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CURRICULUM VITAE of CARLTON GAMER Born r I CURRICULUM VITAE i of CARL TON GAMER I Born: Chicago, Illinois, February 13, 1929 Early studies: Private study of theory, composition, and piano, chiefly with Hubert Kessler, University of Illinois, 1936­46. Piano study also with Stefan I Bardas and Chester Barris, Illinois Wesleyan University, 1943­46 ­ Degrees: B. Mus., Northwestern University, 1950 (Composition with Frank Cookson and Anthony Donato; piano with Louis Crowder and Pauline Manchester) M. Mus., Boston University, 1951 Further studies: Private study with Roger Sessions, Princeton, 1957 Princeton Seminars in Advanced Musical Studies, 1959 and 1960 (Asian Studies) University of California, Berkeley, and Daitoku ­Ji, Kyoto, Japan, 1962­63 Teaching Experience: Boston University Graduate Assistantship, 1950­51 The Colorado College: Instructor, 1954­60; Assistant Professor, 1960­66; Associate Professor, 1966­74; Professor, 1974- Princeton University: Visiting lecturer in Music, 1974; Visiting Professor of Music, 1976; Visiting Professor of Music, 1981 Salzburg Seminar in American Studies, 1979 University of Michigan: Visiting Professor of Music, 1982 Early performing experience: Numerous public appearances as solo pianist, accompanist for vocal or instrumental soloists, and as pianist in chamber music ensembles at Northwestern University, Boston University, in New York, Colorado Springs, and elsewhere, 1946­60 Dance accompanist and composer for Ilka Suarez and Company, New York City, 1951­53 Dance accompanist, composer, and teacher of music for dance for Hanya Ho 1m Schoo I of Dance, summers of 1954 and 1955 ­2- Compositions: Early works: From My Youth (51 pieces) (1937­47) Orchestral Works: Fantasy for Orchestra ( 1951) I Archalos: Bios (movements of a work in progress, commissioned by - the Colorado Sporings Symphony) (1968­72) Chamber Music: String Quartet ( 1950, revised 1962) Music for Flute, Clarinet, Strings (1951) MusiC for Clarinet, Violin, Cello, Piano (1952) Conversation for Flute (Recorder) and Piano (1952) Serenade for Flute, Violin, Clarinet (1952, revised 1964) Theme and Variations for Clarinet and Piano (1953) Fantasy for Flute, Clarinet, Piano (1953) Duo for Flute and Clarinet ( t 959) Sonata for Violin and Piano (1959­60) Octet for String Quartet and Wind Quartet ( 1960) Fanfares for the Common Tone (x3) (1976) (published in Perspectives of New MUSic; Vol. 14, No. 2/Vo1. 15, No.1, Sprfng­Summer/Fall­Winter, 1976) Canonettes (1986) New Beginnings (for piano and percussion) (1987) Choral Music: Two Things (Neo­Platonic Soliloquy) ( 1957) (revised 1988) Three Haiku by Bash5 (1958) (published by C. C. MusiC Press) Laudate Dominum ( 1963) (published by C. C. Music Press) There is a Spirit (in memoriam A. J. muste) (1970) Carol: "Lo, in the Silent Night" Other Vocal Works: Songs to texts by Goethe, Thomas Moore, Langston Hughes, Housman, Yeats, Aldington, cummings, Annamarie Ewing, Thoreau, Shakespeare, McGinley, Apoll1naire, myself ( 1946­72) Songs for baritone voice, oboe, and cello, to texts by Rilke (1971­ ) ( work in progress) -3• Piano Music: Barcarolle and Chaconne (1948­49) Fragments (1948­50) (revised 1984) Aria da Capo (composition for dance with narrator) (1953) Block Dwellers (composition for dance) (1954) Sonata Breve ( 1961 ) I Piano Raga music (1962­70) (publ ished in Perspectives of New Music,Vo1. 12, No.2, Spring­Summer, 1974, in the A S.u.c. ­ Journal of Scores. Vol. 15, 1986, and by the Association for the Promotion of New Music) Transience ( 1971­ ) (work in progress) Three pieces "From the Gardens of the West;" Of Time Past ( 1978) Our Second Music (1975) "Quietly, With Feel ing" (after Mende lssohn) (1976) (published in Perspectives of New Music, Vol. 16, NO.2, Spring­Summer, 1978) Mondi (1983) Computer Music: Variation on a Thing by JKR ( '974), In Music Theory; Special Topics, ed. by Richmond Browne, Academic Press, 1981 ORGANUM: from Canto LXXXI (Ezra Pound) (1976) Perf ormers of My Works: Richard Bunger, Jo Boatright, Tania Cronin, Ward Davenney, Daniel Epstein, Elsbeth Heim, Rebecca LaBrecque, Robert Helps, Max Lanner, Henry Martin, Sue Langlas Grace, Reah Sadowsky, Robert Shannon, Claudia Stevens, myself (pianists); Sidney Harth, Joel Smirnoff (violin); Ronald and Nancy Hudson, Abraham Skernick, Leslie Parnas, Muir String Quartet (string quartets); Bethany Beardslee, Martha Booth, Josephine Estill, Claudia Stevens, Miriam Stewart, Susan Strick (sopranos); Herbert Beattie (baritone); David Colson (percussionist); The Colorado Springs Symphony; Soundscapes;others Recordings forthcoming: Piano Raga Music with Sue Langlas Grace, pianist (Society of Composers, Inc.) Sonata for Violin and Piano, with Sidney Harth, violin, and Ward Davenney, piano (Crystal) ­4- Pub1 i cat 10ns: "The New Fact and the