INES THIEBAUT portrait
  • Visiting Assistant Professor, School Of Music

Creative Research

  • Commission from NOVA Chamber Music Series, 2017. In Progress. Composition for a chamber piano concerto. Jason Hardink, soloist. To be premiered in the Spring 2018, in Salt Lake City. Commission, in progress 12/15/2016.
    http://www.novaslc.org
  • Commission from Duo Do Re Mi, 2016 (Untitled) Composition for flute and piano. Roberta Mitchell (Flute) and Mirna Lekic (piano). To be premiered in the Fall 2016, in New York. Commission, in progress 12/15/2015.
    http://robertamichel.com/duoromi/
  • Commission from trombonist David Whitwell, 2014 (lites) Composition for low brass trio. To be premiered in the Summer 2016, in New York. Commission, completed 12/15/2015.
  • Commission from flutist Julián Elvira, 2015 (Promissus) Composition for prónomo flute and electronics. Premiere performance: CUNY Graduate Center, NY. June 22, 2015. 2nd performance: VII Ciclo de Conciertos de Solistas Fundación BBVA Palacio Marqués de Salamanca, Madrid, Spain. December 6, 2015 Commission, completed 12/06/2015.
    http://pronomosflute.com
  • Commission from composers Elizabeth Adams and Julie Harting for their “Julie and Elizabeth’s Anti-Capitalist Concert Series” (oh Rousseau, Where Art Thou). Composition for The Cadillac Moon Ensemble. Premiere performance: Tenri Cultural Institute, NY. October 17, 2015. Commission, completed 10/17/2015.
  • Commission from Dr.Faustus, 2015 (Sound Imagery No.5) Composition for violin and electronics for Dr.Faustus’ “New Synchronisms" project. Premiere performance: Willow Place Auditorum, Brooklyn, NY. May 20, 2015 Commission, completed 05/20/2015.
    http://drfaustus.org/new-synchronisms
  • Commission from Ensemble Mise-En, 2015 (quintessence) Composition for flute, clarinet, horn, trombone, violin, bass and percussion. Premiere perfromance: CUNY Graduate Center, NY. May 18, 2015 Commission, completed 05/18/2015.
    http://composersalliance.org/calendar
  • Music Composition for the theatre production of "Cyrano". By Jo Roets Directed by Matthew Gutschick. Parallel 45 Theatre Company. About the Play: A delightful, heartwarming adaptation of Edmond Rostand’s classic Cyrano de Bergerac that tells the timeless tale of a man who helps another win the affections of the very woman he, himself, loves. Directed by Matthew Gutschick, Artistic Director of Omaha’s Rose Theatre, a cast of three actors triangulates this classic into a lightning-paced romance of duels, panache and sacrifice. This play was commissioned by the renowned Seattle Children’s Theatre and has been performed all over the world to the delight of audiences of all ages. Curatorial/Production, completed 04/2015.
    http://www.parallel45.org/cyrano/
  • Commission from The Cadillac Moon Ensemble, 2014 (alcmaeon) Composition for flute, violin and percussion. Premiere performance: CUNY Graduate Center, NY. April 9, 2014. Additional performance: Signal Gallery, Brooklyn, NY. December 11, 2014. Commission, completed 12/11/2014.
    http://cadillacmoonensemble.com/
  • Commission from Ensemble 365, 2013 (Cuncta Fluunt) Composition for soprano and voice. Premiere performance: CUNY Graduate Center, NY. October 10, 2013. Additional performances: Westbeth Gallery, New York, NY. May 28, 2014; The Firehouse Space, Brooklyn, NY. June 5, 2014; Jan Hus Church, New York, NY. November 23, 2014. Commission, completed 11/23/2014.
    http://www.alicehjones.com/ensemble-365.html

Presentations

  • University of Iowa SCI Chapter New Music Symposium. Title: Compositional Spaces in Mario Davidovsky’s Quaretto(s) Abstract: The music of Mario Davidovsky has been seldom analyzed past the timbral implications of his electronic pieces and gestural aspects of his phrasing, and there has been virtually no attention paid to its pitch organization, despite the composer’s longstanding interest in writing for acoustic instruments. In this paper, I demonstrate that the interval cycles, specially characteristic combinations of the 1-cycle and the 5-cycle, form a consistent resource for the organization of pitch in Davidovsky’s music. In particular, I propose a compositional space that can be inferred as the structural source of harmonic and melodic combination in his Quartetto for Flute and String Trio (1987). Conference Paper, Presented, 04/05/2014.
    http://www.societyofcomposers.org/conferences
  • West Coast Conference of Music Theory and Analysis. University of Utah. Title: Compositional Spaces in Mario Davidovsky’s Quaretto(s) Abstract: The music of Mario Davidovsky has been seldom analyzed past the timbral implications of his electronic pieces and gestural aspects of his phrasing, and there has been virtually no attention paid to its pitch organization, despite the composer’s longstanding interest in writing for acoustic instruments. In this paper, I demonstrate that the interval cycles, specially characteristic combinations of the 1-cycle and the 5-cycle, form a consistent resource for the organization of pitch in Davidovsky’s music. In particular, I propose a compositional space that can be inferred as the structural source of harmonic and melodic combination in his Quartetto for Flute and String Trio (1987). Conference Paper, Presented, 03/28/2014.
    http://pages.uoregon.edu/wccmta/2014/index.html
  • Music Theory Society of the Mid-Atlantic (MTSMA) Shenandoah University, Winchester, Virginia. Title: Compositional Spaces in Mario Davidovsky’s Quaretto(s) Abstract: The music of Mario Davidovsky has been seldom analyzed past the timbral implications of his electronic pieces and gestural aspects of his phrasing, and there has been virtually no attention paid to its pitch organization, despite the composer’s longstanding interest in writing for acoustic instruments. In this paper, I demonstrate that the interval cycles, specially characteristic combinations of the 1-cycle and the 5-cycle, form a consistent resource for the organization of pitch in Davidovsky’s music. In particular, I propose a compositional space that can be inferred as the structural source of harmonic and melodic combination in his Quartetto for Flute and String Trio (1987). Conference Paper, Presented, 03/22/2014.
    http://www.mtsma.org/2014/2014index.html

Publications

  • Form and Process in Music, 1300–2014: An Analytic Sampler draws together papers delivered at the 2014 meeting of the West Coast Conference of Music Theory and Analysis. The conference spanned an unusually wide spectrum of musical styles, including papers on European twelve-tone music after the Second World War, fourteenth-century music, pop music and jazz, the music of living composers, narrative and characterization, and the history of music theory. The title of the book reflects the large span of musical cultures that are represented within, but also accounts for the common thread through all of these essays, a strong emphasis on understanding the forms and processes of music through analysis. The reader will find within it a compendium of analytic techniques for numerous musical styles. Published, 01/01/2016.
    http://www.cambridgescholars.com/form-and-process-...