School of Music Graduate Programs III

Faculty Biographies
Strings and Harp
Woodwinds
Brass
Percussion
Piano
Collaborative Piano
Voice and Opera
Historical Performance
Musicology and Ethnomusicology
Composition and Theory
Music Education
Conducting
Emeriti

SCHOOL OF MUSIC GRADUATE PROGRAMS II
SCHOOL OF MUSIC GRADUATE PROGRAMS I

Faculty Biographies

STRINGS AND HARP

Steven Ansell

Associate Professor, Viola. Diploma, Curtis Institute of Music. Student of Donald McGinnis, Vilem Sokol, Michael Tree, Arnold Steinhardt, Felix Galimir, and Oscar Shumsky. Principal Viola, Boston Symphony Orchestra, since 1996. Former Assistant Principal Viola, Pittsburgh Symphony; member of Music from Marlboro. Concerts throughout Europe and the United States as member of Muir String Quartet. Recipient of Naumburg Award and the Grand Prix du Disque in 1985 and 1987. Former faculty member, University of Houston and Yale University.

Edwin Barker

Associate Professor, Double Bass. BM, New England Conservatory. Principal Double Bass, Boston Symphony Orchestra. Former member, Chicago Symphony, Albany Symphony. Mr. Barker has performed and recorded with the Boston Symphony Orchestra, the Boston Symphony Chamber Players, and with Collage, a Boston-based contemporary music ensemble. He is also a frequent guest performer with the Boston Chamber Music Society in Boston's Jordan Hall. Mr. Barker graduated with honors from the New England Conservatory in 1976 where he studied double bass with Henry Portnoi. That same year, while a member of the Chicago Symphony, he was appointed at age twenty-two to the position of principal bassist of the Boston Symphony Orchestra. Mr. Barker continues to tour and perform internationally with the Boston Symphony Orchestra. In July 1995, Mr. Barker was chosen by Maestro Sir George Solti to lead the bass section of the United Nations' orchestra "Musicians of the World," an orchestra comprised of prominent musicians from the world’s finest orchestras. Present position, 1983.

Cathy Basrak

Lecturer, Viola. BM, Curtis Institute. Ms. Basrak’s teachers include Joseph de Pasquale, principal viola of the BSO from 1947 to 1964; Michael Tree of the Guarneri String Quartet; and Richard Young of the Vermeer String Quartet. She has participated in the Marlboro Music Festival, the Banff Center for the Arts, and the Norfolk Chamber Music Festival. She has also performed with the Brandenburg Ensemble and Boston’s Metamorphosen Ensemble and appeared as soloist with the Chicago Symphony Orchestra, the Philadelphia Orchestra, the Detroit Symphony Orchestra, and the Symphonie Orchestra of the Bayerischen Rundfunks. Ms. Basrak has won several awards, including Grand Prize in the General Motors/Seventeen Magazine National Concerto Competition, First Prize in the William E. Primrose Memorial Scholarship Competition, First Prize in the Irving M. Klein International String Competition, and Second Prize in the 46th International Music Competition of the ARD in Munich.

Bonnie Black

Lecturer, String Pedagogy. MA, Columbia University; BA, BFA, State University of New York. Ms. Black is chair of the String Department at the Ichimura Music School and also teaches for the Boston Youth Symphony.

Lynn Chang

Lecturer, Violin. Associate's degree, Harvard University. Mr. Chang has performed as soloist with the Atlanta Symphony, Boston Pops, Seattle Symphony, Buffalo Philharmonic, Bejing Symphony, and Hong Kong Philharmonic. Teachers include Ivan Galamian, Leon Kirchner, Luise Vosgerchian, Alfred Krips, and Sarah Scriven.

Jules Eskin

Lecturer, Cello. Chevalier de Violoncelle, Indiana University. Principal cellist with the Boston Symphony Orchestra since 1964. Principal cellist with the Cleveland Orchestra under George Szell. Has performed with the Boston Symphony Chamber Players on tour in Europe, Asia, and North and South America. Teachers include Janos Starker, Gragor Piatiogorsky, and Leonard Rose.

Edward Gazouleas

Lecturer, Viola. Third Chair Violist of the Boston Symphony and Assistant Principal of the Boston Pops, Mr. Gazouleas is also an active chamber music player. He appears regularly with the Boston Conservatory Chamber Players, the new music group Collage, and in solo recitals. He has performed with members of the Muir, Audubon, and Lydian string quartets and was a 1983 prize winner at the International String Quartet competition in Evian, France. Mr. Gazouleas was a member of the Pittsburgh Symphony under Lorin Maazel and has held faculty positions at Temple University and Wellesley College. He is also on the faculties of the Boston Conservatory and the New England Conservatory. He is a 1984 graduate of the Curtis Institute, where he studied with Michael Tree and Karen Tuttle, and he also attended Yale University.

Raphael Hillyer

Lecturer, Viola. BA, Dartmouth College; MM, Harvard University. Founding member of the Juilliard String Quartet and guiding force behind the formation of the Tokyo String Quartet. Mr. Hillyer has appeared frequently in recitals with such artists as Nadia Boulanger, Ruth Laredo, and Leonard Bernstein; played with the Boston Symphony Orchestra under Serge Koussevitzky; with the NBC Symphony under Arturo Toscanini; and was a member of the Stradivarius and NBC string quartets. Mr. Hillyer has also taught at the Juilliard School, Curtis Institute, American University in Washington, Yale School of Music, Berkshire Music Center, Aspen Music Festival, and as a visiting professor at Harvard University.

Marc Johnson

Bayla Keyes

Associate Professor, Violin. BM, Curtis Institute of Music; MM, Yale University. Studies with Ivan Galamian, Oscar Shumsky, Jascha Brodsky, Paul Kling, Karen Tuttle, and Felix Galimir. Member, Triple Helix Piano Trio, Sonos, and Boston Musica Viva. Frequent appearances with orchestra and in recital. Music from Marlboro 1977–79. Former founding member, 1979–1995, Muir String Quartet, winner of Evian and Naumburg competitions, Gramophone Award, Grand Prix du Disque. Artistic Director, Interlochen Adult Chamber Music Conference, since 1999. Director, Tanglewood Institute String Quartet Workshop, since 1996. Coordinator, Tanglewood Institute Young Artists' Orchestra and Chamber Music Program, 1995. Former Teaching Associate, Yale University.

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Michelle LaCourse

Associate Professor, Viola; Chair, String Department. BM, MM, Artist Diploma, Peabody Conservatory. Studies with Karen Tuttle, Robert Swan, and David Holland. Performances throughout the United States and Europe as soloist and chamber musician. Former violist of Lehigh Quartet, Aeolian Trio, and Delphic String Trio. As an orchestral musician, Ms. LaCourse has performed with the Baltimore Symphony and was principal violist and soloist of the Chamber Orchestra of Grenoble, France, and the Concerto Soloists Chamber Orchestra of Philadelphia. Artist teacher, Heifetz International Music Institute, Karen Tuttle Viola Workshops. Ms. LaCourse has taught at Temple University., Swarthmore College, Baltimore School for the Arts, and University of Massachusetts at Amherst.

Lucia Lin

Associate Professor, Violin. BM, University of Illinois at Urbana; MM, Rice University. A prizewinner in the 1990 International Tchaikovsky Competition in Moscow, Ms. Lin combines an active solo, chamber music, and orchestral career. She has served as concertmaster of the Milwaukee and London symphony orchestras and is currently a member of the Boston Symphony Orchestra.

Malcolm Lowe

Lecturer, Violin. Diploma, Curtis Institute of Music. Mr. Lowe joined the Boston Symphony Orchestra as its concertmaster in 1984, becoming the tenth concertmaster in the orchestra’s history, and only its third since 1920. As the orchestra’s principal first violinist, he also performs with the Boston Symphony Chamber Players. He appears frequently as a soloist with the Boston Symphony Orchestra at Symphony Hall and at Tanglewood, and has returned many times to his native Canada to perform as a soloist with orchestras, including those of Toronto, Montreal, and the National Arts Centre. He also teaches at the Tanglewood Music Center and the New England Conservatory of Music.

Dana Mazurkevich

Adjunct Associate Professor, Violin. Diploma with honors, Artist Diploma, Master's degree, Moscow Conservatory. Student of David Oistrakh. Prizewinner of Bach and Enesco international competitions. Former faculty member of Kiev State Conservatory and University of Western Ontario. Concerts throughout former USSR, Europe, Far East, North and South America. Recordings on Masters of the Bow and S.N.E. labels. Television appearances and broadcasts for BBC, CBC, ABC—Australia, Radio Moscow, Paris, and others.

Yuri Mazurkevich

Professor, Violin. Honors Diploma, Artist Diploma, and Master's degree, Moscow Conservatory. Studied with David Oistrakh. Named outstanding artist of the Ukraine, 1969. Laureate and winner Helsinki, Munich, and Montreal international competitions. Former faculty member of Kiev State Conservatory, University of Western Ontario, University of Illinois. Concertized widely in more than 35 countries, throughout the former USSR, Eastern and Western Europe, Near and Far East, North and South America. Recordings on Melodiya, Masters of the Bow, and S.N.E. labels.

Ikuko Mizuno

Lecturer, Violin. BM, Toho-Gakuen School of Music, Japan; MM, Boston University College of Fine Arts. Invited by Arthur Fiedler to appear as a soloist with the Boston Pops. First violinist with the Boston Symphony Orchestra and Boston Pops since 1969. Has taught at the New England Conservatory of Music, Preparatory Division; and MIT.

John Muratore

Lecturer, Guitar. BM, University of Akron; MM, New England Conservatory. Professor Muratore has served on the faculties of New England Conservatory and Dartmouth College. As a guitar soloist and collaborative artist in chamber ensembles, he has appeared extensively in the New England area and has participated in major music festivals, including the Aspen Festival and the Great Woods Festival.

James Orleans

Lecturer, Double Bass. BM, Boston Conservatory. Studied with Edwin Barker. Mr. Orleans has been a member of the BSO since 1983. He was previously a member of the Milwaukee Symphony Orchestra. His chamber music activities have included Boston Music Viva, Collage New Music, and the Boston Chamber Music Society. Mr. Orleans has written articles on 20th-century music programming and has served on advisory panels of organizations including the American Composers Orchestra, the American Symphony Orchestra League, and the National Endowment for the Arts. Mr. Orleans is also on the faculty of the New England Conservatory.

