration of Disciplinarity and Intermedia

HUMANITIES:

—Required year-‐long Seminar Workshop, Critical Theory Emphasis, “The Nietzsche Effekt: Derrida/Deleuze/Nancy,” School of Humanities, 2010-‐2011.

—Regular teaching in English and Comparative Literature: Modern Drama, Modernist Drama, Drama and

Realism, Avant-‐Garde Drama and Literature, Ideas of the Postmodern —Regular seminars, Critical Theory Emphasis, School of Humanities: most recently Performance Theory,

The Aesthetics of Postmodernism —Have regularly taught Honors sections of the Humanities Core Course at UCI —Lectures to the Campuswide Honors Program Humanities group on literary and aesthetic theory

ARTS/HUMANITIES / HUMANITIES/ARTS (AH/HA):

[An undergraduate degree-‐granting program run jointly by the two Schools.] —Regular teaching of the “capstone” course for seniors in the major, surveying specific topics in the arts

and their critical interpretation. UCI EXTENSION, etc:

—Annual presentation at the Osher Life-‐Long Learning Center, on a chosen subject in the arts —As part of a commitment to community outreach, have originated a series of courses offered jointly

through UCI-‐Extension and the Orange County Museum of Art exploring the nature and practice of contemporary art and its relation to literary, philosophical, and social models, year-‐long course in three parts: 1. Why Art: The Modern Image in Question, 2. Modern and Postmodern Image and Narration, and 3. Art and Light. The course was designed to provide a meeting ground for private-‐sector students and the campus community, and to forge a connection between the campus and the Museum.

RADIO, etc.

• KUCI: a series of interviews on translation, current politics, and art.


DEPARTMENT/UNIVERSITY SERVICE (selected)

• Member, Committee on Courses, UCI Faculty Senate (2011-‐ ) • CEP/Associate Dean Select Task Force on budget, class size, other articulation issues (2011) • Program Reviewer, Travel-‐Study and Education Abroad Program, UC/UCI (2010-‐ ) • Associate Dean, Claire Trevor School of the Arts (2010-‐ ) • UCI Representative, Statewide Recruitment (2008, 2009) • UCI Faculty Senate, Claire Trevor School of the Arts (2008-‐2010) • Head of Doctoral Studies, Department of Drama (2007-‐ ) • Adjunct, Claire Trevor School of the Arts Dean Search (2009) • Head, Honors Program in Dramatic Literature, Theory, Criticism (2007-‐ ) • Core Committee, UCI School of Humanities Critical Theory Emphasis (1996-‐99, 2006-‐ ) • Adjunct Faculty, Visual Studies Program, School of Humanities, UCI (2000-‐) • Affiliated Faculty, Department of Comparative Literature, School of Humanities, UCI (2004-‐ ) • Core Committee, Arts-‐Humanities/Humanities-‐Arts Degree Program (2003-‐ ) • UCI Fulbright Committee, 1988-‐ • Systemwide Committee on Committees, 2004-‐2008 • UC systemwide Committee on Committees (2004-‐6) • Undergraduate Curriculum Committee, Drama Department, 2005 • Faculty Senate Committee on Educationan Policy (elected), 2002-‐2005 • Chair, Academic Program Review Committee, UCI Faculty Senate, 2002-‐2004 • Committee on Educational Policy, UC-‐Irvine Senate Committee, 2002-‐05 • Director, Education Abroad Program, Lyon/Grenoble, France, 2000-‐2002 • Director, School of the Arts Program in Interdisciplinary Studies, 1990-‐2000 • Chair, Campuswide Ombudsman Search Committee, 1998 • Founder/Director/Instructor, ArtsCore, UCI, 1997 • Campuswide Honors Program Advisory Committee, 1997-‐2000 • Faculty Board, Undergraduate Research Opportunities Program, 1996-‐98 • Faculty Assistant to the Chancellor, 1997-‐99 • Search Committee, Dean, School of Humanities, 1996 • Research Infrastructure Group, 1996-‐97 • Interim Chair, Department of Studio Art, 1996-‐97 • Review Committee, School of Biological Sciences, 1995 • Associate Dean, School of the Arts, 1995-‐1997 • Committee on Educational Policy, UC-‐Irvine Senate Committee, 1995-‐97 • Chair, UCI Department of Drama, 1991-‐95 • Senate Honors Committee, 1992-‐94 • Senate Committee on Undergraduate Admissions and Relations with Schools, 1990-‐93 • Fine Arts Representative, UCI Academic Senate, 1990-‐92 • Fine Arts Research Committee (chair), 1989-‐92 • UCI Enrollment Council, 1989-‐92 • Chair, Drafting Committee for Ph.D. in Drama Theory, 1988-‐91 • Chair, Freud Symposium Committee, UCI School of Fine Arts, 1990 • Acting Drama Department Chair, spring 1988, 90 • Drama Department Search Committee, 1990 • Dean's Committee on Undergraduate Curriculum, Fine Arts, 1989 • Chair, Cocteau Centenary Festival Committee, School of Fine Arts, 1988-‐89

COMMUNITY SERVICE

• Regular presentations for the Osher Lifelong Learning Association (OSHA) • Founding Board Member, Back to Natives (habitat restoration organization)


AWARDS, HONORS, FELLOWSHIPS

• UCI Faculty Senate Research Support Award(s) (competitive): 1988-‐2009 (yearly) • Outstanding Teacher of the Year, UCI Extension, 1998-‐1999 • College Art Association Conference Host Committee, International College Art Conference, Getty

Center, Los Angeles, 1997-‐98 • UCI Chief Executive Roundtable, 1997 • Campuswide Research Award, 1997 • University of California Management Institute, 1996 • UCI Junior Faculty Senate Research Grant, 1988

C.V. Michael Hooker 6/7/13 page 1 of 13

MICHAEL K. HOOKER SOUND DESIGNER/COMPOSER 249 Drama, Irvine, CA 92697-2775 (949) 824-0277 [email protected]

Curriculum Vitae • Spring 2013

EMPLOYMENT HISTORY UNIVERSITY OF CALIFORNIA, IRVINE – Irvine, California

2006- present Full Professor (step IV) / Head of Sound Design – Department of Drama, Claire Trevor School of the Arts. Created and currently heading the new MFA program in Sound Design.

WALT DISNEY IMAGINEERING – Glendale, California

1999-2005 Senior Media Designer – WDI Theme Park Productions/Media Design Group. Created sound designs, supervised audio post-production, produced music, and supervised audio system design, integration and installation. Project area lead for 3 new parks: Hong Kong Disneyland, Tokyo DisneySea, and Walt Disney Studios – Paris.

UNIVERSITY OF CINCINNATI – College-Conservatory of Music

1996-1999 Associate Professor/Head of Sound Design – Division of Opera, Musical Theater, Drama and Arts Administration (OMDA) – Theater Design and Production department. Created new program in Sound Design for both MFA major and BFA design paths. Created curricula and taught all major courses in Sound Design, Production and Technology.

CALIFORNIA INSTITUTE OF THE ARTS – Valencia, California

1994-1996 Faculty/Head of Sound Design – School of Theatre - Performing Arts Design/Technology and Management program (PADT). Created both MFA and BFA curricula and taught all major courses in sound design. Additional faculty assignment in the Integrated Media Program (IM).

2004-2005 Faculty – Part time assignment teaching Creative Listening (fall 2005) and

Sound for Themed Environments (spring 2004 and 2006) UNIVERSITY OF ARIZONA – Tucson, Arizona

1990-1992 Academic Professional Faculty/Theatre Sound Specialist – Department of Theatre Arts. Designed and taught sound technology/design and special effects courses and supervised all student sound designs.

POMONA COLLEGE – Pomona, California

2002 Adjunct Lecturer – School of Theatre and Dance. Taught the sound section of general theatre technology course.

CALIFORNIA STATE SUMMER SCHOOL FOR THE ARTS

1996-1998 Production Manager – State summer school for gifted high school students studying in the arts. Directly responsible for all technical production needs including scenery, lighting and sound for all visiting artists productions. Supervised professional crews and taught classes in theatrical special effects.


EDUCATION 1994 Master of Fine Arts – California Institute of the Arts, School of Theatre –

Sound Design, Performing Arts Design and Technology Program

1990 Bachelor of Fine Arts – University of Arizona – Interdisciplinary Fine Arts Studies Program – majored in Music Performance, Theatre Production and Studio Art.

PROFESSIONAL AFFILIATIONS UNITED SCENIC ARTISTS/I.A.T.S.E. LOCAL 829

present USA 829 – Sound Designer

UNITED STATES INSTITUTE FOR THEATRE TECHNOLOGY (USITT)

2012-present

Chair – Sound Lab – Long Beach and Ft. Worth

2008-present Vice Commissioner – Sound Education, Sound Commission

2006-2008 Vice Commissioner – Long Range Planning, Sound Commission

2005-2006 Co-Commissioner – Sound Commission.

2000-2004 Commissioner – Sound Commission.

1998-2000 Vice Commissioner of Programming – Sound Commission

1997-1998 Executive Board Member – Ohio Valley Section

BROADCAST MUSIC INTERNATIONAL (BMI)

present Affiliate - composer

THEMED ENTERTAINMENT ASSOCIATION (TEA)

present Academic Member

NATIONAL AWARDS THEMED ENTERTAINMENT ASSOCIATION (TEA)

2003 Thea Award for Outstanding Achievement: Attraction – Cinemagique at Walt Disney Studios Paris. Media Designer, show audio team.

2002 Thea Award for Outstanding Achievement: Theme Park – Tokyo Disney Sea, Tokyo, Japan. Lead Media Designer for Mermaid Lagoon (land) and Aladdin’s Magic Lamp Theatre.


COMMERCIAL SOUND DESIGN & COMPOSITION GRIFFITH PARK OBSERVATORY – Oschin Planetarium – Los Angeles, CA

2009 Composer for First Light: The Telescope Changed Everything. 25-minute through-composed orchestral score for a 325 seat planetarium. This show celebrates the life and discoveries of Galileo.

DISNEY CRUISE LINES/THEME PARK PRODUCTIONS (TPP)– Glendale, California

2010 The Disney Dream Cruise Ship – Arranger and music producer for the Enchanted Art project – artwork magically comes to life when guests approach. Arranged Under The Sea, A Dream is a Wish Your Heart Makes, Bella Notte, and When You Wish Upon a Star.

WALT DISNEY IMAGINEERING (WDI) – Glendale, California

2005 Hong Kong Disneyland – Media (audio) Designer for all of Adventureland and The Many Adventures of Winnie the Pooh (Fantasyland). Adventureland attractions included the Jungle Riverboat Cruise, Tarzan’s Treehouse, Tiki Attack, and all outdoor background music and ambience tracks.

Tokyo Disney Sea – Media Designer for Raging Spirits and Associate Media Designer for Tower of Terror

Disney’s Animal Kingdom – Associate Media Designer for Expedition Everest (opened December 2005).

2004 Tokyo Disneyland – Haunted Mansion Holiday. Media Designer for the holiday overlay of the Haunted Mansion attraction. Responsibilities included replacement of entire audio system, sound design, production of Japanese dialog, and conversion of the original show to new hardware.

2003 Tokyo Disneyland – it’s a small world very merry holiday. Media Designer for the Christmas overlay of the classic attraction. Responsibilities included design supervision, installation of new playback hardware, producing Japanese singing tracks, and restoring the balance of the original show.

EPCOT – Reflections of China. Post-production audio supervisor for the enhanced Circlevsion (9-screen) film in the China Pavilion.

2002 Walt Disney Studios Paris – Lead Media Designer for all Front Lot attractions and all parkwide background music tracks. Attractions include Cinemagique, The Art of Disney Animation, Tapis Volante, and Studio One.

2001 Tokyo Disney Seas – Lead Media Designer for the Mermaid Lagoon land as well as Aladdin’s Magic Lamp Theatre in Arabian Coast. Produced 15 background music tracks for various attractions throughout the park.

WALT DISNEY PARKS & RESORTS ONLINE (WDPRO) – N. Hollywood, California

2005 Disneyland 50th Anniversary – Music arrangement and production for the Disneyland 50th Anniversary website. Arranged 5 versions of “A Dream is a Wish Your Heart Makes” – one for each decade.

2004 Disneyland.com & Disneyworld.com – Music arrangement and production for many pieces of music used throughout the websites.


MISCELLANEOUS PROJECTS 2002 Buena Vista Interactive – Associate Sound Editor “Treasure Planet” video game. 2000 Buena Vista Interactive – Associate Sound Editor “So You Want To Be A

Millionaire” video game. 1996 Universal Studios Hollywood – Dialog editor, sound mastering for the Water World

Stunt Show – Spanish version overlay. 1995 Sonic Desktop Software – Music producer/Sound Effects Editor for the SmartSound

music editing software. 1994 Way Forward Technologies, Valencia, CA – Sound Designer for the Muppet Press

“Same and Different” children’s educational PC software, the “Brighter Child” series (6 total) PC software, and the “Speed Racer” game software.

Creative Presentations, Valencia, CA – Sound Designer for the touring Volvo 960 Crash Test Dummies exhibit

1993 Creative Presentations, Valencia, CA – Sound Designer for the “Jody and Elias ”Talking Camels at the Luxor Hotel, Las Vegas, NV

THEATRE SOUND DESIGN & COMPOSITION –Broadway and Regional THE LYCEUM THEATRE – New York City (Broadway)

2010 Looped

dir. by Rob Ruggiero sound design

“LOOPED” NATIONAL BROADWAY TOUR – United States Jan’13 Feb’13 Mar’13 May’13

Parker Playhouse Hippodrome Cutler Majestic Bushnell Theatre

Ft. Lauderdale, FL Baltimore, MD Boston, MA Hartford, CT

sound design sound design sound design sound design

REPERTORY THEATRE OF ST LOUIS – St. Louis, Missouri

2012 Sunday In The Park With George dir. by Rob Ruggiero sound design OPERA THEATRE OF ST LOUIS – St. Louis, Missouri

2012 Sweeney Todd dir. by Ron Daniels sound design ARENA STAGE – Washington D.C.

2009 Looped dir. by Rob Ruggiero sound design PASADENA PLAYHOUSE – Pasadena, California

2009 The Little Foxes dir. by Damaso Rodriguez sound design 2008 Looped dir. by Rob Ruggiero sound design

SOUTH COAST REPERTORY THEATRE – Costa Mesa, California

2010 Becky Shaw dir. by Pam MacKinnon sound design 2009 Our Mother’s Brief Affair dir. by Pam MacKinnon sound design

Goldfish dir. by Loretta Greco sound design 2004 Sideways Stories from Wayside School dir. by Stefan Novinski original music

KIRK DOUGLAS THEATRE – Center Theatre Group, Los Angeles, California

2006 Pyrenees dir. by Neel Keller co-sound design


MARK TAPER FORUM - Taper, too/New Works Festival – Los Angeles, California 2000 Drive My Coche dir. by Diane Rodriguez sound design 1999 Conjunto dir. by Diane Rodriguez sound design 1995 The Mysterious Mrs. Nixon dir. by Robert Egan sound design

The Ballad of Ginger Esparza dir. by Luis Alfaro sound design A Line Around the Block dir. by Corey Madden sound design

1994 Birds Nest Soup dir. by Timothy Dang sound design

PLAYHOUSE IN THE PARK – Cincinnati, Ohio 1998 A Doll’s House dir. by Eric Simonson sound design

THEATRE SOUND DESIGN & COMPOSITION – Local and other PACIFIC SYMPHONY – SAMUELI THEATRE, Costa Mesa, California

2013 The Sacre Project dir. by John Crawford sound design CORNERSTONE THEATRE – Los Angeles, California

2010 The 3 Truths dir. by Michael Garces sound design 2008 For All Time dir. by Laurie Woolery sound design

MAINSTREET THEATRE CO. – Rancho Cucamonga, California

2010 Lilly’s Purple Plastic Purse dir. by Michael Garces SD & orig. music THE HAYWORTH THEATER – Los Angeles, California

2008 Eve’s Rapture dir. by Robert Cohen co-sound design 2006 Machiavelli dir. by Robert Cohen sound design

CUILLO CENTER FOR THE ARTS – West Palm Beach, Florida

2008 Looped dir. by Rob Ruggiero sound design RUDE GUERILLA THEATRE COMPANY – Santa Ana, California

2006 Clownzilla: a love story dir. by Eli Simon SD & orig. music RUBICON THEATRE COMPANY – Ventura, California

2005 Tuesdays with Morrie dir. by Jenny Sullivan music production COLONY THEATRE COMPANY – Burbank, California

2002 Beautiful in the Extreme dir. by David Rose sound design 2000 A Shayna Maidel dir. by Scott Segall sound design

LOS ANGELES THEATRE CENTER – Los Angeles, California

2003 Pandora’s Trunk dir. by Che’rae Adams sound design STRASBERG THEATRE CENTER – Hollywood, California

2000 Molly’s Delicious dir. by Dan Fields SD & orig. music THE ECLECTIC COMPANY THEATRE – North Hollywood, California

2003 The Unsinkable Bismarck dir. by Paul Millet music production


HOT SUMMER NIGHTS – Cincinnati, Ohio 1998 Once On This Island dir. by Richard Hess sound design

John and Jen dir. by Aubrey Berg sound design Godspell dir. by Richard Hess sound design

TELLURIDE THEATRE FESTIVAL – Telluride, Colorado

1995 Vox dir. by Mark Knowles SD & orig. music THEATRE 40 – Beverly Hills, California

1995 Undercurrents dir. by Jules Aaron sound design THE CINEGRILL – Hollywood, California

1995 Hors D’Ouevres dir. by Michael Jung original music A.K.A. THEATRE COMPANY – Tucson, Arizona

1993 Steel Kiss dir. by Robin Aaberg original music 1992 Beirut dir. by Meg Nolan SD & orig. music

The Shrew dir. by Robin Aaberg SD & orig. music THEATRE SOUND DESIGN & COMPOSITION – international AMSTERDAM FRINGE FESTIVAL – Amsterdam, Netherlands

