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William Ennis Thomson (born 1927, Fort Worth) is an American music educator at the collegiate level, music theorist, composer, former Music School Dean and Professor at the Thornton School of Music, University of Southern California from 1980 to 1992.〔"Music, Dance, News: Appointments," ''Los Angeles Times,'' pg. Q 71, col. 3, June 8, 1980〕 His interest in research centers around the cognitive and perceptual foundation of music, insight for which is found in his 2006 article, ''Pitch Frames as Melodic Archetypes,'' ''(Empirical Musicology Review ),'' 1.2, 1-18. Thomson has served the faculties of SUNY Buffalo (1975–80) (Chair of Music and Albert Ziegle Professor); University of Arizona (Director of Graduate Studies) (1972–75); Case Western Reserve University ((Fynette Hill Kulas ) Professor) (1969–72); Indiana University School of Music (1961–69) (Professor of Music Theory; Chair Music Theory Department); University of Hawaii Scholar in Residence (1967–68); Sul Ross State University (1951–60), and Ford Foundation composer in residence (1960–61).〔"Ford Foundation Announces Fellowship Award Winners," ''Los Angeles Times,'' pg. E8, April 17, 1960〕 He chaired the ETS Advanced Placement in Music Test Committee (1975–79); served as Music Panel Member and Examiner for the National Endowment for the Arts (1971–75, while Nancy Hanks was Chairman); Fellow and Policy Committee member of the Ford Foundation; served as a key participant in the Contemporary Music Project (1963–75); Board member of the Buffalo Philharmonic (1976–80); taught and composed works for wind band, orchestra, chorus (accompanied and ''a capella''); and various chamber music media. Thomson also served in the Armed Forces: U.S. Navy (1945–46). == Collegiate education == Thomson earned two degrees from the University of North Texas: Bachelor of Music (composition), 1948, and a Master of Music (composition) 1949. He also earned a PhD in Music Theory and Philosophy in 1952 from Indiana University, Bloomington. While at North Texas, Thomson was a member of the inaugural Laboratory Dance Band (1946–47) — the forerunner of the One O'Clock Lab Band — during the launch year of the first college degree in jazz offered in the world. At North Texas, he crossed paths with: # Wilfred Bain, who, as dean of the School of Music, collaborated with Gene Hall to create the country's first jazz degree program in his final year and Gene Hall's first year (1947) before moving on to Indiana University where he rapidly built another major school of music; Bain, essentially pioneered a new post-war large-scale model for higher music education by creating and integrating two comprehensive music schools within full liberal arts universities (North Texas, during Bain's era, was a large teachers college, but emerged in the late 1950s as a liberal arts university) # William F. Lee III, also a member of the first Lab Band at North Texas, who, later became a pioneering dean at a major music school, the University of Miami School of Music 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「William Ennis Thomson」の詳細全文を読む スポンサード リンク
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