Curriculum Vitae

Professional Experience

Eastman School of Music 2015- Professor of Music Theory (teaching graduate and undergraduate courses in theory, analysis, counterpoint, music cognition, and other subjects)
2005-2015 Associate Professor of Music Theory
2000-2005 Assistant Professor of Music Theory
University of Pennsylvania Spring 2007 Visiting Professor of Music Theory
Ohio State University 1998-9 Lecturer (full-time one-year appointment; taught and supervised sophomore aural training)
1997-8 Post-Doctoral Fellow in Music Cognition
Columbia University 1996-7, 1999-2000 Adjunct Assistant Professor (taught aural training, beginning and advanced; fundamentals of music)
New York University (College of Education) Spring 1997 Adjunct Assistant Professor (taught twentieth-century theory and aural training)
Columbia University 1989-1996 Instructor / Teaching Assistant for various courses: Undergraduate Composition, Diatonic Harmony, Music Humanities (a course in masterpieces of Western music), Opera.

Academic Training

Columbia University Ph.D in Music Theory (1996)
Columbia University M.A. in Composition (1992) (Studies with David Rakowski, Steve Mackey, George Edwards, and Fred Lerdahl)
Swarthmore College B.A. in History (with Distinction) (1985)
Aspen Music School Composition program, Summer 1992 (studies with George Tsontakis); 4-week composition master class, Summer 1993 (studies with Bernard Rands and Jacob Druckman)
June-in-Buffalo Festival Master classes with Bernard Rands, David Felder, Charles Wuorinen, and Jacob Druckman, Summer 1993
BMI Musical Theater Workshop Beginning workshop, 1987-9; advance workshop, 1989-91

Awards and Grants

Society for Music Theory Emerging Scholar Award, for The Cognition of Basic Musical Structures, 2003.

University of Rochester Bridging Fellowship (Brain & Cognitive Sciences Department), Fall 2009.

University of Rochester Provost’s Multidisciplinary Award, 2012.

Papers and Publications

Books

____________ . In press. The Musical Language of Rock. Oxford University Press.

____________ . 2007. Music and Probability. MIT Press.

____________ . 2001. The Cognition of Basic Musical Structures. MIT Press.

Articles and Book Chapters

[Click here to download papers]

____________ . In press. “Rhythmic Variability in European Vocal Music.” Music Perception.

____________ . In press. “The Six-Four as Tonic Harmony, Tonal Emissary, and Structural Cue.” Intégral.

____________ & Daniel Gildea. In press. “Minimizing Syntactic Dependency Lengths: Cognitive/Typological Universal?” Annual Review of Linguistics.

____________ & Trevor de Clercq. 2017. “Harmony and Melody in Popular Music. In Richard Ashley & Renee Timmers (Eds.), The Routledge Companion to Music Cognition, pp. 165-77. New York: Routledge.

____________ , Iris Yen, & Zhiyao Duan. 2017. “Mediant Mixture and Blue Notes in Rock.” Music Theory Online.

Daphne Tan & __________ . 2017. “Perception and Familiarity of Diatonic Modes.” Music Perception 34, 352-65.

____________ & Daniel Gildea. 2015. “Information Density and Syntactic Repetition.” Cognitive Science  39, 1802-1823.

____________. 2014. “Information Flow and Repetition in Music.” Journal of Music Theory 58, 155-178.

____________. 2014. “Probabilistic Models of Melodic Interval.” Music Perception 32, 85-99.

Stefanie Acevedo, ____________, & Peter Pfordresher. 2014. “Effects of Metrical Encoding on Melody Recognition.” Music Perception 31, 372-386.

____________ & Trevor de Clercq. 2013. “Statistical Analysis of Harmony and Melody in Rock Music.” Journal of New Music Research 42, 187-204.

____________ & Leigh VanHandel. 2013. “Introduction to the Special Issues on Corpus Methods.” Music Perception 31, 1-3. (Leigh and I guest-edited two special issues, 31/1 and 31/3, on corpus methods in music research.)

____________ & Daphne Tan. 2013. “Emotional Connotations of Diatonic Modes.” Music Perception 30, 237-57.

Nicholas Temperley & ____________ . 2013. “Stress-Meter Alignment in French Vocal Music.” Journal of the Acoustical Society of America 134, 520-527.

____________ . 2012. “Computational Models of Music Cognition.” In Diana Deutsch (Ed.), The Psychology of Music, 3rd edition, pp. 327-368. Amsterdam: Elsevier.

____________ . 2012. “Scalar Shift in Popular Music.” Music Theory Online 17.4.

Nicholas Temperley & ____________ . 2011. “Music-Language Correlations and the ‘Scotch Snap.'” Music Perception 29, 51-63.

