Michael Boyd, D.M.A.

Professor of Music and Music Program Coordinator

412-365-1201

Laughlin Music Center - 104

Hometown: Bel Air, MD
Joined Chatham: August 2008

ACADEMIC AREAS OF INTEREST

Experimental music and improvisation; indeterminacy; creativity; site-specific, installation, and environmental art; sketch studies and analysis of post-1945 music; popular music analysis and criticism

PERSONAL AREAS OF INTEREST

Road and mountain biking; bike commuting; hiking; vegan cooking; yoga
Website: michaelrboyd.com

BIOGRAPHY

Michael Boyd is a composer, scholar, and experimental improviser who holds graduate degrees from the University of Maryland (DMA, composition) and SUNY Stony Brook (MA, music theory and history). His music has been performed throughout the United States and abroad in a variety of large and small venues. Boyd has published articles in Notes, Tempo, and Perspectives of New Music as well as reviews in American Music, Computer Music Journal and Popular Music and Society. He previously taught at the Peabody Conservatory of Music, the University of Maryland, the University of Maryland Baltimore County, Towson University, Frederick Community College, and SUNY Stony Brook. re County, Towson University, Frederick Community College, and SUNY Stony Brook.

Artistic statement: I believe that every individual possesses significant innate creativity, but, for various reasons, rarely access this valuable personal resource. As a composer, one of my foremost concerns is countering this societal trend by helping individuals connect with and use their inner creativity. One way in which I address this issue is by (re)integrating performers into the creative portion of the music making process through graphic notation which immediately sheds many conventions of Western art music including the primacy of pitch and a roughly one-to-one correspondence between score input and sonic output. In addition to enabling non-specialists and musicians with lesser technical facility to offer viable or “accurate” performances, graphic scores provide greater creative agency to performers essentially resulting in an equal partnership between composer and performer(s). This configuration, paired with my interest in other experimental practices such as the incorporation of visual and theatrical elements, performance-based installation, live electronics and performance art, confronts many musical conventions and thus engages audience members in new ways, often presenting an experience that is both engaging and challenging.ence members in new ways, often presenting an experience that is both engaging and challenging.

EDUCATION

D.M.A. Music Composition, University of Maryland (College Park, MD), 2006
M.A. Music Theory and History, SUNY Stony Brook (Stony Brook, NY), 2004
B.M. Music Composition, University of Maryland (College Park, MD), 2000
B.S. Music Education, University of Maryland (College Park, MD), 2000

AWARDS

Foundation for Emerging Technologies and Arts FETA Prize in Sound Art, 2016
Pittsburgh Magazine/Pittsburgh Urban Magnet Project 2013 40 Under 40
Tempus Continuum Ensemble Call for Scores Winner (Bob’s Party), 2013
The Fifth Floor Collective Call for Scores Winner (Bob’s Party), 2013
Bike Pittsburgh 2011 Advocate of the Year.
Central Minnesota Arts Board Grant, Spring 2009.
College of Fine Arts and Communication Travel Grant, Towson University, Spring 2007.
Jacob K. Goldhaber Travel Grant, University of Maryland Graduate School, Spring 2006.
University of Maryland Theory/Composition Graduate Travel Grant, Spring 2006.
Davis Award for Excellence in Graduate Scholarship, University of Maryland, Spring 2004.

ORGANIZATIONS

The Society of Composers, Inc.
The Society for Electro-Acoustic Music in the United States
The Society for Music Theory
The American Musicological Society Allegheny Chapter

