Linda T. Kaastra
eudaimonia96 at gmail.com
RESEARCH
I study music cognition using a variety of first- and third-person methodologies including performance ethnography, grounded theory, joint activity theory, experiential inquiry, case study, and narrative inquiry. My work is also informed by general system theory, embodied and enactive cognition, neurophenomenology, and situated cognition.
EDUCATION
Doctor of Philosophy, University of British Columbia
2008 Interdisciplinary Studies Graduate Program
Qualifying areas: qualitative research methodology, performance analysis, music cognition
Relevant courses: Acoustic Communications (AC859); Topics in Cognitive Systems (COGS 400); Qualitative Methods in Applied Ethics Research (INDS502U); Problems in Musical Aesthetics (MUS 511); Analytical Approaches to Twentieth Century Music (MUS 504)
Master of Music, Yale University School of Music
1991-1993 Master of Music in Bassoon Performance
Bachelor of Music, The University of British Columbia
1985-1990 Bachelor of Music in Bassoon Performance
HIGHER EDUCATION TEACHING AND RESEARCH
University College of the Fraser Valley
2002-2006 Sessional Instructor
English: The Reading and Writing of Prose, Pre-College Composition
Music: Introduction to Music of the Twentieth Century, Listening to Music
University of British Columbia
2007 Research Assistant for Dr. William Benjamin, Musical Imagery and Aesthetics
2006-2007 Instructor, Bassoon as a Secondary Instrument, Class Woodwinds – Bassoon
2005-2006 Chamber Ensemble Coach
2004-2005 Research Assistant for Dr. Eric Vatikiotis-Bateson, Communicative EventStructures in Speech and Music
2003-2004 Instructor, Bassoon as a Secondary Instrument
University of Colorado at Colorado Springs
1997-2000 Rhetoric and Composition Instructor, The Writing Program
Experiments and Innovations in C20 Music, Literature, & the Arts, Technical Writing, Rhetoric and Writing I & II, Components of Writing
RECENT PERFORMANCE EXPERIENCE
University of British Columbia
2008 Member, Pacific Symphonic Wind Ensemble
2003-2006 UBC Graduate and Undergraduate Chamber Music and Large Ensembles
UBC Korean Drumming Ensemble with Nathan Hesselink
Contemporary Players Improvisation lab with Giorgio Magnanensi
New composition for bassoon and harp, “Lacrimae” by Matthew MacTavish, with Andrew Chan, harp
New Interfaces for Musical Expression
January-June 2004
Composed, coached, performed the Tooka with Sachiyo Takahashi
GRANTS
SSHRC Fine Arts grant proposal 2005 – Approved, but not funded. “Enhancing performance analysis through behavioral research and technology” with Jesse Read, John Roeder, and Brian Fisher.
SSHRC Fine Arts grant proposal 2004 – Approved, but not funded. “Cultivating Musicality: an examination of gesture in the communicative art of musical expression” with Eric Vatikiotis-Bateson, Jesse Read, and Brian Fisher.
University Graduate Fellowship (UBC 2004-2005)
Canada Council for the Arts Travel Grant (Hamamatsu, Japan 2004)
Irving S. Gilmore Fellowship (Yale University School of Music 1992)
Canada Council for the Arts Travel Grant (Bobbio, Italy 1991, 1993)
AFFILIATIONS AND PROFESSIONAL SERVICE
Member, Cognitive Science Society
Member, Society for Music Theory
Paper Reviewer for New Interfaces for Musical Expression(NIME) 2006, 2007.
Paper Reviewer for the Cognitive Science Society 2007.
Served as Vice-President of the Non-Tenure Track Faculty Association, University of Colorado at Colorado Springs, 1998-1999.
JOURNAL ARTICLES
Kaastra, Linda. “Performance Inquiry and Cognitive Science: A Search for Common Ground.” Submitted to College Music Symposium.
PUBLISHED PROCEEDINGS
Sidney Fels, Linda Kaastra, Graeme McCaig, and Sachiyo Takahashi. “Evolving Tooka, From Experiment to Instrument.” NIME 2004:1-6.
CONFERENCE PAPERS
Kaastra, Linda. “Epistemology of Cognition in Music Performance.” UBC Music Department Colloquium Presentation, November 17, 2006.
Kaastra, Linda. “The Performer’s Scholarly Voice: Theoretical Paradigms in the Study of Music Performance.” Presented at the Pacific Northwest Music Graduate Students Conference, University of Washington, October 20-21, 2006.
Kaastra, Linda and Brian Fisher. “Affording Virtuosity: HCI in the Lifeworld of Collaboration.” in CHI 2006 Workshop, About Face Interface: Creative Engagement in New Media Arts and HCI.April 22-23, 2006.
Kaastra, Linda. “Building Theory From Performance: A Process-Oriented Investigation of Gesture in Music Performance.” Paper presented at the Columbia Music Scholarship Conference, Columbia University, February 3-4, 2006.
Kaastra, Linda. “Grounded Theory: Performance Analysis of Toru Takemistu’s Masque for Two Flutes.”Paper presented at the Pacific Northwest Music Graduate Students Conference, University of British Columbia, September 30-October 2, 2005.
Kaastra, Linda and Brian Fisher. "Affording Virtuosity." Paper presented at the Transnet Conference: Performing Art Performing Science: Transdisciplinary Approaches to Performance, Simon Fraser University, June 16-17, 2005.
