Emeritus Faculty

Professor Emeritus of Music

Professor Emeritus; Classical Guitar

Biography

John Doan is an Emmy Nominee and pioneer of playing the guitar with twenty strings for which he recently was awarded the International Brand Laureate Award for "World's Leading Harp Guitarist." As Associate Professor of Music he has shared his passion for learning and teaching at Willamette University since 1977. The courses he teaches focus on guitar performance and American music. He also has a unique collection of historical guitars and related instruments which he shares with his students who have interest in playing the renaissance lute, vihuela, baroque guitar, baroque lute, early classical guitar, and harp guitar. Several of his students have gone on to having careers in music.

Off campus John has performed with a diverse range of artists including pop star Donovan, folk legend Burl Ives, jazz ace Larry Carlton, Mason Williams (of "Classical Gas" fame and more), as a member of the New Christy Minstrels with Randy Sparks, among others and his virtuoso playing and arranging has attracted praise from no less guitar luminaries than Chet Atkins and Doc Watson.

His recordings on Hearts O' Space Records have been nominated for "Best Celtic Album of the Year" with Eire - Isle of the Saints winning that title. His music has also been featured on numerous prime-time television and movie productions including Walt Disney, HBO, among others. He starred in two Public Broadcasting television specials seen on PBS with his "A Victorian Christmas with John Doan" receiving an Emmy Nomination for "Best Entertainment Special of the Year." Other video productions include “A Celtic Pilgrimage”, “Live at Deepwood”, and “In Search of the Harp Guitar.” John also hosted an International Harp Guitar Festival at Willamette University in Salem, Oregon. The music on John's recent recordings "The Lost Music of Fernando Sor" (the world’s first recording of Sor’s harpolyre music) and “Homage to Fernando Sor” are featured in his new touring show chronicling the life and times of the fabled “Father of the classical guitar.”

• "John returns audiences to a time when we use to dream before movies did that for us." – Mason Williams
• "I have no idea where I have been for the past several minutes! What incredible music you make!" – Doc Watson
• "John's music is simply beautiful. No, it is more than that, it is heavenly!" – Burl Ives
• “I was captivated and enchanted by your tremendous Homage to Sor performance. The imaginative kinship this immersion engendered, was truly elegant, interesting and inspiring.” – Dr. King, Chair, Music Department, Willamette University

For more information on John's music activities go to johndoan.com

Recent Publications

February 2017 - Article: "In Memoriam: Jim Forderer" - Journal of American Lutherie (Quarterly Journal for Guild of American Luthiers), pages 69-70

March 13, 2017 – National Public Radio (200 stations) "Hearts of Space" features "Into the Quiet" in program

August 19, 2017 - "The Lost Music of Fernando Sor – Transcriptions of Harpolyre Music for Guitar," 125 pages

April 2018 – "Heartwood" recording "Farewell" on first 6000 year old Bog Oak guitar by Gary Southwell, England

Released CDs

Doan, John. December 8, 2016 - Recording: "Into the Quiet" Harp Guitar Solo Album, Wavelength Studios, Salem, Oregon

Performances

May-June 2018, Six Week Concert Tour in France, England, Germany, Belgium, Austria, and Switzerland

Awards

August 5, 2014 Kuala Lumpur, Malaysia - The Brand Laureate Award for "World's Leading Harp Guitarist"

April 29, 2018 Willamette University All Greek Awards "Professor of the Year"

Papers Presented at Conferences and Guest Lectures

June 22-25, 2017 Salem, OR – Hosted, Lectures/workshops 10th Annual Harp Guitar Retreat

July 20, 2017, Tacoma, WA – "Instruments of Sor's Time", Guild of Am. Luthiers Conf., Pac. Lutheran University

July 21, 2017, Tacoma, WA – "Sor Instrument Exhibit", Guild of Am. Luthiers Conf., Pac. Lutheran University

October, 24, 2017, McMinnville, OR – "The Evolution of Strings on Guitar" Hillside's "Adventures in Learning"

Professor Emerita, Musicianship and Music History, Women's and Gender Studies

Biography

Marva Duerksen is Associate Professor of Music at Willamette University where she teaches Musicianship and Music History, and courses in Women’s and Gender Studies. Her research, teaching, and performing interests focus on music by women composers and women poets, with special emphasis on the vocal music of American composer, Libby Larsen and more recently, on musical settings of American poet Emily Dickinson. In spring 2008, with funding from the University of Oregon’s Center for the Study of Women in Society, Duerksen and soprano Ann Tedards, from the University of Oregon, presented recitals of Larsen’s music at the University of Massachusetts-Amherst, Bowdoin College, and Brooklyn College of the City University of New York. In 2009 she released with Tedards a CD on the MSR Classics label, WomanSpirit: Songs by Libby Larsen. In January 2013, with soprano Christine Elder, Duerksen recorded Larsen’s Me, a song cycle based on the autobiography of Brenda Ueland. The recording, for which Larsen served as producer, is available through cdbaby. In 2015, she presented with Christine Elder a recital highlighting Dickinson settings by composer Lori Laitman, and Langston Hughes settings by A Ricky Ian Gordon. Recent scholarly presentations—“Reading and Hearing Emily Dickinson: Poetic and Musical Prosody in Art-Song Settings 1920-1980,” and “Proleptic Rhetoric and Survival of the ‘Self’: Composers On Dickinson’s “I heard a Fly buzz”—apply literary analysis  to composers’ musical settings of Dickinson.     

