The Peabody Institute of The Johns Hopkins University

KIP DOUGLAS WILE
The Peabody Conservatory of Music
of The Johns Hopkins University
One East Mount Vernon Place
Baltimore, MD 21202
E-mail (preferred):  wile@peabody.jhu.edu
Office phone: (410) 234-4524
Website:  http://www.peabody.jhu.edu/wile


EDUCATION

Ph. D. in the History and Theory of Music, University of Chicago, 1995.

    Dissertation title:  A Study of Collection in Neocentric Music:  A Study in Theory and Analysis of the Music of Debussy, Stravinsky, Scriabin, Bartók, and Ravel.

    Dissertation advisor:  Richard Cohn

    * presents a critical reappraisal and new approach to the theory and analysis of centricity and pitch collections in the music of Debussy,  Stravinsky, Scriabin, Bartók, and Ravel.

M.A. in the History and Theory of Music, University of Chicago, 1990.

B.A. in Music, Clark University, 1983.

    * Graduated summa cum laude with Honors in Music Theory.


TEACHING EXPERIENCE

Professor of Music Theory, The Peabody Conservatory of Music of The Johns Hopkins University, 2002 - present.

Courses taught include:

    Theory 111-12:  Music Theory I.

        * A one-year survey of basic music theory, including a review of fundamentals and an introduction to part-writing, analysis, and chromatic harmony.

    Theory 211-12:  Music Theory II.

        * A one-year study of 18th-century counterpoint and Classical structure and analysis.

    Theory 311-12:  Music Theory III.

        * A one-year study of analysis and composition in ninteenth- and twentieth-century musical styles.

    Theory 415:  Graduate Theory Review.

        * A review of fundamentals, part-writing, analysis, and chromatic harmony for graduate students.

    Theory 619:  Chamber Music Analysis

        * Analytical approaches to a wide variety of chamber works.  Begins with standard repertory and eventually progresses to works currently being performed in Peabody's Chamber Music program.

    Theory 639:  Romantic Styles

     * A study of style and strategy in nineteenth-century music.  Particular focus on expansions of form, harmony and tonality.  Embraces a variety of genres, including solo piano music, song, chamber music, symphony, concerto, choral music and opera.  Explores this music through activities such as listening, analysis, writing, reading, and class discussion.

    Theory 649:  Music Theory Pedagogy.

        * A study of the principles of teaching, particularly music teaching and music theory teaching.  Units include fundamentals, basic theory, analysis, and musicianship.  Each topic is studied through readings, class discussion, textbook review, observations, and teaching practica.

    Theory 654:  Debussy

        * A study of the music of Debussy. A variety of genres and analytical approaches are examined. Emphasis is placed on the elements of Debussy's style and their basis in his compositional technique.

    Theory 686:  Beethoven Piano Trios.

        * A study in the analysis and performance of Beethoven's piano trios. These works are examined from a number of perspectives, including analytical, stylistic, historical, and aesthetic. Particular attention is given to Beethoven's formal innovations at various levels of organization.

    Theory 702:  Analytical Techniques

        * A survey of approaches to musical analysis, including tonal, Schenkerian, pc set, serial and others.  A wide variety of historical eras and genres are covered.

Senior Lecturer, The Johns Hopkins University, 2005 - present.

   AS376.231:  Western Classical Music.

     * An introduction to European "Classical" music, from antiquity to the present day. Embraces historical, intellectual and cultural backgrounds, biographical information, style features, and analysis. Activities include listening, readings and in-class discussion.

Assistant Professor (tenured), School of Music, Sam Houston State University, 1995 - 2002.

Courses taught include:

     Music 122:  Theory of Music I.

        * An introduction to the language, concepts, and properties of music.  Taught to undergraduate music majors.

     Music 123:  Theory of Music II.

        * Reinforces and expands upon Theory of Music I.  Continued study of basic diatonic structures; introduction to non-chord tones and secondary functions.

      Music 124:  Musicianship I.

        * An introduction to musicianship skills, including performance skills  (including keyboard skills) and aural skills.

      Music 125:  Musicianship II.

        * Reinforces and extends skills acquired in Musicianship I.  Includes performance skills (including keyboard skills) and aural skills.  Special attention given to structural recognition, identification of non-chord tones, and secondary functions.

     Music 138:  Music Literature.

        * An introduction to history and style of Western music.  The topic is studied through a selection of representative pieces with particular attention to the musical and general historical background of the piece; the cultural and esthetic background of the piece, with respect to both music and the other arts; and the structure of the piece and how it realizes or contradicts its historical and stylistic background.

