Music, Computers, and Synthesizers:

An Interactive Instruction Primer





primary proposer:
Dr. Mark W. Phillips, School of Music

with co-proposers
Mikito Oki, College of Fine Arts
André Gribou, School of Dance
Robert St. Lawrence, School of Theater
Jeff Redefer, School of Telecommunications




Amount of Funds Requested: $16,595





Dr. Mark W. Phillips, Professor, School of Music
Mr. Roger Stephens, Director, School of Music








I. Abstract



This proposal is to fund the creation of an interactive primer to teach the basics of using computers, synthesizers, and software to create and notate music -- subject matter currently being taught in Music 178 and 178A (Computer Skills for Musicians). While the eventual goal of this collaborative venture is to produce a series of instructional CD-ROMs that will cover several different topics related to computers, music, and digital audio, this proposal is for the first installment which will cover topics related to MIDI (Musical Instrument Digital Interface), to include the following: the origins of MIDI, the technology behind MIDI, the use of computer software and synthesizers to record and playback -- or sequence -- MIDI data. Another important aspect of this first installment would be basic instruction in using the site-specific equipment available for student use in various labs and studios at Ohio University. It is this aspect of the proposal, in particular, that will enlist the help and support of the co-proposers. While a substantial portion of the instructional material in the completed package would be general information about MIDI, key components would relate this general or theoretical knowledge to the specific MIDI set-ups that Ohio University students might encounter in the Schools of Music, Dance, or Theater.



II. Introduction



Instruction in MIDI technology at Ohio University has a history nearly as long as MIDI is old, dating back to my earliest years on this faculty. Aside from music majors, some of whom are required to take instruction in the subject, there has long been a high demand for such classes from audio production students in the School of Telecommunications. In 1994, with the help of a UPAC grant jointly sponsored by the Schools of Music and Telecommunications, a multiple-workstation Computer/MIDI Lab was established. New courses were designed and existing courses were modified to take advantage of the new facility, which has already been relocated to a newly designed space and expanded from eight to 15 workstations. Music 178: Computer Skills for Musicians and the open enrollment equivalent, Music 178A -- both relatively new courses offered by the School of Music -- are central to the mission of this facility. These courses are taught every quarter with a current enrollment of roughly 100 students per year. Demand consistently outstrips capacity, which is limited by the number of workstations available and the number of sections that can be staffed.

Meanwhile other schools within the College of Fine Arts, notably Dance and Theater, have added MIDI equipment and computer-based digital audio systems to their production facilities. While valuable for their concert and theatrical productions, these new technologies create increased demand for instruction in the subject, which tends to fall largely outside of their normal curriculum. These new facilities also present an opportunity for students who have studied MIDI technology in classes at the School of Music to apply that knowledge in practical situations creating collaborative projects for Dance and/or Theater. What is currently lacking, however, is a viable way for Dance and Theater to add solid instruction in MIDI and computer-based digital audio to their curriculum and, conversely, a way for students with knowledge acquired in School of Music technology classes to quickly transfer that knowledge to the site-specific idiosyncrasies of these other studios.

This current proposal is designed to meet both challenges described above: 1) help other schools (especially Dance and Theater) add meaningful basic instruction in an area useful to them, but not easily fit into a curriculum; 2) enable students from School of Music technology classes to master these other studios quickly in order to become more productive in their collaborations with these departments. A third benefit, highly significant in terms of the number of students impacted, would be more effective and efficient basic instruction of technology classes in the School of Music. This is a significant issue as more music majors are required to take technology courses, while demand continues to grow in non-majors sections as well. Not only is this a worthwhile project, it is the most logical next step for this instructional program. Because the subject matter we're dealing with IS technology, making use of technological innovations to teach it makes sense. Also, since music and audio are key components of multimedia, using a multimedia approach for teaching this subject matter is an ideal match.

The College of Fine Arts has already made a substantial commitment to this particular area of effort. In January 1999, Mikito Oki will be joining the College of Fine Arts as a technology specialist. He was hired not only for his general expertise in technology, but also for his specific knowledge of key aspects of the subject matter involved in this proposal and in cross-disciplinary, multimedia applications of technology. His technical abilities will be key to the success of this project. As a major contribution to this project, the College of Fine Arts is covering the cost of his salary, including much time spent exclusively on this project, as well as the cost of establishing a well-equipped studio/office for him to work in.

III. Project Description


The project calls for the creation of a complete series of multimedia instructional lessons designed to teach the basics of using computers, synthesizers, and software to create and notate music -- subject matter covered in Music 178 and 178A (Computer Skills for Musicians), which average an enrollment of approximately 100 students per year. The lessons will cover such topics as those included in the following lists of sample lessons:

Sample Lessons in Basics

Sample Lessons in MIDI Sequencing with Performer software
Sample Lessons in Music Notation with Finale software
Sample Lessons in Band-In-A-Box
Sample Lessons in "expanded horizons" and inter-connectivity
This list is intended to serve as a starting point for collaborative discussion and debate. No doubt as the project develops there will be some changes made, but the final version will certainly be recognizable to someone familiar with this listing.