2009 Blue Shade dir. by Bryan Reynolds sound design 2008 Woof, Daddy dir. by Bryan Reynolds sound design

GWAECHON THEATRE FESTIVAL – Seoul, Korea

2008 Clownzilla: a love story dir. by Eli Simon SD & orig. music GDANSK SHAKESPEARE FESTIVAL – Gdansk, Poland

2008 Lumping in Fargo dir. by Chris Marshall Composer ACCADEMIA DELL’ARTE – Arezzo, Italy

2007 Clownzilla: a love story dir. by Eli Simon SD & orig. music DIVADLO DISK THEATRE – Prague, Czech Republic

2007 Blue Shade dir. by Robert Cohen SD & orig. music TEATR LALEK – Wrocław, Poland

2007 Blue Shade dir. by Robert Cohen SD & orig. music TEATR MODRZEJEWSKIEJ – Legnica, Poland

2007 Blue Shade dir. by Robert Cohen SD & orig. music NATIONAL THEATRE FESTIVAL – Bucharest, Romania

2007 Blue Shade dir. by Robert Cohen SD & orig. music SIBIU INTERNATIONAL THEATRE FESTIVAL – Sibiu, Romania

2010 The Green Knight dir. by Bryan Reynolds composer 2006 Railroad dir. by Robert Cohen SD & orig. music


ACADEMIC SOUND DESIGN & COMPOSITION – selected examples UNIVERSITY OF CALIFORNIA, IRVINE – Dept. of Drama

2012 The Merchant of Venice dir. by Eli Simon composer 2008 West Side Story dir. by Eli Simon sound design

Blue Shade dir. by Chris Marshall composer 2007 Anything Goes dir. by Don Hill sound design

Rabbit Hole dir. by Robert Cohen SD & orig. music Blue Shade dir. by Robert Cohen SD & orig. music Fetes de la Nuit dir. by Annie Loui sound design Sunday in the Park With George dir. by Eli Simon sound design

2006 La Celestina dir. by Keith Fowler sound design Pericles dir. by Phil Thompson SD & orig. music Railroad dir. by Robert Cohen SD & orig. music

POMONA COLLEGE – Theatre and Dance – Pomona, California

2002 Hair sound design COLLEGE-CONSERVATORY OF MUSIC – University of Cincinnati

1998 Cyrano dir. by Aubrey Berg sound design 1997 Sweet Charity dir. by Aubrey Berg sound design

Madwoman of Chaillot dir. by Richard Hess SD & orig. music Song and Dance dir. by Diane Lala music production

1996 Oklahoma dir. by Aubrey Berg sound design Rags dir. by Terrell Finney sound design

CAL ARTS – School of Theatre – Valencia, California

1996 Three Sisters dir. by Dona Hill sound design 1994 On The Verge dir. by Mark McQuown sound design

Modigliani dir. by Michael Jung SD & orig. music 1993 Titanic dir. by Michael Jung SD & orig. music

King Stag dir. by Michael Fields SD & orig. music UNIVERSITY OF ARIZONA – Dept. of Theatre Arts – Tucson, Arizona

1992 Grease dir. by Richard Hanson sound design 1991 The Physicists dir. by Diane Winslow sound design 1990 Working dir. by Harold Dixon sound design

Alexander’s Ragtime Band dir. by James Taulli music production 1989 Carmen dir. by Larry Day sound design 1988 Let’s Face the Music dir. by Richard Hanson sound design

Othello dir. by Richard Hanson SD & orig. music Sweeney Todd dir. by Harold Dixon sound design Very Good Eddie dir. by Richard Hanson sound design

1987 Carmina Burana dir. by Larry Day sound design Gypsy dir. by Richard Hanson sound design

1985 Centennial Celebration dir. by Richard Hanson sound design UNIVERSITY OF ARIZONA SUMMER REPERTORY THEATRE

1992 Hayfever dir. by Harold Dixon sound design Light Up The Sky dir. by Harold Dixon sound design You’re A Good Man Charlie Brown dir. by Bill Lett sound design

1991 A Midsummer Night’s Dream dir. by Mary Glenn SD & orig. music


1990 Ah, Wilderness dir. by Harold Dixon sound design Long Day’s Journey Into Night dir. by Maedell Dixon sound design

1986 Joe Egg dir. by Jerry Dickey sound design Lion In Winter dir. by Sam Smiley sound design Noises Off dir. by Harold Dixon sound design

1985 On Golden Pond dir. by Diane Winslow sound design

MUSICAL THEATRE PRERECORDED SCORE PRODUCTION/ARRANGING/PERFORMANCE

2004 Once On This Island dir. by Diane Radtke Falcon Theatre, Cincinnati, OH 1998 Once On This Island dir. by Chris Wilken Borderlands Theatre, Tucson, AZ 1995 Once On This Island dir. by Dierk Torsek CalArts, Valencia, CA 1993 Peter Pan dir. by Brooke Davis Arizona Stage Co, Tucson, AZ

Bye Bye Birdie dir. by Becky Cherlin San Diego Jewish Comm. Ctr. 1992 Annie dir. by Becky Cherlin San Diego Jewish Comm. Ctr. 1990 Working dir. by Harold Dixon Univ. of Arizona – Theatre Arts 1987 Merrily We Roll Along dir. by Rob Hartmann Univ. of Arizona – Theatre Arts

PIT MUSICIAN/PIANIST

1992 Grease dir. by Richard Hanson Univ. of Arizona – Theatre Arts 1989 Chicago dir. by Richard Hanson Univ. of Arizona – Theatre Arts

RECORDING – selected examples ATLANTIC/MAMMOTH RECORDS

1993 MACHINES OF LOVING GRACE “Concentration” Tracking overdub engineer. Rolli Mossiman, producer.

WALT DISNEY RECORDS

2002 IT’S A SMALL WORLD – Tokyo Disneyland. Producer. Commemorative CD featuring the music from the attraction remixed/remastered in stereo and in ride-thru order.

MERMAID LAGOON MUSIC ALBUM – Tokyo DisneySea. Producer. Music from the popular children’s land at Disney’s second Japanese park. Also served as media designer/audio supervisor for the original audio installation.

1995 CINDERELLA Assistant engineer to George Massenberg and Allen Sides for vocal tracking of Linda Ronstadt.

ABC TELEVISION/LORIMAR-MGM TELEPICTURES

1992 “The Young Riders” TV series. ADR engineer for 2 episodes, assistant ADR for the series. Jim Brady Recording Studios, Tucson, AZ.

MISCELLANEOUS/INDEPENDENT

1999 SHERRI LENZ “Monterey Morning” engineer 1998 TUCSON LATIN JAZZ ORCHESTRA “Rumba del Sol” engineer 1993 FREDERICK ANTONIO “Piano Spectacular” engineer/mix 1992 SHERRI HOFFMAN “Timeless” engineer/mix

EL MARIACHI AMERICA “Fiesta in Mexico” overdubs TUCSON ARIZONA BOYS CHORUS “TABC Sings America” mixing

1991 UP WITH PEOPLE “Face to Face” tracking 1990 CAROLYN SYKES “Tinges of Colour” engineer/mix


EDUCATIONAL SERVICE UNIVERSITY OF CALIFORNIA, IRVINE – Dept. of Drama

Curriculum Developed (*and taught)

2013 2006-13

Drama 282* Drama 266*

Show Control and Stage Electronics Digital Design: Digital Audio Systems

Drama 267 Creating Sounds From Scratch Drama 271* Conceptual Sound Design Drama 272* Musical Theatre Sound / Concert Sound Drama 277* Critical Listening Drama 255 (series)* Trends in Modern Sound Design Drama 255 (series)* Sound For Themed Entertainment Drama 255 (series) Survival and Professional Practice in Sound Drama 255 (series) Recording Arts Drama 255 (series) Sound Automation and Show Control Drama 255 (series)* Sound for other Media/Mediums

Additional Courses Taught

2013 2006-13

Drama Drama 50D

Colloquium Basic Sound Design

2006 Drama 179 Intermediate Sound Design

Committee and Departmental Service

2013 2009-11

Director of Academic Computing, School of the Arts Head of the Programs in Design

2008-2011 Council on Faculty Welfare (university level committee) 2008 Special Senate Committee on Diversity (senate level committee) 2006-present Tech Team – School of the Arts (member) 2006-2011 Development Liaison – Department of Drama 2006 Chair, Sound Design Search Committee – Asst. Professor in Sound 2006-present 2012

Head of Sound Design Search committee member – Stage Management Faculty

2011 Search committee member – Costume Shop Manager 2010 Search committee member – Production Sound Supervisor

Facilities Design

2008-2012 New Fine Arts Building – design and construction liaison for Drama 2006 MM115 Sound Design Studio

Awards, Grants, Outreach

2008 Stewardship Star Award, UC Irvine Foundation award for outstanding industry relations and fundraising.

2006, 2007 CORCLR grant (UCI Council on Research, Computing and Libraries) awarded for international research in producing theatre internationally.

2006, 2007 School of the Arts grants awarded in support of travel to Europe to


design shows. UNIVERSITY OF CINCINNATI – College-Conservatory of Music (UC/CCM)

Curriculum Developed and Taught

1996-1998 16-737-131 Basic Score Interpretation 16-737-221 Theater Sound Technology 16-737-271 Digital Audio Systems 16-737-272 Critical Listening 16-737-364 Sound Design I (a,b,c) 16-737-854 Sound Design Seminar 16-737-855 Recording Arts Seminar


1996 16-737-360 Sound Reinforcement Technology 16-737-361 Sound for the Theater

Committee Service

1996-1997 Academic Council - CCM 1997 Dean’s Committee on Multimedia 1997-1998 Chair – CCM Center for the Performing Arts (Ad-Hoc)

Facilities Design

1996 Sound Design Laboratory 1997 CCM Studio Theater – end user consultant

Conservatory Outreach and Community Service

1998 Designed touring sound system for the CCM Jazz Division 1997 Created sound design adjudication criteria for the USITT Ohio

Valley Section – Peggy Ezekiel Design Awards

1997 Web site designer – CCM Theater Design and Production (TD&P) division

1997-1998 URTA Recruiter for CCM-TD&P 1998 Guest Lecturer: Acoustical Society of America – Cincinnati Chapter 1996 Guest Lecturer: UC student chapter – Audio Engineering Society

Publications

1996 Paper accepted by the Audio Engineering Society 103rd Convention, Munich, Germany “Multichannel Audio Dramas: A Case Study”, co-authored with Thomas Haines, Assistant Professor of Electronic Media


CALIFORNIA INSTITUTE OF THE ARTS – School of Theatre


1994-1996 TP-530 Recording Arts Seminar TP-525 Digital Audio Systems TP-520 Critical Listening TP510 Sound Design (a,b) TP-500 Theatre Sound Technology


2005 TP-812 Creative Listening 2004 TP-820 Sound for Themed Environments 1993-1994 TP-550 Special Effects TP-503 Basic Sound TP-504 Sound Laboratory TP-808/809 Graduate Sound Seminar

Committee Service

1995-1996 Computer Committee 1994-1996 Integrated Media Technology – degree program steering committee 1994-1994 Intercultural Arts Project

Facilities Design – Performing Arts Design, Technology and Management (PADT/M)

1995 PADT/M Sound Design Studio 1994 CalArts Performance Tent 1993 Ensemble Theatre I Coffeehouse Theatre

School Outreach and Community Service

1996 Guest Speaker: “Computer Technology in the Arts” Art Librarians of Southern California (ARLIS/SC)

1995 Scenic Designer – Spring Music Festival – School of Music Website designer – PADT/M Program CalArts 25th Anniversary CD – Mastering Engineer


POMONA COLLEGE – School of Theatre and Dance

Course Taught

2002 Theatre20B Theatre Crafts (sound section) UNIVERSITY OF ARIZONA – Department of Theatre Arts


1994-1996 TA-215 Sound For The Theatre TA-419/519 Theatrical Sound Design TP-421 Theatrical Special Effects

Committee Service

1991 Undergraduate Committee (Theatre Arts) 1990 Capital Equipment Committee Facilities Committee

Facilities Design

1990 Mainstage Theatre – sound booth renovation 1991 Sixth Street Theatre – system design and installation 1992 Laboratory Theatre – end user consultant

School Outreach and Community Service

1992 American College Theatre Festival (ACTF) – Region VIII Adjudicator

1991-1992 Production Archival Photographer 1991 University Undergraduate Writing Proficiency Exam - grader


SPECIALIZATIONS

• Theatre Sound Design – Extensive design experience in many forms of theatre – from experimental to regional. Have designed over 120 productions since 1983.

• Education – created and headed three of the major sound design programs in the country – at the University of California, Irvine, California Institute of the Arts, and at the University of Cincinnati, College-Conservatory of Music. Each program capitalized on the unique offerings of both school and community resources. Have a successful track record of award-winning program graduates, including three winners of the USITT Sound Achievement Award for Outstanding Graduate Student Achievement. Extensive experience in curriculum development, mentoring, advising and public speaking.

• Themed Entertainment/Commercial Audio Design – spent 6 years working for Walt Disney Imagineering, designing sound for projects in 9 of their 11 theme parks. Managed multiple individual shows with sound design budgets in excess of $300,000, often with a concept-to-completion lifespan of up to 4 years. Managed typical workload of 5 to 10 overlapping projects. Specialized in large interactive theater venues combining live actors with animatronics, film and special effects. Facilitated 10 in-field mixes creating audio in the attraction utilizing portable studio equipment. Also produced over 100 themed background music tracks for restaurants, stores and themed outdoor areas. Extensive work producing audio for multimedia, web, and video game software – as well as audio post-production for formats ranging from DVDs to multi-screen theaters.

• Musical Direction – have produced and performed pre-recorded scores for many musicals. Equally comfortable working in a live setting as pit musician and conductor.

• Music Composition, Arranging and Performance – classically trained pianist and avid jazz pianist. Skilled in orchestrating – from simple piano and vocal to orchestral and modern styles. Able to play by ear and quickly transcribe music when needed. Able to communicate with directors who do not speak or understand the musical language and help them realize and integrate original music into their productions – unique music that is composed specifically for a production and completed in an efficient and changeable manner.

• MIDI and Electronic Music – extensive skills in exploiting the maximum from digital music production and composition technologies. Expert programmer in Digital Performer and many other MIDI sequencing/scoring programs. Able to realize orchestral scores utilizing electronic and virtual instruments in applications ranging from films to backing tracks for musicals. Skilled at Sibelius notation software.

• Acoustics – knowledgeable in recording studio and theatrical acoustic design as well as acoustic measurement and sound system tuning and integration. Expert user of SMAART-Live analysis software.

• Digital Audio – experienced audio editor, primarily on the Digidesign ProTools platform. Highly experienced in digital recording including high-resolution formats and high quality downsampling of audio into compressed formats (MP3, etc.).

• Show Control – advanced experience designing with and programming show automation systems – both for audio as well as integrated with lighting, scenery and special effects. Audio control systems include Q-Lab, Stage Research SFX, Level Control Systems, and the range of Alcorn McBride products.

• Recording Studio Production and Engineering – experienced recording and mix engineer, familiar with current industry practices and equipment, and knowledgeable of the historic aspects and early techniques of many industry pioneers.

• Digital Imaging – very proficient in digital imaging – including photography, video, web graphics preparation, and printing. Skilled in Adobe Photoshop and Apple Final Cut software.

Vincent Olivieri

Curriculum Vitae

home: 610 Glenmore Blvd., Glendale, CA 91206 mobile: 917.569.7905

email: [email protected] online: www.soundandstage.net

OBJECTIVE Professional and Educational Employment in Sound Design & Composition. QUALIFICATIONS

Creative theatre professional with experience in atmospheric sound design, composition, and sound reinforcement. Experienced using Macintosh computers & other pieces of technology to develop designs. Experienced working on new plays as well as classics. Detail-oriented and extremely well organized. Able to work independently and as a leader of a team. Effective team player with strong interpersonal communication skills. Skilled at managing multiple projects and time-sensitive deadlines.

TEACHING AND RESEARCH INTERESTS

Development of new theatrical work, integrating design, technology and live performance. Creating interactive theatrical environments with an eye towards heightening the dramatic experience. Development of collaborative techniques to establish and sustain fruitful interaction between corporeal artists and

technological artists. Development of effective resources for real-time realization of dramato-technologic concepts.

ACADEMIC PREPARATION

Ya le Univers i ty School o f Drama, MFA in Theatre, 2001. Concentration: Sound Design and Engineering Thesis: The Master and Margarita: Sound Design and Score Advisor: David Budries

Univers i ty o f R ichmond, BA in Mathematics, magna cum laude, 1998. Minor: Music Performance Concentration: Education Advisor: Dr. Kathy Hoke

Vincent Olivieri, Curriculum Vitae, page 2

PROFESSIONAL EXPERIENCE

Free lance Sound Designer & Composer , 1997-present. Commercial, not-for-profit, and educational theatres, USA. Conceived, organized, and executed Sound Designs & original music for live theatre. Collaborated with

directors, actors, and other designers to ensure quality of product and artistic consistency.

Res ident Sound Des igner , 2001-2004. Actors Theatre of Louisville, Louisville, KY. Served as co-head of Sound Department. Collaborated with directors, actors, and other designers to design

sound and compose music for theatrical productions. Designed productions for the mainstage season as well as the internationally-known Humana Festival of New American Plays. Hosted and monitored guest Sound Designers. Helped to lead, organize, and train the Sound Department Staff. Managed 4 full-time and 1 part-time staff.

Sound Engineer , 2003.

Centennial Theatre Festival, CT. Worked with artistic & technical staff and touring companies to provide audio support for a summer festival of

theatre and dance.

Audio Department Superv isor , 2001. International Festival of Arts and Ideas, New Haven, CT. Worked with international artists and American staff to provide audio support for three performance spaces.

Managed 1 full-time staff.

Product ion Manager , 2000. Prospect Theatre Company, Rome, GA. Organized and implemented all technical aspects of producing five theatrical productions in three

performance spaces. Collaborated with administrative staff to ensure quality of product. Managed 3 full-time and 17 part-time staff.

Res ident Composer/ Sound Des igner , 1997-1998.

Encore Theatre Company/ Richmond Shakespeare Festival, Richmond, VA. Conceived, organized and implemented Sound Designs for live theatre in both indoor and outdoor

environments. Collaborated with directors to ensure artistic consistency.

Stud io Manager , 1997-1998. Music Technology Lab, University of Richmond, Richmond, VA. Managed undergraduate students to maintain a computer music lab containing ten workstations and one

project studio. Updated software, advised students on class projects. Managed 2 part-time staff.