ACHIEVEMENTS

Recordings of compositions:
invasion/symbiosis (III), SEAMUS Electroacoustic Miniatures 2012: Re-Caged, 2013.
Bit of nostalgia... on Axiom, part of the Society of Composers Inc. CD Series, Navona Records, 2011.
Selected performances of recent compositions:
I wouldn’t eat the strawberries… for instrumental and/or vocal trio (2015): Discoveries: Hear and Be Heard, Fulcrum Point New Music Project, Merit School of Music, Chicago, IL, 3/9/16; Red Note Ensemble Noisy Nights, Summerhall, Edinburgh, Scotland, 2/1/16; Versipel New Music: Versipel on the Edge, The Blue Nile Balcony Room, New Orleans, LA, 1/19/16
black out the windows for five to eight performers of any type (2015): London New Wind Festival, Regent Hall, London UK, 10/21/15
Confessional – a user-driven audio and visual installation (2014): Electronic Music Midwest, Kansas City, MO, 11/20-21/15
Becoming…again for one or more performers (2014): /rhythmos duo, Wild Goose Creative,Columbus, OH, 2/25/17; 2017 Florida International Toy Piano Festival, St. Petersburg, FL, 1/6/17; Up to the Minute, Kamraton, Pittsburgh, PA, 6/2/16; New Music for Strings - Roger Zahab and Friends, Chatham University, Pittsburgh, PA, 3/26/16; Denton McCabe, Teatro Paraguas, Santa Fe, NM, 5/7/15
Study 7b – stereo electro-acoustic sound (2014): Vox Novus 60x60 Wave Farm Mix, Pioneer Works, Brooklyn, NY, 4/30/15; Vox Novus 60x60 Wave Farm Mix, WGXC 90.7 FM, 3/7/15
OBJECTIFICATION [cc1] for chamber string orchestra (2014): University of Pittsburgh Symphony Orchestra, University of Pittsburgh, Pittsburgh, PA, 3/5/14; University of Pittsburgh Symphony Orchestra, Chatham University, Pittsburgh, PA, 3/2/14.
Replication [CBCL] for solo contrabass clarinet (2013): Composer’s Voice/Fifteen-Minutes-of-Fame: Alex Sramek, Jan Hus Church, New York, NY, 6/9/13.
Bob's Party for vocal and/or instrumental quartet (2013): MUSICA CON VISTA International Exhibition, Cluster Musica Contemporanea, Lucca, Italy, 3/26-5/10/16; UNK New Music Ensemble Spring Concert, University of Nebraska at Kearney, Kearney, NE, 4/16/15; UNK New Music Festival, University of Nebraska at Kearney, Kearney, NE, 3/9/15; University of South Florida New-Music Festival, Tampa, FL, 2/14/14; Tempus Continuum Ensemble, The Cell, New York, NY, 10/17/13; The Fifth Floor Collective – “Mitosis,” The Davis Square Theater, Sommerville, MA, 6/4/13.
invasion/symbiosis (III) - multi-channel electro-acoustic sound (2012): 60x60 Surround Sound, cubacultr, Münster, Germany, 12/4/16 & 1/16/16; Society of Composers Inc. Region III Conference, Marshall University, Huntington, WV, 2/27/16; 60x60 Surround Sound, Spectrum, New York, NY, 10/25/15; 60x60 Surround Sound, Jack Straw New Media Gallery, Seattle, WA, 10/29/14; Vox Novus 60x60 Surround Sound, Harvestworks, New York, NY, 5/16/14.
the ongoing process for laptop duo (2011-12): Society for Electro-Acoustic Music in the United States National Conference, St. Cloud State University, St. Cloud, MN, 4/20/17; New-Music Festival 2016, University of South Florida, Tampa, FL, 3/4/16; Electroacoustic Barn Dance, Mary Washington University, Fredericksburg, VA, 10/2/15; Sonic Circuits Festival of Experimental Music, Pyramid Atlantic, Silver Spring, MD, 3/2/13; Society of Composers Inc. National Conference, Ohio State University, Columbus, OH, 2/6/13.
invasion/symbiosis (II) for (optional) trombone and electro-acoustic sound (2012): Ear to the Earth 100 x John, 2012.
this inversion is expected to persist - pre-concert installation for three or more performers: League of the Unsound Sound, the Windup Space, Baltimore, MD, 3/20/11; League of the Unsound Sound, Catholic University, Washington, DC, 3/19/11.
invasion/symbiosis for trombone and electro-acoustic sound: Society for Electro-Acoustic Music in the United States National Conference, University of Miami, Miami, FL, 1/20-22/11; Sonic Circuits Festival of Experimental Music, Pyramid Atlantic Art Center, Silver Spring, MD, 10/16/10.
