Dr. Edward Green208 East Broadway, Apt. J 1007

New York, NY 10002egmusic@rcn.com (212) 529-7745

Graduate Education:

New York University (Graduate School of Arts and Sciences):

Ph.D. in Music (Historical Musicology), 2008.

Thesis: “Chromatic Completion in the Late Vocal Music of Mozart and Haydn—a Technical, Philosophic, and Historical Study.”

Dr. Michael Beckerman, Dr. Louis Karchin, Co-Sponsors.

MA in Music (Historical Musicology), 2005.

New York University (Steinhardt School of Education)

MA in Musical Composition, 2003.

Current Teaching Positions:

Manhattan School of Music: 1984-present.

Professor. Jazz Division, 1984 to present, and its Composition Program Coordinator, 1985-1990. From 1985 to present, Professor, Dept. of Music History; from 1985-1999, also, Professor in the Dept. of Humanities.

Courses taught: (courses I created are marked with *)

1. Film Scoring (2 semester course) *2. Jazz History (2 semester course)3. Songwriting *4. Composition for the Musical Theater *5. Survey of Jazz Composition and Arranging *6. American Singers, American Popular Song *7. Introduction to World Music *8. Graduate Seminar in African and Islamic Music *9. Graduate Seminar in East & South Asian Music *10. The History of Opera (I)—Peri through Mozart11. Haydn, Mozart, Beethoven.*12. Music, Musicians, Literature *13. Film History *

Edward Green—CV (2008)

In 1986, I gave a series of five class-length guest lectures on the philosophy of music education to majors in that subject.

New York University, Steinhardt School: 2008-present.

Adjunct Assistant Professor. Teaching the class “Film Music: Historical & Aesthetic Perspectives.”

Aesthetic Realism Foundation: 1980-present.

Faculty. On-going class in adult music appreciation: “The Opposites in Music.” This class is taught in collaboration with my colleagues, Barbara Allen and Anne Fielding.

Participant in public seminar series on the relation of art and life. Among the approximately 40 papers I have delivered are studies of the life and work of Irving Berlin, John Lennon, Stephen Foster, Franz Liszt, Glenn Gould, Johannes Brahms, Herbert von Karajan, Hector Berlioz, Sir Arthur Sullivan, Felix Mendelssohn and Franz Joseph Haydn.

Current Musical, Journalistic, and Editorial Positions:

Imagery Film, Ltd. Composer-in-Residence

Aesthetic Realism Theatre Co. Composer-in-Residence

Allen-Green Duo Pianist/Harpsichordist;the duo specializes in the fluteliterature of the Baroque and Classical Eras

St. John’s Episcopal Church Organist and Choir Director

Music from China Board of Advisors

Kalavant Center for Music and Dance Board of Advisors;

the Center’s mission is the fostering of the classical performance arts of South Asia

New Music Connoisseur Feature Columnist International Review of the

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Edward Green—CV (2008)

Aesthetics and Sociology of Music Editorial Board

Aesthetic Realism Foundation Editor, Presentations Coordinating Committee

Earlier Teaching Positions:

St. John’s University. Adjunct Asst. Prof. 1981-4

American Popular Song; Film Music; American Musical Theater; Introduction to the Visual Arts

School of Visual Arts. Adjunct Asst. Prof. 1982-5

Film Music: History and Aesthetics;Introduction to Non-Western Music

New York University, Ext. Division. Faculty. 1983-5

Various Adult Music Appreciation courses,including Women in Music History

NY School for Commercial Music. Faculty. 1984-6

Film Composition

Pace University, Ext. Division. Faculty. 1984-5

Various Adult Musical Appreciation courses,including Music of the Baroque Era

Pace University. Adjunct Assoc. Prof. 1984-6

Introduction to the Art of Music

Montclair State University. Visiting Specialist 1995-6

Composition

Elder Hostel. Faculty. 2002-4

Various Adult Music Appreciation courses,including The Art of Opera

New York University. Teaching Assistant. 2004-8

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Edward Green—CV (2008)

German Romantic Music; J.S. Bach;Harmony and Counterpoint,The Elements of Music; Expressive Culture: Sound—the Arts of Music

Scholarly Publications:

Books, Journal Editorship, and Encyclopedias.

Southeast Asian Composers—A New Wellspring for Contemporary Music.

Editor and contributor to this double issue of Contemporary Music Review. Chapter: “The Spiritual Aesthetics of a “Spiral” Composer: a Consideration of the Music of Chinary Ung.” Publication: 2010.

The Cambridge Companion to Duke Ellington

(Cambridge University Press) Editor and contributor. Chapter: “Ellington in the 1940s.” Publication: 2009.

Why Haydn?—Beyond the Anniversary

Guest editor for this special double issue of the Journal of Musicological Research. Publication: 2009.

China and the West: The Birth of a New Music

Editor and contributor to this double issue of Contemporary Music Review, vol. 26 Parts 5 + 6. (2007) Chapter: “The Impact of Buddhist Thought on the Music of Zhou Long.”

