Oberlin Conservatory of Music – Visiting Assistant Professor, 2008–present
• • TIMARA (Technology in Music an Related Arts) Department: Teach classes and individual lessons
• • in electronic composition.
• • • Composition and Literature Seminar, Fall 2011
• • • Advanced Digital Signal Processing, Spring 2010
• • • Electroacoustic Studio Technology, Fall 2008, Fall 2009
• • • Composition Studio Class, Ongoing
• • • Repertoire and Critical Listening Seminar, Fall 2009
• • • Oberlin Improvisation and Newmusic Collective (OINC) Ensemble, Ongoing
• • • Real-time Techniques, Spring 2009, Spring 2010, Spring 2011

University of California, Santa Cruz – Lecturer, 2008
• • Intermediate Electronic Sound Synthesis: Composition based class covering use of audio
• • sequencers, digital synthesis, and MIDI-controlled systems.

Stanford University – Teaching Assistant, 2005–2007: Established curriculum for and taught
• • aural skills sections, delivered lectures to classes of wide ranging sizes, supervised and evaluated
• • class presentations, tutored individual students, facilitated study groups, graded a wide variety of
• • assignments.
• • • Rock, Sex, and Rebellion, Spring 2007 (received Chair’s Award for Excellence
• • • in Teaching)
• • • Harmonic Materials of the 19th Century, Winter 2007
• • • Elements of Music III, Fall 2006
• • • Elements of Music II, Spring 2006
• • • Compositional Algorithms, Psychoacoustics, and Spatial Processing, Winter ••2006
• • • Introduction to Music Theory, Fall 2005

University of Texas at Austin – Teaching Assistant, 2002–2004
• • The University of Texas Electronic Music Studios (UTEMS): Maintained Electronic Music Studios,
• • tutored students on various computer music subjects, produced several annual concert series.

University of Texas at Austin – Summer Courses in Electronic Music, 2003–2004
• • Used Pro Tools to teach fundamentals of digital audio manipulation techniques and song
• • arrangement skills.

McAteer High School, San Francisco, California, 1998–1999
Galileo High School, San Francisco, California, 1994–1995
• • Band Director: Established curriculum for and taught piano, music appreciation, and three levels of
• • school band, conducted performances for a variety of school functions.

GUEST COMPOSER APPEARANCES

Bowling Green State University – 2009
State University of New York, Fredonia – 2009
University of California, San Diego – 2008
Harvard University – 2007
University of Redlands – 2007
Universidad Nacional de Lanús, Buenos Aires, Argentina – 2006
San Francisco State University – 2001

LECTURES ON THE ELECTROMAGNETICALLY-PREPARED PIANO

Society for Electro-Acoustic Music in the United States, St. Cloud, Minnesota – 2010
International Computer Music Conference, Copenhagen, Denmark – 2007
Computer/Human Interaction Conference, tour of Center for Computer Research in Music and
• • Acoustics, Stanford University – 2007
Internationale Ferienkurse für Neue Musik, Darmstadt, Germany – 2006

COMMISSIONS

The Kenners – Composition for saxophone and piano with electronics, 2010
Callithumpian Consort – Composition for chamber ensemble, 2009
Michael Straus – FeXIV (Iron Fourteen), 2007
Center for Computer Research in Music and Acoustics, Stanford University, for “newstage: CCRMA at
• • the Knoll” festival – Negative Mirror, Part II, 2006
SEAMUS/ASCAP – Elsewhere is a Negative Mirror, Part I, 2005

PUBLICATIONS AND CITED WORKS

"Elsewhere is a Negative Mirror—The Music of Per Bloland" – a Spotlight Session and interview by
• • Trevor Hunter on NewMusicBox.org
• • (http://newmusicbox.org/article.nmbx?id=6196).

“Sounds Heard: Eliot Gattegno and Eric Wubbels—Intersections” – CD review of Quintet for Solo
• • Saxophone and Electronics, by Brian Sacawa on NewMusicBox.org
• • (http://newmusicbox.org/article.nmbx?id=6168).