Kaastra, Linda. “Analyzing Communicative Event Structures in Sofia Gubaidulina’s Concerto for Bassoon and Low Strings.” Seventh Annual Conference of the Dutch Society for Music Theory, Tilburg, The Netherlands, February 25-26, 2005.
Kaastra, Linda. “Musical Meaning in Sofia Gubaidulina’s Concerto for Bassoon and Low Strings.” UBC Music Department Colloquium, March 18, 2005.
Kaastra, Linda. “Coding Musical Events: A Qualitative Approach to Analyzing Musically Communicative Behavior.” Pacific Northwest Music Graduate Students Conference, October 2004.
POETRY AND MUSIC COMPOSITIONS
Kaastra, Linda, Brian Fisher and Sachiyo Takahashi. “Nanohome.” Tooka composition for “Kyo’s Dream” by Kathleen Goonan, Brian Fisher, Sha Xin Wei. HorizonZero 14: Dream: speculating the nanotech home of the future.edited by Sara Diamond. Banff: The Banff New Media Institute in collaboration with the Culture.ca gateway, March/April 2004.
Kaastra, Linda and Sachiyo Takahashi. “You and Me” Original composition for Tooka, composed and performed by Kaastra and Takahashi. NIME ’04, Hamamatsu, Japan, June 2004.
Kaastra, Linda. “Lilith” in The Mountain Astrologer.June/July 2002.
SELECTED REPERTOIRE & PERFORMANCES 1990-2000
Improvisation:
Improvised sound track for Philippe Leroux “Feu Dévorant”
Improvised performances with Robert Dick, flutist
UBC Contemporary Players Improv Ensemble with Giorgio Magnanense (tooka and bassoon)
SUNY Stony Brook Contemporary Chamber Players (CCP)
Chamber Music: Jan Dismas Zelenka Sonata No. 2 in G minor, Sonata No. 5 in F major; George Frideric Handel Sonata in F major for 2 bassoons and continuo, Darius Milhaud La Cheminée du Roi René; Wolfgang Amadeus Mozart Serenade No. 10 “Gran Partita”; Antonin Dvorak Serenade in D minor Opus 44; Joseph Bodin de Boismortier Sechs Sonaten fur zwei Fagotte Opus 14; François Couperin Concert á deux Bassons; Ludwig von Beethoven Klavier-Quintett Opus 16; Heitor Villa Lobos Bachianas Brasilieras No. 6; Francis Poulenc Trio for Piano, Oboe and Bassoon; Pierre Max Dubois Petite Suite for Flute and Bassoon; Wolfgang Amadeus Mozart Sonata in Bflat for Bassoon and Cello; Vaclav Nelybel Etudes for Four Bassoons; Eugene Bozza Scherzo Op. 48 for woodwind quintet; Carl Nielson Quintet for Winds Opus 43; Paul Hindemith Kleine Kammermusik Opus 24/2; Samuel Barber Summer Music Opus 31; Gyorgi Ligetti Six Bagatelles for Wind Quintet; Francis Poulenc Sextet for Winds and Piano; Malcom Arnold Three Shanties; Giacomo Rossini Barber of Seville Overture; Giuseppe Cambini Quintet No. 3;
Sonatas and Solos: Alexandre Tansman Sonatine for Bassoon and Piano; Camille Saint Saens Sonata for Bassoon and Piano; Georg Philip Telemann E minorand F minor Sonatas; Paul Hindemith Bassoon Sonata; Johann Friedrich Fasch Sonata in C;Johann Sebastian Bach Cello Suite No. 2; Robert Schumann Fantasiestücke Op. 73; Malcom Arnold Fantasy for Bassoon; Henri Dutilleux Sarabande et Cortege; Wilson Osborne Rhapsody for Bassoon;
Operas: The Rake’s Progress, UBC; Cosi fan Tutti, The Banff Centre; The Marriage of Figaro,Yale Philharmonia; Wozzeck, Le Nouvel Ensemble Moderne.
Concertos with orchestra: Carl Maria von Weber Andante and Hungarian Rondo, UBC; Wolfgang Amadeus Mozart Concerto for Bassoon and Orchestra, The Banff Centre for the Arts.
Concertos with piano: Carl Maria von Weber Concerto for Bassoon, The Banff Centre for the Arts; Jacques Hetu Concerto for Bassoon,The Banff Centre for the Arts; Andre Jolivet, Bassoon Concerto, Yale School of Music; Heitor Villa Lobos Ciranda das sete notas, UBC.
Critiqued full-length recitals: BMUS degree recital, UBC; MMUS degree recital, Yale School of Music; MMUS chamber music recital, Yale School of Music; DMA degree recitals (x3), SUNY Stony Brook; DMA chamber music recital, SUNY Stony Brook.
Special programs, master classes and workshops: Corsi Musicali Estivi di Bobbio (1991, 1993) with Sergio Azzolini; The Banff Centre for the Arts with Stephen Maxym (1990, 1991, 1992) and with Otto Eiffert (1989); Artist in Residence, The Banff Centre for the Arts (1990-1991, 1993); National Youth Orchestra of Canada (1990).
New Music Ensembles: UBC with Stephen Chatman and Giorgio Magnanense; SUNY Stony Brook Contemporary Chamber Players (CCP) with Gilbert Kalish; Le Nouvel Ensemble Moderne;
Early Music Ensembles: Baroque Ensemble with Arthur Haas, SUNY Stony Brook;Early Music Ensemble with Jaap Schroeder, Yale School of Music
Orchestras: The Stony Brook Symphony, The New Haven Symphony, Yale Philharmonia, Yale Repertory Orchestra, National Youth Orchestra of Canada