School of Humanities and Sciences
Showing 21-30 of 60 Results
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Elizabeth DiRenzo, PhD
Associate Professor of Otolaryngology - Head & Neck Surgery (OHNS) and, by courtesy, of Music
Current Research and Scholarly InterestsDr. Erickson DiRenzo's laboratory integrates research techniques from the basic and clinical sciences to improve the prevention and management of voice disorders.
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Brian Ferneyhough
The William H. Bonsall Professor in Music, Emeritus
BioStudies with Ton de Leeuw, Amsterdam Conservatory, and Klaus Huber, Basel Conservatory.
Awards: Mendelssohn Scholarship, 1968; Lady Holland Composition Award, Royal Academy of Music, 1967; Grand Prix du Disque, 1978 and 1982; Gaudeamus Music Week Prizes 1969 and 1970; Composition Stipend, City of Basle, 1969-71; Koussevitsky Prize 1978; Composition Stipend of Southwest German Radio, 1974-5; Chevalier dans l’Ordre des Artes et des Lettres, Paris 1984; Associate Royal Academy of Music, 1990; Royal Philharmonic Award for Chamber Music Composition, 1996; Fellow, Birmingham Conservatoire, 1995; Elected Member of the Akademie der Künste, Berlin, 1996; Fellow, Royal Academy of Music, 1998; Elected Corresponding Member of the Bayrische Akademie der Schönen Künste 2005.
Activities: member of International Jury ISCM, 1980 (Finland) and 1988 (Hong Kong); member jury Gaudeamus Composition Competition 1983; member of International Reading Panel, IRCAM, 1993 & 1999; member of Kranichsteiner Preis Jury, Darmstadt, 1978-96; member of board, Perspectives of New Music 1995-present.
Compositions featured throughout the world and at all the major European festivals of contemporary music. Compositions include: Fourth String Quartet, Bone Alphabet, Terrain, Allgebrah, Incipits, Unsichtbare Farben, String Trio. His opera Shadowtime was premiered as part of the Munich Biennale 2004, and has been taken to Paris, New York, Bochum and London 2004-5. In 2006, it was staged in Stockholm, Sweden. In October 2006, his orchestral piece Plötzlichkeit was premiered at the Donaueschingen Festival, Germany. His Fifth String Quartet was premiered in Witten and later played in the Aldeburgh and Salzburg Festivals.
Publications: Collected Writings, Harwood Academic Publishers, 1998; POETIK, and various articles and interviews. -
Takako Fujioka
Associate Professor of Music
BioResearch topics include neural oscillations for auditory perception, auditory-motor coupling, brain plasticity in development and aging, and recovery from stroke with music-supported therapy.
Her post-doctoral and research-associate work at Rotman Research Institute in Toronto was supported by awards from the Canadian Institutes of Health Research. Her research continues to explore the biological nature of human musical ability by examining brain activities with non-invasive human neurophysiological measures such as magnetoencephalography (MEG) and electroencephalography (EEG). -
Thomas Grey
Professor of Music, Emeritus
Current Research and Scholarly InterestsThis book project will involve a series of essays about the status of "beauty" as an aesthetic and critical concept in musical discourse and practice from the later 18th century through the advent of musical "modernism," starting with the reception of Wagner in the 1880s to c. 1900. The project seeks to mediate between philosophical conceptions of beauty (Kant and British aestheticians of the 18th century), criticism (Eduard Hanslick, centrally), and compositional practice over the long 19thC.
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Heather Hadlock
Associate Professor of Music
BioHeather Hadlock studies 18th- and 19th-century French and Italian opera, with a focus on changing norms for representing masculinity in opera on nineteenth century stages and in contemporary productions of classic operas. Her research repertoire encompasses Italian bel canto opera, Berlioz, Offenbach, operatic masculinities, opera in the age of its digital mediation, and divas and technology. She approaches operatic voices and performance through feminist theories of difference, vocality, and embodiment; gender and sexuality studies; and dynamics of adaptation between opera, literature, and video. She has directed Stanford's interdisciplinary Program in Feminist, Gender, and Sexuality Studies, and served on the Phiip Brett Award committee and board of the AMS LGBTQ Study Group. She serves on the editorial board of the journal Nineteenth-Century Music.
