School of Humanities and Sciences


Showing 21-30 of 52 Results

  • Takako Fujioka

    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

    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.

  • Heather Hadlock

    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.

  • Stephen Harrison

    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

    Stephen Hinton

    Avalon Foundation Professor of Humanities and Professor, by courtesy, of German Studies

    BioSpecial fields: aesthetics, history of theory, music of Weill, Hindemith and Beethoven.

    Stephen Hinton is the Avalon Foundation Professor in the Humanities at Stanford University, Professor of Music and, by courtesy, of German. From 2011-15 he served as the Denning Family Director of the Stanford Arts Institute. From 2006–2010 he was Senior Associate Dean for Humanities & Arts. He is currently chairman of the Department of Music, having previously served in that position from 1997–2004 and 2000-2021. Before moving to Stanford, he taught at Yale University and, before that, at the Technische Universität Berlin. His publications include The Idea of Gebrauchsmusik; Kurt Weill: The Threepenny Opera for the series Cambridge Opera Handbooks; the critical editions of Die Dreigroschenoper (with Edward Harsh) and Happy End (with Elmar Juchem) for the Kurt Weill Edition; Kurt Weill, Gesammelte Schriften (Collected Writings, edited with Jürgen Schebera, and issued in 2000 in an expanded second edition); and the edition of the Symphony Mathis der Maler for Paul Hindemith’s Collected Works.

    He has published widely on many aspects of modern German music history and theory, with contributions to publications such as Handwörterbuch der musikalischen Terminologie, New Grove Dictionary of Music and Musicians, Musik in Geschichte und Gegenwart, and Funkkolleg Musikgeschichte. He has also served as editor of the journal Beethoven Forum. His book Weill’s Musical Theater: Stages of Reform, the first musicological study of Kurt Weill’s complete stage works, won the 2013 Kurt Weill Prize for distinguished scholarship in musical theater. Together with the St. Lawrence String Quartet, he produced the series of online courses called Defining the String Quartet focusing on the music of Haydn (2016) and Beethoven (2019).

  • Doug James

    Doug James

    Professor of Computer Science and, by courtesy, of Music

    Current Research and Scholarly InterestsComputer graphics & animation, physics-based sound synthesis, computational physics, haptics, reduced-order modeling