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Faculty :: Course Requirements :: Admissions :: Completed Dissertations Alumni of the Music Theory Program of CUNY Many of our alumni in music theory have successful careers in scholarship and teaching, and a number are successful in other fields of music such as performing, composing, and arranging. Below is a list of those who have graduated from our program in Music Theory. (Note: if you are an graduate whose name has inadvertently been omitted or you would like you information updated, please contact Poundie Burstein.) Dr. Kyle Adams (2006) is an Assistant Professor at Indiana University; he also has taught at Mannes School of Music . Dr. Eyton Agmon is a Professor at Bar-Ilan University in Israel; he also has taught at Mannes School of Music and was a Visiting Professor at Chicago University. He has written several important articles on music analysis and speculative music theory for Music Analysis, Theory and Practice, Journal of Music Theory, Music Theory Online, Schenker Studies 3, Journal of Music Theory, Music Perception, Interface, and many other journals. Dr. Mark Anson Cartwright is Assistant Professor of Music Theory at Queens College, CUNY, and was formerly on the faculty of Hofstra University. He has presented many papers at national and international conferences, and has had articles on Schenkerian Analysis published in Music Analysis, Music Theory Spectrum, and Intégral. He has also taught at Yale University, the Mannes School of Music, and Hunter College, and he was the editor of the journal Theory and Practice. Dr. Elliot Antokoletz is a Professor at the University of Texas, where he has held the has held the Tacquard Endowed Centennial Chair (1983-4) and Doty Professorship in Fine Arts (1994-1995). His research is primarily devoted to twentieth-century music, and his theoretical contributions to our understanding of the music of Béla Bartók earned him the Béla Bartók Memorial Plaque and Diploma from the Hungarian Government in 1981. He has lectured extensively in Hungary, Germany, England, Australia, Mexico, and the United States. Professor Antokoletz is the author of four books: The Music of Béla Bartók: A Study of Tonality and Progression in Twentieth-Century Music, Béla Bartók, A Guide To Research, Twentieth Century Music, and George Perle, A Bio-Bibliography. He is co-editor of Bartók Perspectives and the International Journal of Musicology. He contributed several entries to the New Grove II and has published numerous articles in most of the major music journals. He was the recipient of the Ph.D. Alumni Achievement Award from the City University of New York (1987) and a Teaching Excellence Award (1981) from the University of Texas. Dr. Jodi Beder (1982) is a freelance cellist active in the Princeton, Philadelphia, and Washington areas. She plays in historical instrument groups on baroque and classical cello, is principal cellist in Princeton Symphony Orchestra, and performs with such groups as the Chamber Orchestra of Philadelphia and the Opera Festival of New Jersey. Something of a specialist in more modern music, she has been a frequent soloist at the American Festival of Microtonal Music. She performs and records with Zen for Primates, a cabaret-rock band, and was recently part of a Sun Ra Arkestra residency at the Painted Bride in Philadelphia. She maintains a private teaching studio, and teaches theory, chamber music, and other classes at Rider University and at the NJ Governor's School for the Arts. Dr. Michael Berry (2006) is an Assistant Professor at Texas Tech. He has also taught at the College of New Jersey; his current research centers on Sofia Gubaidulina, rap music, and pedagogy. Dr. L. Poundie Burstein (1988) is an Associate Professor at Hunter College (where he is currently the music department graduate advisor) and the Graduate Center, CUNY. His published essays and reviews have appeared in Musical Quarterly, Music Analysis, Theory and Practice, Journal of Music Theory, Woman and Music, Journal of Musical Research, Notes, Schenker Studies 2, and elsewhere. He has performed extensively as a pianist for comedy improvisation groups, and he has also taught at Mannes School of Music of the New School University, where he was awarded the 1995 Distinguished Teachers Award. He is the current president of the Music Theory Society of New York State. Dr. David Bushler is Professor Emeritus of Music Theory at City College; he has published various articles on Mozart and classical music. Dr. Robert Delfuasse (1988) is an Associate Professor at Wagner