“The Electromagnetically-Prepared Piano and its Compositional Implications” – in Proceedings of the
• • 2007 International Computer Music Conference, Copenhagen, Denmark, pp. 125-128

“Meaning(s) and Structure in The Wondrous Delight of Profound Ineptitude by Per Bloland” – by Jay
• • C. Batzner, in Proceedings of the Fourth Annual Spark Festival of Electronic Music and Art,
• • University of Minnesota, pp. 44-46

“The Polarized Composer: Addressing the Conflict of Musical Upbringings in Today’s Young
• • Composers” – in Proceedings of the Third Annual Spark Festival of Electronic Music and Art,
• • University of Minnesota, pp. 10-12

“Thingvellir” – in Society of Composers, Inc. Journal of Scores Vol. 37 European American Music
• • Distributors Corporation

RECORDINGS

“Graveshift” – on Sound and Video Anthology, Computer Music Journal DVD, Volume 33, 2009, MIT
• • Press.
“Quintet for solo saxophone and live electronics” – on Intersections, Spektral Records. Performed by
• • Eliot Gattegno.
"Negative Mirror, Part II" - on Music From Stanford 541, Vol. 3, Innova Recordings. Performed by
• • Inauthentica (forthcoming)
"Prelude: Dissent” – on Contemporanea 2004 CD, TauKay Edizioni Musicali (taukay 126). Performed
• • by the Mikrokosmos Ensemble.
“Elsewhere is a Negative Mirror, Part I” – on Music from SEAMUS, Volume 15. 2004 SEAMUS/ASCAP
• • Student Commission. Performed by Chryssie Nanou.
“Prelude: Dissent” – on Society of Composers, Inc. CD 21, Mood Shifts Capstone Records
• • (CPS-8748)

AWARDS

Association for the Promotion of New Music Composition Competition, 2009
Dal Niente Composer Competition, 2007, Chicago, honorable mention
Chair’s Award for Excellence in Teaching, Stanford University, 2007
Eastman Computer Music Center Electroacoustic Music Competition, 2006 honorable mention
Miami ISCM Composition Competition, 2005, finalist, chosen to represent U.S. in World New Music
• • Days, Stuttgart, Germany
International Contemporary Music Contest “Città di Udine”, 2005, Italy, finalist
Pierre Schaeffer International Competition of Computer Music, 2005, finalist
Society of Electro-Acoustic Music in the United States/American Society of Composers, Authors•and
• • Publishers (SEAMUS/ASCAP) Student Commission, 2004, First Prize
Society of Composers, Inc./American Society of Composers, Authors and Publishers (SCI/ASCAP)
• • Student Composition Commission, 2004, finalist
Digital Art Award, 2003, Grand Prize, Awarded by Keio University, Tokyo, Japan

INTERDISCIPLINARY/COLLABORATIVE PROJECTS

FeXIV (Iron Fourteen) (commission by Michael Straus, 2007), for alto saxophone and
• • electronics with video – with Scott Draves, video artist.
The Electromagnetically-Prepared Piano (2005), electronically controlled piano string
• • resonator – with Steven Backer and Edgar Berdahl, Center for Computer Research in Music and
• • Acoustics (CCRMA) engineers.
Graveshift (2004), for tape with video – with Kristen Glennon and Barbara Javors, choreographers,
• • and Arie Stavchansky, video artist.

SELECTED COMPOSITIONS

Wood Machine Music (commission by the Callithumpian Consort, 2009), for clarinet, string
• • quartet, percussion, and electronics
Stillaset Brandt (2009), for chamber orchestra and electronics
FeXIV (Iron Fourteen) (commission by Michael Straus, 2007), for alto saxophone and
• • electronics with video
Stillas (2007), for brass quintet
Negative Mirror, Part II (commission by CCRMA, 2006, revised 2007), for flute, clarinet,
• • violin, violoncello, percussion, and piano with electromagnets
Quintet for Solo Saxophone and Electronics (2005)
Elsewhere is a Negative Mirror, Part I (commission by SEAMUS/ASCAP, 2005), for
• • piano with electromagnets
“…walk now and then into the breath that blows coldly past…” (2004), for
• • solo flute and tape
Perigon vs. Dr. Saw (2004), for percussion duo
The Twilight of Our Minds (2004), for orchestra and live electronics
Graveshift (2004), for tape with video
Clouds of Oran (2003), for flute, clarinet, trumpet, violin, violoncello, and piano
The Wondrous Delight of Profound Ineptitude (2003), for tape
Prelude: Dissent (2003), for string quintet (quartet plus double bass)
Study for Oboe and Electronics (2002)
Underwater (2002), for tape
Thingvellir (2001), for trumpet and piano resonance

UNIVERSITY SERVICE

Oberlin Conservatory of Music, 2008–present
• • • Ongoing recruiting efforts
• • • Participation in Audition Weekends and admittance decisions
• • • Organization of student composition concerts
• • • Instrumental in restructuring of prospective student application process
• • • Participation in department meetings involving student issues, curriculum, and purchasing
• • • • decisions
• • • Sponsorship of Winter Term student projects
• • • Management of student administered secondary lessons
• • • Sponsorship of student ensembles
University of Texas Music Department Composers Forum, 2003: Co-director
San Francisco State University Music Educators National Conference,
• • 1997–1998: Chapter President
San Francisco State University, 1997–1998: Student Representative to the faculty

ADDITIONAL EMPLOYMENT HISTORY

University of Texas at Austin, 2003–2004 – Consultant, Office of Computing
• • Technologies.
Albertson’s School of Music, Austin, Texas, 2003 – Instructor of guitar, trumpet, and
• • piano: Responsible for individual lessons.
Rocket Network, Inc., San Francisco, California, 2002–2004 – Lead Software Test Engineer.