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Leslie Parnas

Adjunct Professor of Music, Cello. Studied at Curtis Institute of Music. Student of Gregor Piatigorsky and Pablo Casals. Principal cellist, St. Louis Symphony. Numerous concert tours throughout the world. Performed at the White House for presidents Carter and Reagan, as well as with many major orchestras including the Chicago Symphony, the New York Philharmonic, and the Boston Symphony Orchestra. Mr. Parnas has appeared in countless summer festivals and tours with the Buswell-Parnas-Luvisi Trio.

Ann Hobson Pilot

Lecturer, Harp. BM, Cleveland Institute of Music; DMA, Bridgewater State College. Ms. Hobson Pilot is the Principal Harp of the Boston Symphony Orchestra and has performed as soloist with the Boston Pops and orchestras in Europe, Haiti, New Zealand, and South Africa. As a chamber musician she has appeared at prominent festivals such as Marlboro and Newport.

Barbara Poeschl-Edrich

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Michael Reynolds

Associate Professor, Cello. Mr. Reynolds, cellist, began his career as the founding cellist of the Muir String Quartet in 1979. In that capacity, he tours the musical centers of North America and Europe, in addition to his activities as a professor at Boston University, where he has been in residence since 1983. A native of Montana, he received his professional training at the Curtis Institute of Music, where he was a student of David Soyer and Martita Casals. Upon graduation, he continued his studies with Karen Tuttle and George Neikrug and attended Yale University. Accolades he has won while with the Muir Quartet include first prize at the Evian Competition (1980), the 1981 Naumburg Award, two Grand Prix du Disques (1985, 1987), the Gramophone Award (1987), a Grammy nomination, and a Grammy Award through the EcoClassics recording label which he founded. As a member of the Muir Quartet, Mr. Reynolds has performed nearly 2,000 concerts throughout North America, Europe, and the Far East, and he has performed with such diverse artists as Leon Fleisher, Gil Shaham, Phyllis Curtin, and Benny Goodman. He received an honorary doctorate from Rhode Island College in 1995. Mr. Reynolds has appeared in recital throughout the U.S, and his recording of the complete Bach Suites for Solo Cello has received much critical acclaim.

Rhonda Rider

Todd Seeber

Lecturer, Double Bass. MusB, Boston University. Dean's Scholar and Winner, Concerto-Aria Competition, 1984. First prize, ASTA Competition, Boston, 1983. Fellow, Berkshire Music Center, 1983, 1984. Principal Bass, Buffalo Philharmonic Orchestra, 1986–88. Former faculty member, State University of New York at Buffalo, 1987–88. Former member of Boston Symphony Esplanade Orchestra, 1985–86. Faculty, Boston University Tanglewood Institute. Member, Boston Symphony Orchestra.

Roman Totenberg

Professor Emeritus, Violin. Graduate, Warsaw State Junior College; Gold Diploma, Warsaw Chopin Conservatory of Music; Berlin Academy of Music; Instrumental Academy of Paris. Studied with Carl Flesch, Georges Enesco, and Pierre Monteux. Named Artist Teacher of the Year, 1981, by the American String Teachers Association. Soloist at the age of 11 with the Warsaw Philharmonic. Has appeared with most of the leading orchestras of the world and in recital at the White House, Queen Elizabeth Hall in London, Library of Congress, New York Metropolitan Museum of Art, and Carnegie Hall. Introduced the concertos of Milhaud and William Schuman and the Penderecki Capriccio. Recipient of Wieniawski and Ysaye medals of Poland and Belgium, and the winner of the Mendelssohn Prize (Berlin Academy). Former faculty member, Peabody Conservatory, University of Illinois at Urbana, Mannes College of Music, Salzburg Mozarteum, and Longy Music Division. Present position, 1964.

Lawrence Wolfe

Lecturer, Double Bass. BM, New England Conservatory. Lawrence Wolfe is assistant principal bass of the BSO and principal bass of the Boston Pops. He has appeared as soloist in Carnegie Recital Hall and Jordan Hall and with the BSO and Boston Pops. His CD, Lawrence Wolfe, Double Bass, is released on the Titanic label. His compositions have been performed by the Boston Symphony Orchestra and the Boston Pops. Mr. Wolfe also teaches at The New England Conservatory.

Michael Zaretsky

Peter Zazofsky

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WOODWINDS

Laura Ahlbeck

Jennifer Bill

Geralyn Coticone

Doriot Dwyer

Adjunct Professor, Flute. BM, Performer's Certificate, University of Rochester, Eastman Music Division. Study with William Kincaid. First flute, National Symphony, Los Angeles Philharmonic. Former principal flute, Boston Symphony Orchestra. Honorary doctorate, Harvard University, 1982. Present position, 1973.

John Ferrillo

Lecturer, Oboe. Artist's Diploma and Artist's Certificate, Curtis Institute. Joined the Boston Symphony Orchestra as principal oboe at the start of the 2001 Tanglewood season, having appeared with the orchestra several times as a guest performer in recent seasons. From 1986 to 2001 he was principal oboe of the Metropolitan Opera Orchestra. He studied with John deLancie at the Curtis Institute, and John Mack at the Blossom Festival. He has also participated in the Marlboro, Craftsbury, and Monadnock festivals. Prior to his appointment at the Metropolitan Opera, Mr. Ferrillo was second oboe of the San Francisco Symphony, and was a faculty member at Illinois State University and West Virginia University. He has taught and performed at the Aspen and Waterloo festivals and the Mannes Bach Institute, and served on the faculty of the Juilliard School. Present position, 2002.

Ian Greitzer

Lecturer, Clarinet. BM, MM, with honors, New England Conservatory. Principal clarinet with the Boston Classical Orchestra and Rhode Island Philharmonic. Substituted with the Boston Symphony, Boston Pops Esplanade, and Boston Ballet orchestras. Currently teaching at Longy School of Music and University of Massachusetts-Dartmouth.

Ronald Haroutunian

Lecturer, Bassoon. BM, New England Conservatory. Principal Bassoon, Boston Pops Esplanade Orchestra, New Hampshire Symphony, Pro Arte Chamber Orchestra of Boston. First Bassoon, Boston Modern Orchestra Project. Mr. Haroutunian has taught at the University of Connecticut, Tufts University, Brown University, Massachusetts Institute of Technology, and Hartt College of Music. Present position, 1999.

John Heiss

Lecturer, Flute. Mr. Heiss is an active composer, conductor, flutist, and teacher. His works have been performed worldwide, receiving premieres by Speculum Musicae, Boston Musica Viva, Collage New Music, the Da Capo Chamber Players, Aeolian Chamber Players, Tanglewood Festival Orchestra, and Alea III. He has received awards and commissions from the National Institute of Arts and Letters, Fromm Foundation, NEA, Rockefeller Foundation, Massachusetts Council on the Arts and Humanities, ASCAP, and the Guggenheim Foundation. His principal publishers are Boosey & Hawkes, E.C. Schirmer, and Elkus & Son. Mr. Heiss has been principal flute of Boston Musica Viva and has performed with many local ensembles, including the BSO. His articles on contemporary music have appeared in Winds Quarterly, Perspectives of New Music, and The Instrumentalist. Mr. Heiss has directed fifteen of NEC’s annual festivals, plus visits by many composers including Ligeti, Lutoslawski, Berio, Carter, Messiaen, Schuller, and Tippett. Along with Juilliard faculty Joel Sachs, Mr. Heiss has designed and written a book/CD-ROM classical music primer for Blue Marble Music entitled Classical Explorer. Mr. Heiss has studied composition with Milton Babbitt, Edward T. Cone, Earl Kim, Otto Luening, Darius Milhaud; flute with Arthur Lora, James Hosmer, Albert Tipton. Recordings on TelArc, Nonesuch, CRI, Golden Crest, Arista, Turnabout, Video Artists International, Boston Records, AFKA. Former faculty member of Columbia University, Barnard College, MIT, NEC Institute at Tanglewood.

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Gregg Henegar

Lecturer, Bassoon. Study with Sanford Berry, John Mack, Robert Marcelus, Myron Bloom, and George Goslee. Mr. Henegar is a bassoonist with the Boston Symphony Orchestra and has played with the Houston Symphony Orchestra. Performed world premieres at Brandeis University, and with the London Philharmonic. ­Present position, 1995.

Renee Krimsier

Lecturer, Flute. BM, New England Conservatory; MM, The Juilliard School.

Craig Nordstrom

Lecturer, Clarinet. BM, Northwestern University; MM, Catholic University. Mr. Nordstrom has been a member of the Boston Symphony Orchestra since 1979. Before joining the BSO he was a member of the Vancouver and Cincinnati symphonies. Present position, 1998.

Elizabeth Ostling

Ken Radnofsky

Richard Ranti

Matthew J. Ruggiero

Robert Sheena

Ethan Sloane

Linda Toote

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BRASS

Ken Amis 

Peter Chapman

Lecturer, Trumpet. MusB, MusM, Boston University. Member, Boston Symphony Orchestra. Former member, Boston Pops and American National Opera Company.

Terry Everson

Associate Professor, Trumpet. BM, MM, Ohio State University. Terry Everson is an internationally renowned trumpet soloist, active as performer, educator, composer/arranger, and church musician. He first gained international attention in 1988, winning (on consecutive days) both the Baroque/Classical and 20th-Century categories of the inaugural Ellsworth Smith International Trumpet Competition, with further success as First Prize laureate of the 1990 Louise D. McMahon International Music Competition. Mr. Everson has premiered major works by composers John Davison, Stanley Friedman, Jan Krzywicki, Elena Roussanova-Lucas, and Gary Ziek. His collaboration with pianist Susan Nowicki has produced two complete recordings of numerous notable modern works, as well as single entries on two discs devoted to the works of Davison and Krzywicki; he has also recorded as soloist with the New England Brass Band, the Lexington Brass Band, and the Eastern Wind Symphony. He is a Life Member of the International Trumpet Guild, having served as Conference Host in 1998, and was recently appointed Music Notation Specialist for the Guild's quarterly Journal. In September 1999, Mr. Everson joined the faculty of the Boston University College of Fine Arts and Tanglewood Institute; he has also served on the faculties of Asbury College, the University of Kentucky, Philadelphia College of Bible, the Las Vegas Music Festival, and the Lutheran Music Program. He is currently Principal Trumpet of the Peninsula Music Festival in Door County, WI, and Principal Solo Cornet and Assistant Conductor of the New England Brass Band. He appears frequently as a recitalist and clinician and as soloist with orchestras, wind ensembles, and brass bands.

