Dan Hosken's Curriculum Vitae
Education
- The University of Wisconsin–Madison
D.M.A. in Composition with a minor in Music Theory, 1998
- Thesis: Heavy Water, a composition for chamber ensemble
- Recipient of Steenbock Dissertation Fellowship
- Composition study with Stephen Dembski
- Music Technology study with John Wm. Schaffer
- Massachusetts Institute of Technology, Cambridge, MA
Special Graduate Student in the Media Arts and Sciences Dept., 1993-1994
- Computer Music study with Barry Vercoe
- New England Conservatory of Music, Boston MA
M.M. in Composition with Academic Honors, 1992
- Composition study with William Thomas McKinley
- Electronic Music study with Robert Ceely
- Massachusetts Institute of Technology, Cambridge, MA
B.S. in Physics and Music, 1990
- Composition study with John Harbison
- Computer Music study with Tod Machover
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Academic Experience
- California State University, Northridge
Associate Dean of the Mike Curb College of Arts, Media, and Communication, September 2012–present
- Assist the Dean in carrying out the mission of the college and managing the Dean's Office; serve as acting Dean in the Dean's absence.
- Under the Dean's direction, provide creative and effective leadership in curriculum development and delivery.
- Keep department informed of curricular deadlines, and provide assistance and advice as proposals move through committees to final approval.
- Coordinate and assist departments in program review and/or reaccreditation process by assisting in the preparation of self-study, meeting with outside evaluators, and participating in discussion and implementation of changes.
- Participate in organizational development and planning and oversee program evaluation and implementation.
- Play a leadership role in college assessment activities.
- Participate in regular meetings of the Advisory Council.
- Serve as Executive Secretary of the college Academic Council.
- Supervise the College Student Resource Center/Education Opportunity Program, and cooridnate advising activities in concert with the Director of the SRC/EOP and department chairs.
- Participate in outreach and recruitment activities on and off campus.
- Meet with students concerning academic or disciplinary problems and consult with department chairs, faculty, and staff as appropriate.
- Act on petitions and requests for program changes from the college and Dean's office, as assigned.
- Serve as college representative for Commencement Exercises.
- Participate in college development and advancement efforts.
- California State University, Northridge
Professor of Music, September 2010–2012
Associate Professor of Music, September 2005–2010
Assistant Professor of Music, September 1999–2005
- Taught courses in music technology, sound design, composition, and theory (four courses per semester)
- Collaborated on teaching and projects with the digital art department
- Developed new courses in sound design and computer music
- Managed 24-station Music Technology Lab and single-station Advanced Projects Studio
- Planned and installed three major upgrades to the Music Technology Lab and planned and installed the Advanced Projects Studio.
- Served on a variety of committees including the Department Advisory Committee, Department Undergraduate Committee, College Multimedia Committee, College Academic Council, University Research and Grants Committee, University Academic Technology Committee, and the University Corporation Board of Directors
- Moraine Valley Community College, Palos Hills, IL
Part-Time Adjunct Faculty (2-3 courses per semester), 1998-1999
- Taught Music Theory and Introduction to American Music
- The University of Wisconsin–Madison
Teaching Assistant, 1994-1997
- Developed new course, Introduction to Music Technology, and was sole instructor
- Co-developed and co-taught new course, Computer Music, a course in sound design and composition with computers
- Member of the Music Department Technology Committee
- The University of Wisconsin–Madison
Instructor for Workshops and Clinics in Music Technology
- University of Wisconsin Continuing Education summer workshop—Technology in the General Music Curriculum (co-instructor), 1996-1997
- University of Wisconsin Summer Music Clinic—Computers, Synthesizers, and Music, 1995-1997
- The University of Wisconsin–Eau Claire Music Department—Workshop on Sequencing, 1997
- National String Workshop—Seminar on Computer Notation, 1995-1997
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Other Relevant Experience
- University of Wisconsin–Madison
Manager of the Computer Music Studio, 1995–1997
- Co-designed and installed a new $30,000 computer music studio for the music department
- Maintained studio, managed studio budget, and planned upgrades and new acquisitions
- Wrote comprehensive administrator and user manuals for the studio
- University of Wisconsin–Madison
Manager of the Wisconsin Center for Music Tech (Project Assistantship), 1994–1997
