Jack W Stamps            Compositions                Graphic Score Examples            On My iPod            Bio/CV/Contact

 

Born in San Antonio, Texas, Jack Stamps has devoted a lifetime to pursuing a variety of musical outlets. His parents claim as a one-year-old, he could pick out the Beatles’ “Hey Jude” 45rpm out of a pile of random 45s and can count the words to the tune among his first. He was a founding member of the perennial San Antonio alternative rock band, The Robertsons and spent 10 years, starting in 1987, writing and singing songs with them. In 1997, he began work as a solo artist under the name Pelòn and has recorded numerous collections of alt-pop songs.


Feeling an increasing desire for more complex musical structures, in 2001, he turned his attention to music composition and has since sought to synthesize a relationship between contemporary classical music and his alt-rock background. He completed his undergraduate studies at the University of Texas at San Antonio and received his master’s and doctoral degrees from the University of Texas at Austin. He has studied with Donald Grantham, Dan Welcher, Russell Pinkston and Yevgeniy Sharlat.


He has written for a variety of different ensembles and has been performed in the US, South America and Europe. He has received commissions from such ensembles as SOLI Chamber Ensemble, Musical Bridges Around The World and The Tosca String Quartet; the resident quartet for pop music icon David Byrne. Jack's work has been featured at numerous festivals and conferences in North America, Europe and South America, including the International Computer Music Conference, the Society of Electro-acoustic Music in the United States conference, Electronic Music Midwest and others.


Of Jack’s second string quartet, critic Mike Greenberg writes, “The piece reveals a remarkable compositional discipline -- Mozartean clarity, Brahmsian contrapuntal intricacy -- and a very subtle ear for weaving hints of American pop and jazz idioms through a fresh, vibrant modernist canvas.”


His recent research and compositions reflect a reconciliation of opposing musical styles such as Sufist devotional music, Jazz, Zappa and Pérotin while exhibiting increasingly prominent use of extended graphic design elements in his scores. In contrast, he recently completed a unique electronic podcast pop-opera called NIGHTLIFE, of which Radioindy.com writes, "Nightlife: A Pop-Opera In Three Acts" is both a provocative and satisfying piece of work that demands, and, more importantly, rewards multiple listens.”


Jack still remains active as a songwriter and private instructor and lives happily in San Antonio. He is the Program Coordinator for Music and Sound in the Center For Arts and Entertainment Technologies at UT Austin. He is currently putting the finishing touches on a new post-modernist album called CARSON, written under his pop alias MC Debris




JACK W. STAMPS

1214 Nacogdoches Apt B

San Antonio, Texas 78209

jackwstamps@gmail.com


Education


Doctorate of Musical Arts (D.M.A.)

The University of Texas at Austin, Texas, 2010.

Dissertation: a thirty-minute work for chamber ensemble entitled, “The Sensuous Terrain”.


Master of Music in Composition (M.M.)

The University of Texas at Austin, Texas, 2006.

Thesis: Buck Jones: An Opera In Three Acts


Bachelor of Music in Composition (B.M.)

The University of Texas at San Antonio, Texas, 2003.


Certificate of Advanced Education in Electronic Media, The Technology Institute for Music Educators (Ti:me), San Antonio, Texas, 2003.



Awards and Honors


Seton Hall University Wuhan Scholarship, 2012.

Special recognition of my piece, Lulled By An Imploding Lotus, at the International Computer Music Conference in Copenhagen, Denmark, 2009.

Meet The Composer Grant, 2008.

CEMJKO Electronic Music Award, Second Prize, 2006.

University of Texas at San Antonio Academic Excellence Scholarship, 2002-2003.

University of Texas at San Antonio Citation for Excellence in Electronic Composition, 2003.

Reed Holmes Memorial Prize in Music Composition, 2003.

Turner Classic Movies Young Film Composers Competition, Finalist, 2003.

Numerous ASCAP Plus awards from 2003 to present.



