​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​Conducting & Ensemble Directors
Woodwind​
Education
Brass & Percussion
Voice
String
Keyboard​
Theory, Composition, History, & Literature
Staff
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​ ​

​​​​​Education
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


Biography

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​ ​​
"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.

Performance: The Wind Symphony, Central Stage, WCMU Public Radio, March 2016. ​
​​
​​​​Education
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

www.jaybatzner.com​​​​​​​​​​​


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

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

Biography

Jay C. Batzner (b. 1974) is a composer and zazen practitioner in the Soto Zen tradition. Jay’s music has been performed at new music festivals such as Society of Composers Inc., College Music Society, Society for Electro-Acoustic Music in the US, and Electronic Music Midwest and instrument performance societies as 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. Recently, his 25-minute composition for piano and electronics as if to each other was recorded by R. Andrew Lee and released by Irritable Hedgehog in July of 2015.​ 
​​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. He’d love to write opera and has many music drama ideas he’d like to implement, just ask him. He reads too many comic books and tries to find time for sewing and other various hobbies. He’d like to get better at chess but never seems to find the time for it.

As you might expect, his scores and recordings are available at his website: jaybatzner.com​.


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)

​​​​Education
DMA: 2002, University of Arizona

Service Responsibilties
Committee on Committees
CCFA IT Committee

Website

lindabeth.com


​​​​​​ Courses Taught:
 Music in Society
• Oboe
• Double Reed Techniques
• Chamber Ensemble

Research Interests
• Scholarship of teaching & learning                     

Ensembles involved with
• ​Powers Woodwind Quintet
Flint Symphony Orchestra

​Biography​

Critics have described oboist Lindabeth Binkley's playing as 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. Her primary oboe teachers include Roger Rehm, Peter Cooper, and Dr. Neil Tatman.​ 
​​Dr. Binkley was appointed Assistant Professor of Oboe at Central Michigan University (Mt. Pleasant, MI) in the spring of 2010. She is Principal Oboist of the Flint Symphony Orchestra (Flint, MI) and, since moving to Michigan, has been active throughout the state in performances with the Ann Arbor Symphony, Saginaw Bay Symphony, Midland Symphony, Traverse City Symphony, Jackson Symphony, West Michigan Symphony, Lansing Symphony, and Lexington Bach Festival. A passionate advocate for chamber music, Dr. Binkley was Artistic Director of the critically acclaimed St. Andrew’s Bach Society (Tucson, AZ), a summer chamber music concert series, from 2007-2011. She also performs regularly with the Powers Woodwind Quintet, a CMU faculty ensemble, and the Flint Symphony Wind Quintet, an ensemble of the principal wind players from the Flint Symphony Orchestra.

She has served on the faculties of the University of Arizona, Northern Arizona University and as Artist in Residence and Oboe Instructor at the Bay View Music Festival in Bay View, Michigan (2007). 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), and the Idyllwild Arts Academy (Idyllwild, CA). 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, and Arizona 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 has presented at the Michigan Music Conference (2011 & 2012) and at the 65th Annual Midwest Clinic (Chicago, IL) with the Powers Woodwind Quintet in a program entitled, “Gems: Music for High School Woodwind Quintet.” Her most recent presentation, "Teaching Double Reeds: Think Outside the Box!," was presented at the 2014 Texas Music Educators Association Conference.

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


Recent Scholarship

2016 International Double Reed Society Conference (Columbus, GA, June 26-30) Presented “Reed Class Reinvented: Developing Independent Reed Makers in the Applied Studio Setting".

11th Annual Michigan Music Conference January 21-23, 2016

“Help!  There’s an Oboe Solo!”: How to Get the Best From Your Band Oboe Soloist
The MMC is a state conference organized by MASTA, MMEA, MSBOA, and MSVMA for an audience of music educators, students, and professionals.

2015 International Double Reed Society Conference August 16, 2015
National Olympics Memorial Youth Center
TOKYO, JAPAN
David Maslanka: Sonata for Oboe & Piano (1992, rev. 1999) with Alexandra Mascolo-David, piano

​​​​Education
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


Biography

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.

​​​​Education
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



Biography

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 on the west coast of the United States as well as Japan, China and Taiwan. Recent commercial recording projects include: The Five Changes; Currents; and Scenic Meditations with the Oregon State University Wind Ensemble, produced by Mark Records. This year, that ensemble will release David Maslanka's Mass for wind ensemble, full chorus, children's choir, and soloists.

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, are receiving performances across the United States.

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, Oregon Band Directors Association, National Association for Music Educators, and Oregon 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.


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

Service Responsibilities
College Music Society Great Lakes Chapter Immediate Past-President
Member of Committee on Career-Related Issues
American Musicological Society
​​​​ ​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)                      


Biography

Dr. Keith Clifton joined the CMU faculty in August 2002. He teaches all levels of undergraduate and graduate music histor​y 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. "Boléromania: Ravel and Global Popular Culture." Paper presented at 4th Biennial Music Colloquium, Louisiana State University, May 2017.

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.

Review of Caroline Potter, "Erik Satie: A Parisian Composer and His World" for "Fontes Artis Musicae" 64/1 (January-March 2017): 75-77.

"Claude Debussy" article for "A-R Music Anthology" (Madison, WI: A-R Editions, 2018, under contract and in press).

​​​​Education
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

Biography

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.

