Brian F. Wright, Ph.D. Curriculum Vitae EDUCATION Ph.D., Musicology, Case Western Reserve University, 2018 M.A., Music, University of Nevada, Reno, 2013 B.A., Music History, UCLA, 2011 PROFESSIONAL APPOINTMENTS Fairmont State University, Department of Music Assistant Professor, Fall 2015—Present PUBLICATIONS Journal Articles and Book Chapters: “‘A Bastard Instrument’: The Fender Precision Bass, Monk Montgomery, and Jazz in the 1950s.” Jazz Perspectives 8, no. 3 (2015): 281-303. "Transvaluing Adam Clayton: Why the Bass Matters in U2's Music." In U2 Above, Across, and Beyond: Interdisciplinary Assessments, edited by Scott Calhoun, 17-30. Lanham, Maryland: Lexington Press, 2014. Entries in Reference Works: “Electric Bass Guitar.” Grove Music Online. Oxford: Oxford University Press (in press). “Folkways Records” and “Nordic Jazz.” In Music Around the World: A Global Encyclopedia, edited by Andrew R. Martin and Matthew Mihalka. Santa Barbara, CA: ABC-Clio, (forthcoming June 2018). Reviews: “Review of Knowing Jazz by Ken Prouty and School for Cool by Eitan Y. Wilf.” Journal of the Society for American Music Vol. 11, no. 2 (May 2017): 227-232. “Review of Jaco: The Film (directed by Paul Marchand and Stephen Kijak) and Jaco: Original Soundtrack.” Jazz Perspectives Vol. 9, no. 3 (2016): 319-324.
“Review of Networks of Sound, Style, and Subversion: The Punk and Post-Punk Worlds of Manchester, London, Liverpool, and Sheffield, 1975-1980, by Nick Crossley.” Notes 72, no. 4 (June 2016): 746-8. “Review of Bad Vibrations: The History of the Idea of Music as a Cause of Disease, by James Kennaway.” Notes 71, no. 2 (December 2014): 305-307. “Review of Under African Skies (directed by Joe Berlinger).” Journal of World Popular Music 1, no. 1 (2014): 109-13. “Review of Ecomusicology: Rock, Folk, and the Environment, by Mark Pedelty.” Environmental Values 22, no. 3 (June 2013): 432-4. “Review of Grunge: Music and Memory, by Catherine Strong.” Popular Musicology Online (July 2012). Other Publications: “Eugene Grew, Long-Lost Motown Session Master.” Interview with Eugene Grew. Vintage Guitar Magazine (November 2016), 84-87. “Interview with Peter Roller, author of Milwaukee Garage Bands: Generations of Grassroots Rock.” IASPM-US Interview Series. International Association for the Study of Popular Music US Branch Website (September 2014). Works in Progress: “Writing the History of Motown: The Carol Kaye / James Jamerson Controversy,” submitted to the Journal of the Society for American Music (under review). CONFERENCE ACTIVITY “‘These Jazzers Think They Own Jaco’: The Posthumous Legacy of Jaco Pastorius,” Beyond Genre: Jazz as Popular Music, Case Western Reserve University, Cleveland, OH (April 19-22, 2018). “The Electric Bass in Rock ‘n’ Roll: Practicality, Teenpics, and Live Music-Making, 19561958,” 83rd Annual American Musicological Society Conference, Rochester, NY (November 9-12, 2017). “Writing the History of Motown: The James Jamerson / Carol Kaye Debate,” 43rd Annual Society for American Music Conference, Montreal, Quebec (March 22-26, 2017).
“Ending the James Jamerson/Carol Kaye Debate,” 2016 Joint IASPM-US/IASPM-Canada Conference, Calgary, Alberta, Canada (May 28-30, 2016). “‘A Bastard Instrument’: The Electric Bass, Jazz, and the Stigmatization of Musical Practice,” 81st Annual American Musicological Society Conference, Louisville, KY (November 12-15, 2015). “‘I Was a Freak’: The Electric Bass in the 1950s,” Embracing the Margins: CounterMainstream Sensibilities in Popular Music, Chapel Hill, NC (March 27-28, 2015). “So You Want to Play Bass,” 2015 IASPM-US Annual Conference, Louisville, KY (February 19-22, 2015). “‘All You Get is an Amplified Plink-Plonk’: The Electric Bass’s Forgotten History in 1950s Jazz,” 3rd Rhythm Changes Conference, “Jazz Beyond Borders,” Amsterdam, Netherlands (September 4-7, 2014). “How the Electric Bass Became the Norm: Converging Historical Currents in Rock ‘n’ Roll 1958-1964,” 2014 IASPM-US Annual Conference, Chapel Hill, NC (March 13-16, 2014). “Monk Montgomery and the Forgotten Years of the Fender Precision Bass,” 40th Annual Society for American Music Conference, Lancaster, PA (March 5-9, 2014). “‘I Just Keep The Bottom End Moving’: Adam Clayton’s Minimalist Bass Aesthetic,” The 2013 U2 Conference, Cleveland, OH (April 26-27, 2013). “Songworlds: Ecocriticism and the Refiguring Potential of Popular Music,” Traveling hiStories: The Future of Postcolonial Ecocriticism, Reno, NV (April 26, 2012). “Sampling Sorrow: Recontextualizing Popular Music in the Wake of Tragedy,’” The 2012 UCSB Music and Crisis Conference, Santa Barbara, CA (April 14-15, 2012). “In My Rearviewmirror: Contemplating the Legacy of ‘90s ‘Alternative’ Rock,” UNR College of Liberal Arts Graduate Symposium, Reno, NV (February 10, 2012). “Toward a Working Analytical Definition of Postmodernism for Popular Music: Postmodern Architecture, Double-Coding, and Nirvana’s ‘Come As You Are,’” Fall Meeting of the Pacific Southwest Chapter of the AMS, Redlands, CA (October 15, 2011). INVITED TALKS “Play Guitar with the Ventures!: How Amateurs Reshaped Rock ‘n’ Roll,” American Musicological Society / Rock and Roll Hall of Lecture, Cleveland, OH (TBD).
