Ph.D. of Music, Composition, University of California at San Diego

Master of Music, Composition, Peabody Conservatory of Music

Master of Music, Electronic and Computer Music, Peabody Conservatory of Music

Bachelor of Music, Northwestern University

A cycle of five compositions, two trios and a sextet with connecting electro-acoustic interludes, approximately 45 minutes long. Briefly, the composition concerns the juxtaposition, penetration, and decomposition of multiple highly-differentiated sound worlds. Each instrument has a unique musical personality comprised of a temporal sensibility, pitch and rhythmic structure, and emotive content. Each piece explores different methods and processes of bringing these personalities into relation with each other. The project is being realized at each stage by musicians of the Sirius and Sounding new music ensembles. The two trios and first interlude were performed on November 5 at Palomar College. The last movement of the work was performed by the Sirius New Music Ensemble in the Spring of 1999 and by the Continuum New Music Ensemble of Toronto in the Winter of 1999.

responsibilities: Full time teaching in the department of Environmental Information. Teach courses in music for non-majors, computer music, music technology, acoustics, and new media. Participate in supervising graduate students and manage a research grant.

courses taught: Music 1: The Transformational Power of Music. Computer Music, Music 1: The Cultural Impact of Composition, Information Processing 2-M, Theory of Sound Environment.

responsibilities: The Odyssey Program is a youth outreach program (for lower income high school students) sponsored by UCSD, the City of San Diego, and local Artistic Communities and Businesses. Mentors work individually and in groups with teenagers, teaching skills for arts related jobs. A part of the project included my students and I working with National City Middle School administering a program called Game Designer Studio (GDS). We supervised 30-40 junior high school students as they developed and programmed their own computer games.

responsibilities: Teach an introductory course to desktop audio production systems, emphasizing systems and network approaches to audio control and data processing. Also, help manage a 25 person computer music lab and consult with music technology faculty.

responsibilities: Redesign a 40 person computer music studio, develop a plan and budget for the future of the studio. Administer the lab, including purchasing of new equipment, supervising remodeling of the studio, and systems administration. Teach selected topics in computer music for music major undergraduates.

responsibilities: Teach a course of selected topics in music, Symphonic Thought, consists of lecture and listening sessions. The course was for non-major undergraduates.

responsibilities: Writing assistants in the DOC (Dimensions of Culture) program have a high degree of autonomy and responsibility. In addition to running sections each week, a writing TA is responsible for assisting students individually with their papers.

Musical Literacy (MUS 2A-B-C) course description: Primarily intended for students whose major is music, this course develops musical abilities through a conceptual understanding of the structure of music together with listening exercises and techniques. This course is analogous to freshman level musicianship courses at most conservatories. Primarily intended for music majors this course develops basic music skills including sight-singing, basic theory (Roman numeral analysis, 4 part writing, understanding of fundamental forms).

Desktop Audio Production (MUS 160c) course description: An introduction to desktop audio production systems, emphasizing systems and network approaches to audio control and data processing. Topics include MIDI, computer programming, and audio processing.

Psychoacoustics (MUS 160b) course description: An introduction to pyschoacoustics and cognitive approaches to music. Topics include perception, auditory analysis, and neural networks.

Acoustics and Recording (MUS 160a) course description: An introduction to the acoustics of music and to modern techniques of recording sound.

Music, Science, and Technology (MUS 7) course description: An exploration of the interactions among music, science, and technology, including the development and history of science and technology from the perspective of music and the modern resynthesis of these disciples, occurring around computers.

Popular Music (MUS 11) course description: Value and Virtuosity in Rock and Roll. An introduction to basic musical concepts such as harmony, rhythm, and melody as well as a critical look at the musical value systems, particularly as they relate to the concept of virtuosity, of Rock and Roll.

Popular Music (MUS 11) course description: Vital Transformations– this course deals with periods of poplar music that exhibited radical transformation within a short period of time. Artists studied include Louis Armstrong, Charlie Parker, and the Beatles.

Musical Literacy (MUS 1A-B-C) course description: Primarily intended for students whose major is other than music, this course develops musical abilities through a conceptual understanding of the structure of music together with listening exercises and techniques. Topics include musical notation, melodic transcription, scales, chords, intervals, keys, rhythm, meter, and rudiments of musical form.

Computer Music Seminar responsibilities: coordinate guest speakers, help plan 25th anniversary celebration, assist the director of the computer music studios, coordinate weekly seminars with students, faculty, and guest lecturers.

History, Literature, and Aesthetics of Electronic and Computer Music course description: General history of electronic and computer music oriented toward computer music graduate students. Includes analysis and discussions of aesthetic trends in electro-acoustic music.

Teaching individual high school students in composition and basic musicianship (i.e. ear training, music theory, and music history).

Various projects including advising on small studio set-ups, recording engineering, and tutoring on music software (e.g. Finale, Sequencers).

Supervision of Experimental Studio, Provide consulting and assistance for Faculty.

Counselor, Assistant to the Conductor of Orchestras, Chamber Music Coach, Assistant for Pop Culture Program.

Viola– 4 years experience as a professional violist, performed publicly as a soloist. Advanced repertoire including the Walton Viola Concerto, Bach solo cello suites, and Brahms viola sonata (E flat major). Capable of teaching private viola and giving master classes.

Piano– repertoire includes Chopin Nocturne op 48 #1, Beethoven Piano Sonata op. 14 #1, and Three Preludes by George Gershwin.

Saxophone– performed extensively as a youth in Jazz, Concert, and Marching bands.

Mbira (Kalimba)– group study at Northwestern University with Paul Berliner, intermittent independent study for last 7 years (approx. cumulative of two years). Several public performances and lectures each year.

Various experience conducting student ensembles (small ensemble, orchestral, and choral). Special training conducting 20th century music (with Harvey Sollberger).

NeXT, Macintosh, UNIX, (limited experience with PCs)
Familiar with most audio applications including ProTools, Deck and Soundedit, SoundHack, Patchwork, Vision, Digital Performer, MAX (both MIDI and DSP–SGI/ISPW versions), Finale.

Advanced knowledge of: C (some C++), MAX (DSP and MIDI)
Basic knowledge of: csound, cmusic, hypertalk, Motorola 5600x Assembly

Mathematical and scientific models (e.g., Chaotic, Fractal, and Statistical) as:
• generators of interesting musical signals
• and as potential sources for algorithmic composition

Real-Time Multi-Channel Spatialization

Graduate of SELP (Self Expression and Leadership Program) offered by Landmark Education, Winter 1997-98, 5 CEUs.

"This Program takes place over a three month period and provides participants with the tools to create an environment outside the personal and conceptual in which they expand their natural capacity for leadership and communicate in a way that elicits the alignment, cooperation and partnership of others." -Landmark Education

Assistant in the SELP (coach and head coach)– responsible for the training and development of participants in the program: Spring, Summer, and Fall 1998.