Jim's Recent Teaching Activity
Teaching Credential - Texas K-12 Instrumental Music Credential, 2009. K-12 Music, Kentucky Credential Rank 1, 2008 renewable Commonwealth of Kentucky, Educational Professional Standards Board. Level One Orff-Schulwerk Certification.
K-12 Teaching Experience - Founder/Director Model Rock Lab (3 years), an afterschool Rock Band program for grades 7-12, Model Laboratory School, Richmond, KY. Instructor for 250 students in Elementary Music (Pre K-4th Grade), String Program Director, Model School, Richmond, KY, 2006-9. Jazz Combo Coaching, Lexington Summer Music Academy, 2006. Electric Bass, Private Studio Teaching, 2002-10.
Electric Bass and Double Bass - Active as a teacher, performer, and session bassist, in Blues, R&B, Country, Rock, Bluegrass, Folk, Soca, Soul, Jazz, Hip hop, Urban, and other styles.
University Teaching Experience Summary
2005-2006 Music Theory Instructor, University of Kentucky. 2000-01 full-time Music Theory Lecturer for San Francisco State University. Duties included Graduate Seminar in Music History, 18th-Century Counterpoint, Diatonic & Chromatic Harmony, 20th Century Compositional Techniques, and Computer Music Technology. Music Theory Lecturer at Stanford University for two academic years (1997-99), teaching 16th-Century Counterpoint, Harmony, and Ear Training. Summer 2000, taught The String Quartet: Hearing Voices of Transparent Fire at Stanford University in conjunction with a summer String Quartet workshop held by the St. Lawrence String Quartet. Course taught listening strategies, formal models, analysis, and history. One year appointment as Assistant Professor (Theory) at Columbia University. Also, Composition Instructor for Columbia University Music Department, with additional experience in teaching a variety of music courses, including Computer Music, Music Humanities (Introduction to Western Music), MIDI Studio, Ear Training III & IV. Maintains a private studio, teaching electric bass, theory, and composition.
Three Vernal Incantations - Chorus SATB, recorded by Ensemble Charis, Directed by Susanne Peck for commercial CD of American choral music. Available from Amazon.com.
Snappy Come-Backs - Piano solo, published by Edition COMBRE, 1999, Paris, France. Jean-Marie Cottet, editor.
"George Perle and the Computer, An Uneasy Alliance" The International Journal of Musicology, Volume 4, 1995. Elliott Antokoletz and Gary Karpinski, Editors. An article in contribution to the George Perle Festschrift which details the development and internal function of Twelve-Tone Tonality music software created by James H. Carr for the noted Pulitzer Prize and MacArthur grant-winning American composer, George Perle.
Music Software and Research Activity
12-tt v. 2.0 : A Tool for Users of George Perle's Twelve-Tone Tonality System. A free Macintosh program to accompany George Perle's "Twelve-tone Tonality," 2nd edition, University of California Press, Berkeley, 1996.
Rhythmic Proportion Perception Research - Programmer for Prof. Jonathan D. Kramer, Columbia University, for his paper on rhythmic perception presented at Columbia,1992. Created a CSound score preprocessor written in C++ and awk languages.
Nightingale(tm) - A high quality music notation program for Apple Macintosh. As programming team member, developed user interfaces controlling instrument ranges and names in score with user customizable database. Widely available as a commercial software product.
Doctor of Musical Arts, Music Composition, 1993, Columbia University.
Master of Arts, Music Composition, 1983, Queens College,
Aaron Copland School of Music, CUNY.
Bachelor of Arts, Music, Cum Laude, Double Bass, 1975,
Rhode Island College.
Principle Composition Teachers
George Edwards, Mario Davidovsky, Jack Beeson, Hugo Weisgall, George Perle, Ramon Zupko.
Seven Utopias (2002)
Quartet for Flute, Clarinet, Violin, and Cello. Earplay Commission.
From Out the Caves of Evening (1999)
String Quartet in 4 movements 17 ' 33"
Commissioned by Nancy Gaub for String Quartet the 2000 Roycroft Chamber Music (1999)
Festival special memorial concert honoring late violist Ted Allred.
...a reed in the arms of the wind... (1997) Commissioned by Ensemble21
Trio for Violin, Clarinet, and Piano for 1998 New York Season.
Premiered 4/15/98,Merkin Recital Hall, New York.
Snappy Come-Backs (1996)
piano solo Commissioned pianist/composer Jean-Marie Cottet
for publication by Edition COMBRE
Five duets for viol da gamba. Commissioned by Parisian ensemble "À Deux Violes Esgales"
Premiered1/12/1996, Strasbourg, France.Duet #5, 'Tombeau d' Aaron Copland' performed over 25 times in France.
