86 Haven Ave, Apt.53 Joshua Banks Mailman (917) 945- 1854 New York, NY 10032

www.joshuabanksmailman.com

Education • Ph.D. in Music Theory, Eastman School of Music; Dissertation: “Temporal Dynamic Form in Music: Atonal, Tonal, and Other” (Robert D. Morris, advisor), 2010 • M.A., Music Theory, Eastman School of Music, University of Rochester, 2003 • Summer (six weeks) mentor/protegé program studying Gagaku (Japanese court music), instrument: hichiriki (double reed), Columbia University’s Institute for Medieval Japanese Studies / Japanese Cultural Heritage Initiatives, Tokyo, Japan, 2014 • Summer course in analysis of Schoenberg’s atonal music (, instructor) Yale Summer School / Schoenberg Center, Vienna and Mödling, Austria, 2001 • A.B., major in Philosophy and studies in Music, University of Chicago Awards 2008 Best paper prize: Music Analysis 25th Anniversary Competition 2002 Honorable mention, Jerald Graue award for excellence in musicology, Eastman School 2001 Eastman professional development travel grant for Schoenberg course, Vienna, Austria 1997 Mellon, Woodrow Wilson fellowship for Humanistic Studies, for graduate study at Columbia University: respectfully declined award to attend the Eastman School Articles • “Trajectory, Material, Process, and Flow in Robert Morris’s String Quartet Arc” Perspectives of New Music v.52/2, 2014

• “Improvising Synesthesia: Comprovisation of Generative Graphics and Music” Leonardo Electronic Almanac (MIT Press / Goldsmiths, U. of London) v.19/3, 2013 • “Seven Metaphors for (Music) Listening: DRAMaTIC” Journal of Sonic Studies v.2, 2012 and republished in The Open Space Magazine 15, 2013 http://journal.sonicstudies.org/vol02/nr01/a03 • “An Imagined Drama of Competitive Opposition in Carter's Scrivo in Vento (with Notes on Narrative, Symmetry, Quantitative Flux, and Heraclitus)” Music Analysis v.28, 2-3, 2009 (Winner: Music Analysis 25th Anniversary Competition) forthcoming • “Schoenberg’s Chordal Experimentalism Revealed Through Representational Hierarchy Association Models (RHAMs), Contour Motives, and Binary-State Switching” Music Theory Spectrum v.37/2, 2015 • “Cybernetic Phenomenology of Music, Embodied Speculative Realism, and Aesthetics Driven Techné for Interactive Multimedia” forthcoming in Perspectives of New Music under review • “Conventional and Unconventional Approaches to Babbitt’s Unconventional Projections of Form” under review by Perspectives of New Musicˆ • “Promordial and Promethean Tendencies in Schoenberg’s Experimental Approach to Chord Emancipation” under review by the Journal of Music Theory Articles in • “‘Not Just the Facts, Ma’am’: Rhetorical Interpretation of Phrase Expansion in Haydn’s music” under revision progress • “Prospectus for a constructive-flexible-progressive orientation toward music embodiment and improvisation” under revision • “Embodiment, canon, and harmonic functional inversion in Brahms's Wir Wandelten” • “Emergent Flux Projecting Form in Ruth Crawford Seeger’s Quartet (1931)” • “Rhythmic volatility in textures of Carter, Reich, Ligeti, and Lutoslawski” Book Chapters • “Agency, Determinism, Focal Time Frames, and Processive Minimalist Music” chapter 6 in the book Music and Narrative since 1900 (edited by Michael Klein and Nicholas Reyland) Indiana University Press, 2013 • “Continuous Movement, Fluid Music, and Expressive Immersive Interactive Technology: The Sound and Touch of Ether’s Flux” (co-authored with Sofia Paraskeva) Sound, Music and the Moving-Thinking Body (edited by Marilyn Wyers and Osvaldo Glieca) Cambridge Scholars Publishing, November, 2013 • "Liberal Ironist Analysis and Liberal Ironist Embodied Interactivity: Ontological Freedoms are Creative Freedoms” Music Analysis and the Body: Experiments, Explorations and Embodiments, series: Analysis in Context (general editor Mark Delaere) Peeters/Leuven Studies in Musicology, in preparation • “Renewing the Riverbed: Critical Aesthetic and Epistemological Purposes for Analysis, Fueled by Performative Theory” (translated into French) in Proceedings of Electroacoustic Music Analysis and Listening (Nicolas Marty, ed.) to be published by Delatour , in preparation Page 1 of 7 ! Joshua Banks Mailman

