Music Faculty

Professors

Linda Burman-Hall [ Email | Website ]
Professor of Music
B.A., University of California, Los Angeles
M.F.A., Ph.D., Princeton University

Linda Burman-Hall's research centers on performance practices and improvisation in selected Western and non-Western musics. She is active not only as a musicologist-performer specializing in Baroque and classical literature for early keyboards, but also as an ethnomusicologist of Euro-American and Indonesian traditional musics. She is interested in relating regional styles and fashions in music to their cultural context and in describing and performing appropriate realizations of musical materials.

In addition to teaching theory, world musics, and harpsichord, she performs widely as a soloist and chamber music director, and serves as faculty coordinator of the UCSC gamelan program. Her current projects include the following:

1. Interpretation of early keyboard (harpsichord, fortepiano, and organ) literature using period instruments and historic tuning systems, and the interpretation of new music for early keyboards;

2. Video and written documentation of performance practices in Indonesian traditional musics, with emphasis on gamelan and village ensembles of Madura, Bali, and Sunda (West Java), the relationship of music to ritual, and studies of "new" Indonesian musics;

3. Direction of the Santa Cruz Baroque Festival, a nationally acclaimed concert series dedicated to the historic performance of early music, and of the early music ensemble Lux Musica.

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David Cope [ Email | Website ]
Professor Emeritus of Music
B.M., Arizona State University
M.M., University of Southern California

DAVID COPE is a composer, author, and Professor Emeritus. His books "Computers And Musical Style" (1991), and "Experiments In Musical Intelligence" (1996) are both available from A-R Editions, "Techniques Of The Contemporary Composer" (1997) is available from Schirmer Books, "New Directions In Music (7th Edition)" (2000) is available from Waveland Press, "The Algorithmic Composer" (2000) is available from A-R Editions, "Virtual Music" (2001), and "Computer Models Of Musical Creativity" (2005) are both available from MIT Press. His music, listed on his Website at http://arts.ucsc.edu/faculty/cope/, falls into three cycles: algorithmic, Navajo, and Post-Tonal. Recordings include a variety of orchestral works available from the Smithsonian Institution and chamber music on Vienna Modern Masters.

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Edward Houghton [ Email | Website ]
Professor Emeritus of Music
B.A., Rutgers University
M.A., University of Nevada
Ph.D., University of California, Berkeley

Edward Houghton’s musical life began with the urge to create music. Tempering this urge was the thought that he should first consider what had already been created. He is still doing that.

He is presently preparing a critical edition of a manuscript from around the year 1500. For him the ideal process of study begins with the original manuscripts and evidence; it ends with an understanding of the music and a well-informed performance or recording. The work involves the transcription of early notation into modern notation, analytical study of the music and its historical context, and the presentation of performances and recordings of this significant repertory. The vocal ensemble "Renaissance" has been formed to perform and record the music.

Houghton’s general interests are in choral conducting, Medieval and Renaissance music, musical paleography and mensural notation, Gregorian and Medieval chant, W. A. Mozart, acoustics and architecture, computer applications to historical-analytical studies, and computer transcription of notation in real-time. Since 1992 he has served as Dean of the Division of Arts.

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David Evan Jones [ Email | Website ] (On leave fall)
Professor of Music
B.A., M.A., Ph.D., University of California, San Diego

David Evan Jones is a composer/theorist with diverse interests and publications in chamber music, chamber opera, computer music, and computer-assisted composition. Some of his theoretical and compositional work focuses on structural relationships between phonetics and music. Jones has worked extensively in computer music, composing in residence at the Elektronmusikstudion (EMS) in Stockholm, at L'Institut de Recherche et de Cooordination Acoustique/Musique (IRCAM) in Paris, and at Bregman Electronic Music Studio at Dartmouth College (where he co-founded, with Jon Appleton, the Dartmouth graduate program in Electro-Acoustic Music). In his role as an instrumental/vocal composer, Jones has served as Composer in Residence at York University in England and been a featured composer at Texas Christian University. His compositions have been recognized by a number of grants and awards. Jones is currently composing a second chamber opera, beginning a second compact disc of compositions influenced by Bulgarian folk music, and continuing his work with speech/music synthesis.

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Anatole Leikin [ Email | Website ] 
Professor of Music
B.A., Gnesin State Conservatory, Moscow
M.A., Gnesin State Musical and
Pedagogical Institute, Moscow
Ph.D., University of California, Los Angeles

Anatole Leikin specializes in Classical and Romantic performance practice, music history, and theory, and piano performance. His recent and present projects cover a variety of topics: structural and hermeneutic analysis, early tonality, Romantic performance practice, Chopin, Scriabin, Granados, and Shostakovich.

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Fredric Lieberman [ Email | Website ]
Professor of Music
B.M., Eastman School of Music
M.A., University of Hawaii
Ph.D., University of California, Los Angeles

In recent years, Fredric Lieberman’s research has focused on the music industry and copyright law and on organology, particularly with regard to taxonomic methods and systematic description. Geographic areas of interest include China, Japan, Korea, Tibet, South India, and American vernacular musics from Tin Pan Alley through contemporary rock.

