​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Conducting & Ensemble Directors
Brass & Percussion
Theory, Composition, History, & Literature
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DMA: University of Oklahoma
MM: Florida State University
BS: Central Michigan University

Service Responsibilities
Associate Director of Bands
Director of Athletic Bands
Commencement Music Coordinator
SoM Graduate Committee
Director-CMU Drum Major & Color Guard Camps
​​​​ Courses Taught
• Conducting
• Instru​mental Organization
• Instrumental Rehearsal Methods
• Marching Band Design - Graduate

Research Interests
• Conducting Pedagogy
• Performance Analysis

Ensembles involved with
The Chippewa Marching Band
The Wind Symphony
University Band
Symphony Band


James Batcheller is a member of the conducting faculty and Associate Director of Bands at Central Michigan University. He teaches courses in conducting, music education, and rehearsal methods, is director of the Chippewa Marching Band, and conductor of the Wind Symphony. Dr. Batcheller has ​also served on the faculty at the University of Oklahoma and was Director of Bands at Great Falls High School in Great Falls, Montana. He has published articles in the Journal of Band Research and the Instrumentalist magazine, and is a contributing researcher for the Teaching Music Through Performance In Band series of reference books. New orchestrations by Dr. Batcheller have been performed by stars of opera and the Broadway stage including Darius de Haas, Sarah Uriarte Berry, and CMU’s own Teri Hansen, and by ensembles including the Colorado Symphony Orchestra. ​ 
​​He is an active, collaborative participant in music teacher training and professional development. Batcheller's appearances as guest conductor, clinician, and adjudicator have taken him across the United States, including performances and sessions at the North Central, Southwest, and National meetings of the College Band Directors National Association. An advocate for new art music for wind band, Dr. Batcheller has conducted premiers of several new works, including Charles Rochester Young's Tempered Steel for the Big 12 Band Directors' Association, and CMU Alumnus Rob Ash's Glory. He was also among the commissioners and premier conductors of Frank Ticheli's Symphony No. 2. Ensembles under Batcheller's direction have earned high praise from guest conductors and composers, including David Gillingham, Cindy McTee, Eric Ewazen, Daniel Bukvich, Eric Stokes, Chalon Ragsdale, William Wakefield, Col. Timothy Holtan, David Booth, Robert Spevacek, and Eugene Corporon.

​Batcheller is a member of the College Band Directors National Association, the National Band Association, the Pi Kappa Lambda National Music Honor Society, the Gamma Beta Phi Society, and Phi Mu Alpha Sinfonia. Dr. Batcheller is also the chapter sponsor for the Lambda Tau chapter of Kappa Kappa Psi Honorary Band Fraternity at CMU. He has been recognized with three awards for Excellence in Teacher Preparation from the University of Idaho and has been named four times to Who's Who Among America's Teachers. Dr. Batcheller served as faculty advisor to the University of Oklahoma student chapters of M.E.N.C. and the American String Teachers Association, and during his tenure in Montana served on the executive board of the Montana Bandmasters Association. In 2004, Dr. Batcheller was made an honorary member of the Michigan School Band and Orchestra Association.​

Recent Scholarship​ ​​
"John Mackey's Lightning Field," Teaching Music Through Performance In Band, GIA, "David Biedenbender's Unquiet Hours," Teaching Music Through Performance In Band, GIA, "Morton Gould's Hymnal on We Shall Overcome," Teaching Music Through Performance In Band, GIA.; "Thomas Doss's Cantus: Song of the Night," Teaching Music Through Performance in Band, GIA.; "Biographies and Works for Soloist and Wind Band: Brendan Anderson, Jurriaan Andriessen, Keith Amos, Kenneth Amis, Leroy Anderson, Morgans Andresen, Tommy Joe Anderson," Teaching Music Through Performance in Band, GIA.​
DMA (Composition): 2006; University of Missouri - Kansas City
MM (Composition): 2000; University of Louisville
MM (Theory): 1998; University of Kansas
BM (Composition): 1996; University of Kansas
BM (Theory): 1996; University of Kansas

Service Responsibilities
Area Coordinator, Theory/Literature Area

Personal Website


​​​ Courses Taught
• Composition
• Intro to Music Technology
• Instrumentation & Scoring
• Electroaco​ustic Music I
• Counterpoint

Research Interests
• Contemporary Music
• Experimental Music
• Multimedia Collaborations
• Electronic Media


Jay C. Batzner (b. 1974) is a composer and zazen practitioner. Jay’s music has been performed at new music festivals such as Society for Composers, Inc., College Music Society, Society for Electro-Acoustic Music in the US, and Electronic Music Midwest as well as instrument performance societies including the National Flute Association, International Horn Society, and North American Saxophone Alliance. His works have received recognition from such organizations as the Bourges festival, the Areon Flutes International Composition Competition, the VI Concurso Internacional de Miniaturas Electroacusticas, and the London International Film Festival.​ 

Jay's frequent interdisciplinary collaborations with the group Team Hyena Puppet has led to several dance piece presented at venues such as the National Dance Educators Organization, Electroacoustic Barn Dance, and the Regeneration Dance Festival of Detroit. Their recent dance film Slipping By, done in collaboration with Eric Limarenko and Paul Collins, was screened at the International Fine Arts Film Festival, IMARP - Mostra Internacional de Dança, and the New York City Electroacoustic Music Festival.

Jay is currently on the faculty of Central Michigan University where he teaches composition, theory, and technology courses. He holds degrees in composition and/or theory from the University of Kansas, University of Louisville, and University of Missouri – Kansas City. A lot of his output is instrumental chamber music, frequently with electronics, but he has recently been expanding his vocal compositions. When not teaching or composing, Jay reads too many comic books and is trying to improve his chess game. Ask him about his opera ideas sometime.

Jay's music has been recorded by R. Andrew Lee, David Thornton, Meerenai Shim, The Crescent Duo (feat. Tracy Watson), Alexandra Mascolo-David, Bruce Bonnell, and many others. His works are published by Unsafe Bull Music.

Recent Scholarship

Lullaby Boxes for solo piano, recorded by Alexandra Mascolo-David and available through White Pine Records (2016)

Word of the Day for mezzo-soprano, flute, and bass clarinet, recoded by Tracy Watson and the Crescent Duo, text by Joanna White and available through Centaur Records (2016) as if to each other for piano and electronics, recorded by R. Andrew Lee and available from Irritable Hedgehog (2015)

DMA: 2002, University of Arizona

Service Responsibilties
Committee on Committees
CCFA IT Committee



​​​​​​ Courses Taught:
• Oboe
• Double Reed Techniques
• Chamber Ensemble

Research Interests
• Scholarship of teaching & learning  
• Oboe Reef Making Pedagogy

Ensembles involved with
• ​Powers Woodwind Quintet
Flint Symphony Orchestra


Critics have described oboist Lindabeth Binkley’s playing as “suave and expressive, with the purest tone imaginable” and “a classic triumph of lightness, delicacy, and expressiveness.”  She has held positions with the Colorado Symphony, Arizona Opera, Central City Opera, and performed as the Principal Oboist of the Tucson Symphony Orchestra from 1998 to 2009.  Shortly after her arrival in Michigan, Dr. Binkley was appointed Principal Oboe of the Flint Symphony Orchestra and has been active throughout the state in performances with the Ann Arbor Symphony, Lansing Symphony, and Lexington (MI) Bach Festival.  ​ View ​more​
Dr. Binkley also enjoys collaborating and creating extraordinary solo and chamber music performances. In 2020, she completed a large collaborative recording project,  From Earth & Sky: Music of Jenni Brandon (BGS 545) for Blue Griffin Records for which she commissioned the beautiful Wood Song for Solo Oboe by Jenni Brandon with funding from a CMU Faculty Research & Creative Endeavors grant.   Dr. Binkley is a founding member of Limitless Collective, a chamber ensemble of professional female musicians dedicated to highlighting works by emerging composers, women, people of color, non-binary, and the LGBTQ community.  She also performs regularly with the Powers Woodwind Quintet, a CMU faculty ensemble, and can be heard on their 2017 Centaur Records release, Hidden Gems (CEN 3528)As a soloist, she performs frequently in recital at International Double Reed Society Conferences and as a visiting guest artist at college campuses across the United States.  
A dedicated teacher, Dr. Binkley’s students have been accepted into prominent summer music programs such as the Rocky Ridge Music Center (Estes Park, CO), Vianden International Music Festival (Luxembourg), Marrowstone Music Festival (Bellingham, WA), Idyllwild Arts Academy (Idyllwild, CA), and the Dacoda Skidmore Chamber Music Institute (Saratoga Springs, NY).  Students who have studied with Dr. Binkley have been accepted into graduate programs at the University of Colorado-Boulder, University of Illinois at Urbana-Champaign, the Shanghai Orchestra Academy, University of Cincinnati College-Conservatory of Music, Indiana University-Bloomington, Arizona State University, and Florida State University. In addition, she, with Professor MaryBeth Minnis, hosts a summer reed making camp for high school oboists and bassoonists at the Central Michigan University School of Music.  Dr. Binkley also frequently presents at music education conferences such as the Michigan Music Conference, the Texas Music Educators Association Conference (San Antonio, TX), and at the Annual Midwest Clinic (Chicago, IL). 

Originally from Michigan, Dr. Binkley holds degrees from Central Michigan University, The University of Colorado at Boulder and the University of Arizona. Her primary oboe teachers include Roger Rehm, Peter Cooper, and Dr. Neil Tatman.

Dr. Binkley performs on a Royal 125 oboe made by F. Lorée (Paris).

Recent Scholarship

"From Earth & Sky: Music of Jenni Brandon," Blue Griffin Records, 2020

Author. "Updating the Reed Making Experience for Today's Students." The Double Reed: The Quarterly Journal of the International Double Reed Society, 42(4), 125-143.

Presenter. 2017 International Double Reed Society Conference (Appleton, WI). "Inspiring Curiosity in Today's College Musicians: The CMU Double Reed Baroque Project."

Presenter. 2016 International Double Reed Society Conference (Columbus, GA). "Reed Class Reinvented: Developing Independent Reed Makers in the Applied Studio Setting."

"Hidden Gems" - Powers Woodwind Quintet - White Pine Records, 2016

DM, Horn Perfomance and Brass Pedagogy: 2003, Indiana University
MM, Horn Performance: 1991, Northwestern University
BMus/BMusEd: 1990, Memorial University of Newfoundland

Ensembles involved with
Horn Choir
Powers Woodwind Quintet

Service Responsibilites
• Faculty Advisor: Pi Kappa Lambda, Iota Rho Chapter (National Music Honor Society)
​​​​ Courses Taught
 Applied Horn
• Natural Horn
• Chamber Ensembles
• Music in Society
• Musics of the World

Research Interests
• Natural Horn Performance and Pedagogy
• Application of 20th Century Analytical Techniques to Study and Performance of Horn Literature


A chamber music specialist critically acclaimed for his “unfailing beauty of tone” and “utmost sensitivity”, Dr. Bruce Bonnell has enjoyed a successful career as orchestral performer, soloist, clinician and pedagogue on the horn and natural horn throughout North America and Southeast Asia. Born and raised in Newfoundland, Dr. Bonnell has been professor of horn at Central Michigan University since 2000. In 2015 he released Chamber Music for Horn, Violin and Piano with Hai Xin Wu, violin and Zhihua Tang, piano which was lauded by critics in the US and Britain. In May of 2008, Dr. Bonnell released Souvenirs: Chamber Music for Horn, Flute and Piano with Italian flute virtuoso Vieri Bottazzini and acclaimed Canadian pianist Dr. Peter Green on Centaur Records. The recording garnered rave critical reviews internationally and was nominated for the 2009 “Classical Recording of the Year” award by the East Coast Music Association. Dr. Bonnell is featured on Double Star - the Music of David Gillingham performing the Concerto for Horn and Symphonic Band with the CMU Symphonic Wind Ensemble (2010, White Pine Records).
Dr. Bonnell’s orchestral experiences include Second Horn in the Hong Kong Philharmonic from 1991-1994, and Principal Horn in the Malaysian Philharmonic from 1998-2000 where he earned high praise for his playing from such notable maestros as Kurt Masur, Sir Neville Marriner, Kenneth Jean, David Atherton, Jan Pascal Tortelier and Hans Graf. He has performed with the Newfoundland Symphony Orchestra, Ottawa Symphony, Hull Chamber Orchestra, Bloomington Camerata, and is presently Principal Horn with the Saginaw Bay Symphony Orchestra. Solo and chamber music highlights include the finals of the 1989 Canadian Music Competition, the 1998 Fischoff Chamber Music competition and recitals throughout North America and Southeast Asia. 
 An enthusiastic performer of new works for horn, Dr. Bonnell gave the world premiere performances of Danger Tree for Horn and Electronic Media by Jay Batzner and Caccia for Two Horns by Christopher Dietz at the 51st International Horn Symposium in Ghent, Belgium in 2019. In 2018 he gave the world premiere of David Gillingham’s Timepiece for Two Horns and Piano at the 50th International Horn Symposium in Muncie, Indiana. These works for two horns have come through a collaboration with Andrew Pelletier and will be featured on a forthcoming recording. In 2013, he premiered Supernatural: Music for Natural Horn with Live Electronics by Jay Batzner at the 45th International Horn Symposium in Memphis, Tennessee and in 2007, he gave the world premiere of David Gillingham’s Concerto for Horn and Symphonic Band in St. John’s, Newfoundland. 
 As a member of the Powers Woodwind Quintet, he has toured and performed throughout the Midwestern states and has worked with the group on several recording projects including Brementown Musicians released in 2006 on Centaur Records, Clarinet Chamber Music of Alvin Etler, also on the Centaur label, in 2008, and Hidden Gems and Gems of the Woodwind Quintet Repertoire on the White Pine label (2016 and 2011, respectively). His teachers include William Costin, Kjellrun Hestekin, Michael Hatfield, Paul Tervelt, Richard Seraphinoff and Richard Bissill.

