About the Contributors
Randall Harlow is Associate Professor of Organ and Music Theory at the University of Northern Iowa. He teaches courses throughout the core undergraduate music theory and musicianship curriculum, graduate music theory seminars, and an interdisciplinary honors music course. He is an active performer who specializes in contemporary repertoire and innovative approaches to organ performance. His research focuses on deep Gesture as the catalyst for the dynamic networking of cognitive and social dimensions fundamental to music making, listening and discourse, while a related strand of his work pursues theoretical and artistic research into the ecology of technologically-augmented “hyper-acoustic” musicking. His work is published in the journals MUSICultures, Keyboard Perspectives, and proceedings of the international conference New Interfaces for Musical Expression (NIME). He has presented at conferences at Cornell, Harvard, and Oxford Universities, the International Conference on Music Perception and Cognition (ICMPC), Performance Studies Network (PSN), the joint AMS/SEM/SMT National Conference, Porto International Conference on Musical Gesture in Portugal, Göteborg International Organ Academy in Sweden (GOArt), the Westfield Center, and Eastman Rochester Organ Initiative Festival (EROI), and is a frequent speaker at the Orgelpark in Amsterdam.
Heather Peyton is Associate Professor of Oboe and Music Theory at the University of Northern Iowa where she teaching classes in the core undergraduate theory sequence. Dr. Peyton is the recipient of numerous national and international awards, including winning honorable mention as a finalist in the prestigious Gillet-Fox International Oboe Competition. She has appeared as a soloist with orchestras and contemporary music ensembles throughout the United States, Canada, Europe, and Asia, and has performed as a member or guest with groups like the Orquestra Sinfônica da Universidade de Caxias do Sul, the Lansing Symphony Orchestra, Michigan Opera Theatre Orchestra, Chautauqua Symphony Orchestra, National Repertory Orchestra, Ensemble Pentaèdre, and the Société de Musique Contemporaine du Quebéc. Dr. Peyton is a past President of the National Association of College Wind and Percussion instructors. One area of her research focuses on pedagogy, student success, and retention. Dr. Peyton helped found and serves as a coordinator for the School of Music’s Peer Mentoring Program, which connects all students in the theory core sequence with peer mentors in order to foster student success. She also collaborated to create a theory articulation agreement with Iowa Regents institutions to better prepare students for music theory requirements, and is currently expanding those efforts to include Iowa Community Colleges. Dr. Peyton is passionate about connecting music theory to student’s daily lives.
Jonathan Clarke Schwabe is Professor of Theory and Composition at the University of Northern Iowa. His work for youth orchestra As I Remember was performed at the Kennedy Center in the summer of 1999 and received numerous subsequent performances in the US and Europe. Two chamber operas The Hard Years (libretto by Beth Webb Hart), and The Sojourner (based on the story by Carson McCullers) were presented at the Maude Powell Music Festival. Other collaborations include the score for the musical comedy The Bake Shop Ghost with author Jacqueline Ogburn and Peter Pan with choreographer Gloria Touhy (Indiana Ballet Theatre). In 2010 he was commissioned to write a new work to commemorate a historic visit by His Holiness, the Fourteenth Dalai Lama to UNI. In 2012 his work A Toi Cometé Vagabonde was premiered at the World Saxophone Congress in Aberdeen, Scotland. His principal teachers are Samuel Adler, John Anthony Lennon and Dick Goodwin. His music is published by Musikverlag Bruno Uetz, Veritas Musica Publishing, Winzer Press and Alafia Press.
Daniel Swilley is Assistant Professor of Music specializing in Composition, Theory, and Music Technology at the University of Northern Iowa. His music and research have been presented at festivals and conferences such as June in Buffalo, SEAMUS, Toronto Electroacoustic Symposium, Understanding Visual Music Symposium, NoiseFloor, New York City Electroacoustic Music Festival, Electronic Music Midwest, Studio 300, Audiograft, Electroacoustic Juke Joint, College Music Society, as well as Society of Composer’s Inc. Swilley holds degrees in composition from University of Illinois Urbana-Champaign (DMA), Georgia State University (MM), and Valdosta State University (BM). His primary composition teachers have included Heinrich Taube, Sever Tipei, Robert Scott Thompson, and Scott Wyatt.