Creative Output and Research


Composition (*denotes commissioned work; denotes critical review)


Avant-Pop

The Scientist and His Science, (recording, released Internationally by BGC Records February 25th, 2013; adjunct read-and-play memoir, summer 2015). Includes the following individual songs:


oPrologue: I am a Scientist and This is My Science

oThe Wind Cries Wendy

oInterlude: The Recipe for and Occam’s Razor

oA Blown-Away Leaf (une feuille emportee)

oA Salad Before the Pinch

oDesignated Dreamer

oInterlude: I Think Your Hipster Band’s on to Something

oTilapia Sunflower (Crownstar Uberslaw)

oCompass Box (en pleurs)

oYou Have Chosen Plain Snack

oThe Idiot and the Oddity

oThe Beeping Blue Detour

oCold Square (2013)

oInterlude: The Referent is the Void

oDadaist Karaoke 2045:

oI Jogged Frightened

oBlimey if She Floats

oThe Brachial Debate

oS-Conce

oWe All Neatly Watched the Wing’s Rhythm

oThe Science of Sideview

oSlow Soil Epidemic

oInvisible Sugar Hives

oEpilogue: The Call of the Canyon

oUntitled (______)



NIGHTLIFE: An Electronic Pop-Opera, in piano-vocal score, 2010.

Released by DROI Records. Based on a libretto and story idea by John Navarro. Includes the following individual songs:


oInvocation

oBe Efficient, Yes/No

oEvery Thing Is Now

oEpitopical

oLife Is Taking For Fucking Ever

oIt Got Me Thinking When I was A Kid

oTuesday Summer

oFall Out

oLlamame, Por Favor

oCommemorative Bottle

oController Of A Game

oCold Square

oReprise And Postlude

oWhat is it Like When  You’re on the Road?

oPassiflora Line

oIt Happened!

o1+1=

oJulie Iz Metal

oFade To Black

oMascarita

oI Want To Die

oEverything Is Now

oClosing Invocation




Large Ensemble


Goldsworthy Variations for Wind Ensemble and Electronic Media, 2003.


Chamber Ensemble

Still Point of the Turning World for Mixed Ensemble and Percussion, 2012. *

Strange Frenzy for Mixed Ensemble and Percussion, 2009 (revised 2001). *

The Sensuous Terrain for Mixed Ensemble and Percussion, 2010. *

Wildflowers: A Performed Lecture for Baritone Voice, Mixed Chamber Ensemble and PowerPoint Presentation, 2009.

String Quartet #2: Sketches from A Fakebook Landfill for String Quartet, 2007. *

String Quartet no. 1: Inamoria for String Quartet and Synthetic Voices, 2002. *

Four Instances for Soprano Saxophone and Piano, 2001.

Une Recette Pour le Portage de Gingembre-Chanson for Guitar and Phantom Vocalist, 2005. *


Electronic

Buck Jones: A Surround-Sound Opera in Three Acts. Revised/rearranged for 5.1 surround sound + vocals. Fall 2014.

40 Project Management Koans, for stereo playback. Spring 2013.

Thexposition, for 5.1 surround sound. A stand-alone introduction. 2011.

The Science of Side View Commuter, music for multimedia collaboration with video artist, Bogdan Perzynski, 2008. *

Dispatches From Unnoted Stations, Book 1: MICROCHIP-ÉCLAIR for 5.0 Surround Sound Electronic Playback, 2006.

Lulled by an Imploding Lotus for 4-channel Electronic Playback, 2006.

Bloom Like the Woofer Does for Marimba and 4 Boom-Boxes, 2004. *

Baby Hobos for Brass Quintet and Electronic Media, 2004.

Your Acquaintance for Clarinet, Electronic Media and Occasional Piano, 2002. *

A Suspicious, Ticking, Neatly Packaged Box of Whimpers for Piccolo and Electronic Media, 2002. *

Rock Music for Vibraphone and Electronic Media, 2001. *


Choral

The Death of Tabitha (1843) for Women’s Chorus, 2 Flutes, Clarinet and Piano, 2003. *

Speech for the President to Give in Case the Astronauts Were Stranded on the Moon for SATB Chorus, Organ, 2 Trumpets, Percussion and Theremin, 2003.

How Did I Get Here? for Soprano Voice and Piano (or electronics), 2003.

Buck Jones: an Opera in Three Acts for Chorus, Chamber Ensemble, Electronics, 2006. Premiere: (Staged Selections) Spring, 2006. 90 minutes.


Solo

Still Point Concentrate I: Meditations and Intrusions, solo piano, 2013. *

Syntactics, solo violin, 2004.


Compositions Presented at Conferences


Society of Electro-Acoustic Music in the United States (SEAMUS) National Conference. Spring 2014, Middletown, CT. Work: 40 Project Management Koans.


Electroacoustic Barndance, National Conference (2013), Fredericksburg, VA. Work: 52 minute set of avant-pop.


ASCAP Expo, International Conference (2013), Los Angeles, CA. Work: You Have Chosen Plain Snack. Selected for panel review.