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Leta Miller  [ Email | Website ] ( On leave spring )
Professor of Music
B.A., Stanford University
M.Mus., Hartt College of Music
Ph.D., Stanford University

Leta Miller is a musicologist and flutist with publications in renaissance, baroque, and 20th-century American music. Prior to 1998 she published books, articles, and critical editions on the 16th-century chanson and madrigal, the relation of music and science in the baroque, and the music of C.P.E. Bach. Miller's recent research has resulted in two books on composer Lou Harrison, a critical edition of his chamber music, and more than a dozen articles on Harrison, John Cage, Henry Cowell, and Charles Ives. She is currently working on a book on San Francisco's musical life from 1906 to 1945. Miller has been featured as flute soloist on nearly 20 compact discs, and has received grants from the National Endowment for the Arts, the National Endowment for the Humanities, and the Copland Fund.

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Paul Nauert, Chair [ Email | Website ]
Professor of Music

Music Department Chair
B.M., Eastman School of Music
M.A., Ph.D., Columbia University

Paul Nauert is a music theorist and composer whose areas of interest include rhythm and meter, music cognition, and mathematical and computer models of compositional resources and procedures. His recent work stems from a view of music as "time organized by sound." Current projects include an essay on harmonic progression in posttonal music, a book (with the working title Rhythms and Algorithms) on computer-based strategies for generating and coordinating musical rhythms, and software tools to support both the harmony and the rhythm projects.

As a composer, Nauert has concentrated in recent years on chamber music, including a piano trio commissioned by the Peabody Trio and a solo piece composed for the guitarist David Tanenbaum. The pianist Marilyn Nonken recently toured the U.S. with a program including NauertÕs A Collection of Caprices, which she will perform again at the Resonances Festival in Paris in Fall 2003.

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Nicole Paiement [ Email | Website ]
Professor of Music
B.M., University of Ottawa
M.M., McGill University
D.M.A., Eastman School of Music

Nicole Paiement’s activities as orchestral and choral conductor have permitted her to develop a strong approach toward score study and musical performance. She greatly values the concept of historically guided performance to gain insight into the composer’s musical score.

In addition to her ongoing work at UCSC, she is also the artistic director of the New Music Ensemble at the San Francisco Conservatory of Music and of Parallèle Ensemble, a professional ensemble dedicated to the recording of new music and of obscure music from all periods. Paiement is also an active guest conductor.

Recording is one of Paiement’s major activities. Her work in this medium ranges from the music of the Renaissance to that of living composers. Most of her numerous recordings focus on world premiere recordings.

Her strong interest in French music of the 20th century has led her to in-depth study and to premiere performances of music by composer Germaine Tailleferre. Paiement has completed a recording and catalog of the works of Henri Collet. Her interest in interdisciplinary performance has culminated in several staged works at UCSC.

Through her experience in teaching conducting, Paiement has developed an approach that concentrates on clear and expressive baton technique combined with effective score study and rehearsal technique.

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John M. Schechter [ Email | Website ]
Professor of Music
A.B., Hamilton College
M.M., Indiana University
Ph.D., University of Texas at Austin

John Schechter’s principal research and performance focus is Latin American music-culture. His first book (1992) traced the history and modern traditions of the harp in Ecuador and Latin America. His subsequent volume (1999), for which he served as general editor and one of eight contributing ethnomusicologists, examines in depth selected regional music cultures of Latin America and the Caribbean. He is co-editor of, and a contributing author to, an inter-disciplinary manuscript, currently under consideration for publication, on Quechua verbal artistry. His recent publications have explored the conceptual issues behind the Andean Corpus Christi celebration, the issues of ensemble self-image and construction of symbolic value with respect to the bomba, a focal African-Ecuadorian musical genre, and the ethnography, visual semiotics, cultural history, and religious philosophy of the Latin American/Iberian child’s wake music-ritual. His articles on Quichua and Incaic music-culture, on the Latin American/Iberian child’s wake, and on Latin American musical instruments have appeared in journals, anthologies, and encyclopedia articles.

Schechter’s performance areas include Quichua- and Spanish-language song of the Andes region, Bolivian zampoña, or panpipes, Ecuadorian diatonic harp, and choral conducting of music from the Western art-music tradition. Open to students with interest and capabilities in Latin American musics, Taki ñan and Voces, the two UCSC Latin American Ensembles now with a 15-year tradition, have developed repertoire in Native American, Iberian American, African American, and Nueva Canción (New Song) musics of Argentina, Bolivia, Chile, Colombia, Ecuador, Mexico, Paraguay, Peru, and Venezuela.

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Associate Professors

Amy C. Beal [ Email ]
Associate Professor of Music
B.M., M.M., University of Kansas
M.A., Ph.D., University of Michigan

As a music historian and performer, Amy Beal specializes primarily in 20th-century music and American music. Her current research explores the history of American experimental music, in particular its relationship to patronage and support provided by the West German new music community (including radio stations and new music festivals) between 1945 and 1990. Her teaching interests include historical surveys, experimentalism, performance practice, composers' lives, John Cage, twentieth-century American opera, and "world" musics. As a performer she remains active as a pianist and as a participant in gamelan ensembles. She is particularly interested in the performance and reception of contemporary music, and in working with ensembles that include both musicians and non-musicians for the realization of indeterminate compositions.

