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Lessons offered by Zane
  • Individual
The lessons will be held
Taught subjects
  • Music Reading
Levels
  • Beginner
  • Intermediate
  • Advanced
  • 1st year
  • 2nd year
  • 3rd year
  • 4th year
  • Junior
  • Senior
  • Graduate Student
  • PhD

A New Contemporary Endeavor in Music Theory and Composition: A Twenty-first Century Darmstadt School

Methodology

TOPICS / OBJECTIVES
1. Acoustics and Clefs, Key, Scales, Key Signatures, and Intervals
2. Triads, Functional Harmony
3. Part Writing: Triads, Rhythm and Meter
4. Cadences and Phrases, Nonharmonicism, Six-Four Chords
5. Bimodality and the Neapolitan Sixth Chord, Modulation
6. Seventh and Ninth Chords, Secondary Dominants and Subdominants
7. Augmented Sixth Chords, Melodically Derived Harmony
8. Eleventh and Thirteenth Chords, Other Scales

Background

University of Waikato, Hamilton, New Zealand
2016
• Presented original research at The New Zealand Musicological Society Annual Conference

The University of Memphis
2009 – 2013
• Private Tutor mentoring both Graduate and Undergraduate students in Composition, Pedagogy of Music Theory, and Music Theory II each week.
• Occasionally led weekly Composition Seminar.

University of Mississippi
2007 – 2009
• Host - salons for intellectuals, artists, poets, musicians, etc.
• Head - Noumenist Coterie - mentoring GRAD/UGRADs in the arts.
• Top o/class - Schenkerian & Post-tonal Theory.
• 2008 annual meeting of the South-Central Society for Music Theory

Theban Legion Christian Academy
1986 – 1990
• Engaged in music theoretical analysis.

A New Contemporary Endeavor (Website)
November 2015
Musical language must change according to a prospective approach. Hence, the need for a new contemporary endeavor, one that contributes to culture in a non-museological way, bringing contemporary work out of its academic area of isolation, cultivating a wider public, and attracting likeminded and/or marginalized composers like a 21st-century Darmstadt School.

“A Model of Triadic Post-Tonality for a Neoconservative Postmodern String Quartet by Sky Macklay”
August 2015
A comprehensive harmonic analysis of Sky Macklay's Many, Many Cadences (2014). Submitted to the Peer-reviewed Music Theory Journal Perspectives of New Music in August, 2015.

Doctoral Research
2009 – 2012
Rudi E. Scheidt School of Music, University of Memphis, Memphis, TN, 2009 – 2012 (Research Adviser: Dr. John Baur).

• The formulation of a rationale for sonata-allegro form based on the notion of transpositional combination as surrogate tonality in Anton Webern’s Five Movements for String Quartet, Op. 5, No. 1.

• Analytical work shows how music taken from John Adam’s opera Dr. Atomic (i.e., the overture, various interludes and orchestral settings of arias) was adapted by the composer into a symphony.

• Analysis of continuous variation and melodic and pitch recurrence in Ellen Taaffe Zwilich’s Symphony No. 1.

• A study of the impact of Claude Lévi-Strauss’ Le Cru et le cuit on the form of Luciano Berio’s Sinfonia documents the importance of the similarity between a certain mythical transformation and its structural musical equivalent.

Predoctoral Graduate Research
2007 – 2009
Department of Music, University of Mississippi, Oxford, MS, 2007 – 2009 (Research Adviser: Dr. Michael Worthy).

• Quantitative analysis of motivic evidence for recursion in Claude Debussy’s Prélude à l’aprés-midi d’un faune and its implications for Composition Pedagogy.

• Investigation of the role of dissociation in post-formal-operational music listening.

Department of Music, University of Mississippi, Oxford, MS, 2007 – 2009 (Research Adviser: Dr. John Latartara).

• Monument by György Ligeti: spectral analysis and description of a large-scale statement of the aggregate in each piano part that spans almost the entire work through an additive process involving trichordal transformation, including a miniaturization of the process in measures 90 – 93.

Department of Music, University of Mississippi, Oxford, MS, 2007 – 2009 (Research Adviser: Dr. Alan Spurgeon).

• Ethnomusicological fieldwork involving the collection of local folk music by means of digital video recordings of host culture informants and making notational transcriptions of those recordings.

Department of Music, University of Mississippi, Oxford, MS, 2007 – 2009 (Research Adviser: Dr. David W. Steele).

• Ontological reductionism in the music of the 20th century.

"An Aesthetic Evaluation of a New Technique of Composition Inspired by Leading Principles of Chaos Theory"
2000 – 2004

Initial experiment was expected to mimic the determinism of “classical” music displayed by previous phase-shifting process music. However, the experiment actually resulted in intriguingly unpredictable and chaotic 2-voice polyphony. This intuitive departure from a piece’s formal essence to a new manifestation of the procedural essence of process music led to a profound self imbeddedness which could afterward be seen in the MIDI sequencer’s text edit event list and which may help explain the departure of composers (especially Ligeti) from Serialism in the early 1960’s. By trying different values of the nonlinear parameter of my technique, the character of the resultant music is changed drastically to mirror the rough and scabrous nature of the universe. This music can be characterized as fractionally dimensional by virtue of the reiteration of the transformative process, and displays self-similarity in that it becomes more detailed with each new time-scale according to a certain constant measurement. In the same way that the music of the Futurism movement begun in Italy around 1910 formally expressed the dynamism of machinery, the music of the algorithm at hand gives formal expression to the mechanics of chaotic processes. This music has properties similar to those of the strange attractors of chaos theory in that for all the superficial disorder there is an unexpected regularity hidden within: each line belongs to a section corresponding to a single iteration of the topological process. However, the music of my algorithm possesses such an over-abundance of pitch that pitch becomes largely unnecessary to the music’s ostensible, technogenetic meaning as that of klangfarben.

