Christopher Bailey

IMPORTED REVISION FROM WIKISPACES

This is an imported revision from Wikispaces. The revision metadata is included below for reference:

This revision was by author genewardsmith and made on 2011-08-14 20:10:16 UTC.

The original revision id was 245928233.

The revision comment was:

The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.

Original Wikitext content:

 
Education
 
D.M.A., Composition, Columbia University, 2002
Dissertation Composition: Sand, computer-music with interactive interface
Dissertation Paper: "Aspects of Sand "
Committee: Joseph Dubiel, Bradford Garton, Fred Lerdahl
Composition Studies with: Fred Lerdahl, Joseph Dubiel, Tristan Murail, Jonathan Kramer, Sebastian Currier
Computer-Music Studies with: Bradford Garton, Tristan Murail, Thanassis Rikakis
Music-Theory Studies with: Joseph Dubiel, Fred Lerdahl, Jonathan Kramer
 
M.A., Composition, Columbia University, 1997
 
B.A., Composition, Eastman School of Music, 1995
Composition Studies with: Joseph Schwantner, Robert Morris, Samuel Adler, Warren Benson, Allan Schindler
Computer-Music Studies with: Allan Schindler
 
 
Employment
 
Database Architect, Baytaflow Consulting, 2009 – present
 
Visiting Assistant Professor, Bates College, 2008 – 2009
 
Adjunct Assistant Professor, Northeastern University, 2007 – 2008
 
Visiting Assistant Professor, College of William and Mary, 2006 – 2007
 
Adjunct Assistant Professor, College-Conservatory of Music, University of Cincinnati, 2002 – 2004
 
Mellon Teaching Fellow, Columbia University 1995 – 2002
 
 
Fellowships and Awards
 
Residency, Diapason multi-channel sound gallery, 2010-2011.
 
Walking Down the Hillside at Cortona, and Seeing its Towers Rise Before Me, Honorable Mention, Salvatore Martirano Compeition, 2009.
 
Artist-In-Residence, I-Park Enclave, 2008.
 
Balladei, Finalist, Earplay Aird Memorial Composition Competition, 2007.
 
Artist-In-Residence, Harvestworks, 2007.
 
Sand, Finalist, Infinite Composing, SPOR 2007, Aarhus, Denmark, 2007.
 
Timelash, Second Prize, Third Seoul International Competition for Composers, Korea, 2005.
 
Sand, dissertation, awarded with Distinction at Columbia University, 2002.
 
Fellowship awarded for stay at Music/Omi arts colony in Omi, NY, summer 2001.
 
Seidel Fellowship in Composition, Columbia University, 1999-2000.
 
ASCAP Grant for Young Composers, for Sonata for piano solo, 1998.
 
Ow My Head included on the official International Computer Music Association CD, 1997.
 
Bearns Prize, for 6 Songs on Poems of John Monroe, 1996.
 
Columbia University’s Rapaport Prize, for 6 Songs on Poems of John Monroe, 1996.
 
BMI’s Boudleaux Bryant Prize, for Sands, 1994.
 
Mellon Teaching Fellowship, Columbia University, 1995-2002.
 
Eastman School of Music’s Bernard Rogers Prize, for Sands, 1994.
 
 
Commissions
 
Allen Strange award, for new piano & electronics work, 2010.
 
Harvestworks, Harvest Kitchen, 2007.
 
Marilyn Nonken, piano, Out Of,  2006.
 
NeXT Ens, for The Quiet Play of Busy Pipes, 2004.
 
MATA (Music At The Anthology), for a new version of Dein Kuss for 2 voices, piano, khaen, trumpet, and electronics, 2002.
 
String Orchestra of New York City, and the Luzerne Music Center, for Meditation by the Lake, 2000.       
 
Speculum Musicae, for Enchanted Quaaludes, 1996.
 
Wallingford, Pennsylvania, Community Arts Center, for Sands, 1994.
 
 
Discography
 
Immolation Ritual, Innova Records #695, October 2010.
 
Radtke, Bach, Berio, Bailey, featuring Arc of Infinity, Konnex Records, 2009.
 
Sonata/Balladei, Piano Music. 2007.
 