___________ . 2011. “Composition, Perception, and Schenkerian Theory.” Music Theory Spectrum 33, 146-68.

___________ . 2011. “The Cadential IV in Rock.” Music Theory Online 17.1.

Trevor de Clercq & ___________ . 2011. “A Corpus Analysis of Rock Harmony.” Popular Music 30, 47-70.

___________ . 2010. “Modeling Common-Practice Rhythm.” Music Perception 27, 355-376.

Daniel Gildea & ___________ . 2010. “Do Grammars Minimize Dependency Length?” Cognitive Science 34, 286-310.

___________ . 2009. “In Defense of Introspectionism: A Response to Debellis.” Music Perception 2009, 131-138.

___________ . 2009. “A Unified Probabilistic Model of Polyphonic Music Analysis.” Journal of New Music Research 38, 3-18.

___________ . 2009. “Distributional Stress Regularity: A Corpus Study.” Journal of Psycholinguistic Research 38, 75-92.

___________ . 2008. “Hypermetrical Transitions.” Music Theory Spectrum 30, 305-325.

___________ . 2008. “A Probabilistic Model of Melody Perception.” Cognitive Science 32 #2, 418-444.

___________ . 2008. “The Tonal Properties of Pitch-Class Sets.” Computing in Musicology 15, 24-38.

___________ & Elizabeth West Marvin. 2008. “Pitch-class Distribution and the Identification of Key.” Music Perception 25 #2, 193-212.

___________ . 2008. “Dependency Length Minimization in Natural and Artificial Languages.” Journal of Quantitative Linguistics 15, 256-282.

___________ . 2007. “The Melodic-Harmonic ‘Divorce’ in Rock.” Popular Music 26 #2, 323-342.

___________ . 2007. “Minimization of Dependency Length in Written English.” Cognition 105, 300-333.

___________ . 2006. “Key Structure in ‘Das alte Jahr vergangen ist’.” Journal of Music Theory 50, 103-110.

___________ . 2005. “The Dependency Structure of Coordinate Phrases: A Corpus Approach.” Journal of Psycholinguistic Research 34, 577-601.

___________ . 2004. “Bayesian Models of Musical Structure and Cognition.” Musicae Scientiae 8 #2, 175-205.

___________ . 2004. “An Evaluation System for Metrical Models.” Computer Music Journal 28 #3, 28-44.

___________ . 2004. “Communicative Pressure and the Evolution of Musical Styles.” Music Perception 21 #3, 313-37.

___________ . 2003. “End-Accented Phrases: An Analytical Exploration.” Journal of Music Theory 47 #1, 125-54.

___________ . 2003. “Ambiguity Avoidance in English Relative Clauses.” Language 79, 464-84.

___________ & Christopher Bartlette. 2002. “Parallelism as a Factor in Metrical Analysis.” Music Perception 20 #2, 117-49.

___________ . 2002. “A Bayesian Approach to Key-Finding.” In C. Anagnostopoulou, M. Ferrand, & A. Smaill (Eds.), Music and Artificial Intelligence (pp. 195-206). Berlin: Springer-Verlag.

___________ . 2000. “The Line of Fifths”, Music Analysis, 19 #3, 289-319.

___________ . 2000. “Meter and Grouping in African Music: A View from Music Theory”, Ethnomusicology, 44 #1, 65-96.

___________ . 1999. “The Question of Purpose in Music Theory: Description, Suggestion, and Explanation.” Current Musicology, 66, 66-85.

___________ . 1999. “What’s Key for Key? The Krumhansl-Schmuckler Key-Finding Algorithm Reconsidered.” Music Perception 17 #1, 65-100.

___________ & Daniel Sleator. 1999. “Modeling Meter and Harmony: A Preference Rule Approach.” Computer Music Journal 15 #1, 10-27.

___________ . 1999. “Syncopation in Rock: A Perceptual Perspective.” Popular Music 18 #2, 19-40.

___________ . 1997. “An Algorithm for Harmonic Analysis.” Music Perception 15 #1, 31-68.

___________ . 1995. “Motivic Perception and Modularity.” Music Perception 13 #2, 141-69.

Daniel Sleator and ___________ . 1993. “Parsing English with A Link Grammar.” Proceedings of the Third Annual Workshop on Parsing Technologies.

John Lafferty, Daniel Sleator and ___________ . 1992. “Grammatical Trigrams: A Probabilistic Model of Link Grammar.” Proceedings of the AAAI Conference on Probabilistic Approaches to Natural Language.

