Ivan Jimenez. Education. Teaching Experience. Hakaniemen Torikatu 2 B Helsinki (cell)

Transcription

1 Ivan Jimenez Hakaniemen Torikatu 2 B Helsinki (cell) ivan.jimenez.rodriguez@uniarts.fi Education Ph.D. in Theory and Composition, University of Pittsburgh Dissertation: Textural Depth, Structural Depth, Expressive Depth: Ladders from Line to Sonority in Arvo Pärt and Henryk Mikołaj Górecki and Burning the Deep Red Sea M.A. in Theory and Composition, University of Pittsburgh Thesis: I Love the Color of the Sky, for Chamber Ensemble, and accompanying analytical essay B.S. in Music (Composition), Mention for Academic Excellence Pontificia Universidad Javeriana, Bogotá, Colombia. Teaching Experience University of Pittsburgh, Department of Music Part-time Faculty: Theory I, II, III & IV and Music Fundamentals Music Since 1945 (College of General Studies and Honors College versions) Music of Latin America University of Pittsburgh, Department of Music Instructor: Preparation for Music Theory Basic Musicianship: Class Piano Teaching Assistant: Theory I, II, III, & IV Pontificia Universidad Javeriana, Departamento de Música, Bogotá, Colombia Part-time Faculty: Fundamentals of Music I & II (Diatonic harmony) Literature and Materials I (Bach s Chorales) Literature and Materials II (Classicism) Literature and Materials IV (Bach s Inventions) Literature and Materials V (Bach s Fugues) Ear Training II, III, & IV (Diatonic and chromatic harmony) Supervisor: Supervision of Teaching Assistants for Theory Courses Pontificia Universidad Javeriana, Departamento de Música, Bogotá, Colombia Instructor: Fundamentals of Music II Composition I Teaching Assistant: Literature and Materials I, IV, & V Academia Musicales Valdiri, Cali, Colombia Instructor: Guitar, Keyboard, Sight singing, & Theory

2 Other Activities Related to Research and Teaching Visiting Researcher at the Sibelius Academy. Financial support for this project is provided by a grant from the Kone Foundation (Finland) Faculty mentor for first year students participating in the program First Experience in Research at the University of Pittsburgh Methods in Empirical Music Research: A Workshop for Music Scholars, taught by Professor David Huron, Columbus, OH, May 20-23, Faculty mentor for the Brackenridge Summer Research Program at the University of Pittsburgh Reader at the Annual Advanced Placement Music Theory Reading, Cincinnati, OH, June 12-18, Reader at the Annual Advanced Placement Music Theory Reading, Cincinnati, OH, June 12-18, Faculty mentor for the Brackenridge Summer Research Program at the University of Pittsburgh. Publications 2016 Jimenez, I., & Kuusi, T. (2016). Music Identification from Harmony. In Proceedings of the Fourteenth International Conference of Music Perception and Cognition. Jimenez, I. (2016). Maximizing the Benefits of Using Familiar Music in Undergraduate Music Theory. Journal of Music Theory Pedagogy (e-journal). Presentations 2017 "Jazz Musicians Tune Identification from Harmony." Paper accepted for a spoken presentation at the Conference of the European Society of Cognitive Sciences of Music (ESCOM). University of Ghent, Belgium, July 31, "Music Identification from Harmony." Paper presented at Fourteenth International Conference of Music Perception and Cognition (ICMPC 14). San Francisco, CA, July 5, What Can Music Identification from Harmonic Reductions Tell Us About Chord Progressions?. Paper presented at the Fourteenth Annual Meeting of the Music Theory Society of Mid-Atlantic, University of Pennsylvania, Philadelphia, PA, April 8, "When Knowing More may Leads to Hearing Less: The Perceptual Oversimplification of Popular Music." Presented at Ann Arbor Symposium IV: Teaching and Learning Popular Music, University of Michigan, Ann Arbor, MI, November 18-21,

