John W. Jinright, Ph.D.
Important Notice!!
Beginning Fall 2008, I will distribute class assignments using my edublog site. If you are a student, please visit:
 Curriculum Vitae
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Teaching Philosophy
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· Certified Avid/Digidesign ProTools Operator (audio production and editing) - 2005
· Doctor of Philosophy, Music Education - Auburn University - 2003.
· Master of Science in Education (Music) - Troy University - 1992.
· Trained at 1995 College Music Society Music Technology Workshop at Indiana University.
· Bachelor of Arts (Majors in Music and Business)- Birmingham-Southern College - Summer, 1984. magna cum laude.
Studied pipe organ with Dr. James H. Cook and percussion with ASO Principal Timothy Miller.
· Trained as rehearsal pianist for TAC-TSU summer musicals by Dr. Phillip Kelly and Dr. William R. Denison - 1976-1981.
· Private Classical Piano/Organ Instruction - 1968 to 1981 - Student of Violet Ervin, Troy, AL(1895-1991) Mrs. Ervin was a student of famed composer-pianist Percy Aldridge Grainger.
Professional Development
· Participant, 2007 Atlantis Music Conference in Atlanta, GA.
· Participant, 2007 Remix Hotel Music Conference in Atlanta, GA.
· Participant, 2006 MEIEA/Grammy Foundation Music Industry Summit in Nashville, TN.
· Studied audio production with Grammy award-winning engineers Roger Nichols (2007), Ed Seay, (2006) and Shawn Simpson (2005).
· Blackboard on-line teaching level II certification 2004-2005.
· Attended 2003 and 2005 International Double Reed Society Conferences and took students from my teaching studio.
· Attended 2002 MERLOT International Conference in Atlanta, GA.
· Attended 2001 A Cappella National Convention and 2001 SPEBSQSA Convention.
· Attended National Symposium on Technology in Music Instruction 1999.
· Musical Technical Training.
Instrumental Repair Technical Study with Jim Darby of Montgomery,AL - 1990
Feree's Industries grant recipient for training at the NAPBIRT Technical Conference, Buffalo, NY - 1989.
Selected by Conn-Selmer Musical Industries, Inc. for internship at Music Pro Shop of Bristol, TN - 1988.
Apprenticed with Master Woodwind Technicians Nuncie LeBerte, Randall McGuiness and George
Pruitt of B'ham, AL - 1985-1989 .
Piano tuning and regulation study with Russell Williams (Steinway tech)- 1984.
· Selected for 1983 Lambda Chi Alpha National Leadership Conference.
· Music Productions - Accompanist and Orchestral Musician for Troy University Musical Theatre and Troy Arts Council productions of Showboat, Help,Help the Globolinks, Kismet, Showboat, Orpheus in the Underworld, Brigadoon, Carousel, Bye-bye Birdie, South Pacific, Oklahoma, Evita, West Side Story, Oliver, Will Rogers Follies, My Fair Lady, Annie Warbucks, Kiss Me, Kate, Funny Girl, The Music Man, Pippin, and Amahl and the Night Visitors, Seven Brides for Seven Brothers, Forever Plaid, and Nunsense.
· Trojan Little Theatre - I Do, I Do.
· Troy Community Theater - You're A Good Man, Charlie Brown.
· Staff Accompanist - Troy University - 1993- to present. Responsibilities included accompanying faculty and student recitals, symposia, and orchestra/band concerts,.
· Choral Accompanying - Troy University 1993-2000 and Fall 2001 to 2006 Responsibilities include rehearsals/performances of standard choral literature including yearly major works with orchestra.
· Music Director for Troy University Musical Theatre - The Robber Bridegroom (1999),
Nunsense (2007) and Forever Plaid (2007).
· Organist/Choirmaster -2007- St. Martin of Tours Catholic Church, Troy, AL.
· Substitute organist - St. Mark's Episcopal, Troy, First United Methodist, Troy and Church of the Nativity,Dothan.
· Pianist- Williams Memorial Presbyterian Church, Troy - 1970-1981.
· Freelance Musician1984-89 - Birmingham, AL - Jazz and Dixieland with various groups, percussion extra with Alabama Symphony Orchestra.
