MICROTONAL UNIVERSITY (MU)​
 SCHEDULE
Season 4 of MU – MICROTONAL UNIVERSITY
October 6, 2024 – June 1st, 2025
A Program of the American Festival of Microtonal Music Inc. (AFMM)
Johnny Reinhard – Director
afmmjr@aol.com
www.MicrotonalUniversity.org

MU – a virtual microtonal university
 The American Festival of Microtonal Music (AFMM) inaugurated its new project on September 5, 2021:  MU – Microtonal University.
 
Faculty members are virtuoso instrumentalists, composers and improvisers
Meredith Borden (voice/interstylistic)
Jon Catler (guitar/rock)
Philipp Gerschlauer (saxophone/jazz)
Johnny Reinhard (bassoon/classical - interstylistic)
Manfred Stahnke (viola/music composition)
Michael Vick (multi-instrumental/technology)
 
Using various platforms, MU will make available a host of different courses, instructions, entertainment, connections, all while being connected to a worldwide social destination for microtonalists, and those with a decidedly microtonal sensibility.
 
֍        Music Courses throughout the year – Premieres – Presentations - Events
 
֍        Music Composition instruction and Improvisation development
 
֍        Schedules with MU membership contains extensive links to prepare for events, and the daily Zoom information to participate
 
֍        Composer Forums featuring great composer interactions
 
֍        Microtonal Instrument Festivals presented for violin, clarinets,  homemade instruments, and keyboards
 
֍        Private lessons arranged with premier microtonal musicians for all instruments, voice, and music composition
 
֎        Bandcamp microtonal archive for easy Internet access for listening to
            a microtonal treasure trove an archive
 
֎        MU Recording Library is available for past 2021 sessions, and actual
Microtonal Archive will be receptive in Special Collections of
Furman University
 
MU’s Definition of “Microtonal Music”:
“All music is microtonal music cross-culturally.  Twelve-tone equal temperament is in itself a microtonal scale, only it enjoys exorbitant attention and hegemonic power, so we focus on the other tuning arrangements.”                                              
 
Johnny Reinhard, MU Director
 
Financial Structure:
MICROTONAL UNIVERSITY (MU)
We are at the phi of our 3-year plan for graduation.
MU is now accepting memberships for Season 4 which begins on October 6, 2024. Tuition is $145. (US).
Join now before the end of Season 3 (end of June) and get admission to the last month's sessions at no cost.
To join on a full scholarship contact Johnny Reinhard directly. afmmjr@aol.com
 
MICROTONAL UNIVERSITY (MU)
MICROTONAL UNIVERSITY (MU)
 $145 to join Microtonal University (MU) now for Season 4 which begins on October 6, 2024.
Join now before the end of Season 3 (end of June) and get admission to the last month's sessions at no cost.
Pay through PayPal: AFMM PayPal site.
www.microtonaluniversity.org
www.afmm.org

MU
c/o Johnny Reinhard
Director,
MICROTONAL UNIVERSITY (MU)
AMERICAN FESTIVAL OF MICROTONAL MUSIC INC. (AFMM)
 afmmjr@aol.com

Season 4 of MU – MICROTONAL UNIVERSITY
October 6, 2024 – June 1st, 2025
 
Sunday Oct 6 - 2024                  MU 143
1 – 3:00 PM (NYC Time)
Opening Day featuring guest cellist Dave Eggar: Johnny Reinhard’s “Asteroid Belt” played live
in slightly tempered 256) - Discover Förner Well temperament using relative beat rates and
Scala

Sunday Oct 13 - 2024                  MU 144
1 – 3:00 PM (NYC Time)
Music Technology Forum with Subhraag Singh (Infinitone) as moderator
Marcus Hobbs (Wilsonics) Manuel op de Coul (SCALA) Doug Geers
Henry Lowengard

Sunday Oct 20 - 2024                  MU 145
1 – 3:00 PM (NYC Time)
Conducting Essentials, to include conduction
Balletto by Victor Ekimovsky (Microthon 2000)

Sunday Oct 27 - 2024                  MU 146
1 – 3:00 PM (NYC Time)
All Things Ervin Wilson
Marcus Hobbs Stephen James Taylor Ron Sword Jose Hales-Garcia

