Download Joan Arnau Pàmies

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Joan Arnau Pàmies
Bienen School of Music
Northwestern University
70 Arts Circle Drive, Evanston, Illinois 60206
+1 (617) 386-9846 | [email protected] | joanarnaupamies.com
areas of research: alternative means of cultural production, art and culture in late
capitalism, Cornelius Cardew, critical theory, Herbert Marcuse, information theory,
modernism and postmodernism, music composition, neoliberal economics, noise in
music, notation, Richard Barrett, sonic creativity, sound art.
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E D U C AT I O N
Northwestern University (Evanston, IL)
Doctor of Musical Arts in Composition, 2011–2016 (projected).
Hans Thomalla, advisor. Further studies with Mark J. Butler, Lee Hyla, Jay Alan Yim,
and Chris Mercer.
Dissertation: Music and Its Means of Production: Alternative Creativity within and beyond Capital
New England Conservatory of Music (Boston, MA)
Bachelor of Music in Composition with Academic Honors, 2007–2011.
Studies with John Heiss, Stratis Minakakis, Anthony Coleman, and John Mallia.
SELECTED PROFESSIONAL EXPERIENCE
Northwestern University (Evanston, IL) September 2011–June 2016
Instructor
Pop Songwriting and Analysis
Design the curriculum and teach this course open to both music and non-music
majors. Divided into the two frameworks of analysis and songwriting, this course
explores the historical and socioeconomic conditions that contributed to the
emergence of a number of musical trends often associated with twentieth century
popular and mass culture. Weekly songwriting workshops provide a hands-on
critical context in which to apply the aforementioned knowledge. Repertoire
includes Marvin Gaye, The Shaggs, Stéphane Grappelli, Slayer, Radiohead, The
Police, and The Clash.
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Class Composition (to be offered in spring 2016)
Design the curriculum and teach this course open to both music and non-music
majors. Emphasis is put on helping students develop a critical view towards their
work, thus providing a healthy environment based on discussion and exchange of
ideas. The course also incorporates a wide range of repertoire from multiple
traditions, such as Maryanne Amacher, Francisco López, Brian Ferneyhough, Cecil
Taylor, and David Tudor. Readings include Adorno, Attali, Benjamin, Butler, Cox,
DeKoven, Marcuse, and Spahlinger.
Music Theory IV, V, VI
Teach sophomore year core theory for music majors. Emphasis is given to those
historical, philosophical, aesthetic, and socioeconomic conditions that lead to both
musical and theoretical developments. The sequence covers harmonic and melodic
analysis, formal study and recognition, historical contextualization, stylistic-centered
composition, set theory analysis, and introductory critique of models of theoretical
analysis. Repertoire encompasses Western composers such as Haydn, Mozart,
Beethoven, Schumann, Fanny Mendelssohn, Chopin, Mahler, Schoenberg,
Webern, Stravinsky, Crawford Seeger, Cage, Ligeti, Cardew, and Reich.
Aural Skills IV, V, VI Teach sophomore year core aural skills for music majors. Topics include solfège;
harmonic, melodic, and rhythmic dictation; formal recognition; aural strategies with
regard to post-tonal music as well as microtonality; and timbre/textural recognition.
Independent Study (theory and composition)
Design curriculum and teach according to the needs demonstrated by the individual
student. Projects tend to focus on developing critical thinking skills towards one’s
own work.
Institute for New Music (Evanston, IL) September 2014–June 2015
Institute Assistant
Institution affiliated to Northwestern University, which supports the creation and
development of new music. Job description included assisting the Director, fulfilling
administrative tasks, and aiding visiting artists and ensembles.
Fonema Consort (Chicago, IL) January 2013–present
Artistic Development Manager
Ensemble of vocal and instrumental contemporary music. Assist the artistic director
in designing yearly seasons and choosing repertoire. Priority is given to
interdisciplinary projects and artists who associate themselves with
underrepresented collectives, such as female and Latin American musicians. Close
collaborations with both emerging (Mauricio Pauly, Katherine Young, Bethany
Younge) and internationally recognized composers (James Dillon, Julio Estrada).
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Miiryn June 2012–May 2013
Co-founder and Director
Contemporary music collective that functioned as a catalyst for collaboration
among independent artists. Projects included concerts and seminars, which took
place in Barcelona, Boston, New York, and Montreal.
S E L E C T E D P U B L I C AT I O N S
Music against Capital: The Aesthetics of Purpose
Essay to be published in Search–Journal for New Music and Culture, edited by
Daniél Péter Biró, Frank Cox, Steven Kazuo Takasugi, and Alexander Sigman
(Winter 2016).
Composition in the 21st Century: The Need for Critical Insertion
Essay published in Open Space Magazine, edited by Benjamin Boretz
(Open Space Publications, Summer and Fall 2015).
Componer en el siglo XXI: La necesidad de inserción crítica
Essay published in Sul Ponticello, edited by Sergio Blardony (Summer 2015).
