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Diplomas / Degrees

PhD, Music Composition, Duke University (1999)
BM, Music Theory and Composition, Butler University (1992)

Recent Courses

Advanced Harmony I
Advanced Harmony II
Conducting & Orchestration I
Counterpoint I
Elementary Theory And Harmony I
Form And Analysis I
Independent Study Form And Analysis
Independent Study Music Composition 1
Independent Study Music Composition I
Independent Study Music Composition1
Major Composers Nineteenth & Twentieth Century
Professional Internship Intership In Entertainment Law
Theory And Harmony I I
Theory And Harmony I V
Workshop In Chamber Music Performance I

Teaching Specializations / Interests

TEACHING EXPERIENCE

Adelphi University
Department of Music
Assistant Professor: September 1, 2004 – Present

MUSIC THEORY: Core Sequence

Aural Skills and Musicianship III

This course focuses on the strengthening and further development of students’ musical and aural skills, including sight-reading in four clefs; written harmonic, melodic, and rhythmic dictation; and more complex rhythmic training. Solfege syllables (movable “do”) as well as numbers are used for sight-reading exercises.

Aural Skills and Musicianship IV

This course involves sight-reading in four different clefs, following both tonal and atonal melodic examples, as well as complex rhythmic patterns. Dictation examples similarly are more challenging, moving from tonal to modulating and chromatic examples.

Theory and Harmony I

This course focuses on the fundamentals of reading and notating music, the principles of voice leading, and analyses of brief diatonic harmonic progressions. The majority of examples studied are drawn from the Western classical canon, supplemented by excerpts from other genres of music such as jazz, rock, and musical theatre.



Theory and Harmony II

This course begins with a review of diatonic chords in both major and minor keys, as well as the basic principles of voice leading and part writing before proceeding to the analysis of musical examples drawn primarily from the Western classical canon, supplemented by excerpts from popular literature, and ending with the study of non-chord tones.

Theory and Harmony III

This course begins with a review of the principles of diatonic harmony and part-writing, focusing on triads and seventh chords, before proceeding to the study of chromatic harmony, including but not limited to: chromatic chords and progressions, borrowed chords, altered chords, modulation, extended dominants, and modal and nonfunctional harmony.

Theory and Harmony IV

This course focuses on complex chromatic and harmonic principles, particularly Neapolitan and augmented sixth chords, and ends with an overview of harmonic practices in the late 19th Century including extended chromatic tonal harmony and compositional and analytical techniques of the 20th Century.

Form and Analysis

This course is a study of musical form and structure as exemplified by examples drawn primarily from the Western canon. During the semester, students develop a set of skills and a vocabulary that allow them to analyze and discuss various aspects of form and structure in music, which are then applied to analysis of works from their own studio repertoire.

MUSIC THEORY: Advanced Courses

Conducting and Orchestration

This course is taught in two parts. During the first half of the semester the focus is on the study of orchestration, including a review of instruments and their technical considerations (ranges, transpositions, basic characteristics, etc.) before moving toward scoring and arranging techniques. Students are required to complete a major orchestration project.

During the second half of the semester, students study the fundamentals of conducting, working toward learning techniques and methods (including baton technique and full-score reading) necessary to prepare, rehearse, and perform music as a conductor of various types of musical ensembles. For the final evaluation, students are required to conduct a small ensemble of musicians and/or singers.

Special Topics: Advanced Analytical Techniques

This course covers advanced techniques in the analysis of music, including set theory, serial, Schenkerian, and Macro-analysis. Musical examples studied range from Western classical repertoire (Bach, Mozart, Beethoven) and contemporary works (Second Viennese School), to popular works including examples from musical theater, jazz, and rock. Students apply learned techniques to their own studio repertoire.


Counterpoint

This course is a study of counterpoint, from the modal practice of the Late Renaissance, through tonal counterpoint of the Baroque Period, and imitative polyphony in the 19th and 20th centuries. Students will write their own counterpoint following exemplary and representative models, both modal and tonal.

MUSIC PERFORMANCE

Workshop in Chamber Music Performance

This course focuses on the rehearsal and performance of chamber music of today and the past. Through the course of the semester, students learn, develop, and improve their skills as chamber musicians by working on repertoire that simultaneously expands their knowledge and appreciation of the Western canon. The course culminates with a public performance at the end of the semester.