Preliminary Groundwork:
An important first step in the project is assuring that all our workstations have enough RAM to run the programs required by this project. Some older computers still have only 16 MB of RAM, which will not be adequate. Another important step is acquiring newer versions of the most common MIDI software in use in the lab and in the curriculum. Aside from the obvious and normal benefits of running the latest software, there are some distinct issues that make an even stronger than usual case for these upgrades, which are directly connected with creative and innovative aspects of this proposal. The latest version of Performer software has well-integrated context-sensitive help features (called "Balloon Help") that would serve as a strong foundation on which to build this project. The latest version of Finale not only includes fairly good context-sensitive help ("Balloon Help"), but also includes complete on-line documentation in the form of ".pdf" files. Using our older versions, we would have to duplicate much work that the software makers have already done before going on into other areas.

Another important step in laying the groundwork for this project will be the equipment purchases and set-up required to provide Mikito Oki with a well-equipped and powerful office/studio. While this equipment and software will greatly enhance the quality and efficiency of work on this project, funding for this major expense will come entirely from the College of Fine Arts -- thus allowing this proposal to focus more funding on equipment and software that will directly benefit students in the classroom.

Finally, a significant amount of preliminary work has already been accomplished, in that there is a substantial base of installed hardware and software already in place. Courses and basic curricula are already in place. I have several years of experience teaching the specific classes that will be targeted by this proposal and a considerable amount of teaching material already created, which will need only some graphic and/or multimedia enhancement and polish.

Phase One: Overall Design
I will collaborate with André Gribou, Robert St. Lawrence, and Jeff Redefer to be sure that the final project will address pedagogical issues that are important to their specific programs. Mikito Oki and I will design the overall package, determining which parts will use text and still images, which parts will make best use of animation and action shots (video and/or Quicktime movies). Since the primary subject matter is music, musical examples and audio will also play very important roles in this package.

The College of Fine Arts is fortunate in that one of the projects Mr. Oki worked on while at the University of Missouri-Kansas City dealt with material similar to the project proposed here. His experience is expected to help guide us through many of the potential pitfalls an ambitious project such as this could encounter, especially in the early stages.

Phase Two: Creating Resource Material
1.) Create graphics for still images used repeatedly throughout the project.
Student workers, along with Mr. Oki, will be responsible for creating the graphic still images. Technology resources available will include the Macintosh workstations and hardware at CITL, as well as the resources that Mr. Oki will be acquiring with College of Fine Arts funds earmarked for setting up his new office/studio.
2.) Create appropriate animation, action shots, and video examples.
Mr. Oki and assisting student worker(s), in collaboration with other co-proposers and with supervision from me, will videotape and edit material for the project. The School of Music has several video cameras available. Mr. Oki, perhaps with help from student worker(s), will create screen animations from still graphics. Digitizing of video would be handled at one of several existing facilities: a CITL Media 100 system (currently housed in Tcom), at the School of Film, or (eventually) in Mr. Oki's new facility.

3.) Create appropriate musical and audio examples.
The musicians among the proposers, Mr. Gribou, Mr. Oki, and myself, will be responsible for creating all of the musical and audio examples. Technology resources will consist of the various MIDI and digital audio workstations available already in the Schools of Music, Dance, Theater, and Telecommunications.

Phase Three: Preparation of Instruction Package(s)
1.) Prepare rough drafts of teaching material, using formats appropriate for specific lessons.
2.) "Beta test" materials under various circumstances.
3.) Compile final versions of material into usable forms capable of easy dissemination.
4.) Distribution of completed project to all co-sponsoring schools.

Time Line
Some aspects of the proposal will have immediate effect on the teaching of Music 178 & 178A. Notably, the projector and screen will be put to immediate use for in-class demonstrations. Much of the planned Phase One will be completed in Winter Quarter 1999. Phase Two will begin as soon as possible, perhaps late winter quarter, with the bulk of the work done during Spring Quarter 1999. The critical first part of Phase Three will be tackled mostly during the summer of 1999. Fall Quarter 1999 is the goal for "Beta-testing" and completion of most, if not all, of the instructional materials. Winter Quarter 2000 is the goal for official implementation into the curriculum. No doubt some of the sample lessons listed on page 4 will move through the process faster than others. Some may be completed before others are very far along. This projected time line is an approximation, indicating at what stage most of the lessons will be at the given deadline.

IV. Budget


NOTE: This budget represents items and costs specific to this proposal, not the overall cost of the project. The College of Fine Arts will contribute the services of Mikito Oki as well as the technology resources he will be acquiring, which will be used to expedite this project.

