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This archived information is dated to the 2009-10 academic year only and may no longer be current.

For currently applicable policies and information, see the current Stanford Bulletin.


Emeriti: (Professors) John M. Chowning, Albert Cohen, George Houle, William H. Ramsey, Leonard G. Ratner, Leland C. Smith; (Professors, Performance) Arthur P. Barnes, Marie Gibson; (Professor, Research) Max V. Mathews

Chair: Stephen M. Sano

Professors: Jonathan Berger, Karol Berger, Chris Chafe, Brian Ferneyhough, Thomas Grey, Stephen Hinton, Julius O. Smith (on leave Autumn)

Associate Professors: Mark Applebaum, Heather Hadlock, William P. Mahrt

Assistant Professors: Jaroslaw Kapuscinski, Jesse Rodin, Ge Wang

Professor (Teaching): George Barth (Piano)

Associate Professor (Teaching): Stephen M. Sano (Director of Choral Studies)

Associate Professor (Performance): Jindong Cai (Director of Orchestral Studies)

Courtesy Professor: Paul DeMarinis

Senior Lecturers: Giancarlo Aquilanti (Director of Theory; Wind Ensemble), Talya Berger (Theory), Stephen Harrison (Violoncello), Thomas Schultz (Piano), Gregory A. Wait (Voice; Director of Vocal Studies), Frederick R. Weldy (Piano)

Lecturers: Kumaran Arul (Piano), Fredrick Berry (Jazz Ensemble), Mark Brandenburg (Clarinet), Marjorie Chauvel (Harp), Tony Clements (Tuba), Laura Dahl (Resident Collaborative Pianist), Anthony Doheny (Violin), John Dornenburg (Viola da Gamba), Charles A. Ferguson (Guitar), Debra Fong (Violin), Claire Giovannetti (Voice), Dawn Harms (Violin, Viola), Alexandra Hawley (Flute), David Henderson (Classical Saxophone), Melody Holmes (Flute), Robert Hubbard (Oboe), Joyce Johnson-Hamilton (Trumpet), Jay Kadis (Audio Recording), McDowell Kenley (Trombone), Mary Linduska (Voice), Murray Low (Jazz Piano), Janet Maestre (Flute), Anthony Martin (Baroque Violin), James Matheson (Oboe), Seward McCain (Jazz Bass), Charles McCarthy (Jazz Saxophone), Robert Huw Morgan (University Organist, Organ), Bruce Moyer (Contrabass), Herbert Myers (Early Winds), James Nadel (Jazz), Rufus Olivier (Bassoon), Larry S. Ragent (French Horn), Amy Schneider (Voice), Robin Sharp (Violin), Jerome Simas (Clarinet), Livia Sohn (Violin), Elaine Thornburgh (Harpsichord), Erik Ulman (Composition, Theory), Linda Uyechi (Taiko), Mark Veregge (Percussion), Sharon Wei (Viola), John Worley (Jazz Trumpet), Hui (Daisy) You (Guzheng), Timothy Zerlang (University Carillonneur, Piano)

Consulting Professors: Jonathan Abel (CCRMA), David Berners (CCRMA), Marina Bosi-Goldberg (CCRMA), Walter Hewlett (Computer-Assisted Research in the Humanities), Eleanor Selfridge-Field (Computer-Assisted Research in the Humanities), Malcolm Slaney (CCRMA)

Visiting Professor: Thomas Rossing (CCRMA)

Acting Assistant Professor: Charles Kronengold

Artists-in-Residence (St. Lawrence String Quartet): Geoff Nuttall (Violin), Scott St. John (Violin), Lesley Robertson (Viola), Christopher Costanza (Violincello)

Mellon Fellow: Shana Goldin-Perschbacher (Music History)

Department Offices: Braun Music Center, Room 101

Mail Code: 94305-3076

Phone: (650) 723-3811


Web Site:

Courses offered by the Department of Music are listed under the subject code MUSIC on the Stanford Bulletin's ExploreCourses web site.


The Department of Music's aims are to provide specialized training for those who plan careers in music as composers, performers, teachers, and research scholars, and to promote the understanding and enjoyment of music in the University at large through its courses and performance offerings.


The department expects undergraduate majors in the program to be able to demonstrate the following learning outcomes. These learning outcomes are used in evaluating students and the department's undergraduate program. Students in the following concentrations are required to demonstrate the outcomes below.

Performance Practice
  1. the ability to select and organize a series of pieces in an effective and nuanced order.
  2. appropriate performance skills derived from the progression of works taught in lessons.
  3. knowledge of the relevant critical literature appropriate to the repertoire being prepared.
  4. analytical writing skills in the preparation of program notes appropriate to the repertoire selected.
  5. the artistic execution of their repertoire in a formal concert recital setting.
Music History
  1. the ability to select and outline an appropriate topic area and to select appropriate methodologies.
  2. appropriate mastery of the primary source materials.
  3. appropriate mastery of the secondary source materials.
  4. the analytical writing skills necessary for the execution of the thesis.
  1. the ability to articulate the scope of works in the portfolio.
  2. appropriate understanding of the styles and techniques necessary to accomplish the creation of the portfolio's contents.
  3. a compelling artistic vision or voice in the creation of the works in their portfolio.
  4. the ability to compose and complete sufficient works in a variety of sizes to demonstrate versatility of portfolio.
  5. the artistic coherence of their portfolio, preferably in a concert recital reading of its contents.
Music, Science, and Technology
  1. the ability to select and organize a project on an appropriate topic.
  2. appropriate skills and techniques derived from the progression of taught in classes.
  3. a mastery of the primary source literature and techniques.
  4. a mastery of the secondary source literature and techniques.
  5. the result of the project (instrument, code, synthesis) in a public context.

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