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Stephen Harrison
Senior Lecturer in Music
BioStudied with George Neikrug, Andor Toth, Jr., Margaret Rowell, Eugene Lehner.
Artistic Director, Ives Collective (2015-)
Founding member, Ives String Quartet. Cellist (1998-2015)
Founding member, Stanford String Quartet (1983-1997).
Solo cellist, San Francisco Contemporary Music Players.
Former principal, the Chamber Symphony of San Francisco, New England Chamber Orchestra, The Opera Company of Boston.
Principal cellist, Mendocino Music Festival; Faculty coach, Emerging Artists Program, Mendocino Music Festival
Faculty member, SoCal Chamber Music Workshop
Cellist, Telluride Chamber Music Festival
Former faculty/cellist at the Rocky Ridge Music Center, Centrum/Port Townsend (WA),
Recordings for CRI, Laurel Records, New Albion, AIX Entertainment, Delos, Centaur, and Music and Arts Recordings of America. -
Stephen Hinton
Avalon Foundation Professor of Humanities and Professor, by courtesy, of German Studies
BioStephen Hinton is the Avalon Foundation Professor in the Humanities and Professor of Music at Stanford University, with a courtesy appointment in German. His research focuses on aesthetics, the history of music theory, and the music of Kurt Weill, Paul Hindemith, and Beethoven.
He has held several leadership roles at Stanford, including Denning Family Director of the Stanford Arts Institute (2011–2015), Senior Associate Dean for Humanities & Arts (2006–2010), and multiple terms as Chair of the Department of Music. Before coming to Stanford, he taught at Yale University and the Technische Universität Berlin.
Hinton is the author of Weill’s Musical Theater: Stages of Reform (winner of the 2013 Kurt Weill Prize), as well as numerous books, articles, and critical editions, including Kurt Weill: The Threepenny Opera in the Cambridge Opera Handbooks series. His work has appeared in major reference works and handbooks, and he has edited Beethoven Forum as well as volumes in the collected editions of both Weill and Hindemith.
His recent projects include a revised German edition of his Weill monograph (Kurt Weills Musiktheater: Vom Songspiel zur American Opera, Suhrkamp 2023) and the online edX courses on Haydn and Beethoven for the series Defining the String Quartet, created with the St. Lawrence String Quartet. -
Tamami Homma
Lecturer
BioBachelor's Degree in piano performance (Manhattan School of Music), Master of Music Degree in performance (RAM/University of London), LRAM (Licentiate, Royal Academy of Music), ARAM (honorary Associate, RAM). Studied with Byron Janis, Herbert Stessin (Juilliard School of Music), Christopher Elton, Hamish Milne, Dominique Merlet (Conservatoire de Genève), other masterclasses or private lessons with Andras Schiff, Alfred Brendel, Christopher Hogwood, Sarah Davis Buechner, Jerome Lowenthal, Piers Lane, amongst others. Champion of the music of British composer John McCabe, she contributed the chapter on his piano works for 'Landscapes of the Mind' published by Ashgate and recorded several CDs of his works including with McCabe, one recognized as 'Editor's Choice' and others consistently receiving five stars from Gramophone Magazine and BBC Music Magazine. She has also recorded other highly rated CDs of works by Chopin, Mozart, Rawsthorne and contemporary composers for SOMM, Dutton and Metier labels. Her recording of the piano quintet version with the Vilnius Quartet was 'CD of the Week' (The Independent, UK). As collaborative pianist, she has performed complete cycles of all Beethoven works for every instrument, played for classes of Maurice Hausson (violin), John Wallace (trumpet) as a student and later performed with Mats Lidstrom, Peter Sheppard-Skaerved at the Warsaw Autumn Festival, and founded the Tate Ensemble which performed at the Aldeburgh Festival and received high praise from the New York Times for their Carnegie Debut. Upon coming to the Bay Area in 2007 she has founded the Cal Arte Ensemble and has continued to perform and solo with many orchestras but also continues to record, supports local opera companies, coaches in vocal and ensemble, adjudicates in competitions in the US and abraod, and offers private lessons (is affiliated with CMTA and Vantage Academy in Hong Kong). She has worked as vocal and ensemble coach at the San Francisco Conservatory of Music and was Master Teacher at the Community School of Music & Art in Mountain View. She is most proud of her four children filling the home with their own various musical noises.