Peer-reviewed • “The Fluxations Stochastic Interactive Algorithmic Music Engine (SIAME) and iPhone App” Published In Bob L. Sturm; Sofia Dahl & Jan Larsen (ed.), Proceedings of the 9th Sound and Music Proceedings Computing Conference - "Illusions". Logos Verlag. Berlin. 2012 • “Interactive Computer Simulation for Kinesthetic Learning to Perceive Unconventional Emergent Form-bearing Qualities in Music by Crawford Seeger, Carter, Ligeti, and Others” In Emilios Cambouropoulos; Costas Tsougras; Panayotis Mavromatis & Konstantinos Pastiadis (ed.), Proceedings of the ICMPC-­ESCOM 2012 Joint Conference: 12th Biennial International Conference for Music Perception and Cognition, 8th Triennial Conference of the European Society for the Cognitive Sciences of Music. School of Music Studies, Aristotle University of Thessaloniki Thessaloniki, Greece. 2012

Other • Interview with the JACK Quartet (co-author) Perspectives of New Music v.52/2, 2014 Publications • “Curious Music In The Great Outdoors: Robert Morris's Coming Down To Earth In Webster Park” Perspectives of New Music 52/2, 2014 • Interview of Joshua B. Mailman, by Rachel Vandagriff, Perspectives of New Music 50/1, 2012 • Review Article on Repetition in Music: Theoretical and Metatheoretical Perspectives by Adam Ockelford. Psychology of Music 35 (2) 2007 • Introduction to a forum of reviews of Nicholas Cook's Analysing Musical Multimedia. Integral v.16/17, 2002/2003 • “The Aims of Music Theory and Neurath’s Boat: A Reply to Jonathan Walker and Matthew Brown” Music Theory Online 2.4, 1996

Peer-reviewed “Time’s Duality and the Androgyny of Musical Flow” in session on Music and temporal Conference and experience in the short twentieth century Colloquium • 50th Royal Musical Association annual conference, University of Leeds, UK, September 2014 Presentations “Experimental Pragmatist Approaches to Interactive Music Systems Inspired by Music Analysis” in panel session on Music Analysis and the Body • EuroMAC (European Music Analysis Conference), Leuven, , September 2014 “Renewing the Riverbed: Critical Aesthetic and Epistemological Purposes for Analysis, Fueled by Performative Theory” in two-day session on Electroacoustic Music Analysis and Listening • EuroMAC (European Music Analysis Conference), Leuven, Belgium, September 2014 “Assertive and Furtive Forms and Processes in Post-war Art Music Off-center: Berio, Carter, and Others” • Seventh Int’l Conference on Music Theory, Tallinn-Pärnu, Estonia January 2014 • Society for Music Theory, Post-WWII Music Analysis Interest Group, Charlotte, NC November 2013 “A cumulative narrative trajectory of the Rite of Spring's introduction, arising from flux of binary-states” • Eighth Biennial International Conference on Music Since 1900, Liverpool Hope University, , September 2013 “Improvising Synesthesia: Comprovisation of Generative Graphics and Music” • NoiseFloor conference, Stadfordshire University, Stafford, UK, May 3, 2013 • University of California, Santa Barbara, Music Department, talk-demo, May 31, 2013 “Electric Evolutionary Fairytales: Binary State GIS, Mendelian Genetic Metaphor, and Boolean Symbolism for Schoenberg, Schumann, and Others” • Music Theory Society of the Mid-Atlantic, Temple University, March 15-16, 2013 “Interactive Computer Simulation for Kinesthetic Learning to Perceive Unconventional Emergent Form-bearing Qualities in Music by Crawford Seeger, Carter, Ligeti, and Others” • International Conference on Music Perception and Cognition (ICMPC) and European Society for the Cognitive Sciences of Music (ESCOM), Thessaloniki, Greece, July 2012 “The Fluxations Stochastic Interactive Algorithmic Music Engine (SIAME) and iPhone App” • 9th Sound and Music Computing Conference (SMC), July 2012, Copenhagen ! Page 2 of 7 (continued on next page) Joshua Banks Mailman Peer-reviewed “Comprovisation, Emergence, and the Fluxations Human Body Interface" Conference and • Skin—Surface—Circuit: Embodying the Improvisatory, ICASP-McGill Center for the Colloquium Critical Study of Improvisation Interdisciplinary Colloquium, Montreal, June 14-16, 2012 Presentations “Cybernetic Phenomenology and Music Ontology” (continued) • Music: Cognition, Technology, Society, Cornell University, May 11-13, 2012 • Music Theory-Musicology Forum, UC, Santa Barbara, January 16, 2013 • Composers Forum, UC, Santa Barbara, February 20, 2013 “Duality of metaphor for time and music: applications to computational-phenomenological analysis of musical form and expression” • Plenary session roundtable on Metaphor, Seventh International Conference on Music Since 1900 / Society for Music Analysis Conference, Lancaster, U.K., July 2011 • Music and Philosophy Conference: Time Theories and Music, Corfu, Greece, April 2012

