Editing Michael Daugherty (section)

==Life and career==

===Early years===
[[Image:Michael Daugherty Family 1968.jpg|thumb|Daugherty brothers: (L-to-R) Tom, Pat, Michael, Tim, and Matt, 1973]]
Michael Daugherty was born into a musical family on April 28, 1954, in [[Cedar Rapids, Iowa]].  His father Willis Daugherty (1929–2011) was a [[jazz]] and [[country and western]] drummer, his mother Evelyn Daugherty (1927–1974) was an amateur singer,<ref name="clague">Clague, Mark. Daugherty, Michael (Kevin). New Groves Dictionary of American Music, 2nd edition, Vol 2, pp. 548 – 550. Oxford University Press: November 26, 2013.</ref> and his grandmother Josephine Daugherty (1907–1991) was a pianist for [[silent film]].<ref name="goolian">Goolian, Betsy. [http://www.montage.umich.edu/2009/09/king-of-the-road/ "King of the Road: Composer Take Inspiration from the Highways and Byways of America"] {{webarchive|url=https://web.archive.org/web/20100823143936/http://www.montage.umich.edu/2009/09/king-of-the-road/ |date=2010-08-23 }}. University of Michigan. Retrieved 23 May 2014.</ref>  Daugherty's four younger brothers are all professional musicians: Pat Daugherty (b. 1956) Leader of the group New York Electric Piano, Tim Daugherty (b. 1958) jazz/pop composer of over 15 CD's featuring original compositions, Matt Daugherty (b. 1960) teacher of Music education in Florida, and Tommy D. Daugherty (b. 1961) engineer and producer for many of the [[Death Row Records|Death Row]] artists most specifically Tupac Shukar.<ref name="clague"/>

The centerpieces of the modest Daugherty home, located at 1547 5th Avenue S.E. in Cedar Rapids, were a [[player piano]], television, and record player.  At the age of 8, Daugherty taught himself how to play piano by pumping the pedals of the player piano and watching how piano keys moved to [[Tin Pan Alley]] tunes such as "[[Alexander's Ragtime Band]]".<ref name="clague"/>  Music was a significant activity in the Daugherty family, especially during the holidays when relatives would participate in jam sessions of popular songs like "[[Misty (song)|Misty]]" and "[[Sentimental Journey (song)|Sentimental Journey]]".  Additionally, the Daugherty family would frequently gather around the television in the evening to watch popular variety hours such as ''[[The Ed Sullivan Show]]'', ''[[The Jackie Gleason Show]]'', and ''[[The Tonight Show Starring Johnny Carson]]''.<ref>[http://www.broadwayworld.com/bwwclassical/article/BWW-Interviews-Composer-Michael-Daugherty-on-Reflections-On-the-Mississippi-For-Tuba-and-Orchestra-20130320#.U2p3FIbBt8E "BWW Interviews: Composer Michael Daugherty on 'Reflections On the Mississippi For Tuba and Orchestra"]. March 20, 2013. Retrieved 23 May 2014.</ref> The record collection at the Daugherty home consisted mainly of '[[easy listening music]]' of the fifties and music from [[Broadway theatre]].

During his developmental years, Daugherty's mother encouraged him to paint, draw cartoons, tap dance, and play basketball and his father and uncle Danny Nicol taught him how to play rock and jazz drums.  From 1963 to 1967 Daugherty played bass drum in the Emerald Knights and tom-toms in the Grenadier [[Drum and bugle corps (modern)|Drum and Bugle Corps]] where he competed against other Drum and Bugle Corps throughout small Midwestern towns. During these years, Daugherty was employed as an early morning paper boy for ''[[The Des Moines Register]]'' and delivered papers across his neighborhood and to Mercy Hospital in Cedar Rapids.<ref name="clague"/>

Traveling was an important pastime for the Daugherty family.  They often took long summer road trips down two-lane highways to tourist locations, including [[Mount Rushmore]], [[Niagara Falls]] and [[Miami Beach, Florida|Miami Beach]].<ref name="goolian"/>  In 1964, the entire Daugherty family took a two-week vacation to [[London]] where [[The Beatles]] and [[Jimi Hendrix]] were at the height of their fame and [[Carnaby Street]] was the cutting edge of pop culture and fashion – this was in the heart of the [[Swinging Sixties]].<ref name="vinton">[http://www.vintoniowa.org/articles/Obituaries/article105546.html "Obituaries: Willis Bertram Daugherty"] {{webarchive|url=https://web.archive.org/web/20140523230639/http://www.vintoniowa.org/articles/Obituaries/article105546.html |date=2014-05-23 }}. Vinton Today. December 23, 2011. Retrieved 23 May 2014.</ref>

The sixties in America were a time of great political unrest and social change.  This made a great impact on the teenage Daugherty.<ref name="muzudmar">Muzudmar, Tanya. [http://www.concentratemedia.com/features/michaeldaugherty0109.aspx "MASTERMIND: Michael Daugherty"]. Concentrate Media. June 30, 2010. Retrieved 23 May 2014.</ref> [[Civil Rights]] demonstrations for racial equality and integration and demonstrations against the [[Vietnam War]] were becoming common day occurrences in Iowa by 1970, especially at the nearby [[University of Iowa]], in Iowa City.<ref>[http://blog.lib.uiowa.edu/news/2010/05/04/student-protests-of-the-1970s/ "Student Protests of the 1970s"]. University of Iowa Libraries. May 4, 2010. Retrieved 23 May 2014.</ref>