- Supervised employees responsible for daily operation of the Center
- Maintained computers, synthesizers, and software for a fifteen station computer lab
- AUROS Group for New Music, Boston, MA
Co-founder, Co-director, and Conductor, 1992–1994
- Responsible for programming and producing adventurous concerts of new music
- Responsible for ongoing fund-raising activities including state and local grant proposals
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Presentations
- Perspectives on Current Mobile Applications for Music Instruction, a panel at the Naitonal Meeting of the Association for Technology in Music Instruction (ATMI), San Diego, CA, November 17, 2012
- What do they know and what can they do: a pilot study of the knowledge and experiences of music students in an introductory music technology course, research presented at the National Meeting of the Association for Technology in Music Instruction (ATMI), Richmond, VA, 2011
- Music Technology and Music Literacy, a panel at the National Meeting of the Association for Technology in Music Instruction (ATMI), Minneapolis, MN, September 23, 2010
- Creating Pedagogical Applications in Max/MSP a workshop given at the National Meeting of the Association for Technology in Music Instruction (ATMI), Atlanta, GA, September 27, 2008
- Seeking and Sound Design: Using Film Sound to Teach Sound Composition Techniques, research presented at the National Meeting of the Association for Technology in Music Instruction (ATMI), Atlanta, GA, September 26, 2008
- Lecture-Demonstration: Work for Cello and Interactive Electronics with Robert Wechsler, choreographer, and Madeleine Shapiro, cellist, Dance New Amsterdam, September 22, 2008, The Construction Company, September 23, 2008, and the Mannes School of Music, New York City, September 24, 2008
- Motion in Sound: Motion Sensing Applications for Multi-disciplinary Performance, presented at the Arctic Region Supercomputing Center and over the Access Grid Network (Internet2), Fairbanks, AK, June 1, 2007
- Erasing Xenakis: Creating a palimpsest of Palimpsest, presented as part of the Nimbus Institute symposium “Building, Destroying, or Ignoring: Examining Creative Relationships to the Past Using Palimpsest as a Metaphor,” at the UCLA Hammer Museum, Los Angeles, CA, March 24, 2007
- Motion in Sound: Designing Sound for Interactive Dance Performance, research presented at the National Meeting of the Association for Technology in Music Instruction (ATMI), San Antonio, TX, September 16, 2006
- A Human Conversation (with Robert Wechsler), invited presentation at NILE (Narrative and Interactive Learning Environments), Edinburgh, Scotland, August 8–9, 2006
- Perceivable Bodies (with Frieder Weiss and Emily Fernandez), research on composing for interactive dance technology presented at The Tenth Biennial Symposium on Arts and Technology, Ammerman Center for the Arts and Technology at Connecticut College, New London, CT, March 29, 2006
- Beyond Static Sound: Tools and Strategies for Incorporating Dynamic Realtime Sound in Multimedia Applications, research presented at the National Meeting of the Association for Technology in Music Instruction (ATMI), San Francisco, CA, November 6, 2004
- Some Thoughts on Composing a Navigable Space, research presented at the National Conference of the Society for Electro-acoustic Music in the United States (SEAMUS), San Diego, CA, March 25, 2004
- Managing Music Technology—Computer Labs: Models, Problems, Challenges, and Strategies for Finding Solutions, panel discussion held at the National Meeting of the Association for Technology in Music Instruction (ATMI), Miami, FL, October 2, 2003
- Composing with Sound: Strategies and Tools for Creating Music with Digital Audio, research presented at the TI:ME (Technology Institute for Music Educators) National Music Technology Conference held concurrently with the CMEA (California Music Educator’s Association) State Conference, Pasadena, CA, March 12, 2003
- Creating ‘SimpleSuite’: Developing Pedagogical Applications for Teaching Music Technology Principles Using Max/MSP, research presented at the National Meeting of the Association for Technology in Music Instruction (ATMI), Kansas City, MO, September 27, 2002
- Interdisciplinary Electronic Arts at CSUN, research presented at the College Music Society Pacific-Southern Regional Meeting, Cal Poly, Pomona, CA, March 23, 2002
- Soundstreams: A Methodology for Teaching Sound Composition to Visual Artists, research presented at the National Meeting of the Association for Technology in Music Instruction (ATMI), Santa Fe, NM, November 15, 2001
- Analyzing Texture in Varèse’s Octandre (written in Spring 1996, revised Spring 2001), research presented at the College Music Society Pacific-Southern Regional Meeting, April 7, 2001
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Publications
- Music Technology and the Project Studio: Synthesis and Sampling, a textbook published by Routledge in 2011.