“Conventional and Unconventional Approaches to Babbitt’s Unconventional Projections of Form” • The Legacy of : Post-WW II Serialism in the Americas, Colloquium at Wright State University, Dayton, OH, March 2012

“Interactive Computer Simulation and Perceptual Training for Unconventional Emergent Form- bearing Qualities in Music by Ligeti, Carter, and Others” (earlier version of similar paper above) • Society for Music Perception and Cognition, Rochester, NY, August 2011 • Columbia Computer Music Center reception in the Cycling ’74 Expo, October 2011

“Emergent Flux Projecting Form in Ruth Crawford Seeger’s Quartet (1931)” • Analysis of Music by Women Composers Session, Committee on Status of Women, Society for Music Theory, Indianapolis, November 2010 • Seventh International Conference on Music Since 1900 / Society for Music Analysis Conference, Lancaster, U.K., July 2011

“Embodied metaphor interpretation of a romantic song: Hybrid analysis interprets multi- transformational form in Brahms’s Wir Wandelten” • Music Theory Society of New York State, New York City, April 2010 • Music Theory-Musicology Forum, UC, Santa Barbara, May 8, 2013

“Dripping, Leaking, Framing, Flowing, and Dynamic Form in Electro-Acoustic Music: Narrative Allusions to Heraclitus and Hitchcock” • Sixth Biennial International Conference on Music Since 1900, Keele University, United Kingdom, July 2009 "An Imagined Drama of Competitive Opposition in Carter's Scrivo in Vento" • Society for Music Analysis, Cardiff, Wales, UK, 2008 (Winner: Music Analysis 25th Anniversary Competition) • Society for Music Theory, Montreal, October 2009

“A Binary-state GIS Models a Contour Motive that Helps Chords Talk Long-distance in Schoenberg’s Op.11, No.2” • Music Theory Society of New York State, Rochester, 2004 • Society for Music Theory, Seattle, 2004 “Conceiving and Communicating Multiplicity in Post-Tonal Music Analyses” co-authored with Richard Randall • Society for Music Theory, Toronto, 2000 “Long-term Memory and Perception of Octave-Equivalence with Atonal Melodies” • Society for Music Perception and Cognition, Toronto, 2000

