Matthew Burtner is currently Assistant Professor of composition and computer music at the University of Virginia where he is
Associate Director of the VCCM Computer Music Center. A native of Alaska (b.1970), he studied philosophy, composition, saxophone
and computer music at St. Johns College, Tulane University (BFA Summa Cum Laude 1993), Iannis Xenakis's UPIC Studios (1993-94), the
Peabody Institute of the Johns Hopkins University (MM 1997), and Stanford University's CCRMA (DMA 2002). He has been
composer-in-residence at the Banff Centre for the Arts, Simon Fraser University in Vancouver, and the IUA/Phonos Institute in Barcelona.
His original computer music research is presented regularly at international conferences, and has been published by journals such as
Organized Sound, the Journal of New Music Research and the Leonardo Music Journal. |
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| Ted Coffey, Assistant Professor, Composition E-mail: ejc3q@virginia.edu Web: Ted Coffey's Website Ph.D. in Composition, Princeton University. M.F.A. in Electronic Music and Recording Media, Mills College. A.B. in Music, Dartmouth College. Ted Coffey makes acoustic and electronic chamber music, multimedia pieces, interactive installations and songs. His work has been sounded in concerts and festivals across the US and Canada, Europe and Asia. Music for dance has been performed regularly in New York City and California at Judson Church, Dixon Place, the Merce Cunningham Studio, the Lab, and many others. Coffey has performed with the Low Tones at Lincoln Center, and with the electric guitar quintet Guitars of Wrath, he gave the live American premiere of Lois V. Vierk's Go Guitars. The Dust Bunny, a collaborative project with animator Grady Klein and composer Paul Lansky was released on the Ellipses Arts label's OHM+ the early gurus of electronic music. Coffey's composition is oriented toward assemblage, 'openness' and visual paradigms, reflecting study with Jon Appleton, Christian Wolff, Pauline Oliveros, Paul Lansky and others. As radically as possible, musical language, quality of sound and 'sense' are treated as composable parameters. In Open Space, Newton Armstrong described Coffey's music as "subtle, weird and devoid of heroics. It's the kind of music that still resonates for days after you've heard it, and its spaces and gestures continue to form into new and extraordinary geometries." Coffey serves regularly on publications review and other committees of SEAMUS, ICMA and NIME. His essays and reviews have been published in the SEAMUS Journal and The Open Space Magazine. Writing on the aesthetics and social politics of transmissive networks in art was honored with significant awards from the Josephine De Kármán and Andrew C. Mellon Foundations. He is currently an Assistant Professor at the University of Virginia, where he teaches courses in composition, music technologies, critical theory and pop. |
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| Nathan Currier, Visiting Faculty, Music Theory E-mail: nkc8b@virginia.edu Winner of the Academy Award, for lifetime achievement, from the American Academy of Arts & Letters, as well as a winner of the Rome Prize for composition, Nathan Currier has frequently been honored for his many compositions. The American Academy's award citation mentioned the honesty and clarity of his music, as well as the direct impact, immediate appeal, and "breathtaking virtuosity" of his compositions. Renowned critic Tim Page has written that "Currier's music is often wildly virtuosic," and that his "engaging, virtuosic and richly inventive" works do not "fit into any of the pre-fabricated categories that have been set aside to describe composers," concluding that, "ultimately, Currier is an independent, with no seeming allegiance to any creed but the most valuable one of all - that of creating a succinct, personal and well-crafted music." Important recent premieres include his quintet Thirty Little Pictures of Time Passing, part of the Berlin Philharmonic's chamber music series, and his evening length environmental oratorio Gaian Variations at Avery Fisher Hall with the Brooklyn Philharmonic. Currier's music has been well received in major musical capitals - from Paris, Berlin, Rome, Moscow, to New York and Los Angeles - and has also been performed in England, Belgium, Holland, Spain, Denmark, Greece, Israel, India, Canada, Russia, Italy, France, Germany, and many of the United