Creative Life" (essay), The Colorado Quarterly. University of Colorado, Boulder, 1961 "Some Combinational Resources of Equal Tempered Systems," Journal of t1usic Theory, Vo1. II, No. I, Spring, 1967 "Deep Scales and Difference Sets," Proceedjngs of the American Society of University Composers, Vol. 2, 1967 I "Electronic Music," The Encyclopaedia Britannica, 1968 edition "Notes on Archaios," Cootemporary Music Newsletter, 1969 ­ "John Cage: HPSCHD; Ben Johnston: String Quartet No.2," (record review), Contemporary Music NeWSletter, 1970 "The Composer as Theorist," Proceedings of the American Society of University Composers, Vol. 7, 1972 "Current Chronicle: Colorado Springs," t:llisical Quarterly, July, 1973 "Flawed Words and Stubborn Sounds: A conversation with Eniott Carter," (review essay), Perspectives of New Music, Vo I. 11, No.2, Spring­Summer, 1973 "Notes on the Structure of Piano Raga Music," Perspectives of New Music, Vol. J2, NO.2, Spring­Summer, 1974 "Fanfares for the Common Tone" (with Paul Lansky) in 5.o.unds and Words: Milton Babbitt at 60, Perspectives of New Music, Vol. 14, no. 2/Vo1. 15, No.1, Spr'ing­Summer/Fall­Winter, 1976 "Sketch of a Foundation for Music Theory Today," from tlUsjc Theory: The Art, the Profession. and the Future (a unified group of papers read at a plenary session of the national conference of the College Music Society and the American Musicological Society, Washington, D. c., Nov. 6, 1976) in Symposium: Journal of the Col1ege Music Society, Vol. J7, No.1, Spring, 1977 "E.I5etera: Some Temperamental Speculations," in t1usic Theory: Special Topics, ed. by Richmond Brown, Academic Press, 1981 "Music WorldS," Semiotic Investigations' Proceedings of a t1ellon Faculty Seminar, The Colorado (o)]ege Studies 18, 1982, pp. 83­98 "Busnois, Brahms, and the Syntax of Temporal Proportions" (essay), in A Festschrift for Albert Seay, ed. by Michael Grace, Colorado College, Colorado Springs, Co., 1982, pp. 201­2 J5 Numerous book reviews in Choice and t:1LA Notes (l1brary journals) Two articles in mathematics: "Musical Block Designs" (with Robin J. Wilson, Oxford, England), Ar.5 Combinatoria, Vol. 16­A, December, 1983, pp. 217­225 "Trapezoidal Numbers" (with David Roeder and John Watkins), Matbematics ｴＱ｡ｧｾＬ＠ Vol. 58, No.2, March, 1985, pp. 108­110 -5• Public Performances: Northwestern University, Evanston; Boston (Boston University; New England Conservatory); New York City (YMHA; WNYC Festival of American Music; Carnegfe Recital Hall [Internatfonal Society for Contemporary Music]; Soundscape; elsewhere); Dartmouth College, Hanover, New I Hampshire; Ashland College, Ashland, Kentucky; Bennington, Vt. (Bennington Composers Conference); Princeton Unfversity (Princeton • Seminars in Advanced Musical Studles and other occasl0ns); Denver (American Musicological Society/Co11ege Music Society/Society for Music Theory Annual Meeting; the Denver Center for the Performing Arts [Colorado Contemporary Music Festival]; elsewhere); University of Colorado, Boulder; The Colorado College, The Colorado Springs Symphony, Soundscapes, and elsewhere in Colorado Springs; Ouray, Colorado (Music in Ouray); Jackson, Wyoming (Grand Teton Music Festival); Dallas; University of Minnesota, Minneapolis; Bowdoin Col1ege, Maine; Oberlin School of Music, Ohio; Los Angeles (Monday Evening Concerts); Tempe, Arizona (American Society of University Composers Annual Conference); University of Michigan, Ann Arbor (Contemporary Directions; Current and Modern Consort); University of California at San Diego (1977 International Computer Music Conference); University of Richmond, Richmond, Va.; University of Maryland, College Park; Washington, D. C. (National Gallery; Kennedy Center); New Jersey State Museum, Trenton; Yale University; University of New Mexico, Albuquerque (Southwestern Composers Conference); South Dakota State University, Brookings; Smith College, Northampton, Mass.; Tampa Bay; Guadalajara, Mexico; Salzburg, Austria (Salzburg Seminar in American Studies); Santa Fe, New Mexico (College Music Society National meeting, 1988); Bucknell University, Lewisburg, Pennsylvania; Shepherd School of Music, Rice University, Houston, Texas; Cleveland Institute of Music, Cleveland, Ohio; Australia; others Guest Lectures: Arizona State University, Tempe, Arizona; Bard College; Brigham Young University; University of Colorado, Boulder; Eastman School of Music, Rochester, New York; University of Michigan; University of Pennsylvania; Princeton University; U. S. Air Force Academy; University of Washington, Seattle -6• Papers and Pane 1s: Ｂｾ｡ｲｯＩ｡＠ scenica and Polyphonic Action in Verdi's atello," Rocky Mountain Modern Language Assn., Sun Valley, Idaho, 1970 "Crossing the Bridge that Bartok Bul1t," The 1981 Colorado College Festival in the Arts I "Musical Destinies,"
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