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Areas of interest: Classical composition, writing musical theater (including music, lyrics, libretti), songwriting (pop, rock, blues, folk, etc.); music theory; orchestration; arranging. Also: music publishing and related topics.
Composer/arranger with over 100 original works and arrangements in currently in print; publishers include E.F. Kalmus, Masters Music, Music-Print Productions, Theodore Presser, etc. Works have been performed throughout the U.S. and Europe by the United States Navy Band, the U.S. Naval Academy Band, violinist Florian Meyer, the Dresden Sinfonietta conducted by Milko Kersten, pianist Laura Leon, the Meridian String Quartet, the New Hudson Saxophone Quartet, clarinetist Guido Arbonelli, etc. Off-Broadway musical "Critic" (1988) ran 41 performances to good reviews. Co-author, with Allen Cohen, "Writing Musical Theater" (Palgrave Macmillan, 2006). Also performing singer/songwriter: was in the Don't Quit Your Day Job Players, 1997-2000 (CD:"Blues Spoken Here" available at CDBaby); solo performer since 2000 (CD:"A Man Like Me" available at CDBaby, iTunes, etc.). Classical works and songs recorded on the Capstone, Richarson, Music for a G'Day, and MPP labels; available through CDBaby and/or iTunes, Rhapsody, etc.
Adjunct Assistant Professor of Composition at New York University; have taught composition and other subjects at NYU since 1992, including "Introduction to Music Publishing and Printing" (which I created for NYU's Music Business program). Also Adjunct Assistant Professor at Nassau Community College, teaching songwriting, folk music, history of rock, and other subjects. Currently creating a series of performance etudes for the U.S. Navy School of Music, coordinating them with the School's music theory, ear training, and performance instruction programs.
ASCAP, MENC, NARAS, Music Theory Society, College Music Society, plus several others in music education, composition, and theory.
"Writing Musical Theater" by Allen Cohen and Steven L. Rosenhaus (Palgrave Macmillan, 2006). Article in Strings Magazine, May 2007, on my string quartet "Strange Loops."
Ph.D.- New York University M.A. - Queens College (CUNY) B.A. - Queens College (CUNY)
Beethoven's last piano sonata has a moment that sounds very much like boogie-woogie.
| User | Date | K | C | T | P | Comments |
|---|---|---|---|---|---|---|
| Reg | 08/14/09 | 10 | 10 | 10 | 10 | That makes sense. Thanks, Reg |
| mitchell | 07/11/09 | 10 | 10 | 10 | 10 | |
| Lara | 06/17/09 | 10 | 10 | 10 | 10 | |
| john | 05/28/09 | 10 | 10 | 10 | 10 | thanks for the answer you have been ..... |
| John | 05/05/09 | 10 | 10 | 10 | 10 | Hello Steven, I'm grateful for your intelligent ..... |
Dear Dot, First of all, I wish your son good luck in his endeavors. It sounds like he's doing much of what all of us free-lancing musicians are trying to do---make the most of a bad economic climate
I don't think learning =anything= could be detrimental; still, unless your orchestra does pops concerts, I don't think pop/jazz theory will particularly enhance what you do. Pop/jazz theory is just another
Sorry for the delay in answering, Dianne. "Pop jazz theory" overlaps greatly with classical music theory, but there are differences in nomenclature (jargon) and what is and isn't considered "permissible
Hi Reg, Using Cm7 or Cm9 can go either way; I've seen it both ways. It depends on the context and the person writing the music. For example, if the Cm7 holds through a measure but the D note resolves
Hi Thomas, Writing new lyrics which follow the pattern of an existing set of lyrics is a time-honored tradition. To make it work you need to have the same word rhythms, with rhymes in the same places
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