Jody Nagel
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____________________________________________________
 
 
JODY JAY NAGEL, D.M.A.
Composer
   
 
Mr. Jody Nagel
8100 South CR 600 West
Daleville, Indiana 47334
(765) 759-1013
jnagel@jomarpress.com
www.jomarpress.com
 
 
Dr. Jody Nagel
Professor of Music Theory and Composition
Area Coordinator of the Music Theory and Composition Division
School of Music
Ball State University
Muncie, Indiana 47306
(765) 285-5405
jjnagel@bsu.edu

 
EDUCATION
 
The University of Texas, Austin, TX:
D.M.A. in composition, secondary emphasis in music theory.
December, 1992.
 
The University of Pittsburgh, PA:
M.A. in music theory and composition.
August 1985.
 
Marietta College, Marietta, OH:
B.A. liberal arts program, major in music, graduation with honors, magna cum laude.
May 1982.
 
The University of Sydney, Australia,
Fulbright Fellowship, compositional studies with Peter Sculthorpe, summer 1993.
 
Aspen Music Festival, Center for Compositional Studies,
with Jacob Druckman and Bernard Rands, summer 1988.
 
Private composition lessons, Paris, France,
with American composer Eugene Kurtz, summer 1986,
 

AWARDS AND HONORS
 
$1000 Commission (2001) by Music Teachers National Association (MTNA) and Indiana Music Teachers Association (IMTA) for the purpose of encouraging younger musicians to participate in chamber music playing. Premiered at the Indiana Music Teachers Association Collaborative Arts Recital, Taylor University, Indiana. October 13, 2001. The "Crossroads of America" Quartet (2001) for Alto Saxophone, Violin, Cello and Piano. 14 minutes, 3 movements.
 
ASCAP Award Recipient, 14 successive years: 1996 - 2009.
 
Fulbright Fellowship, May 6 - August 16, 1993, The University of Sydney, Australia.
 
Jewish Studies Project Grant, Sept. 14, 1995.
I was awarded a $1000 grant by the Zeigler Foundation to compose an original Piano Trio that incorporates certain ideas contained in the music of certain Pre-World-War II Eastern European Jewish composers.
 
Ball State University:
 
2010-11 College of Fine Arts, Faculty Creative Endeavor Award ($1000), presented by the dean at the May 2011 Ball State University CFA graduation ceremony.
 
Academic Courseware Development Program Grant, Dec. 20, 1994. Colleague Prof. Raphael Crystal and I were awarded $4000 in funding towards our project, Courseware for Computer-Assisted Instruction in Music Theory.
 
New Faculty Creative Arts Grant, December, 1992. Along with colleague Dr. AnnMarie Schuessler, I was given a grant to create an interactive MIDI-compatible MacIntosh computer application to be used in the beginning piano student clavinova-keyboard laboratory, and which provides graded accompanied piano exercises and drills, with feedback.
 
University of Texas at Austin:
 
Fellowship recipient, 1990-91.
 
Honorable Mention (placed 4th out of 900 worldwide) in the 1991 international NewComp competition for solo instrument plus computer-generated tape pieces (for the composition, "Gandalf the Grey" for clarinet and tape).
 
1st prize, Texas Society of Music Theory, for the paper "Concerning Serial Rotation in Stravinsky's Variations," 1987.
 
ASCAP Young Composers Award, for the composition "There's a Certain Slant of Light...", 1988.
 
Kent Kennan Scholarship, for six semesters, 1985-88.
 
Marietta College:
 
member Phi Beta Kappa, 1982 (to present).
 
Presidential Honors Scholarship, each of the four years, 1978-1981.
 
Departmental Award in Applied music, four semesters, 1978-1980.
 
Sophomore Scholar, 1980.
 
DISSERTATION for the D.M.A. degree
 
"53rd Street," A one and a half hour, two-act operatic portrayal of contemporary New York City. Original libretto by University of Texas Professor Seth Wolitz. A theoretical analysis of the work was provided along with the score.
 
Articles Written About Me
 
"Performance Practice of Jody Nagel's Opera Fifty-Third Street: World Premiere Performance at Ball State University." This is Dr. Tammie M. Huntington's dissertation (Ball State University, 2008) for the Doctor of Arts in Music degree.
 
