School of Music Graduate Programs IFacilities and ResourcesDegree Programs Faculty Performance in the School of Music Graduate Study Faculty Biographies Message from the DeanThe purpose of the College of Fine Arts is to prepare students for professional work in the fields of music, theatre, or visual arts. Strong emphasis is placed on studio instruction: the focus of the student’s development of professional skills and techniques through personalized instruction. Faculty members are carefully selected for their ability to impart knowledge, their personal accomplishments in the arts, and their commitment to nurturing the next generation of artists. Among the College of Fine Arts faculty are artists, performers, and scholars of national and international reputation. The Boston University College of Fine Arts is comprised of the School of Music, the School of Theatre, and the School of Visual Arts. Although each School has its own faculty and program of study, all three Schools share the goal of providing the best possible training in the arts. Walt C. Meissner Facilities and ResourcesMost School of Music activities take place at the six-story Commonwealth Avenue building that houses the College of Fine Arts. This building contains a 485-seat concert hall; music studios and practice rooms; three halls for large ensemble rehearsals; a recording studio; two electronic music studios; an academic computing center; and a keyboard instruction lab. Opera rehearsal and coaching studios are located in a spacious facility across the street from the College of Fine Arts. The Tsai Performance Center, three blocks away on the Boston University campus, is an outstanding concert and rehearsal space for the major performing organizations of the School of Music. The Opera Institute performs at the Boston University Theatre, which is also the home of the Huntington Theatre Company. The library within the School of Music maintains a large collection of scores, recordings, and books. The Boston University Mugar Memorial Library contains a distinguished research collection of books, microfilms, and journals, and offers a full array of library services such as reference, electronically delivered information, course reserves, and interlibrary loans. Mugar Library’s Gotlieb Archival Research Center includes significant music-related holdings of manuscripts, letters, and first editions. Degree ProgramsAlong with programs leading to the Bachelor of Music degree, Master of Music (MusM)Composition Doctor of Musical Arts (MusAD)Composition Artist DiplomaConducting Performance DiplomaOpera Institute (Certificate)FacultyStringsSteven Ansell, viola*Edwin Barker, string bass* Cathy Basrak, viola* Lynn Chang, violin Jules Eskin, cello* Edward Gazouleas, viola* Raphael Hillyer, viola Marc Johnson, cello Bayla Keyes, violin Michelle LaCourse, viola, chair Lucia Lin, violin* Malcolm Lowe, violin* Dana Mazurkevich, violin Yuri Mazurkevich, violin Ikuko Mizuno, violin* George Neikrug, cello James Orleans, string bass* Leslie Parnas, cello Michael Reynolds, cello Rhonda Rider, cello Todd Seeber, string bass* Roman Totenberg, violin Lawrence Wolfe, string bass Michael Zaretsky, viola* Peter Zazofsky, violin WoodwindsLaura Ahlbeck, oboeJennifer Bill, saxophone Geralyn Coticone, flute Doriot Anthony Dwyer, flute John Ferrillo, oboe Ian Greitzer, clarinet Ronald Hartounian, bassoon John Heiss, flute Gregg Henegar, bassoon* Renee Krimsier, flute Christopher Krueger, flute Craig Nordstrom, bass clarinet* Elizabeth Ostling, flute* Richard Ranti, bassoon* Matthew Ruggiero, bassoon Robert Sheena, oboe and English horn* Ethan Sloane, clarinet Linda Toote, flute BrassPeter Chapman, trumpet*Terry Everson, trumpet Joseph Foley, trumpet Lynne Larsen, horn Don Lucas, trombone, chair Richard Menaul, horn Thomas Rolfs, trumpet* Mike W. Roylance, tuba* Eric Ruske, horn James