For her doctoral studies at City University of New York, Duerksen was awarded a prestigious Gilleece Fellowship as well as a doctoral fellowship from the Social Sciences and Humanities Research Council of Canada. For her Master’s Degree in piano performance, Duerksen studied with Stéphane Lemelin; in her doctoral work, Leo Treitler, Richard Kramer, Joseph Straus, and Joel Lester were her primary teachers. Before coming to Willamette in 2001, she taught basic and advanced music theory at Queens College, City College, and Hunter College, all of the City University of New York, and at the University of Massachusetts-Amherst, where she served as Visiting Professor of Music Theory.

Education

• Bachelor of Music, with greatest distinction, Brandon University
• Master of Music in Piano Performance, University of Alberta
• Ph.D in Music Theory, Graduate School and University Center of the City University of New York

Released CDs

Duerksen, Marva, and Christine Elder. Me. 2015. Audio Recording.

Professor Emerita; Piano

Biography

Born in Buffalo, New York, Anita King earned degrees from the Oberlin Conservatory and the University of Iowa where she completed her Doctor of Musical Arts in Performance and Pedagogy in 1981. She is currently Professor of Music Emerita at Willamette University.

A winner of several piano competitions, King has appeared as piano soloist with the Omaha Symphony, the Fort Wayne Philharmonic, the Pueblo Symphony, the Oberlin Orchestra, the University of Iowa Orchestra, and the Salem Chamber Orchestra. As pianist for the Iowa Center for New Music King was piano soloist in the Berg Chamber Concerto. King performs frequently as soloist and chamber musician and has collaborated with such artists as cellists Fred Sherry and Nancy Ives, clarinetist David Shifrin, the Ridge String Quartet, sopranos Barbara Pearson, Susan Narucki, Nancy Zylstra, and Allison Swenson. King was a member of Trio Northwest (piano, violin, cello) in residence at Willamette University from 1986-1997. As winners of the U.S. Information Agency “Artistic Ambassador” auditions, the Trio toured South America, performing 23 concerts and presenting master classes in 5 countries.

King joined the faculty of Willamette University in 1981 and has taught piano, accompanying, chamber music, advanced music analysis courses, and, more recently, the Alexander Technique. She has also participated in interdisciplinary teaching that reflects her interest in the relationships between the arts. In 1989 King won the prestigious Graves Award which sent her to England to pursue an intensive study of Shakespeare. In 1993 and 1995 King presented a series of public lectures on Schubert’s song cycles, Die Schone Mullerin and Winterreise in which she explored the relationship of poetry to music. She performed both cycles with baritone, Julio Viamonte. In 2008, King was visiting professor for Willamette’s ILACA program in London where she taught a rollicking course on the operettas of Gilbert and Sullivan. In addition to her teaching duties, King served as artistic director of the Grace Goudy Distinguished Artists Series at Willamette University from 1983-2015.

Since 1997, King has been immersed in the field of kinesthetic re-education as it relates to musicians’ health. King began studying with Barbara Conable in the spring of 1998 and became a certified Andover Educator in the fall of 2000. She has been a certified teaching member of Alexander Technique International since 2003. King created a college course for musicians (offered every year at Willamette University) on Body Mapping and the Alexander Technique. She has been a frequent presenter of workshops for musicians throughout the U.S. Her groundbreaking presentation, “Understanding Music’s Multiple Levels: Creating the Foundation for Interpretation and Movement” intimately connects her research into musicians’ movement with her Schenkarian approach to understanding musical structure. She has given this presentation and related workshops at the Two-Piano Institute of the Ernest Bloch Festival, the Oberlin College-Conservatory of Music, Akron University, the Universities of New Hampshire and Las Vegas, the Hawaii International Conference for Arts and Humanities, Andover Educators International Conference, Alexander Technique International Annual General Meeting, the Berklee College of Music Performance Wellness Institute, for music teachers’ organizations throughout the northwest and most recently for musicians and Alexander Technique teachers in Geneva, Switzerland and Burgundy, France.

