Jeremy Wagner
(H) 510.898.1843 (C) 651.707.7417
472 Kentucky Ave Berkeley CA 94707
composer sound design
[email protected]
z.umn.edu/jeremywagner
Cu r r i cu l u m V i t ae Jeremy Wagner is a composer, tinkerer and sonic artist living and working in the Bay Area. His compositions have been performed across the United States and Europe by some of the world’s most gifted performers. Most recently, Jeremy’s work Pléonasme was premiered by the Arditti String Quartet at the Acanthes-Manifeste, IRCAM, Paris in June 2012 and his adaptation-electronic film score for Hisham Bizri’s Sirrocco has shown at the 2012 Cannes & 2013 Sundance film festivals, among others. He is a founding member of Minnesota’s Contemporary Music Workshop (CMW), which tirelessly champions new work and is recipient of the 2011 McKnight Composer Fellowship. Currently residing in Berkeley, CA Wagner continues to probe the elaborate complexities of the physical world, specializing in the creation of finely-crafted physio-aural constructions emanating from a tradition of imaginative inquiry, thoughtful experimentation and sensitivity to the unique talents of virtuosi performers.
Specialty: Music Composition, Electronic/Computer Music, Computer aided/algorithmic composition, sound design.
Education: Doctor of Philosophy (PhD), Music Composition Aug. 2008 - May 2012 University of Minnesota, Twin Cities Adviser: James Dillon Composition with James Dillon (dissertation adviser) Mathematical Music Theory with Guerino Mazzola Classical Physics with Robert Lysak Dissertation: Periphrasis for chamber sinfonia Qualifying exam topics: “On Directed Motion & Expectation in Musical Composition: My Approach to Musical Composition Broadly Conceived” “The FFT algorithm and its application in MP3 compression” Masters of Music (MM), Music Composition Aug. 2005 - Jun. 2008 University of Minnesota, Twin Cities Adviser: Doug Geers Composition with Adam Greene, Doug Geers & James Dillon Schenker Analysis w/ David Damschroder; C. 20th Analysis w/ Michael Cherlin Electronic Music with Douglas Geers Thesis: Flowers of Learning: Sonic Structures on the Works of Roman Verostko Bachelors of Music (BA), Saxophone Performance & Composition Wichita State University, Wichita, KS Composition with Walter Mays & Katherine Murdock Saxophone with Jean Lansing
Aug. 1999 - Dec. 2003 Adviser: Jean Lansing
Académie Acanthes 2012: Manifeste 2012 Arditti Workshop* Jun. 2012. IRCAM, Centre Pompidou, Paris, France *Invited by Competition Jury Phillipe Manoury & Luca Francesconi, advisers Pléonasme for Arditti String Quartet premiered 30 June 2012 45th Internationalen Ferienkursen für Neue Musik Internationales Musikinstitut, Darmstadt, Germany Composition masterclass presentations with Liza Lim, Rebecca Saunders, Vladimir Tarnopolsky and Brian Ferneyhough
Curriculum Vitae
Jul. 2010
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Jeremy Wagner
(H) 510.898.1843 (C) 651.707.7417
472 Kentucky Ave Berkeley CA 94707
composer sound design
[email protected]
z.umn.edu/jeremywagner
Fellowships & Teaching
2011 McKnight Composer Fellowship
2011-12
The McKnight Foundation & American Composers Forum • Minneapolis/St. Paul, MN Chosen by a national panel of composers as the recipient of a 12-month fellowship supporting my compositional activities. The McKnight is among the most prestigious & financially significant awards available to Minnesota artists.
Instructional Design Fellowship, Technology Enhanced Learning Team
2008-11
University of Minnesota, College of Liberal Arts, Office of Information Technology • • • • • •
Special research fellowship developing strategies for technology enhanced pedagogy, assisting faculty across a broad range of Fine Arts disciplines in the deployment of classroom & webbased technology for course delivery, remote learning and online collaboration. Emphasis on course management systems (Moodle & Web Vista), media integration and constructivist learning via interactive social media in the classroom. Collaboration on the development of new tools for learning as well as creative deployment of existing enterprise systems to achieve new pedagogic modalities. Addressed emerging issues in copyright and fair use as encountered in new media in the context of of higher education. Conducted classroom training sessions on the use of Web 2.0 tools and rich media integration. Supervised undergraduate assistants.
