INSTRUCTIONS: Every faculty member coming up for third year review = or tenure and/or promotion-- should complete a curriculum

CURRICULUM VITAE

PERSONAL

James E. Cunningham

Assistant Professor, Departme= nt of Music

Graduate Faculty,= Dorothy F. Schmidt College of Arts & Letters=

Office: AL-249

Phone: (561) 297-= 2208

Higher Education

U= niversity o= f Washington, P= h.D. Music (Ethnomusicology), 1998.

S= an Diego <= st1:PlaceType w:st=3D"on">State University, M= .A. Music, 1985.

S= an Diego <= st1:PlaceType w:st=3D"on">State University, B= .A. World Music, 1983.

U= niversity o= f Oregon, Music Performance and Education, 1974-1977.

Experience

F= lorida <= st1:PlaceName w:st=3D"on">Atlantic University= , Department of Music, Assistant. Professor, 2003-2007.=

C= ameron <= st1:PlaceName w:st=3D"on">University, Department of Music, Visiting Asst. Professor, 1999-2001.=

U= niversity o= f North. Texas College of Music, Adjunct Professor, Summer, 2000.

University of= Washington, School of Music, Adjunct Professor, Summer, 1999.

University of North Texas, College of Music, Visiting Assistant Professor, 1999.

University of= Washington, American Indian Studies Center, Instructor, 1992–1998.

University of= Washington, School of Music, Graduate Teaching Asst., 1991–1994.

San Diego State University, School of= Music, Teaching Assistant, 1982-19= 85.

United States= Army, Private First Class, 1972-1974.

REFEREED WORKS

Chapters in= Books

Cunningham, James= E. and Pamela Amoss

= 220;Song Traditions of the Indian<= /st1:PlaceName> Shaker Church”

In = Spirit of the First People, Willie Smythe ed.

University o= f Washington Pr= ess, Seattle

199= 9

pp. 117-133

Professional Presentations

= 220;The Dynamics of the “Drum”: Rhythmic Ramifications in Powwow Song &= amp; Dance.”

&= nbsp; Society for Ethnomusicology Annual Conference, Honolulu, Hawaii, November 2006.=

= 220;The ‘Steady’ Beat of the Drums: Rhythmic Irregularity and its Ramifications in Pow-Wow Drumming and Dance.”

&= nbsp; Society for Ethnomusicology Southeast and Caribbean Chapter Meeting, Boone, NC, February, 2006.

“Persians and Tomahawks: Native American Stereotype and Style (Representing the Exotic, Presenting the Authentic).”Society for Ethnomusicology Annual Conference, = Tucson, November 2= 004.

= 220;Caught Between A Hard and A Rock Place: Intellectual Property and the Popular Music Classroom–Economics versus Education?” Battling for Ownership of the Arts Conference, Boca Rato= n, April 2004.

= 220;Sound and Space or the Space of Sound?”

Arts Society and Culture: Creatin= g a Space for Social Change Conference, Florida Atlantic University, March 2004.

“Empty Tipi Blues: Native Blues Expressio= n in Southwest Oklahoma.”

Toronto 2000 Musical Intersections Conference, November 2000.

= 220;From Ketélby to Black Lodge: Musical Stereotyping and Plains Musical Style.”

T.H.E. (Theory, History, and Ethnomusicology) Faculty Lecture Series, College= of Music, University of North Texas, April 1999.

= 220;Linguistic Aspects of Didgeridoo Playing Technique.”

Linguistics and Literature Lectur= es, University of North Texas, March 1999.

= 220;The Creation of the ‘North American Didgeridoo Style:’ Contextual a= nd Stylistic Transformation of an Australian Aboriginal Musical Instrument.= 221; Society for Ethnomusicology Conference, Pittsburgh, October 1997.

= 220;Free Spirits Catching Songs on the Red Road: The Identification and Expression of Nat= ive Elements in North American Popular Music.” Society for Ethnomusicology Annual Conference, Toronto, October 1996.

= 220;Questions of Automatic Authority and Authenticity: The Case of the Tlingit Paddling Song.” Society for Ethnomusicology Annual Conference, Los Angeles, October 1995.

= 220;The Tlingit Paddling Song as an Example of Perils Encountered Teaching World Mu= sic and Ethnomusicology Survey Courses from Record Liner Notes.” Society = for Ethnomusicology NW Region Conference, Eugene, March 1995.

= 220;Slahal: The Bone Game.”

Soc= iety for Ethnomusicology NW Region Conference, Seattle, February 1993.

Professional Presentations

= 220;Revival, Reconstruction, Continuity and Change: The Salish First Salmon Ceremony.= 221; Society for Ethnomusicology Annual Conference, Seattle, October 1992.

= 220;Musical Instruments of the Northw= est Coast Indians: A Classificatory Dilemma.”

Society for Ethnomusicology North= west Regional Conference, Seattle, 1992.

“The Australian Didgeridoo.”

Can= adian Music Educators Annual Conference, Vancouver, 1991.