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Karlton Hester [ Email | Website ] (On leave fall)
Associate Professor of Music
B.M., University of Texas at El Paso
M.A. in Music Education, San Francisco State University
Ph.D. in Composition, City University of New York Graduate Center

Composer/performer Karlton Hester's work is often ecumenical and interdisciplinary. He integrates Global African music with various elements of music from other regions of the world in premeditated and spontaneous compositions, electro-acoustic composition, and other interdisciplinary collaboration projects. Hester's work on African polyrhythm and dissertation on the music of John Coltrane (with analytic focus on the music of Coltrane's late period) serve as the basis for a freedom of expression that defines his musical approach. As the Gussman Director of "Jazz" Studies at Cornell University, he collaborated with Dr. Donald Byrd in exploring connections between musical and mathematical symbols, structural patterns and intuition. His current goal is the creation of music that reflects salient features of traditional and contemporary modes of Afrocentric cultural expression and world society. One of his latest projects involves completing a book that summarizes this theoretical approach. His recent publication, From Africa to Afrocentric Innovations Some Call "Jazz" (2000), provides historical background for his work as a composer. Among the nine recordings under his own name, he performs (playing flute, piccolo, and saxophone) new compositions and arrangements on his latest CD release, Harmonious Soul Scenes 2000. Hester has received numerous awards, including composition grants from the National Endowment for the Arts (1989 & 1985), ASCAP Standard Awards (1985-98), George & Elza Howard Foundation (1996), Fund for U.S. Artists at International Festivals and Exhibitions (1994 & 95), William Grant Still Memorial Commissioning Project, Mellon Postdoctoral Fellowship - Cornell University (1991-92), New England Council for the Arts (1986), Staten Island Council on the Arts (1987,1990, 1991), and The Yard Dance Company.

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Hi Kyung Kim [ Email | Website ]
Associate Professor of Music
B.A. Seoul National University, Korea
M.A., Ph.D., University of California, Berkeley
D.E.A., École Normale Supérieure and IRCAM, Paris (completed)

Hi Kyung Kim is a composer whose music often integrates Non-Western with Western music. She studied Korean traditional music at the National Classical Institute and at Seoul National University in Korea. She was a stagiare (composer-in-residence) at L'Institut de Rechérche et de Coordination Acoustique/Musique (IRCAM), and studied in 20th Century Music and Musicology at École Normale Supérieure and IRCAM during her residency in 1988-90 in Paris. She has also researched Elliott Carter's music at the Paul Sacher Foundation in Basel, Switzerland. She was artistic director of the 1996 Pacific Rim Festival of Contemporary Music, and has an interest in establishing an ongoing Festival of Traditional and Contemporary Music in Santa Cruz.

Among her commissioned works, she recently finished a piece for chamber ensemble for a special project "Commemorating World War II," written for the Chamber Music Society of Minnesota and Yo-Yo Ma. She also recently completed an interdisciplinary work for Korean dancer/drummer and chamber ensemble written for the Other Minds Festival, and a string quartet written for the Alexander String Quartet. Her current projects include a commissioned work by the Koussevitzky Foundation for voice and chamber ensemble, collaborating with the Korean poet, Ko Un, and a second piece for Korean dancer/drummer and Korean-Western chamber ensemble.

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Assistant Professors

Benjamin Carson - [ Email | Website ]
Assistant Professor of Music
B.A., in Music, Willamette University
M.M., in Composition, University of Washington
Ph.D., in Music (Composition), University of California at San Diego

Ben Carson's work as a composer is supported by a variety of research, including work in music perception, computation, philosophy of science, and gender theory. His graduate work was conducted at the University of Washington and at the University of California at San Diego. Carson is recognized for excellence in research and teaching, and won first prize in composition (2001) from the British and International Bass Society. His music has been performed throughout the U.S., at numerous international festivals, including Aspen and Buffalo, the Sydney Conservatory's Music and Social Justice conference, and at the New England Conservatory's Summer Institute for the Contemporary Piano. A series of essays addressing Carson's piano music is published in Issue 5 of the Open Space magazine.

Carson has collaborated in projects at the Institute de Recherche et de Coordination Acoustique/Musique in Paris, and at the Neurosciences Institute in La Jolla, and he has lectured in the series Perception et Cognition Auditives (Paris Université VI), and at other international colloquia in cultural studies, psychoacoustics, and music theory. Carson's writing also appears in ECHO, the Journal of New Music Research, the Institute for Advanced Feminist Studies' Shock and Awe: War on Words, and in the American Journal of Psychology.

