Frank McCarty - Academic Biographical Sketch

    Frank McCarty was born in California in 1941. He received degrees in music composition from San Diego State (A.B., 1964), the University of Southern California (M.M., 1966) and the University of California at San Diego (Ph.D., 1975). He studied with Howard Brubeck, David Ward-Steinman, Ingolf Dahl, David Raksin, George Perle, Robert Erickson, Kenneth Gaburo and Pauline Oliveros. McCarty won national student awards in composition from B.M.I., the National Federation of Music Clubs, Phi Mu Alpha, the Richmond Professional Institute, and was the debut winner of the San Diego Musical Merit Foundation.
    McCarty was on the music faculties of Cal-State Fullerton and the University of Pittsburgh, each for five years. He then taught at a university in North Carolina from 1976 until his retirement in 2004. Two of McCarty's composition students were winners of the prestigious B.M.I. awards. He taught many courses in music history, literature and theory on both undergraduate and graduate levels. Additionally, he produced and conducted many concerts of contemporary music and presented various special events featuring nationally and internationally recognized artists.
    He was one of twelve American delegates to the 1974 International Conference on New Musical Notation in Ghent, Belgium and a significant contributor to the resulting published standards. McCarty has also been an editorial consultant for Prentice-Hall, UNC Press, Wm. C. Brown, Wadsworth, and Random House. He was a member of the national advisory committee for Music in General Studies of the College Music Society, and a panelist and chair for the National Endowment for the Arts. He was a member of the following professional associations: Broadcast Music Incorporated, American Music Center, College Music Society, Sonneck Society, American Society of University Composers, Southeastern Composers League, North Carolina Composers' Alliance.
    In 1983, 1989 and 1994, Frank McCarty was recipient of the North Carolina Artist Fellowship in composition. He was the first composer to get the honor twice and the first of all North Carolina creative artists to have received it three times. McCarty has also received grants for composition, acoustical and computer research from the North Carolina and Pennsylvania Arts Councils, the Universities of North Carolina and Pittsburgh, Meet The Composer and the NEA. He has composed for virtually all media, in a broad range of styles, and has collaborated in productions for dance, film, radio, television and theatre. His music is published by Artisan Music Press, European- American, HaMaR Percussion, Media Press, and Soundlib Press. McCarty's works have been commissioned and/or performed by such organizations as the Eastern Music Festival, the National Orchestra of France, the National Wind Ensemble Conference, Orquestra Sinfonica de Venezuela, the New York Composers Forum, Public Television, the San Diego Opera and Symphony, and the American Dance Festival.
    McCarty is editor of The American Music Resource which first appeared on the Internet in January, 1994. It is a collection of over 700 bibliographical files on over 80 American composers as well as many topics in American Music.

Literary Publications:
    "American Composers' Theatre (1948-1974)", Theatre Southwest, ix/1 (1982).
    "Symbols for Percussion Notation", The Percussionist (Research Edition), xviii/1 (1980).
    "Percussion Notation: Report on a Survey", The Percussionist, xv/2 (1978).
    "Electronic Music Systems: Structure, Control, Product", Perspectives of New Music, xiii (1975).
    "Notational Standards for Percussion: A Report on the Ghent Conference", The Instrumentalist, xxix (June, 1975).
    "An Interview with Stuart Dempster", The Instrumentalist, xxviii (May, 1974). Reprinted in David Cope: NEW DIRECTIONS IN MUSIC, (Dubuque, Iowa 1976, 1981, 1984).
    "Woodwinds: Extensions of Convention", The Instrumentalist, xxviii (May, 1974).
    "Entropy as Value-Theory in the Arts", Journal of Aesthetics and Art Criticism, xxxii (Winter, 1973).
    "Expanding Woodwind Sound Potential", (with Larry Livingston) The Composer, iii (1971).
    "The Bass Drum Deserves the Attention it Demands", Music Educators Journal, lvi (September, 1969). Reprinted as "A Standard Approach to the Bass Drum", Percussive Notes, ix (Spring, 1971).

Papers Delivered (selected):
    "Popular Music in the general university curriculum", San Jose State University, Music Department Convocation, 2/14/85.
    "Music in China Today", (with Robert Jesselson), College Music Society, Mid-Atlantic Chapter, University of South Carolina, 3/23/84.
    "Electro-Acoustic Music: the last ten years", Festival of the Arts, UNC-Ashville, 5/25/82.
    "Sondheim's SWEENEY TODD: How the GESAMPTKUNST Works", College Music Society, Mid-Atlantic Chapter, Catholic University, Washington DC, 3/20/82.
    "The PAS Notation Project", Percussive Arts Society, National Convention, San Jose, CA, 11/13-16/80.
    "Mixed Media Theatre", (guest-artist lecture) Festival of Contemporary Arts, Davidson County Community College, 3/12/79.
    "Comparing Electronic Music Synthesis Systems", Electronic Music Plus, UNC-Chapel Hill, 10/29-30/76.
    "Notation Since Ghent. Composer versus Performer?: Alternatives", American Society of University Composers, Region V, Annual Meeting, Northern Illinois University, De Kalb, IL, 11/15/75.

Biographical Listings:
    The World Who's Who of Musicians; Who's Who in the East; Composers for the Saxophone (ed. Londeix); Who's Who in American Music; Who's Who in Music International; Contemporary American Composers: A Biographical Dictionary (ed. Anderson); A Biographical Dictionary of American Composers (ed. Jacoby).

Other recognition in print:
    Roger Johnson (ed.), SCORES (anthology of avant garde compositions), New York: Schirmer Books, 1981.
    Kurt Stone, MUSIC NOTATION in the TWENTIETH CENTURY New York: W.W. Norton & Co., 1980.
    Allen Strange, ELECTRONIC MUSIC. Dubuque, Iowa: W.C. Brown Co. Pub., 1972, 1983.

Academic studies of McCarty compositions:
    Susan Nelson, DMA, University of Michigan, 6/72; Gary Milliken, MA, San Jose State University, 4/78; Gary Dranch, DMA, University of Illinois, 5/80; John Sampen, DMA Northwestern University, 5/84.