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EDUCATION AND PRINCIPAL TEACHERS |
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DMA—Composition, 2003 |
Boston University, Boston, Massachusetts
(Lukas Foss, Charles Fussell)
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MM—Composition, 1986 |
Northwestern University, Evanston, Illinois
(Alan Stout)
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BM—Composition/Horn Performance, 1983 |
DePaul University, Chicago, Illinois
(Raymond Wilding-White, Darleen Cowles-Mitchell)
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Boston University, College of Fine Arts—School of Music |
Boston, Massachusetts |
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Assistant Professor (2007–Present)
Full-Time Lecturer (2006–2007)
Adjunct Faculty (2004–2006) |
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• On-Campus Courses Taught
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MU601–Analytical Techniques for Tonal Music
MU401–Graduate Theory Review
MU302–Music Theory VI
MU301–Music Theory V
MU111–Elementary Music Theory I
MU102–Music Theory II
MU101–Music Theory I |
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• On-Line Courses Taught
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MU779–Orchestration
MU600–Analytical Techniques for Tonal Music
MU400–Graduate Theory Review |
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• On-Line Courses Developed
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MU779–Orchestration
MU400–Graduate Theory Review |
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Mary Pappert School of Music, Duquesne University |
Pittsburgh, Pennsylvania |
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Visiting Composer (Fall 2005) |
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• A series of three lectures presenting a number of recent compositions, |
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and discussion of the integration of midi realizations with live voice. |
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Massachusetts Institute of Technology |
Cambridge, Massachusetts |
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Adjunct Faculty (2002–2006) |
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• Keyboard/Theory Lab Instructor |
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Private Instruction (2002–2006) |
Boston, Massachusetts |
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• Music Theory and Music History |
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The Boston Conservatory |
Boston, Massachusetts |
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Guest Lectures (2003–2006) |
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• History of Music Review for Grad Students (Spring 2006) |
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American Music in the 20th Century |
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• American Music Seminar (Spring 2005) |
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Boston Composers Since 1960 |
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• History of Music Review for Grad Students (Spring 2004) |
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The Music of Webern, Sessions, Messiaen and Carter |
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• History of Music Review for Grad Students (Fall 2003) |
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Mozart’s Piano Concerti and Beethoven’s Eroica |
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Middlesex Community College |
Bedford, Massachusetts |
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Substitute Instructor (2003) |
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• Music Theory I
• Applied Piano for Beginners |
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Greater Boston Youth Symphony Orchestra |
Boston, Massachusetts |
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Theory Instructor (2002–2003) |
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Boston University, College of Fine Arts |
Boston, Massachusetts |
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Teaching Assistantship (2000–2002) |
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• Spring 2002 |
Graduate Theory Review (MU401–Aural Skills)
Music Theory II (MU102–Keyboard Harmony) |
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• Fall 2001 |
Graduate Theory Review (MU401–Aural Skills)
Music Theory I (MU101–Keyboard Harmony) |
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• Spring 2001 |
Ear-Traing and Sight-Singing IV (MU208–Instructor)
Music Theory II (MU102–Keyboard Harmony) |
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• Fall 2000 |
Ear-Traing and Sight-Singing III (MU207–Instructor)
Music Theory I (MU101–Keyboard Harmony) |
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DePaul University School of Music |
Chicago, Illinois |
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Adjunct Faculty (1998–1999) |
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• Winter 1999 |
Understanding Music (Instructor) |
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• Fall 1998 |
Focal Point Seminar (Guest Lecturer) |
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The Print Media and Live Music Performance in Chicago |
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• Spring 1998 |
Intro to Composition (Guest Lecturer) |
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Business Manager (1991–1999) |
