Timothy D. Polashek

 

605 West 112th Street, Apt 3-B   *   New York, NY 10025   *   Phone/Fax: (212) 662-7078                              E-Mail: tim@tdpmusic.com

                                                                                                                                                      http://www.tdpmusic.com

 

 

Education

 

Columbia University, New York, New York    

Doctor of Musical Arts in Composition - 1996-Present

Composition studies with Jonathan Kramer, Joseph Dubiel, and Tristan Murail. Research in the Computer Music Center on interactive performance systems, adaptive tuning systems, physical modeling, and music cognition with Bradford Garton and Fred Lerdahl.  Course work included Contemporary Performance Practice, Computer Music, 20th Century Styles and Techniques, Theories of Music and Prosody, Computational Modeling of Cognitive Theories, and Individual Projects in Computer Music.  Dissertation topic: text-sound composition.

 

Dartmouth College, Hanover, New Hampshire 

Master of Arts in Electro-Acoustic Music conferred  in 1996.

 

Grinnell College, Grinnell, Iowa

Bachelor of Arts in Music, with Honors, conferred in 1994.    

 

 

Professional Experience

 

Fall 2001           Adjunct Professor of Music

  Lehman College: Bronx, NY.

 

Taught graduate level course, MST 712: Advanced Electronic Music.  Designed and executed course emphasizing compositional and pedagogical applications of music technology.  Supervised and taught applications  in electro-acoustic music composition. Also, served as electronic music studio director and administered $20,000 grant to modernize the Lehman College Electronic Music Studio.

 

1999-Present       Sound Editing Engineer and Technical Director

 BR Productions: New York, NY.

 

Primary responsibilities include audio editing on Pro Tools workstations and CD mastering.  Responsible for the design and installation of four audio editing suites, data back-up systems, and financial proposals. Most of my recent efforts there are focused on producing, arranging, recording, and mastering over 100 full-length audio CDs for “Making Music,” a textbook series published by Silver Burdett for use by elementary and grammar schools in their music education programs, for which I received production credits.  Responsibilities include sound editing and mixing, network administration, studio design and configuration, research into the latest audio technologies for use in upcoming projects (such as the DVD-Audio mastering format and remote computer-based recording sessions), budgeting and purchasing, and the instruction and direction of assistant audio engineers.

 

1999-2000               National Conference Panelist

 SEAMUS National Music Conference: University of North Texas, Denton, Texas.

 

The Aesthetic and the Exact: A Collaborative Discussion on Spatialization between Young Composers and Young Scientists in Electro-acoustic Music.  This was a formal invitation based upon a juried acceptance of our proposal by the Society for Electro-Acoustic Music in the United States Y2K Conference.

 

1999-2000       Research Assistant, Music Technology

 Computer Music Center, Columbia University.

 

Worked closely with CMC Director and Technical Director as consultant on various studio renovation projects, concerts, collaborations and projects.


Nov. 1999          Technical Director

 IRCAM FORUM WORKSHOP, New York, NY.

 

Produced hands-on weekend workshop on IRCAM technique and software with instruction by IRCAM instructors.  Coordinated temporary installation of two computer music labs exceeding IRCAM standards.

 

April 6-7 1999    Technical Producer of Cunningham Dance Studio Concert

 Cunningham Dance Studio, New York, NY.

 

Produced complex multimedia concerts as part of the 1999 Interactive Arts Festival hosted by Columbia University.  Personally reprogrammed interactive dance and video software by composers Wayne Siegel and Russell Pinkston to make possible the New York performance.

 

Fall 1998           Studio Consultant

 Marinette Middle School, Marinette, Wisconsin.

 

Provided computer music consultation and staff development for the school’s music instructors, gave advice on hardware and software purchases, on-line instructional resources, and related shareware applications. Marinette Middle School has established one of the largest computer music labs in Wisconsin at the middle school level.