Daniel Sleator and ___________ . 1991. “Parsing English with a Link Grammar.” Carnegie Mellon University Computer Science technical report CMU-CS-91-196.

Reviews and Commentaries

___________ . 2017. Commentary on Christopher White’s “Relationships between Tonal Stability and Metrical Accent in Monophonic Contexts.” Empirical Musicology Review 12(1-2).

___________ . 2016. Review of The Art of Tonal Analysis: Twelve Lessons in Schenkerian Theory, by Carl Schachter. Music Theory Online 22/2.

___________ . 2014. Review of On Repeat: How Music Plays the Mind, by Elizabeth Hellmuth Margulis. Music Perception 32, 218-220.

___________ . 2012. Review of Language and Music as Cognitive Systems, edited by Patrick Rebuschat, Martin Rohrmeier, John A. Hawkins, & Ian Cross. Language 88, 666-669.

___________ . 2009. Review of Metric Manipulations in Mozart and Haydn, by Danuta Mirka. Journal of Music Theory 53, 305-328.

___________ . 2008. Review of Music in the Galant Style, by Robert Gjerdingen. Journal of Music Theory 50, 277-90.

___________ . 2006. Commentary on William Thomson’s “Pitch Frames as Melodic Archetypes.” Empirical Musicology Review 2, 103-105.

___________ . 2005. Review of Empirical Musicology: Aims, Methods, Prospects, ed. by Eric Clarke & Nicholas Cook. Music Perception 23, 91-96.

___________ . 2003. Review of Tonal Pitch Space, by Fred Lerdahl. Musicae Scientiae 7, 141-55.

___________ . 2000. Review of Music, Cognition, and Computerized Sound, ed. Perry Cook. Music Theory Spectrum 22, 264-6.

___________ . 1999. Review of Musical Languages, by Joseph Swain. Music Theory Online 5.3.

___________ . 1998. Review of African Drumming, by Kofi Agawu. Current Musicology 62, 69-83.

Invited Lectures

“Popular Music in the Undergraduate Classroom—Seriously?” Keynote Address, College Music Society Northeast Chapter, Plattsburgh, NY, March 2017.

“Information Flow in Music.” Poland Lecture, Ohio State University, November 2016.

“Information Flow in Music.” Exploring Music and The Mind Workshop, Rice University, June 2016.

“Information Flow in Music.” Austrian Institute for Artificial Intelligence, Vienna, May 2016.

“Information Flow in Music.” University of Graz / Graz University for Music and Performing Arts, May 2016.

“Rhythm and Meter in American Music Theory” (guest seminar), Vienna University for Music and the Performing Arts, May 2016.

“Music and Emotion: Perception and Feeling.” Cognitive Science Series, University of Vienna, April 2016.

“Information Flow in Music.” Princeton University, April 2016.

“Mediant Mixture in Rock Music.” Institute for Popular Music, University of Rochester, December 2015.

“Mediant Mixture in Rock Music.” College of Music, Florida State University, October 2015.

“Information Flow and Repetition in Music and Language.” Linguistics Department, University of California at San Diego, October 2015.

“Information Flow and Repetition in Music and Language.” School of Social Sciences, Humanities, and Arts, University of California at Merced, October 2015.

“Arbitrariness in Music and Language.” Workshop on Music, Language and Emotion, Stony Brook University, March 2015.

“Arbitrariness in Music and Language.” Music, Philosophy and Culture Discussion Group Meeting, Columbia University, March 2015.

“Key and Tonality: Perspectives from Music Cognition and Computational Modeling.” Three lectures delivered at the Conservatorio Statale di Musica, Latina, Italy, May 2014.

“Mode, Emotion, and Popular Music.” Carleton University, Ottawa, Canada, February 2014.

“Making Sense out of Digital Audio.” Decoding the Digital Conference, University of Rochester, September 2013.

“Must Meter be Regular?” Musical Metre in Comparative Perspective, Cologne, Germany, April 2013.

“Statistical Analysis of Harmony and Melody in Rock Music.” Keynote Address, Music and Technologies, Kaunas, Lithuania, November 2012.

“Probabilistic Key-Finding and the ‘Aha!’ of Augmented Sixth Chords.” Department of Music, Yale University, October 2012.

“Mode and Emotion: Experimental, Computational, and Corpus Perspectives.” Keynote Address, International Conference for Music Perception and Cognition, Thessaloniki, Greece, July 2012.

“Scales in Popular Music: A Corpus Perspective.” John Clough Conference, Yale University, June 2012.

“A Key-Finding Model and its Implications for Musical Expression and Enjoyment.” Department of Brain & Cognitive Sciences, University of Rochester, November 2011.