60X60 2005, compilation of 60 1’ works, including Nanosymph. 2007.
 
Defiant, second album by the "Electric Music Collective" featuring Ooogaah: Dungeony Specimen Spaceship and Conceptual Study. 2005.
 
Incandescence, album of works produced by the members of the "Electric Music Collective," featuring Ow, My Head and Duude. 2003.
 
Ow My Head, included on the International Computer Music Conference CD. 1997.
 
 
Publications
 
"An Interface for Flat Music" Organized Sound, Volume 9, #3, December 2004, 243-250.
 
“Composing Gestures on the Computer: Paradigms and Problems.” Current Musicology  67-68, (2002), 7-29.
 
 “Review of John McGuire, Electronic Music 1978-1997,” Array (online at 
            http://www.computermusic.org/array.php?artid=121)
 
“Review of Pure Water Construction by Simon H. Fell and Martin Archer,” Diffusion 20 (2001), 40-41.
 
 
Presentations
 
“A Databased-based Musique-Concrete Gesture Creation Tool” presented at International
Computer Music Conference, SUNY Stony Brook, June 2010.
 
“A Databased-based Musique-Concrete Gesture Creation Tool” presented at Harvestworks, New
York City, November 2007.
 
“Virtual Instruments” presented at the University of Minnesota School of Music, Minneapolis,
MN, March 2006.
 
“Micromidi converter” presented at the Spark Festival, Minneapolis, MN, February 2005.
 
“Abstraction 6: An Approach to Just Intonation” presented to composers at New York University, New York, NY, February 2006.                   
 
“Sand and its Interface:  A Solution to the Problems of Musical Flat Surfaces” presented at Subtle Technologies, a Symposium on the relationships between art and science, Toronto, May 2004.
 
 
Teaching Experience
 
Visiting Assistant Professor, Bates College, 2008 – 2009:
 
introduction to composition
Theory 331 (3rd semester tonal theory)
Introduction to electroacoustic music
Theory 332 (20th-century music analysis)
 
Visiting Adjunct Assistant Professor, Northeastern University, 2007 – 2008 :
 
Individual composition lessons
 
Visiting Assistant Professor, College of William and Mary, 2006 – 2007:
 
Theory 301 (3rd semester tonal theory), autumn & spring semesters 2006-2007
Theory 401 (20th-century music analysis), spring semester 2007
Orchestration, spring semester 2007
Introduction to Electroacoustic Music, autumn semester 2006
 
Visiting Adjunct Assistant Professor, College-Conservatory of Music, University of Cincinnati, 2002 – 2004:
 
Theory III (20th-century music analysis), winter & spring quarters 2004
Approaches to Microtonality, spring quarter, 2003
Advanced Computer-Music II:  Synthesis, winter quarter, 2003
Harmony and Form in Post-Romantic Music, autumn quarter, 2002 & 2003
Individual Composition Lessons, 2002-2003 academic year
 
Mellon Teaching Fellow, Columbia University, 1996-2002:
 
Music Humanities (music literature & history for non-majors), 2001-2002
Undergraduate Composition, assisting John McGuire, spring 2001
Undergraduate Composition, assisting Joseph Dubiel, autumn 2000
Introductory Ear Training, autumn 2000
Computer Music II, assisting Brad Garton, 1999-2000
Chromatic Harmony and Counterpoint, assisting Joseph Dubiel, 1998-1999
Basic Electroacoustics, assisting Thanassis Rikakis, 1996-1998
 
 
Other Teaching Qualifications
 
Composition/Theory:
            •           courses on 20th-century composers or groups of composers, especially:
2nd Viennese School, Stravinsky, Serialism in Europe and the US, John Cage, Morton Feldman, Minimalism, New Complexity
            •           approaches to microtonality:  Just Intonation, Spectral Techniques, Equal and
Non-Equal Temperaments
 
Computer-music topics:
            •           computer-assisted & algorithmic composition
            •           recording studio techniques
            •           interfaces & interactivity
            •           modeling of natural phenomena in music
 
 
Related Professional Experience
 
Co-Director, Collide-O-Scope Multimedia, New York City (and elsewhere), 2010-ongoing.
 