States. His very first commissioned work, premiered in India, was hailed by the critic as a "piece of genius," with the prediction that "the world will hear a lot and drink deep of the creative cup of Nathan Currier." In the United States, where the premiere of his one act monodrama A Kafka Cantata was rated the #1 Musical Event of the Year by the city's chief newspaper when it was produced in Pittsburgh, his music has also been broadcast nationally, on National Public Radio with the Saint Paul Chamber Orchestra, and heard at major musical establishments such as the Chamber Music Society of Lincoln Center. Currier's music has been recorded on the Chandos, Crystal and CRI labels, and is published by Theodore Presser Co. He has composed works for groups such as a quintet of the Berlin Philharmonic, the Metamorphosen Chamber Orchestra, The New York Festival of Song, the Pittsburgh New Music Ensemble, the Chelsea Ensemble, the Shanghai Quartet, the Verdehr Trio, the Aurea Ensemble, and the Juilliard Pre-College Chorus and Orchestra, as well as for distinguished soloists such as pianist Leon Fleisher, tenor Paul Sperry and harpist Marie-Pierre Langlamet. Other notable soloists who have performed his music include Emmanuel Pahud, Ransom Wilson, Paul Neubauer, John Aler, Marietta Simpson, Anne Akiko Meyers, Nancy Allen, Judith Lynn Stillman and Emma Tahmizian. Prizes and fellowships include the National Endowment for the Arts Fellowship, the Guggenheim Fellowship, the New York Foundation for the Arts Fellowship, the Charles Ives Fellowship from the American Academy and Institute of Arts and Letters, a grant from the Fromm Foundation at Harvard University, and a Fulbright Grant. He was also the Leonard Bernstein Fellow in composition at Tanglewood, and was awarded two ASCAP Awards to young composers, as well as prizes in the International Barlow Competition, the Juilliard Orchestral Composition Competition, and the Silver Medal - as a pianist - in the International Piano Recording Competition, for a performance of Bach's Goldberg Variations. Currier has also been a frequent recipient of residency fellowships, such as at the Rockefeller Foundation's Bellagio Center in Italy and the Camargo Foundation in France, as well as at the MacDowell Colony, Yaddo Colony, Millay Colony, Ragdale Foundation, Ucross Foundation, and Virginia Center for the Creative Arts. Funding for his works has come from such sources as the Copland Foundation, Fromm Foundation, Jerome Foundation, Chamber Music America, New York State Council for the Arts, Mary Flagler Cary Trust, Meet the Composer, Barlow Foundation, Concert Artists Guild, Rhode Island Foundation, Ditson fund at Columbia University, Michigan State University, and the American Music Center. Currier grew up in Providence, Rhode Island, coming from a musical family, and is currently residing in Virginia. He attended the Juilliard School, where he received the Doctorate in 1989, and served from 1991-2002 on the Juilliard Evening Division faculty. |
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 Scott DeVeaux, Associate Professor, Musicology, Director of Graduate Studies Phone: (434) 924-6497 (Office), (434) 977-7369 (Home) E-mail: deveaux@virginia.edu or skd9r@virginia.edu Web: Scott DeVeaux's Website A.B. in music, Princeton, Ph.D. in music history, University of California, Berkeley.Research interests: jazz; American music; African-American studies; ethnomusicology (Africa); popular music, music and World War II.Publications include The Birth of Bebop: A Social and Musical History (University of California, 1997, Macmillan U.K. 1999); The Music of James Scott (Smithsonian 1992); Jazz in America: Who's Listening? (1995); "Bebop and the Recording Industry" (Journal of the American Musicological Society 1988); "The Emergence of the Jazz Concert, 1935-1945" (American Music 1989); "Constructing the Jazz Tradition" (in The Jazz Cadence of American Culture, Columbia, 1998); "Black, Brown and Beige and the Critics" (Black Music Research Journal, 1993); "What Did We Do to Be So Black and Blue?"(Musical Quarterly 1996); "'Nice Work if You Can Get It': Thelonious Monk and Popular Song" (Black Music Research Journal 1999), "Struggling with 'Jazz," (Current Musicology, forthcoming)***; Series editor, Oxford Readers on American Musicians. Editorial Board, American Music, Center for Black Music Research. NEH Fellowship 1992-1993. Fulbright Distinguished Chair (Odense University, Denmark), 2001-2002, American Musicological Society Board Member, 2002-2004 |