“A Key-Finding Model and its Implications for Musical Expression and Enjoyment.” Cognitive Science Lecture Series, University of Arizona, October 2011.

“Harmony and Key in Rock: A Corpus Study” (with Trevor de Clercq). Workshop at the Centre for Interdisciplinary Research in Music Media and Technology, McGill University, February 2011.

“Music, Language, and Computational Modeling: Lessons from the Key-Finding Problem.” Keynote Address, Association for Computational Linguistics (North American Chapter), Los Angeles, June 2010.

“Studying Music Performance: A Probabilistic Approach.” Keynote Address, Empirical Musicology II (sponsored by SEMPRE [Society for Education, Music, and Psychology Research]), Leeds (UK), March 2010.

“A Probabilistic Model of Melody Perception.” Northwestern University, October 2008.

Guest-taught seminar “Towards a Theory of Rock.” Bennington College, December 2007.

“Communicative Pressure and Music Cognition.” Center for Cognitive Science, University of Buffalo, October 2007.

“A Probabilistic Model of Melody Perception.” Dept. of Psychology, McGill University, July 2006.

“Tonal Implication, Tonal Ambiguity, and Tonalness: A Probabilistic View.” Dept. of Music, University of California at Berkeley, March 2005.

“Tonal Implication, Tonal Ambiguity, and Tonalness: A Probabilistic View.” Center for Computer Research in Music and Acoustics, Stanford University, March 2005.

“Tonal Implication, Tonal Ambiguity, and Tonalness: A Probabilistic View.” Dept. of Electrical Engineering, University of Southern California, March 2005.

“Music Cognition and Composition.” Royal Institute of Technology / Royal College of Music, Stockholm, Sweden. October 2004.

“Communicative Pressure and the Evolution of Musical Styles.” Queen’s University, Belfast, U.K., May 2004.

“Communicative Pressure and the Evolution of Musical Styles.” Sheffield University, U.K., May 2004.

“Communicative Pressure and the Evolution of Musical Styles.” City University, London, U.K., May 2004.

“Communicative Pressure and the Evolution of Musical Styles.” Cambridge University, U. K., May 2004.

“Communicative Pressure and the Evolution of Musical Styles.” Edinburgh University, U.K., May 2004.

“Bayesian models in music and language: preference rule systems and probabilistic language models.” Nijmegen Institute for Cognition and Information, Nijmegen, The Netherlands, March 2002.

“A Preference Rule Model of Contrapuntal Perception.” Department of Electrical Engineering and Computer Science, University of Michigan, January 2001.

Conference Presentations

__________ , “Rhythmic Variability in European Vocal Music.” Biennial meeting of the Society for Music Perception and Cognition (SMPC), San Diego, August 2017.

Ethan Lustig, Ivan Tan, & __________ , “Anticipatory Syncopation in Rock: A Corpus Study.” Biennial meeting of the Society for Music Perception and Cognition (SMPC), San Diego, August 2017.

__________  & Joseph VanderStel, “Effects of Melody and Harmony on Contrastive Valence.” Biennial meeting of the Society for Music Perception and Cognition (SMPC), San Diego, August 2017.

Andrea Cogliati, __________ , & Zhiyao Duan, “Transcribing Human Piano Performances into Music Notation.” Poster presented at the Annual Meeting of the International Society for Music Information Retrieval, New York City, August 2016.

Iris Ren, __________ , & Zhiyao Duan, “Blue Notes in Rock: An Exploratory Study.” Poster presented at the CogMIR Workshop, New York City, August 2016.

__________ , Amanda Yung, & Celeste Kidd, “Effects of Range and Repetition on Liking for Melodies.” Biennial meeting of the International Conference for Music Perception and Cognition (ICMPC), San Francisco, July 2016.

Adam Waller & __________. “Rhythmic Complexity in Rap.” Poster presented at the Biennial meeting of the ICMPC, San Francisco, July 2016.

Daphne Tan & __________ , “Familiarity of Diatonic Modes.” Biennial meeting of the SMPC, Nashville, August 2015.

__________ , Adam Waller, & Trevor de Clercq, “Changes in Rock Melody, 1954-2009.” Biennial meeting of the SMPC, Nashville, August 2015.

Zhiyao Duan & __________ , “Note-Level Music Transcription by Maximum Likelihood Sampling.” Annual meeting of ISMIR, Taipei, October 2014.

__________ & Nicholas Temperley, “Stress-Meter Alignment in French Vocal Music.” Biennial meeting of the SMPC, Toronto, August 2013.

