School of Humanities and Sciences
Showing 51-100 of 240 Results
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Chris East
Ph.D. Student in Music, admitted Autumn 2024
BioChris East is a PhD student in musicology at Stanford University. He studies early twentieth-century Russian ballet music, with a particular focus on the music of Igor Stravinsky.
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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. -
Debra Fong
Academic Staff Hourly, Music
BioViolinist Debra Fong is Concertmaster of the Peninsula Symphony, Associate Concertmaster of the San Jose Chamber Orchestra, and Principal Second Violinist of the San Francisco Chamber Orchestra. She spends her summers as a first violinist with the Grammy Award-winning Santa Fe Opera Orchestra.
Also dedicated teacher, Debra is a Lecturer in Music at Stanford University, teaching violin and chamber music, and she maintains a private violin studio. She is a faculty coach for Young Chamber Musicians, a guest conductor for the Palo Alto Chamber Orchestra, and a judge for several annual young artist concerto competitions. Debra is a former violin faculty member at The College of William & Mary, The Music Institute of Chicago, and New England Conservatory of Music Preparatory School.
Debra received her Bachelor and Master of Music degrees in Violin Performance with Honors and Distinction from the New England Conservatory of Music in Boston, where she studied with Eric Rosenblith, James Buswell, Eugene Lehner, and Louis Krasner.
Debra has been a featured chamber musician at Toronto Summer Music; Bay Chamber Concerts in Maine; Grand Teton Music Festival; Santa Fe Chamber Music Festival; Yellow Barn Chamber Music Festival in Vermont; Sarasota Music Festival; and Yale/Norfolk Chamber Music Festival in Connecticut. She has been a guest artist with the St. Lawrence String Quartet, Chicago Chamber Musicians, North American New Music Festival in Buffalo, NY, and the New Music Festival at Santa Clara University. Debra is an avid proponent of contemporary music and has worked closely with composers such as Olivier Messiaen, Thomas Adès, Joan Tower, Bright Sheng, and Kaija Saariaho.
Debra's discography includes recordings with The Santa Fe Opera, indie pop vocalist Vienna Teng, Stanford Chamber Chorale, composer John Luther Adams, Mannheim Steamroller, and she has performed on numerous film soundtracks.
Debra plays a Giuseppe Rocca violin kindly on loan from Stanford University’s Harry R. Lange Instrument Collection. In her leisure time, Debra enjoys reading modern fiction, practicing yoga, playing word games, and seeking out excellent coffee. -
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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Mohammad H. Javaheri
Doctor of Musical Arts Student, Musical Arts
Current Research and Scholarly InterestsCoexistence of Animate and Inanimate Within a Shared Sound Space
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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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Zach Haines
Ph.D. Student in Music, admitted Autumn 2022
BioZachary Haines is a PhD student in Musicology at Stanford University. He is both an active scholar and performer as a baritone, with research interests in the vocal repertoires of the late Renaissance and early Baroque.
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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.
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Owens Huang
Affiliate, Music
BioOwens Huang began his musical journey during the COVID-19 shutdown in 2020. In his youth, adventurous backpacking trips through countries such as India and Tibet profoundly shaped his musical expression and life philosophy. These explorations infused his compositions with introspective themes and a distinctive blend of Eastern artistic elements, seamlessly interwoven with classical, jazz, and metal influences.
Drawing inspiration from his role as a hedge fund manager, Huang engages with the dynamic realms of finance and global events, transforming them into creative works that weave together themes of Asian history, culture, philosophy, geopolitics, and market dynamics. In 2023, he premiered his first sonata, Place of Origins, at Taiwan’s National Recital Hall. In 2024, he debuted The Silicon Island in Taiwan, followed by Universal Connection in Mountain View, California. In 2025, he spoke at the CLSA Japan Forum and hosted his first concert in Tokyo. To date, Huang has published 18 works on major music streaming platforms.
Living in the San Francisco Bay Area, he is actively involved in the artistic, technology, and financial communities and serves on the board of the American Composers Forum. Guided by a vision of connection, Huang seeks to build collaborations across science, technology, and global finance, using music as a catalyst for dialogue and unity. -
Doug James
LeRa Professor and Professor, by courtesy, of Music
Current Research and Scholarly InterestsComputer graphics & animation, physics-based sound synthesis, computational physics, haptics, reduced-order modeling
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Jarosław Kapuściński
Associate Professor of Music
BioJarosław Kapuściński is an intermedia composer and pianist born in Poland. He studied piano and composition at the Chopin Academy of Music in Warsaw and furthered his education in multimedia and intermedia art during doctoral studies at the University of California, San Diego, and a residency at Banff Centre for the Arts in Canada.
Kapuściński presented his works at numerous gallery and concert venues worldwide, including the Museum of Modern Art in New York, the National Reina Sofia Museum in Madrid, the Palais de Tokyo in Paris, National Arts Centre in Canada, EMPAC, ZKM and Yerba Buena Center for the Arts. He has also received awards for his intermedia art at the UNESCO Film sur l'Art Festival in Paris, the VideoArt Festival in Locarno, and the International Festival of New Cinema and New Media in Montréal.
Apart from his career as a composer and performer, Kapuściński is also an educator. He has lectured internationally and held positions at institutions such as McGill University in Montreal and the Conservatory of Music at the University of the Pacific. Currently, he is an Associate Professor of Composition at Stanford University.
