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, repre- senting 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 approxi- mately 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 admini- stration, arbiter in disputes, representative to NASM, and supervisor of departmental support staff. Major initiatives achieved included the following: development of a multi-pronged re- cruiting 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 teach- ing courses in music theory, aural skills, advanced analytic techniques, composition, form and analysis, orchestration, counterpoint, keyboard harmony, and MIDI techniques. Other ac- tivities included serving as Chair for B.A. in Humanities, designing and teaching inter- disciplinary 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 commit- tees.

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 Semeiotic.” In Music and Signs: Semiotic and Cognitive Studies in Music, pp. 368-78. Edited by Ioannis Zannos. Bratislava: ASCO Art and Science, 1999.

“‘A local habitation…’: Creativity, Semeiotic, and Music Composition.” In Semiotics 1997. Edited by William Spinks and John Deely. Bloomington: Indiana University Press, 1998.

“Musical Semiotics: A Peircean Perspective.” In Musical Significans, a special issue of Contemporary Music Review, Vol. 16, part 4, pp. 29-39. Edited by Raymond Monelle. Amsterdam: Harwood Academic Publishers, 1997.

“The Quest for Interpretants: Toward a Peircean Paradigm for Musical Semiotics.” Semiotica 99/1-2 (1994), 163-84.

“The Play of Interpretants: A Peircean Approach to Beethoven’s Lieder.” In The Peirce Seminar Papers: An An- nual of Semiotic Analysis, Vol. I, pp. 67-95. Edited by Michael Shapiro. Oxford: Berg, 1993.

“On Musical Semiotics: The Role of Directional References in Musical Signification.” In Semiotics 1990, pp. 3- 12. Edited by Terry Prewitt, John Deely, and Karen Haworth. Lanham, MD: University Press of America, 1991. William P. Dougherty, p. 4

“Reading Beethoven’s Readings: Toward a Semiotics of Song.” In Semiotics 1988, pp. 57-65. Edited by Terry Prewitt, John Deely, and Karen Haworth. New York: University Press of America, 1989.

“The Significance of Silence in the String Quartets of Beethoven.” The Journal of the Graduate Music Students at The Ohio State University 7 (1981), 19-45.

B) COMPOSITIONS

Accumulations for Brass Band. Kent, Ohio: Black Squirrel Music, 2002.

Awakenings for Orchestra. Woodbury, CT: Keiser Music (formerly MMB Publishers), 1993—out of print (2011).

An End Without Return for Wind Ensemble. Woodbury, CT: Keiser Music (formerly MMB Publishers), 1993— out of print (2011).

Sonata for Euphonium and Piano. Annandale, Va.: TUBA Press (now Cimarron Music Press), 1993

Seven Bagatelles for Alto Saxophone. Fairmont, W.Va.: Heilman Publishing Co., 1991.

Duo for Euphonium and Marimba. Fairmont, W.Va.: Heilman Publishing Co., 1991.

Lullaby for Trumpet and Piano. Fairmont, W.Va.: Heilman Publishing Co., 1991.

Fantasy and Dance for Clarinet and Piano. Fairmont, W.Va.: Heilman Publishing Co., 1989.

Reflection for Euphonium and Piano. Fairmont, W.Va.: Heilman Publishing Co., 1989.

Meditation and Celebration for Euphonium (Trombone) and Piano. Cleveland: Ludwig Music Company, 1986. Selected as an Artist Euphonium Audition Composition for the Leonard Falcone International Euphonium and Tuba Festival, 1996.

C) BOOK REVIEWS FOR CHOICE (The Review Journal of The American Library Association)

Review of Beethoven by William Kinderman. Choice 33, No. 5 (January 1996). Review of The Beethoven Quartet Companion edited by Robert Winter and Robert Martin. Choice 32, No 6 (February 1995). Review of Beethoven’s Sonatas and the Creative Experience by Kenneth Drake. Choice 32, No. 4 (December 1994). Review of The Style Hongrois in the Music of Western Europe by Jonathan Bellman. Choice 32, No. 1 (Sep- tember 1994). Review of Ole Bull: Norway’s Romantic Musician and Cosmopolitan Patriot by Einar Haugen and Camilla Cai. Choice 31, No. 4 (December 1993). Review of Beethoven’s Ninth Symphony by Heinrich Schenker, translated by John Rothgeb. Choice 30, No. 7 (March 1993). Review of Beethoven’s Compositional Process edited by William Kinderman. Choice 30, No. 2 (October 1992). Review of Ludwig van Beethoven: Approaches to His Music by Carl Dahlhaus. Choice 29, No. 8 (April 1992). Review of Brahms and His World edited by Walter Frisch. Choice 28, No. 8 (April 1991). Review of Stravinsky: The Music Box and the Nightingale by Daniel Albright. Choice 28, No. 5 (January 1991). Review of “A Commonsense View of All Music”: Reflections on Percy Grainger’s Contribution to Ethno- musicology and Music Education by John Blacking. Choice 26, No. 2 (October 1988). Review of Tchaikovsky’s Musical Style by Henry Zajaczkowski. Choice 25, No. 8 (April 1988). Review of New Sounds: A Listener’s Guide to New Music by John Schaefer. Choice 25, No. 5 (January 1988). Review of The Changing Image of Beethoven: A Study in Mythmaking by Alessandra Comini. Choice 25, No. 3 (November 1987). Review of Source Book of Proposed Music Notation Reforms by Gardner Read. Choice 25, No. 1 (September 1987). Review of Beethoven’s Critics: Aesthetic Dilemmas and Resolutions during the Composer’s Lifetime by Robin Wallace. Choice 24, Nos. 11/12 (July-August 1987). William P. Dougherty, p. 5

