CONTACT INFORMATION

Name: Iyad Abdel-Hafeez Hafiz Mohammad

Address: PO Box 840 739, Amman 11181, Jordan

Telephone: (+ 962-6) 566 34 82

Mobile Phone: (+ 962) 777 98 24 06

Email: mmmahod@yahoo.com

mmmahod@gmail.com

http://composers21.com/compdocs/mohammai.htm

PERSONALINFORMATION

Date of Birth: 14.01.1976

Place of Birth: Gräfelfing, Germany

Citizenship: Jordanian, German

EDUCATION

Belarusian State Academy of Music, Minsk, Belarus

Ph. D. in Arts, Musicology

Date of Graduation: 2006

Dissertation:“The Oeuvre of Helmut Lachenmann: Musical Language and its Philosophic and Aesthetic Aspects”

Belarusian State Academy of Music, Minsk, Belarus

Master of Arts, Composition

Date of Graduation: 2002

Belarusian State Academy of Music, Minsk, Belarus

Bachelor of Arts (With Honors), Composition

Date of Graduation: 2001

EMPLOYMENT HISTORY

· Since Sep. 2013 Faculty member at the Departmentof Music / Faculty of Fine Arts, Yarmouk University

· 2012-2013 faculty member at the Jordan Academy of Music.

· 2006 – 2012 Dean of the Jordan Academy of Music.

· 2005 – 2006 Coordinator of Higher Education Program at the NMC;

· 2003 – 2006 faculty member of the National Music Conservatory, Amman lecturing on Composition, Orchestration, Music Theory,Analysis, Harmony, Counterpoint and History of Music;

· 2003-2005 instructor of the Intermediate String Ensemble of the NMC;

· In 2004 lectured on Harmony and Analysis at the Jordan Academy of Music, Amman

· 2003 – 2006 a member of the National Music Conservatory Orchestra (Cello).

PROFESSIONAL QUALIFICATIONS

· Practical skills in playing Piano and Cello and basic skills in playing the Flute;

· Practical skills in Conducting;

· Fluent knowledge of Arabic, English, Russian, and German.

· Computer skills including various musical software among others Sibelius and Finale.

CONFERENCE PARTICIPATIONS

· “Helmut Lachenmann: Thoughts on the Conditions of Music Apprehension” // at the 3rd International Practical-Scientific Conference “Music and Personality”, 17–18th December 2002, Minsk

· “Lachenmann’s Views on the Role of Musical Theory in the Program of Musical Schools and their Roots in his Aesthetical Theory” // at the 1st Republican Practical-Scientific Conference “New Techniques in the Modern Education Process”, 2-3 April 2003, NovopolotskState University, Novopolotsk;

PUBLICATIONS

1. Aesthetic Foundations of Musique concréte instrumentale in the Early Works of Helmut Lachenmann // Belarusian State Academy ofMusic Buletin. – 2003. –№ 4. – Pp. 74-78.

2. The Theory ofPerception in the Aesthetic Conception of Helmut Lachenmann: A “Redefinition” Trialof the “Functional” Aspect of Music // Contemporary Music Review Vol. 23, No.3. – Oxfordshire: Taylor & Francis, 2004. – Pp. 91-95.

3. What hasLachenmann Done with my Mozart?! A Note on Whatever is Recorded on the Tape in Accanto// Contemporary Music Review Vol. 23, No. 4. – Oxfordshire: Taylor &Francis, 2004. – pp. 21-23.

4. Historical Consciousness and Retrospectives in the Works of Helmut Lachenmann mid 70-s – 80-s // Belarusian State Academy of Music Buletin. – 2003. – № 4. – Pp. 66-71.

5. The Specific Interpretation of the Piano in the Oeuvre of Helmut Lachenmann // Issues of History and Theory of Music and Musical Pedagogy. – Minsk: Belarusian State Academy of Music. – 2003.– Pp. 13–23.

6. On the Role and Function of Technical Equipment in HelmutLachenmann’s “Kontrakadenz”, “Schwankungenam Rand” and “Accanto” // Contemporary Musicology. – Minsk :Belarusian State Academy of Music, 2004.– Pp. 127–139.

7. Dialectics of Use by Composers of Natural and Electronic Sounds in European Composition of the 2nd Half of the 20th Century // Jordan Journal of Arts, Vol. 5 No. 2, 2012.

Translations

8. Szönyi, Erzsébet The Implementation of the Kodaly Principles (An Introduction to Musical Education According to the Kodaly Method). Translation, Dar Alfikr,Amman, 2010.

SELECTEDCOMPOSITIONS

1. On D (concertino in the form of a sama'i), oboe, small orchestra (2 flutes, 2 clarinets, bassoon, 2 Frenchhorns, B-flat trumpet, timpani, 1-2 percussion, strings), 2004;

2. Patterns I (Lebanesisches Löcher-Spielin 1-3 Sätzen), piano, small orchestra (7 winds, 6 brass, harp, 2 percussion, strings), 2004;

3. Metamorphoses, clarinet, piano, 2000;

4. “...explored”, flute, clarinet, cello, piano,2001;

5. Fibonacci Cycles, clarinet, cello,piano, marimba, 2002;

6. For Strings. Silent Prayers,viola, cello, inside upright piano, 2002.

7. Prélude et Dance, for two pianos, 2010.

8. Mawlawi for qanoon,cello, piano and percussion, 2011

9. Klangfiguren for flute,clarinet, vibraphone, violin, cello and piano, 2012

10. “Tahlila” for qanoon, clarinet, trombone, violin and cello. Commissioned by Maerzmusik (Berlin) 2013.

Compositions have been performed in Europe and Jordan

.Among other occasions by Ensemble United Berlin at the “Tracing Migrations” Project,22 – 23 October 2004, Berlin, Beyrouth-Berlin Festival 2008 and at the “Märumusik Festival 2013.

PROFESSIONAL MEMBERSHIPS

· Member of the Jordanian Syndicate of Artists, Branch of Composition

PROFESSIONAL INTERESTS OF RESEARCH

· History and Theory ofMusic;

· Practice and Theoryof Composition;

· Contemporary Techniquesof Composition;

· History of ContemporaryMusic;

· Philosophy and Aestheticsof Music.