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Invited “Development and performance of Fluxations and FluxNOISations systems” Conference • Computer Music seminar of Brad Garton, Columbia Computer Music Center (CCMC), Sept. 30, 2014 and Roundtable panel participant on Listening Behaviours within two-day session on Electroacoustic Colloquium Music Analysis and Listening Presentations • EuroMAC (European Music Analysis Conference), Leuven, Belgium, September 2014 “Diving into Flux: Journeying among Music Theories and Interactive Multimedia Practices” • Ground-breaking Research/Innovative Technology (GRIT) talks, presented by the UCSB Research Mentorship Program and UCSB Summer Cultural and Enrichment Program, University of California, Santa Barbara, July 17, 2013 “Theorizing, Developing, and Performing Fluxations and FluxNoisations: Interactive Music Emerging from Analyzing Emergence in Composed Acoustic Music” • University of California, San Diego (UCSD), InFocus composition seminar January 22, 2013 “Flux of Upward: A Computational Model of a Textural Device in Ligeti's Late Music” • Northeast Music Cognition Group, New York University, April 2011 “Dynamic Form (Flux of vertical cellularity in Isaac’s Quis Dabit and flux of pitch freshness)” • Northeast Music Cognition Group, Yale University, May 2010 “Introduction to Temporal Dynamic Form Theory and Analysis” • Colloquium, Harvard University, Department of Music, April 2009

Performance, • FluxNoisations interactive system for dance-improvisatory noise-music and live computer graphics Interactive • duo performance with Luke T. Taylor, Lotte Lehmann Concert Hall, Santa Barbara, CA, May 30, 2013 Technology, • broadcast on ECHOES “How to Get Lost and Start Listening” on stress.fm, on July 14, 2013, and Sound http://www.osso.pt/en/projects/echoes/radio/ Design • solo performance at the NoiseFloor Festival 2013, April 30-May 3, Staffordshire University, UK • The Sound and Touch of Ether’s Flux (The Fluxations Human Body Movement Interface for Comprovisational Computer Music, in collaboration with Sofia Paraskeva): Interactive algorithmic music generated spontaneously through motion detected by an infrared video camera, glove controller, and other sensors • Music, Mind and Invention: Creativity at the Intersection of Music and Computation, College of New Jersey, March 30-31, 2012 • Sound, Music and the Moving-Thinking Body conference at Chancellors Hall, Senate House, University of London, April 19, 2012 • “The Fluxations Human Body Movement Interface for Comprovisational Computer Music" • Music: Cognition, Technology, Society, Cornell University, May 11-13, 2012 • “Comprovisation, Emergence, and the Fluxations Human Body Interface" (listed above) • performance and demo-talk at Skin—Surface—Circuit: Embodying the Improvisatory, ICASP-McGill Center for the Critical Study of Improvisation Interdisciplinary Conference, Montreal, June 14-16, 2012 • “Motion Glove Fluxations” (presented by Sofia Paraskeva) • CultureHub, Volumetric Society: Media Circus, LaMama, NYC, November 23-25, 2012 Multimedia • Fluxations: (see Interactive Technology and Sound Design above) works - Full Body Comprovisations 1&2 (2012), published in the online new media journal SoundsRite - Montreal Comprovisations 1&2 (2012), improvised multimedia music-dance performance - Firefly Fury: Marathon Demonstration Improvised (2012), multimedia music-dance performance • Song of the Chameleon Jellyfish (2011) algorithmically generated computer music and animation depicting the sound, motion, and luminescence of a fictitious creature • Lament of the Chameleon Jellyfish (2011) music and animation as above • Mating Ritual of the Chameleon Jellyfish (2011) music and animation as above • Chameleon Jellyfish Cyber-telepathic Transformation (2011) music and animation as above • Thought Experiments of a Chameleon Jellyfish (2012) music and animation as above — The Chameleon Jellyfish series is published in Open Space Web Magazine! Page 4 of 7 Joshua Banks Mailman