Shanghai Conservatory Press will be publishing the volume in Chinese translation in 2009, with the title: 中国与西方：一种新音乐的诞生

Robert Simpson: Master Composer—Essays on His Life and Music

Chapter: “The Cosmos and the String Quartet—Simpson’s Chamber Music in Philosophic Perspective.” In preparation. The editor, Dr. Lionel Pike of Royal Holloway, is currently negotiating publication.

Annual Review of Jazz Studies (15)

(Scarecrow Press) Chapter: “Ellington’s Harlem Airshaft—A True Programmatic Composition?” Publication: 2009.

Encyclopedia of African American Music4

Edward Green—CV (2008)

(Greenwood Publications) Two articles: “Jazz (Swing);” “Big Band Leaders.” Publication: 2009.

Music’s Intellectual History: Founders, Followers & Fads

(RILM Perspectives Series) Chapter: “The Impact of Rousseau on the Music Histories of Burney and Hawkins: A Study in the Ethics of Musicology.” Publication: 2009.

Encyclopedia of Jazz Musicians

(<Jazz.com>; peer-reviewed) On-going contributor; first commissioned article to be on Duke Ellington. Publication, 2009.

Encyclopedia of Sex, Love & Courtship in the Medieval World

(Greenwood Publications, 2008) Five articles: “Marcabru;” “Troubadours;” “Trobaritzes;” “Minnesingers;” “Meistersingers.”

Teaching Music in the Urban Classroom

(Roman and Littlefield, 2006) Chapter: “Music of Every Culture Has Something in Common and Can Teach Us About Ourselves.” (Co-authored with Alan Shapiro).

Proceedings of the Conference on Interdisciplinary Musicology

(Department of Musicology, University of Graz, 2004). Chapter: “Aesthetic Realism: A New Foundation for Interdisciplinary Musicology.” (Co-authored with Arnold Perey).

Journal Articles. (Including those accepted for publication).

“The Persistence of Absolute Tonal Relations in the Music of Beethoven.”Проблемы Музыкальной Науки [Problemy Muzikal'noi Nauki]. (2009) Published by a consortium of twelve major Russian conservatories.

“Schönberg and the Ethics of Memory: A Neo-Schenkerian Study of the Monodrama Erwartung.” International Review of the Aesthetics and Sociology of Music. (2009)

“Scelsi en la corriente convencional: Una consideración de su Trio a cordes.” Revista del Instituto de Investigación Muisológica “Carlos Vega.” (2009) Published by the Pontifical Universidad Católica, Buenos Aires.

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“Haydn’s Secret Dodecaphonic Art.” Goldberg—Early Music Magazine. (2009)

“It Don’t Mean a Thing If It Ain’t Got that Grundgestalt”— Ellington from a Motivic Perspective.” Jazz Perspectives. Vol. 2/2 (July, 2008)

“The Musical Aesthetics of the Rev. H.R. Haweis—A New Look at a Surprisingly Adventurous Victorian Mind.” International Review of the Aesthetics and Sociology of Music. Vol. 39/2 (Winter, 2008)

“Bach and Chromatic Completion—A New Field for Analytic Research.” Bach Notes. Issue 9 (Spring, 2008)

“Reconsidering Rousseau’s Le devin du village—an Opera of Surprising and Valuable Paradox.” Ars Lyrica. Vol. 16 (Winter, 2008)

“What’s Life Got to Do with It?— Schönberg’s Most Radical Idea.” Composer: USA The Bulletin of the National Association of Composers, USA. Series IV, Vol. 14/1 (Spring, 2008)

“Meeting the New: What 21st Century Music Educators Can Still Learn from the Earliest Ethnomusicologists about the Appreciation of Music.” Journal of Historical Research in Music Education. Vol. 29/1 (October, 2007)

“Home and the Wide-World: Stephen Foster’s Enduring Theme.” The Mid-Atlantic Almanack, Journal of the Mid-Atlantic Popular/American Culture Association. Vol. 16 (2007)

“What is Chapter 17 of Guido’s Micrologus about?—A Proposal for a New Answer.” International Review of the Aesthetics and Sociology of Music. Vol. 38/2 (December, 2007)

“Duke Ellington and the Oneness of Opposites: A Study in the Art of Motivic Composition.” Ongakugaku: Journal of the Musicological Society of Japan. Vol. 53/1 (October, 2007)

“Aesthetic Realism and Mahler’s Sixth Symphony—Some Philosophic Light on a Symphonic Masterpiece.” Journal of Music and Meaning. Vol. 5 (Summer, 2007)

“Prokofiev’s Classical Symphony, and the Abiding Question of Sincerity in Music.” Three Oranges: Journal of the Sergei Prokofiev Foundation. Vol. 13 (May, 2007)

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“Biography as Ethics: The Combat between Contempt and Respect in the Mind of Felix Mendelssohn.” International Review of the Aesthetics and Sociology of Music. Vol. 37/2 (December, 2006)

“What Gives Music Theater Musical Integrity?—A Study of the Opening

Scene of Richard Rodgers’ South Pacific.” Journal of Dramatic Theory and Criticism. Vol. 21/1 (Fall, 2006)

“The Principle of Chromatic Saturation in the Late Choral Music of Mozart and Haydn.” Choral Journal. Vol. 46/12 (June, 2006)

“Sir Edward Elgar, Master of Rhythm.” The Elgar Society Journal. Vol. 14/4. (March, 2006)

“Just How Radical was Harry Partch?—“The Long-Departed Lover” in the Light of Traditional Techniques of Songwriting.” 1/1—The Journal of the Just Intonation Network. Vol. 12/2 (Spring, 2006).

