, PhD aaron.carterenyi@morehouse.edu (404) 337-1279 EDUCATION Doctor of Philosophy (PhD), Music Theory, Ohio State University, 2016 Master of Music (MM), Choral Conducting, University of Texas at San Antonio, 2011 Master of Music (MM), Music Theory and Composition, Texas State University, 2009 Bachelor of Music (BM), Composition, Southwestern University, Georgetown, TX, 2006 PROFESSIONAL CERTIFICATION Colleague of the American Guild of Organists (CAGO), Exam Completed: June 2011 PROFESSIONAL EXPERIENCE: TEACHING AND RESEARCH Assistant Professor, Morehouse College, Dept. of Music, 2016 to present Courses Taught: o Class Piano o Advanced Theory of Music o Contrapuntal Techniques o Form and Analysis o Masterpieces of Music Instructor (GTA), Ohio State University School of Music, 2012, 2014 16 Courses Taught: Theory 1, Theory 3, Theory 5, Aural 1, Aural 3 Visiting Lecturer, Peter King College of Music, Lagos, Nigeria, 2014 Courses Taught: History of Jazz, Jazz Harmony and Improvisation Visiting Lecturer (Fulbright Grantee), The University of Lagos, Nigeria, 2013 Courses Taught: Year 2 and Year 3 Theory Visiting Lecturer, The University of Lagos, Nigeria, Fall 2011 Courses Taught: Music Fundamentals, Counterpoint, Conducting Assistant Choral Director and Accompanist, University of Texas San Antonio, TX, 2009 11 Assistant Director of Concert Choir and Women s Chorus Accompanist for Men s Chorus, Women s Chorus and other ensembles Coordinator of Choir Clinics and Tours
RECENT AND FORTHCOMING PUBLICATIONS Hooked on Sol-Fa: Do-Re-Mi Heuristic for Yorùbá, Africa, 2017 forthcoming. Vocal Music & Pedagogy of China, Africa and India, Oxford Handbook of Singing (with Yang Yang et al), 2017 forthcoming. Contour Levels: An Abstraction of Pitch Space. Dissertation (Defended May 2016) Contour Recursion and Auto-Segmentation, Music Theory Online 22.1 (March 2016). Perception of Syntagmatic Tone Intervals in Ìgbò and Yorùbá, (with Quintina Carter-Ényì) Tonal Aspects of Languages 5 Proceedings (2016). Lùlù Fún Wọn: Oríkì in Contemporary Culture, 2015 (under review by Ethnomusicology). Elision and Synaesthesia recorded by Todd Oxford and included on the CD Synaesthesia (Equilibrium Records, 2014). Available on Amazon and itunes. Bringing Igbo Culture to the World: The Glees of Laz Ekwueme, 2013. In Contemporary Experiences: Journal of African Humanities. 1(2). (Invited contribution) The Effect of Environment and Mentorship on the Study of Composition," 2009. In Changing Face of Music Education: Environment and Education, ed. by J. Sloboda. VIDEO PROJECTS Mayowa Adeyemo praises È jiré (Twins) (2 min.) in Yorùbá Ibeji Cult exhibit, curated by Aleksandra Bojović, at the African Museum of Art, Belgrade, Serbia, January-June 2016. E d'oro'wítunwí (People become words): the Art of Fújì Singing (50 min.), 2014 SEM At Home with Music: Burundian Refugees in America (20 min.), 2012 UNESCO International Council for Traditional Music World Conference, St. John's, Newfoundland. Texas Celebrates Fifty Years of Nigerian Independence (20 min.), 2011 UNESCO ICTM Sound design and scoring for short films: El Lagarto (2006) and Splintered (2007). YouTube pages: ~1000 subscribers and ~500,000 views. RECENT AND UPCOMING PRESENTATIONS Pitch Polarity in Praise-Singing and Hip-Hop, Improvising Brain III 2017 Globalizing Music Theory with African Tone Systems, African Studies Association 2016. 2
A Diachronic Study of Accent in Shakespeare Performance, Voice and Speech Trainers Interest Group, Association for Theatre in Higher Education 2016. Ojú l'ọ rọ ọ wà: gaze in oríkì performance, Analytical Approaches to World Music 2016. "From Toneme to Interval: Contour analysis of Nigerian Vocal Music, SMT 2015. Contour Recursion and Auto-Segmentation, Mathematics of Music Group, SMT 2015. Tone-to-text applications, Acoustical Society of America 2015. K'òwò pé: Lagos Music Business, African Studies Assoc. 2014. Melodic Languages and Linguistic Melodies, College Music Society 2014. Semblant Motion in Nigerian Praise Music, Society for Ethnomusicology 2013. Yorùbá Art Music: History, Practice, and Canonicity, College Music Society 2013. Orality and Literacy in the Vocal Arts, Invited lecture, Faculty of Arts and Humanities, Osun State University, 2013. Prosody in Music: Representing Speech Intonation, Rhythm, and Stress, Society of Composers 2013. Musorgsky's "St. John's Night": A Comparison of Three Related Scores. Paper presented to the College Music Society South Central Conference 2011 and the Texas Chapter of the American Musicological Society 2009. "A New Tune for an Old Rhyme: Mother Goose Rhymes as Art Song Texts." Lecture-Recital presented to the College Music Society, Minneapolis, Minnesota, September 23 26, 2010. "Applying Applied Composition: Results of a Questionnaire on Composition Pedagogy." Paper presented at the International Society of Music Education (ISME), 29th World Conference, Beijing, China, August 1-6 2010. SELECTED COMPOSITIONS WITH PERFORMANCE LISTING Poems of Rodney Gomez: Storm Front (2009) and Midnight (2010), SATB Chorus and Piano The University of Texas San Antonio Concert Choir, May 2011 Synaesthesia (2009) for Alto Saxophone and Piano Dr. Todd Oxford (saxophone) and Dr. Ezra Bartz (piano), multiple performances 3