- An Introduction to Music Technology, a textbook published by Routledge in 2010.
- Review of The 2004 International Computer Music Conference. Computer Music Journal (29:2, Summer 2005): 88–91
- “The Music of Sound,” in the Technology Institute for Music Educators Newsletter, Spring 2003
- Review of Artful Devices, a Compact Disc of music by Christopher Dobrian. Computer Music Journal (25:4, Winter 2001): 95–97
- Review of The Csound Catalog with Audio, a CD-ROM edited by Richard Boulanger. Computer Music Journal (25:2, Summer 2001): 73–75
- Review of The Digital Audio Music List: A Critical Guide to Listening by Howard W. Ferstler. Computer Music Journal (24:3, Fall 2000): 76–79
- Review of Computer Music: Synthesis, Composition, and Performance, second edition, by Charles Dodge and Thomas A. Jerse. Computer Music Journal (23:4, Winter 1999): 92–95.
- Review of Theremin: An Electronic Odyssey, a film by Steven M. Martin. Computer Music Journal (23:2, Summer 1999): 110–112.
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Instructional Materials
- Introduction to Music Tech Tutorials, a complete tutorial manual for Introduction to Music Technology, fully revised and updated each semester, most recently Spring 2012
- How To Do Stuff in MUS391, a tutorial manual for MIDI Sequencing, fully revised and updated each semester, most recently Fall 2008
- SimpleSuite, a suite of custom software applications for teaching a variety of topics in music technology. The suite includes SimpleSynth, SimpleMIDI, SimpleConcrète, SimpleElektronische, and SimpleSampleEdit, Fall 2002.
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Professional Memberships
- Association for Technology in Music Instruction (ATMI)
- Society for Electro-Acoustic Music in the United States (SEAMUS)
- Affiliate of Broadcast Music, Inc. (BMI)
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Selected Compositions and Performances
- DanceMad for celo and interactive electronics (Duration ~6 minutes; Composed 2008/2010—revised from a portion of Das Oklo Phänomen)
- Performed at NYCEMF at the CUNY Graduate School, NY, March 27, 2010
- Three Pieces for Oboe, Clarinet, and Piano (Duration ~5 minutes; Composed in 2008)
- Performed by the Tapestry Ensemble at CSUN, October 18, 2009
- Performed by the TEMPO Ensemble at CSUN (version for flute, clarinet, and piano), September 19, 2009
- Premiered by Julia Heinen, Richard Kravchak, and Shari Raynor at Festival Forfest, Kromeriz, Czech Republic, June 22, 2008
- Das Oklo Phänomen (The OKLO Phenomenon) for four principal dancers, cellist, drums, and electronic score (Duration of total performance ~60 minutes; Composed electronic score in 2006, expanded and revised in 2008)
- Invited performance at the Amber ’08 Digital Arts Festival, Talimhane Theater, Istanbul, Turkey, November 7–8, 2008
- Excerpts performed at HörZu, Bremen, Germany, November 11, 2007
- Premiered at FertigungsHalle, Nürnberg, Germany, December 8–9, 2006
- Reviewed in the Nürnberger Nachrichten, December 11, 2006. Relevant quote: “…he [Robert Wechsler, Palindrome artistic director] gets the best harmony out of a multinational troupe: three excellent dancers, and a jazz pianist…who made a gripping contrast with an electronic sound collage, a dangerous fire artist and Wechlser as a laid-back show master… ‘The Oklo Phenomenon’ an entertaining, intelligent cross-over project and, with a great company, earned an enthusiastic applause. A re-launch of the piece is planed for next year. One should watch for it.” (trans. Robert Wechsler)
