Academic Activity


Ph.D Ethnomusicology (York): Zen Buddhism and Improvisation
Graduate Diploma in Asian Studies (York): Japanese Aesthetics
M.A Ethnomusicology (University of Alberta): Japanese Music
Performance Diploma (Grant MacEwan University): Jazz
Bachelor’s Degree (University of Saskatchewan): Music Ed.


The Edward Saïd National Conservatory of Music: Jerusalem
York University
Grant MacEwan University
Medicine Hat College
Amagasaki Inazono High School (JPN)
Itami City Technical High School (JPN)
Professional Tutor in Japanese/English Language
Professional Citizenship Exam Prep (Vietnamese/English)


“Everything In Its Right Place: Analyzing Radiohead” Review for Dancecult: Journal of Electronic Dance Music Culture (pending).

“Digital Signatures: The Impact of Digitalization on Popular Music Sound” Review for Dancecult: Journal of Electronic Dance Music Culture (pending).

“Low End Theory: Bass, Bodies and the Materiality of Sonic Experience” Review in Dancecult: Journal of Electronic Dance Music Culture, (pending 2017).

“Sonic Possible Worlds” Book Review, in Dancecult: Journal of Electronic Dance Music, Vol. 8, No. 1, 2016: pp, 101-104.

“The Beat Generation.” in The Encyclopedia of Youth Cultures in America (Vol. 1: A- M), Simon Bronner and Cindy Del Clark (eds.), Hardcover: 859 pages, ABC-CLIO/Greenwood Publishing Group. Westwood, CT. ISBN: 978-1-4408-3391-5, 2016. Pp. 42-46. 

“Groove: A Phenomenology of Rhythmic Nuance” Review, in Dancecult: Journal of Electronic Dance Music, Vol. 7, No. 2, 2015: pp. 127-130.

“Jazz On A Summer’s Day” Media Review, in Jazz Perspectives 7, No. 2 (Routledge): 2014: pp. 329-333. 

“The Varieties of Ecstasy Experience: An Exploration of Person, Mind and Body in Sydney’s Club Culture” Review, in Dancecult: Journal of Electronic Dance Music Culture, Vol. 6, No. 2, 2014: pp. 70-72.

CHOLLOBHAT/Gakufu/Apocalypse of Solomon (graphic scores), in Visualiser l’invisible, Nicholas Maravitti, digital e-book: 77 pages, École De Communication Visuelle. Provence, France. ISBN: 978-2-9547163-1-2, 2013, p. 52-53.

CHOLLOBHAT (graphic score), in Notations 21, Theresa Sauer (ed.), Hardcover: 320 pages, Mark Batty Publishers. New York. ISBN-13: 978-0979554643, 2009, p. 218.


Quarter Tone Charts for Saxophone (Two Octaves) 
© 2003 

University of Alberta Middle Eastern/N. African Music Ensemble
Berklee College World Music Ensemble

Multiphonics Chart for Saxophone 
© 1996 


TEDx YorkU
Canadian Centre For Ethnomusicology
Canadian Society for Traditional Music National Conference
Society of Ethnomusicology (Niagara)
Leeds International Jazz Conference (UK)
University Consortium on the Global South (York University)
Guelph Jazz Festival Colloquium
Esplanade Arts & Heritage Center
Alberta Genealogical Society
Seoul Jazz Academy (Jongro-ku)
Icelandic Musician’s Union College (Reykjavik)
Kimmel Harding Nelson Center For The Arts
Morton-James Public Library (Nebraska City)
Global Partners Institute
Iga-Ueno Summer Intensive English Program (JPN)
AP/SOSC 1000: Introduction to Social Science. York University.
AP/JP 2700: Contemporary Japanese Culture and Society: York.
FA/MUSI 4051: Jazz Workshop III, York.
FA/MUSI 4032: Contemporary Improvisation, York.
EDUC 5465: Cultural Studies in Education and Society, York.
JAPAN 599: Pre-Modern & Modern Japanese Literature, University of Alberta.


Berlitz Japanese Language Certificate (Level 7: Advanced)
JLPT Level 4 Japanese Certificate (Government of Japan)


Confucian & Buddhist Aesthetics/Textual Phonography
Văn Miếu (Quốc Tử Giám) Temple (Hà Nội)
Chùa Trấn Quốc Pagoda (Hà Nội)
Đền Ngọc Sơn Temple (Hà Nội)
경복궁: Gyeongbokgung Palace (Seoul)

CHINA (2011)
Tibetan Diasporic Buddhism/Confucian Aesthetics
Yonghe Lamasery/Temple (Beijing)
Kǒngmiào Temple (Beijing)

Buddhist Chant/Temple Aesthetics
Jogye Temple (Seoul)
Bongeun Temple (Seoul)
Tondo Temple (Tondo)
Haein Temple (Gyeongsang Province)

JAPAN (1998-2001)
Shinto/Buddhist Aesthetic Influence
Mt. Koya Shingon Buddhist Monastery
Tenryuji Temple
Ikuta Shrine Gagaku Orchestra
Otsuki Noh Theater School(Osaka)
*various artists/sites in the Kansai Onkyokei scene


DHARMA NOISE: Parergonality In Zen Buddhism And Non-Idiomatic Improvisation.
York University, 2013

Philosophical/theoretical exploration of practical approaches to the study of “free” (non-idiomatic) improvisation in relation to Chinese, Korean, and Japanese Zen Buddhist doctrine and aesthetics – with emphasis on First Wave free improvisation of saxophonist Ornette Coleman and his contemporaries. 


6 thoughts on “Academic Activity

  1. Dear Dr. Schnee,
    How might I obtain a copy of your dissertation in PDF format? I searched on the York University web site and with google scholar, but I wasn’t able to find it. I’m enjoying your site.

    1. Hello Heath! Thanks for taking an interest in my work. I am currently converting my dissertation into a general readership form, but you can have the original PDF for free. If you are interested in Zen Buddhism and free jazz (non-idiomatic improvisation) and Ornette Coleman and Japanese aesthetics, you will have a lot of fun with my dissertation… I hope! I noticed that you are also a soprano player. The more the merrier! 🙂

      I will get on e-mailing the dissertation to you pronto…

  2. Thanks, I’m looking forward to reading it. Yes, I’m a soprano saxophonist and an improviser. I’m also very much into Shakuhachi music, and dabble in other Eastern ideas (e.g., Buddhism, Taoism, etc.).

    1. You will really like my Suizen page if you are into shakuhachi. I use suizen all the time for both musical and personal exploration. Canadian saxophonist Jake Scott also uses something similar, what I call his “Tonal Kinhin” process.

      He will pick a tone, play it over and over and really listen into it deep. Then he will play a second tone and meditate on both before moving on to a third which he adds to the first two and explores this group of three, and four and so on in a suizen-like fashion mediating upon multiple tones at once. Jake’s system is a nice expansion of the suizen idea, and I suggest you try it to. It produces a lot of interesting moments and insights into how we make free form/woodwind music.

      1. I did like your Suizen page. It is very useful. Thanks for the “Tonal Kinhin” ideas, too. Recently, I’ve been practicing a the 19 trichords a lot for ear training, meditation, and technique. I have a 20 sided die and other odd-sided dice that I use to pick keys, trichords, saxophone range, etc. to generate parts of my daily practice.

  3. You’re welcome. Thanks for being interested in my site! 🙂

    All these techniques you use are (and should be) a fun and creative part of all our practicing. As hard as good training is, it should always be a process of depth and discovery. Your example should be followed by every musician.


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