PROGRAMMING SKILLS

Csound, MaxMSP, PD, LISP, Common Music/Common Lisp Music, Supercollider

SELECTED PERFORMANCES (for a more comprehensive list, please visit the Calendar page)

Wood Machine Music (commission by the Callithumpian Consort, 2009), for clarinet, string
• • • • quartet, percussion, and electronics

• • International Computer Music Conference, New York – June 2010
• • New England Conservatory: Callithumpian Consort – December 2009

FeXIV (Iron Fourteen) (commission by Michael Straus, 2007), for alto saxophone and
• • • • electronics with video

• • Bowling Green New Music Festival, Bowling Green State University: John Sampen, saxophone –
• • • • November 2009
• • SEAMUS National Conference, Sweetwater: John Sampen, saxophone – April 2009
• • Karnatic Lab Concert Series, Amsterdam: Michael Straus, saxophone – February 2009
• • International Computer Music Conference, Belfast: Michael Straus, saxophone – August 2008
• • Gassman Electronic Music Series, University of California, Irvine: Michael Straus, saxophone –
• • • • April 2008
• • Cayuga Vault, Santa Cruz, California: Michael Straus, saxophone – April 2008

Stillas (2007), for brass quintet

• • Oberlin Conservatory of Music: Philip Parsons, Danielle Koplika-Loehr, trumpet; Elizabeth Upton,
• • • • horn; Berk Schneider, trombone; Jonathan Seiberlich, tuba; David Vohden, percussion;
• • • • Timothy Weiss, conductor– April 2009
• • Stanford Lively Arts, Stanford University: Meridian Arts Ensemble – February 2008

Negative Mirror, Part II (commission by CCRMA, 2006, revised 2007), for flute, clarinet,
• • • • violin, violoncello, percussion, and piano with electromagnets

• • Chapman University: Inauthentica Ensemble – September 2007
• • Gaudeamus Music Week, Amsterdam, Netherlands: Insomnio Ensemble – September 2007
• • International Computer Music Conference, Copenhagen, Denmark: Insomnio Ensemble –
• • • • August 2007
• • Summer Institute for Contemporary Performance Practice, New England Conservatory:
• • • • Callithumpian Consort – June 2007
• • Eyedrum Arts Space, Atlanta, Georgia: Bent Frequency Ensemble – October 2006
• • newstage: CCRMA Dedication Festival, Stanford University: Emma Moon, flute; Matt Ingals,
• • • • clarinet; Nicholas Ong, piano; Graeme Jennings, violin; Collin Oldham, violoncello; Loren
• • • • Mach, percussion; Christopher Jones, conductor – April 2006

Quintet for Solo Saxophone and Electronics (2005)

• • sfSound concert, San Francisco: John Ingle, saxophone – July 2010
• • Center for New Music and Audio Technologies, University of California: Michael Straus,
• • • • saxophone – February 2010
• • Ethos NewSound Festival, State University of New York at Fredonia: Brian Sacawa, saxophone 
• • • • – February 2010
• • University of the Pacific: Michael Straus, saxophone – February 2010
• • Uncertainty Music Series, Never Ending Books, New Haven, Connecticut: Michael Straus,
• • • • saxophone – February 2010
• • 12 Nights of Electronic Music and Art, Miami, Florida: Michael Straus, saxophone – February 2010
• • Florida International University: Michael Straus, saxophone – February 2010
• • University of Miami: Michael Straus, saxophone – February 2010
• • University of Delaware: Marianne Gythfeldt, clarinet – April 2009
• • SEAMUS 2008 National Conference, University of Utah: Eliot Gattegno, saxophone – April 2008
• • Club SAW, Ottawa, Ontario: Michael Straus, saxophone – February 2008
• • Arraymusic, Toronto, Ontario: Michael Straus, saxophone – February 2008
• • Peabody Institute: Michael Straus, saxophone – April 2007
• • Bowbird TBD, Philadelphia, Pennsylvania: Eliot Gattegno, saxophone – February 2007
• • Open Society Concert Series, Cambridge, Massachusetts: Eliot Gattegno, saxophone – December
• • • • 2006
• • University of Miami: Eliot Gattegno, saxophone – November 2006
• • Spark Festival of Electronic Music and Art, University of Minnesota: Brian Sacawa, saxophone
• • • • February 2006
• • University of Arizona: Brian Sacawa, saxophone – October 2005