“Marcabru and the Foundations of Modern Song.” Ars Lyrica. Vol. 15 (2005-6)

“Donald Francis Tovey, Aesthetic Realism, and the Need for a Philosophic Musicology.” International Review of the Aesthetics and Sociology of Music. Vol. 36/2 (December, 2005)

“A Note on Two Conceptions of Aesthetic Realism.” British Journal of Aesthetics. Vol. 45/4 (October, 2005)

“Singing ‘The Star-Spangled Banner’ ” Music Educators Journal. Vol. 91/5 (May, 2005)

“Zhou Long and the Future of Chinese Music.” Chinese Music—The Journal of the Chinese Music Society of North America. Part I: Vol. 27/4 (Winter, 2004); Part II: Vol. 28/1 (Spring, 2005)

“Music from China and the Universal Criterion for Beauty.” Composer: USA—The Bulletin of the National Association of Composers, USA. Series IV, Vol. 8/1 (Fall, 2001)

“Contempt: The Cause of Insanity”—A Study of Two African Short Stories.” The African Eye. Vol.1/1 (September, 2000)

“The New Romanticism.” Sunstorm: Journal of the Arts. (July, 1984)

“Aesthetic Realism.” Composer—Magazine of the British Music Information Centre. Number 68. (Winter 1979/80)

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Reviews for Scholarly Journals.

American Music.

Lawrence Gushee. Pioneers of Jazz: The Story of the Creole Band. Vol. 24/3 (Fall, 2006)

Ars Lyrica.

1. Edmund J. Goehring. Three Modes of Perception in Mozart. Vol. 16 (2008)

2. David Jenness and Don Velsey. Classic American Popular Song: The Second Half-Century, 1950-2000. (Scheduled for Vol. 17: 2009)

Composer: USA.

Nick Collins, ed. The Cambridge Companion to Electronic Music.(Scheduled for Vol 15/2: Summer, 2009)

Ethnomusicology.

Michael Tenzer, ed. Analytical Studies in World Music. Vol. 51/2 (Spring/Summer, 2007)

International Review of the Aesthetics and Sociology of Music.

1. Christopher Butler. Pleasure and the Arts: Enjoying Literature, Painting and Music. Vol. 35/2 (December, 2004)

2. Caryl Clark, ed. The Cambridge Companion to Haydn. Vol. 37/1 (June, 2006)

3. Cliff Eisen and Simon E. Keepe, eds. The Cambridge Mozart cyclopedia. Vol 38/2 (December, 2007)

4. Mark Evans Bonds. Music as Thought: Listening to the Symphony in the Age of Beethoven. Vol. 39/1 (June, 2008)

5. Karol Berger. Bach’s Cycle, Mozart’s Arrow: An Essay on the Origin of Musical Modernity. (Scheduled for Vol. 40/2: 2009)

Journal of Music and Meaning.

1. Michael Tenzer. Gamelan Gong Kebjar: The Art of Twentieth-

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Edward Green—CV (2008)

Century Balinese Music. #2. (Spring, 2004)

2. Nicholas Cook. The Schenker Project. (Scheduled for #8, Spring, 2009)

Journal of Popular Music Studies.

1. Maurice Peress. Dvořàk to Duke Ellington: A Conductor Explores America’s Music and Its African American Roots. Vol. 17/2. (2005)

2. Peter Van der Merwe. Roots of the Classical: The Popular Origins of Western Music. Vol. 18/1 (2006).

Journal of the Society for American Music.

1. Vivian Perlis and Libby Van Cleve. Composers’ Voices from Ives to Ellington. Vol. 1/2 (May, 2007)

2. Marva Carter. Swinging Along: The Musical Life of Will Marion Cook. Vol. 3/3 (Scheduled for Summer, 2009)

Music Educators Journal.

1. Marta Ghezzo. Solfège, Ear Training, Rhythm, Dictation and Music Theory: A Comprehensive Course. Vol. 92/4 (March, 2006)

2. Matthew Brown. Explaining Tonality: Schenkerian Theory and Beyond. Vol. 92/5 (May, 2006)

3. William Kinderman, ed. The String Quartets of Beethoven. Vol. 93/2 (November, 2006)

4. Roger Parker. Remaking the Song: Operatic Visions and Revisions from Handel to Berio. Vol. 93/3 (January, 2007)

Newsletter of the Society for Eighteenth-Century Music.

