斯蒂芬·琼斯，美国杨百翰大学艺术与传媒学院前任院长，巴洛音乐创作基金顾问委员会前任主席，现任音乐学院作曲教授。琼斯的音乐作品曾在美国本土及国际上被多个音乐团体演奏，包括芝加哥交响乐团、深圳交响乐团、克里夫兰室内交响乐团、辛辛那提室内乐团、犹他交响乐团、费尔班克斯交响乐团、摩门大教堂合唱团以及许多其他专业乐团和以大学为基础的合奏音乐团体。他的作品曾在许多音乐协会和专业年会上演出，其中包括作曲家协会、管乐队协会、打击乐艺术协会、电声音乐协会、英国交响乐乐队协会以及英国曼彻斯特管乐合奏音乐节等。琼斯在杨百翰大学学习作曲并获得学士学位，之后在辛辛那提大学音乐学院获得音乐硕士和音乐博士学位。他的指导老师包括乔纳森·克莱默、乔尔·霍夫曼、艾伦·萨普以及厄尔·布朗。他还曾在奥斯本音乐节和大西洋艺术中心向著名作曲家伯纳德·郎兹和著名音乐家约瑟夫·施瓦特学习并共同工作。琼斯是多个艺术基金的获奖者，其中包括犹他艺术委员会艺术家基金、俄亥俄州艺术委员会杰出艺术家奖学金、美国音乐中心作曲家援助基金等。他的音乐作品由卡斯帕(Gasparo)及檀太拉(Tantara)唱片公司所录制，他的管乐作品由布西与霍克斯出版社(Boosey and Hawkes)出版。琼斯目前正在撰写一本关于现代音乐在中国的发展的书籍，为此，他已经采访了一百多位中国作曲家和音乐家。
Stephen Jones is Professor of Composition in the School of Music and former Dean of the College of Fine Arts and Communications at Brigham Young University in Provo, Utah, USA. He is the former chair of the Board of Advisors of the Barlow Endowment for Music Composition.
Jones’ works have been played throughout the United States and internationally, including performances by the Chicago Symphony Orchestra, the Cleveland Chamber Symphony, the Cincinnati Chamber Orchestra, the Utah Symphony, the Fairbanks Symphony, the Mormon Tabernacle Choir, and many other professional and university-based ensembles. His works have been heard in performances at national conferences of the Society of Composers, the College Band Directors National Association, the Percussive Arts Society, the Society for Electro-Acoustic Music and the British Association of Symphonic Bands and Wind Ensembles Festival in Manchester, England.
Jones studied composition as an undergraduate at Brigham Young University and received MM and DMA degrees in composition from the University of Cincinnati’s College-Conservatory of Music, where his principal teachers were Jonathan Kramer, Joel Hoffman, and Earle Brown. His studies also included work with Bernard Rands at Aspen and Joseph Schwantner at the Atlantic Center for the Arts.
He is the recipient of a Utah Arts Council Artist Grant, an Ohio Arts Council Individual Artist Fellowship, and a Composer Assistance Grant from the American Music Center. His music can be heard on the Gasparo and Tantara labels. His works for wind band are published by Boosey and Hawkes as part of their Windependence series.
Jones is currently writing a book about the development of contemporary music in China, for which he has conducted more than 100 interviews with Chinese composers and musicians.
展望音乐理论的未来：浸入式可视化科技的运用及跨学科合作
Envisioning the Future of Music Theory Through the Use of Immersive Visualization and Interdisciplinary Collaboration
我们生活在二十世纪末与二十一世纪初这个特殊的时代。科技的发展带来了知识爆炸式的增长。不久的将来，世界上所有的人都会有机会通过连接互联网获得广泛的知识。我们搜索庞大信息的能力和跨越距离、文化和语言等边界进行协作的能力已经在改变我们的教育与学术研究。并且，这些变化只会在未来几十年继续加速发展。相比历史上的音乐家们，这些现实情况提供给我们的机会是从本质上不同的。在这个语境下，我想与大家探讨浸入式可视化环境以及跨学科合作的方式，这种方式将有可能扩大我们在音乐理论和相关领域中教育、实验以及探索新维度的能力。我将提出一些较大的想法，通过虚拟现实技术和游戏科技来促成音乐理论教学、研究和创作的新发展。同时，我也将讲述我们的课程设置和教学结构需要进行改变的方式，以便让学生们能够充分参与到这些机会中来。
We live at a special time in the history of the world. Technological developments in the late twentieth and early twenty-first century have resulted in an explosion of knowledge. We will soon live in a world in which everyone will be connected to the internet, allowing them to access that knowledge. Our ability to search vast stores of information and to collaborate across boundaries of distance, culture and language is already transforming education and research, and those changes will only accelerate in the coming decades. These realities offer us fundamentally different opportunities than any musicians who have gone before us. In that context, I would like to discuss ways immersive visualization environments coupled with interdisciplinary collaboration could expand our capacity to teach, experience, and explore new dimensions in music theory and related fields. I will propose broad ideas that could enable new developments in music theory pedagogy, research, and composition using virtual reality and gaming technologies. I will also consider ways our curricular and pedagogical structures would need to change in order to allow students to fully participate in these opportunities.
