L D. MCLOSKEY PH.D. CURRICULUM VITÆ · PDF fileTHE ROYAL DANISH ACADEMY ... Triton Brass and a consortium of wind ensembles including Boston Conservatory, University ... Music At

LANSING D. MCLOSKEY, PH.D. CURRICULUM VITÆ

September 24, 2013 Cell: 305-562-8211, Office: 305-284-4522 Home Address: 14532 SW 142 Court Cir. So., Miami FL 33186 Rank: Associate Professor, Music Composition and Theory University of Miami, Frost School of Music e-mail: [email protected] web: www.lansingmcloskey.com Citizenship: U.S.

HIGHER EDUCATION 20011 Ph.D in Composition HARVARD UNIVERSITY Advisor: Mario Davidovsky Additional composition studies with Bernard Rands, Marjorie Merryman, Andrew Imbrie

1993 American-Scandinavian Foundation fellow THE ROYAL DANISH ACADEMY OF MUSIC, COPENHAGEN, DENMARK Composition studies with Ib Nørholm Composition and Renaissance & Contemporary Choral studies with Bo Holten

1992 M.M. in Composition -- Departmental Outstanding Graduate Award UNIVERSITY OF SOUTHERN CALIFORNIA THORNTON SCHOOL OF MUSIC Composition studies with Stephen Hartke, Donald Crockett, Morton Lauridsen

1989 B.A. in Composition -- magna cum laude UNIVERSITY OF CALIFORNIA, SANTA BARBARA Composition studies with Edward Applebaum, Peter Lieuwen, Allyson Brown Electronic music studies with JoAnn Kuchera-Morin

ADDITIONAL COMPOSITION STUDIES WITH: Jacob Druckman, Donald Martino, Yehudi Wyner, Luciano Berio, Per Nørgård

ADDITIONAL STUDIES: • Composition Fellow, the Composers Conference at Wellesley, 1996 • Advanced Master Class, the Aspen Music Festival, 1994 • Early music vocal studies, Longy School of Music, 1996-1997

ACADEMIC EXPERIENCE 2005-present Frost School of Music, The University of Miami, Coral Gables, FL Associate Professor

2004-2005 Wellesley College, Wellesley, MA Visiting Assistant Professor

2003-2005 Harvard University, Cambridge, MA Lecturer on Music

1 November, 2001 degree; Conferred at June, 2002 commencement.

McLoskey/2

2002-2003 Longy School of Music, Cambridge, MA Visiting Faculty

1997-2002 Harvard University, Cambridge, MA Teaching Fellow & Assistant

1994 The Crossroads School for the Arts and Science, Santa Monica, CA Music Teacher

1989-1991 University of Southern California Thornton School of Music, Los Angeles, CA Teaching Assistant

PUBLICATIONS

PUBLISHED COMPOSITIONS

� Hardwood, published by Theodore Presser Company, Inc.

� OK-OK, Processione di lacrime, blur, and Quartettrope accepted for publication by Reed Music (signed contract in 2012).

� Sudden Music, in the Song/Cycles collection, Mormon Artists Group Press (NYC), 2010.

� 21 works published by American Composers Alliance Press (ACA).

� Catherine’s Wheel B(ee) Movie, published by Marimba Productions, Inc. 2009.

� B(ee) Movie, published by Marimba Productions, Inc. 2009.

� Lamentatio discipuli perpetui, Harvard University Music Library Bulletin, 2007.

� Breake, blowe, burn. Published in the SCI Journal of Music Scores, Vol. 33 (New York: Society of Composers, Inc., 2002).

� 13 works distributed by Subito Music Publishing. BOOK

� Twentieth Century Danish Music: An Annotated Bibliography and Research Directory. Westport, CT: Greenwood Press, 1998. ISBN: 0313302936. 176 p. First reference book of its kind on the topic.

PROFESSIONAL/COMMERCIAL RECORDINGS

� Monograph CDs

� Specific Gravity: Chamber Music of Lansing McLoskey. Albany Records (TROY1443, 2013)

� Sixth Species. Monograph CD of McLoskey's chamber works, Albany Records (TROY1044, 2008). Featured review in Oct. 2008 annual Awards Issue of Gramophone Magazine.

� “Featured CDs”

� The Unheard Music: American Music for Wind Ensemble and Brass. Includes What We Do Is Secret (concerto for brass quintet & wind ensemble) and The Madding Crowd (for brass quintet). The Boston University Wind Ensemble, Eric Hewitt, Dir.; Triton Brass. Albany Records (TROY1442, 2013). Funded by an Aaron Copland Fund Recording Grant.

� Prex Penitentialis: The Prayer of Petrarch for soprano & orchestra, Albany Records (TROY 1258, 2011).

McLoskey/3

� Works included on other commercial CDs � Citizens of Nowhere CD, Albany Records (TROY1439, 2013). Jan Berry Baker, saxophone. Includes blur for clarinet & saxophone.

� Metamorphosis (Beauport Classical BC1805, 2009). Includes Star Chamber for solo violin.

� Glisten (piano trio). Recorded by The Ibis Camerata. Released on CD of same name, Albany Records TROY886 (2006).

� lux [corner grid]; solo piano work for Grant Johannesen. Released on the Mormoniana CD, Tantara Records (2005).

� Cornucopia (Capstone Records, CPS-8725, 2003). Includes breake, blowe, burn (SATB + perc.)

� Cultivated Choruses (Capstone Records, CPS-8674, 2000). Includes Non avrá ma' pietá... (SATTBB).

� Don't Panic: 60 Seconds for Piano (Wergo Schallplatten, WER6649-2, 2001). Guy Livingston, piano. Includes Theft for piano and spoken word.

� "Art of the States" (WGBH Radio, CD71, 2000). Includes Tinted for piano trio. Broadcast in 49 countries.

� Navy Jet Noise (LOGx Records, 1994). Includes excerpt of Family Portrait for string quartet.

� Upcoming: My string orchestra work Chanson pour cordes will be released on a Frost Symphony CD on Albany Records. Slated for late-2013 or early-2014 release.

� Upcoming: blur will be released on a DVD of films by Rita Blitt, on the Equilibrium label. Slated for late-2013 or early-2014 release.

REFEREED JOURNAL ARTICLES AND CONFERENCE PRESENTATIONS

� “Can You See The Music? The Relationship Between the Aural and Visual Arts.” Presentation at the 2009 Aspen Composers’ Conference (July 20, 2009).

� “Diversity in Danish 20th Century Music.” Article published in the journal 20th-Century Music. V, 7 (July 1998). 11-14.

� “Forskelligheder: Diversity in Danish 20th Century Music. A Discussion of Stylistic Plurality; or, ‘Don’t tell me what to do!’ ” Presented at the 87th Annual Meeting of SASS, University of Illinois, Urbana-Champaign. (April, 1997)

� “Publications on 20th Century Art-music in Denmark in the Post-Nielsen Era (1931-present).” The 86th Annual Meeting of SASS, William & Mary College (May, 1996).

OTHER WORKS AND PUBLICATIONS

� For a list of musical compositions, see CV Addendum I.

� Regular music reviews in The Boston Early Music News, 1996-1999

PROFESSIONAL

COMPOSITION AWARDS AND PRIZES

� The 2011 Goddard Lieberson Fellowship from the American Academy of Arts and Letters, awarded to a “composer of exceptional gifts.”

� 2013, Third Prize, The American Prize for Chamber Music Composition.

� Nominated for the 2013 Louise Vosgerchian Award at Harvard University.

� 2012, Grand Prize Winner, The Chatham Baroque Composition Competition.

� 2012, Honorable Mention, The Red Note Festival International Competition for Wind

Ensemble Composition, for What We Do Is Secret.

