zahler, noel cv ttucvpa mar16 - texas tech … in composition with: milton babbitt, jack beeson,...

Zahler, CV

1

NOEL ZAHLER

14 Caruso Court Glen Cove, New York 11542 Telephone: (516) 723-9023 Mobile: 516-413-8103 Email: [email protected]

Office of the Dean School of Visual and Performing Arts LIU Post 720 Northern Boulevard Brookville, New York 11548-1300 Telephone: 516-299-2396 Fax: 516-299-4180 Email: [email protected]

Specialization – Academic administration and management, Music (Composition, Electronic/Computer Music, Analysis, Orchestration, Theory, 19th, 20th and 21st Century Practices) Educational Background:

• D.M.A., Columbia University School of the Arts (1988) • Certificato di Perfezionamento, L'Accademia Musicale Chigiana di Siena, Italy

(1977) • M.F.A. Princeton University (1976) • B.A./M.A. Queens College, C.U.N.Y. (1974) • Other studies: The Juilliard School.

Studies in Composition with: Milton Babbitt, Jack Beeson, Chou Wen-chung, Franco Donatoni and Henry Weinberg. Electronic and Computer Music with: Mario Davidovsky, Charles Dodge, Hubert S. Howe, Jr. Schenker approach to music analysis with: Saul Novack and Carl Schacter. Awards and grants: National Science Foundation Grant: Decoding the Human Conducting

Gesture (2007-08), with Dannenberg and Siewiorek; Howard Hughes Medical Foundation Grant (2003-04): Creation Station, with Lerdahl, Baird and Izmirli. Aaron Copland Foundation Grant, for the recording of Agarttha (2000); Movement and Magic (David Smalley Retrospective, Lyman Allyn Museum) sound track for the documentary film, CPTV Award for Best Documentary of the Year. Fellow, Atlantic Center for the Arts (1997); Fellow, Associated Kyoto Program (1990); Connecticut Public Television/Connecticut Commission on the Arts Prize for best soundtrack for an experimental video, Gothic Tempest (1988); State of Connecticut Commission on the Arts Individual Artists Award (1985); National Endowment for the Arts (NEA) Consortium Commission (1983-84); MacDowell Colony Fellowship (1983 and 1979); Scholarship, Columbia University School of the Arts (1981-84); New York State Council on the Arts (NYSCA) support towards recordings (1981); Numerous Meet the Composer Grants (1978 to date); Fulbright-Hays Grant, Italy, (1977); Scholarship, L'Accademia Musicale Chigiana di Siena, Italy (1977); Italian National Research Council Grant (1977); Composers Conference Fellowship (1976); National Endowment for the Humanities (NEH) Scholarship (1972).

Noel Zahler, CV (selected entries)

2

OCCUPATIONAL EXPERIENCE:

Long Island University, Post, 10/11 - to date

Dean and Chief Academic Officer, College of Arts, Communications and Design, overseeing programs in art (studio art, art history and theory, art education, art therapy, photography, interactive media arts and museum studies), Communications and Film (broadcasting, communications, electronic media, print and electronic journalism, fashion merchandising, public relations, film making, directing, cinematography, script writing,), Digital Technologies and Design (digital art and design, digital game design and development, Interactive Media Arts), Music (instrumental performance, vocal performance, music education, music theory, music history, jazz studies, and music composition), Theater, Dance and Arts Management (theatre arts, acting, technical design and production, playwriting, musical theatre, arts management, dance studies): LIU, Post, Brookville, New York 11548. CARNEGIE MELLON UNIVERSITY, 7/07 to 30 September 2011

Head and Professor, School of Music, Carnegie Mellon University, Pittsburgh, Pennsylvania 15213.

UNIVERSITY OF MINNESOTA, 7/04 to 6/07

Director and Professor, School of Music, University of Minnesota, Minneapolis, MN, CONNECTICUT COLLEGE, 7/84 to 6/04

• Sylvia Pasternak Marx Professor of Music (Endowed Chair), Connecticut College, New London, CT, 7/01 to 6/04.

• Professor of Music Theory and Composition, Connecticut College, New London, CT; 7/84 to 6/04.

• Chair, Department of Music - 7/90 - 8/96, and 7/99 - 2004). • Co-Director and founder, Center for Arts and Technology, Connecticut College, New

London, CT; 4/85 - 7/97. • Associate Professor of Music Theory and Composition, Connecticut College, New

London, CT; 7/89 to 6/93 (tenured 7/89). • Assistant Professor of Music Theory and Composition, Connecticut College, New

London, CT; 7/84 to 6/89.

MERCY COLLEGE

Adjunct Lecturer: Department of Music and Fine Arts, Mercy College; 6/79 to 6/84.

COLUMBIA UNIVERSITY

Preceptor: Department of Music, Columbia University; 9/81 to 6/84. :

CITY UNIVERSITY OF NEW YORK

Adjunct Lecturer: Department of Music, C.C.N.Y., 1980.

C.U.N.Y. Brooklyn College:

Lecturer: Department of Music, 1977 to 79. C.U.N.Y. Queens College

Adjunct Lecturer: Department of Music, 1977.


3

OCCUPATIONAL EXPERIENCE continued:

PRINCETON UNIVERSITY

Assistant in Instruction: Department of Music, Princeton University; 1975-76.

ACCOMPLISHMENTS AS PRESIDING OFFICER Long Island University, Post - 10/1/11 - to date

Dean, School of Visual and Performing Arts

Approximately 1000 declared majors

31 undergraduate degree programs

27 graduate degree programs

188 faculty

20 staff

12M budget

• Transforming the School of Visual and Performing Arts into the College of Communications, Arts and Design, including two Schools: Visual Art, Communications and Digital Technologies, and Performing Arts.

• Achieved a 4.5% decrease in the overall instructional costs of the School. • Initiated an electronic workload credit template for all department chairs to use when

calculating course offerings for a given semester. • Rebranded the School • Initiated a bi-annual magazine (Imagine) • created a weekly School electronic eblast • Created a “successful alumni” register to aid students with internships and for use in

advancement cultivations. • Initiated a College Advisory Committee • Initiated a Dean’s Student Advisory Committee • Led the first strategic planning initiative for the College • Member of the Executive Steering Committee for University-wide Strategic

Planning. University • University Project lead for Strategic Tactics: Venues for Faculty

Scholarship/Creativity and Faculty Recruitment and Retention. • Built new facilities in Dance (2800 ft.2 sprung floor dance studio and additional

locker rooms, a new digital laboratory and a 3D Printing laboratory. FACULTY PROCEDURES/POLICY IMPROVEMENTS

• 13 new full-time new faculty positions • Faculty mentoring policy for tenure-track faculty • Created a new School policy for submitting materials to personnel files • Initiated new guidelines for the submission of adjunct promotion with regular

biannual deadlines. • Initiated a junior faculty mentoring policy and annual meetings with the Dean. • Created policies and procedures for faculty travel, discipline specific course

substitutions, capital purchase requests, student add/drop periods and incomplete grades.

• Completed 8 promotion cases, 12 tenure and promotion cases and 27 renewal cases over the past four years.

• Created the Dean’s Lecture Series, requiring those who have enjoyed sabbaticals to share their work with our community.


4

STAFF ASSESSMENT AND DEVELOPMENT: • Instituted biannual meetings to assess efficacy of staff. • Initiated a program for staff development. • Restructured the Dean’s office staff to include a business manager, executive

assistant to the dean, an assistant dean and outreach and recruitment officer. CURRICULAR ENHANCEMENTS:

• Initiated five accelerated five-year degrees programs in collaboration with the College of Management (BFA/MBA), MA in Art Therapy with a certificate in Counseling, in collaboration with the College of Education, Information and Technology, a BFA/MPA in collaboration with the College of Arts and Sciences, a BS/MA in Digital Game Design and Development, and a BA/MA in Art History and Museum Studies

• Instituted the arts component (arts therapies) in a new program for Wellness and Living in collaboration with the College of Education and the School of Health Professions and Nursing.

• Initiated articulation agreements with Keimyung University (Korea), Guangzhou Academy of Fine Arts (China), Firenze Arti Visive (Florence Italy), Norges Kreative Fagskole (Norway), and Anglia Ruskin University (Cambridge, England).

• Initiated new undergraduate programs in the areas of fashion merchandising, game design, music technology, dance therapy and music therapy.

• Principal Investigator for a grant to New York State and Nassau County in the amount of $13 million dollars to create an LIU Film School implanted at Grumman Movie Studios (Old Bethpage, NY).