Anita performed Brahms’ Piano Concerto No. 2 with the Salem Chamber Orchestra in April, 2014 and in November served as adjudicator for the Montana State OMTA Competition and Festival. She will return to Montana in 2015 as clinician for the MSMTA Fall Festival.

Professor Emeritus, Choral Music

Biography

Growing up in Tucson, Arizona, I thought I wanted to be a stockbroker. To that end, I entered the University of Arizona as a business/economics major. Boy, did I have a wrong number!

Since I had been involved in music for as long as I could remember (I led singing in church when I was eight years old), I enrolled in Chamber Choir at the U of A. I looked at music as my avocation, never as a career possibility. Then I had the privilege of singing under the direction of John Bloom and my world changed forever. I continued my studies there with David Wilson, Jean Berger and Maurice Skones, and soon Wall Street was forgotten, as I became aware of the beauty, drama, emotion, and sensitivity of great choral music performance. I wanted to perform, and even more, I wanted to conduct. The attraction for taking great literature, interpreting and understanding it, bringing performers into the magic of it with me, and then giving it as a gift to an audience, has never wanted for me. When I discovered the satisfaction of awakening students to the joys of choral music, my life's work was determined.

I have served as Director of Choral Activities at Willamette University in Salem, Oregon, since 1983 and Music Department Chair from 1994- 2001. It has been a great 27 years. In my highly prejudiced opinion, there simply isn't another profession with the variety of ways to practice your craft, and the remarkable and frequent opportunities to feed your soul. I am so fortunate to look back at recording CD's in France and performing in Carnegie Hall as a member of the Festival Singers of the great Robert Shaw, conducting the Willamette Singer's in the Imperial Hotel Ballroom in Tokyo, and singing with Male Ensemble Northwest for my colleagues at the American Choral Director's National Conference in Washington, D.C. I have conducted the all-state choir in Kansas and Wyoming and have had both my classical choral and vocal jazz groups invited to perform at national conferences in Boston, New Orleans, Chicago, and Indianapolis. My greatest personal satisfaction, however, still comes from seeing my student's faces, at that exact moment when they understand the meaning of the text and the beauty of the music, and it all comes together for them. There is nothing else quite like it and I wouldn't trade those moments for anything in the world.

Professor Wallace Long Jr., Director of Choral Activities; B.M., M.M., A. Mus. D., University of Arizona; taught choral music in Tucson, Arizona, before coming to Willamette; performed professionally with the Robert Shaw Festival Singers in France and Carnegie Hall and performs with Male Ensemble Northwest including compact disc recordings and an honorific performance at the American Choral Directors Association's National Conferences in Washington, D.C. and San Antonio, Texas; past president of the Oregon chapter of American Choral Directors Association; Guest Conductor, Kansas All-State Choir, Wyoming All-State Choir, Fairbanks Festival of the Arts, Northwest American Choral Directors Association Honor Chair.

Released CDs

Long, Wallace, and the Willamette Singers. First Train Home. 2017. Audio Recording.

Long, Wallace, and the Willamette Singers. Green Garden. 2017. Audio Recording.

Performances

Long, Wallace. Festival Finale. Performance at Bangkok International Choral Festival. Bangkok, Thailand. 2016. Guest Conductor and Performer.

External Awards

Wallace Long, Music. Faculty Mentor, Best Large Undergraduate Vocal Jazz Ensemble for Willamette Singers’ CD “Green Garden”, 2017 DownBeat Magazine Student Music Awards, June 2017

Professor Emeritus
Specialty: Cellist

Biography

For me, music is more a way of life than a discipline. I know history through research into the lives and techniques of the composers and those around them. I know math through the study of acoustics and through dealing the complexities of rhythm. I know foreign languages again because research into music, especially in music theory. I know psychology through coming to grips with the late works of Beethoven and the letters between Mozart and his father. I know religion and philosophy through a wide range of pursuits from Rameau's 18th century treatise on music to the 20th century musings of Messiaen & Cage. Of course, I first learned these subjects the normal way, that is in classes, but I came to know them as they revealed themselves in my life in music. If you wish to know more than "just" a scholar or "just" a musician, then Willamette University is the place for you. Here we think that complete people are those who can see the relevance of classroom learning to their life's experiences.

My life's experiences have taken me from Vermont, where I was a student of Ellen Arrigo and George Finckel. They both taught me how to play the cello, but George also introduced me to the life of a musician and expanded my vision of what music could be. My lessons with George started Friday after school and ended Sunday evening. In the breaks, we would read Thoreau and Emerson and ponder the significance of Michaelangelo's David. The weekend of a lesson often included listening to the Estival String Quartet in rehearsal and attending concerts. In short, I found that a life in music was more than working alone with my cello.