Recent Scholarship

"Chamber Music for Horn, Violin and Piano" - with Hai Xin Wu, violin and Zhihua Tang, piano. Centaur Records, 2015.

"Hidden Gems" - Powers Woodwind Quintet - White Pine Records, 2016

"Gems for Woodwind Quintet" - Powers Woodwind Quintet - White Pine Records, 2011

"Double Star - the Music of David Gillingham" - White Pine Records, 2009

"Souvenirs - Chamber Music for Horn, Flute and Piano" - with Vieri Bottazzini,, flute, and Peter Green, piano. Centaur Records, 2008. 

Nominee - BEST CLASSICAL RECORDING, East Coast Music Awards 2008.

DMA: University of Washington
MM: University of Nevada, Las Vegas
BM: Ohio State University

Scholary/Creative Interesets
  • Conducting Pedagogy
  • Wind Band Rehearsal
  • Wind Band History

​​​ Courses Taught
• Instrumental Performance Ensembles
• Conducting
• Instrumental Methods
• Related Courses

Service Responsibilities
Director of Bands


At the University of Illinois, she conducted the Women’s Chorus and St. John’s Newman Center Chapel Choir. Dr. Nash-Robertson has led student and performing groups on thirteen European Tours where performing sites included Westminster Abbey, St. Peter’s Basilica, St. Patricks’s Cathedral, and the cathedrals of Notre Dame and Chartres, and has conducted in New York’s Carnegie Hall and Lincoln Center.

In 2002 and 2010, she led the CMU Choir on concert tours of China with performances in Beijing, Shanghai, Xian and at the 2010 World Expo. She also taught a ten-day residency culminating in a concert at the Tienjin Conservatory.

​Dr. Nash-Robertson has conducted choirs at Blue Lake Fine Arts Camp and the Interlochen Center for the Arts and has served as music director of the International Invitational Choral Festival in Dublin, Ireland. She has also taught in the Bahamas, Peru, and Canada. Recently, she conducted the Faure Requiem at Shangai Expo 2010 with an American choir and Chinese orchestra and the Haydn Creation in Carnegie Hall with the New York City Chamber Orchestra and a 160-voice choir. Under her direction, Central Michigan University choirs frequently perform in regional conferences of the American Choral Directors Association and the Michigan School Vocal Music Association. Dr. Nash-Robertson is a frequent clinician and guest conductor throughout the Midwest and is Past-President of American Choral Directors Association - Michigan.​ She is the recent recipient of the Maynard Klein Award for a lifetime of excellence and leadership in the field of Choral Music.

Dr. Christopher Chapman is the Director of Bands for the Central Michigan University School of Music, where he conducts the Symphonic Wind Ensemble and coordinates the wind band conducting area. His ensembles have gained notoriety and praise from composers and audiences alike and have been featured in performance sites from Carnegie Hall to concert halls in the United States as well as Japan, China and Taiwan. Recent commercial recording projects include: The Five Changes; Currents; Scenic Meditations; and David Maslanka's Mass was produced by Mark Records. 

Originally from Columbus, Ohio, Chapman holds degrees in music from The Ohio State University, University of Nevada, Las Vegas, and the University of Washington. Dr. Chapman has appeared as a conductor, clinician and lecturer throughout the United States. He has also been a contributing author in A Composer's Insight: Thoughts, Analysis and Commentary on Contemporary Masterpieces for Wind Band, a series of books on contemporary wind band composers for Meredith Music Publications, a subsidiary of the Hal Leonard Corporation and Teaching Music through Performance by GIA Publications. Dr. Chapman's wind band compositions and arrangements, published by Timberline Publications. He has served as a clinician and guest conductor throughout the United States, Japan, China, Taiwan, and Canada.

In 2015, Dr. Chapman was elected to the prestigious American Bandmasters Association. He has been the Northwest Division president the College Band Directors National Association and Northwest Divisional Chair of the National Band Association. An inductee into the Phi Beta Mu honorary Bandmasters Fraternity, he is also an honorary member of the Kappa Kappa Psi Honorary Band Fraternity where he has served as the Co-Governor of the Western District, and an honorary member of the Tau Beta Sigma honorary band sorority. Other organizations include the World Association of Symphonic Bands and Ensembles, Michigan School Band and Orchestra Association, National Association for Music Educators, and Michigan Music Educators Association. Dr. Chapman has also served as the Musical Director of the Oregon Brass Society, a British-style brass band in Springfield, Oregon, the Portland Wind Symphony, a semi-professional adult band in Portland, Oregon, and the Clock Tower Wind Orchestra, a professional concert band.

Ph.D: 1998, Northwestern University
MM: 1993, Northwestern University
BMus: 1990, University of Texas - Austin

Service Responsibilities
Music Graduate Coordinator
​​​​ ​Courses Taught
• Music History I, II, & III
• Historical Topics I & II
• Rock & Roll Seminar
• Sem in World Music
• Inde​pendent Study
• History of Opera
• Sem/Music of a Selected Composer

Research Interests
• Twentieth-century French & American Music (esp related to art song, popular music, & the works of French composers Ravel & Poulenc)                      


Dr. Keith Clifton joined the CMU faculty in August 2002. He teaches all levels of undergraduate and graduate music history and courses in popular music, world music, and opera history. Prior to his CMU appointment, he held faculty positions in Arkansas, Iowa, and Illinois.​ 
Dr. Clifton’s musicological work centers on twentieth-century France and the United States, with particular emphasis on Maurice Ravel and Les Six. His principal research areas include opera, American music, popular music, and gender studies. Widely published with nearly sixty scholarly contributions to his credit, his articles and reviews have appeared or are forthcoming in Grove Dictionary of American Music (2nd edition), Notes, Fontes Artis Musicae, College Music Symposium, The Opera Journal, The Journal of Singing, The Reader’s Guide to Music History, The Journal of Musicological Research, Canadian University Music Review, H-France, The Encyclopedia of the Romantic Era, LGBTQ America Today, and Madonna's Drowned Worlds. He is a regular consultant for academic publishers and music-related articles in regional, national, and international media, including Cnn.com, Investor’s Business Daily, Semana, The Baltimore Sun, and The Dallas Morning News.

Clifton’s longstanding interest in American song culminated in a 2008 book for Scarecrow Press titled Recent American Art Song: A Guide. This book, the first to examine in detail post-1980 American classical song, has been positively reviewed in several venues and is considered a standard reference source on its subject. He also served as co-editor of the critical edition of Maurice Ravel’s Fugue in F Minor (c. 1897), an overlooked early work that received its world premiere in 2010. Clifton was later interviewed about the piece for a special program on the Big Ten Network (available for viewing on You Tube under the title “Revealing Ravel”).

Professor Clifton has presented numerous lectures, academic papers and posters at conferences including national meetings of the American Musicological Society (2002, 2010, 2012), the Society for American Music (2011), International Musicological Society congresses in Belgium and Switzerland (2002, 2007), the Songs Across the Americas Festival in Bolivia (2003), the Bach Festival in Peru (2005), the National Association of Teachers of Singing (2006), Feminist Theory and Music (2003), national meetings of the College Music Society (2005, 2007, 2009), the Chicago Civic Orchestra, the Midland Symphony Orchestra, and the Elderhostel program.

​In addition to his work as a musicologist, Dr. Clifton is an active vocal coach and performer of opera, art song, and choral music. He served as tenor section leader at Winnetka (IL) Congregational Church from 1993–1998, and has performed as a soloist and choral singer for several American choirs and festivals in Europe, Great Britain, and South America. P​rofessional memberships include the American Musicological Society, where he served on the national Committee on Cultural Diversity, the Society for American Music, and the College Music Society, where he serves as 2013 national program chair and Vice President/ President-Elect of the Great Lakes Chapter. Strongly committed to teaching, Dr. Clifton has been a multiple nominee and finalist for the CMU Excellence in Teaching Award and currently serves on the Advisory Board of the Journal of Music History Pedagogy. His former students are enrolled in or have completed advanced degrees at programs across the United States and abroad.

Recent Scholarship

Clifton, Keith E. "Ibert, Chaliapin, and Pabst's Adventures of Don Quixtote." Paper presented at Opera and Popular Culture, Texas Christian University, February 2020.

Clifton, Keith E. "The "Liturgical" Symphony and Honegger's Postwar Rehabilitation." Paper presented at Les Six at 100, Princeton University. January 2020.

Clifton, Keith E. "Poulenc's Babar and the Rebirth of Lifestyle Modernism" Article for Journal of Musicological Research 38, no. 2 (2019).

CMU Type C Research and Creative Endeavors Grant for archival research on 20th century French music undertaken at Rice University and University of Texas at Austin, March 2017.

"Claude Debussy" for "A-R Online Music Anthology." Madison, WI: A-R Editions, 2018.

DMA: 1991, Eastman School of Music
MM: 1988, Northwestern University
BM: 1987, Eastman School of Music
Performance Certificate: 1987, Eastman School of Music

Service Responsibilities
CMU Marching Band Photographer

​​​​ Courses Taught
 Brass Techniques
• Euphonium Lessons
• Tuba Lessons
• Brass Quintet
• Tuba & Euphonium Quartet
• Chamber Ensemble


Dr. Cox has performed with numerous professional organizations, including the Rochester Philharmonic Orchestra (NY), Midland (MI), and Penfield (NY) Symphony Orchestras principal tubist, and Syracuse Symphony (NY) and the New World Symphony Orchestra (FL) as substitute tubist. He has held faculty positions at the Eastman School of Music; State University of New York at Geneseo; and Nazareth College (Rochester, NY). In the summer, he has held the position of tuba and euphonium instructor at the New England Music Camp, a summer music institute in Maine for talented high school musicians.​ 
Dr. Cox is a board member and has judged for the Leonard Falcone International Euphonium and Tuba Solo Competition. He is also member of T.U.BA. and the music fraternity Phi Mu Alpha Sinfonia. His teachers have included Cherry Beauregard, professor of tuba and euphonium at the Eastman School of Music, principal tubist with the Rochester Philharmonic and tubist with Eastman Brass Quintet; Arnold Jacobs, tubist with the Chicago Symphony Orchestra and breathing guru; Ronald Bishop, principal tubist with the Cleveland Symphony Orchestra; Rex Conner, professor of tuba at the University of Kentucky at Lexington and instruct​or of tuba and euphonium at the National Music Camp at Interlochen, Michigan; and Roger Bobo, international recording artist and principal tubist with the Los Angeles Symphony Orchestra. Dr. Cox has performed in most of the major concert halls in the United States, Germany, and Japan and has performed with numerous international performers including trumpeters Wynton Marsalis and Randy Brecker; saxophonists Branford Marsalis and John Herle, flutist James Galway, pianists Shera Sherkaski and Jeffrey Jacob, trombonist J.J. Johnson, and drummer Max Roach.

Recordings on which Dr. Cox can be heard include Carnaval with Wynton Marsalis (CBS Masterworks); Pied Piper Fantasy with James Galway (Sony); Live in Osaka with the Eastman Wind Ensemble (Sony), Chorale Works of Anton Bruckner with the Roberts Wesleyan College Chorale; Music of Ingolf Dahl, with the New World Symphony Orchestra; and the music education series Jump Right In (G.A.A. Publications). Dr. Cox gives seminars on teaching, performing, and offers his popular seminar, “Proper Breathing Techniques for Musicians,” throughout the United States. Dr. Cox’s students are active throughout Michigan and the United States, both as public school teachers and professional performers. His former students have won the Yamaha Young Artists Competition; placed in the artist division of the Leonard Falcone International Solo Competition; are members of Pershings’ Own, the top United States Army Band; and have had numerous solo performances around the nation. Mark Cox is a Yamaha performing artist.​

Recent Scholarship

Yamaha Artist; Created a Standardized List of Solos for the International Tuba and Euphonium Association.

PhD: Florida State University
MM: University of Southern Mississippi
BME: University of Southern Mississippi

Service Responsibilities
Director of Choral Activities
​​​ Courses Taught
• Chamber Singers
• Choral Conduct Materials
• Advanced Choral Conducting
• Concert Choir

Ensembles involved with
• Concert Choir
• Chamber Singers

• Festival Chorus​​​​​​​


At the University of Illinois, she conducted the Women’s Chorus and St. John’s Newman Center Chapel Choir. Dr. Nash-Robertson has led student and performing groups on thirteen European Tours where performing sites included Westminster Abbey, St. Peter’s Basilica, St. Patricks’s Cathedral, and the cathedrals of Notre Dame and Chartres, and has conducted in New York’s Carnegie Hall and Lincoln Center.