� Winner, 2011 International Joint Wind Quintet Composition Competition

McLoskey/4

� Winner, The International Music PrizeTM for Excellence in Music Composition 2011

� Winner, 2011 Chatham Baroque Commission Competition

� Finalist, the American Prize in Composition, 2012

� MacDowell Colony fellow, Sept-Oct., 2011

� First Prize, 2009 Indianapolis Chamber Orchestra Composition Competition2

� Winner, 2009 “Music Now” Composition Competition, ISU New Music Festival2

� Winner, 2009 First Annual newEar Composition Competition

� Winner, 2009 American Composers Forum-LA 1st Annual Composition Competition

� Honorable Mention, 2009 Boston Choral Ensemble Commission Competition

� Honorable Mention, 2009 Areon Flute Composition Competition

� Finalist, 2008 clefWorks Composition Competition

� Honorable Mention, 2006 Forecast Music International Composition Competition

� Finalist, 2004 Swan Prize for Orchestral Works

� Special Recognition, Brass Chamber Music Forum Composition Contest, 2004

� American Composers Orchestra, 2003 Whitaker New Music Session

� Co-Winner, The Chicago Ensemble’s Discover America IV Competition, 2001

� First Prize, SCI/ASCAP 2000 National Student Composition Competition

� The Francis Boott Prize for Vocal Works, 2000

� First Prize, Omaha Symphony Orchestra International New Music Competition, 1999

� Lee Ettelson Composers Award from Composers, Inc., 1999

� First Prize, The Paris New Music Review International Competition “60 Seconds”

� First Prize, The 5th Annual Boston Chamber Ensemble Int'l Composition Contest

� The George Arthur Knight Prize, 1999

� The Adelbert Sprague Prize for Orchestral Works, 1998

� Charles Ives Scholarship, the American Academy of Arts and Letters, 1998

� Co-winner, Charles Ives Center Orchestral Competition, 1996

� ASCAP Grants to Young Composers Competition, 1996

� First Prize, Kenneth Davenport National Competition for Orchestral Works, 1995

� The Bohemians Composition Prize, 1996

� The Hans J. Salter Composition Award

� Phi Kappa Phi Graduate Award

� The Corwin Award for Chamber Music Composition

� Einar & Eva Haugen Award for Scandinavian Studies

� Honorable Mention, the Morton Gould Composer’s Competition

COMMISSIONS � Barlow Endowment Commission for ensemberlino vocale, a professional chamber choir

based in Berlin. Will also be their 2014 Composer-in-Residence.

� New work for Ensemble Berlin PianoPercussion for 2014.

� Commission from the soundSCAPE Festival in Italy for a clarinetist Gleb Kanesevic, for clarinet and electronics.

� New Spectrum Foundation commission for violinist Miranda Cuckson, for 2014/15.

2 The only time in the 45 year history of the ISU New Music Festival that a composer won both the orchestral and

chamber music competitions; both blind-juried, national competitions with two independent juries.

McLoskey/5

� 2011 commission from the International Joint Wind Quintet Project (a consortium of the International Clarinet Association, International Double Reed Society, International Horn Society, and National Flute Association), for a wind quintet. Premiered at the 2012 international/national conferences of each society.

� Commission from the newEar Ensemble (Kansas City) for their 20th Anniversary Season. Premiered November 10, 2012.

� Commission from Chatham Baroque (Pittsburgh) for their 20th Anniversary Season. Premiered October 5, 2012.

� Commission from the Cincinnati Vocal Arts Ensemble for SATB choir + clarinet. Premiered April 29, 2012.

� Barlow Endowment commission for a concerto for brass quintet and wind ensemble, for Triton Brass and a consortium of wind ensembles including Boston Conservatory, University of Miami, and MIT. Premiered Oct. 9, 2011.

� 2011 commission from the soundSCAPE Festival in Italy for soprano, piano and percussion. Premiered, July 18, 2011.

� Pew Charitable Trusts commission for The Crossing Choir (Philadelphia), as part of the Philadelphia Music Project. Premiered, June 19, 2010.

� Melbourne Chamber Choir (Australia), as part of the Reflections Project. Premiered, August 16, 2009.

� Mormon Artists Group (NYC) commission for a song-cycle on texts by Javen Tanner. Premiere: October 15, 2009.

� Dinosaur Annex Ensemble (Boston). Premiered April 5, 2009.

� The Ibis Camerata (Boston). Premiered: Miller Theatre, NYC, May 9, 2009.

� Meet The Composer commission for Triton Brass (ensemble-in-residence at Boston College and Tanglewood), premiered at the 2007 Tanglewood Festival.

� internationally renowned marimbist Eduardo Leandro, 2006.

� Xanthos Ensemble (ensemble-in-residence at Boston University), 2006.

� Harvard University, for the 50th Anniversary of the Eda Kuhn Loeb Music Library, 2006.

� The Fromm Foundation for The Radnofsky Quartet, 2005.

� The Handcart Ensemble theater company; Incidental music for Ordet ("The Word") by Kai Munk (for a month-long run Off Broadway, NYC, March/April '04)

� Barlow Endowment Commission for The Calyx Trio, 2003.

� The National Endowment for the Arts (Composers Grant commission)

� MAG (Mormon Artists Group, NYC) for pianist Grant Johannesen, 2003.

� The Boston Secession, 2002.

� Music At The Anthology for The New Millennium Ensemble, 2001.

� ASCAP/SCI for The Indiana University Contemporary Vocal Ensemble, 2001.

� King's Chapel, Boston, for the vocal trio Liber unUsualis, 2001.

� Barlow Endowment Commission for violist Leticia Oaks-Strong (of the Los Angeles Phil-harmonic), 1999.

� Vocal ensemble Tapestry, 1998.

McLoskey/6

� Cellist Holly Reeves of the Anacapa Quartet

� Internationally renowned violinist Linda Wang

� Pianist Mariliz Romano

� Have also written for The Hilliard Ensemble, Atlantic Brass Quintet, The Fromm Players, and Speculum Musicae

PRESS AND REVIEWS

See CV Addendum III

GRANTS AND FELLOWSHIPS

� Aaron Copland Fund Recording Grant, 2013 (to produce The Unheard Music CD, above).

� Provost Research Award, University of Miami, summer 2011.

� Meet The Composer “Creative Connections” grant, 2010.

� Max Orovitz Award, University of Miami, summer 2008.

� Max Orovitz Award, University of Miami, summer 2007.

� University Research Council "General Research Support Award in the Arts & Humanities," University of Miami, 2007.

� Previous grants: � Astral Career Grant, The National Foundation for Advancement in the Arts, 2002 � Whiting Fellow at Harvard University, 2000-01 � Oscar Straus Schafer Fellowship, 2000-01 � Harvard Graduate Student Council grant, 1999 � The American-Scandinavian Foundation, Fellowship in 1993-94; ASF grant in 1997 � The Danish National Music Council grant, 1998 � The Royal Danish Consulate General grant, 1998 � the Wesley Weyman Fund (x2), 1996, 1999 � the Direktør Ib Henriksens Foundation grant, 1998 � SASS (the Society for the Advancement of Scandinavian Studies) grant, 1998

PROFESSIONAL AND HONORARY ASSOCIATIONS

� American Composers Alliance

� Pi Kappa Lambda (the National Music Honors Society)

� Society of Composers, Inc.

� The Boston New Music Initiative

� American Composers Forum

� Christian Fellowship of Art Music Composers

OTHER PROFESSIONAL ACTIVITIES PERFORMANCES OF MY COMPOSITIONS (see CV Addendum II for detailed list)

Far too many to list here. Within the last four seasons I’ve had world premieres in Maccagno, Italy, Boston, Philadelphia, Pittsburgh, Indianapolis, Miami, Kansas City, Cincinnati, Denton/Las Vegas/Lincoln/Ohio, and Melbourne, Australia.

McLoskey/7

Other performance highlights from past four seasons include: The Tanglewood Institute; the Aspen Institute; the Lieksa Brass Festival, Finland; XXXV Foro Internacional Música Nueva, Mexico City; Birmingham Conservatoire (the UK); the Festival Nacional de Metales de Bogotá, Colombia; ENSEMS International Festival of Contemporary Music of Valencia, Spain; soundSCAPE Festival, Maccagno, Italy; XVIII Ciclo de Música Contemporánea, Málaga, Spain; the San Francisco Contemporary Music Festival; International Saxophone Symposium; North American Saxophone Alliance conference; the international/national conventions of the International Clarinet Association, International Double Reed Society, International Horn Society, and National Flute Society.

In 2013 the Marco Island Center for the Arts (FL) ran an exhibition of paintings by Rita Blitt based on my work blur, with a viewing room where our collaborative video blur was shown in a loop throughout the day.

WORKSHOPS/CLINICS/MASTERCLASSES/INVITED LECTURES

� Lecture/presentation, FIU School of Music, Miami, FL, September 27, 2013.

� Lecture/presentation, New World School of the Arts, Miami, FL, September 18, 2013.

� Guest Composer (lecture and Masterclass), The Tanglewood Institute, July 19-23, 2013.

� Guest Composer (lecture/presentation), The National Conservatory of Music, Mexico

City, May 24, 2013.

� Lecture/presentation, Northwestern University Bienen School of Music, May 14, 2013.

� Lecture/presentation, UNC Greensboro, Composition Seminar, March 22, 2013. � Lecture/presentation, University of Kansas, November 9, 2012.