D) RECORDINGS

Three Scenes (aus Wilhelm Meister) for Flute, Clarinet, and Piano. Leslie Mars, flute, Clarence Padilla, clarinet, and Nicholas Roth, piano. On In Play, in production.

Star Charts for Woodwind Quintet. The Polaris Woodwind Quintet. On In Play, in production.

Howl for Alto Saxophone and Sound Modules. James Romain, alto saxophone. On Howl, Innova Records, 2012.

Windsongs for Clarinet and Piano. Clarence Padilla, clarinet, and Nicholas Roth, piano. On With the Wind, 2010.

Fantasy and Dance for Clarinet and Piano. Clarence Padilla, clarinet, and Cynthia Giunta, piano. On With the Wind, 2010.

Meditation and Celebration for Euphonium and Piano. On The Complete Recordings of Paul Droste. Paul Droste, euphonium, and Anne Droste, piano. Potenza Music. 2008.

Howl for Alto Saxophone and Sound Modules. James Romain, alto saxophone. Issued in Saxophone Journal, Vol. 32, No. 6 (July/August 2008).

Playing Through for Clarinet and Sound Modules. Clarence Padilla, clarinet. On Playing Through, 2002.

Duo for Euphonium and Marimba. On Exercices de Style, Corrado Colliard, euphonium, and Mauro Gino, marimba. Editions L’Eubage, 2001.

Accumulations for Brass Band. Performed by the Brass Band of Columbus, Paul Droste, conductor. On Ameri- cans We, 2000.

Several compositions have appeared on CDs produced by the Drake University Choir and the Drake University Wind Symphony.

Several arrangements have been recorded by The Ohio State University Marching Band and are available on CDs.

PRESENTATIONS

A) REFEREED PRESENTATIONS

“Rubinstein’s Mélange: A Wilhelm Meister Cycle.” Paper presented to a conference honoring the memory of Raymond Monelle, University of Edinburgh , Scotland, August 2012.

“Signs in Song: A Peircean Analysis of a Schubert Lied.” Paper presented to the Semiotic Society of America National Meeting. Pittsburgh, October 2011.

“‘Ein unregelmäßiges Duett’: The Duet Setting of Nur wer die Senhsucht kennt.” Paper presented to the Eleventh International Congress on Musical Signification. Krakow, Poland. October 2010.

“…by knowing which, we know something more.” Paper presented to the Semiotic Society of America National Meeting, Houston, October 2008.

“Interpeting Interpretation: Janácek’s String Quartet No. 1.” Paper presented to the International Musicological Society in a special session devoted to Musical Ekphrasis. Zurich, Switzerland. July 2007.

“Lamenting Longing: Song as Transmutation.” Paper presented to the International Word and Music Association. Santa Barbara. August 2005.

“Sehnsucht nach Sehnsucht: Song and Semeiotic.” Paper presented to the Eighth International Congress on Musical Signification. Paris, France. October 2004. William P. Dougherty, p. 6

“Semeiosis in a Schubert Song.” Paper presented to the Semiotic Society of America National Meeting. Toronto, October 2001.

“Mignon in 19th-Century Lieder: From Text to Context to Intertext.” Paper presented to the International Word and Music Association. Sydney, Australia. July 2001.

“The Mignon Figure Across 19th-Century Song.” Paper presented to the Seventh International Congress on Mu- sical Signification, Imatra, Finland, June 2001.

“The Power That Transforms: Settings of Mignon’s Requiem.” Paper presented to the Semiotic Society of America National Meeting. Pittsburgh, October 1999.

“The Mignon Archetype in 19th-Century Lieder.” Paper presented to the Sixth International Congress on Musical Signification. Aix-en-Provence, France, December 1998.

“To (Un)Know Mignon: Forgotten Settings of Kennst du das Land.” Paper presented to the Semiotic Society of America National Meeting. Toronto, October 1998.

“Mixture, Song, and Semeiotic.” Paper presented to Fifth International Symposium on Systematic and Com- parative Musicology: Music and Signs. Berlin, Germany, October 1997.

“‘A local habitation…’: Creativity, Semeiotic, and Music Composition.” Paper presented to the Semiotic Society of America National Meeting. Louisville, October 1997. This paper was presented in conjunction with a plenary session that included a taped performance of my Awakenings for orchestra.

“Song as Semeiotic.” Paper presented to the Fifth International Congress on Musical Signification, Bologna, Italy, November, 1996.

“‘So laßt mich scheinen’: Mignon in 19th-Century Song.” Paper presented to the Semiotic Society of America National Meeting. Santa Barbara, October 1996.

