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Dr. Iyad_Mohammad_CV_Ar.pdfDr. Iyad_Mohammad_CV_Ar.pdfDr. Iyad Mohammad_CV_Eng.pdfDr. Iyad Mohammad_CV_Eng.pdfAbout Me

Dr. Iyad A. Mohammad

Curriculum Vitae


Belarusian State Academy of Music, Minsk, Belarus
Ph. D. in Arts, Musicology
Date of Graduation: 2006

Dissertation: “The Oeuvre of Helmut Lachenmann: Musical Language and its Philosophic and Aesthetic Aspects”


Belarusian State Academy of Music, Minsk, Belarus
Master of Arts, Composition
Date of Graduation: 2002


Belarusian State Academy of Music, Minsk, Belarus
Bachelor of Arts (With Honors), Composition
Date of Graduation: 2001


·        Since Sep 2013 associate professor at the Department of Music / Faulty of Fine Arts, Yarmouk University

·        2012-2013faculty member at the Jordan Academy of Music.

·        2006 – 2012 Dean of the Jordan Academy of Music.

·        2005 – 2006 Coordinator of Higher Education Program at the NMC;

·        2003 – 2006 faculty member of the National Music Conservatory, Amman lecturing on Composition, Orchestration, Music Theory, Analysis, Harmony, Counterpoint and History of Music;

·        2003-2005 instructor of the Intermediate String Ensemble of the NMC;

·        In 2004 lectured on Harmony and Analysis at the Jordan Academy of Music, Amman;

·        2003 – 2006 a member of the National Music Conservatory Orchestra (Cello).


·        Practical skills in playing Piano and Cello and basic skills in playing the Flute;

·        Practical skills in Conducting;

·        Fluent knowledge of Arabic, English, Russian, and German.

·        Computer skills including various musical software among others Sibelius and Finale.


·        “Helmut Lachenmann: Thoughts on the Conditions of Music Apprehension” // at the 3rd International Practical-Scientific Conference “Music and Personality”, 17–18th December 2002, Minsk;

·        “Lachenmann’s Views on the Role of Musical Theory in the Program of Musical Schools and their Roots in his Aesthetical Theory” // at the 1st Republican Practical-Scientific Conference “New Techniques in the Modern Education Process”, 2-3 April 2003, Novopolotsk State University, Novopolotsk;


1.     Aesthetic Foundations of Musique concréte instrumentale in the Early Works of Helmut Lachenmann // Belarusian State Academy of Music Buletin. – 2003. – № 4. – Pp. 74-78.

2.     The Theory of Perception in the Aesthetic Conception of Helmut Lachenmann: A “Redefinition” Trial of the “Functional” Aspect of Music // Contemporary Music Review Vol. 23, No. 3. – Oxfordshire: Taylor & Francis, 2004. – Pp. 91-95.

3.     What has Lachenmann Done with my Mozart?! A Note on Whatever is Recorded on the Tape in Accanto // Contemporary Music Review Vol. 23, No. 4. – Oxfordshire: Taylor & Francis, 2004. – pp. 21-23.

4.     Historical Consciousness and Retrospectives in the Works of Helmut Lachenmann mid 70-s – 80-s // Belarusian State Academy of Music Buletin. – 2003. – № 4. – Pp. 66-71.

5.     The Specific Interpretation of the Pinao in the Oeuvre of Helmut Lachenmann // Issues of History and Theory of Music and Musical Pedagogy. – Minsk: Belarusian State Academy of Music.2003.– Pp. 13–23.

6.     On the Role and Function of Technical Equipments in Helmut Lachenmann’s “Kontrakadenz”, “Schwankungen am Rand” and “Accanto” // Contemporary Musicology. – Minsk: Belarusian State Academy of Music, 2004.– Pp. 127–139.

7.     Dialectics of Use by Composers of Natural and Electronic Sounds in European Composition of the 2nd Half of the 20th Century // Jordan Journal of Arts, Vol. 5 No. 2, 2012, pp. 169-183.

8.     The Particularities of the Use of Dodecaphony in Stravinsky's "Threni" // Jordan Journal of Arts, Volume 7, No. 1, 2014, pp. 91-110.

9.     The Dialectics of Stability and Variation in the Use of Dodecaphony in Composition of the First Half of the Twentieth Century // Accepted for publication, Journal of Musical Sciences and Arts, No. 28, 2014.

10. Compositional Technique and Phenomenological Categories of Perception in the Passacaglia of Shostakovich's Symphony No. 8 // Musicologica Brunensia 52 (2), 2017. Pp. 95-108.

11. قالب السوناتا بين التنويع الدوديكافوني والتطوير اللحني في الحركة الأولى من سوناتا إرنست كشينيك الثالثة للبيانو / The Sonata Form between Dodecaphonic Development and Thematic …‎ Jordan Journal of Atrs 10 (3), 227-246​

12. فلسفة التربية الموسيقية عند كل من جان جاك روسو وجون بستالوتزي دراسة مقارنة‎ حداد، رامي و عبالحفيظ، إياد و ماضي، عزيز‎ مجلة اتحاد الجامعات العربية للتربية وعلم النفس 16 (3), 205-227

13. The Structural Role of Polyphonic Episodes in Schumann’s 1842 Chamber Music Jordanian Journal of the Arts 12 (1), 217-233

14. Mode Mixture and Tonal Relations in Beethoven’s Late String Quartets Dirasat: Human and Social Sciences 46 (2, supplement 1), 480-495

15. الأوبرا-أوراتوريو "الملك أوديب" لإيغور سترافينسكي والمسرح الموسيقي المعاصر: الليبريتو، الحلول المسرحية ودور الكورال‎ مؤتة للبحوث والدراسات: سلسلة العلوم الإنسانية والاجتماعية



10. Szönyi, Erzsébet The Implementation of the Kodaly Principles (An Introduction to Musical Education According to the Kodaly Method). Translation, Dar Alfikr, Amman, 2010.


1.     On D (concertino in the form of a sama'i), oboe, small orchestra (2 flutes, 2 clarinets, bassoon, 2 French horns, B-flat trumpet, timpani, 1-2 percussion, strings), 2004;

2.     Patterns I (Lebanesisches Löcher-Spiel in 1-3 Sätzen), piano, small orchestra (7 winds, 6 brass, harp, 2 percussion, strings), 2004;

3.     Metamorphoses, clarinet, piano, 2000;

4.     “...explored”, flute, clarinet, cello, piano, 2001;

5.     Fibonacci Cycles, clarinet, cello, piano, marimba, 2002;

6.     For Strings. Silent Prayers, viola, cello, inside upright piano, 2002.

7.      Prélude et Dance, for two pianos, 2010.

8.      Mawlawi for qanoon, cello, piano and percussion, 2011

9.      Klangfiguren for flute, clarinet, vibraphone, violin, cello and piano, 2012

10.    “Tahlila” for qanoon, clarinet, trombone, violin and cello. Commissioned by Maerzmusik (Berlin) 2013.


Compositions have been performed in Europe and Jordan. Among other occasions by Ensemble United Berlin at the “Tracing Migrations” Project, 22 – 23 October 2004, Berlin, Beyrouth-Berlin Festival 2008 and at the “Märumusik Festival 2013.



·        Member of the Jordanian Syndicate of Artists, Branch of Composition


·        History and Theory of Music;

·        Practice and Theory of Composition;

·        Contemporary Techniques of Composition;

·        History of Contemporary Music;

·        Philosophy and Aesthetics of Music.​