Electronic Music Studio Manager
2007-08
University of Minnesota, School of Music • •
Maintained Electronic Music Studios and computer lab including repairs/upgrades of audio and computer equipment in these facilities. Scheduling/managing of student workers.
Graduate Teaching Assistantship
2006-08
University of Minnesota, School of Music Instructor of record for the following courses:
Digital Music Synthesis and Processing Techniques • • •
2007
Second course in two semester sequence on electronic & computer music Taught rigorous course on Max/MSP/Jitter for live & interactive manipulation of audio/ video in a project-based learning environment. Maintained the electronic music studio equipment and software.
History of Rock II
2007-08
History of Rock I
2006-07
•
•
Curriculum Vitae
Second semester in sequence offered primarily for non-music majors. Emphasized historical context and the critical analysis of American popular music from 1970 - present.
First semester in sequence offered primarily for non-music majors. Emphasized historical context and the critical analysis of American popular music and its antecedent genres prior to 1970.
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Jeremy Wagner
(H) 510.898.1843 (C) 651.707.7417
472 Kentucky Ave Berkeley CA 94707
composer sound design
[email protected]
z.umn.edu/jeremywagner
Additional Teaching Experience Instructional Design Consultant, University of Minnesota, School of Social Work Trainer, IT Fellow Boot Camp, University of Minnesota, College of Liberal Arts Saxophone Masterclass, College of St Catherine, St. Paul, MN Jazz Masterclasses, Wichita Public Schools, Wichita, KS Presenter, Kansas Music Educators Association, Wichita, KS Presenter, World Saxophone Congress, Minneapolis, MN Saxophone Quartet Masterclass, Southwestern University, Winfield, KS Presenter, North American Saxophone Alliance, Denton, TX Private instruction: Saxophone
2011 2009-11 April 2009 2004-05 2004 2004 2003 2002 1996-2005
Committee Assignments, University of Minnesota • • •
Instructional Design TEL Assistant Coordinator Search Committee, College of Liberal Arts, Office of Information Technology, Technology Enhanced Learning Team, 2011. Information Technology Support Staff Search Committee, School of Music, 2009. School of Music Technology Committee, 2008-2011.
Ensemble and Festival Activities San Francisco Contemporary Music Players (SFCMP) • San Francisco, CA • •
Contemporary Music Workshop (CMW) • Minneapolis, MN • •
Founding member of this performance collective focusing on the presentation of late 20th and 21st century repertoire Responsibilities included public relations, concert production, media production and assistance to Artistic Director James Dillon.
Spark Festival of Electronic Music & Art • Minneapolis, MN • • •
2008-2013
2006-2010
Long-time staff member, adjudicator and production assistant for international festival of electronic music and art. Served as a conduit between composers, performers, presenters and venues, curated/managed technical preparations of hardware/software aparatus for new electroacoustic works. Served as primary contact in artist relations, concert production, special projects and volunteer coordination.
Music in the Park Series • St. Paul, MN • •
2013-present
at the request of executive director Rozie Kennedy, wrote & researched program notes and composer biographies for 2014 SFCMP season programs at the request of Artistic Director Steven Schick, advised on technical aspects of electronic music production and similar elements in the works of composer James Dillon
Served as Office Manager handling daily operations of subscription chamber music series Working in close collaboration with Artistic Director Julie Himmelstrup prepared events, marketing and artist relations. Maintained subscriber database, financials and reports to the executive board, officers and subcommittees.
2005-06
Other Employment & Freelance Work Freelance Film Sound Design Freelance Mobile Application Development Freelance Audio Mastering & Video Editing Freelance Music Transcription, Editing and Publishing Curriculum Vitae
2010 - present 2011 - present 2005 - present 1999 - present Page 3 of 10
Jeremy Wagner
(H) 510.898.1843 (C) 651.707.7417
472 Kentucky Ave Berkeley CA 94707
composer sound design
[email protected]
z.umn.edu/jeremywagner
Recent Compositional Activity with Performances
Oberleitung, violin duo, 2013. (6 minutes). Ferguson Hall, University of Minnesota, 7 October 2013. Duo Gelland, (Martin & Cecilia Gelland), violins.
...auf einer grünen Aue..., saxophone duo, 2013. (6 minutes). Ted Mann Concert Hall, University of Minnesota, 9 April 2013. Jeffery Kyle Hutchins & Alex Richards, saxophones. Pléonasme, string quartet, 2012. (9 minutes). Acanthes Festival, IRCAM, Espace de Projection, Paris, France, 30 June 2012. Arditti String Quartet.
