Faculty

Joël-François Durand (b. 1954, Orléans, France) is Professor of Music at the University of Washington, where he has taught composition, analysis, and theory since 1991. He has been Associate Director of the UW School of Music since 2002. Durand was awarded the Donald E. Petersen Endowed Professorship in 2003.

Durand studied mathematics, music education, and piano in Paris, then composition with Brian Ferneyhough in Freiburg im Breisgau, Germany (1981-84). During that time he also attended masterclasses with György Ligeti, Luciano Berio and Luigi Nono. In 1982 Durand was awarded a scholarship from the DAAD (German Academic Exchange), and a Darmstadt Institute Scholarship for his String Trio. In 1983 his piano piece “. . . d’asiles déchirés . . .” received a prize at the Third International K.H. Stockhausen Composition Competition in Brescia (Italy).

He left Europe in 1984 to pursue a Ph.D. in Composition (awarded in 1988) at the University of New York, Stony Brook (USA), where he studied with Bülent Arel. He also studied electronic music with Daria Semegen. Durand was awarded scholarships from the Fulbright Foundation and from the French Ministry of Culture. He received the “Kranichsteiner Musikpreis” from the Darmstadt Internationalen Ferienkurse in 1990.

Durand has composed for a wide variety of instrumental combinations. His music has been commissioned and performed by many leading ensembles and orchestras in Europe, the US, Brazil, and South Korea, including Ensemble Intercontemporain, London Sinfonietta, Contrechamps, Arditti Quartet, ASKO, Nieuw Ensemble, Ensemble Köln, Recherche, musikFabrik, New York Philomusica, Counter)Induction, EarPlay, BBC Symphony Orchestra, Orchestre Philarmonique de Radio France, Deutsches Symphonie Orchester Berlin. Durand’s work for orchestra, Athanor, was premiered by the BBC Symphony Orchestra in 2003 and was released on a CD (Mode Records) of his music in 2004.

A book on his music, Joël-François Durand in the Mirror Land, edited by Jonathan W. Bernard, was released in 2006 by the University of Washington Press, in collaboration with Perspectives of New Music.

As a guest composer and lecturer, Durand has contributed to the University of California at San Diego where he was Visiting Assistant Professor in Composition in 1994; the “Centre de la Voix” in Royaumont, France where he was co-director of the composition course in September 1993; the “Civica Scuola di Musica” in Milan, Italy (1995); the Royal Academy for Music in London, UK (1997); the Internationale Ferienkurse für Neue Musik in Darmstadt, Germany; the “VIII. Internationaler Meisterkurs für Komposition des Brandenburgischen Colloquiums für Neue Musik,” Rheinsberg, Germany (1998); and Washington State University, Pullman, Washington (2004), among others.

In addition to his activities in music composition, Durand founded a company, Durand Tonearms LLC, in 2009 to produce a high-end tonearm for phonograph, the Talea(TM), which has been received to great acclaim by the audiophile community. This tonearm includes an invention to adjust the angle of the stylus on the record while playing that is the subject of a patent application filed by the C4C, UW. In 2010, Durand  was named a UW Entrepreneurial Fellow in recognition for development and production of the Talea(TM) tonearm. A new, top-of-the-line tonearm, the Telos(TM), will be unveiled to the public in the fall 2011.

Durand is listed in the New Grove Dictionary of Music and Musicians.

http://music.joelfdurand.com/

Huck Hodge writes music that explores the embodied poetics of organized sound, perceptual illusion and the threshold between design and intuition. He is the winner of the Rome Prize, the Gaudeamus International Composition Prize, the Aaron Copland award from the Bogliasco Foundation and several other awards and commissions from institutions such as the American Composers Forum, Music at the Anthology (MATA), the American Liszt Society, ASCAP, Muziek Centrum Nederland and Musik der Jahrhunderte.

