…PhD Candidate | critical improvisation studies | University of Guelph
MA | english, critical improvisation studies | University of Guelph (2016)
Hon BFA | music | York University, Toronto (2001)…
My work focuses on music (jazz, popular, and avant-garde), improvisation, and cultural studies. I have taught courses in music history, American cultural studies, and the humanities. I play the drums.
I am an interdisciplinary scholar of improvised sound, performance, and archives. My main focus is how black creative musicians engage with the idea of the archives in their musical works and performances.
Allan Chase is Chair of the Ear Training department at Berklee College of Music. He is featured on over 50 recordings as a saxophone soloist and improviser. From 1992 to 2000, he performed and recorded with Rashied Ali, and he has been a member of Your Neighborhood Saxophone Quartet since 1981. He has contributed to research and publications on the music of jazz composer Sun Ra, the subject of his MA Ethnomusicology thesis. He has taught at Berklee (1981-1990, 2008-present), Tufts University (1993-1997), and New England Conservatory (1994-2012), where he also served as Dean of Faculty (2000-2006), chair of Jazz Studies (1996-2001), and chair of Contemporary Improvisation (2005-8).
I teach in the French and Francophone Studies department at a small liberal arts college. My area of research specialization is 20th Century and Contemporary French and Francophone theatre with my most recent work focusing on the plays of the Théâtre du Soleil and Wajdi Mouawad. I am also interested in the plays of Armand Gatti, Michel Vinaver, Albert Camus, Jean Genet and Eugène Ionesco. I have studied the ideas of Jean Vilar on theatre as a public service and am interesting in connecting my research with service learning courses for student of French based on the idea of “theatre as public service.” I have training and practical experience in improvisational comedy, theatre, dance and music, including facilitation techniques for large-group, community based dance and theatre activities. I have practiced and facilitated work in contact improvisation as well. I am passionate about the connections between language learning, performance and community service and engagement. I take play very seriously. Here are the general headings under which I group my research and teaching interests: French Theatre; Performance Studies; Contemporary Theatre in France, The Francophone World and Beyond; Improvisational performance, dance, theatre, comedy and music; French Studies Studies; Foreign Language Pedagogy; Translation Studies; Intercultural Studies and Analysis; Socially and politically engaged art, literature, and performance; Scholarship of engagement; Service learning; Performance based Research
I’m a Senior Lecturer of Music Studies and Research at Queensland Conservatorium, Griffith University (Brisbane), and an Associate Researcher at the RITMO Centre for Interdisciplinary Study of Rhythm, Time and Motion (University of Oslo) and the Orpheus Institute (Ghent). I’m also a busy composer and improvising trombonist. My research is on musical interaction and improvisation, philosophy, temporal processes in African and Afro-diasporic musics, and feminist, queer, postcolonial and phenomenological approaches to thinking about music, including music analysis. I’m also deeply interested in music pedagogy. I edit the new online Practice Magazine (submissions accepted!), am Critical Forum Editor for Music Analysis, and will soon be soliciting contributions for a new book series on music and philosophy with Edinburgh University Press.
I hold master‘s degrees in theater studies (Theaterwissenschaft) and editorial studies (Editionswissenschaft). In recent years I have worked for research projects located at the The Berlin-Brandenburg Academy of Sciences and Humanities, assisting in the scholarly – and largely digital – editions of “Wilhelm von Humboldt: Writings on Linguistics“, “The Collected Works of Immanuel Kant – New Editions, Revisions and Completion” and “The Complete Works of Marx and Engels”. My research experience & interests include(s): critical editions, digital editing, text encoding and research data management. Furthermore, I did research on the philosophy of art, aesthetic theory, avantgarde performance, improvisation, artistic freedom and the dialectics of limits and liberation (Kant, Hegel, Foucault, Derrida).
I’m a Ph.D. student and Sproull Fellow in music theory at the Eastman School of Music. My research focuses primarily on improvisation, including the development and modeling of improvisational fluency, the role of improvisation in jazz and popular music, and related issues of embodiment and flow. I also study mathematical models of musical spaces. I’m a dynamic and skilled teacher – after my first year teaching in the undergraduate theory curriculum, I was awarded Eastman’s Teaching Assistant Prize for Excellence in Undergraduate Teaching. I also serve on the board of the Music Theory Society of New York State, and the editorial staff of Intégral. Prior to coming to Eastman, I worked for five years as a versatile freelance pianist in New York City, where I served as an adjunct music director and vocal coach at NYU, accompanied festival choruses at Carnegie Hall and Lincoln Center, performed in numerous professional jazz and pop groups, and maintained a private piano studio. I remain active as a pianist, both in NYC and in Rochester. Outside of music, I enjoy running and following politics. I also recently completed a four-year term as the New York City Representative on the St. Olaf College Alumni Board.
My theory-oriented line of work addresses eighteenth-century schemata and their interaction with pitch reduction, form, and the diatonic set. My research on historical improvisation explores connections between theorizing, practicing, and teaching improvisation in historical styles and ways in which these activities can help us to reimagine past practices.