= 220;Form, Style and Performance Practices in Andean Pan-Pipe Traditions: An Analytical Overview from a Students Perspective.” Society for Ethnomusicology NW Regional Conference, Vancouver= , B.C. 1991.

Music and Masks: A World View.”

= Se= attle Public Schools, Seattle, 1991.

“Learning the Didgeridoo: One of the Many Reasons for Circular Breathing.”

Society for Ethnomusicology NW Re= gion, Seattle, February = 1990.

“Mandailing Drum Ensembles of Pakantan.&#= 8221;

Society for Ethnomusicology Confe= rence, Vancouver, October 1985.

Funded Research

Pri= ncipal investigator, Dorothy F. S= chmidt College of Arts and Letters 2005 Summer Stipend for creation of a proposal for music conceptually-based music appreciation text.

Pri= ncipal investigator, Dorothy F. S= chmidt College of Arts and= Letters 2004 Summer Stipend for development of large-enrollment music appreciation course, Music Appreciation: Concept, Context, and Culture.

Fieldwork

South Florida: Seminole and Mikasukee Tribes (Traditional Mu= sic, Contemporary Intertribal Pow-wow) 2004-present.

Southwest Oklahoma: Cherokee, Kiowa, Apache (Intertribal Pow-wow,= Fire Dance, Hand Game, Native American Popular Music) 1999-2001.

Wa= shington State and British Columb= ia: Coast Salish, Yakima, 1990–1998.

Nor= th and West Sumatra, Indonesia: Batak, Mandailing, Minangkabao. 1985.

California= : K= ummeyai (Bird Dance) 1983-1988.

Research Works In Progress<= /i>

“Empty Tipi Blues.”

(Preparation for publication subm= ission to academic journal)

“Persians and Tomahawks.”

(Preparation for publication subm= ission to academic journal)

= 220;Music Appreciation: Concept, Context, and Culture”

(Te= xt prospectus for publication submission to McGraw-Hill Publishers, Spring 200= 6)

Reviews Conducted
Review of proposal for appreciation text Talking About Music, by Larry Wors= ter

For Bedford/St. Martins Publishers, March 2006.

Comparative review of appreciation text Listen, Brief 5th Ed., by Joseph K= erman

For Bedford/St. Martin’s Publishers, October 2005.

CREATIVE ACTIVITY

Commercial Recordings

Echo of Thunder (Hallmark Hall of Fame Special)

Did= geridoo recording, CBS Television, May 1998.

Under the Earth Tones: Ambient Didgeridoo Medit= ations

Art= ist, Producer, Didgeri Dudes, Folklife Records, 1996.

Didgeri Dudes: Jamie & Brian

Com= poser, Artist, Producer, Didgeri Dudes, Didgeri Dudes Records, 1995.

Times Like These

Per= cussionist, Anna K., Earth Tone Records, 1990.

Burning Bridges

Per= cussionist, Burning Bridges, Accretions Records, 1987.

Drop ‘Em, Solitary Confinement=

The= Trowsers, Blues Economique Records, 1983-1984.

Performance= of Original and Creative Works

Meta-Morphi 3 for Saxophones and Didgeridoo, Cunningham and Gillis, 2005.

Convo Series Opening Concert, “Glen Gillis and Friends”, September 11, 2005, University of Saskatchewan, Saskatoon, Canada.

Grey Whale Migration, Cunningham 1995, Fast Food, Cun= ningham 2005.

FAU Faculty Showcase, April 1, 20= 05.

Gallery Opening, Cun= ningham 2005.

southXeast Exhibition, Schmidt Ce= nter Gallery, Boca Raton, February 10, 2005.

Sub-Variations on B-A-C-H, Stuart Dempster, 2001= .

Premier, Didgeri Dudes and Friends, Seattle Bach Festival Town Hall Concert, November 10, 2001.

=

Meta-Morphi 2 for Didgeridoo, Alto, & Tenor Sax, Cunning= ham & Glen Gillis, 2001.

National Saxophone Allian= ce NE Chapter Conference, Dayton, Ohio, March 2001.

Bi-Cyclic for Bamboo Didgeridoo & Double Ba= ss, Cunningham, 2000.<= o:p>

World Music Workshop Concert, Cameron University<= /st1:PlaceName>, May 2000.

Meta-Morphi 1 for Didgeridoo and Saxes, = Cunningham & Glen Gillis, 2000.

National Saxophone Allian= ce Conference, Tucson,= Arizona, March 2000.=

OctoNervosa Alpha, Cunningham & Timothy Crowley, 1999.=

(electro-acoustic piece for didgeridoo, saxopho= ne, and interactive computer) Cameron University Faculty Recital, September 1999.

Stairwell From Heaven, Cunningham, 1999.

Environmental Educat= ion Science & Technology Building, University of North Texas,= April 1999.