 

1998             Post-Production Supervisor and Recording Engineer

 aja, a nine-piece “blues” and “pop” touring band based out of Green Bay, Wisconsin.

 

Mastered demo compact disks, field recordings, and cassettes for market distribution.

 

1998                          Digital Archival Specialist

                    Computer Music Center, Columbia University, New York, NY.

 

Mastered digital audiotape and compact disks from historical 1/4 inch analog recordings from the 1950s and 60s.

 

1997-98          Recording Engineer: Columbia Composers

 Columbia University, New York, NY.

 

Responsible for recording premiere performances of works presented by the forum in Miller Theater.

 

1997-98                    Teaching Assistant

 Columbia University, New York, NY.

 

Taught Masterpieces of Western Music/Music Humanities at Columbia College.   Responsible for preparing three hours of lecture per week, holding office hours, and evaluating students.

 

1995-96             MIDI Studio Director: Bregman Electro-Acoustic Music Studio

 Dartmouth College, Hanover, NH.

 

Primary duties were setting general usage policies, providing new user orientations and instructing undergraduates,  and maintenance of a large MIDI production studio, including Macintosh software, Digidesign audio hardware, patch bay, mixers, FX processors, synthesizers, samplers, DAT machine and MIDI controllers, including a MIDI baton.  At one point, completely redesigned the studio physical configuration, audio signal path, MIDI connections, and digital audio patches.  This project included evaluating the musical needs of the users of the studio, deciding which additional hardware and software was needed, collecting bids from suppliers, and making purchase decisions.

 

1994-95             Concert Coordinator: Bregman Electro-Acoustic Music Studio

                   Dartmouth College, Hanover, NH.

 

Responsible for booking concert spaces, publicity and promotion, hiring performers, supervision of technical infrastructure, and programming of concerts sponsored by the studio.


1994-96             Graduate Study, Masters of Arts in Electro-Acoustic Music Program

                   Dartmouth College, Hanover, NH.

 

Awarded a full tuition scholarship and stipend for masters study at Dartmouth’s Bregman Electro-Acoustic Music studio.  Course work including the Analysis, Synthesis, and Perception of Timbre, The Influence of Technology on the Roles of Musicians and Musical Institutions in the 20th century, Survey and Analysis of the Repertoire of Electro-Acoustic Music, Analysis of Musical Systems, and Composition of Electro-Acoustic and Computer Music.  Additional courses explored acoustics, digital electronics engineering, and music cognition, Jamshed Barucha as adviser.  Primary composition studies with Charles Dodge and Larry Polansky.  Masters thesis, Mississippi Menagerie: an Electro-Acoustic Composition, is a composition for mandolins, alto flute, and quadraphonic  tape.  For this composition, as well as general use, created spatializing software for the virtual 3-D movement of sound within the concert hall.

 

Sept. 1993         Panelist, Iowa Composers Forum

                         University of Iowa, Iowa City, IA.

 

Served on a panel discussing Computer Music as part of the Iowa Composers Forum Fifth Annual Festival of New Music.  My discussion focused on interactive systems.

 

Summer 1993     Robert Noyce/Intel Corporation Summer Research Grant

                         New York University, New York City, NY.

 

Independently proposed and designed an internship to research and develop interactive systems for performance environments. Intel Corporation awarded a stipend that made it possible to work in New York University’s Music Technology Program, under the guidance of Robert Rowe, and in Gubbio, Italy.  Assisted with studio documentation, maintenance, and provided practical instruction to other visiting composers.  Interactive Improvisational Environment, the end result of the internship is a library of MAX patches that respond musically to improvised gestures and form hyper-instruments.

 

1993-94          President, Music Department Student Educational Policy Committee

 Grinnell College, Grinnell, IA.

 

Served as liaison between college administration and students.  Responsible for coordinating student evaluations and formulating recommendations for tenure reviews of two music professors.  Coordinated various concerts, department-wide informal activities, and social gatherings.

 

1992-94          Music Theory Tutor: Department of Music

                   Grinnell College, Grinnell, IA.