� Presentation and forums at Carnegie Mellon University, Oct. 4-5, 2012.

� Lecture/presentations at the 2012 International conventions of the International Clarinet

Assoc., Int’l Horn Society, Int’l Double Reed Society, and Nat’l Flute Assoc.

� Composer-in-Residence, 2012 Missouri Chamber Music Festival, July 17-24, 2012.

� Composer-in-Residence, the soundSCAPE Festival, Maccango, Italy, July 6-18, 2011.

� Guest Composer, New Music at New College Series, April 11, 2011. New College, Sarasota, FL.

� Guest Composer (lecture/presentation), USC Thornton School of Music, Feb. 11, 2011.

� Guest Composer, New Music Institute of Kansas City. April 29, 2010. Pre-concert talk, and lecture/presentation on “Visual Music.”

� Guest Composer, the 43rd Contemporary Music Festival at Indiana State University, November 17-19, 2009.

� Guest Composer, Aspen Music School, Individual Studies Composition Program, July 25, 2009. Presentation on my music.

� Masterclass w/students in the Masterclass Composition Program, Aspen Music School, July 22, 2009.

� Lecture at The Aspen Institute, Aspen Composers Conference, on “Visual Music,” July 20, 2009.

� Guest Composer (lecture/presentation and interactive performance), Delta State University, November 14, 2008 .

� Guest Composer (Masterclass, performance, and composer roundtable), International Brass Chamber Music Festival, University of Louisville, KY. October 13, 2008.

� Guest Composer (lecture & composition lessons), Brigham Young University, November 15, 2007.

McLoskey/8

� Guest Composer (lecture), Boston University, October 16, 2007.

� Guest Composer at the Tanglewood Institute Composition Program (BUTI), July 2007. Masterclass and open-rehearsal in conjunction with the premiere of The Madding Crowd.

� Guest Composer (lecture on my music and gave Masterclasses), Indiana University School of Music, October 11 & 12, 2006.

OTHER PROFESSIONAL ACTIVITIES

� Composer-in-Residence, ensemberlino vocale, Berlin, Germany, 2014.

� National Adjudicator, National Foundation for Advancement in the Arts (NFAA), “youngARTS," 2013.

� Preliminary Adjudicator, NFAA “youngARTS," 2008-2012.

� Adjudicator, the 2011 Meet The Composer commissions.

� Adjudicator, Cantate Chamber Singers National Young Composers Contest, 2011.

� Board of Advisors member, The Barlow Endowment, 2004-2009.

� President and Co-President, Composers in Red Sneakers, Inc., 2006-2009.

� Adjudicator, the Barlow International Composition Prize and Barlow commissions, 2002-2008.

� Consultant & Adjudicator, Coral Gables Congregational Church Community Arts Program, 2007 Young Musicians' International Composition Competition.

� Adjudicator, the 2006 Composition Competition at Miami-Dade College.

� Film credit (contributor): We Jam Econo -- The Story of the Minutemen. A feature length documentary. Rocket Fuel Films, 2005. Tim Irwin, Director.

� Music used as cue music on Entertainment Tonight, Australia (2008), CBS Sports (2008), and Entertainment Tonight, USA (2007).

� Television interview, Aspen Plum TV (Ch.16), July 23, 2009.

CONDUCTING/DIRECTING

2013 Named as the Music Director for the South Miami Region (South Miami to Key West), Church of Jesus Christ of L.D.S.

2008-present Music Director, Miami 4th congregation, Church of Jesus Christ of L.D.S.

August, 2009 Conducted the South Miami/Homestead Regional Choir, Church of Jesus Christ of L.D.S.

September, 2008 Conducted the South Miami/Homestead Regional Choir, Church of Jesus Christ of L.D.S.

2006-2007 Director, The Other Voices

Vocal ensemble at the Frost School of Music, specializing in medieval, Renaissance, and 20th & 21st century repertoire.

2006-2008 Organist and accompanist, Church of Jesus Christ of L.D.S., Kendall Lakes congregation.

1998-2000 Director, HGNM (Harvard Group for New Music)

Responsibilities included: producing 6 concerts/yr., managing budget of $30,000+, contracting players, PR/advertising, designing & maintaining website, organizing Composer Forums, acting as liaison between students and administration/faculty, etc.

1993-1994 Studied Renaissance & Contemporary choral techniques w/Bo Holten and Vocal Group Ars Nova, Copenhagen, Denmark

1991-1993 Founder and Director, Clamores Antiqui

McLoskey/9

A cappella early music ensemble based in Los Angeles. Performances across the Southern California region. Recording released on Capstone Records.

1990-1991 Director, Early Music Vocal Ensemble, U.S.C. School of Music

1988-1990 Co-founder and co-Director, Musica Prospectus Insularum Early music ensemble based in Santa Barbara, CA.

1987-2002 Music Director and/or organist, Church of Jesus Christ of L.D.S. (lay positions), Santa Barbara, Los Angeles, and Cambridge.

TEACHING

TEACHING AWARDS

Awarded four Certificate of Distinction in Teaching awards at Harvard University. TEACHING SPECIALIZATION COURSES TAUGHT AT THE UNIVERSITY OF MIAMI:

� Composition and composition-related courses

◊ Individual composition lessons, undergraduate, MM, DMA levels

(MTC300/400/600 levels)∗

◊ Class Composition I-IV (MTC101/102/201/202)*

◊ Composition Workshop (MTC182/682)

◊ Senior Recital (MTC499)*

◊ Master’s Thesis and Doctoral Essay (MTC710/731)

◊ Special Topics (MTC693)

� Twentieth-Century Techniques (MTC312)*

� Advanced Counterpoint (MTC518)

� Non-Tonal Counterpoint; 16th Century & Post-Tonal (MTC513)

� Theory/Harmony/Musicianship courses, 2005-2010

◊ Taught and coordinated Theory II (MTC122)

◊ Theory III, Chromatic Harmony (MTC211)

◊ Theory IV, Post-Tonal Harmony (MTC212)

◊ Taught and coordinated Theory Lab (Musicianship), Level II (MTC122)

◊ Theory Lab, Level III (MTC211)

◊ Theory Lab, Level IV (MTC222)

� The Other Voices (MTC199/699)†

COURSES TAUGHT AT WELLESLEY COLLEGE: � Harmonic Concepts in Tonal Music (MUS122) � Tonal Counterpoint and Harmony (MUS244) � Twentieth-Century Techniques (MUS213/313) � Composition Lessons (MUS350) � Senior Thesis (MUS370)

∗ Courses I usually teach every semester. All other courses I’ve taught either occasionally or on a rotation basis.

† The Other Voices was an a capella vocal ensemble I formed and conducted for one year under the auspices of The Other

Music Ensemble.

McLoskey/10

COURSES TAUGHT AT HARVARD: � Music B: Tonal Writing, Analysis, & Musicianship for graduate students

� Earlab -- Musicianship for undergraduates

COURSES TAUGHT AT LONGY SCHOOL OF MUSIC: � Form and Analysis (TH321/322)

� Composition Seminar (TH412/612)

COURSES TAUGHT AS A TEACHING FELLOW AND/OR TEACHING ASSISTANT AT

HARVARD AND THE U.S.C. THORNTON SCHOOL OF MUSIC: � Composition II; Conducting & Orchestration; Music Theory & Musicianship; Music

Theory (for non-majors); Composition I; Chamber Music from Mozart to Ravel; "First

Nights;" The Premieres of Five Masterpieces; Aural Skills.

THESIS AND DISSERTATION ADVISING AND COMMITTEES

� Chair/Dissertation Advisor, Rodrigo Bussad, M.M. Composition (MTC), in progress.

� Chair/Dissertation Advisor, Alessandra Salvati, D.M.A. Composition (MTC), 2012.

� Chair/Dissertation Advisor, Liza Seigido, D.M.A. Composition (MTC), 2012.

� Committee Member, Matthew Taylor, D.M.A. Composition (MTC), in progress.

� Recital Committee Member, Maria Sumareva, D.M.A. Piano Performance, in progress.

� Committee Member, Rafael di Lima, M.M. Studio Composition, 2013.

� Committee Member, Lucy McVeigh, M.M. Choral Conducting, 2013.

� Committee Member, Daniel Dickinson, D.M.A. Composition (MTC), 2012.

� Committee Member, Dustin Casey Dickey, M.M. Jazz Composition, 2012.

� Recital Committee Member, Michelle Godbee, M.M. Violin Performance, 2012.

� Recital Committee Member, Jon Andersen, D.M.A. Trumpet Performance, 2011

� Honors Thesis Advisor, Alyssa Kassler, B.M. Music Composition, 2011.