• Initiated 9 new minors, including communications, gaming, and fashion merchandising. RECRUITMENT INITIATIVES:

• Created a national and international recruitment program for the School, visiting 12 cities nationally, as well as participating in all the Unified and URTA auditions.

• Authored articulation agreements with institutions in Norway, Saudi Arabia, Italy, Great Britain, China and Korea.

• Supervised new school-wide recruiting materials in print, video and electronic formats, including the first electronic viewbook for the campus.

• Created a national Summer High School Honors Institute residency program for prospective students, including 6 different programs.

COLLABORATIVE INITIATIVES:

• Initiated new programs with the School of Health Professions and Nursing, College of Management, College of Arts and Sciences and College of Education.

• Working with Grumman Studios to build an LIU School of Film, with distribution of graduate films by Sony International.

• Initiated articulation agreements with Keimyung University (Korea), Guangzhou Academy of Fine Arts (China), Firenze Arti Visive (Florence Italy), Anglia Ruskin University (Cambridge, England) and Norges Kreative Fagskole (Oslo, Bergen and Trondheim Norway). Co-founder of the Gold Coast Film Festival/LIU Post Institute, Partnership with WNET/WLIW New York.


5

COLLABORATIVE INITIATIVES (continued): • Oversee and advise Tilles Center for the Performing Arts regarding master classes

and residencies, including introducing the opportunities of Tilles Center to the broader campus, by creating a Student Advisory Board for Tilles and including a module on Tilles in College 101 (required of all first year undergraduate students), and by using the resources of the campus Pioneer Press, PTV and WCWP FM.

FUNDRAISING and DONOR RELATIONS:

• Principal Investigator for a grant to New York State and Nassau County in the amount of $13 million dollars to create a LIU Film School on the grounds of Grumman Movie Studios (Old Bethpage, NY).

• Created the first School Advisory Council. • Compiled a comprehensive list of successful alumni. • Initiated a “Giving” page in the new School magazine. • Trained at CASE Development for Deans and Academic Leaders. • Sporkin Family Foundation gift in the amount of $300.000 • A gift of $100,000 from the Senior Family • Initiated the first College Gala for scholarship fundraising • Presently pursuing the cultivation stage with a number of donors to secure the

naming of buildings, endowed professorships and student scholarships.

Head, Carnegie Mellon University School of Music, 2007-11

Head, School of Music




5 diploma programs

78 faculty

15 staff

9 M budget

ORGANIZATIONAL/OPERATIONAL ADVANCEMENTS: • Initiated a budget reform that resulted in reversing an inherited $333,000.00 structural

deficit • Created a $140,000.00 annual operating surplus and a $400,000.00 school reserve fund • School of Music revenue streams were maximized to 181% during • Created the first 5-year School of Music strategic plan (2008). • Hosted the President’s Advisory Board (an outside independent review on the

effectiveness of the CMU School of Music) including preparing the briefing book, selecting and supervising faculty presentations, setting agenda and suggesting members for the Visiting Committee.

• Prepared the 10-year NASM (National Association of Schools of Music) Self-Study for reaccredidation in the spring of 2011.

• Branded and created a new print profile for the School of Music. • Commissioned new collateral publications including a Viewbook, Newsletter and various

other program specific brochures for use in public relations, fund raising and recruitment. • Supervised the redesign of the School’s website and automated a bilingual

(English/Chinese) application process including an audition scheduler.


6

FACULTY PROCEDURES/POLICY IMPROVEMENTS • Revised the School of Music promotion, tenure and reappointment criteria for all

School of Music divisions. • Implemented a mandatory faculty annual report (FAR). • Led faculty Strategic Planning Committee • Created and implemented a new faculty mentoring policy for tenure-track faculty. • Created a faculty workload policy. • Created a faculty leave policy.

FACULTY DEVELOPMENT:

• Secured 10 new tenure-track faculty lines. • Successfully supervised ten faculty searches. • Introduced Internet 2 master classes and support to offer such classes. • Supported leadership training for nominated junior faculty. • Completed 4 promotion, 3 promotion and tenure cases and 13 renewal cases over five

years. Standardized faculty research and travel fund grants and grants to faculty to host special events programming.

• Introduced biannual faculty strategic planning retreats. STAFF ASSESSMENT AND DEVELOPMENT:

• Reorganized staff positions aligning duties with expertise and designated new appointments in Operations and Communications.

• Instituted and funded initiatives for staff development • Instituted biannual meetings for assessing progress made between HR mandated

annual evaluations. • Instituted bi-weekly staff meetings and biannual staff retreats.

CURRICULAR ENHANCEMENTS:

• Instituted a new tri-college (College of Fine Arts, Carnegie Institute of Technology, School of Computer Science) undergraduate (BS) and graduate (MS) degree program in Music and Technology

• A new graduate program in voice • a new undergraduate voice curriculum • new graduate degree in collaborative piano • a new course in improvisation. • Supervised a revision of the music theory and music composition curricula. • Wrote the proposal to host the international conference NIME (New Interfaces for

Musical Expression) and Co-Chaired (with Roger Dannenberg) the organizing committee for that 3 day conference (June 4-6 2009).

• Instituted the Symphony Orchestra ensemble as distinct from the Philharmonic • Orchestra, Chamber Orchestra and Contemporary Music Ensemble. • Created a new, rotating, string quartet in residence program. • Created Internet 2 availability for the transmission and reception of master classes

and the broadcast of remote special events. • Appointed a curriculum committee and revised its process and procedure. • Revised the standards for student recitals. • Created an “honors chamber music program,“ where faculty and students perform

publicly together. • Began a touring program for specific ensembles.


7

RECRUITING INITIATIVES • School of Music designated a “Fiske Pick” in 2011 (one of the top ten music schools

in the United States) by the Fiske Guide to College • Created a strategic plan for School of Music office of Recruitment and Admissions. • Attracted the largest and most selective classes in the history of the School of Music,

exceeding our recruitment quota by more than 50 percent during 2008 and attracting the most selective class in the history of the school, as well as the largest string class in the history of the School in 2009. Recruitment goals from 2008 through 2011 have exceeded all admissions quotas.

• Expanded China recruitment program to include 5 cities and raised the program enrollment by more than 200%.

• Increased the number of national recruiting venues to a total of 23 cities. • Reinstituted national auditions in NYC, LA, San Francisco, Chicago and Dallas • Redesigned recruiting collateral twice and launched two newly designed websites • Automated the application and audition process for the School of Music and created a

bilingual, online application, in both English and Chinese.

COLLABORATIVE INITIATIVES: • Created a proposal with the Heinz Museums to secure Carnegie Music Hall (a

Museum facility) to serve as the home of the Carnegie Mellon University Philharmonic

• Provided a laboratory experience in arts management for the inter-college collaboration program with the H. John Heinz III School of Public Policy and management.

• Created a partnership with Chatham Baroque (Pittsburgh’s leading Baroque music ensemble) to bring experience in historically informed performance (HIP) to CMU School of Music students.

• Created a partnership with Pittsburgh Ballet Theater (PBT) to give SOM students experience in music for dance

• Created collaboration between the School of Drama and the School of Music to produce two fully staged operas each year in the Purnell Center’s Chosky Theater.

• Initiated collaboration with Steinway and Sons and Trombino Pianos to raise resources to maintain and replace pianos annually.

• Created a collaborative program with the Pittsburgh Symphony Orchestra resulting in annual masterclasses presented by the world-class soloists they employ, annual festivals curated by Joseph Horowitz and others with School of Music faculty members providing pre-concert lectures and School of Music students providing post-concert chamber music on the stage of Heinz Hall (the home of the Pittsburgh Symphony).

• Created a Partnership with the Pittsburgh Opera that includes CMU students singing with the opera, as well as masterclasses, admission to rehearsals and special events, the sharing of coaches and facilities, the participation of students in opera outreach programs

FUNDRAISING and DONOR RELATIONS:

• Annual giving to the School of Music was up 102% • We sponsored and organized alumni events in Pittsburgh, Palm Beach, Los Angeles

and New York.


8

FUNDRAISING and DONOR RELATIONS continued: • Created the first Honors Chamber Music Concert, in which students perform with

their faculty coaches (mostly PSO principal performers) in trios, quartets, sextets and octets inviting major donors and special guests.

• Began the “Honoring Hanna Li” project, to raise 2.5 million dollars for an endowed chair in piano studies.