Elsewhere is a Negative Mirror, Part I (commission by SEAMUS/ASCAP, 2005), for
• • • • piano with electromagnets

• • Association for the Promotion of New Music Concert: Idith Meshulam, piano – December 2009
• • Third Practice Electroacoustic Festival, University of Richmond: Nicholas Ong, piano –
• • • • November 2008
• • Harvard University: Sebastian Berweck – November 2007
• • Stanford Lively Arts, Stanford University: Chryssie Nanou, piano – February 2007
• • Internationale Ferienkurse für Neue Musik, Darmstadt, Germany: Yvonne Lee, piano – August 2006
• • Stanford University: Chryssie Nanou, piano – November 2005
• • CNMAT, University of California, Berkeley: Chryssie Nanou, piano – May 2005
• • Julliard School, New York, New York: Nicholas Ong, piano – April 2005
• • SEAMUS 2005 Conference, Ball State University, Muncie, Indiana: Chryssie Nanou, piano – April
• • • • 2005

“… walk now and then into the breath that blows coldly past…” (2004), for
• • • • solo flute and tape

• • Margaret Lancaster Guest Recital, Stanford University – January 2005

The Twilight of Our Minds (2004), for orchestra and live electronics

• • Maxfest, Stanford University: Stanford Symphony Orchestra – April 2007
• • Under Construction Series, Berkeley, California: Berkeley Symphony Orchestra – April 2006

Graveshift (2004), for tape with video

• • Musica Viva Festival, Lisbon, Portugal – September 2009
• • Música Visual: El Nuevo Arte Sinestésico, Caracas, Venezuela
• • • • UNEARTE – June 2009
• • • • Centro de Estudios Latinamericanos Rómulos Gellegos – May 2009
• • • • Museo de Arte Contemporáneo – May 2009
• • Folkwang Hochschule, Essen, Germany – January 2009
• • The Kunstverein Dresden, Dresden, Germany – October 2008
• • Melbourne International Animation Festival, Melbourne, Australia – June 2008
• • Technische Universitat Berlin, Berlin, Germany – June 2008
• • Institut international de musique électroacoustique de Bourges (IMEB), Bourges, France –
• • • • June 2008
• • ZKM Institute for Music and Acoustics, Karlsruhe, Germany – May 2008
• • Society of Composers 2008 National Conference, Georgia State University – February 2008
• • Trans-Media-Akademie Hellerau, Dresden, Germany – November 2007
• • 8th Seoul International Film Festival, Seoul, Korea – September 2007
• • SIGGRAPH Art Gallery, San Diego Convention Center – August 2007
• • Institut international de musique électroacoustique de Bourges (imeb), Bourges, France –
• • • • June 2007
• • Sonoimágenes, Universidad Nacional de Lanús, Buenos Aires, Argentina – August 2006
• • Medi(t)ations: Australasian Computer Music Conference, University of Adelaide, Australia –
• • • • July 2006
• • Trans’Electroacoustique, Gmem, Centre National de création musicale, Marseille, France – January
• • • • 2006
• • International Computer Music Conference, Barcelona, Spain – September 2005
• • Spark Festival of Electronic Music and Art, University of Minnesota – February 2005

Clouds of Oran (2003), for flute, clarinet, trumpet, violin, violoncello, and piano

• • Ohio State University: Ohio State New Music Colletive – December 2009
• • M ATA Festival Opening Concert, New York, New York: Ann Cecil, flute; Andrew Sterman, clarinet;
• • • • Russ Johnson, trumpet; Molly Morkoski, piano; Hiroko Taguchi, violin; Mary Wooten, violoncello
• • • • – September 2005

The Wondrous Delight of Profound Ineptitude (2003), for tape

• • International Computer Music Conference, Miami, Florida – November 2004
• • Ai-maako 2004 IV Festival Internacional de Música Electroacústica de Santiago de Chile – October • • • • • 2004
• • Zeppelin 2004-Del Acuerdo y el Conflicto, Barcelona, Spain – May 2004
• • SEAMUS 2004 National Conference, San Diego State University – March 2004
• • Primavera en la Habana, Havana, Cuba – March 2004
• • Digital Art Awards, Tokyo, Japan – November 2003

Prelude: Dissent (2003), for string quintet (quartet plus double bass)

• • Presidio Chapel, San Francisco, California: Worn Chamber Ensemble – April 2007
• • Contemporanea New Music Festival, Udine, Italy: Mikrokosmos Ensemble – October 2004