Sunday Nov 3 - 2024                  MU 147
1 – 3:00 PM (NYC Time)
Diverging perspectives/paradigms of the overtone series in the 21st Century:
Jon Catler, Amelia Huff, Jacques Dudon, Johnny Reinhard, Marc Sabat

Sunday Nov 10 - 2024                  MU 148
1 – 3:00 PM (NYC Time)
Philosophy & Microtonality re Nomenclature with annual guest Gary David

Sunday Nov 17 - 2024                  MU 149
1 – 3:00 PM (NYC Time)
Implications of discovering the first well temperament, based on higher harmonics with
Witold Maciak featuring Johann Christoph Bach in Forner Well Temperament

 BREAK 

Sunday Mar 2 - 2025                  MU 150
3 PM (NYC start time)
Melody but not based on scales as with Bharat (India) & raga
Guests: Adrian Sherriff Ashish Dha Utsyo Chakraborty Anushka Jana

Sunday Mar 9 - 2025                  MU 151
1 – 3:00 PM (NYC Time)
2 Sides of a Coin: Charles Ives and Harry Partch
Archival Footage from AFMM concerts

Sunday Mar 16 - 2025                 MU 152
1 – 3:00 PM (NYC Time)
Emergence of music, through counterpoint

Sunday Mar 23 - 2025                  MU 153
1 – 3:00 PM (NYC Time)
Baroque Era (c.1600-1750) distorted by equal temperament
Förner, Werckmeister, Trost, Silbermann, Bach, Telemann

Sunday Mar 30 - 2025                  MU 154
1 – 3:00 PM (NYC Time)
Concert I
Julio Estrada performed by violinist David Nunez
Theodosii Spassov performs “Kaval.2”
Anton Rovner ensemble work in 128 played by David Lipson (guitar), Johnny Reinhard
(bassoon & vocals), and a flutist to be determined
Coyote Takes a Coffee by Johnny Reinhard performed by soprano Dorein Verheijden
Ron Sword “New Work”

Sunday Apr 6 - 2025                  MU 155a
1 – 3:00 PM (NYC Time)
Virtuosity & Winds with Robert Dick, Theodosii Spassov . Philipp Gerschlauer,
Johnny Reinhard

Sunday Apr 13 - 2025 MU                  155b
James Tenney featuring Ciarán Ȏ Meacair and Matej Sloboda

Sunday Apr 20 - 2025 MU                  155c
MU composer presentations tba

Sunday Apr 27 - 2025                  MU 156
1 – 3:00 PM (NYC Time)
Composers Forum - Richard M. Gordan and other tbd

Sunday May 4 - 2025 MU 157
1 – 3:00 PM (NYC Time)
Chakras in Music with Michael Vick and featuring Brandon Blackburn, drums

Sunday May 11 - 2025                  MU 158
1 – 3:00 PM (NYC Time)
DNA Discussion

Sunday May 18 - 2025                  MU 159
1 – 3:00 PM (NYC Time)
Technology Latest
Stephen Weigel Sean Archibald/Sevish Ron Sword Ben Hume

Sunday May 25 - 2025                  MU 160
1 – 3:00 PM (NYC Time)
Paul Erlich Freestyle

Sunday June 1 - 2025                  MU 161
1 – 3:00 PM (NYC Time)
Concert II
Rovner in 15 edo Homage to Novaro by Anton Rovner for guitar played by Angel Blanco
Alois Haba Suite #1 for guitar in quartertones for guitar played by Angel Blanco
Johnny Reinhard “Urartu” for alto saxophone premiered by Philipp Gerschlauer
Sasha Bogdanowitsch TBD
Witold Maciak plays “New Work” in Harmonic 13

MICROTONAL UNIVERSITY (MU)
Season 4
October 6, 2024 – June 1, 2025
www.MicrotonalUniversity.org
------

MU FACULTY
Voice  - Meredith Borden - Massachusetts/NYC
Rock - Jon Catler - Massachusetts/NYC
Jazz - Philipp Gerschlauer - Berlin, Germany
Classical/Interstylistic - Johnny Reinhard - California/NYC
Composition - Manfred Stahnke - Hamburg, Germany
Technology - Michael Vick - USA