Joseph Foley

Adjunct Assistant Professor of Music, Trumpet. MusB, MusM, Boston University. First trumpet, Atlantic Brass Quintet. Has performed solo work with the Boston Pops Orchestra and Alea III Ensemble, was principal trumpet with the Rhode Island Philharmonic, and has played with the Boston Concert Opera. Teachers include Roger Voisin, Rolf Smedvig, and Peter Chapman.

Don Lucas

Associate Professor, Trombone; Chair, Brass, Woodwinds, and Percussion Department. Don Lucas was educated as a Fulbright Scholar to London’s Guildhall School of Music (“Premiere Prix” and Advanced Solo Studies Diplomas), Texas Tech University (MM and BM), North Texas State University, The University of Houston (DMA work) and the Berklee College of Music, MA. His principal teachers include Denis Wick, Robert Deahl, Al Lube, Carsten Svanberg, Phil Wilson, Michel Becquet, Allen Barnhill, John Marcellus, Phil Wilson, Leon Brown, and Dave Maser. Mr. Lucas has performed with the Saint Paul Chamber Orchestra, the Empire Brass Quintet, Santa Fe Pro Musica Chamber Orchestra, the American Classic Trombone Quartet (founder), and with many orchestras. Internationally, Mr. Lucas has performed recitals and taught masterclasses throughout the world. Mr. Lucas’s honors include the only Premeir Prix Diploma ever awarded to a brass player in the history of the Guildhall School of Music (London); Bronze Medal L’unamite & Finalist, Toulon International Solo Competition; First Prize Winner ITA Frank Smith International Trombone Solo Competition; and he has recorded with the Saint Paul Chamber Orchestra and the American Wind Symphony. Mr. Lucas has premiered/commissioned many pieces for trombone from many composers including: Fisher Tull, Jacques Casterede, Derek Bourgeouis, Adam Gorb, Elena Roussanova Lucas, Franz Cibulka, Alun Hoddinott, Gary D. Belshaw, and Daniel Schnyder. Previous teaching appointments include Texas Tech University, Eastern New Mexico University, Sam Houston State University. Mr. Lucas is a Performing Artist/Clinician for the Edwards Instrument Co. of Elkhorn, Wisconsin.

Richard Menaul

Thomas Rolfs

Mike Roylance

Eric Ruske

Professor, Horn. Graduate of Northwestern University. Horn soloist Eric Ruske has established himself as an artist of international acclaim. Named Associate Principal Horn of the Cleveland Orchestra at the age of 20, he began his impressive solo career when he won the 1986 Young Concert Artists International Auditions, First Prize in the 1987 American Horn Competition, and in 1988, the highest prize in the Concours International d’Interprétation Musicale in Reims, France. Performances as soloist include appearances with the Baltimore Symphony, the Indianapolis Symphony, the Cleveland Orchestra, the Boston Pops Orchestra, and a tour with the Israel Chamber Orchestra throughout Israel. He has taught at the Royal Academy of Music in London, the Central Conservatory of Music in Beijing, the Royal Scottish Academy of Music and Drama in Glasgow, and the College of Music at Seoul National University. His discography includes solo recordings for Telarc, Musical Heritage Society, Fleur de Son, and Albany Records. A native of LaGrange, Illinois, and a graduate of Northwestern University, Mr. Ruske has been the recipient of grants from the National Foundation for Advancement in the Arts and the International Institute of Education. A member of the faculty of Boston University since 1990, Mr. Ruske also directs the Horn Seminar at the Boston University Tanglewood Institute.

James Sommerville

Lecturer, Horn. Principal Horn of the Boston Symphony Orchestra. Mr. Sommerville has performed with the Toronto, Montreal, and Nova Scotia symphonies and the Chamber Orchestra of Europe. He has a distinguished solo and recording career, has performed many concerti with the Montreal Symphony Orchestra, Toronto Symphony Orchestra, and Victoria Symphony Orchestra, and recordings of the Mozart Horn Concerti on the CBC label.

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PERCUSSION

Richard Flanagan

Timothy Genis

Lecturer, Percussion. Bachelor of Performing Arts in Percussion, the Juilliard School of Music. Principal percussion with the Honolulu Symphony Orchestra, Radio City Music Hall Orchestra, and Philharmonia Virtuosi. Currently employed with Boston Symphony Orchestra as assistant timpanist. Teachers include Roland Kohloff, Chris Lamb, Joe Morello, Elden Bailey, John Beck, William Cahn, and Anthony Cirone.

PIANO

Anthony di Bonaventura

Professor, Piano. Graduate, Curtis Institute of Music. Student of Madame Isabelle Vengerova. Director, Summer Piano Institute, Colby College. Professor de Bonaventura has given performances in 28 countries, including appearances with London Philharmonic, Vienna Symphony, New York Philharmonic, Chicago Symphony, Pittsburgh Symphony, and San Francisco Symphony. He has given solo recitals at Lincoln Center, Kennedy Center, Carnegie Hall, Sydney Opera House, Concertgebouw, and Musikverein as well as performances at festivals of Spoleto, Ann Arbor, Saratoga, Bergen, Lucca, Zagreb, and Donaueschingen. World premieres of specially written works by Berio, Kelemen, Persichetti, and Ginastera. Recordings for Columbia, RCA Connoisseur Society, and Sine Qua Non.

Maria Clodes-Jaguaribe

Associate Professor, Piano. Diploma, Federal Conservatory of Rio de Janeiro; postgraduate work, Conservatory of Lisbon and Mozarteum; MusAD, Boston University. Director, Boston University Tanglewood Institute Piano Program. First Prize, Salzburg Mozarteum Piano Competition; Second Prize, Munich International Piano Competition; Bronze Medal, Geneva International Piano Competition; and Harriet Cohen Award for Best Young Pianist of the Year (London). Faculty member at University of Colorado and Wellesley College.

Linda A. Jiorle-Nagy

Assistant Professor, Piano. AB, Douglass College of Rutgers University; MM, DMA, Boston University. Fulbright-Hays/DAAD Scholarship to the Staatliche Hochschule für Musik, Rheinland, in Köln, Germany. Contemporary Music Seminar with Karlheinz Stockhausen. Tanglewood Institute Piano Program; Artistic Coordinator, Sion International Piano Seminar; Marylhurst Piano Seminar. Pupil of Eugene Helmer, Maria Valgoczy, and Béla Böszörményi-Nagy. East-West Artists Competition, Geneva Competition, Busoni Competition. Assistant Director, Neponset Choral Society. Piano Faculty, Chorale Accompianist, Wheaton College. Piano Consultant, Brown ­University.

COLLABORATIVE PIANO

Shiela Kibbe 

Assistant Professor; Chair of Collaborative Piano Department. BM, Ithaca College; MM, Chamber Music and Accompanying, Temple University; MM, Piano Pedagogy, Temple University. Fellowships: Tanglewood Music Center, Blossom Music Festival. Studies with Margo Garrett, Martin Katz, Lambert Orkis. Rehearsal pianist, Boston Symphony and Tanglewood Festival Chorus. Principal Keyboardist/Vocal Coach, Chattanooga Symphony and Opera Association. Vocal Coach: Boston University Opera Institute, New England Conservatory. Staff Accompanist: Temple University Esther Boyer College of Music, Pennsylvania Opera Theatre Company, International Suzuki Institute. Former faculty member, New England Conservatory.

Robert Merfeld 

Lecturer. BM, Oberlin Conservatory of Music. MM, The Juilliard School. Mr. Merfeld has appeared as a lecturer at Dartmouth College, the Brattleboro Music Center, and the Damascus Conservatory and has taught at Brandeis University, the Juilliard School, Dartmouth University, and elsewhere. He has collaborated with numerous prominent artists, including singers Lucy Shelton, Jan de Gaetani, Dawn Upshaw, and Will Parker and instrumentalists Arnold Steinhardt, Charles Neidich, and Stanley Ritchie. Mr. Merfeld has performed widely, including at the Aspen, Marlboro, Ravinia, Caramoor, and Olympic Music Festivals and in solo recitals at Merkin Hall, the Brattleboro Music Center, and the Isabella Stewart Gardner Museum. He has been a performing member of and teacher with the Apple Hill Center for Chamber Music since 1969.

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VOICE and OPERA

Michelle Alexander

Lecturer, Song Literature. A native of San Diego, California, Dr. Alexander teaches German, French, Russian, Italian, Spanish, and English language Song Literature as well as Italian and German Diction. Dr. Alexander has had the honor of performing with Ms. Frederica von Stade in two different fund-raising recitals in the Greater Boston Area. Dr. Alexander has been the assistant chorus master/rehearsal pianist for the Boston Lyric Opera and is currently the chorus master/assistant music director for Granite State Opera in Manchester, NH. She has been the music director of the Creede Repertory Theater in Creede, CO, since 2005, where she has conducted Urinetown, Sweeney Todd, and Crazy for You after making her debut in Harbledown. Dr. Alexander was the conductor/music director for the Boston Opera Project’s 2004 inaugural opera, Regina, and the 2005 New England premiere of Mark Adamo’s Little Women. Dr. Alexander has been on the coaching staff of Florida Grand Opera, Minnesota Opera, Gold Coast Opera, and Glimmerglass Opera. Before moving to Boston in 1999, she was on the opera faculty at the New World School of the Arts in Miami, Florida. Dr. Alexander holds a bachelor’s degree in Piano Performance from the University of Michigan, a master’s degree in Coaching/Accompanying from the New England Conservatory of Music, and a doctorate in Coaching/Accompanying from the University of Minnesota.

