Download Christian Carey is an Assistant Professor of Music Composition

Zachary Bernstein is a current doctoral student at the CUNY Graduate Center, studying
music theory with Joseph Straus and composition with Jeff Nichols. He earned his
Bachelor’s degree from The Juilliard School, where his composition teachers were
Samuel Adler and Milton Babbitt. An article of his on Babbitt’s It Takes Twelve to
Tango was published in a recent issue of Music Theory Online.
Ben Boretz is co-curator, with Bob Morris, of the Perspectives/Open Space offering of a
4-CD album and a book of scores, notes, and texts, entitled Milton Babbitt: A Composers'
Memorial. The CD album is now available, and the book is in production for release in
April 2012.
Christian Carey is an Assistant Professor of Music Composition, History, and Theory at
Westminster Choir College in Princeton New Jersey. He is also Managing Editor at the
contemporary classical website Sequenza 21 (www.sequenza21.com/carey). "He Cares if
You Listen," his interview with Milton Babbitt, was published in Signal to Noise in
2006.
Franklin Cox studied at Indiana University, Columbia University, and the University of
California, San Diego (PhD, composition). His main cello teachers were Gary Hoffman,
Janos Starker, and Peter Wiley, and he studied composition with Fred Lerdahl, Brian
Ferneyhough, and Harvey Sollberger. Dr. Cox has received numerous awards as both
composer as cellist, including the highest awards from the Darmstadt Festival for both
composition and cello performance. Since 1993 he has presented a solo recital entitled
"The New Cello" more than a hundred times throughout Europe and North America. He
is founding co-editor of the international book series, New Music and Aesthetics in the
21st Century, and is also founding co-editor of Search, a peer-reviewed on-line/print
journal. In 2008 he founded the annual American Innovators series of concerts and
symposia.
Richard Hermann, Ph.D., Prof. of Music at the University of New Mexico, is a theorist
and composer. As a theorist, he is a frequent speaker at scholarly conferences, and his
essays and reviews are published by Music Theory Online, Music Theory Spectrum,
Perspectives of New Music, Sonus, and Theory and Practice. He is a contributing coeditor of Concert Music, Rock, and Jazz since 1945, University of Rochester Press, 1995.
He studied composition with Earle Brown, Jacob Druckman, Donald Martino, and Robert
Morris. His music is published by Dorn Publications, recorded by WGBH for National
Public Radio.
Born in Vancouver, Canada in 1953, Joel Hoffman received degrees from the University
of Wales and the Juilliard School. He is part of a distinguished musical family that
includes brothers Gary and Toby, cellist and conductor, and Deborah, harpist. Honors
include a major prize from the American Academy-Institute of Arts and Letters, two
grants from the National Endowment for the Arts, the Bearns Prize of Columbia
University, a BMI Award, ASCAP awards since 1977, and three American Music Center
grants.
Currently, Hoffman is Professor of Composition at the University of Cincinnati's
College-Conservatory of Music, where he is also Artistic Director of its annual new
music festival, MusicX. During the 1993-94 season, he served as composer-in-residence
with the National Chamber Orchestra of Washington, DC and in 1991-92, he held the
position of New Music Advisor for the Buffalo Philharmonic. He has been a resident
composer at the Rockefeller, Camargo and Hindemith Foundations, the MacDowell
Colony and Yaddo.
Kendra Preston Leonard is a musicologist specializing in women and music in
twentieth century America, France and Britain; music and film; and music and disability.
Leonard is the author of The Conservatoire Américain: a History and Shakespeare,
Madness, and Music: Scoring Insanity in Cinematic Adaptations; and is the editor of
Buffy, Ballads, and Bad Guys Who Sing: Music in the Worlds of Joss Whedon. She has
presented her research regularly in scholarly journals including Women & Music, and at
conferences including those of the American Musicological Society, and the Society for
American Music. She is currently at work on a book about the music of Louise Talma.
Pianist Ashlee Mack specializes in the performance of contemporary music. She recently
recorded Robert Morris' Odds and Ends and Christian Carey's For Milton for the
Perspectives of New Music/Open Space Milton Babbitt memorial CD. She is Coordinator
of Piano Instruction at Knox College in Galesburg, Illinois.