      MU FACULTY BIOS
Meredith Borden – voice
Meredith Borden, a graduate of New England Conservatory of Music, is known for her ability to hear and reproduce vocally the subtle shadings of an infinite spectrum of pitches. Meredith Borden has been teaching voice for over 20 years and currently holds posts at UMass Lowell (Adjunct Voice Faculty since 2016) and South Shore Conservatory (Voice Faculty since 2014) as well as her own private studio (MaBird Vocal Studio) at WildHouse Studio in the Boston area.
Although grounded in a classic "bel canto" vocal technique, she is fluent in a broad range of musical and vocal styles, including classical and operatic expressions, rock, blues, jazz, music theatre (Broadway), and experimental genres. Also bringing an extensive knowledge of dance to her teaching approach, she enjoys the variety of working in different styles and leading the individual singer to repertoire that will best express that singer's natural temperament and voice. Meredith received her Master's and Bachelor's degrees in Vocal Performance from New England Conservatory of Music.
Borden has performed in scores of concerts and theatrical productions over the past several decades, both in the US and abroad, working with regional, summer stock, and Off-Broadway companies in a variety of lead roles, including Christine in the Yeston-Kopit Phantom, and Maria in West Side Story. Borden has been a featured performer for many years with the New York Gilbert & Sullivan Players, in repertory at City Center and Symphony Space, and touring extensively with the company in the US from East to West Coast and to England. Some of Borden’s roles include Isabel in Pirates of Penzance at Wolf Trap (Virginia), Fiametta in Gondoliers and Lady Ella in Patience. Borden performed in the European tour of the American tribal love rock musical HAIR, further collaborating on selected projects and recordings with one of the original writers, James Rado. 
Borden was featured in world premieres of works by contemporary American composers Meredith Monk (American Archeology), Philip Glass (The Juniper Tree/American Repertory Theater), and Elodie Lauten. One of Lauten’s long time vocal muses, Borden has performed and recorded the role of gospel-blues singer Compassion in multiple installations of the opera Waking in New York featuring the libretto by beat poet Allen Ginsberg culminating in a historical performance at the iconic St. Mark’s Church in NYC in June 2014. Borden was also featured in the roles of Persephone and Crow in Lauten’s chamber opera Orfreo at NYC’s Merkin Concert Hall at Lincoln Center. Both of these works, as well as the double CD release Deus Ex Machina (recorded live as part of John Schaefer’s New Sounds Live) have been released on 4-Tay Records. Borden has been critically acclaimed for her work with the American Festival of Microtonal Music in New York with whom she has sung and recorded a wide span of repertoire (PITCH Recordings) including the music of American pioneer Harry Partch (The Potion Scene), Julian Carrillo, and signature solo works for voice and autoharp including her 2015 debut of the Ballad of Hobo Annie. With the Queen’s Chamber Band in NYC, Borden was a featured soloist at Merkin Concert Hall and other concert events, singing in works as diverse as Bach’s virtuosic Cantata #51 for soprano and Jon Catler’s blues infused microtonal lamentation, “Shadow.”
Borden (also known as Babe Borden) hones her talent as a progressive microtonal blues singer, drawing vocal inspiration from Mississippi Delta artists such as Tommy Johnson and Skip James for her own musical style. With longtime composer/guitarist musical partner of more than 20 years, Jon Catler, Babe and JC’s ongoing collaboration since 1994 has culminated in their Boston based progressive Harmonically tuned 13 O’Clock Blues Band. 13 O’Clock BB got a 4 star review from Downbeat Magazine in March 2018 for the band’s debut release Devil’s Dance. Currently recording at their WildHouse Studio in the Boston area, Borden and Catler are scheduled to release new 13 O’Clock Blues Band recordings in 2021. Borden has also been featured as lead singer in past CD releases by New York City based electric Delta blues band Willie McBlind (Find My Way Back Home, Bad Thing, and Live Long Day), the second also receiving a four star review in Downbeat Magazine earning its place as one of the BEST CD’S OF 2010. With Jon Catler, Borden has headlined the World Out Of Tune (W.O.O.T.) Festival in New York, the Hoboken Blues Be-iN (Hbbi), the Blue Apple Blues (B.A.B.) Festival, Bourbon Street Blues Festival, and the King Biscuit Blues Festival on the banks of the Mississippi. Borden’s first artistic collaboration with 2 Catler was Birdhouse, an exploration of microtonal birdsong followed by numerous other projects including an Off-Broadway production of Motel Blues at the Greenwich Street Theater in New York produced by Clark Middleton’s Apartment 929, Howl Festival and the NY Fretless Guitar Festival and playing frequently as Willie and Babe in a variety of venues.
 