3 Presentations (cont.) 2015 Interaction between Harmony and other Musical Parameters. Presented at the Annual Meeting of the Society for Music Theory during the meeting of SMT Pedagogy Interest Group, St. Louis, MO, October 31, Perceptual Salience and Conceptual Oversimplification. Presented at the Annual Meeting of the Society for Music Theory during the meeting of SMT Music Cognition Interest Group, St. Louis, MO, October 30, "The Influence of Timbre, Harmony, and Voice-leading on Listeners Distinction between Popular and Classical Music." Paper to be presented at the Biennial Meeting of the Society for Music Perception & Cognition (SMPC), Vanderbilt University, Nashville, TN, August 1-5, "Absolute and Relative Long-term Memory for Harmony." Project presented at Dr. David Huron s Cognitive and Systematic Musicology Laboratory at Ohio State University, Columbus, OH, November 21, "The Influence of Timbre, Harmony, and Voice-leading on Listeners Distinction between Popular and Classical Music." Paper presented at the Annual Meeting of Music Theory Southeast (MTSE), University of South Florida, Tampa, FL, March 21-22, Theory Teachers, Let s Be Aware of What We Teach: What If Chords Do Not Really Matter after All. Paper presented at the Fifty-sixth National Conference of the College Music Society, Cambridge, MA, October 31 to November 2, Undergraduate Music Theory. Paper presented at the Biennial Meeting of the Society for Music Perception & Cognition (SMPC), Ryerson University, Toronto, Canada, August 8-11, \ Are Minimalist and Post-minimalist Music More Appealing than Modernist Music?. Poster presented at the Biennial Meeting of the Society for Music Perception & Cognition (SMPC), Ryerson University, Toronto, Canada, August 8-11, Undergraduate Music Theory. Paper presented at the Midwestern Music Cognition Symposium, Ohio State University, Columbus, OH, May 24-26, Undergraduate Music Theory. Paper presented at the Annual Meeting of Music Theory Southeast (MTSE), Appalachian State University, Boone, NC, April 5-6, Undergraduate Music Theory. Paper presented at the Annual Meeting of the South Central Society for Music Theory (SCSMT), University of Alabama, Tuscaloosa, AL, March 15-16, Effects of Voice Leading on The Identification of Musical Style in Short Harmonic Progressions. Paper presented at the Annual Advanced Placement Music Theory Reading, Cincinnati, OH, June 12-18,

4 Presentations (cont.) 2011 Ascending Fifths in Red Hot Chili Peppers and Palestrina: Towards an Ecological Approach to the Study of Similarity. Paper presented at the Annual Advanced Placement Music Theory Reading, Cincinnati, OH, June 12-18, Seeing György Ligeti s Piano Concerto Through M.C. Escher s Eyes. Paper presented at the Sixteenth Biennial Symposium of Research in Music Theory, Jacobs School of Music, Indiana University, February 20-21, Music Theory for First Year Undergraduate Students: Contrast as Pedagogical Tool Against a Right/Wrong Type of Understanding. Video/Poster presented at the Fifty-first National Conference of the College Music Society (CMS), Atlanta, GA, September 25-28, Harmony in Two of Machaut s Motets: The Phenomenon of Intermittence and its Role in the Unconscious Aesthetic Validation of Machaut s Style. Paper presented at the Forty-third International Congress of Medieval Studies Kalamazoo, sponsored by the International Machaut Society, Kalamazoo, MI, May 8-11, "Textural Depth, Structural Depth, Expressive Depth: Ladders from Line to Sonority in Arvo Pärt's Cantus." Poster presented at the 2008 CMS SuperRegional Conference of the Mid- Atlantic and Northeast Chapters, Gettysburg College, Gettysburg, PA, April 3-5, Harmony in Two of Machaut s Motets: The Phenomenon of Intermittence and its Role in the Unconscious Aesthetic Validation of Machaut s Style. Paper presented at the 2007 meeting of the American Musicological Society, Allegheny Chapter at Marshall University, Huntington, WV, October 6, Structural Depth in the First Movement of Górecki s Symfonia pieśni żałosnych [Symphony of Sorrowful Songs], Op. 36, for Soprano and Orchestra, Paper presented at the Eighteenth Annual Conference of Music Theory Midwest, University of Kansas, Lawrence, April 13-14, Selected Original Pedagogical Materials 2012 With the collaboration of professor Paul Munro and graduate student Aditya Salunke from the School of Information Sciences at the University of Pittsburgh, I developed a web-based program for teaching Music Since This online resource includes multi-media listening exercises and performs statistical analysis of student responses, which is then used in the design of each session and incorporated in class discussions Listening exercises for Theory 3. Exercises consist of Sibelius and mp3 files available to students via Blackboard. Exercises for the first part of the semester focus on theory-driven transcriptions of excerpts that use Augmented-sixth and Neapolitan chords. Exercises the second part of the semester focus on metaphor-driven identification of Modal Mixture chords in excerpts of different musical styles (e.g., Classical, Renaissance, Film-music, Rock, etc). Exercises for the third and final part of the semester focus on composition-driven analysis of extended tertian sonorities in different musical styles. 4

