Phillip Murray Dineen’s c.v.

PHILLIP MURRAY DINEEN

CURRICULUM VITAE (May 2012)

Address:

Department of Music
University of Ottawa
Ottawa, Ontario
CANADA K1N 6N5

pdineen/a-t/uottawadotca

murraydineen/a-t/uottawadotca

613-562-5800 x3818

Full Professor, School of Music, University of Ottawa

Adjunct Professor Carleton University School of Studies in Art and Culture

Degrees:

Columbia University, Ph.D., Historical Musicology with a Concentration in Theory, 1988
University of Victoria, M.A., Musicology, 1982
University of Alberta, B.Mus., Theory, 1980
Grant McEwan Community College, Diploma in Music, 1976

Employment History:

2005- Full Professor, Université d’Ottawa
1997-2005 Associate Professor, Université d’Ottawa
1991-96 Assistant Professor, Université d’Ottawa
1989-91 Assistant Professor, University of Western Ontario
1988-89 Lecturer, Music Theory, McGill University

Scholarly and Professional Activities:

2011-12. Chair, Adjudication Committee, Social Sciences and Humanities Research Council of Canada.

2009-11.   Associate Editor, Intersections: Canadian Journal of Music, journal of the Canadian University Music Society (SSHRC funded).

2007-9    Editor, Intersections: Canadian Journal of Music, journal of the Canadian University Music Society (SSHRC funded).

2007-9    Member, Adjudication Committee, Social Sciences and Humanities Research Council of Canada.

2007-8.   Member of the Board, Canadian Federation for the Humanities and Social Sciences.

2006      Reader, Aid to Scholarly Publications Programme, Canadian Federation for the Humanities

2006    Peer Reviewer, articles on Schoenberg, Music Theory Online.

2005-9 Member, Academic Panel, Selection Board, Canadian Bureau for International Exchange (Commonwealth Scholarships, et al.)

2005-8 Representative for the Canadian University Music Society, Canadian Federation for     the Humanities and Social Sciences.

2005-6.   Member, Academic Panel, Selection Board, Ontario Graduate Scholarship Programme.

2005    Research Leave, January to June, half-sabbatical.

2004    External Examiner, review of the Baccalaureate in Music at l’Université de Sherbrooke

2004    Peer Reviewer, articles on Schoenberg, Journal of Musicological Research.

2003    Organizing Committee for an international conference on the composer Hugo Wolf, SSHRC funding received. [I was the principal writer for the SSHRC application.]

Graduate Supervision (last 7 years):

Marion MacLeod (M. A.), Country Stars, Country Lights: Politics, Urbanization and Contradiction in Country Music, (2003-2004), University of Ottawa.
Bryan Croft (M. Mus.), Twelve-Tone Harmony and Form: An Analysis of the Theme and Variations from Schoenberg’s Suite op. 29, (2001-2005), University of Ottawa.
Emilie Marshall (M. A.), Trees as a Methodological Tool for Comparing Sets of Rules in Strict Two-Part First Species Counterpoint, ( 2005-2007), University of Ottawa.
Tamar Dubuc (M.A.), Uncovering the Subject Dimension of the Musical Artefact: Reconsiderations on Neuva Cancion Chilena (New Chilean Song) as Practiced by Victor Jara, (2006-2008), University of Ottawa.
Jada Watson (M.A.), Aspects of the “Jewish” folk idiom in Dmitri Shostakovich’s String quartet no. 4, op. 83 (1949), (2006-2008), University of Ottawa.
Jamie Loback (M.A.), Contour Prolongation in Steven Gellman’s Concerto for Viola and Orchestra (2004): Tracing the Narrative of the Ego and Alter-Ego, (2007-2009), University of Ottawa. Co-direction.
Michael Fitzpatrick (M. A.), “The Concerned and Thoughtful Musical Citizen” : Music Analysis as Sufficient Explanation,” (2007-2009), University of Ottawa.
Tony Dunn (M.A.), Harmony and Voice Leading in Jazz Improvisation: Formulating an Analytical Framework for a Comparative Analysis of a Bill Evans and Herbie Hancock Performance of Hancock’s Dolphin Dance,(2008-2010), University of Ottawa.
Jacqueline Ravensbergen, (M. A.), “Three Contrapuntal Pieces from Luigi Dallapiccola’s Quaderno Musicale di Annalibera: An Analysis of Row Structure. (2009- in progress), University of Ottawa.
Velia Ivanova, (M.A.), in progress, on Adorno and Kant.