From there I went to the Oberlin Conservatory of Music where I studied with John Frazer and George Neikrug. At Oberlin I continued the eclectic interests now firmly rooted in me. Later, at the University of Texas in Austin, my interests were more focused on developing the traditional disciplines of cello playing, but seeds of relevance were always there causing me to question everything, making sure I knew the whys as well as the hows. At Willamette University I try to instill the same kind of restless curiosity in all my students. I resist the student's question of "How?" and try to trick them to ask themselves "Why?". When students finally come to accept that there are no absolute answers to either question, I know that they are prepared for a life in music. For being comfortable with knowing that the answers are in a constant state of flux means that one can be confident with ones own ability to meet all of life's questions.

Professor Emeritus Bruce McIntosh, Cello and Music Theory. M.M. from the University of Texas in Austin; B.A. Oberlin Conservatory; former member of Trio Northwest; studied cello with George Finckel, John Frazer, George Neikrug; additional studies with Nathaniel Rosen in Nova Scotia and John Hsu at Cornell University; studied conducting with Harold Farberman; formerly Artist-in-Residence at Franconia College in New Hampshire, past Principal Cellist of the Portland Opera Orchestra.

Irene Gerlinger Swindells Professor Emeritus of Music, Music Technology, Improvisation & Jazz Studies
Specialty: Creator and director of the Willamette University Music Technology Studios

Biography

Mike's teaching is guided by his ongoing work as a performer and recording artist on guitar and electronics. He focuses on improvised work, with a particular interest in interdisciplinary collaboration. Current projects include the music and dance theater group Noru Ka Soru Ka, a free improvisation dance and music collaboration with Makoto Matsushima, an instrumental duo with percussionist Georg Hofmann, and Trio Untold, a jazz and free improvisation group with James Miley and Ryan Biesack. His most recent recording is Trio Untold (2018) on PJCE records.

Passionate about teaching in a range of settings, Mike has given or collaborated on workshops and clinics in the US and abroad for organizations including the Korea National University of the Arts (Seoul Korea), Jeju International Improvisational Dance Festival (Jeju, Korea), Theater Horizon (Hong Kong), Konservatorium Winterthur (Switzerland), Performing Arts Institute (Tokyo, Japan), Tokyo Sports Science University (Tokyo, Japan) Kathmandu Jazz Conservatory (Nepal), City Contemporary Dance Company (Hong Kong), Aalener Jazzfest (Germany), Escuela Nacional de Musica, Universidad Nacional Autonoma de Mexico; (Mexico City, Mexico). Jugendmusikschule Zurich, Hochschule fur Musik Zurich (Switzerland).

Recent electronic composition collaborations have included the installation piece Vortices with artist Ann Kresge, and poet Dawn Diez Willis, and The Alchemist  a score for choreography by Makoto Matsushima at the Korea National University of the Arts.

Education

• B.A. Music (SUNY Buffalo, NY); M. M. Jazz and Commercial Studies (Manhattan School of Music, NY) ; Ed.M, Ed.D., Music and Music Education, (Columbia University, NY).

Published Recordings

• Trio Untold (2018) with James Miley (keyboards) and Ryan Biesack (drums) Portland, Oregon: PJCE Records (PJCE 034)
  
  
• “tree, wind, and flowers”(2015) with Georg Hofmann (percussion) and Andreas Stahel (flutes, voice). Newton Abbot, England: Leo Records (LR 747)
  
  
• “Music of Noru Ka Soru Ka” (2013) Mike Nord, Georg Hofmann, Makoto Matsushima
  Newton Abbot, England: (Leo Records LR 680)
  
  
• “ ….eeeasy…Live at La Fourmi” (2011). Noru Ka Soru Ka-Take the Leap. Independent release DVD. Switzerland: Dingo and Fox Productions
  
  
• “The Flow: Music for Improvised Dance” (2010) Mike Nord, Georg Hofmann
  Newton Abbot, England: Leo Records (LR 561)
  
  
• Six Etudes (2007) Noru Ka Soru Ka.  Independent release DVD.  Salem, OR: Willamette University
  
  
• “Biosphere” (2006) Carr Nord Hofmann Maddox. Newton Abbot, England: Leo Records (LR 456)
  
  
• Computer World Podcast  (2006). Incidental music.
  
  
• “In Walks Art”  (2004). Carr  Nord Hofmann with Art Maddox and Randy Kem. Newton Abbot, England: Leo Records (LR 401).
  
  
• “Frame Drumming” Free Hand Style (2000). with Peter Fagiola. Milwaukee, WI. :Hal Leonard.
  
  
• "Along the Edge" (1999). Carr  Nord Hofmann. Aachen ,Germany: Nabel Records.
  
  
• "Coast to Coast". (1997). Carr Nord  Hofmann. Aachen ,Germany: Nabel Records.
  
  
• "NYZ" (1988).  Basel, Switzerland: Pink Seven Records.

