School of Humanities and Sciences
Showing 41-50 of 62 Results
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Douglas McCausland
Lecturer
BioDouglas McCausland is a composer and performer of electroacoustic music currently based out of the Bay Area in California, USA. Fascinated with new sonic territories and processes for creating music, his work engages with the extremes of sound and the digital medium. As an artist, he has focused in recent years almost exclusively on the creation of experimental electronic music and digital art. This focus has led to his current compositional output and research particularly centering on interactive systems, real-time performance of electronic music with handmade interfaces, working with higher-order ambisonics, experimental sound design, and DIY electronics / hardware-hacking.
His works have been performed internationally at festivals and symposiums such as: SEAMUS, Splice, MISE-EN, Klingt Gut!, Sounds Like THIS!, Electronic Music Midwest, NYCEMF, Sonicscape, CEMEC, Eureka!, and many more. Notable recent events include a performance and installation series at the Talbot Rice Gallery and the Fruitmarket Gallery in Edinburgh, UK, and an installation at Stanford University’s Anderson Collection as part of “CCRMA x Anderson: Sound Happenings”. Additionally, his love of collaboration has led him to create works that cross-pollinate into other artistic disciplines, such as sound art, graphic design, computer science, physics, and poetry.
Doug is currently a doctoral fellow at Stanford University, working towards his DMA in Composition while studying with Chris Chafe, Patricia Alessandrini, and Fernando Lopez-Lezcano. In the year preceding his doctoral studies he completed a second master’s, an MSc in Digital Composition and Performance, at the University of Edinburgh under Martin Parker and Tom Mudd. Prior to that, he completed an MM in Music Composition at Michigan State University, studying with Mark Sullivan, Lyn Goeringer, and Ricardo Lorenz. Doug additionally holds a BM in Music Theory and Composition, Saxophone Performance, and Music Education from Southern Illinois University Edwardsville, where he studied composition with Kimberly Archer. -
Paul Phillips
Professor (Teaching) of Music
Current Research and Scholarly InterestsHave recorded music by Adolphus Hailstork with Stanford Philharmonia, the Stanford Symphony Orchestra, and guest artists for inclusion on a commercial recording with a projected completion date in 2025.
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Lesley Robertson
Artist in Residence in Music
BioAfter celebrating 34 years with the internationally celebrated St. Lawrence String Quartet (SLSQ), Lesley Robertson (viola) continues to make her life at Stanford University where along with her St Lawrence colleagues she directs the chamber music at the Department of Music. Ms. Robertson teaches viola, coaches chamber music, and also spearheads the Emerging String Quartet Program at Stanford and the annual St Lawrence Chamber Music Seminar. A graduate of the Curtis Institute and the Juilliard School, Ms. Robertson also holds a degree from the University of British Columbia where she studied with her mentor, Gerald Stanick. A founding member of the SLSQ, Ms. Robertson toured regularly with the ensemble, performing 100+ concerts worldwide per season (in Berlin, Florence, London, Paris, New York, Toronto, among others) while also nurturing close ties to the Stanford community performing in various classes, dormitories, laboratories, hospitals, and in Stanford's glorious Bing Concert Hall. She participated in the Marlboro Festival for several years and and toured with Musicians from Marlboro before co-founding the SLSQ. She has served on the jury of several international competitions including the Banff International String Quartet Competition, the Melbourne International Chamber Music Competition, the Wigmore Hall International String Quartet Competition and the Concours de Genève. Summer music festivals include Spoleto Festival USA, Norfolk Chamber Music Festival, Banff Festival, Festival of the Sound, Santa Fe Chamber Music, Rockport Chamber Music Festival, Bravo Vail, Music@Menlo and more. Robertson plays on a viola (1992) made by fellow Canadian John Newton and a bow (2016) by Francois Malo.
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Jesse Rodin
Osgood Hooker Professor of Fine Arts
BioJesse Rodin strives to make contact with lived musical experiences of the distant past. Immersing himself in original sources, he sings from choirbooks, memorizes melodies and their texts, and recreates performances held at weddings, liturgical ceremonies, and feasts. A passionate teacher, Rodin has led seminars, workshops, and masterclasses at institutions such as Princeton University, the Schola Cantorum (Basel, Switzerland), the University of Vienna, and the Centre d’Études Supérieures de la Renaissance (Tours, France).
Rodin’s recent monograph "The Art of Counterpoint from Du Fay to Josquin" (Cambridge University Press, 2024) presents a theory of how fifteenth-century polyphonic music happens in time. Other published works include a volume in honor of Joshua Rifkin (2024), "The Cambridge History of Fifteenth-Century Music" (2015), a volume for the "New Josquin Edition" (2014), "Josquin’s Rome: Hearing and Composing in the Sistine Chapel" (Oxford University Press, 2012), and articles that bring historiographical, analytical, evidentiary, practical, and embodied perspectives to a range of subjects. An in-progress co-edited book aims to clear the ground and offer a new path forward in Josquin studies.
As director of the vocal ensemble Cut Circle Rodin performs internationally. In partnership with the Belgian label Musique en Wallonie, Cut Circle recently embarked on a project to record the complete music of Josquin des Prez (ca. 1450/51–1521). The first album appeared in 2023; the second, titled "JOSQUIN: II. Motets milanais ; Missa L’ami Baudichon," is forthcoming in fall 2025. Other albums include a disc of anonymous fifteenth-century masses (2021) as well as double albums devoted to the complete songs of Johannes Okeghem (2020), the late masses of Guillaume Du Fay (2016), and music from the Sistine Chapel (2012). A short film titled "Sounds of Renaissance Florence" (2021) recaptures the soundscape of fifteenth-century Italy.
Two projects in the digital humanities strive to make the period as a whole more accessible. Rodin directs the "Josquin Research Project" (josquin.stanford.edu), a digital tool for exploring a large musical corpus. He co-directs "Mapping the Musical Renaissance," which facilitates basic understanding as well as serendipitous discovery.
Rodin is the recipient of awards and fellowships from the Guggenheim Foundation; the Université Libre de Bruxelles; the American Council of Learned Societies; the American Society of Composers, Authors, and Publishers; the Harvard University Center for Italian Renaissance Studies; and the American Musicological Society. He has been featured in a variety of public forums, including The New Yorker. He prepares new editions of all the music Cut Circle performs; these are freely available through the Josquin Research Project. For his work with Cut Circle he has received the Prix Olivier Messiaen, the Noah Greenberg Award, Editor’s Choice (Gramophone), and a Diapason d’Or. Cut Circle’s latest album was a finalist for a Gramophone Award.
At Stanford Rodin directs the Facsimile Singers, in which students develop native fluency in old musical notation. He has organized symposia on the composer Johannes Okeghem, medieval music pedagogy, musical analysis in the digital age, and regional Italian cooking.