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| Bonnie Gordon E-mail: bsg6v@virginia.edu Bonnie Gordon's primary interests center on the experiences of sound in Early Modern music making and the affective potential of the human voice. Her first book, Monteverdi's Unruly Women (Cambridge University Press, 2004) frames the composer's madrigals and music dramas written between 1600 and 1640 as windows into contemporary notions of sound, body, voice, and sense. She uses vocal music written for sixteenth and seventeenth century Italian singers to illuminate our understanding of the music, science, and culture of that period. She has explored similar issues in articles about contemporary singer-songwriters Kate Bush and Tori Amos. She co-edited an interdisciplinary and cross cultural volume of essays about courtesans entitled The Courtesans Arts, (Oxford University Press, 2006). Her newest project, Voice Machines: The Castrato, the Cat Piano, and Other Strange Sounds, places the castrato alongside other animate and inanimate phenomena that impinged on received categories of the organic and the material, of human and machine. Dr. Gordon is the recipient of two grants from the Folger Shakespeare Library, a dissertation grant from the American Association of University Women, a Mellon Postdoctoral Fellowship at Brandeis University, a Bunting Fellowship at the Radcliffe Institute for Advanced Study, and a National Endowment for the Humanities Fellowship. She has also worked as a newspaper journalist, a music teacher and a violist. |
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 Bruce Holsinger, Professor of English and Music, Musicology, ChairPhone: (434) 924-6503 E-mail: bh9n@virginia.edu Ph.D. in Comparative Literature from Columbia University; MA in Comparative Studies in Discourse and Society from University of Minnesota; BMusA in clarinet performance from University of Michigan. Bruce Holsinger specializes in musical and literary relations in the European Middle Ages, with particular interests in liturgical studies, the history of sexuality, and the premodern roots of modern critical thought. His first book, Music, Body, and Desire in Medieval Culture: Hildegard of Bingen to Chaucer (Stanford UP, 2001), won the AMS's Philip Brett Award, the Modern Language Association's Prize for a First Book, and the Medieval Academy of America's John Nicholas Brown Prize. His second book, The Premodern Condition: Medievalism and the Making of Theory (U of Chicago P, 2005), explores the shaping role of medievalism and medieval studies in the work of Georges Bataille, Pierre Bourdieu, Roland Barthes, and other members of the critical generation in postwar France. Articles and review essays have appeared in Speculum, Journal of Plainsong and Medieval Music, GLQ, Journal of Medieval Latin, Journal of Medieval and Early Modern Studies, Studies in the Age of Chaucer, and elsewhere. His current projects include a book on post-9/11 medievalism and the rhetoric of international relations as well as a very long-term project, The Work of God: Liturgical Culture and Vernacular Writing in England, 650-1550, examining the institutional and aesthetic impact of liturgy on the history of musical and literary writing from the Venerable Bede to the Reformation. He has held or currently holds research fellowships from the National Endowment for the Humanities, the American Council of Learned Societies, and the John Simon Guggenheim Memorial Foundation. |
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 Michelle Kisliuk, Associate Professor, EthnomusicologyPhone: (434) 982-2946 (Office) | (434) 823-1466 (Home) E-mail: mk6k@virginia.edu Web: More on Kisliuk's Research Michelle Kisliuk's Website Michelle Kisliuk, Associate Professor, received the doctorate in Performance Studies from New York University in 1991. Integrating theory and practice, she specializes in a performance approach to ethnographic writing and research, and in an ethnographic and critical approach to performing. Since 1986 she has researched the music, dance, daily life, socioesthetics, and cultural politics of forest people (BaAka) in the Central African Republic, and has also written about urban music/dance and modernity in Bangui (the capital city). In addition, her work extends to the socioesthetics of jam sessions at bluegrass festivals in the United States. Her published essays have