DANIEL M. KOPPELMAN
EDUCATION
Ph.D., University of California, San Diego, 1992.
Major Field: Theoretical Studies.
Dissertation title: The Development of a Computer-Assisted Rhythm Tutor (Edwin
Harkins, Advisor)
Piano studies with Aleck Karis and Cecil Lytle
M.M., with Highest Distinction, Indiana University, 1987.
Major Field: Piano Performance; Cognate: Music Theory.
Piano studies with James Tocco
B.M., Summa Cum Laude, San Francisco State University, 1981.
Major Field: Piano Performance.
Piano studies with Wayne Peterson
Further Study and Residencies:
Lecture/Performance Residency, Institute of Sonology, The Hague, NL, 2003.
Artist Residency, Center for Research in Computing and the Arts (CRCA), UCSD,
La Jolla, CA, 2003.
Visiting Artist Residencies, Studio for Electro-Instrumental Music (STEIM),
Amsterdam, NL, 2002, 2003.
Max/MSP Night School, UC Berkeley (CNMAT), 2001.
Computer Music Workshop in Max/MSP & Pd, SUNY at Buffalo, 1999.
FELLOWSHIPS, GRANTS, and AWARDS
Fulbright Scholarship (to teach and perform in Odessa, Ukraine), 2007.
Greenville Metropolitan Arts Council Artist Project Support Grant, 2006.
Mellon Foundation "Career Enhancement" Award ($24,000, for live sampling
project), 2005.
Faculty Research and Professional Growth Grants, Furman University, 1998, 2001,
2002, 2004.
Associated Colleges of the South, Visiting Artists Project Support, 2002.
South Carolina Arts Commission Annual Project Support Grant, 2002.
Greenville Metropolitan Arts Council Artistic Development Grant, 2001.
Greenville Metropolitan Arts Council Individual Artist Grant, 1998.
Associated Colleges of the South: Mellon “Teaching with Technology”
Fellowship, 1998.
Mellon Foundation “Course Project” Technology Grant, Furman University,
1997.
Research Grant ($50,000, for Project:TiME), Matilda R. Wilson Foundation, Detroit,
1995.
First Prize, Grossmont Duo Piano Competition, 1993.
Dissertation Research Grant, University of California, San Diego, 1992.
Regents Fellowship, University of California, San Diego, 1988.
First Prize, National Association of Composers, USA Competition, 1988.
First Prize, Indiana University Concerto Competition, 1986.
Frampton Award in Contemporary Music, San Francisco State University, 1979,
1980.
TEACHING EXPERIENCE
Associate Professor, 1999-present; Assistant Professor, 1996-9; Furman University.
Awarded tenure, 1999.
Courses taught:
“Advanced Harmony.” An introduction to Schenkerian analysis.
“Basic Theory.” Aural, written, and keyboard theory.
“Twentieth-Century Styles and Techniques.” Analysis of 20th-Century
repertoire.
“Projects in Music Technology.” Performance, recording, programming,
and research projects.
“Introduction to Music Technology.” MIDI sequencing and notation,
digital audio, multimedia, CAI.
“Piano Proficiency.” Basic keyboard skills.
“Applied Piano.” Private piano lessons.
“Independent Study.” Advanced digital audio, multimedia, and jazz
projects.
Temporary Assistant Professor, 1993-6; Central Michigan University.
Courses taught:
“Sight Singing and Ear Training.” Aural skills.
“Seminar in Analysis: Twentieth-Century Music.” Written and aural
analysis of 20th-Century works.
“Introduction to Twentieth-Century Compositional Styles and Techniques.”
Exploring composition through listening and writing.
“Music Technology.” MIDI sequencing and notation, digital audio,
sampling, algorithmic composition, multimedia.
“Applied Piano.” Private piano lessons (classical and jazz).
DISCOGRAPHY
“Escapement,” CD/DVD of 21st century works for piano and electronics
(2005).
Benjamin Broening, Nocturne/Doubles, for piano and computer (SEAMUS, 2004).
William Kleinsasser, Available Instruments, for piano, computer, Disklavier
(C74, 2002).