Audio • Murmurs of the Moist (2012) noise-percussion comprovisation made with FluxNoisations, Compositions published in 100 Years of Noise (full release), http://enoughrecords.scene.org/100_years_of_noise/ • Licorice Loops Nos. 1 & 2 (2012) algorithmic interactive pulsed music improvised with self-programmed Max/MSP patch • Lavender Lullaby (2012) ambient music improvised using self-programmed iPhone app • Vortex Collosus (2011) ambient music as above • Coriander Castle (2011) ambient music as above • Cayenne Canyon Canon (2011) ambient music as above • Cinnamon Crevice (2011) ambient music as above • Cardamom Canyon (2011) ambient music as above • Heraclitean Dreams (2008) computer music made with sampled and generated sounds • Rainbow Wave Flow (2008) processive composition for vibes or harp (computer realization) • Atonally Fantastique (2008) introduction of Berlioz’s Symphonie Fantastique recomposed in an atonal Second Viennese style (scored for piano) • Emergent Tonality (2006) brief demonstration of how a third tonal center can arise from the merging of two interlocking strands each having its own distinct tonal center (scored for jazz guitar) • Bubbly Babbitt (versions 1 and 2) (2000) quasi-granular algorithmic realizations of a segment of a 12-tone all-partition array Teaching Columbia University, Department of Music Adjunct Assistant Professor

2014 fall • Music Humanities: The focus is on masterpieces of Western art music in 2014 spring historical and cultural context. Using a “great works” approach, moving 2013 fall chronologically from the Middle Ages to the present, it traces genres, styles, choices, and assumptions of composers, as relating to patrons and audiences. Fordham University, Department of Art History and Music Adjunct Lecturer 2014 fall • Introduction to Music History: Fundamentals and history of Western art music in historical and cultural context. chronologically from the Middle Ages to

the present. It traces genres, styles, choices, and assumptions of composers, as relating to patrons and audiences. William Paterson University, NJ, Department of Music

Adjunct Assistant Professor 2014 fall • Music Fundamentals: Basic notation of pitch, rhythm, meter, scales, key signatures, intervals, triads,

2013 fall • Music Theory 1&2: Simple & compound meter, scales, keys, intervals, triads, 2014 spring 2-voice species counterpoint, voice-leading, basic phrase model (chordal func- tions) & its expansions, melody & cadence of phrases, dominant 7th, figured bass, a University of California, Santa Barbara, Department of Music Visiting Assistant Professor

2013 spring • Grad seminar: Narrative, Metaphor, Embodied Mind, and Technology in Music Discourse • Music 5C: third course of the first year of undergraduate music theory 2013 winter • Music 160B: Grad & undergrad analysis and theory of post-tonal music