Jon Catler – rock
Jon Catler graduated summa cum laude from Berklee College of Music where he performed the school’s first microtonal senior recital in 1979, featuring his compositions for solo and group in 31-tone and 19-tone equal temperaments.  Since his initiation into the world of microtonal music performance, Catler has played with many music luminaries, most notably legendary Just Intonation composer La Monte Young with whom he has worked for over 30 years, touring and recording as a member of the Forever Bad Blues Band (Gramavision CD), The Theater of Eternal Music Big Band, and the Just Alap Raga Ensemble.
Catler has also recorded and toured extensively with his own music, and has appeared as composer and performer on the Futurismo/Futurismi Festival, M.A.N.C.A. Festival with the AFMM, Montreal Jazz Festival, Quebec Festival d'Ete, the Angelica Festival, the World Out Of Tune (W.O.O.T.) Festival, the Evolution Music Festival in Boston, and the American Festival of Microtonal Music of which he is cofounder.  Catler performed in the world premiere version of Ives' “Universe Symphony” at Lincoln Center, a climax of AFMM's 30-year history. Catler also performed on the original Harry Partch guitars in a performance of Partch's “Oedipus” at The Metropolitan Museum of Art in NYC. Other notable performances include a residency at The Guggenheim with La Monte Young, shows at The Kitchen (NYC), the Knitting Factory, Avery Fischer Hall and Alice Tully Hall, and a live recording of Catler’s groundbreaking orchestral work Evolution for Electric Guitar and Orchestra at New York Society for Ethical Culture.  Catler has also designed his own fretting systems for guitar, and has made these designs available to the public through licensing deals with world class manufacturers including G&L Guitars and Warwick basses, as well as through his own company, FreeNote Music. Catler’s 12-Tone Ultra Plus ® system is the first to add Harmonic Series pitches to the standard 12, and it is now accepted as one of the most popular alternative fretting systems available.  As a recording artist and published author, Catler has released over a dozen critically acclaimed CD’s of original music, all in Harmonic Series Tunings. In 2002, Catler’s first book “The Nature of Music” was released, explaining his Harmonic discoveries and presenting a tuning system that sets the precedent of evolving our conception of consonance to the 13th Harmonic and beyond.  Catler’s second book, The Lost Chord, details his continuing work with frequencies.  Catler has been the recipient of numerous grants, including a grant for the MicroTime Tour, which featured an interstate touring ensemble that debuted the concept of Just Intonation Rhythm. Catler was also awarded a composer residency grant from Harvestworks in NYC, as well as multiple grants from Meet the Composer.
Catler’s music has been featured on radio shows worldwide, including numerous live interviews on WNYC’s New Sounds with John Schaefer, and on KPFK with John Schneider in Los Angeles. Catler has been teaching private students at his studio since 1982 and is sought out for his expertise in this field. In 2019, Catler opened WildHouse Studio in Randolph, MA, the world’s first music studio devoted to Harmonic Music.  Catler has given Master Class seminars in Harmonic Series Tuning at Berklee College of Music, UMass Lowell, University of California at Riverside, SUNY Ulster, and South Shore Conservatory of Music.  Jon Catler’s NYC performances in the group Sundara All-Stars with La Monte Young were listed in the Best Classical Music Performances in the New York Times in January 2018.Catler’s latest CD releases include a duo recording with legendary drummer, RaKalam Bob Moses, and 13 O’Clock Blues Band’s debut CD, which was included in Best CD’s of 2018 in Downbeat Magazine.
 