Periphrasis, chamber sinfonia (1, 1, 1, 1 - 1, 1, 1, 1 - 2 perc, pno - 1, 1, 1, 1, 1), 2012. (13 minutes). School of Music, University of Minnesota, 1 May 2012. CMW Ensemble, Erik Rohde, conductor.
Hisham Bizri’s Sirrocco (Shluq), film score/sound design, 2011. (15 minutes). • 2013 Sundance Film Festival, Short Film Program/New Frontier Short Films • 2012 Festival de Cannes, 58th International Short Film Festival Oberhausen • 2012 Abu Dhabi Film Festival, Short Film Competition Presque vu, string quartet, 2011. (WIP, 35 minutes). Tchotchke for Noriko Kawai, piano solo, 2010. (3 minutes). Ted Mann Concert Hall, University of Minnesota, 9 December 2010. Deptford Town Hall, Goldsmiths College, London, UK, 20 June 2011. Noriko Kawai, piano. Hisham Bizri’s A Film, concrète film score/sound design, 2010. (6 minutes). • The Curtas Vila do Conde - International Film Festival in Portugal (Lisbon) • Jordan Short Film Festival (Amman) • Les Rencontres Internationales Paris/Berlin/Madrid • Akbank Short Film Festival (Turkey) Six Scenes, woodwind quintet (fl, ob, cl, bsx, bsn), 2010. (10 minutes). School of Music, University of Minnesota, 30 April 2010. CMW Ensemble, Shanti Nolan, conductor. Dyspnoea for Irvine Arditti, violin solo, 2009 (11 minutes). School of Music, University of Minnesota, 9 December 2009. Irvine Arditti, violin solo. A Transmer Criptica, chamber ensemble (fl, ob, cl, cl, sx, bsn, hn, tpt, tbn, perc, gt, vc, cb), 2009. (11 minutes). School of Music, University of Minnesota, 12 May 2009. CMW Ensemble, Robert Whalen, conductor. Jeph d’ba d’baef d’ba, string quartet, 2008. (11 minutes). Distance Chromatic Translation, interactive electronics & painter / gallery installation, 2007. (Approx. 5 hours). Nina Bliese Gallery, Minneapolis, MN, September 1 - 30, 2007.
Curriculum Vitae
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Jeremy Wagner
(H) 510.898.1843 (C) 651.707.7417
472 Kentucky Ave Berkeley CA 94707
composer sound design
[email protected]
z.umn.edu/jeremywagner
Flowers of Learning: Sonic Structures on the Works of Roman Verostko, artist collaboration / gallery installation, 2007. (65 minutes). Nina Bliese Gallery, Minneapolis, MN, April 13 - May 25, 2007. Evaporations, for orchestra, 2006. (7 minutes). School of Music, University of Minnesota, 14 April 2006. University of Minnesota Orchestra, Robbert Debbaut, conductor. Twittering Machine, saxophone quartet, 2004. (5 minutes). 2004 Kansas Music Educators Association Conference, 1 October, 2004. Mid-Kansas Saxophone Quartet. The Passing of the Year, mezzo-soprano, piano, 2003. (6 minutes). Wiedemann Concert Hall, Wichita State University, 25 November, 2003. Heidi Meinen, soprano; Tate Addis, piano. Three Conversations for Two Clarinets, clarinet duo, 2003. (10 minutes). Wiedemann Concert Hall, Wichita State University, 25 November, 2003. Wes DeSpain & Emily Flanagan, clarinets. Road Rage, string quartet, 2002. (12 minutes).