​​​​Education
DMA: 2005, Eastman School of Music
Central Michigan University
Eastern Michigan University

Personal Website
www.bradderoche.net
www.michcgw.com​

​​​ Courses Taught
• Applied Music (Guitar)
• Beginning & Intermediate Guitar
• Guitar Ensemble
• Guitar History
• Guitar Pedagogy

Research Interests
• New guitar music​

Biography

As a guitarist, Brad DeRoche has explored a wide variety of musical styles and compositions ranging from classical masterpieces to modern works by living composers. He is an active concert artist, appearing as a soloist, chamber musician, and orchestral soloist and has also appeared on public radio and television programs. He performs approximately 40 concerts per year in diverse musical styles, settings, and ensembles. ​​ 
Several composers have written works for him including a solo composition by Prix de Rome prizewinner Vincent Frohne. Dr. DeRoche has also published articles in the scholarly journal Soundboard; written program notes for guitarists Manuel Barrueco, Lorenzo Micheli, Xuefei Yang, Ricardo Gallen and others; and has performed, taught or presented seminars at the Eastman Guitar Festival, the Interlochen Guitar Festival, the Las Vegas Guitar Festival, the Alexandria Guitar Festival, the Cleveland International Guitar Festival, and others. He has recorded works by the Spanish composers Falla, Arcas, Albeniz, Tarrega, and Asencio, and others.

He has participated in many masterclasses with prominent concert guitarists including David Russell, Raphaëlla Smits, Paul Galbraith, Fabio Zanon, Denis Azabagic, and many others.

As an educator, Dr. DeRoche teaches guitar, guitar ensemble, music history, and music theory courses. He is chair of the music department at Delta College and directs the guitar programs at Central Michigan University and Saginaw Valley State University. In addition, he served as the director of classical guitar studies at the Interlochen Arts Academy and the Interlochen Arts Camp.

Dr. DeRoche has enjoyed a wide variety of activities in his professional life. In addition to being a performer and educator, he and his brother owned and operated the successful online retail business “Strings By Mail.” He also wrote a music appreciation textbook titled “An Introduction to Art Music" published by Kendall/Hunt. He is a founding member of the Mid Michigan Classical Guitar Society, which serves to expand awareness of the classical guitar in the central Michigan area. He directs a concert series at Delta College called the “Allegro Serie​s” which has presented some of the worlds finest musicians in it’s 20 year history, and currently serves as artistic director of the Michigan Classical Guitar Workshop. ​​


​Recent Scholarship

"An Introduction to Art Music"  textbook, published by Kendall/Hunt 2015.

Performances: Solo Concerts with new music by Matthias Duplessy

Performance: Ola Gjeilo's "Lake Isle" with the Flint Symphony

​​​​Education
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​​​​​​​


Biography

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, Director of Choral Activities, directs three ensembles and teaches choral conducting. Dr. Eady taught at both the middle school and high school level for nine years in the White Station Community in Memphis, Tennessee, where he served as a mentor teacher in musical literacy instruction in the urban environment.  In addition to this area of concentration, Dr. Eady 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 choirs have also performed at state and regional conventions of ACDA, including a performance by the White Station High School Men’s Choir at the 2014 Southern Division ACDA Convention. Dr. Eady was also recognized by the Tennessee Music Educators Association as Music Educator of the Year in the Spring of 2014.

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.

​​​​Education
BM, MM and DMA: University of Michigan

​​​​Recordings
The Dove Descending: Music for Flute and Organ
When In Our Music God is Glorified
The Organ Works of Gerald Near
Music for Trumpet and Organ
Ecclesiastic Music for Trumpet and Organ

​​​​ Courses Taught
 Applied Undergraduate and Graduate Organ

Biography

Steven Egler holds B.M., M.M., and D.M.A. degrees from The University of Michigan where he studied organ with the late Robert Glasgow and harpsichord with Edward Parmentier. Additional study and coaching has been with Liilian McCord, Catharine Crozier, Charles W. Ore, Quentin Faulkner, and George Ritchie. 

He has appeared as a soloist, collaborator—including the Shelly-Egler Duo—and clinician throughout the U.S., Canada, and Europe, been heard fourteen times on National Public Radio’s Pipedreams, and has performed and given workshops for several regional and national conventions of the American Guild of Organists and the National Flute Association.

He has taught in 7 Pipe Organ Encounters (P.O.E.’s), and he has adjudicated several chapter, regional, and national competitions of the A.G.O. as well as the Ft. Wayne National Organ Playing Competition. In service to the A.G.O., he has served as Region V Councillor, a member of the National Council, and as both a member and Director of the National Nominating Committee. He is currently serving as Dean of the Saginaw Valley Chapter of the American Guild of Organists.

His students hold major church and college teaching positions throughout the United States and have pursued graduate work in organ and church music in prominent programs such as the Eastman School of Music, The University of Michigan, Indiana University, The University of Nebraska-Lincoln, The University of Minnesota, Arizona State University, Michigan State University, and The University of Notre Dame.

As a champion of new music, he has commissioned and premiered over 30 compositions for organ, flute and organ, and choir and organ. His recordings are available from Summit Records, Organ Historical Society, and MorningStar Music Publishers. His transcription of Widor’s Romance and Scherzo for Flute and Organ is available from MorningStar Music

His series of interviews of Robert Glasgow, Robert Powell, Frederick Swann, Marilyn Keiser, Charles W. Ore, Gerald Near, and Morgan and Mary Simmons has appeared in recent issues of The Diapason and The American Organist.