In 2002 and 2010, she led the CMU Choir on concert tours of China with performances in Beijing, Shanghai, Xian and at the 2010 World Expo. She also taught a ten-day residency culminating in a concert at the Tienjin Conservatory.

​Dr. Nash-Robertson has conducted choirs at Blue Lake Fine Arts Camp and the Interlochen Center for the Arts and has served as music director of the International Invitational Choral Festival in Dublin, Ireland. She has also taught in the Bahamas, Peru, and Canada. Recently, she conducted the Faure Requiem at Shangai Expo 2010 with an American choir and Chinese orchestra and the Haydn Creation in Carnegie Hall with the New York City Chamber Orchestra and a 160-voice choir. Under her direction, Central Michigan University choirs frequently perform in regional conferences of the American Choral Directors Association and the Michigan School Vocal Music Association. Dr. Nash-Robertson is a frequent clinician and guest conductor throughout the Midwest and is Past-President of American Choral Directors Association - Michigan.​ She is the recent recipient of the Maynard Klein Award for a lifetime of excellence and leadership in the field of Choral Music.

Amon Eady presently serves as the Director of Choral Activities at Central Michigan University, where he conducts four ensembles and teaches undergraduate and graduate choral conducting and choral literature. Before arriving at CMU, Dr. Eady taught at both middle school and high school level over the course of nine years in the White Station community of Memphis, Tennessee. Dr. Eady’s choirs have performed at state and regional conventions of the American Choral Directors’ Association, including performances by the Central Michigan University Chamber Singers at the 2020 Michigan state ACDA Conference, and the White Station High School Men’s Choir at the 2014 Southern Division ACDA Convention in Jacksonville, FL.  

Recognized by the Tennessee Music Educators Association as Music Educator of the Year in the Spring of 2014, Dr. Eady presently serves as President-elect of the Michigan state chapter of the American Choral Directors’ Association. He has presented at state, regional, and national conventions of the American Choral Directors Association and the National Association for Music Education on developing the male chorus, the building of a comprehensive choral program, and new and diverse methods of teacher training. 

Dr. Eady’s research interests also include the comprehensive development of the teacher/conductor, the history of the terminal conducting degree, building resilience in pre-service and novice music educators, and the rehabilitative impact of choral singing on incarcerated individuals. Dr. Eady holds the bachelor of music education degree and master of music degree from the University of Southern Mississippi, as well as the doctor of philosophy degree in choral conducting and music education from Florida State University.

Selected Scholarship

Dr. Eady’s research interests include the comprehensive development of the teacher/conductor, the history of the terminal conducting degree, and the rehabilitative impact of choral singing on incarcerated individuals.

MM: Michigan State University
BM: Michigan State University

Caught in the Act
​​​​ Courses Taught

• String Bass

Ensembles involved with
CMU Faculty Jazz Ensemble

Conspiracy Theory


Edward Fedewa serves as Instructor of Double Bass at Central Michigan University.  He is a member of the Lansing Symphony Orchestra, and serves as a mentor in the Lansing Symphony Mentor program.  Fedewa has performed with the Detroit Symphony and in the pit orchestras of numerous Broadway shows at the Wharton Center and with the Boarshead Theater and has performed with the Moody Blues and Jimmy Dorsey Orchestra.  Fedewa has recorded with the Capitol Jazz Quartet, Shawn Wallace, Ann Elizabeth and many others.  

In addition to performing and teaching, Fedewa repairs, restores, and builds double basses.  ​

DMA: University of Illinois
MM: University of Notre Dame
BA: University of Illinois at Champaign-Urbana

Personal Website


​​​ Courses Taught:
• String Techniques
• Chamber Ensemble
• History Symphonic Lit
• Violoncello
• Performance Ensemble


Jamie Fiste is Associate Professor of Cello at Central Michigan University where he has been teaching since 2000. 

An active recitalist and chamber musician, Dr. Fiste's performance engagements have taken him to Europe, including Hungary, France, Spain, and Germany, numerous colleges and universities such as the University of North Carolina School of the Arts, the UMKS Conservatory of Music, and the University of Notre Dame, and several conferences and conventions, including the Notre Dame Cello Fest, the 44th International Viola Congress, and others by Electronic Music Midwest, the American Viola Society Festival, College Music Society, and the Mediterranean Studies Association. An avid collaborator, Dr. Fiste regularly performs in the Saarburg Music Festival in Germany and was Co-Artistic Director for the Plymouth Chamber Music Festival in Plymouth, MA from 2001-2007 where he performed with artists of international stature. ​ View ​more​
Dr. Fiste also performs yearly at Emerald Isle String Haven with the faculty string quartet. He performed in the Ashmont Hill Chamber Music Series in Boston, MA for many years with Rachel Goodwin (Artistic Director) and musicians from the Boston Symphony and Boston University faculty. Dr. Fiste has also performed for the Shoreline Music Society (Manistee, MI), Brandenburg Festival (Interlochen, MI), Leelanau Summer Music Festival (Leelanau, MI), Baroque on Beaver (Beaver Island, MI) where he was a featured soloist with the festival orchestra, MASTA Chamber Music Festival (Michigan State University), Cumberland County Playhouse Recital Series (Crossville, TN), Fontana Festival of Music and Art (Shelbyville, MI), Festival of Arkansas (Fayetteville, AR), and Hot Springs Music Festival (Hot Springs, AR).

A sought-after pedagogue, Dr. Fiste was invited to the 2018 Music for our Young (MOY) International Festival of Music in Hong Kong with whom he will continue to collaborate. He also regularly teaches and coaches chamber music at the Saarburg International Music Festival in Germany. Dr. Fiste has given numerous presentations at the Michigan Music Conference in Grand Rapids in addition to presenting at the American String Teachers National Convention. Committed to supporting music education, Dr. Fiste will frequently visit public school orchestra programs within and beyond the state of Michigan to provide master classes and hold various cello workshops. He is also faculty advisor for the ASTA student chapter at CMU and is overseeing an after-school string program taught by ASTA chapter members. His special interest in teaching include understanding and experiencing how the parts of technique fit into the whole of playing the cello and music making.

Dr. Fiste's teaching experience is broad and diverse. Although he teaches at the University level, he has been teaching younger and beginning students of all ages for many years. His first private student was an adult beginner in 1986 during his undergraduate years at the University of Illinois and he has been teaching cello to pre-college students every since. His teaching expereince also includes being a middle and high school orchestra director in New Mexico in the early 1990s. 

Dr. Fiste was a prizewinner in the Rolland String Competition, Cello Society Competition, the University of Illinois Undergraduate Concerto Competition, and the University of Illinois Graduate Concerto Competition. He was also a member of the Rhode Island Philharmonic Orchestra in Providence, RI.

Dr. Fiste earned his B.M. at the University of Illinois (C-U), his M.M. from the University of Notre Dame, and his D.M.A. from the University of Illinois (C-U) where he studied with Karen Buranskas and Laurien Laufman. He has also participated in master classes with Janos Starker and Fritz Magg. Growing up in Milwaukee, he studied with Kathleen Lester of the Milwaukee Symphony Orchestra and participated in string quartet camps held by the Fine Arts Quartet.
Ph.D: 1991, University of Utah
MME: 1986, Fort Hays State University
BA: 1983, McPherson College

Service Responsibilities
Music Education Area Coordinator

Personal Website

​​​ Courses Taught
• Music for Elem Classroom Teacher
• Secondary General/Choral Music Methods & Curriculum
• Intro to Music Research

Research Interests
• Theories of music teaching and conducting
• Expressive choral score study
• Multisensory vocal/choral techniques


Alan Gumm is a Professor of Music Education at Central Michigan University. He previously taught at McPherson College in Kansas, Ithaca College in New York, University of Utah, and K-12 schools in Kansas. He has been recognized with numerous awards for teaching excellence. 
In his 30+ years of research, Gumm developed theories of music teaching styles and conducting functions that he compared in studies reported in the 2016 Contemporary Issues for Music Learning Across the Lifespan and the May 2016 Choral Journal. His pedagogical innovations were published in Making More Sense of How to Sing and in his Choral Journal articles "Speechless Rehearsal" and "Musical and Technical Sources of Choral Dynamics.” Most recently he authored a practical overview of his six-function conducting theory for The Choral Conductor’s Companion. 
Dr. Gumm currently serves on the Research and Publications Standing Committee for American Choral Directors Association. He previously served on the writing team for the 2014 music ensemble National Core Arts Standards and the Journal of Music Teacher Education editorial review board. 

Gumm is author of the profession's most comprehensive theories of music instruction, which are detailed in his book Music Teaching Style and the Music Educators Journal article "Six Functions of Conducting." The 25th anniversary of the benchmark study at the start of his scholarly career was marked by new efforts to bridge both theories: a multi-region band, orchestra, and choral conductor survey reported in the 2016 Contemporary Issues for Music Learning Across the Lifespan book chapter, "Relationships of Background Experience and Music Teaching Style with Conducting Functions," and a national choral director survey reported in the May 2016 Choral Journal article "Choral Music Pedagogy." His pedagogical innovations are further represented in his book Making More Sense of How to Sing and in his Choral Journal articles "Speechless Rehearsal" and "Musical and Technical Sources of Choral Dynamics," the last of which is being expanded into a book tentatively titled Chronicles and Adventures of Choral Music that maps origins and evolutions of sources of dynamic expression across the history of music notation.​

Dr. Gumm served as editor and contributing author to The Choral Director's Cookbook and contributing author to The Music Director's Cookbook. Contributions to the profession include previous membership on the Journal of Music Teacher Education editorial review board and the National Core Arts Standards subcommittee charged with writing the 2014 core music standards for emerging and traditional ensembles, and current membership on the Research and Publications Standing Committee for American Choral Directors Association.

Gumm holds a Doctor of Philosophy Degree from the University of Utah, a Master of Music Degree from Fort Hays State University, and a Bachelor of Arts from McPherson College. He is a member of American Choral Directors Association, National Association of Music Education, Society for Research in Music Education, Society for Music Teacher Education, and current membership on the American Choral Directors Association Research and Publications Standing Committee.​​

Recent Scholarship

Gumm, A. J. (Conductor,) & Hadley, H. (Composer). (2021). Sanctus [Recorded by CMU Women’s Chorus]. On Romantic American Choral Music [CD]. Franklin, TN: NAXOS of America. 
Gumm, A. J. (2020). Multifunctional conducting: A short course with a broad view," in B. Winnie (ed.), The Choral Conductor's Companion: 100 Rehearsal Techniques, Imaginative Ideas, Quotes, and Facts. Delray Beach, FL: Meredith Music Publications. 
Gumm, A. J. (2018). Music conducting functions: A mixed-methods evaluation of theory and survey validity. Psychomusicology: Music, Mind, and Brain, 28(4), 189-200. https://psycnet.apa.org/record/2018-51005-001?doi=1 

PhD: 1999, Michigan State University
MM: 1995, Michigan State University
BM: 1991, Central Michigan University

Personal Websites
​​​ Courses Taught
• The Craft of Composition
• Aural Skills IV
• Composition
• Sight Sing & Ear Train 4
• Modern Compositional Styles/Tech
• Advanced Scoring

Research Interests
• Art music composition
• Performing with Great Lakes Art Music Ensemble & Iron Fist
• Music theory


Scott R. Harding (b. 1968) is a lifelong Michigander. Dr. Harding earned the BM in Theory/Composition from Central Michigan University, and the MM and PhD in Composition from Michigan State University. A member of the CMU School of Music faculty since 1998, Dr. Harding teaches in the core theory/aural skills area, coordinating the ear-training curriculum and working privately with composition majors. He also teaches in the university-wide liberal arts regimen. Dr. Harding's commitment to teaching has thrice been acknowledged with nominations for CMU’s Excellence in Teaching Award. 
Dr. Harding is an active composer and performer.  His compositional output focuses on small chamber ensembles that showcase intricate playfulness and knotted interwoven lines. He is a founding member and co-director of the Great Lakes Art Music Ensemble, a composer/performer collective who believe that modern art music should be accessible to everyone, and strive to achieve that goal through touring, lecturing and recording.  In what little spare time remains, Dr. Harding is also the drummer and co-lyricist for the American rock band Iron Fist, who have recorded and released over thirty songs since 2015. 

