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Downloadable PDF: DavidLandon CV 2021
Curriculum Vitae, November 2021
EDUCATION
| 2021 | University of Colorado (Boulder, CO) D.M.A. Composition, College of Music Thesis Piece:The Consort of Myrtlefor large ensemble and electronics Advisor: John Drumheller |
| 2018 | University of Missouri (Kansas City, MO) M.M. Composition, Conservatory of Music and Dance Thesis Piece: Material Evidence for large ensemble and electronics Advisor: Paul Rudy |
| 2012 | California State University (Long Beach, CA) B.M. Composition and Piano Performance |
| 2008 | East Los Angeles College A.A Music and Piano Performance |
| 2004 | Cuesta College A.A. Architecture |
| Composition Instructors: Betsey Biggs Chen Yi Michael Theodore Alan Shockley Martin Herman Carter Pann John Drumheller Paul Rudy James Mobberley |
TEACHING EXPERIENCE
| UNIVERSITY OF COLORADO Introduction to Music Technology – Music Majors Instructor of record, curricular design. (Fall 2018, Spring 2019, Fall 2019, Spring 2020) Introduction to Music Technology – Non-Music Majors Instructor of record, curricular design. (Fall 2018, Spring 2019, Fall 2019, Spring 2020) Introduction to basic concepts, history, and techniques of music technology: including electronic musical instruments, musical instrument digital interface (MIDI), sequencing, analog and digital synthesis, and notation software. Students are required to compose/perform works, and demonstrate ability to analyze electro-acoustic works. Open to undergraduate/graduate students. | |
| UNIVERSITY OF MISSOURI Techniques of Electronic Music I, Digital Audio Instructor of record, curricular design. (Fall 2017) Introduction to electro-acoustic music including a historical survey, general principles of acoustics, analog and digital signal, signal flow and processing, studio equipment, studio software, and principles of synthesis. Students were required to compose and perform works, and demonstrate ability to analyze electro-acoustic works. Open to graduate and undergraduate students. Techniques of Electronic Music II, MIDI Instructor of record, curricular design. (Spring 2018) Introduction to the language of MIDI and its use in fixed and live electronic works including studio hardware and software, signal routing, sampling, mixing, interface design and philosophy, and MIDI application in live performance. | |
| Teaching Interests: Composition Orchestration Music Theory Critical Media 20th & 21st Century Analysis Electro-acoustic Aesthetics & Analysis Electronic Composition Component Electronics Interface Design Circuit Bending |
COMMISSIONS, GRANTS, AND FELLOWSHIPS
| 2021 | Spark Award (commission),New Work for electronics and 40.4 ch. ambisonics |
| 2021 | B2 Residency, Composer in Residence |
| 2020-21 | ATLAS Fellowship (1yr full support), Consort of Myrtle for large ensemble and electronics |
| 2020 | SOHAP Ensemble (commission), The Present & The Bird’s Funeral, for Soparano & Cello |
| 2020 | CU College of Humanities and Arts Shelter In Place Grant, DL.NetSend~ & DL.NetReceive~, Max/MSP Externals for Networked Audio over the Internet |
| 2019 | Boulder Altitude Directive (Commission), A Veil of Tiny Points for fl, cl, vn, vc, pf, perc. |
| 2019 | Electro-acoustic Creative Grant, To Preserve This, It Must Change online, iterative installation |
| 2017 | Elixir (Commission), PALIMP_SÊSTOS for Piano Trio |
| 2015 | SPUR San Francisco (Commission), Gathering, sound installation as part of Sound and the City |
HONORS AND AWARDS
| 2013 | Elected for Who’s Who Among Students in American Universities and Colleges, 2013 |
| 2012 | CSULB 2012 Graduate, cum laude – Cumulative GPA 3.95/4.0 |
| 2012 | Recipient of Don Andrus Award and Scholarship |
| 2010 | Member of Golden Key International Honour Society |
| 2003 | Attained Eagle Scout Rank, Boy Scouts of America |
