Graduate Advisor in CPCI, spring 2021 She is director of the Jazz Initiative at the Hutchins Center for African and African American Research, which has overseen the acquisition of the archives of pianist Randy Weston in 2016, and the production ofÂ Timeless Dreams and Portraits:Â A Festival/Symposium in honor of Geri AllenÂ in 2018. She did her undergraduate and masterâs degrees at Kingâs College London (UK) and graduated with an MFA (1993) and PhD (1997) from Princeton University. He spent one year studying at IRCAM in Paris (1994), and in 1995 participated in composition workshops with Klaus Huber and Brian Ferneyhough. The Yale School of Music is a graduate professional school for students of exceptional ability who, by reason of their musical aptitude and their intellectual background, are qualified to do graduate work at this University. Holden Choirs SCHOOL OF MUSIC FACULTY University Park 2007-2008 *SUE HAUG (D.M.A., University of Iowa). She has won three ASCAP-Deems Taylor Book Awards. and Ph.D from Yale in musicology as well as performing degrees from Indiana (MM.) During 2015-2016, she was the Marta Sutton Weeks Fellow at the Stanford Humanities Center. Jackson is a recipient of San Franciscoâs Dean Goodman Choice Award for Sound Design and Theatre Bay Areaâs Eric Landisman Fellowship. Sounding Together: Collaborative Perspectives on U.S. Music in the 21st Century, co-edited with Charles Hiroshi Garrett , is forthcoming from the University of Michigan Press, and she is at work on a book provisionally titled Civil Rights in the Concert Hall: Marian Anderson and the Racial Desegregation of Classical Music. Selected Works: Soliciting Darkness: Pindar, Obscurity, and the Classical TraditionÂ (Harvard, 2003).Â Music, Madness, and the Unworking of LanguageÂ (Columbia, 2008) [German translation:Â Musik, Wahnsinn und das AuÃerkraftsetzen der Sprache, trans. 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. Other artists that he has collaborated with include David Soyer, Kim Kashkashian, Shai Wosner, Roger Tapping, and members of the Cleveland and Tokyo Quartets. Elizabeth Keller-Tripp, Artistic Administrator, Laura Buch Yale School of Music offers its students an intimate and supportive environment in which to excel in their respective area of study. When not playing the cello, Kee's other interests include maintaining physical and mental health and well-being, international cuisine, world music, and his cat, Sammy. Emily Dolan, Brown University The Wintersongs series uses the same septet material reinterpreted five times, becoming an entirely different musical experience with each iteration.Â 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). vijay-iyer.com Shelemay CV, Assistant Professor of Music, Rehding’s teaching and research has focused on 19th-century European concert music (mostly Beethoven, Liszt, and Wagner), including such issues as nationalism, cosmopolitanism, and cultural transfer; History of music theory (ancient Greece, Rameau, Riemann, Helmholtz). Rehding is a music theorist with a focus on intellectual history and media theory. Chase recently stepped down from the leadership of ICE to focus on her performing career and to make way for other long-term projects, including âDensity 2036.â This project will result in the commission of a significant body of new music for the flute over the next two decades, culminating in the commemoration of the one-hundredth anniversary of Edgard VarÃ¨seâs iconic solo piece, âDensity 21.5â of 1936. Her bookÂ Freedom Sounds: Civil Rights Calls Out to Jazz and AfricaÂ addresses these issues in the jazz world of the 1950s and 1960s.Â She is also author ofÂ Saying Something,Â which concerns the interactive and communal dimensions of jazz improvisation as a musical process. Assistant Professor: Violin. A jury consisting of members of the Yale faculty, possibly augmented with professional musicians from outside the University, judges the performance and participates in the oral examination. Visiting scholars and fellows, student musicians, and artists-in-residence round out the department's academic and performing community. firstname.lastname@example.org In 2014 he was named the Franklin D. and Florence Rosenblatt Professor of the Arts at Harvard University. Their co-authored book, entitledÂ Music from Earth: Alien Listening and Voyager’s Golden RecordÂ will be published by Zone Books in 2020. Historical