• Launched the Robert Page Fellowship Program in Conducting. • Created “Dinner and Opera,” a pre-opera event for special donors. • Initiated an alumni contact program and instituted “This Week in Music” and “This

Month in Music,” email blasts. • Maintain consistent contact with primary and prospective donors to the School of

Music. • We raised $4,309,000, not counting annual giving and had a $3,000,000 ask out to a

donor • New grants were obtained from the Starling Foundation and the Kurt Weil

Foundation.

UNIVERSITY OF MINNESOTA, 2004-2007

Director, University of Minnesota School of Music




90 faculty

35 staff

14 M budget

ORGANIZATIONAL/OPERATIONAL ADVANCEMENTS: • Created a new plan to maximize School of Music use of Ted Mann Concert Hall and

minimize the reliance on rental revenue to offset the cost of running the hall. • The School of Music was officially designated an all Steinway School, 16 September

2005. The University of Minnesota was, at the time, the first All Steinway School in the Big 10 and one of only 50 schools internationally to have the distinction.

• Wrote a five year plan to acquire remaining pianos for the School of Music collection • We audited all School of Music scholarship funds, going back to the original

memoranda of agreement for each and every scholarship, confirming the intended use of the donors. This process returned more than $200,000 in scholarships to the hands of the faculty for recruitment purposes.

• Instituted biannual faculty and staff retreats to create and measure progress on the strategic plan and update the plan and goals.

FACULTY PROCEDURES/POLICIES IMPROVEMENTS: • Appointed a Curriculum Review Committee to oversee course revision and program

changes • Implemented the first faculty committee to oversee the scholarship process and assure

fairness in distribution of scholarships, as well as insure institutional need. • Revised the Mission and Vision statements for the School of Music. • Created a new Faculty Activity Report (FAR) form for the School of Music. • Instituted a Junior Faculty Mentor Program.


9

FACULTY PROCEDURES/POLICIES IMPROVEMENTS continued: • Amended SOM constitution to require a separately elected Salary and Merit Committee

Revised membership qualifications for serving on the Promotion and Tenure Committee, as well as processes and procedures for submission of materials.

• Suspended admissions to the graduate programs in Music Education, appointed an independent, nationally represented, committee to evaluate the graduate programs in music education and worked with faculty to redesign those programs.

• The graduate programs in music education were reopened in January of 2006. • Initiated a new policy for the registration of grad 999, allowing the School to reduce the

number of inactive grad students without sacrificing any of its programs and raising its • graduation rate. • A College-wide savings of $4,000 for each student recognized as inactive resulted. At the

close of the spring 2007 semester there were 185 students enrolled in the School of Music graduate programs. 51 were eliminated as inactive and because of stringent

• requirements put in place to show progress toward the degree, another 69 graduated during that same year. In effect, we reversed the equivalent of more than 7 years of negative

• program growth in the course of a single year. Graduation rates continued to improve. Initiated a proposal for a new scholarship policy at the undergraduate level integrating need and merit.

FACULTY DEVELOPMENT:

• Created five new tenure-track positions in the areas off cognitive music theory, music education and 3 in collaborative arts.

• Created a jointly funded Director of Orchestral Studies position with the Saint Paul Chamber Orchestra.

• Ran national searches for nine additional faculty vacancies. • Successfully completed 8 tenure cases and 23 searches for adjunct faculty and staff

positions. Appointed the largest number of adjunct and affiliate faculty to percentage positions in the history of the School of Music creating the capacity to offer the DMA in almost every instrument taught.

• Redefined faculty administrative positions and responsibilities with the assistance of CLA-HR.

• Defined new job descriptions for our Director of Undergraduate Studies, Director of Graduate Studies, Associate Director of the School, Assistant Director of the School, Assistant to the Director of the School, and many other positions.

STAFF ASSESSMENT AND DEVELOPMENT:

• Chaired a critical evaluation of staff positions throughout the School of Music and wrote a proposal to redefine responsibility in critical areas for the purpose of designating special laboratory space needed to support the curriculum and mission of the School of Music.

• Reconfigured staff positions in Ted Mann Concert Hall and created increased availability of the hall to the School resulting in a new staff position, Operations Coordinator.


10

CURRICULAR ENHANCEMENTS: • Undertook an entire review of SOM curricula and introduced new offerings in

Gamelan, Indian Music, Broadcasting for Classical Musicians and “Living a Life in

Music” to help diversify the curriculum. • Encouraged faculty to integrate early music performance practice, where appropriate,

and made possible the purchase of 5 Baroque flutes. • Created an SPCO (Saint Paul Chamber Orchestra)/SOM Internship program. • Supported the growth of the Spark Festival for Electro-Acoustic Music and

participated in the organization of that festival as a member of the selection committee and took on responsibilities for fundraising and public relations. Spark grew into an internationally recognized event with the largest number of participants in its history, with more than 650 submissions from the United States and 12 foreign countries.

• Created a New Music Ensemble to provide students with the ability to perform repertoire from the 20th and 21st centuries.

RECRUITING INITIATIVES

• Branded the School, created new printed collateral for recruitment, including a new viewbook and newsletter.

• Completely redesigned the website and began a series of recruiting events both in Minneapolis and nationally.

• Recruited for the School of Music in 14 cities throughout the US. Previously, recruitment was only in the reciprocity states of Nebraska, Iowa and Wisconsin.

• Created a position for an additional School of Music Admissions Associate and added interns to that office.

• Both the quality and quantity of music students rose during my tenure as Director to just over 600 majors.

DONOR RELATIONS AND FUNDRAISING:

• Launched fund raising initiatives using the annual School of Music Collage as a point of celebration.

• Expanded and reorganized the School of Music’s Board of Advisors. Reorganized that group, created sub-committees with specific purposes and enlarged the group with prestigious members of the Twin Cities community to help with strategic planning, events and fund-raising.

• Initiated “behind the scenes” visits for donors and friends of the School of Music. More than $1,273,538 in new funding was donated to the School of Music during the 2006 calendar year.

• Created a new annual Mann competition in orchestral studies, made possible by the generosity of Roberta Mann ($100,000 annually).

• Wrote a proposal to Apple Computer, Inc., for corporate sponsorship of the School of Music’s Spark Festival (with Doug Geers and Ann Ulring).

• Successfully funded a proposal to TCF Bank for underwriting of School of Music public events, the first corporate sponsorship of the School in its history.

• Introduced a mandatory gift from members of the School of Music Board of Advisors directed to the Director’s Fund for Faculty Development.

• Initiated a letter of appeal in all SoM concert programs with a return envelope included for donations.


11

DONOR RELATIONS AND FUNDRAISING continued: • Wrote grant applications to Amphion Foundation, the Aaron Copland Fund for

Music, the Andrew W. Mellon Foundation, the Henry Luce Foundation, Inc. and the McKnight Foundation.

• Raised $1,200,000 from various other sources for the purchase of new Steinway pianos. In total, over three years, we raised $4,157,681 in excess of the annual

fund.

COLLABORATIVE INITIATIVES:

• We completed an Affiliation Agreement with SPCO (Saint Paul Chamber Orchestra) securing a three pronged collaboration comprised of hiring a jointly funded director of orchestral

• studies, creating a jointly funded and jointly managed biennial living composers festival and a joint program for doctoral students in a special track, auditioned by members of both

• organizations, where they receive scholarship funding from the School of Music, but perform as “extra musicians” with the SPCO in order to earn their living stipend from that source.

• We renegotiated the Minnesota Orchestra Pennock Fund activities. Instead of just having an annual side-by side rehearsal with 60% of the Minnesota Orchestra and a number of repertoire classes on campus, we created a meaningful relationship with the principals of the orchestra and its artistic and administrative leadership. Under the negotiated agreement, principal performers of the Minnesota Orchestra coach sectional rehearsals at the SOM’s

• Symphony Orchestra up to three weeks in advance of the Music Director of the Minnesota Orchestra, Osmo Vänskä, who then rehearses with students for an entire week. There are now open rehearsals, and a public concert at Orchestra Hall, with principal members of the Minnesota Orchestra performing alongside students. In addition, the Minnesota Orchestra asked to move the workshops for its annual “Composers Institute” to the School of Music. The MO has dedicated one position in their “Composers Institute”, a national annual reading session for emerging composers, for a SOM student composer and opened all the workshops of that event to students of the School of Music. These activities began in the fall

• of 2005 and were completely realized during the spring 2006. These collaborations maximized the funding available to the School from earnings on the Pennock Fund that is held by the Minnesota Orchestra.

