Durrell Bowman

University of California, Los Angeles, Musicology, Alumnus

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Durrell Bowman is a FedEx Delivery Driver, Occasional Musician, and Former Academic (Ph.D. in Musicology). He previously worked for over a year as an on-call, usually part-time, Rural & Suburban Mail Carrier for Canada Post and for two years as an Order Support Specialist on behalf of a major computer technology company. Also, he has worked as a Customer Service Representative for a government-run liquor corporation, on a contract as a cataloguer and library technician for a government agency, and (unpaid) as an academic library intern, visiting scholar, and writer of book chapters and journal articles.

Dr. Bowman has completed five post-secondary programs: a BA in Music and Applied Studies, an MA in Musicology, a PhD in Musicology, a Certificate in Computer Applications Development, and a Master of Library and Information Science (MLIS).

His published books are: "Experiencing Peter Gabriel: A Listener’s Companion" (2016), "Experiencing Rush: A Listener’s Companion" (2014), and "Rush and Philosophy: Heart and Mind United" (co-editor and three chapters, 2011). His other publications include a book chapter (2019) and an academic journal article (2020) about parody and intertextuality in the music of "The Simpsons."

He has contributed music encyclopedia reference entries, music festival program notes, scholarly media and book reviews, book chapters, and academic journal articles. In addition, he has presented dozens of conference papers and invited talks. He also worked for eight years as a part-time adjunct or visiting instructor, developing and teaching 31 sections of 22 different university courses at seven institutions.

In addition to his work on music and his activities as a musician and choral singer, he programmed the American Musicological Society’s Doctoral Dissertations in Musicology web database, prepared media-enriched/web-based program notes for the Bowdoin International Music Festival, and independently created music history & culture websites and related instructional videos.
Supervisors: Robert Walser

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Christopher Wiley

University of Surrey

Holly Rogers

Goldsmiths, University of London

Ruben López-Cano

Escola Superior de Música de Catalunya

Timothy N Laurie

University of Technology Sydney

Lydia Papadimitriou

Liverpool John Moores University

University of Dayton

Linnaeus University

University of Oslo

Birkbeck College, University of London

Jessica Shine

Cork Institute of Technology

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Papers by Durrell Bowman

Zimmer, Hans Florian

Oxford University Press eBooks, Jun 2, 2011

Debney, John

Oxford University Press eBooks, Jun 2, 2011

Rush, R30–30th Anniversary World Tour. Anthem 6682520029 (Canada), Rounder DVZOE 1082 (US), Sanctuary SVEDF0216 (UK and Europe), 2005

Journal of the Society for American Music, Jul 17, 2007

views. Third, aside from Dowd himself, those who tell his story are primarily male rock artists o... more views. Third, aside from Dowd himself, those who tell his story are primarily male rock artists or famous figures from the music industry. A few photos, some video footage, and Dowd’s commentary address his experience recording jazz, but no jazz musicians are interviewed in the film. Even more strikingly, viewers might be led to believe that Dowd only recorded male artists, with the exception of Aretha Franklin. But Dowd’s discography includes recordings of Cher, Gladys Knight, Patti LaBelle, and Diana Ross, and he also worked with the Sweet Inspirations—the legendary gospel group and Atlantic backup singers—all of whom were alive at the time when the film was made. Despite the aforementioned limitations, the strengths of this film far outweigh its weaknesses, and one strength may be the abundance of rich material it offers for classroom discussion. Students rarely see past the star power of an artist, but this film forces viewers to identify the collaborative efforts between a recording artist and session musicians, producer, and engineer. Through Dowd’s story, we also receive a concise—and painless—history of recording technology that includes discussions, and often useful footage, of Edison recording; cutting direct to disc; electric recording; monaural; binaural; true stereo; magnetic tape; microphone setup; multitrack recording; the creation of a master disc; Les Paul’s “octopus”; slide controllers; dub and overdub; and digital recording. Moreover, the film contains segments pertaining to the creation and artistic vision of Atlantic Records as well as Les Paul’s conceptualization of the solid body guitar. There is a great deal more to learn from this film than first meets the eye. It offers a chance to witness intelligence, musicianship, creativity, hard work, and instinct at play. Rather than a sensational treatment of overindulgence, greed, violence, or personal tragedy, Tom Dowd and the Language of Music offers an extremely optimistic and collaborative vision of musical creation. Most important, it demonstrates that though one man’s humility and positive attitude may not have delivered fame and fortune, it brought him a remarkable amount of musical accomplishment and professional respect.

Danna, Jeff

Oxford University Press eBooks, Feb 24, 2010

Horner, James

Oxford University Press eBooks, Jan 13, 2015

Shore, Howard Leslie

Oxford University Press eBooks, May 26, 2010

Rand, Rock, and Radicalism Chris Matthew Sciabarra

Symposium on "Rand, Rush, and Rock" Rejoinder to the Respondents to Chris Matthew Sciabarra's Fal... more

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Cut Every Corner: Intertextuality and Parody in the Music of The Simpsons

MUSICultures, Nov 22, 2020

This article reworks ideas about parody, postmodernism, and television from such critical and cul... more This article reworks ideas about parody, postmodernism, and television from such critical and cultural theorists as Linda Hutcheon, Jason Mittell, and Jonathan Gray to contextualize the wide variety of parody and intertextuality in the music of the animated TV show The Simpsons. It explores several categories of the show’s music, such as: variations of cartoon themes, songs, instrumental underscoring, and guest musicians. This article particularly uses specific episodes of The Simpsons to highlight parodies of the show’s own theme, movie music, themes from other TV shows, and so on. The show’s music thus functions as a kind of court jester or king’s fool.Cet article revient sur les idées des théoriciens critiques de la culture tels que Linda Hutcheon, Jason Mittell et Jonathan Gray au sujet de la parodie, du postmodernisme et de la télévision, pour mettre en contexte le large éventail de parodies et d’intertextualité que l’on trouve dans la musique de la série animée télévisée, Les Simpsons. Il examine plusieurs catégories musicales de cette série, telles que les variations sur le thème de la musique du dessin animé lui-même, les chansons, la musique de fond instrumentale et les musiciens invités. Cet article recourt à certains épisodes de Les Simpsons en particulier pour souligner les parodies du thème musical du dessin animé lui-même, de musiques de films, de musiques d’autres séries ou émissions de télévision, etc. On y découvre que la musique de cette série détient en quelque sorte la fonction de bouffon ou de fou du roi

Working Situations II / Situations de travail II

Friday, May 24 • 1:00pm - 2:30pm Session 7A: Working Situations II / Situations de travail II 1. ... more Friday, May 24 • 1:00pm - 2:30pm Session 7A: Working Situations II / Situations de travail II 1. Martin Zeilinger (York University), Resisting Intellectual Property in the Live Performance of Electronic Music. 2.Sheena Hyndman (York University), No Money, Mo’ Problems: The Role of the Remix in Restructuring Compensation for Producers of Electronic Dance Music. 3. Durrell Bowman (Independent Scholar), The Labour Situation of Popular Music Courses in Canada, the US, the UK, and Elsewhere. Chair / Presidente: Alan Stanbridge

Oxford Music Online, 2011

Zimmer, Hans Florian

Oxford Music Online, 2011