Nuit, Péril, Mémoire
Quintet for flute, clarinet, violin, cello, and piano.
Commissioned by Jean-Louis Petit, Dir. Atelier Musique de Ville d'Avray, (1995) of Ville d'Avray, France.
Premiered in Arnold Schönberg Haus in Mödling, Austria 10/5-6/95, and at Ostereichishen Gesellschaft für Musik,
Vienna, Austria 10/6/95.
Four Dream Etudes (1995)
"Wenn wir in höchsten Nöten sein" (1994)
chorale prelude, organ
Three Vernal Incantations on texts by Lynnette
Chorus, SATB, English. Commissioned by vocal ensemble CHARIS. Premiered in
Dobbs Ferry, New York, 1994. Somers, New York, 1994.
All Souls, New York, NY, 1996.
piano trio, New Millennium Ensemble violin, cello, piano Columbia University, 1994.
June in Buffalo, 1996, Alea II, Stanford University, 1997.
String Quartet in Two Movements (1992)
l'Ensemble des Etudiants du Conservatoire Amèricain,
Palais de Fontainebleau, Fontainebleau, France. August,1992.
Four Wilde Aphorisms (1991)
Mezzo-Soprano and Clarinet, on text by Oscar Wilde. Commissioned by Patricia Peyton for Illinois Valley
Symphony Benefit. June, 1991 (premiere). Columbia Composers Concert,New York, December, 1991.
Columbia Collegium, New York, November, 1993, Roycroft Chamber Festival, 1999.
Dance Episodes (1991)
Flute, Viola, and Harp. Commissioned by Laura Gilbert of the Aureole Trio, New York.
Two Frost Songs (1991)
medium voice and piano, English. Commissioned by Patricia Peyton, The Music Club of Ottawa, Illinois,
January, 1991 (premiere). Illinois Valley Symphony Benefit, Ottawa, Illinois, June, 1991. All Souls Unitarian,
New York, NY May, 1993. Columbia Collegium, New York, NY November, 1993. Roycroft Chamber Festival,
East Aurora, NY, June, 1995
La Vie antérieure (1990)
Mezzo-Soprano and Orchestra, French. Riverside Symphony (New York) Columbia University, May, 1990.
George Rothman, Director, Jennifer Lane, mezzo-soprano.
Hell's Bells (1989)
Columbia Computer Music Concert,
CSound computer synthesis April, 1989 (premiere).
Realized in the Columbia-Princeton Computer Music Studios.
Postlude Invention (1987)
wedding postlude music for organ. St. Paul's Chapel, Columbia University
Gwen Toth, organist. November, 1987 (premiere).
String Trio No. 1 (1988)
Three movements for violin, viola, and 'cello. Columbia Composers Concert, November,1988 (premiere)
Music From the Left Bank, April, 1989. Reviewed by New York Newsday
soprano and piano (German)
Solo English horn
Four Aztec Songs (1982)
Four songs on Aztec Poetry (English) mezzo-soprano and piano. Queens College, 1982 (premiere)
Mannes College, 1985, The Last Wave Festival.
Radio France Broadcast 1993, in Recital given as official part of the Aix-en-Provence Opera Festival.
Scheduled for 2000, Roycroft Festival.
Jennifer's Speech (1980)
2-channel tape. digital speech synthesis realized at Brooklyn Conservatory Computer Music Studio
.Grey Cliff Manor ConcertNewton, MA, 1980 (premiere).
solo cello, Queens College New Music Recital, SueAnne Florin, May, 1979 (premiere).
ASCAP Finalist Honors 1979
Atlantic Center for the Arts New Smyrna Beach, FL, 1983.
Spectral Canon (1979)
2-channel tape, analog synthesis. Queens College Electronic Music Concert Series 1979 (premiere).
2-channel tape, music concrète. Queens College Electronic Music Concert Series 1979 (premiere).
Scholarships, Grants, and Awards
Visiting Scholar, CCRMA, Stanford University, 1999-2000.
Mellon Teaching Fellowships (5), Columbia University, 1989-1993.
Composition Instructor Assistantship, Columbia University, 1992-93
Ear Training Instructor Assistantship, Columbia University, 1991-92
MIDI Studio Instructor Assistantship, Columbia University, 1991
Music Humanities Teaching Assistantship, Columbia University,1989-91
Computer Music Teaching Assistantship, Columbia University, 1990
Full Tuition Scholarship, Columbia University, 1988-1993
Associate Artist, Atlantic Center for the Arts, 1983, 1990, and 1994
Meet the Composer performance funds recipient, 1989, 1994, and 1998
A.S.C.A.P. Finalist, A.S.C.A.P Young Composer's Competition, 1979
Waldo-Sangren Scholar, Western Michigan University, Computer Music Grant recipient, 1977
Music Theory Scholarship, Western Michigan University, 1976 and 1977
The Viennese School, Haydn, Mozart & Beethoven (mus753) Conducted graduate Music History seminar in Spring 2001. Students (~18 grads.) Participants (and Professor) resented reports, book reviews, facsimile studies, reaction papers, performances, and brief analytic studies. All topics assigned by the Professor Carr.