� Honors Thesis Advisor, Andrés Cremisini, B.M. Music Composition, 2010.

� Recital Committee Member, Michael Allan Brown, M.M. Piano Performance, 2010.

� Dissertation Advisor, Jess Hendricks, D.M.A. Music Composition, 2009.

� Thesis Advisor, Jennifer Clare Bottoni, M.M. Music Composition, 2009.

� Thesis Advisor, Robert Roscoe Simpson, M.M. Music Composition, 2007.

� Committee Member, Andrew Claassen, M.M. Musicology, 2009.

� Committee Member, Federico Bonacossa, D.M.A. Guitar Performance, 2010.

� Committee Member, Dayl Burnett, D.M.A. Trombone Performance, 2010.

� Committee Member, Daniel Dickinson, M.M. Music Composition, 2009.

� Committee Member, Lawrence Moore, D.M.A. Music Composition, 2009.

� Committee Member, Sofia Kraevska, D.M.A. Music Composition, 2008.

� Recital Committee member, Amanda Andreasen, M.M. Cello Performance, 2007.

� Committee Member, David Davies, D.M.A. Music Composition, 2007.

� Recital Committee member, Anthony Reedy, M.M. Trumpet Performance, 2006.

McLoskey/11

PERFORMING EXPERIENCE HIGHLIGHTS

� Regular performances as soloist and accompanying vocal & instrumental solos in church.

� One of 36 Miami pianists who performed Satie's Vexations in a 14-hour performance at

the Arsht Center for the Performing Arts as part of the 19th annual Subtropics Festival,

2007.

� Soloist/section leader, Quincy Point Congregational Church, Quincy MA, 2003-05

� Vocal studies with Laurie Monahan (Project Ars Nova), Virginia Fox, John Glenn Paton

� Member, early music vocal ensemble at Longy School of Music, 1996-98

� Studied at the 1990 Amherst Early Music Institute and Festival

� Member of the U.S.C. Chamber Singers, 1989-90

� Have performed as a singer with: James Tyler, Laurie Monahan, Liber unUsualis, Brian

Asawa, Ensemble 1521, Capella Cordina (Alejandro Planchart, Dir.), and members of

Sonus, Musica Viva, and Bimbetta.

SERVICE

UNIVERSITY COMMITTEES � General Welfare Committee and Academic Affairs Committee, 2013-present.

� Faculty Senate, 2011-present.

� University Research Council, 2010-present.

FROST SCHOOL OF MUSIC COMMITTEES

� Graduate Committee member, 2010-present

� School Council, 2007, 2009, 2010, 2011, 2012.

� Chair, Mid-period tenure review committee, Juan Chattah, 2013.

� Search Committee member, MTC composer search, 2008/09 and 2009/10.

� Festival Miami Artistic Advisory Committee member, 2006 and 2007.

� Chair, Composition and Improvisation in the Curriculum Sub-committee, 2006-07.

OTHER SERVICE

� 2013/14. Coordinating The Cleveland Orchestra, Frost School of Music Residency.

� 2012/13. Coordinated the Echoes of fantastique Project with The Cleveland Orchestra.

� Faculty Advisor, Society of Composers, Inc., UM Student Chapter, 2005-present. In this role I not only serve an advisory capacity for student activities/concerts, but also oversee the annual residency program where we bring in outside ensembles to perform and work with student composers.

� Coordinated Cleveland Orchestra Student Composition Readings, 2008-present. Includes the Cleveland Orchestra/New World Symphony collaboration project at MOCA, Miami, Spring 2010.

� I’ve instigated and coordinated ongoing activities with the New World Symphony.

� Coordinated Steve Reich residency and two concerts of his music as part of the Stamps Distinguished Visitor Series at the University of Miami, April, 2007.

McLoskey/CV Addendum I: Work List

LANSING MCLOSKEY SELECTED CATALOGUE OF WORKS

ORCHESTRA/WIND ENSEMBLE

What We Do Is Secret (2011) 22’ [concerto for brass quintet and wind ensemble] Barlow Commission for Triton Brass & consortium of wind ensembles Released on The Unheard Music CD (Albany Records, TROY 1442, 2013) Winner, The International Music PrizeTM for Excellence in Composition 2011 Honorable Mention, 2012 Red Note Festival Wind Ensemble Composition Competition Third Prize, The American Prize for Wind/Band Composition, 2013

post- (2010) 8' [2222/2221/timp/2perc/harp/strings]

Requiem, ver.2.001x (2001, rev. 2009) 16’ [2222/2230/2perc/piano/strings] Winner, 2009 Indianapolis Chamber Orchestra Composition Competition Runner-up, 2004 Swan International Prize for Orchestral Works Included in American Composers Orchestra, 2003 Whitaker New Music Sessions

SLAM! (2007) 1’ [1111/1111/2perc/harp/strings] Fanfare written for Thomas Sleeper and The Frost Symphony Orchestra

Chanson pour cordes (1999) 9’ [string orchestra] Written for The Calcutta Chamber Orchestra, India

Prex Penitentiales: The Prayer of Petrarch (1997) 25’ [soprano soloist, 2222/2000/1perc/strings] National Endowment for the Arts Composer’s Grant commission First Prize, Omaha Symphony International New Music Competition First Prize, 1998 Boston Chamber Ensemble International Composition Contest Winner, The Adelbert Sprague Prize for Orchestral Works Released on Albany Records An American Dream CD (TROY1258, 2011)

Moraine (1995) 12’ [2222/2220/1perc/piano/strings] First Prize, Kenneth Davenport National Competition for Orchestral Works Co-winner, Charles Ives Center Orchestral Composition Competition

Occam’s razor (1992) 18’ cello concerto [solo vc/3110/2221/2perc/2vln/4cb] Commissioned by cellist Holly Reeves (The Anacapa String Quartet) Winner, the ASCAP Grants to Young Composers Competition

Symphoniæ Sacræ (1991) 18’ [2222/4221/3perc/strings] Winner of The Hans J. Salter Composition Award Phi Kappa Phi Award (U.S.C.)

CHAMBER WORKS

Agitprop (in-progress) 10' [clarinet w/fixed media] Commissioned by the soundSCAPE Festival (Italy) for clarinetist Gleb Kanacevich


Melt (upcoming) 9-12’ [two pianos, two percussion] For Ensemble Berlin PianoPercussion, for 2014.

Specific Gravity: 2.72 (2012) 12'

[flute, clarinet, alto sax, violin, cello, percussion] Commissioned by the newEar Ensemble (Kansas City) for their 20th Anniversary Season.

Haute Dance (2012) 12' [Baroque violin, theorbo, gamba Commissioned by Chatham Baroque (Pittsburgh) for their 20th Anniversary Season.

Hardwood (2011) 20' [wind quintet] Commissioned by the International Joint Wind Quintet Project (the International Clarinet Association, International Double Reed Socniety, National Flute Association, and International Horn Society). Published by Theodore Presser Company, Inc.

The Unreal City (2011) 16' [soprano, percussion, piano, on texts by Poul Borum] Commissioned by the soundSCAPE Festival, Maccagno, Italy.

blur (2009) 12 ½' [clarinet and basset horn or alto sax, with optional video by Rita Blitt] Commissioned by Dinosaur Annex Ensemble

Sudden Music (2009) 16' [Song cycle for soprano and piano, on texts by Javen Tanner] Commissioned by Mormon Artists Group (NYC).

Processione di lacrime (Pavan) (2009) 7' [vln, vla, vc, alto saxophone] Written for Philip Stäudlin & members of Chameleon Arts Ensemble

Quartettrope (2008) 14' [clarinet, tenor saxophone, cello, piano] Commissioned by The Ibis Camerata

lux.5 (2008) 3' [vln, vla, 2 cellos, cb] For the Chicago Miniaturist Ensemble

gnomonic projection (2008) 1' [piano four-hands] Written for the 50th Anniversary of the College Music Society.

