William P. Dougherty

WILLIAM P. DOUGHERTY EDUCATION Ph. D. The Ohio State University, 1985 Major: Music Theory Dissertation Title: “An Examination of Semiotics in Musical Analysis: The Neapolitan Complex in Beethoven’s Op. 131” Dissertation Advisor: Gregory Proctor M.A. The Ohio State University, 1979 Major: Music Theory Thesis Title: “The Significance of Silence in the String Quartets of Beethoven” Thesis Advisor: Gregory Proctor B.M.E. Illinois Wesleyan University, 1978, summa cum laude Major: Music Education EXPERIENCE 2003 to Present ELLIS AND NELLE LEVITT PROFESSOR OF MUSIC, DRAKE UNIVERSITY 1999 to Present PROFESSOR, MUSIC THEORY AND COMPOSITION, DRAKE UNIVERSITY 1994 to 1999 ASSOCIATE PROFESSOR, MUSIC THEORY AND COMPOSITION, DRAKE UNIVERSITY Responsibilities include administration of the music theory and composition program and teaching courses at the graduate (through 2000) and undergraduate levels in music theory, aural skills, advanced analytic techniques, composition, form and analysis, orchestration, counterpoint, and basic and advanced MIDI techniques. Supervise senior theses in music theory, composition, and history. Designed and teach interdisciplinary course on Music and Literature in University Honors Program. Instituted and administrated a New Music Festival (1995 through 2000). Designed and raised funds for a 16-station computer music classroom. Implemented a music technology component for all undergraduate music majors. Designed a Sound Synthesis Studio that introduced MIDI applications to the music curriculum (the current Calliston MIDI studio was made possible by a donation from a Drake alumnus in 2007). Designed and administered Graduate Comprehensive Examinations and Graduate Entrance Evaluations (through 2000). Initiated a student composers contest and recital. Supervised Graduate Assistant for Music Theory (through 1997). Supervise university-funded tutoring program in Music Theory. 2003 to 2007 ASSOCIATE DEAN, COLLEGE OF ARTS AND SCIENCES, DRAKE UNIVERSITY Responsibilities included ensuring that all activities related to academic scheduling are correct and completed, serving as a liaison for faculty and program development possibilities (in capital equipment funds and technology grants), administrating and coordinating the use of technology in the College, representing the College in recruiting sessions, serving as the College’s liaison to Admissions, coordinating the planning of and participating in new student orientation, assigning faculty advisor responsibilities in the College (over 100 faculty), dealing with students who have exceptional academic issues, reviewing files for probation and suspension, making judgments on student appeals, supervising the College’s Educational Technologist, co-supervising College Academic Support Specialists, representing the College on University committees, participating in the development of a strategic plan for the College, and other duties as assigned by the Dean of the College. 1996 to 2001 CHAIR, DEPARTMENT OF MUSIC, DRAKE UNIVERSITY Responsibilities included administration of all aspects of the Department of Music, which consisted of eighteen full-time faculty members, fifteen part-time faculty members, two staff members, and approximately 150 undergraduate and graduate music majors. Administrative tasks included direct oversight of all aspects of departmental governance and operation, in- cluding budget allocations and fiscal maintenance, policy decisions, curriculum, assessment of programs, student recruiting, coordination of the evaluation of faculty performance, representing the department in recommendations to the Dean on reappointment and non- William P. Dougherty, p. 2 reappointment of faculty members, recommending the granting of tenure and promotions, departmental publicity, hiring of part-time personnel, a community music school of approximately 500 students, setting committee agendas and making committee assignments, cultivating relationships with alumni, donors, the university, the public schools, and the Des Moines metropolitan community, serving as liaison between department and upper administration, arbiter in disputes, representative to NASM, and supervisor of departmental support staff. Major initiatives achieved included the following: development of a multi-pronged recruiting strategy that resulted in a 50% increase in incoming undergraduate music majors; bringing music faculty teaching loads in line with the teaching loads of the rest of the Univer- sity; creating equitable faculty load credit for all music courses; revision of departmental peer review procedures; revision and clarification of tenure and promotion guidelines; incorporating courses in world music, women in music, and music technology into the music curriculum; coordinating the recruitment