    Music 222:  Theory of Music III.

      * An introduction to advanced functional tonality.  Special emphasis is placed on chromatic techniques, including secondary functions, modulations, and advanced harmony.  Corresponding tendencies in other musical elements, such as melody, rhythm, and texture, are also be considered.  These subjects are studied in conjunction with an introduction to musical structure and form.

    Music 223:  Theory of Music IV.

      * An introduction to the theory and analysis of late nineteenth- and early twentieth-century musical styles.  Begins with the study of expanded form, harmony, and tonality in the late nineteenth century.  Proceeds to the study of twentieth-century styles and techniques, including the use of alternative scales, neocentricity, nonfunctional harmony, atonality, serialism, chance, extended instrumental techniques, texturalism, minimalism, quotation and collage, and the influence of ethnic, folk, and popular sources.

    Music 224:  Musicianship III.

      * Reinforces and extends skills acquired in Musicianship I and II.  Includes performance skills (including keyboard skills) and aural skills.  Focuses on chromatic materials, including chromatic non-chord tones, secondary functions, other chromatic harmony, and modulation.

    Music 468.01:  Musicianship IV.

      * An introduction to advanced musicianship skills for undergraduates.  Performance and aural skills focus on secondary functions, other chromatic harmony, modulation, and post-tonal materials.  Additional performance skills include figured bass realization, clef reading, and score reading.

    Music 468:  Independent Study in Twentieth-Century Styles.

      * Explores compositional styles of twentieth-century music from the standpoint of current research, analysis, and composition.  Taught at both undergraduate and graduate levels.

    Music 474:  Twentieth-Century Musical Styles.

       * A study of the diverse styles of twentieth-century music.  Perspectives include an introduction to issues in current research/analysis and composition in light of those issues.

    Music 530:  Analytical Techniques.

       * An introduction to the techniques of advanced musical analysis for graduate music students.  Includes formal, Schenkerian, and post-tonal analysis.

    Music 563:  Pedagogy of Theory.

       * A study of the principles of teaching, particularly music teaching and music theory teaching.  Units include fundamentals, basic theory, analysis, and musicianship.  Each topic is studied through readings, class discussion, textbook review, observations, and teaching practica.

    Music 567:  Score Reading.

       * Develops proficiency in score reading and its component skills, thus enhancing aural recognition, sight reading, and keyboard techniques.

    Music 575:  Special Problems in Musical Research.

       * Graduate study in techniques of professional research in selected areas.

    Music 582:  Symphonic Literature.

       * Graduate study of music for symphony orchestra from its establishment to the present.

    Instruction in Musicianship for Graduate Music Majors.

        * Instituted special sessions in musicianship skills for graduate music majors, including performance and aural skills.


Instructor, Department of Music, University of Chicago, 1991-3.

       Music 285:  Musicianship Skills for Undergraduate Music Majors.

        * Founded and designed program of musicianship skills, including sight singing, piano sight reading, ear training, figured bass, clef reading, and score reading. Taught on an individual basis as a required course for undergraduate music majors.


Instruction in Music Theory, University of Chicago, 1989-1993.

        * Harmony review course and preparation for analysis component of graduate comprehensive examinations.  Offered as private instruction in music theory for graduate and undergraduate music majors, including harmony/voice leading, analysis of the tonal repertory, and pc/set theory and analysis.


Instructor, Department of Music, University of Chicago, 1990.

     Music 101:  Introduction to Western Music.

        * An introduction for non-majors to the history, style, and analysis of Western music, ranging from medieval to twentieth-century topics.


Teaching Assistant, Department of Music, University of Chicago, 1989-1990.

     Supervisors:  Anne Robertson, Peter Lefferts, and Robert Morgan.
     Music 271-3:  History of Western Music for Undergraduate Music  Majors.

       * A one-year survey of the history, style, and analysis of Western music.   Conducted weekly listening and review sessions; taught class in  absence of instructor.


Instructor, Music Foundation for the Handicapped, University of Bridgeport, Bridgeport, CT, 1985.

      * A program of special education music performance for children and lectures in music history for adults.


Teaching Assistant, Department of Music, Clark University, Worcester, MA, 1982-3.

     * A program of musicianship skills for undergraduates music majors, including sight singing, piano sight reading, and ear training.


