Christopher Bailey

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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/