Co-Director, UnTwelve Microtonal Music Festival, Chicago, IL, 2007-ongoing.
 
Co-Director, Electric Music Collective, 2003-ongoing.
 
Producer, Electric Music Collective and University of Minnesota Exchange Festival, at University of Cincinnati, College-Conservatory of Music, April 2004.
 
Panelist, Symposium on Experimental Music, SSNOVA, Cincinnati, August 2003.
 
Member, Editorial Staff, Organized Sound, spring 2003.
 
Director, University of Cincinnati, College-Conservatory of Music, Center for Computer Music, winter-spring 2003.
 
Producer, Go.Go.Go, CD collection of works composed at the Columbia University Computer Music Center, 2000.
 
Producer, Columbia University Computer Music Center concerts, various venues in New York City, 1998-2002.
 
Member, Editorial Staff, Current Musicology, 1998-2002.
 
Audio Producer, Columbia University Music Department's Online Sonic Glossary  project, 1998-2002.
 
Event manager, IRCAM forum '99 in New York, Columbia University, November 1999.
 
Director, Columbia Composers, graduate student composers’ performance group.
 
Member, Senior Faculty Composer Search Committee, Columbia University, spring 1996.
 
Member, International Computer Music Association, 1996-ongoing.
 
Summer Instructor, of composition, piano literature, & chamber music coaching, Luzerne Music Center, Lake Luzerne, New York, summers 1993 & 2000.
 
 
Dance Collaborations
 
Terabyte Breakfast: 4 dancers, speaker, sleeper, runner, pianist, live-electronic and acoustic sounds; made in collaboration with Julie Grinfeld, choreographer; performed on the Barnard College Dance Department Showcase, Miller Theatre, Columbia University, autumn 2000.
           
Ooogaaah: Dungeony Specimen Spaceship choreographed by Julie Grinfeld for the Barnard Dance Festival, winter 2000.
 
3 works: Duude, Ooogaaah: Dungeony Specimen Spaceship, and Minimalism for Meggie, choreographed by Ana Majewska and Julie Grinfeld for the Barnard Dance Festival, spring, 1999.
 
 
Summer Festivals
 
I-Park arts colony, East Haddam, Connecticut, August 2008.
 
Music/Omi arts colony, Omi, New York, summer 2001.
 
Saarbrucken Contemporary Music Festival, Saarbrucken, Germany, 1998.
 
Bowdoin  Summer Music Festival, Bowdoin, Maine, 1996.
 
 
Computer Applications (music-related) Knowledge
 
Audio Mixing and Production: ProTools, Logic Pro, Digital Performer, Ardour
Audio editors: Peak, Audacity, mxv, etc.
Final Cut Pro
MAX/MSP, Pd
MusicX:  RTCMIX / Csound
IRCAM-forum applications: AudioSculpt, OpenMusic
Metasynth
Notation applications: Finale, Score
 
 
General Computer Languages/software Knowledge
 
FILEMAKER (Certified Developer)
HTML/CSS
PHP
SQL
LISP
C
UNIX / LINUX
 
[[http://music.columbia.edu/~chris/]]

Original HTML content:

<html><head><title>Christopher Bailey</title></head><body><br />
Education<br />
<br />
D.M.A., Composition, Columbia University, 2002<br />
Dissertation Composition: Sand, computer-music with interactive interface<br />
Dissertation Paper: &quot;Aspects of Sand &quot;<br />
Committee: Joseph Dubiel, Bradford Garton, Fred Lerdahl<br />
Composition Studies with: Fred Lerdahl, Joseph Dubiel, Tristan Murail, Jonathan Kramer, Sebastian Currier<br />
Computer-Music Studies with: Bradford Garton, Tristan Murail, Thanassis Rikakis<br />
Music-Theory Studies with: Joseph Dubiel, Fred Lerdahl, Jonathan Kramer<br />
<br />
M.A., Composition, Columbia University, 1997<br />
<br />
B.A., Composition, Eastman School of Music, 1995<br />
Composition Studies with: Joseph Schwantner, Robert Morris, Samuel Adler, Warren Benson, Allan Schindler<br />
Computer-Music Studies with: Allan Schindler<br />
<br />
<br />
Employment<br />
<br />
Database Architect, Baytaflow Consulting, 2009 – present<br />
<br />
Visiting Assistant Professor, Bates College, 2008 – 2009<br />
<br />
Adjunct Assistant Professor, Northeastern University, 2007 – 2008<br />
<br />
Visiting Assistant Professor, College of William and Mary, 2006 – 2007<br />
<br />
Adjunct Assistant Professor, College-Conservatory of Music, University of Cincinnati, 2002 – 2004<br />
<br />
Mellon Teaching Fellow, Columbia University 1995 – 2002<br />
<br />
<br />
Fellowships and Awards<br />
<br />
Residency, Diapason multi-channel sound gallery, 2010-2011.<br />
<br />
Walking Down the Hillside at Cortona, and Seeing its Towers Rise Before Me, Honorable Mention, Salvatore Martirano Compeition, 2009.<br />
<br />
Artist-In-Residence, I-Park Enclave, 2008.<br />
<br />
Balladei, Finalist, Earplay Aird Memorial Composition Competition, 2007.<br />
<br />
Artist-In-Residence, Harvestworks, 2007.<br />
<br />
Sand, Finalist, Infinite Composing, SPOR 2007, Aarhus, Denmark, 2007.<br />
<br />
Timelash, Second Prize, Third Seoul International Competition for Composers, Korea, 2005.<br />
<br />
Sand, dissertation, awarded with Distinction at Columbia University, 2002.<br />
<br />
Fellowship awarded for stay at Music/Omi arts colony in Omi, NY, summer 2001.<br />
<br />
Seidel Fellowship in Composition, Columbia University, 1999-2000.<br />
<br />
ASCAP Grant for Young Composers, for Sonata for piano solo, 1998.<br />
<br />
Ow My Head included on the official International Computer Music Association CD, 1997.<br />
<br />
Bearns Prize, for 6 Songs on Poems of John Monroe, 1996.<br />
<br />
Columbia University’s Rapaport Prize, for 6 Songs on Poems of John Monroe, 1996.<br />
<br />
BMI’s Boudleaux Bryant Prize, for Sands, 1994.<br />
<br />
Mellon Teaching Fellowship, Columbia University, 1995-2002.<br />
<br />
Eastman School of Music’s Bernard Rogers Prize, for Sands, 1994.<br />
<br />
<br />
Commissions<br />
<br />
Allen Strange award, for new piano &amp; electronics work, 2010.<br />
<br />
Harvestworks, Harvest Kitchen, 2007.<br />
<br />
Marilyn Nonken, piano, Out Of,  2006.<br />
<br />
NeXT Ens, for The Quiet Play of Busy Pipes, 2004.<br />
<br />
MATA (Music At The Anthology), for a new version of Dein Kuss for 2 voices, piano, khaen, trumpet, and electronics, 2002.<br />
<br />
String Orchestra of New York City, and the Luzerne Music Center, for Meditation by the Lake, 2000.       <br />
<br />
Speculum Musicae, for Enchanted Quaaludes, 1996.<br />
<br />
Wallingford, Pennsylvania, Community Arts Center, for Sands, 1994.<br />
<br />
<br />
Discography<br />
<br />
Immolation Ritual, Innova Records #695, October 2010.<br />
<br />
Radtke, Bach, Berio, Bailey, featuring Arc of Infinity, Konnex Records, 2009.<br />
<br />
Sonata/Balladei, Piano Music. 2007.<br />
<br />
60X60 2005, compilation of 60 1’ works, including Nanosymph. 2007.<br />
<br />
Defiant, second album by the &quot;Electric Music Collective&quot; featuring Ooogaah: Dungeony Specimen Spaceship and Conceptual Study. 2005.<br />