 Qt. Item per unit cost cost
 Software Upgrades MIDI Lab
 Performer v.6 Lab Pack Upgrades $2,500
Finale '98 Lab Pack Upgrade $1,275
Band-In-A-Box v.7 Lab Pack Upgrades $990

Hardware Upgrades
6 32 MB RAM upgrades for older computers @ $70.00 = $420

New Hardware
1 CD-RW Recorder $600
1 Video Projector $4,000
1 Projection Screen $200
1 Jaz II Drive $400
1 4 GB External Hard Drive $375

New Software
1 Adobe Acrobat v.3 $190

Supplies
 6 Jaz cartridges @ $90.00 = $540
80 blank CDs @ $1.00 = $80
10 Re-Writable CDs @ $20.00 = $200
1 Ream of Paper $25
40 VHS video tapes @ $2.50 = $100


Wages/Salary/Stipend/Services
hardware installation (projector and screen) $200

400 hours of undergraduate student wages @ $5.00 /hr. = $2,000
(ca. 20 hours/per week; ca. 10 weeks/quarter for 2 quarters -- or
(ca. 13-14 hours/week; ca 10 week/quarter for 3 quarters
Summer Salary for primary investigator (including benefits) $2,500


total: $16,595

V. Budget Justification



Since I have addressed the need for many of these budget items in the body of the proposal, I will only give brief explanations here.

Software Upgrades:
In addition to the normal advantages of using the current software, these upgrades incorporate significant improvements in context-sensitive help and/or on-line documentation. Also a couple of the newer machines in the lab will not run the older versions, so we end up with two incompatible versions in the lab.

Hardware Upgrades:
Some of the older machine have only 16 MB of RAM, which is already insufficient for some applications in the lab. They will be woefully underpowered for running the newer versions and for using the newly created instructional packages called for in this proposal.

New Hardware:
Since I do not have, nor will I acquire in this proposal, all tools necessary for completing this project "in-house," I will need the ability to carry huge files across campus in order to make use of facilities and equipment in other locations, such as the Media 100 set-up in Tcom, or CITL's digital QuickCam, or scanner. The project will also require a substantial amount of data storage as well as a means of making demo versions. The CD-RW recorder, 4 GB hard drive, and the Jaz II drive are all designed to address these related issues.

The projector and screen will have an immediate impact on the teaching process in the MIDI Lab. Initially it will be used to model in real time some of the ideas we hope to realize in our interactive material. Feedback from these trials will greatly enhance the focus of the project. This technology will, of course, become increasingly useful as more and more materials are created for class use. The room is large and bright, so it is important to have a powerful enough unit to be able to see detail clearly. Due to the heavy instructional usage of this lab and the frequent unsupervised usage of the lab by students, it is important to have a secure, permanent installation of these units.

New Software:
Adobe Acrobat will be a useful tool for me to use in creating some of the original teaching material, yet it is relatively inexpensive and won't require an upgrade to my office computer. Most of the high-ticket software and the necessary high-powered hardware will be funded by the College of Fine Arts when they set up Mikito Oki's new office/studio.

Supplies:
All supplies are for recording, storage, and dissemination of materials for the project.

Salary/Wages:
The budget calls for $2,000 of student wages. The goal is to find a single undergraduate student able to follow the project through to completion, working 10-20 hours/week, ideally including summer. The body of the proposal indicates the kinds of tasks the student would be expected to perform. Probably we would look for someone with strong graphic skills (computer artist, photographer, videographer, etc.), to complement the musical/audio strengths of the promary proposer.

The proposal also calls for a summer stipend for the primary proposer. This will be the time when I will be pulling together all the materials created by Mr. Oki and the student employee into a rough version of the completed project.

VI. Appendix: Biographic Information on Proposers
Name:
Mark W. Phillips, primary proposer
Highest Degree:
Doctor of Music, Indiana University, Bloomington, Indiana, 1986.
Position at OU:
Professor of Composition and Electronic Music (tenured)

Publications:
(past five years)
T. Rex for trombone & electro-acoutic music, I. T. A. Press, Columbia, MO. 1998.
 Birds of a Feather for two flutes and piano, MMB Music, Inc., St. Louis, MO, 1997.
 One of a Kind for unaccompanied clarinet, MMB Music, Inc., St. Louis, MO, 1995.
 Shadow Dancing for chamber orchestra or large chamber ensemble, MMB Music, Inc., St. Louis, MO, 1994.
 Three of a Kind , a trio concerto for clarinet, piano, and percussion soloists (both orchestra & wind symphony versions are available) MMB Music, Inc., St. Louis, MO, 1994.
Rain Dance for flute and tape, MMB Music, Inc., St. Louis, MO, 1993.