appeared in collections including Shadows in the Field (Oxford University Press), Teaching Performance Studies (University of Southern Illinois Press), Performing Ethnomusicology (University of California Press) and Music and Gender (University of Illinois Press). Her book, Seize the Dance! BaAka Musical Life and the Ethnography of Performance (Oxford University Press) won the ASCAP Deems Taylor Special Recognition Award. She has been a Melon Postdoctoral Fellow and a Laura Boulton Senior Fellow in Ethnomusicology. Her current research/writing project is a collection of theoretical essays and case studies that address the ongoing project of performance ethnography. Along with her academic teaching in Music in Everyday Life and Field Research and Ethnography of Performance, she directs the UVA African Music and Dance Ensemble. |
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| Andrew Koch, Assistant Professor, Assistant Band Director E-mail: akoch@virginia.edu At the University of Virginia, Drew Koch assists in the administration and rehearsal of the total band program, including the Cavalier Marching Band, Concert Band, and Men's and Women's Basketball Bands. A native of Southeastern Michigan, he received the Bachelor of Music degree in Music Education from Western Michigan University and the Master of Music Education degree, with a trumpet performance emphasis, from the University of South Carolina in Columbia. At the University of South Carolina, Mr. Koch ran all marching fundamentals rehearsal, designed halftime drill for the marching band, conducted the University Concert Band, and directed the USC Basketball Pep Band at both the Men's and Women's SEC Tournaments in 2000 and 2001. Following his graduate assistantship, Mr. Koch was appointed as Director of Bands at Chapin High School in South Carolina in 2001. Under his direction, the Chapin Band earned consistent superior ratings at the SCBDA Concert Festival, regularly placed in the top 5 the State Marching Festival (finishing second in 2004) and earned the Outstanding Performance Award every year from the SCBDA. In 2005, the Chapin Band also marched in the London New Year's Day Parade in England. Mr. Koch is an active performer, clinician and adjudicator. He is a member of the Music Educators National Conference, the College Band Directors National Association, the ACC Band Directors Association, the South Carolina Band Directors Association, the National Band Association, and was inducted as an honorary member of Kappa Kappa Psi in 2001. |
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| Fred Maus, Associate Professor, Music Theory Phone: (434) 924-6497 E-mail: fem2x@virginia.edu Ph.D. in music theory, Princeton University. M.Litt. in Philosophy, Oxford University. Research interests: theory and analysis, gender and sexuality, popular music, aesthetics, dramatic and narrative aspects of instrumental music. Recent publications include "Narrative, Drama, and Emotion in Instrumental Music," in Journal of Aesthetics and Art Criticism 55/3 (1997); "Concepts of Musical Unity," in Cook and Everist, Rethinking Music (1999); "Musical Performance as Analytical Communication," in Gaskell and Kemal, Performance and Authenticity in the Arts (1999); "Criticism: General Introduction" and "Narratology, narrativity," in New Grove Dictionary of Music and Musicians; "Learning from 'Occasional' Writing," in repercussions 6/2 (2001); "Glamour and Evasion: The Fabulous Ambivalence of the Pet Shop Boys," in Popular Music 20/3 (2001). Forthcoming: "Sexual and Musical Categories"; "The Disciplined Subject of Musical Analysis." Visiting Fellow in Music and Popular Music, University of Liverpool, 2002. AMS Council, 1997-2000. Secretary of Program Committee, Feminist Theory and Music 5 (London, 1999). Co-director, and co-chair of program committee, Feminist Theory and Music 4 (Charlottesville, 1997). Program Committee, AMS, 1997. Program Committee, SMT, 1995. Founding member of editorial board, Women and Music, 1994-, and reviews editor, 1997-. Member-at-large, Executive Board of SMT, 1994-97. NEH Fellowship, 1992-93. |