Vjera Katalinić and Stanlislav Tuksar, eds. Musical Cultures in the Adriatic Region during the Age of Classicism. Issue 8 (April 2006)

Notes.

1. Ian Bradley. Oh Joy! Oh Rapture! The Enduring Phenomenon of Gilbert and Sullivan. Vol. 62/3. (March 2006)

2. Arnold Schoenberg. The Musical Idea, and the Logic, Technique, and Art of Its Presentation. Eds. Patricia Carpenter and Severine Neff. Vol. 63/4. (June, 2007)

Popular Music and Society.

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Edward Green—CV (2008)

Raymond Knapp. The American Musical and the Formation of National Identity, reviewed in conjunction with his The American Musical and the Performance of Personal Identity. Vol. 31/2 (May, 2008)

Shofar: An Interdisciplinary Journal of Jewish Studies.

Jeffrey S. Sposato. The Price of Assimilation: Felix Mendelssohn and the Nineteenth-Century Anti-Semitic Tradition. Vol. 25/3 (Spring, 2007)

Yearbook for Traditional Music.

“Wesleyan Virtual Instrument Museum”—internet site review. Vol .37 (2005)

Conference Papers:

“A New Approach to the Teaching of Musical Composition.”American Society of University Composers. Toronto, 1986.

“The Aesthetic Realism of Eli Siegel Explains the Beauty of Jazz, and of Duke Ellington.” International Association of Jazz Educators. Washington, D.C., 1991. (Paper sponsored by the Smithsonian Institution).

“Tovey’s Haydn—A Call for Philosophic Musicology.”American Musicological Society (GNYC). New York 2004.

“Richard Rodgers and the Integrity of a Musical Scene.” Comparative Drama Conference. Columbus, 2004.

“Aesthetic Realism: A New Foundation for Interdisciplinary Musicology.” (Co-authored with Arnold Perey) First International Conference on Interdisciplinary Musicology, sponsored by the European Society for the Cognitive Sciences of Music. Graz, 2004.

“Rhythm Has the Ethics We Want.” (Co-authored with Alan Shapiro) NY State School Music Association. Buffalo, 2004.

“Teaching Ethnomusicology: A New Perspective.” Society for Ethnomusicology. Tucson, 2004.

“On the Rhythm of Stravinsky’s Rite of Spring.” NY State School Music Association. Rochester, 2004.

“Ellington’s Ko-Ko and the Art of Motivic Composition.” American Musicological Society (GNYC). New York, 2005.

“The Impact of Rousseau on the Music Histories of Burney and Hawkins.” RILM. New York, 2005.

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Edward Green—CV (2008)

“Sir Edward Elgar: Master of Rhythm.” Elgar Conference. Stratford-on-Avon and Broadheath, 2005.

“Music and the Victorian Mind; Or, What We Can Learn from the Popularity of H.R. Haweis.” Fifth Biennial International Conference on Music in Nineteenth-Century Britain. Nottingham, 2005.

“Marcabru: Exemplar of Western Song.” Medieval & Renaissance Music Conference. Tours, 2005.

“The Mind of Felix Mendelssohn: A Study in the Combat between Respect and Contempt.” International Conference: Mendelssohn in the Long Nineteenth Century. Dublin, 2005.

“Meeting the New—What We Still Can Learn from the Earliest ‘Ethnomusicologists’.” Society for Ethnomusicology. Atlanta, 2005.

“Scelsi in the Mainstream; Or, Trio à Cordes.” Society of Composers, Inc., National Conference. Greensboro, 2005.

“Harmony and the Oneness of Opposites” College Music Society National Conference. Québec City, 2005.

“The Saturation of Chromatic Space as a Structural Principle in the Late Choral Music of Mozart.” Mozart Society of America. Bloomington, 2006.

“Zhou Long and the Fate of Traditional Chinese Music in Contemporary New York.” Mid-Atlantic Chapter of the Society for Ethnomusicology. New York, 2006.

“Jazz and the Art of Through-Composition.” Society for American Music. Chicago, 2006.

“Buddhism in Western Clothes: A Cultural/Musical Analysis of Zhou Long’s Dhyana.” Music and the Asian Diaspora. Princeton, 2006.

“ ‘Naoligerma’ and ‘Erlkönig’—An Austro-Mongolian Dialogue.” Music and the Asian Diaspora, Lyrica Society Session. Princeton, 2006.

“Haydn and the Art of Chromatic Completion.” American Musicological Society (GNYC). Princeton, 2006.

“Marcabru’s Bel m’es quan son li fruich madur—A Masterpiece of Early Western Song.” National Associations of the Teachers of Singers, Lyrica Society Session. Minneapolis, 2006.

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Edward Green—CV (2008)

“Bernard Herrmann and English Romanticism; Or, an Anglophile among the Viennese of Hollywood.” Biennial Conference of the North American British Music Studies Association. Colchester, 2006.