"Helping Students Understand the Composer's Job" by Karen Townsend; published in Teaching Music, March, 1999. The article favorably documents the experience of the commissioning of my Theseus and the Minotaur by the Natchitoches, Louisiana High School String Orchestra, which Townsend directed.
 
RESEARCH and PRESENTATIONS
 
March 19-21, 2009. Four lectures presented to The 8th Annual Pennsylvania State Homeschool Festival Orchestra and Chorus conference, at the Lancaster Bible College (150 9th-12th graders).
"The Feelings of Harmony (What kinds of chords make you feel what kinds of feelings?)"
"Modes and Tritones (How does this interval cause different scales to have such different effects?)"
"What exactly is an Augmented 6th chord?"
"Slides, Valves, Crooks, and Keys (Why when a B-flat Trumpet plays an A out comes a G)"
 
September 18, 2008."Bedtime Stories for Oboe & Double Bass, by Jody Nagel: a Presentation of the Centaur Recording, CRC 2942 (2008), and a Descriptive Analysis of the Music" presented to the Ball State University School of Music composition forum.
 
April 17, 2008. "Composing Using 12-tone Rows: Three Piano Pieces Based on a Given Series" presented as a guest lecture in Dr. Leonard Atherton's two sections of "Music Appreciation" for non-music-majors, Ball State University.
 
Three lectures presented to The 7th Annual Pennsylvania State Homeschool Festival Orchestra and Chorus conference, at the Lancaster Bible College (135 9th-12th graders).
January 11, 2008. "The Feelings of Harmony (What kinds of chords make you feel what kinds of feelings?)"
January 11, 2008. "Symmetry and Asymmetry in Harmonic Perception."
January 12, 2008. "Form and Symbolism in Mozart's A-minor Piano Sonata."
 
2007. "The Chromatic Modal Scale: Proper Spelling for Tonal Voice-Leading." Published by Jomar Press. Web version available at: www.jomarpress.com/nagel/articles/ChromaticModal.html
 
August 30, 2007. "Gateways: Four Piano Pieces that Use Whole-tone, Heptatonia-Secunda, and Octatonic Scales" presented to the Ball State University School of Music composition forum.
 
September 8, 2006. "Inspiring Beginning Piano Students to Compose: Harmony, Rhythm, Mode, and Motif." I was their invited guest speaker and presented this to the Indiana Piano Teacher's Association (IPTA), Meridian Music, Carmel, IN.
 
2005. "Voice-Leading Possibilities: Pitch-Class Assignment Combinations, Permutations, and Directional Considerations." Published by Jomar Press. Web version available at: www.jomarpress.com/nagel/articles/VoiceLeading.html
 
2005. "The Use of Solfeggio in Sightsinging: Fixed vs. Movable 'Do' for People Without Perfect-Pitch." This paper is based on an earlier presentation that fellow graduate student, Mary Hestor, and I gave at the University of Texas at Austin Music Theory Forum (1985-1992) Published by Jomar Press; the revised web version is available at: www.jomarpress.com/nagel/articles/Solfeg.html
 
2005. "All-Combinatorial Hexachords." A brief explanation of this idea. Published by Jomar Press. Web version available at: www.jomarpress.com/nagel/articles/AllCombHexachords.html
 
January 13, 2004. "Interactions Between Randomness and Intentionality: The Idea of Kaleidoscope." Northeastern Illinois University, where I was an invited guest presenter. I lectured and performed my clarinet/electronic composition Kaleidoscope. Christie Vohs, clarinet. Myself, live computer-controlled electronic sounds.
 
2004. "Ernesto Pellegrini: The Composer, The Person" published in the 2004 Journal of the Contemporary Record Society (CRS), Society News Magazine. It is also published by Jomar Press. Web version available at: www.jomarpress.com/nagel/articles/PellegriniBio.html
 
July, 2004. "Unique Harmonic Relationships: A Consideration of Progressions Between Major Triads, Minor Triads, Augmented Triads, Fully-Diminished-7th Chords, Major-Minor-7th Chords, and Half-Diminished-7th Chords." Published by Jomar Press. Web version available at: www.jomarpress.com/nagel/articles/UniqueHarmonic.html
 
March, 2003. "The 'Pythagorean Comma.'" A brief explanation of this idea. Published by Jomar Press. Web version available at: www.jomarpress.com/nagel/articles/PythagoreanComma.html
 
April, 2002. "Pitch Circles: The Geometrical Representations Of Various Unique Pitch Structures." Published by Jomar Press. Web version available at: www.jomarpress.com/nagel/articles/PitchCircles.html
 
April 6, 2000. "Algorithmic Processes Involving the Parameters of Musical Composition and Possible Analogies for Application to Architectural Spaces and Surfaces." I was an invited guest speaker in The Ball State University, School of Architecture.
 
