Assistant Professor of Music
Hill Music Bldg. 119
900 Arkadelphia Rd
Birmingham, AL 35254
Office Phone: (205) 226-4961
Office Fax: (205) 226-3058
Brief Career Background:
Originally from Appleton, Wisconsin, Jeremy Grall received his Doctor of Musical Arts and Bachelor of Music degree in guitar performance, under the tutelage of Dr. Lily Afshar, from the University of Memphis. In 1999, he received the Master of Music degree in guitar performance from the Yale School of Music, where he was a scholarship student of Benjamin Verdery. In addition to his academic studies, Jeremy spent four summers studying as a scholarship student at the Aspen Music Festival with guitarist Sharon Isbin. Other summer workshops include the Ben Verdery Annual Guitar Workshop in Maui and the Phillip DeFremery/Verdery Summer Master class at Mt. Holyoake. He also has received additional coaching from such artists as Michael Nicolella, Oscar Ghiglia, Kevin Gallagher, Scott Tennant, Raphaella Smits, Seymour Bernstein, Ricardo Iznaola, Lorenzo Michelli, Adam Holzman, Stephen Aaron, and Stephen Robinson. Jeremy has also studied jazz guitar with former Count Basie Big Band guitarist, Charlton Johnson.
In 2001, Jeremy was first prizewinner of the classical guitar division of the Beethoven Club Young Artists Competition. Jeremy has performed concerts for the Connecticut Classical Guitar Society, Christian Brothers University Guest Artist Series, the Avanti Young Artists Series, and at the Aspen Music Festival. In 2009 when Jeremy received his DMA, he was nominated for the university-wide Morton Outstanding Dissertation Award.
Jeremy is also a PhD Candidate in Historical Musicology at the University of Memphis. Jeremy's research is concerned with the musical performance practices and theory of the Renaissance and Baroque, semiotics, jazz improvisation, and music cognition. Jeremy's recent research is on the analysis and cognitive modeling of improvised music. He has presented his research at conferences such as the PopMac International Conference on Analyzing Popular Music in Liverpool, UK; EuroMac VII in Rome, Italy; the XI and XII International Congresses on Musical Signification in Poland and Belgium; Cardiff Music Analysis Conference in Wales, the Society for Seventeenth-Century Music, the College Music Society, and the AMS and SMT South-Central Chapters. This fall Jeremy will be presenting a paper at the Perspectives on Musical Improvisation II conference at the University of Oxford.
In music cognition, Jeremy has conducted research in the Auditory Cognitive Neuroscience Laboratory at the University of Memphis Institute for Intelligent Systems under Dr. Gavin Bidelman. In the Bidelman Laboratory, Jeremy assisted in research involving EEG neuroimaging of the neural correlates of consonance and dissonance. The results of this study were recently published in the journal Neuroimage.
Before arriving at Birmingham-Southern College, Jeremy was on the faculty of Sam Houston State University, University of Alabama at Birmingham, and Nashville State Community College, where he was also the music program director. Jeremy also taught as an adjunct instructor at the University of Memphis and at the Aspen Music Festival's Community Outreach Program. Jeremy is also a contributing editor of Soundboard, The Journal of the Guitar Foundation of America.
Ph.D. Historical Musicology (In Progress, ABD), University of Memphis
D.M.A. Guitar, University of Memphis, 2009
M.M. Guitar, Yale University, 1999
B.M. Guitar, University of Memphis
Areas of Academic Interest:
- Music History
- Classical Guitar
- Jazz Guitar
- Psychology of Music
MU 121 Introduction to Music (1) An introductory-level survey of music literature intended for nonmajors. This course introduces fundamental musical concepts and offers a survey of American vernacular music, music of selected world cultures, and standard repertory of western art music. Development of listening skills is emphasized.
MU 221 Ancient, Medieval and Renaissance Music History (1) A study of Western music from the Middle Ages to the seventeenth century, surveying both the literature of music and the data of written history. Prerequisites: MU 123 and 152, and EH 102. Fall.
MU 222 Baroque, Classic, Romantic and Twentieth-Century Music History (1) A continuation of MU 221, beginning with the seventeenth century and extending through major composers of the twentieth century. Prerequisites: MU 123 and 152, and EH 102.
MU*299*60 Music and Film, Prerequisites: None Open To: All Students Grading System: Letter Max. Enrollment: 16 Meeting Times: MWF 9:00am-12:00pm In this project students explore music in film by using methodologies currently in use in modern scholarship, such as narrative, historical, cognitive, and aesthetic analysis. ÂŠis includes the study of diegetic and non-diegetic musicâ€”music used as a soundtrack versus music that exists within the film itself. ÂŠis project also explores not only howmusic creates affect within a film, but also how the extra-musical meaning and the use of allusion through musical quotation often adds a deeper level of meaning that may not be immediately recognized by the audience. Class format will typically include completing required readings prior to and after viewing a variety of films, as well as in-class discussions, student presentations, and guest lectures. ÂŠe project will culminate in a research paper and a correlating class presentation.