Recent Scholarship

July 9 - 13, 2017: College Music Society International Conference - Sydney, Australia: Moderator for panel discussion "STEM vs. STEAM"

2015 Moskowitz, David V. (ed.), "The 100 Greatest Bands of All Time" (2 vols.), Greenwood, Santa Barbara, CA (contributing author: articles on Kiss and Devo)

Dec. 29, 2015: independent release of the single "Happy New Year" with Iron Fist (© Harding/Rule)

Oct. 4, 2015: presented a Faculty Recital in Staples Family Concert Hall, with CMU Faculty and Iron Fist performing

Aug. 4, 2015: independent release of the LP "Don't Fake It" with Iron Fist (all songs © Harding/Rule)

2015: USTPO granted ownership of the logo "Iron Fist" to Scott R. Harding/Michael J. Rule (serial #86071646)

DMA (Trombone Performance): 1988, Arizona State University
MM (Trombone Performance): 1984, Youngstown State University
BS (Music Education): 1980, Clarion University of Pennsylvania

A Blaze of Glory
Nobody is Somebody
An American Original
Animal Fair​
A New Beginning

Caught in the Act
Conspiracy Theory

​​​​ Courses Taught
• Racism and Discrimination in Jazz
• Jazz: An American Art Form
• Listening Experience
• Applied Trombone
• Chamber Ensemble
• Trombone Choir

Research Interests
• Early Jazz History
• Trombone History
• Trombone Pedagogy

Ensembles involved with
• Trombone Choir

• CMU Faculty Jazz Ensemble​​​​​​​​​​


Dr. Robert Lindahl, professor of music, teaches applied trombone, brass pedagogy, and jazz studies for Central Michigan University. He also directs the CMU Trombone Choir (which was selected to perform at the Michigan Music Conference in January 2009), Jazz Bone - the CMU jazz trombone ensemble, and coaches brass quintets and trombone quartets. He is an artist and educational consultant for Selmer Bach Musical Instruments and has served as guest clinician and performer throughout the United States. He has played regularly with the CMU Faculty Jazz Combo, the Jimmy Dorsey Orchestra, the Central Michigan Faculty Brass Quintet, CMU Graduate Trombone Quartet, The Michigan Jazz Trails Big Band, and the River Raisin Ragtime Revue. With the River Raisin Ragtime Revue he recently recorded a CD of 19 historic tracks featuring the trombone entitled “A Blaze of Glory”. He served as principal trombonist with the Midland Symphony Orchestra from 1993-2003. He has also performed with the Detroit Symphony Orchestra, Grand Rapids Symphony Orchestra, Bay City Bijou Orchestra, Saginaw Bay Symphony, Traverse City Symphony Orchestra and the Lansing Symphony Big Band. He has also appeared with Summit Brass, Wayne Newton, the Henri Busse Orchestra, Patti Page, Dave Brubeck, The New Rat Pack, The Harry James Orchestra, The Four Tops, Natalie Cole, the Bill Tole Orchestra, Johnny Mathis, Bobby Vinton, The Temptations, Kansas, Robert Goulet, Aretha Franklin, Bernadette Peters, Doc Severinson, Don Rickles, Walt Disney World on Ice, the Ice Capades, and Rudolph Nureyev. ​ 
​​Lindahl served as the National Music Advisor for Delta Omicron Professional Music Fraternity from 2006-2009 and has been Chapter Adviser for the Delta Iota Chapter since 1995. He has served as the Chair of the National Finance Committee for Delta Omicron since 2009. He remains an active member of the International Trombone Association. He adjudicates regularly for the Michigan School Band and Orchestra Association and his chief interests include research in early jazz history and trombone pedagogy. In 1998, Lindahl was recognized by Central Michigan University's Mortar Board organization as an outstanding faculty and in 1999, he received the "Excellence in Teaching" award from CMU. He holds degrees from Clarion University of Pennsylvania, Youngstown State University, and Arizona State University. His trombone teachers have included Gail E. Wilson, Mike Crist, Vern Kagarice, Dean Farnham, and Frank Bolte.

In addition to his duties at CMU, Dr. Lindahl enjoys serving as faculty sponsor and advisor for the Delta Iota Chapter of Delta Omicron. He was a member of the board of directors of Art Reach of Mid Michigan from 1993-1998. He received the Michigan Campus Compact Faculty/Staff Award for Service Learning in 1995 for his work with academic related service learning. In 1996, Lindahl was a finalist for the Governor's Community Service Award and in 1999 was named "Volunteer of the Year" by Art Reach of Mid Michigan for his work with community music programs. In 1997, the CMU Activities Board presented him with an outstanding advisor award for service to Delta Omicron Professional Music Fraternity. In 1998, 1999, 2000, 2002, and 2004 he was named "Advisor of the Year" by the International Professional Music Fraternity Delta Omicron, and in 2001, he was recognized by the Professional Fraternity Association as their "University Advisor of the Year."

Prior to employment at CMU, Dr. Lindahl served as band director for the Titusville, PA Area Schools from 1980-85, and director of bands at Eastern New Mexico University from 1987-92, where he also served as assistant director of the School of Music from 1989-92.

Recent Scholarship

"A Blaze of Glory: A Trombone Misunderstanding". River Raisin Ragtime Revue. White Pine Music, 2020.

"Nobody is Somebody". Daniel Washington, Vocalist, and River Raisin Ragtime Revue. WW Records, 2018.

"An American Original". River Raisin Ragtime Revue Live in Concert. William Pemberton, director and narrator. Ann Arbor, MI: R4 Recordings, 2015.

"An American Original". River Raisin Ragtime Revue Live in Concert.  Ann Arbor, MI: R4 Recordings, 2015.

"Animal Fair". River Raisin Ragtime Revue. William Pemberton, Director. Ann Arbor, MI: R4 Recordings, 2013.

“Conspiracy Theory: Music of Robbie Smith”, CMU Fac Jazz, 2010.

“Caught in the Act: Music of Robbie Smith”, CMU Fac Jazz,  2007.

Lindahl, Robert, ed. Les Toreadors. Carmen Suite No. 1 by Georges Bizet. Arr. for 12 Trombones. Denton, TX: KBE, 2012.

Lindahl, Robert, ed. Les Dragons d’Alcala. Carmen Suite No. 1 by Georges Bizet. Arr. for 12 Trombones. Denton, TX: KBE, 2012.

DMA: University of Kansas
Piano diploma: Oporto Conservatory of Music, Portugal

Fantasias Brasileiras​
Stained Glass ​
Valsas Brasileiras: The Brazilian Waltzes of Francisco Mignone - Volume I
Valsas Brasileiras: The Brazilian Waltzes of Francisco Mignone - Volume II
​​​​ Courses Taught
• Piano Class IV

Personal Website



“A splendid pianist—refined, searching and expressive, and her playing is loaded with insight and interpretative detail.” So wrote The Washington Post, after Alexandra Mascolo-David’s performance at the Corcoran Gallery of Art in the nation’s capital. Ms. Mascolo-David has performed and led workshops and master classes in Europe, Asia, and the Americas, including a New York debut recital at Carnegie Hall (Weil Recital Hall) in May 2004, which was favorably reviewed in The New York Concert Review.

Alexandra is a most sought out and devoted teacher. American and international pianists attend Central Michigan University in order to study under her guidance. Her students have won prizes in auditions and competitions and consistently achieve success in their career paths. She is an active participant in the movement devoted to performance anxiety management. Her contributions to this cause include the development and implementation of a successful performance anxiety management course at CMU, as well as presenting papers at national and international conferences and offering lectures and workshops on the subject throughout the U.S. and abroad. Another of Alexandra’s areas of interest has been that of how to teach effortless and injury-less piano technique. Her own research and knowledge, coupled with lessons with Edna Golandsky and Joseph Gurt on the Dorothy Taubman approach to piano technique, led Alexandra to create and develop her own method of building technical skills in a methodic and systematic way, whilst preventing students from incurring piano-related injuries, despite assiduous practice. ​ 
​​Alexandra is a native of Portugal and has devoted the last three decades of her life to exploring and unearthing the music of Portuguese and Brazilian composers, especially that of Francisco Mignone. She is in the forefront of presenting Mignone’s piano music, and her performances, especially of his Valsas brasileiras (Brazilian Waltzes), have been widely acclaimed. Her compact disc recording of Volume One of the Valsas brasileiras was highly praised by The Atlanta Journal-Constitution upon its release in 2001. Volume Two was released in 2007, and of both discs, the widow of the composer stated: “It was very emotional to hear pianist Alexandra Mascolo-David perform the Valsas Brasileiras of my husband Francisco Mignone. Alexandra interprets Mignone with great sensitiveness, wonderful taste, and full knowledge of his compositional legacy. Undoubtedly, her musical contribution is important, of enormous beauty, possessing both a captivating sonority and a complete affinity with the romantic atmosphere of the waltzes.” Alexandra’s continuing research on Mignone’s music earned her a Research Excellence Grant from Central Michigan University to record Mignone’s Fantasias Brasileiras (Brazilian Fantasies) for piano and orchestra with the Kalamazoo Symphony Orchestra, under Maestro Raymond Harvey, for the White Pine Music recording label in a 2010 release. This recording is historically significant, as it is the first set of the 4 Brazilian Fantasies available to the public. Alexandra is also a founding member of Yara Ensemble (www.yaraensemble.com), with mezzo-soprano Sarah Stone, director Annette Thornton, and media artist Eric Limarenko, devoted to exploring the rich landscape of Iberian-American culture and heritage through music, videography and movement. 
In addition to performing traditional solo and chamber literature, Alexandra has championed works by numerous contemporary composers, especially those of the late David Maslanka. Her performance in Maslanka’s “Piano Concerto No. 1 for Piano, Winds and Percussion” released by Albany Records in 2005 received accolades from the American Record Guide. Alexandra also co-commissioned Maslanka’s “Piano Concerto No. 3 for Piano and Wind Symphony,” as part of a consortium of universities. The world premiere of this work took place at Central Michigan University (CMU) in February 2017, with the composer in attendance, a mere 6 months prior to his death. 
 Alexandra has taught at the Interlochen Arts camp, at Iowa State University, and currently is Professor of Piano at Central Michigan University. She is the ecstatic survivor of an unruptured brain aneurysm craniotomy (2010). Ever since her miraculous recovery, she has lectured throughout the U.S. on the vital role that music played in her full rehabilitation. After many months of motor, occupational and some speech therapies, Alexandra feels incredibly fortunate to have recovered her ability to play the piano and to have been given a new chance at life. 
Alexandra holds a piano diploma from the Oporto Conservatory of Music, Portugal, and the doctor of musical arts in piano from the University of Kansas, where her teacher was Sequeira Costa. Alexandra is the recipient of numerous prizes and awards in her field. For additional information regarding Alexandra’s life, career and recordings, please visit the following Internet address: www.mascolodavid.com.

Selected Scholarship

Mascolo-David is the recipient of numerous prizes and awards, including the First Prize in the Piano Competition of Braga, Portugal, and the 2001 Provost’s Award for Outstanding Research and Creative Activity and the 2007 Presidents’ Award for Research and Creative Activity, both from Central Michigan University.    Also in 2007, Ms. Mascolo-David received a Research Excellence Grant from Central Michigan University in the amount of $95,000 to record Francisco Mignone’s Brazilian Fantasies for piano and orchestra with the Kalamazoo Symphony Orchestra, under Raymond Harvey, for the White Pine Music recording label.​​
DMA, Orchestral Conducting: Michigan State University
DMA, Composition: Florida State University
MM, Composition: George Mason University
BMus, Composition and Musical Arrangements, Carlos Valderrama Conservatory: Trujillo Peru
B Business Admin: Universidad Nacional de Trujillo, Peru

Service Responsibilities
Director of Orchestral Studies 
and Professor of Composition

​​​ Courses Taught
• Intro to Conducting
• Composition​
• Independent Study
• Performance Ensemble
• Advanced Instrumental Conducting
• Symphony Orchestra

Ensembles involved with
• CMU Symphony Orchestra​


José-Luis Maúrtua, Director of Orchestral Studies and Professor of Composition, joined Central Michigan University in 1999. He studied conducting with Carlota Mestanza in Peru (Trujillo, 1985-87) and with James Croft, Paul Vermel, Leon Gregorian, and Raphael Jiménez in the U.S. He was a fellow at the Conductors Institute of South Carolina (1999 and 2000) an active participant in the conducting workshops organized by the League of American Symphony Orchestras with master teacher Larry Racleff and the Civic Orchestra of Chicago, and by the Conductors Guild with professors Vilem Sokol, Adrian Gnam, Murry Sidlin, and the Seattle Youth Symphony. He also attended the 1999 International Orchestral Conducting Course with Maestro Jonathan Sternberg and the Marienbad Symphony Orchestra in Czech Republic. Dr. Maúrtua had his conducting debut at age 22 with the Trujillo Symphony Orchestra at age 22 (Peru, 1987) and returned as guest conductor with the TSO in 1990 and 1995-2012, with the National Symphony Orchestra (Lima, 2003-2009), the Trujillo Bach Festival (1998-2010), and the Carlos Valderrama Conservatory and Trujillo youth orchestras. In 2001, Dr. Maúrtua invited students from CMU and other U.S. music schools to perform with the Chamber Orchestra of the Autonomous University of the State of Mexico in Toluca. He also invited musicians and faculty soloists from the U.S., Latin America, and Europe to perform with the Trujillo Symphony Orchestra (1995-2010). Regarding his involvement with youth orchestras in Michigan, he has been guest conductor of the Detroit Symphony Youth Orchestra (2014 and 2015) and of the Michigan Youth Arts Honors Orchestra (MYAF Kalamazoo, 2018). In November 2018, he conducted and All-Bernstein concert with the Shaanxi Symphony Orchestra in Xi’an, China in celebration of the American composer/conductor’s centenary. In April 2019, he led the SSO in a concert tour with performances at the Tonhalle-Maag in Zürich with Swiss violinist Elea Nick, and at the famous Musikverein in Vienna, Austria with Chinese virtuoso violinist Bin Huang. View more​
As a composer, Dr. Maúrtua has had his chamber and orchestral music performed in the U.S., Canada, Mexico, Puerto Rico, Venezuela, Argentina, Peru, Czech Republic, Italy, England, China, Colombia, Costa Rica, and Spain. His musical reconstruction of the children’s show “The Fireflies,” originally staged at the Terezín concentration camp in Czech Republic during World War II, has been performed in Terezín and Denmark. In the U.S., it has been performed in Michigan, Washington, D.C., and at the Civic Amarillo Summer Youth Musical Division of the Amarillo Opera (Texas, February 2019). His arrangements of the Himno a Trujillo (Trujillo City Anthem) for the Violines de Trujillo String Orchestra and the waltz El Dueño Ausente (The Absent Patriarch) for the Trujillo Symphony Youth Orchestra were premiered and recorded in 2020. José-Luis Maúrtua studied harmony, counterpoint, and composition at “Carlos Valderrama” Conservatory in Peru with Segundo Sandoval and David Martínez, and in the U.S. with Scott Martin and Czech composer Ladislav Kubik. He holds a DMA in Orchestral Conducting from Michigan State University and a DM in Composition from Florida State University. 
MM: 1981, University of Michigan
BME: 1979, Central Michigan University

Service Responsibilities
Assistant Director, School of Music
Chair, CCFA Curriculum Committee
​​​​ Courses Taught
• Bassoon​
• Double Reed Techniques 
• Chamber Ensemble
• Instrumental Pedagogy


​MaryBeth Minnis has been principal bassoonist of the Saginaw Bay Orchestra since 1985 and frequently performs with the Grand Rapids Symphony and the Great Lakes Chamber Orchestra. An active chamber musician she performs with the Powers Woodwind Quintet and the CMU Chamber Winds. She has performed and/or presented at the International Double Reed Society Conferences, regional CBDNA Conferences, Michigan Music Conferences, and the Midwest Band and Orchestra Conference in Chicago. Each summer she teaches at Blue Lake Fine Arts Camp and performs with their many faculty ensembles.