Sarah Arneson

Associate Professor, Voice. BME, University of Nebraska; MM, Western Michigan University; MLS and DMA, University of Michigan at Ann Arbor. Debuted as Olympia at the Vienna State Opera, where she sang leading coloratura roles, including the Queen of the Night. Regular soloist in the opera houses throughout Germany. International appearances included the Boston and Detroit operas, as well as the opera festivals of Cuenco (Spain) and Istanbul (Turkey). Performed with such renowned conductors as Karl Böhm, Dennis Russel Davies, Lukas Foss, Michael Gielen, Jiri Kout, Wolfgang Sawallisch, Horst Stein, and Christian Thielemann; as well as such notable stage directors as Ruth Berghaus, Jochaim Herz, and Jean Pierre Ponelle. Soloist in world premiere of Pulitzer Prize-winner William Bolcom’s Songs of Innocence and Experience. Solo appearances with orchestra (including the Brooklyn Philharmonic and Chicago Grant Park Symphony), television and radio (including PBS, WNYC, and ORF). Founded award-winning chamber opera program for young singers with stage director, Marc Andre Angelini (Komische Kammer Oper München). Students have won prizes in international competitions, participated in opera apprentice programs, and appeared as soloists in both European and American opera houses. Winner of the Grinnel Opera Competition and a Fulbright Grant to study in France with Pierre Bernac. Became a tenured faculty member of the "Mozarteum," Salzburg, in 1995; taught at the University of Illinois; and is a regular faculty member of the University of Miami summer program in Salzburg. Present position, 1998.

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Michael Beattie

Penelope Bitzas

Associate Professor, Voice. BM, magna cum laude, Ithaca College; MM, New England Conservatory of Music. In 2007, mezzo-soprano Penelope Bitzas received the prestigious Metcalf Award, Boston University’s highest honor for excellence in teaching. She has performed in a wide variety of musical genres including opera, contemporary music, solo recital, orchestral performances, and Greek music. She has appeared as a soloist under such notable conductors as Kurt Masur, Seiji Ozawa, Gustav Meier, Luciano Berio, and Richard Westenburg. She has concertized in the United States, Germany, Cyprus, Greece, Turkey, and Venezuela. Ms. Bitzas was National Semi-Finalist in the Metropolitan Opera National Council Auditions. Ms. Bitzas frequently gives master classes and has been a presenter at the Master Teachers of Singing at Westminster Choir College. She has been on faculty at Boston University since 1993.

Judith Chaffee

Associate Professor, Opera Institute. BS, Skidmore College; MS, Smith College; diploma, International School of Comic Acting, Reggio-Emilia, Italy. Specialist in dance, choreography, Commedia dell’Arte, contact improvisation, release techniques, masks, and period styles. Former choreographer/dancer/artistic director of Dance Collective of Boston, Movement Specialist for Boston University Opera Institute, and Adjunct Professor for Colorado College Summer Theatre Institute. Massachusetts Artist Foundation Choreography Fellow (1980) and Finalist (1986). Theatre choreography for Huntington Theatre Company, North Shore Music Theatre, Arts Festival, Tufts Drama Department, Viborg Kulture Festival, Denmark, and Kwachon Madangkuk Festival in South Korea.

Phyllis Curtin

Professor Emerita of Music, Voice and Artistic Advisor, Opera Institute. Dean Emerita, College of Fine Arts, 1991. BA, Wellesley College; MusD (hon.), New England Conservatory, Marshall University, Salem College, West Virginia University; Doctor of Humane Letters (hon.), Albertus Magnus College. Town Hall recital debut, 1950; New York City Opera debut, 1953, in U.S. premiere of Von Einem's The Trial; Artist-in-residence, Aspen Music Festival, 1953–57; title role, Susannah (Floyd), world premiere, 1955; title role, Medea (Milhaud), U.S. premiere, 1955; world premiere, Wuthering Heights (Floyd), 1958; leading soprano, Vienna Staatsoper, 1960–62; leading soprano, Metropolitan Opera, 1961–74; world premiere, Passion of Jonathan Wade (Floyd), 1962; U.S. premiere, War Requiem (Britten), Boston Symphony Orchestra, Erich Leinsdorf, cond., 1963; world premiere, La Mère Coupable (Milhaud), 1966 (Geneva); U.S. premiere, Shostakovich, Symphony No. 14, Philadelphia Orchestra, Eugene Ormandy, cond., 1971. Numerous appearances with major orchestras, opera houses, festivals, and in recital throughout the U.S. and abroad; Artist-in-residence, teacher of the Phyllis Curtin Seminar and Vocal Fellows, Berkshire Music Center, 1964–present. Professor of Music, and Director of Opera, Yale Music Division, 1974–83; Master, Branford College, Yale University, 1979–83. Dean, College of Fine Arts, 1983–1991. Present position, 1991.

Sharon Daniels

Associate Professor, Opera and Voice; Director of Opera Programs; Stage Director, Opera Institute. BM, Chapman College and Advanced Studies at: Goldovsky Institute, San Francisco Merola Program. Rockefeller, NIMT, NOI, and Sullivan grants for studies in movement, acting, languages and coaching for the opera stage. Principal soprano roles include: New York City Opera, San Francisco Opera, Houston Grand Opera, Opera Theatre of St. Louis, Kansas City Lyric Opera, San Francisco Symphony, Oakland Symphony, and Kansas City Philharmonic. For the Opera Institute at Boston University she has directed numerous mainstage productions, including A Month in the Country, The Marriage of Figaro, The Mother of Us All, The Merry Wives of Windsor, A Midsummer Night's Dream, Albert Herring, La Clemenza di Tito, Idomeneo, and Die Fledermaus. Her voice studio has produced principal artists in every kind of professional venue nationally and internationally, and winners of many major competitions like the Metropolitan Opera Regional and National Finals.

James Demler

Assistant Professor, Voice. BM, University of New Mexico; MM, University of Arizona; Performer's Certificate, Eastman School of Music. Baritone James Demler first gained international attention at Houston Grand Opera, where he appeared as Guglielmo in Cosi Fan Tutte and Peter in Hansel and Gretel. He has since performed in more than 25 operas, as well as numerous oratorios and concert works with companies across the United States and Canada, including his Carnegie Hall debut with the Opera Orchestra of New York in Boieldieu's La Dame Blanche. Mr. Demler has previously served on the faculties of the Crane School of Music at S.U.N.Y. Potsdam, and at Connecticut College and Princeton University. For the past five summers he has been a faculty member of the Berkshire Choral Festival in Sheffield, Massachusetts.

Gary Durham

Lecturer, Voice. BM, University of Delaware, cum laude; MM, Boston University. Additional studies: Baroque Performance Institute at Oberlin College, New England Conservatory Summer Opera Studio. Adjunct Professor of Opera, the University of Connecticut. Voice instructor, Emerson College. For the past 9 summers, instructor of voice, opera, and lyric diction at the Boston University Tanglewood Institute. Appears regularly with opera companies and orchestras throughout the New England region, including the Handel & Haydn Society, Boston Lyric Opera, Opera Boston, and Opera Providence. Present position, 2007.

Simon Estes

Professor, Voice. A prizewinner in Moscow’s Tchaikovsky competition in 1966, he has since performed with all the major international opera companies including the Metropolitan Opera, La Scala Milan, Lyric Opera of Chicago, the Paris Opera, Royal Opera House Covent Garden, Gran Teatre del Luceu in Barcelona, San Francisco Opera, Deutsche Oper Berlin, Florence Opera, and the State Operas of Hamburg, Munich, and Vienna as well as the Zurich Opera House. In high demand as a recitalist and orchestral soloist, he appears regularly with the Berlin Philharmonic, Boston Symphony, Chicago Symphony, Los Angeles Philharmonic, New York Philharmonic, Philadelphia Orchestra, the Philharmonia Orchestra of London, and the Vienna Philharmonic. Among the conductors with whom Mr. Estes has worked are Leonard Bernstein, Sir Colin Davis, Carlo Maria Giulini, James Levine, Lorin Maazel, Kurt Masur, Zubin Mehta, Riccaro Muti, Seji Ozawa, Mstislav Rostropovich, Esa-Pekka Salonen, Sir Georg Solti, Horst Stein, Marcello Viotti, and David Zinman. Mr. Estes’ recording of The Flying Dutchman, with Woldemar Nelsson conducting the Bayreuth Festival Orchestra and Chorus, is available on the Philips Classics label. He performed in the United States premiere of Shostakovich's 14th Symphony with Eugene Ormandy and the Philadelphia Orchestra. He was the Metropolitan Opera’s first Porgy. Among his recording credits, Mr. Estes counts works on the Auvidis, Decca, Deutsche Grammophon, Deutsche Schallplatten, EMI, Philips Classics, and Sony Classical labels.

Jodi Goble

Lecturer, Phonetics; Staff Pianist. BS, Violin and Piano Performance, Olivet Nazarene University; MM, Chamber Music/Accompanying, Ball State University. Ms. Goble has experience teaching post-graduate-level musicality and language as Head Coach of the Berkshire Opera Resident Artists Program, as Coach/Diction instructor for the Boston University Tanglewood Institute, and as a music teacher in the Everett Public Schools. She has served as Pianist-Coach for the School of Music since 1996.

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Phyllis Hoffman

Associate Professor, Voice; Director of Young Artists Vocal Program and Boston University Tanglewood Institute. BMus, MMus, Boston University College of Fine Arts. Advanced studies: vocal fellow, Tanglewood Music Center, 1968, 1969; Aspen Music Festival, 1970; Goldovsky Opera Institute, 1973. Private study with William Vennard, Oren Brown, Benita Valente. Solo appearances with Erich Leinsdorf and the Boston Symphony Orchestra and Tanglewood Music Center Orchestra; Robert Shaw at the Meadowbrook Music Festival; Paul Vermel and the Portland Symphony Orchestra; John Oliver and the MIT Choral Society; John Harbison and the Cantata Singers and Ensemble; Craig Smith and Emmanuel Music. U.S. premiere of Mahler’s Das Klagende Lied with Michel Sasson and the Newton Symphony Orchestra. Numerous oratorio solo engagements include appearances with the Rhode Island Philharmonic, Chorus Pro Musica, Masterworks Chorale, Springfield Symphony, and Worcester Festival. Performances and premieres of twentieth-century works at Boston University, Alice Tully Hall, and Sanders Theatre. Founding member and artistic advisor of Jubal's Lyre, a vocal and instrumental ensemble. Board of Directors, Alea III, 1986–90; Board of Directors, National Association of Teachers of Singing, Boston Chapter, 1995–present. Westbrook College faculty, 1964–73. Teaching associate in music, 1976–87. Assistant professor, 1987. Associate professor, 1994. Chair, voice department, 1992–96. Director of the School of Music, 1997–2001.