Selected Live Performance on Guitar and Electronics

Makoto Matsushima Mike Nord. Improvisational music and dance duo collaboration. Theater Horizon, (Hong Kong) 2018.  Korea National University of the Arts (Seoul, Korea 2018) Jeju International Improvisational Dance Festival, (Jeju Island, Korea, 2018)  Tours in Japan including tv broadcast (2012, 2015). Performances in US 2010, 2017. Interactive performance with art installation by Adam and Rosalyn Rothstein (juror Amanda Wojick) at Project Space Gallery, Salem, OR. Performances in Hong Kong Peoples Fringe Festival 2012.

Mike Nord and Georg Hofmann with Andreas Stahel.  Improvisational trio with Georg Hofmann (percussion) and Andreas Stahel (flutes, voice). Tours in Switzerland 2014, 2015. 2016, 2017 US performances 2015, 2016.  Leo Records recording artists.  Studio broadcast for CCTV, Salem, OR

Trio Untold (Willamette Underground Trio): improvisational electric/electronic free jazz, Quintet: original jazz compositions. With James Miley, Ryan Biesack. Tours in Nepal (2012, 2014, 2016).  Performance and recording with North Indian Classical musicians Rabin Lal Shrestha, Prabhu Raj Dhakal, Suresh Raj Bajracharya, and  Milan Tandukar, sponsored by US Embassy in Nepal and Kathmandu Jazz Conservatory. Upcoming Performance in Mexico, October 2018

The Meeting Place with Mon Ning Improvisational music and dance duo collaboration.  Hong Kong University. 2015

Noru Ka Soru Ka.  Improvisational inter-art collaboration (music and dance) with percussionist Georg Hofmann and Japanese dancers Makoto Matsushima, Mao Arata, and others (performances in Japan, 2006, 2012; the US, 2007, 2009: 2011, 2013; Switzerland 2011, 2012, 2013; China, 2013.  Festival appearances include OGGImusica, Shenjzhen Fringe Festival) Collaborations with visual Artist Ann Kresge, Recordings for Leo Records (CD), Dingo and Fox Productions (DVD). 

Lawson Inada/Mike Nord (2006, 2015)  Improvisational inter-art collaboration with Oregon State Poet Laureate.  Loucks Auditorium, Salem, OR; Willamette University, Salem, OR 

Ride On (2014) Improvisational inter-art collaboration with Tokyo-based dancers Mao Arata, Baba Roa, and Asuka Kanemori.  Additional music performance with Miho Igi and Kuri (Japan) and Thambunesia (Indonesia) AsiaTri Jogja Festival, Yogyakarta, Indonesia.

3 Montag Series (2012) Invited guest for improvisational music and dance collaboration series.  With Andrea Boll, Hideto Heshiki, Mao Arata (dance) and Andreas Staehel (voice, flute).   TanzHaus Theate  Zurich, Switzerland

100 y 200 Años de Kitsch en Mexico (2010) Improvisational inter-art performance work at Cabaret Voltaire, the “birthplace” of Dadaism in Zurich, Switzerland.  International cast with visual projectionist Doris Steinbichler (Austria), actor Nestor Falls (Cuba) dancer Tonatiuh Ruiz (Mexico), dancer/actress Mercé de Rande ( Spain), percussionist Georg Hofmann  (Switzerland)

The Flow (2010) Improvisational inter-art collaboration with percussionist Georg Hofmann and dancers Hideto Hishiki and Merce deRande (performances in Switzerland)

Noh Sound Silence (2009). Improvisational work inspired by the Noh drama Futari Shizuka. With Mark Powers (percussion) and visiting Japanese artists Kumi Nakajima (violin), Miki Sugiura (voice). Willamette University, Salem OR

Footprints (2008) Improvisational Inter-art collaboration (music and dance) with percussionist Georg Hofmann and dancers Nurya Egger and Hideto Heshiki (performances in Basel, Zurich, and Winterthur, Switzerland) Recording for Leo Records

Carr Nord Hofmann Maddox (2003-2010) as  Carr  Nord Hofmann  (1995-2003 Nabel Records artists).  Original Jazz Compositions.  Recordings, broadcasts,  educational outreach, Numerous tours including Japan, Switzerland, Germany, U.S, Mexico.  Festival Appearances: Aalen [Germany]  Jazz Festival; Festival Internacional Cervantino [Mexico] 1; Music on the Mountain [US]; Koetzting Kultursommer [Germany. Radio and television concert broadcasts (US, Mexico).  Collaborations with other musicians including, Christoph Baumann, Robert Dick, Hans Koch, Steve Gorn, Randy Kem. Recordings for Nabel Records, Leo Records

Why. (2006). Composer/performer.  Original work for flute, piano, electric guitar, and sampled voices.   New Music at Willamette concert. Willamette University, Salem OR

