Curriculum Vitae

Education:

Degrees:

Ph.D., Music Composition, State University of New York at Buffalo, 1991
B.A. summa cum laude, Music, Columbia University, 1987

Non-degree study:

Summer Music Associates program, Cleveland State University, 1991–1992
June in Buffalo Summer Music Festival and Workshop, SUNY at Buffalo, 1988–1990
Conservatoire National Supérieur de Musique de Paris, 1985–1986

Faculty Positions:

Ball State University: Assistant Professor 1996–2003, Associate Professor 2003–present
University of Massachusetts at Lowell: Assistant Professor, 1993–1996
Ball State University: Assistant Professor (one-year contract), 1992–1993
Ashland University (Ashland, Ohio): Adjunct Assistant Professor, 1991–1992

Other Musical Employment:

Choir Director, Unitarian Universalist Church of Muncie, 2001–present
Section violist, Muncie Symphony Orchestra, 1997–present

Recent Performances:

International:

  • Ashes performed at Ota International Music Seminar, Ota City, Japan, June 1 and at Mukogawa Women's University, Nishinomiya, Japan, June 4, 2003
  • Winter Remembered performed at Matushige Town Hall, Naruto, Japan, March 17, and in Kobe (Nishinomiya), Japan, March 19, 1999

National:

  • Ashes performed at Peace College (North Carolina), September 13, 2004
  • Ashes performed at Graceland University (Lamoni, Iowa), September 10, 2004
  • The Far Shores of the Day performed at The Crane School of Music, State University of New York at Potsdam, November 18, 2003
  • Sestina performed at Society of Composers, Inc., Region VII conference, Flagstaff, Arizona, October 12, 2002

State and Regional:

  • Tattoo performed at Indiana Music Teachers Association conference, Ball State University, November 12, 2005
  • Within My Garden performed at Miami University of Ohio, March 23, 2005
  • Within My Garden performed at Eastern Michigan University, March 18, 2005
  • Within My Garden performed at the University of Michigan, March 17, 2005
  • Within My Garden performed at the University of Indianapolis, March 5, 2005
  • Ashes performed at Taylor University, Upland, Indiana, April 22, 2003
  • Endangered Species performed at College Music Society – Great Lakes conference, South Bend, Indiana, April 4, 2003

Local (Muncie, Indiana):

  • Variations on a Poem by Rai Peterson performed as part of BSU Viola Day, October 8, 2005.
  • Summon Hope for Sophia (arrangement) performed at Unitarian Universalist Church, September 25, 2005
  • Bread and Roses (arrangement) performed at Unitarian Universalist Church, May 1, 2005
  • The Hammer of Los performed as part of the Faculty Artist Series, Sursa Hall, April 19, 2005
  • Within my Garden performed on a faculty recital, Sursa Hall, April 5, 2005
  • Variations on a Poem by Rai Peterson performed as part of BSU Women's Week, Choral Hall, April 1, 2005.
  • All That Is Solid (orchestral revision) performed by Ball State Symphony Orchestra, Sursa Hall, February 13, 2005

Publications:

Reviews:

  • Claude Ballif, André Jolivet, François-Bernard Mâche, Maurice Ohana, vocal and choral compositions, in Notes: Quarterly Journal of the Music Library Association 54/3 (March 1998) 781-4.
  • Gilbert Amy, Quatuor à cordes, in Notes 53/1 (September 1996) 285-6.
  • Jacques Ghestem, ed., Approche de la musique contemporaine au violon, in Notes 52/1 (September, 1995): 306-8.
  • Tristan Murail, Les miroir étendus pour ondes martenot et piano, and André Jolivet, Ouverture en rondeau pour 4 ondes martenot, 2 pianos et percussion, in Notes 51/2 (December 1994): 755-7.
  • George Benjamin, Octet for flute, clarinet, celesta, percussion, and solo strings, and A Mind of Winter, in Notes 50/1 (September 1993): 382-3.
  • Barbara Kolb, Millefoglie for instruments and computer-generated tape, in Notes 48/2 (December 1991): 690-1.
  • Diane Peacock Jezic, The Musical Migration and Ernst Toch and Nathan Milstein and Solomon Volkov, From Russia to the West: the Musical Memoirs and Reminiscences of Nathan Milstein, in Notes 48/2 (December 1991): 500-2.