<br />
Incandescence, album of works produced by the members of the &quot;Electric Music Collective,&quot; featuring Ow, My Head and Duude. 2003.<br />
<br />
Ow My Head, included on the International Computer Music Conference CD. 1997.<br />
<br />
<br />
Publications<br />
<br />
&quot;An Interface for Flat Music&quot; Organized Sound, Volume 9, #3, December 2004, 243-250.<br />
<br />
“Composing Gestures on the Computer: Paradigms and Problems.” Current Musicology  67-68, (2002), 7-29.<br />
<br />
 “Review of John McGuire, Electronic Music 1978-1997,” Array (online at <br />
            <!-- ws:start:WikiTextUrlRule:268:http://www.computermusic.org/array.php?artid=121 --><a class="wiki_link_ext" href="http://www.computermusic.org/array.php?artid=121" rel="nofollow">http://www.computermusic.org/array.php?artid=121</a><!-- ws:end:WikiTextUrlRule:268 -->)<br />
<br />
“Review of Pure Water Construction by Simon H. Fell and Martin Archer,” Diffusion 20 (2001), 40-41.<br />
<br />
<br />
Presentations<br />
<br />
“A Databased-based Musique-Concrete Gesture Creation Tool” presented at International<br />
Computer Music Conference, SUNY Stony Brook, June 2010.<br />
<br />
“A Databased-based Musique-Concrete Gesture Creation Tool” presented at Harvestworks, New<br />
York City, November 2007.<br />
<br />
“Virtual Instruments” presented at the University of Minnesota School of Music, Minneapolis,<br />
MN, March 2006.<br />
<br />
“Micromidi converter” presented at the Spark Festival, Minneapolis, MN, February 2005.<br />
<br />
“Abstraction 6: An Approach to Just Intonation” presented to composers at New York University, New York, NY, February 2006.                   <br />
<br />
“Sand and its Interface:  A Solution to the Problems of Musical Flat Surfaces” presented at Subtle Technologies, a Symposium on the relationships between art and science, Toronto, May 2004.<br />
<br />
<br />
Teaching Experience<br />
<br />
Visiting Assistant Professor, Bates College, 2008 – 2009:<br />
<br />
introduction to composition<br />
Theory 331 (3rd semester tonal theory)<br />
Introduction to electroacoustic music<br />
Theory 332 (20th-century music analysis)<br />
<br />
Visiting Adjunct Assistant Professor, Northeastern University, 2007 – 2008 :<br />
<br />
Individual composition lessons<br />
<br />
Visiting Assistant Professor, College of William and Mary, 2006 – 2007:<br />
<br />
Theory 301 (3rd semester tonal theory), autumn &amp; spring semesters 2006-2007<br />
Theory 401 (20th-century music analysis), spring semester 2007<br />
Orchestration, spring semester 2007<br />
Introduction to Electroacoustic Music, autumn semester 2006<br />
<br />
Visiting Adjunct Assistant Professor, College-Conservatory of Music, University of Cincinnati, 2002 – 2004:<br />
<br />
Theory III (20th-century music analysis), winter &amp; spring quarters 2004<br />
Approaches to Microtonality, spring quarter, 2003<br />
Advanced Computer-Music II:  Synthesis, winter quarter, 2003<br />
Harmony and Form in Post-Romantic Music, autumn quarter, 2002 &amp; 2003<br />
Individual Composition Lessons, 2002-2003 academic year<br />
<br />
Mellon Teaching Fellow, Columbia University, 1996-2002:<br />
<br />
Music Humanities (music literature &amp; history for non-majors), 2001-2002<br />
Undergraduate Composition, assisting John McGuire, spring 2001<br />
Undergraduate Composition, assisting Joseph Dubiel, autumn 2000<br />
Introductory Ear Training, autumn 2000<br />
Computer Music II, assisting Brad Garton, 1999-2000<br />
Chromatic Harmony and Counterpoint, assisting Joseph Dubiel, 1998-1999<br />
Basic Electroacoustics, assisting Thanassis Rikakis, 1996-1998<br />
<br />
<br />
Other Teaching Qualifications<br />
<br />
Composition/Theory:<br />
            •           courses on 20th-century composers or groups of composers, especially:<br />
