Curriculum Vitae

Papers Published in Sonus

  • “Topological Aspects of Hildegard von Bingen’s Music”   Spring 2016
  • “Ruth Crawford Seeger’s String Quartet 1931: Four Views of Temporal, Harmonic and Timbral Non-Coincidence”   Spring 2013
  • “Notes on a Textual Apprenticeship with Robert Cogan: An Extrapolative Variorum” Spring 2011
  • “A Dawning — Kentucky’s Log-Cabin Composer : Anthony Philip Heinrich”
    Fall 2007
  • “Palindromes: Universal Phenomena”
    Fall 2005
  • “Nocturnal: Sounds World of Edgard Varèse and Anaïs Nin”
    Spring 2004 (also as Master’s Thesis, Fall 2000)

Papers Published Elsewhere

  • “Frank Zappa’s 200 Motels and the Theater of the Absurd”
    Sapaan: Explorations in Music and Sound, Fall 2003.
    http://www.sapaan.com/vol2/evans.htm (this site now defunct—e-mail for a PDF!)

Papers Read at Conferences

  • “Topological Aspects of Hildegard’s Anitphons”
    for International Congress of Medieval Studies, 2015
  • “Folk Rhizomes and Odd-Meter Ostinato: Ruth Crawford Seeger meets the Dave               Brubeck Quartet”        NECMT, 2012
  • “Vox Multitudinis of Ordo Virtutum: Incipits, Modes, Structures and Extrapolations”
    for International Society of Hildegard von Bingen Studies,
    and International Congress of Medieval Studies, 2008

Paper completed, awaiting publication

  • “New Perspectives on A.P. Heinrich’s American Indian Influences” as part of a larger work (‘occasional publication’) on Heinrich
                         for The Dvořák Society for Czech and Slovak Music, Dec. 2015?

Papers Prospectively in the Works

  • Haydn’s Jokes vs. Schenker’s Theory
  • Miles, Teo and the creation of Jazz Concrète
  • At the Fractal Mountains of Madness
  • Varèse & Tempo

Doctoral Thesis

  • “New Timbral-Temporal Strategies in Berlioz’s Harold in Italy and Crawford-Seeger’s String Quartet 1931
    completed for degree requirement in Fall 2005. advisor: Mr. Robert Cogan
    NEC library holding

Classes Currently Teaching, Undergraduate Theory

  • Fundamentals 1: Basic Solfege and Musicianship, using
    using Dannhauser 1B, 2A, 3C, Weber vol.1
  • Fundamentals 2: Intermediate Solfege and Musicianship
    using Dannhauser 3D, 3E, 3F, 4A, Modus Novus, Weber vol.1 & 2
  • Fundamentals 3: Advanced Solfege and Musicianship
    using Dannhauser 4A, 4E, 4F, Modus Novus, Weber vol.2
  • Eighteenth-Century Counterpoint (modeled on J. S. Bach)
  • Sixteenth-Century Counterpoint (modeled on Lassus, Palestrina, etc.)

Classes Currently Teaching, Undergraduate History

  • Music History IV: History of Musical Modernity

Classes Currently Teaching, Graduate Theory

Classes Currently Teaching, Modern American Music (click for more!)

Classes Currently Teaching, Early Music

Classes Currently Teaching, Graduate Interdisciplinary Studies

  • Reaserach and Materials

Classes Previously Taught, Undergraduate Theory

  • Rudiments of Aural Theory
  • Rudiments of Written Theory
  • Keyboard Harmony

Class Previously Taught, Undergraduate History

  • Music History Survey, Classical through Romantic
  • Music History Survey, Romantic through Contemporary

Classes Previously Taught, Graduate Theory

  • Graduate Theory Review, Aural Skills

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