Curriculum Vitae

Zae Munn
www.zaemunn.com

Contact information
zmunn@saintmarys.edu // zmunn@comcast.net                                
574.876.1401 cell  // 574.288.0386 home        
Music Department, Saint Mary's College, Notre Dame, IN 46556
       
Summary
I have taught at Saint Mary's College since 1990, after seven years of college level
teaching elsewhere.  At Saint Mary's I am in charge of all aspects of the theory and
composition program.  Thirty-five of my compositions are represented by seven publishers,
and several pieces are available on CD.  Recent works include a youth orchestra piece, a
quartet for voice and instruments, a choral piece with newly commissioned texts, and a
three-act opera. A work for twenty trumpets is in progress, and a large wind ensemble
piece is in the planning stages.

Employment
1990-     Faculty, Saint Mary's College, Notre Dame, IN    
               (1990 Assistant Professor; 1994 Associate Professor; 2000 Full Professor)      
               4-semester theory sequence and lab, composition classes, orchestration and
               arranging; form and analysis, co-teach Senior Seminar, supervise music notation   
               portion of Advanced W, maintain Music Lab and department website
1997-     Faculty, Interlochen Arts Camp (6-week summer session)
               Classes in composition and theory; private composition lessons
2003-04  Visiting Scholar, University of Michigan Composition Department
               Sabbatical appointment with no teaching responsibilities
1989-90  Adjunct Faculty, Lehigh University, Bethlehem, PA
                Electronic music (analog), coached string chamber music
1989-90  Adjunct Faculty, Moravian College, Bethlehem, PA
                2-semester orchestration sequence, 20th century music history
1986-89  Assistant Professor, Bowdoin College, Brunswick, ME  
               Orchestra, electronic music studio (digital and analog), theory, conducting,
1984-86  Assistant Professor, Transylvania University, Lexington, KY
               Composer-in-Residence, all levels of theory, composition, cello, chamber music
1983-84  Assistant Professor of Music, St. Cloud State University, MN
               Conducted orchestra, taught theory, conducting, cello, bass, class voice

Education
• University of Illinois at Urbana, DMA in composition, minor in orchestral conducting, 1985
• University of Illinois at Urbana, MM in composition, 1979
• Roosevelt University, Chicago, BM in Composition with honors, 1978

Professional Memberships
• American Music Center (AMC)        
• American Society of Composers, Authors and Publishers (ASCAP)
  ASCAPlus Award, 2000-2009, for noteworthy compositional activity
• College Music Society (CMS)
  2010 Program Committee, 2009-Dec. 31, 2010
  Composition Advisory Board, 2009-Dec. 31, 2011
• National Association of Composers U.S.A. (NACUSA)
• National Opera Association (NOA)             
• Society of Composers, Inc. (SCI)

References
• Dr. Laurel Thomas, Chair
  Department of Music, Saint Mary’s College, Notre Dame, IN
  lthomas@saintmarys.edu (574.284.4622)
• Dr. Michael Schelle, Composer-in-Residence
  School of Music, Butler University, Indianapolis, IN
  mschelle@butler.edu (317.940.9642). [On tour in China 12/25-1/7]
• Dr. John Boyle, Instructor of Composition and Theory, Summer Theory/Comp Coordinator
  Interlochen Center for the Arts, Interlochen, MI
  BoyleJK@interlochen.org (231.276.7818)

Published Compositions (commissions are underlined)
Arsis Press, Washington, DC
• A Fraction of Your Grace, clarinet and string quartet (1998)
• It’s the Soup That Animates the Noodles; orchestra (2002)
• In the Maze of the Moment, horn and string quartet (2002)
• Lauber Lieder, four songs for soprano and piano; also a version for mezzo (1995)
• Memorial, SSA women's choir (1994)
• Our Hands Were Tightly Clenched, string quartet (2004)
• Symphony of Alcoves, orchestra (2002)
• Two for Three, two songs for soprano, flute and viola (1995)
• What's for Supper, soprano, viola and piano (1998)
Earthsongs, Corvallis, OR
• Grandma's Alleluia, SSA women's choir (1991)
• The Muse, the Stove, and the Willow Plate, SSA women's choir (1990)
• To Be Like Music, mixed choir (2010)
Frank E. Warren Music Service, West Newton, MA
• They Were Mysterious Guests, Hard to Capture, alto saxophone and piano (2000)
• Three Piano Pieces With Important Things for the Left Hand, piano (1995)
HoneyRock, Everett, PA
• Interface, viola and marimba (1992)
• Start Dancing, viola and 4 roto-toms (2002)
• Tangles in the Web, six percussionists (1999)
JOMAR Press, Austin, TX
• Broken Tulip, instrumental septet (2009)
• Disclosure, violin, alto sax, bassoon (2005)
• Hanging Onto the Vine, saxophone quartet (2003)
• Kali, She Who Devours Time, violin and piano (2009)
• Libero Arbitrio, oboe, bassoon, piano (2003)
• No Longer Suitable for Framing, clarinet and trombone (2003)
• Nudged Along On Time’s Notched Stick, flute, viola, and guitar (2007)
• Quartet Ablaze, clarinet, violin, cello, piano (2009)
• Seven Short Rhapsodies for Oboe and Bassoon (2004)
Tempo Press, Madison Heights, MI
• Time to Face the Music, orchestra (2010)
Yelton Rhodes, Los Angeles, CA
• Build A World, children’s choir and piano (2001)
• The Canvas, treble choir and orchestra (1999)
• Certainty of Stone, a young person's guide to the chorus, SATB and piano (1999)
• Come With Me, children’s choir, piano, percussion (2009)
• Five Animal Songs, SATB and piano (1999)
• Horses, women’s choir and piano (part of Five Animal Songs) (1999)
• Like Any Pilgrim, women’s choir (2002)
• Touched to Apocalypse, women’s choir, piano, and harp (2001)
• The Whole Machine of the World, SATB a cappella (2000)

