Benjamin Bierman, Ph.D.

ben@benbierman.com

Updated October 4, 2009

Teaching

Assistant Professor, Department of Art and Music, John Jay College of Criminal Justice, City University of New York.

Adjunct Asst. Prof. and lecturer positions (2007-2009): Brooklyn College: Composition tutorials, Linear Analysis and 20th-Century Analysis Master’s seminars, Theory, Ear Training; The New School of Jazz and Contemporary Music: History of Western Music; Boston University: online course development and instruction: Jazz Arranging, Theory/Analysis, Orchestration, History of the Blues. Baruch College: History of Electronic Music, American Popular Song.

Substitute Assistant Professor

Conservatory of Music. Brooklyn College, CUNY (2006–2007)

Graduate and undergraduate theory, composition, ear training, 20th-century analysis, jazz analysis, Acting Graduate Deputy (administrative responsibilities include advisement of all graduate students, curriculum development, preparation of comprehensive exam, etc.)

Substitute Instructor

Queensborough Community College, City University of New York (2005–2006)

Musicianship, Intermediate Piano, Introduction to Music, Introduction to Jazz

Education

The Graduate Center, City University of New York

Ph.D., Music Composition (2006)

Dissertation: “The Music of George Handy”; Beyond Romance, a song cycle for soprano,             tenor, and piano

Advisor: Associate Professor Error! Contact not defined., Brooklyn College, CUNY; The Graduate Center, CUNY

Brooklyn College, City University of New York

Master of Music, Music Composition (2002)

Empire State College, State University of New York

Bachelor of Arts, Music Composition (1987)

Related Employment and Experience

Freelance trumpeter, composer, and arranger

Performed and/or recorded with B.B. King, Machito, Tito Puente, Celia Cruz,

Archie Shepp, Stevie Ray Vaughn, Butch Morris, et al.

Managing/Contributing Editor, H. Wiley Hitchcock Institute for Studies in American Music, Brooklyn College (Managing: 2003–2004, Contributing: 2006- )

Technical Director, Brooklyn College Center for Computer Music (2000–2003)

Producer (2001–present)

Left At the Fork In the Road, Sean Hickey (Naxos Records, 2005 [Billboard Top 100 chart for classical recordings]), Great Unknown, Jeff Marx; Urban Still Life, Lou Caputo; Electro-Acoustic 2000-2001, compilation of electro-acoustic works; BC Mix, compilation of electro-acoustic works

Owner, music director, contractor, arranger: Dance Orchestra of New York (1997–present)

Awards/Fellowships

Fellow, The Mannes Institute, 2008

Elebash Dissertation Fellowship (2005–2006)

Conferred Special Recognition, Los Angeles Philharmonic/Synergy Project (2002)

Institute for Studies in American Music Award in Composition (2000)

Publishing

“George Handy Composes The Bloos.” Jazz Perspectives (September 2009).

“Progressive Jazz.” The Encyclopedia of Popular Music of the World, in press.

“George Handy’s Bloos.”  Institute for Studies in American Music Newsletter (Fall 2006, cover article).

“The Confessions of Devorgilla.”  Papers of the International Concertina Association, Volume 2 (Fall 2005).  Pull out supplement, composition for concertina and mezzo-soprano.

Residencies/Lectures/Master Classes

“The Practicalities of Jazz.” Mediating Jazz, University of Salford, UK (26 November 2009)

“The Music of George Handy,” Bierman, Narrator, Jazz at Lincoln Center (20 November 2006)

“The Music of George Handy,” Bierman, Narrator, Manhattan School of Music (17 October 2006)

“Found-sound composition: Technology and the Arts in an Urban Setting,” Humanities Technology Association 2006 National Meeting (6 October 2006)

“The Music of George Handy,” Institute for Jazz Studies, Rutgers University (16 March 2006)

“Jazz Composition in the 1940s: George Handy’s Dalvatore Sally,” American Musicological Society-Greater New York Chapter meeting (Spring 2005)

CUNY Honors College, New York, NY (2004, 2005)

Composer-in-Residence/instrumentalist, Goliard Ensemble (2002–2003)

LaGrange College, LaGrange, GA (2003)

Georgia Institute of Technology, Atlanta, GA (2003)

Georgia College & State University, Milledgeville, GA (2002)

Huntingdon College, Montgomery, AL (2002)

Compositions and Performances

The Poem That Nobody Hears (2009, Remarkable Theater Brigade Commission)

10-minute opera, (music and libretto by Bierman)

Premiere: 1 October 2009, Weill Recital Hall, Carnegie Hall

Beyond Romance (2007)

Song cycle: soprano, tenor, piano (35’)

Text: Earl Shuman

60x60, “Father and Son Boogie” (2005)

Contributor to electro-acoustic collaboration

Premiere: 5 November, Galapagos Performance Space, Brooklyn, NY

Subsequent Performances: currently on international tour

Doings for String Quartet (2005)

String Quartet (10’)