- Mysterious Skin for solo dancer, costume, and interactive system (Duration: ~6 minutes; Composed 2008 in collaboration with Robert Wechsler)
- Excerpt performed as number six of Seven Memories at Workshop on Computer Music and Audio Technology (WOCMAT), National Taiwan Art Education Center, Taipei, Taiwan, October 18, 2009
- Presented on video at the CSUN Faculty Composers’ Recital, October 5, 2008
- Selected for performance at the National Meeting of the Society for Electro-acoustic Music in the United States (SEAMUS), Salt Lake City, UT, April 3, 2008
- A palimpsest of Palimpsest, a live processing of a performance of Iannis Xenakis’ Palimpsest (Duration ~11 minutes; live processes and overlay material composed in 2007)
- Commissioned by the Nimbus Ensemble and premiered at Zipper Hall in Los Angeles, CA, March 29, 2007
- Reviewed in the Los Angeles Times, March 31, 2007, p. E10, “Nimbus Ensemble messes with Xenakis.” Relevant quote: “In Hosken’s piece, the composer manned digital gear and manipulated material atop the Xenakis, which was repeated by the live ensemble. Hosken treated and mistreated the work, live and on the fly, supplying echoes, samples out of context and other sound alterations and also smearing on his own sonic debris. He wielded his “Wizard of Oz”-like power impressively with offstage controls and an expansive toolbox.”
- A Human Conversation for two dancers and interactive system (Duration: ~15 minutes; Composed 2006 in collaboration with the Palindrome Intermedia Performance Group)
- Presented on video at the CSUN Faculty Composers’ Recital, March 18, 2007
- Selected by jury to compete via video excerpts and presentation for grants and awards at the Monaco Dance Forum, December 14, 2006
- Invited Performance at NILE (Narrative and Interactive Learning Environments), Edinburgh, Scotland, August 8–9, 2006
- Perceivable Bodies: The Integrated Girl for solo dancer and interactive system (Duration: ~12 minutes; Composed 2005–6 in collaboration with the Palindrome Intermedia Performance Group)
- Performed at Siggraph, Boston, MA, August 1, 2006
- Performed at the Second International Conference for Digital Technologies and Performance Arts, Doncaster College, Doncaster, England, June 26, 2006
- Performed at Tesla/Podewil, Berlin, Germany, April 7–8, 2006
- Commissioned by the Ammerman Center for Arts and Technology at Connecticut College and premiered at the Tenth Biennial Symposium on Arts and Technology, New London, CT, April 1, 2006
- Talking Bodies invited week-long residency and performances with Palindrome Intermedia Performance Group at the Forum Neues MusikTheater der Staatsoper Stuttgart, Stuttgart, Germany, June 11–12 (performances), 2005
- “Conversation” for two dancers and interactive system (Duration: ~4 minutes)
- “Trio and Walking Lines” for three dancers and interactive system (Duration: ~9 minutes)
- “Solo from ‘Blinde Liebe’” for solo dancer and interactive system (Duration ~4 minutes; Revision of “Samuel’s Solo”)
- Documented in Fünfzehn Spielzeiten Ander(s) Staatsoper Stuttgart 1991-2006, Ein Arbeitsbericht, Herausgegeben von Klaus Zehelein [trans.: Fifteen seasons at the Stuttgart State Opera 1991-2006, A work report, Edited by Klaus Zehelein], p. 224 and on DVD 2 of the DVD supplements