ADMINISTRATIVE EXPERIENCE

Doctor of Musical Arts Committee, Peabody Conservatory of Music, 2005 - present.

Chair, Department of Music Theory, Peabody Conservatory of Music, 2005-2009.

     * Responsible for representing the Department of Music Theory through contact with the Director, Dean, Council of Chairs, Faculty Assembly, faculty and students; providing leadership and direction for the Department of Music Theory; administering budget allocation and supporting documentation; hosting and arranging itinerary for annual Theory Department Guest; planning and calling departmental meetings; leading discussion of course and curricular development; coordinating teaching schedules and overall course offerings in consultation with the faculty, Dean and Registrar; coordinating auditions and placement exams in consultation with the Director of Admissions; serving as Chair of departmental search committees; arbitrating differences among faculty or between students and faculty; counseling students; fostering smooth relations between faculty and staff; serving as contact person with outside individuals and other institutions; maintaining department web site; consulting with Dean of the Conservatory and Associate Dean for Academic Affairs on the hiring and coordination of adjunct faculty; counseling new faculty and adjunct faculty; acting as Coordinator for the Masters degree program in Music Theory Pedagogy.

Member, Council of Chairs, Peabody Conservatory of Music, 2005-2009.

Chair, Music Theory Search Committee, 2008.

     * Search culminated in the hiring of full-time replacent faculty member, Randall Bauer.

Member, Conservatory Contracts Committee, 2007-2008.

     * Innovated Faculty Mentoring Committee, to counsel fellow faculty members, which was then instituted through Faculty Assembly.

Chair, Music Theory Search Committee, 2007.

     * Search culminated in the hiring of faculty members Ildar Khannanov and David Smooke.

Member, Music Theory Search Committee, 2004.

     * Search culminated in the hiring of faculty member Stephen Stone.

Member, Ear Training Search Committee, Peabody Conservatory of Music, 2003.

     * Search culminated in the hiring of faculty member Courtney Orlando.

Coordinator, Theory/Composition Area, School of Music, Sam Houston State University, 2000 - 2002.

    * Responsible for faculty class assignments and scheduling, academic advisement for all undergraduate and graduate Music Theory and Composition majors, testing and placement of freshmen and transfer students in theory/musicianship sequence, textbook selection and acquisition, acquisition of physical materials, weekly area meetings, coordination of Theory/Composition area with other departmental areas and activities, assistance and oversight of teaching in the area, responses to inquiries from faculty and current and prospective students.

Director, Computer-Assisted Instruction Laboratory, Department for Music, Sam Houston State University, 1995 - 2002.

    * Acquisition of capital equipment for the CAI lab; acquisition, evaluation, implementation, and introduction of computer music programming; logistics and repair of computers; set and adjust hours according to student need; hire, train, monitor student workers; monitor usage and report it to appropriate faculty; publicize the CAI lab; redecorate and improve physical aspects of the CAI lab; submit proposals for departmental and outside funding for the lab.

Member, Contemporary Music Festival Committee, School of Music, Sam Houston State University, 1995 - 2002.

Member, Graduate Curriculum Committee, School of Music, Sam Houston State University, 1995 - 2002.

Undergraduate General Studies Advisor, Sam Houston State University, 1996 - 2002.

Editor, Technology Implementation Committee for SACS Self-Study Report, Sam Houston State University, 1997 - 2002.

    * Wrote the report summarizing technology at Sam Houston State University for SHSU's successful SACS accreditation.

Editor, Music Department Newsletter, 1997 - 2002.

Editor, Music Department Web Site, School of Music, Sam Houston State University, 1998 - 2002.

    * Designed, produced, posted the majority of the web pages for the SHSU School of Music, including online application for admission to the School of Music, online registration for departmental events, and online secure credit card payments to the School of Music.

Member, Chair Advisory Committee, School of Music, Sam Houston State University, 2000 - 2002.

Member, Search Committee for Director of the School of Music, School of Music, Sam Houston State University, 2001 - 2002.

Member, Search Committee for Director of Choral Activities, School of Music, Sam Houston State University, 1999-2000.

Member, Search Committee for Department Chair, School of Music, Sam Houston State University, 1997-9.

Editor, NASM Self-Study Response, School of Music, Sam Houston State University, 1997-8.

Member, Search Committee for Saxophone, School of Music, Sam Houston State University, 1996-7.

Member, Search Committee for Bass/Baritone, School of Music, Sam Houston State University, 1995-6.
 
