National Association of Schools of Music faculty record report
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- Ayano Ninomiya
William Marvin
William Marvin joined the Eastman faculty in 2002 after having taught music theory and aural skills at Oberlin College Conservatory of Music. Prior to that he was a teaching assistant at Eastman while working on his master’s degree, and received both the Edward Peck Curtis Award for Excellence in Teaching by a Graduate Student (1992), and the Outstanding Graduate Teaching Prize (1990). Marvin completed his Ph.D. in music theory at Eastman in 2002. He received his B.A. with highest honors from the State University of New York at Binghamton. Marvin’s work in theory has focused on problems of tonality according to Schenkerian definitions as exemplified in Wagner’s Die Meistersinger von Nürnberg; examinations of form and tonal structure in Mozart’s Die Zauberflöte and Wagner’s Der fliegende Holländer; aural training in tonal and post-tonal music; sonata deformation in Mahler’s Third Symphony; improvisation in nineteenth-century French organ music; off-tonic beginnings and endings; and the quodlibet as a contrapuntal device in Broadway musicals. He has presented papers at international, national, and regional conferences. His published work can be found at Music Theory Online, Journal of Musicology, Intégral, Journal of Music Theory Pedagogy, Theory and Practice, and in several books edited by Deborah Stein (OUP), Matthew Bribitzer-Stull (Palgrave-Schirmer), and Gordon Sly (Ashgate). His work in aural skills has taken him into the unusual realm of teaching aural skills—without notation—to blind music students. From 1997 through 2001, he worked individually with blind students, teaching aural skills and overseeing the rehearsal and performance of an ensemble work for 12 student performers, written by a blind composer and taught completely without notation. Marvin oversees the undergraduate aural musicianship curriculum at Eastman, and he previously designed and implemented the aural skills curriculum at Oberlin. In both programs, aural musicianship is intimately connected with coursework in written music theory, and his curriculum emphasizes immediate recognition, apprehension, and expressive performance of musical material as heard and seen. National Association of Schools of Music FACULTY RECORD REPORT (Required for each full-time and part-time faculty member) Institution Eastman School of Music, University of Rochester Name Ninomiya, Ayano Date June 30, 2012 Rank (check one): None Professor Associate Professor Assistant Professor Instructor Teaching Assistant Other (check “None” if no rank system exists) Tenure Status Tenured Tenure-track Non-tenured Date of Appointment 1 July 2010 Nature of Assignment: Full-Time Part-Time – please indicate the fraction (e.g., ½, ¼, etc.) Level of Teaching (check all that apply): Non-Degree-Granting – Elementary/Secondary Non-Degree-Granting – Postsecondary Associate Baccalaureate Masters Doctoral Administrative Position (if applicable):
Degrees, Diplomas, etc. InstitutionDate Completed or ExpectedMajor FieldMinor FieldBachelor of MusicHarvard University2001French & MusicMaster of MusicThe Juilliard School of Music2003Violin B. Teaching Assignment 1. If you give instruction in applied music in individual lessons, please supply the following information: I teach (e.g. , piano, voice, composition) Violin . This term, I devote
2. Please supply the following for lecture or ensemble courses you teach regularly over a three-year period. Include non-credit courses. Course Number and TitleHours Credit Per TermClock Hours of Teaching Per WeekCHB 181-182: String Quartet Seminar1CHB 281-282: Chamber Music1CHB 281-282: Advanced Chamber Music1CHB 481-482: Graduate Chamber Music1Eastman Chamber Music Society
NASM Faculty Record Report Eastman School of Music 2012 Ayano Ninomiya
Associate Professor of ViolinThe second-prize winner of the 2003 Walter W. Naumburg International Violin Competition, Ayano has established a wide-ranging professional career encompassing solo appearances with orchestras in Europe and the United States, chamber music performances, research, and outreach programs. She has spent several seasons at the Caramoor, Bridgehampton, Olympic, and other festivals, and joined the Musicians from Marlboro for the group’s 2004 U.S. tour and 2005 tour of France. She has performed with the Momenta String Quartet and the Formosa String Quartet in Singapore and across the United States, and with the Daedalus Quartet at Juneau’s Jazz and Classics Festival. She also has been a member of the Australian-based TinAlley String Quartet and the conductorless string ensemble ECCO (East Coast Chamber Orchestra.) Ninomiya graduated from Harvard in 2001 with a dual degree in Music and French, and she holds a master’s degree from The Juilliard School. As the recipient of the 2005 Frank Huntington Beeve Fellowship for advanced music study and performance, Ninomiya studied at the Liszt Academy of Music in Budapest and researched scores at the Bartok Archives. See Ying Quartet National Association of Schools of Music FACULTY RECORD REPORT (Required for each full-time and part-time faculty member) Institution Eastman School of Music, University of Rochester Name Pedersen, Jean Date June 30, 2012 Rank (check one): None Professor Associate Professor Assistant Professor Instructor Teaching Assistant Other (check “None” if no rank system exists) Tenure Status Tenured Tenure-track Non-tenured Date of Appointment 1 July 1990 Nature of Assignment: Full-Time Part-Time – please indicate the fraction (e.g., ½, ¼, etc.) Level of Teaching (check all that apply): Non-Degree-Granting – Elementary/Secondary Non-Degree-Granting – Postsecondary Associate Baccalaureate Masters Doctoral Administrative Position (if applicable):
Degrees, Diplomas, etc. InstitutionDate Completed or ExpectedMajor FieldMinor FieldBachelor of ArtsBarnard College, Columbia Univ.1981HistoryEconomicsMaster of ArtsUniversity of Chicago1982HistoryDoctor of PhilosophyUniversity of Chicago1990History B. Teaching Assignment Please supply the following for lecture or ensemble courses you teach regularly over a three-year period. Include non-credit courses. Course Number and TitleHours Credit Per TermClock Hours of Teaching Per WeekFall: FWS 121: Art and Politics (2 sections)35 hoursFall: HIS/WST 230: Men, Women, and War32 hrs. 30 min.Fall: HIS 220: Comparative Revolutions32 hrs. 30 min.Fall: HIS 274: Hannah Arendt32 hrs. 30 min.Spr: HIS 222/223: Modern France (2 sections)32 hrs. 30 min.Spr: HIS 282; WST 282: Intl. Human Rights32 hrs. 30 min.Spr: HIS 314W/414; WST 296/496: Intl. Human Rights32 hrs. 30 min.
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