November 20, 1998. "Thinking and Creation: Music and Architecture." I was invited by the Ball State University School of Architecture to speak to their graduate seminar on my perceptions of the relationship between music composition and architecture.
 
1998. "Comments by a Composer: The 'Micro' and the 'Macro' in Twentieth-Century Music." article in Junior Keynotes, spring issue, 1998, Vol. 70, No. 4. (National Federation of Music Clubs.) Also published by Jomar Press. Web version available at: www.jomarpress.com/nagel/articles/MicroMacro20thc.html
 
1997. "Computer Music-Notation Software." I was invited by Chris Burns at Dartmouth College to write an account of what the purposes are, and pros and cons are, of using computer music-notation software. This paper is available on a Dartmouth web site: WOW'EM (Women on the Web: Electronic Music).
 
1997. "Using Coda's 'Finale 3.7.2' Macintosh Music-Notation Software." This paper grew out of a series of instruction sheets that I created for my 1997 summer workshop on Finale. It has since been given to, and requested by, many people, though it is not published. It has been updated with successive releases of Finale, and is now available for "Finale 2002" (Discontinued after later versions.)
 
1996. "On Modes." This paper discusses "white-key" and "heptatonia secunda" 7-note modes and the tritone content contained within them. Published by Jomar Press. Web version available at: www.jomarpress.com/nagel/articles/OnModes.html
 
November 23, 1996. "A MAX Sieve for Processing Pitch Sets," a lecture-demonstration at Bowling Green State University, "Threshold III," (The third annual electro-acoustic music conference held by Ball State, Bowling Green, Oberlin and the University of Michigan.)
 
November 20, 1995. Along with two other visiting composers, I addressed a composition class at Cleveland State University. I discussed algorithmically-generated composition, and played examples from my own work. This visit coincided with the Cleveland Chamber Symphony's same-day performance of my Jagger Dance.
 
October 2, 1995. I addressed a composition class at Indiana University. I brought my computer and demonstrated certain of my programs using the "Max" object-oriented language. Dr. George Wolfe, playing Soprano Saxophone, and I presented one of my compositions during the demonstration. A lengthy question and answer session followed the presentation.
 
February 24, 1995. At Marietta College, Ohio, I addressed a music theory class, and discussed and played examples of my own compositions. Later that day, I conducted another seminar in which I discussed composition, and current political and economic issues as they relate to composition.
 
June 10, 1993. At The University of Sydney, I was invited to give a presentation on my own musical compositions to Peter Sculthorpe's composition seminar. Sculthorpe is Australia's most significant composer. I spoke on the structure and content of three of my works : There's a Certain Slant of Light... for chamber orchestra, Gandalf the Grey for clarinet and tape, and Octagon for an octet of flute, bassoon, trumpet, tuba, violin, double bass, piano, and 1 percussionist.
 
1993. "A Systematic Approach to Cataloging Pentatonic Scales." This paper, and the analytical method it describes, was devised during the summer of 1993 in Sydney, Australia. It was motivated by my observations of the then-current Australian fascination with Asian influences, and in particular with the Australian music community's fascination with Asian pentatonic scales. Published by Jomar Press. Web version available at: www.jomarpress.com/nagel/articles/PentatonicEtudes.html
 
March 25, 1992. "The Masterpiece Maker; The Composer's Dilemma." I gave an informal talk, with examples of my own music, in a guest-presentation given to an adult class studying "The Masterpiece and the Romantic Dream," a course offered through the University of Texas at Austin Continuing Education program, and taught by Brad Bolen.
 
1988. Provided contribution for: "Correspondences and Associations in Milton Babbitt's Reflections." This paper by John Peel and Cheryl Cramer appeared in the 1988 Perspectives of New Music Journal (Acknowledgment given on p.182.)
 