 
PUBLICATIONS/CONFERENCE PAPERS

"Recurrence, Level Organization, and Collection Interaction in Three Piano Preludes by Debussy." Indiana Theory Review 22/2 (Spring, 2003).

    * Clarifies level organization and interacting pitch collections in Debussy's compositions by examining forms of recurrence at various structural levels.

"Stravinsky's Ballets," in The Reader's Guide to Music:  History, Theory, and Criticism. Chicago:  Fitzroy-Dearborn, 1999.

    * Summarizes the history of Stravinsky's ballets and the current state of research on this topic.

"Motivic Voice Leading in the Music of Debussy."  Presented at the Ninth Annual Meeting of Music Theory Midwest, Louisville, 1998 and at the Twelfth Annual Meeting of the New England Conference of Music Theorists, Storrs, 1998.

    * Clarifies level organization and interacting pitch collections in Debussy's compositions by examining deeper-level motivic patterns.

"Contextual Hierarchy in the Late Works of Scriabin:  Scriabin's Transpositional Designs." Presented at the Seventeenth Annual Meeting of the Society for Music Theory, Tallahassee, 1994.

    * Examines particularly clear instances of Scriabin's use of transpositional patterns to produce "self-defined" hierarchy.

"Communication and Interaction in Stravinsky's Scherzo Fantastique (1907-8)."  Indiana Theory Review 13/1 (1992), 87-112.

    * Introduces a formal approach for the study of the relations among pitch collections in the music of Stravinsky.

"Pitch and Pitch-Class Stasis as Prolongation in Three Songs by Franz Liszt."   Presented at the Fourteenth Annual Meeting of the Society for Music Theory, Cincinnati, 1991.

    * Explores precedents for post-tonal centricity in the "experimental" music of Liszt.

"Communication and Interaction in Stravinsky's Scherzo Fantastique (1907-8)."  Presented at the First Annual Meeting of Music Theory Midwest, Chicago, 1990.

    * Introduces a formal approach for the study of the relations among pitch collections in the music of Stravinsky.


JAZZ ARRANGEMENTS

"Serenade in Blue," performed by the New Jazz Singers at the SHSU Jazz Ensemble Concert, April, 2000.

"Someone to Watch Over Me," performed by the SHSU Madrigal Singers at the SHSU Jazz Ensemble Concert, April 1999.

"Once in a While," performed by the SHSU Madrigal Singers at the SHSU Jazz Ensemble Concert, April, 1998.
 
 
PROFESSIONAL ACTIVITY

Member, Society for Music Theory, 1988 - present.

Member, Music Theory Society of the Mid-Atlantic, 2003 - present.

Chair, By-Laws Committee, Music Theory Society of the Mid-Atlantic, 2003 - present.

Member-at-Large, Executive Committee, Music Theory Society of the Mid-Atlantic, 2009-2011.

Member, Program Committee, Music Theory Society of the Mid-Atlantic, 2009 Conference.

Editor, Music Theory Society of the Mid-Atlantic web site, 2004 - 2007.

Member, Music Theory Midwest, 1990 - 1998.

Member, Texas Society for Music Theory, 1995 - 2002.

Member, Program Committee, 2002 Meeting of the Texas Society for Music Theory, Austin, Texas.

Member-at-Large, Executive Board, Texas Society for Music Theory, 1998 - 2001.

Local Arrangements Chair, Twentieth Annual Meeting of the Texas Society for Music Theory, Huntsville, 1998.

President, Graduate Music Society, University of Chicago, 1989-1990.
 
 
AWARDS/HONORS/GRANTS

Listed in Who's Who Among America's Teachers.

M. Giles Whiting Foundation Dissertation Grant, 1993-94.

Catherine T. Heifetz Award, 1989.

Century Foundation Scholarship, 1985-89.

Phi Beta Kappa (junior year), 1982.
 
 
PERFORMING ACTIVITIES

Bass section leader, Bach Choir of Huntsville, 1996 - 2002.

Bass section leader, Sam Houston State University Concert Choir, 1996 - 2002.

Founder and director, SHSU Madrigal Choir, 1996 - 2002.

Founded popular music workshop for SHSU music students, 2000 - 2002.

Founded and directed beginner's, intermediate, and advanced recorder choirs, 1999 - 2002.

Sam Houston State University Chorale, 1997-9.

University of Chicago New Music Ensemble, 1991-95.

University of Chicago Motet Choir, 1991-95.

In Terra Vox, 1991-95.

Rockefeller Chapel Choir, 1994-95.