MUSIC HISTORY

Liberal Arts Seminar: Music and Christian Worship in Contemporary Culture

This course examines the numerous ways that people today worship through music, and explores how these differences express and formulate identity, serving to unite as well as articulate boundaries among people of faith. During the process of studying the interface between music and worship, students develop a critical ear through listening to and aurally analyzing a variety of musical examples examined in different contexts. Students are asked to hear and experience a variety of Christian musical traditions through in-class and assigned listenings as well as through visits of local area churches and worship centers. Through this comparative and experiential process, an encompassing view on the dynamic balance between worship and music as it is informed and shaped by culture (traditional, popular, local, marginalized, “imported,” and so forth) is gained.

Major Composers of the 19th and 20th Centuries

This course focuses primarily on the study of seminal composers and their works from the 19th and 20th centuries, but also includes a brief foray into contemporary composers and aesthetic trends. The course begins with Beethoven as the transitional figure at the cusp of the Classical and Romantic figures and moves through the major musical figures of Romanticism. Studies of composers and exemplary works continue from late-19th century Impressionism through the turn of the century into the 20th, leading through the important musical trends early in that century. The second half of the semester dwells on the composers of the last century, leading to post-World War II developments finally ending with contemporary musical issues as addressed by living composers.



INDEPENDENT STUDY

Advanced Analytical Techniques
Composition
Music Analysis and Performance Practice
Research and Bibliography in Music
Stringed Instruments of the World


University of Pennsylvania
Department of Music/Penn Humanities Forum,
Mellon Postdoctoral Fellow: September 1, 2003 – May 1, 2004

As Postdoctoral Fellow, attended weekly seminars focused on the examination of Belief in a range of disciplines in the Humanities, Arts, and Sciences; continued research on the practice of music and religious faith; gave presentation to Forum on compositional works that explore the relationship between music and religious faith; performed recital of sacred music for piano, along with Christopher Adler, including premiere of Forum Project, Misang Walang Salita (Mass Without Words), scored for two performers, sound technician, amplified piano, preparations, reverberation and delay units.

Music and Christian Worship in Contemporary Culture
This seminar focused on examining the relationship between music and worship as exemplified in current practice. Students are required to attend and write about a range of events that involve the interaction of music and worship.


Duke University
Department of Music
Graduate Instructor/Teaching Assistant: August 1993 – May 1997

Introduction to Music Theory: Instructor

This course covers the fundamental principles of music theory with emphasis on notation, basic harmony, and analysis.

Musicianship Skills: Instructor

This course covers select basic musicianship skills ranging from ear training and sight singing to score reading (figured bass, piano score, and full score).

Fundamentals of Music Theory: Teaching Assistant (Aural Skills Lab)

The laboratory component of this course focuses on the teaching of aural skills such as sight reading, harmonic, melodic, and rhythmic dictation. Students were tutored in music theory as needed.

Duke University
Center for Teaching, Learning, and Writing
Teaching Fellow and Instructor: Aug. 1995 – May 1999

University Writing Course: Workshop in Rhetoric

As Fellow, designed assignment sequence for Teaching Collective of 6 instructors; met with Collective regularly to discuss pedagogical issues; observed individual instructors in the classroom setting and assisted them in addressing teaching concerns; assisted in the training of new instructors.

As Instructor, taught selected topics in rhetoric, academic writing, library research, source use and documentation, and grammar; conducted rhetorical analysis of selected texts; facilitated workshops of students’ works; assisted students in the composition of final multiple source research paper.

Durham School of the Arts
Composer-in-Residence: Jan.-Jun. 1998
As a Guest Artist, collaborated with teachers in various disciplines in developing aural skills and compositional approaches among 6th through 10th graders.

Research Interests

MUSIC, WORSHIP, and ETHNICITY
Research into the conveyance, perception, and reception of religious and ethnic identity and practices in music, focusing on the compositions of Jose Maceda, Olivier Messiaen, and Arvo Pärt, and the writings of Anscar Chupungco and Catherine Bell in their work on inculturation and ritual studies.

MULTI-DISCIPLINARY and COLLABORATIVE PERFORMANCE PROJECTS
Creative and performance interest in the production of collaborative projects that involve multiple disciplines and media as informed by the works of such artists as Pat Oleszko and Leah Gauthier, along with the consideration of documentation of the creative process as having its own aesthetic worth with potential for being part of performance practice.

