Jeremi W. Edwards

Narrative Biography (≈1000 words)

Dr. Jeremi W. Edwards is a distinguished composer, educator, and scholar whose work reflects a dynamic synthesis of contemporary musical practice, innovative pedagogy, and interdisciplinary collaboration. A native of Lake Charles, Louisiana, Dr. Edwards has established himself as a leading voice among emerging composers and music educators, with a career defined by artistic versatility, academic rigor, and a deep commitment to student mentorship.

Dr. Edwards currently serves as Assistant Professor of Music Theory and Composition at McNeese State University, where he also holds the role of Coordinator of Music Theory. In this capacity, he oversees the undergraduate theory curriculum while teaching courses spanning the full four-semester theory sequence, orchestration, twentieth- and twenty-first-century techniques, and private composition. Central to his teaching philosophy is the integration of analytical rigor with creative exploration. This vision is exemplified through his development of the Music Theory Mentorship Program, a comprehensive initiative that connects advanced students with those in earlier stages of study through structured tutoring, guided study sessions, and exam preparation workshops. The program has significantly enhanced student engagement and success while fostering a collaborative academic culture within the department.

Dr. Edwards’s academic journey reflects a sustained dedication to both composition and pedagogy. He earned his Ph.D. in Music Composition, with a secondary concentration in Music Theory, from Louisiana State University. His doctoral research, including the monograph Contemporary Practices of Music Composition Pedagogyand his dissertation Exploration of Time, Sound, and Space: An Aleatoric Event Score in Collaboration with the LSU Museum of Art, represents a substantial contribution to the field. These projects explore innovative approaches to teaching composition while examining the intersection of sound, space, and audience experience through experimental performance models. His work emphasizes the evolving role of composers as interdisciplinary artists working across mediums and environments.

Prior to his doctoral studies, Dr. Edwards earned a Master of Music in Theory and Composition from the University of Louisiana at Lafayette, where he studied with prominent faculty and served in multiple graduate assistantships across theory, composition, and athletic bands. His master’s thesis, Dream Sequence, received national recognition and was later performed at the Mostly Modern Festival in Saratoga Springs, New York. He completed his undergraduate degree in Music Education at McNeese State University, where he developed his foundation as both a performer and educator.

As a composer, Dr. Edwards has built a robust and diverse portfolio encompassing solo, chamber, choral, and large ensemble works. His music has been performed at prestigious venues and festivals across the United States and internationally, including a Carnegie Hall premiere with the Louisiana State University New Music Ensemble. His works have been featured at the Midwest Clinic, Texas New Music Festival, New Music on the Bayou, Alba International Music Festival in Italy, and the North American Saxophone Alliance Conference, among others. His compositions often explore themes of color, texture, and spatialization, frequently incorporating elements of aleatoric processes, multimedia collaboration, and technological integration.

Recent projects highlight his continued artistic growth and national presence. He has received multiple invitations as a composer and presenter at major festivals, including repeated appearances at the Texas New Music Festival and New Music on the Bayou, where his works have been premiered by leading performers and ensembles. His compositions such as Wings of the Divine, Vieux Carré Rhapsody, Electric Storm, and Ghost Flame Seductiondemonstrate his evolving compositional voice and his ability to write effectively across a wide range of ensembles and performance contexts. In addition, his interdisciplinary collaborations with visual artists and choreographers have resulted in large-scale works that merge music with visual art, dance, and audience interaction.

Dr. Edwards’s contributions extend beyond composition and teaching into significant leadership and service roles within the broader musical community. He currently serves as Artistic Director of the Millennium Composers Initiative (MCI), where he oversees artistic programming, national calls for scores, and mentorship initiatives for emerging composers. Under his leadership, MCI has expanded its reach through collaborative projects, including partnerships with professional ensembles and community organizations. His work as a project lead for national composition initiatives reflects his commitment to fostering the next generation of composers through structured mentorship and performance opportunities.

In addition to his work with MCI, Dr. Edwards is actively involved in numerous professional and community organizations. He serves on the board of the New Music on the Bayou Festival and the Cultural Noir Performing Arts Theatre Company, contributing to programming, outreach, and strategic development. Locally, he is a board member and performer with the Lake Charles Community Band, where he also contributes as a program annotator and communications coordinator. His engagement with organizations such as the National Association for Music Education and regional music educator associations further underscores his commitment to advancing music education at all levels.

Dr. Edwards is also an active scholar, with publications addressing both composition and pedagogy. His article on preparing high school students for collegiate music theory study has contributed to ongoing conversations about curriculum alignment and student readiness. Additionally, his compositions have been published and performed by a variety of ensembles, reflecting both academic and professional recognition of his work.

