CURRICULUM VITAE

John E. Rogers

I.  Biographical Sketch

John E. Rogers retired form UNH in 2005 as Emeritus Professor of Music..  He had been at UNH for 38 years and for all of that period was the Director of UNH's Electronic and Computer Music Studios.  Born in 1938 in Dallas, Texas, he received his early education in the public schools of Texas and Georgia, studied philosophy (BA, 1960) and music (BM, 1960) at the University of Georgia, and did graduate work in music composition at the Yale School of Music (MM, 1962) and Princeton University (MFA, 1965).  His main composition teachers have been Elliott Carter, Roger Sessions, and Milton Babbitt.  Professor Rogers has taught in the public schools of Naugatuck, Connecticut, at Bowdoin College in Brunswick, Maine, and came to the University of New Hampshire in 1967.  He has been working in electronic and computer music since the early 1960’s and has published extensively in that field and in the area of music theory. Prof. Rogers also played bass sackbut in the Hampshire Consort, the residence early music ensemble at the University of New Hampshire, and a recent composition was for this ensemble plus synthesized sounds.

II.  Education

A. Degrees

1. BA in Philosophy, University of Georgia, 1960

2. BM in Trombone Performance,  University of Georgia,1960

3. MM in Theory-Composition, Yale School of Music, 1962

4. MFA in Composition, Princeton University, 1965

B. Student Awards and Prizes

1. Rena Greenwald Prize (Yale School of Music, 1962)

2. BMI SCA Award (1965)

III. Teaching  Experience

A. Public School Teaching

1. Instrumental Music Teacher(1962-63), Naugatuck Public Schools, Naugatuck, CN.

B. College Teaching

1. Instructor in Music(1964-1967), Bowdoin College, Brunswick, ME

2. Assistant Professor of Music(1967-1972), Associate Professor of Music(1972-85), Professor of Music(1985-2005), Director of Electronic Music Studios(1967-2005), Emeritus Professor of Music(2005-present): University of New Hampshire, Durham, NH.

C. College Service as Director or Chair

1. Co-Director, Summer Institute in Electronic Music, Dartmouth College and the University of New Hampshire (1972)

2. Chair, Academic Senate, 1987-1988

3. Chair, Department of Music, 1988-1997

D. Important College and University Committees since 1986

1. Faculty Council and Executive Committee of the Academic Senate (1986-1990)

2. HATS Committee to advise VPAA (1986-1988)

3. Steering Committee for Development of Student Information Systems (1987-88)

4. Search Committee for Director of University Computing (1987-88)

5. Search Committee for Executive Vice-President (1987-88)

6. Telecommunications Planning Committee for University Computing (1987-88)

7. Advisory Committee for the Dean of the College of Liberal Arts (1988-1997)

8. “Floating” member of Executive Committee of College of Liberal Arts (1988-89)

9. Advisory Committee for Center for the Humanities (1989-1993)

10. Cultural Events Committee (1989-1997)

11. Summarizer of Two Difficult Tenure Cases for VPAA (1990-91)

12. Chair, University-wide Language Review Committee (1992)

13. Steering Committee for UNH Accreditation by NEASU (1992)

E. Courses Normally Taught

Freshman and/or sophomore music theory, electronic music, analysis, a graduate theory seminar, species counterpoint, and composition.  I sometimes taught orchestration; less often, I taught sophomore level music history and introductory courses for non-majors.

IV.  Musical Compositions

(*indicates an acoustic piece for which there is a partial electronic realization; ** indicates an acoustic piece for which there is a complete electronic realization.)

