CHAIR OF THE DEPARTMENT:
Professor Michael Beckerman

DIRECTOR OF GRADUATE STUDIES:
Associate Professor Suzanne G. Cusick

COORDINATOR OF ETHNOMUSICOLOGY:
Associate Professor Ana Maria Ochoa Gautier

COORDINATORS OF COMPOSITION AND THEORY:
Associate Professor Elizabeth Hoffman, Professor Louis Karchin

COORDINATOR OF HISTORICAL MUSICOLOGY:
Professor Stanley Boorman

DIRECTOR OF THE CENTER FOR EARLY MUSIC:
Professor Stanley Boorman

The New York University graduate program in music is designed for the professionally minded student who plans a career combining college-level teaching with continuing research and/or composition.

Students may specialize in historical musicology, ethnomusicology, or composition and theory, but their research interests are not expected to conform to narrow interpretations of these fields. Indeed, our students’ work addresses a wide range of musical traditions (such as jazz, film music, various “world,” “European art,” and “popular” musics) from a variety of critical, analytical, ethnographic, and historical perspectives. Recent graduates hold academic appoint-ments in some of the most prestigious universities in North America and make distinguished contributions to scholarship and musical composition on both the national and international levels. Deliberately small, the graduate program admits six to eight students per year. Through research-oriented seminars, independent study, and close work with faculty advisers, the program prepares students for careers in which their scholarly and creative work will stretch and redefine the boundaries of current knowledge. Accordingly, students are strongly encouraged to work with faculty mentors to develop scholarly papers or compositions for public presentation and publication.

Located in one of the largest private universities in the world and in one of the world’s most exciting cities for arts and culture, the NYU Department of Music has access to unmatched facilities and resources. The department’s Media Lab, used extensively by students in the ethnomusicology program, has recent and updated equipment for processing music and sound field recordings. Further, the department houses the Washington Square Computer Music Studio, which is a comprehensive research and composition lab for graduate students. The department also sponsors the Washington Square Contemporary Music Society, which presents professional concerts each year devoted to the most recent music of our time. Finally, the department houses the American Institute for Verdi Studies, containing perhaps the largest collection of Verdi source materials in the world, and the Center for Early Music, committed to the performance practice of medieval, Renaissance, and early baroque music and to combining academic study with research in a laboratory performance setting.

The University is rich in supporting resources, including the Elmer Holmes Bobst Library, which houses an important collection of music, books, periodicals, and microfilms of musical sources. The Avery Fisher Center in the Bobst Library has a leading collection of videos and recordings. Within Bobst, the Fales Library and Special Collections houses the Jan LaRue Thematic Identifier Catalogue of the 18th-Century Symphonies as well as an important collection of material on the “downtown” and avant-garde arts scene in mid-20th-century New York, and the Tamiment Library and Robert F. Wagner Labor Archives include materials on music in relation to radical and labor activism. The Noah Greenberg Collection of Musical Instruments (containing the collection of the New York Pro Musica Antiqua) forms a nucleus for the department’s ensemble for the performance of early music, the Collegium Musicum. Likewise, the World Music Ensembles make use of the Affelder Collection, which contains a growing variety of instruments from throughout the world.

In addition to the resources within the University, the New York City area presents limitless cultural facilities, among them the New York Public Library, the Pierpont Morgan Library, the Metropolitan Museum of Art, the Schomburg Center for Research in Black Culture, the Center for Traditional Music and Dance, CityLore, the World Music Institute, the Archives for Contemporary Music, and the many performing institutions active in the city. The department sponsors a colloquium series and frequently offers courses by eminent visiting professors; these have included Mario Davidovsky, Cort Lippe, Brian Hyer, Samuel Araujo, Elisabeth LeGuin, Pamela Z, Charles Wuorinen, and Don Ihde.