Throughout his career, Dr. Edwards has remained committed to the belief that music serves as a powerful medium for connection, innovation, and expression. Whether in the classroom, on the concert stage, or through his leadership in national initiatives, he continues to advocate for a forward-thinking approach to music education and composition. His work not only reflects a deep respect for musical tradition but also a bold commitment to shaping the future of the art form through creativity, collaboration, and mentorship.

Extended Narrative Biography(≈2000 words)

Dr. Jeremi W. Edwards is a composer, educator, and scholar whose work embodies a dynamic intersection of contemporary composition, pedagogy, and interdisciplinary collaboration. A native of Lake Charles, Louisiana, his career reflects a sustained commitment to artistic innovation, student-centered teaching, and meaningful engagement with both local and national musical communities. As Assistant Professor of Music Theory and Composition and Coordinator of Music Theory at McNeese State University, Dr. Edwards has emerged as a transformative educator and an increasingly prominent compositional voice.

From an early age, Dr. Edwards demonstrated a profound connection to music, shaped by both family influence and immersive artistic experiences. Growing up in Lake Charles, he was captivated by the expressive possibilities of music through repeated exposure to films such as Fantasia and Fantasia 2000. These early encounters with the fusion of sound and image would later inform his interdisciplinary compositional approach. His formal musical journey began in the band program at LaGrange High School, where he studied flute and quickly distinguished himself as both a performer and leader.

During his high school years (2007–2011), Dr. Edwards actively participated in marching band, concert band, and jazz band, ultimately serving as Drum Major during his senior year. Under his leadership, the LaGrange Gator Marching Band earned superior ratings, reflecting both musical excellence and organizational discipline. This formative leadership experience instilled in him an early understanding of the relationship between structure and creativity—an idea that would later define both his compositional voice and pedagogical philosophy.

In 2011, Dr. Edwards enrolled at McNeese State University to pursue a Bachelor of Music Education. During his undergraduate years, he balanced rigorous academic study with extensive performance and leadership commitments. As a member of the Pride of McNeese Marching Band and Wind Ensemble, he developed his skills as a performer while also taking on leadership roles including Head Drum Major and section leader. His involvement in organizations such as Kappa Kappa Psi and Phi Mu Alpha Sinfonia further reinforced his commitment to service and musical excellence.

Equally significant was his early engagement with composition. Through private study and independent exploration, Dr. Edwards began developing a compositional portfolio that would ultimately guide his transition into graduate study. His experiences as a music theory tutor between 2013 and 2017 also marked the beginning of his identity as an educator. Teaching peers in music theory revealed to him that effective instruction is rooted not only in knowledge but in empathy, adaptability, and clarity—principles that continue to shape his teaching today.

Upon graduating from McNeese State University in 2017, Dr. Edwards pursued a Master of Music in Theory and Composition at the University of Louisiana at Lafayette. His time there marked a significant expansion of both his academic and creative horizons. Studying under distinguished faculty, he engaged deeply with advanced theoretical concepts, compositional techniques, and interdisciplinary collaboration.

Between 2017 and 2019, Dr. Edwards held multiple graduate assistantships, including roles in music theory instruction, composition studio support, and athletic bands. These experiences allowed him to refine his teaching skills across diverse contexts while continuing to develop as a composer. His master’s thesis, Dream Sequence, a large-scale work for double quintet, percussion, and piano, exemplified his emerging interest in complex textures and narrative form.

During this period, Dr. Edwards also began exploring collaborations beyond traditional concert music. He composed for film, dance, and visual media projects, broadening his artistic perspective. These interdisciplinary collaborations reinforced his belief that music is most impactful when it engages with other art forms, creating immersive and multidimensional experiences for audiences.

In 2019, Dr. Edwards’s composition Dream Sequence was performed at the Mostly Modern Festival in Saratoga Springs, New York, marking a pivotal moment in his early professional career. The performance by the American Modern Ensemble introduced his work to a national audience and affirmed his potential as a composer of significance.

That same year, he began doctoral studies at Louisiana State University, pursuing a Ph.D. in Music Composition with a secondary emphasis in Music Theory. From 2019 to 2022, Dr. Edwards immersed himself in an intensive period of artistic and academic growth. Serving as Instructor of Record for Aural Skills and as a graduate teaching assistant in music theory, he gained extensive experience teaching across the undergraduate curriculum.

Simultaneously, his compositional output expanded significantly. He collaborated with the LSU New Music Ensemble, participated in festivals, and produced a series of works that demonstrated increasing sophistication in both technique and conceptual design. Notable achievements during this period include being selected as a finalist for multiple national calls for scores and having works performed at prestigious venues, including Carnegie Hall.