Selected Festival, Conference, & Sponsored Performances:
(past five years)
Society of Composers, Inc. (SCI) National Conference, by Andrew Glendening, Bloomington, IN, 1998.
T. Rex for trombone and tape.
Society of Composers, Inc. (SCI) Region I Conference, by Tom Plsek, M.I.T. Cambridge, MA, 1997.
T. Rex for trombone and tape.
Contemporary Music Festival, by Randy Mitchell, Terre Haute, IN, 1997.
T. Rex for trombone and tape.
National Flute Association National Conference, by Jill Felber and Claudia Anderson, Chicago, IL, 1997.
Birds of a Feather for two flutes and piano.
American Composers Day Festival, Kansas City Symphony, Kansas City, MO,1997.
Shadow Dancing for chamber orchestra.
International Society for Contemporary Music (ISCM), by Patricia Spencer, Merkin Hall, NYC, 1997.
Rain Dance for flute and tape.
Society of Composers (SCI) Region VII Conference, by Trygve Peterson, Tempe, AZ, 1996.
Rain Dance for flute and tape.
Salt Lake City Arts Festival, by Stephen Caplan (June 23, 1996).
Sonic Landscapes for oboe and tape.
Florida State University's Festival of New Music, by Karen Haid, Tallahassee, FL, 1996.
Rain Dance for flute and tape.
North American Saxophone Alliance National Conference, by Allyn Reilly, Gainesville, FL, 1996.
Sonic Landscapes for soprano saxophone and tape.
Society of Composers (SCI) Region V Conference, by David Lewis, Athens, OH, 1995.
One of a Kind for unaccompanied clarinet.
Lancaster Festival, by Margaret Swinchowski, Lancaster, OH, 1995.
Rain Dance for flute and tape.
International Clarinet Festival, by David Lewis, Arizona State University, Tempe, AZ, 1995.
One of a Kind for unaccompanied clarinet.
National Conference of the Society of Composers, Inc. (SCI), University of Iowa, Iowa City, Iowa, 1995.
Shadow Dancing for large chamber ensemble.
National Conference of the Society of Electro-Acoustic Musicians in the United States (SEAMUS), Ithaca College, Ithaca, NY, 1995. Rain Dance for flute and tape.
National Flute Association Conference, by Jill Felber, Kansas City, MO, 1994.
Rain Dance for flute and tape.
Chautauqua Summer Music Festival, Chautauqua Symphony Orchestra, Uriel Sigal conducting, 1994.
Turning for large orchestra.
Central California Flute Festival, by Jill Felber, CA, 1994. Rain Dance for flute and tape.
Raleigh Area Flute Association Guest Artist Recital, by Trygve Peterson, Raleigh, NC, 1993.
Rain Dance for flute and tape.
Texas Flute Society Conference, by Jill Felber, University of North Texas, Denton, Texas, 1993.
Rain Dance for flute and tape.
Florida State University's biennial Festival of New Music, Tallahassee, Florida,1993.
Shadow Play for flute, oboe and bassoon.
National Conference of the Society of Electro-Acoustic Musicians in the United States (SEAMUS), University of Texas, Austin, Texas, 1993. Time Traveler for cello, piano, synthesizer, & percussion.
Society of Composers, Inc., Region V Conference, University of Wisconsin at Oshkosh, 1993.
Shadow Play for flute, oboe and bassoon.
Selected International Performances
:
International Clarinet Festival, by Rebecca Rischin, Krakow, Poland, 1997.
One of a Kind for unaccompanied clarinet.
Jill Felber and Claudia Anderson, Wigmore Hall, London, UK, 1997.
Birds of a Feather for two flutes and piano.
All Poland Trombone Festival, by John Marcellus, Chopin Academy of Music, Warsaw, Poland, 1997.
T. Rex for trombone and tape.
John Marcellus, Roosendaal, Holland and Hochshule fur Muzik in Graz, Austria, 1997.
T. Rex for trombone and tape.
Ensemble Eclipse, Zhang Yi, conductor, Beijing Concert Hall, 1996.
Shadow Dancing for large chamber ensemble.
International Double Reed Conference, by Eric Ohlsson, Rotterdam, Netherlands, 1995.
Sonic Landscapes for oboe and tape.
NHK Symphony Orchestra, Leonard Slatkin conducting, Tokyo, Japan, 1993.
Turning for large orchestra.

CD Recordings:
(including forthcoming CD recordings)
 Rain Dance recorded by flutist Jill Felber, released January 1997 on Neuma Records.
Three of a Kind recorded by clarinetist Richard Stoltzman and the Warsaw Philharmonic Orchestra.
recording took place June 21, 1994; release expected in 1999 on MMC label.
Sonic Landscapes recorded by oboist Stephen Caplan -- recording took place November 1996.
T. Rex recorded by trombonist John Marcellus for the Albany Records, November 28, 1997.
T. Rex recorded by trombonist Andrew Glendening for Mark Records, December 1997.

Externally Funded Professional Grants & Awards:

Ohio Arts Council Grant to Individual Artists Award, 1995 $10,000
National Flute Association's 1993 Newly Published Flute Music Award (no monetary award)
ASCAP Standard Awards (received awards annually since 1987). ca. $6,000
Ohio Arts Council Grant to Individual Artists Award, 1992 93 $5,000
Ohio Arts Council Grant to Individual Artists Award, 1990 91 $5,000
Meet the Composer Grant for New York City concert, 1991 $250
Ohio Arts Council Grant to Individual Artists Award, 1987 88. $4,500
Delius Chamber Music Composition Award, 1990. $100
Barlow International Competition for New Orchestral Music, 1988.. $5,000

Internally Funded Grants & Awards:

Baker Award, String Quartet No. 2: Another Lark Quartet (recording) 1998-99 $6,180
OURC Award, T. Rex, 1995 96 $3,200
OURC Award, Shadow Dancing , 1993 94 $3,800
Baker Fund Award, Three of a Kind (orchestral version + recording), 1993 94 $6,920
OURC Award, Three of a Kind (wind symphony version), 1990 91 $4,700

University Funded Grants for Academic Programs:
(past five years)
UPAC Grant for New Computer/MIDI Lab, 1994 95 $60,200
Internally Funded Travel Awards:
School of Music, CFA, International Studies, OURC (past five years)
SCI National Conference 1998 University of Florida, 1998 SCI Region I Conference, 1997 Contemporary Music Festival, ISU, Terre Haute, IN, 1997 UMKC Kansas City, MO, 1997
Arizona State University, 1996 Florida State University, 1996 University of Florida, 1996
SCI National Conference, Iowa City, 1995 SEAMUS National Conference, Ithaca, 1995
SCI Region V Conference, Louisville, 1994 UT Austin, Texas, 1994 Warsaw, Poland, 1994.
MIKITO OKI

P.O.Box 45108 Kansas City, Missouri 64171 (816) 753-5366 (current until January)

NOTE:
Mikito Oki will be joining the College of Fine Arts as a technology specialist in January. He was hired not only for his general expertise in technology, but also for his specific knowledge of key aspects of the subject matter involved in this proposal and in cross-disciplinary, multimedia applications of technology. His technical abilities will be key to the success of this project. -- M.P.

PROFESSIONAL EXPERIENCE
MIDI / digital audio instruction, studio setup:
Assistant to Robert L. Cooper and James C. Mobberley at M-PaCT Center, UMKC.
instructs programming on Max interactive software environment, as well as
"digital domain of acoustics" as guest lecturer. conducts and supports
various hardware / software installation and maintenance on PC and
Macintosh platform, such as CardD+, SoundForge, Omni Digital System
Csounder, ProTools III, Samplecell I & II, Turbosynth SC, Norton Utilities,
Silverlining HD tools, CodeWarrior 11, and Macintosh OS8. ('96-'98)
Worked under Mark Phillips at Ohio University as a graduate assistant.
key member in building / maintaining the Ohio University MIDI / AV Studio's 9
workstations, featuring CSound, Keyquencer, SoundDesigner II, Unisyn and
Performer 5, Galaxy and Max, Finale, Deck II and over 40 pieces of
hardware. ('94-'96)

HTML / DEC HTML-X / CGI / JavaScript programming:
MAX programming and its application:
Interactive CD-ROM authoring:
Theater music composition:
Music production for broadcasting:
OTHER EXPERIENCE
EDUCATION
AWARDS, SCHOLARSHIPS
André Gribou:

Associate Professor of Dance (tenured)

EDUCATION
New York University, New York, NY -- Ph.D. studies
Solo appearances with NYU Symphony Orchestra and NYU Contemporary Ensemble
Conducting studies with Dr. Dinu Ghezzo
The Juilliard School, New York, NY -- Master of Music and Diploma degrees, 1981
Scholarship piano studies with Sascha Gorodnitski
Additional scholarship awards, 1980, 1981
Awarded graduate teaching fellowship, 1981
Teaching fellowship renewed, 1982
Additional chamber music studies with
Walter Trampler, Jacob Lateiner, Stephen Maxym, Ronald Roseman,
Charles Treger and Leonard Shure
Hartt College of Music Bachelor of Music, Hartford, CT 1977
Scholarship piano studies with Dr. Paul Rutman
Recipient of Dean's Fund Scholarship
International School of Brussels, Belgium -- Graduated 1972

TEACHING EXPERIENCE
Ohio University, 1990 to Present,AssociateProfessor/Music Director, Dance Department.
Classes: Music for Dance, Rhythmic Analysis, Macintosh based
MIDI (Electronic Music) Composition, Accompaniment for Dance.
American Dance Festival: Faculty/Musician since 1994
Oberlin College, 1991-1997, Workshops in music and dance.
New York University, 1985 to 1988: applied piano, classes in keyboard harmony and improvisation.
Trinity College, 1984 to 1991: visiting lecturer, Theatre and Dance Department.
Classes in studies in music and dance, applied piano, composition.
Guest lecturer in courses in Music and Theatre Departments.
Roosa School of Music, 1981 to 1988: applied piano and composition.
The Juilliard School, 1981 to 1983: piano minor faculty.

PERFORMANCE: solo recitals, chamber music,dance/theater including:
Lincoln Center, United Nations, New York University, New England Conservatory, Hartt College
Wesleyan University, Longy School of Music , Ohio University, American Dance Festival
American New Music Consortium, Oberlin College
piano solo premiers, 1986, 1987 N. Carolina School of the Arts
With Andre Gribou-Jeffrey Thomas--Music for Keyboards and Percussion. A
residency of master classes and performances representing New York
University as part of the University Artists' series presented by the
Centro Cultural Costarricense Norteamericano in San Jose, Costa Rica.
Performances throughout the U.S.

COMPOSITION FOR THEATRE AND DANCE
Composer and music director for Partners: Martynuk/McAdams Dance.
Extensive U.S. performances, including Dance Theatre Workshop, NYC, and
Riverside Dance Festival, NYC.