MUSIC of TODAY
Commitment to the study, promotion, performance, and advocacy of works by living composers.

Grants / Sponsored Research

Adelphi University Faculty Development Grant for “Doves: a Series of Performances and
Premieres by pulsoptional” (New York, NY), March 15 – 18, 2008

Other Scholarly / Artistic Work

COMMISSIONS, 2000 - Present

Ayelet Harpaz/Anne La Berge/MAE (The Netherlands):
Requiem, a man alone (in a room)
for voice, flutes, violin, double bass, trombone and electronics, 2010;
90’ staged production

Lone Larsen and Voces Nordicae (Sweden):
Out of the Ashes
for a cappella mixed choir, 2009

Jonathan Goodman and William Zito (USA):
Last Seen (Four Songs)
for tenor and guitar, 2009

Elaine Comparone and Peter Seidenberg (USA):
The Decent Experience
for harpsichord and cello, 2009

Lone Larsen and Voces Nordicae (Sweden):
O-we yówa (choral version)
for a cappella mixed choir, 2009

pulsoptional (USA):
Doves
for violin, oboe, bassoon, electric guitars, piano, marimba, and temple bowls, 2008

Christopher Adler (USA):
angel music
for solo khaen (Thai mouth organ), 2007

James John and Queens College Choirs (USA):
Speak to Me
for a cappella mixed choir, 2007

Tufts University New Music Ensemble (USA):
The Book of Hours
for one piano and six or more performers, 2007

Lone Larsen and Voces Nordicae (Sweden):
I Shall Not
for a cappella mixed choir, 2007

Linda Wetherill and the Adelphi Summer Flute Week (USA):
The Walls of Jericho
for flute ensemble and piano, 2006

NOISE ensemble (USA):
Missa cum Jubilo
for flute, cello, guitar, piano, and percussion, 2005

ensemble amarcord:
Seven Folksongs
for Male Vocal Quintet (TTBtBB), 2004

Spencer Martin and Murasaki Duo (USA):
Tres Marias (“Three Marys”)
for viola, cello, and piano, 2004

Mallarmé Chamber Players (USA):
on the ineffable nature of the divine being
for flute/alto flute, oboe/english horn, clarinet/bass clarinet, and percussion, 2004

Eric Pritchard (USA):
Panalangin (“Prayer”)
for solo violin, 2003

Ayelet Harpaz (The Netherlands):
Stabat Mater
for amplified voice and 3 CDs, 2003

ensemble amarcord (Germany):
Iyeyan (arranged)
for Male Vocal Quintet (TTBBB), 2002

Ayelet Harpaz/Anne Faulborn (The Netherlands):
Pagdaramay (“Mourning”)
for amplified voice, harpsichord, and CD, 2002

ensemble amarcord (Germany):
Gloria
for Male Vocal Quintet (CtTBtBB), 2001

Ciompi Quartet:
Pagsamba (“Worship”)
for string quartet, 2001-2002 season

University of North Carolina (Chapel Hill), Women’s Glee Club:
Three Philippine Folksongs
for unaccompanied women’s chorus (SSAA), 2001

CSMG (pulsoptional):
Tunugan (“Soundings”)
for prepared piano and four players, 2000



PERFORMANCES/PREMIERES (2005 - 2009)

Gloria for a cappella male vocal
quintet (2001)
ensemble amarcord:
Feb. 10, 2005 Hamburg, Germany
Feb. 25, Greensboro, NC
June 12-16, Festival La Fabbrica del Canto, Italy, various locations
July 5, The Alliance World Festival Concert, Collegeville, MN
July 11, Association of Lutheran Church Musicians Concert, New York, NY
September, 30, Lehrte, Germany; March 9, 2007, Hartford, CT

“Litany/Kyrie” for solo piano, from Misang Walang Salita (Mass Without Words) (2004) Sidney Marquez Boquiren; March 14, 2005; Garden City, NY (premiere as acoustic solo version)