Frank Kelley

Lecturer, Voice and Opera. BM, Florida State University; MM, Opera ­Certificate, University of Cincinnati College—Conservatory of Music. Frank Kelley sings a wide variety of music throughout North America and Europe. He has performed many roles with the San Francisco Opera Company and the Boston Lyric Opera, has appeared at the Gran Teatre del Liceu in Barcelona, the Theatre de la Monnaie in Brussels, the Frankfurt Opera, and in the Peter Sellars productions of Die Sieben Todsünden, Das Kleine Mahagonny, Cosi fan tutte, and Le nozze di Figaro. In concert performances Mr. Kelley has sung with the Boston Symphony Orchestra, the Cleveland Orchestra, the Chicago Symphony Orchestra, the National Symphony, the Dallas Symphony, the St. Paul Chamber Orchestra, and the Orchestra of St. Luke's. Mr. Kelley has participated in the Blossom Festival, the Tanglewood Festival, Marlboro Music Festival, and the Boston Early Music Festival. He has recorded for London, Decca, Erato, Harmonia Mundi France, Teldec, Telarc, Koch International, Deutsche Harmonia Mundi, Arabesque, and Northeastern.

Ruth Benson Levin

Lecturer, Opera Institute. Ms. Levin has a bachelor’s degree in dance from Adelphi University and a Master of Arts degree in choreography and dance education from Lesley College. She is an evaluator of graduates in choreography at Lesley College, has been a ballet instructor for the Opera Institute since 2001, and has taught at the Ballet Theater of Boston, Brookline High School, University of Massachusetts/Boston, Pine Manor College, and the Joy of Movement Center in Cambridge, Massachusetts. She is an active choreographer, performer, and producer.

William Lumpkin

Assistant Professor, Coach and Conductor of Opera. BM, Eastman School of Music; MA, University of California at Santa Barbara; DMA, University of Southern California. William Lumpkin is the newly appointed Music Director of the Opera Institute at Boston University. Dr. Lumpkin has conducted productions of Dido and Aeneas, The Village Singer, and Puccini’s La Boheme and the world-premiere of Antigone, by BU faculty composer Marjory Merryman, as well as productions of Gianni Schicchi, Postcard from Morocco, and will conduct the Spring production of La Clemenza di Tito. Dr. Lumpkin is also on the music staff at Opera Theatre of St. Louis, where he returns annually as Assistant to the Music Director/Associate Chorus Master as well as cover conductor for the operas. His other professional credits include Boston Lyric Opera, where he serves as Associate Conductor. Also an experienced collaborative pianist, Mr. Lumpkin has appeared in recital with such eminent artists as Sari Gruber, Rodney Gilfrey, Richard Clement, and Julianna Gondek. Present position, 1998.

Susan Ormont

Lecturer, Voice. BA, University of Pennsylvania; MA, ABD, New York University; MusM, Yale School of Music; Diploma, Franz Schubert Institute (Austria). On the faculty of Actors Studio; Director and Lecturer, the Auditions Project, New York City; Vice President, Chairperson of Ethics Committee, and member of Board of Directors, NATS New York chapter; coordinator and music supervisor, New Amsterdam Opera Ensemble. Has performed master classes in Rotterdam’s Conservatorium (Holland) as well as Pizzetti Songs at the Juilliard School and Brandeis University. Teachers include Joan Caplan, Phyllis Curtin, and Edward Zambara. Present position, 1995.

Christien Polos

Lecturer, Opera. Mr. Polos’s training includes studies at the Boston Conservatory of Dance, where he received a BFA. He has taught at the Jeannette Neill Dance Studio (Boston), the Walkers School of Dance (Boston), the Summer Dance Institute in Kramhusif, Iceland, the Viborg Dance Festival in Viborg, Denmark, Northern Essex Community College, Emerson College, Boston College, Boston University Theatre Institute, and Boston University. He has also worked as director/choreographer for the Ariel Dance Theatre, as a founding member of the Marcus Schulkind Dance Company, and as an assistant director of the Impulse Dance Company. Mr. Polos has choreographed many commissioned works since 1979.

Jerrold Pope

Associate Professor, Voice; Chair of Voice Department. BM, New England Conservatory; MM, Yale University; DMA, Rutgers University. Dr. Pope gained critical acclaim appearing as an ECCO during his apprenticeship with Central City and Santa Fe operas. His opera credits went on to include Theatre du Chatelet in Paris, Glyndebourne and Buxton Opera, London Proms, Schleswig-Holstein Musikfest, Tanglewood Music Festival, Netherlands Opera Forum in Amsterdam, OperKiel in Germany, as well as companies of Pittsburgh, Boston, Orlando, Grand Rapids, Hawaii, and Anchorage. He has appeared in concert at the Theatre de la Ville in Paris, Tchaikovsky Hall in Moscow, Brooklyn Academy of Music with the Orchestra of the Age of Enlightenment, and New York's Carnegie Hall with the American Symphony. Additionally, he has performed with the Rotterdam Philharmonic, the City of Birmingham Symphony, and the Pittsburgh, Charleston, St. Louis, and Baltimore symphony orchestras. He has recorded for the Col Legno label. Dr. Pope previously served on the voice faculty at the American Institute of Musical Studies (AIMS) in Graz, Austria, and the faculty of the Florida State University's College of Music, where he received a 2004 Developing Scholar Award which led to the publication of selected Leider of Robert Fuchs. He is currently director of the Barga Institute for singers and accompanists in Barga, Italy.

Maria Spacagna

Lecturer, Voice. BMus, MMus, New England Conservatory of Music. Maria Spacagna, internationally known soprano, has performed extensively in many of the world's most prestigious opera theaters and concert halls. She made her debut at the Metropolitan Opera opposite Luciano Pavarotti singing the title role in Verdi's Luisa Miller. Other notable theaters are Teatro alla Scala, where she was the first American to have performed the role of Madame Butterfly, La Fenice in Venezia, Arena di Verona, Festival Pucciniana in Torre del Lago, summer home of Giacomo Puccini, the Deutsche Oper Berlin, the New York City Opera, the Dallas Opera, the San Francisco Opera, Opera Theater of Montreal, the Canadian Opera in Toronto, and many others. Ms. Spacagna has been the recipient of many awards and prizes, most notably the Metropolitan Opera National Council, the Paris International Competition, and the Verdi Competition in Busseto, Italy. She was awarded grants from the Rockefeller Foundation and the George London National Opera Institute in Washington, DC. Following her studies at NEC, Ms. Spacagna became a member of the Juilliard Opera School. At the invitation of Placido Domingo, Ms. Spacagna was invited to sing at the White House for President and Mrs. Bill Clinton.

Nathan Troup

Lecturer, Opera Institute. BM, Susquehanna University; MM, Boston University; additional studies at the Chautauqua Institute. A versatile performer of opera, musical theatre, concert, and recital, Nathan has collaborated with artists Martin Katz, Graham Johnson, John Harbison, Ricky Ian Gordon, Jake Heggie, and Craig Smith. An active performer in Boston, he has sung with Emmanuel Music, Intermezzo Opera, Sarasa Chamber Music Ensemble, Cantata Singers, Cambridge Opera, Opera Boston, and Boston Lyric Opera, where he made his solo debut in Massanet’s Thaïs, and performed the role of Count Almaviva in the company’s tour of The Barber of Seville. His performances have earned him critical acclaim, including a best supporting actor nomination from the Independent Reviewers of New England. Nathan serves as the General Manager of Dinosaur Annex Music Ensemble, and as a consultant for several arts organizations throughout the country. From 2004–2007, Nathan worked at Emmanuel Music, assisting in the production of many of its programs, including the organization’s collaborations with Peter Sellars and Mark Morris. Present position, 2007.

Allison Voth

Assistant Professor, Principal Coach, Opera Institute. BM, University of British Columbia; MM, Manhattan School of Music. Accompanist for Metropolitan Opera soprano Lucine Amara. Ms. Voth has appeared frequently in opera and symphonic orchestras under conductors Leonard Slatkin, Gunter Schuller, and John Nelson. Professor Voth has performed in the Museum of Modern Art Summer Garden Concert Series and has appeared with the New Music Consort and the Group for Contemporary Players. She was the orchestra pianist for the National Orchestral Association New Music Project under conductor Jorge Mester, for which she was awarded the Orchestra's Klaus Adams Award and the Helen Stanton Special Projects Award. Present position, 1998.

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HISTORICAL PERFORMANCE

Aldo Abreu

Lecturer, Recorder. Performer Diploma, Teacher Diploma, the Royal Conservatory in The Hague; MM, Indiana University. Recordings on Arte Vision, Koch International. Aldo Abreu has toured throughout the U.S., Europe, New Zealand, Central America, and his native Venezuela. First-prize winner of the 1992 Concert Artists Guild New York competition, and laureate of the Concours Musica Antiqua (Belgium) and the Premio Flauto Dolce (Germany), Mr. Abreu has performed at the Ambassador Auditorium in Los Angeles, the Isabella Stewart Gardner Museum in Boston, Spivey Concert Hall in Atlanta, and the Metropolitan Museum of Art and Weill Recital Hall in New York. He was featured at the 1993 and 1996 Spoleto Festivals in the U.S. and Italy, the OK Mozart Festival, Boston Early Music Festival, and the Festival Music Society in Indianapolis, and has been a concerto soloist with the Billings Symphony, Illinois Chamber Symphony, Handel & Haydn Society, West Shore Symphony, Savannah Symphony, and American Bach Soloists.

Sarah Freiberg

Lecturer, Baroque Cello. MM, DMA, SUNY Stony Brook; Artist Certificate, San Francisco Conservatory. Formerly a principal of San Francisco’s Philharmonia Baroque Orchestra and the Portland (Oregon) Baroque Orchestra, Dr. Freiberg now performs with Boston Baroque, the Handel and Haydn Society, the Streicher Fortepiano Trio, and the Freeman/Freiberg Duo. She has performed with the new music groups Earplay and the Davis New Music Ensemble and was a founding member of the prizewinning Sierra String Quartet. A corresponding editor for Strings magazine, Dr. Freiberg regularly plays in the summer chamber music series of Music at Eden’s Edge and Monadnock Music. She recorded the sonatas of Francesco Guerini for Centaur Records and can also be heard in Harmonia Mundi, Koch, Music and Arts, Saydisc, and Bayer Records.

