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Graduate Program Chair in Composition and Theory, David Rakowski

Graduate Program Chair in Musicology, Eric Chafe

Joint MA Advisor in Music & Women's, Gender, and Sexuality Studies, Allan R. Keiler

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Current Graduate Students

Daesik Cha, Musicology (Ph.D.)
B.M. Piano Performance, Kyungwon University in South Korea; Graduate Diploma, South Netherlands Royal Conservatorium; Master candidate, University of Cincinnati.
Academic interests: Aesthetic changes of the German musical ideology; Renaissance vocal polyphony; piano literature of the Classical and Romantic eras.  Master thesis: Lasso's and Utendal's Penitential Psalm Cycles: Musical-Rhetorical Expression of the Renaissance Modes.
Activities: Guest pianist at Bildhoven musical series in Netherlands, Lucca opera festival in Italy, and Covington Art Club. 

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.
Instrument: guitar

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.
Instrument: Trombone

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
Instrument: trumpet

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".
Instruments: percussion.

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
Instrument: flute

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.

Todd Kitchen, Composition and Theory (M.F.A.)
B.M. Composition, Brigham Young University, Spanish Minor
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 KohComposition 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
Website: http://www.emilykoh.net

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

Mu-Xuan Lin, Composition and Theory (Ph.D.)
B.M. Composition, New England Conservatory.
Recent performance: "A room of French windows and limestone sculptures" (for soprano, solo dancer, recorder, viola, double bass, piano, and video), Leonard Bernstein Festival of the Arts, Brandeis, 2009.
Recent project: "Little Blue Dot", a commissioned collaboration with Urbanity Dance Project in Boston and choreographer Betsi Graves Akerstein -- an experiment of integral, cross-generating, music-dance composition.
Instruments: voice, piano; occasional organ, harpsichord, and recorder.

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.
Instrument: violin.

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.
Instrument: Piano

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.
Instrument: piano.
Website: www.jaredredmond.com

Laura Shechter, Musicology (Ph.D.)
A.B. Music and Certificate in Musical Performance ('cello), Princeton University; M.M. 'Cello Performance, Longy School of Music; M.F.A. Musicology, Brandeis University.
Working title of dissertation: "When No One's Watching: Dance Topics in the Orchestral Music of Pyotr Ilyich Tchaikovsky."
Instrument: cello

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.

Hannah Spencer, Musicology (M.F.A.)
B.A. Vocal Performance, West Virginia Wesleyan College
Academic Interests: Baroque vocal music, history of theory, women composers
Instrument: Voice

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. 
Instrument: bassoon

Derek R. Strykowski, Musicology (Ph.D.)
B.A. Music, Brandeis University.
Academic Interests: The relationship between a mode of artistry (classicism, maximalism) and the evolution of a musical style. Concepts of musical craftsmanship, functionality, and constraint. The composer in society. Orchestral music of the 18th–20th centuries. The music of Great Britain, from folk traditions to the Anglican cathedral repertory.
Website: www.dstrykowski.com

Jackson Van Amburg, Musicology (M.F.A.)
B.A. Cello Performance, University of Puget Sound
Academic Interests: 19th century chamber music, the settings of the Requiem Mass from its conception in the Middle Ages to the present, the music of Antonín Dvořák.
Instrument: Cello