Instrumental Performance, Conference & Festival Activity OpenMusic Workshop: Intensive sessions with OpenMusic programmerJean Bresson (IRCAM) Center for New Music & Audio Technologies (CNMAT), University of California, Berkeley, CA September 2013. Music & Games: As saxophonist, performed Samuel Burt’s “...” (ellipsis) for saxophone and tape CCRMA Main Stage, Stanford University, Stanford, CA • 26 April 2013. Académie Acanthes 2012: Conscripted as one of five composers to the Manifeste 2012 Arditti Workshop. 16 June - 1 July 2012. IRCAM, Centre Pompidou, Paris, France. Phillipe Manoury & Luca Francesconi, advisors. Pléonasme for Arditti String Quartet premiered 30 June 2012. New York Triptych: Served as sound designer and studio assistant to James Dillon on the tape elements of New York Triptych. Internationales Musikinstitut, Darmstadt, Germany • 16 July 2012. CMW Presents...anAntiOpera: Directed performance of Stockhausen’s Setz die Segel zur Sonne from Aus dem Sieben Tagen and produced media, stagecraft and video for Ligeti’s Nouvelles Aventures. Ted Mann Concert Hall, University of Minnesota, Minneapolis, MN • 4 November 2011. CMW Presents...Talea Ensemble, Spark Festival 2010: Organized & performed electronics in an allanalog, period reproduction of Brian Ferneyhough’s Time & Motion Study II with cellist, Alex Waterman and Talea Ensemble. Love Power Church, Minneapolis, MN • 1 October 2010. 45th Internationalen Ferienkursen für Neue Musik in Darmstadt, Germany; Masterclasses with Liza Lim, Rebecca Saunders, Vladimir Tarnopolsky, and Brian Ferneyhough. Internationales Musikinstitut, Darmstadt, Germany • July 2010. Syncretic Harmonies: Performed Karlheinz Stockhausen’s Ceylon with Sri Lankan-British cellist Rohan de Saram. Barker Center for Dance, University of Minnesota, Minneapolis, MN • 11 February 2010. Curriculum Vitae
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Jeremy Wagner
(H) 510.898.1843 (C) 651.707.7417
472 Kentucky Ave Berkeley CA 94707
composer sound design
[email protected]
z.umn.edu/jeremywagner
Scholarly Research Presentations
This McKnight Year: Compositional Activities 2011-2012
American Composers Forum McKnight Salon, Studio Z, St. Paul, MN • February 21, 2012 Abstract: In this short talk I detail my compositional activity over the past year and describe the impact of McKnight grant funds on the pursuit of my compositional practice. Compositions discussed include Tchotchke, Presque Vu, Sirrocco and Periphrasis. Scores are presented with explanation of motivating aesthetics and issues of notation.
Sound Spatialization via Intuitive Visual Metaphor
Academic Technology Showcase, College of Liberal Arts, University of Minnesota • April 7, 2010 Abstract: Sound spatialization has a long history in music composition dating back to early church music. More recently, modern composers have employed electronic means of sound diffusion for creating spatial dimensions to their compositions. Finally, the emerging ubiquity of home theater systems has provided the means by which surround sound recordings can be widely disseminated and enjoyed. This research focuses on extending the surround sound paradigm by exploring its implementation as an interactive learning environment. Using off the shelf technology we have devised a system by which the student can manipulate the position of sound sources within two- and threedimensional sound fields using a simple, intuitive Java interface. The user can even set individual sound sources into motion against each other. Spatial reflections and Doppler cues are calculated via a physical model for maximal realism. For this demonstration the user can participate in remixing and spatializing a classic, well-known recording.
Non-Realtime Sound Synthesis Using Max/MSP
Spark Festival, “Symposium Fast Forward” • Feb. 25, 2007 Abstract: Sound design often requires advanced knowledge of programming and esoteric software. This brief talk presents a simple method for achieving similar high-quality results using the popular Max/MSP programming environment with efficiencies approaching command-line implementations.
Selected Discography • • • •
Composer/producer/electronics on Flowers of Learning; Sonic Structures on the Works of Roman Verostko, Jeremy Wagner Music (2007). Saxophones on Day for Night Photography by Almond Davis, (2007). Saxophones on Love Songs for Soccer Moms by Ophil, Haverhill Music (2004). Saxophones on Ophil Live by Ophil, Not Bad Records (1999).