“Mixture as a Sign in a Schubert Song.” Paper presented to the Society of Music Theory National Meeting. New York City, November 1995.

“The Art Song Considered as Semeiotic” Paper presented to the Semiotic Society of America National Meeting. San Antonio, October 1995.

“1-2-(b)3: Mixture as a Musical Sign.” Paper presented to the Semiotic Society of America National Meeting. St. Louis, October 1993.

“Die bildende Kraft: Beethoven’s and Schubert’s Settings of Mignon’s Poems from Wilhelm Meisters Lehr- jahre.” Paper presented to the Semiotic Society of America National Meeting. Chicago, November 1992.

“Pursuing Interpretants: Toward a Peircean Semiotics of Music.” Paper presented to the Society of Music Theory National Meeting. Kansas City, October 1992.

“Musical Semiotics: A Peircean Perspective.” Paper presented at the Third International Congress on Musical Signification. Edinburgh, Scotland, September 1992.

“The Play of Interpretants: Beethoven’s Lieder as Semiotic.” Paper presented to the Society of Music Theory National Meeting. Cincinnati, November 1991.

“A Peircean Perspective on the Lied.” Paper presented to the Semiotic Society of America National Meeting. College Park, Maryland, October 1991.

“Convergences, Compromises, and Confrontations: The Art Song as Interdisciplinary Sign.” Paper presented to the College Music Society, Northeast Chapter, Bates College, April 1991.

William P. Dougherty, p. 7

“The Composer’s Relationship to the Text: A Semiotic Perspective.” Paper presented to the Semiotic Society of America National Meeting and the Oklahoma Project of Discourse and Theory Conference on Crossing the Disciplines: Cultural Studies in the 1990s, University of Oklahoma, October 1990. This paper was part of a special session devoted to the art song that used my song “Dolmen” as the analytic centerpiece.

“On Musical Semiotics: The Role of Directional References in Musical Signification.” Paper presented to the Semiotic Society of America National Meeting and the Oklahoma Project of Discourse and Theory Confer- ence on Crossing the Disciplines: Cultural Studies in the 1990s, University of Oklahoma, October, 1990.

“Mirrors from a Vast Pool: Debussy’s and Ravel’s Setting of Mallarmé’s Soupir.” Co-authored with Claudia Stanger. Paper presented to the American Comparative Literature Association National Meeting, Pennsyl- vania State University, March 1990.

“One through Two to Ten: Beethoven’s and Schubert’s Settings of Goethe’s Nur wer die Sehnsucht kennt.” Paper presented to the College Music Society National Meeting, St. Louis, October 1989.

“Narrative (W)Holes in Britten’s Spring Symphony.” Co-authored with Claudia Stanger. Paper presented to the American Comparative Literature Association National Meeting, Brandeis University, March 1989.

“Reading Beethoven’s Readings: Toward a Semiotics of Song.” Paper presented to the Semiotic Society of America National Meeting, Cincinnati, October 1988.

“The Composer as Reader: Beethoven’s Multiple Text Settings.” Paper presented to the Central Midwest Theory Society, University of Iowa, May 1988.

“Poetry’s Signifying Potential: Musical Setting as Structural Analysis.” Co-authored with Claudia Stanger. Paper presented to the Northeast Modern Language Association, Boston, April 1987.

B) INVITED PRESENTATIONS AND ACTIVITIES

“Thinking In Music.” Presentation to the Des Moines Federation of Music Clubs. November 2012. “Working as a Composer.” Lecture/Workshop for Des Moines Area High School Students. Salisbury House and Gardens. February 2011. “Meet the Composer.” Panelist for the Des Moines Symphony’s Symphony Circle Donors, February 2009. “Music as a Cultural Artifact.” Presentation to the RaySociety of Life-Long Learning, Drake University, January 2004. “Composition Across the Music Curriculum.” Presentation to Des Moines Public Schools Teachers’ In-Service Day, March, 1997. “20th-Century Compositional Strategies, Processes, and Procedures: A Personal View.” Lecture/demonstration presented at the University of Wisconsin at Sheboygan, February 1994. “The Genesis of …of things unknown….” Lecture/demonstration presented at Lakeland College, Lakeland, WI, February 1994. Chair of the Plenary Session at the Semiotic Society of America National Meeting. St. Louis, October 1993. “Music and Computers: The MIDI Technology.” Presented to the Plymouth State College Society for Scholarly Dialogue, May 1989. Co-Chair of Northeast Modern Language Association session devoted to Literature and Music: Structural and Critical Interfaces, Wilmington, DE, April 1989. Co-Secretary of Northeast Modern Language Association session devoted to Literature and Music, Providence, RI, April 1988. “Structural and Pitch Symmetry in 20th-Century Music.” Lecture/demonstration presented at NOW MUSIC Fes- tival, Columbus, OH, February 1988.

COMPOSITIONAL ACTIVITIES

A) COMPETITIONS, HONORS, AND AWARDS

Three Scenes (aus Wilhelm Meister) awarded Honorable Mention in the Music Teachers National Association Shepherd Distinguished Composer of the Year competition, 2003. William P. Dougherty, p. 8

Guest Composer at the NOW MUSIC Festival, Capital University, Columbus, OH, February 2003. The five-day residency included performances of three of my compositions by Capital University faculty and the Brass Band of Columbus.