Joshua Banks Mailman is a graduate of the University of Chicago and the Eastman
School of Music, where he completed a music theory Ph.D dissertation on temporal
dynamic form. His publications appear in Psychology of Music, Music Theory Online,
and Music Analysis, from which he won their 25th Anniversary award for his article “An
Imagined Drama of Competitive Opposition in Carter’s Scrivo in Vento (with
Notes on Narrative, Symmetry, Quantitative Flux, and Heraclitus).” He has
presented papers on music of Carter, Crawford-Seeger, Ligeti, Brahms, Schoenberg, and
topics such as temporal dynamic form, narrative, electro-acoustic music, binary-state
Generalized Interval Systems, and octave-equivalence with atonal melodies in the context
of long-term memory. He has taught at the Eastman School, University of Rochester, the
University of Maryland, and Hunter College, CUNY. He now teaches at New York
University and Columbia University.
Andrew Mead is former Chair of the Music Theory Department. He holds degrees from
Yale and Princeton Universities, and has published articles on a variety of topics,
including the music of Milton Babbitt, Elliott Carter, Arnold Schoenberg and Anton
Webern, as well as on abstract twelve-tone theory and rhythmic theory. His works have
appeared in Music Theory Spectrum, Perspectives of New Music, The Journal of Music
Theory, Theory and Practice, and elsewhere. His book, An Introduction to the Music of
Milton Babbitt, is published by Princeton University Press, and he helped edit The
Collected Essays of Milton Babbitt, also published by Princeton. He is a recipient of the
Young Scholar Publications Award from the Society of Music Theory.
Professor Mead is also active as a composer, and has received the Goddard Lieberson
Fellowship from the American Institute/Academy of Arts and Letters. Recent music
includes saxophone quartets for PRISM and the Larry Teal Saxophone Quartet, a song
cycle for Jennifer Goltz and Brave New Works on texts by Amy Clampitt, and works
written for saxophonists Timothy McAllister and Brian Sacawa.
Robert Morris is Professor of Composition at the Eastman School of Music, University
of Rochester.
Morris is co-curator, with Ben Boretz , of the Perspectives/Open Space offering of a 4CD album and a book of scores, notes, and texts, entitled Milton Babbitt: A Composers'
Memorial (http://www.the-open-space.org/babbitt.html).
Bruce Quaglia is Associate Professor, Lecturer in Music Theory at the University of
Utah. He has presented extensively on topics within twentieth century music analysis and
has published essays that explore the various intersections between philosophy and
musical analysis in the music of Berio, Wuorinen, Schoenberg and Stravinsky. His work
appears in collected volumes from Ashgate and Cambridge Scholars Publishing and in
the journals Music Theory On Line, the Journal of the Society for American Music, and
Computer Music Journal. Other work is forthcoming in Theoria and Music Theory
Spectrum. Quaglia's own music appears on the Centaur label.
James Romig is professor of composition and theory at Western Illinois University. He
holds a Ph.D. from Rutgers University, where he studied with Charles Wuorinen. Milton
Babbitt served as an advisor and reader on his doctoral dissertation committee, and will
forever remain an enormous influence and inspiration.
Jeffrey Stadelman currently serves as Associate Professor of Music at the State
University of New York at Buffalo, where he teaches composition and twentieth-century
music. Stadelman's music is published by APNM and BMG Ariola. Recently completed
and ongoing projects include Eight Songs, a collection for bass-baritone and piano;
"House Taken Over" for the flutist Elizabeth McNutt, with and without electronics; a
quintet for a University at Buffalo faculty quintet; and a violin concerto, entitled Pity
Paid, for Movses Pogossian with the Slee Sinfonietta. A CD of the composer's music is
slated for release late in 2006, on the Centaur label.
Also active as a writer on musical subjects, Stadelman has authored a number of analytic
papers since 1986, and made presentations on Babbitt and Schoenberg at universities and
festivals in the U.S. and Europe. Recently completed projects include a review for the
Journal of the American Musicological Society; an essay for a Festschrift documenting
the fiftieth anniversary of the Darmstadt Summer Courses (Von Kranichstein zur
Gegenwart); and annotated translations, for 20th-Century Music and Perspectives of New
Music, of essays by Mauricio Kagel and Helmut Lachenmann.
Anton Vishio teaches music theory at the Steinhardt School of New York University;
previously he has taught at McGill, the University at Buffalo, and Vassar, among other
places. He did his graduate work in music theory and composition at Harvard, where his
principal teachers were David Lewin and Donald Martino; he completed his PhD in 2008.
Vishio has presented papers at several national conferences on the music of composers
ranging from Babbitt to Xenakis and on subjects ranging from information theory to
polyrhythm. In 2010 he gave a talk on the sestina permutation at a conference on Music
and Number at Canterbury Christ Church University. As a pianist, he took part in a piano
duo with Christoph Neidhöfer that was awarded a Kranichstein Musikpreis at the
Darmstadt Ferienkurse in 1994.