College, where he teaches music theory, trumpet, and conducting. Dr. Nancy Hager is the Director of the Conservatory of Music at Brooklyn College, where she is Professor of Music Theory and Analysis and Musicology, Director. She has published articles on 18th century music; liner notes for Musical Heritage Society, and she has co-edited a textbook anthology of music for analysis. Dr. Sigrun Heinzelmann (2007) is an Assistant Professor at Oberlin; she has also taught at University of Amherst. She has given many presentations in America and Europe; her publications and fortchoming publications appear in Zeitschrift der Gesellschaft für Musiktheorie, Studi Musicali, and elsewhere; and she is the founder of the German-American music theory Summaries Project . Dr. Ellie Hisama (1996) is Professor of Music at Columbia University. Her specialties include post-tonal theory, music by women, American music, popular music, and the social and political roles of American music. She has published three books: Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon (Cambridge University Press, 2001) and the co-edited essay collections Critical Minded: New Approaches to Hip Hop Studies (Institute for Studies in American Music, 2005) and Ruth Crawford Seeger’s Worlds: Innovation and Tradition in Twentieth-century American Music (University of Rochester Press, 2007). She is Editor-in-Chief of American Music, the journal of the Society for American Music, and has co-organized major conferences celebrating the centennial of the experimental composer and folk music activist Ruth Crawford Seeger (2001) and Feminist Theory and Music 8 (2005). Prof. Hisama has taught at the University of Virginia, Queens College, the University of Massachusetts, Ohio State University, Connecticut College, Brooklyn College, and the CUNY Graduate Center, and she was Director of the Institute for Studies in American Music at Brooklyn College from 1999 until 2006. Dr. Timothy L. Jackson (1988) is Professor of Music Theory at University of North Texas. He has authored and edited books on Tchaikovsky and Bruckner and co-wrote he wrote the composer article on Bruckner for the Revised New Groves Dictionary of Music and Musicians. Currently, he is editing a volume of Sibelius Studies, also for Cambridge. Jackson has published on a wide range of topics in journals as The Journal of Music Theory, Music Analysis, In Theory Only, Theory and Practice, 19th-century Music, The Musical Quarterly, Music and Letters, Journal of Musicological Research, and The International Journal of Musicology. In 1994-95, Jackson was Fulbright Professor at the University of Nürnberg-Erlangen, Germany, and in 1996-97, he held an NEH Award to College Professors. Jackson has been a guest professor at Oxford University, and at the Sibelius Academy and the University of Helsinki, Finland. Dr. Gary Karpinski is a Professor at University of Massachusetts at Amherst. He is the author of the book Aural Skills Acquisition (Oxford University Press) and has articles published in Music Theory Spectrum, Journal of Music Theory Pedagogy, International Journal of Musicology, The Computer and Music Educator. He is the President of the Association for Technology in Music Instruction and of the New England Conference of Music Theorists, and has had grants from Massachusetts Center for Teaching, Apple Computer, Inc., and the National Endowment for the Humanities. Dr. Deborah Kessler has taught at New York University, Hunter College, and the Mannes School of Music. She has delivered and published various papers on the music of Schubert, and she was the chair of the 1998 Annual Conference for the Music Theory Society of New York State. Dr. Robert Kosovsky (2000) is a librarian at the Research Center New
York Public Library. He was the curator of the Ernst Oster Collection, the largest
collection of Schenker's papers. Also, he has published articles in Theory and
Practice, Schenker Studies 2, and elsewhere, and he has curated various
exhibitions at the New York Public Library. Dr. Jan Miyake (2004) is Assistant Professor at Oberlin College.
