234 Hulsey Center
Research and Teaching Interests: Acoustic and Electroacoustic Music Composition; Postmodern American Music; Temporal and Textual Dissonance; the Music of Frank Zappa, John Zorn, and Tom Waits
Office Hours: M/Th 2:30 - 3:30 p.m.; and by appointment
- BME, University of North Alabama, Instrumental Music Education
- MM, Lousiana State University, Music Composition
- DMA, Lousiana State University, Music Composition
Over the past ten years, my research and music has focused on the use of temporal disruption and its effect on the progress of the musical narrative. In many of my compositions, including Hook, Line, & Sinker, Sans Titre VII, I Forget What Eight Was For, and most recently, Triptych: Three Studies in Gesture and Noise, I explore and develop three basic concepts typically associated with discursive semantics: the brief, yet violent ”interjection,” the extended “interruption,” and the longer musical “digression.” I aim to create an energetic and engaging piece that focuses on the juxtaposition of dissimilar tempi, texture, and timbre, yet somehow maintains a sense of continuity and direction.
I believe that fostering a positive and encouraging learning environment is the key to effective teaching. The most important aspect of teaching music theory is not lecturing on the material itself, but engaging students in critical thinking activities and reflective listening exercises. In addition to traditional lectures and demonstrations, I incorporate group activities and written projects. I also teach individual composition lessons, and thus far, it has been an extremely rewarding experience. But more importantly, I feel that the theory curriculum successfully prepares our students for a career in the arts and/or academia. Many of our students pursue a professional life in music, and some have been accepted for graduate study at the most prestigious schools in the country.
- MU 221/222/321/322: Music Theory I, II, III, IV
- MU 359/459: Music Composition I, II
- MU 445: Modal Counterpoint
- MU 448: Orchestration
- MU 458: Contemporary Techniques
- International Computer Music Conference, University of North Texas, Denton, Texas, September 25-October 1, 2015. Triptych: Three Studies in Gesture and Noise for fixed media.
- Blue Lake Summer Arts Festival, Twin Lake, MI, August 5, 2015. Premiere: Canzona Primi for two antiphonal brass quintets.
- University of North Carolina-Greensboro, Greensboro, NC, April 15, 2015. Hook, Line, and Sinker for clarinet, saxophone, and piano.
- Festival Internacional de la Imagen, University of Caldas, Manizales, Columbia, April 20-23, 2015. Trope: Surface Tension and Trope No. 2: Saturation Point for fixed media.
- Society for Electroacoustic Music in the United States National Conference, Virginia Tech, Blacksburg, VA, March 26-29. Performance: Triptych: Three Studies in Gesture and Noise.
- Tennessee State University, Nashville, TN, October 12, 2014. IMPRINT for string orchestra.
- Roots Signals Electronic Music Festival, Jacksonville, FL, September 20, 2014. A Memory of Tomorrow, Woosh, and Spline for fixed media.
- Alys Stephens Center, Jemison Concert Hall, August 18-22, 2014. (with Scott Phillips) I/O: An Immersive Aural Experience.
- Sao Jorge Cinema, Lisbon, Portugal, May 31, 2014. 2 Days in the Tank for fixed media.
- Journées Art & Science Concerts and Installations, Tours, Bourges, and Orleans, France, May 19-13, 2014. WOOSH for fixed media.
- An Die Musik Concert Hall, Baltimore, MD, May 2, 2014. A Southern Prelude for solo piano.
- Suckerpunch!, musical score, Honeyrock Publications, Everett, PA, 2015.
- Fanfare and Dance, musical score, Cimarron Music Press, Ledyard, CT, 2014.
- Red Mountain Fanfare, musical score, Cimarron Music Press, Ledyard, CT, 2014.
- The Grove Dictionary of American Music, 2nd ed., “Birmingham” (Oxford University Press, 2013, in print and online).
- “Aural Souvenirs: Temporal Disruption and Formal Coherence in John Zorn’s Cat O’ Nine Tails,” Revista Musica Hodie 31 (No. 1, 2013): 34-47.
- Grant Us Peace, musical score, Imagine Music Publishing, Medina, NY, 2013.
- Sans Titre II, musical score, Northeastern Music Publications Inc., Glenmoore, PA, 2012.
- The Encyclopedia of Alabama, “John T. ‘Fess’ Whatley” (Auburn University, 2012, online).
- “Triptych: Three Studies in Gesture and Noise” for fixed media, from ABLAZE Records Electronic Masters Vol. 4. Ablaze Records, Cincinnati, OH, Forthcoming: late 2015/early 2016.
- “Hook, Line, and Sinker” for clarinet, saxophone, and piano, from Characters, Brian Utley (saxophone). Mark Records, Clarence, NY, August 2015, compact disc.
- “A Southern Prelude” for solo piano, From American Vernacular, Nicholas Phillips (piano). New Focus Recordings, New York, NY, 2014, compact disc.
- “WOOSH” for fixed media, From ABLAZE Records Electronic Masters Vol. 2. Ablaze Records, Cincinnati, OH, 2013, compact disc.
- Finalist, 2015 The Engine Room International Sound Art Competition, Morley College, London, England. Work: Triptych: Three Studies in Gesture and Noise.
- Finalist and Selected Composer, 2nd International Art!/Climate Competition for Sound Art Miniatures (2015). Sponsored by The Electronic Arts Experimentation and Research Centre of the National University of Tres de Febrero in Argentina, and the ;Red Cross/Red Crescent Climate Centre. Selected Works: Trope: Surface Tension and Trope No. 2: Saturation Point.
- Member, National Committee on Engagement with Higher Education, College Music Society
- Vice-president, Birmingham Art Music Alliance
- Member, Society of Composers, Inc.
- Member, Southeastern Composers League