Selected “Composer of the Year ” by the Iowa Chapter of the Music Teachers National Association, 2002.

Composer-in-Residence at the NOW MUSIC Festival, Capital University, Columbus, OH, February 1999. The week-long residency included performances of fourteen of my compositions by Capital University faculty, students, and ensembles.

Composer-in-Residence with the Sheboygan Symphony Orchestra, February 1994. The week-long residency in- cluded attendance at rehearsals, invited lectures at two universities, giving private lessons to area composition students, offering a concert preview to the general public, and the taping of a spot for a tele- vised broadcast of the premiere of …of things unknown….

Individual Artist Fellowship awarded by the New Hampshire State Council on the Arts and The National En- dowment for the Arts, 1990-91.

In the Pillared Dark for Flute and Piano (1988). Selected for performance at Society of Composers, Inc. Region I Conference, Wellesley, MA, April 1989.

Invited to conduct An End Without Return for Wind Ensemble (1988) with the Virginia All-State Wind Ensem- ble at the 14th Annual Symposium of New Band Music, Virginia Commonwealth University, February 1989.

Selected “Composer of the Year ” by the New Hampshire Chapter of the Music Teachers National Association, 1988.

Invited as Guest Theorist/Composer for week-long NOW MUSIC Festival, Capital University, Columbus, OH, February, 1988. Residency included lectures, presentations, performances, and participation in an hour- long radio program devoted to my music.

Phi Mu Alpha Sinfonia Fraternity, Alpha Lambda Chapter, Composition Contest Winner, 1978.

B) COMPOSITIONS AND PARTIAL PERFORMANCE HISTORY

Silhouettes for Piano. Commissioned by Nicholas Roth, supported by a grant from The Friends of Drake Arts. In progress.

Rapid Transit for Trombone Choir (2013). Written for the Drake University Trombone Choir. International Trombone Association National Convention, Washington, D.C., March 2013, Drake University, March 2013. Performed several times on the ensemble’s regional tour in 2013.

Star Charts for Woodwind Quintet (2011). Commissioned by the Salisbury House and Gardens for the Polaris Wind Quintet. Faith Lutheran Church, January 2012; Salisbury House and Gardens, February 2011.

Five Vignettes for solo violoncello (2009). Written for Ashley Sidon, cello. Drake University, March 2010; April 2009.

Herschel’s Wands for solo oboe, oboe d’amore, and English horn (2009). Commissioned by Jennifer Wohlenhaus. University of Iowa, March 2009; Drake University, February 2009.

Windsongs for Clarinet and Piano (2008). Commissioned by Clarence Padilla. Drake University, April 2013, October 2009.

To Rumi for Voice and Piano (2008), poetry by Robert Hatten. Houston, October 2008.

Sunburst for Wind Ensemble (2008). Commissioned by the Drake University Wind Symphony. Drake University, March 2008; College Band Directors National Association North Central Division Conference, William P. Dougherty, p. 9

Omaha, March 2008.

Acclimation for Concert Band and Orchestra (2006). Commissioned by the East High School Band and Orchestra for the dedication of a new performance facility. Des Moines, IA, January 2007.

Howl for Alto Saxophone and Sound Modules (2006). Commissioned by James Romain. Drake University, January 2013, October 2006; 14th World Saxophone Congress, Ljubljana, Slovenia, July 2006; University of North Carolina (Charlotte), April 2006; University of North Carolina (Greensboro), April 2006; Biennial National Conference of the North American Saxophone Alliance, Iowa City, IA, February 2006.

In Time of Silver Rain (2004) for SATB Choir. Commissioned by the Drake University Choir. March 2004. Included on the Drake Choir’s 2004 European Tour.

A Fine Frenzy Rolling for Brass Band (2002). Commissioned by the Brass Band of Columbus. NOW Music Festival, Columbus, OH, February 2003.

Three Scenes (aus Wilhelm Meister) for Flute, Clarinet, and Piano (2002). Commissioned by the Iowa Chapter of the Music Teachers National Association. Drake University, October 2012; National Association of Wind and Percussion Instructors, University of Florida, February 2011; Iowa Composers Forum, October 2002; Drake University, June 2002.

Playing Through, for Clarinet and Sound Modules (2002). Commissioned by Clarence Padilla, with funding from the Iowa Council on the Arts. California State University, January 2006; McMurray University, Abilene, TX, February 2004; West Coast Clarinet Congress, East Tennessee State University, January 2004; Clarinet Days, Columbus, OH, January 2004; NOW Music Festival, February 2003; Des Moines, IA, October 2002.

In Memoriam: Three Songs for soprano and flute (2001). Poetry by Patricia Shinehouse. Des Moines, IA, March 2011; Gustavus Adolphus College, St. Peter, MN, February 2011; NOW Music Festival, February 2003; Iowa City, IA, March 2001; Des Moines, IA, February 2001, January 2001.