March 1987. "Concerning Serial Rotation in Stravinsky's Variations." Paper delivered to the Texas Society for Music Theory. This paper won first prize as "most creative." Published by Jomar Press. Web version available at: www.jomarpress.com/nagel/articles/StravinskyVariations.html
 
Papers delivered at the University of Texas at Austin Music Theory Forum (1985-1992) include:
 
"The use of solfeggio in sightsinging: fixed vs. movable 'Do.'" (an open panel discussion presented jointly with graduate student, Mary Hestor.) A revised version of this paper is published by Jomar Press; the web version is available at: www.jomarpress.com/nagel/articles/Solfeg.html
 
"Fields of Sevenths: a look at one genre of modern tertian harmonies."
 
"Heptatonic modes: Uses of the other 7-note diatonic modes."
 
"Pitch Structure and Dramatic Association in the Murder Scene of Alban Berg's Wozzeck." Published by Jomar Press. Web version available at: www.jomarpress.com/nagel/articles/BergWozzeck.html
 
"Trauermarsch : The first movement of Mahler's 5th Symphony." Published by Jomar Press. Web version available at: www.jomarpress.com/nagel/articles/MahlerFifth.html
 
PROFESSIONAL MEETINGS ATTENDED / Composer-in-residencies
 
July 1, 2003. Chatauqua Summer Festival, Chatauqua, NY. My composition, A Globe of Glass (2003) for narrator, saxophone and electronic accompaniment, based on texts from the Koran, was premiered by saxophonist George Wolfe on a program in support of diversity and tolerance.
 
October 13, 2001. Indiana Music Teachers Association (IMTA), State Conference, Taylor University, Indiana. My composition, The "Crossroads of America" Quartet (2001), for Alto Saxophone, Violin, Cello and Piano, was premiered. The piece was commissioned in 2001 by Music Teachers National Association (MTNA) and Indiana Music Teachers Association (IMTA).
 
July 8, 2000. 12th World Saxophone Congress, University of Montreal, Montreal, Canada.
My composition for SATB choir, saxophone and electronic accompaniment, Hymns to Soma, was included on one recital.
 
June 2, 2000. World Cello Congress III. Towson University, Baltimore, MD., My cello-orchestra composition, Scenes from the Styx, was included on one recital.
 
March 26-28, 1999. Society for Electro-Acoustic Music in the United States (SEAMUS99) conference, San José State University, San José, California.
 
March 4-7, 1999. Composer-in-residence at Northwestern State University, Natchitoches, Louisiana, for four days. I gave four different lectures on various music-theoretical topics as well as on my own musical compositions.
 
April 16-18, 1998. Society for Electro-Acoustic Music in the United States (SEAMUS98) conference, Dartmouth College, Hanover, New Hampshire.
 
November 15, 1997. "Threshold IV," Ball State University, (The fourth annual electro-acoustic music conference held by Ball State, and Bowling Green.) Nine of my students that had studied composition with me had pieces selected for the program.
 
April 3-5, 1997. Society for Electro-Acoustic Music in the United States (SEAMUS97) conference, University of Missouri, Kansas City, Missouri.
 
November 23-23, 1996. "Threshold III," Bowling Green State University, (The third annual electro-acoustic music conference held by Ball State, Bowling Green, Oberlin and the University of Michigan.) I presented a lecture-demonstration entitled "A MAX sieve for processing pitch sets."
 
April 18-20, 1996. Society for Electro-Acoustic Music in the United States (SEAMUS) conference, Birmingham-Southern College, Birmingham, Alabama. The first movement of my composition, Lifting the Veil, was programmed.
 
April 8-12, 1996. 48th Annual Conference on World Affairs, The University of Colorado at Boulder. I contributed to a recital-demonstration of current computer technology with respect to composition.
 
March 28-30, 1996. I attended the jointly held "Florida Electroacoustic Music Festival" and the "North American Saxophone Alliance National Meeting" at The University of Florida, where two of my compositions were presented and discussed as part of a lecture presentation.
 
April 7-9, 1994. Society for Electro-Acoustic Music in the United States (SEAMUS) conference, Middlebury College, Middlebury, Vermont.
 
July 10, 1993. I attended the all-day symposium "CompMusic '93." This series of lectures and concerts on computer music was hosted by The Australian Computer Music Association, in Sydney, Australia.
 
October 11-13, 1990. Society for Electro-Acoustic Music in the United States (SEAMUS) conference, Baton Rouge, LA. My composition for clarinet and tape, Gandalf the Grey, was included on the program.
 
April 20, 1990. Society of Composers, Inc., (SCI) Region VI Conference, The University of Kansas, Lawrence, KS. My piano composition, Fields of Sevenths, was included on the program.
 