DMA: 1999, Boston University
MM: 1995, Yale School of Music
BM: 1986, Concordia College - Moorhead, MN

Call and Response

​​​​ Courses Taught
• Applied Trumpet
• Brass Techniques

Research Interests
• Performance


Neil Mueller enjoys a career performing and teaching music.  He is Associate Professor of Trumpet at Central Michigan University and Principal Trumpet of the Lansing Symphony Orchestra.  Prior to his position in Lansing, he was a member of the Grand Rapids Symphony Orchestra, as Third Trumpet and as acting Associate Principal Trumpet.  Previous Principal Trumpet positions include Cleveland’s BlueWater Chamber Orchestra, the Eastern Connecticut Symphony Orchestra, and the Fargo-Moorhead Symphony Orchestra, ensembles that also featured Mueller as concerto soloist.  He also performed concerti with the Boston Pops and the Boston University Symphony Orchestra, as he was completing doctoral studies.  
Mueller has been an active chamber musician, performing for many years with the Berkshire Bach Ensemble, and the Brass Ring quintet.  He has made recordings with both of those ensembles and recorded a CD of new works (Call and Response, 2015) for trumpet and piano and for two trumpets.  With various ensembles he has performed across the country at venues including Carnegie Hall, the Kennedy Center, the Metropolitan Museum of Art, and Severance Hall.  Other groups that he has performed with include the Burning River Brass and the River Raisin Ragtime Review.  
Education of the next generation of trumpeters and educators shares equal importance with performing for Mueller.  Since coming to CMU, his students have been finalists for competitions at both the International Trumpet Guild Conference as well as the National Trumpet Competition.  Whether seeking a career as a performer or educator, students are pushed to achieve their full potential as musicians.  Mueller’s own teachers include Roger Voisin, Allan Dean, William Vacchiano, Manny Laureano, and J. Robert Hanson. 
He was previously Associate Professor of Trumpet at North Dakota State University and has taught students at Case Western Reserve University, Cleveland State University, the University of New Hampshire, and Boston University’s Tanglewood Institute.  Before pursuing advance study in trumpet, Mueller was director of bands for three years at Blaine High School in Minnesota.  Finally his approach teaching and the trumpet has resulted in four volumes of pedagogical duets (published by Carl Fischer) that have become very popular with trumpeters across the world, as evidenced by a 2020 performance on a chamber concert by the Dunedin Symphony Orchestra in New Zealand.  
For more information about Neil Mueller’s performing and teaching, visit: www.neilmueller.com 

Recent Scholarship​

2019 “Orchestral Souvenirs”, a duet book based on orchestral trumpet literature, published by Balquhidder Music / Carl Fischer.  
2019 Named Principal Trumpet, Lansing Symphony Orchestra 
2016-2020 Member of the Grand Rapids Symphony Orchestra Trumpet Section.  

MM: 1980, Michigan State University
BME: 1975, Central Michigan University

Service Responsibilities
School of Music Composition Search
Trombone Search
Jazz Weekend Committee

A New Beginning
Caught in the Act
Conspiracy Theory
Flights of Fancy
Woodwind Echoes

​​​​ Courses Taught
• Saxophone Lessons
• Saxophone Quartets
• Saxophone Ensemble
• Woodwind Techniques Class

Research Interests
• Classical & Jazz Saxophone
• Classical & Jazz Piano
• Conducting

Ensembles involved with
• Saxophone Choir
• Eclectic Trio

• CMU Faculty Jazz Ensemble​​​​​​​​​​


John Nichol is Professor of Saxophone at Central Michigan University and has performed at the Montreaux Jazz Festival in Montreaux, Switzerland (1997), the North Sea Jazz Festival (1997) and the Ford Detroit International Jazz Festival (2000, 2001, 2002).  Professor Nichol has also performed by invitation at eight World Saxophone Congresses:  Chicago, Illinois (1979), Nuremberg, Germany (1982), Kawasaki, Japan (1988), Valencia, Spain (1997) and Montreal, Canada (2000), Minneapolis, Minnesota (2003), St. Andrews, Scotland (2012), Strasbourg, France (2015), and Zagreb, Croatia (2018).  Professor Nichol has performed with the Jimmy Dorsey Orchestra, the Harry James Orchestra, the Nelson Riddle Orchestra.  Nichol can be heard on Flights of Fancy (Centaur Recording, 2003), Caught in the Act (White Pine Music, 2007), Woodwind Echoes (White Pine Recording, 2008), and Conspiracy Theory (White Pine Music, 2010).   Professor Nichol is a Yamaha Performing Artist, a Vandoren Artist, and is a Past President of the North American Saxophone Alliance.

Recent Scholarship

Performances at World Saxophone Congress in Strasbourg, France (2015)

Performance at Sessions in New Music in Cortona, Italy (2015)

Presenting World Premieres at North American Saxophone Alliance Biennial Conference, Lubbock, Texas (2016)

DMA: 2014, University of Cincinnati, College-Conservatory of Music
MM: 2002, Boston University
BM: 1999, Rutgers University

Personal Website
​​​​ Courses Taught
• Applied Voice Lessons
• Music in Society
• Techniques for the Singing Actor
• Music and Cartoons
• Song Repertoire

Research Interests
• The influence of "commedia dell'arte" on opera libretti
• Evolution of the German Fach System as pertaining to the works of Richard Strauss


Soprano Amanda Pabyan has been acclaimed for her technical ability, power and her multi-shaded performances of eclectic repertoire spanning the compositions of Mozart, Beethoven, Mahler, Strauss, and Britten. ​ 

Dr. Pabyan made her Metropolitan Opera debut as theformidable Queen of the Night in Mozart's Die Zauberflöteunder the baton of James Levine. She has also appeared on the operatic stage with Washington National Opera, Minnesota Opera, Florida Grand Opera, New York City Opera, Dallas Opera, Opera Colorado, Opera Atelier, and Arizona Opera. Moving into more dramatic repertoire, Dr. Pabyan made her role debut as Violetta in Verdi's La Traviata and Leonore in Beethoven's Fidelio at the Shippensburg Festival, and made an appearance in Guatemala performing Mahler's Rückert Lieder. Recently she appeared with the Malmö SymfoniOrkester for performances of Verdi's Requiem, Madrid's RTVE Orchestra for Strauss' Vier letzte Lieder, OrquestaSinfónica de Euskadi for Verdi's Requiem, and the Dresden Philharmonic for Barber's Knoxville: Summer of 1915.

On the concert stage, Dr. Pabyan has appeared with the Seattle Symphony, Cincinnati Symphony, Los Angeles Philharmonic, American Symphony Orchestra, Boston Baroque, New Haven Symphony and the National Symphony of Guatemala. Also active with opera and choral festivals, she has appeared with the Cincinnati May Festival, Lyrique-en Mer, the Bach Festival Society of Winter Park, and La Folle Journée Festival in Japan. Her collaborators have included such notable conductors as James Conlon, Gustavo Dudamel, Martin Pearlman, Leon Botstein and Gerard Schwartz.

Recent Scholarship

Recordings: “Nel Dolce dell’Oblio: Italian Cantatas and German Arias” (Handel, period instruments, Callisto Records, 2005); Moravec “Music Awake” (Bach Festival Society of Winter Park, recorded April 2016 with a scheduled release date Winter 2016)

Radio Broadcasts: Königin der Nacht in Mozart’s "Die Zauberflöte" (Metropolitan Opera Radio Broadcast, February 2007); Fiordiligi in Mozart’s "Cosi fan tutte"(Lyrique-en-Mer Festival, Radio France, August 4, 2010); Soloist in Mendelssohn’s “Hör mein bitten” (Lyrique-en-Mer Festival, Radio France, August 3, 2010) 


Robbie Smith, trumpeter (& saxophonist) is currently a Professor of Music-Jazz Studies at Central Michigan University (2005-present). He graduated from Central Michigan University with a Bachelor of Arts-Trumpet Performance degree in 1986. Rob earned a Master of Music-Jazz Studies degree from The University of North Texas (1989), where he performed in the world-renowned One O’clock Lab Band (1986-89) and can be heard on recordings (’87, ’88, ’89). Most recently, Smith held a faculty position at The University of North Carolina-Greensboro, the Miles Davis Jazz Studies Program (2004-05). He has also taught at St. Francis Xavier University in Nova Scotia, Canada (1991-93, 1997-98), Michigan State University (adjunct, 1994-97), Mott Community College (adjunct, 1995-97), Interlochen Arts Academy (sabbatical replacement, 2000) and Interlochen Jazz Camp (2010-2016), and Central Michigan University (instructor-full time, 2000-2004).

Smith performs regularly on trumpet and saxophone as a freelance artist and has performed and recorded with several notable groups including: The Woody Herman Jazz Orchestra (worldwide concert tours), The Kirk MacDonald Quintet and the Kirk MacDonald Jazz Orchestra (Toronto), and The Steve Haines Quintet (New York). He currently performs regularly with the Detroit Jazz Festival Orchestra (2012-present), the Toledo Jazz Orchestra (2012-present), and The Masters of Music Big Band (Detroit 2011-present). In 2005 he toured with Terri Lyne Carrington, James Genus, Paul Bollenbeck, Munyungo Jackson, Mitch Forman, Nancy Wilson and Dianne Reeves in a tribute to Billie Holiday. This group performed concerts at USC, UCLA, Penn State University, Byham Theater-Pittsburgh, Chicago Symphony Hall, Carnegie Hall and The Kennedy Center.

Smith has performed several times with legendary jazz drummer Jimmy Cobb and can be heard with him on “Stickadiboom-The Steve Haines Quintet featuring Jimmy Cobb” (ZOHO Music-2008). He has also recorded with: The Kirk MacDonald Jazz Orchestra-“Family Suite”, “Deep Shadows”, and “Common Ground”, The Masters of Music Big Band-“Music of Stan Kenton live featuring Peter Erskine”, The Woody Herman Jazz Orchestra-“Live at Ronnie Scott’s in London” (NYJAM-1999), The Larry Nozero Quintet-“Live at the Montreaux-Detroit Jazz Festival” (2000), The Kirk MacDonald Septet-“New Beginnings” (Radioland Music-1999), The Steve Haines Quintet-“Beginner’s Mind” (Artist House Records-2004), The Maritime Jazz Orchestra featuring Kenny Wheeler-“Now and Now Again” (Justin Time-1998), The Terry Lower Quintet-“Step By Step” (2005), The Jim Cooper Quintet-“Itchin’ To Groove” (2004), as well as several recordings with his Michigan-based quartet, Mind’s Eye. He has also recorded two cd’s of his own compositions with the Central Michigan University Faculty Jazz Sextet entitled, “Caught In The Act” (White Pine Music-2007) and “Conspiracy Theory” (White Pine Music-2010). Most recently, Rob recorded on Jordan VanHemert’s “I Am Not A Virus” (Big Round Records-2021).

Smith has performed in concerts with many notable jazz artists, including: Rufus Reid, Randy Brecker, David Liebman, Bob Berg, Adam Nussbaum, Joe Morello, Frank Tiberi, Cyrus Chestnut, Buddy DeFranco, Marcus Belgrave, George Benson, Phil Markowitz, Phil Woods, Rodney Whitaker, Mulgrew Miller, Kareem Riggins, Jon Faddis, Frank Foster, Jerry Fuller, Ira Sullivan, Neil Swainson, Pat LaBarbara, Lorne Lofsky, Kenny Wheeler, John Taylor, Xavier Davis, Charles Earland, Jimmy Smith, Jack McDuff, Jeff Hamilton, Terri Lyne Carrington, Bob Mintzer, Arturo Sandoval, Larry Carlton, Wallace Roney, Jimmy Cobb, Dianne Reeves, Nancy Wilson, Lew Tabackin,, Jerry Bergonzi, Steve Wilson, Walter White, Peter Erskine, Steve Turre, Wayne Bergeron and many others. He has performed at concert venues and jazz festivals in England, Scotland, Norway, Finland, Sweden, Denmark, Germany, Turkey, Italy, France, Spain, Canada and the United States.

