FAQ for All My Courses

Where can I find __________?

In general:

  • Howdy (http://howdy.tamu.edu) stores all syllabi and faculty curricula vitae (cv) to comply with Texas state law.
  • eCampus (http://ecampus.tamu.edu/) stores any materials that are sensitive because of academic integrity (e.g., tests, study guides), federal privacy law (e.g., grades), or intellectual property laws requiring limited distribution, as well as files needing other kinds of special handling (e.g., large file downloads).
  • This website will store most other materials not described above.


Where can I get help with __________?

  • For help with this website or any problems specific to this class only, e-mail your instructor.
  • For help with any facilities inside the College of Liberal Arts: click here
  • For help with eCampus, contact Instructional Technology Services: click here
  • For help with Howdy or TAMU internet connectivity, contact Help Desk Central: click here


What do you do at TAMU / What kind of music do you compose?

As a professor at TAMU, my job is to create new research and creative work, present it in internationally prominent venues to raise TAMU’s profile, and—since TAMU is a Tier One Research University—to bring students in on the intellectual frontiers I explore, as much as possible. (This course is taught with the assumption that this is why you are here.) Here is some of my work toward this goal.


What music do you find inspiring?

This is not because this course is about this music, and it’s not my goal to get you to like this music too. I just get asked about this occasionally. It’s a playlist, so skip around as you like.




ZenMan X Performance for Video at Texas A&M University

Screen Shot 2016-08-14 at 4.59.24 PMIn fall 2010, German Cellist Ulrich Maiß collaborated with TAMU students to create a full concert of new works using technology and improvisation as part of his ZenMan touring program. (Click here to see that performance.)

In spring 2016, Maiß returned to TAMU on his ZenMan X tour. Inspired by the recent release of performance materials by cellist and performance artist Charlotte Moorman, and reflecting on the fact that her work can now be experienced only through its documentation, often scant and poor in quality, Maiß and TAMU’s students created works of “performance for video”—live performances that consider all aspects of the live moment, created with more than just pitches and rhythms, works that were necessarily written for cello (or cellist) in some way, and whose significant features can still be experienced through its video documentation.

The entire performance is below in program order. Click each composer’s name to read artistic statements and portfolios of research, development, and creative work leading up to the creation of this performance. Continue reading

Related posts:

Technical Rider, part 2 and Rehearsal and Shoot Plans

In addition to your continuing weekly progress reports reflecting any project-specific instructions and advice given in class (mock up recordings of your pieces!), include a the following in your next progress report, due at class time, Tuesday, April 19. Progress report is due Tuesday, April 19, but since I emailed you late about this post, you can take until class time Thursday, April 21 if you need.  Continue reading

Notes from 3/10/2016

Useful search phrase: “Extended techniques for cello”

Wikipedia: https://en.wikipedia.org/wiki/Bowed_string_instrument_extended_technique

A treatise from Oberlin College: http://www.oberlin.edu/library/friends/research.awards/messina.pdf


Notes from 3/1/16

In the last class, conversation changed before I could mention Stelarc’s mass-remote-controlled body performance pieces, most notably Split Body: Voltage In/Out but also Ping Body, of which a video can be found here. I also came across a history of performance art using electrically manipulated bodies in Leonardo. Of course, Jonathan and Blake’s idea didn’t involve direct control over a performer’s body, but the concept is related; it might be seen as the same but replacing the electrodes with a social contract and voting mechanism, a view on the piece which may be helpful in inspiring future decisions shaping the piece.