Research Funding:

2010   Social Sciences and Humanities Research Council of Canada, Aid to Scholarly Publications Program. A publication subsidy in support of a book entitled Friendly Remainders: Essays in Musical Analysis after Adorno. $8,000.

2008-2011 Social Sciences and Humanities Research Council of Canada, Aid to Scholarly Journals Competition, $54,000, for publication of Intersections: A Canadian Journal of Music

2007 The Support Fund for Grant Recipients, Faculty of Arts, University of Ottawa, one course leave, Fall 2007, in support of the SSHRC study below. [The exact sum of the course release was never communicated to me.]

2006-2010 Social Sciences and Humanities Research Council of Canada Fellowship, $48,730, for a three year study entitled Arnold Schoenberg, Theodor Adorno, and the European Left, 1920-1933. Principal Investigator.

2006 The Support Fund for Grant Recipients, Faculty of Arts, University of Ottawa, one course leave, Fall 2006, in support of the above mentioned SSHRC study. [The exact sum of the course release was never communicated to me.]

2006-2010 Social Sciences and Humanities Research Council of Canada Fellowship, $66,778, for a three year study entitled New Sounds of Learning: Composing Music for Young Musicians. Co-Investigator. Principal Investigator: Bernard Andrews, University of Ottawa.

2005 University of Ottawa, Faculty of Arts, Research and Publication Committee and the University Research Fund. $1000. Travel for Research.

2003 University of Ottawa, Faculty of Arts, Research and Publication Committee and the University Research Fund. $350. Travel for Research.

Publications, Last Seven Years:

i. Life-time summary:

Books authored: 1
Books edited: 1
Refereed chapters in books: 5
Non-refereed chapters in books:
Papers in refereed journals: 15
Papers in refereed conference proceedings: 5
Major invited contributions and/or technical reports: 2
Abstracts and/or papers read:17
Others: 1

ii. Details for last 7 years:

Books authored: 1
Books edited:
Refereed chapters in books: 2
Non-refereed chapters in books:
Papers in refereed journals: 4
Papers in refereed conference proceedings: 2
Major invited contributions and/or technical reports: 2
Abstracts and/or papers read:6
Others: 0

Books Authored:

Friendly Remainders: Essays in Musical Analysis after Adorno. Published in 2011 by McGill-Queens University Press, with an award from the Social Sciences and Humanities Research Council of Canada (see above).

Refereed chapters in books:

“Gestural Economies in Conducting.” In a collection of essays, edited by Elaine and Anthony Gritten, New Perspectives on Music and Gesture. Aldershott: Ashgate, 2011. [27p.]

“Schoenberg’s First Chamber Symphony, Formalism, and Adorno’s Critique of Twelve-Tone Composition.” In a collection of essays, edited by James Wright and Allan Gilmor, Schoenberg’s Chamber Music, Schoenberg’s World. New York: Pendragon Press, 2009. [11p.]

“Form, the Aesthetic of the Aural Tradition, and Vaughan William’s Fifth Symphony.” In a collection of essays, edited by Robin Wells and Byron Adams, Vaughan Williams Essays. Aldershot: Ashgate, 2003. [16p.]

Papers in refereed journals:

“Lexicon for a Leftist Aesthetics of Music: Hans Wind’s Chart of the Gesetze der Kunst.” International Review of the Aesthetics and Sociology of Music 41, no. 2 (December 2010), 265-91.

“The ‘Cellist’s Predicament, or Imagination, Ethics, and Musical Performance.” International Review of the Aesthetics and Sociology of Music 40, no. 2 (December 2009), 283-297.