Spanish translation of “Composition in the 21st Century: The Need for Critical
Insertion.”
DarwinTunes and Cultural Reductionism
Article published in NewMusicBox, edited by Molly Sheridan (October 2014).
Noise-Interstate(s): toward a subtextual formalization
Book chapter published in Noise In And As Music, edited by Aaron Cassidy and
Aaron Einbond (University of Huddersfield Press, October 2013).
LECTURES AND CONFERENCES
The Peabody Institute of the Johns Hopkins University (Baltimore, MD) January 2016
Panelist
Member of “Managing Money in New Music” panel as part of New Music Gathering.
Escola Superior de Música (Esmuc) (Barcelona, Catalonia) November 2015
Visiting Lecturer
On current trends in American contemporary sound art and music. Analysis and
historical context of works by Andrew Greenwald and Katherine Young.
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Universitat Rovira i Virgili: Centre de Lectura (Reus, Catalonia) November 2015
Visiting Lecturer
Materialism and the political in Beethoven.
Universidad Complutense (Madrid, Spain) November 2015
Visiting Lecturer
On current trends in American contemporary sound art and music. Analysis and
historical context of works by Andrew Greenwald and Katherine Young.
Northwestern University (Evanston, IL) November 2015
Resident Composer
Participation in NUNC! 2 conference.
Paper presentation: “Music against Capital: The Aesthetics of Purpose”
Conservatorio Superior de Música (Vigo, Spain) November 2014
Visiting Lecturer
On recent compositional work.
Universidad Nacional Autónoma (Mexico City) May 2014
Visiting Lecturer
Lecture as part of Cátedra Conlon Nancarrow.
On recent compositional work.
Northwestern University (Evanston, IL) April 2014
Resident Composer
Participation in NUNC! conference.
On noise, notation, and performance psychology.
Tulane University (New Orleans, LA) April 2014
Panelist
Member of panel focused on the works of composers Claus-Steffen Mahnkopf, Ray
Evanoff, and myself.
Goldsmiths, University of London (London, UK) October 2013
Visiting Lecturer
Lecture as part of Contemporary Notation: Composition, Performance, Improvisation symposium.
On noise, notation, and performance psychology.
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University of Huddersfield (Huddersfield, UK) October 2013
Visiting Lecturer
Lecture as part of the Noise In And As Music symposium, hosted by the CeReNeM.
On noise, notation, and performance psychology.
Columbia University (New York, NY) November 2011
Visiting Composer
Lecture as part of the composers’ seminar.
On recent compositional work.
FESTIVAL PERFORMANCES
2015 Series 20/21 (Madrid, Spain)
Resonant Bodies Festival (New York, NY)
Unruly Music Festival (Milwaukee, WI)
2014 Huddersfield Contemporary Music Festival (Huddersfield, United Kingdom)
Vertixe Vigo 2014 (Vigo, Spain)
X Festival Internacional “Visiones Sonoras 2014" (Mexico City)
XXXVI Foro Internacional de Música Nueva Manuel Enríquez (Mexico City)
MATA Festival (New York, NY)
NUNC! (Evanston, IL)
ANODE (New Orleans, LA)
2013 Huddersfield Contemporary Music Festival (Huddersfield, United Kingdom)
Chicago Latino Music Festival (Chicago, IL)
Loops and Variations (Chicago, IL)
Correspondencias Sonoras (Santiago de Compostela, Spain)
MIKROS (New York, NY)
2012 Sound 59 (Perm, Russia)
Pàmies CV Kloster Lehnin Sommermusik (Lehnin, Germany)
Summer Courses for New Music (Darmstadt, Germany)
Contemporànica (Reus, Catalonia)
2011 SICPP (Boston, MA)
UKM4 Microtonal Festival (London, United Kingdom)
VIII Festival de Música Española (Cádiz, Spain)
2010 Summer Courses for New Music (Darmstadt, Germany)
Intersonanzen Brandenburgisches Fest der Neuen Musik (Potsdam, Germany)
Christian Wolff 2010 at NEC (Boston, MA)
2009 XXX Festival Encontres de Compositors (Palma de Mallorca, Spain)
Festival Sincrònic (Lleida, Catalonia)
2008 Summer Courses for New Music (Darmstadt, Germany)
SCI Student National Conference (Muncie, Indiana)
RESIDENCIES
International Young Composers Academy (Tchaikovsky City, Russia) September 2012
Composition Fellow
Studies with Mark André and Klaus Lang.
IMPULS Academy (Graz, Austria) February 2011
Composition Fellow
Studies with Beat Furrer, Pierluigi Billone, and Georg Friderich Haas.
Composers Workshop (Vila-seca, Catalonia) September 2010
Composer-in-residence with the National Youth Orchestra of Catalonia
Studies with Hèctor Parra and Ramon Humet.
