Benjamin Bierman

Benjamin Bierman

Associate Professor
Phone number: 
646.557.4822
Website URL: 
Room number: 
325.14 HH

Education

 2006 PhD  The Graduate Center, City University of New York
 2002 M.Mus  Brooklyn College, City University of New York
 1987 BA  Empire State College, State University of New York

 

Bio

Benjamin Bierman is Associate Professor of Music at John Jay College, City University of New York. His primary area of scholarly interest is contemporary American music, including jazz, blues, R&B, pop, and concert music, while currently focusing on scholarship surrounding jazz composition. He is the author of Listening to Jazz, published by Oxford University Press, and has essays in the books The Cambridge Companion to Duke Ellington, Pop-Culture Pedagogy in the Music Classroom, and The Routledge History of Social Protest in Popular Music, as well as the journals Jazz Perspectives, Journal of Jazz Studies, and American Music Review. In his compositions, Bierman incorporates elements of jazz, blues, Latin music, and the Western art music tradition, and his music can be heard on his recent CD, Beyond Romance (New Focus Recordings). As a trumpet player, he has performed with such diverse artists as B.B. King, Archie Shepp, Johnny Pacheco, Johnny Copeland, and Stevie Ray Vaughan.

Publications

Listening to Jazz (Oxford University Press, 2016).

“Pharoah Sanders, Straight-Ahead and Avant-Garde.” Jazz Perspectives, Vo. 9, No. 1 (Winter 2015). Peer-review journal.

Duke Ellington’s Legacy and Influence.” Cambridge Companion to Duke Ellington (Cambridge University Press, 2014). Chapter in edited volume.

“Solidarity Forever: Music and the Labor Movement in the United States.” The Routledge History of Social Protest in Popular Music (Routledge Press, June 2013). Chapter in edited volume.

“Progressive Jazz.” The Encyclopedia of Popular Music of the World (Continuum, 2012).

“Unlocking the Mysteries of the Second Miles Davis Quintet.” Journal of Jazz Studies, Vol. 7, No. 2 (Fall 2011). Review; Peer-review journal.

“Appreciating the Mix: Teaching Music Listening through Sound-Mixing Techniques.” Pop-Culture Pedagogy in the Music Classroom: Teaching Tools from American Idol to YouTube (Scarecrow Press, 2010). Chapter in edited volume.

“George Handy Composes The Bloos.” Jazz Perspectives, Vol. 3, No. 2 (August 2009). Peer-review journal.

 “George Handy’s Bloos.” Institute for Studies in American Music Newsletter (Fall 2006).

Research

Short List of Recent Compositions and Performances

Six Songs (2013)

Beyond Romance (2008, revised 2013)

Come to Spain (Premiere: 19 October 2012, Zankel Hall, Carnegie Hall)

The Poem That Nobody Hears (Premiere: 1 October 2009, Weill Recital Hall, Carnegie Hall)

 

Recording/Producing

Beyond Romance: Songs by Ben Bierman. CD of original compositions (New Focus Recordings, New Focus141, 2013).

As producer:

Solitude, Stefan Höskuldsson, principal flue with the Metropolitan Opera and the Chicago Symphony Orchestra (Delos Music, DE3447, 2015).

Beyond Romance, Ben Bierman (New Focus Recordings, New Focus141, 2013).

Cursive, Sean Hickey (Delos, DE3465).

Left At the Fork In the Road, Sean Hickey, Billboard Top 100 chart for classical recordings, (Naxos, Naxos 8.559279, 2005).

Urban Still Life, Lou Caputo (Jazz Cats Records, JCR001, 2003).

Great Unknown, Jeff Marx (Naugual Music, NM001, 2000).

 

Conference Papers/Lectures

“Composition Leads the Way, But…” Rhythm Changes Jazz Utopia Conference, Birmingham (14-17 April 2016).

“John Benson Brooks’s Alabama Concerto and Harold Courlander’s Negro Songs From Alabama.” Dutch-Flemish Society Of Music Theory (28 February 2014).

“The Music of George Handy and John Benson Brooks.” Invited lecture, Institute for Jazz Studies, Rutgers University-Newark (10 April 2013).

“The Music of John Benson Brooks.” Invited lecture, Manhattan School of Music (19 March 2013).

“The Pharoah Sanders Quartet, Avant-Garde and Straight-Ahead.” Society For American Music 39th Annual Conference (7-10 March 2013).

“John Benson Brooks and Harold Courlander’s Negro Songs From Alabama.” American Musicological Society-Greater New York Chapter Conference (13 October 2012).

“John Benson Brooks’s Alabama Concerto and Harold Courlander’s Negro Songs From Alabama.” Society For American Music 38th Annual Conference (14-18 March 2012).

“Analyzing the Music of George Handy.” Invited lecture, Manhattan School of Music (7 February 2012).

“The Use of Music Technology in the Instruction of Beginning Music Composition.” City University of New York Instructional Technology Conference (2 December 2011).

“Is European Identification a Blessing or a Curse?” Rhythm Changes Jazz and National Identity Conference, Amsterdam (1-9 September 2011).

“Teaching Jazz Arranging Online for Music Educators.” Leeds International Jazz Conference (7-8 April 2011).

“Teaching Jazz Arranging Online for Music Educators as a Tool for Remediating Theory and Musicianship Skills.” Dutch-Flemish Society Of Music Theory (11-13 April 2011).

“Progressive Jazz – A Racial Perspective.” Jazz and Race, Past and Present, The Open University, Milton Keynes, UK (10-12 November 2010).

“George Handy Crosses Over: The Caine Flute Sonata.” American Musicological Society, Greater New York Chapter (16 October 2010).

“George Handy Crosses Over: The Caine Flute Sonata.” Dutch-Flemish Society Of Music Theory (10 April 2010).

“The Practicalities of Jazz.” Mediating Jazz, University of Salford, UK (26 November 2009).

“The Music of George Handy,” Bierman, Narrator, Jazz at Lincoln Center (20 November 2006).

“The Music of George Handy,” Bierman, Narrator, Manhattan School of Music (17 October 2006).

“Found-sound composition: Technology and the Arts in an Urban Setting,” Humanities Technology Association 2006 National Meeting, City University of New York (6 October 2006).

“The Music of George Handy,” Invited lecture, Institute for Jazz Studies, Rutgers University (16 March 2006).

“Jazz Composition in the 1940s: George Handy’s Dalvatore Sally,” American Musicological Society-Greater New York Chapter meeting (Spring 2005).

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