• Created an affiliation agreement with Minnesota Opera to jointly raise funds for a faculty position in opera coaching, provided the groundwork for a possible degree in that area, shared guest artists, gave our collaborative piano students the opportunity to work with the opera’s resident artists, as well as train and incorporate our students into the Minnesota Opera’s “Opera in the Schools” program.

• We negotiated affiliation agreements with internationally recognized institutions for study abroad including opportunities for both faculty and students. These exchanges allowed faculty members to teach at affiliated institutions and continue receiving their present salary. In addition, a stipend was awarded for housing and transportation ($10,000 per semester). We created agreements with the Sibelius Academy, Helsinki; Finland, the Grieg Academy, Bergen, Norway and the Sorbonne, Paris, France.


12

COLLABORATIVE INITIATIVES (continued): • A collaboration with Minnesota Public Radio brought a new offering to our roster of

courses in the form of “Broadcasting for Classical Musicians.” Students have the opportunity to extend their experience in this course by competing for paid internships with American Public Media’s Performance Today program.

• We built a new music consortium with the University of Iowa, Iowa City, and the University of Wisconsin, Madison. Performances by each of our contemporary ensembles rotate among the three schools with a festival held at one school each year, where all three ensembles compete against each other. Collaboration with Theater Arts and Dance in developing a program in Musical Theater Cabaret resulted in our first joint production in April 2006.

• We began a collaboration with European Studies and Music Education resulting in a symposium sponsored by the Government of Finland/David and Nancy Speer Visiting Professorship in Finnish Studies, the European Studies Consortium and the School of Music.

• Co-chaired the West Bank Arts Quarter Strategic Planning Committee finding new ways to collaborate with the other arts departments in our quarter and to derive savings to the SOM in the areas of publicity, recruitment and joint enterprises. These savings, which have been considerable, were returned to the School of Music to provide additional program funding. Architect for the collaborative arts program, joining music, art, theater arts, dance and creative writing in a unique interdisciplinary degree program.

CONNECTICUT COLLEGE, 1984-2004

CHAIR of Music and SYLVIA PASTERNACK MARX PROFESSOR OF MUSIC

FOUNDER and CO-Director, Ammerman Center for Arts and Technology




22 faculty

4 staff

60K budget

LEADERSHIP OF SUCCESSFUL DEPARTMENT INITIATIVES UNDERTAKEN AS CHAIR:

• Establishment of a Faculty Ensemble in Residence (The Connecticut College Chamber Players), spring 1997.

• Initiated of a State of Connecticut accredited certification program in music education, spring 1996.

• Initiated a department percussion ensemble, fall 1994. • Institued performance requirements for all students studying applied performance,

fall 1994. • Established a department opera workshop, fall 1992. • Created a department concert band, fall 1992. • Mandatory audition requirements for all department ensembles by all students

studying applied music, fall 1992. • Mandatory performance requirements for all music majors, spring 1992. • Hired first full-time music theorist for the department of music, fall 1991. • Chaired a total curriculum revision, spring 1991. • Development of a handbook for adjunct faculty, spring 1991.


13

LEADERSHIP OF SUCCESSFUL DEPARTMENT INITIATIVES UNDERTAKEN AS CHAIR continued:

• Instituted an Adjunct Faculty solo recital series, fall 1991. • Attracted funding for the first full-time "artist in residence" in the department of

music, Soviet cellist, Vagram Saradjian Fall 1990 ($250,000 per year). SUCCESSFUL GRANTS AND FUNDRAISING ACTIVITIES:

• Solicited $2,500,000 for the Sylvia Pasternack Marx Chair in Music. • Shared responsibility for attracting the naming gift to the Ammerman Center for Arts

and Technology, $2,000,000. • Solicited a $500,000 gift from John Niblack, for the support of individual

instrumental lessons for students. • Principal Investigator a grant proposal to the Howard Hughes and Keck Foundations

for “Emerging Disciplines” (cognitive music theory implemented in the traditional music theory sequence), July 1 – Dec. 31 2002, $100,000.

• Co-Principal Investigator, grant proposal to American Telephone and Telegraph, Inc. (AT&T) for the Arts, Teaching and Technology Program of the Center for Arts and Technology at Connecticut College. A program of workshops for public school teachers, 23 July – 10 August 2001, $125,000.

• Principal Investigator, a community residency grant proposal to the Frank Loomis Palmer Fund, Inc., for the Charleston String Quartet, 1996/97 fiscal year, $10,000.

• Principal Investigator, a community residency grant proposal to Chamber Music America, Inc., for Talujon Percussion Quartet, 1996/97 fiscal year, $2,760.

• Co-Principal Investigator, grant proposal to Analysis and Technology, Inc. for the 1996/97 fiscal year of the Center for Arts and Technology, $20,000.

• Co-Principal Investigator, grant proposal to Sonalysts, Inc. for the 1996/97 fiscal year of the Center for Arts and Technology, $17,500.

• Co-Principal Investigator, grant proposal to Lexitech, Inc. for the 1996/97 fiscal year of the Center for Arts and Technology, $21,500.




• Co-Principal Investigator, grant proposal to Fox Woods High Stakes Bingo and Casino, Inc. for the 1996/97 fiscal year of the Center for Arts and Technology, $7,500.

• Co-Principal Investigator, grant proposal to Omnitouch, Inc. for the 1996/97 fiscal year of the Center for Arts and Technology, $7,500.




• Principal Investigator, grant proposal to the Tina and Richard Carolan Foundation in the amount of$50,000 to fund a Visiting Artist in Residence in the department of music at Connecticut College, AY 1991.


14

SUCCESSFUL GRANTS AND FUNDRAISING ACTIVITIES continued: • Co-Principal Investigator, grant proposal to SNET (Southern New England

Telephone) Inc. for the 1991 Arts and Technology Symposium, $1,500. • Solicited Mr. and Mrs. Richard Carolan for a gift of $48,000 to fund a Visiting Artist

in Residence in the department of music at Connecticut College, AY 1990. • Principal Investigator, grant proposal to Apple Computer, Inc. for the AICP

(Artificially Intelligent Computer Performer), $15,000 (1987). • Co-Principal Investigator, a grant proposal to the Mellon Foundation to create a

Cognitive Science course (Cog Sci 101) and minor on the Connecticut College Campus ($150,000) (1986).

• Co-Principal Investigator, CAPHE (Consortium for the Advancement of Private Higher Education) Grant (1985), wrote the music part of the proposal with Bridget Baird to the CAPHE Foundation which helped to leverage matching funds for a total grant of $180,000.

• Study Away Teach Away (SATA), Florence Italy, Director of a semester long study abroad program for music majors in Florence. Courses taught at Centro Tempo Reale and the Institute for Fine and Liberal Arts at Palazzo Rucellai, January to May 2004.

• Travel Research Immersion Program (TRIP) Leader to Paris for a 10 Day residency at Ircam, 31 March 2001- 8 April 2000.

• Host, Visiting Faculty Residency, Palindrome Dance, Nürnberg, Germany at Connecticut College (New Strategic Plan Grant) February 2000. Music in the 20th Century (Mus 116 WE), Spring 1999.

• Designed and implemented the State certified certificate in music education. • Founder and Co-director, Center for Arts and Technology at Connecticut College. • Founder and Director, the Cummings Electronic and Digital Sound Studio (CEDS),

Department of Music, Connecticut College. • Designed and advised the major and minor in Music and Technology. • Cognitive Science 101 (designed with the members of the cognitive science group). • Music 117, A History of Jazz (last enrollment numbered 127). • Music 118, Popular Music of the 1950s and 1960s (last enrollment numbered 96). • Music 203, Computer Music I: Sound Synthesis. • Music 304, Computer Music II: MIDI and Interactive Performance. • CAP 218, Computer Applications in the Creative Arts (designed with Cynthia Rubin

and Diana Schnitt). • Music 302, Theory and Practice of Music in the 20th Century.