Laura Jeppesen

Lecturer, Viola da Gamba. Laura Jeppesen is a graduate of the Yale School of Music and studied the viola da gamba at the Brussels Conservatory. Her Boston affiliations are as gambist with The Boston Museum Trio and Charivary, and as violist with the Handel & Haydn Society and Boston Baroque. She has appeared in music festivals and concerts throughout the United States, Europe, Australia, and Japan with a number of early-music ensembles, including the Orchestra of the Eighteenth Century and Sequentia. She has been a soloist under conductors Christopher Hogwood, Martin Pearlman, Edo de Waart, and Seiji Ozawa. Her extensive discography includes music for solo viola da gamba, the gamba sonatas of J.S. Bach, Buxtehude's Trio Sonatas opus 1 and 2, Telemann's Paris Quartets and Marais' La Gamme et autres morceaux de symphonie. She has been a recipient of awards from the Woodrow Wilson and Fulbright foundations and is a former fellow of the Bunting Institute at Radcliffe College. She is on the faculty of Wellesley College as well as Boston University.

Catherine Liddell

Lecturer, Lute. BA, Sarah Lawrence College; Soloist Diploma, Schola Cantorum Basiliensis. Ms. Liddell has been engaged as a teacher at San Francisco Conservatory, the Longy School of Music, the Boston Museum of Fine Arts, and at the Summer Seminar of the Lute Society of America. She has published several articles on the subject of the lute and has performed extensively both nationally and internationally.

Martin Pearlman

Professor; Director of Historical Performance Activities. BA, Cornell; MM, Yale. Founder and music director of Boston Baroque, now widely recognized as this country’s leading period-instrument orchestra and chorus. Studied harpsichord with Gustav Leonhardt in the Netherlands on a Fulbright Grant and with Ralph Kirkpatrick, and studied conducting with Gustav Meier and Karel Husa. Work with Boston Baroque includes Boston’s first complete cycle of the surviving Monteverdi operas (including his own performing editions for L'incoronazione di Poppea and Il ritorno d'Ulisse), the American premiere of Rameau's Zoroastre, the modern world premiere of the 1790 singspiel The Philosopher’s Stone, and a series of Mozart operas, including Abduction from the Seraglio, The Magic Flute, The Marriage of Figaro, Cosi fan tutte, and Don Giovanni. Has made thirteen internationally distributed recordings with Boston Baroque on the Telarc label, three of which have been nominated for Grammy Awards—Handel’s Messiah, Monteverdi’s Vespers of 1610, and Bach’s B Minor Mass. Has appeared as guest conductor with the Washington Opera, with whom he made his Kennedy Center debut, and with the National Arts Center Orchestra of Ottawa, Utah Opera, Opera/Columbus, Boston Lyric Opera, Minnesota Orchestra, San Antonio Symphony, Springfield Symphony, and the New World Symphony. He was the first conductor from the period-instrument field to perform live on the internationally televised Grammy Awards show. Present position, 2002.

Robinson Pyle

Lecturer, Natural Trumpet. BM, Oberlin College Conservatory of Music in Trumpet Performance. Mr. Pyle performs regularly with Boston Baroque, Boston Cecilia, Handel and Haydn Society, and Lyra Baroque Orchestra in Minneapolis. Mr. Pyle has performed both on radio and television and can be heard on the Telarc, Eclectra, and Interscope labels.

Marc Schachman

Lecturer, Baroque Oboe. Marc Schachman was born in Berkeley, California, and attended Stanford University and the Juilliard School, where he was awarded the BS, MS, and DMA degrees. He has performed as principal oboist and soloist with virtually all of this country’s “original instrument” orchestras, including Philharmonia Baroque (San Francisco), Handel and Haydn Society and Boston Baroque (Boston), the American Classical Orchestra (New York), the Smithsonian Chamber Orchestra (Washington, D.C.), and Santa Fe Pro Musica. His numerous recordings on historical oboes cover a wide variety of styles and genres, and include works by Bach, Mozart, and others. Dr. Schachman taught for many years at Vassar College and at the Baroque Performance Institute at Oberlin College. He has given workshops and master classes at the Juilliard School and the Curtis Institute of Music and at colleges and universities throughout the U.S. He has performed at festivals worldwide, including Spoleto, Edinburgh, Goettingen, Perth, Tanglewood, Ravinia, Caramoor, and Mostly Mozart. On the modern oboe, Dr. Schachman performs with the New York Chamber Soloists and the Orchestra of St. Lukes.

Jane Starkman

Peter Sykes

Associate Professor, Harpsichord, Organ; Chair of Historical Performance Department. BM, MM, New England Conservatory of Music; Artist Diploma, Concordia University. The 1993 recipient of the prestigious Erwin Body Award for Excellence in Early Music Performance, he is particularly well known as an ensemble player, having appeared with leading early-music groups such as The King's Noyse, Musica Antiqua Köln, and Boston Baroque. As a soloist, he has already built an impressive discography, including recordings of major works by Bach, Couperin, Buxtehude, and Rameau. An active recitalist, whose recent credits include a solo concert in the Bank of Boston Emerging Artists Celebrity Series, he has toured extensively throughout the U.S., including venues in Los Angeles, Seattle, and Chicago. He has taught at the Longy School of Music and the New England Conservatory of Music. Present position, 2002.

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MUSICOLOGY AND ETHNOMUSICOLOGY

Richard Bunbury

Victor Coelho

Associate Provost for Undergraduate Education; Professor of Music; Chair of Musicology and Ethnomusicology Department. BA, Berkeley; PhD, University of California, Los Angeles. A musicologist and performer of international distinction, Professor Coelho works primarily in the areas of sixteenth- and seventeenth-century Italian music, as well as popular music. His areas of research include Renaissance and Baroque instrumental styles, lute music, performance practice, interdisciplinary approaches, and cross-cultural perspectives. As a specialist on popular music, he is interested in Afro-American music, rock history, improvisation, and performance issues, and has appeared on the Fox Network, the CBC, and MTV. He has held visiting appointments at the University of Wisconsin-Madison (1984–5), the École Normale Supérieure in Paris (1990), the University of Melbourne (1992), and Cornell University (1995). In 2004 he was Visiting Professor at Villa I Tatti in Florence. From 1986–2005 he taught at the University of Calgary, where he was named University Professor. His books include Music and Science in the Age of Galileo (Kluwer), The Manuscript Sources of 17th-Century Italian Lute Music (Garland), Performance on Lute, Guitar, and Vihuela (Cambridge), and the Cambridge Companion to the Guitar. He is currently writing, with Keith Polk, a history of Renaissance instrumental music. As a lutenist he has performed extensively throughout North America and Europe, and in 2000 he received the Noah Greenberg Award given by the American Musicological Society for outstanding contributions to the performance of early music. His recordings as lutenist and director appear on the Stradivarius and Toccata Classics labels, and he is also the founder and guitarist of the Rooster Blues Band, which has released two albums, Come on in my Kitchen and Bluestoons, on the UCM label.

Brita Heimarck

Associate Professor, Ethnomusicology. PhD, Cornell University; MA in Ethnomusicology at the University of California, Los Angeles; BA magna cum laude with honors in Music at Brown University. Dr. Heimarck is an ethnomusicologist who specializes in the shadow play music of Bali, Indonesia. Recent publications include Balinese Discourses on Music and Modernization: Village Voices and Urban Views (Routledge, 2003), and an article in Mrazek, Puppet Theater in Contemporary Indonesia: New Approaches to Performance Events (2002). Her second area of research is Indian classical music. Heimarck combines knowledge of music in its cultural and historical context with critical theory, non-Western discourses, and performance. Professor Heimarck has received numerous grants and awards for her work in ethnomusicology, including a Fulbright Award for music studies in Bali, Indonesia (1985–86), a Jacob K. Javits Fellowship for doctoral studies in ethnomusicology (1993–97), and a Jon B. Higgins Memorial Scholarship for studies of Indian flute music with the great master Hariprasad Chaurasia in Bombay, India (1993). She teaches graduate and undergraduate seminars in ethnomusicology, world music, and theoretical or interdisciplinary topics. Professor Heimarck’s current research involves transcribing Balinese shadow play music from the oral tradition into Western staff notation, and she will publish the first-ever music edition of this highly respected, ancient tradition (Garland).

Thomas Peattie

Assistant Professor, Musicology. BMus in Composition (1990), MA in Musicology (1996), University of Calgary; PhD, Harvard University. Was chorister in the Choir of the Cathedral Church of the Redeemer in Calgary, Alberta. Visiting Lecturer on Music at Harvard (2002–3). Book chapter on Mahler. Papers at Harvard University, McGill University, University of Calgary, and the national meeting of the American Musicological Society. As a performer, has sung over fifteen programs with the Harvard-based Ensemble 1521, a group dedicated to the performance of music written before the death of Josquin. Most recent research focuses on fin-de-siècle urban culture, and the ideology of mountain landscapes in Romantic thought. Teaching specialties include Romantic music, research and bibliography, and aesthetics.

Joshua Rifkin

Professor, Musicology. Has appeared as conductor and keyboard soloist with many prominent orchestras in the U.S., Europe, Israel, and Australia, including the English Chamber Orchestra, San Francisco Symphony, Houston Symphony, St. Louis Symphony, Scottish Chamber Orchestra, Victorian State Symphony, and Israel Camerata Jerusalem, and has led operatic productions at Theater Basel in Switzerland and the Bayerische Staatsoper, Munich. With the Bach Ensemble, which he founded in 1978, has recorded the Mass in B minor, the Magnificat, and many cantatas; held an annual summer academy in early music at Brixen/Bressanone, Italy, from 1992 to 1997; and performed in concerts and festivals throughout the U.S., Europe, and Australia. Has published studies on musical subjects ranging from Busnoys to the Beatles, with special emphasis on J. S. Bach and Josquin des Prez, and given seminars and master classes at numerous institutions of higher learning, including Yale, Stanford, New York University, Ohio State University, the University of North Carolina at Chapel Hill, the universities of Basel, Dortmund, and Munich, and King’s College London; his critical edition of Bach’s Mass in B Minor, published by Breitkopf & Härtel, appeared in November 2006. In 1999, the University of Dortmund awarded him an honorary doctorate for his contributions to Bach interpretation.