“The Mind of Adolf Hitler: A Study in the Unconscious Appeal of Contempt.” German Studies Association National Conference. Pittsburgh, 2006.

“John Lennon—and the Battle between Contempt and Respect.” Mid-Atlantic Popular and American Culture Association. Baltimore, 2006.

“Haydn’s Secret ‘Dodecaphonic’ Art.” American Musicological Society. Los Angeles, 2006.

“Reconsidering Rousseau’s Le Devin du village: Opera of Startling Paradox.” Modern Language Association, Lyrica Society Session. Philadelphia, 2006.

“Home and the Wide-World: A Critical Dialectic in the Music (and Life) of Stephen Foster—Songwriter from Pittsburgh.” Society for American Music. Pittsburgh, 2007.

“Mozart’s Requiem, the Saturation of Chromatic Space, and the Theology of Death as Continuation.” Forum on Music and Christian Scholarship. Yale, 2007.

“Steiner, Korngold, and the Musical Expression of Physical Space.” Conference on Music and the Moving Image. New York, 2007.

“Aesthetic Realism and the Art of Singing.” Co-authored with Carrie Wilson. Music Educators National Conference: Symposium on Music and Life-long Learning. Ithaca, 2007.

“Honest Like of the World and Its People: the Purpose of Music Education.” Conference: Arts Education—to What End? New York, 2008.

“Robert Simpson and the Philosophy of the String Quartet.”Scheduled for American Musicological Society (GNYC). New York, 2009.

“Chaos, Love, Chromaticism; or, the Oneness of Technique and Emotion in Haydn’s Oratorio The Creation.” Haydn Society of North America. Cambridge, 2009.

Conferences—Panelist, Keynoter, and Director:

“It’s No Accident; It’s by Chance!—Cage, and A New Look at the Aesthetics of Freedom and Order.” Keynote. Festival of 20th Century Music—Celebrating Cage. Manhattan School of Music, New York, 1993.

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Edward Green—CV (2008)

“The Poetry of Eli Siegel: A Centennial Celebration.” Panelist/Presenter. Enoch Pratt Free Library, Baltimore, 2002. (Repeated, 2007, in Rosario, Argentina, at the Aricana Institute).

“Aesthetic Realism and the Music of Duke Ellington.” Convocation address. Lamont School of Music, Denver University, 2003.

“Education in Music Is Every Musician’s Responsibility.” Panelist. Northeast Chapter Conference of the College Music Society, Wilkes University, Wilkes-Barre 2006.

“Aesthetic Realism: Technique and Feeling in Film.” Panelist. Artists Talk on Art Seminar Series, School of Visual Arts, New York, 2006.

“Music in a Tumultuous Time: Rock in the 1960s.” Organizer of panel session. Annual conference of the Mid-Atlantic Popular and American Culture Association, Baltimore, 2006.

“Ellington’s Far East Suite—a Musical and Philosophic Masterpiece.” Address. Jazz Roundtable Series, Institute for Jazz Research, Rutgers, 2007.

Masterclasses & Guest Lectures

- 1986: Jacksonville University

- 1998: Ramapo College

- 2000: Thornton School of Music, University of Southern California

- 2002: Ithaca College, School of Music Eubie Blake National Jazz Institute (Baltimore) Tanglewood Institute

The Julliard School University of Montréal

- 2003: Lamont School of Music, Denver University Dartmouth College

- 2004: Virginia Tech. Eastman School of Music

- 2005: Duke Ellington Society of the United Kingdom (London) The Duke Ellington Society (New York)

- 2006: Steinhardt School, NYUColumbia University

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Edward Green—CV (2008)

- 2007: Pontifical Catholic University of Argentina (Buenos Aires) University of Sante Fe (Argentina) Ohio State University Ithaca College, School of Music

- 2009: Peabody Conservatory Westmont College

Academic and Professional Honors:

Delius Award (1986) for Genesis: Variations for Guitar

First Prize, International Kodaly Composer’s Competition (1996) for Triptych for Brass

First Prize, Julius D’Albert Competition (1996)for Chamber Symphony

International Who’s Who in Music—Classical (1998)

Who’s Who Among America’s Teachers (2000)(Nominated by students at Manhattan School of Music)

African Music Award (2001 + 2002) for contributions to the fieldof musical scholarship and journalism.

Jack Kreisman Award, Steinhardt School of Music, New York University (2003)

International Who’s Who in Music—Popular (2003)

Music Alive! award (2004) granted conjointly from the American Symphony Orchestra League and Meet the Composer, for year-long residency with the ISO (InterSchool Orchestras) of New York. (2004-5), and the commission of a major work for concert band.

Winner (2006) of the Isabelle Cazeaux “Scholarly Papers Competition” of the Lyrica Society for Word-Music Relations, for my paper “Marcabru and the Foundations of Western Song,” which will be published in the 2006 annual of Ars Lyrica.