A.  Solo Instrumental Works

1. Sonata for Trombone and Piano(1959)

2. Sonata for Piano,(1960)

3. Five Reminiscences for Piano(1962)

4. Allusions for Piano (1984-85)**

B. Songs for High Voice and Piano

1. Mary Magdalene, poem by Homer Nicholson(1960)

2. Gloria Deo, poem by Homer Nicholson(1960)

3. Garden Abstract, poem by Hart Crane(1961)

4. Rain is Falling, poem by James Joyce (1962)

5. Simples, poem by James Joyce(1962)

6. After Long Silence, poem by W. B. Yeats(1962)*

7. Of Mere Being, poem by Wallace Stevens (1965)*

8. A Fish-Scale Sunrise, poem by Wallace Stevens (1965)

9. After Mallarme, poet unknown (1965)**

10. The Man with the Blue Guitar, cycle of poems by Wallace Stevens (1965-present)**

C.  Chamber Music

1. Three Movements for Wind Quintet (1960-62)

2. Fantasy for String Trio (1962)*

3. Isorhythms  for Percussion and Keyboard Instruments (1963)

4. Prolation Suite  for Brass Quartet (1965) (withdrawn and replaced with Septet for Flute, Brass Quartet, and Electronic Sounds)

5. Three Duets for Two Trombones (1962) [#3,**]

6. Quartet for Trombones (1962)

7. Rotational Arrays for Wind Quintet (1967)*, published by the Bowdoin College Music Press

8. Canonic Distortions of a Familiar Tune (1967-68)

9. Trio  for flute, cello, and piano (1968-69)*

10. Motet on Victimae Paschali Laudes  for Renaissance Brass Quartet (1983-84)**

11. Trio  for Recorder, Sackbut, and Synthesized Sounds (1988-89)**

12. Septet  for Flute, Brass Quartet, and  Two Synthesists (1989-90)**

13. HemidemiMusic  for Renaissance Brass, Recorders, Percussion, and Harpsichord (in progress)**

D.  Orchestral Music

1. Movements for Chamber Orchestra (1963)[#1,**]

E.  Concertos

1. Symmetries  for Harpsichord, Piano, Electric Piano and Orchestra (1967-68)*

F.  Electronic Music

1.  Synthesizer and Tape Compositions

1. Electronic Study (1970-1971), two-channel tape realized in the University of New Hampshire Analog Electronic Music Studio.

2. Synthesis of and Variation on a Theme by Webern (1973), two channel tape realized in the  University of New Hampshire Analog Electronic Music Studio.

3. Duet (1984), two-channel tape realized in the University of New Hampshire MIDI Electronic Music Studio.

4. Motet on Victimae Paschali Laudes (1983-84), two-channel tape realized in the University of New Hampshire MIDI Electronic Music Studio.

5. Trio for Synthesized Sounds (1988-89), two-channel tape realized in the University of New Hampshire MIDI Electronic Music Studio.

6. Ricercare and Amphibrach for Electronic Sounds (1989-90), two-channel tape realized in the University of New Hampshire MIDI Electronic Music Studio.

7. HemidemiMusic for Electronic Sounds (in progress)

2.  Computer Generated Sound

1. Canonic Structures(1973), two-channel tape computed and converted to sound on the IBM 360/50 Computer and D/A Conversion System at the University of New Hampshire.

2. A Tude, (1974), same as above

3. Computer Fantasy (1974-75), same as above

4. Intermission Musics (1970-85); one, two and four-channel tapes generated on the DEC-10 at UNH.  This is a catch-all category including various “pop-music” experiments:

a.) Variations on I Heard the Bells

b.) Pine-Top

c.) Red-Robin

5. Variations for Computer from Movements for Computer (1962-84); two and four-channel tape generated on the DEC-10 at UNH.

6. After Mallarme (1967-85)  for computer synthesized voices and piano, two and four-channel tape generated on the DEC-10 at UNH.

7. Allusions  for computer synthesized piano (1984-85); two-channel tape generated on the DEC-10 at UNH.

8. Symmetries II (1967-present) (in progress in the UNH Music Department’s Digital Sound Generation Studio).

9. ASemester’s Music, in progress

V.  Writings

A.  Articles

1. ”A Problem in Mathematics and Music” (with Barry Mitchell).  American Mathematical Monthly, 1967.

2. ”Some Properties of Non-Duplicating Rotational Arrays”. Perspectives of New Music, Vol. 7, No. 1 (1968).