The Madding Crowd (2007) 18' [brass quintet] Meet The Composer commission for Triton Brass

Catherine's Wheel (2007) 15' [marimba and violin] Written for internationally acclaimed marimbist Eduardo Leandro

OK-OK (2006) 10' [saxophone quartet] Fromm Foundation commission for The Radnofsky Quartet

Yellow (2006) 12' [flute/clarinet/violin/cello/percussion] Written for the Xanthos Ensemble Co-winner, 2009 American Composers Forum-LA Composition Competition


outroit (2006) 1' [three percussionists]

Glisten (2004) 22' [violin, cello, piano] Barlow Endowment Commission for The Calyx Trio

B(ee) Movie (2004) 6' cello, percussion Live filmscore for Odd Appetite; video by Ann Steuernagel

[lux] (2003) 4' [solo piano] Commissioned by Mormon Artists Group for pianist Grant Johannesen

Requiem, ver.2.001 (2000) 16' [flute/picc/alto flute, clarinet, violin, cello, percussion, piano] Commissioned by MATA & The New Millennium Ensemble

Glaze (2000) 10’ [brass quintet & percussion] Written for & recorded by the Atlantic Brass Quintet

Wild Bells (1999) 24' [viola, piano] Barlow Commission for violist Leticia Oaks Strong of the L.A. Philharmonic. Winner, the 1999 Lee Ettelson Composers Award First Prize, SCI/ASCAP 2000 Composition Competition

Tinted (1998) 14’30” [violin, cello, piano] Winner of the George Arthur Knight Composition Prize

zámbáah (1998) 6’30” [flute/picc/alto, clarinet/bass clar., violin, cello, piano] Written for & premiered by The Fromm Players at Harvard

Plaindance (1996) 22’ [oboe/english horn, clarinet, viola, cello, contrabass] Written for and premiered by Speculum Musicae

Theft (1996) 1’ [solo piano w/spoken word] First Prize, The Paris New Music Review Int’l Composition Competition

Flere (pavan) (1996) 9’30” [viol consort]

Rosetta stone (1994/95) 10’30” [flute/picc, clarinet, viola (or violin), cello, percussion, piano]

Star Chamber (1992) 5’ [solo violin] Commissioned by violinist Linda Wang Winner of The Bohemians Composition Prize, 1996

flux in situ (1989, rev. ’91) 14’ [string quartet] Winner of The Corwin Award for Chamber Music Composition

Piano Sonata No. 1: “Natural Man” (1988) 9’ [solo piano] Commissioned by pianist Mariliz Romano


CHORAL WORKS

new work for 2014 10-15’ Barlow Commission for ensemberlino vocale (chamber choir in Berlin)

Zealot Canticle (2011) 12’ [SATB choir w/clarinet; on texts by Wole Soyinka]

Commissioned by Cincinnati Vocal Arts Ensemble and concert:nova

The Memory of Rain (2010) 20' [Choral song cycle for SATB and organ, on texts by Philip Levine] Commissioned by the Pew Charitable Trusts for The Crossing Choir, as part of the Philadelphia Music Project

Venite, sancti, venite (2009) 13' [SATB choir] Written for the Melbourne Chamber Choir as part of the "Reflections Project

Come Follow Me, Venid a mí (2008) 5' [SATB choir, piano, optional cello]

Lamenti discipuli perpetui (2006) 4' [STB choir] Written for the 50th Anniversary of the Loeb Music Library at Harvard University

Burning Chariots (2003) 12' [SATB choir] Written for Boston Secession

Riddle (2001) 8 [four solo male voices] Written for & premiered by The Hilliard Ensemble

Breake, blowe, burn (2001; a cappella version 2004) 12' [SATB chamber choir, 2 percussionists] Commissioned by ASCAP &The Society of Composers, Inc. for The Indiana University Contemporary Vocal Ensemble

Solsange (2001) 11' [SAT solo voices] Commissioned by King's Chapel, Boston & Liber unUsualis

O mira novitas (1999) 5' [SSA solo voices] Commissioned by Tapestry Winner, the 2000 Francis Boott Prize for Vocal Works

Non avrá ma’ pietá/Quando con gran tempesta/Non vivam ultra (1991) 4’ [SATTBB solo voices or chamber choir]

FILM/THEATRICAL

Incidental music for Ordet ("The Word") by Kai Munk (2004) 10' The Handcart Ensemble theater company in NYC, month-long run Off Broadway, NYC, March/April '04.

B(ee) Movie (2004) 6' cello, percussion Live filmscore for Odd Appetite; video by Ann Steuernagel

Walking Distance (2004) 13' Electronic filmscore for film of same name by Robyn Moore


flock of birds (2003) 1' violin, piano Live filmscore (vln & pno) for film of same name by Pamela Kaneb Larson

Family Portrait (1993) 4'00" string quartet filmscore for film of same name by Scott Kravitz Audience Choice Award for Best Filmscore, Paris Int’l Short Film Festival

ELECTRONIC/TAPE PIECES

Baybeeimuhwantchoo (2003) 9’

And that's not right.... (2003) 5’

Breth an Geels (1992) 10’

Notturno (1991) 10’

Ka-gu-ra (1991) 7’

Misereris omnium, Domine (1990) 5’

She was leaning towards him with parted lips (1988) 4’30”

More information about Lansing McLoskey and his music can be found at:

www.lansingmcloskey.com

McLoskey/CV Addendum II: Performances

LANSING MCLOSKEY

PERFORMANCES, 2008-PRESENT (FIRST PERFORMANCES MARKED �)

— March 15, 2014. Featured composer concert on the Acoustica 21 concert series, Miami, FL. Performances of Hardwood, Catherine’s Wheel, blur, and TBA by The Ibis Wind Quintet and more.

— March 8, 2014. Kendall Sound Arts concert series, Kendall, FL. Performance of blur by Margaret Donaghue, clarinet; Dale Underwood, sax.

— February 14, 2014. Yale School of Music, New Haven, CT. Performance of What We Do Is Secret by the Yale Wind Ensemble; Thomas Duffy, Dir.

— January, 2014. Performances of The Madding Crowd by Axiom Brass in Tetons, Las Vegas, Oregon, Cedarhurst IL, and “Brassfest” at Western Illinois University.

— November 19, 2013. Ames City Auditorium, Ames, Iowa. Performance of The Madding Crowd by Axiom Brass.

— October 17, 2013. The McCracken School, Skokie, IL. Performance of excerpts of The Madding Crowd by Axiom Brass.

— October 16, 2013. Festival Miami, University of Miami, FL. Performance of Glisten by The Manhattan Piano Trio.

— September 25, 2013. Performing Arts Exchange (PAE) Showcase, Nashville, TN. Performance of excerpts of The Madding Crowd by Axiom Brass.

— September 8, 2013. University of Central Florida, Orlando, FL. Performance of blur by George Weremchuk, saxophone; Keith Koons, clarinet.

— August 21 & 25, 2013. The I Festival Nacional de Metales de Bogotá, Colombia. Performances of The Madding Crowd by Spanish Brass Luur Metalls.

— July 27, 2013. The Lieksa Brass Festival, Lieksa Cultural Centre, Finland. Performance of The Madding Crowd by Spanish Brass Luur Metalls.

— July 21, 2013. The Tanglewood Institute. Performance of The Madding Crowd by Axiom Brass.

— May, 25 2013. XXXV Foro Internacional Música Nueva, Mexico City, Mexico. Performance of Hardwood by the Mexico City Woodwind Quintet.

— May 18, 2013. Goat Farm Arts Center, Atlanta, GA. Performance of blur by Jan Baker, saxophone, and Kenneth Long, clarinet, on the Bent Frequency 10th Anniversary concert.


— May 16, 2013. Nichols Hall, Music Institute of Chicago, IL. Performance of The Madding Crowd by Axiom Brass.

— May 14, 2013. Fourth Presbyterian Church, Chicago, IL. Performance of The Madding Crowd by Axiom Brass.

— May 3, 2013. Boyer College of Music, Temple University, Philadelphia. Performance of What We Do Is Secret, Temple Wind Symphony, Emily Threinen, Dir.

— May 2, 2013. Sala Silvestre Revueltas del Conjunto Cultural Ollin Yoliztl, Mexico City. Performance of Hardwood by the Mexico City Woodwind Quintet.

— May 2, 2013. Boyer College of Music, Temple University, Philadelphia. Performance of Specific Gravity: 2.72 by the Temple Contemporary Music Ensemble, Jay Krush, Dir.

— March 14, 2013. University of Nebraska - Lincoln, Kimball Hall. Performance of What We Do Is Secret by the UNL Faculty Brass Quintet and the UNL Wind Ensemble, Dr. Carolyn Barber, Dir.

— March 1, 2013. North American Saxophone Alliance conference, University of Central Florida, Orlando, FL. Performance of OK-OK for sax quartet by the Hippocrene Saxophone Quartet.

— February 14, 2013. National Conference of the Society of Composers, Inc., The Ohio State University. Performance of OK-OK by the Anubis Saxophone Quartet.

— February 14, 2013. "Celebrating New Music!" concert, Kansas State University. Performance of Hardwood by Konza Wind Quintet..