Andrew Shenton

Joel L. Sheveloff

Professor, Musicology. AB, City University of New York, Queens College; MFA, PhD, Brandeis University. Professor Sheveloff has written articles on rhythm and meter, the whole-tone scale before Debussy, performance practice, the music of Domenico Scarlatti, Mozart, Brahms, Musorgsky, Ravel, and Stravinsky in The Musical Quarterly, Current Musicology, Chigiana, Musica Poetica, Symphony Newsletter, Critical Inquiry and several in Festschriften. His research interests include French text setting, notational practices in composition and musicological editing, analytical methodologies in disparate styles, Bach's Musical Offering, and music and other arts. In his 40 years of teaching in the School of Music, Dr. Sheveloff has developed and taught over 50 courses in topics ranging from medieval keyboard music to opera to music in the Soviet Union. Dr. Sheveloff earned the 2004 Metcalf Cup and Prize for Excellence in Teaching, the University’s highest teaching honor.

Jeremy Yudkin

Associate Professor, Musicology. BA and MA, Cambridge University; PhD, Stanford University. Dr. Yudkin is the recipient of a fellowship from the National Endowment for the Humanities, a Marion and Jasper Whiting Foundation Fellowship, a fellowship at the Boston University Humanities Foundation, and a research fellowship from the Camargo Foundation. He is the author of six books and has written articles for the Journal of the American Musicological Society, Musica Disciplina, Speculum, Notes, The Musical Quarterly, Early Music, and Music and Letters, as well as The Salisbury Review, The Stanford Italian Review, and The American Journal of Philology. Professor Yudkin’s principal fields of research include medieval music, early Beethoven, popular music, and jazz. Dr. Yudkin is perhaps best known for his definitive textbook Music in Medieval Europe and his music appreciation textbook Understanding Music. The video Inside the Orchestra that he produced, detailing the history and function of the classical symphony orchestra, was the winner of a 2005 Telly Award for outstanding non-broadcast educational video. Professor Yudkin is a contributor to The Harvard Dictionary of Music, has served as an advisor to the Smithsonian Institution for the Smithsonian Collection of Classic Jazz, and is a consultant on jazz to the Oxford English Dictionary.

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COMPOSITION AND THEORY

Martin Amlin

Associate Professor, Composition and Theory; Chair, Composition and Theory Department. BM, Southern Methodist University; MM, DMA, Performer’s Certificate, Eastman School of Music. Dr. Amlin studied with Nadia Boulanger at Écoles d’Art Américaines in Fontainebleau and École Normale de Musique in Paris. He received grants from the National Endowment for the Arts, the Tanglewood Music Center, the Massachusetts Cultural Council, the Massachusetts Artists Foundation, the St. Botolph Club Foundation, and the Massachusetts Council for the Arts. He was a recipient of an ASCAP Grant to Young Composers and has received many ASCAPlus Awards and has been a resident at Yaddo, the Virginia Center for the Creative Arts, and the MacDowell Colony, where he was named a Norlin Fellow. Professor Amlin’s compositions have been performed throughout the world and are published by the Theodore Presser Company. He has also appeared as soloist with the Boston Pops Orchestra in performances of Mendelssohn's Piano Concerto No. 1 and Gershwin's Rhapsody in Blue, and has performed on the Boston Symphony Orchestra's Prelude concerts at both Symphony Hall and Tanglewood. He has also appeared on the FleetBoston Celebrity Series and has been pianist for the M.I.T. Experimental Music Studio. He has often been heard live on Boston's WGBH radio station as both performer and composer, and has given the premiere of many new pieces, including works by Lukas Foss, George Perle, Stefan Kaske, and Armand Qualliotine. Martin Amlin has recordings on the Albany, Ashmont Music, Centaur, Crystal, Folkways, Hyperion, Koch International, Opus One, Titanic, and Wergo labels.

Deborah Burton

Assistant Professor, Composition and Theory. Piano Diploma, Mannes College of Music; MM, Yale; PhD, University of Michigan. Dr. Burton has served on the faculties of Harvard, University of Massachusetts at Amherst, Florida International University, Fordham, Michigan, Adrian College, and Yale. Her research concerns opera analysis, counterpoint, and the history of theory, emphasizing Italian sources. Professor Burton has presented recent research at the 2006 Fourth International Schenker Symposium, and the 2005 meeting of the New England Conference of Music Theorists. Co-editor of Tosca's Prism: Three Moments of Western Cultural History (Northeastern University Press, 2004), she has published articles in Theoria, Studi Musicali, Nuova Rivista Musicale Italiana, Opera Quarterly, and others. Dr. Burton was an originator and participant in the interdisciplinary conference "Tosca 2000" in Rome, honoring the centennial of Puccini's opera, and the bicentennial of the events that inspired it.

Richard Cornell

Associate Professor, Composition and Theory. Piano Diploma, Longy School of Music; MusB, Emerson College; MM, New England Conservatory; PhD, Eastman School. Dr. Cornell studied composition with Joseph Schwantner, Samuel Adler, Warren Benson; theory with David Beach, Robert Morris, Robery Cogan. Director of Boston University Electroacoustic Studios. Former faculty member, Massachusetts Institute of Technology, Longy School, and Berkshire Music Center. Professor Cornell has received awards from the National Endowment for the Arts, MacDowell Colony Fellowship, Yaddo, New England Foundation for the Arts, and Massachusetts Artists Foundation. He has performed with Boston Musica Viva, Dinosaur Annex, Pro Arte Orchestra, Alea III, Muir Quartet, Collage New Music, Triple Helix, Baltic Philharmonic, St. Petersburg Musical Spring, Beth Stoll & Company, and Bleu Heron Theater, and is the Composer in Residence, New England Philharmonic Installations. He has participated in Virtual Reality Art works with Deborah Cornell, BU Computer Graphic Laboratory, and Boston Cyber Arts. He has had commissions from Harvard Musical Association, New England Philharmonic, Concord Chorus, Concord Orchestra, et al. Recording on Northeastern Records.

Joshua Fineberg

Samuel Headrick

Assistant Professor, Composition and Theory. BM, MM, North Texas State University; PhD, Eastman Music Division. Further study in computer music at Massachusetts Institute of Technology. Composition study with Joseph Schwantner, Samuel Adler, and Warren Benson. Guest Conductor-Composer, St. Louis Symphony Chamber Players. Music Director/Composer, Huntington Theatre Company's Twelfth Night production. Composer-in-Residence, Second Annual Contemporary Chamber Music Festival at SUNY, Potsdam. Massachusetts Artist Fellowship in Composition, 1984. National finalist, ISCM World Music Days, 1984 and 1987. ASCAP Awards, 1986–present. National Endowment for the Arts Composers Fellowship, 1989–90. Faculty member, Crane Music Division and State University of New York, Potsdam, 1980–81.

David Kopp

Associate Professor, Composition and Theory. BA, Harvard University; MM in piano, State University of New York at Stony Brook; PhD in theory, Brandeis University. Additional studies at École Normale de Musique, Paris, and with Nadia Boulanger at Écoles d'Art Américaines, Fontainebleau. Former faculty, University of Washington. Visiting faculty, Yale University, Harvard University, and MIT. Author of Chromatic Transformations in Nineteenth-Century Music (Cambridge University Press). Articles published in Journal of Music Theory and Music Theory Online. Recordings for New World Records and CRI. Areas of interest: systems of harmony in nineteenth- and twentieth-century music; history of theory; ­analysis; American music; epistemology of music ­theory.

Rodney Lister

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Catherine Nez

Assistant Professor, Composition and Theory. BM, Curtis Institute of Music; MM, Eastman School of Music; DMA, University of California at Berkeley. Professor Nez completed in 2002–03 a residence of several months at the École Nationale de Musique in Montbéliard, France, involving collaborations with faculty and students on projects of live electronics and improvisation. Her chamber opera An Opera in Devolution: Drama in 540 Seconds was premiered at the 2003 Festival A*Devantgarde in Munich. Upcoming commissions include a chamber opera and works for ensembles in Europe and at the University of Iowa, where she taught for two years as a visiting assistant professor of composition and theory, prior to joining the faculty at the Boston University School of Music (fall 2005). In 2001 she was a visiting composer at Stanford University’s Center for Computer Research in Music and Acoustics (CCRMA), and in 1998, she participated in the computer music course at the Institute de Recherche et Coordination Acoustique/Musique (IRCAM) in Paris. Prior to her studies at IRCAM, she worked for two years with Louis Andriessen in Amsterdam, where she co-founded the international contemporary music series Concerten Tot and Met. Her music has been played at festivals in the U.S. as well as abroad, including Bulgaria, England, Finland, France, Germany, Holland, and Japan. She has participated as a fellow in the Aspen Music Festival (in 2001, 1991, and 1989), the 1998 June in Buffalo Festival, the 1997 Britten-Pears School Composition Course (Aldeburgh, England), the 1996 California State University Summer Arts Composition Workshop, the 1995 Tanglewood Music Center, and the 1990 Pacific Composers Conference (in Sapporo, Japan).

John Wallace

Assistant Professor, Composition and Theory, Music Education. BM in Horn and Composition, De Paul; MM in Composition, Northwestern; DMA in Composition, Boston University. John H. Wallace has studied composition with Lukas Foss, Charles Fussell, Alan Stout, Raymond Wilding-White, and Darleen Cowles-Mitchell. An active member of the Chicago Composers’ Consortium from 1996–2004, he chaired that organization from 1996–98. He has previously taught at the Massachusetts Institute of Technology, DePaul University, and the Greater Boston Youth Symphony Orchestra. Dr. Wallace’s music has been performed around the country, including at the Tanglewood Institute, New Music DePaul, Massachusetts Institute of Technology, and the Chautauqua Summer Music Festival. As a horn player, Dr. Wallace has performed with various ensembles, including the Park Forest Orchestra, Waukegan Symphony, Lake Shore Brass Quintet, Bristol Renaissance Faire, and Disney’s All-American College Marching Band.

Steven Weigt

Assistant Professor, Composition and Theory. BA in Music, BS in Physics, and MA in Composition and Theory from University of California at Davis; PhD, Brandeis University. Dr. Weigt has taught courses in undergraduate composition and theory at Boston University, Harvard University, and Brandeis University.