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Committee Work (1991–1999) |
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• School of Music Administrative Council (1991–1998) |
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• University Technology Advisory Group (1997–1999) |
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• School of Music Sound Recording Technology Faculty Search Committee (1996–1997) |
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• University Copyright Committee (1994–1995) |
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• University Editorial Council (1993–1994) |
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MIT Affiliated Artist Concert |
17 May, 2005 |
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Sangis off Wyntir |
Cambridge, Massachusetts |
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Penelope Bitzas, mezzo-soprano; THE RIVERWAY
TRIO—Whitney
Pencina, flute; Mark Berger, viola; Barbara Poeschel-Edrich, harp |
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Cavitina, Recitativo and Passacaglia from
Frank Lloyd Wright |
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Gary Durham, baritone and Matthew Guerrieri, piano |
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Tanglewood Institute Saxophone Quartet |
30 July, 2004 |
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Summer Mosaics |
Lenox, Massachusetts |
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Tyler Gauldin, soprano; Jesse Bowman, alto; Ivan Navedo, tenor;
Stephen Chen, baritone |
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Chicago Composers’ Consortium |
29 February, 2004 |
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Sangis off Wyntir |
Chicago, Illinois |
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PINOTAGE—Julia Bentley, mezzo-soprano; Janice MacDonald,
flute; Claudia Lasareff-Mironoff, viola; Alison Attar, harp |
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Doctoral Composition Recital |
25 October, 2003 |
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Preludio |
Boston, Massachusetts |
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Julie Cannata, baroque violin |
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Julie Vreman, Eb clarinet; Mei-Mi Lan, A clarinet;
Paul Demers, bass clarinet |
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Krista River, mezzo-soprano and Matthew Guerrieri, piano |
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Solo Violin Recital |
5 May, 2001 |
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Preludio |
Boston, Massachusetts |
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Julie Cannata, baroque violin |
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Boston University Composers Forum |
1 May, 2001 |
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Clarinet Trio |
Boston, Massachusetts |
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Katherine Leaman, Eb clarinet; Erika Means, A clarinet;
Meghan Donohue, bass clarinet |
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DePaul Faculty Recital |
26 February, 2001 |
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Clarinet Trio |
Chicago, Illinois |
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CHICAGO CLARINET TRIO—
Julie DeRoche, Eb clarinet;
Larry Combs, A clarinet; John Bruce Yeh, bass clarinet |
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Boston University Composers Forum |
24 April, 2001 |
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Preludio |
Boston, Massachusetts |
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Julie Cannata, baroque violin |
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Vilnius String Quartet Concert Series |
5 January, 2000 |
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Piano Quintet |
Siauliai, Lithuania |
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VILNIUS STRING QUARTET—Audrone
Vainiunaite |
6 January, 2000 |
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and Arturas Silale, violin; Girdutis Jakaitis, viola; |
Plunge, Lithuania |
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Augustinas Vasiliauskas, cello; Guest Artist, |
7 January, 2000 |
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Rokas Zubovas, piano |
Vilnius, Lithuania |
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Boston University Composers Forum |
7 December, 1999 |
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pale reflections… |
Boston, Massachusetts |
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Yeon-Su Kim and Aleeza Wadler, violin; Flavio Gaeta,
viola; Gabriel Shapiro, cello; John H. Wallace, conductor |
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Chicago Composers’ Consortium |
15 June, 1999 |
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The Exquisite Corpse (Collaborative Work) |
Chicago, Illinois |
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THE CHICAGO CHAMBER MUSIC
COLLECTIVE—Irene Boruszko,
alto flute; Kyle Bruckmann, eng hn; Christie Vohs, bcl; Sara
Mamminga, horn; Tina Laughlin-Keitel and Eric Pancer,
percussion; Elizabeth Start, cello; Sebastian Huydts, conductor |
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Chicago Composers’ Consortium |
27 April, 1999 |
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pale reflections… |
Chicago, Illinois |
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NOUVELLE LUMIÈRE QUARTET—James
Martin and Lisa Hansen,