Egler is Professor of Music Emeritus at Central Michigan University (1976-2014), Director of Music and Organist Emeritus at First Presbyterian Church, Mt. Pleasant (1976-2011), and has served more recently as Artist in Residence at First Congregational Church in Saginaw, MI (2011-2015). Since 2014, he has served as an Adjunct Professor of Organ in the C.M.U. School of Music. ​
​​​​Education
MM: Michigan State University
BM: Michigan State University

Recordings
Caught in the Act
​​​​ Courses Taught

• String Bass

Ensembles involved with
CMU Faculty Jazz Ensemble

Conspiracy Theory


Biography

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 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 restores double basses at the Guarneri House in Grand Rapids.  ​

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

Personal Website

www.celloprofessor.com


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

Biography

Jamie Fiste, Associate Professor of Cello at Central Michigan University, has been an active recitalist, chamber musician, orchestral player and teacher. Solo performances include recitals in the beautiful Academy of Sciences in Budapest, Hungary, the Plymouth Chamber Music Festival in Plymouth, Massachusetts, Wisconsin Lutheran College recital series in Milwaukee, Notre Dame Alumni Series, Andrews University in Berrien Springs, Michigan and the Ashmont Hill Chamber Music Series in Boston, Massachusetts. Chamber music performances include performances in the Maison Danoise in Paris, France and the Museu d’Història de Catalunya in Barcelona, Spain. He has also performed chamber music in the Plymouth Chamber Music Festival in Massachusetts, Fontana Music Festival in Shelbyville, Michigan, the Ashmont Hill Chamber Music Series in Boston and performances at Tennessee Technological University and Michigan State University. ​ View ​more​
​​He has also appeared in recital throughout New England. He has performed chamber music with musicians from the Boston and Dallas Symphonies, Chicago String Quartet, faculty from the University of Illinois and other distinguished musicians at the Music Festival of Arkansas and Hot Springs Music Festival. Jamie Fiste is co-artistic director for the Plymouth Chamber Music Festival in Plymouth, MA and was also founding member of the Stonehill Trio, trio in residence at Stonehill College in Easton, Massachusetts. Dr. Fiste has been a prizewinner in the Rolland Competition, Cello Society Competition and the University of Illinois Concerto Competition. He has also been a member of the Rhode Island Philharmonic Orchestra in Providence.

​Dr. Fiste has studied with Laurien Laufman and Karen Buranskas and has participated in master classes with Janos Starker and Fritz Magg.
​ ​
​​​​Education
Ph.D: 1991, University of Utah
MME: 1986, Fort Hays State University
BA: 1983, McPherson College

Service Responsibilities
Music Education Area Coordinator

Personal Website
alanjgumm.wordpress.com/


​​​ 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

Biography

ALAN GUMM is a Professor of Music Education at Central Michigan University, where his responsibilities are to conduct Women's Chorus, teach courses in music education, choral music, and graduate research, and observe student teachers. Dr. Gumm's teaching career spans over thirty years, from K-12 choral and general music in Kansas to positions in higher education at the University of Utah, Ithaca College in New York, McPherson College in Kansas, and CMU since 2000. His conducting experience includes many U.S. and European choir tours and clinics for choirs and small ensembles of all ages. Recognitions of his work include numerous awards for teaching excellence and a Saginaw News music critic review of his Women's Chorus for its "clear sound, excellent vocal technique and magnificent tuning…musical lines [that] were beautifully shaped…expressive singing at its finest."​ 

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. (2016). Relationships of background experience and music teaching style with conducting functions: Career development and pedagogical implications. In J. A. Bugos (ed.), Contemporary Research in Music Learning Across the Lifespan: Music Education and Human Development (189-201). New York: Routledge. Gumm, A. J. (2016). Choral music pedagogy: A survey of how ACDA members rehearse and conduct. Choral Journal, 56(10), 85-99.

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

Personal Websites
www.scottrharding.com
www.facebook.com/ironfistonline​
​​​ 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


Biography

Scott R. Harding is a lifelong Michigander, born in Bay City and growing up in rural small-towns Auburn and Cass City. Dr. Harding studied with award-winning band and percussion composer David R. Gillingham. Dr. Harding also studied percussion with the late Robert Hohner while at CMU, and was a member of the legendary Robert Hohner Percussion Ensemble for five years. Following a compositional “chain-of-command,” Dr. Harding studied primarily with Gillingham’s teacher Jere Hutcheson (himself a student of the incomparable H. Owen Reed). Performing remained a strong interest for Harding while at MSU, and he studied traditional percussion with Mark Johnson as well as swing drumset and Afro-Cuban percussion with former Sun Ra and Max Roach percussionist Francisco Mora Catlett.​ 
A 3-year graduate assistantship in aural skills ignited Dr. Harding’s passion for teaching, and he stepped into his current position at CMU while completing his last year of doctoral work in 1998. As a member of the CMU School of Music faculty, Dr. Harding teaches in the core theory/aural skills area, coordinating the ear-training curriculum and working privately with composition majors. He also teaches jazz history, music appreciation and world music as part of the university-wide liberal arts regimen. Dr. Harding’s excellent teaching was acknowledged with a nomination for the 2004-2005 Excellence in Teaching Award, where he ended as a finalist.

As a composer Dr. Harding works consistently with small chamber ensembles, writing music of intricate playfulness, knotted interwoven lines and excellent craftsmanship. He has accepted commissions from colleagues both at CMU and across the country, resulting in the creation of works such as Four Short Dances , Episode I for Clarinet and Electronic Accompaniment , Birdsong, Echoes of Mackinac and Cork Pine Suite . Dr. Harding’s love of percussion is evident in the pounding rhythms of Taiko , Criss and The Summoning Of Katakhanes , as well as in the somber, lyrical strains of his homage to Robert Hohner entitled Eulogy . His music is published by C. Alan Publications of Greensboro NC.