— January 26, 2013. Con Vivo Music presents the POV Trio, Jersey City. Performance of Wild Bells, Amelia Hollander Ames, viola; Denise Fillion, piano.

— January 8-31, 2013. Marco Island Center for the Arts, FL. Exhibition of paintings by Rita Blitt based on my work blur, and a viewing room where our collaborative video work blur was shown in a loop throughout the day.

— January 15, 2013. Birmingham Chamber Music Society Concert Series, Birmingham Conservatoire, England. Performance of Hardwood by Atéa Wind Quintet.

� November 10, 2012. All Souls Unitarian Universalist Church, Kansas City, MO. World Premiere of Specific Gravity: 2.72 by the newEar Ensemble, commissioned for their 20th Anniversary season.

— November 8, 2012. The Accidental Music Festival, Urban ReThink, Orlando, FL. Performance of OK-OK by the Hippocrene Sax Quartet.


— November 6, 2012. Kansas State University. Performance of Hardwood by Konza Winds.

— October 7, 2012. Belmont University, Nashville, TN. Performance of blur by Jan Baker, saxophone, and Kenneth Long, clarinet.

� October 5, 2012. Pittsburgh. World Premiere of Haute Dance for Baroque Violin, gamba, and theorbo by Chatham Baroque.

— October 5, 2012. Morehead State University, KY. Performance of blur by Jan Baker, saxophone, and Kenneth Long, clarinet.

— October 3, 2012. Middle Tennessee State University, Nashville, TN. Performance of blur by Jan Baker, saxophone, and Kenneth Long, clarinet.

— September 26, 2012. University of Tampa, FL. Performance of OK-OK by the Hippocrene Sax Quartet.

— August 11, 2012. The Empty Bottle, Chicago. Performance and live-broadcast of Yellow by Access Contemporary Music.

� August 10, 2012. 2012 National Flute Association Convention, Caesar's Palace, Las Vegas. Co-Premiere of Hardwood for wind quintet by Imani Winds, commissioned by the International Joint Wind Quintet Project.

� August 4, 2012. 2012 ClarinetFest (convention of the International Clarinet Association), University of Nebraska, Lincoln. Co-Premiere of Hardwood for wind quintet by Konza Winds, commissioned by the International Joint Wind Quintet Project.

� July 11, 2012. The 2012 International Double Reed Society Convention, University of Oklahoma. Co-Premiere of Hardwood for wind quintet by Madera Wind Quintet, commissioned by the International Joint Wind Quintet Project.

— June 20, 22, 23, 2012. The Missouri Chamber Music Festival, St. Louis, MO. Performances of Glisten and Processione di lacrime as the festival Composer-in-Residence.

— May 30, 2012. ENSEMS International Festival of Contemporary Music of Valencia, Spain. Performance of The Madding Crowd by Spanish Brass Luur Metalls.

— May 30, 2012. Peabody Institute of Music. Performance of blur by Gleb Kanasevich, clarinet; Dimitrios Kostaras, alto saxophone.


� May 18, 2012. 44th International Horn Symposium, University of North Texas. World Premiere of Hardwood for wind quintet by Madera Wind Quintet, commissioned by the International Joint Wind Quintet Project.

— May 5, 2012. MuseFest "New Music Everywhere" on State Street, Madison, WI. Performance of Glisten by the New Muse Ensemble.

� April 29, 2012. National Underground Railroad Freedom Center, Cincinnati, OH. World premiere of Zealot Canticle by the Cincinnati Vocal Arts Ensemble.

— March 7, 2012. Stony Brook University, NY. Performance of Quartettrope by the Stony Brook Contemporary Chamber Players, Eduardo Leandro, Dir.

— February 11, 2012. All Souls Unitarian Universalist Church, Kansas City, MO. Performance of Processione di lacrime by the newEar Ensemble. Information.

— January 25, 2012. XVIII Ciclo de Música Contemporánea, Málaga, Spain. Performance of The Madding Crowd by Spanish Brass Luur Metalls.

— January 21, 2012. Navy Band International Saxophone Symposium, George Mason University Center for the Arts in Fairfax, VA. Performance of OK-OK by The Frost Saxophone Quartet.

— January 20, 2012. Navy Band International Saxophone Symposium, George Mason University Center for the Arts in Fairfax, VA. Performance of OK-OK by Jason Kush and the Slippery Rock Sax Quartet.

— November 7, 2011. Slippery Rock University, PA. Performance of OK-OK by the graduate sax quartet.

— November 4, 2011. Fresno New Music Festival, CA. Performance of Yellow by TEMPO ensemble, Daniel Kessner, Dir.

— November 2, 2011. Festival Miami, "Divergent Boundries" concert, Gusman Hall. Performance of The Unreal City, Kathleen Wilson, soprano.

� October 9, 2011. Boston Conservatory Theatre, Boston. World Premiere of What We Do Is Secret, concerto for brass quintet and wind ensemble, by Triton Brass and the Boston Conservatory Wind Ensemble, Eric Hewitt, Director.

— September 13, 2011. Stony Brook University, NY. Performance of blur, Lisa Preimesberger, Basset horn; Michael Shane, clarinet.

— September 9, 2011. Cal State Northridge, CA. Performance of Yellow by TEMPO ensemble, Daniel Kessner, Dir.


— July 30, 2011. The 9th Annual San Francisco Festival of Contemporary Music. Performance of Sudden Music, Jennifer Paulino, soprano; John King, piano.

� July 18, 2011. soundSCAPE Festival, Maccagno, Italy. World Premiere of The Unreal City for soprano, percussion & piano, commissioned by the festival. Amanda DeBoer, soprano; Aiyn Huang, percussion; Thomas Rosenkranz, piano.

— June 17, 2011. Symphony Space Nimoy Thalia Hall, the ACA New Music Festival. Performance of blur. Lisa Preimesberger, Basset horn; Michael Shane, clarinet.

— July 16, 2011. soundSCAPE Festival, Maccagno, Italy. Performance of blur. Joseph Tommaso, alto saxophone; Gleb Kanasevich, clarinet.

— July 14, 2011. soundSCAPE Festival, Maccagno, Italy. Performance of Sudden Music. Sara Perez, soprano; Brendan Kinsella, piano.

— July 11, 2011. soundSCAPE Festival, Maccagno, Italy. Performance of B(ee) Movie. Daniel Saenz, cello.

— April 29th & 30th, 2011. New Music at New College Festival, Sarasota, FL. Performances of Gleam by the Borup-Ernst Duo.

— April 26th & 27th, 2011. University of Miami. Performances of Gleam by the Borup-Ernst Duo.

— April 9, 2011. UCM New Music Festival. Performance of OK-OK by the Athens Sax Quartet.

— April 1 & 3, 2011. SOBE, South Beach, FL. "American Masters" concert series. Performance of excerpt of Sudden Music by Rebecca Duren, soprano.

— March 18, 2011. NewNowNorse New Music Festival, University of Northern Kentucky. Performance of Sudden Music (excerpt). Conundrum Ensemble.

— February 12, 2011. Raitt Hall, Pepperdine University. Performance of Sudden Music by Melanie Emelio, soprano; Louise Lofquist, piano.

— February 10, 2011. University of Alabama at Huntsville. Performance of Processione di lacrime, as part of the UAH New Music Festival.

— December 14, 2010. The Theater at Boston Court, Pasadena, CA. Performance of Sudden Music by soprano Katherine Giaquinto, as a winner of the American Composers Forum/LA Composition Competition.

— November 14, 2010. Boston New Music Initiative concert, Longy School of Music. Performance of Yellow.


— November 8, 2010. Utah Lyric Opera, Orem, UT. Performance of Sudden Music by Marilyn Smith, soprano, and Eric Callison, piano.

— October 12, 2010. Festival Miami "Form and Fractures" concert. Performance of The Madding Crowd by the Frost faculty brass quintet.

— September 11, 2010. St. Vincent's Chapel, Catholic University of American, Washington DC. Performance of O mira novitas on the CUA New Voices Festival, by Nola Richardson, Elizabeth Smith, and Laura Yackley.

— July 17, 2010. Presbyterian Church of Chestnut Hill, Philadelphia. Performance of Burning Chariots by The Crossing Choir.

� July 9, 2010. Presbyterian Church of Chestnut Hill, Philadelphia. World Premiere of The Memory of Rain for choir and organ by The Crossing Choir. Commissioned by the Pew Charitable Trusts as part of the Philadelphia Music Project.

— June 19, 2010. Symphony Space, Leonard Nimoy Thalia hall, New York City. Performance of Sudden Music on the ACA Sudden Music Festival (the title of the festival was taken from my piece, which closed the festival).