BROADWAY PRODUCTIONS High The Booth

Rob Ruggiero, director Sound Design & Composition

2011

SELECTED THEATRICAL PRODUCTIONS, UNITED STATES Miss Ju l ie (adapted by Neil LaBute) (premiere)

Gef fen P layhouse Jo Bonney, director

Sound Design 2013

Do I Rea l ly Sound L ike That? (premiere)

Univers i ty o f Ca l i forn ia- I rv ine Producer & Director 2013

Sher lock Holmes: Murder in the Casbah

Univers i ty o f Ca l i forn ia- I rv ine Producer & Director 2013

The Wi ldest Dream Ever (premiere) Univers i ty o f Ca l i forn ia- I rv ine Producer 2013 Bui ld (premiere) Gef fen P layhouse

Will Frears, director Sound Design & Composition

2012

Venus in Fur Theaterworks, Rob Ruggiero, director

Co-Design 2012

High (North American tour)

Boston, Fort Lauderdale , San Franc isco, Minneapol is , Toronto Rob Ruggiero, director

Sound Design & Composition

2011-2012

J i tney South Coast Repertory Pasadena Playhouse Ron OJ Parson, director

Sound Design 2012

Mother Courage and Her Ch i ldren Univers i ty o f Ca l i forn ia- I rv ine, Ryanne Laratonda, director

Composition 2012

T igers Be St i l l C inc innat i P layhouse in the Park Rob Ruggiero, director

Sound Design 2012

Extraord inary Chambers (premiere)

Gef fen P layhouse Pam MacKinnon, director

Sound Design 2011

The Understudy Theaterworks, Rob Ruggiero, director

Sound Design 2011

High (premiere)

Theaterworks, C inc innat i P layhouse in the Park, St . Louis Repertory Rob Ruggiero, director


2010

The Oldest Story in the Wor ld (premiere)

Nov i Most Lisa Channer, director

Sound Design 2010

In A Garden (premiere)

South Coast Repertory David Warren, director


2010

C lownzi l la : I l lega l A l iens (premiere)

Monkey Wrench Col lect ive Eli Simon, director

Sound Design 2010

23 Feet in 12 Minutes (premiere)

Word on the Street Product ions David Travis, director

Sound Design 2010

Noises Of f South Coast Repertory Art Manke, director

Sound Design 2009

Emi l ie South Coast Repertory Sound Design & 2009


(premiere) David Emmes, director Composition Shakespeare’s R&J Theaterworks

Rob Ruggiero, director Sound Design & Composition

2009

Last Tra in to Nibroc C inc innat i P layhouse in the Park Rob Ruggiero, director

Sound Design 2009

I f You G ive a Mouse a Cook ie The MainStreet Theatre Company John-David Keller, director


2009

A Femin ine Ending (west coast premiere)

South Coast Repertory & Port land Stage Company Timothy Douglas, director

Composition 2008

Gi lgamesh (workshop)

Theater Nov i Most Lisa Channer, director


2008

The Heiress South Coast Repertory Martin Benson, Director


2008

Rabbi t Hole P i t tsburgh Publ ic Theater , Theaterworks Rob Ruggiero, director

Sound Design 2008

Radio Gol f P i t tsburgh Publ ic Theater Ron OJ Parson, director

Sound Design 2008

Radio Gol f Ensemble Theatre of C inc innat i Ron OJ Parson, director

Sound Design 2008

Endgame Univers i ty o f Ca l i forn ia- I rv ine Robert Cohen, director

Sound Design 2008

Dark of the Moon Univers i ty o f Ca l i forn ia- I rv ine Annie Loui, director


2008

Gi lgamesh (workshop) Theatre Nov i Most , Un ivers i ty o f Minnesota-Twin C i t ies Lisa Channer, director


2008

The Brothers S ize The Publ ic Theatre (New York) Tea Alagic, director

Composition 2007

C lownzi l la : A Hol iday Extravaganza (premiere)

Rude Guerr i l la Theatre Eli Simon, director


2007

The Brothers S ize Under the Radar Fest iva l Tea Alagic, director

Sound Design, Composition, & Live Music Performance

2007

Insurrect ion: Hold ing History Theatre A l l iance Timothy Douglas, director


2007

Spl i t t in ’ the Raf t People ’s L ight and Theatre Company Jade King Carroll, director

Sound Design 2007

Helmet NY Fr inge Fest iva l Maryann Lombardi, director

Co-Sound Design & Composition

2007

Ful ly Commit ted Barr ington Stage Company Andy Volkoff, director

Sound Design 2007

King Lear : The Storm at Home (premiere)

V i rg in ia Stage Company Chris Hanna, director

Sound Design 2007

Dr iv ing Miss Daisy Theaterworks, Rob Ruggiero, director

Sound Design 2007

Gem of the Ocean Mi lwaukee Repertory Theatre Sound Design & 2006


Timothy Douglas, director Composition Ur inetown Ya le Dramat ic Soc iety

Dana Harrel, director Sound Design 2006

The Velvet Sky (premiere)

Wool ly Mammoth Theatre Company Rebecca Bayla Taichman, director

Co-Sound Design & Co-Composition

2006

Per ic les The Ju i l l iard School Timothy Douglas, director


2006

Nightmare: Face Your Fears (New York City Haunted Houses)

Art Meets Commerce Timothy Haskell, director


2006

As You L ike I t Opera House Arts Jeffrey Fracé, director


2006

Women and the Sea Opera House Arts Judith Jerome, director

Sound Design 2006

The Water ’s Edge Second Stage Theatre Company Will Frears, director

Sound Design 2006

Wonder of the Wor ld Barr ington Stage Company Rob Ruggiero, director

Sound Design 2006

Int imate Appare l Ind iana Repertory Theatre & Syracuse Stage Timothy Douglas, director


2006

August Wi lson’s Radio Gol f (premiere)

Ya le Repertory Theatre Timothy Douglas, director


2005

Fata l At t ract ion: A Greek Tragedy (premiere)

Gor i l la Product ions Timothy Haskell, director


2005

Permanent Co l lect ion Ba l t imore Center Stage David Schweizer, director

Sound Design 2005

Hay Fever Ba l t imore Center Stage Will Frears, director

Sound Design 2005

Boy Stea ls Tra in (workshop) New York Theater Workshop Error ! Contact not def ined. , director


2005

The God Botherers (American premiere)

Synapse Product ions David Travis, director

Sound Design 2005

Hamlet Opera House Arts Julia Whitworth, director


2005

Treasure Is land V i rg in ia Stage Company David Doersch, director

Sound Design 2005

Gum Univers i ty o f Massachusetts , Amherst Maryann Lombardi, director


2005

House of Des ires Univers i ty o f Massachusetts , Amherst Keith Langsdale, director


2005

Defy ing Grav i ty Auburn Univers i ty Lisa Channer, director


2005

Int imate Appare l Ensemble Theatre of C inc innat i D. Lynn Meyers, director


2005

The Amer ican Occupat ion (premiere)

The Ju i l l iard School Trip Cullman, director

Sound Design 2004

Big Trouble in L i t t le Hazzard B lack Jacket/NY Fr inge Will Frears, director

Sound Design 2004


Bach at Le ipz ig (workshop) New York Stage and F i lm Pam MacKinnon, director

Sound Design 2004

Corporate Rock Gor i l la Product ions Tim Haskell, director

Sound Design 2004

Curse of the Starv ing C lass Univers i ty o f Massachusetts , Amherst Alec Wild, director


2004

Thir ty Ghosts (premiere) Ensemble Theatre of C inc innat i D. Lynn Meyers, director

Sound Design 2004

The Exonerated Ensemble Theatre of C inc innat i D. Lynn Meyers, director

Sound Design 2004

The Marr iage of F igaro The Ju i l l iard School Timothy Douglas, director


2004

Blues for an A labama Sky Actors Theatre of Louisv i l le/ Berksh ire Theatre Fest iva l Timothy Douglas, director

Sound Design

2004

J i tney Ind iana Repertory Theatre Timothy Douglas, director

Sound Design 2004

Al l My Sons Actors Theatre of Louisv i l le Timothy Douglas, director


2004

Af ter Ashley (premiere)

28th Humana Fest iva l (Actors Theatre of Louisv i l le) Marc Masterson, director


2004

Ta l lgrass Goth ic (premiere)


Sound Design

2004

Sans-Culot tes in the Promised Land (premiere)

28th Humana Fest iva l (Actors Theatre of Louisv i l le) Randy White, director

Sound Design

2004

Amadeus Actors Theatre of Louisv i l le Kate Whoriskey, director

Sound Design 2003

Omnium-Gatherum (off-Broadway, New York premiere)

Var iety Arts Theatre Will Frears, director

Sound Design 2003

Ain' t Misbehav in' Actors Theatre of Louisv i l le Gerry McIntyre, director

Sound Design 2003

Cr imes of the Heart Actors Theatre of Louisv i l le Timothy Douglas, director


2003

Tro jan Women Auburn Univers i ty Lisa Channer, director


2003

The Second Death of Pr isc i l la (premiere)


Sound Design 2003

Omnium-Gatherum (premiere)

27th Humana Fest iva l (Actors Theatre of Louisv i l le) Will Frears, director

Sound Design 2003

The Pav i l ion Actors Theatre of Louisv i l le Aaron Posner, director

Sound Design 2003

Othel lo Univers i ty o f Massachusetts , Amherst Sheila Siragusa, director


2003


Proof Actors Theatre of Louisv i l le Sullivan Canaday White, director


2003

J i tney Actors Theatre of Louisv i l le Syracuse Stage Timothy Douglas, director

Sound Design 2002

The Fore igner Berkshire Theatre Fest iva l Scott Schwartz, director

Sound Design 2002

Insurrect ion: Hold ing History Berkshire Theatre Fest iva l Timothy Douglas, director


2002

Red Herr ing Actors Theatre of Louisv i l le Jim Christy, director


2002

Art Actors Theatre of Louisv i l le Timothy Douglas, director

Sound Design 2002

Finer Noble Gases (premiere)

26th Humana Fest iva l (Actors Theatre of Louisv i l le) Michael John Garcés, director

Sound Design 2002

Limonade Tous les Jours (premiere)


Sound Design 2002

a.m. sunday (premiere)

26th Humana Fest iva l (Actors Theatre of Louisv i l le) Timothy Douglas, director

Sound Design 2002

The Piano Lesson Actors Theatre of Louisv i l le Timothy Douglas, director

Sound Design 2001

Floyd Col l ins Actors Theatre of Louisv i l le Jonathan Eaton, director

Co-Sound Design 2001

The Master & Margar i ta Yale School o f Drama Will Frears, director


2001

Dracula Actors Theatre of Louisv i l le William McNulty, director


2001

The Birds (premiere)

Yale Repertory Theatre Christopher Bayes, director

Sound Design 2001

Twel f th N ight Amary l l is Theater Company Peter Novak, director

Sound Design 2000

A Midsummer Night 's Dream Prospect Theatre Company Cara Reichel, director

Sound Design 2000

A L i t t le N ightmusic Prospect Theatre Company Cara Reichel, director

Sound Design 2000

Kismet Prospect Theatre Company Joel Froomkin, director

Sound Design 2000

Curse of the Starv ing C lass Yale Repertory Theatre Jim Simpson, director

Sound Design 2000

Hinton Batt le : Largely L ive (premiere)

Apol lo Theatre Otis Salid, director

Sound Design 1999

Del i r ium for Two Theatre Nov i Most Lisa Channer & Vladimir Rovinsky, directors

Sound Design 1999, 2001, 2008

Two Gent lemen of Verona R ichmond Shakespeare Fest iva l Sound Design 1998


Grant Mudge, director As You L ike I t R ichmond Shakespeare Fest iva l

Grant Mudge, director Sound Design 1998

Death and the Maiden Encore Theatre Company Grant Mudge, director

Sound Design 1997

SELECTED THEATRICAL PRODUCTIONS, INTERNATIONAL War of the C lowns (premiere)

Nat ional Theatre of Romania, Eli Simon, director


2012

C lown MacBeth (premiere)

Per formance Group TUIDA (South Korea) Eli Simon, director


2009

Ready, Set , Dead (premiere)

As ia Pac i f ic Expo of Theatre Schools (Ch ina) Eli Simon, director


2009

C lown Planet (premiere)

Arezzo Fest iva l ( I ta ly) Eli Simon, director


2008

SELECTED SOUND INSTALLATIONS Trade is Subl ime (2013) Luke Cantarella & Christine Hegel, creators (sound design & composition)

Wor ld Trade Organizat ion (2013 – premiere)

Draw – dance p iece (2012) (created with Push The Button)

Uni ted States Inst i tute for Theatre Technology (2012 – premiere)

Pers is tence of Hear ing – dance p iece (2012) (created with Push The Button)

Uni ted States Inst i tute for Theatre Technology (2012 – premiere)

C i ty Park (2011) (created with Push The Button)

Uni ted States Inst i tute for Theatre Technology (2011 – premiere) Prague Quadrennia l (2011) Sound Walk (2011)

The Whole Wor ld Bl ind (2011) Roxanne Varzi, creator (sound design)

Sound Walk (2011)

Sound Ce i l ing (2008)

Sound Walk (2008 – premiere)


TEACHING EXPERIENCE Assoc iate Professor of Sound Des ign, University of California, Irvine, 2007 to present.

Taught classes, advised students, designed productions for the University. Collaborated with faculty in the drama and other departments to ensure a high level of training and production quality and artistic consistency. Worked with design faculty to continually re-examine and improve the quality of the design program. Worked with the other sound design faculty & staff to build the MFA sound design program and undergraduate curricula. Served on department-wide and campus-wide committees. Courses taught: Introduction to Sound Design, Intermediate Sound Design, Advanced Sound Design, Digital Audio Systems, Conceptual Sound Design, Recording, Creating Sounds from Scratch, Sound Design Survival, Trends in Modern Sound Design, The Rock and Roll Spectacle Show

Guest Adv isor , University of Massachusetts, Amherst, 2004, 2006, 2007. class size: 1 students: BS class format: advisement duration: two months

Supervised and advised undergraduate sound designers in their designs for fully realized productions. Created schedules, deadlines, standards, and criteria for evaluation. Advised on all aspects of design, including initial design concepts, collaboration, development, delivery system design, and execution. Provided evaluations at termination of project.

Guest Art is t , Kennedy Center’s American College Theatre Festival, Region #1 Conference, 2007. class size: 8 students: BA, BS, senior citizen class format: discussion duration: 3 hours

Prepared curricula and gave a brief lecture on the impact of Sound Design and creative listening skills. Discussed collaborative techniques. Led class in creative listening exercises.

Guest Art is t , Barnard College, February 2005, 2006. class size: 5 students: BA class format: discussion duration: three hours

Prepared curricula and gave a brief lecture demonstration on the conceptualization of Sound Design, technical and artistic challenges to the Sound Designer, and how a Sound Designer fits within the overall theatre-creation process. Played sound examples to foster conversation and critical listening skills. Discussed students’ sound & music ideas with regards to their final projects.

Workshop Director , University of Massachusetts, Amherst, 2006. class size: 2 students: BS, MFA class format: workshop duration: 7 hours

Taught students the basics of Digidesign’s ProTools digital audio workstation application. Discussed the basics of digital audio, and led them in creating projects, editing audio, using third-party plug-ins.

Ar t is t in Res idence, University of Massachusetts, Amherst, 2003, 2004, 2005. class size: n/a students: BA, BS, MFA class format: practical duration: 3 weeks

Designed productions in residence. Created teachable moments with student assistants, directors and designers covering topics including collaborative techniques and technical design skills.

Ar t is t in Res idence, Auburn University, 2005. class size: n/a students: BA class format: practical duration: 2 weeks

Designed a production in residence. Created teachable moments with student assistants and actors covering topics including collaborative techniques and technical design skills.


Masterc lass Instructor , Actors Theatre of Louisville, 2001-2004. class size: 5 students: Sound Dept. staff class format: workshop duration: 12 class periods

Prepared curricula and led discussions on text analysis and collaborative techniques for Sound Designers, sound delivery system design for musical theatre, and technical paperwork. Guided students to develop independent designs through class projects.

Guest Art is t , University of Massachusetts, Amherst, 2004. class size: 6 students: BA, BS, MFA class format: workshop duration: one week

Prepared curricula, lessons, and assessment protocol for intensive workshop in Sound Design conceptualization. Developed schedule, taught lessons, developed students’ design & collaboration skills. Administered and evaluated assessments.

Guest Art is t , Yale University, 2003. class size: 8 students: MFA class format: discussion duration: two hours

Presented a masterclass for MFA Sound Design students regarding the skill sets required for a Resident Designer in a large Regional Theatre.

Guest Art is t / Ar t is t in Res idence, Auburn University, 2003. class size: 100 students: BA, BS class format: lecture duration: 2 weeks

Prepared curricula and gave a brief lecture on the impact of Sound Design and critical listening skills. Included group activities and brainstorming sessions to encourage creativity. Designed a production while in residence; used the process to create teachable moments with students.

Guest Art is t , Bellarmine University, 2002. class size: 20 students: BA, BS class format: discussion duration: 1.5 hours

Prepared curricula and gave a brief lecture on the impact of Sound Design and critical listening skills. Discussed collaborative techniques with directors, designers, and actors.

Guest Art is t , Bellarmine University, 2001-2002. class size: 15 students: BA, BS class format: discussion duration: 3 class periods

Prepared curricula and led discussions on text analysis from a design perspective, including developing design ideas and collaborative techniques.

Guest Art is t , Virginia Thespian State Conference, 2000 & 2002. class size: 25 students: high school class format: workshop duration: 1.5 hours

Prepared curricula and gave a brief lecture on the impact of Sound Design and critical listening skills. Included individual and small group activities designed to encourage creative thought.


FAMILIAR EQUIPMENT AND TECHNOLOGY

Computer Operat ing Systems: Macintosh, Microsoft Windows (user level). Sound Playback Appl icat ions: D’Mitri (Meyer Sound), SFX (Stage Research), QLab (Figure 53) Dig i ta l Audio Appl icat ions: Software by Apple, Digidesign, MOTU, Cycling 74, Native Instruments,

Propellerheads, etc. D ig i ta l V ideo Appl icat ions: Final Cut Pro, Production Designer, Isadora. Other Computer Appl icat ions: Microsoft Office, Filemaker Pro, Vectorworks, AutoCad, Timbuktu, basic web

design. Hardware & Sof tware Samplers : Akai S & Z series, Kurzweil K2K series, MOTU, Native Instruments. Rout ing equipment : Analog and Digital recording, monitoring, and mixing consoles, processors. Microphones: wired and UHF/VHF wireless microphone systems.

LANGUAGES

Fluent in English. Conversational in Spanish. Conversational in American Sign Language.

PUBLICATIONS

“If You Give a Sound Designer a Computer.” Stage Directions, Dec. 2011: p. 28. “Hacking the Mix.” Stage Directions, Nov. 2011: p. 36. “Sound Design in Rehearsal at Actors Theatre of Louisville.” Lighting and Sound America. Dec. 2004: pp 68-70.