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MUSIC EDUCATION

Richard Bunbury

Assistant Professor. BA, Armstrong State College; MM in Musicology and Organ Performance, New England Conservatory; MA in Education and Theology, Boston College; PhD, University of Massachusetts, Amherst. He previously served as a faculty member in the Music History and Music Education departments at Boston Conservatory, and has taught at Aquinas College, Simmons College, and Bunker Hill Community College. He has conducted numerous choral and instrumental ensembles, including the Northeast Jr. District Festival Boys’ Chorus, Choral Art Society, the Parkway Concert Orchestra, the Simmons Chorale, the Harvard-Radcliffe Summer Chorus, the Keene Chorale, and the Keene Chamber Singers, and was orchestral conducting fellow at the University of Hartford. He also enjoys an active recital career as an organist, harpsichordist, and singer, having given recitals and workshops in the U.S. and abroad. Performing credits include the Boston Symphony Orchestra. He has published articles in The American Organist, Pastoral Music, and Catholic Music Educator, and is a contributor to the New Grove Dictionary of Music and Musicians. His research interests include the history of sight-singing methodologies, and the paths through which music, education, and religion intersect.

Bernadette Colley

Visiting Associate Professor. BM, Syracuse University; MA, McGill University; EdD, Harvard University. Dr. Colley is Founder and Principal of Colley Consulting, specializing in evaluation and policy design in arts education and an active choral director in the Boston area. She has served as a music evaluator for the New England Association of Schools and Colleges and is the recipient of the Reston Prize from the National Associations of Schools of Dance, Music, Theatre, Art and Design; the Herold Hunt Fellowship from the Harvard University Graduate School of Education. As an Arts Education Fellow at the National Endowment for the Arts, she testified for the Fellows’ program reauthorization before the National Committee on the Arts. Her research appears in the Journal of Research in Music Education, Arts Education Policy Review, Update, Chamber Music, and in proceedings from international conferences and symposia. She is the author of Minds Alive: Teachers as Scholars (Council for Basic Education)—case studies reflecting the importance of intellectual rejuvenation for teachers. She has taught at Harvard University, McGill University, Massachusetts College of Art, and in public schools in New Hampshire, Maine, and Massachusetts. Her research interests include policy, interdisciplinary arts education, and multicultural music education.

André de Quadros

Director, School of Music; Artistic Director, Boston University Tanglewood Institute; Professor and co-chair of Music, Department of Music, College and Graduate School of Arts & Sciences; Professor, Department of Music Education, College of Fine Arts; Affiliate faculty, African Studies Center Global Health Initiative, and the Institute for the Study of Muslim Societies and Civilizations. BA, University of Bombay; Diploma of Humanities, La Trobe University; Graduate Diploma in Movement and Dance, University of Melbourne; Graduate Diploma in Music, Victorian College of the Arts; Master of Education, La Trobe University; Graduate Certificate of Higher Education, Monash University; graduate studies at Universität Mozarteum in Salzburg, Austria. Violin studies with Adrian de Mello; Conducting studies with Joachim Buehler and Robert Rosen. DAAD scholarship 1979–1980 for study at the Universität Mozarteum in Salzburg. Conducting engagements of note include Moscow State Symphony Orchestra and Prokofiev Symphony Orchestra (Ukraine). Board member: Project STEP, BYSO, Boston Baroque, Kneisel Hall Chamber Music Festival. Chair of the Board, Alea III Contemporary Music Ensemble. Member, Editorial Board, Journal of Educational Inquiry. Member, Advisory Board, Boston University Center for Excellence in Teaching. Member, Steering Committee, Global Health Initiative. Present position, 2001.

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Patrick Jones

Warren Levenson

Sandra Nicolucci

Associate Professor. BM, MM, EdD, Boston University. Dr. Nicolucci is a frequent clinician, specializing in presentations on standards-based curriculum development, assessment, public relations, classroom management, music program evaluation, instructional strategies, and a variety of other music education topics. She serves as program reviewer for school music departments as well as consultant and facilitator for music curriculum development initiatives, including helping develop the first Arts Curriculum Framework for Massachusetts as well as the subsequent state committee charged with developing an arts component for the emerging MCAS. She is principal of Music Education Consulting, and an active member of the Massachusetts Music Educators Association (MMEA). She has received the Lowell Mason Award, the MMEA Visionary Leadership Award, and the MMEA Distinguished Service Award, its highest honor. Boston University awarded her its Distinguished Alumna Award, and the National Music Foundation honored her innovative work in curriculum development with the American Music Education Initiative Award. She was a member of the Music Education faculty at the Boston Conservatory for over 30 years, where she taught courses in methods, developing a field-based internship program, and working with student teachers. She previously taught music and served as an arts administrator in Newton and Brookline, Massachusetts.

William Pappazisis

Chris Parks 

Lecturer. Director of BU Bands and Boston University Music Organizations. BM, University of Texas at El Paso; MM, Boston University. Mr. Parks is the Director of the Boston University Music Organizations, which provides music-making opportunities for all members of the university community regardless of major. He conducts the Concert Band and the athletic bands as well as oversees the other ten ensembles in this department. He is in demand in the northeast as a clinician and adjudicator. He is a member of the College Band Directors National Association (CBDNA); Kappa Kappa Psi, national honorary band fraternity; Tau Beta Sigma national honorary band sorority; and Phi Mu Alpha, national music fraternity. He spent 5 years touring nationally and internationally as a trumpeter with numerous Broadway musicals including The King & I and The Sound of Music. He has toured with Marie Osmond and John Davidson and has performed with Julio Iglesias, Bobby Shew, and Dizzy Gillespie. He has been a member of the faculty/staff of the Tanglewood Institute, the Atlantic Brass Quintet Seminar, Southwind Drum and Bugle Corps, The Spartans Drum and Bugle Corps, and the Drum Major Academy.

John Wallace

Assistant Professor, Composition and Theory, Music Education (see Composition and Theory).

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CONDUCTING

David Hoose

Professor; Director of Orchestral Activities. BM, Oberlin Conservatory; graduate studies, Brandeis University; conducting fellow, Berkshire Music Center. Studies with Gustav Meier, Seiji Ozawa, Arthur Berger, Seymour Shifrin, Martin Boykan, and Barry Tuckwell. Recipient, Dimitri Mitropoulos Award and Walter W. Naumburg Chamber Music Award. Music Director, Cantata Singers and Ensemble, Tallahassee Symphony Orchestra, and Collage New Music. Guest Conductor, Saint Louis Symphony, Collage, Handel & Haydn Society, Pro Arte Chamber Orchestra, Boston Symphony Chamber Players, Nashua Symphony, Emanuel Music, Berkshire Music Center, Orchestra Regionale Toscana, and Monadnock Music Festival. Former faculty, Brandeis University and Apple Hill Center for Chamber Music. Present position, 1987.

Ann Howard Jones

Professor; Director of Choral Activities. BM, MM, DMA, University of Iowa. Assistant Conductor, Atlanta Symphony Orchestra Chorus; Conductor, Atlanta Symphony Youth Chorus; Musical Assistant, Robert Shaw Singers and Festival Singers and the Robert Shaw Institute. Has taught at Universities of Iowa, Georgia, and Illinois as well as at Wittenberg and Emory Universities. Fulbright scholar lecturer in Brazil in choral and vocal pedagogy. Has conducted over 20 All-State choruses. Life member, ACDA. Present position, 1993.

David J. Martins

Adjunct Professor; Director of Wind Ensemble. Professor Martins has degrees from the Eastman School of Music and the University of Lowell College of Music and was a recipient of a Berkshire Music Festival Tanglewood Fellowship. He is also Professor of Music at the University of Massachusetts Lowell. Professor Martins balances orchestral and chamber venues with an active teaching and conducting schedule. He is the Music Director of the Boston University Wind Ensemble, University of Massachusetts Lowell Wind Ensemble, Rhode Island Philharmonic Youth Wind Ensemble, and the Lowell Summer Concert Band. Professor Martins is Music Director Emeritus of the Metropolitan Wind Symphony, which during his tenure of ten years performed at the National Conference of the Association of Concert Bands and commissioned numerous new compositions. Since the summer of 1999, he has served on the faculty of the Boston University Tanglewood Institute as Director of Wind Activities for the Young Artists Orchestra. He is a member of the clarinet section of the Rhode Island Philharmonic and Boston Classical Orchestras and appears frequently with the New Hampshire Symphony Orchestra, ProArte Chamber Orchestra, Boston Ballet Orchestra, and Alea III. He has also performed with the Boston Pops Esplanade Orchestra, Monadnock Music Festival, and Springfield Symphony. In past years he has toured with the Philharmonia Hungarica Orchestra of Germany on their U.S. tours, the Puccini Festival Orchestra throughout Italy, and has performed six tours throughout Greece and Russia as soloist and member of the contemporary chamber ensemble Alea III. He can be heard on orchestral and chamber recordings on the CRI, Koch, Titanic, Gasparo, and Albany labels. Professor Martins is a Boosey & Hawkes/Buffet artist–clinician.

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Emeriti

Theodore Antoniou

George Bornoff

Professor Emeritus. LAB, Royal Academy of Music (London); BA, University of Manitoba (Canada); MA, Teachers College, Columbia University; DMus, University of Montreal (Canada).

Phyllis Curtin

Professor Emerita of Music, Voice and Artistic Advisor, Opera Institute. Dean Emerita, College of Fine Arts, 1991. BA, Wellesley College; MusD (hon.), New England Conservatory, Marshall University, Salem College, West Virginia University; Doctor of Humane Letters (hon.), Albertus Magnus College.

Mary Davenport

Professor Emerita. BA, Wells College; Diploma, the Curtis Institute of Music; studied at University of London and Royal College of Music.

Walter Eisenberg

Professor Emeritus. The Juilliard School.

Wilbur D. Fullbright

Professor Emeritus. BA, Oklahoma State University; MFA, Bob Jones University; PhD, Boston University.

John Goodman

Professor Emeritus. BM, Northwestern University; MM, Yale University; MusAD, Boston University.

John E. Hasson

Professor Emeritus. MusB, MA in Musicology, Boston University; AM in History, Harvard University; postgraduate studies at Boston University and Harvard University.

Mark Kroll

Professor Emeritus. BA, City University of New York, Brooklyn College; MM, Yale University.

Murray Lefkowitz

Joy McIntyre 

L. Eileen McMillan 

Max Miller

Mac R. Morgan 

George Neikrug 

Chloe Owen

Gardner Read

Wilma Thompson

Roman Totenberg

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Published by Trustees of Boston University
One Silber Way
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9 June 2009
Boston University
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