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JODY JAY NAGEL, D.M.A.
Composer
   
 
Mr. Jody Nagel
8100 South CR 600 West
Daleville, Indiana 47334
(765) 759-1013
[email protected]
www.jomarpress.com
 
 
Dr. Jody Nagel
Associate Professor of Composition and Music Theory
School of Music
Ball State University
Muncie, Indiana 47306
(765) 285-5405
[email protected]

 
EDUCATION
 
The University of Texas, Austin, TX:
D.M.A. in composition, secondary emphasis in music theory.
December, 1992.
 
The University of Pittsburgh, PA:
M.A. in music theory and composition.
August 1985.
 
Marietta College, Marietta, OH:
B.A. liberal arts program, major in music, graduation with honors, magna cum laude.
May 1982.
 
The University of Sydney, Australia,
Fulbright Fellowship, compositional studies with Peter Sculthorpe, summer 1993.
 
Aspen Music Festival, Center for Compositional Studies,
with Jacob Druckman and Bernard Rands, summer 1988.
 
Private composition lessons, Paris, France,
with American composer Eugene Kurtz, summer 1986,
 
AWARDS AND HONORS
 
ASCAP Award Recipient, five successive years: 1996, 1997, 1998, 1999, 2000.
 
Fulbright Fellowship, May 6 - August 16, 1993, The University of Sydney, Australia.
 
Jewish Studies Project Grant, Sept. 14, 1995.
I was awarded a $1000 grant by the Zeigler Foundation to compose an original Piano Trio that incorporates certain ideas contained in the music of certain Pre-World-War II Eastern European Jewish composers.
 
Ball State University:
 
Academic Courseware Development Program Grant, Dec. 20, 1994. Colleague Prof. Raphael Crystal and I were awarded $4000 in funding towards our project, Courseware for Computer-Assisted Instruction in Music Theory.
 
New Faculty Creative Arts Grant, December, 1992. Along with colleague Dr. AnnMarie Schuessler, I was given a grant to create an interactive MIDI-compatible MacIntosh computer application to be used in the beginning piano student clavinova-keyboard laboratory, and which provides graded accompanied piano exercises and drills, with feedback.
 
University of Texas at Austin:
 
Fellowship recipient, 1990-91.
 
Honorable Mention (placed 4th out of 900 worldwide) in the 1991 international NewComp competition for solo instrument plus computer-generated tape pieces (for the composition, "Gandalf the Grey" for clarinet and tape).
 
1st prize, Texas Society of Music Theory, for the paper "Concerning Serial Rotation in Stravinsky's Variations," 1987.
 
ASCAP Young Composers Award, for the composition "There's a Certain Slant of Light...", 1988.
 
Kent Kennan Scholarship, for six semesters, 1985-88.
 
Marietta College:
 
member Phi Beta Kappa, 1982.
 
Presidential Honors Scholarship, each of the four years, 1978-1981.
 
Departmental Award in Applied music, four semesters, 1978-1980.
 
Sophomore Scholar, 1980.
 
DISSERTATION for the D.M.A. degree
 
"53rd Street," A one and a half hour, two-act operatic portrayal of contemporary New York City. Original libretto by University of Texas Professor Seth Wolitz. A theoretical analysis of the work was provided along with the score.
 
Articles Written About Me
 
"Helping Students Understand the Composer's Job" by Karen Townsend; published in Teaching Music, March, 1999. The article favorably documents the experience of the commissioning of my Theseus and the Minotaur by the Natchitoches, Louisiana High School String Orchestra, which Townsend directed.
 
RESEARCH and PRESENTATIONS
 
"Algorithmic Processes Involving the Parameters of Musical Composition and Possible Analogies for Application to Architectural Spaces and Surfaces." April 6, 2000. I was an invited guest speaker for The Ball State University, School of Architecture.
 
"Thinking and Creation: Music and Architecture" November 20, 1998. I was invited by the Ball State University School of Architecture to speak to their graduate seminar on my perceptions of the relationship between music composition and architecture.
 
"Comments by a Composer: The 'Micro' and the 'Macro' in Twentieth-Century Music." in Junior Keynotes, spring issue, 1998, Vol. 70, No. 4. (National Federation of Music Clubs.)
 