violin; Loretta Gillespie, viola; Elizabeth Start, cello |
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New Music DePaul Series |
26 February, 1999 |
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Piano Quintet |
Chicago, Illinois |
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Lisa Hansen and James Martin, violin; Elizabeth Holzman, viola;
Elizabeth Start, cello; Kurt Westerberg, piano; John H. Wallace,
conductor |
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Chicago Composers’ Consortium |
10 June, 1998 |
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Piano Quintet |
Chicago, Illinois |
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David Katz and James Martin, violin; Elizabeth Holzman, viola;
Elizabeth Start, cello; Kurt Westerberg, piano; John H. Wallace,
conductor |
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Chicago Composers’ Consortium |
8 April, 1997 |
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Demon Dreams of Electric Fairies |
Chicago, Illinois |
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DePaul Wind Ensemble |
27 May, 1994 |
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Music for Winds, Percussion and Piano |
Chicago, Illinois |
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Donald DeRoche, conductor |
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DePaul Faculty Composers Concert |
15 April, 1992 |
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Piano Quintet |
Chicago, Illinois |
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David Katz and James Martin, violin; Frank Babbitt, viola; William
Cernota, cello; Kurt Westerberg, piano; John H. Wallace, conductor |
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PUBLICATIONS AND RESEARCH |
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“Motivic Integration in Part One of Mahler’s Eighth Symphony”
Article accepted for publication in a joint Russian/American book co-edited by Marina Kornakova,
Russian Institute of the History of Arts, St. Petersburg, and Jeremy Yudkin, Boston University.
Abstract:
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An anomaly in both Mahler’s output, as well as that of the symphony in general, the Eighth stands
alone between his “middle” and “late” period works—unique in both scale and conception. Since
its 1910 Munich premiere, the Eighth has continued to grow in popularity, rising to join an elite few
works, most prominently Beethoven’s Ninth, of a grand celebratory nature—indeed the choral
symphony of the Twentieth Century. Augmenting an already enormous orchestra with additional offstage
brass, two mixed choirs, boys choir, eight vocal soloists, two harps, piano, celesta, harmonium,
organ and mandolin, Mahler wrought a sonic cosmos of vast dimension, capable of unleashing a
leviathan wall of sound one moment, then the most gossamer transparency the next. Criticism of
the work primarily centers around the perception that the work collapses under its own weight,
and that the onslaught of motivic development strains the listener’s ability to discern any
meaningful coherence to the breaking point.
The aim of this paper is to thoroughly explore the nature of, and relationships between, the
main motives of the first part (Teil) of the symphony, in order to gain a deeper understanding
of how Mahler’s tight level of control over the motivic material allows the work to grow to
immense proportions, while always remaining vital, interesting and coherent. The paper traces
the predominance of the “Veni creator” motive throughout the movement—through sheer
repetition in varied statements and treatments, coupled with the generation, in whole or part,
of all subsequent motives—in order to show how Mahler created the sense of cohesion
necessary in order to sustain the vastness of the musical structure. In discussing the formal
aspects of the movement, I demonstrate how Mahler integrated the ongoing motivic development
within the context of the key relationships and structural expectations of the traditional
sonata procedure. The paper concludes with an extensive appendix charting the flow of motives,
sonata structural elements and key relationships, referenced by measure number.
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Book Research
Exploration of the Bach chorale style, through an extensive examination
of the stylistic and voice-leading principles of the pieces in an historical, theoretical context,
avoiding the theory-based-on-theory approach prevalent in many existing texts. The intent is to
produce a book aimed at guiding the college-level student to a level of knowledge necessary to
successfully harmonize a chorale melody in the style of Bach, in a logical, progressive manner,
and to provide a general music audience with an easily accessible resource for information on the
chorales.
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PROFESSIONAL ORGANIZATIONS AND HONORS |
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Chicago Composers’ Consortium |
Member (1996—2004); Chair (1996—1998)
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Civic Orchestra of Chicago |
Winner of the 1990 Reading Session Competition
(16 March, 1990); John Corigliano, Chicago Symphony
Orchestra Composer-In-Residence, coordinator;
Michael Morgan, conductor
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College Music Society |
Member, Northeast Regional Chapter
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Pi Kappa Lambda |
Member, Boston University |