 

Tutored students of Harmony and Form and Analysis courses  on an individual basis for pay.

 

1990-94          Principal Pianist: Grinnell College Jazz Band and Combos

                   Grinnell College, Grinnell, IA.

 

 

Experiences Abroad

 

Oct. 1998           Invited Lecturer

 School of Music, University of Dublin Trinity College, Dublin, Ireland.

 

Presented, in person, in Ireland, a lecture on Synthesizing Lyrics with Hierarchically Organized Stress Contours: A Phonological Approach,  as part of application process for a faculty position in their school of music.

 

Sept. 1998         Invited Lecturer

 School of Music, University of Glasgow, Glasgow, Scotland.

 

Presented, in person, in Scotland, a lecture on Synthesizing Lyrics with Hierarchically Organized Stress Contours: A Phonological Approach,  as part of application process for a faculty position in their school of music.


Summer 1997     Research Assistant, National Institute of the Arts

 Inter-cultural music project with Taipei, Taiwan.

 

Hired by Professor Shy-ji Chew of the Taiwan Institute of the Arts to help create SJC Composer’s Toolkit, an interactive composition environment for the Macintosh operating system.  Specific tasks were creating a data structure for representing basic pitch and rhythmic sets, encoding much of the standard set theory functions as C++ functions, and creating a command line driven prototype of the Toolkit to test the data types and library functions.  The set theory library, for example, includes basic functions (based on Forte, Lewin, and Morris), such as interval vector calculator, common tone search and generation algorithms, Z-relation calculator, for example, and more advanced functions like multiple similarity and transition functions for sets.

 

Nov. 1994          Invited Visiting Scholar and Lecturer

 Moscow Conservatory, Moscow, Russia.

 

Taught classes at the Conservatory’s Theremin Center for Electronic Music on own compositional work and        current theoretical work in interactive music systems being done throughout the field during two week residency.

 

Summer 1993     Teaching Assistant, Interactive Music Systems

                         New York University in Italy Program, Gubbio, Italy.

 

Tutored graduate  students enrolled in the interactive music seminar on using MAX and algorithmic composition, lectured to the seminar, and served as MIDI studio technical assistant.

 

 

Selected Performances & Compositions

*Titles of my original compositions are in italics

                                   

May 2002          Speculum Musicae Commission

 Miller Theater, New York, NY.

 

A new composition (in progress) for 10 musicians, to be given its world premiere.

 

Oct. 2001           Invention in A Major

 Commission: Scott Foresman & Sony Special Music Products.

                  

Electronic orchestration and synthesis of Bach Invention for national distribution on recordings for musical textbooks.

 

July 14, 2000     Tinkering with Speech

 Lincoln Center Festival, Master Pieces of 20th-Century Electronic Music: New York, NY.                               

 

"This installation allows participants to record themselves speaking and to listen to computer generated responses. Options include pitch transformation, fragmentation, syllabic shuffling, vowel substitution, and even algorithms combining several words into new ones, real or nonsensical. The produced sounds are not only interesting timbral derivations and extensions of the original recorded voices, but explorations in semantics, facilitated by compositional algorithms informed by real-time phonological analyses and speech recognition software."  This installation was reviewed by Anthony Tommasini of the New York Times on August 6, 2000.  A quote  from his article follows:

 

‘"Tinkering With Speech," an installation by Timothy Polashek, was easy to use and attracted lots of partakers. It enables you to collaborate in the creation of a text-sound work by speaking into a microphone and watching the computer-generated results. The sounds of the words are fragmented in every way imaginable: syllables get shifted around, vowels are substituted for one another, parts of words are combined into new words, some as nonsensical as anything in Gertrude Stein.’

 

Feb. 2, 2001       Speakings III: Headlines

 Performed  in Philosophy Hall: New York, NY. 

 

The Computer Music Center of Columbia University Annual Concert, as performed by vocalists Marlon Feld and Chris Bailey.  To see a video of this performance, visit my website www.tdpmusic.com.