Musicology 201S 617-495-2791 ... Abbate received a B.A. His book,Â Ask the Experts: How Ford, Rockefeller, and the NEA Changed American MusicÂ (Oxford University Press) was published in 2020. Music Building 305 N Global music theory; Historiography and Science & Technology Studies; Aesthetics and Media Theory, theories of Listening; Digital Humanities, Ecomusicology, Sound Studies, Sound Art, Â and Timbre studies. Other research interests include historiography, composers in emigration, performance theory, and contemporary opera. His choirs have been hailed as âfirst rateâ (Boston Globe), âcohesive and excitingâ (Opera News), and âbeautifully blendedâ (Providence Journal), achieving performances of âpassion, conviction, adrenalin, [and] coherenceâ (Worcester Telegram). Office: Armouries, AM 226 Explore Show Description. Herrera's work can be found in the Journal for the Society of American Music, Latin American Music Review, American Music. Visiting Faculty Both of these articles are based on research from his dissertation, “Sounds, Signals, Signs: Transductive Currents in Post-Spectral Music at IRCAM,” which examinesÂ the articulation of post-spectral aesthetics to psychoacoustics and technological developmentÂ at the Institut de recherche et coordination acoustique/musique (IRCAM) in Paris. More broadly, his researchÂ aims to draw music and media studies into an interdisciplinary dialogue that tracks the transductive flow of sounds across diverse media environments.Â His recent and forthcoming publications exhibit a broad engagement with interdisciplinary approaches to contemporary music research and he has given regular presentations at a variety of academic conferences, including the annual meetings for the Society of Music Theory, American Musicological Society, Electroacoustic Music Studies Network, and the Society for Cinema and Media Studies.Â. This research puts critical pressure on habits of using sound and acoustic instruments as an epistemic tool, asking what happens when instruments, sound-based apparatuses, and machines (whether by inventor design, by misfires in their channels of operation, or subsequent discourses clustered around them) are mischievous, and engender fables. He studied at the Curtis Institute of Music, Cleveland Institute of Music, and the New England Conservatory where he received his B.M. From 2014â2016 she served as Artist in Residence at the Institute for New Music at Northwestern Universityâs Bienen School of Music, and she has been appointed Co-Artistic Director of the Summer Classical Music Programs at the Banff Centre in Canada, starting with the 2017 summer season. He leads the Holden Choruses in performances throughout Europe and the United States, in studio recordings, and collaborations with distinguished conductors, composers, and ensembles. twitter.com/vijayiyer His publications include the following essays: “Sounding Belief: ‘Tuning Up’ and The Gospel Imagination,” in Exploring Christian Song, “‘This Must Be The Single’: Valuing The Live Recording in Contemporary Gospel Performance,” in Living the Life I Sing, and “Gospel Goes To Church (Again): Richard Smallwood’s Hybridity as Liturgical Compromise,” in Readings in African American Church Music and Worship, vol 2. For a full description of all of Chase's projects, go to clairechase.net. Outside academia, she has worked as a dramaturg and director. Professor Hasty has taught at Rutgers University, Yale University, where he founded the undergraduate Chamber Music Performance Program, and the University of Pennsylvania, where he founded and directed the College House Music Program. Security: Politics, Humanity, and the Philology of CareÂ (Princeton, 2013). 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… During 2014â2015, she is a member at the Institute for Advanced Study in Princeton and a Fellow of the American Council of Learned Societies. Shreffler serves on advisory and editorial boards of a number of musicological journals and institutions in the U.S., Germany, and Switzerland, including the Paul Sacher Foundation in Basel and the journal Archiv fÃ¼r Musikwissenschaft. He received his PhD from Washington University in St. Louis. Dedicated to advancing the dialogue between faith and reason, Catholic University seeks to discover and impart the truth through excellence in teaching and research. 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