DMA: Eastman School of Music

Service Responsibilites
Chair of CAM Curriculum Committee
​​​ Courses Taught
• Applied Percussion
• Percussion Ensemble
• Percussing Techniques
• Percussion Pedagogy


Andrew Spencer is Professor of Percussion at Central Michigan University. An active recitalist and clinician, he has performed as a soloist in the United States, Poland, Japan, Canada, and Costa Rica. In 1999, he released "Slender Beams," a recording that features work by composer Dave Hollinden. Spencer has also premiered works by David Gillingham, Mark Polishook, Samuel Adler, Robert May and Henry Gwiazda among others. Equally experienced in orchestral performance, Dr. Spencer is timpanist with the Lansing Symphony Orchestra, and Principal Percussionist for the Midland Orchestra. Additional positions have included timpanist/principal percussionist with the West Michigan Symphony Orchestra, Yakima Symphony Orchestra, Cascade Festival Orchestra, Fargo-Moorhead Symphony Orchestra and Fargo-Moorhead Civic Opera Company. He has performed with the Oregon Symphony, Spokane Symphony, and the Civic Orchestra of Chicago. In addition, he has performed with numerous chamber ensembles throughout the United States, and plays drum set with the CMU Faculty Jazz Ensemble with whom he has recorded two CDs, "Caught In The Act" and "Conspiracy Theory". 
Dr. Spencer received his bachelor of music and master of music in performance (percussion) and studied with Dr. Terry Applebaum at Northwestern University in Evanston, Illinois. He earned his doctor of musical arts in performance and literature (percussion) from the Eastman School of Music in Rochester, New York where he studied with John Beck. In addition, Eastman granted Dr. Spencer the coveted performer's certificate as a percussion soloist.

"Spencer's energy put the piece in overdrive." Seattle Post Intelligencer

Recent Scholarship

Concerto performance with the West Michigan Symphony Orchestra. Performances at new music festivals in Detroit and Bowling Green. Commissioning new works for percussion and interactive computer. Performances at Jazz in the Valley festival.


Thomas Studebaker has established himself as a powerful Heldentenor, having appeared with many of the world’s leading orchestras and opera companies since 1995.

Highlights of Mr. Studebaker’s orchestral engagements include Beethoven’s Symphony No. 9 with both the London Philharmonic Orchestra and New York Philharmonic with conductor Kurt Masur, the WDR Orchestra in Cologne under Semyon Bychkov, the New York Philharmonic with Lorin Maazel, the Netherlands Radio Philharmonic at the Concertgebouw in Amsterdam with Edo de Waart, as well as with the St. Paul Chamber Orchestra, the Pittsburgh Symphony, the Atlanta Symphony Orchestra, Sydney Symphony, and the Israel Philharmonic. He has sung Waldemar in Schönberg’s Gurrelieder with the Nagoya Philharmonic, the Tokyo Symphony and the American Symphony Orchestra at the Bard Festival, Beethoven’s Missa Solemnis with the London Philharmonic and Kurt Masur, and Max Bruch’s Moses with the Netherlands Radio Philharmonic Orchestra. 

Mr. Studebaker made his debut as Siegmund in Die Walküre at New Orleans Opera and has since repeated the role at Lyric Opera of Chicago and at the famed Teatro Colón in Buenos Aires under the direction of Charles Dutoit. He has sung Narraboth in Salome for the Santa Fe Opera, Florida Grand Opera, Seattle Opera, and L’Opéra de Montreal, sang the title role in Act II of Parsifal with the Cincinnati Symphony Orchestra under the baton of Jesús López Cobos, was Froh in Das Rheingold in Seattle, Max in Der Freischütz with the Opera Orchestra of New York at Carnegie Hall, sang Erik in Der fliegende Holländer with the Pittsburgh Opera and Opera Australia, and in concert with Michael Tilson Thomas and the San Francisco Symphony, was Tichon in Kát’a Kabanová for L’Opéra de Montreal and the Florida Grand Opera, the Drum Major in Wozzeck at the Teatro Municipal in Santiago, and has sung Melot in Tristan und Isolde with the Los Angeles Philharmonic and Esa-Pekka Salonen, the New York Philharmonic with Kurt Masur, L’Orchestre Symphonique de Montréal with Kent Nagano, and the Metropolitan Opera with conductor James Levine. 

He joined soprano Christine Brewer in a duo recital in New York City as part of the prestigious George London Foundation recital series, and Deborah Voigt for the first act of Wagner’s Die Walküre as part of a Boston Lyric Opera Gala Concert.
Thomas Studebaker joined the Metropolitan Opera Young Artist Development Program in the 1996-97 season, and has performed several roles with that company, including Heinrich der Schreiber in Tannhäuser, Melot in Tristan und Isolde, Count of Lerma in Don Carlo, Ruiz in Il Trovatore, First Noble in Lohengrin, the First Armed Man in Die Zauberflöte, and Moser in Die Meistersinger von Nürnberg. He made his Metropolitan Opera debut in September 1997 as the Officer in Ariadne auf Naxos. 

Originally a baritone, Mr. Studebaker made his debut as tenor in the Opera Theatre of St. Louis 20th Anniversary Gala in the spring of 1995. A graduate of the Curtis Institute of Music and Illinois State University, Mr. Studebaker was chosen by the Opera Theatre of St. Louis as the recipient of a grant from the Richard Gaddes Fund for Young Singers, and was awarded a Robert M. Jacobson Study Grant from the Richard Tucker Music Foundation in 1996. During the spring of 1998, Mr. Studebaker also received the Kirsten Flagstad Memorial Award from the George London Foundation, and a Career Grant from the Richard Tucker Music Foundation.

Ph.D.: Music Education - University of Memphis
MA: Music Education - University of Central Arkansas
BA: Instrumental Music Education - Arkansas Tech University

Courses Taught
• Intro to Music Education
Music for Elemendary Classroom Teachers
 Music Education in the Elementary Grades
 Advanced Methods for General Music
 Student Teacher Supervisor

Research Interests
• Self-Regulation
• Motivational Beliefs
• Musical Practice

DMA (Violin Performance): 2012, Michigan State University
MM (Violin Performance): 2006, Michigan State University
BA (Violin Performance): 2002, Xi'an Conservatory of Music, China

Service Responsibilities
Coordinator for the Graduate String Quartet
Musician Wellness Committee

Personal Website
​​​ ​Courses Taught
• Violin
• String Techniques
• Chamber Ensemble

Research Interests
• Multicultural musical elements in violin repertoire
• Music by Chinese & Chinese-American composers


Acclaimed as "beautifully expressive", China-born Violinist Fangye Sun has concertized throughout Asia, Europe, and North America appearing in concert venues, such as Wiener Musikverein, Tonhalle, Suntory Hall, Sapporo Concert Hall Kitara, Victory Symphony Hall, Benaroya Hall, and Hong Kong Cultural Center. The renowned musicians with whom she has collaborated include Ralph Votapek, Carl Topilow, Bin Huang, Stephan Picard, Yuri Gandelsman, Anthony Elliott, as well as members of Yo-Yo Ma's Silk Road Ensemble. An avid chamber musician, she is a founding member of the Accorda Trio (violin, cello, and harp), the Armonia String Quartet, and Duo Piacevole (violin and cello), and was featured in the Asian Youth Orchestra, Pacific Music Festival, Pine Mountain Music Festival, Chamber Music Festival of Saugatuck, and Leelanau Summer Music Festival. A seasoned orchestral musician, Sun has served as guest concertmaster of the Lansing Symphony Orchestra, Jackson Symphony Orchestra, Southwest Michigan Symphony Orchestra, National Repertory Orchestra, and Shannxi Symphony Orchestra (China). In addition, she has been performing with the Grand Rapids Symphony since 2011. ​ View more​

Sun is Assistant Professor of Violin at Central Michigan University. Prior to moving to the United States, she held a professorship at Xi'an Conservatory of Music where she was the recipient of the Distinguished Faculty Award. She was a member of the resident String Quartet and was the chair of the string area at Blue Lake Fine Arts Camp in 2004-2005. In addition to serving as faculty artist at Bay View Music Festival during the summers, Sun performs on concert tours and holds residencies at Universities and Conservatories in China. A sought-after teacher, she has presented seminars and lecture recitals at International ClarinetFest, the College of Music Society National Conference, and the Michigan Music Conference and serves on the American String Teacher Association Collegiate Committee. Her recent master class engagements include master classes at Bowling Green State University, California State University, Luther College, and University of South Dakoda in the U.S. and Zhejiang Conservatory of Music, Xi'an Conservatory of Music, Xia Men University, Capital Normal University, Shandong University, and Guangxi Normal University in China, among others.

In recent years, her students have been named prize winners at the MMTA Young Artist Solo Competition, White Lake Young Artist Competition, Concert Artist International Virtuoso Competition and Bay View Music Festival Concerto Competition. Numerous students made solo appearances with orchestras such as the Jackson Symphony, CMU Symphony, and BVMF Orchestra and made debut performances in Carnegie Hall. Her students have received full scholarships to Round Top Music Festival, Atlantic Music Festival, Philadelphia Music Festival, Miami Music Festival, and Brevard Music Festival. Alumni of her studio can be found in major orchestras in China as well as in collegiate music programs in the U.S., Germany, and Singapore. Her interest in multicultural musical elements in new music has led to her CD recording project "Chinese Fantasies." Featuring both traditional and newly commissioned works by Chinese and American composers, it was released by Blue Griffin Recording in 2019 and is available on iTunes, Amazon Music, Google Music, and Spotify. This project was generously supported by the CMU Faculty Research and Creative Endeavors Grant.

Her early violin training started at an early age with her father. After winning the gold medal at the "Gao Hua" Chinese Youth Violin Competition at the age of eleven, she has won the Best Performance Prize at the 7th Chinese National Violin Competition, the Bronze Medal at the 3rd Chinese National "Golden Bell Award" Violin Competition, and Second Prize at the Marquette Symphony Young Artist Competition. Additionally, she was named winner of the Michigan State University Honors Concert Concerto Competition.

Sun holds a D.M.A. and M.M. in Violin Performance from Michigan State University and a B.M. from Xi'an Conservatory of Music. Her mentors include Walter Verdehr, Yaoji Lin, and Xie Min. During her studies, she had further opportunities to work with the Julliard String Quartet, David Kim, Paul Roczek, Alice Schoenfeld, Charles Dutoit and Valery Gergiev. Her live performances and media appearances have been broadcasted on Blue Lake Public Radio, Colorado Public Radio, WRUV, WCMU, WKAR, WDIY, WLNS, and Hanzhong TV Station

Selected Scholarship

2016 International ClarinetFest August 3-7, 2016.
Performance of "Trio Rustico" for Clarinet, Violin and Piano by Daniel Tressel

Guest Artist Masterclass and Recital
​California State University, Fullerton March 9-10, 2016 

FRCE Research Grant C. “Chinese Images-CD recording project.” October 2015 

FRCE Premier Display Grant for China concert tour. May 2015

Florida State University
University of Illinois
Ohio State University

Southern Salute: Southern Songs & Spirituals

​​​ Courses Taught
• Voice
• Techniques for Singing Actor

Ensembles involved with


​​​​Dr. Eric Hoy Tucker, basso-cantante, is the son of second-generation coal miners from Fairmont, W.Va. His musical mentors are Janice Harsanyi, André Thomas, and John Wustman. Dr. Tucker has appeared as bass soloist with regional symphony orchestras across the country in works such as Bach’s Christmas Oratorio and St. John Passion, Fauré’s Requiem, Handel’s Messiah, Haydn’s Creation, Saint-Saëns’ Christmas Oratorio, Beethoven’s Mass in C, Mozart’s Requiem, and Rossini’s Stabat Mater. Dr. Tucker made his Carnegie Hall debut in May 2013 as soloist in Haydn’s Creation with the New York City Chamber Orchestra. Tucker was featured as the bass soloist for the 2010 World’s Fair’s presentation of the Fauré Requiem in Shanghai, China. 
​​During the summer of 2012, Tucker was an Artist in Residence for Il Corso Estivo per Giovani Cantante Lirici, a Young Artist Apprentice program for opera in Sant’Angelo in Vado, Italy. While there, he sang performances of leading roles in Don Pasquale, Le Nozze di Figaro, L’Incoronazione di Poppea, and Il Viaggio del Reims in performances throughout Tuscany. Additionally, he taught master classes and performed in recital in Shanghai. Tucker has twice appeared as a soloist with the International Bach Festival in Trujillo, Peru. Tucker’s operatic portrayals include the major roles of Mozart, Puccini, Britten, Gilbert & Sullivan, Friml, and Ibert.

Tucker has been teaching at the collegiate level for the past fifteen years. Tucker’s students have gone on to appear with opera companies throughout the country including: Lyric Opera of Chicago, San Francisco Opera, Pittsburgh Opera, Opera Carolina, Opera Columbus, Virginia Opera, Sarasota Opera, Arizona Opera, Opera Delaware, Merola Young Artist Program, Brevard Music Center, Pine Mountain Music Festival, and The Ohio Light Opera. His students have also been highly successful in musical theatre. His students are performing leading roles on Broadway as well as in National tours of “Beauty and the Beast” and “Les Miserables” in addition to regional musical theatre productions and cruise lines.