Keith Kothman, Surface Inventions, for solo piano (Capstone, 2001).
“digitalisman” (Distributed by CDeMUSIC, 1999). Eight original electroacoustic
compositions.
Christopher Dobrian: There’s Just One Thing You Need to Know and Unnatural
Selection, for Disklavier, synthesizer, and computer (Electronic Music Foundation,
1999).
With duo runedako and the Czech Radio Symphony Orchestra, Vladimir Valek, cond.,
David Gillingham: Interplay for Piano Four-Hands and Orchestra (Master Musicians
Collective, forthcoming).
With SONOR Ensemble, Iannis Xenakis: Thallein (Neuma Records, 1995); Rand Steiger:
Double Concerto (CRI, 1993).
With George Lewis, Chicago Dadagram (New World Records, 1993).
With duo runedako, “Keyboard Music by Debussy, Powell, Davies, Koppelman.”
Claude Debussy: En Blanc et Noir; Mel Powell: Setting for Two Pianos; runedako:
Simple Harmonic Motion; Paul Davies: Titanic: From the Ocean Floor; Daniel Koppelman:
Re:Play (Dichter Press, 1992).
PERFORMING EXPERIENCE (selected)
duo runedako (with Ruth Neville), multiple keyboards, 1988-present.
Concerto performances:
Towson University New Music Ensemble (2005)
Greenville Symphony Orchestra (2003)
Furman University Symphony Orchestra (2001)
Birmingham-Bloomfield Symphony Orchestra (2000)
Grosse Pointe Symphony Orchestra (2000)
Recent duo performances:
North Charleston Arts Festival, May, 2007.
Florida Electroacoustic Music Festival, Gainesville, FL, April, 2007.
UC San Diego, Department Seminar, November, 2006.
International Computer Music Conference, New Orleans, LA, November, 2006.
“Two
Days and Two Nights of New Music” festival, Odessa, Ukraine, April, 2006.
Mid-American Center for Contemporary Music, Bowling Green State University,
March, 2006.
Fine Arts Center, Greenville, SC, November, 2005.
Winter Concert Series, Christ Church, Greenville, SC, February, 2005.
Carasso Concerten, Amsterdam, December, 2004.
Jewish Music Series, Temple of Israel, Greenville, SC, November, 2004.
European performances in Mikkeli, Finland (2002); Prague, Czech Republic (1996).
Solo:
Sonorities Festival, Belfast, Northern Ireland, April, 2007.
Society for Electro-Acoustic Music in the US National Conferences, Muncie, IN,
Apri 2005; San Diego, CA, March 2004; San Jose, CA, March, 1999.
Artist-in-Residence, Hutchison Keyboard Weekend, Canton, NY, October, 2004.
International Computer Music Conference, Miami, FL, November, 2004.
Third Practice Electroacoustic Music Festival, Richmond, VA, November, 2004,
2002.
Florida Electroacoustic Music Festival, Gainesville, FL, April, 2004.
Institute of Sonology, Royal Conservatory, The Hague, Netherlands, March, 2003.
University of California, San Diego, February, 2003.
With Christopher Dobrian: East Coast tour (SC, MD, NY, VT, MA), 1999; SF Bay
Area tour (5 concerts), May, 2002.
North Carolina Computer Music Festival, Raleigh, NC, March, 2002.
New Interfaces for Musical Expression Conference, Seattle, WA, April, 2001.
Louisiana State University Festival of Contemporary Music, Baton Rouge, LA,
February, 1999.
Gassmann Electronic Music Series, University of California at Irvine, April,
1998.
Society of Composers, Inc. National Conference. Miami, FL, March, 1997.
National Public Radio, 1986, 1987.
Soloist with Indiana University Philharmonic, 1986.
Chamber:
LiSaFest at Furman, May, 2006.
Stefan Wolpe International Festival and Symposium, Toronto, 1993.
SONOR, UCSD's Resident Contemporary Music Ensemble, 1988-93.
June-in-Buffalo composition symposium, 1987-89.
Indiana University New Music Ensemble, 1985-87.
PAPERS/LECTURES/DEMONSTRATIONS
“The ‘E’ in NIME: Musical Expression with New Computer Interfaces.”