Articles:

  • “Order, Duration, and Time in the Music of Messiaen,” Ex Tempore, vol. IX/2 (Summer 1999) 64–76.
  • “Serialism and Permutation Techniques in Olivier Messiaen's Livre d'orgue,” Music Research Forum (University of Cincinnati), vol. 6 (1991): 15-35.
  • “New Directions in Music.” The Gamut (Cleveland State University), no. 33 (Summer 1991), pp. 32-42.
  • “Boulez and IRCAM.” The Cleveland Orchestra Program Guide: Nov. 26-29, 1986, pp. 40a-44.

In Progress:

  • Music of the Millennium: Theoretical and Analytical Approaches to Music of the 20th and 21st Centuries (undergraduate textbook)

Recent Presentations:

  • “Coming to an End: Compositions to Conclude a 20th-Century Analysis Class,” Music Theory Midwest conference, University of Missouri – Kansas City, May 15, 2004
  • “Olivier Messiaen as Analyst and Theorist,” at Couleurs dans le vent: A Celebration of the Music of Olivier Messiaen 1980–1992, University of Kansas, November 4, 2002.
  • “Peer Instruction in Music Theory,” College Music Society–Great Lakes Region, Mount Union College (Ohio), March 31, 2001.
  • “Time After Time: Temporal Experience as a Determinant of Form,” New Music & Art Festival, Bowling Green State University (Ohio), October 26, 2000.
  • “Order, Duration, and Time in the Music of Messiaen,” Music Theory Midwest conference, Lawrence University (Wisconsin), May 20, 2000.
  • “In Theory, In General,” a contribution to the panel discussion, “Reimagining the Core Curriculum. Music Theory Midwest conference, Lawrence University, May 20, 2000.
  • “Integrating Eclecticism: Harmony in Poulenc's Later Works,” Music Theory Midwest conference, Butler University, May 14, 1999.
  • “An Instrument Unlike Any Other: The Voice and Vocal Polyphony in the Music of Betsy Jolas,” New Music & Art Festival, Bowling Green State University (Ohio), October 10, 1998.
  • “Metrical Contradictions in Bach's Suites for Solo Violoncello,” Music Theory Society of New York State conference, New York City, April 19, 1998.
  • “Transgression and Creativity in the Music of Betsy Jolas,” Festival of Women Composers; Indiana, Pennsylvania, March 20, 1998.
  • “The Tritone as a Unifying Element in Poulenc's Voix humaine,” Rocky Mountain Society for Music Theory conference; Albuquerque, New Mexico, March 14, 1998.
  • “Who's Wearing the Dress? Gender Identity and Ambivalence in the Piano Music of Chopin and Liszt,” with Kevin Purrone, Feminist Theory and Music conference; Charlottesville, Virginia; June 6, 1997.
  • “The Instrument as Collaborator,” Society of Composers, Inc., Region VI conference; Shawnee, Oklahoma; February 21, 1997.

Professional Service:

Institutional Service

  • Music Theory & Composition area:
    • Division Head for Music Theory and Composition area, 2002–present
    • Coordinator of curriculum and of graduate TAs for aural skills classes, 1996–2002
    • Co-Director, School of Music Computer Lab, 1996–2005
  • School of Music:
    • Promotion and Tenure Committee (chair), 2003–2004
    • School of Music Director search committee, 2003–2004
    • Academic advisor, 2001–present
    • various faculty search committees
  • College of Fine Arts:
    • Promotion and Tenure Committee (chair), 2004–2005
    • C.F.A. “20 + 3” Commission on Curriculum in the Arts 1998–1999
  • University:
    • Student Center Committee, 2001–2002
    • C.F.A. representative on University Judicial Committee 1997–1999
    • Served as faculty member of the Lesbian, Bisexual, & Gay Student Association's “Coming-Out Week” organizing committee, summer & fall 1997.

Professional service

  • National: Editorial Review Board of Journal of Music Theory Pedagogy, 2001–2004
  • Regional:
    • Local Arrangements host for Music Theory Midwest, 2006 conference
    • Program Committee for College Music Society, Great-Lakes Region, 2005 conference
    • Komar Award Committee, Music Theory Midwest, 2005 conference
    • Chair, Program Committee for Music Theory Midwest, 2002 conference
    • Program Committee for Music Theory Midwest, 2001 conference
    • Organizer of paper session for Society of Composers, Inc., Region V 2001 conference

Professional memberships

Society for Music Theory
Society of Composers, Inc.
College Music Society
International Alliance for Women in Music
Music Theory Midwest
American Conposers Forum