For More Information
Graduate Program Chair in Composition and Theory, David Rakowski
Graduate Program Chair in Musicology, Eric Chafe
Joint MA Adviser in Music & Women's, Gender, and Sexuality Studies, Allan R. Keiler
For more information about admissions, financial aid, and student services, please visit the Graduate School of Arts and Sciences.
Current Graduate Students
Daniel F Allas, Composition and Theory (MFA)
B.M. Music Composition, University of Southern California
Performances include: Los Angeles Philharmonic, wild Up, So Percussion, Thornton Symphony Orchestra, Youth Orchestra of Los Angeles (YOLA), ensemble whatever-we-are
Instruments: voice, percussion
Luke Blackburn, Composition and Theory (M.F.A.)
B.M. Composition and Bassoon Performance, University of Florida
Recent Works: Recesses of the Deep for Wind Orchestra, Hypnagogia - Fable for Chamber Orchestra, Caricatures I for Solo Flute, Immersed for Piano Sextet - performed on the 2013 Annual Florida Contemporary Music Festival.
Instruments: Bassoon, Piano
Victoria Cheah, Composition and Theory (Ph.D)
B.A. (Music) Macaulay Honors College at CUNY Hunter College
Performances include: PRISM saxophone quartet, Ensemble Cairn, Attacca Quartet, Michel Galante and members of Argento Chamber Ensemble, attendees of SICPP, Hunter College Opera Studio, Hunter College Chamber Singers and Hunter College Symphony
Instruments: voice, piano
Richard Chowenhill, Composition and Theory (Ph.D.)
B.A. Composition, Classical Guitar Performance, University of California, Davis; M.F.A. Composition and Theory, Brandeis University.
Recent Works: Original score for Nightingale, an original movement theatre piece produced by Davis Shakespeare Ensemble, winner of Best of the Fringe, San Francisco Fringe Festival; Luminoso Fragmentoso, for sinfonietta and soprano, premiered at the Wellesley Composers Conference; String Quartet Number One, premiered by the Lydian String Quartet.
Christina Dioguardi, Musicology (Ph.D.)
B.M. Bassoon Performance and Musical Arts, Eastman School of Music; M.M., G.D. Bassoon Performance, New England Conservatory
Academic interests: the Italian madrigal, Renaissance vocal polyphony, Monteverdi, 19th Century opera
Undergraduate Thesis: The Importance of Text, An Exploration of antithesis in Petrarch's Il Canzoniere and the Italian Madrigal
Performance Activities: Bassoonist; Fiati Five Wind Quintet, Phoenix (Boston, MA), Callithumpian Consort, Boston Philharmonic
David Dominique, Composition and Theory (Ph.D.)
B.A. NYU; M.M. California State University, Northridge.
Recent performances and projects: "Tongues Bloody Tongues" (July 22, 23 & 24 2010), an experimental opera commissioned by the New Original Works series at REDCAT, Los Angeles."Ordos 100" (June, 2010), an installation for 5.1 surround sound and 2-channel video, presented at New England Conservatory's Summer Institute for Contemporary Performance Practice.
Jacques Dupuis, Musicology (Ph.D.)
BA Music Theory and Italian Studies, University of Notre Dame
Academic interests: Late 19th century orchestral music; music of Chopin; American music; Undergraduate thesis: Chopin's Mallorcan Preludes, A comparative and contextual analysis of Chopin's Op. 28 Nos. 2, 4, 10, 21
Joanna Fuchs, Musicology (Ph.D.)
B.A. Music History with a minor in History, Youngstown State University.
Academic interests: The American years of Béla Bartók and the examination of redemption in his Concerto for Orchestra. Secondary interests include percussion literature and Hungarian nationalistic music of the 19th and 20th centuries.
Papers: presented papers twice at the Quest Conference at Youngstown State University and Bartók's Orbit: The Sphere and Influence of his Works; guest lecturer at the University of Florida presenting on the first door and the significant use of the tritone in "Duke Bluebeard's Castle".
Jessica Fulkerson, Musicology (Ph.D.)
B.M. Flute Performance and Music Theory, M.M. Music Theory, Texas Christian University
Academic Interests: Modulo 7 Set Theory, Schenkerian Analysis, Textural Analysis, 20th-century Flute Music
Matthew Heck, Musicology (Ph.D.)
B.A. Music, Oberlin College
Academic interests: Dmitri Shostakovich; Gavriil Popov; Boris Asafyev, Ivan Sollertinsky, and Soviet Symphonic Theory; Sonata Theory; The String Quartet
Performance Activities: Violinist; member of the Boston Philharmonic.
NamHoon (Matthew) Kim, Composition and Theory (Ph.D.)
B.A. Konservatorium Wien Privatuniversität; Diplom Universität für Musik und Darstellende Kunst Wien; M.M. New England Conservatory of Music;
Todd Kitchen, Composition and Theory (Ph.D.)
B.M. Composition, Brigham Young University, Spanish Minor. M.F.A. Composition and Theory, Brandeis University.
Recent Works: Sonata for Piano and Tape, Sedimentary Displacement for Organ and Electronics, Brightly Beams our Father's Mercy for choir and strings, Ambient Variation, fixed media piece included on 2012 SEAMUS Miniatures: ReCaged CD
Instruments: Euphonium, Trombone, Voice
Emily Koh, Composition and Theory (Ph.D.)