18th-Century Counterpoint (mus405) Presented three hours of lectures weekly on techniques, literature, and formal analysis. Diverse eighteenth century baroque works studied. Students (~25 undergrad and grad) wrote exercises in dance forms, invention, canon, and fugue. Text was Keenan, 4th edition.
Diatonic Harmony (mus232) Presented three hours of lectures weekly on diatonic harmony, literature, phrase structure, and form analysis. Supervised grading assistant. Students (~25) wrote extensive exercises. Text was Kostka & Payne, 4th edition.
Chromatic Harmony (mus233) Presented three hours of lectures weekly on chromatic harmony, literature, and form analysis. Supervised grading assistants. Students (~35) undertook 3 composition projects in addition to workbook activities. Text was Kostka & Payne, 4th edition.
Twentieth Century Compositional Techniques (mus420) Presented three hours of weekly lectures on compositional technique, post-tonal theory, atonality, the 12-tone system, and formal analysis. Students (~25 undergrad and grad) wrote and performed in class eight extensive compositional exercises, and analyzed works by Varese, Bartok, Debussy, Webern, Schoenberg, and Dallapiccola. Text was Joseph Strauss, 2nd edition.
Introduction to Music Technology (mus433) Presented three hours of lectures
weekly on CAI, Midi, Finale, Performer, digital audio. Supervised student
projects. Maintained web-based course info and assignment uploads. Text
was Experiencing Music Technology, Williams & Webster, 2nd Ed. This
was a teaching credential requirement taken by graduates and undergraduates.
Species Counterpoint (21a) Presented course lectures on species counterpoint and 16th century sacred vocal polyphony. Students wrote extensive exercises in all species using 2 and 3 voices, and free compositions using 2 voices. Text: A Handbook of Modal Counterpoint, Roberts & Fischer.
Harmony (21b) Presented lectures on diatonic harmony and formal analysis of tonal music. Text: Harmony and Voice-leading, 2nd ed., Aldwell & Schachter, and Workbook I. Extensive weekly written work was required. Selected all course topics and repertoire, and corrected all student exercises and compositions. Tonal composition projects included variation technique and minuet-trio.
Harmony (22) Presented lectures on advanced harmony and analysis. Text: Harmony and Voice-leading, 2nd ed., Aldwell & Schachter, and Workbooks I & II. Selected course topics and repertoire, and corrected all student exercises and compositions. Projects included tonal composition and sonata-allegro, rondo form analysis.
Harmony (23) In 1998-99 music 23 included post-tonal theory and analysis with intensive compositional study. Three final compositions were required from each student (solo flute, solo piano, and flute piano duo). Final Class was a concert in the CCRMA ballroom, which was recorded and placed on CD by instructor for students.
Ear Training (21) Trained, monitored, and coached Teaching Assistants (2). Set course goals, methods, and examination standards, and selected materials. Cours Complet de Dictée Musical, 1er Recueil, Noel-Galon; Cent Dictée A 2 Voix, Simone Petit; A New Approach to Sight-Singing, Berkowitz, et al; Manuel Practique, Georges Dandelot (solfege and clef reading); Listen ear training software.
Ear Training (22) Supervised and coached Teaching Assistant. Set course goals, methods, and examination standards, and selected materials. These materials included Cours Complet de Dictée Musical, 2er Recueil, Noel-Galon; Cent Dictée A 2 Voix, Simone Petit; A New Approach to Sight-Singing, Berkowitz, et al. Basic keyboard harmony/figured bass exercises; Rhythmical Articulation, Pasquale Bona (solfege and clef reading); simple harmonic dictations. Listen & Practica Musica software.
Ear Training (23) Supervised and coached Teaching Assistant. Set course goals, methods and examination standards, and selected materials. Materials included Cours Complet de Dictée Musical, 2er Recueil, Noel-Galon; Cent Dictée A 2 Voix, Simone Petit; A New Approach to Sight-Singing, Berkowitz, et al.; Rhythmical Articulation, Pasquale Bona; Figured-Bass For Beginners, Helen Keaney; 4-part dictations.
Ear Training Boot-Camp Conducted popular daily lunch-hour ear training
reviews using materials included in Ear Training 21-23. While not an actual
course, this was a serious personal effort to meet the needs of Stanford
Music Composition I & II Sixteen contact hours per week, giving composition instruction to individual students. Assisted Prof. David Rakowski in presenting course lectures on topics including scale resources, tonal theme and variation technique, Passacaglia, text-setting, and twelve-tone composition (2 semesters).