Tanya Merchant

Assistant Professor of Music

B.M., Peabody Conservatory, Institute of the Johns Hopkins University

M.Mus., Goldsmiths College, University of London

Ph.D., University of California, Los Angeles

Tanya Merchant is an ethnomusicologist whose research interests include music’s intersection with issues of nationalism, gender, identity, and the post-colonial situation. With a geographical focus on Central Asia and the former Soviet Union, she has conducted fieldwork in Uzbekistan, Tajikistan, and Russia. She is an avid performer on both the Uzbek dutar and the baroque bassoon, and has given concerts with ensembles in the U.S., England, and Uzbekistan. Her recent publications include articles on Uzbek popular, folk, and traditional musics, which appear in journals such as Cahiers de Musiques Traditionnelles, and Image and Narrative. 

Dard Neuman [ Email | Website ]
Assistant Professor of Music

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Nina Treadwell [ Email | Website ] (On leave spring)
Assistant Professor of Music
B.A., University of Melbourne
B.M., University of Melbourne
M.A., University of Southern California
Ph.D., University of Southern California

As musicologist, Nina Treadwell’s research and publications are informed by her experience as a performer on plucked-string instruments of the Renaissance and early Baroque periods.  Her earliest publications dealt with questions of performance practice in regard to the chitarra spagnola or baroque guitar. More recently she has published articles that explore the social and political implications of women’s musical performance on the sixteenth-century Italian stage, with performance practice issues bearing on questions of musical meaning. Her publications appear in journals such as Cambridge Opera Journal, Women and Music: A Journal of Gender and Culture, Lute Society Journal, and Musicology Australia, and the recent collection Gender, Sexuality, and Early Music, ed. T. Borgerding. She is currently completing a book manuscript entitled Music, Wonder, and the Mystery of State: Medicean Theater and the Interludes for “La pellegrina” for the series Musical Meaning and Interpretation (Indiana University Press). In this work she elucidates the in-performance efficacy of the intermedi, demonstrating how the combined affect of visual and aural media served the aesthetic and political aims of the genre. 

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Distinguished Adjunct Professor

Ali Akbar Khan
Distinguished Adjunct Professor
Doctor of Literature, Rabindra Bharati University, Calcutta India
Doctor of Literature, University of Dacca, Bangladesh
Doctor of Letters, University of Delhi, India
Doctorate Degree, Viswa Bharati University in Shantiniketan, India
Doctor of Musical Arts, Honoris Causa, New England Conservatory of Music, Boston
Doctor of Arts, California Institute of the Arts, Valencia, California

A master of the classical music of North India, Ali Akbar Khan is renowned for his compositions and his mastery of the sarod. His family traces its gharana (ancestral tradition) to Mian Tansen, a 16^th-century court musician of Emperor Akbar. Ali Akbar Khan’s father, the late Padma Vibhusan Acharya Dr. Allauddin Khan, devised the first written notation of Indian music and created written versions of over 10,000 Indian music compositions dating from the 16^th through the 20^th centuries. In 1994 the Ali Akbar Khan Foundation was established to archive and create a library of those materials for future generations. Since 1955 Ali Akbar Khan has performed extensively in Asia, Europe, Australia, Canada, and the United States, and he has made over 100 recordings and numerous videos. In 1956 he founded the first Ali Akbar College of Music in Calcutta, India. In 1967 he founded the Ali Akbar College of Music in San Rafael, California and later an additional campus in Basel, Switzerland. He is the recipient of numerous awards, including a MacArthur Foundation Fellowship, a National Heritage Fellowship from the National Endowment for the Arts, and the Padma Vibhusan Award from the government of India, the highest honor conferred on an Indian civilian.

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Lecturers and Applied Faculty

Karen Andrie
Lecturer in Music - Cello
B.M., Performer’s Certificate, Eastman School of Music
Premier Prix, Licence du Concert, École Normale de Musique, Paris. Diploma, Soloist, Accademia Chigiana, Sienna, Italy. Fulbright Scholar

Concurrent affiliations: instructor, Suzuki Program, Cabrillo College; cofounder and codirector, Popper-Keizer Summer Music Conservatory; member, Santa Cruz Chamber Players, Santa Cruz New Music Works, Monterey Symphony; chamber coach, teacher in private studio. Performances: solo and chamber music performances in the U.S. and Europe. Teachers: Florence Reynolds, Ronald Leonard, Andrie Navarra. Chamber coaches: Joseph Gingold, Claus Adams, Michael Tree, Arnold Steinhart. Former member: Atlanta and Columbus String Quartets, and Trio d’Accord (winner of the Concert Artist Guild Competition of New York). Pedagogical philosophy: a technical and stylistic foundation to realize the individual potential of each student.

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Erika Arul [ Email ]
Lecturer in Music - Piano
Class piano

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Nat Berman [ Email ]

Lecturer in Music

Director or UCSC Concert Choir

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Mark Brandenburg [ Email ]
Lecturer in Music - Clarinet
B.M., M.S., Juilliard School of Music

Performances: San Francisco Symphony, San Jose Symphony, Midsummer Mozart Festival, Cabrillo Music Festival, Anchor Chamber Players, Opera San Jose. Teachers: Frealon Bibbins Jr., Rosario Mazzeo, Bernard Portnoy. Pedagogical philosophy: addressing concerns of musical expression and development of technique, with careful attention to matters of interpretation as they relate to historical performance styles.