Featured Composer (2007) of the Decimoséptimo Simposio de Música Contemporánea—a festival sponsored by Ensamble Rosario. Several of my orchestral works were performed by this Argentinian ensemble in both Rosario and Sante Fe, and I gave lectures and masterclasses in those cities as well as in Buenos Aires.

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Edward Green—CV (2008)

Featured Composer (2010) of the forthcoming Norwegian Avant/Retro Music Festival—directed by Marcus Paus, in conjunction with the Norwegian Society of Composers. I am commissioned to create a new work for mezzo-soprano and chamber orchestra to American texts, and several of other works for chamber orchestra and chamber ensembles will be presented. The plan, also, is for me to give several lectures and masterclasses, including at the Norwegian Academy of music.

Among the many awards won by films for which I did the musical scores are a “Silver Cindy “for What Does a Person Deserve, and a “Grand Festival Award in the Arts” (Berkeley Film Festival) and “Best Experimental Film” (Big Apple Film Festival) for Hot Afternoons Have Been in Montana.

Non-Juried Publications:

Among the journals for which I have written occasional pieces, on subjects both musical and more broadly cultural are:

Black College Magazine; About Time; The African Observer; Christian Social Action; The Right of Aesthetic Realism to Be Known; and Oberlin Alumni Magazine.

From 1981-1983 I was the music columnist for SunStorm—“Long Island Journal of the Arts.” From 1999-2004, I was feature columnist for the Nigerian-American magazine U.S. African Eye.

Publications & Recordings as Composer:

Publications:

Abingdon Press (TN)Publication of choral music in the Church Music Workshop Series.

Frank E. Warren Music Service (MA)Publication of Quartet for Guitars, and four of my choral works.

Frederick Harris Music, Ltd. (Canada) Several publications of music for solo guitar—in two volumes of The Verdery Guitar Series and two volumes of The Royal Conservatory of Music’s “Repertoire and Studies” Series.

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Polyphonic Publications (NY)Publication of ballet score, Through the Seasons, with Persephone. The work is composed for Recorder Orchestra.

Southern Music Corporation (TX)Publication of Quintet for Brass scheduled for 2009. Negotations underway for the possible publication of a series of further chamber works, and for the inclusion, in their rental catalogue, of several orchestral works.

Recordings:

Albany Records

- Concerto in C (for Trumpet and Orchestra) Paul Neebe, trumpet; Slovak Radio Symphony Orchestra, David Wiley, conductor. TROY805. (2006)

- Genesis: Variations for Solo GuitarStanley Alexandrowicz. (scheduled for 2009)

- Quartet for GuitarsCorona Guitar Quartet (scheduled for 2009 or 2010)

- Piano ConcertinoCzech National Symphony (Recorded; to be included in a future

number of Paul Freeman Introduces—a series of contemporary orchestral music. That number will feature new piano concerti.

Arizona University Recordings

- Concerto for Alto Saxophone and StringsDale Underwood, saxophone; Chamber Orchestra Kremlin, Misha Rachlevsky, conductor. AUR CD 3122. (2005)

- Sextet for Alto Saxophone and Brass QuintetDale Underwood, sax.; Prism Brass Quintet. AUR CD 3122 . (2005)

- “The Chamber Music of Edward Green”To be released in early 2009. It will include the following works: Quintet for Brass, Riding with the Devil, for piano quintet; Night Report from the Unseen Battlefield (9/11), for clarinet and piano; Quartet for Guitars; and Zhou, for pipa and erhu.

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Edward Green—CV (2008)

Gallatone Recordings

- Xiao Zhou (for pipa and erhu)Sun Li, pipa; Wang Guowei, erhu. Gallatone, Vol. 3. (2006)

North/South Consonance Records

- Concertino for Piano and Chamber OrchestraHelen Lin, soloist; N/S Ensemble, Max Lifschitz, cond. N/S 1050. (2008)

- Concerto for Clarinet and Chamber Orchestra. Arthur Campbell, soloist; N/S Ensemble, Max Lifschitz, cond. (This piece was commissioned as part of the 30th anniversary celebrations of the ensemble, and will appear on CD in either 2010 or 2011.

Tintangel Records (Canada)

- Concertino for Piano and Chamber OrchestraChristine Hong, Piano; Czech National Symphony Orchestra, Paul Freeman, conductor. “Visions, vol. II” (2000)

Traditional Crossroads

- Zhou (for pipa and erhu)Sun Li, pipa; Wang Guowei, erhu. On World Tour (2007), a CD for which I was the producer, featuring seven compositions joining western and non-western musical traditions. Among the other composers on this CD are Michael Tenzer (Bali), Robert Levin (Ghana), and Kadar Khan (India.).