Commissions and performances include
Score for Judy Dworin's Lighthouse - a full evening dance/theatre work
(premiered at Baltimore Theatre Project, MD)
Score for Judy Dworin's adaptation of St. Exupery's Little Prince (Trinity College, Hartford, CT)
Composer and actor in performance artist Lenora Champagne's Winter Heat (P.S122, NYC)
Score for Maedee Dupres' Woman with Body Full of Echo
(Oberlin College, OH and Chisenhale Dance Space, London)
Composer and actor in Dr. Charcot's Hysteria Shows - directed by Judy Dworin and Lenora Champagne (Ohio Space Theater, NYC)
Duet performance of dance-music improvisation with Margaret Beals (St. Mark's Church, NYC)
Director, writer and composer for Put That Down, You Don't Know Where It's Been
a dance/theatre piece for narrator and dancer (selected for Connecticut Choreographer's Showcase, Real Art Ways, Hartford, CT and
BACA Performance Showcase, Brooklyn, NY)
N.O.A.G.H.S. Ark - A children's musical with author James Skofield for Oddfellow's Playhouse, Middletown, CT (Spring 1990)
Score for Fields - A theatre/dance work by Judy Dworin (Fall 1990)
Etudes for AltoSaxophone commissioned by Greg Banazak, premiered Spring 1995
Score for Not a Victory March - Dance Work by Stephanie Skura (Spring 1991)
Score for Remember: it happened quietly, Oberlin Dance Company, Nusha Martynuk, Director and Choreographer (Spring,1992)
Scores for Winterlight (1992) and Give and Take (1991) - Dance Works by Marina Walchli.
Shipwrecks (1993) -a performance song cycle- Paul Zimmermann, Tenor Eileen Marie Moore, Soprano. Directed by Ron Wilson.
The Tragical Death of A. (1994)- a dance and music suite for 12 dancers and
10 singers,Douglas Neilsen, Choreographer and Director
Score for Spilt Milk (1995) Douglas Neilsen, Choreographer
Score for Night Clumsy (1995) Carter McAdams, Choregrapher, for the Dance Repertory Company of Cleveland
Improvisations for Dance and Music with David Parsons and Company (1995)
Score for Ritual (1996)-Dance work by Mark Dendy, commisioned by the American Dance festival and the N.E.A. Premiered at A.D.F. July,1996
Score for Cinquepas (1997) Lisa Moulton, choreographer. Written for live performance by The Lark String Quartet.

RADIO, TELEVISION AND VIDEO
WCBS TV, New York. Music for NFL Today, Giants 91Recieved an 1991-92 Emmy Nomination for Outstanding Original Music Composition
Music Director for EB3 Design Group - Broadcast Design Production (Earl Bateman, Art Director 201/435-9432) (current)
WBAI Radio Hear and Now, Interview, New York City, (1990)
WNYC Radio Performance Broadcast, New York, (1987)
National Television of Costa Rica, Interview, (1986)
Conneticut Public Television, Performance, (1985)

GRANTS

1998 - Ohio Arts Council Individual Artist Fellowship in Music Composition.
1997 - Ohio University Creative Activites Research Grant
1996 - Ohio University Creative Activites Research Grant
1995 - Ohio University Creative Activites Research Grant
1994 - Ohio University Fine Arts Collaborative Grant
1993 - Ohio University Research Enhancement Grant
1991 - Ohio Arts Council Individual Artist Fellowship in Music Composition.
1990 - Ohio University Research Committee Grant, Ohio University, Athens
1989 - B.A.C.A. Showcase Award, New York, New York.

AWARDS
Included in the 1998 Edition of Whos Who Among Americas Teachers
Emmy Nomination for Outstanding Original Music Composition,CBS-TV Giants 91
Winner of Hartt Symphony Orchestra Concerto Competition, Arthur Winograd, conductor
Prize winner for recording of J. S. Bach, The Goldberg Variations,International Piano Recording Competition, 1981

Robert St. Lawrence:
Associate Professor of Theater (tenured)
EDUCATION
B.A. University of Pittsburgh, 1968. Major: Theatre Minor: English
M.A. Graduate School Faculty of Arts and Sciences Department of Speech and Theatre Arts University of Pittsburgh. 1973.

ACADEMIC EXPERIENCE
1988- Associate Professor of Theater; Ohio University, School of Theater. Responsible for teaching both Graduate and Undergraduate Sequences in Lighting Design, Sound Design, and Technical Production, including computer applications in lighting and audio production.. Maintain the Visiting Artist programs for the Lighting and Sound Design Areas of the Production Design Program, which connects these students with New York and Regional Designers such as: Paul Gallo, Beverly Emmons, Michael Lincoln, Bob Jared, Jim Gage, and others. Coordination/ Development of Graduate and Undergraduate Internships in regional theaters, such as: Santa Fe Opera, Williamstown, Colorado Shakespeare, Berkshire Theater Festival, Utah Shakespeare Festival, Cleveland Playhouse, and others. Developed School of Theater Computer Aided Design Lab and coursework in AutoCad.