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Paul Contos [ Email ]
Lecturer in Music - Saxophone

Concurrent affiliations: California State University, Monterey Bay; saxophone clinician, Monterey Jazz Festival Education Program; director, Monterey County High School Honor Band; co-director, California High School All-Star Band; Monterey Jazz Festival Summer Camp, Ray Brown’s Great Big Band, Dave Eshelman’s Jazz Garden Band, Juan Sanchez Ensemble, and others. Performances with McCoy Tyner, Wayne Shorter, Dizzy Gillespie, Mundell Lowe, Clark Terry, Roy Hargrove, Bobby Hutcherson, Billy Childs, Joe Williams, Jon Hendricks, Dianne Reeves, Sheila Jordan, Rebecca Paris, Rufus Reid, Bill Berry, Bruce Forman, Louie Bellson, The Temptations, The Four Tops, The Nelson Riddle Orchestra, Steve Allen, Barry Manilow, and others. Concerts and festivals in U.S., Japan, France, Spain, Switzerland, Italy, and Tahiti. Previous affiliations: Santa Cruz County Symphony, San Jose Civic Light Opera Orchestra; artist-in-residence, California Arts Council. Recipient of three performance grants from the National Endowment for the Arts. Numerous recordings including Capitol Records (Hollywood), Angel Recording (London), and Fantasy Records (Berkeley). Pedagogical philosophy: emphasis on sound production and projection, stylistic flexibility, and mastering jazz improvisation.

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Mary Jane Cope [ Email ]
Lecturer in Music - Piano and Fortepiano
B.A., Ohio Dominican College
M.M., Indiana University
Master Teacher Certificate, Music Teachers National Association

Interests: Classical and Romantic piano music (including lesser known works and composers), literature of the fortepiano, 20th-century piano literature and extended techniques. Performances: solo and chamber performances have included premieres of a number of compositions (some written for her). Recordings: Opus One Records, Orion Records. Pedagogical philosophy: natural holistic approach to musical pianism that emphasizes anatomical and psychological considerations, strength through balance, and an integration of the physical and musical gesture. Special attention to development of tone, pedal technique, and stylistic awareness, and encouragement of independence and imagination. Acquaintance with the Dorothy Taubman approach.

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William Coulter [ Email ]
Lecturer in Music - Classical Guitar
B.A., University of California, Santa Cruz
M.A., San Francisco Conservatory of Music
M.A., Ethnomusicology, University of California, Santa Cruz

Interests: Classical guitar repertoire, especially guitar ensemble and guitar with other instruments; traditional folk music and songs from the British Isles, especially from Ireland; the music of Turloch O’Carolan. Pedagogical philosophy: influenced by the Suzuki method and the teaching of Benjamin Verdery; emphasis on communication of musical ideas, the enjoyment of playing, tone production, and accuracy and fluency of technique.

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Peter Elsea [ Email | Website ]
Lecturer in Music
Director, Electronic Music Technician
B.M., M.A., University of Iowa

Peter Elsea’s work focuses on the connection between musicians and the new technology of music. This technology has created profound changes in the tools used by composers and performers, and the music of the next century will largely be shaped by the techniques now being developed to use these tools. Elsea is involved in this development at all levels: as composer, teacher, circuit designer, programmer, and troubleshooter. The fruits of his efforts are the UCSC electronic music studios, five rooms containing the best of recent equipment integrated into efficient composition systems.

Elsea is also developing instruments and programs that will expand the possibilities of midi beyond the traditional and commercial forms of music associated with the format.

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Maria Ezerova [ Email ]
Lecturer in Music - Piano
B.M., Musical College, Moscow State University
M.A., University of California, Santa Cruz
M.M. and D.M.A. equivalents in Piano Performance, Moscow State Conservatory

Maria Ezerova received her master’s and doctoral degrees in piano performance from the Moscow Conservatory (Russia) where her teachers were famous Russian pianists Stanislav Neuhaus, Lev Vlasenko, and Michail Pletnev. She received a second master’s degree in early music performance practice from the University of California, Santa Cruz, where she studied harpsichord with Linda Burman-Hall. Ms. Ezerova has performed widely throughout the former Soviet Union, Europe, the U.S., Canada, and Asia as a soloist and chamber pianist and harpsichordist. She has recorded for the Centaur and New Albion labels. Her areas of interest include a wide variety of keyboard repertoire from the Renaissance and Baroque periods, Classical and Romantic piano music, and compositions of the twentieth century.

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Barry Green [ Email | Website ]
Lecturer in Music - Bass
B.M., Indiana University
M.Mus., University of Cincinnati, Conservatory of Music

Previous affiliations: bass instructor, University of Cincinnati and Indiana University; numerous bass workshops in U.S. and abroad. Performances: principal bass, California Symphony, Sun Valley Idaho Summer Symphony, Cincinnati Symphony, Nashville Symphony, Casals Festival Orchestra of Puerto Rico. Publications: The Popular Bass Method in 3 Volumes, Fundamentals of Double Bass Playing and Advanced Techniques of Double Bass Playing (Piper Publications); numerous articles in journals of the International Society of Bassists and Northern California Bass Club, and in Double Bassist Magazine, Instrumentalist Magazine, and in many other trade journals. Recordings: six solo recordings of Baroque, Romantic, and contemporary bass music.