Coincidence Frequency for Euphonium (or Cello) and Piano (2008) Benjamin Ware (euphonium) College Music Society National Conference 2009 Dr. Evgeni Raychev (cello) Nat'l Assoc. Composers Texas Chapter 2009 Robin Rosson (cello) CMS South Central 2009 Elision (2008) for Alto Saxophone and Piano Dr. Todd Oxford (saxophone) and Dr. Ezra Bartz (piano), multiple performances Richard Hall (saxophone), College Music Society National Conference 2010 Amy Zuniga (saxophone), multiple performances GRANTS AND AWARDS Graduate Achievement Award (Music Theory) 2016, Ohio State University, $100 Gold Medal, Global Music Awards 2015, Synaesthesia recorded by Todd Oxford Costanza Doctoral Research Grant 2015, Ohio State University, $300 Shortlisted, 2015 Kevin Spacey Artists of Choice Grant, $10,000 First Place (with Quintina Carter-Ényì), 2015 Smartphone App Design Competition, Technical Committee on Signal Processing, Acoustical Society of America, $1,000 Full Research Grant in Music Theory 2012 13, Fulbright Program, $22,000 First Place, Category: Oral History, 2011 UTSA Graduate Research Competition, $400 Malu and Carlos Alvarez Graduate Research Fellow 2010 11, $8500 SERVICE AND VOLUNTEER ACTIVITIES Student Volunteer, 2015 Society for Music Theory Annual Meeting Event Coordinator and Music Director, End Ebola Now Initiative, Voices to End Ebola fundraisers for Doctors Without Borders (MSF), 2014, raised $12,000 Judge, Biennial Choral Competition, Catholic Archdiocese of Lagos, 2013 Coordinator, World Voice Day Organization, 2013 14 Editorial Board, Journal of the Acoustical Society of Nigeria, 2013 14 Music Coordinator, World Refugee Day Celebration, San Antonio, Texas, 2011 Elected Member, Composers Alliance of San Antonio, 2010 Present 4
Courses Taught Graduate Teaching Associate (Theory Area) The Ohio State University Fall 2012, 2014 to present Music Theory IV Spring 2015: 8 students Spring 2016: 8 students Course objective: study the principles of late 19th century and 20th century composition techniques through written drill, analysis and a creative project. Music Theory III Fall 2014: 12 students Fall 2015: 17 students Course objective: study the principles of 18th- and 19th-century chromatic harmony and modulation; study the structural principles and forms of homophonic music; and practice part-writing and analysis. Music Theory I Fall 2012, 14 students Course objective: develop fluency with the fundamentals of music theory including scales, intervals, chords, and key signatures. Aural Training III Fall 2014, 13 students Course objective: develop aural comprehension of diatonic and chromatic pitch and harmonic relationships and high musical literacy. Aural Training I Fall 2012: 6 students Fall 2015: 8 students Spring 2016: 15 students Course objective: develop aural comprehension of diatonic pitch and harmonic relationships and musical literacy. Visiting Lecturer Peter King College of Music, Nigeria, 2013 2014 African Music in Diaspora: History of Jazz in the United States Course Summary: a survey of the development of jazz from reconstruction to the post-war era, including discussion of historical events and social forces that shaped the artform. Applied instruction: keyboard, bass, ensemble, jazz harmony/arranging. 5
Visiting Lecturer The University of Lagos, Nigeria, Fall 2011, 2013 2014 Year 1 Music Fundamentals Enrollment: 45 students A course required for all entering diploma and four-year students to the Department of Creative Arts. Topics covered included orchestral instruments, scales and solmization. Year 2 Theory Enrollment: 15 students Course objectives: developing fluency with diatonic common practice harmony, including roman numeral analysis, realizing figured bass and chorale-style voice-leading. Year 3 Theory 10 students Course objectives: expanding part-writing skills to incorporate chromatic harmony. Analysis of Classical and Romantic period works. Year 4 Counterpoint 10 students Course objectives: practical study and writing of species counterpoint and melodic transformations, integrated with score study and analysis of imitative polyphony by major composers. Year 4 Choral Conducting 10 students Course objectives: practical study of conducting technique and relevant choral literature. Applied instruction and mentoring: keyboard, voice, conducting, graduate research projects. Graduate Assistant (Choral Activities) The University of Texas at San Antonio, 2009 2011 As the Choral Program Assistant, I served as an assistant conductor and/or accompanist with all three large auditioned choirs: Men s Chorus, 2009 2011 Women s Chorus, 2009 2010 Concert Choir, 2010 2011 Laboratory Assistant Physics Department, Southwestern University, 2004 2006 Course: Musical Acoustics 6
References Adviser for PhD in Music Theory: Dr. David Clampitt Professor and Area Head, Theory and Composition School of Music, Ohio State University clampitt.4@osu.edu (614) 292-1026 Adviser for MM in Choral Conducting: Dr. John Silantien Professor and Director of Choral Activities Dept. of Music, University of Texas at San Antonio john.silantien@utsa.edu (210) 458-5328 Adviser for MM in Music Theory: Dr. Nico Schüler Professor and Coordinator of Music Theory & Aural Skills School of Music, Texas State University nico.schuler@txstate.edu (512) 245-3395 Candidacy committee member: Dr. Adeleke Adeeko Humanities Distinguished Professor English Dept. and African American and African Studies Dept., Ohio State University adeeko.1@osu.edu (614) 247-8792 Dissertation committee member: Dr. David Huron Humanities Distinguished Professor School of Music, Ohio State University huron.1@osu.edu (614) 688-4753 7