editing disabled


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/