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Robert Klevan [ Email ]
Lecturer in Music - Large Jazz Ensemble, Wind Ensemble

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Murray Low [ Email ]

Lecturer in Music - Jazz

B.S., University of California, Berkeley

Also jazz piano and ensemble instructor at Stanford.  Held previous teaching positions at UC Berkeley and the Jazzschool in Berkeley.  Guest lecturer at Stanford, CSU San Jose, CSU Monterey Bay, University of Wisconsin/Madison, CSU Sonoma, Jazzcamp West, Monterey Jazz Youth Program.  Thirty years of performance, teaching, composing and arranging experience.  Grammy nomination in Latin Jazz category with Machete Ensemble 2003.  Multiple appearances at major jazz festivals such as Monterey, Concord, Stanford, San Francisco, San Jose, Big Sur, Mt. Hood, North Sea, Russian River, Atlanta, and North Beach festivals.  Appeared with Tito Puente, Poncho Sanchez, Bob Mintzer, Ray Vega, Clark Terry, Benny Golson, John Handy, George Duke, Andy Narell, Wayne Wallace.  First-call pianist in Bay Area for Jazz and specialist in Latin Jazz.  Appears on over 40 jazz recordings.

Patrice Maginnis [ Email ]
Lecturer in Music - Voice
B.A., M.A., San Jose State University

Concurrent affiliation: Opera San Jose. Interests: operatic, recital, and concert work, especially of 19th- and 20th-century art song. Pedagogical philosophy: emphasis on strong technical foundation, broad-based knowledge of vocal repertoire from the 16th century to the present, and preparation of effective recitals and operatic roles, including programming, historically informed interpretation, and effective stage presence.

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Roy Malan
Lecturer in Music - Violin and Viola
Diplomas in Violin: Royal Academy of Music, Juilliard School of Music, Curtis Institute of Music

Concurrent affiliations: concertmaster, San Francisco Ballet; principal violinist, San Francisco Contemporary Chamber Players; founder and director, Telluride Chamber Music Festival; faculty, Rocky Ridge Music Center. Former affiliations: Ithaca College; Stanford University; first violinist: Porter Quartet, Stanford String Quartet, Ives Quartet, Crown Chamber Players, San Francisco Piano Trio. Teachers: Ivan Galamian, Efrem Zimbalist, Yehudi Menuhin. Performances: solo and chamber music in the United States, Canada, Mexico, Europe, Australia, and Africa. Interests: emphasis on 19th-century literature and performance practice and on virtuoso techniques; chamber music. Recordings: Sonatas, by Efrem Zimbalist and Efrem Zimbalist Jr. (Genesis Records); Sonatas, by Robert Russell Bennett and Ottorino Respighi (Orion Master Recordings); Fredrick Kaufman Concerto, Violin Sonata (Orion Master Recordings); Music from Telluride (Transparent Recordings); and numerous contemporary works for CRI and Newport Classics, including a solo violin piece, Gihon, written for him by jazz flutist James Newton. Pedagogical philosophy: acquisition of the technique, tone, and general musical culture essential for performing the Classical, Romantic, contemporary, and virtuosic basics of the repertoire; cultivation of the sensitivity and discipline essential for chamber music playing.

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George Marsh [ Email | Website ]
Lecturer in Music - Percussion
Former affiliation: San Francisco Conservatory of Music

Concurrent affiliation: Sonoma State University. Performances: with Terry Riley, Pauline Oliveros, Mose Allison, David Grisman, Joe Henderson, Roscoe Mitchell, John Abercrombie, and others; solos with San Francisco Taiko Dojo. Recent recording: In C, with Terry Riley and friends; Upon A Time, with jazz guitarist John Abercrombie, and many others. Publications: Inner Drumming, a drumset method book; articles in Percussioner International, Modern Drummer, Drum Tracks, and Percussive Notes. Interests: innovative musical performance and teaching of rhythm and drumset; inner drumming and the use of the I Ching to develop rhythm patterns and systems of study (demonstrated in clinics nationwide); the study of specific pulses for healing. Pedagogical philosophy: instruction according to the individual needs of each student, including internal body awareness, rudiments, styles of music, notation, polyrhythms, and the art of teaching. Website: Marshdrum.com.

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Patricia Mitchell [ Email | Website ]
Lecturer in Music - Oboe

Concurrent affiliations: principal oboist, Opera San Jose; oboe and English horn, Ballet San Jose Silicon Valley; English horn and oboe, San Jose Symphony. Performances: Best of Broadway productions (including Beauty and the Beast, Fiddler on the Roof, Les Miserables, La Boheme); oboe, English horn, ACT's production of Hans Christian Andersen; solo oboe, solo English horn, principal oboe, San Jose Chamber Orchestra; oboe, English horn, American Musical Theater of San Jose; English horn, San Francisco Opera.