— May 1, 2010. All Souls Unitarian Universalist Church, Kansas City. Performance of Requiem, v.2.001 by the newEar Ensemble as the Winner of the First Annual newEar Composition Competition.

— March 28, 2010. Swedenborg Church, Cambridge, MA. Performance of Sudden Music by Rachele Schmiege, soprano, and Biljana Milovanovic, piano.

— March 20, 2010. LDS Manhattan Building, Lincoln Center, New York City. Performance of Sudden Music by Marie-Adele Te Hapuku, soprano (with the New York Metropolitan Opera).

— February 21, 2010. Thayer Performing Arts Center, South Lancaster, MA. Performance of Sudden Music by Sally Sanford, soprano, and Biljana Milovanovic, piano.

— February 15, 2010. Visy Theater, Brisbane, Australia. Performance of Processione di lacrime (Pavan) by Topology.

— November 21, 2009. Church of St. Luke in the Fields, New York City. Performance of Non avrá ma' pieta by the C4 Vocal Ensemble.

� November 19, 2009. Tirey Hall, Tilson Auditorium, Indiana State University. The 43rd Contemporary Music Festival closing concert. World Premiere of Requiem, v.2.001x by the Indianapolis Chamber Orchestra.


— November 19, 2009. Center for Performing and Fine Arts, Recital Hall, Indiana State University. “Music Now” concert, the 43rd Contemporary Music Festival. Performance of Processione di lacrime (Pavan) by saxophonist Paul Bro and members of the ISU string faculty.

— November 19, 2009. Holy Trinity Lutheran Church, New York City. Performance of Non avrá ma' pieta by the C4 Vocal Ensemble.

— November 12, 2009. Ruskin Art Club, Los Angeles. Performance of Yellow by Ensemble Green (as a winner of the American Composers Forum-LA 1st Annual Composition Competition).

� October 15, 2009. Clarke Hall, University of Miami. World Premiere of Sudden Music by Rebecca Duren, soprano, and Alan Johnson, piano.

— September 23, 2009. Center for Performing and Fine Arts, Recital Hall, Indiana State University. Performance of Processione di lacrime (Pavan) by saxophonist Paul Bro and members of the ISU string faculty.

� August 16, 2009. Melba Hall, University of Melbourne, Australia. World Premiere of Venite, sancti, venite by the Melbourne Chamber Choir.

— July 20, 2009. Aspen Institute, Aspen, CO. Performance of blur by Krista Weiss, basset horn, and Adele Mayne, clarinet, with the premiere of blur paintings video by artist Rita Blitt.

� May 9, 2009. Miller Theater, Columbia University, NYC. World Premiere of Quartettrope for sax, clarinet, violin, and piano by Mimesis.

� May 6, 2009. Sala Baldini, Rome, Italy. Co-premiere of Processione di lacrime (Pavan) by the Freon Ensemble.

� April 5, 2009. Community Center of Boston. World Premiere of blur by Dinosaur Annex Ensemble.

� March 21, 2009. Musica Eclectica concert series, Eastern Nazarene College, Quincy, MA. World Premiere of Processione di lacrime (Pavan) by Phillip Stäudlin, sax, and members of Chameleon Arts Ensemble. Part of a collaborative project between Composers in Red Sneakers and Dal Suono Somerso (Italian composers collective based in Rome).

— March 2, 2009. UCM New Music Festival, the University of Central Missouri. Performance of The Madding Crowd by UCM faculty brass quintet.

— February 26, 2009. CMS Southern Regional Conference, the University of Central Florida. Performance of Catherine's Wheel by Jennifer Mueller, violin; Garth Steger, marimba.


— February 6, 2009. Festival of Contemporary Art Music, Washington State University School of Music. Performance of Walking Distance for video and electronics.

— January 21, 2009. New Music Miami/ISCM Festival. Wertheim Performing Arts Center, FIU. Performance of Yellow by NODUS ensemble.

� December 4, 2008. Ossia Fine Arts Space, downtown Chicago. World Premiere of lux.5 by the Chicago Miniaturist Ensemble.

— November 14, 2008. ElectroAcoustic Juke Joint Festival, Delta State University, Cleveland, MS. Performance of Walking Distance for video and electronics.

— November 14, 2008. Interactive performance of Glisten with Delta State University art students.

— October 13, 2008. International Brass Chamber Music Festival, University of Louisville, KY. Masterclass and performance of The Madding Crowd by Spanish Brass Luur Metalls.

— October 9, 2008. Boston University, College of Fine Arts concert hall. Performance of Yellow by Xanthos Ensemble, with works by Berio, Martino, Donatoni, and Schuller.

� October 4, 2008. Church of Jesus Christ of LDS, Miami, FL. World Premiere of Come Follow Me/Venid a mí for SATB choir, piano, and cello obligato, with the composer conducting.

� September 26, 2008. CMS National Conference, Atlanta, GA. World Premiere of gnomonic projection by Piano Duo Gastesi-Bezerra.

— August 7, 2008. International Contemporary Art Festival, León, Mexico. Poliforum Cultural Concert Hall, León. Performance of Theft by José Luis Hurtado.

— May 11, 2008. Harold Golen Gallery, Miami. Part of the "12 Nights" electronic music series. Performance of Walking Distance for video and electronics.

— April 16, 2008. "Y me sabe a Peru" - XVIII Festival Jazz en Lima ICPNA 2008. The Auditorio ICPNA Miraflores, Lima, Peru. Performance of OK-OK by TAWA sax quartet.

— April 13, 2008. Indiana State University, Center for the Performing Arts Recital Hall. Performance of OK-OK by Nomine Saxophone Quartet sax quartet.

— March 29, 2008. f(X) New Music Marathon, Soya e Pomodoro, Miami. Performance of OK-OK by TAWA sax quartet (from Peru).


— February 21, 2008. 2008 SCI National Conference. Rialto Center for the Arts, Georgia State University School of Music, Atlanta, GA. Performance of OK-OK.

— February 15, 2008. Clark Hall, University of Miami. Performance of Catherine's Wheel, Eduardo Leandro, marimba; Yeon-Su Kim, violin.

— February 5, 2008. Gasson Hall, Boston College. Composers in Red Sneakers concert. Performance of The Madding Crowd by Triton Brass.

N.B. These performances do not comprise a comprehensive list. I know, for example, that Triton Brass performed Glaze several times without notifying me of the dates or venues. I also occasionally receive royalties from BMI (Broadcast Music, Incorporated) for performances in Europe, without any information about performers, dates, or venues. Nor does this list include other uses of my music, such as television, radio, or internet broadcasts.

McLoskey/CV Addendum III: Press and Reviews

LANSING MCLOSKEY PRESS AND REVIEWS

“Lansing McLoskey composes music that is keenly heard and deeply felt. His music reveals a remarkable sensitivity…resulting in works of emotional intensity. Avoiding any allegiance to “isms” he has developed a unique musical voice which is clear and distinctive.”

– The American Academy of Arts and Letters, on the occasion of his receiving the 2011 Goddard Lieberson Fellowship.

“Lansing McLoskey’s Specific Gravity: 2.72 is a magnificent work."

– Lee Harman, KC Metropolis, Nov. 14, 2012. "Lansing McLoskey's Prex Penitentialis is based on the writings of the Renaissance philosopher Petrarch, and deals with the battles and struggles between body and soul, a primal conflict that has plagued mankind from medieval times up until today. It opens with a 15th century Gregorian chant sounding phrase, followed by the toll of a bell, but quickly assumes its angst driven 21th century garb, with dark and elusive strands of probing orchestral sounds that well support the pain and lamentations within the text, sung accordingly by soprano Andrea Fullington. The orchestra and voice, particularly during the second movement, always seem to follow divergent paths, but somehow manage to converge and focus your attention on the sombre subject and confessional purpose within the text. A rare skill that Lansing McLoskey has obviously mastered. Near the end of the piece, the tolling bell returns and liturgical latin text brings the work to an unresolved conclusion. An evocative and inspired work that does a great job of connecting the centuries old script with today's troubled psyche. ... [It is a] modern work that resonates with the listener and doesn't attempt to alienate the audience. [It] achieves this by simply reaching into the meaning behind the words in the text, and emphasizing it's intent through powerful and emotive music."

– Jean-Yves Duperron. Classical Music Sentinel "Essential Recordings," May 2011. "Lansing McLoskey’s Prex Penitentialis is an ethereal and beautiful piece."