Recent Scholarship

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)

​​​​Education
MM (Theory): 2009, Michigan State University
BM (Performance): 2007, Shenandoah University

Research Interests
• Music Perception & Cognition
• Schenkerian Analysis
• Transformational Theory
• Music Theory Pedagogy
​​​​ Courses Taught
Music Theory I
• Music Theory II
• Supplemental Theory
• Ear Training I
• Ear Training II
• Contemporary Music Analysis
•​ Music and the Mind


Biography

​Jennifer Kitchen, Lecturer of Music Theory, joined the CMU faculty in 2012, teaching undergraduate courses in theory and ear training. Prior to CMU, she served as adjunct faculty at the University of Cincinnati College-Conservatory of Music teaching courses in the psychology of music and as a graduate teaching assistant in music theory and ear training at the University of Cincinnati and Michigan State University. ​ 
​​Professor Kitchen’s research interests include music perception and cognition, Schenkerian analysis, transformational theory, and music theory pedagogy. Her paper titled “’Schenkerian Analysis is Architecture’: Enhancing the Understanding of Metaphors in Music Theoretical Language Through the Study of Neural Processes” was presented at the 2012 meeting of the Music Theory-Musicology Society in Cincinnati, OH. Other professional organizations include the Society for Music Theory, Music Theory Midwest, the College Music Society, and Kappa Kappa Psi. She has also served on the editorial board for the Music Research Forum at the University of Cincinnati.

Recent Scholarship

Nomination for a Central Michigan University Teaching Excellence Award (2016)

“’Schenkerian Analysis is Architecture’: Enhancing the Understanding of Metaphors in Music Theoretical Language Through the Study of Neural Processes” - Presented at the 2012 Music Theory-Musicology Society conference in Cincinnati, OH.

​​​​Education
MM: 2006, Choral Conducting and Music Eduation, Central Michigan University
BA: 2004, Austin College




​​​ Courses Taught
• Elementary Music for Classroom Teachers

Research Interests
• Authentic Assessment in the Music Classroom
• Inclusivity in Curriculum Design

Biography

Erika Bridge-Knapp has taught elementary music for 14 years. She is currently pursuing her PhD at Michigan State University in Music Education, and is excited to be a member of the music faculty at Central Michigan University. She has completed Level I, II, III, and Masterclass in Orff Schulwerk. She is a regular local, state and national presenter for AOSA Erika is passionate about creating a spiraled and integrated curriculum in her classroom and teaching others how to do this as well. She is a certified Level I Pedagogy Teacher for AOSA and is a former member of the AOSA National Technology Subcommittee. She lives in Okemos, MI with her husband Benjamin, their 4 children and 3 pets!.​​

Recent Scholarship

Article in the Michigan Music Educators state journal on Authentic Assessments in the Orff Process (Spring 2017)

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

Service Responsibilities
Instrumental Area Coordinator
Faculty Association Representative
Music Executive Council

Recordings
An American Original
Animal Fair​
A New Beginning

Caught in the Act
Conspiracy Theory


​​​​ Courses Taught
• 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​​​​​​​​​​


Biography

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. 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

"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.

​​​​Education
MM (Performance & Pedagogy)
BA (Piano Performance & Pedagogy): Clarke College, Iowa

​​​​ Courses Taught
• Listening Experience

 

Biography

Susan Lindahl served as K-6 music instructor for the Dora Consolidated School system in Dora, New Mexico, and from 1987-1992 was on the faculty at Eastern New Mexico University where she taught class piano, private piano, and served as staff accompanist.  Since 2002 she has been a member of the faculty in the School of Music at Central Michigan University.

Mrs. Lindahl is a member of the Music Teachers National Association, Michigan Music Teachers Association, and the Midland Music Teachers Association.  She serves as an adjudicator for MMTA Student Achievement Testing, MMTA District Semi-Finals, and for MSBOA District and State Finals.  She is actively involved as an accompanist in the area and performs regularly with her husband, Dr. Robert Lindahl, Professor of Trombone, at CMU. 

Mrs. Lindahl has worked as a consultant for both Mc-Graw Hill and Connect4Education and is currently a Digital Faculty Consultant for Mc-Graw Hill.  She also maintains a private piano studio in Mt. Pleasant, MI.​

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

Recordings
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
• Piano Class IV

Personal Website

www.mascolo-david.com



Biography

“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.​​
​​​​Education
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​

Biography

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) and participated in 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 with the Trujillo Symphony Orchestra at age 22 (Peru, 1987) and returned to Peru in numerous occasions as guest conductor with the TSO (1990, 1995-2012), the National Symphony Orchestra (Lima, 2003-2009), the Trujillo Bach Festival (1998-2010), and conservatory and youth orchestras. In 2001, Dr. Maúrtua took students from CMU and other U.S. schools to perform with the Chamber Orchestra of the Autonomous University of the State of Mexico in Toluca. He also invited young musicians and music 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 Musikverein in Vienna, Austria with Chinese virtuoso violinist Bin Huang.
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, and China. 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). 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. 
​​​​Education
Master of Music, 2011, Indiana University
Bachelor of Music (Vocal Performance), 2009, Indiana University

Personal Website
deborahmayer.com​
​​​ ​Courses Taught
• Applied Voice
• Technique for the Singing Actor