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 Heather Maxwell, Affiliated Scholar, EthnomusicologyPhone: (434) 825-2624 (C) E-mail: ham7f@virginia.edu In 2002, Maxwell earned a Ph.D. from Indiana University in Ethnomusicology and African Studies, with expertise in West African languages, vocal performance, and balafon culture. Her first exposure to African music performance and culture was in Ghana where she studied at the School of Performing Arts and in the country's rural northern and eastern regions as an undergraduate. She then lived in Mali for over three years as a Peace Corps Volunteer (1989-91) and, as a doctoral candidate (1999-2000), conducted field research sponsored by a Fulbright-Hays Award. In addition to her primary roles as Forester and Ethnomusicologist, Heather became a leading figure in Malian music culture as an American singer well versed in the art of Malian song, balafon, and kamalen n'goni. She mastered French and Bambara (one of West Africa's major trade languages) and a deep understanding of the role of music in Malian life. In 1992, Maxwell worked in Paris and Abidjan with Adou and other African artists as a professional singer and recording artist. Dr. Maxwell was Visiting Lecturer at the University of Virginia's Music Department from 2003-2005. Currently, she is developing an ethnomusicology research and music-performance intervention model for academic, youth, and international development programs committed to diversity, sustainable development, and community building. Maxwell works with the University of Virginia's Office of the Vice President for Research and Graduate Studies, teaches African dance at Charlottesville's Music Resource Center, Studio 206, and maintains an active performance career. Her professional singing career includes two albums produced and released in Africa. The first, entitled "Keneya Ji" featured Maxwell and Malian singer, Jenneba Sek, and other local artists from Bamako. Studio Mali K7-Ali Farka Toure Associeé commercially recorded and released the album in 1989 after having been initially produced and distributed by Peace Corps and the Mali Ministry of Health as an educational aid for development workers specializing in maternal health care. The second recording, produced in Abidjan in 1991 by the famous Studio JBZ, is the "Worro" album made in collaboration with Azouhouni Adou. Since the early 90's Heather has remained an active composer and performer of African and African-jazz music in the US and Mali. She's made guest appearances with Malian superstars Habib Koite, Oumou Sangare, Miriam Bagayogo, as a dancer with the Malian Contemporary Dance Company, Troupe Don, and as lead singer for many African -Jazz groups in Bloomington, Indiana such as Circum Atlantic (with Kodjo Gavua and Bill Corcoran), the Afro-Hoosier Intl. Afro-Pop Band, the Heather Maxwell Duo (with Tyron Cooper), Amandla (with Chris Smith and friends), and Carribe Breeze (with Andrew Lazaro and Marcos Cavalcante). Her most recent recordings include two original songs in Robert Jospé's latest Inner Rhythm album to be released in 2006. Maxwell's own Afro Soul album is expected out in the fall of 2007. |
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 William Pease, Assistant Professor, Director of Bands Office: 247B university Hall Phone: (434) 982-5347 E-mail: pease@virginia.edu William E. Pease is Director of Bands at the University of Virginia. Responsibilities include, Director of the Cavalier Marching Band, Wind Ensemble, and Men's and Women's Basketball bands. He received a Bachelor of Science degree in Music Education from West Chester University, and a Master of Music from James Madison University. Mr. Pease is currently completing his D.M.A from Michigan State University in wind band conducting. He is a former Associate Director of Bands at Western Michigan University, and taught high school and junior high school in the Va. Beach Public schools. Mr. Pease is a member of the Music Educators National Conference, the College Band Directors National Association, the ACC Band Directors Association, the Virginia Band and Orchestra Director's association, and an educational endorser for Vic-Firth and Sabian. |
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 Michael Puri, Assistant Professor, Music Theory E-mail: mjp3h@virginia.edu Ph.D. in music theory, Yale University; Lehr- and Konzertdiplom in piano performance, Music Academy of Basel in Switzerland; B.A. in Music and Germanic Languages and Literatures, Harvard University. Research interests: theory and analysis, hermeneutics, Critical Theory, Wagner, Liszt, Ravel, late nineteenth- and early twentieth-century French classical music. Completed dissertation in May 2004 entitled, "Theorizing Memory in Maurice Ravel's Daphnis et Chloé." Has published articles and reviews in the journals 19th Century Music, the Journal of the American Musicological Society, Music & Letters, and Ostinato rigore, and is currently working on a book that addresses the topics of memory, desire, and sublimation in the context of Ravel's music. National and international fellowships received include Javits, Mellon, Whiting, Ford, and the German Academic Exchange Service (DAAD). |