​Tucker’s students have gone on to pursue grad​uate degrees in music at institutions such as Florida State University, Eastman School of Music, The University of Michigan, Westminster Choir College, The Ohio State University, and The University of Minnesota. At Central Michigan University, Dr. Tucker, Professor of Voice and Opera, serves as the Coordinator of the Vocal/Choral area, teaches Vocal Techniques, and directs the Opera program as well as Applied Voice.

Selected Scholarship

Dr. Tucker has appeared as bass soloist with regional symphony orchestras across the country in works such as Bach’s Christmas Oratorio and St. John Passion, Fauré’s Requiem, Handel’s Messiah, Haydn’s Creation, Saint-Saëns’ Christmas Oratorio, Beethoven’s Mass in C, Mozart’s Requiem, and Rossini’s Stabat Mater.  Dr. Tucker made his Carnegie Hall debut in May 2013 as soloist in Haydn’s Creation with the New York City Chamber Orchestra. Tucker was featured as the bass soloist for the 2010 World’s Fair’s presentation of the Fauré Requiem in Shanghai, China. During the summer of 2012, Tucker was an Artist in Residence for Il Corso Estivo per Giovani Cantante Lirici, a Young Artist Apprentice program for opera in Sant’Angelo in Vado, Italy. While there, he sang performances of leading roles in Don PasqualeLe Nozze di FigaroL’Incoronazione di Poppea, and Il Viaggio del Reims in performances throughout Tuscany. ​​

DMA: Stony Brook University
Performance Diploma, Scuola di Alto Perfezionamento Musicale di Saluzzo
MM (Performance): Rice University
MM (Performance (with Honors): Conservatorio di Musica di Firenze "Luigi Cherubini"
BM (Performance): McGill University​​

Courses Taught
Graduate Applied Viola
Undergraduate Applied Viola
• Chamber Music
• Viola Pedagogy
• Music Theory

Alicia Marie Valoti has held an internationally fruitful music career as a young violist. Beginning as a pianist at Indiana University Bloomington, she eventually came to study the viola and later completed a performance degree at McGill University in Montréal. Following her time in Canada, Dr. Valoti continued her studies of viola and chamber music in Italy at the Scuola di Musica di Fiesole, the Scuola APM di Saluzzo and the Conservatory of Florence “Luigi Cherubini”, where she received a Master’s degree in viola performance with the highest honors as well as a Performance Diploma in Viola and Chamber Music. Her residency in Europe allowed for much experience as an orchestral player, and Ms. Valoti consequently served as principal and in section orchestral positions, also completing tours in places such as Italy, Egypt, Montecarlo, and Switzerland. As a chamber musician, she participated in competitions and recitals throughout Italy and Europe. 
In 2009 Alicia Valoti began further graduate studies at Rice University with James Dunham, where she received the Cheri and Andy Fossler Award. Her participation in
masterclasses and festivals includes the Accademia Chigiana of Italy, the Kuhmo Chamber Music Festival of Finland, International Meisterkurse Bratsche of Germany and Le Domaine Forget in Canada, among others. She has been fortunate to study the viola with incredible artists such as Lawrence Dutton, Bruno Giuranna, Garth Knox, Nobuko Imai, Hatto Beyerle and Atar Arad. Dr. Valoti was selected in 2013 as an orchestral fellow for the Castleton Festival, where she played under the direction of the late Maestro Lorin Maazel.

Dr. Valoti has been an integral part of both past and present genres in music. In Florence, Italy, she gave the premiere performance of “SorellaViola”, composed in 2005 for viola sola by Gaetano Giani-Luporini, and in 2009-2010 toured the United States with the chamber music group Astraios, also making a premiere recording of a Sally Beamish work. Also in 2010, Ms. Valoti gave a premiere of Sergio Mesa’s String Quartet in affiliation with Aperio, Music of the Americas. As a member of Ars Lyrica and the Houston Bach Society, Dr. Valoti has performed, toured and recorded as principal viola, using true baroque instruments and bows. She can be heard, as Principal Viola, on the World Premiere Giovanni Paolo Colonna CD with the Houston Chamber Choir and Orchestra. Dr Valoti has a special interest in the scores and performance of original Italian viola compositions from the 19th century, and has given lectures and recitals highlighting the music of Giorgetti, Campagnoli and Cavallini. As a member of New Music for Strings, Ms Valoti has also performed alongside Emerson String Quartet colleagues in Denmark, Iceland and New York. She served as the violist for the world premiere in Copenhagen of Suite for String Quartet, a 12 movement quartet work written by Eugene Drucker.

A committed educator, Dr. Valoti served on the faculty of Lone Star College and Sam Houston State University School of Music, where she was a member of the Kolenneh String Quartet. In addition, Dr. Valoti was an Affiliate Artist at the Moores School of Music at the University of Houston and remains an Artist-Teacher at the Schlern International Music Festival in Italy. Her masterclasses have been held in places such as Brazil, Ecuador, Jordan, Italy, Ireland, New York, Colombia, Puerto Rico and Texas. In China in 2010, Ms. Valoti received a distinguished guest professorship at the Wuhan Conservatory, and held a month-long residency at Liaocheng University as a violin and viola professor. Ms. Valoti also served on the string faculty at the Interlochen Summer Academy in 2014. She has a passion for El Sistema programs, and recently worked and performed with students in Soweto, South Africa.

After initial doctoral studies and research at the Royal Northern College of Music in Manchester, England, Ms. Valoti completed a doctorate in viola performance at Stony Brook University in New York, where she also served as an instructor. Recently, she was the first prize winner of the “David Dalton” American Viola Society Competition, and performed as a “Rising Star of the Viola” in the American Viola Society Congress in Oberlin. Additionally, she has performed as a member of the Associazione Italiana della Viola, and gave the premiere of her own “Sonata per viola sola (2019)” in Siena, Italy. Further lectures were given for the International Viola Society Congress in Italy, Holland and New Zealand. Dr. Valoti serves as Assistant Professor of Viola at Central Michigan University since Fall 2016, where won the Provost Award in 2019.

D.M.A. in Piano Performance; M.M. in Piano Pedagogy; M.M. in Collaborative Piano, Michigan State University
Graduate Performance Diploma, Peabody Institute of The Johns Hopkins University
M.M. and B.M. in Piano Performance, Eastman School of Music

Scholary/Creative Interests
• Piano Performance
• Piano Pedagogy
• Collaborative Piano
• Chamber Music
Courses Taught
• Collaborative Piano & Related Courses
• Coordinator of Accompaniment


Professor Zhao Wang studied at the Shanghai Conservatory, earned degrees from the Eastman School of Music and Michigan State University, and a performance diploma from Peabody Institute of The Johns Hopkins University. Dr. Wang has performed internationally as a soloist at venues including the Kennedy Center, the Shanghai Grand Theatre Music Hall, as well as the summer festival at Banff Centre. Her extensive chamber music performances included collaborations with prominent university faculty and members of major orchestras. As a founding member of Circulo Trio, she has commissioned composers and toured with the trio in cities in Canada, the U. S., China, and Thailand, and performed at the Thailand International Composition Festival as the featured ensemble. 

Dr. Wang is a member of Music Teachers National Association and has presented at the national conferences. During the summer, Dr. Wang enjoys teaching at Interlochen Summer Academy and Blue Lake Fine Arts Camp where she has been working with talented young musicians in the beautiful Michigan forests.
Dr. Wiley is certified through the Music Teachers National Association at the state and national levels. She served MTNA as the National Senior Performance Competitions Coordinator for four years, and Chair of the Local Association of the Year Committee and other positions on and for MTNA. She has served the state of Michigan in many capacities, most recently stepping down as Past President of MMTA. She has also served on several select the Historical Research Committee for the World Piano Pedagogy Conference, and for the Michigan Music Teachers Association.

In her spare time, Dr. Wiley has authored articles that have appeared in Keyboard Companion and Clavier magazines, and a featured article that will appear in the American Music Teacher Magazine with respect to ​women composers and piano works for one hand. She has also reviewed books, One-Handed: A Guide to Piano Music for One Hand for the Journal of the Music Library Association, and has been a frequently invited reviewer of piano music and books for the Music Teachers National Association’s American Music Teacher Magazine. Her summers include teaching at the Illinois Summer Youth Piano Camp and at Interlochen Arts Academy’s Summer Piano Camps. After school hours, you will find her teaching her private students, practicing both the piano and the organ, researching and writing, and performing her specialty: single-handed piano music. Her interest and love of one-handed piano music has resulted in her first CD of teaching and concert-level works for one hand. Dr. Wiley’s second instrument, most recently and still “in the works,” is the organ. She is a student of Dr. Steven Egler, Professor of Organ at Central Michigan University.

Recent Scholarship

Collaborative recitals at Chengjiang Chamber Music Festival (2019), Lanzhou Clarinet/Saxophone International Festival (2019), Interlochen Summer Academy (2017-21), Henri Selmer Paris Summer Academy (2017-18).

MM: 1985, Northwestern University
BA: 1983, Mount Holyoke College

Service Responsibilities
Member of the Library Committee
ICE Committee
SOM Graduate Committee

Personal Website
www.TracyWatsonMezzo.com CD "Poet as Muse"

​​​​ Courses Taught
• Applied Voice
• Voice Pedagogy
• Song Literature

Research Interests
• Vocal Pedagogy                       

Service Responsibilities
• Vocal Area Coordinator in the School of Music
• School of Music Council
• Music Theatre Council
• Health and Wellness Workgroup
• Graduate Committee
• Curriculum Committee
• Personnel Committee


Tracy Watson, mezzo-soprano, is a prolific performer known for the depth and beauty of her voice, as well as her interpretive skills. Praised for her versatility, Ms. Watson is equally at home on the opera and concert stage. She began her career in Chicago as a member of the prestigious Lyric Opera Center for American Artists after earning her Master of Music degree from Northwestern University and a Bachelor of Arts from Mount Holyoke College. Her career took her to Germany where, at her first house audition, she was immediately engaged to sing the role of Dorabella in Mozart's Cosi fan tutte by the Staedtische Buehnen Dortmund. This led to her first Niklaus in Offenbach's Les Contes d'Hoffmann. While living in Europe, she was fest at the Theater Oberhausen, where she sang such diverse roles as Cherubino, Stefano and Mrs. Cratchit in the German premiere of Thea Musgrave's A Christmas Carol. This production was later featured at the opening night of the Nordrhein-Westfalen Festival of New German Theater at the Stadttheater Aachen.​ View more​
​​After returning to the United States, Ms. Watson sang regularly with Chicago Opera Theater in roles such as Hansel, and Rosina in Il Barbiere di Siviglia. She has sung with Whitewater Opera, Madison Opera, Hawaii Opera Theater and Portland Opera, where she received rave reviews as the Secretary in Menotti's The Consul. Ms. Watson is known for her ability to sing a wide range of roles from pants roles to the fiery Carmen, and Musetta from La Boheme.

Ms. Watson is a prolific concert performer, having sung concert repertoire and recitals in Europe and the United States. She has performed many times with the Grant Park Symphony with such conductors as Carlos Kalmar, Zdenek Macal, Hugh Wolff, Jesus Lopez-Cobos and Christof Perick. She performed the alto solos in Handel's Messiah with Musica Sacra at Carnegie​ Hall, as well as with numerous orchestras and the Apollo Chorus at Chicago's Symphony Center. She sang in the American premiere of Britten's The World of the Spirit and Karl Jenkin's The Armed Man: A Mass for Peace and Requiem, all at Carnegie Hall. She has sung with Music of the Baroque, Princeton Pro Musica, the South Bend Symphony, the Bach Society of St. Louis, the Virginia Concert, the Richmond Symphony (Indiana and Virginia), I Virtuosi Pragensis (Prague, Czech Republic), the European Symphony Orchestra (Barcelona, Spain), to name a few. She also sang for the Joffrey Ballet in the Dance for Life benefit concert and joined their regular season in 2008 singing Erik Satie's Cabaret Songs at the Ravinia Festival. Her repertoire covers the great oratorios, concert and vocal works from Bach to Mozart to Mahler to Verdi, and many more.

​Ms. Watson previously served as Lecturer of Voice and Opera at the Northwestern University Bienen School of Music. She began her teaching career at Chicago's well-known Old Town School of Folk Music. Ms. Watson was on the faculty at the Chicago College of Performing Arts at Roosevelt University from 1998-2009, and at Loyola University from 1995-1999, as well as The Chicago Academy for the Arts from 1996-1998. She was on the faculty of Northwestern University's National High School Music Institute 2000-2010, where she taught studio voice as well as vocal science and health seminars. She had also taught both the Introduction and Advanced Vocal Pedagogy courses at CCPA. Her students are performing both here and in Europe, including apprenticeships with Central City, Intermezzo, Sarasota, BASOTI, La Musica Lyrica, Lucca, and the American Institute of Musical Studies in Graz, Austria, and with opera companies and orchestras around the world. Her students took top prize at the Chicago Regional NATS competition in 2004, 2005 and 3013. Also, in 2013 her students took first place in the FAVA Grand Concours de Chant, 2nd place in the Harold Haugh Light Opera Competition, and won the Farwell Trust Award. Ms. Watson has been a member of NATS since 1995 and served as a regional board member for two years. She was president of the Chicago Singing Teachers Guild from 2004-2006. She was also contributed to an article on vocal resonance in the December '08 issue of Classical Singer Magazine. In 2010, along with tenor William Watson and director Michael Ehrman, she co-founded the Opera Training Institute of Chicago (OpTIC), a young artists summer opera training program. It successfully ran from 2010-2013. She remains an active performer in both concerts and recitals. Her CD "Poet as Muse" with the Crescent Duo was released on Centaur Records in January 2018. In February 2020, her CD "Chronicles" with the Crescent Duo was released on Blue Griffin Records. Ms. Watson is currently Associate Professor and Vocal Area Coordinator at Central Michigan University.

