Ph.D. in Music Composition and Theory, University of Pittsburgh, April 2012.
Dissertation: Pitch Symmetry in Martin Bresnick’s My Twentieth Century and Meden Agan for Chamber Ensemble
Principal Teachers: Eric Moe, Mathew Rosenblum, Amy Williams
Dissertation Abstract
The analysis component of this dissertation focuses on the pitch world and harmonic language in Martin Bresnick’s My Twentieth Century for sextet. The surface-level harmony consists solely of major and minor triads, while the underlying structure relies on a pitch-class axis of symmetry.
Bresnick crafts a pitch world that balances diatonicism with pitch symmetry by unifying salient aspects of both. First, he uses a four-note diatonic segment ([0 2 3 5] or tone-semitone-tone) as his primary melodic unit. He then builds chord progressions from such segments using only major and minor triads; this creates phrases that each contain exactly four chords. To derive a harmonic progression for the consequent phrase, he takes the pitch-classes from the initial four-chord phrase and reflects them about a C# - G axis of symmetry. Finally, he adds drone pitches on C# and G, serving as aural reference points and making the axis of symmetry explicit.
By choosing to use reflected pitch structures sequentially rather than simultaneously, Bresnick avoids mirrored melodies in which two voices begin in unison, move equal distances in contrary motion, and return to the starting pitch. (Such melodies are common to the symmetrical structures found in works of Bartók and Ligeti.) Instead, by creating a series of four triads in one phrase and then reflecting those triads in the next phrase, he creates an audible link between the two without simple transposition, inversion, or retrogression.
This paper is an in-depth analysis of My Twentieth Century, focusing on pitch symmetry and harmonic language. Bresnick’s adherence to his plan is so rigorous that the analysis accounts for every pitch in the piece.
The composition component of this dissertation, Meden Agan for chamber ensemble, explores the idea of creating two disparate musical ideas and amalgamating them as the piece unfolds. The title derives from the Ancient Greek idea of balancing the Dionysian (excess) and the Apollonian (moderation). Musically this unfolds by alternating episodes of wild, heterophonic woodwind-led music with calm, exacting polyphony led by the strings. Gradually, each group takes on ideas of the other until they are fused and indistinguishable in the end.
Master of Music in Composition, McGill University, Montreal, November 2006.
Masters Thesis: An analysis of my own composition, Acheron, River of Woe, for Wind Symphony
Principal Teachers: John Rea, Christophe Niedhoeffer
Bachelor of Fine Arts in Music Composition, Carnegie Mellon University, Pittsburgh, May 2004.
Principal Teachers: Nancy Galbraith, Leonardo Balada, Efrain Amaya
Pittsburgh CAPA 6-12, 2014-present
Instrumental and Vocal Faculty
AP Music Theory
Composition
Rock Orchestra
Music Theory 6-8
Solfege
Carnegie Mellon University Pre-College Program, Summer 2006, 2014-present
Composition Teacher: private composition lessons and Composers Forum
University of Pittsburgh, 2007-2012
Instructor (full responsibility for content, lectures, and grading)
Fundamentals of Western Music (eight semesters) info
A class designed to prepare students for Theory 1 and to develop basic performance skills. Course introduces notation, scales, time and key signatures, basic rhythmic patterns, phrases, chords, basic chord progressions, cadences, and an introduction to four-part writing. All of this is done while developing keyboard skills, and creativity is encouraged through the use of composition assignments and projects.
Class Piano (five semesters) info
This class teaches non-music majors basic keyboard and musicianship skills.
Theory 1 (one semester) info
Theory 1 introduces students to four-part writing and covers intervals, triads, seventh chords, figured bass notation, harmonic progressions, cadences, phrases and periods, and non-chord tones. Students demonstrate the realization of these concepts through keyboard audits.
Teaching Assistant
Theory 1 (two semesters)
University Orchestra (two semesters) info
The orchestra TA assists the conductor as needed; setting up the stage and equipment, conducting and running rehearsal passages as needed, and assisting with the music library. The TA also conducts several pieces at the orchestra concerts throughout the semester.
McGill University, 2004-2006
Teaching Assistant
Principles of Counterpoint (two semesters) info
This class covers sixteenth-century counterpoint: modes, the five species of counterpoint, cadences, imitation, canons, four-part writing, and invertible counterpoint.
Theory 1 (one semester) info
This class introduces students to four-part writing and covers intervals, triads, seventh chords, figured bass notation, harmonic progressions, cadences, phrases and periods, and non-chord tones. Proper voice leading techniques are particularly emphasized.
Music Appreciation (one semester) info
This class teaches non-musicians how to listen to and appreciate classical music, covering basic concepts such as form and texture, and providing historical context.
Pittsburgh Philharmonic Orchestra, principal bassoon (2013-present)
Alia Musica Pittsburgh, bassoon (2007-present)
University of Pittsburgh Orchestra, principal bassoon (2006-2011)
Mobius Saxophone Quartet, baritone saxophone (2007-2009)
Carnegie Mellon University Jazz Ensemble, baritone saxophone (2000-2004, 2006-2007)
Carnegie Mellon University Contemporary Ensemble, bassoon (2002-2004)
Carnegie Mellon University Wind Ensemble, bassoon (2003-2004)
Carnegie Mellon University Concert Choir (2000-2003)
Alia Musica Pittsburgh, 2007-present
ASCAP, 2004-present (member)