Curriculum Vitae
Education | |
| 1989 | Ph. D. in Musicology, University of Surrey, England |
| 1975 | B. Mus, University of London, England |
| 1968 | B. Sc. in Electrical and Electronic Engineering, The City University, London |
Performance Studies | |
| 1981 | International Music Seminar of the DDR, Weimar, with Rolf Reuter (opera conducting) |
| 1975 | International Music Seminar of the DDR, Weimar, with Igor Markevitch (orchestral conducting) |
| 1972 – 1975 | Orchestral Conducting with Igor Markevitch, France |
| 1972 | Monte Carlo International Conducting Course with Igor Markevitch and Kresimir Sipusch |
| 1970 – 1973 | Conducting with Alan Barlow, London (orchestral and choral conducting) |
| 1960 – 1968 | Piano, organ and composition with Charles F. Waters, London |
| 1960 – 1964 | Doublebass with Helen McGregor, London |
Employment History | |
| 2006 – 2008 | Full Professor of Music (Audio Recording) and Manager of Recording Services, College of Music, University of North Texas. |
Teach two classes per semester, research and service. Oversee all audio recordings in the College of Music:
| • overall planning and administration, | |
| • specify, order and install all new equipment, | |
| • budget development and management, | |
| • engage, train, schedule and supervise student hourly staff, | |
| • produce and edit recording sessions for CD projects. |
| 2000 – 2006 | I was engaged in musicological research, instrumental and choral conducting, writing, teaching, recording and consultancy. |
| • Music Director of the Lapeer County Concert Choir | |
| • Music Director of the St. Clair County Community College Symphonic Band | |
| • Participated in the Sibelius Now Symposium in Lahti, Finland, September 2005 | |
| • Taught a one week seminar on Gustav Mahler and his Works at the Institute for Art Research, University of Helsinki, September 2005 | |
| • Presented two papers at the symposium Instrumente und Musizierpraxis zur Zeit Gustav Mahlers, Vienna, April 2005 | |
| • Participated in the Third International Jean Sibelius Conference at the University of Helsinki, December 2000 | |
| • Planned and participated in the 2000 Beethoven Festival at the Kennedy Center, Washington, D.C. | |
| • Authored chapters in two books on the composer Gustav Mahler | |
| • Produced, edited and prepared the CD for the Proceedings publication of the 2005 Vienna Mahler Symposium | |
| • Engineered, edited and prepared two CDs for the catalog of the exhibition Mahler — the becoming of an Icon, Vienna, 2005. | |
| • Edited the Seventh Symphony of Jean Sibelius for the Complete Jean Sibelius Edition, Breitkopf and Härtel. | |
| • Edited Beethoven’s Ninth Symphony in the version of Gustav Mahler for the Complete Works of Gustav Mahler, Universal Edition and Weinberger Ltd. |
| 1999 – 2000 | Director, Ian Tomlin School of Music, Napier University, Scotland. |
| Responsible for the running of the Music School, including: | |
| • overall planning and administration, | |
| • curriculum review and quality assurance for the degrees, | |
| • budget development and management, | |
| • admissions, recruitment and retention, | |
| • faculty and staff reviews, searches and hiring negotiations, | |
| • planning of public performance schedule, | |
| • outreach, alumni, local and international community relations, | |
| • oversight and development of non-degree and summer programs, | |
| • student advising and mentoring. |
| I made a significant impact in all the areas described above. Among other initiatives, I |
| • developed a comprehensive strategic plan for the School, | |
| • guided the M. Mus. in Jazz Studies through its inaugural year, | |
| • appointed four new external examiners, | |
| • established a flourishing community music program in jazz performance, | |
| • established a student chamber ensembles program, | |
| • instituted regular open days for prospective students and their families, | |
| • instituted School-sponsored recitals and concerts in central Edinburgh, | |
| • stimulated and encouraged faculty and staff research and professional development, | |
| • made many new contacts with Scottish musicians, educators and community leaders, | |
| • put in place a scheme for the tracking of alumni and potential donors, | |
| • created a new School website, vastly enlarging its scope and value, | |
| • commissioned music to celebrate the 450th anniversary of the birth of John Napier, | |
| • inaugurated a series of CD publications of faculty performers. |
| In addition, I |
| • taught a weekly research seminar, | |
| • supervised senior year dissertations, | |
| • conducted the chamber orchestra, | |
| • served on performance juries, | |
| • participated in the work of university committees. |
| 1983 – 1999 | Director of Recording Arts, Indiana University School of Music. Associate Professor of Music 1983, with tenure from 1987, Full Professor of Music from 1990. |
| As chair of the Audio Department I was responsible for | |
| • personnel coordination: faculty, associate instructors, staff and technicians, | |
| • curriculum design and development, | |
| • audio admissions, recruitment and retention, | |
| • quality control of School archive recordings, | |
| • production of compact discs, | |
| • industry liaison, | |
| • audio equipment budget, | |
| • student advising and graduation checks for the BS and AS audio degrees. |
The Indiana University Audio Department was created and developed under my guidance and supervision. I was the primary designer of the facilities and the curricula of the two degrees: Associate of Science in Audio Technology and Bachelor of Science in Recording Arts. These programs are intended to prepare professional audio producers and engineers and have an excellent placement profile. Destinations of IU graduates have included Telarc Records, Delos Records, several Hollywood studios, and the US Navy and US Marines Audio Departments.
I carried a full load of classes, teaching a series of courses in recording techniques and one on electronics, and leading two weekly seminars on recorded music in its historical context. One of these was a survey of the recorded repertoire and the other dealt with a wider range of specific topics chosen by students. Both focused on a consideration of the interaction between musical style and technological aspects, in topics which were varied each semester.