NIME (New Interfaces for Musical Expression) International Conference. IRCAM,
Paris, France, June, 2006.
Three-lecture series concerning new performing resources, Institute of Sonology,
Royal Conservatory, The Hague, Netherlands, March, 2003.
“The Search for a New Musical Interface: A Performer’s Perspective.”
Center for Research in Computing and the Arts (CRCA), La Jolla, CA, February,
2003.
“The Search for a New Musical Interface: A Performer’s Perspective.”
Multimedia Technology and Applications Conference (MTAC). Irvine, CA, November,
2001.
“The Theory Companion: Anatomy of an Electronic Assistant.” South
Carolina Music Teachers Association Annual Conference. Charleston, SC, October,
1997.
“A Case Study in Notational Assumptions: Mel Powell’s Setting for
Two Pianos.” College Music Society, Annual Meeting. Portland, OR, November,
1995.
“Symmetry in Twentieth-Century Music Composition.” Mathematical
Association of America, Michigan Section, Annual Meeting. Grand Rapids, MI,
May, 1995.
“Virtual Music Machines: Exploring Concepts through Design and Construction.”
Michigan School Band and Orchestra Association Music Technology Conference.
Ann Arbor, MI, January, 1995.
“Developing Instructional Materials Using Max.” Association for
Technology in Music Instruction, Annual Conference. Savannah, GA, October, 1994.
“Expanding the Repertoire for Duo Keyboards: Two New Pieces for Synthesizer
and Piano.” College Music Society, Great Lakes Chapter, Annual Meeting.
Chicago, IL, March, 1994.
“Strategies for Funding Music Technology.” Michigan School Band
and Orchestra Association Technology Workshop. Ann Arbor, MI, January, 1994.
“Creative Uses of Music Technology.” Music Teachers Association
of California, Annual Convention. San Jose, CA, July, 1993.
ORIGINAL WORKS
A Multitude of Drops. Suite in 5 parts for soprano, tenor saxophone, piano and
computer, 2006.
Matryoshka: three nested preludes. Piano and electronics, 2005.
Solecism. MIDI controller and computer, 2004.
Variations on a Chronic Flashback. Solo piano, 1998-99.
Reconstructing Herring. Synthesizer, computer, video projector, 1998.
Three Preludes for Processed Piano. Electronically processed acoustic piano,
1998.
digitalisman. Piano, Disklavier (computer-controlled piano), synthesizer, 1997.
River Loop. Electronic keyboards and sampled piano sounds, 1995-96.
Le Jardin d’Eve. Interactive installation for computer, MIDI keyboard,
and electronic visual images (in collaboration with video artist Julie Harrison);
1994.
Electronic music score for How Can I Know What I Mean ‘Til I See What
I Say, a video by Julie Harrison; 1994.
Rorondondo, 3 versions: (1) Alto saxophone, Piano, Bass, Drums; 1985, rev. 1994;
(2) Piano Four-Hands, 1994; (3) Computer-controlled synthesizer and Piano Four-Hands,
1994.
Pleasant Under Glass. Synthesizer Four-Hands, 1993.
Re:Play. MIDI sequencer triggering plucked string sample; 1992.
Simple Harmonic Motion. Interactive structured improvisation for Disklavier,
synthesizer, computer, and two keyboardists; 1991.
FACILITIES DESIGN
Consultation, design, and implementation of all music technology and audiovisual
facilities in $2.1M Herring Music Pavilion, Furman University, 1996-98.
Consultation and design of music technology facilities in $21M New Music Building,
Central Michigan University, 1993-96.
PROFESSIONAL ORGANIZATIONS
College Music Society (CMS).
Society for Electro-Acoustic Music in the United States (SEAMUS).
Electronic Music Foundation (EMF).
Society of Composers, Inc (SCI).
Association for Technology in Music Instruction (ATMI).
TEACHING INTERESTS
Theory and musicianship, contemporary music, music technology, keyboard studies.
RESEARCH INTERESTS
Live electroacoustic music performance, new and extended instrument development,
practical applications of theory, rhythm.
REFERENCES
Available upon request.