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 Study with Aleck Karis, Cecil Lytle.
M.M., with Highest Distinction, Indiana University, 1987.
Major Field: Piano Performance; Cognate: Music Theory.
Piano Study with James Tocco.
B.M., Summa Cum Laude, San Francisco State University, 1981.
Major Field: Piano Performance.
Piano Study with Wayne Peterson.
Further Study and Residencies:
Artist-in-Residence, Association New Music, Odessa, Ukraine, 2009 (in conjunction
with Fulbright award).
Artist Residency, Center for Research in Computing and the Arts (CRCA), 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 (selected)
Associated Colleges of the South, Faculty Renewal Grant (with Benjamin Broening,
University of Richmond), 2009-2010.
Fulbright Scholarship (to teach and perform in Odessa, Ukraine), 2007. Extension
awarded, 2008.
Faculty Research and Professional Growth Grants, Furman University, 1998, 2001,
2002, 2004, 2007, 2010.
Greenville Metropolitan Arts Council Grants, 1998, 2001, 2006, 2010.
Mellon Foundation “Career Enhancement” Award ($24,000, for Live
Sampling project), 2005.
Associated Colleges of the South, Mellon Technology Fellowship, 1998; Visiting
Artists Grant, 2002.
South Carolina Arts Commission Annual Project Support Grant, 2002.
Research Grant ($50,000, for Project:TiME), Matilda R. Wilson Foundation, Detroit,
1995.
First Prize, Grossmont Duo Piano Competition, 1993.
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
Fulbright Scholar, 2008; South Ukrainian State K. D. Ushynsky Pedagogical University,
Odessa, Ukraine.
Courses taught: "Contemporary American Music: Composition and Performance";
"Projects in Music Technology".
Professor, 2009-present; Associate Professor, 1999-2009; Assistant Professor,
1996-9; Furman University, Greenville, SC.
Awarded tenure, 1999.
Courses taught:
"Projects in Music Technology." Performance, recording, programming,
and research projects.
"Introduction to Music Technology." MIDI sequencing and notation,
digital audio, multimedia, CAI.
“Advanced Harmony.” An introduction to Schenkerian analysis.
"Basic Musicianship." Aural, written, and keyboard theory.
"Twentieth-Century Styles and Techniques." Analysis of selected 20th-Century
repertoire.
"Piano Proficiency." Basic keyboard.
"Applied Piano." Private piano lessons.
"Independent Study." Advanced digital audio, multimedia, analysis,
and jazz projects.
Temporary Assistant Professor, 1993-6; Central Michigan University, Mt. Pleasant,
MI.
Courses taught:
“Music Technology.” Computer basics, MIDI applications, computer-assisted
notation, sequencing, sampling, synthesizer technique, sound editing, algorithmic
composition, digital audio, multimedia.
“Sight Singing and Ear Training.” Harmonic and melodic dictation,
sight singing, rhythm reading, verbal description of essential musical characteristics.
“Seminar in Analysis: Twentieth-Century Music.” Written and aural
analysis of a variety of 20th-century works.
“Introduction to Twentieth-Century Compositional Styles and Techniques.”
Exploration of significant trends in contemporary composition through listening
and writing.
“Applied Piano.” Private piano lessons (classical and jazz).
ORIGINAL WORKS
The Weave. Piano and computer, 2009.
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.
DISCOGRAPHY
Benjamin Broening, "Recombinant Nocturnes", for piano and electronics
(Innova, forthcoming).
“Escapement,” CD/DVD of 21st century works
for piano and electronics (2005). Reviewed and selected for “Unsigned
Artist of the Month” in Keyboard magazine, December, 2005. Remixed 5.1
surround-sound release (Everglade Records, 2008).
David Gillingham: Interplay for Piano Four-Hands and Orchestra, Czech Radio
Symphony Orchestra, Vladimir Valek, cond., (MMC Recordings, 2008).
Mark Applebaum, On the Nature of the Modern Age, for piano duet and live electronics
(Innova, 2008).
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 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”
(Dichter Press, 1992).
PERFORMING EXPERIENCE (selected)
duo runedako (with Ruth Neville), multiple keyboards, 1988-present. Concerto
performances with Towson University New Music Ensemble, Greenville Symphony
Orchestra, Furman University Symphony Orchestra, Birmingham-Bloomfield Symphony
Orchestra, and Grosse Pointe Symphony Orchestra. US performances in La Jolla,
Charleston, Bowling Green, Ann Arbor, San Diego, Chicago, Salt Lake City, Baltimore,
Detroit, Greenville, and the International Computer Music Conference, New Orleans,
LA, November, 2006. European performances in Ukraine (Odessa, Kyiv, five other
cities); Krakow (Poland); Amsterdam (Netherlands); Mikkeli (Finland); Prague
(Czech Republic).
Solo:
Third Practice Electroacoustic Music Festival, Richmond, VA, 2002, 2004, 2010.
Bowling Green New Music Festival, Bowling Green, OH, October, 2010.
Sonorites Festival, Belfast, Northern Ireland, April, 2007.
Florida Electroacoustic Music Conference, Gainesville, FL, 2004, 2007.
Society for Electro-Acoustic Music in the US National Conferences, 1999, 2004,
2005.
Artist-in-Residence, Hutchison Keyboard Weekend, Canton, NY, October, 2004.
International Computer Music Conference, Miami, FL, November, 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:
Two Days and Two Nights of New Music, Odessa, Ukraine, 2006, 2008, 2009.
LiSaFest06@Furman, May, 2006. Performance of four world-premiere commissioned
compositions.
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
"Topics in Contemporary American Music." Glinka Conservatory, Dnipropetrovsk,
Ukraine; Kharkiv National Pedagogical University, Kharkiv, Ukraine; Prokofiev
State Musical Academy, Donetsk, Ukraine; Lysenko National Musical Academy, Lviv,
Ukraine. All in March, 2009.
“Challenges and solutions in two new works for piano and electronics.”
Nezhdanova State Musical Academy, Odessa, Ukraine, May, 2009.
“Escapement – Technical and esthetic concepts in a collaborative
project for piano and electronics.” Academy of Music, Krakow, Poland,
May, 2009.
"Contemporary American Music: From Classical to Jazz." Tchaikovsky
National Music Academy, Kyiv, Ukraine, April, 2008.
"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.
TEACHING INTERESTS
Music technology (in performance, composition, research, and instruction), theory
and musicianship, improvisation, keyboard studies.
RESEARCH INTERESTS
Performance and pedagogic applications of technology; Rhythm; Multimedia.
REFERENCES
Professor Mark Britt, Chair; Department of Music; Furman University; Greenville,
SC, 29613; (864) 294-2176. (Mark.Britt@furman.edu)
Myron Stachiw, Director; Fulbright Program in Ukraine; 4 Hrushevskoho St., Suite
305; Kyiv 01001 Ukraine; +38 044 279-1850,
(mstachiw@fulbright.com.ua)
Professor James Mobberley; Conservatory of Music; University of Missouri - Kansas
City; Kansas City, Missouri; (816) 235 2968. (mobberleyj@umkc.edu)
Professor David Gillingham; School of Music; Central Michigan University; Mount
Pleasant, MI, 48859; (517) 774-1961. (david.gillingham@cmich.edu)
Professor Emeritus Wayne Peterson; Music Department; San Francisco State University;
1600 Holloway Avenue; San Francisco, CA, 94132; (415) 587-4326.