"Computer Music-Notation Software" (1997). I was invited by Chris Burns at Dartmouth College to write an account of what the purposes are, and pros and cons are, of using computer music-notation software. This paper is available on a Dartmouth web site: WOW'EM (Women on the Web: Electronic Music).
 
"Using Coda's 'Finale 3.7.2' Macintosh Music-Notation Software" (1997). This paper grew out of a series of instruction sheets that I created for my 1997 summer workshop on Finale. It has since been given to, and requested by, many people, though it is not published. It has been updated with successive releases of Finale, and is now available for "Finale 2000c"
 
"On Modes" (1996). This paper discusses "white-key" and "heptatonia secunda" 7-note modes and the tritone content contained within them. Unpublished.
 
"Concerning Serial Rotation in Stravinsky's Variations." Paper delivered to the Texas Society for Music Theory, March 1987. This paper won first prize as "most creative."
 
Provided contribution for: "Correspondences and Associations in Milton Babbitt's Reflections." This paper by John Peel and Cheryl Cramer appeared in the 1988 Perspectives of New Music Journal (Acknowledgment given on p.182.)
 
"A Systematic Approach to Cataloging Pentatonic Scales." This paper, and the analytical method it describes, was devised during the summer of 1993 in Sydney, Australia. It was motivated by my observations of the then-current Australian fascination with Asian influences, and in particular with the Australian music community's fascination with Asian pentatonic scales. Unpublished.
 
November 23, 1996, Bowling Green State University, "Threshold III," (The third annual electro-acoustic music conference held by Ball State, Bowling Green, Oberlin and the University of Michigan.) I presented a lecture-demonstration entitled "A MAX sieve for processing pitch sets."
 
November 20, 1995, Cleveland State University. Along with two other visiting composers, I addressed a composition class at C.S.U. I discussed algorithmically-generated composition, and played examples from my own work. This visit coincided with the Cleveland Chamber Symphony's same-day performance of my Jagger Dance.
 
October 2, 1995, Indiana University. I addressed a composition class at I.U. I brought my computer and demonstrated certain of my programs using the "Max" object-oriented language. Dr. George Wolfe, playing Soprano Saxophone, and I presented one of my compositions during the demonstration. A lengthy question and answer session followed the presentation.
 
February 24, 1995, Marietta College, Ohio. I addressed a music theory class, and discussed and played examples of my own compositions. Later that day, I conducted another seminar in which I discussed composition, and current political and economic issues as they relate to composition.
 
June 10, 1993, The University of Sydney. I was invited to give a presentation on my own musical compositions to Peter Sculthorpe's composition seminar. Sculthorpe is currently Australia's most significant composer. I spoke on the structure and content of three of my works : "There's a Certain Slant of Light..." for chamber orchestra, "Gandalf the Grey" for clarinet and tape, and "Octagon" for an octet of Fl, Bsn, Trpt, Tuba, Vln, DB, Piano, and 1 Perc.
 
On March 25, 1992, I gave an informal talk, with examples of my own music, entitled "The Masterpiece Maker; The Composer's Dilemma." This was a guest-presentation given to an adult class studying "The Masterpiece and the Romantic Dream," a course offered through the University of Texas at Austin Continuing Education program, and taught by Brad Bolen.
 
Papers delivered at the University of Texas at Austin Music Theory Forum (1985-1992) include:
 
"The use of solfeggio in sightsinging: fixed vs. movable 'Do.'" (an open panel discussion presented jointly with one other graduate student.)
 
"Fields of Sevenths: a look at one genre of modern tertian harmonies."
 
"Heptatonic modes: Uses of the other 7-note diatonic modes."
 
"Pitch Structure and Dramatic Association in the Murder Scene of Alban Berg's Wozzeck. "
 
"Trauermarsch : The first movement of Mahler's 5th Symphony."
 
PROFESSIONAL MEETINGS ATTENDED / Composer-in-residencies
 
July 8, 2000. 12th World Saxophone Congress, University of Montreal, Montreal, Canada.
My composition for SATB choir, saxophone and electronic accompaniment, Hymns to Soma, was included on one recital.
 