Sommerville, horn* Jay Wadenpfuhl, horn* PercussionRichard FlanaganTim Genis* Sam Solomon Lee Vinson HarpAnn Hobson Pilot*Barbara Poeschl-Edrich PianoJonathan BassAnthony di Bonaventura Maria Clodes-Jaguaribe Linda Jiorle-Nagy VoiceSarah Arneson, coloratura sopranoPenelope Bitzas, mezzo-soprano Sharon Daniels, soprano James Demler, baritone Gary Durham, baritone Simon Estes, bass-baritone Phyllis Elhady Hoffman, mezzo-soprano Frank Kelley, tenor Susan Ormont, soprano Jerrold Pope, baritone, chair Maria Spacagna, soprano Historical PerformanceAldo Abreu, recorderSarah Freiberg, baroque cello Laura Jeppesen, viola da gamba Christopher Krueger, baroque flute Catherine Liddell, lute, theorbo Martin Pearlman, conducting, harpsichord Robinson Pyle, natural trumpet Marc Schachman, baroque oboe Jane Starkman, violin, viola Peter Sykes, harpsichord, chair Collaborative PianoShiela Kibbe, chairRobert Merfeld Musicology and EthnomusicologyVictor CoelhoSteven Cornelius Brita Heimarck Thomas Peattie Joshua Rifkin Andrew Shenton Joel Sheveloff Jeremy Yudkin Composition and TheoryMartin Amlin, chairTheodore Antoniou Deborah Burton Richard Cornell Joshua Fineberg Samuel Headrick David Kopp Rodney Lister Catherine Nez John Wallace Steven Weigt Music EducationRichard BunburyBernadette Colley Diana Dansereau André de Quadros Jay Dorfman Patrick Jones, chair Ron Kos Sandra Nicolucci Anthony Palmer William Pappazisis Chris Parks John Wallace ConductingDavid Hoose, orchestral conductingAnn Howard Jones, choral conducting David Martins Scott Metcalfe Musical OrganizationsTheodore Antoniou, Alea IIICatherine Nez, Time’s Arrow David Hoose, Symphony Orchestra, Chamber Orchestra Ann Howard Jones, Symphonic Chorus, Chamber Chorus David Martins, Wind Ensemble OperaJudith Chaffee, movement supervisorPhyllis Curtin, artistic advisor Sharon Daniels, director of opera programs, stage director, voice, acting Ted Hewlett, stage combat Angela Jepson Ruth Levin, ballet, period styles William Lumpkin, coach/conductor, music director Nina Pleasants, acting Jim Petosa, acting, stage director Betsy Polatin, Alexander Technique Christien Polos, movement styles Nathan Troup Laura Raffo, Italian conversation Jeffrey Stevens, repertoire coach Allison Voth, principal coach Muir Quartet, in ResidencePeter Zazofsky, violin Alea III, Contemporary-Music Ensemble-in-ResidenceTheodore Antoniou, Director (*) Boston Symphony Orchestra Member Performance in the School of MusicPrograms of study within the School of Music vary according to degree sought, area of specialization, and major instrument. However, every degree candidate in music must study a major instrument with the exception of students in the following programs: MusM in Theory, MusM and MusAD in Composition, MusM and MusAD in Conducting, MusM in Musicology, MusM in Music Education (Professional Track), and MusAD in Music Education. Instruction is offered in the following areas: Bassoon Each student taking applied music is assigned to a member of the faculty for private instruction. Individual instruction is given in half-hour or hour lessons and every effort is made to consider the student’s preferences in studio assignment. Musical Organizations and Ensembles Alea III String, woodwind, brass, harp, and percussion students must enroll in the Symphony or Chamber Orchestra or the Wind Ensemble by audition. Voice students must enroll in Symphonic Chorus and one small ensemble by audition. Participation in opera workshop or opera theatre fulfills an ensemble requirement for MM voice students. Keyboard performers may join either vocal or instrumental organizations, or participate in collaborative piano course assignments. Factors considered in placing students in an ensemble include playing ability, specific needs of the various organizations, and previous performance experience.
Published by Trustees of Boston University
4 May 2009 |