Crossing Borders  (2004). Composer/performer. Intermedia tour in Mexico (2004) with video/print artist Ann Kresge and musicians Remi Alvarez and Georg Hofmann.  Participation in Sin Compás improvised music festival.  (see also  Recorded Compositions in Multimedia Installations)

“From Raga to Downtown” (2003).  Improvisational music recital with Steve Gorn (bansuri flute) and Benjy Wertheimer (tablas).  Willamette University, Salem OR

Recorded Compositions in Multimedia and Interdisciplinary Settings

            Functions: The Alchemist (2018) MIDI sequenced score for dance.  Commissioned by Makoto Matsushima for performances at the Korea National University of the Arts.  Seoul, Korea

            Vortices (2015) electronic soundscape for Inter-art collaboration with visual   artist Ann Kresge and poet Dawn Diez Willis. Andrew Myers, juror.  Project Space Gallery.  Salem ,OR.

            Landscapes (2014).  Text-based electronic soundscape for Inter-art collaboration with visual artist Ann Kresge.  Project Space Gallery.  Salem ,OR.

            Fury (2010).MIDI sequenced score for dance.  Commissioned by Matthew Nelson.   Performances at People Dance, Willamette University, Salem OR (2011) and at the American College Dance festival NW Regional Conference (2011)

           Healing Forest (2009). Gallery Installation (juried) , Created electronic soundscape for inter- media  collaboration with visual artist Ann Kresge.  Royal Nebeker, Juror.  Project Space II Gallery. Salem , OR

          Dervish  Collaboration with artist Alexandra Opie.  Video with electronic music.  George Fox University Art Gallery (2008). Willamette University Library faculty Research  Showcase (2008)

         Buy Simplify Collaboration with artist Alexandra Opie.  Video with electronic music.  George Fox University Art Gallery (2008).

          Crossing Borders  Collaboration with artist Ann Kresge DVD -projected installation.SAA Project Space , Salem OR (2008), Bush Barn Arts Center, Salem OR (2007). PAN Gallery. Portland, OR (2005), Midwest Information Technology Center/National Institute for Technology in Liberal Education Media, New Symposium (2005),

         Layers of Mystery” (1995). MIDI Sequence and digitally manipulated audio.  Intermedia  video/music/sculpture installation.  Widow Jane Mine,  Rosendale  NY

Conference Presentations

Arts Integration: How, What, and Why.  Arts Integration Conference for Educators: Create Integrate, Explore (Lane Arts Council).  Eugene, OR 2017

Improvisational Music and Dance: Finding Each Other.  With Matthew Nelson. National Dance Education Organization, International Guild of Musicians for Dance, American Dance Therapy           Association joint meeting. Minneapolis, Minnesota, 2011

MainStage 0n Stage: An Electronic Performer’s POV. College Music Society/Association for Technology in Music Instruction joint meeting.  Atlanta, GA 2008

Electro meets Acoustic: Improvisations for Violin and MIDI equipped Electronic Guitar with Laptop Electronics. With Richard Carr and Richard Hornsby. College Music Society/Association for  Technology in Music Instruction joint meeting.  Atlanta, GA 2008

Invited Panelist: Lab management session: Association for Technology in Music Instruction/College Music Society. Salt Lake City, UT 2007

Language Learning and the Arts: Digital Music Composition As A Means to Language Expression. With W. Gregory and M. Danan. International Conference on the Arts in Society. Edinburgh, Scotland 2006

Crossing Borders: Process and Product from the Music and Visual Artists’  Perspectives.  With Ann Kresge. Invited presenter.  Lafayette College Music and Technology Workshop.  National Institute for Technology in Liberal Education. Easton, Pennsylvania.  2006.

Sustaining Faculty Collaboration: Lessons from (and for) the West Coast Technology Project. Invited roundtable participate. With Kristine Bartanen, Alex Wirth-Cauchon and Brenda Barham-Hill.  Association of American Colleges and Universities, Learning and Technology: Implications for Liberal Education and the Disciplines.  Seattle, Washington. 2006.