CONFERENCES AND PANELS Me Inc.: The Business of Being an Artist, panel chair USITT, Milwaukee, 2013 Guerilla Sound Design Challenge, panel chair USITT, Milwaukee, 2013 Multi-Channel Audio Demonstrations, panel chair USITT, Long Beach, CA 2012

Sound Art, or Conceptual Sound Design?, panelist Prague Quadrennial, Prague, CZ, 2011

Audio Applications for Mobile Devices, panel chair USITT, Charlotte, NC, 2011

Guerilla Sound Design Challenge, panelist USITT, Houston, TX, 2008


Sound Design at the Prague Quadrennial, panelist

USITT, Houston, TX, 2008 PROFESSIONAL AFFILIATIONS

Member, United States Institute for Theatre Technology (USITT), 2008-present. Member, Audio Engineering Society (AES), 2008-2010. Member, United Scenic Artists, Local #829, 2003-present. Licensed teacher, secondary mathematics, 1998-2003.

SERVICE ACTIVITIES

Vice-Commissioner for Special Events, USITT Sound Commission, 2010-present. Member, GRAMMY Museum Educational Advisory Committee, 2008-2010. Member, Board of Directors, Theatre Novi Most, 2008-present. Contributor, The FreeSound Project, 2007-present. Reader, Humana Festival of New American Plays, Actors Theatre of Louisville, 2001-2004. Artistic & Technical Liaison for The Technology Project, Actors Theatre of Louisville, 2002. Member, Advisory Board, Yale Cabaret, Yale University, 2001. Member, Alumni Recruitment Committee, University of Richmond, 1998-2008.

HONORS & AWARDS

League of Cincinnati Theatres Award for “Tigers Be Still,” produced by Cincinnati Playhouse in the Park, 2012. Los Angeles Ovation Award Nominee for “Extraordinary Chambers,” produced by The Geffen Playhouse, 2011. BroadwayWorld Los Angeles Award Nominee for “Extraordinary Chambers,” produced by The Geffen Playhouse, 2011. Selectee, US National Exhibition of 2007 Prague Quadrennial for sound design for “The Second Death of Priscilla,”

produced by Actors Theatre of Louisville/Humana Festival of New American Plays, 2003. Cincinnati Entertainment Award, as part of the design team for “Thirty Ghosts,” produced by the Ensemble Theatre of

Cincinnati, 2005. Cincinnati Entertainment Award Nominee, as part of the design team for “The Exonerated,” produced by the Ensemble

Theatre of Cincinnati, 2005. EDDY Award for Sustained Excellence in Theatrical Production, given to Actors Theatre of Louisville Design and

Production Department, 2004.


REFERENCES

L isa Channer 580 Rarig Center Assistant Professor of Theatre 330 21st Avenue South University of Minnesota Minneapolis, MN 55455

[email protected]

T imothy Douglas 291 Cumberland St. Freelance Theatre Director Brooklyn, NY 11238

718.237.2944 [email protected]

Wi l l Frears 337 Sackett St., #3 Freelance Theatre Director Brooklyn, NY 11231

[email protected]

The most reliable way to make first contact with these individuals is through email.

8 July 2013

Alan Terricciano 1 Bartok Ct.

Irvine, CA 92617 (949) 509-9517

[email protected]

Curriculum Vitae Academic/Administrative Appointments

Professor: Dance Department, University of California, Irvine. 2004-Present Acting Dean: Claire Trevor School of the Arts, University of California, Irvine. July, 2008 –

March, 2010. Chair: Dance Department, University of California, Irvine. Fall, 2001-July, 2008 Co-Chair: Music Department, University of California, Irvine. Spring, 2002-Summer, 2004 Acting Dean: Claire Trevor School of the Arts, University of California, Irvine. Spring 2001 Associate Dean for Technology: Claire Trevor School of the Arts, University of California,

Irvine. Fall, 1999 - Fall, 2001 Associate Professor: Dance Department, University of California, Irvine. 1998-2004 Assistant Professor: Dance Department, University of California, Irvine. 1994-1998 Instructor: Theory Department, Eastman School of Music. 1993-1994 Lecturer: Dance Department, State University of New York, Brockport. 1991-1993. Dance

Accompanist, Video technician

Selected Consultation and Service. Chair: University of California, Irvine, Council on Academic Personnel. 2012-13 Vice-Chair: University of California, Irvine, Council on Academic Personnel. 2011-12 Faculty Executive Director: Beall Center for Art and Technology, UCI. 2009-November, 2010 Member: Pacific Symphony Youth Ensembles, Advisory Board. 2008-present Chair: University of California, Irvine, Council on Faculty Welfare. Spring, 2008 Member: Irvine Barclay Theater, Board of Directors. 2008-2010 Conference Organizer: American College Dance Festival Association Southwest Regional

Conference, hosted at UCI. March, 2008 Conference Organizer: International Guild of Musicians in Dance, National Meeting, hosted at

UCI. January, 2004 Member: Pacific Symphony Orchestra, board of directors. 2002-2004 Chair: University of California, Irvine, Council on Research, Computing and Library Resources,

2002-3 Awards

Honoree: 2006-07 Distinguished Mid-Career Faculty Award for Service, UC Irvine

Honoree: 2005 Outstanding Individual Artist of the Year, Arts Orange County

Honoree: 2002 Chancellor's Award for Excellence in Fostering Undergraduate Research, UC Irvine

Education

M.A. Eastman School of Music of the University of Rochester, 1986. Chief Marshall, ESM Graduation ceremony. Major: Music Theory.

B.A. Yale University, 1983.cum Laude, with Distinction in the Major. Major: Music.

Alan Terricciano Curriculum vitae

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Teaching Experience Dance Expertise - Pedagogy of Music and philosophy of aesthetics within a Dance

curriculum. Curriculum includes literacy, ear training, literature review, aesthetics and basic performance practice with a strong emphasis on Student Centered learning. Expertise in on-line instruction.

Courses taught - Music for Dance. Lower Division undergraduate curriculum,

that includes notation, rhythmic performance, history, performance practice and composition.

Musical Resources. Graduate level curriculum, that includes

music literature review and cultural literacy as it pertains to the 20th and 21st century - including aesthetic agendas, cultural practices and the exchange of ideas across artistic disciplines.

Dance Accompanying. Training in basic musical performance

and indoctrination in the cultural practices of live music within the dance technique curriculum.

Critical issues. Upper division and graduate curriculum in

dance, focusing on aesthetics, reception theory, critical analysis and ethnography. Emphasis on writing and editing skills. Offered on-line.

Music Expertise - Pedagogy of Music Theory and composition.

Courses taught - Music Theory Series. Music theory core curriculum: Basics – pitch, interval, key; Harmony & Counterpoint; Analysis of Tonal Music; Model Composition; Set Theory and analysis of 20th century music.

Keyboard Skills. Advanced training in score reading, figured

bass realization, transposition, and improvisation for keyboard players.

Composition. Advanced curriculum for composers in design,

orchestration, planning and realization of musical compositions. Emphasis on work habits, effective listening, editing skills, and professionalism.

Introduction to Music. Introductory curriculum for non-majors

focused on basic listening skills, awareness of genre and social context. Offered on-line.

Design, Aesthetics and Critical Theory

Expertise - Sound Design, Philosophy of Aesthetics, MultiMedia Practices.

Courses taught - Sound Design. Basic recording and microphone technique, digital editing, sound design for theatrical dance.

Aesthetics of Multimedia. Web-Site design and construction,

visual literacy, technology and design aestheitcs in the 21st century.

“ArtsCore.” Large enrollment introductory curriculum about

the Arts, for non-majors. Emphasis on cultural institutions, evolution of artistic practices, basic appreciation and acculturation.


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Creative Activity

Composition for Choreography

Juried Prizes

Blue Motions

(String Quartet)-1st Prize. Festival des Arts de Saint-Sauveur, Music for Dance Competition. Saint-Sauveur, Provence de Quebec, Canada. Festival dates: July 26-August 5, 2000. The winning Choreographer, Sara Slipper premiered the dance, A River in a Dry Land, August 1, 2001at the festival to the score with an additional movement composed.

Dragons (Chamber Ensemble)-2nd Prize. Festival des Arts de Saint-Sauveur, Music for Dance Competition. Saint-Sauveur, Provence de Quebec, Canada. Festival dates: July 31-August 9, 1998.

Ruins (Chamber Orchestra)-2nd Prize. Festival des Arts de Saint-Sauveur, Music for Dance Competition. Saint-Sauveur, Provence de Quebec, Canada. Festival dates: August 1-10, 1997.

Selected Original Compositions for Choreography for professional companies, artists and academic institutions (Note: Titles are of the dance. Premiere dates are determined by choreographers. Works listed with an * received one or more previews prior to date listed. Works originating as student choreography listed with origination) Constrained (Electronic media)-Choreography by Patrick Corbin. Premiere, February 16,

2011, at the University of California, Irvine, Irvine, California. Blackbird (Orchestra)-Choreography by Pavel Zustiak. Premiere, February 4, 2010, at the

University of California, Irvine, Irvine, California. The Woeful Maladies of Ennui Manor (Clarinet, Cello, Violin, Marimba, Vibraphone &Piano, Score

entitled “Sextet”)-Choreography by Jennifer Backhaus and commissioned by the company, BackhausDance. Premiere, September 19, 2008, at the Ford Ampitheater, Los Angeles, CA.

What is Too Strong for Breaking (Snare Drum & Piano, Score entitled “Before the Bolero”)-Choreography by Mark Haim. Premiere, June 1, 2008, by the Saint Joseph Ballet (now – The Wooden Floor) at the Irvine Barclay Theater, Irvine, California. • 2nd performance, Irvine Barclay Theater, June 1, 2010

Living With Murky (Oboe, violin, marimba & piano, Score entitled “Joseph’s Aviary”)-Choreography by Melanie Rios Glaser. Premiere, May 31, 2007, by the Saint Joseph Ballet at the Irvine Barclay Theater, Irvine, California.

Acts of Memory (Orchestra, Score entitled “Proof of Ghosts”)-Choreography by Lisa Naugle. Premiere, February 8, 2007, at the University of California, Irvine, Irvine, California.

Barely Silent (piano, Cello and Electronic Media, Score entitled “Janus”)-Choreography by Jodie Gates and commissioned by the Complexions Contemporary Ballet, and a grant from the American Music Center. Premiere, January 8, 2007, at the Joyce Theater, New York City, NY.

Sub-Virtuosi (Piano solo, Score entitled “Flight Plans”)-Choreography by Mandarin Wu.Premiere, July 1, 2006, at Claire Trevor Theater, Irvine, California.

Blooming Re-Joyce-ing (Voice, harmonium and Penny Whistle)-Choreography by Loretta Livingston. Premiere, June 16, 2006, by Loretta Livingston & Dancers, at the Mark Taper Auditorium, Los Angeles Central Library, Los Angeles, California. Traditional Text

American Pop (Electronic Media)-Choreography by David Grenke. Premiere, June 2, 2006, by Thingzezise’em, at the Assembly Dance Theater, Taipei, Taiwan.

Running Shards (Electronic Media)-Choreography by Lisa Naugle; video design by JohnCrawford. Premiere, April 8, 2006, by students of the Paris Conservatoire National Superieur de Musique et de Dance, Paris, France.

Masque of the Red Death (Voice and orchestra, Score entitled “Masque”)-Choreography by Donald McKayle, Lisa Naugle, Michel Gervais; video design by John Crawford. Premiere, February 9, 2006, at the University of California, Irvine, Irvine, California. Text by Edgar Allan Poe


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Original Compositions for Choreography for professional companies, Artists and academic institutions (cont.)

June Moon (Percussion and electronic media)-Choreography by Loretta Livingston. Premiere, June 24, 2005, by Loretta Livingston & Dancers, at the Japanese Cultural and Community Center, Los Angeles Central Library, Los Angeles, California. Traditional Text

Extreme Memory (Cello and Electronic Media)- Choreographed by Douglas Becker. Premiere, June 11, 2005, commissioned by the National Balletacademie, Amsterdam, Holland

• 2nd Performance, Paris Conservatoire, May 5, 2006. Solar Wind (Piano and Electronic Media)-Choreography by Lisa Naugle. Premiere,February 23,

2005, at the University of California, Irvine, Irvine, California Presence (Women’s Choir and Electronic Media)-Choreography by Mark Haim,

commissioned by the St. Joseph Ballet, Premiere, June 1, 2004, Irvine-Barclay Theater, Irvine, California (additional music by JS Bach and CPE Bach)

Invisible Cities (Piano and Electronic Media)-Choreography by Lisa Naugle. Premiere, February 24, 2004, at the University of California, Irvine, Irvine, California

• 2nd

Performance, Paris Conservatoire, May 28, 2006. (Urban Fabric: Paris) • 3rd Performance, Beijing Dance Academy, September 18, 2006. (UrbanFabric:

Beijing) Midnight Dancer (Jazz Septet, Score entitled “Nocturnos”)-Choreography by Donald

McKayle. Premiere, February 24, 2004, at the University of California, Irvine, Irvine, California

Night Driving (Electronic Media)-Choreography by Lisa Naugle. Premiere, February 19, 2003, at the University of California, Irvine, Irvine, California

Of Grace and Courage (Clarinet, Cello, Piano and percussion)- Choreographed by Colin Connor, Robert Battle, Andrea Woods, Donald McKayle. Premiere, September 20, 2002, commissioned by the American Repertory Dance Company, Los Angeles, CA

• 2nd Performance, East Carolina University, Greenville, NC, March 20-21,2003.

Ash (Jazz Sextet)-Choreography by Donald McKayle. Premiere, May 24, 2002, at the University of California, Irvine, Irvine, California

Param (Amplified Flute and Electronic media)- Choreographed by Lisa Naugle. Premiere, March 15, 2002, by the New York Composers Ensemble, Krakow, Poland

Bent Blues (Electronic Media)- Choreographed by Jeff Slayton. Premiere, February 28, 2002, at the North Carolina School of the Arts in Winston-Salem, North Carolina

Waiting for the Romanza to Fade (Piano and electronic media)- Choreographed by Douglas Nielsen. Premiere, November 13, 2001, at the CSU, Long Beach in Long Beach, California

The Waves (Electronic Media)- Choreographed by Colin Connor. Premiere, July 15, 2001, at the Coffey Gallery in Kingston, New York

Portal (Electronic Media)-Choreography by lisa Naugle. Premiere, February 20, 2001, at the University of California, Irvine, Irvine, California

Candle Dances (Solo Viola)- Choreographed by Julia Gleich. Premiere, January 23, 2001, at the SOHO2 in New York, NY

Mavericks (Electronic Media)- Choreographed by Keith Glassman. Premiere, January 10, 2001, at the Sushi Artspace in San Diego, California

One of a Thousand Deaths a Day (Piano)- Choreographed by Gail Gilbert. Premiere, July 9, 2000, at the The ADF in Durham, North Carolina

Virtual Therapy (Electronic Media)- Choreographed by Lisa Naugle and commissioned by the Tantrum Dance Collective. Premiere, February 6, 1999 in Vancouver, BC, Canada.

Triptych Humpty-Dumpty (Piano and Synthesizer)- Choreographed by David Grenke and commissioned by the Doris Duke Foundation and American Dance Festival (THE ADF). Premiere, June 30, 1998, at the The ADF in Durham, North Carolina (Triptych Humpty-Dumpty is the continuation of Humpty-Dumpty, listed below.)


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Original Compositions for Choreography for professional companies, Artists and academic institutions (cont.)

Gatherings (Viola and Piano)- Choreographed by Jeff Slayton and commissioned by the Dance Department, California State University, Long Beach, CA. Premiere, April 29, 1998, in Long Beach, CA

Now...Then (Electronic Media)- Choreographed by Julia Gleich for the concert To the Point. Premiere, March 19, 1998, at the Dance at Holy Trinity Series, New York, NY

Days of Sorrow (Prepared Piano, score entitled “Aria”)-Choreographed by Yueh-Ping Feng. Professional premiere, September 9, 1997 in Taiwan (origination-UCI)

Humpty-Dumpty (Piano solo) choreographed by David Grenke and commissioned by the THE ADF. Premiere, July 22, 1997, at the The ADF in Durham, North Carolina

• 2nd Performance, International Festival du Danse, Cannes France-December 6, 1998

*Off the Hook/We're Sorry (Electronic Media)-Choreographed by Colin Connor and commissioned by the company Dancefusion, Movement Theater. Premiere, May 2, 1997, at the Soho Dance Festival, New York, NY

Seven Deadly Sins (Chamber Ensemble)- This work was produced in collaboration with seven faculty and guest choreographers. Choreographers: Donald McKayle (lust), Clifford Breland (envy), Sean Greene (gluttony), Molly Lynch (sloth), James Penrod (wrath), Nancy Ruyter (pride), and Janice Gudde Plastino (greed).Premiere, February 20, 1997, at the University of California, Irvine, Irvine, California.

When I Grow Up….When I was a Child (Chamber Ensemble)-Choreography by Donald McKayle. Premiere, February 23, 1995, at the University of California, Irvine, Irvine, California.

Secret Combinations (electronic media)-Choreography by Julia Gleich. Premiere,November 2, 1995, at the University of California, Irvine, Irvine, California.

Periphery, (Electronic Media) for the concert The Men’s Project, Solos performed by Li Chiao-Ping. Choreography by Gus Solomons, Jr. Premiere, December 6,1996, at the Kanopy Performing Arts Center, Madison, WI.

*Edge (Violin and Cello)-Choreographed by Randy James and the Randy James DanceWorks and commissioned with a grant from Meet the Composer. Premiere, October 24, 1996, at the Ohio Theater, New York, NY.

The Last Moment (Electronic Media)- Choreographed by El Gabriel and commissioned by the Dance Department, Huntingdon College, Huntingdon, AL. Premiere, April 29, 1995 in Huntingdon, AL.

Do Not Go Gentle (Solo Voice)-Commissioned by Sean Greene and The Sean Greene Group. Premiere, December 1, 1994 in Irvine, CA.

Special Projects in Music for Choreography

Long, Lonesome Way, Sound Design and Composition of a Dance Score built entirely from several Woodie Guthrie recordings, and musical samples developed by composer Todd Barton, “sonifying” or translating the human genome for Huntington’s Disease into a MIDI data file. Choreographed by Donald McKayle for the Huntington’s Disease Society of America. First presented publicly on May 24, 2007 at the University of California, Irvine.

Entangled Photons, Sound Design, Composition and Performance in collaboration with videographer John Crawford, and Choreographer, Lisa Naugle for the Ribbon Cutting Ceremony of the Cal-IT2 building, November 19, 2004.

Dancing Through History, vol. 1, Music Direction for the Book by Jill Beck, published by Gordon and Breach. Responsibilities include arrangements for, performance on, and engineering of the recording that accompanies thebook.


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Special Projects in Music for Choreography (cont.)

Champion (Chamber Orchestra)- Electronic reconstruction of a score by Samuel Matlovsky for the dance Champion (1948), choreography by Sophie Maslow, dance reconstruction and performance by Sophie Maslow and Donald McKayle for the José Limon Dance Company. Reconstruction completed, September 5, 1998.

