search/admin/spider_custom.php search/search.php fellowship_survey/survey.php Fellow Follow-up Survey Details - Martin Regan

DF (2005)

Fellow Information:
First Name
Middle Name
Last Name
Regan (changed from REGAN)
Texas A&M University
Assistant Professor of Music
Contact Address:
Address Type
Address 1
Dept. of Performance Studies
Address 2 (optional)
Academic 104, MS4240
College Station
Zip Code
United States
*Survey URL
1. Are you enaged in Japanese Studies?

Answer: A. Yes, I am engaged in Japanese Studies at a university or research institution.

Field of Study: Music

2. Please describe what you are currently doing. (If you have your own website or any relevant site, provide its URL.)

Answer: Marty Regan biography Marty Regan (b. 1972) has composed over 45 works for traditional Japanese instruments and since 2002 has been affiliated with AURA-J, one of Japan's premiere performance ensembles of contemporary-traditional Japanese music. He graduated from Oberlin College in 1995 with a B.M. in Composition and a B.A. in English and East Asian Studies. From 2000 to 2002 he studied composition and took applied lessons on traditional Japanese instruments as a Japanese government-sponsored research student at Tokyo College of Music. In 2002, his composition Song-Poem of the Eastern Clouds (2001) for shakuhachi and 21-string koto was premiered at the 5th Annual Composition Competition for Traditional Japanese Instruments at the National Theatre of Japan. He completed his Ph.D. in Music with an emphasis in Composition at the University of Hawai‘i, Manoa in 2006. His English translation of Minoru Miki’s orchestration manual, Composing for Japanese Instruments was published in 2008 by the University of Rochester Press. He is an Assistant Professor of Music at Texas A&M University. In 2010, Navona Records released a compact disc of his works entitled "Marty Regan's Selected Works for Japanese Instruments Vol. 1: Forest Whispers..." For more information, visit マーティン・リーガンのプロフィール 邦楽器のために45を超える作品を作曲している。また、'02 年以来、日本における現代邦楽を演奏する主要グループの一つである「オーラJ」に所属している。 '95年オハイオ州オバーリン大学作曲科及び東アジア研究科卒。国費研究留学生として、東京音楽大学院作曲専攻に在籍していた。'02年文化庁舞台芸術創作奨励国立劇場作曲コンクールに尺八と二十絃箏のための「東雲の詩」で入賞。 '05年日本国外で日本の芸術が国際的に知られるように努力している点で、Tai Hei 尺八奨学金を受賞。'06年ハワイ大学作曲科博士課程修了。「wildfire」「虹の光」「dragoneyes」「マカーム」「細雪を想い」「月影幻想曲」「riverrun」等の邦楽作品がCD化されている。三木稔著「日本楽器法」(音楽之友社)の英語版翻訳を' 08年版。'10年ナボーナレコードによって、自作品CD「マーティン・リーガンの和楽器による作品集第一番:森が囁いて...」がリリースされた。 現在、アメリカのテキサス州、A&M大学にて助教授として後進の指導にあたる。

3. Where did you acquire your most advanced Japanese language training for your research?

Answer: A. I learned it at a university. (Tokyo College of Music)

4. Have you ever participated in the Japan Exchange and Teaching (JET) Programme?

Answer: NO

5. Have you earned a doctoral degree?

Answer: YES
Year: 2006
Field: Music
University: University of Hawaii, Manoa

Optional Inquiry:
1. Please describe briefly how the Japan Foundation Fellowship experience influenced your career.

Answer: The Japan Foundation Fellowship provided a precious opportunity to focus on completing my dissertation. Further, during the term of my fellowship (2005-2006), I was able to cultivate an extensive network of colleagues with whom I am continuously involved in various collaborative projects. For example, in 2009 I founded a sustainable five-week faculty-lead study-abroad summer program in Tokyo, Japan entitled “TAMU in Tokyo.” I developed a course to be taught on site, MUSC/THAR 328: Japanese Traditional Performing Arts, a survey of various Japanese traditional performing arts from the seventh-century to the present day. Tokyo is one of the most dynamic, artistically-rich cities in the world, offering a constellation of resources and cultural experiences that are available nowhere else. This program therefore, takes advantage of a myriad of cultural offerings in Tokyo through an extensive field trip and workshop component. The workshops are lead by various colleagues who were instrumental in helping me bring my dissertation to fruition during my fellowship, a large-scale musical composition entitled "Concert for Shakuhachi and 21-String Koto." My work with traditional Japanese instruments has become a way to identify and situate myself as a composer regionally, nationally, and internationally. I would like to take this opportunity to express my gratitude to the Japan Foundation for giving me such a remarkable opportunity to develop my career. The seeds for a lifelong commitment to expanding and developing the repertoire of contemporary music for traditional Japanese instruments were sown during my time as a Japan Foundation Fellow.

2. The Japan Foundation is planning to create a network or forum among past Japan Foundation fellows. Please let us know if you have any suggestions in terms of themes, format, etc.

Answer: How about an email listserv and/or opportunities to meet up for informal social events in major cities (New York, Chicago, LA, San Francisco, Houston, etc.)?