of seven full-time department faculty members; establishing a clear set of expectations and an equitable pay scale for part-time faculty; solidifying inter-departmental budget practices and procedures; increasing music scholarship amounts; preparing the Department for—and achieving—NASM re-accreditation; developing policy and billing practices for the Drake University Community School of Music; initiating a five-year strategic planning process for the Department; generating high visibility for departmental activities within the University, the community, and the region; reorganizing summer festival offerings; articulating the focus of the Department by defining its mission, strengths, and character; and restructuring curricular offerings to accommodate budget restraints and Drake Curriculum and NASM requirements. 1990 to 1994 ASSOCIATE PROFESSOR, MUSIC THEORY, PLYMOUTH STATE COLLEGE 1985 to 1990 ASSISTANT PROFESSOR, MUSIC THEORY, PLYMOUTH STATE COLLEGE Responsibilities included administration of music theory and composition program and teaching courses in music theory, aural skills, advanced analytic techniques, composition, form and analysis, orchestration, counterpoint, keyboard harmony, and MIDI techniques. Other activities included serving as Chair for B.A. in Humanities, designing and teaching interdisciplinary courses in college Honors Program, and advising College Honors Fellows in senior research projects. Implemented B.A. in music theory and composition option; advised senior theses in theory, composition, and musicology. Designed and administrated Aural Skills Development Laboratory (ASDeL) that provided computer-assisted drill and instruction in theory and ear training. Instituted and administrated an annual New Music Festival. Incorporated a commissioned composition project into the New Music Festival that resulted in several premieres by Plymouth State College students and ensembles. Designed and administrated a Sound Synthesis Studio that introduced MIDI applications to the music curriculum. Supervised College Fellowship in Music and Computers. Initiated and supervised an annual student composition contest. Actively served on departmental and college committees. 1984 to 1985 ASSISTANT PROFESSOR, THEORY AND LOW BRASS, OREGON STATE UNIVERSITY Responsibilities included teaching courses in freshman and sophomore theory, literature, aural skills, and keyboard harmony as well as upper division/graduate level courses in advanced analytic techniques, orchestration, and composition. Other responsibilities included teaching non-major courses and studio lessons on low brass instruments. William P. Dougherty, p. 3 1983 to 1984 GRADUATE ADMINISTRATIVE ASSOCIATE, OHIO STATE UNIVERSITY Responsibilities included planning and coordinating over 200 courses per quarter in the non- credit program of the Continuing Education Department. 1979 to 1983 GRADUATE TEACHING ASSOCIATE, THE OHIO STATE UNIVERSITY Responsibilities included teaching freshman and sophomore theory and aural skills courses as well as upper-division form and analysis classes. PUBLICATIONS A) ARTICLES “Semeiosis in a Schubert Song.” Chinese Journal of Semiotics. In press. “What are Signs in Song?: A Guess at the Riddle.” Semiotike, special edition on Peirce and music. Edited by Maciej Jablonski. In press. “‘Ein unregelmäßiges Duett’: The Duet Settings of Nur wer die Senhsucht kennt.” In Music: Function and Value, II: 204-13. Edited by Teresa Malecka and Margorzata Pawlowska. Kraków: Akademia Muzyczna w Krakowie and Musica Iagellonica, 2013. “Signs in Song: A Peircean Analysis of a Schubert Lied.” In Semiotics 2011, 308-15. Edited by John Deely, Terry Prewitt, and Karen Haworth. Lantham, MD: University Press of America, 2012. “Cycling Song: The Wilhelm Meister Collections.” In Musical Semiotics: A Network of Significations in Honor and Memory of Raymond Monelle, pp. 73-85. Edited by Esti Sheinberg. Aldershot: Ashgate Press, 2012. Review of David Lidov, Is Language a Music?. Music Theory Spectrum 31, no. 2 (Fall 2009): 372-8. “Interpreting Interpretation: Janáček’s String Quartet No. 1.” In Sonic Transformations of Literary Texts: From Program Music to Musical Ekphrasis, pp. 105-18. Edited by Siglind Bruhn. Hillsdale, NY: Pendragon Press, 2008. “Longing for Longing: Song as Transmutation.” In Essays on Word/Music Adaptation and on Surveying the Field, pp. 161-75. Edited by David Urrows. Amsterdam and New York: Rodopi, 2008. “Mignon in 19th-Century Song: Text, Context, and Intertext.” In Word and Music Studies: Essays in Honor of Steven Paul Scher and on Cultural Identity and the Musical Stage, pp. 123-41. Edited by Suzanne M. Lodato, Suzanne Aspden, and Walter Bernhart. Amsterdam and New York: Rodopi, 2002. “Mixture, Song, and

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