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Mission Statement and Learning Outcomes
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Mark T. Rimple Room 331, Swope Music Building Education It is a real pleasure to work with my distinguished faculty colleagues and to interact with wonderful and engaged students. The creative energy in the SOM is infectious, and my collaboration with faculty and students is a constant source of inspiration. As co-author of our new music theory textbook with Dr. Alexander Rozin, I have been enjoying seeing my students expand their study of music to encompass a much wider world of music than before, and I am constantly surprised and impressed with their accomplishments and applications of the ideas we explore in the classroom. My contribution to the culture of SOM resides mainly in the opposite historical ends of Western music: music of the Medieval, Renaissance, and Baroque periods, and music of the early 20th through the early 21st century. I feel it is my duty as a specialist in music of the distant past to champion Medieval, Renaissance, and Baroque music on campus in many environments, from the theory classroom to the concert hall. This interest has been a major part of my contribution to our new theory text. In addition, I have been fortunate to teach in the SOM Oxford program (in 2005 and 2008), where my focus has been the philosophical side of music in relation to the plays of William Shakespeare, and the literary/philosophical world of the lute song. As director of the Collegium Musicum, I try to find music that both educates the student about larger historical trends and styles of music and that reveals a bit of the hidden treasures of our past. As a composer, I strive to incorporate my first-hand contact with this music into my own compositional voice, which is an attempt to integrate many seemingly disparate historical musical realities. I try to bring ancient philosophical and theoretical concepts to bear on music that has a contemporary edge, while infusing my own, modern musical style with the sensual beauty found in the sound world of pre-Classic music. This bi-directional sense of history helps me to communicate with our composition majors in courses such as music theory seminars, composition lessons, and counterpoint, where I hope to teach them how to integrate the musical past into their compositional work. Mark Rimple is accomplished in the areas of performance, composition, and music theory. He has performed and composed works for nationally recognized ensembles in major venues and has published and presented papers on the history of music theory and composition. . Performance (As Countertenor and Lutenist): Mark Rimple’s performances as a lutenist and countertenor have been singled out in concert and CD reviews (including favorable reviews in Early Music (UK), the Chicago Tribune, Early Music America Magazine, The Washington Post, The Philadelphia Inquirer, and the New York TImes). Mark is a founding member of Trefoil, a New York based, vocal-instrumental trio devoted to the performance of fourteenth century music. With Trefoil, Mark has appeared on Sirius Satellite Radio, on NPR (Vermont Public Radio; the syndicated early music program Harmonia), and given frequent concerts at a wide variety of venues including the Cloisters Museum, Trinity Church Wall Street, The Museum Series of Providence, RI, Vassar College, Temple University, Boston College, The New York Times Center, and many others. They have appeared as guest artists at major early music festivals and academic conferences including The International Congress of Medieval Studies at Western Michigan University, The Connecticut Early Music Festival, The Washington Early Music Festival and The Amherst Early Music Festival. The trio has appeared jointly with The Newberry Consort (in Chicago), The Folger Consort (at the Folger Shakespeare Library, Washington, DC.), and Piffaro, the Renaissance Band (in Philadelphia). Dr. Rimple appears on two Trefoil recordings: “Monsters, Mazes, and Masters: Treading the Medieval Labyrinth” (MSR 1095), and “Cristo è Nato: Lauding the Nativity in Medieval Italy” (MSR 1094). Mark has appeared as a guest artist, both as singer and instrumentalist, with a number of the nation’s top early music ensembles, including The Newberry Consort, with whom he appears on a critically acclaimed recording of late medieval music entitled “Puzzles and Perfect Beauty” (Noyse Productions). He has also appeared frequently with the Folger Consort. He can be heard on recordings with New York’s Ensemble for Early Music (on Ex Cathedra Records). He has also appeared with The King’s Noyse, The New York Collegium, Tempesta di Mare, Ex Umbris, and Pomerium, and has accompanied some of America’s best-known singers of early music, including Drew Minter, Julianne Baird, Jennifer Lane, and Ellen Hargis. He has taught for a number of early music workshops including The Amherst Early Music Festival, Pinewoods Early Music Week, and The Madison Early Music Festival. As an interpreter of contemporary music, he has appeared as a countertenor, lutenist, guitarist and mandolinist with various orchestras and new music ensembles including Network for New Music, the Curtis Orchestra, The Cygnus Ensemble (NYC), The West Chester New Music Ensemble, and the Pennsylvania Ballet. He appears on the recording of Jonathan Dawe’s “Siren” for countertenor, guitar, and viola with the Cygnus Ensemble (“A Noise Did Rise”, Furious Artisans Recordings). He has also premiered a number of new compositions, including Larry Nelson’s “Symphony in Gray Major”, a composition for countertenor, computer enhancements, and chamber ensemble, and appears on archlute in a new release of compositions by Matthew Greenbaum (“The Floating Island and Other Works,” Centaur Records). Composition: Dr. Rimple’s compositions have been performed in a variety of venues, from top new music ensembles including Parnassus, Network for New Music, The ISCM Chamber Players (at Carnegie Hall), and the Temple University Faculty Trio, to off-off Broadway (Muse of Fire Productions in New York City where his works were called "delightful" by nytheatremusic.com) and in local churches (he was a staff composer at Old St. Joseph's Church in Philadelphia from 1999-2002). In 2008-2009, a number of his works will be presented and premiered on campus, including his “Partita 622”, a new trio for flugel horn, violin and piano (written for J.C. Dobreweski) and a set of three songs for Randall Scarlata and Carl Cranmer. His most recent compositions include:
Music Theory: Currently, Dr. Rimple is working with Dr. Rozin on a new theory textbook which is also being piloted on campus. His musical-theoretical research has been focused mainly in the field of medieval and renaissance theory and notation. Lately his interest has been focused on the influence of ancient Greek and Roman theories of interval and consonance in the Medieval period. Forthcoming is an extended article: "Hidden Symphonies: Boethian Harmony in the Middle Ages and 20th Century", in A Companion to Boethius in the Middle Ages (Brill Academic Publishers, forthcoming, 2009/10). Recent articles:
He has also been involved as peer reviewer for The International Boethius Society. journal. He has also presented several papers on medieval music theory and notation at the annual International Congress of Medieval Studies in Kalamazoo, MI.
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