Assistant Professor

University of Lethbridge

Ph.D. - Composition, University of California, San Diego

M.Mus. - Composition, McGill University

B.Mus. - Composition, University of Manitoba

Arlan N. Schultz is assistant professor of music, composition and theory at the University of Lethbridg and he is head of the composition area. His composition teachers include Brian Ferneyhough, Roger Reynolds, Chinary Ung, Harvey Sollberger, Brian Cherney, and Michael Matthews. Academic awards include numerous teaching assistantships and fellowships including the Richardson Foundation Scholarship for Music (Manitoba) and the Kurt Weill Fellowship for music (UCSD). Composition awards include the BMI (1990) and Godfrey Ridout Awards (SOCAN, 1991) for Quartet Opus 10 and Edifice respectively; a commission (1994) from the National Arts Center Orchestra in Ottawa, Canada, as part of the NAC's young composers competition; the Canada Arts Council's Robert Fleming Prize for composition (1995), and Second Prize in the International Mozart Competition (1997), Salzburg for PLI, which has since been published by Universal Edition, Vienna. He has also obtained numerous grants from the Canada Arts Council, the Quebec Council for Arts and Letters, and the University of Lethbridge’s Office of Research Services.

Dr. Schultz's music has been broadcast on Radio Canada, and in France on CBC's sister network, and has been heard in performances in Canada, the United States, France, Germany, Austria, and Hungary. He has been commissioned by the National Arts Centre Orchestra, the McGill Concert Choir, the Stuttgart Wind Quintet with Canadian pianist Louise Besette, Hungarian violinist János Négyesy, Canadian pianist Sandra Brown, Ensemble Resonance, Calgary, and New Works Calgary among others.

In addition to his creative work, Dr. Schultz is active in several areas of research related to the field of composition. Current writings include forthcoming articles on time, music, and the philosophical works of Henri Bergson and Ludwig Wittgenstein and on the music of Canadian composer Michel-Georges Brégent. He is engaged in implementing software algorithms for real-time audio spatialization in live performance, designing symbolic computational algorithms for computer-assisted composition, and audio synthesis.

A recent CREDO grant (Community of Research Excellence Development Opportunity – 2008 - 2010) from the University of Lethbridge Research Office will fund Dr. Schultz’s research for the next two years. During that time Dr. Schultz will be developing tools for electroacoustic composition in the form of audio spatialization software and unique audio-sample databases. He will carry out his research in France at the Institut de Recherche et Coordination Acoustique/Musique (IRCAM), at the Drepung Gomang Monastery in South-West India, and at the Center for Research in Computing and the Arts in La Jolla, California.

The Canada Arts Council has also generously provided support to Dr. Schultz for the composition of two new works of interactive acoustic/computer music in 2008-2009. 

RECENT PERFORMANCES

Ikos: kun tu ‘bar ba (2009-2010) for soprano, saxophone, harp, piano, percussion, 5-channel computer processed audio, and 5-channel, real-time spatialization. Commissioned by New Works Calgary and premiered April 20, 2010.

KONTAKION (2008) for violin, clarinet, piano, 5-channel computer processes audio and real-time spatialization. Written for Peter Visentin, Margaret Mezei, and Deanna Oye (University of Lethbridge faculty trio). Funded by a generous grant from the University of Lethbridge Research Fund. Premiered March 11, 2008 U of L Recital Hall.

Pensées Interdites (2007) for violin, bass clarinet, and piano. Commissioned by Ensemble Resonance, Calgary Alberta, premiered January 27, 2007, New Works Calgary.

Entwirren (1997), for solo violin. November 18, 2005, Hotcakes Gallery of Contemporary Art, Milwaukee, WI, Mark Menzies - violin; October 4, 2005, Music at Noon, University of Lethbridge, Mark Menzies - violin; May 13, 2004, New Music in Canada, University of Lethbridge, Kerry DuWors - violin.

Skinless Nights (2003), electroacoustic score for a dance animation by A.W. Smith. Premiered Nov. 7, 2003, Music, Machines and New Media, University of Lethbridge.

MacPVC (2003). Concept by A. Smith. Realization by Chris Vance, A. Smith, and A. N. Schultz. A collaborative work for live performer with PVC tubing, improvised synthesizer, and live computer processed audio. Premiered Nov. 14, 2003, Music, Machines and New Media, University of Lethbridge.

GlassHouse (2002), sound score (Distrans I) for a dance animation by A.W. Smith. Premiered as part of Faculty of Fine Arts Conversation with Artists series, 19 September 2002, University of Lethbridge; Shown at Denison University, Granville, Ohio 14 October 2002; Shown in part at Hawaii International Conference on Arts and Humanities, 14 January 2003; Shown at Ohio University, Athens, Ohio, 21 February 2003; shown in part 1 March 2003, Transparent Technologies, the 9th Biennial Arts and Technology Symposium, Connecticut College, New London, CT.

RECENT PRESENTATIONS

Multiple voices and fractured narrative: a defense of virtuosity in Michel-Georges Brégent's Sapho: 3 poèmes d'amour (1979). Perspectives on Music in Canada, University of Calgary, Jan. 27, 2006.

Time Projection in Compositional Practice. Guest Speaker: Graduate Composition Seminar: University of California, San Diego, Department of Music, November 29, 2004.

Multiple Time Frames in Contemporary Music: Postulating a Phenomenology of Perception. Discussion of SMPC presentation dealing with the perception of time in contemporary concert music. Conversations in the Arts, University of Lethbridge, Faculty of Fine Arts, Lethbridge, Alberta, September 18, 2003.

Multiple Time Frames in Contemporary Music: Postulating a Phenomenology of Perception. Biennial meeting of the Society for Music Perception and Cognition, SMPC, University of Nevada, Las Vegas, June 17, 2003.

RECENT WRITINGS

Schultz A.N. Multiple Time Frames in Contemporary Music: Postulating a Phenomenology of Perception. In preparation.

Schultz A.N. Multiple Voices and Fractured Narrative: a Defense of Virtuosity in Michel-Georges Brégent's Sapho: 3 poèmes d'amour (1979). Circuits: in preparation.

Schultz A.N. PLI, for solo piano. (Universal Edition, Vienna, UE 31245; 1998).

Katzman R, Schultz A.N., Thomas RG, Booth A. Late Twentieth Century Recognition of Late Nineteenth Century Classical Musicians. In Preparation, 2005.

Shan G., P. Visentin, A. Schultz. Multidimensional Signal Analysis as a Means of Better Understanding Factors Associated with Repetitive Use in Violin Performance. Medical Problems in Performing Artists, Sept. 2004.