Research Interests
• Vocal Performance
• Pedagogy                    


Biography

Deborah Mayer’s interpretation of the demanding soprano roles of Wagner, Verdi and Mozart have received critical acclaim in several of the world’s leading opera houses. She made her Metropolitan Opera debut as Gerhilde in Die Walküre in Robert LePage’s new landmark production of The Ring Cycle conducted by Fabio Luisi, which also marked her Metropolitan Opera Radio Broadcast debut. She also recently debuted as Gerhilde with the Boston Symphony Orchestra in Act III of Die Walküre at the Tanglewood Music Festival, featuring Bryn Terfel as Wotan. With the Toledo Symphony, Ms. Mayer sang "Brünnhilde's Immolation Scene" from Götterdämmerung, as well as the role of Brünnhilde in Siegfried. Ms. Mayer's Paris debut was at the Theatre de Chatelet as Ada in Richard Wagner's first opera Die Feen, led by Marc Minkowski and acclaimed stage director Emilio Sagi. The Wiener Zeitung hailed her performance as a "magical, then dramatic Ada" while the Frankfurter Rundschau extolled her "focused beguiling Ada". The role of Ada in Die Feen represents Ms. Mayer's foray into Wagnerian repertory with the Mainfranken Theater Würzburg in celebration of the theater's 200th Anniversary. Among the distinguished guests in attendance at the gala premiere of Wagner's first and rarely performed opera was the composer's grandson, Wolfgang Wagner. Of her performance, the Frankfurter Neue Presse exclaimed, "Hochdramatische, Deborah Mayer (Ada) portrayed the Wagnerian role to its fullest. A real Wagnerian!" Highlights of recent seasons include the title role in Aida, and Madame Lidoine in Poulenc’s Dialogues of the Carmelites with the Eugene Opera, Donna Anna in Don Giovanni at the Landestheater Salzburg, while at the Mainfranken Theater Würzburg, she has bowed as Abigaille in Nabucco, Donna Anna in Don Giovanni and Elettra in Idomeneo as part of the Mozart Festival, and Martha Marnis in Limonen aus Sizilien by Manfred Tojahn in a new version of the work, directed by the composer. Ms. Mayer has sung Leonora in Il Trovatore with the Baltimore Opera, and at the Syracuse Opera, the title role in Aida at Opera Roanoke and the title role in Tosca with the Opera Theater of Connecticut. Her professional debut came in La Traviata with Palm Beach Opera, conducted by Maestro Anton Guadagno, and directed by Tito Capobianco. Ms. Mayer's European concert debut was as the soprano soloist in Verdi's Messa di Requiem with the Philharmonia Orchestra London at the Chichester Festival. She has sung Beethoven’s 9th Symphony in Germany with the Würzburg Philharmonic Orchestra under the guidance of Daniel Klajner for a concert commemorating the 60th Anniversary of the end of World War II, at the Astoria Music Festival, and with the South Bend Symphony, and was the soprano soloist in Mendelsohn’s Elijah, opposite baritone, Nathan Gunn. Other performances include Wagner's Wesendonck Lieder at the Astoria Music Festival, as well as in Seoul, Korea with the Daejeon Philharmonic at the Seoul Arts Center for a concert that was telecast nationally with additional performances in Daejeon.​ ​
An accomplished recitalist, she was invited by the Richard Wagner Society of Bayreuth to present a recital in Bayreuth, Germany. She holds the distinction of being the first American awarded a stipendium by the prestigious organization. Ms. Mayer also sang a Richard Wagner’s Wesendonck Lieder in recital for the Richard Wagner Society of Chicago. As a recipient of the American Wagner Association prize in the Liederkranz Competition in 2010, she performed in recital at Carnegie Hall (Weill Hall). She received her Bachelor of Music, and Master of Music degrees from Indiana University and studied with world-renowned soprano Virginia Zeani and her husband, the legendary basso, Nicola Rossi-Lemeni. Ms. Mayer can be heard singing excerpts from Cavalieria Rusticana in the 2016 film, The Looking Glass, available on Netflix. Professor Mayer holds undergraduate and master’s degrees in music from Indiana University’s Jacobs School of Music. She has held teaching positions at the University of Notre Dame, Southwestern Michigan College, Goshen College, and Indiana University-South Bend.
Recent Scholarship

Metropolitan Opera debut as “Gerhilde” in Die Walküre in Wagner’s Ring Cycle (Metropolitan Opera Radio Broadcast, May 2013) “Gerhilde” with the Boston Symphony Orchestra in Act III of Die Walküre at the Tanglewood Music Festival.


​​​​Education
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


Biography​​

​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.

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

Recordings
Call and Response


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

Research Interests
• Performance

Biography

Neil Mueller, Assistant Professor of Trumpet at Central Michigan University, has enjoyed a varied career as a performing musician and music educator. He has performed concerti with the Boston Pops, Berkshire Bach Ensemble and the Boston University Symphony Orchestra as well as the Eastern Connecticut Symphony, the Fargo-Moorhead Symphony, two ensembles in which he held positions as principal trumpet. He is presently principal trumpet of Cleveland's BlueWater Chamber Orchestra. Of a recent performance of Haydn's Concerto for Trumpet with that orchestra, The Plain Dealer noted the he "struck a fine balance, displaying virtuoso flair and expressive sensitivity in equal degree. A compelling, confident figure in the outer movements, Mueller also applied sweetness to the Andante." (April 2012)​ 
​​Mueller has been an active chamber musician and, as first trumpet with the Brass Ring quintet, he concertized extensively in the United States, toured Italy and appeared in recital at the Kennedy Center for the Performing Arts. Brass Ring actively commissioned many new works for brass quintet. In addition to premiere performances of works by David Del Tredici, Joseph Schwantner and Roger Kellaway, they recorded a CD for Crystal entitled New American Classics Written for Brass Ring featuring new works by Pulitzer Prize-winning composers Del Tredici, Ned Rorem and Jacob Druckman. Mueller has also recorded a CD of new works for chamber ensemble written by the composers in the Common Sense Collective on the CRI label.