Compact Discs
• Centaur CRC 3013 (2009)
  Libero Arbitrio, instrumental                   
  Seven Short Rhapsodies, instrumental   
• Centaur CRC 2426 (1999) 
  Projectual, instrumental                                 
• Capstone CPS 8674 (1999)
  Five Animal Songs, choral                              
• Pro Organo CD 7155 (2002)
  Touched to Apocalypse, choral                      
• Aerial #3 NON1 CD (1991)
  Interface, instrumental                            
• Amasong/Laulu Voim, The Power of Song (2003)
  The Stove, choral
• Amasong/Amai CD 9972 (1998)
  Like Any Pilgrim, choral           
• Madison Children’s Choir, O Freedom! (2000)
  Build a World, choral  
* Muse/Coming Into Our Voice (1993)
  The Stove, choral  

Selected Performances of Note
• It's the Soup That Animates the Noodles, Mission Chamber Orchestra in California (2010)
• Forays and Trysts, premiere by Ara Sarkissian, Interlochen Arts Camp (2010)
• The Old Songs, premiere by faculty ensemble, Interlochen Arts Camp (2010)
• Witness, SCI Region VI Conference in Oklahoma City, directed by Karalyn Merritt (2009)
• Kali, She Who Devours Time, Schlern International Music Festival in Italy (2009)
• Broken Tulip, SCI National Conference in Santa Fe, NM (2009)
• Our Hands Were Tightly Clenched, La Catrina String Quartet, Young Performers Career
  Advancement Showcase, Carnegie Hall, New York City (2007)
• Time to Face the Music, premiere, Interlochen Arts Camp, Paul Salerni, conductor (2007)
• Build a World, Madison Youth Choirs, Michael Ross, conductor (2007)
• Witness, Saint Mary’s College, 4 performances, directed by Douglas Boyer (2006)
• Seven Short Rhapsodies, International Double Reed Society Conference, Austin, TX, (2005)
• Symphony of Alcoves, SCI National Conference (2004)
• Five Animal Songs, NOW Festival, Capital University, Columbus, OH (2004)
• Hanging Onto the Vine, SCI National Conference (2004)
• Our Hands Were Tightly Clenched, Chicago College of Performing Arts (2003)
• Five Animal Songs, Butler Choral, Florida Tour (2002)
• Libero Arbitrio, International Double Reed Society Conference, Buenos Aires (2000)
• They Were Mysterious Guests, North American Saxophone Alliance (1999)
• A Fine Garment, A Gentle Weave, Western Illinois Univ. New Music Festival, (1999)
• Yelling At God, SCI National Conference (1999)
• Tangles in the Web, Central Michigan University percussion ensemble (1999)
• The Canvas, premiere, Valparaiso University Symphony, Southlake Children's Choir (1999)
• Five Animal Songs, multiple premieres, Otterbein Vocal Ensemble, Central Michigan
  University Concert Choir, Radcliffe Choral Society, University of Illinois Concert Choir (1999)

Current and Upcoming Projects
• Trumpet Calls, for 20 trumpets, for Edward Carroll and the International Trumpet Seminar at   
  Chosen Vale, Summer 2011 performance (in progress)
 • Commissioned work for Piedmont East Bay Children's Choirs (San Francisco), directed by  
  Robert Geary (nearing completion)
• Sabbatical project (Spring 2011): large wind ensemble piece in association with conductor
  Jerry Junkin, University of Texas-Austin

Audio Links
• Works for orchestra
• Works for eclectic ensembles
• Works for saxophone(s) and sax in eclectic ensembles
• Works for string quartet and string quartet plus one
• Works for voice and piano, voice and other instruments
• Works for percussion
• Works for solo instruments
• Works for mixed choir
• Works for womens' choir
• Works for younger choir
• For short excerpts, see works section of www.zaemunn.com