March 1987. Texas Society for Music Theory (TSMT). I delivered a paper at this conference, which won first prize. ("Concerning Serial Rotation in Stravinsky's Variations.")
 
COMPOSITION ADJUDICATION EXPERIENCE
 
2002-present. Indiana Federation of Music Clubs, composition contest adjudicator, Indianapolis, IN.
 
April, 2011. Adjudicator, Indiana Music Teachers Association (IMTA), composition contest hosted by the Lafayette, Indiana, School System, Judd Danby, director.
 
February-March, 2009. Adjudicator, Indiana Music Educators Association (IMEA) composition contest hosted by the Lafayette, Indiana, School System, Judd Danby, director.
 
Summer, 2007. Adjudicator, composition contest held by Indianapolis Chamber Symphony, Kirk Trevor, director.
 
November-December, 2007. Adjudicator, composition contest held by the Lafayette, Indiana, School System, Judd Danby, director.
 
PROFESSIONAL ASSOCIATIONS
 
Jomar Press, Co-Editor. Austin, TX. (512) 459-4972. www.jomarpress.com
 
Youth Symphony Orchestras of East-Central Indiana (YSOECI), Muncie, IN. member of the board since 2006.
 
Muncie Ballet, Muncie, IN. member of the board since 1995.
 
PianoForte, Inc. (encouraging chamber music playing by young people) Muncie, IN. member of the board since 2005.
 
- SEAMUS (The Society for Electro-Acoustic Music in the United States.) former member of the SEAMUS Advisory Board.
 
COMPUTER SKILLS
 
Music notation application FINALE (version 2.6.3 through 2010).
 
MIDI applications MAX, PERFORMER, GALAXY, STUDIO-V.
 
Digital editing, DSP, and D-to-A conversion applications, SOUND DESIGNER II, PRO-TOOLS, PEAK, SOUND HACK, and AUDIODESK.
 
Synthesis programs C-SOUND and MUSIC360.
 
Languages C, PASCAL, and FORTRAN.
 
HTML tagging, Netscape, Internet Explorer, and certain other Internet-related software.
 
Experience in "live" performance of algorithmic composition using Macintosh computers.
 
TEACHING EXPERIENCE
 
Ball State University, Muncie, IN:
 
September, 1992 - present:
Assistant Professor of Composition and Music Theory.
 
I have taught composition, music theory, and music engineering technology courses including beginning and advanced, undergraduate and graduate, acoustic and electronic, private composition students; Computer Applications in Music for graduate students; Introduction to Electronic Music; Sound synthesis I and II; Introduction to Computer Music and Advanced Computer Music; Introduction to Music Skills for beginning music majors and non-majors; Freshman Sightsinging and Ear Training; Music Theory I; Form and Analysis for advanced undergraduate music majors; Orchestration; Concert Band Arranging; and 17th-, 18th-, 19th- and 20th-century Analysis for graduate students.
 
Click here to see a summary of all courses that I have taught at Ball State University:
"Summary of Teaching Responsibilities at Ball State University; Fall, 1992 to present."
 
Click here to see a complete list of courses that I have taught at Ball State University:
"Teaching Responsibilities at Ball State University; Fall, 1992 to present."
 
The University of Texas, Austin, TX:
 
1988-1990: Assistant Instructor
Taught one section each year of sophomore ear training (16-18 students per class, 2 hours per week); A two-semester course covering harmonic, melodic, and rhythmic dictation, and sightsinging skills - corresponding with sophomore theory lecture.)
 
Taught one section each year of music theory for non majors (35-40 students per class, 3 hours per week); A two-semester course covering basics such as scales, intervals, keys, triads, rhythm and meter, elementary voice-leading in tonic/dominant progressions, and simple 4-part chorale-style analysis.)
 
(In both of the above courses duties included preparation of the syllabus, class lectures and drills, exams, homework assignments, and grading of homework and exams.)
 
1986-1988: Teaching Assistant
Taught two sections each year of a laboratory course for sophomores (10-12 students per section, each section met one hour per week) A two-semester course given in conjunction with the primary ear training course, covering sightsinging, ear training, and keyboard.)
 
The University of Pittsburgh, PA:
 
1983-1985: Teaching Assistant
Taught one section of introduction to music for non majors laboratory (review of main lecture, and of assigned music listening.)
 
