University of North Carolina at Greensboro
School of Music
Greensboro, NC 27402-6170
(336) 334-5491

Education:
Ph.D. in Music Theory, University of Iowa (2004)
Dissertation Title:
The Continuous – Amplifying the Schenkerian Concept of Interruption – with Analytical Interpretations of Beethoven’s opp. 101, 109, 111
Advisers: Thomas Christensen and Lawrence Fritts

Fellow, Mannes Institute for Advanced Studies in Music Theory (2001)

D. M. A. in Flute Performance, CUNY (1993)
Dissertation:
The Flute and Piano Music of Joachim Andersen
Adviser: Joel Lester

M. M. in Flute Performance, CUNY, Queens College (1990)
Master Thesis:
Charles Griffes’ Poem for flute and Orchestra: Considerations about Performance Practice
Advisers: Charles Burkhart and Carl Schachter

Publications:
“Authenticity and Performance Practice: Bossa Nova and João Gilberto” (submitted)

“The Origins of Luciano Berios’s Journal Incontri Musicali” (submitted)

“The Only Cool Song is the Protest Song: Brazilian Popular Music from 1964-68” (submitted)

“Further Considerations about the Continuous 5.” Indiana Theory Review, Spring 2007

“Vestiges of 12-Tone Practice in Berio’s Sequenza for Solo Flute.” Article in a book entitled: Sequenza Series, ed. by Steve Halfyard, with a forward by David Osmond-Smith. Birmingham, UK: Ashgate Academic Publishers, 2007

“The Compositional Techniques of Messiaean’s Le Merle Noir,” Flute Talk Magazine, April, 2002

“A Response to John Wion,” Flute Talk Magazine, February 2002

“Density 21.5,” Flute Talk Magazine, November 2001

“Griffe's Poem: Considerations about Performance Practice,” Flutist Quarterly, 1996

Paula Robison Flute Masterclass: Music of Paul Hindemith, Schott/European American Music Co., 1996

The Andersen Collection (Paula Robison and Irna Priore), European American Music Corporation, 1994

Conferences:
International Association for the Study of Popular Music, Biannual Meeting
Mexico City, June 25-29, 2007
Paper: “Authenticity and Performance Practice: Bossa Nova and João Gilberto”
AMS/SEM/MTSE Joint Meeting
Athens, GA March 16-17, 2007
Paper: “The Only Cool Song is the Protest Song"
AMS/SEM/MTSE Joint Meeting
Athens, GA March 16-17, 2007
Session Chair: The Protest in Latin American Music
AMS/SEM/MTSE Joint Meeting
Athens, GA March 16-17, 2007
Session Chair: Variation
Associação Brasileira de Etnomusicologia (ABET) International Conference
São Paulo, Brazil, November 21-24, 2006
Paper: “That Beat…that Beat”
Society for Ethnomusicology National Meeting
Honolulu, Hawaii November 16, 2006
Paper: “The Beat of the Bossa Nova”
University of Iowa Centennial Guest Music Theory Lecture Series
Iowa City, IA October 27, 2006
Paper: “The Darmstadt Dream: Luciano Berio and the Writings of
Incontri Musicali (1956-1960)”
Sixth Biennial National Symposium on Multicultural Music
Knoxville TN, October 11-14, 2006
Paper: The Beat of the Bossa Nova”
Darmstadt , Du Stadt meiner Traeume: The International Reception of
Post-War Darmstadt as the Shangri-La of Musical Modernism
Brno, Czech Republic, September 25-27, 2006
National Flute Association Convention Annual Meeting
Pittsburgh, PA August 3-6, 2006
Paper: “Debussy’s
Syrinx: Historical Considerations and Pedagogical Approach”
National Flute Association Convention Annual Meeting
Pittsburgh, PA August 3-6, 2006
Paper: “Pedagogical Approach: Berio’s Sequenza for Solo Flute
Popular Musics of the Hispanic and Lusophone Worlds
Newcastle upon Tyne (UK), July 14-16, 2006
Paper: “Borrowing from All Sides: Caetano Veloso, Popular Music, and Politics in Brazil”

Northeast Society for Ethnomusicology Annual Meeting
Hartford, CT, April 8, 2006
Paper: “Currents in Brazilian Popular Music: The Paths of MPB”
Music Theory Southeast Annual Meeting
Chapel Hill, NC March 3-4, 2006
Paper: “
Incontri and Disincontri: Berio's Writings and Boulez's Arguments in the 1950s”
Florida State University Music Theory Forum Annual Meeting
Tallahassee, FL, January 28, 2006
Paper: “
Incontri and Disincontri: Berio's Writings and Boulez's Arguments in the 1950s”
Society for Ethnomusicology National Conference
Atlanta, GA November 28-29, 2005
Paper: “Borrowing from All Sides: Caetano Veloso, Popular Music, and Politics in Brazil”
University of Chicago Music and Cultural Politics
Chicago, IL May 20-21, 2005
“Borrowing from All Sides: Caetano Veloso, Popular Music, and Politics in Brazil”
Texas Society for Music Theory Annual Meeting
Arlington, TX, February 22, 2005
“Vestiges of 12-Tone Practice in Berio’s
Sequenza for Solo Flute”
South Central Society for Music Theory Annual Meeting
New Orleans, LA February 21, 2005
“Borrowing from All Sides: Caetano Veloso, Popular Music, and Politics in Brazil”
College Music Society Mid-Atlantic Chapter
Meredith College, NC March 19-20, 2004
“Vestiges of Twelve-Tone Practice a Compositional Process in Berio’s
Sequenza I for Solo Flute”
Music Theory Society of the Mid-Atlantic
Philadelphia, PA April 26-27, 2004
“A Systematic Approach to the Concept o Schenkerian Interruption and its Implication to the Theory of Sonata Form,”
College Music Society Mid-Atlantic Chapter
Davidson, NC March 28, 2003
“Density 21.5: Relationships Between Analysis and Performance Practice”
South Central Society for Music Theory
Tuscaloosa, AL February 21-22, 2003
“Paradigmatic Structures: Beethoven’s Opp. 101and 109”
Graduate Theory Colloquium Biannual Meeting
Bloomington, IN February 8-9, 2002
“The “One Note Samba” Concept and the Continuous as a Schenkerian Paradigm”
Music Theory Southeast Annual Meeting
Tallahassee, FL February 1-2, 2002
“The
One Note Samba Concept and the Continuous as a Schenkerian Paradigm”
National Flute Association Convention Annual Meeting
Kansas City, KS August 11, 2000
Lecture-Recital in collaboration with Paula Robison: “The Andersen Collection”


"My own Sequenzas are always written with this sort of interpreter in mind, whose virtuosity is, above all, a virtuosity of knowledge."

---Luciano Berio