Philipp Gerschlauer – jazz
Philipp Gerschlauer is a pioneer in combining microtonal elements and jazz. He has divided the octave into 128 notes on the saxophone and in his compositions. Besides playing, he teaches clinics at universities around the globe. Philipp Gerschlauer is considered to be one of the leading microtonal saxophonists in the world.
In order to develop a microtonal organ and to conquer new territory, in 2018 he began to learn the church organ.  He now performs concerts in which he plays saxophone and organ simultaneously.  His talent was recognized early on and while he was at school when he was accepted to study classical saxophone at the Music University of Frankfurt/Main at the age of 16. He graduated from the Jazzinstitut Berlin and moved to New York City to complete his Master’s Degree at the New York University. 
As bandleader he has recorded several CDs with his band Besaxung, which was followed by "Miꓘrojazz - neue eXpressionistische Musik" (David Fiuczynski, Jack DeJohnette, Matt Garrison, Giorgi Mikadze / RareNoise Records). This record was internationally widely acclaimed and voted the 2nd best jazz album in 2017 by "The New York City Jazz Record". 
He received scholarships from the German National Academic Foundation, the German Student Exchange Service (DAAD), the New York University and the German Research Center in Venice (3 months).
He is a faculty member of the Music and Arts University of the City of Vienna (MUK) where he teaches jazz theory and ensemble.
 
Manfred Stahnke - composition
Manfred Stahnke was born in 1951. In 1966 he started to study piano and violin at "Lübecker Musikakademie," music composition / music theory with Jens Rohwer. 1970-74 he went to Freiburg to study with Wolfgang Fortner, later Klaus Huber and his then-assistant Brian Ferneyhough. He began a parallel study of musicology with Hans Heinrich Eggebrecht and others. He passed his exam in "composition & music theory" in 1973. From 1974 on he continued his studies in composition and musicology in Hamburg with György Ligeti and Constantin Floros, finishing with the PhD degree at the Hamburg University. The subject of his thesis was the Aesthetics of Pierre Boulez. 1979-80 he went to the U.S.A. to study microtonality and computer music, first in Urbana/Champaign with Ben Johnston, John Melby and then in Stanford in a summer course with John Chowning. Besides his work as a composer he worked from 1974 on as a piano teacher for children. Then from 1983 on he was a teacher at Hochschule für Musik und Theater Hamburg, first in music theory, then also in composition, from 1995 on as a full-time professor. Stahnke's works have a strong basis on microtonality and pulsative rhythms, also on improvisation. Among them are several operas: "The Fall of the House of Usher", "Henry the Fourth", "Orpheus Kristall" (opera with internet), orchestra pieces and concertos: "Trace des sorciers," "Hinterhofmusick," “Violin Symphony," "Scales of Ages: Saxophone Symphony," and much chamber music.  He wrote numerous essays about many musical questions. He was a lecturer and led master classes in many countries worldwide.  He constantly improvises with the group TonArt.  Presently (2021) Manfred Stahnke is the chair of the music department at "Freie Akademie der Künste in Hamburg."
 
Soundfiles and Scores at Babelscores https://www.babelscores.com/ManfredStahnke Just Intonation Viola Etudes as downloads (Amazon etc.).  
Books on Microtonality:  Mein Blick auf Ligeti, Partch & Compagnons. Gesammelte Aufsätze, Vorträge und Interviews, 424 Seiten, BoD Norderstedt 2017, ISBN 978-3-7431-6663-9 (also a Kindle download version) • 1001 Microtones (together with Sarvenaz Safari), Neumünster 2014 ISBN 978-3- 95675-003-8 • Mikrotöne und mehr - Auf György Ligetis Hamburger Pfaden, ed. Manfred Stahnke, Hamburg 2005, ISBN 3-932696-62-X Portrait: • Just in Tone & Time, Assoziationen an Manfred Stahnke, ed. Benjamin Helmer & Georg Hajdu, engl. / deutsch, Neumünster 2017, ISBN-10: 3956750209
 