Audio Engineer/Producer: (top)
· Private 24-track portable and 18-track digital recording studio owner:
· Engineered and mastered over two dozen demo recordings and 7 complete albums, including projects for The Big Trio, Fretworks Guitar Ensemble, Douglas Back (classical guitarist), Brundidge Historical Society, Lenny Trawick (songwriter),
· Industry reviews on The Big Trio (Reprise Album- Belmando #BM53001) :
"This is a most listenable CD, well recorded and with much variety which I
wholly commend to the world of frets." -David Price, The British BMG Federation
"Listeners will find this CD enjoyable from the standpoint of musicianship
and sparkling arrangements. The balance is superb. I was amazed at the
fullness and richness of sound that emerged from the combination of the
three instruments. In this setting it seemed as though I was hearing some
of these old war horses for the first time, and enjoying them more. If ever
a recording were to be identified as exemplifying what the Fretted
Instrument Guild of America is all about, it would have to be this one.
-FIGA News July/August 2003
· Audio engineer and co-producer of Welte project; digital remastering of 32 CDs containing classical piano roll works performed by legendary pianists and composers from late 1800s to 1920s.
· Concert Producer:
Produced four Java Jam Concerts with student talent 2000-2003.
Produced Una Voce Cantamus concert in 2001. (a cappella classical ensemble)
· Advisor for Glasshouse, an award-winning student a cappella ensemble:
2001 International Collegiate Championship of A Cappella Semifinalist and 2002 Harmony Sweeps South Regionals Winner.
Music Industry Experience (top)
· Professional Internship - Piano Tuning and Regulation with Russell Williams - 1982.
· Professional Internship - Nuncie's Music - 1983.
· Buyer/Sales/Inventory - Nuncie's Music - 1984 - 1987:
Buyer for full-line music retail operation; $2.5 million inventory.
Supervisor- in charge of proprietary computerized inventory control system.
Editor - store newsletter.
Responsible for in-store and school client relationships/service.
· Owner/Buyer/Sales/Technical Manager - Bandstand, Inc. 1987-1989.
As one of the 5 owners of Bandstand, Inc., my responsibilities included all aspects of retail
music experience.
· Territory Manager - Capitol Music - 1989-1990:
Developed and serviced 23 school accounts in a previously dormant territory.
Designed and assembled 3 trade show displays.
Created store promotional materials, brochures.
Responsible for in-store and school client relationships/service.
Publications/Presentations (top)
· Time Journeys (Mvmts. 1 & 2) - Original Composition for Piano Ensemble- Premiered July 2007 at
Troy University Summer Piano Camp. Web published.
· Co-editor, The Class Piano Solution. (2003-2006) Troy University.
· Acappella arrangement of "Blackbird" by McCartney, SATB 2006
· Five Memories for Unaccompanied Bassoon (Summer 2005). Web published
· Star-Spangled Banner, Danny Boy (2005). Web published.
· MERLOT Music Discipline Editorial Board 2002-2007. www.merlot.org Responsibilities included
submission of dozen of objects, triage of nearly 200 websites, and creation of discipline web pages.
· National Symposium for Music Instruction Technology 2001.
Presentation 1 - Music Educators and Computer Utilization in Fla, Ga, and Alabama.
Presentation 2 - Empowering Students using Digital Audio Workstations.
· Web Article (2000) "Music of the Troubadours"
· Men's A cappella arrangement Schoolhouse Rock Medley (1999)
· Fall 1998 Presentation - Equipping the Music Education Technology Lab - Music Break-out Mini-Course,
Alabama Association of Colleges and Universities.
· Summer 1998 TSU Band Director's Workshop - 3 Music Technology Topic Sessions.
· August 1997 Technicom - "Band Instrument Maintenance Survey".
Teaching Experience (top)
· Co-director - 2005-7 Troy University Summer Piano Camp.
· Troy University - 1994-present:
Content Areas: Applied Piano, Music Theory I & II , Class Piano I & II, Bassoon & Oboe,
Aural Skills I, II & III. Class Woodwinds. Digital Audio Production I & II, and Film Scoring.
· Troy University - 1992 to 1994 (adjunct)
Undergraduate Content Areas: Music Appreciation, Foundations of Education, Microcomputers
in Education, Applied Piano.
· Freelance percussion camp/pit instructor/arranger - 1982-1988 -Minor High School,Pelham High School, Charles Henderson High School, pit assistant instructor - Southwind Drum and Bugle Corps -1990-1991
Departmental Service (top)
· Current Member, Interdisciplinary Studies Committee, (ad hoc), Music Methods Curriculum Committee (departmental), Music Theory Curriculum Committee(departmental), Music Industry/General Music Curriculum Committee(departmental).