May 2, 2000       Dry Weaves

 Philosophy Hall: New York, NY.

 

The Computer Music Center of Columbia University Concert.

Composition for digital audiotape, two channels.

 

April 2, 2000      Composition for Piano and Tape

 Sulzberger Parlor, Barnard College, New York, NY.

 

Columbia Composers, Fourth Concert of 1999-2000 Season. Eric Huebner, Piano.

 

Jan 20, 2000       Kinetics

 Philosophy Hall: New York, NY.

 

The Computer Music Center of Columbia University Concert.

Composition for digital audiotape, four channels.

 

Nov. 14, 1999    Zephan Abstractions

 Sulzberger Parlour, Barnard College, New York, NY. 

 

Columbia Composers Second Concert of the 1999/2000 Season.

Composition for digital audiotape, two channels.

 

Oct. 2, 1999       Zephan Abstractions

 Mid-America Composers Festival: Grinnell, IA. 

 

Joint festival of Iowa Composers Forum & Society Of Composers, Incorporated, Region V.

Composition for digital audiotape, two channels.  This performance  was reviewed by Dr. Jerry Owen for the Iowa Composers Forum and the Society of Composers, Inc.  A quote  from his article follows.

 

‘The Polashek electronic collage sounded like what an up-to-date family photo album might look like, for Zephan, you see, is the name of his infant nephew (who attended the program, by the way).  The precision of this digital process of recording allows a high degree of control over the subtlety of even the softest, most intricate sounds.  This work is a sculpture in sounds that depends to a great extend on the visual images on conjures from the audio stimulus, which is more verbal than musical.  Real-life and recorded TV commercial sounds intermingle.’

 

May 5, 1998       Loving Henderson

 Miller Theater: New York, NY. 

 

The Computer Music Center of Columbia University Concert.

Composition for digital audiotape, two channels.

 

May 2, 1998       Approaching Wauzeka Confluence

 Julliard School of Music: New York, New York. 

 

Ulla Suokko-Hixson, Flute; Jean Kopperud, Clarinet; Donald MacCourt, Bassoon; Matthew Gold, Xylophone;  Joseph Tompkins, Marimba; Stephen Gosling, Piano; Christopher Bailey, Conductor.

 

April 23, 1997    A Wild Turkey Lands in the Crowded Forest and an Open Meadow

 Speculum Musicae Performances: New York, NY.

                       

Sextet for Flute, Clarinet, Viola, Cello, Piano, and Marimba, members of Speculum Musicae; Allen Blustine, Conductor.

 

Dec. 12, 1996    Terminal Jamb

 International Building: New York, NY. 

 

For Macintosh computer interface, microphone, and computer controlled mixer.  Timothy Polashek, interface.


Aug. 22, 1996    Sonata

 International Computer Music Conference 1996: Hong Kong.

 

Composition for digital audio tape, two channels.

 

April 27, 1996    Mississippi Menagerie

 Festival of New Musics: Hanover, NH.

 

For mandolin, mandocello, alto flute, and four channels for speakers.  Alex Ogle, Flute; Larry Polansky, Mandolins.

 

Feb. 16, 1996     Sonata

 Concert Acousmatique: Montreal, Canada. 

 

Composition for digital audio tape, two channels.

 

Aug. 15, 1995    Sonata

 Auditorio da Escola Municipal de Musica: Sao Paulo, Brazil.

                       

Composition for digital audiotape, two channels.

 

Nov. 22, 1994    Shadows

 Moscow Autumn Festival: Moscow, Russia.

 

Collaborative interactive work for soprano, MIDI keyboard, and two computers.

Timothy Polashek, Keyboard and Computers; Albina Stoianova, Voice.

 

May 14, 1994     New Music by Polashek

 Grinnell College, Grinnell, Iowa.

 

Anniversaire

         John Suhr-Rommereim, Baritone; Barbara Lien, Piano.