Michael Vick – technology 
Michael Vick, aka Michael aTonal Vick, is a multi-instrumentalist & as Guitar Player magazine dubbed him, the Ringleader behind the Fretless Guitar Festival. In Asian circles, he is also known as vVv, often with Free-Bananas & enjoys performing & composing on what he calls extended & limited guitars, basses, micro-keys, Glissentar, bansuri, polychord, ipAds, percussionz, found-objects, Earth & vox to create SoundAsMusic. Vick’s style is hard to describe because it can range from the conventional to the abstract utilizing microtonal tuning systems & natural sounds to the beyond……..
            Michael's formal music training began when he was fourteen years old when he was invited to study classical guitar and music theory at the College of Charleston under Michael Poulos and in Master Classes with Frederick Hand. Around this time, he was also invited to study with Christopher Berg at the University of South Carolina delving deeper into advanced classical guitar and compositional techniques. Over the years that followed, Michael worked under Carroll Brown at Oceansong Records as a recording engineer, and then later moved to Atlanta, Georgia and became a freelance recording engineer and studio musician. As an artist, Michael has performed with the American Festival of Microtonal Music, Charleston Symphony Orchestra, Wayang Modern Shadow Puppet Theater, Footlight Players, Pat Curtis Jazz Trio, C of C Guitar Quartet, Modern India w/ Debashish Bhattacharya, and he has performed at the Spoleto Festival, Hotlanta's Acid Jazz Festival, American Festival of Microtonal Music, NYC Fretless Guitar Festival (which he founded in 2005), Gagliarchives FM, Shawn Lane 10 Year Memorial Celebration in Memphis, Asheville Electro-Music Festival, National Slide Guitar Festival & the Mountain Skies Festival. Vick has also toured and recorded as Wit’s End, The Michael Vick Trip, Bass Fight (w/ Benjamin Funk Johnson), MusicaMunadana.TV (w/ G5 on Gamelan ) and VVVEAD (w/ Todd Campbell aka Electro Acoustic Drummer). 
            For his work with fretless guitars & tuning systems, MaV has been featured in books, magazines & on the internet, as well as; on television and radio, and for over 10 years he has taught a course of his own creation at Furman University called Tuning Systems & the Aural Experience. Through his work w/ FU & the AFMM; Michael was instrumental in bringing Johnny Reinhard’s revered microtonal/tuning systems archive to Furman’s Special Collections. Vick has personally released over 15 CDs & can also be heard on the CD compilations: World's Fretless Guitarists: Village Of The Unfretted (w/ Ron Thal/Bumblefoot, David Fiuczynski/Fuze, Ned Evett & Elliot Sharp/E#), Artists For Charity: Guitarists 4 The Kids (w/ Robert Fripp, Steve Lukather, Mattias IA Eklundh & Pierre Bensusan,) and Unplugged & Unfretted: A Collection Of The World's Acoustic Fretless Guitarists (w/ Neil Haverstick, Kevin Kastning, Cenk Erdogan & Edward Powell). MaV has also released music w/ eclectic-bassist MonoNeon, & he has been featured on various label compilations including Spectropol Records & ClassWarKaraoke at the FreeMusicArchive. His newest full-length is called Sound As Music Presents Pronounced-Triple-V (vVv), & his most recent single dropped in 2021 is Observations of Love.
 Michael Vick is currently endorsed by Godin Guitars & FreeNote Music.  www.SoundAsMusic.com
 