COMPOSITIONS:

My compositions embrace the style of the post-modernist period and are written for instrumental, vocal and electronic media, alone and in combination. Rockaby, for soloist, chorus and computer generated sound, (2014); Le miroir de l’ombre, for piano quartet (2011); 5-25-08, for violin alone (2008); L’espace entre nous, for flute and guitar (2008); for violin and piano (2005); Concerto for clarinet, interactive electronics and

chamber orchestra (2003); au volant, interactive music for dance (2000); Agarttha, for chamber orchestra (1998); Movement and Magic (David Smalley Retrospective, Lyman Allyn Museum) sound track for the documentary film (1998);Tears, for soprano and piano (1997); Songs from Salamandra (1997); For Clarinet Alone (1997); Cézanne Set, a virtual


15

COMPOSITIONS continued: reality soundscape (1996); String Quartet No. 1 (1995); Olin Fanfare, for computer generated magnetic tape (1995); "Within the dome of time...," for flute and AICP (Artificially Intelligent Computer Performer); reCollections, for guitar alone (1992); Piano Etudes (1990); Sculler's

Dream, sound track for a computer animated video (1989); Symphony (1988), for grand orchestra; Gothic Tempest (1987), music for a computer animated video;Automata (1985), a chamber opera in one act and four scenes (libretto by Robert Ornstein, based on the short story by E. T. A. Hoffman); Trio (1984), for violin, violoncello, and piano; Electronic Study

No. 4(1983);All Night (1983), sop., cl., vln., vlc., and pno.; Rhapsody, for violoncello alone (1982); Harlequin, concertino for piano and Chamber Orchestra (1980); Charms, for nine instruments (1978); Tableau, for violin alone (1977); Four Songs of Departure, soprano and piano (1977); Regions I, for piano alone (1976); Three Yeats songs for soprano and chamber

orchestra (1975); Electronic Study No.3 (1975); Computer Study No. 2 (1974); Sonatina for

Flute and Piano (1973); Kriss Kross, for electro-magnetic tape (1972); Computer Study No. 1

(1972); Study for Violin and Cello (1972).

COMMISSIONS (selected):

Le miroir de l’ombre, for piano quartet, The New York Chamber Music Festival, New York, New York (2011). L’espace entre nous, for flute and guitar (2008), Gro Sandvik, flute and Stein-Erik Olsen, guitar (2009). For Violin and Piano, (2004), Wolfgang David, Vienna, Austria (2007). Concerto for clarinet, interactive electronics, and chamber orchestra (2001), Festival Itinerante del Molise, Italy (Domenico Ciallela, clarinetist). au volant, interactive music for dance (2000), Palindrome Dance, Inc., Nürenberg, Germany. Agarttha, for chamber orchestra (1998). The Ensemble of The Center for New Music at the University of Iowa, Iowa City, Iowa.n Movement and Magic (David Smalley Retrospective, Lyman Allyn Museum) sound track for the documentary film. David Smalley, sculptor.nTears, a setting of a Walt Whitman poem from Leaves of Grass for soprano and piano (1997). The Connecticut College Arts Initiative, New London, Connecticut. Olin Fanfare, for computer realized sounds (1995), Claire L. Gaudiani, President, Connecticut College, New London Connecticut. String Quartet No. 1 (1993), The Eastwick String Quartet; New York, N.Y. reCollections, for guitar alone (1991), Allan Neave, Dundee, Scotland. Trio (1984), National Endowment for the Arts (NEA) Consortium Commission for the Arden, Florestan, and Aspen Soloists piano trios. Rhapsody, for violoncello alone (1982), Clay Ruede, New York, New York. Harlequin, concertino for piano and chamber orchestra (1980), Rebecca La Brecque, New York, New York.

RECORDINGS:

• Le miroir de l’ombre, for piano quartet: The New York Piano Quartet, Urlicht Audio

Visual recordings. Gaudette & Associates :211 W 92 St #2, NY, NY 10025 Telephone: +212.749.8191

• L’espace entre nous, for flute and guitar; SIMAX Records), (2008), Phonofile AS • Kongens gate 4, 0153 Oslo Norway (PSC1268). Gro Sandvik, flute and Stein-Erik Olsen,

guitar. • Recollections, for guitar alone; Neuma Records (Harmonia Mundi), New Artists Series

Vol. 41 (2000), Neuma Compact Discs, Digital Audio Tapes, 71 Maple Street, Acton MA 01720; B.P. 452 75527 Paris Cedex II, France. James McNeish, guitar. (forthcoming)

• Concerto for clarinet, chamber orchestra and interactive computer; (TROY 1123), (2009), 915 Broadway, Albany, NY 12207. Michael Norsworthy, clarinet and David Gompper, conducting the University of Iowa Center for New Music Ensemble.


16

RECORDINGS continued: • For violin and piano, Albany Records (TROY 963), (2006), 915 Broadway, Albany, NY

12207. Wolfgang David, violin and David Gompper, piano. • Agarttha, for chamber orchestra; The Ensemble of The Center for New Music at the

University of Iowa, Iowa City, Iowa, David Gompper, conducting. Capstone Records, Inc. (CPS 8762), made possible by a grant from the Aaron Copland Foundation.

• Trio, for violin, violoncello, and piano; Albany Records (TROY 882), American Music Series: Butterfly Dance (2006), 915 Broadway, Albany, NY 12207. Studio for New Music, Moscow Conservatory, Elena Zilberman, violin; Olga Kalinova, violoncello and Mona Haba, piano. Peter Kondrashin, recording engineer.

• Harlequin, concertino for piano and chamber orchestra; Opus One No. 69 (1982). Opus One, Inc., Box 604, Greenville, Maine 04441. The Composers Chamber Ensemble: Earle Shenk, piano, and Jay Blumental, conductor.

• Four Songs of Departure, soprano and piano; Opus One No. 67 (1981). Opus One, Inc., Box 604, Greenville, Maine 04441. Beverly Myers, soprano, and Earle Shenk, piano.

• Regions I, for solo piano; Opus One No. 62 (1981). Opus One, Inc., Box 604, Greenville, Maine 04441. Rebecca La Brecque, piano.

ORIGINAL SOFTWARE

• Score Follow (2003) A new score following object written specifically for MAX/MSP (4.0/2.0) that intelligently follows a live musical performer including such instrumental techniques as trills, tremolos, extremely long note lengths, repeated pitches and rapid passages from an ambient sound source and provides automatic accompaniment and/or spatialization prescribed by the composer.

• Music Matrix (1992), a software program written for the Apple Macintosh series of computers created to explore set theory relations. Music Matrix allows the user to specify a set of pitches and will analyze that set, give the analytical data, prepare a "magic square," and list all transformations (Tn, Rn, In, RIn, M5n, M7n), as well as combinatorial matrices. Created in collaboration with Jonathan Kozzi.

• AICP (Artificially Intelligent Computer Performer) (1990). A software program written for the Apple Macintosh series of computers which tracks and compares live performers.

• interpretive performance to a written music score encoded in the computer's memory, while providing electronically synthesized accompaniment based on the mapping of performance to score. The AICP simulates a human accompanist. Created in collaboration with Bridget Baird and Donald Blevins.

SELECTED RECORDINGS OF SCHOLARLY WORK:

• Charles Ives's The Unanswered Question (new critical edition by N. Zahler and P. Eccles). San Francisco Symphony; Michael Tilson Thomas, conductor: RCA Recordings, ASIN: B00005UED6.

• Charles Ives's The Unanswered Question (new critical edition by N. Zahler and P. Eccles). Tomita (electronic realization): RCA Recordings #2616, ASIN: B000002W42.

• Charles Ives's The Unanswered Question (new critical edition by N. Zahler and P. Eccles). Orchestra of St. Luke’s, John Adams, conductor: Nonesuch Records #79249, ASIN: B000005J0I.

• Charles Ives's The Unanswered Question (new critical edition by N. Zahler and P. Eccles). Stuttgart SWR Radio-Symphony Orchestra; Rupert Huber, conductor: Col Legno Recordings #20041, ASIN: B000038IDI.


17

SELECTED RECORDINGS OF SCHOLARLY WORK (selected) continued: • Charles Ives's The Unanswered Question (new critical edition by N. Zahler and P.

Eccles). CBC Vancouver Orchestra; Mario Bernardi, conductor: CBC Recordings, ASIN: B00005NBY1.

• Charles Ives's The Unanswered Question (new critical edition by N. Zahler and P. Eccles). BBC Philharmonic Orchestra; Harry Christophers, conductor: Collons Classics Recordings #1446, ASIN: B000003VYT.

• Charles Ives's The Unanswered Question (new critical edition by N. Zahler and P. Eccles). Moscow Philharmonic Symphony Orchestra; Dimitri Kitajenko, conductor: Sheffield Lab Recordings, ASIN: B00000J7TT.

• Charles Ives's The Unanswered Question (new critical edition by N. Zahler and P. Eccles). The Orpheus Chamber Ensemble; Deutsche Grammophon, 439 869-3 (1994).

• Charles Ives's The Unanswered Question (new critical edition by N. Zahler and P. Eccles). The Cleveland Orchestra; Christoph von Dohányi, conductor: London CD, 443 172-2 (1994).