Taught three sections of sophomore applied skills laboratory (ear training, sightsinging, keyboard) and graded sophomore harmony exercises.
 
Taught four sections of a musicianship course for non majors (an introduction to music fundamentals.)
 
CONDUCTING, DIRECTING, AND PERFORMING EXPERIENCE
 
August 3-15, 2004. Tanglewood, MA. (Recital: August 14, 2004.) Festival of Contemporary Music. I performed the "live computer" part (using "Max") on Finnish composer Kaija Saariaho's two works Six Japanese Gardens (1993, rev. 1995) for percussion and electronics (Jeb Kulevich, percussion) and Près (1992) for cello and electronics (Norman Fischer, cello).
 
Fall 2001 to Fall 2004. I directed the fall and spring semester Student Composers Forums at Ball State University. I was responsible for preparing the printed programs and putting on the recitals.
 
April 1, 2001. A Recital of Original Compositions for Instruments and Vocalists and Algorithmically-Generated Electronic Accompaniment. Muncie, IN., Ball State University, Faculty Arts Recital:
- Solar Dreams (1994) Hans Sturm, Contrabass. Jody Nagel, Computer.
- Three Universes (1998) George Wolfe, Saxophone. Craig Priebe, Narrator. Jody Nagel, Computer.
- Improvisation (2001) (by Johnson & Nagel) Ralph Johnson, Percussion. Jody Nagel, Computer.
- Hymns to Soma (1999) The BSU Chamber Singers, Twentieth-Century Ensemble, Michael Davis, Director. George Wolfe, Saxophone. Jody Nagel, Computer.
 
Ball State University:
 
I have "performed" my computer using live algorithmically-generated electronics on several occasions in the last three years. I, along with Saxophonist George Wolfe, performed some of my compositions at several places, including SEAMUS96 (1996), 48th Annual Conference on World Affairs at The University of Colorado at Boulder (1996), the jointly held "Florida Electroacoustic Music Festival" and the "North American Saxophone Alliance National Meeting" at The University of Florida (1996), the Interlochen Summer Music Camp (1995), The Hindu Temple in Pittsburgh, PA (1995), Indiana University (1995), and several times in Muncie IN (1995).
 
November 9, 1994. I directed the SEAMUS (The Society for Electro-Acoustic Music in the United States) 10th-Anniversary Concert of Electro-Acoustic Music at Ball State University. Several universities across the country were simultaneously presenting a 10th-anniversary concert.
 
Fall, 1993. I organized and presented the EMONE (September 28, 1993) and EMTWO (November 10, 1993) electronic music concerts at Ball State University. I included works of the preceding ten years by composers from several American institutions, as well as some from Sweden and Australia. Some Ball State student works were presented also.
 
Spring, 1993. Conducted small chamber groups, performing works by students, on composers' concert series.
 
University of Pittsburgh:
 
Member, University choir, 1982-84.
 
Member, Men's Glee Club, and associated Barbershop Quartet, 1982-85.
 
Marietta College:
 
Conductor, Marietta College Singers and brass quartet, Marietta College graduation ceremonies, 1982.
 
Member, Marietta College Singers, sang tenor, 1978-82.
 
Member, Marietta College band, played euphonium, 1978-82.
 
Piano soloist, Mozart's concerto in A, K.414, Marietta Civic Orchestra, 1980.
 
CD Recordings containing my compositions:
 
Released September, 2008. "It Takes Two," Centaur recording, CRC 2942. This CD contains my Bedtime Stories (1994-2003, 12'29 ") for oboe & double bass. Carrie Vecchione, oboe; Rolf Erdahl, double bass.
 
Released 2007. "With Every Leaf a Miracle, " by hornist Kent Leslie, Hard Cor Records, HCM-0107. The CD contains my composition, Games, (2000, 6'11 ") for Horn; and Marimba, Thomas Harvey.
 
Released 2004. "Musical Favorites of All Times " ICR Records. The Borowsky Family: The American Virtuosi. The CD contains my composition Ancient Dance (2000, 2'17 ") for Piano Trio. This piece is the final movement of my six-movement work entitled Harmonic Etudes for a Young Piano Trio.
 
Released 2001. "Live in Concert, Vol. 3" BSU label 043D3. Ball State University Wind Ensemble, Dr. Joseph Scagnoli, conductor. The CD contains my composition Voyage of Discovery (2000) (recorded November 18, 2001).
 