Recent Scholarship

Alto soloist in Bach's St. Matthew Passion with the Bach Institute at Valporaiso University and the Leipzig Baroque Orchestra; alto soloist in Handel's Messiah with the Rockford Choral Society; recitals at the White Lake Chamber Music Festival, Northeastern University, Friday Noonday Concert in Chicago, Carthage College, Classics at the Presby; master classes at Northwestern University and Georgia State University; Release of the CD "Poet as Muse" with the Crescent Duo; Release of the CD "Chronicles" with the Crescent Duo

DMA: University of Michigan
MM: Northwestern University
BM: University of Southern California​


• Powers Woodwind Quintet
• Crescent Duo​
• Eclectic Trio

Personal Website
​​​​ Recordings
A New Beginning
Brementown Musicians
Clarinet Chamber Music of Alvin Etler
Flights of Fancy
Gems for Woodwind Quintet
Woodwind Echoes


Saginaw Bay Orchestra
Midland Symphony Orchestra


Joanna Cowan White, professor of flute at Central Michigan University, has taught at CMU since 1987. She is principal flutist for the Saginaw Bay Symphony Orchestra and the Midland Symphony Orchestra and performs with the Powers Quintet, Eclectic Trio, and Crescent Duo. 

Joanna White can be heard on Flights of Fancy, (Centaur Records 2603,) Bremen Town Musicians, (Centaur Records 2774,) Gems for Woodwind Quintet, (White Pine Music,) Woodwind Echoes, (White Pine Music,) and The Clarinet Chamber Music of Alvin Etler (Centaur Records.)​ 
She has performed at the National Flute Association, International Clarinet Association, and International Double Reed Society Conventions and other events in Michigan, Indiana, Ohio, Illinois, California, Washington D.C.; Las Vegas, Nevada; Albuquerque and Santa Fe, New Mexico; London, England; Okaya and Kiryu, Japan; and Assisi, Italy.

White has written articles for Flute Talk, Flutist Quarterly, The Michigan State Band and Orchestra Association Journal, The Instrumentalist, the National Association of Wind and Percussion Instructors Journal and just had a flute poem published in The Flute View.

​Joanna White conducts the Central Michigan University Flute Choir, judges for the Michigan State Band and Orchestra Association, and recently served a two-year term as Secretary on the executive board of the National Flute Association. She received the bachelor of music degree from the University of Southern California, master of music degree from Northwestern University, and the doctor of musical arts degree from the University of Michigan. Her flute teachers included Walfrid Kujala, Janet Woodhams, Patricia Garside, Roger Stevens, Thomas Nyfenger, Judith Bentley, Clement Barone and Leone Buyse.

Selected Scholarship​

White has performed at the National Flute Association, International Clarinet Association, and International Double Reed Society Conventions and other events in Michigan, Indiana, Ohio, Illinois, California, Washington D.C.; Las Vegas, Nevada; Albuquerque and Santa Fe, New Mexico; London, England; Okaya and Kiryu, Japan; and Assisi, Italy.

White has written articles for Flute Talk, Flutist Quarterly, The Michigan State Band and Orchestra Association Journal, The Instrumentalist, the National Association of Wind and Percussion Instructors Journal and just had a flute poem published in The Flute View.​  
White, Joanna: "Yosemite Valley", The Flute View, web, April 2013.

White, Joanna: "Flute and Clarinet Together", Flute Talk, pp. 26-27, September 2009.

White, Joanna Cowan, Flute Teaching Tips for Instant Improvement, Michigan State Band and Orchestra Association Journal, Fall 2009.

White, Joanna Cowan: Teaching Musical Interpretation, National Association of College Wind and Percussion Instructors Journal, pp. 6-12, Summer 2009.

White, Kennen; White, Joanna; Nichol, John, "Empfohlene Werke für die Besetzung Flöte/Klarinetter/Saxophon und für Flöte/Klarinette und Klarinette/Saxophon", White, Kennen; White, Joanna; and Nichol, John, Rohrblatt: Die Zeitschrift für Oboe, Klarinette, Fagott und Saxophon. 3 pp February, 2008.

White, Kennen; White, Joanna; Nichol, John, "The Eclectic Trio: Recommended Trios and Duos for Flute, Clarinet, and Saxophone", The Clarinet, 5 pages, Journal of the International Clarinet Association, vol. 33, no. 3, pp. 35-37 (2006)

White, Joanna Cowan White ** "Walfrid Kujala, Orchestral 'Untangler'", The Flutist Quarterly, vol, 31, no. 1, pp. 56-62 (Fall 2005) ​

White, Joanna Cowan, The Art of Resume Writing; Instrumentalist Publishing Co., Northfield, Illinois, vol. 22, p. 24 (April 2003)

​© 2002 The Instrumentalist Publishing Co., reprinted with permission. Subscribe to Flute Talk at 10 issues yearly for $13 (student group subscriptions for only $7 each) at www.flutetalkmagazine.com, or by calling 888-446-6888.

White, Joanna Cowan, "Woodwind Quintet Literature," Instrumentalist, Instrumentalist Publishing Co., Northfield, Illinois, vol. 57, no. 6, pp. 56-60 (January 2003)

White, Joanna Cowan,  Etudes Off the Beaten Path; National Association of College Wind and Percussion Instructors Journal, pp. 4-8 (Fall 2003) © National Association of College Wind and Percussion Instructors Journal

White, Joanna Cowan, Woodwind Quintet Literature, Flute Talk; Instrumentalist Publishing Co., Northfield, Illinois, vol. 22, no. 3 pp. 19-21 (November 2002) © 2002 The Instrumentalist Publishing Co., reprinted with permission. Subscribe to Flute Talk at 10 issues yearly for $13 (student group subscriptions for only $7 each) at www.flutetalkmagazine.com, or by calling 888-446-6888.

White, Joanna Cowan, Intonation - Just and Tempered, Flute Talk: Instrumentalist Publishing Co., Northfield, Illinois, vol. 21, no. 8, pp. 8-13 (April 2002) © 2002 The Instrumentalist Publishing Co., reprinted with permission. Subscribe to Flute Talk at 10 issues yearly for $13 (student group subscriptions for only $7 each) at www.flutetalkmagazine.com, or by calling 888-446-6888.

White, Joanna Cowan, Performance Guide, Jacques Ibert's Trois Pieces Breve, A Performance Analysis; Flute Talk: Instrumentalist Publishing Co., Northfield, Illinois, vol. 22, no. 1, pp. 12-13 (March 2002)​

Cowan, Joanna Article about Anton Torello, International Society of Bassists Journal (Winter 1986) 

Upcoming Articles by Joanna Cowan White

​"New Music for Flute and Clarinet, part 2" Flute Talk Magazine

DMA: 1989, University of Michigan
MM: University of Michigan
BM: Northwestern University

Brementown Musicians
Clarinet Chamber Music of Alvin Etler
Flights of Fancy
Gems for Woodwind Quintet
Woodwind Echoes

​​​​ Courses Taught
• Applied Clarinet
• Woodwind Methods
• Chamber Ensemble
• Clarinet Pedagogy

Research Interests
• Clarinet Performance                       

Ensembles involved with
• Powers Woodwind Quintet
• Crescent Duo
• Eclectic Trio

• Clarinet Choir​​​​​​​​​​​


Kennen White, Professor of Clarinet, teaches clarinet and clarinet pedagogy at Central Michigan University and performs in the Powers Woodwind Quintet. Dr. White may be heard on the CD Crescent Duo: Flights of Fancy (Centaur Records CRC 2603) with CMU flutist Dr. Joanna Cowan White and on the CD: Bremen Town Musician: Powers Woodwind Quintet (Centaur Records CRC 2774). Dr. White has recently performed at the following conferences: International Clarinet Association, National Flute Association, International Double Reed Society, College Band Directors National Association, and the Music Educators National Conference.​ 
Dr. White is currently principal clarinetist in the Saginaw Bay Symphony and has held positions with the Grand Rapids Symphony Orchestra, Toledo Symphony, and the Santa Fe Opera Orchestra. Dr. White has also performed in the Detroit Symphony, Minnesota Orchestra, Michigan Opera Theatre, Flint Symphony, and the Traverse Symphony. He was previously on the faculty at Alma College. His teachers included Robert Marcellus, Clark Brody, and Fred Ormand.​​

Recent Scholarship

"Gems for Woodwind Quintet: The Powers Woodwind Quintet."  White Pine Music, 2011.

"Double Star: The Music of David Gillingham."  White Pine Music, 2009

"Clarinet Chamber Music of Alvin Etler."  Centaur Records, 2009.  

"Woodwind Echoes. White Pine Music."  Crescent Duo and Eclectic Trio with Andrew Spencer, percussion. White Pine Music, 2008.

"Crescent Duo: Flights of Fancy." Centaur Records, 2005.

DMA: University of Oklahoma
MM: University of Kansas
BM: University of Kansas

Prelude: Music for Piano, One Hand
​​​​ Courses Taught
• Piano Class II
• Piano
• Piano Pedagogy II
• Piano Class IV
• Chamber Ensemble
• Independent Study


Adrienne Wiley is currently Professor of Music at Central Michigan University where she teaches and administers the piano pedagogy program at the bachelor's degree level, and teaches class piano. Dr. Wiley received her bachelors and master's degrees in piano performance from the University of Kansas, and her doctor of musical arts in piano performance and pedagogy from the University of Oklahoma. Dr. Wiley's dual focus on performance and pedagogy keeps her active in both areas: she maintains an active performance career as a soloist and collaborative pianist, and also has given workshops, presentations, and lectures throughout the state, mid-west, national, and international levels.​​ View more​

Dr. Wiley is certified through the Music Teachers National Association at the state and national levels. She has served MTNA (national level) in many capacities: most notably the Local Associations Awards Chair, the MTNA Senior Performance Competitions Chair, and other select committees. Currently she is the East Central Division Competitions Coordinator for the MTNA Competitions. She has been active in the Michigan Music Teachers Association as well, holding various offices since she came to Michigan.

Dr. Wiley received the nomination for Teacher of the Year for the MTNA national level (2013); received the Teacher of the Year Award from the Michigan Music Teachers Association (2013); and received the Touchstone Award (2014) through the Michigan Music Teachers Association and the Michigan Youth Arts Council. In her spare time, Dr. Wiley has authored articles that have appeared in the American Music Teacher Magazine, Keyboard Companion, Clavier magazines, and the Clavier-Companion (Clavier and Clavier-Companion are now PIANO). Wiley reviewed the book, One-Handed: A Guide to Piano Music for One Hand for the Journal of the Music Library Association. In addition, she is a frequently invited reviewer of piano music and books for the Music Teachers National Association's American Music Teacher magazine and the PIANO, and recently joined the PIANO as a staff reviewer.

Dr. Wiley has been invited to present at the International Society of Music Education in Brazil, 2014, Glasgow, Scotland, 2016, and at the Canadian Federation of Music Teachers National Conference in Canada, 2015 and 2019. and the National Conference on Keyboard Pedagogy, 2019.   She has presented for the College Music Society at the state, regional, and national levels, as well as the Music Teachers National Association Conferences.

Summer finds Dr. Wiley as the coordinator of the junior piano camps at the Illinois Summer Youth Music Program's piano camp, where she has been on the ISYM teaching faculty for over 14 years. In addition, she devotes her spare time to her favorite topic: one-handed piano music: she has written articles on the topic, delivered workshops at the state, mid-west, national and international levels.

Recent Scholarship

Because of Dr. Wiley's dual focus on performance and pedagogy, she has been active in both areas.  She maintains an active career as a soloist on both piano and organ.  In addition, she has presented workshops throughout the mid-west reg​ion on such topics as piano music for one hand, motivational music, and intermediate piano literature, to name a few.  At the national level, she has been invited and presented sessions for the National Piano Teachers Institute, and for the Music Teachers National Association Conferences.​

Emeriti Faculty​​​




B.M. - University of Missouri
M.M. - Yale University
D.M.A. - SUNY Stony Brook

​​​​ Personal Website



Matheus Garcia Souza comes to us from New York City. Originally from Londrina, Brazil, Matheus is an accomplished music producer and violinist. He holds music degrees from the University of Missouri, Yale University, and SUNY Stony Brook. 

He has worked with ensembles throughout the United States, as well as Brazil and Japan. Dr. Garcia Souza has also produced music for Google Japan, Qatar, and a few video game franchises, such as Mortal Kombat, Final Fantasy, and Tomb Raider.


Associates Degree in Accounting from Mid Michigan Community College

​BSBA: 1996, Central Michigan University