“Schoenberg and the Radical Economies of Harmonielehre.” Culture Unbound. Volume 1, Article 8, 2009: 105-35. URL: http://www.cultureunbound.ep.liu.se/v1/a08/

“Schoenberg’s Modulatory Calculations: Wn Fonds 21 Berg 6/III/66, and Tonality.” Music Theory Spectrum 25, no. 1 (Spring 2005): 97-112.

“Fugue and Form.” International Studies in Philosophy 36, no. 1 (2004 [appeared 2005]):39-60.

Papers in refereed conference proceedings:

“Schoenberg, Adorno, Adler, and Dahlhaus: Musicology and Globalization.” In Musicology and Globalization: Proceedings of the International Congress in Shizuoka 2002 in Celebration of the 50th Anniversary of the Musicological Society of Japan. Edited by the Musicological Society of Japan. Tokyo: The Musicological Society of Japan, 2004. [I was never sent a copy of the proceedings, but the page count in proofs was 5p.]

“Das ‘tonal problem’. Zu einem historisch-systematischen Analysemodell,” in the Kongressbericht to the first meeting of the German Society for Music Theory, Dresden, October 2001, Musiktheorie zwischen Historie und Systematik. Augsburg: Wissner-Verlag, 2004, 167-71.

Major invited contributions and/or technical reports:

“The Tonal Problem as a Method of Analysis,” Theory and Practice 30 (2005): 69-96.

“Tonal Problem, Carpenter Narrative, and Carpenter Motive in Schubert’s Impromptu, Op. 90, No. 3,” Theory and Practice 30 (2005): 97-120.

Abstracts and/or papers read (refereed*):

*A paper entitled “The Historical Soundscape of Monophonic Hi-Fidelity: Sonic Pathology and Loss,” read at a conference entitled Music: Cognition, Technology, Society, Cornell University, Ithaca, New York, May 2012.

*A paper entitled “Schoenberg, ‘Erwartung,’ Vocal Truth, and the Broken Musical Voice,” read at the annual meeting of the American Comparative Literature Association, at Brown University, Provincetown, R.I., April 2012.

A paper entitled “Thinking without Thinking: Adorno, Dialectics, and the Problem of Jazz,” read by invitation at the Duncombe Studio for Social and Cultural Analysis, under the auspices of the Departments of Sociology and Anthropology, Carleton University, March 2012.

*A paper entitled “Monophelia,” read at a conference entitled Living Stereo: History, Culture, Multichannel Sound, organized by the Living Sound Studies Group, Institute for Comparative Studies in Literature, Art, and Culture, at Carleton University, March 2012.

*A paper entitled “Hans Wind (Kurt Blaukopf), Die Endkrise der bürgerlichen Musik,” read at the annual meeting of the American Musicological Society, San Francisco, November 2012.

*A paper entitled “Hans Wind’s Treatise The Final Crisis of Bourgeois Music and the Role of Arnold Schoenberg (Vienna 1935) and the Dialectics of Musical Historical Materialism,” Summer 2010 Marxist Literary Group Institute on Culture and Society, St. Francis Xavier University, Antigonish, Nova Scotia, June 2010.

*A paper entitled “Mediation in Adorno’s Toward a Theory of Music Reproduction,” given at an international conference on Adorno, Royal Northern Conservatory of Music, Manchester, UK, September 2008.

*A paper entitled “Schoenberg’s First Chamber Symphony, Formalism, and Adorno’s Critique of Twelve-Tone Composition,” at a special symposium on Schoenberg, at Carleton University, Ottawa, July 2007.

*A paper entitled “Adorno’s Critical Community: Typologies of Human Conduct in Adorno’s Thought,” given at the annual meeting of the Canadian Comparative Literature Association, at Congress, Saskatoon, June, 2007.

*A paper entitled “Please Hang Up and Don’t Try Your Call Again: Adorno’s Negative Dialectic of Communication,” given at the annual meeting of the Canadian Communications Association, at Congress, Saskatoon, June 2007.

*A paper entitled “The Tonal Problem: A Model for Analysis,” given at an international conference on musical analysis, Trinity College, Dublin, June, 2005.

*A paper entitled “Genre and Gesture: Adorno and Schoenberg,” given at an international conference Music and Gesture, University of East Anglia, Norwich, UK, 28-31 August, 2003.