Witch Dance (Revised) (piano and percussion)-Original music composed for a revised ending to the work listed below. Revision based on newly discovered documentation describing the choreography. Premiere, October, 1997, Santa Barbara, CA, by Bonnie Oda Homsey of the American Repertory Dance Company.

Witch Dance (piano and percussion)-Electronic reconstruction of a score by Hanns Hasting for the dance Hexentanz (1934), choreography by Mary Wigman, dance reconstruction and performance by Bonnie Oda Homsey for the American Repertory Dance Company. Premiere, March 16, 1996, for the concert Heart of Woman, Los Angeles, CA.

Rainbow Etude (voice)-music-traditional, arranged by Donald McKayle and Alan Terricciano, production and recording by Alan Terricciano. Choreography by Donald McKayle based on his work Rainbow ‘Round My Shoulder. Commissioned by the Dance Legacy Institute of Brown University as the first volume of their Etude project. Premiere, August 17, 1996, for the concert Faculty Concert, New York State Summer School of the Arts Dance Program, Saratoga Springs, NY.

Works for Choreography by MFA candidates at the University of California, Irvine

Through Movement We Meet (Piano, score entitled Asila) Choreography by Alisa Poston. Premiere, May 12, 2009, for the concert Between Art and Life (MFA Thesis concert).

Apartment 5; Forrest (Electronic Media) Choreography by Carinne Bach. Premiere, April 26, 2007, for the concert Dance Escape.

The Path (Electronic Media) Choreography by Jamie McCann. Premiere, April 26, 2007,for the concert Dance Escape.

Introspection and Ecstasy (Electronic Media) Choreography by Rachel Lopez. Premiere, November 30, 2006, for the concert New Slate.

Jumping Off Point (Electronic Media) Choreography by Carinne Bach. Premiere, April 27, 2006, for the concert Dance Escape.

Gradus ad Irvine (Clarinet, Cello and Piano) Choreography by Beth Megill. Premiere,April 25, 2003, for the concert Dance Escape.

The Calling (electronic media) Choreography by Scott Putman. Premiere, April 28, 2000,for the concert Dance Escape.

Farewell to Yesterday’s Disgrace (electronic media) Choreography by Irma Castillo.Premiere, April 30, 1999, for the concert Dance Escape.

There are Some Sides of my Soul (saxophone quartet) Choreography by LarissaNazarenko. Premiere, April 30, 1999, for the concert Dance Escape.

Reminiscence (electronic media) Choreography by Irma Castillo. Premiere, December 4,1998, for the concert Dance Escape.

Immersion in Geometrics (prepared piano) Choreography by Chung-fu Chang. Premiere,May 1, 1998, for the concert MFA Dance concert. Losing Oz (electronic media) Choreography by Cherrié C. Collmar. Premiere, May 2,1997, for the concert MFA Dance concert.

Mister and Mistress Trophaca (voice)-Choreography by Josephine Zmoleck as part ofher dance theater work “Mystical Bedlam.”. Premiere, December 5, 1996, for the concert New Slate.

Days of Sorrow (prepared piano)-Choreography by Yueh-Ping Feng. Premiere, May 3, 1996, for the concert Action/Reaction.

Hope, Want, Will (voices and harmonium)-Choreography by Keith Glassman. Premiere, May 3, 1996, for the concert Action/Reaction.

But not Forgotten (piano and percussion)-Choreography by Amy Bates. Premiere, December 1, 1995, for the concert New Slate.


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Works for Choreography by MFA candidates at the University of California, Irvine (cont.)

Lachrymosa (violin, cello and organ)-Choreography by Mark Hagerman. Premiere, October 17, 1994, for the concert New Slate.

Discobobulated (electronic media)-Choreography by Karen Shiel. Premiere, May 10, 1995, for the concert for the concert MFA Concert.

Mimo's Marionette Circus (wind ensemble)-Choreography by Mark Hagerman. Premiere, May 10, 1995, for the concert MFA Concert.

Selected Performances for Dance

Sub-Virtuosi – 1st Dance Bistro Festival. (Terricciano: “Flight Plans”) Choreography by Mandarin Wu. May 26, 2012, at the Carpenter Performing Arts Center, Long Beach, California.

Promenade – Tuned In. (Gershwin: “Promenade” and Prelude #3) Choreography by John Heginbotham for The Wooden Floor. May 31 - June 2, 2012, at the Irvine Barclay Theater, Irvine, California.

Seascape – Dance Visions 2008. (Chopin: Etudes, Op. 10, #’s 5, 6, 9 & 12) choreographed by Molly Lynch for the UC, Irvine Dance Department, February 7-10, 2008

Edges and Corners – Solo Dances. (Bach: French Suite # 2) at the Cunningham Studios, NYC, choreographed by James Sutton, February 23-24, 2007

Every Little Movement – Dance Visions 2007. (Mendelssohn: First Piano Concerto) with the UCI Symphony Orchestra, choreographed by Gerri Houlihan for the UC, Irvine Dance Department,, February 8-11, 2007

Edges and Corners (Excerpt)—American Dance Festival. (Bach: French Suite # 2) a work on the The ADF Faculty Concert by James Sutton, July 9, 2000

Danger Run – Millenium Season Concert. (Rzewski: Four North American Ballads) at City Center, NYC, choreographed by Donald McKayle for the Alvin Ailey Dance Theater, December 10, 1999

For Isadora – New York State Summer School of the Arts, Dance program. "For Isadora" (music by Johannes Brahms) a work on the NYSSSA Final Student Concert by Carolyn Adams, August 22, 1997

Sprinting Towards Void w/ Dog – American Dance Festival. (music by Alan Fogelsanger) a work on the The ADF Faculty Concert by Byron Suber, July 13, 1997

Trace Memory– American Dance Festival. (music by Beethoven) a work on the The ADF Faculty Concert by Amy Dowling, July 13, 1997

Ritual – American Dance Festival. (music by J. S. Bach) a work for the concert Mark Dendy Dance and Theater by Mark Dendy, July 2-3, 1996

Composition for concert venues

Works for Large Ensemble The Parting Glass (Harp and Symphony Orchestra)-commissioned and premiered by The

Northwestern University New Music Ensemble, Evanston, IL, April 28, 2011 Silk Dragons (Countertenor, Flute, Bass Clarinet, Trombone, Harp, Violin, Viola, Cello,

translations by Arthur Sze)- premiered by Darryl Taylor, at the University of California, Irvine, May 8, 2010

Iguanas en la Nieve (Choir, SATB, text by Francisco X. Alarcón)- premiered by The University of California, Riverside Chamber Singers, Riverside, CA, December 2, 2009

Silence (Psalm 65) (Choir, SATB, text - traditional)- premiered by The UCI Chamber Singers, Irvine, CA, March 5, 2004

Concerto for Clarinet and Strings (Clarinet and String Orchestra)-commissioned and premiered by The Orange Coast Orchestra, Costa Mesa, CA, October 19, 2003 • Revised version performed by The Northwestern New Music Ensemble, Evanston , IL, March 11,

2005 Canciones de Fray Serra (Symphony Orchestra)-commissioned and premiered by The Elmhurst

Symphony Orchestra, Elmhurst, IL, November 17, 2002


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Works for Large Ensemble (cont.) Night Café (Concert band)-commissioned and premiered by The Yale Concert Band, New

Haven, CT, November 18, 1998 A Tale of the Spider (Narrator and Symphony Orchestra)-Premiered by The Minnesota

Orchestra, Minneapolis, MN, November 18, 1994 • Revised version performed by The Elmhurst Symphony Orchestra, Elmhurst , IL, March 10,1996

Selected Solo and Chamber works

Etude for Disklavier (with Human Accompaniment) # 3 (Disklavier)-Premiered at the UCI Chamber Series, for the concert, Opus 111, Irvine, CA, February 26, 2011.

Etude for Disklavier (with Human Accompaniment) # 2 (Disklavier)-Premiered at the UCI Chamber Series, for the concert, New Music for Houseplants, Irvine, CA, April 4, 2009.

6 Prayers (for Saint Anthony) (Clarinet, Cello & Piano)-Premiere at the ANDALUSIA INTERNATIONAL MUSIC DAYS festival, by the Bela Bartok Trio, Cordoba, Spain, March 13, 2009.

Me With My Dancing Feet (Countertenor and Piano)-Premiered at the UCI Chamber Series, for the concert, Darryl Taylor and Friends: A fresh Encounter, Irvine, CA, February 23, 2008. Texts by Countee Cullen

Etude for Disklavier (with Human Accompaniment) # 1 (Disklavier)-Premiered at the UCI Chamber Series, for the Concert, A Piano Extravaganza, Irvine, CA, March 10, 2007.

Wonderland (revised) (Soprano, Baritone, Piano and percussion)-Premiered at the UCI Chamber Series, for the concert, Looking for Alice in Wonderland, Irvine, CA, November 11, 2006. Texts by Lewis Carroll

Variations on a Purcell Air (Violin Solo)-Premiered at the American Dance Festival, for the Concert, 2005 Musician’s Concert, Durham, NC, July 6, 2005.

Other Dances, Other Songs (Piano Trio)-Premiered at the UCI Chamber Series, for the concert, UCI Faculty Showcase, Irvine, CA, February 19, 2005.

Wonderland (Baritone, Piano)-Premiered at the UCI Chamber Series, for the concert, The Poet, the Painter and Alice, Irvine, CA, May 15, 2004. Texts by Lewis Carroll

Dance at the Gates (Piano)-Premiered by Alan Terricciano, for the Musicians’ Concert, The ADF, Durham, NC, June 29, 2003

Meditation on the Passion (Organ, Violin and Viola)-Premiered at the Peninsula Music Festival, for their Winter concert series, Ephraim, WI, March 26, 2002.

3 Preludes (Piano)-Premiered by the composer, for the Faculty Concert, The ADF in Korea, Seoul, Korea, August 12, 2000

Interlude, from ‘Southern Harmony’ (Cello and Piano)-Premiered by Chris Lancaster and Alan Terricciano, for the Musicians’ Concert, The ADF, Durham, NC, June 27, 1999

Work for Theater and Video Installation

Clownzilla: Illegal Aliens - Score for an evening-length theatrical work for the company, Clownzilla. Premiere, August 27, 2010, at the Monkey Wrench Collective, Fullerton, CA. Directed by Eli Simon.

Siheyuan Threads, Score for a multimedia project (video projection with live musical performance) in collaboration with video designer, John Crawford. Premiere July 24, 2009, for the International Festival of Composers Concert, as part of The Música Nueva Málaga internacional. Málaga, Spain.

As You Like It – Songs and incidental music for the Shakespeare Comedy. Premiere, June 22, 2003. Illinois Shakespeare Festival. Directed by Eli Simon.

The Castle of Perseverance – Incidental Music for the medieval play, adapted by Edgar Shell. Premiere, June 1-10, 2000.Claire Trevor Bren Theatre, UCI School of the Arts. Directed by Robert Cohen.

Woyzeck – Sound design for the play by Georg Büchner, translated by Keith Fowler. Premiere, May 23-31, 1997. Village Theater, UCI School of the Arts. Directed by Keith Fowler.


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Work for Theater and Video Installation (cont.)

The Misanthrope – Incidental Music for the play by Moliére, translated by Robert Cohen. Premiere, January 24, 1997. Concert Hall, UCI School of the Arts. Directed by Robert Cohen.

The Crucible – Incidental Music for the play by Arthur Miller. Premiere, November 15, 1996. Irvine/Barclay Theater, UCI School of the Arts. Directed by David Wheeler.

The Women of Troy – Vocal score for the cast for the play by Euripedes. Premiere, January 26, 1996. Concert Hall, UCI School of the Arts. Directed by Dudley Knight.

The Baltimore Waltz – Incidental Music for the play by Paula Vogel. Premiere, November 24, 1995. Concert Hall, UCI School of the Arts. Directed by Annie Loui.

Solo and Chamber Piano Performance

Chamber Concert—Ohio University, Athens, OH. ‘Prepare Yourself’ with pianist, André Gribou, and violinist, Stephen Miahky. Program includes “Flight Plans “ and “Variations on a Purcell Air” by Terricciano, and John Adams’ “Hallelujah Junction.” January 22, 2012

Chamber Concert—UC Irvine, Irvine, CA. ‘Opus 111’ with pianist, André Gribou. Program included “Hallelujah Junction” by John Adams, Bach’s “Italian” Variations, Beethoven’s Piano Sonata, op. 111, and works by Gershwin, Messiaen and Terricciano. February 26, 2011

Chamber Concert—UC Irvine, Irvine, CA. ‘New Music for House Plants.’ A retrospective of compositions by Alan Terricciano, with guest artists Norman Beede - piano, André Gribou - piano, Margaret Parkins - cello, Lea Steffens – clarinet, and the Robin Cox Ensemble. Repertoire includes Asila (2009, preview of a score for MFA candidate Alisa Poston, premiering in May of 2009), Aria for prepared piano (1998), Two Etudes for Disklavier (with human accompaniment – #1 “for Nohema” 2007, revised in 2009, and #2 “BerSeuss” premiere), Dance at the Gates (2003, revised in 2009), Six Prayers to Saint Anthony (2009), Sextet (2008), and Three Gardens for electronically amplified houseplants and electronic Media (premiere). April 4, 2009

Chamber Concert—UC Irvine, Irvine, CA. ‘The Roaring 20’s’. Program included Sonata #2, “The Airplane,” by George Antheil, “The Banshee” by Henry Cowell, and works by Ruth Crawford, Leopold Godowsky, and George Gershwin’s “Rhapsody in Blue”. January 12, 2008

Chamber Concert—Ohio University, Athens, OH. ‘André Gribou and Alan Terricciano, duo Piano,’ with pianist, André Gribou. Program includes “Drei Stücke fur Zwei Klavier “ by Ligeti, Beethoven’s “Grosse Fugue” arranged by Harold Bauer and music by Colin McPhee. September 13, 2007

Chamber Concert—UC Irvine, Irvine, CA. ‘Looking for Alice in Wonderland,' with Baritone, Robin Buck, and Soprano, Marni Mossiman. Program includes songs by Charles Ives and William Bolcom. November 11, 2006

Chamber Concert—UC Irvine, Irvine, CA. ‘Music of Epic Proportions,’ with pianist, André Gribou. Program includes “Drei Stücke fur Zwei Klavier “ by Ligeti, Beethoven’s “Grosse Fugue” arranged by Harold Bauer and Crumb’s “Makrokosmos III, Music for a Summer Evening.” May 20, 2006

Chamber Concert—UC Irvine, Irvine, CA. ‘Chamber Works for Viola, Winds and Piano.' Program includes Schumann “Introduction and Allegro” with Daniel Katzen, horn; Poulenc “Trio for Bassoon, Clarinet and Piano” with Carole McEdwards, Bassoon, and Amanda Walker, Clarinet; and Hindemith “Sonata op. 11, #4” with John Scanlon, Viola. February 21, 2004

Recital—Newport Beach Public Library, Newport Beach, CA. ‘Chopin' Music by Chopin, Crumb, Mompou and Faure. March 15, 2001.

Recital—UC Irvine, Irvine, CA. ‘Remember/Forget.' Music for piano by Gershwin, Rzewski, Liszt. October 24, 1998.


10

Solo and Chamber Piano Performance (cont.)

Recital—Newport Beach Public Library, Newport Beach, CA. ‘Music of Human Inspiration.' Music by Mussorgsky, Beethoven, Rzewski and Terricciano. February 12, 1998.

Recital—Newport Beach Public Library, Newport Beach, CA. ‘Music for Viola and Piano, Twentieth Century European Classics.' Violist-Yvonne Creanga. Music by Hindemith, Britten, Milhaud and Naomoff. January 19, 1997.

Recital—UC Irvine, Irvine, CA. 'New (and Slightly Used) Music for an Overextended Pianist.' Music for piano by Talma, Bolcom, Terricciano, Rzewski, Tatum, Dodge. April 12, 1996.

Selected Residencies and Scholarly Presentations

Visiting Artist/Performer – Ohio University, School of Music. Guest teacher in composition, performer on the concert ‘Prepare Yourself,’ listed above. January 17-22, 2012

Conference Presentation – “Breath and the Pedagogy of Rhythm” Lecture/Workshop at the joint International Guild of Musicians in Dance/National Dance Educators Organization national conference, Minneapolis, MN. October 23, 2011

Conference Presentation – “Improvisation, Musical Performance and Choreography: A Strategy for Successful Collaborations.” Juried conference presentation at the 5th International Conference on the Arts in Society, hosted by the University of Sydney, Sydney, Australia. July 23, 2010

Conference Presentation – “The Dancer as Music Director.” International Guild of Musicians in Dance National Conference. Champaigne-Urbana, IL, October 12, 2007

Music Faculty – American Dance Festival; Ballet and Modern technique class accompaniment; 1992-2005

Music Faculty – CSU Summer Arts; Modern technique, composition and performance; Teachers include Risa Steinberg, Colin Connor, Debra Noble. July, 2002, June 2007-2009, 2011-12

Conference Presentation – “The Dancer as Music Director.” International Guild of Musicians in Dance National Conference. Champaigne-Urbana, IL, October 12, 2007

Musician in Residence – New York State Summer School of the Arts, Dance program; duties include classroom teaching, composition, and class accompaniment with members of the Paul Taylor and Martha Graham companies.1989-1997.

Guest Panelist – Music Teachers National Association, 1997 National Convention. Pedagogy Seminar: the Ensemble Pianist. Dallas, TX, April 6, 1997.

Visiting Artist/Lecturer – University of Arizona, College of Fine Arts. Workshop on composition for music students; lecture on collaboration for the graduate choreography students. Guest accompanist for dance technique classes. Funded through the U of A Dean’s Fund for Excellence. November 14-15, 1996.

Workshop presentation – International Guild of Musicians in Dance, Second European Conference. Music Pedagogy in the classroom. Jaarvinpa, Finland, September 5-8, 1996.