• Charles Ives's The Unanswered Question (new critical edition by N. Zahler and P. Eccles). The Cincinnati Philharmonia Orchestra; Gerhard Samuel, conductor: Centaur CD, 2205 (1994).

• Charles Ives's The Unanswered Question (new critical edition by N. Zahler and P. Eccles). The Chicago Symphony Orchestra; Michael Tilson Thomas, conductor: CBS Masterworks Recording, MK42381 (1988).

• Charles Ives's The Unanswered Question (new critical edition by N. Zahler and P. Eccles). San Francisco Symphony; Michael Tilson Thomas, conductor: RCA Recordings, ASIN: B00005UED6.

• Charles Ives's The Unanswered Question (new critical edition by N. Zahler and P. Eccles). Tomita (electronic realization): RCA Recordings #2616, ASIN: B000002W42.

• Charles Ives's The Unanswered Question (new critical edition by N. Zahler and P. Eccles). Stuttgart SWR Radio-Symphony Orchestra; Rupert Huber, conductor: Col Legno Recordings #20041, ASIN: B000038IDI.

PUBLISHED COMPOSITIONS:

• Harlequin, Concertino for piano and chamber orchestra; Associated Music Publishers, Inc. (G. Schirmer Inc., 1984), 866 Third Avenue, New York, New York 10022.

• Le miroir de l’ombre (2011). American Composer Editions, Inc., 648 Broadway, Room 803 New York, NY 10012 Tel: (212) 925-0458 Fax: (212) 925-6798 [email protected]

• L’espace entre nous (2008). Ibid. • For violin and piano (2005), ibid • Sculler's Dream, video soundtrack (1989), ibid • Tears, for soprano and piano: ibid. (1997) • Symphony, for grand orchestra: ibid. (1988). • Gothic Tempest, music for a computer animated video: ibid. (1988). • Trio, for violin, violoncello, and piano; ibid. (1984). • Concerto for clarinet, chamber orchestra and interactive electronics, ibid. (2003). • for violin and piano; ibid. (2004) • Agarttha, for chamber and electro-acoustics (1998): APNM Publishers, Music Publishing

Services, 236 West 26th St., 11S, New York, N.Y. 10001 • Olin Fanfare (1996): ibid. • String Quartet No. I (1995): ibid.


18

PUBLISHED COMPOSITIONS continued: • reCollections, for guitar alone (1992): ibid. • "...within in the dome of time," flute/AICP (Artificially Intelligent Computer Performer)

(1991): ibid. • Piano Etudes (1990): ibid. • All Night, for soprano, violin, violoncello, clarinet in B flat, and piano: ibid. (1984). • Charms, for fl., cl., tpt., tbn., pno., vn., va., vc., cb.: (1982). • Four Songs of Departure, soprano and piano: ibid. (1982). • Tableau, for solo violin: ibid. (1982). • Regions I, for solo piano: ibid. (1982). • Three Songs for Mezzo Soprano and Chamber Orchestra: ibid. (1982). • Sonatina for Flute and Piano: ibid. (1982).

SELECTED SCHOLARLY PUBLICATIONS (refereed and invited): • “China’s Music Lessons for the West,” 2011 The Chronicle of Higher Education,

September 11, 2011, Washington, DC, p. 23. • “Exploring Meaning and Intention in Music Conducting,” 2010 Proceedings of the

International Computer Music Conference (ICMC), New York, ICMA (International • Computer Music Association), New York, pp. 221-225. With Roger Dannenberg and

Dan Siewiorek. • “Decoding the Human Conducting Gesture.” Computer Music Journal (fall 2009), with

Roger Dannenberg and Danaiel Siewiorek. • “Signatures and Pattern Anchoring for Score Following.” Journal of New Music

Research, volume 34, No. 4, 2005, edited by Alan Marsden. Routledge Publishers (A Taylor and Francis Group.) pp. 395-408 with Özgür Izmirli.

• “Pattern Anchoring, Identity and Signatures in Sound, Time and Space.” Proceedings of Sound and Music Computing Conference ’04, edited by Carlos Agon and Gerard Assayag, Ircam (Institut de Recherche et Coordination Acoustique/Musique) - Centre Pompidou, Paris, France, pp. 207 – 212. With Ozgur Izmirli

• “Melodic Pattern Anchoring for Score Following Using Score Analysis.” 2003 Proceedings of the International Computer Music Conference (ICMC), Singapore, ICMA (International

• Computer Music Association), San Francisco, pp. 411-414, ISBN 0-9713192-1-9. With Ozgur Izmirli and Rob Seward.

• “Cognitive Music Theory, Computational Models and the Implementation of a Creation Station.” The Connecticut College Ammerman Center for Arts and Technology, 9th Biennial International Arts and Technology Symposium, February 28-29 and March 1, 2003, pp. With Fred Lerdahl, Rob Seward, Ozgur Izmirli Yubo Bao and Bridget Baird.

• “Compositional Imperatives for Implementing an Audio Alignment Program in MAX/MSP.” 2002 Proceedings of the International Computer Music Conference (ICMC), Göteborg, Sweden, ICMA (International Computer Music Association), San Francisco, pp. 266-269. With Ozgur Izmirli and Rob Seward.

• "Mario Davidovsky," The New Grove Dictionary of Music, Stanley Sadie (editor), London: MacMillan (1998).

• "Fred Lerdahl," The New Grove Dictionary of Music, Stanley Sadie (editor), London: MacMillan (1998).

• "Noah Creshevsky," The New Grove Dictionary of Music, Stanley Sadie (editor), London: MacMillan (1998).


19

SELECTED SCHOLARLY PUBLICATIONS (refereed and invited) continued: • "Piano as Orchestra: Pitch and Register in the Tre Espressioni of Bernard Rands." Ex

Tempore, Gerald Gabel, ed. Spring 1995, Texas Christian University, Fort Worth Texas. • "The Compositional Process and Technological Tools: An Appraisal of Algorithmic

Composition as it Relates to the Act of Composition." Proceedings of The X Colloquium on Musical Informatics, 2-4 December 1993, University of Milan, Milan, Italy.

• "Implementing an Interactive Computer Performer." Computer Music Journal, summer 1993, M.I.T. Press, Cambridge, Massachusetts. In collaboration with Bridget Baird and Donald Blevins.

• “Globalization, Nationalization and Regionalization, or Making Friends and Influencing People for Fun and Profit”. International Council of Fine Arts Deans (ICFAD) Conference, 24 October 2014, Kansas City MO.

• “Time Management.“ National Association of Schools of Music (NASM), 85th Annual Meeting, Workshop for New Administrators in Higher Education, 1 February, 2010, Wyndham Chicago Hotel, Chicago, Illinois.

• Music and Creativity.” Kaplan School of Business, 14 August 2009, Mervis Hall, University of Pittsburgh, Pittsburgh, PA.

• “Music and Computers.” The Davidson Institute, C-Mites, 16 April 2009, Carnegie Mellon University, Pittsburgh, PA.

• “Three Generations of Viennese Composers.” Pittsburgh Symphony Orchestra Concert Prelude, 27 and 29 March 2009, Heinz Hall, Pittsburgh, PA.

• “Computational Thinking in Music” Microsoft Series on Computational Thinking, School of Computer Science, Carnegie Mellon University, 5000 Forbes Avenue, Pittsburgh, PA.

• “Timed Travel: The Seamless integration of Synthetic Performers in live performance.” Columbia University, Department of Music, Dodge Hall, 7 March 2007.

• “Time Traveling: Perception and Reality in Tracking Note Onsets for Score Following” Centre for New Music Forum, Moscow Tchaikovsky Conservatoire, Moscow, Russia, 24 April 2006.

• “Selected Music of Noel Zahler.” Centre for New Music Forum, Moscow Tchaikovsky Conservatoire, Moscow, Russia, 21 April 2006.

• “Charles Ives, Elliott Carter and Arnold Schoenberg: A Common Thread.” Pre-concert lecture, the Saint Paul Chamber Orchestra Subscription Concerts, 17 February 2006, Ordway Center for the Performing Arts, 345 Washington Street, Saint Paul, MN 55102

• “Making Music with Real and Synthetic Performers,” Royal College of Music, London, Prince Consort Road London SW7 2BS, 9 May 2004.

• “Creating a new Synthetic Performer,” Laboratio di Informatica Musicale, University of Genoa, Genoa, Italy. 24 February 2004.

• “Melodic Pattern Anchoring for Score Following Using Score Analysis.” 2003 International Computer Music Conference (ICMC), Singapore, 29 September – 4 October 2003.