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 Joel Rubin, Assistant Professor, Director of Music Performance Office: OCH 207 Phone: (434) 924-6499 E-mail: jer2y@virginia.edu Web: Joel Rubin's website Joel Rubin is Assistant Professor of Music in the Performance Program at the University of Virginia. He attended the California Institute of the Arts and received a BFA in clarinet performance from the State University of New York at Purchase (1978). His principal teachers were Richard Stoltzman and Kalmen Opperman. Rubin holds a Ph.D. in ethnomusicology from City University of London (2001). Rubin is an internationally acclaimed performer of Jewish instrumental klezmer music and hasidic music. In addition to performances with traditional musicians such as the Epstein Brothers (USA) and Moshe Berlin (Israel), he was the founder and clarinetist of some of the most internationally respected klezmer ensembles, including the Joel Rubin Jewish Music Ensemble and Brave Old World. Rubin's fifth solo album, "Midnight Prayer", came out in 2007 on Traditional Crossroads. His music can be heard in several films, including the award-winning documentary portrait "A Tickle in the Heart" (Germany/Switz./USA 1996), which is based on his research and screenplay. Rubin has concertized throughout Europe, North America and Asia. As a clinician, he has taught together with Kalmen Opperman and Richard Stoltzman at the Clarinet Summit (2004) and held master classes and workshops at the University of Oregon, the New England Conservatory of Music, Indiana University, Yale University, Syracuse University, and for the Israeli and Berlin Ministries of Education. Rubin wrote the first full-length doctoral thesis on Jewish instrumental klezmer music, combining extensive ethnographic work among the oldest surviving generation of American klezmer musicians with historical and analytical methods to examine the cultural and musical milieu of Eastern European Jewish immigrant wedding instrumentalists in New York in the early 20th century. Further research interests include: music and trauma; music and professionalism; music and diaspora; music and identity; music and religion; folk music revivals; musical hybridity; hasidic music; American Jewish popular music; Jewish musical traditions of the Middle East and beyond; and art and urban popular traditions of the Balkans, Turkey and the Middle East. Rubin is co-author of the books "Klezmer-Musik" (Bärenreiter/dtv, 1999) and "Jüdische Musiktraditionen" (Jewish Musical Traditions; Gustav Bosse-Verlag, 2001), the author of "Mazltov! Jewish-American Wedding Music for Clarinet" (Schott Musik International, 1998), and the co-curator of the ongoing Jewish Music Series of CDs for Schott's Wergo label (10 completed productions to date). He has received grants from the Memorial Foundation for Jewish Culture, the YIVO Institute for Jewish Research (Vladimir and Pearl Heifetz Memorial Fellowship, Joseph Kremen Memorial Fellowship), Cornell Council for the Arts, and the Pro Musica Viva Foundation. Prior to UVa, he taught at Cornell University, Syracuse University, Ithaca College and Humboldt Universität Berlin. Listen to the Joel Rubin Ensemble Midnight Prayer - Kiev Midnight Prayer - Rabinovitsh Midnight Prayer - Vinnitsa Midnight Prayer - Zeydl Rovner |
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E-mail: jsa@virginia.edu Web: Judith Shatin's Website Judith Shatin's music is inspired by her explorations and extensions of timbre and by her investigations of the links between music, our perceptual capacities, and our emotional responses. She regards acoustic and computer technologies as providing a rich spectrum for her ongoing interaction with three major themes: timbral design, poetic intrepetation, and embodiment of identity. Her recent work includes sound sources ranging from a wooden loom (Penelope's Song) to animal calls (Singing the Blue Ridge) and machines, the latter as sound sources for her interactive installation Tree Music. Educated at Douglass College (AB), The Juilliard