· Past Member, General Studies Committee (ad hoc), Enrollment Management Committee, Faculty Council.
· Designed and developed General Music track course of study, syllabi, SPIE and ACHE descriptions. In its second year, this new program has attracted nearly 100 undergraduate majors.
· MEISA chapter advisor 2006-2007.
· CMENC chapter advisor 2002-2006.
· Phi Mu Alpha Sinfonia Advisor 2005-2006.
· Academic advisor to 46 music majors.
Honors/Affiliations (top)
· National Academy of Recording Arts and Sciences (The Recording Academy)
· Who's Who Among America's Teachers - 2001, 2005-2007.
· Marquis Who's Who in America - 2001-2007.
· International Directory of Experts and Expertise - Music Production -2006.
· MENC (Music Educator's National Conference).
· AMEA Higher Education Division (Alabama Music Educators Association).
· Phi Delta Kappa (past president, past vice-president).
· Tri-M Music Honor Society.
· Phi Mu Alpha Sinfonia.
· MEIEA (Music and Entertainment Industry Educator's Association).
· NAPBIRT (National Association of Professional Band Instrument Repair Technicians).
· CASA (Alabama Ambassador-2000-2004, Contemporary A cappella Society of America).
· Member - St. Mark's Episcopal Church.
· Alabama Folklife Association.
· Lambda Chi Alpha General Fraternity.
· Sigma Alpha Iota (honorary member).
· Kappa Kappa Psi (honorary member).
· Past President Troy Chapter of SPEBSQSA (Harmony Society).
· Supporting Member, Troy Music Study Club.
· Elected to Omicron Delta Kappa National Honor Society.
Grants Awarded
· 2005 - Faculty Development Grant for Digidesign Certification **
· 1989 - Feree's Technical Training Grant
· 1993 - Faculty Development Grant for College Music Society Summer Technology Institute
**This grant began an industry partnership between Digidesign and the J.M. Long School of Music. Troy University is the only Digidesign-sponsored school for Pro tools Training in Alabama.
Comments on Teaching (top)
I didn't always know I wanted to be a classroom teacher, but I do now. My background in the music business gives me a unique perspective among my colleagues, but I find that we still agree on most things. And I know what it's like to have ulcers; --I had them back then. Point is, I'm not still here because of money, but because I love where I am and what I'm doing.
The ultimate goal that guides my classroom activities is to foster a critical and lifelong exploration of music and music learning. I do this by supplementing the text with activities, discussions, presentations and coaching. Ask any of my former students why I don't like French Romanticism. --Or how the harmonic series relates to cadences. Three principles define all that I do; fluency, context, and humanity.
When I began teaching at Troy, I started by emulating my old college theory teacher, Dr. William Baxter (author of the text Basic Studies in Music by Allyn and Bacon, 1968). His gentle version of mastery learning required that all students pass a series of timed tests in order to advance to the next level. He knew the skills students needed to succeed in higher-level courses and he never lowered his standards. My approach is particularly important to future music educators because it's a fast, simple and effective way to ensure fundamental fluency in basic musical concepts.
The basics of music can be cold, dry study if one simply teaches the text. Luckily, there's a wealth of interconnections that can be explored that bring everything we do to life. I teach the value of hearing protection, how the ear works, and the physical properties of sound before we start the first chapter. Once my students know about keyality and cadences, we can appreciate the hidden Masonic references in Die Zauberfl`te (shown in class), the quality of excess in Wagner's music and the irony in Webern's tragic death..
There are so many levels on which to appreciate music, but in order to address issues of craft and quality, I turn to the lives and philosophies of those who create. What is 4'33" saying about the future of music (Cage, 1952)? How is Penderecki's Threnody for the Victims of Hiroshima similar to or different from Schwantner's September Canticle; In Memoriam? Music transcends its physical properties, basic elements and notation and reaches out to each of us for interpretation. This multi-level process of appreciation/understanding is the beginning and the ending of music theory. In a nutshell, this is what I do both in creating/performing and teaching.
One other noteworthy achievement is my continually evolving Aural Skills class. When we changed from quarters to semesters, I pushed hard for a separate skills class in which we learned to sing and transcribe. The tedious drill and practice of melodic, rhythmic and harmonic discrimination is handled by software assignments (given by infinitely patient computers) leaving our class time for singing activities. Every student learns to transcribe and I am definately proud of our evolving aural skills program that is both motivating and challenging.