June 2, 2000. World Cello Congress III. Towson University, Baltimore, MD., My cello-orchestra composition, Scenes from the Styx, was included on one recital.
 
March 26-28, 1999. Society for Electro-Acoustic Music in the United States (SEAMUS99) conference, San José State University, San José, California.
 
March 4-7, 1999. Composer-in-residence at Northwestern State University, Natchitoches, Louisiana, for four days. I gave four different lectures on various music-theoretical topics as well as on my own musical compositions.
 
April 16-18, 1998. Society for Electro-Acoustic Music in the United States (SEAMUS98) conference, Dartmouth College, Hanover, New Hampshire.
 
November 15, 1997. "Threshold IV," Ball State University, (The fourth annual electro-acoustic music conference held by Ball State, and Bowling Green.) Nine of my students that had studied composition with me had pieces selected for the program.
 
April 3-5, 1997. Society for Electro-Acoustic Music in the United States (SEAMUS97) conference, University of Missouri, Kansas City, Missouri.
 
November 23-23, 1996. "Threshold III," Bowling Green State University, (The third annual electro-acoustic music conference held by Ball State, Bowling Green, Oberlin and the University of Michigan.) I presented a lecture-demonstration entitled "A MAX sieve for processing pitch sets."
 
April 18-20, 1996. Society for Electro-Acoustic Music in the United States (SEAMUS) conference, Birmingham-Southern College, Birmingham, Alabama. The first movement of my composition, Lifting the Veil, was programmed.
 
April 8-12, 1996. 48th Annual Conference on World Affairs, The University of Colorado at Boulder. I contributed to a recital-demonstration of current computer technology with respect to composition.
 
March 28-30, 1996. I attended the jointly held "Florida Electroacoustic Music Festival" and the "North American Saxophone Alliance National Meeting" at The University of Florida, where two of my compositions were presented and discussed as part of a lecture presentation.
 
April 7-9, 1994. Society for Electro-Acoustic Music in the United States (SEAMUS) conference, Middlebury College, Middlebury, Vermont.
 
July 10, 1993. I attended the all-day symposium "CompMusic '93." This series of lectures and concerts on computer music was hosted by The Australian Computer Music Association, in Sydney, Australia.
 
October 11-13, 1990. Society for Electro-Acoustic Music in the United States (SEAMUS) conference, Baton Rouge, LA. My composition for clarinet and tape, Gandalf the Grey, was included on the program.
 
April 20, 1990. Society of Composers, Inc., (SCI) Region VI Conference, The University of Kansas, Lawrence, KS. My piano composition, Fields of Sevenths, was included on the program.
 
March 1987. Texas Society for Music Theory (TSMT). I delivered a paper at this conference, which won first prize. ("Concerning Serial Rotation in Stravinsky's Variations.")
 
PROFESSIONAL ASSOCIATIONS
 
SEAMUS (The Society for Electro-Acoustic Music in the United States.) As of May, 1996, I am a member of the SEAMUS Advisory Board.
 
Jomar Press, Co-Editor. Austin, TX (512) 459-4972. www.jomarpress.com
 
COMPUTER SKILLS
 
Music notation application FINALE (version 2.6.3 through 2001d).
 
MIDI applications MAX, PERFORMER, GALAXY, STUDIO-V.
 
Digital editing, DSP, and D-to-A conversion applications, SOUND DESIGNER II, PRO-TOOLS, PEAK, SOUND HACK.
 
Synthesis programs C-SOUND and MUSIC360.
 
Languages C, PASCAL, and FORTRAN.
 
HTML tagging, Netscape, Internet Explorer, and certain other Internet-related software.
 
Experience in "live" performance of algorithmic composition using Macintosh computers.
 
TEACHING EXPERIENCE
 
Ball State University, Muncie, IN:
 
September, 1992 - present:
Assistant Professor of Composition and Music Theory.
 