Interactive Performance Collaborations for Digital Artists.  Invited presenter. National Institute for Technology in Liberal Education. Lake Forrest,  Illinois 2006

Crossing Borders: Multi-dimensional Media Collaboration. College Music Society/Association for Technology in Music Instruction joint meeting.  Quebec City, Canada   2005

Intermedia: Improvisation meets Digital Media Live!.  Invited speaker/facilitator for Music Session. Midwest Information Technology Center/National Institute for Technology in Liberal Education Media, New Symposium.  Grinell, IA 2005

Digital Music and Animation:  A Music and Computer Science Co-Curriculum Model Midwest Information Technology Center/National Institute for Technology in Liberal Education Media, New Symposium.  Grinell, IA 2005

Digital Music Techniques Meets Animation: A Co-Curriculum Model.  College Music Society/Association  for Technology in Music Instruction joint meeting.  San Francisco,  CA.  2004

Transitions: A Professional Development Model for Collaborative Multimedia Creation w.  with G Orr.  Ed-Media World Conference on Educational Multimedia, Hypermedia & Telecommunications. Honolulu, HI 2003

Classroom, Lab, and Technology:  An Integrative Approach to Music Theory Instruction, with M. Duerksen. Northwest Regional Conference of the College Music Society.  Portland, OR 2003

Passing On the Composers Art: Curriculum for Creating Music through Technology.  Technology Institute for Music Education, Music Educators National Conference Biennial. Nashville, TN.  2002

Curriculum, Competence, and Confidence: A 3C Approach to Teacher Preparation for Technology-integrated Practice.  Society for Information Technology and Teacher Education International Conference.  Nashville, TN.  2002

The Other Conversation: Teaching Practice and Music Technology. Technological Directions in Music Learning Conference : Institute for Music Research.  San Antonio, Texas.  2002

Creating a Music Technology Lab: Lessons from the Front. Technological Directions in Music Learning Conference : Institute for Music Research.  San Antonio, Texas.  2001.

Constructing a Toolkit for Creativity-based Music-integrated Interdisciplinarity. College Music Society, Northeast Regional Meeting.  Potsdam, NY.  1999

Music In The Classroom (MITC): A design model for the creation of WWW based distance learning resources for professional development.  Technological Directions in Music Learning Conference : Institute for Music Research.  San Antonio, Texas.  1999.

Music In The Classroom (MITC).  Research Poster Session.  Music Educators       National Conference, Eastern Division Meeting.  New York, NY.  1999.

Constructing Music Concepts through Improvisation.   Lecture-Recital. Northeast Regional Meeting, College Music Society.  Albany, NY.  1998.

Jazz Lecture-Recital. Mohonk Cultural Seminars  Lake Mohonk, NY.  1993.

Performing  Arts Presentation.  Conference on Interdisciplinary Curricula, General Education and Liberal Learning.  New Paltz, NY. 1993.

 

Selected Workshops/Seminars Presented

Functionen in Movement Improvisation.  With Makoto Matsushima. Musical accompanist and collaborator.  Workshop in Improvisation Movement with Actors and Directors as part of “New Directors’ Movement.”  Theater Horizon, Hong Kong (2018)

Free Improvisation for All Instruments: Workshop for advanced music students.  Konservatorium Winterthur, Winterthur Switzerland 2015, 2016, 2017

Improvisation masterclasses (multi-day, multi Topic) with Willamette Underground (James Miley, Ryan Biesack, Mike Nord,)  Kathmandu Jazz Conservatory, Kathmandu, Nepal. 2016        

Jazz Guitar performance clinic (multi-day).  Kathmandu Jazz Conservatory, Kathmandu, Nepal 2016

Active Listening for Improvising Dancers: City Contemporary Dance Company (CCDC) Hong Kong. 2015

Music Teacher Training Seminar.  Multi-session workshop. Nepal Music Educators’ Society (NMES).  Kathmandu Jazz Conservatory. Kathmandu Nepal 2014

Faculty Training. Multi-session workshop. Kathmandu Jazz Conservatory. Kathmandu, Nepal  2014

Jazz small group performance coaching. Kathmandu Jazz Conservatory. Kathmandu, Nepal 2014

Jazz Guitar.  Multi-session workshop. Kathmandu Jazz Conservatory. Kathmandu, Nepal 2014

Free Improvisation for All Instruments: Workshop for all musicians.  Peoples Fringe Festival, Hong Kong 2013

Free Improvisation for All Instruments: Workshop for advanced music students.  Konservatorium Winterthur, Winterthur Switzerland 2013 

Free Improvisation for All Instruments: Workshop for advanced music students.  Konservatorium Winterthur, Winterthur Switzerland 2012

Working with Music and Musicians in Free Improvisation: Workshop for advanced dance theater students at Pappa Tarahumara Theater Company/Performing Arts Institute, Tokyo, Japan (with Makoto Matsushima). 2012        

Public Lecture/ Performance for Nichinan  International Cultural Exchange organization (with Makoto Matsushima).  Nichinan Cultural Center, Nichinan Japan  2012

Improvisational Music and Dance: Matt Nelson/Mike Nord. Workshop and performance.  Winona State University.  Winona, Minnesota. 2011

Approaches  to Improvisation :A 3-part workshop for Classical Musicians Konservatorium  Winterthur. Winthur, Switzerland  2011

Approaches  to Improvisation :A 3-part workshop for Classical Musicians Konservatorium  Winterthur. Winthur, Switzerland  2010 

