Jeffrey Biegel (Adjunct Associate Professor of Piano) recently released two recordings: “A Grande Romance” with ArkivMusic (2013) for Steinway & Sons, and “Life According to Chopin: Chopin’s Greatest Piano Solos” with GPR Records (2014). Biegel’s SATB/piano piece “There Shines a Light Ahead” was published by Porfiri & Horvath in 2013.
Carlos Conde (Adjunct Assistant Professor of Voice; B.A., 2004; M.Mus. in voice performance, 2005; D.M.A. in voice performance, SUNY/Stony Brook, 2008). In June 2014 Conde accepted the full-time administrative position of rector/chancellor at San Juan’s esteemed Conservatorio de Música. Conde has taught many voice students in our conservatory since he returned to Brooklyn College in fall 2012.
William Fulton (Adjunct Lecturer in Music; M.A. in musicology, 2010; candidate for Ph.D. in musicology, CUNY Graduate Center). Fulton contributed a chapter on the music of Stevie Wonder for the forthcoming Oxford Handbook of Music and Disability Studies, eds. Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus (expected summer 2014). He also presented a paper on Stravinsky’s music at the November 2013 AMS Annual Meeting in Pittsburgh.
Douglas Geers (Director, Center for Computer Music). Geers’ new installation, “The Audible Edge,” opened at the Katherine Nash Gallery at the University of Minnesota in Minneapolis on May 17 as part of the Northern Spark Festival 2014.
Devora Geller (Adjunct Lecturer in Music; M.Mus. in Violin Performance, 2008; candidate for Ph.D. in musicology, CUNY Graduate Center). Geller has won numerous grants and travel monies for her ongoing work on Yiddish song and opera, research that began with her studies at Brooklyn College.
David Grubbs (Associate Professor, PIMA and Conservatory of Music). Grubbs’ book Records Ruin the Landscape was published in March 2014 by Duke University Press and has thus far been highly acclaimed by critics here and abroad. As the publisher’s press kit has noted:
“Records Ruin the Landscape is a pleasure to read, full of wonderful anecdotes and historical material. David Grubbs approaches John Cage and his legacy from a new and refreshing angle, by examining the vexed relationship of experimental and improvised music to recording and phonography. The questions that he poses—about the ontology and potentiality of recording in relation to live performance, improvisation, chance, and indeterminacy—are important, and he answers them in smart and provocative ways.” — Christoph Cox, coeditor of Audio Culture: Readings in Modern Music
John Cage’s disdain for records was legendary. He repeatedly spoke of the ways in which recorded music was antithetical to his work. In Records Ruin the Landscape, David Grubbs argues that, following Cage, new genres in experimental and avant-garde music in the 1960s were particularly ill suited to be represented in the form of a recording. These activities include indeterminate music, long-duration minimalism, text scores, happenings, live electronic music, free jazz, and free improvisation. How could these proudly evanescent performance practices have been adequately represented on an LP?
In their day, few of these works circulated in recorded form. By contrast, contemporary listeners can encounter this music not only through a flood of LP and CD releases of archival recordings but also in even greater volume through Internet file sharing and online resources. Present-day listeners are coming to know that era’s experimental music through the recorded artifacts of composers and musicians who largely disavowed recordings. In Records Ruin the Landscape, Grubbs surveys a musical landscape marked by altered listening practices.
妈
Stephanie Jensen-Moulton (Assistant Professor, Conservatory of Music). Jensen-Moulton’s edition of Miriam Gideon’s unpublished opera Fortunato: An Opera in Three Scenes (1958) was published by A-R Editions in 2013. A positive review in the June 2014 issue of Music Library Association Notes praises Jensen-Moulton’s “excellent editions” as “a hugely valuable contribution to scholarship on Gideon,” drawing “attention to the wider repertoire of operas written by American women composers during the mid-twentieth century.” During summer 2014 Oxford University Press will publish its Oxford Handbook of Music and Disability Studies, eds. Blake Howe, Stephanie Jensen-Moulton, Neil Lerner and Joseph Straus, for which Jensen-Moulton has written two chapters: “Musical and Bodily Difference in Cirque du Soleil” and “Defamiliarizing the Familiar: Michael Nyman, Narrative Medicine, and the Composition of Mental Blindness.”
基于“增大化现实”技术
助教
Michael Lupo (Adjunct Lecturer; B.A., music, 2009; M.A., musicology, 2011; candidate for Ph.D. Musicology, CUNY Graduate Center). Lupo attended the national meeting of the International Society for the Study of Popular Music in March 2014 and presented his paper “The Perceptual Flow of Metric (Re)evaluation in Radiohead’s ‘Bloom’,” from research that started with his master’s thesis here at Brooklyn College.
Wang Jie (Adjunct Assistant Professor in Composition). In March 2014 the Detroit Symphony Orchestra premiered to great acclaim Symphony no. 2 by the conservatory’s guest composition professor, Wang Jie. Read the Detroit Free Press review.
Doctoral Students of Professor Oppens Honor Her in Birthday Concert
Distinguished Professor Ursula Oppens, piano, was honored at Symphony Space in Manhattan on March 27, 2014, by a 70th-birthday concert prepared by several of her current and past students, including Ran Dank, Soyeon Kate Lee, Winston Choi and Anthony Molinaro. The concert included a performance by Dank of Frederic Rzewski’s “The People United Will Never Be Defeated” that Professor Oppens had commissioned for a 1976 American Bicentennial concert at the Kennedy Center in Washington, D.C. The evening opened with a surprise performance by Oppens of a new piece (“Winter Stars”) composed by Conservatory Professor Jason Eckardt especially for her birthday.