ACADEMIC AND PROFESSIONAL EXPERIENCE
| 2018-21 | Pendulum New Music (Boulder, CO) Graphic Designer (Adobe Creative Suite) Design and publish concert posters, online promotional material, and website content |
| 2020- | The Square Earth Symposium Founder and Moderator of Online Symposium |
| 2018-20 | Circuit Benders Student Organization (Boulder, CO) Vice President, CU Boulder Student Organization Organize and host weekly meetings and events for free-thinking artists that are interested in exploring new forms of audio/visual expression. |
| 2016-18 | University of Missouri (Kansas City, MO) Composition Studio Manager Maintain and manage studio equipment, studio schedules, and assist with setup and live sound during performances. Technical experience with studio setup, stage setup, mixing board, live audio diffusion, computer audio and video, equipment maintenance, 10.1-channel theater, 8.1-channel studio and 2-channel studio. |
| 2016 | Emerging Mid-west Composers Conference Technical advisor and stage manager for 9 concerts and 3 discussion panels. |
| 2013-19 | G.P.I. Architects (Los Angeles, CA and remotely) Project Designer and Production Manager Designed, produced construction documents, and performed construction administration on residential, commercial, and industrial projects. |
| 2012-13 | CSULB College of the Arts Student Council (Long Beach, CA) Program Coordinator, CSULB Student Government Fundraising, budgeting, allocation of funds, and organized campus wide events. |
| 2011-12 | CSULB Composer’s Guild (Long Beach, CA) President, CSULB Student Organization Organized concerts with student and professional ensembles such as Kronos Quartet, the California E.A.R. Unit, the Definiens Project, and the Robin Cox Ensemble |
| 2011-12 | Cal State University (Long Beach) English as a Second Language Instructor, Learning Assistance Center Individual tutoring for immigrant students in English speaking, grammar, reading, and writing skills |
| 2008-10 | East Los Angeles College (Los Angeles, CA) Department Tutor of Music, Music Theory |
| 2007-08 | Warner Brothers Inc. (Burbank, CA) Music Supervisor Assistant and Musical Legal Team |
| 2005-08 | Rand Salke Architect & Associates (Paso Robles, CA) Production Manager/Draftsman; custom residential, commercial & industrial |
PERFORMANCE ENSEMBLES
| 2017- | MaXaS (remote) Saxophone and Live Electronics Improvisation Duo (Co-founder) Notable performances: International Saxophone Symposium in Croatia, Navy Band Symposium, Fairfax, VA, Kansas City Electronic Music and Arts Alliance in Kansas City, MO. |
| 2010-13 | David Brother’s Band (Los Angeles, CA) Piano and keyboards, toured in the US |
| 2009-13 | Cathedral of our Lady of the Angeles (Los Angeles, CA) Cathedral Choir Member, under the direction of Frank Brownstead |
| 2007-09 | Stampead (Los Angeles, CA) Piano and keyboards, toured on the West Coast |
WRITING AND RESEARCH
| 2020 | Generative Music: the gate to the aesthetic of the individual unconscious Proposal of a new musicological method for understanding music, particularly in the context of generative music, in terms of the human psyche as is described by psychologist Carl Jung, whereby behavioral patterns exemplified in music can stimulate the second layer of the human psyche: the individual unconscious. |
| 2020 | Towards a Remote Performance Practice: rethinking traditional performance practice in the times of a pandemic An exploration of the significance of practices in a “traditional performance practice”, and ideas on translating that significance into a “remote performance practice”. The paper then takes it one step further and looks at opportunities for entirely new sets of practices only now made pertinent by the pandemic. |