“The Amateur Instrument: Teenagers, the Electric Bass, and Garage Bands 1958-1964,” West Virginia University Department of Music (February 8, 2017). “In and Out of Love: Carol Kaye, Motown, & the Legacy of the World’s Most Recorded Bassist,” Women’s Studies Colloquium, Fairmont State University (November 30, 2016). “How the Electric Bass Became The Norm: Amateur Music Making and Instrumental Rock,” Baker-Nord Center for the Humanities, Case Western Reserve University (March 17, 2016). “The Rise and Fall of BowieNet: David Bowie’s Prophetic Vision(s) for Marketing in the Digital Age,” University of California, Los Angeles (January 28, 2013). EMPLOYMENT HISTORY Assistant Professor, Department of Music, 2015-Present Fairmont State University, Fairmont, WV Courses Taught: Exploring Music in America Exploring Music in America—Honors History of Rock History of Western Art Music I: Antiquity-1750 History of Western Art Music II: 1750-Present Introduction to Music Literature Music Appreciation Music Appreciation—Online Undergraduate Research University Service: Instructor/Coordinator, Guitars 4 Vets Member, Faculty Development Committee Scholarship Coordinator, Department of Music Grant Writer, School of Fine Arts 2016-2017 Artist-In-Residence Coordinator
AWARDS, GRANTS, AND FELLOWSHIPS Mark Tucker Award, Society for American Music, 2017. Berger-Carter Research Fellowship, Institute of Jazz Studies at Rutgers University, 2016. Community Arts Project Grant, West Virginia Division of Culture and History, 2016-17. Research Grant, PCA/ACA 2016 Spring Popular Culture Research Workshop, Bowling Green State University, 2016. Graduate Affiliate Award, Baker-Nord Center for the Humanities, Case Western Reserve University, 2016. Membership and Professional Development Grant, American Musicological Society, 2015. Student Travel Endowment, Society for American Music, 2014. Certificate of Excellenceâ€”Italian, University of Nevada, Reno, Department of Foreign Languages & Literature, 2012. Barringere Music Scholarship, University of Nevada, Reno, Department of Music, 2011. Scholarship Recognition Award, UCLA, 2010. OTHER SCHOLARLY ACTIVITY Instructor, West Virginia Governorâ€™s Honors Academy, 2016. Participant, Junior Faculty Symposium, AMS Popular Music Study Group, 2016. Research Assistant, Rock and Roll Hall of Fame Library and Archives, 2013-2015. Researcher, Academic Charts Online, 2014. Transcriber, International Association for the Study of Popular Music-US Branch, 2014. Bibliographer, UCLA Department of Ethnomusicology, 2010.
SERVICE Community Service: Commissioner, City of Fairmont Arts & Humanities Commission, 2018-Present Society Positions: Secretary/Treasurer, AMS Popular Music Study Group, 2017-Present Webmaster, AMS Allegheny Chapter, 2017-Present Conferences Planned/Hosted/Organized: Co-organizer, “Beyond Genre: Jazz as Popular Music” Conference, Case Western Reserve University, Cleveland, OH (April 19-22, 2018). Host, Fall Meeting of the AMS-Allegheny Chapter, Fairmont State University, Fairmont, WV (October 23, 2017). Co-organizer, “Popular Music and Communities” Conference, Case Western Reserve University, Cleveland, OH (October 2-3, 2015). Audio/Video Coordinator, 2011 EMP Pop Conference, UCLA, Los Angeles, CA (February 25-27, 2011). Panels Organized: “Popular Music and Non-Traditional Notation,” IASPM-US Conference, Louisville, KY (February 19-22, 2015). “Pop Without Tech,” AMS Popular Music Study Group, 80th Annual American Musicological Society Conference, Milwaukee, WI (November 6-9, 2014). Panels Chaired: “Music: Conflicts and Transitions,” Northeast Popular/American Culture Association, Amherst, MA (October 27-28, 2017). “’Tolerance’ & Boundaries,” 2017 IASPM-US Annual Conference, Cleveland, OH (February 23-26, 2017).
“View from the Throne: Physicality and Meaning in Rock Drumming,” 2015 IASPM-US Annual Conference, Louisville, KY (February 19-22, 2015). “Identities in Flux,” 2014 IASPM-US Annual Conference, Chapel Hill, NC (March 13-16, 2014). “Showtime: When U2 Takes Us Higher,” The 2013 U2 Conference, Cleveland, OH (April 26-27, 2013). Editorial and Journal Positions: Peer Reviewer, Interdisciplinary Studies in Literature and Environment, 2014-2015 Editorial Assistant, Interdisciplinary Studies in Literature and Environment, 2013-2014 PROFESSIONAL MEMBERSHIPS American Musicological Society-Allegheny Chapter, 2015—Present Society for American Music, 2012—Present American Musicological Society, 2011—Present International Association for the Study of Popular Music-US Branch, 2011-Present
Published on Mar 10, 2018