2nd Viennese School, Stravinsky, Serialism in Europe and the US, John Cage, Morton Feldman, Minimalism, New Complexity<br />
            •           approaches to microtonality:  Just Intonation, Spectral Techniques, Equal and<br />
Non-Equal Temperaments<br />
<br />
Computer-music topics:<br />
            •           computer-assisted &amp; algorithmic composition<br />
            •           recording studio techniques<br />
            •           interfaces &amp; interactivity<br />
            •           modeling of natural phenomena in music<br />
<br />
<br />
Related Professional Experience<br />
<br />
Co-Director, Collide-O-Scope Multimedia, New York City (and elsewhere), 2010-ongoing.<br />
<br />
Co-Director, UnTwelve Microtonal Music Festival, Chicago, IL, 2007-ongoing.<br />
<br />
Co-Director, Electric Music Collective, 2003-ongoing.<br />
<br />
Producer, Electric Music Collective and University of Minnesota Exchange Festival, at University of Cincinnati, College-Conservatory of Music, April 2004.<br />
<br />
Panelist, Symposium on Experimental Music, SSNOVA, Cincinnati, August 2003.<br />
<br />
Member, Editorial Staff, Organized Sound, spring 2003.<br />
<br />
Director, University of Cincinnati, College-Conservatory of Music, Center for Computer Music, winter-spring 2003.<br />
<br />
Producer, Go.Go.Go, CD collection of works composed at the Columbia University Computer Music Center, 2000.<br />
<br />
Producer, Columbia University Computer Music Center concerts, various venues in New York City, 1998-2002.<br />
<br />
Member, Editorial Staff, Current Musicology, 1998-2002.<br />
<br />
Audio Producer, Columbia University Music Department's Online Sonic Glossary  project, 1998-2002.<br />
<br />
Event manager, IRCAM forum '99 in New York, Columbia University, November 1999.<br />
<br />
Director, Columbia Composers, graduate student composers’ performance group.<br />
<br />
Member, Senior Faculty Composer Search Committee, Columbia University, spring 1996.<br />
<br />
Member, International Computer Music Association, 1996-ongoing.<br />
<br />
Summer Instructor, of composition, piano literature, &amp; chamber music coaching, Luzerne Music Center, Lake Luzerne, New York, summers 1993 &amp; 2000.<br />
<br />
<br />
Dance Collaborations<br />
<br />
Terabyte Breakfast: 4 dancers, speaker, sleeper, runner, pianist, live-electronic and acoustic sounds; made in collaboration with Julie Grinfeld, choreographer; performed on the Barnard College Dance Department Showcase, Miller Theatre, Columbia University, autumn 2000.<br />
<br />
Ooogaaah: Dungeony Specimen Spaceship choreographed by Julie Grinfeld for the Barnard Dance Festival, winter 2000.<br />
<br />
3 works: Duude, Ooogaaah: Dungeony Specimen Spaceship, and Minimalism for Meggie, choreographed by Ana Majewska and Julie Grinfeld for the Barnard Dance Festival, spring, 1999.<br />
<br />
<br />
Summer Festivals<br />
<br />
I-Park arts colony, East Haddam, Connecticut, August 2008.<br />
<br />
Music/Omi arts colony, Omi, New York, summer 2001.<br />
<br />
Saarbrucken Contemporary Music Festival, Saarbrucken, Germany, 1998.<br />
<br />
Bowdoin  Summer Music Festival, Bowdoin, Maine, 1996.<br />
<br />
<br />
Computer Applications (music-related) Knowledge<br />
<br />
Audio Mixing and Production: ProTools, Logic Pro, Digital Performer, Ardour<br />
Audio editors: Peak, Audacity, mxv, etc.<br />
Final Cut Pro<br />
MAX/MSP, Pd<br />
MusicX:  RTCMIX / Csound<br />
IRCAM-forum applications: AudioSculpt, OpenMusic<br />
Metasynth<br />
Notation applications: Finale, Score<br />
<br />
<br />
General Computer Languages/software Knowledge<br />
<br />
FILEMAKER (Certified Developer)<br />
HTML/CSS<br />
PHP<br />
SQL<br />
LISP<br />
C<br />
UNIX / LINUX<br />
<br />
<a class="wiki_link_ext" href="http://music.columbia.edu/~chris/" rel="nofollow">http://music.columbia.edu/~chris/</a></body></html>