cooperation/convolution for large instrumental ensemble (2009): Society of Composers Inc. Region V Conference, Clarke University, Dubuque, IA, 4/11/13; Society of Composers, Inc. National Conference, University of South Carolina, Columbia, SC, 11/13/10.
Reconstruction for solo performer with found object and live electronics (2009): Electroacoustic Barn Dance, Mary Washington University, Fredericksburg, VA, 10/27/11; Studio 300 Digital Art and Music Festival, Transylvania University, Lexington, KY, 9/16/11; Society for Electro-Acoustic Music in the United States National Conference, St. Cloud State University, St. Cloud, MN, 4/9-10/10; American University, Washington DC, 1/20/10
Twelve Actions for solo performer (2009): Voicing Cage: By Cage and Inspired By Cage, Henry Art Gallery, Seattle, WA, 11/30/12; The Avant-Garde Lounge, The Goat Farm, Atlanta, GA, 10/27/12; Voicing Cage: By Cage and Inspired By Cage, Gettysburg College, Gettysburg, PA, 10/21/12; New Media Monday, St. Cloud State University, St. Cloud, MN, 3/2/09; Studio Z, St. Paul, MN, 3/1/09; Peabody Conservatory of Music, Baltimore, MD, 2/13/09; Appalachian State University, Boone, NC, 9/29/08; Art Enables Benefit Concert, Washington DC, 5/3/08; Faculty Recital, University of Maryland Baltimore County, Baltimore, MD, 4/27/08.
Assemblage for solo performer with found objects and live electronics (2007): Abandoned Store, Swissvale, PA, 8/3/15; Playfest, Oberlin College, Oberlin, OH, 3/14/15; Child of Tree: Afternoon of Voice and Percussion, Gettysburg College, Gettysburg, PA, 2/16/14; Society of Composers, Inc. Region V Conference, Clarke College, Dubuque, IA, 10/10/09; Society of Composers Inc. National Conference (solo performer), College of Santa Fe, Santa Fe, NM, 4/2/09; New Media Monday (solo performer), St. Cloud State University, St. Cloud, MN, 3/2/09; Studio Z (solo performer), St. Paul, MN, 3/1/09; Art Enables Benefit Concert, Washington DC, 5/3/08; Faculty Recital, University of Maryland Baltimore County, Baltimore, MD, 4/27/08.
Friday May 18 – a multimedia event for three or more performers (2007, with S. Lilly): Arrow Bicycle Gala Opening, Hyattsville, MD, 5/16/08; Artomatic 2007 (trombonist, vocalist), Crystal City, VA, 5/18/07.
Bit of nostalgia… for one or two percussionists and live electronics performer (2005-06): Juventas New Music Ensemble, Boston Conservatory and First Church in Boston, Boston, MA, 9/18-19/09; Society of Composers Inc. Region II Conference (computer performer), Queens College, Queens, NY, 11/17/07; Electronic Music Midwest (computer performer), Kansas City, MO, 10/12/07; Society for Electro-Acoustic Music in the United States 2007 National Conference, Iowa State University, Ames, IA, 3/9/07.
Bathroom 1900 – a collaborative, site-specific work with three dancers (2006): University of Maryland (sonic/visual performer), College Park, MD, 3/1-2/06.
Becoming…everything else – an installation for three or more performers (2004): “Danger: New Music” Festival, University of Maryland Baltimore County, Baltimore, MD, 5/15/05; University of Maryland, College Park, MD, 5/1-7/05.
Hand Leg Suit for mixed instrumental ensemble (2003): Society of Composers, Inc. Region V Conference, Clarke College, Dubuque, IA, 10/10/09; Bang on a Can Marathon (trombonist), Clarice Smith Performing Arts Center, College Park, MD, 3/29/09; American Composers Forum New Music Salon (trombonist), Sitar Center for the Arts, Washington DC, 7/13/07; College Music Society National Conference (trombonist), Atlanta, GA, 9/28/08; Appalachian State University (trombonist), Boone, NC, 9/29/08; Society for Composers, Inc. Region VI Conference, University of Central Missouri, Warrensburg, MO, 2/8/07.
Carnival – stereophonic computer-generated sound (2003): Vox Novus 60x60 East Coast Mix, Harvestworks, New York, NY, 10/4/13; Vox Novus 60x60 East Coast Mix, Dudley Hall, Harvard University, Cambridge, MA, 3/1/13; Vox Novus 60x60 Radio Request Extravaganza, Relevant Tones 98.7 WFMT, 10/6/12; Studio Z, St. Paul, MN, 3/1/09; Art Enables Benefit Concert, Washington DC, 5/3/08; Faculty Recital, University of Maryland Baltimore County, Baltimore, MD, 4/27/08