Released January, 2000. "Beyond Noend with Errante", Drimala label DR 99-347-02 (www.drimala.com). The CD contains my composition Kaleidoscope, (1996, 8'41") for Clarinet and Algorithmically-Generated Electronic Accompaniment. (commissioned and performed by Gerard Errante.)
 
Released January, 2000. "America's Millennium Tribute to Adolphe Sax, Volume III", Arizona University Recordings AUR CD 3098 (www.AURec.com). The CD contains my 3-movement composition Three Universes (1998, 9'30") for Alto Saxophone, Narrator, and algorithmically-controlled electronically-generated sounds using the Macintosh computer programming application/language 'Max 2.2.' and two Roland Sound Canvases. (Poems by George Wolfe, from his collection "Verses Reversus". 1. Suns Burning Into Time; 2. Hummingbirds Saw Stillness; 3. Flags Wave.) George Wolfe, Alto Saxophone.
 
Released fall, 1998. "America's Millennium Tribute to Adolphe Sax, Vol. 1," by Arizona University Recordings, AUR CD 3063 (www.AURec.com). The CD contains my composition Solar Dreams (1994, 5'48"), for Soprano Saxophone and Algorithmically-Generated Electronic Accompaniment; George Wolfe, saxophone.
 
Released fall, 1998. "The Glass Bead Game," by hornist Kent Leslie, Hard Cor Records, HC001. The CD contains my composition As You Like It (1979, rev. 1986, 6'10") for Horn and Piano. (Recorded June 26, 1998.)
 
Released January, 1998. "Classical Improvisation," Saxophone Journal, Volume 22, Number 4, by George Wolfe, Dorn Publications, Inc. The CD contains two separate performances of my composition Solar Dreams (1994, 1. 5'48", 2. 5'39"), for Saxophone and Algorithmically-Generated Electronic Accompaniment; George Wolfe, saxophone. The CD also contains a "Tape Part Alone" track so that other saxophonists can try out the piece; the score is contained within an accompanying booklet.
 
Released December, 1997. "Lifting the Veil," by saxophonist George Wolfe, Soundwind Records, SW 1133. The CD contains my compositions Lifting the Veil (1995, 25'05") and Solar Dreams (1994, 5'48").
 
Released summer, 1995. "Music from the University of Texas Electronic Music Studios," by Centaur Records, CRC 2245. This CD is Vol. 20 of the CDCM series (Consortium to Distribute Computer Music.) The CD contains my composition Gandalf the Grey (1990, 11'51"), for clarinet and MUSIC360 computer-generated tape, Robert Tuttle, clarinetist.
 
SOME SIGNIFICANT COMPOSITIONS
Please see my Catalog, my Composition Chronology, or my Performance History for a full listing.
 
Declaration for Independence (1998) This 36-minute work is for chorus and large orchestra.
 
The Moon Harvests (1997) This is a 40-minute, single-act opera for orchestra and nine singers.
 
Fifty-third Street (1990-97) This is a 90-minute, two-act opera for large orchestra, chorus, and 14 singers.
 
The compositions listed above, as well as many others, are published by
Jomar Press, 1002 Wisteria Trail, Austin, TX 78753. (512) 459-4972
 
PERSONAL
 
Born in Franklin, Pennsylvania, USA, May 29, 1960. Lived near Pittsburgh, PA. until 1978.
 
Married to Eunhee Yoon: Her academic degrees include a B. A. in history and an M. A. in philosophy, from the University of Seoul, Korea, and an MLIS from the School of Library and Information Science at The University of Texas at Austin (1992).
 
Have two daughters, Ashley Gaia, born August 24, 1990; and Athena Gretchen, born July 1, 1997.
 
REFERENCES
 
The following people are Ball State University colleagues within the School of Music.
(Ball State University, School of Music, Muncie, IN. 47306)
They have each written a letter on my behalf and are willing to send it upon request. They are also willing to discuss their recommendation by telephone:
 
Dr. Ernesto Pellegrini, BSU composer, professor emeritus.
home: 603 Alden Road, Muncie, IN 47304.
(765) 288-3166
e.p.pellegrini@worldnet.att.net
 
Dr. Keith Sweger, BSU bassoonist
BSU: (765) 285-5511.
home: (765) 747-1289.
home: 2820 W. University Ave., Muncie, IN. 47304
ksweger@bsu.edu
 