Passacaglia for Piano Trio (2000). Commissioned by the Drake University Fine Arts Trio. Des Moines, IA, Feb- ruary 2001.

Horns o’ Plenty for six horns and orchestra (2000). Commissioned by the Des Moines Horn Club. Des Moines, IA, October 2000.

String Quartet No. 1, Episodes (2000). Commissioned by the Salisbury House for the Pioneer String Quartet, the resident quartet of the Des Moines Symphony. Des Moines, IA, June 2006 (third movement); Des Moines, IA, May 2000 (three performances). Numerous performances in the public schools.

Moonscapes (2000). Four songs for choir (This Lunar Beauty [Auden], who knows if the moon’s a balloon [Cummings], Lunar Paraphrase [Stevens], Moon Compasses [Dougherty]). Commissioned by the Drake University Choir. Des Moines, IA, April 2001, April 2000. Selections performed on the Drake Choir’s home concert and regional tour, April 2009. Selections included on the Drake Choir’s European tour, May 2000.

The Sand Reckoner (2000). Commissioned by the Southeast Polk High School Band. April 2000.

Accumulations (1999) for Brass Band. Commissioned by the Brass Band of Columbus. January and February 2000. Performed at the National Association of Brass Bands Congress. Performed on the International Brass Band Congress, London, September 2000. Released on a commercially available CD.

Accumulations (1999) for Wind Ensemble (transcription of above). Premiered at the College Band Directors Na- tional Association North Central Division Conference, February 2000.

Veritas (1999) for Orchestra. Commissioned by Drake University for the inauguration of its twelfth president. Des Moines, IA, November 2006 and October 1999.

William P. Dougherty, p. 10

A Case of Identity for Band (1999). Commissioned by the Valley West High School Concert Ensemble. Des Moines, IA, May, April, and March 1999.

A Play of Musement (1998) for Clarinet, Violin, and Piano. Iowa Composers Forum, October 1998; Des Moines, IA, March 1998.

Caprice for Two Pianos (1997). Commissioned by Harry Davidson. Drake University, February 2006; NOW Music Festival, Columbus, OH, February 1999; Decorah, IA, February 1998; Chicago, July 1997.

Vortices for Band (1997). Commissioned by the Southeast Polk Community High School Concert Band. Des Moines, IA, March 2006; NOW Music Festival, Columbus, OH, February 1999; Des Moines, IA, October 1997, May 1997, and April 1997.

Nocturnal Echoes for Cello and Piano (1996). Supported with a grant from the Friends of Drake Arts. Iowa Composers Forum, Dubuque, IA., October 1996; Drake University Faculty Recital Series, April 1996.

…of things unknown… for Orchestra (1993). Commissioned by the Sheboygan (WI) Symphony Orchestra as part of its 75th anniversary season. Drake University Symphony Orchestra, October 1995 (broadcast on WOI, January 1996); Sheboygan Symphony Orchestra, February 1995; Sheboygan Symphony Orchestra, February 1994 (in addition to three performances, the composition was also heard on a local televised broadcast of one of the concerts).

Awakenings for Orchestra (1992). Commissioned by the New Hampshire Music Festival Orchestra with funding provided by The New England Foundation for the Arts, Meet the Composer, Inc., and Plymouth State Col- lege. Drake University, May 2013; New Hampshire Music Festival Orchestra Series, July 1992.

Procession for Computer, Synthesizer, and Tone Generators (1991). Commissioned by Plymouth State College. Plymouth State College Recital Series, September 1991 and April 1992.

Quintet for Trumpet and Strings (1991). Funding provided by the New Hampshire State Council on the Arts and the National Endowment for the Arts. New Hampshire Music Festival Chamber Series, July 1991.

Quintet for Trumpet and Piano, Four Hands (arrangement of above [1992]). Plymouth State College Recital Se- ries, April 1992. The first movement of this work, Lament, has also been arranged for Violin and Piano Four Hands, and it has been performed in Pittsburgh, October 1999.

Dolmen for Baritone and Piano (1990). NOW Music Festival, Columbus, OH, February 1994; Plymouth State College Recital Series, April 1992; University of Oklahoma, October 1990.

Seven Bagatelles for Alto Saxophone (1990). Drake University, October 2001; NOW Music Festival, Columbus, OH, February 1999; Drake University, March 1995; Plymouth State College Recital Series, April 1992; NOW MUSIC Festival, Capital University, February 1991; Plymouth State College Recital Series, Febru- ary 1990.

Festival Jubilee for Orchestra (1989). Commissioned by Arts Jubilee, Mt. Washington Valley, NH, for the Northeast Symphony Orchestra. Concert in the Park, North Conway, NH, July 1992, July 1991, July 1990, and July 1989; SummerFest, Mt. Snow, VT, June 1989; Arts Jubilee Music Festival, June 1989.

Canto I for Guitar (1988). NOW Music Festival, Columbus, OH, February 1999; Plymouth State College Recital Series, April 1992; New Hampshire Music Festival Composers Conference, August 1990. Musica Nova, Manchester, NH, May 1989; Plymouth State College New Music Festival, April 1989; University of Maine, Orono, February 1989; Boston Classical Guitar Society, February 1989; Norwich University, February 1989; Bowdoin College, February 1989; Plymouth State College Recital Series, January 1989.