- Presented on video at the CSUN Faculty Composers’ Recital, March 3, 2006
- “Samuel’s Solo” from the dance-opera Blinde Liebe, for solo dancer and interactive system (Duration ~4 minutes; Composed 2005 in collaboration with the Palindrome Intermedia Performance Group)
- U.S. Premiere by the Palindrome Intermedia Group, San Francisco International Arts Festival, May 26–29, 2005
- Premiered by the Palindrome Intermedia Group, Tafelhalle, Nürnberg, Germany, March 24–26, 2005
- Blackbird Fly on a text by E.J. Graff, for computer-generated sounds on “tape” (Duration: ~6 minutes; Two-channel version Composed 2002; Four-channel version created 2004)
- Performed as part of Talking Bodies at the Forum Neues MusikTheater der Staatsoper Stuttgart, Stuttgart, Germany, June 11–12, 2005
- International Computer Music Conference (ICMC), Miami, FL, November 4, 2004
- Mid-Autumn Moon Festival, Concordia University, Montreal, QC, Canada, September 23, 2004
- Electric Rainbow Coalition Festival, Dartmouth, NH, August 24, 2003
- 12th Annual Florida Electroacoustic Music Festival, Gainesville, FL, April 4, 2003
- The Soundscape Gallery at the Pulse Field International Exhibition of Sound Art, Atlanta, GA, Jan. 18–Feb. 28, 2003
- MEDiA CIRCU(it)S concert, Milwaukee, WI, November 5, 2002
- Seoul International Computer Music Festival, September 25, 2002
- College Music Society Regional Meeting, Pomona, CA, April 2002
- Interrupted (Abridged), for flute and piano (Duration: ~7 minutes; Revised 2004)
- Premiered at CSUN, Northridge, CA, March, 2005
- Sound composition for “Image Pastiche” video projection for play Shim Ch’ong: A Korean Folk Tale (Composed 2003)
- National Theater, Seoul, South Korea, November 2003
- Harold Williams Auditorium at the J. Paul Getty Center, Los Angeles, CA, October 24–25, 2003
- Clarinet, Interrupted [ Audio | Program Note ] for clarinet and piano (Duration: ~12 minutes; Composed 2002)
- Available on CD from Centaur Records
- ClarinetFest 2003, Salt Lake City, July 10, 2003
- Weill Recital Hall at Carnegie Hall, New York, February 21, 2003
- Performed by Julia Heinen on tour including University of Oklahoma, Hendrix College, University of New Mexico, Eastern New Mexico University, Arizona State University, University of Minnesota, Brigham Young University, and Cal State at Dominguez Hill, January/February 2003
- Premiered at CSUN, Northridge, CA, November 16, 2002
- Music for English Horn, Violin, and Double-bass (Duration ~8 minutes; Composed 1999)
- Oakwood Chamber Players, Madison, WI, May, 1999
- Commission from the Oakwood Chamber Players and the Madison Chapter of the Wisconsin Alliance for Composers, 1999
- Heavy Water [ Audio | Program Note ] for fl (picc), B-flat cl (E-flat cl), vln, vc, pno, perc (Duration: ~15 minutes; Composed 1998)
- Premiered at CSUN, Northridge, CA, March 2000
- Alchemy: Visions [ Audio | Program Note ] for computer generated sounds on “tape” (Duration: ~6 minutes; Composed 1997)
- Sonic Residues 02 festival at the Australian Centre for Contemporary Arts, Melbourne, Australia, November 25, 2000
- Ninth Annual Florida Electro-Acoustic Music Festival, Gainesville, FL, April 7, 2000
- College Music Society Pacific-Southern Regional Conference, Carson, CA, March 3, 2000