Sphinx

         Jennifer Boots, Violin; Jennifer Moon, Viola; Daniel Weiss, Cello; Jane Lien, Piano.

Aquaria for Piano, Saxophone, and Computer

Timothy Polashek, Piano; Matthew Polashek, Saxophone.

The Passion of Jesus Chris: an oratorio for strings, 4 voices, and computer

Timothy Polashek, Conductor.

Fugue

       Jennifer Boots, Violin; Jennifer Moon, Viola; Daniel Weiss, Cello.

 

Sept. 13, 1993    Coevolution

Fifth Annual Iowa Composers Forum Festival: Iowa City, Iowa. 

 

Interactive work for two MIDI controllers and computer.

Timothy Polashek, Keyboard and Computer; David Preston, Electronic Wind Instrument.

 

Aug. 1, 1993      Sibling Waves: 1. March 2. Game

 Gubbio Festival of New Music: Gubbio, Italy. 

 

Composition for Flute, Sop. Saxophone, Trumpet,  Piano, two MIDI Keyboards patch to interactive algorithms, and computer.  Gubbio Festival New Music Ensemble; Esther Lamneck, Conductor.

 

 

Awards and Scholarships

 

1999-2000       Music Department Scholarship

 Columbia University, New York, NY.

 

Full tuition scholarship and stipend.


1998                 Morton Gould Young Composer Awards, Finalist

 American Society of Composers and Publishers, ASCAP.            

 

Approaching Wauzeka Confluence, a sextet for flute, clarinet, bassoon, marimba, xylophone, and piano.

 

1997             Lydia C. Roberts Scholarship

 

Award for top graduate student at Columbia University with a BA from an Iowa college.

 

1997-98          Presidential Fellow

 Columbia University, New York, NY.

 

Full tuition scholarship and stipend.

 

1994             Dartmouth Fellowship

                   Dartmouth College, Hanover, NH.

 

Full tuition scholarship and stipend for two years of graduate  study at the Bregman Electro-Acoustic Music Studio.

 

1994             Steiner Award for Creativity in Music, First Prize

                   Grinnell College, Grinnell, IA.

 

Sibling Waves, composition for chamber orchestra, including MIDI controllers, computer, and interactive music system.

 

1993                 Robert Noyce/Intel Corporation Summer Research Grant

                  Grinnell College, Grinnell, IA.

 

Grant for independent research on interactive systems in Italy and New York.

 

1993             Steiner Award for Creativity in Music, First Prize

 

Shattered Moments, composition for 4 MIDI controllers and interactive music system.

           

 

Skills

 

         Professional Audio Engineering

 

Experienced expert in design, usage, configuration, and maintenance of large MIDI and Post-Production Music Studios, especially software configuration, computer controlled mixing, multi-tracking, video synchronization, studio and field recordings, and analog and digital audio patch bay design.

 

Programming languages

 

C, C++, Pascal, BASIC, and HTML.

 

Expert knowledge of most Macintosh and PC music commercial software tools

 

Including: Digidesign Pro-Tools, Digital Performer, AudioSculpt, Modalys, Patchwork, Csound, Cmix, Finale, MAX/MSP, Studio Vision, Cubase, Sound Hack, Galaxy, Auto-Tune, and others. 

 

Excellent knowledge of most Unix music research software

 

Including: Csound, Cmix, Mix, and general code compilers.

 

Experience with UNIX platforms

 

Including: LINUX, SGI, SUN, and NeXT operating systems.

 

CD-Rom and CD-Audio mastering and production

 


Professional Memberships

 

Broadcast Music Incorporated

 

American Music Center

 

College Music Society

 

International Computer Music Association

                 

Society for Electro-Acoustic Music in the United States

 

Iowa Composers Forum

 

Wisconsin Alliance of Composers

 

 

 

 

 

 

 

 

 

 

 

References available upon request.

Feel free to browse my website for more information.

www.tdpmusic.com