Creative Wo= rks In Progress

= 220;Time and Timbre”

Art= ist/Producer for CD of original experimental didgeridoo music for Wisdom Records (Antici= pated release date Fall 2006)

=

Supportive = Creative Endeavors

Mus= ical Director, The Land of Hearts Desire and The Cat and the Moon, FAU Department of Theatre, Fall 2005.<= o:p>

Musical Director, The Frogs, FAU Department of Theatre, Spring 2005.

Musical Director, Ubu Roi!, FAU Theater Department, Fall 2003.

Coo= rdinator, Native American Student Association Annual Pow-wow <= st1:City w:st=3D"on">Lawton, Oklahoma= , 2000 & 2001.

Did= geridoo Panel Coordinator, Northwest Folklife Festival, Seattle, 1993–1998.

Coo= rdinator: First Nations Coastal Gathering, University of Washington, 1994= .

Con= cert Coordinator: Center for World Music, San Diego State Univ., 1979-1985.

TEACHING

Courses Developed and Taught at FAU (listed alphabetically)

·        American Popular Music and Culture

·        Gateway to Musical Perception=

·        Graduate Commercial Music History

·        History and Appreciation of Music

·        Introduction To Graduate Research

·        Introduction To Music History=

·        Music Appreciation: Concept, Culture, and Conte= xt

·        Music Cultures of the World

·        Music of Western Civilization I & II

·        Ph.D. Music Core: Concepts, Culture, and Creati= on (Comparative Studies)

·        Rock and Roll in American Society

·        Topic Research (BA Senior Project preparation)<= o:p>

·        World Music Ensemble

·        World Music Survey

Courses Taught at Other Universities (listed alphabetically)

·        American Indian Popular Music (American Indian Studies)

·        American Indian Song and Dance Traditions (Amer= ican Indian Studies)

·        American Popular Music and Culture

·        Music and the Human Imagination

·        Music Cultures of the World: Africa, the Americas and Oceani= a

·        Music Cultures of the World: Asia and the Middle East

·        Music in Contemporary Life: Non-Western Music

·        Music Theory Fundamentals=

·        Musical Traditions of Native North America (American Indian Studies)

·        Musical Worlds of the Pa= cific Northwest Indians (American Indian Studies)<= /b>

·        North Sumatran Ensemble
·        Philosophical and Aesthetic Universes (Anthropo= logy)

·        Popular Music in American Culture

·        Teaching the Music of Native North America I (Music Education)

·        Teaching the Music of Native North America II: Traditions in Change

·        The History of Jazz

·        World Music Performance Workshop

Thesis Advising

Thesis Advisor, Patrice Risi, Fall 2005- Spring= 2006.

Committee Member, “Conversations with Chaos”, Adam Campbell, Spring 2005.

Com= mittee Member, “The Choral Compositions of James Stayton”, Jim Stayton, Spring 2005.

The= sis Advisor, “Bernstein’s Unanswered Question: A Journey From Linguistic Deep Structure to the Metaphysics of Music”, Naomi Thomas, Spring 2003.

PROFESSIONAL SERVICE<= /p>
Professional Organi= zations

Program Committee, Society for Ethnomusicology Southeast and Caribbean Chapter Annual meeting, 2007.<= /span>

Member, Society for Ethnomusicology, 1985-present.

Member, Society for Ethnomusicology Southeast and Caribbean Chapter,

2003-presen= t.

Fac= ulty Advisor, Native American Students, Cameron University, 1999-20= 01.

Sec= retary/Treasurer, Society for Ethnomusicology Northwest Chapter, 1991–1992.<= /span>

Pre= sident, Ethnomusicology Students Association, University of Washington, 1989–1991.

Conference Panel Chair

= 220;Reconceptualizing ‘Indigeneity’”, Society for Ethnomusicology SE and Caribb= ean Chapter Regional Conference, B= oone, NC, February 2006.

= 220;Adaptation and Negotiation”, Society for Ethnomusicology SE and Caribbean Chapter Regional Conference, Atlanta, February 2004.

= 220;Battling for Ownership of the Arts”, Boca Raton, April 2004.

Department College and University Committees<= o:p>

·        School of the Arts Advisory Committee, 2005-200= 7.

·        Department of Music Graduate Committee, 2004-20= 07.

·        Department of Music Curriculum Committee, 2003-= 2005.

·        Department of Music Commercial Music Program Committee, 2004-2007.

Departmental Service

·        Reconstruction of undergraduate core curriculum= in History Area.

·        Creation of undergraduate senior project Topic Research course.

·        Administration of graduate entrance and compreh= ensive examinations.

·        Preparation of departmental writing style and w= riting guidelines.

·        Development of music core for Ph.D. Program in = Fine and Performing Arts.

·        Departmental audio visual equipment management = and training.

·        Department facilities and equipment storage management.

Administrative Responsibilities

·        Ethnomusicology and Appreciation Area, 2004-200= 6.

·        History, Literature, and Ethnomusicology Area, 2004-2005.

LANGUAGES

Speaking a= nd Reading Knowledge

·        German

Reading Kn= owledge

·        French