School (MM) and Princeton University (PhD), she is known for both her acoustic and electroacoustic music. It has been commissioned by ensembles including the Ash Lawn Festival, Barlow Foundation, Core Ensemble, Jane Franklin Dance, Hexagon Ensemble, Kronos Quartet, National Symphony, newEar, and San Francisco Girls' Chorus, among others. It is published by Arsis Press, C.F. Peters, Hal Leonard, and MMB. She has received four NEA Composer Fellowships as well as grants from the American Music Center, Lila Acheson Wallace-Readers Digest Arts Partners Program (culminating in her folk oratorio COAL for chorus, Appalachian band, synthesizer and electronics; Meet the Composer; and the Virginia Commission for the Arts. Twice a fellow at the Rockefeller Study Center in Bellagio, she has also held residencies at Brahmshuas, MacDowell, Mishkan Amanim, Yaddo and the Virginia Center for Creative Arts. She is frequently a guest composer at festivals such as the Grand Teton Music Festival and the New Directions Series at Austin Peay University. She has presented her work at numerous conferences including ICMC, NIME and SEAMUS. She has served as composition faculty at the Wellesely Composers Conference and the Chamber Music Conference of the East and is frequently invited to lecture on her work. Her music is recorded on Capstone (Piping the Earth); Innova (Dreamtigers); Sonora (Hearing the Call); and Neuma (Narcissus and Kairos). Beyond her contributions as a composer, Judith Shatin is a strong advocate for her fellow composers. She serves on the Advisory Board of the International Alliance for Women in Music; served from 1989-93 as President of American Women Composers, Inc.; was for two terms a board member of the League of Composers/ISCM in New York; and served on the Board of the American Composers Alliance. At the University of Virginia she founded the Virginia Center for Computer Music in 1987 and continues to serve as its Director. |
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| Mary Simonson E-mail: msimonson@virginia.edu Mary Simonson is currently completing a dissertation entitled Performance, Multimedia and Creativity in Early Twentieth-Century American Music Life, which employs turn of the century music, cinema, and dance productions to examine the function, gendering, and politics of "creativity" within American music historiography, as well as the role of performance within musicological methodologies and historiographical traditions more broadly. She has presented her work on the Salome character in early twentieth-century American culture, vocal and corporeal interactions among female characters in Auber's La Muette du Portici, Anna Pavlova's appearance in Lois Weber's opera film "The Dumb Girl of Portici," and Mary Garden's stardom in the United States at conferences including the Society for American Music, Staging the Feminine: The Arts of the Prima Donna, the Capital Chapter of the American Musicological Society, and Feminist Theory and Music 7 and 8. Reviews and review-articles appear in Women and Music and a forthcoming issue of Notes. In addition to receiving a dissertation fellowship from the Graduate School of Arts and Sciences at the University of Virginia, Simonson was a University of Virginia Presidential fellow, and has been awarded the AMS Capital Chapter's Lowens Award for her work on La Muette. |
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Active as a conductor of choral, orchestral, and operatic repertoire, Michael Slon is currently Conductor of the University
Singers, Chamber Singers, and recent Interim Conductor of the Charlottesville & University Symphony at the University of
Virginia. He also serves as Assistant Professor of Music, and was named a member of the Mead Honored Faculty for 2006-2007.
Recent repertoire with the choruses has included Mozart's Mass in C minor, the Brahms Requiem, Vaughan Williams' Dona Nobis
Pacem, Bernstein's Chichester Psalms, the Byrd Mass for Four Voices, and a range of shorter a cappella and
accompanied works. And after substituting on one hour's notice for a January 2005 performance of Shostakovich's Symphony
No. 1, Mr. Slon has led the Symphony in performances of Bartok's Concerto for Orchestra, Rachmaninoff's Symphony
No. 2, Mahler's Symphony No. 4, Beethoven's Symphony No. 7, and Copland's Appalachian Spring. Together
with Symphony Executive Director Bill Martin, he also launched the University Singers-CUSO Family Holiday Concerts.
