I created this site as the leaves in Cleveland began to turn and fall, in October 2017 - several dozen years ago, to judge by my own internal clock. I intended to update the site more frequently than I have, but personal expression and self-promotion alike fell by the wayside as I slipped into regular, interlocking cycles of activity. Prep a lesson, update a syllabus, create an assignment, grade the assignment, repeat; chip away at some part of my monograph project and article, leave some inscrutable comment on how to resume, push ahead, repeat; review a concert, attend three more, repeat.
Along the way, I adapted in real time to the challenges of teaching an inherited graduate-level course, its curriculum and objectives in flux long before I took the reins. I ran a marathon, gave a talk at the annual meeting of the American Musicological Society, pitched my contemporary opera monograph, and truly found my footing as an educator. On paper, Fall 2017 was a solid semester. Yet the work was hardly done.
In Spring 2018, I have continued to teach two courses at Case Western Reserve University: a History of Rock 'n' Roll survey for undergraduate non-music majors, and a required course in the Methodologies of Music History for Master's of Music students at CWRU's neighbor and partner institution, the Cleveland Institute of Music. I've also continued work on my book project, neared completion of the article draft I've been chipping away at, and remained in dialogue with colleagues about a possible essay collection for which I would contribute a chapter. My dissertation digest post appeared on Musicology Now, thanks in no small part to the editorial guidance of Andrea Moore and the entire MN board. I also attended my first-ever Society of American Music annual conference - to hear talks and catch up with colleagues, rather than to give a talk of my own - and wrote my first album review for I Care if You Listen, one of the internet's finest new music blogs. Many thanks to editor-in-chief Amanda Cook for the guidance.
I also broke, however preliminarily, into the world of music journalism! I'm thrilled to be working under the editorial guidance of Mike Telin and Daniel Hathaway of ClevelandClassical.com, an indispensable resource and authoritative guide for classical fans in Northeast Ohio and beyond. In the past several months, I've reviewed performances by the Omni Quartet, the Flanders Recorder Quartet, Earth and Air: String Orchestra, Third Coast Percussion, the CIM New Music Ensemble (playing, among other things, a world premiere by Keith Fitch), the singers, orchestra, and pianist of the Cleveland Opera Theater's New Opera Works Festival, Ars Futura, CityMusic Cleveland with soloist Chabrelle Williams, the Vienna Boys' Choir, Transient Canvas, Jim Jarmusch and Carter Logan's band SQÜRL, Ji Aeri, and the Academy of St. Martin in the Fields Chamber Ensemble. Reviews of solo performances by Paul Galbraith, Lise de la Salle, and Wu Man will come out later this week and next. Of all of these, professional and student alike, the highlight had to be Oberlin Opera Theatre's performance of Du Yun's Angel's Bone - a piece that will play a crucial role in my book project.
It's been challenging to keep up with everything, and I've certainly wanted for sleep some weeks. However, I don't know that I'd want it any other way. This term, a number of scholars with whom I went through graduate school have defended or will defend their own dissertations. I enjoy doing my own work and taking on new tasks, but I also love to see my friends succeed. This, as much as any professional advancement, will energize and motivate me over the coming weeks. Check out my new portfolio page while you're here - it's a guide to my life as a scholar and educator right now, from syllabi and a CV to links to my various social media accounts. I'll try to post again soon. Until then, enjoy some amazing music!