5 Selected Original Pedagogical Materials (cont.) 2009 Online resource for the first semester of Music Theory consisting of specially-designed video and audio clips. These materials emphasize the comparison of contrasting musical procedures (e.g., leading tone vs. subtonic) aiming to give a fuller understanding of underlying musical principles and the complexity of their psychological effects Listening exercises for Music since These exercises are designed to encourage active listening and facilitate the organic comprehension of the content of Music Since 1945 via five aesthetic categories. Each activity includes five excerpts from representative pieces of contemporary music written after Listening exercises for the first semester of Music Theory that focus on the use of metaphors and the comparison between popular and classical music practices Guides for Preparation for Music Theory using both well-known popular and classical music. Each class activity integrates melodic and harmonic analysis, transposition, and playing at the keyboard in a single multilayered exercise Guides for writing in the style of Bach chorales. Each class activity integrates writing, memorization, mental transposition, singing, and playing at the keyboard in a single multilayered exercise Guide for writing Eighteenth Century counterpoint. This guide describes contrapuntal principles and provides multiple examples of the application of each concept Guides and formats for structural listening of Bach chorales. The guides propose a sequence from more to less prominent events and more descriptive to more abstract and analytical accounts Guides for the analysis of Bach chorales. The examination of harmonic and contrapuntal events in chorales is used as an introduction to music theory and the acquisition of skills in the recognition of patterns and discussion of music in abstract terms. Comparative analysis between popular and classical music is promoted. Material includes less traditional topics as well as traditional topics discussed in unconventional terms Guides for the classification and analysis of root motions and their latent musical effects. Forty-four types of relationships are identified and discussed. Grants, Awards, and Honors 2007 Ten Intermittent Lights Dancing, for two percussionists, chosen to be premiered at the Gamma-UT Seventh Annual Conference Sight+Sound: The Visual Imagination in Music at the University of Texas at Austin Andrew Mellon Doctoral Fellowship, University of Pittsburgh Teaching Fellowship, Department of Music, University of Pittsburgh Teaching Assistantship, Department of Music, University of Pittsburgh. 5

6 Grants, Awards, and Honors (cont.) 2004 Invited to the White-Oak Plantation, Jacksonville, Florida to work with the American choreographer-dancer Christopher Williams. This work. Piedras was premiered in May of that year Faculty of Arts and Sciences Graduate Fellowship, Department of Music, University of Pittsburgh First Prize, IV Concurso Nacional de Composición, Categoría de Musica Erudita Instituto Distrital de Cultura y Turismo, Bogotá, Colombia. Work: Fábula for percussion quintet La Maldición del Oeste Bendecido, for clarinet and percussion, chosen to be played in the DanishRadio (Studio 2). The work was performed by the Copenhagen Electroacoustic Music Ensemble. Selected Featured Compositions 2013 Lunar Park & Green. Freya String Quartet and Arabesque Winds. James McLaughlin Music Hall, Pittsburgh, PA. January 6, Ten Intermittent Lights Dancing (premiere of 2012 version for three percussionists), Perf. Michael Culligan, Elliot Beck, and Daniel Zawodniak. James McLaughlin Music Hall, Pittsburgh, PA. February 5, Burning the Deep Red Sea. Perf. Alia Musica Ensemble. Cliff Colnot conductor. Synod Hall, Pittsburgh, PA. September 30, Movimientos de Cristal. Perf. EMCA (Ensamble de Música Contemporánea ASAB). M-16, Facultad de Artes ASAB de la Universidad Distrital, Bogotá, Colombia. December 3, Ten Intermittent Lights Dancing, Perf. Alia Musica Ensemble. Frick Fine Arts Auditorium, University of Pittsburgh, PA. November 21, Burning the Deep Red Sea (b). Perf. Contemporary Enclave. A407, College of Music, Mahidol University, Bangkok, Thailand. August 9, Luces Ultravioletas y otras Flores Luminosas (Luces Incandescentes ). Perf. Alia Musica Ensemble. Synod Hall, Pittsburgh, PA. April 8, Crystal Sculpture X. Perf. Alia Musica Ensemble. James Laughlin Music Hall, Chatham University, Pittsburgh, PA. January 14, Professional References Tuire Kuusi, D.Mus., Vice Dean (responsible for research and doctoral education) DocMus doctoral school, Sibelius Academy, University of the Arts, Helsinki P.O. Box 30, FI Uniarts, Finland Tel: tuire.kuusi@uniarts.fi 6

7 Professional References (cont.) Eric Moe, Ph.D., Professor of Music Theory and Composition Department of Music, University of Pittsburgh 110 Music Building Fifth Ave. Pittsburgh, PA Tel: Mathew Rosenblum, Ph.D., Professor of Music Theory and Composition Department of Music, University of Pittsburgh 606 South Dallas Ave. Pittsburgh, PA Tel: Elizabeth West Marvin, Ph.D., Professor of Music Theory Eastman School of Music and Brain & Cognitive Science, University of Rochester 26 Gibbs Street Rochester, NY Tel: Ken Stephenson, Ph.D., Russell Professor of Music Theory School of Music, University of Oklahoma 500 W. Boyd St., Norman, OK Tel: Don O. Franklin, Ph.D., Professor of Music, Emeritus Department of Music, University of Pittsburgh 110 Music Building Fifth Ave. Pittsburgh, PA Tel: Diego Vega, D.M.A., Assistant Professor Department of Music, University of Nevada 4505 S. Maryland Parkway, Box , Las Vegas, NV Tel (home):