• Aural Skills associated with Theory 2, 3, 4
• Keyboard Skills associated with Theory 2, 3
• Composition sequence: 3 semesters in class and/or private lesson format
• Senior Seminar: capstone project for music seniors
• Recital-Forum presentations (to all music majors and faculty)
        My Secret Life as a Composer (2009)
        Behind Every Successful Sound is the Harmonic Series (2008)
        Incredibly Instrumental, a four-part mini-series (2007)
        Window on the Music Professions, year-long series (2000)

Interlochen Arts Camp (6 week summer session, high school students)
• Composition Seminar for composition majors
Techniques and skills for aspiring composers, with an emphasis on focused
projects that may be incorporated into composiiton projects; topics change each summer.
• Advanced Composition Class
  Elective for instrumental and vocal majors; for students who have experience
  notating their musical ideas and are ready to incorporate new skills and techniques
  in a project-oriented structure. Writing for in-class instruments and voices is
  emphasized, as well as in-class readings and performances.  May be repeated,
  as specific topics will change each summer.
• Beginning Composition Class
  Elective for instrumental and vocal majors; introduction to basic compositional
  procedures, including building motives and melodies, textures, form, harmonic
  languages, scales/modes, accompaniment styles, text setting, notation skills.
• Theory classes: levels 1-4 as needed
• Private composition lessons, as needed: composition majors

Past College Level Teaching and Conducting Experience
• Form and Analysis
• Orchestra
• Wind Ensemble
• Conducting
• Chamber music coaching
• Electronic Music
• Cello and bass lessons
• Class Voice

Published Interviews
• The Observer, “Audience Witnesses Stunning, Emotional Opera,” May 1, 2006
• South Bend Tribune, “Witness this operatic debut,” Apr. 23, 2006
• South Bend Tribune, “Workshop a window to staging of opera Witness,” Feb. 22, 2005
• South Bend Tribune, “Introduction to opera’s merit,” Feb. 18, 2005

Public Presentations
• Performance/presentation in the One Book-One Community series at the Loudoun County
  Public Library in Virginia, with Witness participants, Oct. 1, 2005
• National Opera Association Conference in Washington, D.C.: poster session titled "Witness:
  A New Opera with Relevance, Musical Immediacy, and Rich Solo and Chorus Roles,”
  Jan.10, 2009

Published Articles
• Journal of the International Alliance for Women in Music, Two music reviews (Yule-tide  
  Fires  by D.Loomer and The Master’s Hands by E. Austin), Vol. 5, No. 1, Winter 1999, p. 31
• Journal of the International Alliance for Women in Music, CD review of Streicher Trio  
  playing  works of Louise Farrenc and Clara Schumann, Vol. 2, No. 3, Oct. 1996, pp. 34-35
• Journal of the Conductors’ Guild, “The Conductor as a Compositional Resource: New  
  Approaches to the Conducting Role in the Music of the 1960s and 1970s,” published in two
  parts: Vol. 13, No. 2,1992, and Vol. 14, No. 1, 1993

Community Connections
• Witness
  Witness is an opera about a community greatly stressed by the influx of the Ku Klux Klan and
  the ways in which it reconfigures and recovers.  It was written for performance by Saint Mary's
  College students, and singers and instrumentalists from the surrounding community. It was
  completed and then produced in 2006, with substantial grant support from the South Bend
  Community Foundation, the Saint Mary's College Center for Women's Intercultural Leadership,
  and the American Music Center Copying Assistance Fund.  The first of four performances was
  attended by 800 school children from surrounding communities, many using bus transportation
  paid for by grant funds.  For most it was a first experience with opera.  Karen Hesse also
  attended, did a Q and A session, and ate pizza with the children.
• Unfolding Into Favored Song
  This is a recently completed project, a choral work in memory of a local woman who was killed
  suddenly. Working with writer Apolinary Galecki, we created an original text based, in part, on
  the memories and characterizations of Kathy we have elicited from members of her church, 
  friends, and family.  The work will premiere locally, most likely on the December 2010 South
  Bend Chamber Singers concert, directed by Nancy Menk.
• Music for use in a church setting
  For the last three years I have written and performed a number of new works and arrangements 
  for use in services at a   local Unitarian church.  The restrictions and immediacy of the setting
  (duration, placement and function in the service, tastes of the audience, writing for known
  performers, short timeline for completion and rehearsal) have offered unique challenges and
  benefits.
• Music for use at Saint Mary's College
  Spirits Taking Flight was composed to celebrate the Saint Mary's College Sesquicentennial in
  1994.  Ted Billy, a Saint Mary's College English, wrote the text, and the song has been
  used each year during convocation and graduation ceremonies.  Beginning in 1991, I wrote
  several trumpet fanfares, in two- and three-part versions, for use in the yearly Madrigal Dinners
  at Saint Mary's College. They have now been used for over 15 years.

NEWS | BIOGRAPHY | WORKS | RECORDINGS | VIDEOS | CV | LINKS | PROGRAM NOTES | PHOTOS