–American Record Guide, July 2011. “Burning Chariots …showed clearly how good he is. He culled graphically unflinching antiwar texts, many of them Old Testament, and had them sung over dronelike effects that morphed in and out of aurally disturbing quarter tones – with great visceral effect.”

– David Patrick Stearns, Philadelphia Inquirer, July 19, 2010 “[in The Memory of Rain, McLoskey] layers different texts using contrasting sections of the chorus, using motifs with a few well-chosen notes as the basis for an unfolding harmonic universe, similar to the best moments of Morton Feldman's Rothko Chapel. The organ writing


effectively framed the voices, creating almost cinematic effects with the musical counterparts to close-ups and wide shots. ...it is an important work.”

– David Patrick Stearns, Philadelphia Inquirer, July 12, 2010 “Lansing McLoskey’s is a distinctive voice in present day American music. This CD offers a fascinating cross-section of his vocal and instrumental chamber music and bears witness to McLoskey’s sharp ear for instrumental sonorities.”

– Carlos María Solare. The Journal of the American Viola Society, Spring 2009. “Smart, compelling and fascinating music that gives strong hints of a punk-band past. …freely mixing melancholy lyricism with flashy, brilliant passages for the instrumentalists… a chaotic collision of exuberant populist style with a bluesy edge and infectious punch… Sixth Species offers a bracing sampler from an engaging, greatly gifted composer I hope to hear more from.”

– Lawrence A. Johnson, Gramophone Magazine, Annual Awards Issue, Oct. 2008

“McLoskey’s musical interests have evolved from being a guitarist and songwriter for punk rock bands to a composer of some of the most unique and engaging contemporary music written today. … Upon hearing [his work] saxophonists will probably be awaiting future compositions from this fine composer. McLoskey’s compositions on this CD present contemporary music that engages the listener with a variety of styles and instrumentation…. The music challenges both the performers and the listeners with its creative distribution of the solo throughout four voices and time. The fine recording will hopefully lead to future performances by other quartets interested in integrating jazz into classical or contemporary saxophone programs.”

– Benjamin Faris. The Saxophone Symposium, May 2009

“…one of the most exceptional and inspiring concerts I have ever attended…. [In McLoskey’s blur] I found the relationship between consonance and dissonance to be the most striking aspect of this multi-layered piece. Jarring dissonances often resolved to satisfying consonances, making those instances where they did not resolve even more noticeable. In other places, due to their musical context, consonant intervals sounded dissonant and vice versa, effectively blurring the boundary between the two sonorities. This work was my favorite of the concert, inspiring me to be more critical when thinking about musical sonority, form and thematic development in the future.”

– Elizabeth Perten, Boston Musical Intelligencer, April 7, 2009

“OK-OK is a delightful addition to the saxophone quartet library so definitely make time to hear it. It is easily worth it.”

– Paul Wagner, Saxophone Journal, March/April 2009

“The music is arresting and compelling… the writing ingenious and brilliant, challenging yet well written for the saxophone, and with a clear intensity throughout.”

– Paul Cohen, President, To The Fore Publishers, July, 2009 “Lansing McLoskey is a major talent ... and a deep thinker with a great ear. ... His Requiem, ver.2.001x is distinctive, fascinating, and compelling.”

– American Composers Orchestra press release, 2003


“The other standout on the program, McLoskey's Requiem...[is] a beautiful piece, one that conveys both ethereal solemnity and wrathful reckoning.”

– Michael Manning, The Boston Globe

“[Quartettrope] I love the movement back and forth between relative dissonances to consonances… I love the sound of the piece as just a listener. But as I read through the score, I realize how clean and pure the whole thing is; and how wonderfully organized the form is. Really, really beautiful! [McLoskey] definitely deserve to get his share of fame one day.”

– John Perkins, founder of afterPostModern contemporary music blog, August 2009

“McLoskey’s Wild Bells… quick and precise, filled with syncopated rhythms, and, though it explores the dark timbre of the viola and 12-tone passages, refreshing.”

– Kraig Lamper, The American Record Guide, May/June 2007

“Burning Chariots … [the] text comprised Biblical passages in several languages, and the most compelling setting was of fragments from The Lamentations of Jeremiah, sung in Latin. ... These passages also represented McLoskey’s finest vocal writing and showed remarkable ability at setting the text. In fact, this section was one of the concert’s musical highlights.”

– Jules Langert, San Francisco Classical Voice, November 7, 2004

“But in fact the heart of the concert, for this listener, was an unassuming piece [Rosetta stone] by Lansing D. McLoskey - the “D” standing perhaps for dense, demanding, daring. ... The opening was an explosively metric movement of terrifying complexity and jagged irregularity. Balancing it was a second movement of rounded, mantralike piano clusters interspersed with lyrical lines in the treble instruments. McLoskey... created a magical sonority throughout this mysterious but thought-provoking piece.”

– Paul Horsley, The Kansas City Star

“This is real music, with rhythm, melody, harmony, and form, which the listener can perceive, but definitely is from the twentieth century.”

– Thomas Hall, Journal of the American Viola Society

“Moraine...immediately grabs hold of the listener's attention with as commanding a statement by the orchestra as found in any other work. With textures that vary from single-voiced solos to a harmony heavy with polytonality, the composer reveals here the talent that helped him win the prize.”

– Marcus Kalipolites, The Times Herald Record

“Drawing on Black Flag, the Beatles and Bauhaus for inspiration, McLoskey writes experimental new classical music for solo instruments, chamber and orchestra. Pieces are extremely rhythmic at times, loose and ghostly at others, marked by considerable control over instrumental range, combination and dynamics. Countermelodies run in different directions and keys, remaining listenable and exciting despite dissonant piano jabs and extreme tension. It's no wonder this young artist is winning awards and grants -- he's drawing on modern masters, injecting Punk's energy, and finding new ways to convey emotion without disassociating himself with his audience.”

–Jesse Terry, Listen.com


“The evening concluded with a reprise of Lansing McLoskey's ruminative and emotionally intense Requiem,v.2.001…” –Jeremy Eichler, The Boston Globe

“[McLoskey’s The Madding Crowd], a new, major work for brass quintet, is complex and difficult but very worthwhile.”

Journal of the International Brass Chamber Music Festival, December 2008

“Most of all I enjoy the novel sound of Lansing McLoskey's Breake, Blowe, Burn: something like Varese's Nocturnal meets Stephen Hartke's Tituli; rhythmic percussion accompanies a chorus singing quartal harmonies. Its suggestive text combines writings of the 17th Century “bad-boy” John Donne with Psalm 54.”

–Josh Mailman, American Record Guide

“Prex Penitentialis…an aura of early, simple-seeming church music - ethereal, chaste, distanced - darkened by slow stages into a musically complex and decidedly modern species of Angst. Petrarch supplied the exquisitely tortured texts, Andrea Fullington (soprano) the exquisitely poised singing.” –Richard Buell, The Boston Globe

“McLoskey's music is expressive, lyrical and...highly energetic. ...deeply grounded in tradition, freshness, discovery and adventure seem always present.”

–Mario Davidovsky, Pulitzer Prize winning composer

“ … Glisten is a well-made, absorbing piece…” – Greg Stepanich, The Palm Beach Post

“[Symphoniæ Sacræ]… the timbral extravaganza brought welcome high dissonance and a large form… carried reverence and ecstasy.”

– Julio Friedmann, The Daily Trojan

“Lansing McLoskey's Wild Bells, for viola and piano, this year's winner of Composers Inc.'s Ettelson Award, was in many ways a striking composition. Its three sharply delineated movements were defined by strong contrasts of texture and tempo. The piece opened with both instruments playing some interestingly ornamented melodic passages in unison. The second movement, a fast scherzo, began with a dazzling flurry of pizzicato notes, unaccompanied. Its trio had a long, undifferentiated legato line for the viola accompanied by choppy, spasmodic chords in the piano. The final movement was so slow and static that it seemed to be immobilized…. McLoskey's emphasis on vivid, uncompromising textures and extremes of tempo reminded me of Ives' sometimes-maddening experiments along these lines.”

– Jules Langert, San Francisco Classical Voice, November 28, 2000

“...one of the best composers of [his] generation.” – Frank LaRocca, Composers Inc.

And lastly, a review worth framing and hanging on the office wall: “[Chanson pour cordes is] … Turgid stuff,” “…unimaginative… Barber-lite...that won't scare the horses or anyone who's afraid of Bartok.”

—The Miami Herald, Sept. 2007

Documents

L D. MCLOSKEY PH.D. CURRICULUM VITÆ · PDF fileTHE ROYAL DANISH ACADEMY ... Triton Brass and a consortium of wind ensembles including Boston Conservatory, University ... Music At