Approaches  to Improvisation :A 3-part workshop for Classical Musicians Konservatorium  Winterthur. Winthur, Switzerland  2008

Digital Music Workshops.  Creativity Across the Curriculum Conference.  National Institute for Technology in Liberal Education.  Willamette University, Salem, OR 2008

Plenary . Creativity Across the Curriculum Conference.  National Institute for Technology in Liberal Education.  Willamette University, Salem, OR 2008

Composition As A Means to Language Expression: A Case Study of WU-TIUA Collaboration. With  W. Gregory.   Faculty Colloquium.  Willamette University, Salem OR.  2006

Digital Music Technology: New Capabilities/New Works Institute for Continued Learning.  Invited Lecture.  Willamette University, Salem OR.  2006. 

Crossing Borders: Improvisation  meets New Media. Clinician:  International Association  for  Jazz Education  International Conference.  New York.  2006

Contemporary approaches to Jazz  performance and composition.  Institute for Continued Learning.  Invited Lecture.  Willamette University, Salem OR.  2005.

A New Model for Interdisciplinary Teaching and Collaboration in Multimedia. With  G. Orr.  Faculty Colloquium.  Willamette University, Salem OR.  2005

Approaches to Free Improvisation  - A hands-on workshop for all Instrumentalists.  Escuela Nacional de Musica, Universidad Nacional Autonoma de Mexico.  Mexico City, Mexico.  2004

Sound Design with BIAS Peak.  Oregon Technology Education Network(OTEN)  PT3 Winter Conference.  George Fox University, Portland, OR. 2004. 

The Arts and War: Music.  Willamette University teach-in Willamette University, Salem OR. 2003

Free Improvisation  Master classes.  Carr Nord Hofmann artists residency. Paul G. Allen Foundations Fund for Music grant. Willamette University, Salem OR. 2003

Irene Gerlinger Swindells Professor Emeritus of Music, Composition

Biography

External Grants and Fellowships

John Peel, Music. Visiting Artist Residency, American Academy in Rome, to compose the opera Neron Kaisar, May 2016.

Professor Emeritus; Violin

Biography

I began studying violin at the age of six with a teacher who had emigrated from Odessa in the USSR. His nephew began violin around the same time, and the two of us became friends and often got together on Saturday afternoons to listen to records together. He would play something that he loved, but I didn't know, and I would do the same. In short, we reinforced each other's passion for music.

I majored in violin performance in both undergraduate school at the Oberlin Conservatory, and in graduate school at the University of Iowa, and took a two-year stint in between at the University of Chicago to perform contemporary music as a Rockefeller fellow. I also played with a number of orchestras in Chicago, including the American Ballet Theater, the Grant Park Symphony, and a "pickup" orchestra that played under Igor Stravinsky as part of his series of farewell concerts. My years in Chicago gave me the opportunity to compare the life of a free-lance musician with that of an academic. I discovered that there were too many interesting ways of being involved with music to limit myself strictly to playing it. My first long-term appointment was with the Delos String Quartet in which I served as first violinist from 1973 to 1986. The Delos was in residence at the University of Delaware, and since I was the only member of the ensemble with a doctorate, I got to teach Music Appreciation to approximately 230 students for fifteen semesters.

During the decade from 1981 to 1990, I was fortunate to do quite a bit of international touring, first with the Delos Quartet, which went on seven European tours, and later with Trio Northwest, the faculty trio at Willamette University, which toured South America for two months. Finally I was sent by the USIA to the middle east for six weeks as a violin soloist, and just barely got out of Iraq before the 1990 Gulf War.

My position at Willamette University has me wearing many hats - that of violin and viola professor, that of theory and literature teacher, that of chamber music coach, and that of conductor of the University Chamber Orchestra. After years of focusing on performance, I find that this diversified position suits who I am quite well. It brings me full circle back to those Saturday afternoons as a nine-year old, discovering and helping my students discover the magic that is music.

Professor Daniel Rouslin, Violin/Viola/Chamber Music, B.M., Oberlin College Conservatory of Music; Rockefeller Fellow, University of Chicago; D.M.A., University of Iowa. Formerly first violinist of the Delos String Quartet; has recorded on the Spectrum label, as well as for Crystal Records, North Pacific Music, and the Smithsonian Collection. Member of Trio Oregon and Ensemble East West. Has performed throughout Europe, as well as in South America, the Middle East, Japan, China, and the United States.

Performances

Rouslin, Daniel. Trinity Alps Chamber Music Festival. Summer 2015. Festival violinist.

Rouslin, Daniel. Program featuring Brahms’ Quintet for Piano and Strings. Oregon. 2016. Performer.

Rouslin, Daniel. Recital with Jean-David Coen. Oregon. 2017. Performer.