Johnny Reinhard – classical/interstylistic
A native New Yorker, Johnny Reinhard is director and founder of the American Festival of Microtonal Music (AFMM) since 1981, specializing in all manner of microtonal performance. Reinhard performs as a solo bassoonist, as well as a soloist on recorder, and as a vocalist specializing in the works of American microtonal pioneer Harry Partch. Reinhard has performed as a soloist throughout Europe and the United States, Japan, Canada, Mexico, and Russia. Reinhard authored the book Bach and Tuning (published by Peter Lang Verlag). Reinhard holds an MM from Manhattan School of Music, and a BM from the North Carolina School of the Arts, both as a bassoon major. He played with such artists as kavalist Theodossii Spassov (Bulgaria), Thereminist Lydia Kavina (Russia), Baul master Babukishan Das (India), and the FLUX String Quartet (USA). In 2000 he was featured as a bassoon by Ornette Coleman to critical acclaim in The New York Times at the Verizon Jazz Festival. For fifteen years he played electric bassoon with Jon Catler’s rock band, The Microtones. Featured solo appearances in London’s Barbican, Paris’ Centre de Pompidou, Venice’s Teatro la Fenice, Moscow’s Alternativa Festival, Croatia’s Fortress of Knin, Ukraine’s Odessa Philharmonic Hall, Salzburg’s Mozarteum, and Festivals in Monterrey, Mexico, Kazan in Russia, and in Bergen, Norway. Denmark. Notable music partners include bass trombonist Dave Taylor, cellist Dave Eggar, violinist Tom Chiu, multi-instrumentalists Brad Catler and Ron Kozak, guitarist Jon Catler, percussionist Rashied Ali, and trumpeter Lew Soloff.
Reinhard has notably completed previously unheard works of composers in exemplary performance, which include his realization and subsequent premiere performance of Charles Ives’ Universe Symphony in 1996 in New York’s Lincoln Center, and the premiere of Edgard Varèse’s “Graphs and Time” in 1987 at the Centre Pompidou in Paris. Reinhard’s transcription of Ivan Wyschnegradsky’s Meditation sur deux themes (1917) for bassoon and piano was recorded for the CD Between the Keys for Newport Classics (now Sony), with different performances recorded for Solyd Records (Russia), and the AFMM organ PITCH. Among his concert premieres are Lou Harrison’s “Simfony in Free Style,” Terry Riley’s “In C - Just Intonation Version,” Percy Grainger’s “Free Music” for Theremin quartet, the original version of Harry Partch’s “Ulysses Departs From the Edge of the World” for trumpet, double bass and boobams, and Mordecai Sandberg’s orchestral “Psalm 51.” 
 
As a composer, Reinhard’s original compositions feature polymicrotonality – either the active mixing of microtonal tunings in a single composition, or the invention of fresh pitch relationships (e.g., harmonic 17, quadratic prime just intonation, collapsed just intonation). Among his works are a cello concerto (Odysseus), string quartet, (Cosmic Rays and Seventh Heaven), numerous chamber works (including Raven, Alice, Trees), a large corpus of virtuoso solo works for different instruments in distinctive tunings (e.g., Zelig Mood Ring, Sleep, Dune, Zanzibar). Johnny Reinhard’s compositions may be heard on the Raven CD released by The Stereo Society and Michael Throne.  In the early ‘90s he published the serial journal PITCH for the International Microtonalist, which later evolved into the PITCH CD label.
 
In addition to playing and creating, Reinhard actively extends his knowledge to students of music. Formerly professor of bassoon at New York University, Reinhard also previously taught music composition and theory at C.W. Post, Long Island University, and he taught Western Art Music at Columbia University, as well as during Kyle Gann’s sabbatical at Bard College. He has guest-lectured at renowned universities around the world including the Manhattan School of Music, CalArts, Indiana University, University of Colorado at Boulder, Hamburg Hochschule in Germany, Tchaikovsky Conservatory in Moscow, York University in England, Sibelius Academy in Helsinki, Finland, and Ukraine’s Odessa Conservatory.
 
Reinhard introduced as vocalist the first performances of Harry Partch’s 43-tone just intonation works in Norway (International Bergen Festival), France (M.A.N.C.A.), Switzerland (RoteFabrik), Italy (Teatro la Fenice), Canada (Toronto, Winnipeg, and St. John’s), England (London’s Barbican), and The Juilliard School (NYC).
 
Reinhard has premiered compositions from among the most accomplished contemporary composers, including Georg Friedrich Haas, Harvey Sollberger, John Eaton, LaMonte Young, Ben Johnston, Svjetlana Bukvich, Monroe Golden, Anatol Vieru, Halim El-Dahb, Manfred Stahnke, Tui St. George Tucker, Harold Seletsky, and Skip LaPlante. Reinhard has presented Odetta, John Zorn, David Hykes, Theodosii Spassov, Toby Twining, and Ed Sanders. He has conducted world première performances of works by Charles Ives, Edgard Varèse, Harry Partch, Toby Twining, Wendy Carlos, Percy Grainger, Julian Carrillo, and Mordecai Sandberg. In the past ten years, Johnny Reinhard has been working almost exclusively with a tuning system he calls simply: 128 tuning, whose origin is found etched in the 8th octave of the overtone series. 
 
Johnny Reinhard's Home at the Stereo Society | The Stereo Society

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