Rates

Rate for online lessons : $25/h
Lessons offered by Zane
Individual
The lessons will be held
at his home
Taught subjects
  • Music Reading
Levels
  • Beginner
  • Intermediate
  • Advanced
  • 1st year
  • 2nd year
  • 3rd year
  • 4th year
  • Junior
  • Senior
  • Graduate Student
  • PhD

Zane's resume

EDUCATION

D.M.A., Composition, University of Memphis, Memphis, TN, 2013
Dissertation: Eros and Psyche: Choreographic Symphony for Orchestra
Advisor: Dr. John Baur

M.M., Music Education, University of Mississippi, Oxford, MS, 2009

B.M., Music Theory with Emphasis in Composition, University of Mississippi, Oxford, MS, 1995

Education Courses Required for Alternative Route Teacher Certification, University of Mississippi, Oxford, MS, 1995

TEACHING/MENTORING EXPERIENCE

Director of Music Ministries, First United Methodist Church, Water Valley, MS, 2015 – present
• Vocal and Instrumental Music

Minister of Music, Mount Pleasant United Methodist Church, Holly Springs, MS, 2009 – 2015
• Vocal and Instrumental Music

Private Tutor, Rudi E. Scheidt School of Music, University of Memphis, Memphis, TN, 2009 – 2012
• Composition
• Music Theory II
• Pedagogy of Music Theory

Speaker, Rudi E. Scheidt School of Music, University of Memphis, Memphis, TN, 2009 – 2012
• Composition Seminar

Educator, Pearl River County School District, Carriere, MS, 2007
• Miscellaneous Public School Courses (Pearl River Central High School)

Itinerant/Interim Minister of Music, Sanctuary Hospice House, Tupelo, MS; Emmanuel Baptist Church, Columbia, MS; Midway Baptist Church, Pontotoc, MS; Mighty Fortress Church, Memphis, TN; Eudora Baptist Church, Memphis, TN, 2003 – 2007
• Vocal and Instrumental Music

Minister of Music and Youth, Temple Baptist Church, Memphis, TN, 2001 – 2003
• Vocal and Instrumental Music
• Foundational Issues in Christian Education and Adolescence
• Counseling

Tennessee Department of Education, Nashville, TN, 2001
• Interim Teacher E License (Area of Endorsement: Vocal/General Music K-12)

Interim Minister of Music, Lakewood Baptist Church, Nashville, TN, 2000 – 2001
• Vocal and Instrumental Music

Interim Minister of Youth, Oak Street Baptist Church, Portland, TN, 2000 – 2001
• Foundational Issues in Christian Education and Adolescence

Educator, Sumner County School District, Gallatin, TN, 2001
• General Music (Joseph Ellington Shafer Middle School)
• Band (Joseph Ellington Shafer Middle School)
• Other Miscellaneous Public School Courses (Howard Elementary; Joseph Ellington Shafer Middle School; Gallatin High School)

Minister of Music and Youth, Westwood Baptist Church, Nashville, TN, 1997 – 2000
• Vocal and Instrumental Music
• Foundational Issues in Christian Education and Adolescence
• Counseling

Mississippi Department of Education, Jackson, MS, 1997
• A 125 MUSIC (K-12) PERF ARTS (Five-Year Educator License)

Educator, Aberdeen School District, Aberdeen, MS, 1996 – 1997
• General Music (Aberdeen High School)
• Choral Music (Shivers Middle School; Aberdeen High School)

Mississippi Department of Education, Jackson, MS, 1996
• A 125 MUSIC (K-12) PERF ARTS (Provisional Educator License)

Minister of Music, First Baptist Church, Nettleton, MS, 1995 – 1997
• Vocal and Instrumental Music

Piano Teacher, First United Methodist Church, Holly Springs, MS, 1993 – 1995
• Piano Lessons for Beginners

Camp Counselor, Mississippi Piano Camp, Hinds Community College, Raymond, MS, 1990; 1991
• Identifying and Meeting Camper Needs
• Carrying Out Camp Programs
• Fulfilling other Staff Administrative Roles

AWARDS AND HONORS

University of Memphis Rudi E. Scheidt School of Music Smit Composition Award, 2011

University of Mississippi Music Department Nancy Van de Vate Award for Composition, Spring 2009

University of Mississippi Music Department University Chorus Scholarship, Spring 2009

University of Mississippi Music Department Nancy Van de Vate Award for Composition, Fall 2008

University of Mississippi Music Department Nancy Van de Vate Award for Composition, Spring 2008

University of Mississippi Music Department University Chorus Scholarship, Spring 2008

University of Mississippi Music Department University Chorus Scholarship, Fall 2007

University of Mississippi Music Department Annie-Lou Brown-Ellis Piano Scholarship, 1990 – 1995

PROFESSIONAL SOCIETIES

The Society for Music Theory
The College Music Society
The Poe Studies Association

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