From 1968 to 1972, Daugherty was the leader, arranger, and organist for his high school rock, soul, and [[funk]] band, The Soul Company.<ref name="clague"/> This band performed a variety of [[Motown]] charts and music by [[James Brown]], [[Blood Sweat & Tears]], and [[Sly and the Family Stone]].  Because accessing sheet music was almost impossible, Daugherty learned to hand-[[transcription (music)|transcribe]] the music by listening to vinyl recordings.  With the help of his father, who drove the band across the state, The Soul Company became a locally popular group that performed at high school proms, dances, and other events.<ref name="vinton"/>

During the same years, Daugherty was a piano accompanist for the Washington High School Concert Choir, a solo jazz piano performer in nightclubs and lounges, and he appeared on local television as the pianist for the country and western ''Dale Thomas Show''.<ref name="clague"/> Daugherty interviewed jazz artists who performed in Iowa, including [[Buddy Rich]], [[Stan Kenton]], [[George Shearing]], and [[Rahsaan Roland Kirk]], and he wrote articles on their music for the high school newspaper. During the summers of 1972–77, Daugherty played [[Hammond organ]] at [[county fairs]] across the Midwest for various popular music stars such as [[Bobby Vinton]], [[Boots Randolph]], [[Pee Wee King]], and members of ''[[The Lawrence Welk Show]]''.<ref name="clague"/>

===Education in the United States and Europe===
Daugherty studied music composition and jazz at the [[University of North Texas College of Music]] from 1972 to 1976.  His teachers of composition included [[Martin Mailman]] and James Sellars.  Daugherty also played jazz piano in the [[Two O'Clock Lab Band]].<ref name="clague"/>  It was after hearing the [[Dallas Symphony Orchestra]] perform the ''Piano Concerto'' by [[Samuel Barber]] that Daugherty decided to devote his full energies into composing music for the concert stage.<ref name="goolian"/>  In 1974, conductor [[Anshel Brusilow]] programmed a new work with the [[University of North Texas Symphony Orchestra]], Daugherty was 20 years of age.  After his premiere of ''Movements for Orchestra'', the composition faculty awarded Daugherty a fellowship, which allowed him to continue his musical studies at the university.  Daugherty received a Bachelor of Music degree in Composition from North Texas State University in 1976.<ref name="clague"/>

That same year, Daugherty moved to [[New York City]] to experience the exploding new music scene.  While there, he studied [[serialism]] with [[Charles Wuorinen]] at the [[Manhattan School of Music]] for two years, and received a Master of Music in Composition degree in 1978.<ref name="clague"/>  To earn money for his studies, Daugherty was employed as an usher at [[Carnegie Hall]] and a rehearsal pianist for dance classes directed by the New York City Ballet dancer [[Jacques d'Amboise (dancer)|Jacques d'Amboise]].<ref name="oteri">[http://www.newmusicbox.org/articles/icon-artist-michael-daugherty "Icon Artist: Michael Daugherty"]. New Music Box. January 1, 2007. Retrieved 23 May 2014.</ref>

[[Image:Michael Daugherty at IRCAM 1979.jpg|thumb|Daughterty at IRCAM, 1979]]
Daugherty frequently attended "uptown" and "downtown" new music concerts in New York City; this is where he became acquainted with composers such as [[Milton Babbitt]], [[Morton Feldman]], and [[Pierre Boulez]].<ref name="clague"/>  In 1978, Boulez, then the Music Director of the [[New York Philharmonic]], invited Daugherty to apply to his recently opened computer music institute in Paris: [[IRCAM]] (Institut de Recherche et Coordination Acoustique/Musique).  A [[Fulbright Fellowship]] enabled Daugherty to move to Paris to study computer music at IRCAM from 1979 to 1980.  During his time at IRCAM, he met many composers such as [[Luciano Berio]], [[Gérard Grisey]], [[Tod Machover]], and [[Frank Zappa]].<ref name="clague"/>  In Paris, Daugherty had the opportunity to hear [[Contemporary classical music|contemporary music]] by the leading European composers of the time performed by the [[Ensemble l'Itinéraire]] and  Boulez's [[Ensemble InterContemporain]].  He also attended analysis classes given by [[Betsy Jolas]] at the [[Conservatoire National Supérieur de Musique de Paris]].<ref name="clague"/>