Duo for Euphonium and Marimba (1988). Columbus, OH, January 2007; California State University-Los Angeles, March 2002; University of Illinois, May 1999; University of Memphis DMA recital, November 1997; Plymouth State College Recital Series, April 1992; Belknap Mill Recital Series, Laconia, NH, August 1989; Plymouth State College New Music Festival, April 1989; Plymouth State College Recital Series, February 1989.

William P. Dougherty, p. 11

In the Pillared Dark for Flute and Piano (1988). Commissioned by the New Hampshire Music Teachers Asso- ciation. NOW Music Festival, Columbus, OH, February 1999; Iowa Composers Forum Festival, October 1995; New Hampshire Music Teachers Association Silver Celebration, October 1992; Plymouth State Col- lege Recital Series, April 1992; Music Teachers National Association Four–State Convention, Portland, ME, October, 1989; New Hampshire Music Festival Chamber Series, July 1989; Plymouth State College Cultural Arts Day, May 1989; Plymouth State College New Music Festival, April 1989; Society of Com- posers, Inc. Region I Conference, Wellesley College, April 1989; University of New Hampshire, October 1988.

An End Without Return for Wind Ensemble (1988). Commissioned by the New England Wind Ensemble. NOW Music Festival, Columbus, OH, February 1999; Iowa Band Directors Association Annual Meeting, May 1995; Drake University Recital Series, May 1995; Northwestern University, May 1990; 14th Annual Symposium for New Band Music, Virginia Commonwealth University, February 1988; University of Mis- souri-Kansas City, November 1988; Ann Arbor Symphony Band, October 1988; Northeast College Band Directors Association, University of New Hampshire, April 1988.

Lullaby for Trumpet and Piano (1987). NOW Music Festival, Columbus, OH, February 1999; Plymouth State College Recital Series, November 1993; April 1992. This composition is reviewed in the ITG Journal, December 1993, p. 56.

Agamemnon’s Dream for Eight Trumpets and Timpani (1987). NOW Music Festival, Columbus, OH, February 1999; North Texas State University, April 1991; Northwestern University, December 1988; Symphony Band of Ann Arbor, May 1988; NOW Music Festival, Capital University, February 1988; Plymouth State College Recital Series, December and November 1987.

Fantasy and Dance for Clarinet and Piano (1987). Drake University, April 2012; NOW Music Festival, Columbus, OH, February 1999; Drake University Faculty Recital Series, February 1996; University of Northern Iowa American Music Festival, October 1990. Music Teachers National Association Four-State Convention, January 1988; Plymouth State College Woodwind Festival, November 1987.

Ceremony! for Organ (1987). Drake University Faculty Recital Series, September 1995; NOW Music Festival, Capital University, February 1988; Capital University Recital Series, Columbus, OH, November 1987.

Symphonic Scenes for Winds and Percussion (1987). NOW Music Festival, Columbus, OH, February 1999; Drake University, April 1997; NOW Music Festival, February 1988; New Hampshire Music Educators As- sociation Convention, May 1987; Plymouth State College New Music Festival, April 1987; Plymouth State College Recital Series, April 1987.

Heraldic Prelude for Antiphonal Trumpets and Band (1986). SUNY Binghamton, May 1988; Plymouth State College Recital Series, May 1986.

Meditation and Celebration for Euphonium (Trombone) and Piano (1982). NOW Music Festival, Columbus, OH, February 1999; Selected as euphonium audition composition for Falcone Festival, 1996; International T.U.B.A. Convention, University of Maryland, June 1986; Faculty Recital Series, The Ohio State Univer- sity, April 1983. This work is reviewed by Thomas Tritle in the National Association of College Wind and Percussion Instructors Journal 36 (Summer 1988), 32-34.

Under the Greenwood Tree for Soprano and Piano (1982). Graduate Student Recital Series, The Ohio State Uni- versity, April 1982.

Sonata for Euphonium and Piano (1980). Northwestern University Doctoral Recital, April 2010; Plymouth State College Recital Series, November 1989; NOW Music Festival, Capital University, February 1988; Faculty Recital Series, The Ohio State University, February 1980. This composition is reviewed by Larry Campbell in T.U.B.A. Journal 9, No. 3 (Winter 1982), 21-22.

Toccata for Piano (1977). Drake University, July 2003; NOW Music Festival, Columbus, OH, February 1999; Plymouth State College Recital Series, November 1993 and April 1992; NOW Music Festival, Capital University, February 1988; Plymouth State College New Music Festival, March 1986; Symposium of Contemporary Music, Illinois Wesleyan University, April 1978.