Premiere: 9 June 2005, Symphony Space–Thalia Theater, New York, NY

Augusta and Elliott: Sweep the Deep (2004, Music Sales commission)

Children’s Musical: Lyrics and Libretto: Earl Shuman (40’)

A Second Chance (2004)

Jazz Quintet: trumpet, alto sax, tenor sax, bass, piano (8’)

Premiere: 26 May 2004, Elebash Recital Hall, Graduate Center, CUNY, New York, NY

Some Takes On the Blues (2004)

Electro-acoustic (5’)

Premiere: 29 March 2004, International Electro-Acoustic Festival, Brooklyn College

CD: BC Sound Serum

Blues Mambo (2004, Anderson/Fader Guitar Duo commission)

Guitar duo (4’)

Premiere: 29 February 2004, UNDER St. Marks Theater, New York, NY

Subsequent performance: 8 March 2004, Elebash Recital Hall, Graduate Center, CUNY

So(Not)a for Trumpet and Piano (2003)

Trumpet, Piano (8’)

Premiere: 23 November 2003, Christ & St. Stephen’s Church, New York, NY

Subsequent performance: 24 November 2003, Elebash Hall, Graduate Center, CUNY

Compositions and Performances (cont.)

Confessions of Devorgilla (2003, New York Victorian Consort commission)

Concertina and Mezzo-soprano (6’)

Premiere: 8 November 2003, Metropolitan Museum of Art, New York, NY. Ninth Conference, Research Center for Music Iconography

Published as a pullout supplement in Papers of the International Concertina Association, Volume 2 (Fall 2005), with an introductory note by the composer

Subsequent performances: The Incredible Concertina, 26 March 2004, Elebash Recital Hall, Graduate Center, CUNY; 28 October 2005, American Musicological Society Annual Meeting

Q Express (2003)

Electro-acoustic (5’)

Premiere: 26 March 2003, Elebash Recital Hall, Graduate Center, CUNY

Subsequent performance: 29 March 2004, International Electro-Acoustic Festival, Brooklyn College;       April 5, 2002, Stanford University; 21 November 2003, Bucharest, Romania

CD: BC Mix

I Wish That You Understood (2002, Goliard Ensemble Commission)

Tenor, Contralto, Violin, Cello, Trumpet, Piano (7’)

Premiere: 15 October 2002, Newberry Opera House, Newberry, South Carolina

Subsequent performances: Huntingdon College, Montgomery, Alabama; Georgia College and State University, Milledgeville, Georgia; Cleveland Community College, Shelby, North Carolina; Lincoln Cultural Center, Lincolnton, North Carolina; Steinway Reformed Church, Astoria, NY

In/Out of Water (2002)

Jazz Quartet: trumpet, clarinet, bass, drum kit (8’)

Premiere: 28 May 2002, Elebash Recital Hall, Graduate Center, CUNY

Proximities (2002)

For chamber ensemble (7’)

Premiere: 26 February 2003, Elebash Hall, Graduate Center, CUNY; Cygnus Ensemble

Proximities (2001)

For Orchestra: 2232, 4331, timpani, 2 percussion, strings (7’)

Conferred Special Recognition, Los Angeles Philharmonic Synergy Project (2002)

Duet for Trumpet, Drum Kit, and Tape (2001)

Trumpet, Drum Kit, CD (6’)

Premiere: International Electro-Acoustic Music Festival, 5 November 2001, Brooklyn College

Pyrothechnics (2000)

Brass Quintet (5’)

Premier: 11 December 2000, Brooklyn College

Compositions and Performances (cont.)

Concerto for Trumpet and Processed Trumpet (2000)

Electro-acoustic (9’)

Premier: 6 November 2000, International Electro-Acoustic Music Festival, Brooklyn College; Subsequent performance: 4 December 2000, Brooklyn College

CD: Electro Acoustic Music, 2001-2002

Four Preludes for Violin Solo (2000)

Solo Violin (9’)

Premier: 13 November 2001, La Scala De San Telmo, Buenos Aires, Argentina

Subsequent performances: 2 June 2005, Cami Hall; 28 March 2007, Elebash Hall, NYC.

Nocturne: Music at the Marsh (1999)

Marimba/Timpani and Alto Saxophone (7’)

Premier: 8 December 1999, Brooklyn College

Walt!  (Musical Settings of Walt Whitman poetry) (1997)

Tenor soloist with orchestra and rhythm section (28’)

Selections from the cycle performed: 10 May 2000, Brooklyn College; 13 May 2001, "Musica Brooklyniana," Brooklyn College; 15 November 2002, International Electro-Acoustic Music Festival, Brooklyn College

Latin Jazz (1996)

Suite for Latin Jazz Quintet (13’)

“Basso Profondo,” “The Judge Goes To Sing Sing,” “Breakfast Special” (1994, Jeff Jerolamon commission)

Jazz Quintet

Premier: 24 October 1994, Madrid, Spain

Publisher: Second Floor Music

CD: A Tribute to Basie, Jeff Jerolamon

Subsequent performances: Frequent national and international performances and radio broadcasts