• Music 5E: Second course of the second year of undergraduate music theory 2012 fall • Music 160A: Analysis of tonal music for graduate and undergraduate students; this is the first course in the third year of a three year music theory sequence (covered in this course are topics such as phrase, period, sentence, motivic development; and forms such as binary, ternary, sonata, and rondo) • Music 5D: First course of the second year of undergraduate music theory (covered are topics such as diatonic sequence, applied chords, and modulation) Page 5 of 7 (continued on next page) Joshua Banks Mailman Teaching Columbia University, Department of Music (continued) Adjunct Assistant Professor 2012 spring Chromatic Harmony and Counterpoint II: Final course in the four-semester required music theory sequence for undergraduate music majors 2011 fall Chromatic Harmony and Counterpoint I: Third semester in the four-semester required music theory sequence for undergraduate music majors 2011 spring Chromatic Harmony and Counterpoint II (as above) 2010 fall Fundamentals of Western Music (MUSI V1002): Basic notation, rhythm, scales, keys, intervals, triads, inversions, cadences, introduction to figured bass, voice-leading, and chorale analysis NYU, Steinhardt School, Department of Music and Performing Arts Professions Adjunct Assistant Professor 2012 spring Music Criticism: Music journalism course for musician graduate students The critiquing, interpreting, and writing of reviews of concerts and recordings, and biographical or topical pieces for newspapers and magazines are discussed along with practical and philosophical issues of writing music criticism 2011 fall Aural Comprehension III: Sight-singing, conducting, dictation, and aural form analysis pertaining to chromatic tonal music, for grad and undergraduate students 2011 spring Music Criticism (as above) 2010 fall Music Theory I (E85.0035): Two-voice counterpoint, voice-leading, basic phrase model (chordal functions) including its expansions, chorale harmonization, melody and cadence of phrases, diatonic sequences Hunter College, C.U.N.Y., Department of Music Adjunct Lecturer 2010 spring Music Theory IV (MU-T321): advanced tonal harmony and counterpoint, composition, advanced tonal form, and an introduction to twentieth-century music techniques, American popular song (jazz standards) University of Maryland, College Park, School of Music, Division of Theory and Composition Visiting Assistant Professor (sabbatical replacement) 2006 spring • Graduate seminar: Dynamism, Temporality, Processive Form and Philosophy • Form (grad/undergrad): period; sentence; binary, ternary, sonata, & rondo forms • Theory, Analysis, and Composition of 20th century music Eastman School of Music, University of Rochester, Department of Music Theory Graduate Instructor, part-time 2005 fall Th205: theory, analysis, composition, and aural skills of 20th century music 2003 fall Th262: sight-singing and dictation for 20th century music 2001-2002 Supervised and taught Th102 and Th101 2000-2001 Th201-202: chromatic harmony; sonata form; atonal; 12-tone 1999–2000 Th101-102: basic counterpoint; harmony; form Eastman School of Music, University of Rochester, Writing Center 2004 Tutored graduate and undergraduate students in writing essays for all subjects Style • Baroque: Invention in C and Three-voice Fugue exposition in A minor Compositions • Viennese Classical: Ländler in A, Sonatina in C, and Allegretto (rounded binary) in C • Romantic: Brahmsian fragment, Schumann-esque character piece (The Pensive Rabbitt), four-voice embellished setting of a mystery melody (for organ), and post-romantic lied (setting of a poem by Georg Trakl) • Early modern: Atonally Fantastique (Berlioz in Second Viennese School pitch language) Contemporary music & multimedia works, and interactive music activities are on the website: www.joshuabanksmailman.com Page 6 of 7 Joshua Banks Mailman ! Scholarly Editing • guest co-editor of Perspectives of New Music v.52/2 Activities • member of the editorial board of Open Space Magazine, since 2012 • Reviews Editor of the music theory journal Intégral (v.16-19) Referee-reviewing • for Cambridge University Press journal Twentieth Century Music, summer-fall 2012 • for Music Theory Spectrum, summer 2013 • for the book Music Theory and Its Methods: Structures, Challenges, Directions. Peter Lang Publishers, 2013, Denis Collins (ed.) • for Frontiers in Theoretical and Philosophical Psychology: Music and the Embodied Mind, winter 2014 • for Journal of Pragmatics, spring 2014 Leadership activities • peer-learning workshop on Listening to and Anayzing Aggregate Music led by Andrew Mead, Society of Music Theory, November 2014 • chaired session on Representations in ElectroAcoustic Music Analysis EuroMAC (European Music Analysis Conf.), Leuven, Belgium, September 2014 • chaired session on Form in 20th Century Classics, Seventh International Conference on Music Theory, Tallinn-Pärnu, Estonia, January 2014 • chaired session on Agential Strategies in British Music, 8th International Conference on Music Since 1900, Liverpool, UK, September 2013 • interviewed Benjamin Boretz for videorecorded session as part of the UC San Diego Music Department’s SpringFest, 2013 • participated (by invitation) in two-day workshop on Narrative and Music, 6th Biennial International Conference on Music Since 1900, Keele University, UK July 2009 • chaired session on Pitch Centricity and Salience, Society for Music Analysis, Cardiff, Wales, United Kingdom, September 2008 Skills • Languages: working knowledge of German, and basic knowledge of French • Musical instruments: keyboard (piano and organ), viola (high school and college orchestras), guitar (classical, jazz, and rock/pop), tenor recorder, hichiriki in Gagaku ensemble • Singing: bass and tenor in the Cornerstone Chorale, NYC and Friday Night Group (an informal collective for sight-singing Renaissance polyphony), NYC • Computer programming languages: C++, C, Java, Basic, Logo turtle graphics, Processing, Html • Computer music technology: RTcmix, Max/MSP, iPhone app development Service • prepared online semi-annual newsletter of the Society of Music Theory’s, 2001-2003 • served on the Society of Music Theory’s Networking Committee, 2000-2002 • academic referee-reviewing listed in the Scholarly Activities section above References

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