1980-87 Assistant Professor of Theater; Ohio University, School of Theater. Technical Director, Designer, Undergraduate Program Head for the production Design and Technology Program. Designed Lighting, Scenery, or Sound for 18 Ohio University Mainstage productions. Teaching responsibility for all undergraduate tech courses, as well as specific Graduate courses. In 1984, with the early retirement of Robin Lacy as Graduate Program Head, became responsible for all graduate and undergraduate coursework in Lighting Design and Technical Direction, as well as the role of interim program administrator. Established the MFA Program in Sound Design, in 1987, in cooperation with Schools of Music, Film and Telecommunications.

1975-79 Instructor of Theater; Ohio University, School of Theater. Hired as Technical Director and Designer. Lighting and/or Scenic Design for 15 Ohio University Mainstage productions during this period. Received Early Tenure and Assistant Professor Rank effective Sept. 1980.

PROFESSIONAL EXPERIENCE
Technical Direction / Administrative

1996- Design and maintenance of the School of Theater s first Web Page. Supervision of student designer David Leonard for the current version at: http://www.ohiou.edu/~thardept

1992-96 Designed and installed School of Theater s computer-based digital audio facility in consultation with the School of Film, School of Music and College of Telecommunications.

1991-92 Coordinator for the School of Theater move back into the renovated Kantner Hall. Responsible to the Director and Dean's Office for budget and management of all aspects of this project.

Jul-Oct Technical Director for Ohio University's "Third Century Campaign Gala." 1990 Responsibility for Design and Coordination of Lighting and Sound for a Multimedia and Laser Presentation at OU Convocation Center, as well as Supervision over installation for all sub-contractors.

1989-90 Coordinator for the School of Theater move from its building, Kantner Hall, to its temporary residence during renovations. In addition, served for the Director of the SOT in an oversight capacity monitoring all contractor/architect "job meetings," attending and reporting on various aspects of the progress of the renovation. Responsible to the Director and Dean's Office for supervision of all aspects of this project.

Jul-Oct Technical Director for Ohio University's "Third Century Campaign 1988 Kickoff." Responsibility for Production Design of the Theater, Music, and Dance segments, as well as supervision and coordination of installation for all sub-contractors.

1973-75 Technical Director/Production Manager for Pittsburgh Ballet Theater.Technical Director for three seasons, including a restaging of the PBT's Coppelia, and staging a new $750,000 production of Cinderella, as well as coordinating three major national tours.

Spr. '72 Stage Manager for the American College Dance Festival at Pittsburgh's Heinz Hall for the Performing Arts.

1971-72 Freelance Technician and Designer. Working as an overhire with I. A. T. S. E. Local #3.

1969-71 U.S. Army, Vietnam; Honorable Discharge-1971.

Other Design Work:
1996-98 Sound Design for How to Make Your Movie an Interactive CD-ROM; a joint project of the OU School of Film and Electronic Vision, Inc. The CD-ROM, along with the School of Film, Electronic Vision and Artistic Director Rajko Grlic are winners of Le Grand Prix in the New York Festival of International Multimedia.

1990 Lighting/Sound Design for Ohio University's "Third Century Campaign."

1988 Lighting/Sound Design for Ohio University's "Third Century Campaign."

Dec. '84 Lighting Design; Nutcracker; Portsmouth Ballet; Shawnee State College Auditorium.

Nov. '78 Production Design; Newcomen Society Benefit Concert; Columbus Sheraton Ballroom.

1975- Ohio Valley Summer Theater. 20 Lighting Designs; 8 Set Designs; 6 Sound Designs.

Consulting:
Spr. '92 Ridges Auditorium, Ohio University; Design new lighting, sound, and rigging systems. Coordinate with purchasing and installation.

1990 Kantner Hall Renovation, Ohio University. Architect's Consultant for Stage Lighting Systems was Jules Fisher Assoc. My responsibility was coordinating with the Architect's Consultants on my design for new stage lighting systems in Mainstage and four new laboratory spaces. Since there was no Sound Consultant on the project, I had responsibility for advising the Project Engineer on my design for new audio and communication systems.

Wtr. '89 Civic Auditorium, Lancaster, Ohio; Preliminary planning for renovation of all theatrical systems.

Wtr. '86 Stuart Opera House, Nelsonville, Ohio; Architect's Consultant for preliminary renovation planning. Assisted in contact and selection of New York Based Consultant for the project. [Brannigan-Lorelei]

Wtr. '84 Portmouth Campus, Ohio University; Lighting System Design. Designed new lighting system. Provided guidance in grant writing and coordinated equipment purchasing and installation with State of Ohio.

Spr. '80 Monomoy Theater; Chatham Massachusetts; Lighting System Design. Designed and supervised the installation of a new electrical service and lighting system.

PROFESSIONAL ASSOCIATIONS
USITT - United States Institute for Theater Technology. An Individual Member for over fifteen years. Co-Commissioner for Sound Design, OHIO Section, 1988. Participated in a variety of panels and workshops.