• “Music, Technology and the Compositional Matrix: Selected Music of Noel Zahler.” Centre for New Music New Music Forum, Moscow Tchaikovsky Conservatoire, Moscow, Russia, 14 April 2003.

SELECTED PERFORMANCES:

• Piano Etudes, piano alone: 1 march 2012. The Great Hall, LIU/Post, David Holzman, piano.


20

SELECTED PERFORMANCES continued:

• Le miroir de l’ombre, 16 September 2011, The New York Chamber Music Festival, Symphony Space, 2537 Broadway New York, NY The New York Piano Quartet: Elmira Darvarova, violin Ronald Carbone, viola Samuel Magill, cello and Linda Hall, piano.

• Symphony, for Grand Orchestra, 8 April 2011, The Carnegie Mellon Philharmonic: Kennedy Center, 2700 F St NW, Washington, DC: Ronald Zollman, conductor.

• Concerto for clarinet, chamber orchestra and interactive computer, 8 May 2008, The Ensemble of The Center for New Music at the University of Minnesota: Michael Norsworthy, clarinet and David Gompper, conductor.

• Concerto for clarinet, chamber orchestra and interactive computer, 4 May 2008, The Ensemble of The Center for New Music at the University of Iowa, Iowa City, Iowa: Michael Norsworthy, clarinet and David Gompper, conductor.

• for violin and piano, Austrian Cultural Forum, New York, New York. March 6, 2008: Wolfgang David, violin and David Gompper, piano.

• for violin and piano, University of Saskatchewan, Saskatchewan, Canada, Contemporary Fusion Series, Convo Hall. November 7, 2007: Wolfgang David, violin and David Gompper, piano.

• for violin and piano, University of Chicago, Chicago, Illinois, Fulton Recital Hall. October 25, 2007: Wolfgang David, violin and David Gompper, piano.

• for violin and piano, Embassy of Austria, Washington, DC, Cultural Forum. October 6, 2007: Wolfgang David, violin and David Gompper, piano.

• for violin and piano, Boston University, Boston, Massachusetts, College of Fine Arts Concert Hall. September 25, 2007: Wolfgang David, violin and David Gompper, piano.

• for violin and piano, Eastman School of Music, Rochester, New York, Ciminelli Formal Lounge. September 24, 2007: Wolfgang David, violin and David Gompper, piano.

• for violin and piano, University of Michigan, Ann Arbor, Michigan, Britton Recital Hall. September 21, 2007: Wolfgang David, violin and David Gompper, piano.

• for violin and piano, Bowling Green State University, Bryan Recital Hall. September 20, 2007: Wolfgang David, violin and David Gompper, piano.

• Concerto for clarinet, chamber orchestra and interactive computer, American Electronica, the Columbia Sinfonietta, 10 March 2007, Miller Theater, Broadway and 116th Street, New York, New York,. Michael Norsworthy, clarinet and Jeffrey Milarsky, conductor.

• Trio for violin, violoncello and piano, Moscow Tchaikovsky Conservatoire, Centre for Contemporary Music, 22 April 2006, Rachmaninov Hall, Moscow Tchaikovsky Conservatoire, Moscow, Russia. The Centre for Contemporary Music.

• Aggartha, for chamber orchestra, Moscow Tchaikovsky Conservatoire, Centre for Contemporary Music, 24 April 2006, Rachmaninov Hall, Moscow Tchaikovsky Conservatoire, Moscow, Russia.

• for violin and piano, Great Hall of the Moscow Composer's Union, Moscow, Russia, November 21, 2004: Wolfgang David, violin and David Gompper, piano.

• for violin and piano, Feldkirchen, Vienna, Austria, November 19, 2004: Wolfgang David, violin and David Gompper, piano.

• for violin and piano, KünstlerKlub, Untermainkai 83 60329 Frankfurt/M, Germany, November 17, 2004: Wolfgang David, violin and David Gompper, piano.


21

SELECTED PERFORMANCES continued:

• for violin and piano, Weill Concert Hall, 57th Street and 7th Ave., New York, New York, November 14, 2004: Wolfgang David, violin and David Gompper, piano.

• for violin and piano, Connecticut College, November 12, 2004: Wolfgang David, violin and David Gompper, piano.

• for violin and piano, University of Iowa, November 9, 2004: Wolfgang David, violin and David Gompper, piano.

SELECTED PRESS, RADIO AND WEB COVERAGE:

• “Briefs.” Networking Magazine, January 2012, Volume 22, Number 1, p.6. • L’espace entre nous (review), Classical Guitar Magazine, January 2011, Paul Fowles,

p.33 • “Carnegie Mellon's Philharmonic hits the road for NYC.” Pittsburgh Post-Gazette, 8

April 2010, Andrew Druckenbrod. http://www.post-gazette.com/pg/10098/1048599-388.stm

• “CMU head composer: Noel Zahler.” Pittsburgh Post-Gazette, 31 March 2010, Andrew Druckenbrod. http://community.post-gazette.com/blogs/classical/archive/2010/03/31/cmu-head-composer.aspx

• “CMU Philharmonic to Carnegie Hall.” Pittsburgh Post-Gazette, 5 March 2010, Andrew Druckenbrod. http://community.post-gazette.com/blogs/classical/archive/2010/03/05/cmu-philharmonic-to-carnegie-hall.aspx

• “Viva Concertante,” (review) Fanfare Magazine (Issue 33:1, September/October 2009), Colin Clark, pp. 67-68. • “Movements l ed Belgian conductor to Carnegie Mellon Philharmonic.” Pittsburgh Post-Gazette, 7

November 2009, Andrew Druckenbrod. http://www.post-gazette.com/pg/09311/1011426-388.stm

• “Music entrepreneurship' helps young musicians chart careers in a crowded market.” Pittsburgh Post-Gazette, 9 August 2009, Andrew Druckenbrod. http://www.post-gazette.com/pg/09221/989104-388.stm

• “China captures music world's ear.” Pittsburgh Post-Gazette, 28 June 2009, Andrew Druckenbrod. http://www.post-gazette.com/pg/09179/979932-388.stm

• “Carnegie Mellon]Plays Carnegie Hall.” Pittsburgh Post-Gazette, 1 February 2009, Andrew Druckenbrod. http://community.postgazette.com/blogs/cmunyc/archive/2009/02/01/carnegie-mellon-plays-carnegie-hall.aspx

• “3rd Spark Festival of Electronic Music and Art”, Computer Music Journal (Volume 29, Issue 4), A. William Smith, pp. 44-45.

• “CMU Philharmonic composes bold plan.” Pittsburgh Post-Gazette, 16 September 2008, Jane Vranish. http://www.post-gazette.com/pg/08260/912398-42.stm

• ”CMU says adios to Latino Americano quartet.” Pittsburgh Post-Gazette, 23 May 2008 Andrew Druckenbrod. http://www.post-gazette.com/pg/08144/884363-100.stm

• “CMU ends Cuarteto funding.” Pittsburgh Post-Gazette, 24 May 2008 Andrew Druckenbrod. http://www.post-gazette.com/pg/08145/884413-42.stm

• “A Tiffany mystery at CMU’s Kresge Theater might be from the studio of the stained glass master…or not.” Pittsburgh Post-Gazette, 6 May 2008, Marylynne Pitz.

• “Computer expert to head CMU music school.” Pittsburgh Post-Gazette, 6 April 2007, Timothy McNulty.

• “Odds are against graduating orchestra hopefuls.” Minnesota Public Radio, Karl Gehrke, reporter. Air date: 3/22/2007. http://minnesota.publicradio.org/display/web/2007/03/22/orchestragrads/


22

SELECTED PRESS, RADIO AND WEB COVERAGE: continued:

• “Driven to Discover,” These are no ordinary TV commercials. Watch this first-ever innovation. Sixty seconds in length, the first 15 seconds of the ad features someone asking a "single greatest question." A search bar then appears and stays on the screen during a 15-second promotion for the local news. Then the university's ad returns for 30 seconds featuring a professor or researcher responding to the question. http://www.discover.umn.edu/featuredDiscoveries/index.php

• “U Music School gets wired for sound” by Chris Roberts, Minnesota Public Radio • February 23, 2006. • http://minnesota.publicradio.org/display/web/2006/02/22/u_of_m_electronic_music/ • “SPCO and U of M form new partnership.” Minnesota Public Radio • Karl Gehrke, reporter, Air date: 5/18/2005. • http://news.minnesota.publicradio.org/features/2005/05/18_gehrkek_spcoandu/ • “SPCO, ‘U’ school strike up unique partnership.” Star Tribune

• Metro/State section, page B4, Dan Wascoe, Star Tribune staff writer, Thursday, May 19, 2005.