Music Theory Fundamentals Designed course and was sole instructor. Guided ear training TA, and tutored students with special needs in Aural Skills. Selected texts and Music Software. Rank of Assistant Professor of Music (2 semesters).
Music Humanities (Introduction to Western Music) Designed and taught course. Arranged for class to attend concerts, opera, and Ballet. These included Wozzeck at the Met, and the Joffrey Ballet's recreations of Le Sacre du printemps, Prélude à L'Après-midi d'un faune, and Les Noces at New York's Lincoln Center. Course also utilized mock-trial of Richard Wagner, opera videos, and lecture-performances (5 semesters).
Advanced Ear Training (3rd & 4th Levels) Designed courses and was sole instructor. Selected materials and taught solfege, sight-singing, rhythmic recitation, basic keyboard performance and figured bass, clef reading (5 clefs) and one, two, and four part dictation (2 semesters).
MIDI Studio Taught MIDI applications in Columbia University MIDI Studio as assistant MIDI course instructor. Taught use of Mac & PC music software: Finale, Performer, Vision, and MAX. Created a compiled MAX "Chord_Array" Object using Symantec C on Macintosh, and MAX patches. Taught a variety of sample editing software, installed MIDI devices, mixers, tape decks, and keyboards (1 semester).
Computer Music Assisted Columbia University Computer Music Studio director, Dr. Brad Garton, using Silicon Graphics, Sun, and Next environment. Taught basic Unix skills and signal processing concepts; provided system administration support; assisted instructor and students with C and C++ Language, awk, make (programming tools), CMix, and CSound (sound processing and synthesis) (2 semesters).
Electronic Music: As a graduate student at Queens College, CUNY, taught for three semesters as instructor in electronic music for undergraduates entering Dr. Hubert S. Howe's graduate electronic music courses. Taught classic analog studio tape techniques and voltage-controlled synthesis technology. Assembled, rewired, and integrated audio, synthesis, and recording studio equipment.
Jazz History: Scarsdale High School, (New York) Teachers Institute Lectures, 1982.
Works with SGI, Mac, Linux, Next, and Sun computers as a composer/user of music software such as Common Lisp Music (clm), CSound, CMix, MAX, Finale, Performer, Vision, MasterlistCD, and Digidesign ProTools. Created and adapted diverse computer music score formatting tools and speech synthesis/analysis software for Unix and Macintosh. Assisted Stanford staff at CCRMA with tech support, installation and upgrades of SGI Operating System and Software Licenses. Now working at CCRMA on vocal synthesis composition.
Taught C and C++ programming languages, shell programming, and Unix internals for Bell Telephone Laboratories, IBM, Motorola, Texas Instruments, and others.
Provided Linux, SGI, Sun, Dec, and IBM Unix System Administration for Stanford University. Previously Unix System Administrator and Programmer for Brooklyn Polytechnic University and Columbia Presbyterian Hospital. Created research work-station software, installed, and administered networks of diverse Unix computers. Installed and configured storage devices, web servers, mail servers, AFS, and kerberos.
Board of Directors, EARPLAY, San Francisco 2000-2005
Board of Directors, Empyrean Ensemble, UCDavis 1997-1998
Board of Directors, League of Composers/ISCM (New York) 1994-present
Co-Founder & Editorial Board Member, 'New Modern Music ' 1996-2000
Editorial Board, 'Current Musicology ' 1993 -1995
Board of Directors, Columbia Composers 1993 -1994
June in Buffalo SUNY Buffalo Contemporary Music Festival 1996
Piano Trio performed and broadcast on NPR affiliate WSUB, FM
Teaching Tonal Theory College Music Society Workshop 1995
Ohio State University, Columbus, Ohio. Led by John Buccheri.
Musical Time National Endowment for the Humanities Summer Seminar 1993
Prof. Jonathan D. Kramer (Columbia University)
American Conservatory in Fontainebleau , Fontainebleau, France 1992
Gilbert Amy, (Conservatoire D'Lyon), Philip Manoury, (IRCAM)
Isabelle Duha, (Conservatoire Supérieure de Paris) Solfege & Fugue
Mellon Foundation Ear Training Instructor's Seminar, New York, NY 1991
Mary Anthony Cox, (Juilliard School)
Universität Wien, Sprachkurse für Ausländer, Vienna, Austria 1985
Computer Music and Speech Synthesis, Brooklyn Conservatory, CUNY 1981
Charles Dodge, Speech Synthesis, Thomas Jerse, (Hewlett-Packard) Signal Processing