I have taught composition, music theory, and music engineering technology courses including beginning and advanced, undergraduate and graduate, acoustic and electronic, private composition students; Computer Applications in Music for graduate students; Introduction to Electronic Music; Sound synthesis I and II; Introduction to Computer Music and Advanced Computer Music; Introduction to Music Skills for beginning music majors and non-majors; Freshman Sightsinging and Ear Training; Music Theory I; Form and Analysis for advanced undergraduate music majors; Concert Band Arranging; and 17th-, 18th-, 19th- and 20th-century Analysis for graduate students.
 
Click here to see a complete list of courses that I have taught at Ball State University:
"Teaching Responsibilities at Ball State University; Fall, 1992 - Spring, 2001."
 
The University of Texas, Austin, TX:
 
1988-1990: Assistant Instructor
Taught one section each year of sophomore ear training (16-18 students per class, 2 hours per week); A two-semester course covering harmonic, melodic, and rhythmic dictation, and sightsinging skills - corresponding with sophomore theory lecture.)
 
Taught one section each year of music theory for non majors (35-40 students per class, 3 hours per week); A two-semester course covering basics such as scales, intervals, keys, triads, rhythm and meter, elementary voice-leading in tonic/dominant progressions, and simple 4-part chorale-style analysis.)
 
(In both of the above courses duties included preparation of the syllabus, class lectures and drills, exams, homework assignments, and grading of homework and exams.)
 
1986-1988: Teaching Assistant
Taught two sections each year of a laboratory course for sophomores (10-12 students per section, each section met one hour per week) A two-semester course given in conjunction with the primary ear training course, covering sightsinging, ear training, and keyboard.)
 
The University of Pittsburgh, PA:
 
1983-1985: Teaching Assistant
Taught one section of introduction to music for non majors laboratory (review of main lecture, and of assigned music listening.)
 
Taught three sections of sophomore applied skills laboratory (ear training, sightsinging, keyboard) and graded sophomore harmony exercises.
 
Taught four sections of a musicianship course for non majors (an introduction to music fundamentals.)
 
CONDUCTING, DIRECTING, AND PERFORMING EXPERIENCE
 
Ball State University:
 
I have "performed" my computer using live algorithmically-generated electronics on several occasions in the last three years. I, along with Saxophonist George Wolfe, performed some of my compositions at several places, including SEAMUS96 (1996), 48th Annual Conference on World Affairs at The University of Colorado at Boulder (1996), the jointly held "Florida Electroacoustic Music Festival" and the "North American Saxophone Alliance National Meeting" at The University of Florida (1996), the Interlochen Summer Music Camp (1995), The Hindu Temple in Pittsburgh, PA (1995), Indiana University (1995), and several times in Muncie IN (1995).
 
November 9, 1994. I directed the SEAMUS (The Society for Electro-Acoustic Music in the United States) 10th-Anniversary Concert of Electro-Acoustic Music at Ball State University. Several universities across the country were simultaneously presenting a 10th-anniversary concert.
 
Fall, 1993. I organized and presented the EMONE (September 28, 1993) and EMTWO (November 10, 1993) electronic music concerts at Ball State University. I included works of the preceding ten years by composers from several American institutions, as well as some from Sweden and Australia. Some Ball State student works were presented also.
 
Spring, 1993. Conducted small chamber groups, performing works by students, on composers' concert series.
 
University of Pittsburgh:
 
Member, University choir, 1982-84.
 
Member, Men's Glee Club, and associated Barbershop Quartet, 1982-85.
 
Marietta College:
 
Conductor, Marietta College Singers and brass quartet, Marietta College graduation ceremonies, 1982.
 
Member, Marietta College Singers, sang tenor, 1978-82.
 
Member, Marietta College band, played euphonium, 1978-82.
 
Piano soloist, Mozart's concerto in A, K.414, Marietta Civic Orchestra, 1980.
 
CD Recordings containing my compositions: Released January, 2000. "Beyond Noend with Errante", Drimala label DR 99-347-02 (www.drimala.com). The CD contains my composition Kaleidoscope, (1996, 8'41") for Clarinet and Algorithmically-Generated Electronic Accompaniment. (commissioned and performed by Gerard Errante.)
 