SELECTED PUBLICATIONS

“Liner Notes: Roger Reynolds’s imAgE series.” Roger Reynolds’s imagE/imAge (compact disc). Neuma Records, 2015.
“CD and DVD Review: Thomas DeLio’s Selected Compositions (1991-2013) and space/image/word/sound,” Computer Music Journal, Spring 2015 (39:1): 88-90.
“Becoming…everything else: Situating Performance in Public Space and Daily Life,” Perspectives of New Music, Winter 2014 (52:1): 57-80.
“Weird Al Yankovic,” Grove Dictionary of American Music 2nd ed., 2013, 606.
“American Composers Alliance (entry update),” Grove Dictionary of American Music 2nd ed., 2013, 98.
“Jackson Mac Low (entry update),” Grove Dictionary of American Music 2nd ed., 2013, 321-22.
“Robert Erickson (minor entry update),” Grove Dictionary of American Music 2nd ed., 2013, 157.
“Book Review: Catherine Strong’s Grunge: Music and Memory,” Popular Music and Society, May 2013 (36:2): 289-92.
“Book and CD Review: Source: Music of the Avant-garde, 1966-1973 and Source Records 1-6, 1968-1971, Computer Music Journal, Spring 2013 (37:1) 73-75.
“The Evolution of Form in the Music of Roger Reynolds (II),” Tempo: A Quarterly Review of Modern Music, April 2012 (66:260): 34-49.
“The Evolution of Form in the Music of Roger Reynolds (I),” Tempo: A Quarterly Review of Modern Music, January 2012 (66:259): 36-48.
“DVD Review: SPACE/SOUND: Multichannel Electroacoustic Music,” Computer Music Journal, Winter 2011 (35:4): 103-105.
“Book Review: John Luther Adams’s The Place Where You Go to Listen: In Search of an Ecology of Music,” Computer Music Journal, Summer 2011 (35:2): 92-95.
“Event Review: SEAMUS 2010,” Computer Music Journal, Winter 2010 (34:4): 74-75.
“CD Review: Amnon Wolman’s The Marilyn Series,” Computer Music Journal, Spring 2010 (34:1): 111-12.
“CD Review: Matthew Ostrowski’s vertebra,” Computer Music Journal, Fall 2009 (33:3): 68-69.
“Book Review: Dr. Dre: A Biography, John Borgmeyer and Holly Lang,” Popular Music and Society, February 2009 (32:1): 134-37.
“CD Review: Dexter Morrill’s Music for Stanford,” Computer Music Journal, Fall 2008 (32:3): 108-10.
“The Roger Reynolds Collection at the Library of Congress,” Notes: The Quarterly Journal of the Music Library Association, March 2008 (64:3): 435-57.
“Perception/Form: Thomas DeLio’s Though for solo piano.” In Essays on the Music and Theoretical Writings of Thomas DeLio, Contemporary American Composer, ed. Thomas Licata. Lewiston, NY: Edwin Mellen Press, 2008, 165-85.
“Event Review: SEAMUS 2007,” American Music 25:4 (Winter 2007): 521-23.
“Book Review: Cybersounds: Essays on Virtual Music Culture, ed. Michael Ayers,” Popular Music and Society 30:2 (May 2007): 289-92.
“CD Review: Neuma’s Electro Acoustic Music VII,” Computer Music Journal, 31:1 (Spring 2007): 98-100.
“Book Review: A Rock Reader, ed. Richard King,” Popular Music and Society 30:1 (February 2007): 117-19.
“CD Review: Roger Reynolds’s all known all white and Process and Passion,” Computer Music Journal 30:2 (Summer 2006): 99-102.