ROBERT GARFIAS

CURRICULUM VITAE

Date of Birth: September 22, 1932 Place of Birth: San Francisco, California Permanent Position: Professor of Anthropology University of California, Irvine Previous Employment 1997-2000 Director Chicano Latino Studies Program University of California, Irvine 1992-1993 Director Costa Rica Study Center, University of California Education Abroad Program. 1982 - 1987 Dean of Fine Arts University of California, Irvine 1977 - 1981 Vice Provost for Faculty Affairs University of Washington 1973 - 1982 Professor of Music, University of Washington 1965 - 1975 Director, Ethnomusicology Graduate Program. University of Washington Summer, 1969 Visiting Associate Professor University of California, Berkeley 1968 - 1972 Associate Professor of Music University of Washington 1962 - 1968 Assistant Professor, Music and Anthropology. University of Washington 1962 - 1968 Music Director, Radio Station KRAB-FM Seattle, Washington 1962 Lecturer in Music, University of California, Los Angeles

Education University of California, Los Angeles Ph.D. 1965 University of California, Los Angeles M.A. 1958 San Francisco State College B.A. 1956 Special Training Programs Institute for Educational Management, Harvard University. June 18 - July 18, 1978 University of California Management Institute, UCI, July 5-13, 1983. MIDI Applications Certificate - Computers. Course work at Orange Coast Community College. July- December,1990 and August -1994. Languages Spoken and Read Burmese French German Japanese Romanian Spanish Turkish Membership in Professional Societies International Council for Traditional Music National Academy for Recording Arts and Sciences National Federation of Community Broadcasters Society for Ethnomusicology

Research Activities Preparation of documentary films at the National Museum of Ethnology Japan (Minpaku) January through March 2013. Research and planning of new museum exhibit at Japanese National Museum of Ethnology, Osaka Japan. March through June 2009 Filming and recording in Puerto Rico as planner and head ethnologist of a four person team from the Japanese Museum of Ethnology. September 2008 Filming and Recording in Portugal and Spain as planner and head ethnologist of five person team from the Japanese National Museum of Ethnology. August and September 2006 Research in Portugal and Spain as a member of a three person team from the Japanese National Museum of Ethnology, December 2005 Research Professor. Part of Research group on the presentation of music in museums of the National Museum of Ethnology, Senri Japan. May to December 2003 Research Professor. Research on Burmese and Japanese Music, National Museum of Ethnology, Senri Japan August to November, 1999 Research on current conceptions of the tradition among professional Turkish musicians. Under a grant from ARIT (American Research Institute in Turkey) August - September 1997 Research on Ottoman Classical Music in Turkey with a grant from the Turkish Ministry of Culture in cooperation with Istanbul University. May to August 1990 and January - July 1994. Research on the Classical Okinawan Music Tradition in Okinawa, and Yaeyama Islands. April to July 1988 under support from a Senior Research Fellowship of the Japan Foundation. Research in Southern California and Hawaii (Maui, Oahu and Hawaii) on the Okinawan Classical and Folk music traditions as they survive in the United States. January 1986 to present. Research in Okinawa, Japan on the classical music tradition (Ryukyu Koten Ongaku) with particular refenrce to the flute tradition in the Afuso Ryu and the teiku tradition of Shimabukuro Mitsufumi. September to December 1985. Research in Romania under International Research and Exchanges Board (IREX) grant to study variants in small dance ensembles and Urban Gypsy Music. 1977. Private study of Chinese Ch'in with Tao Tsen-yeun 1974-76 Investigations on Marimba music in Costa Rica, Nicaragua and Guatemala, 1975. Cultural exchange award from joint program US State Department/Union of Burma, Ministry of Culture Senior Scholar for research in Burmese classical music June 1973 through July 1974. Studies on Central American marimba in Guatemala, Honduras, Belize and Mexico. 1972. Study of South Indian Classical Music at Mills College summer session sponsored by American Society for Eastern Arts. 1972.

Dreams and trance in Mbira music of Zimbabwe (Rhodesia) and Chopi xylophone music in Mozambique with assistance of the American Council of Learned Societies and University of Washington Graduate School. 1971. Establishment of National Folk Music Archives for the Republic of the Philippines and the Republic of Korea with assistance of the JDR 3rd Fund, including extensive filming and recording in each of these countries. Original investigations in Chiapas and Oaxaca, Mexico. 1964. Private study of Chinese Ch'in with Lui Pei-yuen 1960. Study of Korean Court Music in Korea. 1960. Ford Foundation Foreign Area Fellow for pre doctoral research on Japanese Imperial Court music in Japan. 1958-1960. Private study of Okinawan Koto music. 1956-1958. Private Study of Japanese Koto music. 1954-1956. Performing member of the Harry Partch Gate 5 Ensemble, Sausalito, California. 1953-1955. Performing Jazz musician in San Francisco Bay Area. 1950-1956. Professional Activities Production, Reparation and providing of recordings and commentary for Music of the Planet Earth, for NAXOS records of Hong Kong, as part of the project Music for Kids 2012 Sponsored by the United States Department of State, a lecture tour of universities in Turkey. Ottoman Turkish Influences of the Music of Western Europe. Lectures at Istanbul Technical University, Gaziantep University, Selcuk University, Dilek Sabanci State Conservatory, Konya and at Cukurova University, Adana. October 2010 Consultant advisor and curator of exhibits to the new Museum of Musical Instruments to open in March 2010, in Phoenix, Arizona.

Collecting instruments in Puerto Rico, September 2008, Curating and collecting instruments in Japan, May, June and July, 2009

Collecting and curating instruments in Korea, June 2009. Providing of my research films and photographs for the exhibits Order of the Rising Sun (Gold Rays with Neck Ribbon) May 2005. Awarded by the Foreign Ministry of Japan, Audience with the Emperor of Japan. Editorial Board of Structure and Dynamics: eJournal of Anthropological and Related Sciences. 2005-2007 Member of planning committee for IFIP(International Federation of Information Processing) 1999 WG3.2 and WG3.6 international conference.

UCI Committee on Instructional Development 1997 Award for best use of Educational Technology on the Internet White House appointment to National Council on the Arts. 1987 to 1996 Smithsonian Institution Council. 1988 to 1993. Director of Chicano Latino Studies Program. UCI. 1997 - 2000 Editorial Board Ethnomusicology Online -Internet Multimedia Digest. 1994- Editorial Board, Ethnomusicology Research Digest. E-Mail research publication of Society for Ethnomusicology. 1987-present Advisory Committee to the President on the awarding of the Nationals Medals of Art. Administered through the National Council on the Arts. 1987 - 1996. Advisory Committee on the Los Angeles Masterplan for the Arts, at the Mayor's invitation. 1990. Vice-President for Education, Orange County Philharmonic Society. 1990. National Endowment for the Arts, Congressionally mandated Arts In Education Advisory Committe. 1989-1993. Celebrate Creative America, 25th Aniversary Comittee of the National Endowment of the Arts. 1989. Western Association of Schools and Colleges. Accrediting Team Evaluator. 1988-1991. Editorial Board, Inside Arts, (formerly Inside Performance) magazine of the Association of Performing Arts Presenters, Washington DC. 1990 -.1995 Member of the Board, Orange County Philharmonic Society. 1987- 1991. Co-chairman, Folk Arts Advisory Panel, California Council for the Arts. From 1985 - 1990. Advisory Board. Kulingtan Arts Center. Study of Philippine Muslim Culture. Reseda, California. National President, Society for Ethnomusicology. 1985-1987. English as a Second Language Committee. University Park Elementary School. Irvine 1989-91. Member of Planning Committee for Orange County visit of Takigi Noh troupe. Co Sponsored by Boston Company. September 1989. President, Orange County Arts Alliance. 1986-1988. Member of the Committee on the Status of Minorities in the Profession, College Music Society. 1987-89. Board of Directors, Irvine City Theater Operating Company. (now Irvine Barclay Theater) 1986 -1987. External Review of the Fine Arts at the University of Colorado Denver February 1988

Member of Task Force on the Preparation of College Music Teachers and the Quality of Music Teaching in Higher Education. Denver, Colorado. College Music Society. September 1987. Chair of Extramural Review Committee of the Arts at the University of California Riverside. June 1987 California Council for the Arts. Music Organizations review Panel. July 28 - August 1. 1986 Member Advisory Board. Hispanic Playwriter's Project. South Coast Repertory Theater. 1986-1988. Chairman, Advisory Committee. Los Angeles Folk Arts Program. City of Los Angeles Cultural Affairs Division. 1985 -1988. Folk Arts Advisory Panel - New York State Council on the Arts. 1985. National Endowment for the Arts, Challenge Grant Panel, 1985-1986. Social and Public Arts Resource Center, Venice, California. Board of Directors. 1984 - 1985. Orange County Arts Alliance Board of Directors. 1984 -1988 Chairman of the Current Issues Committee of the Society for Ethnomusicology. Appointed October, 1981 to 1985. Member of the Advisory Committee for the proposed National Center on Hispanic Policy Studies (Tomas Rivera Center). Held at Maricopa Community Colleges, Phoenix, Arizona. 1982. Member of the Board of Trustees, Psychoanalytical Association of Seattle. 1981-1982. Member Folk Arts Advisory Panel, National Endowment for the Arts. 1980-1983. Chairman of the Panel for 1983. Invited Participant to the Hispanic-American Foreign Policy Briefing. Hosted by Secretary of State Cyrus Vance, Washington D.C. October 28, 1979. Sent by the American Society for Eastern Arts to arrange for the United States tour of the Korean Court Orchestra under the auspices of the National Classical Music Institute, Seoul, Korea. 1970. Attachee to the Board of Ceremonies of the Japanese Imperial Household Agency to accompany the Japanese Imperial Court Musicians as translator on their concert tour of the United States, May and June 1959.

Publications. Books 2004 B-4 Music: The Cultural Context. Senri Ethnological Reports. 47.National Museum of Ethnography. Osaka 2004 250pp. 1976 B-3 Music of a Thousand Autumns, The Togaku style of Japanese Court Music: an analysis of Theory in Practice. Berkeley: University of California Press, 1976. 314 pp. 1975 B-2 Spanish American Music and Its Roots. With Alice D. Firgau. Junior High School Music Text. Includes recordings. Silver Burdett, 1975. 32 pp. 1959 B-1 Gagaku, The Music and Dances of the Japanese Imperial Household. Program booklet. (For United States Tour of the Japanese Court Musicians). New York: Theatre Arts, 1959. 33 pp. Refereed Articles 2011 44. “Introduction to Reflections on the Formation of an Ethnomusicologist”, in in Encountering Music and Musicians: Essays in Honor of Robert Garfias. Timothy Rice, Editor. Ashgate: 2011 45. ”Summary Reaction to the Articles” in Encountering Music and Musicians: Essays in Honor of Robert Garfias. Timothy Rice, Editor (in preparation) 2010 43. Respondent to Ian Hancock, Svanibor Pettan and Ito Nobuhiro at Joint Meeting of Research Symposium ユーラシア遊牧社会の歴史と現在, at Rekihaku, Sakura, Japan. March 29, 2009. ユーラシアと日本、パフォマンセと文化。2010。 2007 42. ”Studying Cultural Change through Music” in ユーラシアと日本の交流に関する総合的研究 (Comprehensive Study concerning cultural flow of /between Japan and Eurasia) of 人間文化研究機構連携研究シンポジウム. The symposium on Human Culture research organization cooperation conference. 44-52, 67-72. Symposium Publication Project.

41. “Commentary on Presentations,” in Authenticity and Cultural Identity: Performing Arts in Southeast Asia. Yoshitaka Terada, Editor. Senri Ethnological Reports. 65.National Museum of Ethnography. Osaka 2004. 175-178. 2006 40. “ Comparison of Funding and Attendance at Major Concert Halls in Japan, Los Angeles and Orange County.” Presented at a Conference on International Concert Hall Music and Architecture. The School of Architecture, Paris France. October 19, 2006 (in Press) 39. “Traditional Teaching against Standardization and Modernity” in ASEAN Conference on The Role of Traditional Arts in Asia.(2003) Proceedings of the Conference. In press. 2003 37. “Exhibiting Music in Museums,” Anthropology Newsletter Minpaku, National Museum of Ethnology Osaka no. 17, Dec 2003. pp..9-11. 1999 38. Latino Music, Its Strength and Diversity (in Japanese) Research Journal of the National Museum of Ethnology, Senri, Japan 1999. 1997 36. V.A.Lefebvre and R.Garfias. "Garbuzov zones and fuzzy musical structures", Proceedings. 7th IFSA World Congress (Prague, June 25-29, 1997), Academia, Prague 1997, vol.IV., pp. 331--333. 1995 35. The Burmese Piano Music of U Ko Ko, Ethnomusicology Online. World Wide Web Multimedia Journal for Ethnomusicology (Refereed journal) Vol.1 No. 1.October 1995. 1994 34. "The Okinawan Kunkunshi Notation System and its role in an the dissemination of the Shuri Court Music Tradition". Asian Music. XXV,1-2 (1993/1994) 115-144. 1990 33. "Cultural Diversity in the Arts in America", in Public Money and the Muse. Essays on Government Funding for the Arts. Stephen Benedict, Ed. The American Assembly, Columbia University. New York: Norton. 32. "A New View of Javanese Pelog", a report on recent reseach in collaboration with Vladimir Lefebvre on a new system of mathematical analysis of Javanese scales. in Ethnomusicology Research Digest. Ethno Forum E-Mail Review. No. 28 November 26, 1990. 2pp.

31. "Thoughts on the Process of Language and Music Acquisition," Music and Child Development: Proceedings of the 1987 Biology of Music Making Conference. Wilson, F., Roehmann, F., eds. MMB Music Inc., St. Louis, 1989 1987 30. "Die Rolle der Traume und Geisterbesessenhiet in der Mbira Dza Vadzimu-Musik der Shona von Zimbabwe." Musikkulturen In Afrika. Ed. Erich Stockmann. Berlin: Verlag Neue Musik, 1987. 221-245. 1985 29. "The Development of the Modern Burmese Hsaing Ensemble", ASIAN MUSIC. XVI-1 (1985) 1-28. 28. "Music: Thinking Globally, Acting Locally", Becoming Human Through Music. The Wesleyan Symposium on the Perspectives of Social Anthropology in the Teaching and Learning of Music. Music Educator's National Conference. 1985. 23-28. 27. "Social Context as a Determinant of Style and Structure in Asian Dance," CORD. Journal of the Committee for Research on Dance. 1985. Vol. II, pp. 49-52. 26. "Zur historischen Erforschung der Musik in Burma," Beitrage zur Musikwissenschaft. 2/1985, 130-137. With photographs. 1984 25. “Kasuga Taisha no Bugaku ni tsuite”, Gagakukai. 59/1984, 182-185. 24. "The Changing Nature of Musical Change", College Music Symposium. XXIV,1(Spring,1984) 1-10. 23. "Dance Among the Urban Gypsies of Romania," Yearbook for Traditional Music. 16(1984) 84-96. 1983 22. "The Marimba of Mexico and Central America", Latin American Music Review. Vol. 4 No. 2 (1983) 203-227. 21. "La Marimba en Centroamerica y Mexico," Sabiduria Popular. Memorias de la Primera Mesa Redonda de Folklore y Etnomusicologia, Colegio de Michoacan. A. C. Mexico. Ed. Arturo Chamorro. July 1983. pp. 188-209. 20. "Music in the United States: a Community of Cultures," Music Educators Journal. Vol. 69, No. 9 (May 1983) pp. 30-31. 19. "Music of Burma," Dizionario Enciclopedico Universale. Torino, Italy. 1983. 18. "Gagaku," Encyclopedia of Japan. Tokyo: Kodansha, 1983.

17. "Gigaku," Encyclopedia of Japan. Tokyo: Kodansha, 1983. 1982 16. "Looking to the Future of World Music," Keynote address of the Symposium on the Future of World Music. Held at Wesleyan University, April 1982. Asian Music. Vol. XIV - 1(1982) pp. 1-8. 1981 15. "Survivals of Turkish Classical Forms in Romanian Muzica Lautareasca," Yearbook for Traditional Music. 13(1981) p.97- 107. 14. "Speech and Melodic Contour Interdependence in Burmese Music," College Music Symposium. V, 21:1 (Spring, 1981) pp. 33-39. 1980 13. "The Role of Dreams and Spirit Possession in the Mbira Dza Vadzimu Music of Zimbabwe," Journal of Altered States of Conciousness, Vol. 5, No. 3 (1980) pp. 211-234. 12. "Burma," New Grove's Dictionary of Music and Musicians. III, 1980. 11. "Japan: Gagaku," New Grove's Dictionary of Music and Musicians. IX, 1980. 1979 10. "The Venezuelan Harp," Folk Harp Journal. Vol. 24 (March 1979) 13-24. 1975 9. "Preliminary Thoughts on Burmese Modes," Asian Music. VIII, (I) (1975) pp. 39-49. 1974 8. "Koto Ornamentation Technique in 11th Century Japanese Gagaku," Studia Instrumentorum Musicae Popularis III, pp. 44-50. Edited by Gustav Hillestrom. Stockholm: Musikhistoriska Museet. 7. "Some Principles of Formal Variation in the Kolintang Music of the Maranao," Ethnomusicology, Vol. XVIII, No.1 (1974) 43-55. 1972 6. "Kyuchu no Mikagura," Part II, Gagaku-Kai, Vol. 50 (1972) (Japanese) 1969 5. "Kyuchu no Mikagura," Part I, Gagaku-Kai, Vol. 49 (1969) 17-31. (Japanese) 1965 4. "The Sacred Mi-Kagura Ritual of the Japanese Court," Selected Reports, Institute of

Ethnomusicology, UCLA. Vol. 1, No. 2,(1965) 149-178. 3. "Asian Music," Encyclopedia Americana. "Asia," Section 13, Vol. 2, 400B-400E. 1964 2. "Symposium on Transcription and Analysis: A Hukwe Song with Musical Bow, Transcription I," Ethnomusicology, Vol. VIII, No.3 (September, 1964) 233-241. 1960 1 "Gradual Modifications of the Gagaku Tradition," Ethnomusicology, Vol. IV, No. 1 (January, 1960) 16-19. Documentary Films for the National Museum of Ethnology, Japan. 2013 Original field research, editing and narration by Robert Garfias.