ASCAP Expo, International Conference (2012), Los Angeles, CA. Work: Designated Dreamer. Selected for panel review.


Society of Electro-Acoustic Music in the United States (SEAMUS) National Conference 2011, Miami, Fl. Work: Thexposition.


Electronic Music Midwest Conference 2008, Kansas City, KS. Work: Microchip-Eclair


Society of Electro-Acoustic Music in the United States (SEAMUS) National Conference 2007, Ames, Iowa. Work: Lulled by an Imploding Lotus.


International Computer Music Conference (ICMC) 2007, Copenhagen, Denmark. Work: Lulled by an Imploding Lotus.


Música Viva Festival 2007, Lisbon, Portugal. Work: Lulled by an Imploding Lotus.


Society of Composers, Inc (SCI) National Conference 2003. San Antonio, Texas. Work: Speech for the President to Give in Case the Astronauts Were Stranded on the Moon.







LaTex Regional Conferences. Presented pieces each year, 2004-2009. Locations: Austin, TX, Baton Rouge, LA, Houston, TX, College Station, TX, New Orleans, LA. Works: The Science of Side View Commuter, Dispatches From Unnoted Stations, Book 1: MICROCHIP-ÉCLAIR, Lulled by an Imploding Lotus, Bloom Like the Woofer Does, Baby Hobos.


Music for Film/Television


The Science of Side View Commuter. Collaboration with video artist, Bogdan Perzynski. 2008. *

Danzak. Scored the short film directed by Gaby Yepes. 2008.

Bulldozer. Scored short comedy directed by Mike Faerber. 2007.


Music for Dance


Twining 2. Collaborated with choreographer, Yacov Sharir. 2006. *

Mania. Collaborated with choreographer, Holly Williams. 2004.



Professional Teaching Experience


University of Texas at Austin

Program Coordinator, Music and Sound Technologies / Full-time Lecturer

Center for Arts and Entertainment Technologies (CAET)

College of Fine Arts                                                                         Fall 2015 – Present


As Program Coordinator of Music and Sound Technologies with the CAET, I have continued the pedagogical research from the previous year, which has included the coordination of the production of numerous marketing tools such as video course trailers, coordinating branding focus groups and have established all manner of social media outlets for the CAET.


Currently teaching Foundations of Arts and Entertainment Technologies, Foundations of Music Technology and Music and Sound for Film and Games.


I am currently designing an online version of my course, Foundations of Arts and Entertainment Technologies, to be created and hosted by Kadenze, Inc., an innovative leader in online art and creative technology. www.kadenze.com.

 


University of Texas at Austin

Lecturer and Lead Advisor & Consultant

Center for Arts and Entertainment Technologies (CAET)

College of Fine Arts                                                               Fall 2014 – Summer 2015


Researched and developed pedagogical, facility and course delivery concepts for the forthcoming Center for Arts and Entertainment Technolgies (CAET). This included content design for a range of courses, research on facility needs such as labs, performance spaces, studios, faculty support, etc.


Taught Music and Sound for Film and Games; a course that explores the current trends of the software relationship between moving picture, sound design and music.


Seton Hall University

Assistant Professor of Music       Fall 2011 – Spring 2013


Taught a rotation of Music Theory courses I through IV, alongside a sequence of 5 music technology courses, including Music-Audio Technology I & II, Music and Sound For Film, Music Technology and Culture and Studio Styles and Music Marketing Techniques.


Taught private composition and theory lessons and maintain a studio of 1-5 students per academic year.


Developed six new department courses including Fundamentals of Music, Music-Audio Technology I & II, Music and Sound For Film, Music Technology and Culture and Studio Styles and Music Marketing Techniques.


Restructured the Music Theory sequence, to include the extraction of Aural Skills I & II as separate classes from Music Theory I & II.


Designed and implemented a new 18-credit minor in Music Technology, which includes the following courses: Fundamentals of Music, Music-Audio Technology I & II, Music and Sound For Film, Music Technology and Culture and Studio Styles and Music Marketing Techniques.


University of Texas at Austin

Assistant Instructor of Record (AI)                                         Fall 2008 – Spring 2009


Taught a rotation of courses, including, Creating Music and Sound for Film, Video and Games, Introduction to Electronic Music Composition and Intermediate Electronic Composition.

Adjudicated composition entries for the annual Gamma-UT conference (Fall 2008, 2009).



Trinity University

Visiting Assistant Professor                                              Spring 2008 – Summer 2009


Taught a rotation of courses including, Introduction to Electronic Music and Orchestration.