A placement file is available upon request from the Education Placement Service, The University of Texas at Austin, Education Bldg. Rm. 294, Austin, TX 78705. The following people have written letters of recommendation on my behalf which are included in my placement file; they are each available for discussion by telephone:
 
Lukas Foss, conductor / composer (deceased)
New York, N.Y.
tel. (212) 722-8003
or (516) 537-7712
 
Eugene Kurtz, composer (deceased)
Paris, France
tel. (011-33-1) 45-45-94-71
 
Dan Welcher, composer / professor
Music Department
The University of Texas
Austin, TX 78712
tel. (512) 471-7764
 
Karl Korte, composer / professor
Music Department
The University of Texas
Austin, TX 78712
tel. (512) 471-7764
 
Russell Pinkston, composer / professor
Music Department
The University of Texas
Austin, TX 78712
tel. (512) 471-7764
 
Don Grantham, composer / professor
Music Department
The University of Texas
Austin, TX 78712
tel. (512) 471-7764
 
Dr. Patrick McCreless, theorist / professor
Music Department
The University of Texas
Austin, TX 78712
tel. (512) 471-7764
 
Dr. Roger Graybill, theorist / professor
Music Department
The University of Texas
Austin, TX 78712
tel. (512) 471-7764
 
MUSIC COURSEWORK AND INSTRUCTORS
 
Composition:
 
University of Texas at Austin:
- Karl Korte (1 semester)
- Dan Welcher (3 semesters)
- Don Grantham (3 semesters, including being dissertation advisor)
- Russell Pinkston, for electronic and computer music (8 semesters)
- Eugene Kurtz, visiting professor (1985-86) (2 semesters)
- continued to study privately with Kurtz in Paris, summer 1986
 
The Univ. of Sydney Australia, while on a Fulbright Fellowship, summer 1993:
- Peter Sculthorpe (Woollahra, Australia)
 
Aspen Music Festival, Center for Compositional Studies, summer 1988:
Throughout the summer, I had lessons with these composers:
- Earle Brown (director, Fromm Foundation)
- Jacob Druckman (Yale University)
- Bernard Rands (Boston University)
- Peter Sculthorpe (Woollahra, Australia)
 
University of Pittsburgh:
- Wayne Slawson, for electronic and acoustic music (3 semesters)
- John Peel (2 semesters)
 
Marietta College:
- William Buelow (2 semesters)
 
Music Theory:
 
University of Texas at Austin: - Comparative Studies - systems of theory, (theory pedagogy) (2 semesters) R. Graybill
- History of music theory before 1750, R. Baltzer
- Alban Berg's Wozzeck, D. Green
- Analytic Techniques, D. Smyth
- Theories of Chromaticism, P. McCreless
 
University of Pittsburgh:
- Tonal Analysis (Schenkerian analysis), J. Peel
- Problems in Theory (atonal theory), J. Peel
- Stravinsky's music (analysis), J. Peel
 
Marietta College:
- Theory, theory drill (4 semesters), W. Buelow
- Form and Analysis, W. Buelow
- Twentieth Century Techniques, W. Buelow
 
Music History
 
University of Texas at Austin:
- Advanced Studies in Music History - the 20th century, E. Antokoletz
- Advanced Studies in Music History - the 19th century, B. Dietz
 
University of Pittsburgh:
- Problems in Medieval Music (2 semesters), J. Knapp
- Music of the Classical Period, R. Lord
- Music since 1945, E. Lundberg
 
Marietta College:
- History of Music (2 semesters), D. Cummings
- The Concerto, H. Mueller
 
Other Music Studies:
 
University of Texas at Austin:
- Score Reading (1 semester), P. McCreless
- Supervised Teaching Course, R. Graybill
 
University of Pittsburgh:
- Pro-Seminar (2 semesters), consisted of 3 ten-week introductory seminars to:
   Ethno-musicology, B. Young,
   Music Theory, W. Slawson & J. Peel,and
   Musicology (D. Franklin). - Composition Seminar (3 semesters), Slawson, Peel, Lundberg
 
Marietta College:
- Instrumentation, H. Mueller
- Piano Lessons (8 semesters), W. Buelow
- Marietta College Singers (4 semesters), L. Burkot
- Marietta College Band (3 semesters), D. Cummings
- Voice lessons (1 semester), L. Burkot
- Conducting (2 semesters), H. Mueller
 
 
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