VP Music Media (Italy)

- Song for GuitarPiero Bonaguri. VPM M2011 (2002)

Selected Commissions (Past and Present)

Past: Portrait (clarinet and piano). Meyer Kupferman. Genesis: Variations for solo Guitar. David Starobin. Quartet for Guitars. Aaron Shearer— for the Guitar Department of Peabody Conservatory of Music. Music for Shakespeare. Minnesota Sinfonia. Brass Quintet. Prism Brass. Sextet for Alto Saxophone and Brass. The Commission Project—

for Prism Brass and Dale Underwood for a concert at the

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Kennedy Center. Concerto in C for Trumpet and Orchestra. Minneosta Sinfonia. Concerto for Alto Saxophone and Strings. Minnesota Sinfonia. Chamber Symphony. (ensemble of flutes and guitars).

USC Classical Guitar Department—James Smith, chair. Overture in Eb (concert band).

Written for the InterSchools Orchestras of New York as part of a residency created by the Music Alive! program, cojointly run by the American Symphony Orchestra League and Meet the Composer.

Overture in G. Phil Gaskill for the Musica Bella Orchestra. Zhou (pi’pa and erhu). Music from China. Through the Seaons with Persephone. Recorder Orchestra of New York. Concertino for Piano and Orchestra. (revised version) Ensamble Rosario.

Present: Concerto for Clarinet and Chamber Orchestra. Arthur Campbell—

To be premiered in 2009 in celebration of the 30th anniversary of the North/South Ensemble, under the direction of Max Lifschitz.

Scherzo Fantastique (piano and string orchestra). Misha Rachlevsky—for Chamber Orchestra/Kremlin.

“Night Comes, Night Has Come.” Cygnus Ensemble. Songs of Early America (suite for mezzo-soprano and orchestra).

Conjointly commissioned by Michael Shasberger, for the Westmont College Orchestra and Marcus Paus, for the Norwegian Avant/Retro Music Festival.

Hommage à Frans Masereel (string quartet and video). St. Petersburg String Quartet.

Selected Performances

Among the musicians and ensembles that have performed or recorded my music, or will be doing so in the coming season, are:

Orchestras & Chamber Orchestras:

Czech National Symphony; Bergen Philharmonic; Slovak National Radio Orchestra; Minnesota Sinfonia; Knox-Galesburg Symphony; Williamsburg Symphonia; Columbus Pro Musica, Constanta Symphony Orchestra; Musica Bella Orchestra; Miami Valley Symphony Orchestra; Fox Valley Symphony; New River Symphony Orchestra; Staten Island Symphony; Chamber Orchestra Kremlin; Antara Ensemble; Catalina Chamber Orchestra; Absolute Ensemble; Musica Sacra Chamber Orchestra; Hewlett-Packard Symphony Orchestra; InterSchool Symphony of New York; C.W. Post Orchestra; Northern Ohio Youth Orchestra;

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Edward Green—CV (2008)

Ensamble Rosario; Oleander Chamber Orchestra; Clemson University Symphony; Westmont College Orchestra.

Chamber Ensembles:

North-South Consonance; St. Petersburg String Quartet, Atlanta Symphony Brass Quintet; Synergy Brass; Oslo Concert Brass; Interensemble Padova; Cygnus Ensemble; International Contemporary Ensemble; Eastern Tower Brass Quintet; Prague Guitar Quartet; Corona Guitar Quartet; Music from China; Aurora Brass Quintet; Prism Brass Quintet; Santa Fé Guitar Quartet; Lumina String Quartet; Ithaca College Faculty Brass; Long Island Recorder Orchestra; Brass Arts Collective; the Ni Ensemble; University of Wisconsin Faculty Brass; Bakersfield Symphony Brass; University of Tennessee Brass Quintet.

Instrumental Soloists:

David Starobin (Gt); Dale Underwood (Sax); Paul Neebe (Tpt); Robert Black (Pn); Fabio Gardenal (Pn); Matt Shulman (Tpt); Barbara Allen (Fl); Harold Jones (Fl); Sylvain Pineault (Tpt); Esther Lamneck (Cl); William Anderson (Gt); Arthur Campbell (Cl); Dennis Tucker (Organ); Cory Barnfield (Sax); Doug O’Connor (Sax); Christopher Lee (Vln); Wang Guowei (erhu); Sun Li (pipa); David Stanton (Cl); Malte Burba (Tpt); Piero Bonaguri (Gt); Ulrich Knoerr (Organ); José Manuel Dapena (Gt); Hal Janks (Btbn); Alexander Markovitch (Pn); Duo-lin Peng (Vcl); Francois D’Albert (Vln); Giovanni Grano (Gt); Connie Frigo (Sax); Helen Lin (Pn); Frank Bongiorno (Sax); Chris Brellochs (Sax); Cathy Sheridan (Tpt).

Other Pertinent Information (including musical projects that are underway)

My website is: www.edgreenmusic.org

I am married to Carrie Wilson, actress and mezzo-soprano. We frequently perform together in concert. Among our recent performances were a series of concerts in Argentina in 2007. In 2010, we are scheduled to perform in Oslo, Bucharest and Buenos Aires, as well as several venues in the USA.