In the fall of 1980, Daugherty returned to America to pursue doctoral studies in composition at the [[Yale School of Music]].  During that time, [[Jacob Druckman]] (who was one of America's most influential composers) was chair of the composition department at Yale and composer in residence with the New York Philharmonic.  Daugherty studied with Druckman and other [[Pulitzer Prize]] winning composers at Yale, including [[Bernard Rands]] and [[Roger Reynolds]].  He also studied improvisational notation systems and [[Aleatoric music#"Open form" chance music|open form]] with experimental music composer [[Earle Brown]].<ref name="clague"/>  Daugherty's composition class at Yale included student composers who would later become unique and important voices in contemporary music: [[Bang on a Can]] composers [[Michael Gordon (composer)|Michael Gordon]], [[David Lang (composer)|David Lang]], and [[Julia Wolfe]]; along with [[Robert Beaser]], [[Aaron Jay Kernis]], [[Scott Lindroth]], and [[Betty Olivero]].<ref>Bliss, Andrew M. David Lang: Deconstructing a Constructivist Composer. Lexington, Kentucky: 2008, pp 9.</ref>

At Yale, Daugherty wrote his dissertation on the relationship between the music of [[Charles Ives]] and [[Gustav Mahler]] and the writings of [[Goethe]] and [[Ralph Waldo Emerson]].<ref name="clague"/>  He worked closely on this dissertation with [[John Kirkpatrick (pianist)|John Kirkpatrick]], who was the curator of the Ives Collection at Yale and gave the 1938 premiere of Ives' ''Piano Sonata No. 2: [[Concord Sonata]]''.  Daugherty also continued his interest in jazz where he worked with [[Willie Ruff]] and directed the Yale Jazz Ensemble.  It was Ruff who introduced Daugherty to jazz arranger [[Gil Evans]], who, at that time, was looking for an assistant.  For the next several years, Daugherty traveled by train from New Haven to Evans' private studio in Manhattan.  Daugherty helped Evans organize his music manuscripts and complete projects.  The most notable project was the reconstruction of the lost arrangements of ''[[Porgy and Bess]]'', which was originally used for the 1958 recording with [[Miles Davis]].<ref name="clague"/>

During the summer of 1981, Daugherty studied composition with Pulitzer Prize–winning composer [[Mario Davidovsky]] as a composition fellow at [[Tanglewood]], which, at that time, was renowned as a bastion of abstract and [[atonal music]].  It was at Tanglewood that Daugherty met the composer/conductor [[Leonard Bernstein]].  After hearing Daugherty's music at Tanglewood, Bernstein encouraged Daugherty to seriously consider integrating American popular music with concert music.<ref name="muzudmar"/> In the early 1980s, Bernstein's populist attitude was rarely shared by critics who favored "serious" contemporary concert music.<ref>Rockwell, John. [http://www.artsjournal.com/rockwell/2008/10/leonard-bernsteins-mass-happil.html "Leonard Bernstein's Mass Happily Reconsidered"]. Arts Journal. October 25, 2008. Retrieved 23 May 2014.</ref>

One year later, in the summer of 1982, Daugherty traveled to Germany to attend the [[Darmstädter Ferienkurse]] (Internationale Ferienkurse für Neue Musik – Darmstadt International Summer Courses in New Music).<ref name="clague"/>  [[Darmstadt]] was one of the leading centers for new music in Europe, where the musical aesthetics of [[Theodor W. Adorno]] were still of great influence.  Daugherty attended lectures given by composers, including [[Brian Ferneyhough]] and [[Karlheinz Stockhausen]], and performances by the [[Arditti String Quartet]].  At Darmstadt, Daugherty became friends with Karlheinz's son, the trumpet player [[Markus Stockhausen]].  Together they formed an experimental improvisation ensemble (Markus Stockhausen on trumpet and electronics and Daugherty on synthesizers) that, over several years, performed in concert halls and clubs across Europe.<ref name="clague"/>

[[Image:Michael Daugherty et al at ISCM World Music Days 1982.jpg|thumb|From left to right: [[György Ligeti]], [[Lukas Ligeti]], Vera Ligeti, [[Conlon Nancarrow]], and Michael Daugherty at the [[ISCM]] World Music Days in Graz, Austria, 1982]]
In the fall of 1982, Daugherty was invited by composer [[György Ligeti]] to study composition with him at the [[Hochschule für Musik und Theater Hamburg]].  In addition to attending Ligeti's composition seminar (which took place at his apartment in Hamburg), Daugherty traveled with Ligeti to attend concerts and festivals of his music throughout Europe.<ref name="clague"/>  At the time, Ligeti was interested in the music of [[Conlon Nancarrow]], who lived in isolation in Mexico City and composed complex [[polyrhythmic]] music for player pianos.  The player piano (by now an antique) was a familiar and nostalgic musical instrument to Daugherty.  Daugherty met Nancarrow in Graz, Austria, when Ligeti introduced Nancarrow and his music to the European intelligentsia at the 1982 ISCM ([[International Society for Contemporary Music]]) World Music Days.<ref>McCutchan, Ann. The Muse That Sings: Composers Speak about the Creative Process. New York: Oxford University Press, September 25, 2003, pp. 175.</ref>  During the following two years (1983–84), Daugherty continued to study with Ligeti while employed as a solo jazz pianist in night clubs in Cambridge, England and Amsterdam.  To create "original" music, Ligeti encouraged and inspired Daugherty to find new ways to integrate [[computer music]], jazz, rock, and American popular music with concert music.<ref name="clague"/>  In the fall of 1984, Daugherty returned to America and devoted his career to doing just that.