Seven Folksongs for a cappella male vocal quintet (2004)
ensemble amarcord:
Feb. 20-Mar. 3, 2005, USA concert tour, various locations (selections)
Mar. 17-18, various locations in Germany (selections)
April 15, “A Cappella Festival for Vocal Music,” Leipzig, Germany
June 16, Festival La Fabbrica del Canto, Cerro Maggiore, Italy
June 17, 9th Festival “Köstritzer Musikmeile” Opening Concert, Bad Köstritz, Germany
Aug. 14, Altafulla, Spain; July 20, 2006, Schloss Runkelstein, Bozen, Italy

Jubilus I for amplified flute/bass flute, amplified oboe, and reverb and delay units (2005)
Linda Wetherill (flutes) and Terry Keevil (oboe); March 14, 2005; Garden City, NY (premiere)

Missa Cum Jubilo for flute, cello, guitar, piano, and percussion (2005); NOISE Ensemble:
May 1, 2005; San Diego, CA (premiere)

Sala'am for solo harpsichord (1994); Zvi Meniker: Dec. 3, 2005; Hannover, Germany

Matins for one or more pianos (2006); Sidney Marquez Boquiren and Christopher Lyndon-Gee: March 20, 2006, Garden City, NY (premiere)

first love story for a cappella Mixed Choir (2005)
Adelphi University Choir: May 1, 2006, Garden City, NY (premiere)
Duke University Chorale:
Nov. 5, 2006, Pinehurst, NC
Mar. 11-17, 2007, California tour

The Walls of Jericho for flute ensemble (2006)
Adelphi University Flute Ensemble (Linda Wetherill, Director): Aug. 4, 2006, Garden City, NY (premiere)

Panalangin/Pananampalataya (Prayer/Faith) for violin/piano (2003/2002)
Carmel Raz/Christopher Adler: April 4, 2007, Chicago, IL

Four Laments and a Dirge for flute, oboe, viola, piano, and percussion (2007)
Adelphi University Contemporary Music Ensemble: March 12, 2007, Garden City (premiere)

The Book of Hours for one piano and six or more performers (2007)
Tufts University New Music Ensemble: April 30, 2007, Medford, MA (premiere)
AXIS Ensemble: March 6, 2009, Cambridge, MA

Speak to Me for a cappella Mixed Choir (2006); Queen’s College Concert Choir:
Apr. 29, 2007, New York City, NY (premiere)
May 10, 2007, Flushing, NY

“Salidummay” (from Three Philippine Folksongs) for a cappella women’s choir (2001)
The Women of Adelphi University Chorus: May 7, 2007, Garden City, NY

angel music for solo khaen (Thai mouth organ; 2007)
Christopher Adler: June 14-17, 2007, First Annual NOISE Festival of New Music; San Diego, CA (premiere)

I Shall Not for a cappella Mixed Choir (2006)Voces Nordicae (Lone Larsen, Director):
September 28, 2007; Stockholm, Sweden (premiere)
November, 2008; Normandy, France

Doves for violin, oboe, bassoon, electric guitars, piano, marimba, and temple bowls (2008)
pulsoptional:
March 16, 2008, Philippine Consulate, New York, NY (premiere)
March 17, 2008, Adelphi University, Garden City, NY
February 28, 2009, Eastern Carolina University, Greenville, North Carolina

O-we yówa for solo voice and piano (2008)
Sidney Marquez Boquiren:
March 16, 2008, Philippine Consulate, New York, NY (premiere)
March 17, 2008, Adelphi University, Garden City, NY
September 26, 2008, Duke University, Durham, NC
October 3, 2008, Tufts University, Boston, MA

Winter for solo piano (2008)
Sidney Marquez Boquiren: April 1, 2008, Adelphi University, Garden City, NY (premiere)

The Civilized Captivity of a Primitive Existence (2008)
Collaborative dance and music project that includes performances of O-we yówa and Winter
Sidney Marquez Boquiren and Trebien Pollard (performers):
November 24 – 25, 2008, Adelphi University, Garden City, NY

Stabat Mater for amplified female voice and 3 CDs (2003)
Ayelet Harpaz: January 18, 2009, De Witte Dame, Eindhoven, the Netherlands

Panalangin/Pananampalataya (“Prayer/Faith”) for violin/piano (2003/2002)
Music for the film Go North by Lum Ngo; premiere screening January 31, 2009,
NYU NewDocs Film Festival, New York, NY

The Decent Existence for harpsichord and cello (2008)
Elaine Comparone and Peter Seidenberg: February 13, 2009, Adelphi University, Garden City, NY (premiere)