I was also responsible for oversight of all recording services within the school. Students of the department log numerous hours recording for broadcast and archive purposes many of the 1200 concerts, opera performances and recitals which take place each year, and record other recitals and audition tapes for students and faculty. Some of this is done for course credit and some as hourly employment.
In cooperation with the composition department, I established a series of commercial compact disc recordings of the music of IU performers and composers. Students were responsible for the engineering and editing, and performed these duties to professional standards as project work for academic credit. I was involved at all stages of planning and production in:
| • liaison with composers and performers in the choice of repertoire and artists, | |
| • production and supervision of the recording sessions, | |
| • supervision of editing, | |
| • design and computer typesetting of CD booklets and labels, | |
| • liaison with the manufacturer of the CDs and the distribution company. |
As Director of Recording Arts I was a member of the School of Music Faculty Council and the Artistic Policy Committee, and chair of the Recording Policy Committee. For three years I also served as secretary of the School of Music Faculty Council and chaired its Agenda Committee. I was a key member of the team responsible for the planning of the Simon Center, which has two recital halls, state of the art teaching rooms, recording studios and library facilities. At various times I was a member of other school committees:
| • Computing Resources Committee, | |
| • Equipment Purchase Committee, | |
| • Marketing Committee, | |
| • Music Library Advisory Committee, | |
| • Parking Committee (chair). |
Within the larger university community, my service included:
| • membership of various appointment and administrator review committees, | |
| • advising the Physics Department on the content of courses on acoustics, | |
| • advising the Archive for Traditional Music on equipment and audio techniques, | |
| • advising the WFIU radio station on content of the Music from Indiana series, | |
| • participation in Music Librarianship Seminar for the School of Library Science, | |
| • regular public lectures on Mahler symphonies and other music topics. |
| 1979 – 1983 | Lecturer in Recording Techniques and Head of Tonmeister Studies, Department of Music, University of Surrey, England. |
I taught classes in Recording Techniques and was responsible for the student internship program, and for placing students. Administrative responsibilities included:
| • admissions, recruitment and retention, | |
| • staffing coordination: faculty and technicians, | |
| • curriculum design and development, | |
| • industry liaison, | |
| • budgetary control of capital expenditure for the Music Department, | |
| • student advising and mentoring. |
I represented the Music Department on the Faculty Academic Board, the Academic Assembly Policy Committee and the Graduate Employment Forum. In addition to my primary teaching and curriculum development responsibilities in Tonmeister studies at the University of Surrey (B. Mus, M. Mus. and Diploma) I also taught traditional musical subjects as needed. I was an external examiner for the M. Mus. degree at the University of East Anglia and also for the Diploma in Electronic Sound at University College, Cardiff.
| 1969 – 1978 | Recording Engineer, EMI Recording Studios, Abbey Road, London. |
|
I was at different times responsible for |
| • the design, alignment, repair and upkeep of audio equipment, | |
| • technical oversight of classical sessions, both at Abbey Road and on location in London, Cambridge and Rome, | |
| • copying master tapes for sister companies outside the UK, | |
| • making re-channeled stereo recordings, | |
| • making compilation recordings, | |
| • tape editing of recordings, | |
| • pre-mastering of recordings for disc transfer, | |
| • refurbishing the sound of earlier recordings by EMI and Warner Brothers.
|
| 1964 – 1969 | Research Engineer, GEC Applied Electronics Labs, Stanmore, England.
|
I was a student internee for four periods of six months each, and was trained in microwave engineering, drawing office, metrology, transformer design and building, environmental testing, analog and digital computing, microcircuit manufacture, and electronic measuring equipment repair and calibration. Upon graduation, I was a member of a team that designed and built satellite receiving and transmitting equipment, being directly responsible for testing and installing cryogenically cooled low noise receiving amplifiers and liaison with other agencies.
Musical Appointments | |
| 2004 – 2006 | Music Director, Lapeer County Concert Choir, Michigan |
| 2002 – 2005 | Music Director, St. Clair County Community College Symphonic Band, Michigan |
| 2001 – 2006 | Organist, St. Joseph Church, Port Huron, Michigan |
| 1987 – 1995 | Music Director, Bloomington Symphony Orchestra, Indiana |
| 1985 – 1997 | Music Director, Carmel Symphony Orchestra and Chorus, Indiana |
| 1984 – 1989 | Music Director, Bloomington Brass Band, Indiana |
| 1983 – 1999 | Associate Organist, St. Charles’ Church, Bloomington, Indiana |
| 1974 – 1983 | Music Director, Bushey Symphony Orchestra & Chorus, England |
| 1973 – 1978 | Director of Music, St. Peter’s Church, Bushey Heath, England |
| 1969 – 1973 | Director of Music, St. John’s Church, Watford, England |
External Examining | |
| 2005 | University of Helsinki : Ph. D. |
| 1979 – 1983 | University of East Anglia : M. Mus. |
| 1979 – 1983 |
University College, Cardiff : Diploma in Electronic Sound |
Miscellaneous | |
| 1999 – 2000 | Festival advisor to National Symphony Orchestra, Washington, D.C. |
| 1986 – 1991 | Board member of the North American Brass Band Association |
| 1990 – 1999 | National Society of Arts and Letters music audition panels |
| 1980 – 1983 | Member of the Audio Engineering sub-committee of the British Standards Institution |
| 1979 – 1982 | Board member of the Association of Professional Recording Studios and member of the APRS Education Committee |
| 1998 – | Member of the Southeastern and Midwestern Historical Keyboard Societies and board member of SEHKS since 2007 |
| 1966 – | Member of the Audio Engineering Society |
| 1964 – | Member of the International Gustav Mahler Society, Vienna |