Recently, I took the Teaching Perspectives Instrument online and the results reminded me that I am a skilled practitioner of what I teach; I model a complex musical task and then have to break it down into subsets of managable skills and explain it with accessible language. I challenge my students with meaningful experiences which move them from simple to complex ways of thinking. I encourage them with a classroom atmosphere of caring and trust. I communicate our objectives with memorable passion and evaluate objectively with a clear sense of purpose.
Sample Supervisor Evaluations
2004 - Dr. Jinright has displayed excellence in teaching and a high degree of concern for student welfare. He provides piano accompaniment for an incredible number of students (and faculty) and is an unsung hero in this regard. His technical support in the lab and in recording projects has been invaluable. He needs to reserve some time to pursue his own research interests and explore some possible publications.
2003 - Dr. Jinright completed an active year with notable achievements in teaching, scholarship and service. He has been extremely generous in service to the university and we must be careful not to overload him with projects.
2001- Mr. Jinright has been extremely effective in his teaching. His many other contributions to the School of Music are numerous and are only partly reflected on his year-end self-evaluation.
1999 - He is constantly searching for ways to engage students in learing and is creative in designing instructional materials.
A doctor is halfway through a delicate heart transplant procedure and he glances at the clock over by the x-ray machine. "Goodness" he says, "I have another patient waiting in the next operating room..." To the nurses standing at his side, he says "we'll finish up next time" and walks out.
When I look at my student evaluations and get comments about reporting grades promptly, lack of classroom resources, and keeping office hours, I'm reminded of all the demands upon us. "If I only had more time...", I muse and generally sigh and feel guilty for a while. But in our defense, look at student enrollment; --many of our core music classes are double the size they were 12 years ago. Larger classroom sizes mean that I change my teaching strategies in order to cope with the demands on my day; namely grading, accompanying, and teaching applied lessons. Larger classes mean I do more "frontal" teaching and less group work. Larger classes mean I design tests for fast grading. And I look out into the classroom 3 weeks into the semester and still don't know everyone's name.
I'm a bit upset with this; -- when I had 18 in a class, I could tell you specifically where each student was conceptually in her/his skills development. Now I have to look up test grades and try to remember which sections they had trouble with. I worry about catching them in time to help remediate. This sorting-machine we call the university has a way of grinding some students up and tossing them off the bus, especially if they don't have the prior experiences and knowledge of the "norm." I want them all to succeed, and I know if I had more time, I could make this happen. I want to motivate, coach and strong-arm them into success. But this won't likely happen if current trends continue.
My assessment our present growth situation is that I must try ever harder to keep doing more for more people with less resources. Every day I'll try to do the best I can, and I'll try to be more organized and more attentive to student needs. And to borrow Perry Castelli's baseball analogy, professoring is like playing baseball; -you win some, you lose some, and some are rained out. But by golly, I'm here to win. And I take it personally when I don't.
In closing, I'll leave you with these thoughts by my teaching hero and author; -- Louis Schmier:
"But, if you really want to be a good teacher, if you want to be the salt that makes students, all students, thirsty for learning, you gladly–gladly–begin, without conditions, with the students you have. That minority of “above average” students will always be with us, but it is infinitely more important to tell the story of the student in the shadows in the hope of shaking our conscience and altering our academic culture. I’ve said this over and over and over again. And, I’ll say it still again. After watching PBS’ DECLINING BY DEGREES, I know that it’s not that average student who should feel ashamed of not making the grade, it should be us. We are a perniciously corrupting force when we fail to esteem all–all–students and accept their frailities rather than depreciating them, when we display contingent faith and hope and love based on test scores and grades. If we are to be judged, let us be judged by the commitment we have, by the dedication we have, by the faith we exhibit, by the hope we offer, by the love we have, by the support and encouragement we give those who are most needy of us. If that be sappy, whistling in the dark, or foolishly romantic, so be it. But, you know, the dear Lord made so many of those “ordinary” and “average” students, he must love them. So, should we. / . . . /
Most a student’s ills can be cured with large doses of engaged, close, and non-punitive caring. We have to act within specific situations with specific persons; we have to learn the specifics of those people and those situations; and we have to respond to the details of that person and her or his situation.
Each student is a particular human being with different needs, different problems, and different stories. Because each story is different, caring may require something different for one from caring for another. So, part of caring is being attentive, for it is within the personal context that we must care and educate."
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