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 Kate Tamarkin, Professor, ConductingE-Mail: tamarkin@virginia.edu Web: Kate Tamarkin's Website Described by Leonard Bernstein as "extremely musical, a vivid personality, and a strong performer", Kate Tamarkin recently completed five years as Music Director of the Monterey Symphony (California), during which the orchestra increased its' artistic excellence and visibility. She has a distinguished national and international reputation as a conductor of orchestras at many levels: an Associate Conductor of the Dallas Symphony under Eduardo Mata; as music director and conductor of the East Texas Symphony, the Vermont Symphony and several other ensembles. Ms. Tamarkin has guest conducted some of world's leading orchestras and has been profiled on CNN and NBC's Today Show. Ms. Tamarkin's recent conducting engagements include debuts with both the Shanghai Symphony Orchestra (China), and the Summer Opera Theatre Company in Washington, DC. Highlights of recent seasons have included performances with the Edmonton Symphony (Edmonton, Canada), the Vermont Symphony, the Carolina Chamber Symphony, and the National Philharmonic of Moldova. Her guest conducting credits include a command performance for Her Majesty Queen Elizabeth II; engagements with the symphonies of Chicago, Houston, Phoenix, San Diego, St. Louis, Pacific, Nashville, New Mexico, Quad Cities, Tucson, Dallas, Oklahoma City, El Paso, Billings and Fresno; Chicago's Grant Park Music Festival and the Eastern Music Festival in North Carolina. Kate Tamarkin holds a DMA from Peabody Conservatory of Music, a Masters of Music from Northwestern University, and a Bachelors of Music Education from Chapman University (CA); she comes to the University of Virginia from the Catholic University of America, where she has been an Associate Professor of Music and Director of Orchestras and Opera. |
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 Paul Walker, Associate Professor, Early Music E-Mail: pmw6q@virginia.edu M.M. in Organ Performance from the University of Kansas; further study at the Hochschule für Musik in Cologne, Germany; Ph.D. in Historical Musicology from the State University of New York at Buffalo. His academic professors have included David Fuller, James McKinnon, and Jeremy Noble; organ study with Michael Schneider and James Moeser, harpsichord with Hugo Ruf. Included in the Early Music Ensembles under his leadership are Baroque Orchestra, Early Music Vocal Ensemble, Viola da Gamba Consort, Cornett and Sackbut Ensemble, and Recorder Consort. Academic specialties and interests encompass many aspects of music before 1750, including extensive research in the early history of fugue and the music of J. S. Bach and his predecessors. His teaching includes the Medieval, Renaissance, and early Baroque portions of the undergraduate history curriculum, as well as specialized courses in such topics as Bach and the fundamentals of basso continuo playing. Among Professor Walker's significant publications are the book Theories of Fugue from the Age of Josquin to the Age of Bach (University of Rochester Press, 2000) and the articles on fugue and related topics for the second edition of The New Grove Dictionary of Music and Musicians. Professor Walker founded and still directs the Charlottesville-based early music vocal ensemble Zephyrus, which is about to enter its fourteenth year and which will be releasing its third CD, of Flemish music ca. 1500, in the fall of 2004. |
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Richard Will is the author of The Characteristic Symphony in the Age of Haydn and Beethoven (Cambridge University Press, 2002), and of articles and reviews on 18th- and early 19th-century music in Music & Letters, Journal of the American Musicological Society, Beethoven Forum, Current Musicology, and The Cambridge History of 18th-Century Music, and C.P.E. Bach Studies. He is currently reviews editor of Beethoven Forum. He is also interested in 20th-century American popular music, especially country music and bluegrass, and hosts a bluegrass jam session for UVa graduates and undergraduates. He has received fellowships from the American Philosophical Society, the German Academic Exchange Service, and the American Musicological Society, and he has served on the Council, the AMS-50 Dissertation Fellowship Committee, and the National Program Committee of the American Musicological Society. |
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Michael Slon, Assistant Professor, Choral Director
Richard Will, Associate Professor, Musicology