William P. Dougherty, p. 12

RECITALS AND PERFORMANCES

Computer Accompanist for SaxMax by Marc Englebert, Drake University, October 2006 Pianist, performance of my Toccata, Drake University, July 2003. Pianist for my Lament for Violin and Piano Four Hands, performed at the Semiotic Society National Meeting, Pittsburgh, October 1999. Guest Recital at Plymouth State College Piano Camp, July 1994. Works for piano four-hands by Poulenc and Mozart and the Bach Concerto for Two Harpsichords in C minor (played on harpsichord). “Twentieth-Century American Piano Music,” Faculty Piano Recital, Plymouth State College, November 1993. Program included works by Cage (selections from Sonatas and Interludes for Prepared Piano), Cowell, Dougherty, Moss. Faculty Composition Recital, Plymouth State College, April 1992. Program included eight of my compositions performed by Plymouth State College Faculty and Guest Artists; I was a soloist or accompanist on many of the works. Guest Artist (Piano Solo), NOW Music Festival, Columbus, OH, February 1988; Dougherty, Toccata. Plymouth State College New Music Festival, March 1986; featured as soloist or accompanist on works by Dougherty, Derr, and Poulenc. In addition, I have served as a piano accompanist for several faculty and student performances and I have partici- pated in numerous programs on low brass instruments (euphonium, tuba, trombone).

FELLOWSHIPS AND GRANTS

Grant from Friends of Drake Arts to compose Silhouettes, 2010. Faculty Research Grant, Provost’s Office, Drake University (support for travel to Düsseldorff and Weimar, Ger- many for research), 2002. Grant from Friends of Drake Arts to compose In Memoriam: Three Songs for soprano and flute 2001. Grant from Friends of Drake Arts to compose Passacaglia for Piano Trio, 2000. Faculty Research Grant, Provost’s Office, Drake University (support for travel to Harvard and New York City for research), 1998. Grant from Friends of Drake Arts to compose Nocturnal Echoes, 1996. Faculty Research Grant, Provost's Office, Drake University (support for travel to Vienna, Austria for research), 1996. New Hampshire State Council of the Arts Individual Artist Grant (for Composition), 1994. New Hampshire State Council on the Arts and The National Endowment for the Arts Individual Artist Fellow- ship (for Composition), 1990-91. National Endowment for the Humanities Fellowship to participate in Seminar on Semiotics and Verbal Art, Michael Shapiro, Director, Brown University, 1990. Received grants from both private and institutional sources to implement Sound Synthesis Studio at Plymouth State College, 1990. New Hampshire State Council of the Arts Individual Artist Grant (for Composition), 1989. Faculty Development Grant to compose Symphonic Scenes for Winds and Percussion, Plymouth State College, 1987. National Endowment for the Humanities Fellowship to participate in Seminar on Music and Literature, Steven P. Scher, Director, Dartmouth College, 1986. Faculty Development Grant to design Aural Skills Development Laboratory and to initiate computer-assisted in- struction in music at Plymouth State College, 1986. University Fellowship, The Ohio State University, 1978-79.

HONORS

Stalnaker Lecturer, College of Arts and Sciences, Drake University, 2013 Named Ellis and Nelle Levitt Professor of Music, Drake University, 2003 Honorary Membership, Phi Mu Alpha, Drake University, 1996 Named “Composer of the Year ” by the New Hampshire Chapter of the Music Teachers National Association, 1988. Elected to Phi Kappa Phi, Plymouth State College, 1988. The School of Music Society of Alumni and Friends Award for Excellence in Teaching, The Ohio State Univer- sity, 1981-82. William P. Dougherty, p. 13

The School of Music Society of Alumni and Friends Award for Excellence in Teaching, The Ohio State Univer- sity, 1980-81. The Ohio Federation of Music Clubs Foundation for the Advancement of Music Award for Excellence, 1980. Presser Foundation Scholar, Illinois Wesleyan University, 1977-78. Elected to Pi Kappa Lambda (honorary music) Illinois Wesleyan University, 1978. Elected to Kappa Delta Pi (honorary education) Illinois Wesleyan University, 1978.

ADDITIONAL ACTIVITIES

Regional Judge for National Federation of Music Clubs Composition Contest. Responsible for adjudicating Class III and Class IV compositions from 7-state region, 2011. Referee for Eero Tarasti, How Mozart, Brahms, and Wagner Talk to Us: Semiotic Explorations in Music History in the series Semiotics, Communication, Cognition for Mouton de Guyter (invited), 2010. Referee for book proposal The Oxford Companion to Musical Topics, ed. Danuta Mirka and V. Kofi Agawu, Oxford University Press (invited), 2010. Ruge Fellowship Selection Committee (invited), North Central College, Naperville, IL, 2013, 2009, 2007, 2006. External Dissertation Opponent (invited), University of Helsinki, 2009. State adjudicator, IMTNA composition contest, 2008. Iron Composer Adjudication Committee, ARTSaha! (invited), Omaha, NE, October 2007. National adjudicator, MTNA composition contest, 2004. Divisional adjudicator, MTNA composition contest, 2002. Board of Directors, Iowa Composers Forum, 1995 to 1998. Regional adjudicator, MTNA composition contest, 1998. Festival Coordinator and Host for Iowa Composers Forum Annual Meeting, a two-day festival of concerts of music by Iowa composers supported by grants from the Iowa Council on the Arts and Drake University, October 1998 and October 1995. Regional Judge for National Federation of Music Clubs Composition Contest. Responsible for adjudicating Class III and Class IV compositions from 7-state region, 1995 and 1996. Chief Reader for Graduate Record Examination Revised Music Test, Princeton, NJ, Winter 1999, Spring 1997 and Fall 1994. Assistant Chief Reader for Graduate Record Examination Revised Music Test, Princeton, NJ, Spring 1996 and Spring 1994. Invited to design questions in music theory, aural skills, and musicology for Educational Testing Services’ Praxis Exam (Testing Professional Preparation for Music Teachers), 1993. Reader in Music Theory, Graduate Record Examination Revised Music Test, Princeton, NJ, Fall 1999, Spring 1998, Winter 1998, Winter 1997, Fall 1995, Spring 1993, Fall 1992, Spring 1992. Pianist, Northeast Symphony Orchestra, 1989-1992. Co-Director, New Hampshire Music Festival Composers Conference, 1990. Pianist, New England Wind Ensemble, 1988 -1990. New Hampshire Music Teachers Association Theory and Composition Chair, 1989 -1991. New Hampshire Music Teachers Association Composition Contest, Chair, 1989-1991. Arranger, Oregon State University Marching Band, 1985. Instructor, Office of Continuing Education, The Ohio State University, 1984-85. Arranger, The Ohio State University Marching Band, 1981-1984. Co-editor, The Journal of the Graduate Music Students at The Ohio State University Nos. 7 (1981) and 8 (1984). Private Theory and Composition Teacher. Private Piano Teacher.

