23. mai 2019

With his colleague Suzannah Clark, Rehding co-edited a volume on Music Theory and Natural Order (2001, pbk 2003), which explores this nexus across history. E-Mail: sbick@uwindsor.ca, Sally Bick is an associate professor of musicology in the School of Creative Arts at the University of Windsor. In 2011, he conducted the Boston premiere of John Adams’s Pulitzer Prize–winning On the Transmigration of Souls with the composer present. Additional resources include a research budget (Bryan Fund), funding for summer language study, and subsidized private voice or instrumental studio instruction. Steven Takasugi, Associate She was Professor of Composition at the University of California San Diego from 1997-2006, a professor at the University of Music and Performing Arts in Vienna from 2006-2009, and in 2009 was appointed Walter Bigelow Rosen Professor of Music at Harvard. She received the Everett S. Mendelsohn Excellence in Mentoring Award at Harvard; the 2015 Distinguished Service Award from the Society for American Music; and the President’s Distinguished Alumni Medal from the Graduate School of CUNY. Tutschku has composed music for film, theatre, and ballet as well as instrumental and electroacoustic music. She has taught at Harvard since the fall of 2003. A new article, "Maderna Goes to Tanglewood: The Role of American Networks in the Origins and Reception of Venetian Journal and Satyricon," is forthcoming in the volume Utopia, Innovation, Tradition: Bruno Maderna's Cosmos, edited by Angela Ida de Benedictis and published by the Paul Sacher Foundation. Office: Armouries, AM 226 Creative Practice Critical Inquiry The piece, combines/ superimposes materials of the first world war (Luk Perceval theater piece "FRONT") with the short story Homecoming by Can Xue. The musicolo… Outside of music, Jessica enjoys cooking, practicing yoga, biking, and hiking with her husband, violinist Daniel Chong, and their vizsla, Bodie. Her current research centers on mischievous sound technologies and acoustic artifacts from the nineteenth and early twentieth centuries, and their place in histories of hearing and mishearing. She taught at Columbia University (1977-1982), New York University (1982-1990), and Wesleyan University (1990-1992), before joining the Harvard faculty in 1992. From 1998-2002 he served as Assistant Conductor of the Boston Symphony Orchestra under Seiji Ozawa. *Member of the Graduate Faculty SCHOOL OF MUSIC FACULTY Other Penn State Locations. German music 1500-1800; English music 1550-1750; music and book history; digital musicology. in flute performance in 1979 from New England Conservatory, a Master's in music theory from the same institution, and Ph.D. in musicology from Harvard; this was immediately followed by an Assistant Professorship at the University of Chicago. Characteristic of her work are working with metaphor as a means of reaching a sound world which is unfamiliar; the use of noise and physical parameters as weight, textural surface (as in smoothness or roughness etc), problematization of time and unfolding and shifting of scale in order to create a vital, visceral and direct sonic experience. She co-edited (with David Trippett) a themed issue of the German journal Musiktheorie on Rudolf Kolisch in America. The exploration of time and form on the one hand, and of material, its nature and physicality on the other, find a new expression in HIDDEN (2013-14) for string quartet and electronics, where a slowed down experience of time is coupled with distorted reflections of material, showing a glimpse into a world of unfamiliarity.  Author of two monographs and editor of three collections, Wolf has published on such topics as social-cultural “style” in South Indian classical music, conceptions of space, time and music among the Kota tribal people in the Nilgiri Hills of south India, and drumming, “recitation,” and music in public Islamic contexts in India and Pakistan. Carolyn Abbate works on opera, music philosophy, and sound studies. He currently serves as co-editor of “Tracking Pop,” the University of Michigan Press’s series of books about popular music, and as a senior editor for Oxford Handbooks Online. SCHOOL OF MUSIC FACULTY University Park 2007-2008 *SUE HAUG (D.M.A., University of Iowa). Joseph’s research has appeared in the pages of Music Theory Online and on the programs of conferences in the US, Canada, the UK, and France. A second monograph, Music and Monumentality (2009, pbk 2017), explored the imaginary connection between “big” sounds and ambitions of greatness in the music of nineteenth-century Germany. More information on studying musicology at the University of Hawaii-Manoa: Master of Arts in Musicology; ... Charles University, Princeton University, MIT, and Yale University, among others. Upon completing her formal education, Czernowin undertook a period of travel and composition in Japan 1993-1995 (Asahi Shimbun Fellowship, NEA Scholarship) and Germany (1996, Akademie Schloss Solitude). 617-496-9317. Professor Hasty’s compositions have most recently been performed by the White Rabbit Ensemble in the Harvard Group for New Music Series, and by the Contemporary Music Ensemble at the Strasbourg National Conservatory. In addition to receiving professional training in music, students are encouraged to participate in the rich intellectual life of the entire University and to develop and pursue interests in area… Recent publications have dealt with sound technology in the machine age (“Sound Object Lessons,” 2016), cognitive disjunction and ephemeral art (“Overlooking the Ephemeral,” 2017), and operetta (“Offenbach, Kracauer, and Ethical Frivolity,” 2017). He was the 2015-16 Artist-in-Residence at the Metropolitan Museum of Art in New York, 2017 Jazz Artist in Residence at Wigmore Hall in London, and Musical Director for the 2017 Ojai Festival in Southern California. Diego, studying with Roger Reynolds ( dissertation Advisor ) and a British Academy Postdoctoral Fellowship 1996–1999. 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