As a free-lance performer, Mueller has appeared with ensembles such as the Canton Symphony, New Haven Symphony Orchestra, Burning River Brass, the Bronx Arts Ensemble and the Hot Jazz Seven at a wide array of venues: from New York’s Carnegie Hall to the Metropolitan Museum of Art; from Cleveland’s Severance Hall to the Barking Spider Tavern. Before coming to Central Michigan, Mueller was trumpet professor at North Dakota State University. He has also taught students at Case Western Reserve University, Cleveland State University, University of New Hampshire and Boston University’s Tanglewood Institute.

​Mueller’s trumpet teachers include J. Robert Hanson, Manny Laureano, William Vacchiano, Allan Dean and Roger Voisin. In addition to his work as a player and teacher of the trumpet, Mueller has published three collections of duets published by Balquhidder Music and distributed internationally by Carl Fisher. He also has considerable experience as a conductor, having conducted wind ensembles and orchestras at NDSU and serves assistant conductor of the Blue Water Chamber Orchestra.​
​​

Recent Scholarship​

​​
2016 Named Interim Assistant Principal Trumpet, Grand Rapids Symphony Orchestra.
2016 Performed as soloist with the Berkshire Bach Ensemble, Vivaldi Double Trumpet Concerto.
​2015 White Pine Music released a CD entitled Call and Response featuring new works for trumpet & piano and trumpet duo, featuring Mueller, trumpeter Allan Dean, and pianist Zhihua Tang.

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

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

Recordings
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​​​​​​​​​​


Biography

​John Nichol, Professor of Saxophone, has taught at Central Michigan University since 1980. Professor Nichol has performed at the Montreaux Jazz Festival in Montreaux, Switzerland (1997), the North Sea Jazz Festival at The Hague, Netherlands (1997) and the Ford Detroit International Jazz Festival (2000, 2001, 2002). Professor Nichol has also performed by invitation at seven 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). Nichol has recently performed with the Jimmy Dorsey Orchestra, the Harry James Orchestra, the Nelson Riddle Orchestra, the Lansing Symphony Big Band, the Grand Rapids Symphony Orchestra, the Flint Symphony Orchestra, the Saginaw Bay Orchestra and the Midland Symphony Orchestra. ​ 
Professor Nichol is an active adjudicator for the Michigan School Band and Orchestra Association and has taught saxophone and coached saxophone ensembles at the Interlochen Center for the Arts Summer Camp (2005, 2006, 2007). Professor Nichol is a Yamaha Performing Artist and is 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)

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

Personal Website
www.amandapabyan.com
​​​​ Courses Taught
• Applied Voice Lessons
• Music in Society
• Techniques for the Singing Actor

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

Biography

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, Britten, and Moravec. ​ 

Ms. Pabyan made her Metropolitan Opera debut as the formidable Queen of the Night in Mozart’s Die Zauberflöte under 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, Ms. Pabyan recently made her role debut as Roselinda in Die Fledermaus with Opera on the James, Leonore in Beethoven’s Fidelio at the Shippensburg Festival, and appearances with the Cincinnati Symphony including excerpts from Puccini’s Madama Butterfly and Verdi’s Requiem, and in Guatemala performing Mahler’s Rückert Lieder.

On the concert stage, Ms. 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) 


​​​​Education
Ph.D. (Music Theory): 2015, The University of Texas at Austin, 2015
M.M. (Music Theory): 2011, The University of Texas at Austin
B.M. (Music Composition): 2009, Illinois Wesleyan University
​​​ Courses Taught


Website
picardylearning.com​


Biography

Dr. Scott C. Schumann joined the CMU School of Music faculty in 2016, having previously taught music theory and aural skills at The University of Missouri and The University of Texas at Austin. ​​ View more​

His primary research interests include music of the 20th- and 21st-centuries, and theories of expressive meaning in music, including topic theory, musical semiotics, musical gesture, and intertextuality. Schumann’s dissertation, “Making the Past Present: Topics in Stravinsky’s Neoclassical Works,” examines how Stravinsky’s connections to the past can offer multiple ways of interpreting potential stylistic and expressive meanings in his neoclassical works.


Dr. Schumann has presented research at a number of regional SMT conferences, and recently presented at the 2015 national SMT meeting in St. Louis, MO. Schumann also currently works as a content developer for Picardy, an online interactive platform for developing theory and musicianship skills.



​​​​Education
DMA: Eastman School of Music

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


Biography

ANDREW SPENCER, 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 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.”

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.
​​​​Education
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
www.fangyesun.com
​​​ ​Courses Taught
• Violin
• String Techniques
• Chamber Ensemble

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


Biography

An avid performing artist and prizewinner, China-born Violinist Fangye Sun has concertized throughout Asia and North America, appearing as a soloist with numerous orchestras, and performed in prestigious concert venues such as Suntory Hall, Victory Symphony Hall, Benaroya Hall, and Hong Kong Cultural Center. Featured in the Asian Youth Orchestra, Pacific Music Festival, National Repertory Orchestra, Pine Mountain Music Festival, Blue Lake Fine Arts Camp, Leelanau Music Festival and Lansing Symphony Chamber Series, she has collaborated with renowned musicians including Ralph Votapek, Carl Topilow, Stephan Picard, Yuri Gandelsman, Suren Bargatuni, and members of Yo-Yo Ma’s Silk Road Ensemble. A seasoned orchestral musician, she plays with the Grand Rapids Symphony as a member of the violin section and has served as Concertmaster of Lansing Symphony, Jackson Symphony, Southwest Michigan Symphony, Michigan State University Symphony, and National Repertory Orchestra, among others. ​ 
​​Dr. Sun joined the Central Michigan University faculty in 2013. Prior to moving to the United States, she was Assistant Professor of Violin at Xi’an Conservatory of Music in China where she was the recipient of the Distinguished Young Faculty Award in 2003. During the summers, she teaches at Bay View Music Festival as well as performs and presents master classes at Universities and Conservatories in China. Her recent teaching engagements include masterclasses and recitals at California State University, University of South Dakota, Zhejiang Conservatory of Music, Xi’an Conservatory of Music, Shandong University, and Qufu Normal University. A dedicated and passionate pedagogue, her students have been named prize winners at international music competitions, made solo appearances with orchestras, performed in Carnegie Hall, and won full-scholarships to attend prestigious music festivals. Alumni of her studio can be found in major orchestras in China as well as in undergraduate and graduate programs in the U.S., Germany, and Singapore. Her interest in multicultural musical elements has led to her CD recording project featuring both traditional and newly commissioned works by Chinese composers, which will be released by the end of 2016 on White Pine Music.