Honors & Awards Winner 2013 Ensemble &c. Composition Competition
Nominee Finalist for the 2013 Julius F. Ježek Prize in Composition 2012 Académie Acanthes Juried Composer Conscript Winner 2011 McKnight Composer Fellowship College of Liberal Arts Fellowship, University of Minnesota Minnesota Orchestra Composers Institute, Honorable Mention School of Music Assistantship, University of Minnesota Winner 2003 Konrad Wolff - Ilse Bing Chamber Music Competition, First Prize, WSU City Music Scholarship, Wichita State University Reno County Academic Scholarship, Hutchinson, KS
Curriculum Vitae
May 2013 December 2012 June 2012 May 2011 Aug. 2008 – Jun. 2011 2008 Aug. 2006 – Jun. 2008 Apr. 2003 1999-2003 1998-1999 Page 6 of 10
Jeremy Wagner
(H) 510.898.1843 (C) 651.707.7417
472 Kentucky Ave Berkeley CA 94707
composer sound design
[email protected]
z.umn.edu/jeremywagner
Event & Ensemble Associations • • • • •
San Francisco Contemporary Music Players • San Francisco, CA Founding member of the Contemporary Music Workshop • Minneapolis, MN Spark Festival staff 2005 - present • Minneapolis, MN Founding member of the Mid-Kansas Saxophone Quartet • Wichita, KS Founding member of the Zeitgeist Consort • Wichita, KS
Professional Affiliations
American Composers Forum (ACF) Society of Electro-Acoustic Music in the United States (SEAMUS) North American Saxophone Alliance (NASA) American Society of Composers, Authors & Publishers (ASCAP)
Technological Competencies In my work on computational approaches to music composition I have embraced a wide range of technology as part of my regular working routine. I am expertly proficient with the following hardware, software & programming languages and, during the past five years, have instructed others in the use of the following hardware and software:
Music Notation, Compositional & Acoustics Research Packages I am a daily user of Sibelius & Finale notation packages utilizing the strengths of each depending on the notational need. Additionally, my work is heavily informed by avid engagement with algorithmic and acoustics research tools such as Max/MSP, Pure Data, Open Music, AudioSculpt and Spear.
Audio/Video Production & Editing •
•
•
I have worked with a wide range of Digital Audio Workstation (DAW) hardware and software including Pro Tools, Digital Performer, Logic & Audacity based systems. I prefer highquality outboard converters and monitoring equipment for mixing, editing and mastering and I am competent in the design, setup, troubleshooting and maintenance of studio equipment and facilities. I prefer mastering in Bias Peak using Waves, Isotope & Bias plugins and processors. I am a regular user of Max/MSP, Ableton Live & Melodyne both in live performance and in studio sound design. I have been editing digital video since the first version of Adobe Premiere came to market two decades ago, but now prefer to work in the newest versions of Final Cut Pro. I have produced custom 3D title graphics in Motion, Blender and Processing and I am experienced in HD videography, mixing, editing, mastering and postproduction. As a concert producer of hundreds of live events I have a deep knowledge of live pro audio/video, lighting, stagecraft, artist relations as well as extensive experience promoting events with targeted marketing materials for print, web and social media.
Programming Languages
I have developed music software in Java, Lisp, Android and related encapsulations including Arduino, Processing, OpenMusic, Sibelius ManuScript SuperCollider and Max/MSP.
Productivity & Design I am an expert user of InDesign, Microsoft Office, Google Apps, SketchUp, FileMaker Pro and Adobe Suite, among others, and posess a deep understanding of digital photography. Curriculum Vitae
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Jeremy Wagner
(H) 510.898.1843 (C) 651.707.7417
472 Kentucky Ave Berkeley CA 94707
composer sound design
[email protected]
z.umn.edu/jeremywagner
Statement of Teaching Experience and Sample Course Proposals I have taught music in various capacities for more than 15 years across applied, instrumental, technology and academic disciplines. At the University level I have five years teaching experience: two years delivering traditional curriculum in both classroom and studio settings with an additional three years mentoring Fine Arts faculty in instructional design and technology-enhanced pedagogy. I am well at ease teaching the traditional collegiate core music curriculum, but I am perhaps best suited to instruction in the areas of my research interest, namely, composition, advanced orchestration, sound design and computer music topics. Proposed Advanced Topics Courses and Seminars Seminar in 20th Century Orchestration (I&II)—One of the most invaluable experiences for a young composer is the opportunity to hear their orchestrations played by a live ensemble. In this two-semester sequence I propose a survey of 20th century orchestration spanning a trajectory from Strauss and Bartok through Schoenberg, Nono, Lachenmann, Ligeti, Xenakis, Takemitsu and others. The first semester will focus on solo and chamber ensemble repertoire and the second will deal exclusively with symphony orchestra. Accompanying this survey will be short orchestration projects that will be successively refined and performed by a resident ensemble. In the second semester students will produce an experimental orchestration for large ensemble or orchestra, which will receive a reading session at the end of the semester. Students will be assessed on the sensitivity of their orchestration and on maintaining exceptional engraving standards in the written score. Studio Techniques • Interactive Digital Music Processing—All modern musicians should possess the basic recording skills and editing abilities to present themselves professionally in the marketplace and concert venue. This two-semester sequence introducing studio technology and contemporary software approaches to sound manipulation and processing is meant to develop these skills. In Studio Techniques the student will learn the basics of audio recording and digital production alongside a history of electronic music and musique concréte. The student will produce and present several studio projects for audio playback. Interactive Digital Music Processing will focus on live, interactive audio. In this course, students will learn the Max/MSP visual programming software (or similar open-source alternatives) and will devise a short composition employing the real time processing of live audio. Advanced Topics in Computer Music & Interactivity—An extension of Interactive Digital Music Processing this course is devoted to the further exploration of advanced topics in digital synthesis including use of video and motion capture in live performance, integration of custom sensors and simple robotics using Arduino microcontrollers, as well as introductions to various synthesis languages including the SuperCollider and Processing programming languages. Contemporary Music Ensemble—A course devoted to the promotion and production of new works by contemporary composers with a forum component for discussing issues of modern performance philosophy and practice. Emphasis will be placed on the presentation of thoughtfully curated concert programs produced as highly polished concert events.