His doctoral research represents a major contribution to contemporary composition pedagogy. Through extensive interviews, analysis, and creative work, he examined how composition is taught across higher education and proposed innovative models for curriculum design. His dissertation, an aleatoric event score performed in collaboration with the LSU Museum of Art, challenged traditional notions of musical performance by integrating spatial, visual, and temporal elements. This period solidified his identity as both a scholar and artist, reinforcing his commitment to pushing the boundaries of how music is taught, created, and experienced. 2022: Transition from Doctoral Study to Faculty Leadership

The year 2022 marked a pivotal transition in Dr. Edwards’s career as he completed his Ph.D. and accepted a faculty position at McNeese State University. Returning to his alma mater as Assistant Professor of Music Theory and Composition represented both a professional milestone and a meaningful personal homecoming.

In his first year, Dr. Edwards assumed responsibility for teaching core music theory courses and began contributing to curriculum development within the department. Drawing from his doctoral research, he introduced new pedagogical approaches that emphasized creativity, analytical depth, and student engagement. He also began shaping what would later become a more structured and comprehensive theory curriculum.

Simultaneously, his compositional career continued to gain traction. His work Beneath the Veil was performed at Carnegie Hall in New York City, representing a major national milestone and signalling his emergence onto a broader stage. Additional performances and recognitions further reinforced his growing reputation as a composer.

Beyond teaching and composition, Dr. Edwards began expanding his professional service, joining boards and professional organizations that aligned with his commitment to advancing contemporary music and education. This year represented a moment of transformation—shifting from student to faculty, from mentee to mentor. It solidified his belief that effective teaching must be informed by active creative practice, and that returning to McNeese offered a unique opportunity to give back to the institution that shaped his early development.

2023: Program Development and Institutional Impact

In 2023, Dr. Edwards focused on establishing a strong foundation within his faculty role while initiating meaningful programmatic growth. One of his most significant accomplishments was the development and implementation of the Music Theory Mentorship Program. This initiative paired upper-level students with those in earlier stages of the theory sequence, creating a structured support system that included weekly study sessions, exam review workshops, and peer-led instruction. This program quickly became a cornerstone of student success within the department, improving retention, comprehension, and overall engagement in music theory courses.

As a composer, Dr. Edwards continued to build his national profile. His works were performed at festivals such as New Music on the Bayou and the Texas New Music Festival, with premieres including Connecting the Dots and Zephyr! Spirit of the Wind. These works demonstrated his growing command of large ensemble writing and his interest in color, texture, and narrative structure.

In addition, he deepened his involvement in community and professional organizations, including his role with the Lake Charles Community Band and continued service with national music education organizations. This year underscored the importance of infrastructure in education—recognizing that student success is not accidental but built through intentional program design. Artistically, it reinforced his commitment to writing music that is both accessible and innovative, connecting with performers and audiences alike. 2024: National Recognition and Artistic Expansion

The year 2024 marked a period of significant artistic and professional recognition. Dr. Edwards was awarded the JP Morgan Chase Endowed Professorship in Performing Arts at McNeese State University, acknowledging his contributions to teaching, research, and service.

His compositional career reached new levels of visibility, with invitations to present and premiere works at major festivals, including the Alba International Music Festival in Italy and continued appearances at the Texas New Music Festival and New Music on the Bayou. Notable works premiered during this time include Dreamscape Nocturnes, Echoes of Melodic Mosaics, and Feathered Echoes. Additionally, Dr. Edwards expanded his interdisciplinary work through collaborations with visual artists, most notably the large-scale project Ephemeral Dreams, which integrated music with visual art in a gallery setting. These collaborations further demonstrated his commitment to redefining the concert experience.

Within the university, he continued refining the theory curriculum and strengthening student mentorship initiatives, while also contributing to faculty governance through committee service and Faculty Senate involvement. This year represented a period of validation and expansion. Recognition at both institutional and international levels affirmed the direction of his work, while interdisciplinary collaborations deepened his understanding of music as part of a larger artistic ecosystem.

2025: Leadership, Mentorship, and National Engagement In 2025, Dr. Edwards’s role as a leader within the contemporary music community became increasingly prominent. He was awarded the Dr. Francis G. Bulber Endowed Professorship in Music, further recognizing his impact within the institution. As Artistic Director of the Millennium Composers Initiative (MCI), he led major national projects, including the Beeline Bones Collaboration, a year-long mentorship initiative connecting emerging composers with professional performers. This project exemplified his commitment to mentorship and professional development, providing participants with direct feedback, collaborative opportunities, and a culminating performance.

His compositional output remained highly active, with multiple premieres at the Texas New Music Festival, including Wings of the Divine, Midnight Waltz, and Electric Storm. These works showcased his versatility across genres and ensembles, from chamber orchestra to solo performance. Dr. Edwards also presented at conferences, served as a panelist, and continued adjudicating national composition competitions, further contributing to the field’s broader discourse. This year highlighted the importance of leadership through service. By creating opportunities for others, he recognized that his role as an educator extends beyond the classroom into the broader artistic community. Mentorship became not just a responsibility, but a central pillar of his professional identity.

Jeremi W. Edwards