Out of the Ashes for a cappella Mixed Choir (2008)
Gregg Smith Singers: March 7, 2009, New York, NY (premiere)

Pananampalataya (“Faith”) for solo piano (2002)
Eric Huebner: March 9, 2009, Adelphi University, Garden City, New York

Requiem: Alone for flutes and reverb/delay units (2009)
Anne La Berge:
March 23, 2009, Adelphi University, Garden City, NY (premiere);
May 27, 2009, Utrecht, the Netherlands

Last Seen (Four Songs) for tenor and guitar (2009)
Jonathan Goodman and William Zito: April 5, 2009, Adelphi University, Garden City, NY (premiere)

Three Laments: I Shall Not (2006), Out of the Ashes (2008), and O-we yówa (2009)
for a cappella Mixed Choir; Voces Nordicae (Lone Larsen, Director):
October 2009, Stockholm, Sweden (premiere of choral tryptich)



COMPOSITIONS

ORCHESTRA/LARGE ENSEMBLE

…in memoriam… et benedicti sunt…
for string orchestra: 2002
30-35’

Misa
for Mixed Chorus, string quintet, two guitars, piano, percussion: 1999 90 – 120’


CHAMBER

The Decent Existence
for harpsichord and cello: 2009
5’

Doves
for violin, oboe, bassoon, electric guitars, piano, marimba, temple bowls: 2008
12 – 15’

angel music
for solo khaen (mouth organ): 2007
12’

4 Laments and a Dirge
for flute, oboe, viola, piano, and percussion: 2007
12’

Requiem in Memoriam
for flute, violin, trumpet, piano, and percussion: 2006
12’

Walls of Jericho
for flute ensemble and piano: 2006
14’

Missa cum Jubilo
for flute, guitar, cello, piano, and percussion: 2005
10’

on sundered souls
for five double basses: 2004
10’

Tres Marias (“Three Marys”)
for viola, cello, and piano: 2003
15 – 20’

on the ineffable nature of the divine being
for flute/alto flute, oboe/english horn, clarinet/bass clarinet, and percussion: 2003
15 – 20’

Panalangin (“Prayer”)
for solo violin: 2003
12’

Pagsamba (“Worship”)
for string quartet: 2001
30 – 45’

Magkasama (“Together”)
for string quartet: 1999
4’

Isa’t-Isang Magkakasama (“One by One, All Together”)
for flute, oboe, bass clarinet, violin, viola, cello, piano, and percussion: 1995
6’

AD TE
for string quartet: 1993
6’

5 Sketches
for solo cello: 1992
10’

S.L.M.
for solo viola: 1992
4’


CHORAL/VOCAL

Three Laments #3: O-we yówa
version for a cappella Mixed Chorsu (SSAATTBB): in progress
6’

Last Seen
for tenor and guitar: 2009
ca. 12’

O-we yówa
for solo voice and piano: 2008
6’

Three Laments #2: Out of the Ashes
for a cappella Mixed Chorus (SSAATTBB): 2008
5’

Three Laments #1: I Shall Not
for a cappella Mixed Chorus (SSAATTBtBB): 2006
6’

Speak to Me
for a cappella Mixed Chorus (SSAATTBB) and Speaking Chorus: 2006
6’

first love story
for a cappella Mixed Chorus (SSAATTBB): 2005
3’

Seven Folksongs
for male vocal quintet (TTBtBB): 2004
25’

…at pinagpala and mga mapagpayapa… (“…and blessed are the peacemakers…”)
for voice, bassoon, piano, and percussion: 2004
15 -20’

Iyeyan
arranged for Male Vocal Quintet or Choir (TTBtBB): 2002
5’

Dolor, Lamentatio, et Spes
for unaccompanied Mixed Chorus (SSAATTBB): 2001
10 -15’

Sanctus
for Male Vocal Quartet (CtTTB): 2001
8’

Gloria
for Male Vocal Quintet (CtTBtBB): 2001
6’

Three Philippine Folksongs
for a cappella Women’s Chorus (SSAA): 2000
8’

An Irish Benediction
for a cappella Mixed Chorus (SATB): 2000
3’

Maawa Ka/Miserere Mei f
or boy soprano, baritone, and piano: 1997
8’