Released January, 2000. "America's Millennium Tribute to Adolphe Sax, Volume III", Arizona University Recordings AUR CD 3098 (www.AURec.com). The CD contains my 3-movement composition Three Universes (1998, 9'30") for Alto Saxophone, Narrator, and algorithmically-controlled electronically-generated sounds using the Macintosh computer programming application/language 'Max 2.2.' and two Roland Sound Canvases. (Poems by George Wolfe, from his collection "Verses Reversus". 1. Suns Burning Into Time; 2. Hummingbirds Saw Stillness; 3. Flags Wave.) George Wolfe, Alto Saxophone.
 
Released fall, 1998. "America's Millennium Tribute to Adolphe Sax, Vol. 1," by Arizona University Recordings, AUR CD 3063 (www.AURec.com). The CD contains my composition Solar Dreams (1994, 5'48"), for Soprano Saxophone and Algorithmically-Generated Electronic Accompaniment; George Wolfe, saxophone.
 
Released fall, 1998. "The Glass Bead Game," by hornist Kent Leslie, Hard Cor Records, HC001. The CD contains my composition, As You Like It, (1979, rev. 1986, 6'10") for Horn and Piano. (Recorded June 26, 1998.)
 
Released January, 1998. "Classical Improvisation," Saxophone Journal, Volume 22, Number 4, by George Wolfe, Dorn Publications, Inc. The CD contains two separate performances of my composition Solar Dreams (1994, 1. 5'48", 2. 5'39"), for Saxophone and Algorithmically-Generated Electronic Accompaniment; George Wolfe, saxophone. The CD also contains a "Tape Part Alone" track so that other saxophonists can try out the piece; the score is contained within an accompanying booklet.
 
Released December, 1997. "Lifting the Veil," by saxophonist George Wolfe, Soundwind Records, SW 1133. The CD contains my compositions Lifting the Veil (1995, 25'05") and Solar Dreams (1994, 5'48").
 
Released summer, 1995. "Music from the University of Texas Electronic Music Studios," by Centaur Records, CRC 2245. This CD is Vol. 20 of the CDCM series (Consortium to Distribute Computer Music.) The CD contains my composition, Gandalf the Grey (1990, 11'51"), for clarinet and MUSIC360 computer-generated tape, Robert Tuttle, clarinetist.
 
SOME SIGNIFICANT COMPOSITIONS
Please see my Catalog, my Composition Chronology, or my Performance History for a full listing.
 
Declaration for Independence (1998) This 36-minute work is for chorus and large orchestra.
 
The Moon Harvests (1997) This is a 40-minute, single-act opera for orchestra and nine singers.
 
Fifty-third Street (1990-97) This is a 90-minute, two-act opera for large orchestra, chorus, and 14 singers.
 
The compositions listed above, as well as many others, are published by
Jomar Press, 6005 Cameron Rd. #B, Austin, Texas 78723. (512) 459-4972
 
PERSONAL
 
Born in Franklin, Pennsylvania, USA, May 29, 1960. Lived near Pittsburgh, PA. until 1978.
 
Married to Eunhee Yoon: Her academic degrees include a B. A. in history and an M. A. in philosophy, from the University of Seoul, Korea, and an MLIS from the School of Library and Information Science at The University of Texas at Austin (1992).
 
Have two daughters, Ashley Gaia, born August 24, 1990; and Athena Gretchen, born July 1, 1997.
 
REFERENCES
 
The following people are Ball State University colleagues within the School of Music.
(Ball State University, School of Music, Muncie, IN. 47306)
They have each written a letter on my behalf and are willing to send it upon request. They are also willing to discuss their recommendation by telephone:

 
Dr. Cleve Scott, BSU composer / music engineering technology
BSU: (765) 285-5537.
home: (765) 749-8640.
 
Dr. Keith Sweger, BSU bassoonist
BSU: (765) 285-5511.
home: (765) 747-1289.
 