Curriculum Vitae
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Jeremy Wagner
(H) 510.898.1843 (C) 651.707.7417
472 Kentucky Ave Berkeley CA 94707
composer sound design
[email protected]
z.umn.edu/jeremywagner
Core Undergraduate Curriculum I’ve become accustomed to the changing logistical needs of higher education and, and as such, I am amenable to teaching a broad range of course topics as needed. My curricular plans and philosophies in various subjects are outlined below: Music Theory & Ear Training -- Though my early theory training centered on the traditional approach to functional harmony, as a graduate student studying with David Damschroder I have come to cautiously embrace a structured Schenkerian approach to the teaching of tonal harmony, specifically for its sensitivity to issues of voice-leading and counterpoint in clarifying hierarchy of function. This training has certain subtle ramifications in my approach to the instruction of lower-level theory, but overall my philosophy remains traditionally bound to the approach to functional harmony adopted in the KostkaPayne and Schoenberg texts. Undergraduate Orchestration – As a composer I am well grounded in orchestration. I emphasize the basic understanding of instrumental tessitura and the sensitive deployment of instrumental forces. I cover modern techniques and notation as well as emergent approaches to orchestration based in spectral analysis. Counterpoint—I believe that the study of counterpoint is one of the common threads connecting history’s greatest composers. As such, I believe that every music student should have a firm grasp on the species counterpoint of Fux as well as derivative approaches promoted by Schoenberg, Schenker and others. Music Composition – Instruction in music composition is always a challenging and dangerous prospect. Too often, young composers adopt the aesthetics and style adopted by their instructor. In deference to the student’s proclivities, it is the task of the instructor to promote the development of individual voice and polishing of technique without the imposition of strictures on style or aesthetics. Rather, emphasis should always be placed on the development of compositional craft and the establishment of a wellwrought personal aesthetic.
References Curriculum Vitae
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Jeremy Wagner
(H) 510.898.1843 (C) 651.707.7417
472 Kentucky Ave Berkeley CA 94707
composer sound design
[email protected]
z.umn.edu/jeremywagner
James Dillon
Professor of Music Composition, University of Minnesota, School of Music James Dillon is a world-renowned composer who is frequently performed throughout the symphony halls of Europe. I have the rare privelege to call him my teacher and faculty advisor for the last five years. Email:
[email protected] Phone: 612-624-7329
Douglas Geers
Associate Professor of Music Composition, Brooklyn College, CUNY Doug Geers is a composer based in New York who specializes in electro-acoustic and interactive music. He is my former advisor, teacher and teaching supervisor at the University of Minnesota’s electronic music studios. Email:
[email protected] Phone: 718-951-5286
Hisham Bizri
Associate Professor of Film, University of Minnesota, Cultural Studies and Comparative Lit. Hisham Bizri is a Lebanese filmmaker currently in residence at the University of Minnesota. We have collaborated on several successful short film projects and I am proud to call him a trusted friend. Email:
[email protected] Phone: 612-625-8450
Michael Cherlin
Professor of Music Theory, University of Minnesota, School of Music Michael Cherlin is a renowned music theorist known as an authority on the life and works of Arnold Schoenberg. He currently serves as the editor of Music Theory Spectrum and served as the chair of my dissertation committee. Email:
[email protected] Phone: 612-624-9049
Scores and recordings available upon request
Curriculum Vitae
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