Mentored three students, through private instruction, who were subsequently selected for inclusion at national music conferences.


University of Texas at Austin

Teaching Assistant (TA)                                                           Fall 2005 – Spring 2008


Taught a rotation of courses, including Introduction to Electronic Music Composition, Intermediate Electronic Composition & Ear Training and Sight Singing.



Service and Administration


Seton Hall University


Designer. Materials related to Seton Hall Music Program’s participation at the New Jersey Music Educator’s Association, New Brunswick, NJ, Spring 2014.

Member. Communication and the Arts Departmental Program Review Committee, Spring 2014.

Participant. To represent the Seton Hall Music Program at the New Jersey Music Educator’s Association, New Brunswick, NJ, Spring 2014.

Interviewee. Interviewed by Seton Hall’s Setonian, on the topic of The Beatles and 50th anniversary The British Invasion. Spring 2014.

Interviewee. Interviewed by Mark McCord (CNBC) on the topic of The Beatles and 50th anniversary The British Invasion. Spring 2014.

Designer. Designed tri-fold brochure to advertise minor in music technology, Spring 2013.

Designer. Designed poster to advertise minor in music technology, Spring 2013.

Designer. Designed new tri-fold to advertise music at Seton Hall for inclusion in the Pirate Preview folders, Spring 2013.

Panelist. Represented Seton Hall as a guest on the EBRU cable network’s talk show, Fresh Outlook, on the topic of the death of Richie Havens. Spring 2013. 

Guest Artist. Represented Seton Hall in a two-part podcast series on WSOU’s Art-Talk-Radio, hosted by Mark Svenvold. Spring, 2013.

Member. Department of Communication and the Arts, Center of Excellence (COE) Committee. Fall 2013.

Member. University Senate Instructional Technology (IT) Committee. Fall 2012 – present.

Author. music technology needs assessment report, solicited by Dean Michael Zavada. Spring 2013.

Member. Department of Communication and the Arts, Core Curriculum Committee. Fall 2011.

Member. Department of Communication and the Arts, Public Relations Search Committee. Fall 2012 – Spring 2013. 

Author. Transfer Student Evaluation and Assessment Report, solicited by interim Dean Joan Guetti. Spring 2012.


Blurred Gray City, Inc.

Co-founder. Composer and Producer. A Company, focused on the creation and distribution of new media and musical theater. Fall 2012 – present.

Administrator. Facilitating an ongoing relationship with NYC music licensing company, Beta Petrol, providing demo music for commercial use.  Spring 2012 – present.

Engineer. Mixed and mastered songs for Texas band, The Robertsons. May 2011.


Outside Interests Music

Founder, Composer and Publisher. A publishing company by which all of my chamber works are published and distributed. Fall 2001 – present.


Engraving

14 years experience with Finale Notation Software with extensive research and experience in the application of digital graphic design to musical score mechanics.


Served as personal engraving assistant to composer Seymour Barab during the preparation of his three-act opera, The Gods of Mischief. 2003-2004.



Critical Review


Of the work, NIGHTLIFE: A Pop-Opera in Three Acts (2010), RadioIndy writes, “Navarro and Stamps’ intriguing album, “Nightlife: A Pop-Opera in Three Acts…is both a provocative and satisfying piece of work that demands, and, more importantly, rewards multiple listens.”


Of the work, The Sensuous Terrain, Mike Greenberg of the San Antonio Express-News writes, “..composer Jack W. Stamps has taken a big stride forward in craft, discipline and sheer beauty with a new piece he created for the SOLI Chamber Ensemble…The Sensuous Terrain” is a strong, appealing piece that demonstrates the promise of a deep conversation among Western and Eastern ideas. It should have a long life, assuming performers who are able to comfortably negotiate the difficult rhythms and frequently changing meters, as the SOLI players were.” 01/27/11.


Software Proficiency


Digital Audio: Logic Pro X, ProTools, Cubase, Peak, Sound Forge, Spear, SoundHack, The entire suite of Native Instruments Komplete Ultimate 10, GRM Tools, CSound, Max/MSP, and numerous mastering tools.


Graphic Design/Engraving/Publishing: InDesign, Illustrator, Flash, Premiere, Finale, Sibelius, Photoshop, MS Office.



Professional Organization Membership


American Society of Composers, Authors and Publishers (ASCAP).

Society of Electro-Acoustic Music in the United States (SEAMUS).

Society of Composers, Inc. (SCI).



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