| 2019 | Participation in Music: a parallel evolution An exploration and discussion of the similarities and differences between participation in music and that of the gallery arts. A proposal is then made relating to the “why” and “significance” of these differences in terms of the differences between the reception and perception of visual and auditory arts. |
| 2017 | Behavior in Music: A preliminary defintion and exploration Proposal of a new musicological method for further understanding music in terms of behavior as a byproduct of physiological and psychological development of the human hearing mechanism. |
| 2016 | Analysis of JONCHAIES: Le Grand Orchestre, Xenakis’ New DSP, A Grande Échelle (In Grand Time) An analysis of Xenaxis’s work using concepts and terminology predominantly developed by electoacoustic composers of the 20th and 21st century. |
PROFESSIONAL AFFILIATIONS
| ASCAP: Shushan Music Group, (Publisher) Writer Society of Composers, Inc. Member American Composers Forum Member SEAMUS Member |
SOFTWARE PROFICIENCIES
| Max/MSP Digital Performer Logic Pro Ableton Live WaveLab Finale Sibelius Adobe Creative Suite C Programming Language HTML / Web Development Operating Systems: Linux, Windows, Mac OS |
LANGUAGES
| English: (native) Spanish: Speaking: conversational Reading: acceptable Writing: can write with dictionary |
GENERAL INTERESTS
| Music Cognition, Psychoacoustics and Perception; Architectural Design; Teaching Acoustic Design; Architectural Determinism; Cosmology; Woodworking; Antique Automobile Restoration; Sailing |
WORKS LIST
| CHAMBER + LIVE ELECTRONICS | |
| Inexplicable Profusion(2018)ca. 8’for MaXaS Duo, saxophone and live electronics Premiered at the 18th World Saxophone Congress, July 2018 in Zagreb, Croatia | |
| Scent, On and Morrow (2012) ca. 13’ for violin and live electronics Written for and premiered by Kaija Hansen Premiered Nov. 30th, 2012, Gerald R. Daniel Recital Hall, Long Beach, CA | |
| Frenaski (2012) ca. 3’ for five-person laptop ensemble Premiered September 12th, 2012, Long Beach Soundwalk by the BCCM Ensemble | |
| FIXED + MIXED MEDIA | |
| The Consort of Myrtle (2021) ca. 21.5’ for 2-channel acousmatic work | |
| Prodigious Repository of Assembled Suns (2017) ca. 13’ for live electronics and dancers. Premiered at the 2017 Exchange of Midwest Collegiate Composers Conference | |
| Generative Dysfunction (2016) ca. 6’ for Grand Marimba, Celesta, dancers Collaboration with choreographer Makenna Dowling Premiered May 2nd, 2016 UMKC Student Union Theater | |
| Does What Its Supposed To (2013) ca. 9.5’ for modular synthesizer and live visual media | |
| Relatively Mankind (2013) ca. 6’ for modular synthesizer and visual media | |
| Mr. Polman Wants to Fit In (2013) film score Official selection for Raindance, Newport Beach Film Festival, Short Shorts (Tokyo), Long Beach Indie International Film Festival, and Santa Barbara Film Festival (nominated best live action short film) | |
| CHAMBER ENSEMBLE | |
| A Veil of Tiny Points (2020) ca. 7.5’ for flute, piccolo, clarinet in B-flat, violin, cello, piano, percussion Commissioned by the Boulder Altitude Directive Premiered March 13th, 2020 in Grusin Hall, Boulder, CO | |
| pALIMP_SĒSTOS (2017) ca. 14.5’ for violin, cello, piano Premiered October 3rd, 2017, White Recital Hall, Kansas City, MO | |
| Systems 0 438 100 088 (2015) ca. 5-10’ for string quartet Arrangement also available for flute, violin, bass clarinet, and piano | |
| Sond Nomb (2013) ca. 2.5’ for piano trio Premiered May 1st, 2013 Gerald R. Daniel Recital Hall, Long Beach, CA | |
| With This, In Mind (2012) ca. 4.5’ for open ensemble Written for and premiered by Vicki Ray and Eric KM Clark of the California Ear Unit Premiered Dec. 12Th, 2012, Gerald R. Daniel Recital Hall, Long Beach, CA | |
| As We Gasp Towards the Eminent West (2012) ca. 21’ for trumpet in C, horn in F, violin, violoncello, piano, and electronics Premiered Nov. 30th, 2012, Gerald R. Daniel Recital Hall, Long Beach, CA | |