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Summer Courses for New Music (Darmstadt, Germany) Summers 2008, 2010, 2012
Composition Fellow
Winner of the "Stipendienpreis" (2008). Selected for Reading Session with the Arditti
Quartet as well as Cello Workshop with Hans Thomalla and Lucas Fels (2012).
Studies with Georges Aperghis, Brian Ferneyhough, Hans Thomalla, Klaus Lang,
Misato Mochizuki, and Marco Stroppa.
Cátedra de composición Manuel de Falla (Cádiz, Spain) May and November 2010
Composer-in-residence with ensemble Taller Sonoro
Studies with Hèctor Parra.
SELECTED COMMISSIONS
Centro Nacional de Difusión Musical | JACK Quartet (Madrid, Spain), 2015.
segon quartet de corda. Premiered at Auditorio 400 (Madrid) on November 23rd,
2015.
CoNCA | Northwestern University | Vertixe Sonora Ensemble (Vigo, Spain), 2014.
Produktionsmittel II for flute, accordion, harp, and prerecorded electronics.
Premiered at Espacio Sirvent (Vigo) on November 6th, 2014.
CoNCA | loadbang (New York, NY), 2014.
per ser plagat de ta dolça ferida for baritone voice, bass clarinet, trumpet, and
trombone. Premiered at the DiMenna Center in New York on March 28th, 2014.
DiMenna Center | William Lang (New York, NY), 2014.
[VItbn]^4 for trombone, premiered at DiMenna Center in New York on February
23th, 2014.
Northwestern University | ensemble recherche (Evanston, IL), 2013.
[V(fl.ob.vln/c)IIIkl] for flute, oboe, violin, cello, and piano. Premiered at Northwestern
University on November 7th, 2013, as part of ensemble recherche’s residency.
Academy | Moscow Contemporary Music Ensemble (Moscow, Russia) 2012.
[IVflbclVIvln/c] for flute, bass clarinet, violin, and cello, toured in Tchaikovsky City,
Perm, and Moscow during September 2012.
McGill University | Kathryn Schulmeister, Felix Del Tredici (Montreal, QC) 2012.
[5(bt)_6(db)] for double bass and bass trombone, premiered at Café l’Artère,
Montréal in June 2012. Recorded at McGill University, partially funded by a GREAT
Grant.
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Internationales Musikinstitut Darmstadt | Ensemble 2010 (Darmstadt, Germany) 2008.
exceptio probat regulam for the Ensemble 2010 Project conducted by Lucas Vis,
premiered in the 45th Summer Courses for New Music in Darmstadt in July 2010.
AWARDS AND RECOGNITION
Beca per a la recerca i creació en els àmbits artístics (Catalonia) 2013–2014.
New Music USA Project Grant (New York, NY) 2014.
William T. Faricy Award for Creative Music (Evanston, IL) 2013.
Harry and Ruth Wyatt Fund (Evanston, IL) 2011–2013.
Eckstein Fellowship (Evanston, IL) 2011–2014.
Beneficent Society Scholarship (Boston, MA) 2011.
Entrepreneurial Musicianship Grant (Boston, MA) 2010–2011.
Wallace Scholarship Fund (Boston, MA) 2010–2011.
Stipendienpreis (44th Summer Courses for New Music, Darmstadt, Germany) 2008.
IMD Full-Scholarship (Darmstadt, Germany) 2008.
SCI/ASCAP Student Commission Award – Winner Region I (USA) 2008.
ASCAP Morton Gould Composition Award – Finalist (New York, NY) 2008.
New England Conservatory Merit Award (Boston, MA) 2007–2010.
New England Conservatory Scholarship (Boston, MA) 2007–2010.
SELECTED MEDIA AND INTERVIEWS
2015 Review of constrained semantic trajectory by Bruce Hodges, Seen and Heard
Interview by Paco Yáñez, mundoclasico.com
Interview by Joan Marc Salvat, VIU Reus
Review of [IVflclVIvln/c] by Daniel Hautzinger et al., clevelandclassical.com
Pàmies CV 2014 Review of Produktionsmittel II by Paco Yáñez, mundoclasico.com
Review of works for solo double bass by Simon Cummings, 5against4.com
Review of Noise In And As Music by Seth Ayyaz Bhunnoo, TEMPO
Interview by Marina Vives, Diari de Tarragona
Review of [IVflclVIvln/c] by Steve Smith, The New York Times
Interview by Ruth Prieto, El compositor habla
2013 Review of canvas by Paco Yáñez, mundoclasico.com
Review of [IVsax(op_VIvln/c)] by Chris McGovern, The Glass
Interview by Joan Marc Salvat, reusdigital.cat
Interview, ARA Catalan Network
2011 Profile by Benjamín G. Rosado, El Mundo
LANGUAGES
Catalan native language
Spanish native language
English fluent (speaking, reading, writing)
French intermediate (speaking, reading); basic (writing)
German basic (speaking, reading, writing)
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