3. ”Toward a System of Rotational Arrays”. Proceedings of the American Society of University Composers, Vol. 2 (1969).

4. “Some Experiments with Contextually Defined Octaves”.  Proceedings of the American Society of University Composers, Vol.  3(1970).

5. “Pitch-Class Sets in the Last Movement of Mozart’s Jupiter Symphony”.  Perspectives of New Music, Vol. 9, No. 2 and Vol. 10, No. 1 (1971).

6. “Communication to the Editor”.  Perspectives of New Music, ibid.

7. “Score Time and Real Time” (with John Rockstroh, UNH Physics Dept.), Proceedings of the 1978 International Computer Music Conference, Northwestern University, Evanston, Ill.

8. “Music-Time and Clock-Time Similarities Under Tempo Change” (with John Rockstroh and Philip Batstone), Proceedings of the 1980 International Computer Music Conference, Queens College, Queens, NYC.

9. “Digital Simulation of Piano Sounds” (with Robert Carrier, UNH Research Computing), Proceedings of the 1982 International Computer Music Conference, Venice, Italy.

10. “Rotational Arrays Revisited”, in progress

11. “Stravinsky’s Movements for Piano and Orchestra -- An Array Analysis”, in progress

12. “Thinking in Scales and Thirds -- An Indirect Composition with Robert Schumann”, in progress

B. Texts

1. “The Uses of Digital Computers in Electronic Sound Generation" in The Theory and Practice of Electronic Music, ed. by Jon Appleton and Ronald Perera.  Prentice-Hall.

VI.  Major Computer Music Programs Written or Adapted

1. Many versions of MUSIC4BF type synthesis programs, in FORTRAN and native assembler language,  for such computers as the IBM360, the DEC10, various VAXes, and the IBM PC-series.

2. Many MIDI synthesis programs, in FORTRAN, QuickBASIC, VisualBasic, and native assembler language, for such computers as the Commodore64, the AppleII, the IBM PC, and the Apple Macintosh .

3. Recently, many programs in Visual Basic and Visual C relating to MIDI and WAV synthesis, rotational array analysis, and analysis of all-partition array structures such as those found in Milton Babbitt’s “Playing for Time”.

VII.  Performing Experience

1. Principal Trombone, New Haven Symphony Orchestra, (1960-63)

2. Free-lance trombonist., New Haven, CN area  (1960-63)

3. Free-lance trombonist, Trenton, NJ area (1963)

4. Bass trombonist, Portland, ME Symphony, 1965

5. Member, Hampshire Consort, 1985-present

VIII.  Performances of Original Compositions

My electronic and, to a lesser extent, my “acoustic” compositions have been performed throughout the US and at international festivals in Paris and Venice; they have also been regularly  performed in campus concerts for the twenty-five years I have been at UNH.  Until the assumption of the Chair of the Department, I presented  at least one campus recital per year. I plan to resume these presentations during the 1999-2000 AY.  

IX.  Lectures

I have lectured widely on the general topics of computer  music, electronic music, and music theory before many  groups, both professional and lay.  Topics on which I lecture are “Rotational Arrays”, “Time and Music”, “Computers and Music”, “MusicIV and Sound Synthesis”, “Synthesis of Piano Sounds”, and the “The MIDI World”.  

X.  Grants

1. Two Grants from the University of New Hampshire’s Central University Research Fund (CURF)for work in Electronic Music (1971-73).

2. National Endowment for the Humanities, Co-Director of A Summer Institute in Electronic Music  at Dartmouth College and the University of New Hampshire (1971-72)

3. A Grant from the University of New Hampshire’s Central University Fund for Teaching (CUFT) for work in “teaching-related” phases of Electronic Music (1974-75).

4. Equipment Grant from Digital Equipment Corporation to help construct the present UNH D-A-D on-line conversion system (1974-75).

5. A CURF Grant for resarch in digital piano simulation (with Robert Carrier) (1981-82)