SETC - Southeast Theatre Conference. An active participant for the last 10 years. Chaired and participated in a variety of Lighting and Sound Design Panels. 1989 - Chaired; "The Lighting Design Portfolio." 1990 - Chaired; "Training the Sound Designer." 1992 - Chaired; "IATSE" 1993 - Chairing;"Contemporary Issues in Sound Design" Participating;"Technical Direction Portfolios" Coordinating; "Digital Audio Workstations" Demo Negotiated with Strand Lighting for their annual support of SETC Lighting Design Award, tentative new name: "Strand Lighting/SETC Award."


Jeff Redefer

Assistant Professor, School of Telecommunications (tenured)

EDUCATION
Master of Arts in Film, Ohio University
Bachelor of Science in Communication, Ohio University,

PROFESSIONAL EXPERIENCE
Assistant Professor, Ohio University, School of Telecommunications, Athens, Ohio
Teach audio production courses
Maintain the school's audio production studios, i.e. aligning tape machines, repairs or modifications as needed and new equipment research and procurement.
Manager of the school's recording facilities.
Active in securing computer hard disk recording and editing equipment for the school; including the planning of coursework for the new technology.
Audio Consultant for the Ohio University Telecommunications Center, School of Music, School of Film, WATH-AM, WXTQ-FM, Northern Michigan University.
Co-authored a successful UPAC grant for $60,000 to implement a MIDI/Digital Audio computer lab administered jointly between the School of Telecommunications and the School of Music.
With school director, authored a successful UPAC grant for $30,000 for the replacement of the school's multitrack recording console.
Dean's recognition award for teaching excellence.
Recognition by Dean's list students of advising excellence.
Recognition by the Honors Tutorial College with the Outstanding Tutor Award. (1989-present)
Instructor/Coordinator, The Ohio Arts Council, Columbus, Ohio
Guest Lecturer, The Recording Workshop, Chillicothe, Ohio
Part-time Instructor, Ohio University, School of Telecommunications, Athens, Ohio
Developed and taught new upper-level audio production class in association with the Ohio University School of Music.
Associate Director, The Recording Workshop, Chillicothe, Ohio
The program at the Recording Workshop is a five week, intensive experience in music recording and media production. The workshop caters to 500-600 students annually from the United States as well as several foreign countries.
Freelance Recording Engineer (1984-present) -- see Recent Audio Productions heading, below
PROFESSIONAL ASSOCIATIONS
Full voting member of the Audio Engineering Society
Full voting member of the National Academy of Recording Arts & Sciences
Member of the 1993, 1994, 1995, 1996 MIX magazine TEC awards nominating panel

RECENT AUDIO PRODUCTIONS
Producer/Engineer ~ St. Mary's Catholic Church Orchestra performance of Handle's
Messiah - A performance with a 40 piece orchestra and 30 piece choir recorded and mixed direct to DAT.
Producer/Engineer ~ Bob Fox, Primarily Blues - a 12 song album of original and traditional blues songs.
Producer/Engineer ~ Lisa Smith, audio post-production for an MFA thesis film.
Producer/Engineer ~ Will Dewees, Inflation of Spirit Money in China - Audio production for documentary aired on Market Place Radio.
Producer/Engineer ~ Lisa Hill, Demo sessions for songwriting competition.
Audio Engineer~ Pat Light, recorded/mixed soundtrack project for a musical theater production.
Audio Engineer~ Office of University Relations, Various promotional audio productions.
Producer/Engineer ~ Ohio University School of Music, The O.U. Marching 110, a 70 minute Compact Disc highlighting the music of the Ohio University Marching Band.
Audio Engineer~ Honors Tutorial College, promotional audio recordings
Producer/Engineer ~ Bruce Ergood, demo recordings that resulted in a successful grant from the Ohio Arts Council.
Audio Engineer~ The Pleasant Mountain Boys, Last Night (10 song Album for New Colony Records)
Producer/Engineer ~ Zero One, demo sessions - You Make Dreams, When You Go Away, For No One, Single Desire
Producer/Engineer ~ Marcia Minton, demo sessions - Holdin' On, Next Time Don't Bother, Gone Too Long
Producer/Engineer ~ Cynthia Blair, demo sessions - Imagination
Producer/Engineer ~ The DeMarco Brothers, demo session - Same Old Blues, That Mellow Saxophone
Producer/Engineer ~ Allen Geddes, demo sessions - Took Too Much
Producer/Engineer ~ Mike Cutright, demo sessions - Already Gone
Producer/Engineer ~ Lisa Hill, Album project - Lisa Hill
Producer/Engineer ~ Jean Jeffers, Album project - Matter of Pride
Audio Engineer~ Ohio University School of Music, New Music Ensemble - Direct to DAT project
Producer/Engineer ~ J & B Photography, Newark, Ohio - Jingle sessions for radio spots
Audio Engineer & Musician~ The Other Half Speaks - Recorded and performed incidental music for video documentary. Winner of the Outstanding Achievement award from the Ohio Association of Historical Societies and Museums.