Along with my on-going work as accompanist for Carrie Wilson, and for flutist Barbara Allen, I have given solo organ and harpsichord recitals in the New York City area, and perform regularly, on keyboard, as part of the Rock ‘n Roll Ensemble of the Aesthetic Realism Theater Company.

I was associate director of the Sarah Lawrence New Music Improvisation Ensemble in 1977 and 1978, assisting its faculty director, Meye Kupferman, for whom I was then also employed as music copyist and over-all amanuensis.

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Edward Green—CV (2008)

A proposal made jointly by myself and John Howland of Rutgers, for a book to be titled Ellington Studies, has been positively reviewed by readers, and is now in the hands of the Syndicate Board of Cambridge University Press—the final step before an official contract.

I am under contract to do two scores in 2009 for Imagery Films: a documentary,

Hello, Cello, and an animated short feature, Thomas Comma.

The editor of The Journal of Music and Meaning has asked me to submit, for their tenth issue, appearing in Spring, 2010, an extended analytic essay on Tristan Murail’s Gondwana—in celebration of the 30th anniversary of the composition of this landmark work in the history of “spectral music.”

Arizona University Recordings is in negotiations with SONY-BMG about the future inclusion of my scherzo for piano quinetet, “Riding with the Devil,” on a compilation disc of contemporary music.

An extended essay of mine, “Mozart’s Requiem, and the Theology of Death as Continuation,” grounded in the theory of chromatic completion, passed the initial approval of the editors of Eighteenth-Century Music, and is currently in the hands of their readers.

I am in the early stages of designing a new college text for consideration by Prentice-Hall: The Elements of Music in World Perspective. As Richard Carlin, its Music Editor, and I have conceived it, it will be a general introduction to the primary elements of music—melody, rhythm, harmony, counterpoint, form, and tone-color—making use, without prejudice, of examples from the diverse cultures of the world, and from all genres (“high” and “low”) in our own American culture.

Misha Rachlevsky, director of the Chamber Orchestra Kremlin, and I are gathering financial support towards producing a full CD of my music for chamber orchestra.

At work on an opera titled Miracle at Verdun, based on Hans Clumberg’s great anti-war play of the same title. Other major composition projects at present are a choral symphony entitled The Children of Abraham, and a full-length ballet on Milton’s Paradise Lost.

Analytic articles on my work as a composer have appeared in several journals, including Classical Guitar and The American Organist. Dr. Paul Neebe is currently at work on an extended article on my brass music, and Doug O’Connor, a doctoral student at Eastman, on one concerning my music for saxophone.

Prior to my current position with the Episcopal Church, my earlier work as an organist and choir director included service to the following denominations: Lutheran, Methodist, Congregational, and African Methodist Episcopal Zion.

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Edward Green—CV (2008)

References:

With Accompanying Letters:

Louis Karchin Professor, New York Universitylsk1@nyu.edu (212) 998-8300

Max Lifschitz Professor, SUNY, Albanynsconcerts@att.net (518) 422-4187

Richard Adams Dean (emeritus), Manhattan School of Musicradams@msmnyc.edu (212) 749-2802

Further References:

Conductors

1. Timothy Russell, Columbus Pro Musica Timothy.Russell@asu.edu (480) 965-3430 2. Jay Fishman, Minnesota Sinfonia

jfprod@mac.com (612) 871-17013. Misha Rachlevsky, Chamber Orchestra Kremlin

Misha@ChamberOrchestraKremlin.ru+7 901 523-9717

4. Dave Gilbert, Manhattan School of Music dgilbert283@aol.com (973) 667-6408

5. Michael Shasberger, Musica Sacra Chamber Orchestra of Denvershasberger@westmont.edu (805) 565-6280

Academic and Artistic Colleagues

1. John Howland, co-editor Jazz Perspectivesjlhowland@mac.com (973) 353-5119, ext. 31

2. Chou Wen-chung, Dean (emeritus), Columbia Universitycwc@spiralismusic.org (212) 777-0729

3. Michael Beckerman, Chair, Dept. of Music, GSAS-NYUmichael.beckerman@nyu.edu (212) 998-8300

4. Ken Kimmelman, President, Imagery Films, Ltd.ifl@mindspring.com (212) 243-5579

5. Julian Rushton, Professor (emeritus), Leeds Universityj.g.rushton@leeds.ac.uk + 44 (0) 1484 649108.

6. Barbara Allen, Flutist, and faculty, Aesthetic Realism Foundationballen@aestheticrealism.org (212) 777-4490

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Edward Green—CV (2008)

Former Students from Manhattan School of Music

1. David Berger, Jazz Composer, Director Sultans of Swing, formerly Professor at the Juilliard School

swingbrew@aol.com (212) 866-27932. Gilad Ben Amram, Film Composer (Israel and Hollywood)

gilad@everblissmusic.com (323) 655-22973. Marcus Paus, Opera Composer. (Norway)

marcuspaus@yahoo.com + 47 41 45 54 774. Harold Hagopian, President, Traditional Crossroads Records

harold@traditionalcrossroads.com (917) 365-7508

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