Faculty

Robert Bailey, Carroll and Milton Petrie Professor of Music. Ph.D. 1969, M.F.A. 1962, Princeton; B.A. 1959, Dartmouth.
Wagner; 19th- and 20th-century German music; 19th-century musical autographs.

Michael Beckerman, Professor; Chair, Department of Music. Ph.D. 1982, M.Ph. 1978, M.A. 1976, Columbia; B.A. 1973, Hofstra.
Czech and Eastern European music; Janá?cek, Dvor?ák, Martinu?; nationalism; Gypsies; Mozart, Brahms, Gilbert and Sullivan, Schubert; film music.

Stanley Boorman, Professor. Ph.D. 1976, London; M.A. 1973, Cambridge; M.Mus. 1968, B.Mus. 1967, London.
Early music and its performance; music of the avant garde; musical notation.

Suzanne G. Cusick, Associate Professor. Ph.D. 1975, North Carolina; B.F.A. 1969, Newcomb College.
Early modern music in Italy and France; music-making in relation to identity and embodiment; feminist approaches to music history and criticism; queer studies in music.

J. Martin Daughtry, Assistant Professor. Ph.D. 2006, M.A. 2001, California (Los Angeles); B.A. 1994, New College (Florida).
Music and politics; the intersection of history and ethnography; poetics and music-text relations; musics of the Russian-speaking world; music in the post-9/11 world; ethics.

Elizabeth Hoffman, Associate Professor. D.M.A. 1996, Washington; M.A. 1988, SUNY (Stony Brook); B.A. 1985, Swarthmore College.
Composition (including computer-generated); analysis of 20th-century music; aesthetic criticism.

Louis Karchin, Professor. Ph.D. 1978, M.A. 1975, Harvard; B.M. 1973, Eastman School of Music. Composer.
Analysis of 20th- and 21st-century music.

Jairo Moreno, Associate Professor. Ph.D. 1996, Yale; M.A. 1993, Queens College (CUNY); B.M. 1986, North Texas State.
History of tonal theory and analysis; jazz performance practice; identity formation and political representation in Latin America; Spanish Caribbean music in the U.S.

Rena Charnin Mueller, Clinical Associate Professor. Ph.D. 1986, M.A. 1968, New York; B.A. 1964, Hunter College (CUNY).
Works of Franz Liszt, Richard Wagner; opera and song in the 19th century.

Ana Maria Ochoa Gautier, Associate Professor. Ph.D. 1996, M.A. 1993, Indiana; B.M. 1987, Vancouver.
Music and cultural policy; music and violence; music and globalization; research on Latin America, particularly Colombia, Mexico, and Brazil.

Jason Stanyek, Assistant Professor. Ph.D. 2004, M.M. 1996, California (San Diego); B.M. 1990 Brooklyn College (CUNY).
Brazilian music; improvisation; diasporic performance; interculturalism and global hip-hop.

VISITING FACULTY

Mick Moloney, Global Distinguished Professor of Music (2002-2007). Ph.D. 1992, Pennsylvania; M.A. 1967, Dublin; B.A. 1965, University College Dublin.
Irish music in North America; music and immigration; music in vaudeville; early recording industry.

ADJUNCT FACULTY

Margaret Panofsky, Director, New York University Collegium Musicum. M.A. 1974, New England Conservatory; B.A. 1972, Stanford.
Viola da gamba.

ASSOCIATED WITH THE DEPARTMENT

Deborah Anne Kapchan, Associate Professor, Performance Studies. Ph.D. 1992 (folklore and folklife), Pennsylvania; M.A. 1987 (linguistics), Ohio; B.A. 1981 (English), New York.
Narrative; feminism; music; poetics and aesthetics; North Africa and the Middle East.

Kent Underwood, Music Librarian, Bobst Library. M.L.I.S. 1988, California (Berkeley); Ph.D. 1987, M.A., 1977, Stanford; B.M., 1975, San Francisco Conservatory of Music.

FACULTY EMERITUS

David Burrows, Brian Fennelly.