| Study on Dynamics and Symmetry (2012) ca. 2.5’ for violin, violoncello, bass clarinet, piano, marimba, and vibraphone Written for and premiered by the Robin Cox Ensemble Premiered February 27th, 2012, Gerald R. Daniel Recital Hall, Long Beach, CA | |
| The Line, As For Cut (2011) ca. 4’ for double bass, piano, and percussion Premiered November 30th, 2011, Gerald R. Daniel Recital Hall, Long Beach, CA | |
| VOCAL | |
| The Present (2021) ca. 4.5’, for soprano and cello Commissioned by the SOHAP Ensemble premier expected on Spring 2022 concert series | |
| The Bird’s Funeral (2021) ca. 7.5’ for soprano and cello Commissioned by the SOHAP Ensemble premier expected on Spring 2022 concert series | |
| Tu Pauperum Refugium (2012) ca. 4.5’ for SATB choir written for Frank Brownstead, Cathedral of Our Lady of the Angles, Music Director | |
| If (2012) ca. 3’ for mezzo-soprano, piano Premiered Nov. 30th, 2012, Gerald R. Daniel Recital Hall, Long Beach, CA | |
| It Was Just A Little While Ago (2012) ca. 3.5’ tenor, piano Premiered Nov. 30th, 2012, Gerald R. Daniel Recital Hall, Long Beach, CA | |
| On the Young Mind (2012) ca. 5’ for mezzo-soprano and narrator Written for and Premiered by Gale Oliver Premiered April 30th, 2012, Gerald R. Daniel Recital Hall, Long Beach, CA | |
| LARGE ENSEMBLE + FIXED MEDIA | |
| Material Evidence (2017) ca. 12.5’ for Picc, Fl, Ob, Eng. Hn, Cl E-flat, Cl B-flat, Bs. Cl, Bsn, Sop. Sax, Alto Sax, Ten. Sax, Bar. Sax, Tpt, Hn, Trb, Tba, Vln I, Vln II, Vla, Vlc, Vlc, D.B, Perc, Electronics | |
| INSTALLATIONS | |
| To Preserve This, It Must Change, (2019) Ongoing, online, iterative installation originally launched Dec. 2019, http://davidplandon.com/it-must-change | |
| Gathering (2016) 16 Channel Sound Installation; Musical Representation of (4) Spatial Analyses in Iconic San Francisco Spaces. Collaboration with Carlo Sturken, Architect. Commissioned by SPUR San Francisco Installed Nov. 11th, 2015 through June 3rd, 2016 SPUR, San Francisco CA. | |
| Encoded (2015) for unsuspecting performers and their cell phones Premiere Nov. 15th, 2015 at The Wulf, Los Angeles, CA | |
| I Won’t Stand For This (2012) for 4-channel audio and camera that responds to spectators’ position Funded by Grant in conjunction with the Don Andrus award and scholarship | |
| SOFTWARE | |
| DL.PoEuc (2021) Max for Live MIDI device that allows users to create Euclidean Rhythms with the option for the division a unit of time to create polyrhythms in addition additive, free running rhythms. | |
| dev_LAUNCHER (2020) Max for Live MIDI Effect designed to allow users to improvise combinations of musical material. This is accomplished by dynamically launching MIDI clips in different tracks with the press of a single button. This allows composers to create a variety of musical material and improvise through it with any size “ensemble”. | |
| DL.NETSEND~ // DL.NETRECEIVE~ (2019) funded by CHA Micro Grant and CU Creative Grant Open source Max/MSP externals for uncompressed, low latency, multi channel audio over the internet. Currently in Beta and only compiled for Max/MSP running on Windows. Housed on GitHub. | |
| DL.Seive (2018) Max for Live MIDI Effect that implements passes incoming MIDI notes through a Xenakis style sieve. Sieves are generated using a lightweight python program that saves the results into a format that Max/MSP can use in the device. |
REFERENCES
| Betsey Biggs Professor of Critical Media Practice, University of Colorado, Boulder | |
| Michael Theodore Professor of Composition, University of Colorado, Boulder | |
| Carter Pann Professor of Composition, University of Colorado, Boulder | |
| John Drumheller Professor of Composition, University of Colorado, Boulder | |
| Paul Rudy Director of Composition, University of Missouri, Kansas City |