- Society of Composers, Inc. Region VII Conference, Valencia, CA, January 29, 2000
- Broadcast on the radio show “Foldover” on WOBC, 91.5 FM, Oberlin, OH, January 24, 2000
- “Beep Sounds” concert, Boston Cyberarts Festival, Boston, MA, May 10, 1999
- Faculty Showcase at Moraine Valley Community College, Palos Hills, IL, April 23, 1999
- Society for Electro-Acoustic Music in the US (SEAMUS) National Conference, San Jose, CA, 1999
- “Music from the Heart” concert at the University of Wisconsin–Milwaukee, November 12, 1998
- Wisconsin Alliance for Composers State Conference, Kenosha, WI, April 4, 1998
- Alchemy for Percussion and Computer Tape (Duration: ~17 minutes; Composed 1997)
- Society of Composers, Inc. (SCI) Region V Conference, Terre Haute, IN, 1998
- AUROS Group for New Music, Boston, MA, 1997
- Group for Electronic Music, Worcester, MA, 1997
- Finalist in the 1997 Concorso Internazionale "Luigi Russolo"
- String Quartet No. 1 (Duration: ~15 minutes; Composed 1996)
- AUROS Group for New Music, Cambridge, MA, 1996
- Finalist in the 1996 ASCAP Grants to Young Composers Competition
- Discourse [ Audio | Program Note ] on a text from Discourse on the Eighth and Ninth, for sop, alt fl, bs cl, gtr (with amplification), perc (2), and “tape” (Duration: ~9 minutes; composed 1994)
- CSUN Faculty Composers Recital, March 2001
- University of Wisconsin–Madison, 1996
- Society for Electro-Acoustic Music in the US (SEAMUS) National Conference, Ithaca, NY, 1995
- AUROS at the New England Conservatory's "Electric Wednesday," Boston, MA, 1994
- AUROS Group for New Music, Killian Hall at MIT, Cambridge, MA, 1994
- Six for Three [ Audio | Program Note ] for violin, cello, and piano (Duration: ~7 minutes; Composed 1994)
- CSUN Faculty Composers Recital, February 15, 2003
- Broadcast on KCSN, 88.5 FM, Northridge, CA, March 22, 2000
- Wisconsin Alliance for Composers Concert, Madison, WI, 1995
- AUROS Group for New Music, Killian Hall at MIT, Cambridge, MA, 1994
- Wild Child for Flute and Clarinet ( Duration: ~12 minutes; Composed 1993)
- Society of Composers, Inc. Region VII conference, April 17, 2004, Northridge, CA
- Wisconsin Alliance for Composers Concert, Madison, WI, 1997
- AUROS Group for New Music, Killian Hall at MIT, Cambridge, MA, 1993
- Honorable Mention in the 1993 ASCAP Grants to Young Composers Competition
- Transmigrations (in memoriam John Cage), for MIDI controlled Bosendorfer and Live Electronics (Duration: 4'33"; Composed 1993)
- The “Cube” at the MIT Media Lab, Cambridge, MA, 1993
- Songs of Love and Despair on texts by Dylan Thomas, for sop, fl (alt fl), cl (bs cl), vln, vc, pno (Duration: ~11 minutes; Composed 1992)
- AUROS Group for New Music, New School of Music, Cambridge, MA, 1992
- Expansions for Two Flutes, Piano and Harpsichord (Duration: ~8 minutes; Composed 1991)
- MIT Composers Ensemble in Killian Hall at MIT, Cambridge, MA, 1993
- Weill Recital Hall at Carnegie Hall, NYC, 1992
- Peace for Soprano and “Tape” (Duration: ~10 minutes; Composed 1991)
- International Symposium on Electronic Art, Chicago, IL, 1997
- AUROS Group for New Music, Emmanuel Church, Boston, MA, 1993
- Solo Concerto for Solo Piano (Duration: ~7 minutes; Composed 1991)
- Society of Composers, Inc. (SCI) National Conference, Memphis, TN, 1996
- MIT Composers' Ensemble, Killian Hall at MIT, Cambridge, MA 1994
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