COURSES TAUGHT

At Drake University: Theory 1, 3 and 4 Structure and Design Aural Skills 1 and 2 Twentieth-Century Music Counterpoint Theory of Tonal Music† Orchestration 20th-Century Composition† Composition (undergraduate) Composition (graduate)† Basic MIDI Techniques Advanced MIDI Techniques Advise Senior Theses in Music Theory and Composition Music and Literature∞ Beethoven William P. Dougherty, p. 14

At Plymouth State College: Musicianship I, II, III, IV, V (includes theory and aural skills) Form and Analysis Advise Senior Theses in Music Theory Composition Advise Senior Theses in Composition 20th-Century Music: Advanced Analysis Advise Senior Honors Fellows Orchestration Music and Drama* Counterpoint Poetry and Music* Music Acoustics Civilization§ MIDI Techniques Advanced MIDI Techniques

At Oregon State University: Music Theory and Literature IV, V, VI Music Since 1945† Aural Skills II Introduction to Music Theory Keyboard Harmony IV, V, VI Survey of Music History Orchestration† Studio Lessons on Low Brass Composition

At The Ohio State University: Music Theory I, II, III, IV, V, VI Form and Analysis Aural Skills I, II, III, IV, V, VI

† signifies Graduate Course ∞signifies Interdisciplinary Course designed for and taught in University Honors Program * signifies Interdisciplinary Course designed for and team-taught in College Honors Program § signifies Interdisciplinary Course designed for and team-taught in Humanities Program

DRAKE COMMITTEES AND SERVICE

1. Departmental Committees:

NASM Accreditation Coordinator (2010-11) Promotion and Tenure Committee (1996-present; chair, 2010-11) Curriculum Committee (1994-2003; 2005-present) Honors Recital adjudicator (2006, 2011) Ad hoc Committee on Assessment (2005-2007) Music History Search Committee, Chair (2002-2003) Coordinator of Academic Studies (2002-2003) Area Head Committee (1994-2001) Graduate Committee (1994-1999) Fundraising Committee (ad hoc) (1994-1995) Recruitment and Retention Committee (ad hoc) (1994-1995) Masters Recital Committees (4) Dozens of Senior Recital Hearing Committees (ad hoc)

While Department Chair, I was an ex officio member of the Outreach Committee, the Committee on Assessment, and the Peer Review Committee as well as several ad hoc committees (including seven faculty search committees).

2. University and College Committees:

a) University Committees

Council of Academic and Administrative Departments (2003-07) Drake University Curriculum Committee (2002-03; 2005-07) Criterion 4 Re-Accreditation Committee (2006-07) Community College Transfer Committee (2006-07) Arts and Sciences Divisional Representative to Faculty Senate (1996-98; 2002-04) Vice President of Development Search Committee (1999-2000) General Education [Drake Curriculum] Committee (1995-97) William P. Dougherty, p. 15

Scholarship and Financial Aid Committee (1995) b) College Committees

Arts and Sciences Promotion and Tenure Committee (2006-08; 2012-present) Arts and Sciences Sabbatical Review Committee (2009) Arts and Sciences Dean Search Committee, Chair (2007-08) Arts and Sciences Technology Committee (ex officio, 2003-07) Arts and Sciences Council (1996-1998; 1999-2001; ex officio, 2003-07 Arts and Sciences Sabbatical Review Committee (2002) Arts and Sciences Dean Search Committee, Chair (2000-01) Arts and Sciences Department Chairs Committee (2003-07; 1996-2001) Arts and Sciences Strategic Planning Committee (1998-2001) Planning and Review (1996-98) Arts and Sciences Technology Committee (ad hoc) (Fall 1996-98) Arts and Sciences Mission Statement Committee (ad hoc) (1995-96)