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 (on leave Winter, Spring), Stephen Hinton (on leave Winter, Spring), Julius O. Smith (on leave Autumn)
Associate Professors: Mark Applebaum, Heather Hadlock, William P. Mahrt
Assistant Professors: Jaroslaw Kapuscinski, Jesse Rodin, Anna Schultz, Ge Wang
Professors (Teaching): George Barth (Piano), Stephen M. Sano (Director of Choral Studies)
Associate Professor (Performance): Jindong Cai (Director of Orchestral Studies, on leave Autumn)
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, on leave), Fredrick Berry (Jazz Ensemble), Mark Brandenburg (Clarinet), Marie-Louise Catsalis (Voice), Marjorie Chauvel (Harp), Jonathan Clark (Mariachi), Tony Clements (Tuba), Laura Dahl (Resident Collaborative Pianist), Anthony Doheny (Violin), John Dornenburg (Viola da Gamba), Maria Ezerova (Piano), Charles A. Ferguson (Guitar), Debra Fong (Violin), Claire Giovannetti (Voice), Dawn Harms (Violin, Viola), Alexandra Hawley (Flute), David Henderson (Classical Saxophone), Wendy Hillhouse (Voice), Robert Hubbard (Oboe), Joyce Johnson-Hamilton (Trumpet), Wendy Ju (HCI theory), Jay Kadis (Audio Recording), McDowell Kenley (Trombone), Mary Linduska (Voice, Summer only), 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), Melody Schaefle (Flute), Amy Schneider (Voice, on leave), Robin Sharp (Violin), Jerome Simas (Clarinet), Livia Sohn (Violin), Elaine Thornburgh (Harpsichord), Erik Ulman (Composition, Theory), Linda Uyechi (Taiko), Rick Vandivier (Jazz Guitar), 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: http://music.stanford.edu
MISSION OF THE DEPARTMENT OF MUSIC
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 as described.
- the ability to select and organize a series of pieces in an effective and nuanced order.
- appropriate performance skills derived from the progression of works taught in lessons.
- knowledge of the relevant critical literature appropriate to the repertoire being prepared.
- analytical writing skills in the preparation of program notes appropriate to the repertoire selected.
- the artistic execution of their repertoire in a formal concert recital setting.
- the ability to select and outline an appropriate topic area and to select appropriate methodologies.
- appropriate mastery of the primary source materials.
- appropriate mastery of the secondary source materials.
- the analytical writing skills necessary for the execution of the thesis.
- the ability to articulate the scope of works in the portfolio.
- appropriate understanding of the styles and techniques necessary to accomplish the creation of the portfolio's contents.
- a compelling artistic vision or voice in the creation of the works in their portfolio.
- the ability to compose and complete sufficient works in a variety of sizes to demonstrate versatility of the portfolio.
- the artistic coherence of their portfolio, preferably in a concert recital reading of its contents.
Music, Science, and Technology
- the ability to select and organize a project on an appropriate topic.
- appropriate skills and techniques derived from the progression of those skills and techniques taught in classes.
- a mastery of the primary source literature and techniques.
- a mastery of the secondary source literature and techniques.
- the result of the project (instrument, code, synthesis) in a public context.