• “’U’ and SPCO plan future together.” Star Tribune, Arts/Entertainment section, page F2 • SELECTED PRESS, RADIO AND WEB COVERAGE: continued:

• Michael Anthony, Star Tribune staff writer, Sunday, June 19, 2005. • “Saint Paul Chamber Orchestra in New Partnership.” Musical America, Susan Elliott,

writer • Friday, May 20, 2005.

PROFESSIONAL AFFILIATIONS:

• Governor and Treasurer, American Composers Alliance: elected to the Board of Governors August 2013 – to date, Vice President, 2002 –2010, Professional Standards Committee 1988-1991, Admissions Committee member, 1983 1985.

• Board Member, American Composers Forum, Program Committee member, 332 Minnesota Street, Suite East 145 St. Paul, MN 55101-1300 (2004-2011)

• Board Member, Manhattan Sinfonietta, 333 Broadway, #E5J, New York, NY 10031, 718.825.3243, email: [email protected] (2007 – 2009)

• Member, Society of Composers, Inc.: Region I Co-Chair, 1997 - 2000. • Board of Directors, The Composers Guild, 1996 to date. • Member, BMI (Broadcast Music Incorporated): final judge, BMI Awards to Student

Composers; 1984. • Member, College Music Society • Connecticut Composers, Inc. (President, 1987-89) • Member, International Computer Music Association • Member, ICFAD (International Council of Fine Arts Deans) Attended the International

Council of Fine Arts Deans annual conference, Washington DC, October 26 – 2, 1986. New London, CT.

• NASM (National Association of Schools of Music) Site Visit Team Leader.

SERVICE TO LONG ISLAND UNIVERSITY • Member, University-wide Steering Committee for Strategic Planning • Strategic Planning Tactic Leader (Faculty Recruitment and Retention/Venues for Faculty

Scholarship • Member, Leadership Council


23

SERVICE TO LONG ISLAND UNIVERSITY continued: • Member, Deans Council • Member, All University Deans • Member, Tilles Center for the Arts Board of Overseers • Member, LIU On-Line Leadership Council • Chair, Search Committee for the Dean of the College of Education, Information and

Computer Science (2014). • Chair, Search Committee for the Dean of the College of Business (2014) • Chair, Search Committee for the Dean of the School of Health Professions (2015)

SERVICE TO CARNEGIE MELLON UNIVERSITY

• Member, College of Fine Arts Executive Committee • Member, College of Fine Arts Strategic Planning Committee • Chair, Interdisciplinary Committee to create a major in music and technology • Co-Chair, Head of School of Drama Search Committee

SERVICE TO THE UNIVERSITY OF MINNESOTA

• Chair, Collaborative Arts Curriculum Committee: oversaw the design and creation of the curriculum for the new undergraduate program in Collaborative Arts.

• Co-Chair, West Bank Arts Quarter Strategic Planning Committee Program subcommittee • SERVICE TO THE UNIVERSIOTY OF MINNESOTA (continued) • Council of Chairs and Directors • Chairs, Executive Committee, Directors, & Deans (CEDD) • Moderator, Art and Commitment, "Is the Future Listening to You?" with Pauline

Oliveros and Libby Larson, 3 December 2004, Regis Center for Art – Influx Auditorium. • Chair, Collaborative Arts Curriculum Committee: oversaw the design

and creation of the curriculum for the new undergraduate program in Collaborative Arts.

SELECTED SERVICE TO CONNECTICUT COLLEGE:

• Member, Information Services Committee, July 2003 – June 2007 • Chair, Dept. of Music, July 1990 – June 1993 and July 1996 – June 2007. • Associate Director for Curriculum for the Center for Arts and Technology, July 2001 – to

June 2007. • Member, Study Abroad Committee, July 2001 – June 2007. • Associate Director for Events for the Center for Arts and Technology, July 1999 – June

2001. • Member, Committee on Faculty Compensation, November 1998 – November 2000. • Member, Information Services Committee, July 1997 – May 2000. • Member, Graduate Studies Committee, July 1997 – May 2000. • Executive Committee Member, The Center for Arts and Technology, July 1997 - June

2007. • Graduate Studies Advisor, Department of Music, 1996 to June 2007. • Chair, Technological Support Committee, December 1994 - 1996. • Member, Technological Support Committee, 1994 - 1996. • Member, Search Committee for a Chairperson for the Department of Dance, Connecticut

College, Fall/Spring 1993-94.


24

SELECTED SERVICE TO CONNECTICUT COLLEGE continued: • Member, FSCC Committee to Investigate the Implementation of the 3:2

Teaching Load, spring 1992. • Chair, Search Committee for the position of Music Theorist, Dept. of

Music, Connecticut College, Fall/Spring 1991-92. • Member, Search Committee for a Chairperson for the Department of

Dance, Connecticut College, Fall/Spring 1991-92. • Co-director, the Center for Arts and Technology at Connecticut College,

1991 to 2004. • Co-director, the 1991 Connecticut College Arts and Technology

Symposium. • Member, Search Committee for the Vice President of Institutional

Development, 1989. • Member, Search Committee for the Director of Academic Computing,

1988 to 1990. • Director, Center for Electronic and Digital Sound at Connecticut

College, 1986 to date. • Chair, the Group for Arts and Technology, 1986 to 1991. • Director, the 1989 Connecticut College Arts and Technology

Symposium. • Member, Cognitive Science Group, 1987 - June 2007. • Member, Dept. of Music, Music Theory Committee, 1984 -. June 2007. • Chairperson, NERCOMP Conference on the Arts and Technology, 8

February 1990. • Chair, PPBC Sub-committee to Investigate the Feasibility of an Arts and

Technology Building on the Connecticut College Campus, 1988. • College Representative to the 25th Annual ICFAD (International Council

of Fine Arts Deans) Conference, 27-29 October 1988, Seattle, Washington.

• Member, Mellon Grant Proposal. New Combinations Grant, 1987. • Member, Technological Support Committee, 1986 - 1991. • Representative of Connecticut College at the 1987 CAPHE (Consortium

for the Advancement of Private Higher Education) Conference for Presidents and Provosts. June 17-19, 1987.

• Coordinator, CAPHE (Consortium for the Advancement of Private Higher Education) Group. Contributed to the writing of the original grant and have continued to coordinate projects and helped create the course Computer Applications in the Creative Arts, 1986 - June 2007.

• Chair, Lectures and Monographs Committee, 1985/86.

RECENT COMPOSITION/THEORY STUDENTS AND THEIR PLACEMENT IN

GRADUATE SCHOOL:

• Ryan McCulloch, CMU ’10, University of Michigan School of Music, Ph.D. program in music composition and theory.

• Katherine Pukinskis, CMU ’10, University of Chicago, Ph.D. program in music composition.

• Ashley Nail ’07, Columbia University, DMA Program in Music Composition. • Brahim Kerkour’02, Columbia University, DMA Program in Music Composition.


25

RECENT COMPOSITION/THEORY STUDENTS AND THEIR PLACEMENT IN GRADUATE SCHOOL continued: • Rae Munakata 99, The Royal Conservatory of Music, Stockholm, Sweden, Program in

conducting and composition (admitted as a 3rd year graduate student). • Won Juh Su ‘96, Rensalaer Polytechnic Institute, Master of Science in Media Arts

Program (music and technology major at Connecticut College). • Matthew Shea ‘96,Yale University, Ph.D. Program in Music Theory. • Antony Paasch '94, University of Colorado at Greely, M.A. Program in Music Theory

and Composition. • Lee Berendsen '94, New York University, M.A. Program in Music Business. • James Poliner '93, City University of New York Graduate School, Ph.D. Program in

Music Theory. • Adam Green '92, New England Conservatory of Music, Master of Music in Composition

Program. Ph.D at UCSD. • Erik Jespersen '92, University of California at San Diego, Master of Arts in Composition

Program. • Jonathan Kozzi '91, Rensalaer Polytechnic Institute, Master of Science in Media

Arts Program (music and technology major at Connecticut College). • Brian Field '90, The Juilliard School, Master of Music in Composition Program.

Presently a candidate for the degree of DMA at Columbia University. • Renee Colombe '89, Columbia University, Master of Music in Composition

Program. Ph.D at UCSD.

zahler, noel cv ttucvpa mar16 - texas tech … in composition with: milton babbitt, jack beeson,...

Documents