Undergraduate
- Information, Auditions,
Scholarships
- The Music Major
- Ensembles
Graduate
- Information
- Performance
- History and Theory
- Ethnomusicology
- Composition
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- Concert Season
- Ensembles
- Student Recitals
- Colloquia
Faculty & Staff
Pre-College Program
Adult Chamber Program
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Staller Center for the Arts
Samuel Baron Prize
Giving to the Music Department
Music Department
3304 Staller Center
SUNY Stony Brook
Stony Brook, NY 11794-5475
631.632.7330
fax 631.632.7404
Designed & Maintained by Melissa Bishop/DoIT
Modified on 07/24/2008 10:41:37 AM EDT
Our Distinguished Faculty
Performance
Elaine Bonazzi Voice | Colin Carr Cello | Kurt Muroki Double Bass |
Fred Carama Voice | Christina Dahl Piano | Susan Deaver University Orchestra |
Eduardo Leandro Percussion | Bruce Engel Wind Ensemble | Ray Anderson Jazz Studies |
Alan Kay Clarinet | Arthur Haas Harpsichord | Gilbert Kalish Piano |
Timothy Long Voice, Opera Conductor | Frank Morelli Bassoon | |
Timothy Mount Choral Ensembles | Katherine Murdock Viola | Michael Powell Trombone |
William Purvis Horn | Kevin Cobb Trumpet | Philip Setzer Violin |
Pedro Diaz Oboe | Jerry Willard Guitar | Carol Wincenc Flute |
Pamela Frank Violin | Soovin Kim Violin |  |
Eugene Drucker Violin | Lawrence Dutton Viola | David Finckel Cello |
| Philip Setzer Violin | |
Frederick Moehn Ethnomusicology | Sarah Fuller Medieval & Renaissance History & Theory | Jamuna Samuel |
David Lawton Conducting, Opera, 19th Century History | Judith Lochhead 20th and 21st Century History & Theory | |
|
Perry Goldstein Composition, Theory & Musicianship | Daria Semegen Composition, Theory & Electronic Music | Sheila Silver Composition & Theory |
Daniel Weymouth Composition, Computer Music & Theory | Margaret Schedel Composition | Peter Winkler Composition, Theory & Popular Music |
Martha Zadok Assistant to the Chair | Graduate Coordinator Odalis Hernandez | |
Andrew Nittoli Audio & Electronics Technician | Thomas Malenich Piano Technician | Michael Hershkowitz Director of Concerts and Community Education |
Timothy Eddy Cello | Lazar Gosman Violin | Julius Levine Chamber Music |
Charles Neidich Clarinet | Raymond DesRoches Percussion | Mitchell Stern Violin |
The character of Stony Brook's music department is largely due to the nature of our faculty. Faculty are chosen not only for their stature as performers, scholars, and composers, but also for their rapport with students,their ability to work cooperatively with their colleagues, and their commitment to the values of the department.. The rapid growth and success of the Stony Brook music department is due to the vision of some of our founding faculty: Billy Jim Layton, our first chairman (now retired) and the late David Lewin, our first director of graduate studies and principal architect of our graduate program. The character and spirit of the faculty owes a great debt to some gifted teachers who are no longer with us, most notably Bülent Arel, who built our first Electronic Music Studio, and Samuel Baron, whose combination of gentleness and musical vision inspired his flute students and his fellow faculty alike.
Our performance faculty are all actively involved in performing careers; they figure prominently in such organizations as Orpheus Chamber Orchestra, New York Woodwind Quintet, Orchestra of St. Luke's, the Chamber Music Society of Lincoln Center, Mozzafiato, New York City Opera, Bach Aria Festival, and the old Group for Contemporary Music. All share a strong commitment to contemporary music; most have been involved in important premieres of new works. Many faculty also actively work with period instruments and early music performance. Our faculty in history and theory are distinguished for their openness to new approaches; their work blends the "old" and "new" musicology, combining rigorous standards of research and close attention to the music itself with awareness of the larger cultural context in which music exists. Our composition faculty writes in a wide range of styles and idioms, but share a reluctance to impose their own stylistic predilections on students. They share a belief in solid grounding in both traditional theory and in the newest musical technologies, and emphasize collaborative relationships with performers.