Her early violin training started at the age four with her father. After winning the gold medal at the “Gao Hua” Chinese Youth Violin Competition at the age of eleven, she has won several prizes and been recognized internationally with the Best Performance Prize at the 7th Chinese National Youth 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 Competition.

Sun's mentors include Walter Verdehr and Yaoji Lin. During her studies, she had further opportunities to work with the Julliard String Quartet, David Kim, Alice Schoenfeld, Charles Dutoit and Valery Gergiev. Her live performances and media appearances have been broadcasted on Blue Lake Public Radio, Colorado Public Radio, 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

​​​​Education
Florida State University
University of Illinois
Ohio State University

Recordings
Southern Salute: Southern Songs & Spirituals

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

Ensembles involved with
Opera

Biography​

​​​​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. ​​

​​​​Education
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
Biography​

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 the performance of both contemporary and baroque genres. 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, Dr. 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, Ms. 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.

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 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.  Dr. Valoti also served on the string faculty at the prestigious Interlochen Summer Academy for the Arts in 2014.

After initial doctoral studies and research at the Royal Northern College of Music in Manchester, England, Alicia Valoti completed her 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 part of the "Rising Stars" series in the American Viola Society Congress in Oberlin. She will give a lecture-recital for the International Viola Society Congress in Cremona, Italy in October 2016. ​

​​​​Education
Master of Music in Collaborative Piano, Michigan State University (2017) 
Graduate Performance Diploma, Peabody Institute of Johns Hopkins University (2013)
Master of Music in Piano Performance, Eastman School of Music (2011) 
Bachelor of Music Piano Performance, Eastman School of Music (2009) 
Piano Performance, Shanghai Conservatory (2007)


Scholary/Creative Interests
Piano performance and pedagogy
​​​​
Courses Taught
• Collaborative Piano & Related Courses
• Coordinator of Accompaniment


Biography

Professor Zhao Wang studied at the Shanghai Conservatory, earned undergraduate and master’s degrees in piano performance from the Eastman School of Music, as well as a Graduate Performance Diploma from the Peabody Institute of Johns Hopkins University and a Master of Music in Collaborative Piano from Michigan State University. She has performed as a soloist at the Kennedy Center, Guiyang Grand Theatre Music Hall (China), Banff International Summer Festival (Canada), Todi Music Festival (Italy), and Bowdoin International Music Festival, and toured with Circulo Trio in cities in Canada, the U. S., China, Thailand and performed at the Thailand International Composition Festival as the featured ensemble. Her competition performances include Maria-Canals International Competition (Spain), the Seiler International Piano Competition (Germany), and Ettlingen International Piano Competition (Germany). She has extensive experience as a collaborative pianist and chamber musician with prominent university faculty and major orchestra musicians. Professor Wang has also supported applied instrumental and vocal studios as well as opera productions at Eastman, Peabody, and Michigan State.
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 with Kim Cole Luevano (University of North Texas), Pavel Vinnitsky (New York Philharmonic), Michael Norsworthy (Boston Conservatory) at the 2018 Henri Selmer Paris Summer Academy, East Lansing, MI; Collaborative recitals with Lisa Conway (Cincinnati Symphony Orchestra), James Nickel (National Symphony Orchestra), Corbin Wagner (Michigan State University) at the 2018 Interlochen Arts Academy, Interlochen, MI; Blodgett Recital Series and piano instructor at the 2018 Blue Lake Fine Arts Camp, Twin Lake, MI.

​​​​Education
Ph.D in Composition and Music Theory: University of Michigan
MM in Composition: Université de Montréal
BM in Composition: University of Ottawa

Research Interests
• Music and Trauma
• Music of Everyday Life
• Large Ensemble Composition
• Chamber Music Composition
• Orchestration
• Cover Songs and Musical Reinterpretation
• Film and Television Music
​​​ Courses Taught
• Undergraduate Composition Lessons
• Graduate Composition Lessons
• Instrumentation and Scoring
• Advanced Orchestration
• Contrapuntal Technique
• Advanced Counterpoint
• Music in Science Fiction Film
• Seminar in Music Analysis
• Aural Skills I and II

Service Responsibilities
• CAM Grade Grievance Committee
• School of Music Graduate Committee
• School of Music Recruitment Workgroup
• Honors Capstone Project Advisor


Biography

Dr. Evan Ware writes music of angular, bristling energy, with moments ranging from clamorous sublimity to reverent tenderness. Through his works, he frequently confronts themes of alienation, trauma, and power while seeking to transform them through acceptance, compassion, and recognition of innate beauty. Dr. Ware's recent work—particularly his symphonies, The Quietest of Whispers and Symphony No. 2—engage with his own survival from childhood sexual abuse and his desire to share his experiences to help others heal.