SELECTED PRESENTATIONS

“Engaging With One’s Own Work: Nostalgia, Play, Confession,” New-Music Festival 2016, University of South Florida, Tampa, FL, 3/4/16.
“Score-Based Site-Specificity in the Music of John Cage”: Society of Composers Inc. Region III Conference, Marshall University, Huntington, WV, 2/27/16; NUNC!, Northwestern University, Evanston, IL, 11/6/15; American Musicological Society Allegheny Chapter Meeting, Grove City College, Grove City, PA, 4/18/15; UNK New Music Festival, University of Nebraska at Kearney, Kearney, NE, 3/10/15.
Composition Lecture, University of South Florida New-Music Festival, Tampa, FL, 2/14/14.
"The Evolution of Form in the Music of Roger Reynolds," American Musicological Society Allegheny Chapter Meeting, Kent State University, Kent, OH, 4/9/11.
"Formal Discomfort: The Afghan Whigs' 'My Curse,'" American Musicological Society Allegheny Chapter Meeting, Carnegie Mellon University, Pittsburgh, PA, 4/24/10.
“Impetus Influenced Form: Roger Reynolds's The Palace (Voicespace IV),” American Musicological Society Allegheny Chapter, West Virginia University, Morgantown, WV, 10/25/08.
"Composer as Performer (Panel Discussion)," College Music Society National Conference, Atlanta, GA, 9/28/08.
Session Chair, "Progressive Musicianship I," College Music Society National Conference, Atlanta, GA, 9/26/08.
“The Roger Reynolds Collection at the Library of Congress: Overview and Application,” Society for American Music and Music Library Association Joint Meeting, Pittsburgh, PA, 3/1/07.
“Tracing the Evolution: Connecting the Music of Arnold Schoenberg to 19th-century Compositional Practice through Schenkerian Analysis,” American Musicological Society Capital Chapter, American University, Washington, DC, 9/30/06.
“The Music and Library of Congress Collection of Roger Reynolds,” Society of Composers Inc. Region VII Conference, University of New Mexico, Albuquerque, NM, 4/3/06.
“Becoming…everything else: Situating Performance in Public Space and Daily Life”: Society of Composers, Inc. National Conference, College of Santa Fe, Santa Fe, NM, 4/4/09; Society of Composers, Inc. Region VI Conference, University of Central Missouri, Warrensburg, MO, 2/10/07; McGill University Music Graduate Students’ Society Symposium, McGill University, Montreal, QC, 3/3-5/06; Play!: Contemporary Composition, Technology and Listening, Clark University, Worcester, MA, 11/5/05 (http://www.clarku.edu/xtp/xtp.html).
“Merging the Hallway and Classroom: My Predilection for The Afghan Whigs’ ‘My Curse,’” American Musicological Society Capitol Chapter, George Washington University, Washington, DC, 10/1/05.
“The Roger Reynolds Archive: Features and Uses,” Library of Congress, Washington, DC, 4/25/05.