Discography: "Mikey: The Music of Michael Touchi." English horn soloist with the San Jose Chamber Orchestra on Tango Barroco, for soprano saxophone, English horn and string orchestra. Johnson Digital Audio, 2001. "Mountain Days: The John Muir Musical." Oboe and English horn. Willows Records, 2001. "Three Musketeers," original American cast recording. American Musical Theatre, 2001. "Ode to Phaedra." Opera San Jose video production for KTEH Television, 1995. Midsummer Mozart Festival Orchestra. Various direct-to-disk recordings. Sonic Arts Laboratory Series, 1980s.

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Owen Miyoshi [ Email ]
Lecturer in Music - Trumpet

Owen Miyoshi, a native of Berkeley, CA, graduated with a Bachelors of Music degree from The San Francisco Conservatory of Music in 1993, where he studied with David Burkhart. He plays with both the Santa Cruz County and Monterey Symphony Orchestra and the Farallon Brass Ensemble. In addition, he plays Principal trumpet with Berkeley Opera and Bayshore Lyric Opera, and performs on a regular basis with Berkeley, California Symphony, Modesto, Santa Rosa, Napa Valley, and Vallejo Symphony Orchestras. Owen teaches private trumpet to many young players in the San Francisco Bay Area and is on faculty at the Young Musicians Program at UC Berkeley. In addition, he goes to several Oakland public schools through the MUSE music program of the East Bay Oakland Symphony. His hobbies are collecting trumpets, watching football (49ers) and baseball (Oakland A's), reading about fast exotic cars, and playing with his 4 cats.

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Diana Nieves [ Email ]
Lecturer in Music - Latin-American Ensembles

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Jane Orzel [ Email ]
Lecturer in Music - Bassoon
B.S., Indiana University
M.A., San Jose State University

Concurrent affiliations: Organist, First United Methodist Church of Salinas; Santa Cruz County Symphony, Monterey Symphony, Ensemble Monterey, Santa Cruz Chamber Players, Laurel Wind Quintet. Teachers: Leonard Sharrow, William Waterhouse, Milan Turkovic, Wilbur Simpson, Sam Jordan, Steve Paulson, Artemus Edwards. Professional memberships: International Double Reed Society, American Guild of Organists.

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Mesut Özgen [ Email | Website ]
Lecturer in Music - Guitar
M.M., Artist Diploma, Yale University
D.M.A., Arizona State University
M.D., Hacettepe University, Ankara, Turkey

Prizewinner in the International Portland Guitar Competition. Performances: solo and ensemble concerts in U.S., Turkey, and Spain. Interests: classical guitar repertoire; lute and vihuela music of the Renaissance and Baroque periods; 19^th-century Romantic guitar music; 20th century works, especially those based on various folk traditions; composing and arranging solo and ensemble music based on traditional Turkish music. Pedagogical philosophy: combining musical and physical aspects of guitar-playing technique from the beginning level, influenced by Benjamin Vedery's pedagogical concept of "sound and sensation." Works in Progress: a pedagogical book on designing individualized technical training programs based on exercise physiology principles; assisting Professor Frank Koonce to revise his celebrated edition of "the Solo Lute Works of J.S.Bach."

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Stan Poplin [ Email ]
Lecturer in Music - Jazz Ensembles

Studies at Norwegian State Academy of Music and privately with Stephen Tromontozzi, Mel Graves, and Bob Manning. Concurrent affiliations: Santa Cruz New Music Works, Mendocino Music Festival, Monterey Symphony, California Parallele Ensemble, Monterey Jazz Festival. Performances with Toots Thielemans, Dave Brubeck, Herb Ellis, Charlie Haden, Bobby Hutcherson, Roger Kelloway, James Moody, Eddie Harris, Smith Dobson, Chuck Berry, Charlie Bird, Chet Baker, and Muddy Waters.

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John Sackett [ Email ]
Lecturer in Music - Music Theory

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Wayne Solomon [ Email ]
Lecturer in Trombone
M.M., San Francisco Conservatory of Music.

Concurrent affiliations: Monterey County Symphony, Santa Cruz County Symphony, Napa Valley Symphony, Carmel-Bach Festival. Peformances: San Francisco Symphony, San Francisco Ballet Orchestra, Pacific Symphony Orchestra, Minnesota Orchestra, San Jose Symphony, and numerous other solo and ensemble venues, including performances with Ray Charles, Manhattan Transfer, The Temptations, The Four Tops, Diana Krall, and Dave Brubeck. Teachers: Mark Lawrence, Paul Welcomer, and John Engelkes.

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Brian Staufenbiel [ Email | Website ]
Lecturer in Music - Voice
B.A., University of California, Santa Cruz
M.M., San Jose State University
D.M.A., Eastman School of Music

Interests: vocal repertoire from Baroque to the present with special emphasis on opera, oratorio, German lied, art song, Benjamin Britten, and other music of the 20th century. Pedagogical philosophy: emphasis on the application of new research in physiologically based vocal techniques and pedagogy; development of a sound knowledge of standard vocal repertoire, which is both historically informed and at the highest level of preparation; and instruction in effective preparation, professionalism, and artistic effect for the performer. Recordings: Koch International Classics and Musical Heritage Society.