An active as composer and music theory scholar, his music has been performed in the United States, Germany, The Netherlands, New Zealand, and in Canada, both live as well as featured on CBC Radio 2, Michigan Radio, and WCMU. He has been privileged to work with such groups as the Latitude 49, ÆPEX Sinfonietta, the Orchestre Métropolitain du Grand Montéal, the Arraymusic Ensemble, members of the National Arts Centre Orchestra, the Windsor Symphony Orchestra, the University of Michigan Symphony Orchestra, the University of Michigan Javanese Gamelan Ensemble, the Georgia State University Concert Band, the Donald Sinta Saxophone Quartet, and the New Zealand Clarinet Quartet. Evan's music has been supported by the Barlow Endowment for Music Composition, Central Michigan University's School of Research and Graduate Studies, the Rackham School of Graduate Studies at the University of Michigan, the Canada Council for the Arts, and the City of Ottawa.

Dr. Ware's music research on cover songs and musical reinterpretation has appeared in academic publications on punk music and has been presented on at regional and national conferences. He is currently co-editing a book for Routledge on music in the Star Trek franchise and is preparing a paper on "finding the body" music in serial murder mysteries like Twin Peaks.  He has presented papers at meetings of the Society for Music Theory, Music Theory Midwest, Music Theory Southeast, Music and the Moving Image, the Society for Cinema and Media Studies, and the Canadian arm of the International Association for the Study of Popular Music.


Recent Scholarship

Symphony No. 2 (2019) for chamber orchestra Without Words (2019) for euphonium and piano Checking Out (2019) for mixed chamber ensemble Waiting Music (2018) for solo piano Reinterpretation as Cultural Practice: Sketches for Covering Continuum (2019) - presentation at the annual meeting of the Society for Music Theory

​​​​Education
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

Biography

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.​ 
​​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 in January 2018. 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

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

Ensembles

• Powers Woodwind Quintet
• Crescent Duo​
• Eclectic Trio

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

Orchestras

Saginaw Bay Orchestra
Midland Symphony Orchestra


Biography

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

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

Recordings
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​​​​​​​​​​​


Biography

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.

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

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


Biography

Adrienne Wiley is currently Professor of Music at Central Michigan University where she teaches and administers the piano pedagogy program at the bachelors and masters degree levels, and teaches applied and class piano. 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​.​​ 
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

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​​​

MOONYEEN ALBRECHT (1963-2000) PROFESSOR, SCHOOL OF MUSIC
ELIZABETH J. BROWN 
(1976-2001) PROFESSOR, SCHOOL OF MUSIC
J. TIMOTHY CALDWELL 
(1974-2010) PROFESSOR, SCHOOL OF MUSIC
STEVEN L. EGLER 
(1976-2014) PROFESSOR, SCHOOL OF MUSIC
JEFFREY HARRINGTON FOOTE 
(1976-2002) PROFESSOR, SCHOOL OF MUSIC
SUE G. GAMBLE 
(1978-2016) PROFESSOR, SCHOOL OF MUSIC
DAVID R. GILLINGHAM 
(1984-2014) PROFESSOR, SCHOOL OF MUSIC
DENNIS L. HORTON 
(1968-2010) PROFESSOR, SCHOOL OF MUSIC
MARY S. KIESGEN 
(1977-2013) PROFESSOR, SCHOOL OF MUSIC
JOHN E. WILLIAMSON 
(1979-2018) PROFESSOR, SCHOOL OF MUSIC

Staff​​


Education

BS: 1997, Central Michigan University

Biography

Carol graduated magna cum laude from Central Michigan University, receiving the Bachelor of Science in Music Composition. She also received minors in both studio art and anthropology while a CMU undergraduate. Her principal mentors were David Gillingham and Cora Enman. In 2015 she received the CMU Staff Excellence award, having been nominated four times prior. Carol has been the supervisor of the Music Resource Center and the School of Music Ensemble Library since 2001. 

Education

BA: 1982, Michigan State University

 

Biography

Michael Jorgensen has been tuning pianos for 40 years, with more than 30 years experience at CMU.  Jorgensen is an accomplished classical pianist and an expert in classical improvisation.


Education

BFA: Technical Theatre 2005, Central Michigan University

Biography

Dan joined the School of Music in 2007. His background includes a broad range of technical production disciplines with Lighting Design, Staging and Entertainment Rigging being his primary areas of expertise.

Responsibilities

Lynnann Losey maintains student files databases, processes forms for major/minor, music candidacy, jury, drop/add, student opinion surveys & book orders .

Education
MA (Arts & Cultural Management): Michigan State University, BME (Music Education): Central Michigan University

​Biography

Kristin returned to the school of music in August of 2018 after recently completing her master’s degree in Arts & Cultural Management. Previously she spent time teaching band and choir in public schools as well as working for the Walt Disney Company and various nonprofit organizations such as the Detroit Zoological Society and Wharton Center for Performing Arts. She remains an active performer in community bands, orchestras, and theaters in mid-Michigan.

Education
​MM: 2008, University of North Texas
BA: 2006, University of Alabama at Birmingham
Associate of Music: 2003, Shelton State Community College

​Biography

Scott Topazi was appointed Manager of Audio Production and Music Technology in August of 2013. He comes to Mount Pleasant from Collin College in Frisco, TX where he taught Audio engineering and spent the Summer of 2012 with the Aspen Music Festival, where he was an Assistant Audio Engineer.  Previously he worked as a Recording Lab Engineer for the University of North Texas, where he had responsibilities in studio and on-location recording, as well as producing.

Education
​BSBA: 1996, Central Michigan University

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