1. The Dolzaina in the Cultural Life of Valencia, Spain. 2. Guitars of Portugal 3. Guitars of Puerto Rico 4. La Dolzaina en el ambiente de Valencia

Teaching Materials published on the Internet

W-9 Anthro 138M Music as Expressive Culture http://aris.ss.uci.edu/rgarfias/courses/musexprs/index.html W-8 Anthro 138P Music of Asia http://aris.ss.uci.edu/rgarfias/courses/asian/index.html W-7 Anthro 138R Global Popular Music http://aris.ss.uci.edu/rgarfias/courses/globpop/index.html W-6 Anthro 139 Music of Indonesia, Malaysia and the Philippines http://aris.ss.uci.edu/rgarfias/courses/philindo/index.html W-5 Anthro 139 Music of Japan and the Ryukyus http://aris.ss.uci.edu/rgarfias/courses/japan/index.html W-4 Anthro 139 Africa and Afro American Music http://aris.ss.uci.edu/rgarfias/courses/afro/africa.html W-3 Anthro 138Q Latino Music http://aris.ss.uci.edu/rgarfias/courses/latino/index.html W-2 Anthro 138S Music of Greater Mexico http://aris.ss.uci.edu/rgarfias/courses/mexico/index.html W-1 Anthro 138 O Music and Society in the Ottoman Empire http://aris.ss.uci.edu/rgarfias/courses/ottoman/index.html

Other Original Research Material Published on the Internet W-22. On the Origins of Japanese Court Music (10 linked pages) http://aris.ss.uci.edu/rgarfias/gagaku/gagaku.html

W-21. The 16th Century Judentanz of Hans Neusidler http://aris.ss.uci.edu/rgarfias/jtanz/jtanz.html

W-20. The Romanian Doina (6 linked pages) http://aris.ss.uci.edu/rgarfias/kiosk/doina/index.html W-19. The Bamboo Origins of Far Eastern Zithers http://aris.ss.uci.edu/rgarfias/kiosk/doina/index.html W-18. The Asian Free Reed as a Source of the European Harmonica and Accordion http://aris.ss.uci.edu/rgarfias/courses/asian/freereed.html W-17. The Use of MIDI in Ethnomusicological Reasearch

http://aris.ss.uci.edu/rgarfias/kiosk/midi.html

W-16. Notes to recordings of Korean Sanjo music http://aris.ss.uci.edu/rgarfias/kiosk/sanjo.html

W-15. Slovakian and Moravian String Orchestras http://aris.ss.uci.edu/rgarfias/kiosk/slovak.html W-14. Venezuelan Harp Music of Juan Vicente Torreabla http://aris.ss.uci.edu/rgarfias/kiosk/jvtorrealba.html W-13.A selection of Roma or Gypsy Music http://aris.ss.uci.edu/rgarfias/roma/index.html W-12. The music of the Romanian Gypsy Singer, Romica Puceanu

http://aris.ss.uci.edu/rgarfias/kiosk/romica.html

W-11. Romanian Regional Folk music and Gypsy Music http://aris.ss.uci.edu/rgarfias/kiosk/romania.html W-10. Okinawa music

http://aris.ss.uci.edu/rgarfias/kiosk/okinawa.html Photographic Documentary Material on the Internet

W-26. Japan 2003 and 1999 http://itc.uci.edu/~rgarfias/japan-2003/ http://aris.ss.uci.edu/rgarfias/japan99/

W-25. Burma 1999 http://aris.ss.uci.edu/rgarfias/japan99/burma99.html W-24. Hong Kong 1964 and 1966 http://aris.ss.uci.edu/rgarfias/hong-kong/index.html W-23. Poland 1981 http://aris.ss.uci.edu/rgarfias/poland-1981/index.html

General publications and Articles 2002

P-25 Music for Elementary Teachers. A series of 9 Cds with extensive Annotations, drawing from all the world’s music. With John Steinmetz. Naxos Records. In press. 1992 P-24 Shokichi Kina. Asia Classics 2. Record Notes. Luaka Bop (David Byrne) CD. 1990 P-23 'Osmanli Imparatorlugu'nun sanati, musikisi büyük bir uygarligin doruk naktasi..' Interview by Bülent Aksoy. ARGOS. (Istanbul) No. 28 (December 1990) 58-61. P-22 "The Culture and Arts of Japan." The Japanese Treasure Chest. The Historical and Cultural Foundation of Orange County. A multicultural enrichment supplement for the Orange County Public schools. P-21 "The Culture and Arts of Mexico." The Mexican Treasure Chest. The Historical and Cultural Foundation of Orange County. A multicultural enrichment supplement for the Orange County Public schools. 1989 P-20 'The Role of Faculty in Developing Minority Scholars: Incentives and Rewards', Reponse to topic presented by J. Herman Blake. In The Role of the Faculty in Meeting the National Need for African American, American Indian and Latino Scholars. Report of the Stony Brook Conference I. Myrna C. Adams and Elizabeth Wadsworth, Editors. The Graduate School, State University of New York at Stony Brook. 83-85 P-19 "Arts Administration: A Need for Cultural Diversity." L. A. Folk Arts, Vol. 3, No. 4, (Winter 1989) P-18 "What Do We Mean by "Cultural Diversity"? Commentary in INSIDE PERFORMANCE, Vol 1, No. 2, September 1989. 25-28. 1988 P- 17 "Okinawa Koten Ongaku wo aisuru hito-bito e no mesaji" (A message to the Musicians of Okinawa). Four essays published in the RYUKYU SHIMPO, Daily Newspaper in Naha, Okinawa. I, July 29; II, July 30; III, July 31; August 1. 1987 P-16 "My Turn", Monthly editorial column in the Newport Ensign, also published in the Irvine World News and the Costa Mesa Herald. From May-September 1987 . 1986 P-15 "Tribute to a Dear Friend", A Memorial Tribute to Balasaraswati, Balasaraswati School of Music & Dance. 1986. P. 16. 1985 P-14 "Dance and the Dance Theater of Burma," International Encyclopedia of Dance.

1982 P-13 "Hispanics in Music in Higher Education," Racial and Ethnic Directions In American Music. Report of the College Music Society Committee on the Status of Minorities in the Profession. Chairman, T. J. Anderson. CMS Report No. 3,(1982) pp. 32-37. 1981 P-12 "Modernization for Intercultural Relations," Keynote address for 1981 annual Fulbright Alumni Conference, Berkeley, California. in Assessment and Innovation, Communications. 1, Ed. J. Paul Ferlazzo. Fulbright Alumni Association. 1981 P-11 "Report on visit to People's Republic of China" Gagaku Kai. 56 (1981) pp. 40-43. (In Japanese) 1980 P-10 "Education in China," U.S. People's Friendship Association Newsletter, Seattle Chapter. July 1980. 1979 P-9 Burmese Hsaing and Anyein. Monographs on Asian Music, Dance and Theater in Asia, Volume VI. 1975 P- 8 "A Musical Visit to Burma," The World of Music. UNESCO Volume 18, No. 1 (1975) 3-13. P-7 Burmese Music and Dance. Monographs on Asian Music, Dance and Theater in Asia. Vol. II. 1967 P-6 "Various Levels of Traditional Music." Creating A Wider Interest In Traditional Music. Proceedings of a Conference held in Berlin in Cooperation with the Intenational Music Council. June 12 to 17 1967. International Institute for Comparative Music Studies and Documentation. Berlin. (with discussion) pp. 55-70 1965 P-5 Traditional Music and the Value of Education. Music East and West. Indian Council for Cultural Relations. New Delhi: Bhatkal. pp.137-142. 1960 P-4 "Gagaku: Subdivisions of the Repertoire," Festival of Oriental Music and the Related Arts. Los Angeles: University of California, 1960. pp. 24-32. P-3 Color Slides of Gagaku. Tokyo: Kokusai Bunka Shinkokai, 1960. Accompanying text 17 pp. P-2 "Japanese Court Music: A Contemporary View," Today's Japan. Vol. 5, No. 6 (June, 1960) 7-10.

1959 P-1 "Gagaku Shiken," (Personal views of Gagaku) Kokusai Bunka, 58 (March 20, 1959) 5-6. (In Japanese). Theses and Dissertations 1989 T-5 Report "Cultural Diversity and the Arts in America" prepared for the NEA Special Task Force on Performing and Touring. September.1989 T-4 "Cultural Diversity and the Arts in America". A report prepared for the Special Task Force on Performance under sponsored by the National Endowment for the Arts and the Rockfeller Foundation. 19pp. 1987 T- 3 "The State of the Folk Arts in America Today" Submitted to the National Endowment for the Arts, Washington, D. C. as a part of a comprehensive view of the arts in America in 1987. 1964 T- 2 The Togaku Compositions of the Gagaku Repertoire. (Doctoral Dissertation, University of California, Los Angeles) 1964. 2 Vols. 1958 T- 1 The Basic Melody of the Togaku Pieces of the Gagaku Repertoire. (Master's Thesis, University of California, Los Angeles), 1958, 2 Vols. Ann Arbor: University Microfilms. Reviews 2003 R-14 Mahagita: Harp and Vocal Music of Burma. Smithsonian Folkways Recordings. In Society for Ethnomusicology Journal 1995 R-16 World Beat. Medio Inc CD-ROM. EM/hm World Wide Web Multimedia Journal of Ethnomusicology. Vol. 1, No. 1 1993 R-15 World Music and Public Policy. Institute for Traditional Music and Documentation. Berlin. Yearbook of International Council for Traditional Music. 1993 Volume. 1991 R-14 Review of La Musica Folklorica Nicaraguense de Masaya. Flying Fish Records. FF 474. Record review in The Journal of Latin American Music. 1990 R-13 Review of JVC Video Anthology of World Music and Dance; South East East. In

Ethnomusicology Research Digest. Ethno Forum E-Mail Review. No. 28 November 26, 1990. 4pp. 1987 R-12 Katalin Kavalscik. Szlovakiai Olahcigany Nepdalok. Vlach Gypsy Folk Songs In Slovakia. Europai cigany nepzene I. Gypsy Folk Music of Europe I. Budapest: Magyar Tudomanyos Akademia Zenetudomanyi Intezet, Institute for Musicology of the Hungarian Academy for Sciences, 1985. 181 pp. Gypsy Lore Society Newsletter, Vol. 10, No. 4 Autumn 1987. 1986 R-11 Constantin Brailoiu. Collection universelle de Musique Populaire Enregistree/World Collection of Recorded Folk Music. (1951-58). Re-edition of recordings made between 1913 and 1953. Produced by Laurent Aubert and edited by Jean-Jacques Nattiez. Six 33 1/3 rpm discs. 1984. Disques VDE-Gallo 30-425/430 (AIMP I-VI) Mono/Stereo. Descriptive pamphlet in French and English, 36 p., with essays by Ernest Ansermet, Jean-Jacques Nattiez, and Laurent Aubert, photos, biblio. Ethnomusicology, Vol 31 Number 2, Spring/Summer 1987. 333-339. 1981 R-10 "Hungary no Gypsy no Ongaku - Gypsy no Kasei", (Hungarian Gypsy Music - Gypsy Songs) Rudolph Vig, Gypsy Lore Society Newsletter, 1981. 1980 R-9 Tiberiu Alexandru. Folcloristica, Organologie, Muzicologie; Tiberiu Alexandru. Muzica Populara Romineasca; Dumitru Bughici. Dictionar de Forme si Genuri Muzicale; Emilia Comisel. Folclor Muzical. in Ethnomusicology, Vol. XXIV, No.1(January 1980) 105- 109. R-9 Balint Sarosi. Gypsy Music. in Gypsy Lore Society Newsletter, Vol. 3, No. 3, Summer 1980. 1979 R-8 J. I. Crump and William P. Malm, eds. Chinese and Japanese Music Dramas. in Ethnomusicology, Vol. XXIII, No. 3 (1979) 460-461. 1977 R-7 Juan S. Garrido. Historia de la Musica Popular en Mexico(1896- 1973). in Ethnomusicology, Vol. XXI No. 3, (September 1977) 500. 1973 R-6 Record Review. Everest: Eighteenth Century Traditional Music of Japan. Music of the Edo Period. Oshida:Gagaku. Levy: Korean Social and Folk Music. Lewiston: P'ansori; Korea's Epic Vocal Art and Instrumental Music. in Ethnomusicology, Vol. XVII, No. 2, (May 1973) 368-372. R-5 Record Review. Strachwitz Music of the Edo Period. Oshida:Gagaku. Levy: Korean Social and Folk Music. Lewiston: P'ansori; Korea's Epic Vocal Art and Instrumental Music. in Ethnomusicology, Vol. XVII, No. 2, (May 1973) 368-372.

R-4 Record Review. Strachwitz: Lousiana Cajun Music. Russell: New Orleans Ragtime. Ethnomusicology, Vol. XVII, No. 1 (January 1973) 142-143. 1972 R-3 Record Review. African Rhythm and American Jazz. in Ethnomusicology, Vol. XVI, No. 3 (September 1973) 558-560. R-2 Book Review. Gerhard Kubik. Musica Tradicional e Aculturado dos Kung! de Angola. and Kubik. Natureza e Estructura de Escalas Musicais Africanas. in African Music, Vol. 5, No. 2 (1972) 117-118. 1962 R-1 Yong-sang Hoe-sang, A Korean Court Music. in Ethnomusicology, Vol. VI, No. 1 (January 1962) 45-47.

Public Addresses and Conference Presentations. B. PROFESSIONAL ACTIVITY Keynote addresses and Invited Presentations at Professional Conferences 2009 “Kabuki, Backstage to the Hanamichi” Master of Ceremonies and translator for on stage presentation at the Japanese Cultural and Community Center, Los Angeles, California, October 15, 2009 “Noh: Pathos Behind the Mask” Master of Ceremonies and translator for on stage presentation at the Japanese Cultural and Community Center, Los Angeles, California. February 5, 2009 “The Roma Musical World in Romania”, at International Conference on Roma Music, Osaka University, Nakanoshima Campus, March 26, 2009.

2008 “Diffused and Scattered Light” Charles Seeger Lecture. Given at annual meeting for the Society for Ethnomusicology. Wesleyan University November 2008. 2005 Japanese Culture seen from within and without. S and S Lecture Series, Tustin California. August "Latino Music: Its Strength, Diversity and DIffusion." Duke University. Part of Hispanic Culture Month Celebrations. September15. Keynote Address. “Foresight or Fortuity: The Beginnings of Ethnomusicology at the University of Washington”, At 40 Years of Ethnomusicology at the University of Washington, Seattle. April 2003 Keytnote address: El Desarollo de musica en su contexto cultural, CENIDIM, Mexico City 2001 The Challenge of Research and the New Technology. Keynote address for 10th International Conference on Korean Studies. The Academy of Korean Studies. 1998 Keynote address: Listening Across Cultural Borders. for Annual meeting of Chamber Music America, New York City. 1998 Music in Another’s Chamber. Keynote Speaker for Annual Meeting of Chamber Music America. San Francisco. January 9 1995 Nathan Cummings Foundation, NYC. Address on funding priorities to Board of Directors, October 13, 1994. Keynote Speaker. "Reaching New Audiences" Chicago Museum of Modern Art. November. 1994

"The Strength of California's Ethnic and Folk Traditions." Keynote speaker at Frenso Arts festival. April, 1991. 'Climbing Over the Fence to Reach Art". Keynote speaker. Texas Association of Museums. April, 1991. Reaching New Audiences". Plenary Session speaker. Annual meeting of Opera America (National Organization of American Opera Companies) Washington DC. January 28,1990. The Changing Nature of the Arts and the Recognition of Cultural Diversity in tile US." Annual Peter Gran Swing Lecturer at Swarthmore College. September 27,1990. "The World's Music: Beauty, Babel or Biology." Leonard and Louise Jones Lecture. Sponsored by the Newport Harbor Art Museum and the Orange County Philharmonic Society. October 28,1987 Keynote address at National Association of Local Arts Agencies annual meeting. June. Miami 1987 'Seeing the Mountain from the Other Side.' Keynote speaker: Annual conference, theatre Communications group. Smith College. June 1993. "Escher's Loop: New ways of looking at what we do." Keynote Address. Annual Conference of Grantmakers in The Arts. Phoenix, Arizona. October, 1992. "The Role of Culture in the Life of the Pacific Rim.' and "The Musical Traditions of Mexico.' Keynote Speaker. Willamette University, Oregon. Pan Pacific Cultural Festival and Conference. March, 1992. "Whose Interests Do We Really Serve?" Keynote Speaker. Annual Conference: International Association of Performing Arts Presenters. NYC December, 1991. "Reaching New Audiences". Invited panel member at annual conference of the American Museum Directors Alliance. Honolulu, February, 1991 . "The Kronos Syndrome". Keynote speaker at the Bi-annual Converence of the Arts Organizations of the State of New Mexico. Albuquerque, New Mexico. January 1991. "Reaching New Audiences". Keynote speaker. Annual meeting of Opera America (National Organization of American Opera Companies) Washington DC. January 28,1990. "The Party and the Guests". Keynote address at the annual meeting of the arts organizations of Arizona and New Mexico, Scottsdale, Arizona March 16,1990. Invited Presentations at Professional Meetings “Challenges of Changing Traditions”, Asian Pacific Society for Ethnomusicology, Phnom Penh, Cambodia. August. 2004 The Presentation of Music in Museums, Research Division of the National Museum of Ethnology,

Senri, Japan Oct 2003 The Structure of Music in the Ottoman Empire (In Japanese) Kansai Section of Toyo Ongaku

Gakkai 1999

The use of Computer Technology in Ethnomusicological Research. Japanese National Museum

of Ethnology. Senri, Japan 1999 Visiting Scholar in residence. University of Alabama at Tuskaloosa. April 15-19. 1991. "The Okinawan Kunkunshi Notation System and its role in an the dissemination of the Shun Court Music Tradition". Association of Asian Studies. Washington D.C. March 1989 "Thoughts on the Process of Language and Music Acquisition," Paper given at the BIOLOGY OF MUSIC MAKING Conference, Denver, July 5,1987. "Okinawan Music Research" University of California Symposium on Ethnomusicology. UC Santa Barbara. May 17. 1986 Keynote Address "The Crisis in Education: The Culturally Pluralist View" Music Education National Conference. 1986 National Meeting. Anaheim, California April, 10. 1986 "The Development of the Romanian Urban Gypsy Song Form from its Probable Origins in the Folk Doina". presented at the annual meeting of the Middle East Studies Association. San Francisco. December. 1984 "Music: Thinking Globally, Acting Locally", Presented at symposium, "A Focus on Multicultural Perspectives in Music." Held by the Music Educator's National Conference at Wesleyan University, August 6 - 10. 1984 National Colloquium of the International Council on Traditional Music on History and Oral Tradition held at Wiepersdorf, German Democratic Republic. April 17-23. 1984 Plenary Session Address "Music in the Arts of Asia" at International Conference for Foreign Student Affairs. Seattle. May. 1982 Keynote Address "The Future of World Music" at the World Music Colloquium of the Sesquecentenial of Wesleyan University, Middletown, Connecticut. April. 1982 Other Public Presentations and Professional Activities Senior Editor E-Journal. Structure and Dynamics. E-Journal of Anthropological Sciences. 2004- “The Status of Ethnomusicology in the UC System,” Riverside meeting of the Southern California Chapter of the Society for Ethnomusicology 2001 "Mozart and his World". Public lecture as part of the Mozart Celebration 1991. Sponsored by the Orange County Philharmonic Society and the Newport Harbor Public Library. February 1991. Concert Preview for the USSR State Symphony Orchestra. Sponsored by the Orange County Philharmonic Society. February. 1991. Concert Preview for the Chieftans at the Orange County Performing Arts Center. Orange County Philharmonic Society. November. 1991. Performer with Okinawan Ensemble in the Los Angeles Festival. September 7,1990. " "The Need for Reassesment Effort at Cultural Diversity within the Smithsonian Institution" Presentation as member of the Smithsonian Council. October 13,1990.