She presented papers at the annual conferences for Society for Music Theory,
Music Theory Society of New York State, and elsewhere. She was the assistant
editor of Essays from the Third International Schenker Symposium, and
she will have an essay published in the next volume of this series. She has
also taught at Hunter College and was the research assistant to Midori. Dr. Shaugn O'Donnell (1997) is Associate Professor of Music Theory at City College, CUNY; he has also been an Assistant Professor at Tulane University. He has written and presented numerous papers on set theory, on computer/music technology, and on the analysis of rock music, and he has published essays in Music Theory Spectrum, Intégral, and elsewhere. Dr. Christopher Park teaches full-time at Mannes School of Music. He has presented papers on Mozart as a teacher at national and international conferences, and he is active as a composer and a performer in the New York City area. He has organized the colloquium Paper Maché, which features scholarly presentations by members of the Mannes faculty and graduate students. Dr. Erez Rapoport (2005) teaches at the Rubin Academy and Tel-Aviv University in Israel. Dr. William Renwick (1988) is a Professor at McMaster University. His research interests encompass studies in tonal counterpoint and analysis as well as computer applications in music research. His publications include Analyzing Fugue: A Schenkerian Approach (Pendragon, 1995), and The Langloz Manuscript: Improvising Fugue from Thoroughbass (Oxford, 2001), as well as articles in Music Theory Spectrum, Music Analysis, Bach Perspectives, Music Theory Online, Theoria, Computers in Music Research, Canadian University Music Review, and other journals. He is currently working in association with Ian Bent and William Drabkin on a translation of Schenker's analytical work Der Tonwille for Oxford University Press. He also is active as an organist, choral director, and composer. In 1999 he served as co-chair of The Canadian Organ Festival in Hamilton. He is Music Director at Saint John the Evangelist Anglican Church in Hamilton Ontario. Dr. Frank Samarotto is an Associate Professor of Music Theory at Indiana University. He has read papers on issues of temporality, text expression and motivic coherence at regional, national and international conferences, including conferences in Rotterdam, London, Cambridge, and Tallinn, Estonia. His publications can be found in Schenkerian collections and international congress reports. He has been the editor of Theory and Practice and is on the editorial board of the new journal The Journal of Schenkerian Studies. His research interests include aspects of Schenkerian theory and its application to rhythm and temporality in music. Dr. Jamuna Samuel (2005) is a Visiting Assistant Professor at Wellesley College. Dr. Matthew Santa is Associate Professor of Music at Texas Tech University. He has presented papers at the annual meetings of the Society for Music Theory, the Music Theory Society of New York State, the New England Conference of Music Theorists, Music Theory Midwest, the Texas Society for Music Theory, and the South Central Society for Music Theory. His 1998 paper "Chordal Tone Centers in Stravinsky's Neoclassical Music" earned him the Music Theory Society of New York State's "Young Scholar Award." His articles have been published in the journals Theory and Practice, Music Theory Spectrum, and Music Analysis. Also, he is active as a composer and pianist, and he has many publications and performances of his compositions and arrangements. Dr. Steve Slottow (2001) is an Assistant Professor at the University
of North Texas; he has also taught at Hofstra University. His article on the music of Carl
Ruggles, which appeared in Theory and Practice, won the MTSNYS
2000 Emerging Scholar Award. Dr. Philip Stoecker (2003) is an Assistant Professor at Oberlin College. He has given presentations at many conferences throughout the country. He has published in Music Theory Spectrum, and is the editor of Theory and Practice. Dr. Alekandra Vojcic(2007) has performed extensively as a pianist and
has taught music theory and analysis at Juilliard; she now teaches as
University of Massachusetts at Amherst. Her paper "Understanding the Limping
Meters: Brass Band to Ligeti" was published by the Lithuanian Academy of
Music and Theater in 2007. Dr. Sevin Yaraman (1998) is an Assistant Professor of Music at Forham.
She specializes in 18th and 19th century music, dance music, and the role of women in
music. A former fellow of the AAUW Educational Foundation, she has presented papers at
academic conferences in the U.S. and in Europe and has published a book on music and dance
entitled Revolving Embrace: The Waltz as Sex, Steps, and Sound. Also, she
has been named "Speaker in the Humanities" by the New York State Council for the
Humanities for the period 2000-2003. |
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