Praised by the New York Times for his “harmonically fresh work with variegated textures full of both sparkle and thunder,” Hodge has had performances at Carnegie Hall and Lincoln Center and his music has been the subject of live broadcast on numerous international radio stations. His compositions are regularly performed throughout the world at such festivals as Nuova Consonanza, the ISCM World New Music Festival, the Gaudeamus Muziekweek, the Laboratoire Instrumental Europeén, June in Buffalo, the Berliner Festspiele|MaerzMusik, Acanthes and the Daegu International Contemporary Music Festival in South Korea. He has been awarded residencies at the Liguria Center for the Arts and Humanities in Italy, the Camargo Foundation in France and the MacDowell Colony. His work has been supported with funding from the Andrew W. Mellon Foundation and the Deutscher Akademischer Austauschdienst (DAAD).

Some of his notable collaborations include those with members of Ensemble Modern and the Berlin Philharmonic, the ASKO Ensemble, l’Ensemble Aleph, Ensemble SurPlus, the Scharoun Ensemble, the Afiara String Quartet, Majella Stockhausen and video artist Karen Yasinsky. Upcoming engagements include new works for the JACK Quartet and the Talea Ensemble.

Hodge received his MA and DMA from Columbia University where his principal teachers were Tristan Murail and Fred Lerdahl. Prior to this, he studied Music Theory and Computer Music at the Musikhochschule Stuttgart, where his teachers included Georg Wötzer and Marco Stroppa. He is currently Assistant Professor in Composition at the University of Washington.

http://www.music.columbia.edu/~hodge/News_Bio.html

Richard Karpen (b. 1957) is one of the leading international composers and researchers of electroacoustic music. He is known not only for his pioneering compositions, but also for developing computer applications for composition, live/interactive performance, and sound design.

Karpen is currently Director of the School of Music at the University of Washington after previously serving at the UW as Founding Director of the Center for Digital Arts and Experimental Media (DXARTS) and Divisional Dean for Research in the College of Arts and Sciences. He is a Professor of Music Composition. He has been the recipient of many awards, grants and prizes including those from the National Endowment for the Arts, the ASCAP Foundation, the Bourges Contest in France, and the Luigi Russolo Foundation in Italy. Fellowships and grants for work outside of the U.S. include a Fulbright to Italy, a residency at IRCAM in France, and a Leverhulme Visiting Fellowship to the United Kingdom. He received his doctorate in composition from Stanford University, where he also worked at the Center for Computer Research in Music and Acoustics (CCRMA). Karpen is a native of New York, where he studied composition with Charles Dodge and Gheorghe Costinescu.

Karpen’s works are widely performed in the U.S. and internationally. While he is primarily known for his work in electronic media, Karpen has also composed symphonic and chamber works for a wide variety of ensembles. Furthermore, he has composed works for many leading international soloists such as soprano Judith Bettina, violist Garth Knox, trombonist Stuart Dempster, flutists Laura Chislett and Jos Zwaanenberg, guitarist, Stefan Östersjö, and oboist Alex Klein. Along with numerous concert and radio performances, his works have been set to dance by groups such as the Royal Danish Ballet and the Guandong Dance Company of China. Karpen’s compositions have been recorded on a variety of labels including Wergo, Centaur, Neuma, Le Chant du Monde, DIFFUSION i MeDIA, Fleur du Son, and Capstone.

http://faculty.washington.edu/karpen/Home.html

Juan Pampin (b. Buenos Aires, 1967) is Associate Professor of composition at University of Washington and founding faculty member of the Center for Digital Arts and Experimental Media (DXARTS) for which he currently serves as Associate Director.

Pampin received an MA in Composition from Conservatoire National Supérieur de Musique de Lyon, France and a DMA in Composition from Stanford University, where he studied with composer Jonathan Harvey. Juan Pampin’s works explore the territory articulated by the concepts of: space, memory, and material, using mostly algorithmic composition and signal processing tools of his own development.

His compositions, including works for instrumental, digital, and mixed media, have been performed around the world by world-class soloists and ensembles such as Susana Kasakoff, Melia Watras, Les Percussions de Strasbourg, Arditti String Quartet, Sinfonia 21, Krakow Percussion Group, to cite just a few.

http://www.pampin.org/