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faculty
Jing Wang
Professor
Music & Theater Arts
Computer MusicExperimental Intermedia EnsembleContact
508-910-6949
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College of Visual & Performing Arts 255
Education
| 2009 | University of North Texas | DMA |
| 2003 | Northern Illinois University | MM |
| 1996 | China Central Conservatory of Music | BM |
Teaching
- Computer Music
- Acoustic Composition
- Music Theory
- World Music
Teaching
Courses
Second of a four-course sequence presenting foundational concepts and skills in music theory, ear-training, and keyboard work. Comprehensive musicianship II explores the construction, functionality, and analysis of diatonic harmony (especially the Dominant Seventh and Leading-Tone Seventh chords), cadences, nonchord tones, and melodic organization. Four-voice harmonic progressions and the principles of voice leading will also be introduced. A combination of written exercises, sight-singing, ear-training and keyboard work will be utilized enhance students' abilities to write, hear and perform music.
Second of a four-course sequence presenting foundational concepts and skills in music theory, ear-training, and keyboard work. Comprehensive musicianship II explores the construction, functionality, and analysis of diatonic harmony (especially the Dominant Seventh and Leading-Tone Seventh chords), cadences, nonchord tones, and melodic organization. Four-voice harmonic progressions and the principles of voice leading will also be introduced. A combination of written exercises, sight-singing, ear-training and keyboard work will be utilized enhance students' abilities to write, hear and perform music.
Second of a four-course sequence presenting foundational concepts and skills in music theory, ear-training, and keyboard work. Comprehensive musicianship II explores the construction, functionality, and analysis of diatonic harmony (especially the Dominant Seventh and Leading-Tone Seventh chords), cadences, nonchord tones, and melodic organization. Four-voice harmonic progressions and the principles of voice leading will also be introduced. A combination of written exercises, sight-singing, ear-training and keyboard work will be utilized enhance students' abilities to write, hear and perform music.
Second of a four-course sequence presenting foundational concepts and skills in music theory, ear-training, and keyboard work. Comprehensive musicianship II explores the construction, functionality, and analysis of diatonic harmony (especially the Dominant Seventh and Leading-Tone Seventh chords), cadences, nonchord tones, and melodic organization. Four-voice harmonic progressions and the principles of voice leading will also be introduced. A combination of written exercises, sight-singing, ear-training and keyboard work will be utilized enhance students' abilities to write, hear and perform music.
Second of a four-course sequence presenting foundational concepts and skills in music theory, ear-training, and keyboard work. Comprehensive musicianship II explores the construction, functionality, and analysis of diatonic harmony (especially the Dominant Seventh and Leading-Tone Seventh chords), cadences, nonchord tones, and melodic organization. Four-voice harmonic progressions and the principles of voice leading will also be introduced. A combination of written exercises, sight-singing, ear-training and keyboard work will be utilized enhance students' abilities to write, hear and perform music.
Second of a four-course sequence presenting foundational concepts and skills in music theory, ear-training, and keyboard work. Comprehensive musicianship II explores the construction, functionality, and analysis of diatonic harmony (especially the Dominant Seventh and Leading-Tone Seventh chords), cadences, nonchord tones, and melodic organization. Four-voice harmonic progressions and the principles of voice leading will also be introduced. A combination of written exercises, sight-singing, ear-training and keyboard work will be utilized enhance students' abilities to write, hear and perform music.
Small performing organizations devoted to the music repertoire of all stylistic periods.
Small performing organizations devoted to the music repertoire of all stylistic periods.
Last of a four-course sequence presenting foundational concepts and skills in music theory, ear-training, and keyboard work. Comprehensive musicianship IV explores 19th- and 20th- compositional practices including harmonic chromaticism and form and analysis. The topics include modulation to distantly related keys, Neapolitan 6th and Augmented 6th chords, Fugue, Sonata Form, German Lied, and expansion of functional tonality in the late 19th century. A combination of written exercises, sight-singing, ear-training and keyboard work will be utilized enhance students' abilities to write, hear and perform music.
Last of a four-course sequence presenting foundational concepts and skills in music theory, ear-training, and keyboard work. Comprehensive musicianship IV explores 19th- and 20th- compositional practices including harmonic chromaticism and form and analysis. The topics include modulation to distantly related keys, Neapolitan 6th and Augmented 6th chords, Fugue, Sonata Form, German Lied, and expansion of functional tonality in the late 19th century. A combination of written exercises, sight-singing, ear-training and keyboard work will be utilized enhance students' abilities to write, hear and perform music.
Research
Research interests
- Composition for film/video and dance
- Interactive music performance system
- Acoustic composition for solo and chamber ensemble
- Interdisciplinary studies
- Music analysis from early music to contemporary music
Jing Wang, a composer and virtuoso erhu artist, was born in China. Ms. Wang has participated in numerous musical communities, as a composer and a performer of diverse styles of music. Her compositions have been selected and presented in China, Spain, Germany, France, Italy, Serbia, Turkey, Israel, Romania, the Czech Republic, Russia, Ukraine, Australia, Japan, Argentina, Colombia, the United Kingdom, Canada, and throughout the United States. They have also been recognized by the American Society of Composers, Authors, and Publishers, Electro-acoustic Miniatures International Contest Spain, the MagikalCharm Film & Video Festival, and the Lumen Prize. She was the winner of Pauline Oliveros Prize given by the International Alliance for Women in Music and has been awarded the MacDowell Colony Fellowship, the Vilcek Foundation Fellowship, and the Omi International Musicians Residency Fellowship.
As an active erhu performer, she has introduced the Chinese indigenous erhu into Western contemporary music scene with her wide array of compositions for chamber ensemble, avant-garde jazz improvisations and multicultural ensembles. She has also successfully performed erhu concertos with several symphony orchestras in the United States.
Ms. Wang is currently an Associate Professor of Music at the University of Massachusetts Dartmouth where she teaches electroacoustic music, composition, and music theory.