B.M. Composition and Double Bass Performance, National University of Singapore; M.M. Composition, Peabody Conservatory of the Johns Hopkins University; M.M. Music Theory Pedagogy, Peabody Conservatory of the Johns Hopkins University.
Recent performances of works: trans-[migra].nation for octet, Asian Composers League Festival and Conference (November 2011), Prix d'Ete Prize Ceremony (April 2011); for solo violin, set piece in National Piano and Violin Competition (December 2011); in retro|re-intro:spect for chamber sinfonietta, Composers Conference at Wellesley College (August 2011); There is a Painted Bus for childrens' choir, Singapore Lyric Opera Childrens' Choir (commission) (June 2011); [circum]-perceptio for quintet, June in Buffalo (June 2010)
Instruments: Double Bass, Electric Bass, Piano
Alexander Lane, Musicology (Ph.D.)
B.M. organ performance, Westminster Choir College.
Academic interests: Schenkerian analysis; the role of interval cycles in the harmonic languages of Ives and Berg; the music of Arthur Honegger; the role of registrally fixed 12-note collections in the music of Elliott Carter; the 20th-century revival of Medieval and Renaissance polyphonic techniques (e.g., isorhythm, hocket, prolation canon, etc.), especially as manifested in the music of the Second Viennese School and in the works of such contemporary British composers as Peter Maxwell Davies and Harrison Birtwistle; Adorno's writings on music
Instrument: organ, piano
Activities: currently serves as organist at the Congregational Church of Weston
Georgia Luikens, Musicology (Ph.D.)
BMus (Hons I) and BA English Literature, University of New South Wales, Australia.
Academic interests: include Copland, Boulanger, Bernstein, musical theatre, US political music for orchestra in the 1940s, intersections of music and literature and reforming primary and secondary music education.
Activities: chamber music, orchestra, Sydneian Bach Choir.
Florie Namir, Composition and Theory (Ph.D.)
B.M. The Rubin Academy of Music, Tel-Aviv University; M.M. Composition and Theory, Rice University.
Performances: include Woodland Symphony Orchestra, the Shepherd School of Music Symphony Orchestra, Luoghi Immaginari Ensemble, Quartetto Mansi (Villanuccia Experimental Group) and NotaRiotous Ensemble, and were broadcasted on Kol-Hashalom Radio and on ktru.org Radio.
Activities: Received award from the Paul Hindemith Institute, Frankfurt for her piece Dialogue for Two Pianos, in which she had integrated unused sketches by Paul Hindemith; participated in the International Summer Academy of Music (ISAM) in Michelstadt, Germany, were she won the J. Dorfman International Composition Competition; studied with Azio Corghi at the Academia Musicale Chigiana in Siena, Italy, summer, 2008; invited by Prometheus Ensemble with deSingel to participate in International Composition Workshop in Antwerp, Belgium, 2009.
James Praznik, Composition and Theory (Ph.D)
B.M. The University of Akron; M.M. Cleveland State University.
Recent performances and projects: “Almost a New Man” (April 15th, 16th & 20th 2011) a piece for film, electronic sounds and cello commissioned by the No Exit New Music Ensemble for performance at the Museum of Contemporary Art, Cleveland. “Ascent” (September 15th, 16th & 17th) a live soundtrack for saxophone and piano joint commissioned by the Cleveland Ingenuity Festival and NASA for performance at IngenuityFest 2011, Cleveland.
Jared Redmond, Composition and Theory (Ph.D.)
B.A. Music, University of California, Berkeley.
Academic interests: Music performance, the Ars Antiqua and Ars Nova, early Baroque keyboard music, Expressionism, East Asian instrumental genres and aesthetics (Pipa, Qin), the music of Machaut, Byrd, Szymanowski, Scriabin, Roslavets, Berg.
Daniel Shapiro, Musicology (Ph.D.)
B.M. Piano Performance, University of Connecticut; M.M. Piano Performance, SUNY Purchase
Academic interests: History of Music Theory; Modes and Languages of Analysis in the 18th and 19th centuries; Chamber Music of the Common Practice Period; Piano Works of Aaron Copland
Activities: Music Director, Christ Church Episcopal (Waltham)
Instruments: Piano, Organ, Voice
Joseph Sowa, Composition and Theory (Ph.D.)
B.M., M.M., Music Composition, Brigham Young University
Recent Collaborations: Commissions from the Barlow Endowment for Music Composition, Douglas Bush, Neil Thornock, Charity Sunshine Tillemann-Dick, and Arianna Tieghi. Performances by the Awea Duo, BYU Chamber Orchestra, BYU Philharmonic Orchestra, Douglas Bush, Eric Hansen, Jaren Hinckley, Neil Thornock, Arianna Tieghi, the Tower Duo, and others.
Charles Stratford, Musicology (Ph.D.)
B.A., Music (magna cum laude); B.A., East Asian Languages and Cultures (summa cum laude), University of California, Los Angeles; M.A., Musicology, Brigham Young University.
Academic interests: music of the 20th century, especially the vocal music of Luciano Berio; Schoenberg; modernity in East Asia; musical semiotics; history of electronic music; archival research. Papers: “Compositional Approach and the Work of E.E. Cummings in Luciano Berio’s Circles,” SONUS: A Journal of Investigations into Global Musical Possibilities Vol. 35, No. 1 (Fall 2013). “Vocal Gesture, Narrative, and Semiosis in Luciano Berio’s Sequenza III” given at the Brandeis Global Semiosis Symposium, April 2013.