A placement file is available upon request from the Education Placement Service, The University of Texas at Austin, Education Bldg. Rm. 294, Austin, TX 78705. The following people have written letters of recommendation on my behalf which are included in my placement file; they are each available for discussion by telephone:
 
Lukas Foss, conductor / composer, in New York, N.Y.
tel. (212) 722-8003
or (516) 537-7712
 
Eugene Kurtz, composer, in Paris, France
tel. (011-33-1) 45-45-94-71
 
Dan Welcher, composer / professor
Music Department
The University of Texas
Austin, TX 78712
tel. (512) 471-7764
 
Karl Korte, composer / professor
Music Department
The University of Texas
Austin, TX 78712
tel. (512) 471-7764
 
Russell Pinkston, composer / professor
Music Department
The University of Texas
Austin, TX 78712
tel. (512) 471-7764
 
Don Grantham, composer / professor
Music Department
The University of Texas
Austin, TX 78712
tel. (512) 471-7764
 
Dr. Patrick McCreless, theorist / professor
Music Department
The University of Texas
Austin, TX 78712
tel. (512) 471-7764
 
Dr. Roger Graybill, theorist / professor
Music Department
The University of Texas
Austin, TX 78712
tel. (512) 471-7764
 
Prof. William Buelow, pianist / composer / Marietta College professor
tel. (614) 374-5148
or 374-7511, at Marietta College
 
MUSIC COURSEWORK AND INSTRUCTORS
 
Composition:
 
University of Texas at Austin:
- Karl Korte (1 semester)
- Dan Welcher (3 semesters)
- Don Grantham (3 semesters, including being dissertation advisor)
- Russell Pinkston, for electronic and computer music (8 semesters)
- Eugene Kurtz, visiting professor (1985-86) (2 semesters)
- continued to study privately with Kurtz in Paris, summer 1986
 
The Univ. of Sydney Australia, while on a Fulbright Fellowship, summer 1993:
- Peter Sculthorpe (Woollahra, Australia)
 
Aspen Music Festival, Center for Compositional Studies, summer 1988:
Throughout the summer, I had lessons with these composers:
- Earle Brown (director, Fromm Foundation)
- Jacob Druckman (Yale University)
- Bernard Rands (Boston University)
- Peter Sculthorpe (Woollahra, Australia)
 
University of Pittsburgh:
- Wayne Slawson, for electronic and acoustic music (3 semesters)
- John Peel (2 semesters)
 
Marietta College:
- William Buelow (2 semesters)
 
Music Theory:
 
University of Texas at Austin: - Comparative Studies - systems of theory, (theory pedagogy) (2 semesters) R. Graybill
- History of music theory before 1750, R. Baltzer
- Alban Berg's Wozzeck, D. Green
- Analytic Techniques, D. Smyth
- Theories of Chromaticism, P. McCreless
 
University of Pittsburgh:
- Tonal Analysis (Schenkerian analysis), J. Peel
- Problems in Theory (atonal theory), J. Peel
- Stravinsky's music (analysis), J. Peel
 
Marietta College:
- Theory, theory drill (4 semesters), W. Buelow
- Form and Analysis, W. Buelow
- Twentieth Century Techniques, W. Buelow
 
Music History
 
University of Texas at Austin:
- Advanced Studies in Music History - the 20th century, E. Antokoletz
- Advanced Studies in Music History - the 19th century, B. Dietz
 
University of Pittsburgh:
- Problems in Medieval Music (2 semesters), J. Knapp
- Music of the Classical Period, R. Lord
- Music since 1945, E. Lundberg
 
Marietta College:
- History of Music (2 semesters), D. Cummings
- The Concerto, H. Mueller
 
Other Music Studies:
 
University of Texas at Austin:
- Score Reading (1 semester), P. McCreless
- Supervised Teaching Course, R. Graybill
 
University of Pittsburgh:
- Pro-Seminar (2 semesters), consisted of 3 ten-week introductory seminars to:
   Ethno-musicology, B. Young,
   Music Theory, W. Slawson & J. Peel,and
   Musicology (D. Franklin). - Composition Seminar (3 semesters), Slawson, Peel, Lundberg
 
Marietta College:
- Instrumentation, H. Mueller
- Piano Lessons (8 semesters), W. Buelow
- Marietta College Singers (4 semesters), L. Burkot
- Marietta College Band (3 semesters), D. Cummings
- Voice lessons (1 semester), L. Burkot
- Conducting (2 semesters), H. Mueller
 
 
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