Iyeyan
for a cappella Mixed Chorus (SATB, with soloists): 1996
5’

Salamat (“Thanks”)
for four baritone voices: 1995
12’

Pater Noster
for a cappella Mixed Chorus (SATB): 1994
6’

Canticle: AMDG
for tenor, bass, flute/alto flute, bassoon, guitar, and viola: 1993
8’

Three Poems by Tristan Tzara
for dramatic soprano and piano: 1992
10’


KEYBOARD

Winter
for solo piano: 2008
10 -12’

The Book of Hours
for piano, six or more performers, and preparations: 2007
24’

Matins
for 1 or more pianos: 2006
8’

Litany/Kryie (from Misang Walang Salita)
version for solo piano: 2005
6’

Pananampalataya (“Faith”)
for solo piano: 2002
20-25’

Tunugan (“Soundings”)
for prepared piano and four players: 2000
20-24’

Birthday Piece
for two pianos: 1995
3’

Three Preludes
for solo piano: 1995
13’

Prelude and Cha-cha
for solo piano: 1993
0.5’

Sala’am
for solo harpsichord: 1993
9’


ELECTRONICS

Requiem: Alone
for flutes and reverb/delay units: 2009
10 – 12’

Jubilus
for amplified flute/bass flute, amplified oboe, and reverb/delay units: 2005
8’

Misang Walang Salita (“Mass Without Words”)
for two performers, sound technician,
amplified piano, preparations, and reverb/delay units: 2004
40-50’

Stabat Mater
for amplified female voice and three CDs: 2003
6-8’

Pagdaramay (“Mourning”)
for amplified voice, harpsichord, and CD: 2002
15-25’


MULTI-DISCIPLINARY and COLLABORATIVE STAGE WORKS

Requiem, a man alone (in a room)
for amplified voice, flutes, violin, double bass, trombone and electronics (in progress)
ca. 90’

The Civilized Captivity of a Primitive Existence (2008)
for dancer and vocalist/pianist
ca. 40’
Collaborative dance and music project that includes performances of O-we yówa and Winter



FUTURE PROJECTS

BREAD
for piano, preparations, and 5 – 8 convection ovens
3 – 4 hours
A multi-sensory performance art project with artist Leah Gauthier
Planned premiere: 2010

Odes to Earth and Air
for tenor, soprano, and chamber ensemble
ca. 45’
A semi-staged work on Camille and Paul Claudel, with text by Daniel Neer
Planned premiere: tbd

Honors and Accomplishments

STEIM Residency Project (Amsterdam, the Netherlands), deferred (tbd)

Meet the Composer/MetLife Creative Connections Grant (for Guest Composer Christopher Adler), 2009

Boosey & Hawkes, publication of Three Philippine Folksongs, 2008

Gregg Smith Singers Readings/Workshop (New York, NY, April 28 – May 1 2008)

Adelphi University Faculty Development Grant for “Doves: a Series of Performances and Premieres by pulsoptional” (New York, NY), March 15 – 18, 2008

MacDowell Residency (Peterborough, NH), December 2007 – January 2008
Funded by an Access to Artistic Excellence from the National Endowment for the Arts

Featured Composer, SoundON New Music Festival (San Diego, CA), June 2007

Guest Composer and Performer, Millennium Chamber Music Players (Chicago, IL), April 2007

North Carolina Arts Council, Composer Fellowship (North Carolina, USA), 2004-2005 (declined)

University of Pennsylvania, Mellon Postdoctoral Fellowship (Philadelphia, Pennsylvania, USA), 2003-2004

International Gaudeamus Composition Competition (Amsterdam, the Netherlands)
Honorable Mention for “Pag-aalay at Panalanging Eukaristiko: Ikatlong Meditasyon,” (“Offertory and Eucharistic Prayer: Third Meditation”) from Misa, 2000

New London Chamber Choir Composition Competition (London, UK), High Commendation for Iyeyan, 2000

Tunugan ’97, 18th Asian Composers League Festival (Manila, Philippines),
Chosen Performance for Salamat, 1997

Aliénor Harpsichord Composition Competition (Atlanta, Georgia, USA),
Finalist and Winner for Sala’am, 1994

William Klenz Prize in Music for Pater Noster, Duke University, 1994

Mary Duke Biddle Composition Fellowship, Duke University, 1992-1997