Classes: Individual Voice Lessons, Vocal Repertoire, Opera Workshop, and Opera Theater—Spring production

UCSC Opera Workshop

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Undang Sumarna [ Email ]
Lecturer in Music
Musical Director, UCSC West Javanese Gamelan
Former affiliations: Akademi Seni Tari Indonesia and Konservatori Karawitan, Bandung, West Java; University of California, Berkeley and Los Angeles

Undang Sumarna’s life has been devoted to the study of gamelan performance. Born in a family that included numerous famous musicians, he was fortunate to be instructed in the Priangan style by one of Sunda’s greatest drummers, his grandfather Pak Kyat. He subsequently studied other music, dance, and theater traditions of his Sundanese homeland and of Cirebon, Central Java, and Bali.

Although Sumarna plays all West Javanese gamelan and folk instruments, most of his performances are with kendang (the conducting drum for gamelan) or in the tembang Sunda ensemble (embellished singing accompanied by kacapi suling, zither, and flute). Under his direction, the UCSC West Javanese Gamelan collaborates with guest artists and with Linda Burman-Hall of the Music Department and Kathleen Foley of the Theater Arts Department in presenting frequent performances of kliningan (listening music), sendratari (dance drama), wayang golek (rod puppet theater), pencak silat (martial arts dance), and angklung (bamboo rattle ensemble). Sumarna has recently been featured with the gamelan degung group Pusaka Sunda.

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Susan Vollmer [ Email ]
Lecturer in Music - Horn

Susan Vollmer is principal horn of the Santa Cruz County Symphony and a member in the Napa Valley Symphony and the Sacramento Philharmonic.  Since 1998 she has been principal horn in the San Francisco Opera Center, and an active freelance performer with such groups as The San Francisco Opera and the San Francisco Ballet.  She has performed internationally with the Belgian National Symphony, the Israel Symphony, Mexico City Philharmonic, and Bolshoi Ballet, among others.  Locally she has worked on commercial recordings at the Skywalker Ranch and Fantasy Studios.  Besides teaching at UC Santa Cruz, she has studios in Palo Alto and San Francisco, and with The Young Musician Program at UC Berkeley.

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William Winant [ Email | Website ]
Lecturer in Music - Percussion
B.F.A., York University
M.F.A., Mills College

Concurrent affiliations: principal percussionist, San Francisco Contemporary Music Players; artist-in-residence, Mills College (Abel-Steinberg-Winant Trio), John Zorn Chamber Ensemble, Mr. Bungle, Mark Morris Dance Group, extra percussionist for San Francisco Ballet Orchestra; faculty, UC Berkeley. Performances: Cabrillo Music Festival, Pierre Boulez with the Los Angeles Philharmonic, San Francisco Symphony, Kronos String Quartet, Steve Reich and musicians, Yo-Yo Ma, Oingo Boingo, Charles Wourinen, and Frank Zappa. Interests: performance of new works for solo and multiple percussion, and integration of this medium with analog and digital electronics; world music, especially Balinese, Javanese, and South Indian Classical Carnatic music. Performances: in collaboration with Anthony Braxton, Gordon Mumma, Alvin Lucier, Lou Harrison, John Cage, Iannis Xennakis, Danny Elfman, Ralph Shapey, Terry Riley, Sonic Youth, and John Zorn. Recordings: more than 100 recordings of new music, rock, and jazz, including works by Lou Harrison (New Albion), the Glenn Spearman Double Trio (Black Saint), Siouxsie and the Banshees (Polydor), Mr. Bungle (Warner Brothers), Sonic Youth (Geffen Records, SYR4), and the sound track of Tim Burton’s film Batman Returns (Warner Brothers). Pedagogical philosophy: emphasis on the study of musics from Western and non-Western cultures and on solo and ensemble performance.

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Greer Ellison Wolfson [ Email ]
Lecturer in Music - Flute

Greer Ellison Wolfson was principal flutist with the Portland Baroque Orchestra for 10 years. She is a member of the California Symphony Orchestra and has been a member of the San Francisco Philharmonia Baroque Orchestra. She performs each summer in the prestigious Mainly Mozart Festival in San Diego. Greer has been the guest soloist with the Ars Femina ensemble in Louisville, Kentucky and has performed at the National Flute Association Convention as soloist several times. She freelances in the Bay Area on both modern and baroque flutes. She is Lecturer of Flute at the University of California at Santa Cruz and teaches in the summers at the Northern California Flute Camp in Carmel Valley, CA. Greer has degrees in performance from the Oberlin Conservatory of Music and the University of Michigan. As a recipient of an ITT Fellowship, she studied both modern and baroque flutes in The Hague in Holland for 2 years. She received 2 more degrees in flute performance from schools in Europe. She has recorded on Cambridge Records and Harmonia Mundi.

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