Concert Preview at Seegerstrom Hall Proceeding Shanghai Symphony performance. October 31,1990. "El Desarollo de la tradition musical Europea en el ambiente Latino-Americano." Lecture in Spanish given for the Hernandad Mexicana in Cooperation with the Orange county Philharmonic Society. April 19,1990. Our Voice in the Changing Demographic Pattern and Our Role in the Arts." Callaloo Conference. Cultural Affairs Department of the City of San Diego. December 2,1989. The Lack of Cultural Diversity in the Arts in America and How it Affects the National Interests. Summit Meeting on the Arts. Kennedy Center for the Performing Arts, Education Department. November 11,1989. "Cultural Diversity Based on Cultural Grounding: Framework for Equity and Empowerment". Presenter for International Conference sponsored in part by the Caribbean Cultural Center. New York. November 1989. The Noh Drama in the Context of Japanese Culture. Public lecture Westin South Coast Plaza. Sponsored by the Takigi Noh planning committee. September 26,1989. The Importance of the International Perspective in the Growth in Orange County. Public Address for the Orange County Office of Protocol. July 18,1989. Presenter for Okinawan Contingent of Hawaii State entourage of the 1989 Smithsonian Institution Folklife Festival on the Mall, Washington D.C., June 28-July 4,1989. Weekly radio programs on music. KUCI. Summer 1989. Special Task Force on the Multicultural Dimension of American Life and What Our Institutions are Doing About it. Sponsored by the National Public Radio. Washington D.C. July 29-30 1989 Plenary Session Speaker. Common Wealth in Education.Third Annual Conference. Norfolk Academy, Virginia. 1988. "The Task of Finding Incentives for the Retention of Minorities in Institutins of Higher Education." SUNY Stony Brook Conference on the Role of Faculty in Meeting the Need for African American, American Indian and Latino Schoolars in Higher Education. November, 1987. "The Diversity of Cultures and their Role in the Arts of the Rural United States" National Meeting of Rural Arts Agencies, Portland, Oregon, June. Sponsored by the National Endowment of the Arts and the National Association of Rural Arts Agencies. 1987. Advisory Committee to the President of the United States on the awarding of the Nationals Medals of Art. 1986 -1996 Celebrate Creative America, 25th Adversary Committee of the National Endowment of the Arts. 1989. Council of the Smithsonian Institution 1987- 1993 National Council on the Arts 1986-1996 Chair, Folk Arts Panel, National Endowment for the Arts 1984-85 "Cultural Diversity Based on Cultural Grounding: Framework for Equity and Empowerment".

Presenter for International Conference sponsored in part by the Caribbean Cultural Center. New York. November 1989. The Noh Drama in the Context of Japanese Culture. Public lecture Westin South Coast Plaza. Sponsored by the Takigi Noh planning committee. September 26,1989. The Importance of the International Perspective in the Growth in Orange County. Public Address for the Orange County Office of Protocol. July 18,1989. Presenter for Okinawan Contingent of Hawaii State entourage of the 1989 Smithsonian Institution Folklife Festival on the Mall, Washington D.C., June 28-July 4,1989. "The Okinawan Kunkunshi Notation System and its role in an the dissemination of the Shun Court Music Tradition". Association of Asian Studies. Washington D.C. March 1989 Weekly radio programs on music. KUCI. Summer 1989. Special Task Force on the Multicultural Dimension of American Life and What Our Institutions are Doing About it. Sponsored by the National Public Radio. Washington D.C. July 29-30 1989 Plenary Session Speaker. Common Wealth in Education.Third Annual Conference. Norfolk Academy, Virginia. 1988. "The Task of Finding Incentives for the Retention of Minorities in Institutins of Higher Education." SUNY Stony Brook Conference on the Role of Faculty in Meeting the Need for African American, American Indian and Latino Schoolars in Higher Education. November, 1987. "Thoughts on the Process of Language and Music Acquisition," Paper given at the BIOLOGY OF MUSIC MAKING Conference, Denver, July 5,1987. "The Diversity of Cultures and their Role in the Arts of the Rural United States" National Meeting of Rural Arts Agencies, Portland, Oregon, June. Sponsored by the National Endowment of the Arts and the National Association of Rural Arts Agencies. 1987. Celebrate Creative America, 25th Adversary Committee of the National Endowment of the Arts. 1989. "The Context of Okinawan Koten Ongaku." Los Angeles Okinawa Club. Sponsored by Majikina Honryu Association. October 26. 1986 "The Role of Music in the Asian Pacific Cultural Sphere." Presented at Conference on the Asia-Pacific Culture: - Its History and Prospects. Tenri, Nara, Japan. December. 1984 Other public and Professional Presentations 1981 "The Uniqueness of Korean Performing Arts within the Asian Cultural Context" given at the Symposium on the Social and Historical Dimensions of the Performing Arts in Korea. Center for Korean Studies, University of Hawaii at Manoa. February. 1980 Special Colloquium of the International Council of Traditional Music. Held in Kolobrzeg, Poland.

June. Keynote Address at the Fulbright Alumni Association Third Annual International Convention, Berkeley, California. September. 1979 Keynote Address: "Community Radio as an Alternative in America Today" National conference of the National Federation of Community Broadcasters. Olympia, Washington. August. 1978 "The Contemporary Status of Musicians in Burma" presented at the 10th International Congress of Anthropological and Ethnological Sciences, New Delhi, India. December. "Relationships between the Musical Systems of Ancient India and Burma" Given at the Madras Music Academy Festival. Madras, India. December. "Social Structures as a Determinant of Style and Structure In Asian Dance" presented at the conference of the Committee on Research in Dance (CORD). Hawaii. August. 1975 "El Desarollo de la Musica en Latino-America" At the Museo de las Culturas, Instituto Nacional de Historia y Anthropologia. Mexico City. September. 1973 "A Cross Cultural View of Attitudes Toward Death Expressed in Music" Meeting of the Tacoma Public Schools Teachers. May. Resource person for students at Evergreen Community College and talk on the Music of Ancient Japan. May 24. Keynote Address: "Overturning the Golden Calf: Questioning Accepted Aesthetic Values in Music." Music Educators National Conference, Northwest Convention. Portland, Oregon. February. 1972 "Contrasting Criteria of Excellence, East and West" Given at the National Association of the Humanities Conference. Seattle. October. 1971 Afro-American Music in the United States. Public lecture given at the University of Rhodesia, Salisbury. August. 1967 Participant in conference of the International Music Council (UNESCO) and the Institute for Musicological Research and Documentation. Berlin, West Germany. September. 1964

"Traditional Music Facing Industrial Civilization" given at the East-West Music Conference. New Delhi, India. February. "Discrepancies Between Oral Tradition and Written Notation in Japanese Gagaku" National Meeting of the Association of Asian Studies. Washington, D. C. March. 1963 "Discrepancies Between Historical Evidence and Oral Tradition in Japanese Court Music" Conference on Ethnomusicology at the University of Washington. March. 1961 "Present Condition of Japanese Traditional Music" East-West Encounter. Tokyo. Public Service October 10-11, 2009 Acta grants panel California Folk Artists Apprenticeship Program Review panel March 2009 Philadelphia Music Project grants panel. (This is a grants review panel for all music programs in the greater Philadelphia area. November 10-12 2004 Acta grants panel California Folk Artists Apprenticeship Program Review panel March 5,6,7,2003 Philadelphia Music Project grants panel. (This is a grants review panel for all music programs in the greater Philadelphia area. I have been asked to serve on this panel, alternate years for about eight years now) October 12, 2005 Los Angeles Disney Hall public lecture with Frank Gehry, to introduce performance of Reigakusha Gagaku December 13-17 2004 Japanese Museum of ethnology music design group residence March 7, 8, 9.2005 Philadelphia Music Project grants panel July 27/05 Pennsylvania Arts Touring panel. (This is a review panel for all the Mid Atlantic states.) 09/15/05 Duke University Lecture on Latino music 11/6-7/05 Acta Grants panel California Folk Artists Apprenticeship Program Review panel

2/18/06 Bowers museum lecture “What music and the arts tell us about human societies”. 2/23/06 NY Carnegie Hall lecture. “Olivier Messaien’s use of Japanese Gagaku. “

Documentary Activities. Radio Began conducting radio programs dealing with various aspects of music, Western and non-Western, in 1954 at KPFA in Berkeley and in 1961 at KPFK in Los Angeles. Begining in 1963 started a weekly radio series at KRAB in Seattle which continued with brief periodic interruptions until 1980. These radio programs were rebroadcast over KBOO in Portland, KTAO in Los Gatos, KDNA in St. Louis, KCHU in Dallas, as well as over KPFA and KPFK. A large number of these programs are now distributed nationally to several community and educational radio stations through the auspicies of the National Federation of Community Broadcasters. Recordings and Films Recordings. 2008 DVDs of Interviews and Performances FR-50 Spain and Portugal 27 DVDs FR-49 Puerto Rico 6 DVDs Audio CDs FR-48 Mbira Reocrds: Njari FR-47 Mbira Records: Hakurotwi Mude FR-46 MuseumFire Records: The Nathamuni Brothers Band 2007 FR- 45 Smithsonian Folkways: Music of Afghanistan; Mohamed Omar FR 44 Nonesuch Records Reissues: Hamza El Din: Water Wheel. Escalay FR-43 Nonesuch Reissue : Music of the Shona of Zimbabwe FR-42 Nonesuch sampler (includes two of my recordings. FR- 41 Han Madang: Recordings of Korean court and folk music. 1971

Series editor for University of Washington Press Records. FR- 40 Mbira Music of Rhodesia. UWP-1001 FR- 39 Marimba Music of Tehuantepec. UWP-1002 Collector and annotator. Production and liner notes for: FR- 38 Escalay: The Ud Music of Nubia. Nonesuch Explorer 72041 FR- 37 Mbira Music of Rhodesia. Nonesuch Explorer 72043

In addition to these published recordings, numerous other recordings were made in connection with field research which are yet to be released to the general public. The tapes remain as the bulk of the collection of the University of Washington Ethnomusicology Archives. Country Year of Collection Number of Tapes Turkey 1990/1994 50 Romania 1977 66 Burma 1973-74 150 Mexico/Cen Amer. 1964,67,75 65 Zimbabwe and Mozambique

1971 52

Philippines 1966 90 Korea 1966 180 Japan to 1966 61 Currently all of these recordings are in the process of being digitized and are being made available on the Internet at http://itc.uci.edu/~rgarfias/kiosk/sound-film.html

Films Films released through the University of Washington Press and the University of Washington Ethnomusicology Archives. All films were filmed and edited by Robert Garfias as documentary research support material. 1982 FR- 36 Kilby Snow in Seattle(1970). Color, 20 minutes. FR- 35 Roscoe Holcomb in Seattle(1972). Color, 10 minutes. FR- 34 The Sea Island Singers in Seattle(1970). Color, 19 minutes FR- 33 Eubie Blake in Seattle (1970). Color, 21 minutes. FR- 32 Robert Pete Williams in Seattle(1970). Color, 19 minutes. FR- 31 Sonny Terry and Brownie MCGhee in Seattle(1970). Color, 22 min. FR- 30 Johnny Shines in Seattle(1970). Color, 20 minutes. FR- 29 John Lee Hooker in Seattle(1970). Color, 18 minutes. FR- 28 Mance Lipscomb in Seattle(1968). Color, 20 minutes. FR- 27 Furry Lewis in Seattle(1968). Color, 22 minutes. FR- 26 Jesse Fuller in Seattle(1968). Color, 13 minutes. 1972 FR- 25 Roots of American Music: Country and Urban Blues Part I. Color, 40 minutes Part II Color, 33 minutes Part III Color, 23 minutes 1969 (Release date) Films made in Korea 1966 FR-24 Three Dances from Cholla-do, Korea. Color, 23 minutes. FR- 23 Sanjo: Korean Improvisational Music. Black and White, 31 min. FR- 22 Salp'uri: Korean Improvisational Dance. B & W, 15 minutes FR- 21 Korean Folk Dances. Color, 25 minutes. FR- 20 Korean Vocal Music. Color, 14 minutes. FR-19 Pong San T'al Chum: Northern Korean Masked Drama. Color, 32 min. FR- 18 Yangju Sandae Nori: Masked Drama of Korea. Color, 33 min. FR- 17 Korean Court Music. Color, 15 minutes. FR- 16 Buddhist Dances of Korea. Color, 18 minutes. FR- 15 Five Korean Court Dances. Color, 33 minutes. Films made in the Philippines 1966 FR-14 Music and Dance of the Ibaloy Group of the Northern Philippines. Black and white, 12 minutes. FR- 13 Samal Dances from Taluksangay. Color, 12 minutes. FR- 12 Music and Dance from Mindanao, the Philippines. B & W, 23 min. FR- 11 Music and Dance of the Hill People of the Northern Philippines. Part I, Color, 29 minutes.

Part II,Black and white, 12 minutes. FR- 10 Music and Dance of the Bagobo and Manobo Peoples of Mindanao, the Philippines. Color, 12 minutes. FR-9 Music and Dance of the Sulu Islands, the Philippines. B & W,17mi. FR-8 Music and Dance of the Maranao People of Mindanao, The Philippines. Color, 21 Minutes. FR-7 Ilocano Music and Dance of the Northern Philippines. B&W, 20 mi. FR-6 Music and Dances of the Yakan People of Basilan Island, The Philippines. Color, 12 minutes. Other films released in 1969 FR-5 The Classical Music of North India. With Ali Akbar Khan. Color, 34 minutes. FR-4 Northwestern American Indian War Dance Contest. Color, 12 min. 1968 FR-3 Music and Dances of the Philippines and Korea. Color, 45 minutes. With the assistance of Harold Schultz. FR-2 Marimba Music of Mexico. Black and White, 8 minutes. FR-1 Maguindanao Kulingtan Ensembles from Mindanao, the Philippines. Color, 16 minutes. The above lists only completed films available for rental and purchase through the University of Washington. There are, in addition, 200 other films which, as yet, exist only on dual magnetic and film system and are not available for distribution. The complete list is available from the University of Washington Ethnomusicology Archives or from Robert Garfias. Currently all these films are in the process of being digitized and are being made available on the Internet at http://itc.uci.edu~rgarfias/kiosk/sound-film.html Films and Recordings published on the Internet IF-11 Turkey Necdet Yasar playing tanbur 1. Nihavent Taksim, Saz Semaisi by Mes'ud Cemil Sirto by Tanburi Cemil Bey realmedia 2. Taksim in Makam Zavil realmedia 3. Huzzam Taksim Saz Semsasi by Udi Nevres Bey realmedia 1973

IF- 10 Turkish Ottoman Classical music Ensemble Kanun: Cuneyd Kosal Vocal: Birgit Recep Ney: Kemence: Cuneyd Orhan Tanbur: Necdet Yasar 1. Hicaz Fasil- realmedia Kanun Taksim- Pesrev by Veli Dede Yuruk Semai by Haci Sadullah Aga Ney Taksim

Sarki by Rifat Bey Kemence Taksim Huzzam 2. Huzzam Fasil - realmedia Sarki of Selim III Tanbur taksim Sarki of Ismail Dede 3. Mevlud: Merhaba Bahri Sung by Kani Karaca realmedia 1972

IF-9 Afghanistan: Mohamed Omar plays the Afghan rabob 1.Rag: Bayag (odo sanpuran) realmedia 2. Char Baite Pashtu realmedia 3. "Qad bala sarwe rawan Laila" realmedia 1975 IF-8 Nubia, Sudan Hamza el Din plays the tar realmedia plays the Ud realmedia 1970 IF- 7 Mexico: Jarocho Music by Raul and Rene Rosas and Pepe Baradas (harp) El Siriquisi realmedia El Colas realmedia Coplas realmedia El Coco realmedia (and tuning the harp) El Cascabel realmedia 1970 IF-6 India: Ashish Khan (sarode) and Zakir Hussein (tabla) Alap realmedia Ghat in Rag Pilu realmedia Tabla solo in panchamsaveri (15 beats) realmedia

1970

IF-5 India: Zia Mohiuddin Dagar (bin) and Raja Chhatrapati Singh (pakawaj) Rudravina and Pakawaj Raga Suddhatodi, chautal (14 beats) realmedia Pakawaj solo in Brahma tal (14 beats) realmedia 1976

IF-4 Zia Mohiuddin Dagar Vina solo Jor, Jhala. Rag Suddha Todii realmedia 1975

IF-3 T. Brinda with T. Ranganathan: Kirtana. Merusamana (Thyagaraja) realmedia Kirtana ( Karur Devudu Ayyar) (long false start.) realmedia T. Ranganathan, Mridangam solo. Adi tala realmedia T, Brinda. Vina. Kirtana (Poniah Pillai) realmedia 1969 IF-2 China :Tao Chu-shen plays the kuqin: Buddhist chanting (puanzhou) Moon over Mountain Pass (sanguanyue) Geese Alighting on a Sandy Shore (ping sha luo yan) realmedia 1977 IF-1Tao Chu-shen plays the zheng:

The Fisherman's Evening Song realmedia High Mountain Flowing Waters(gao shan liu shui) realmedia1977 Accreditation and Academic Review Service Western Association of Schools and Colleges. Accrediting Team Evaluator. 1988 - 1991. Member of the Committee on the Status of Minorities in the Profession, College Music Society. 1987-89. Member of Task Force on the Preparation of College Music Teachers and the Quality of Music Teaching In Higher Education. Denver, Colorado. College Music Society. September 1987. Member Advisory Board. Hispanic Playwriter's Project. South Coast Repertory Theater. 1986- 1988. Chairman, Advisory Committee. Los Angeles Folk Arts Program. City of Los Angeles Cultural Affairs Division. 1985-1988. Accreditation service with WASC (Western Association of Schools and Colleges) Accreditation Review Team member. Review of Mills College for Western Association of Schools and Colleges. November 1991. Accreditation Review Team Member. Review of Woodbury College for Western Association of Schools and Colleges. February 1991. Accreditation Review Team member. 5th year review of Occidental College. For Western Association of Schools and Colleges. April 1990. Accreditation team member for Western Association of Schools and Colleges. Accreditation visit to California State University San Jose. 1989. Independent Review Service External Review of the Fine Arts at the University of Colorado Denver. February 1988. Chair of Extramural Review Committee of the Arts at the University of California, Riverside. June 1987.

Integrated Composition, Improvisation, and Technology (ICIT)

Documents

Transcript of Integrated Composition, Improvisation, and Technology (ICIT)