__________, “Information Flow and Repetition in Music.” Biennial meeting of the SMPC, Toronto, August 2013.

Nicholas Temperley & __________, “The ‘Scotch Snap’ in English Songs.” Biennial meeting of the North American British Music Studies Association, Urbana, IL, July 2012.

Stefanie Acevedo, __________, & Peter Q. Pfordresher, “Does the Change of a Melody’s Meter Affect Tonal Pattern Perception?” (Poster). Annual meeting of the SMPC, Rochester, August 2011.

__________, “A Bayesian Theory of Musical Pleasure.” Biennual meeting of the SMPC, Rochester, August 2011.

__________ & Trevor de Clercq, “Key-finding Algorithms for Popular Music.” Biennual meeting of the SMPC, Rochester, August 2011.

__________ & Daphne Tan, “The Emotional Connotations of Diatonic Modes.” Biennual meeting of the SMPC, Rochester, August 2011.

Nicholas Temperley & __________, “Music-Language Correlations and the ‘Scotch Snap.’” Biennual meeting of the SMPC, Rochester, August 2011.

__________ & Trevor de Clercq, “A Corpus Analysis of Rock Harmony.” Biennial meeting of the ICMPC , Seattle, August 2010.

__________ & Daphne Tan, “Is There a Musical Ganong Effect?” (Poster) ICMPC, Seattle, August 2010.

__________, “A Unified Probabilistic Model of Polyphonic Music Analysis.” Biennual meeting of the SMPC, Indianapolis, August 2009.

__________, “Using Cross-Entropy to Test Models of Common-Practice Rhythm.” Biennual meeting of the SMPC, Indianapolis, August 2009.

__________, “Distributional Stress Regularity: A Corpus Approach.” Poster at the Conference on Prosody and Language Processing, Ithaca, April 2008.

__________, “Hypermetrical Transitions.” Annual meeting of the Society for Music Theory, Baltimore, November 2007.

__________ and Elizabeth West Marvin, “Pitch-class Distribution and the Identification of Key.” Biennual meeting of the SMPC, Montreal, August 2007.

__________, “Uniform Information Density in Music.” Biennual meeting of the SMPC, Montreal, August 2007.

Daniel Gildea and __________, “Optimizing Grammars for Minimum Dependency Length.” Annual meeting of the Association for Computational Linguistics, Prague, 2007.

__________ and Elizabeth West Marvin, “Pitch-class Distributions as Indicators of Key.” Poster at the Society for Music Theory Annual Meeting, Los Angeles, November 2006.

__________, “A Probabilistic Model of Melody Perception.” Annual meeting of ISMIR, Victoria, Canada, October 2006.

__________, “Continuity and Closure in Rock: The Repeating Unit Boundary.” Annual meeting of the New York State Music Theory Society, Saratoga Springs, NY, March 2006.

__________, “Communicative Pressure.” ICMPC, Evanston, August 2004.

__________, “Bayesian Models of Metrical Analysis.” Biennual meeting of the SMPC, Las Vegas, May 2003.

__________, “The Plagal Stop Cadence in Rock.” Society of Music Theory annual meeting, Columbus, November 2002.

__________, “A Bayesian Model of Key-Finding.” International Conference on Music and Artificial Intelligence, Edinburgh, September 2002.

__________, “Musical Meaning and the Line of Fifths.” ICMPC, Keele, UK, August 2000.

__________, “A Preference Rule Model for Contrapuntal Perception.” New England Conference of Music Theorists, Boston, March 2000.

__________, “Improving the Krumhansl-Schmuckler Key-Finding Algorithm.” Society of Music Theory annual meeting, Atlanta, November 1999.

__________, “A Preference Rule Model for Contrapuntal Analysis.” Biennual meeting of the SMPC, Evanston, August 1999.

__________, “An Algorithm for Metrical Analysis.” Annual Meeting of the West Coast Conference of Music Theory and Analysis, Stanford University, April 1999.

__________, “Computer Modeling of Meter and Harmony: A Preference Rule Approach.” MusicCog 98 Workshop, Ohio State University, May 1998.

__________, “An Algorithm for Harmonic Analysis.” Biennual meeting of the SMPC, Boston, 1997.

__________, “Music Cognition and Music Theory: The Question of Purpose.” Biennual meeting of the SMPC, Boston, 1997.

__________, “Hypermetrical Ambiguity in Sonata Form Closing Themes.” Society of Music Theory annual meeting, Fall 1996.

__________, “The Perception of Harmony and Tonality: An Algorithmic Perspective.” Biennual meeting of the SMPC, Berkeley, 1995.

__________, “Syncopation in Rock: A Perceptual Perspective.” Biennual meeting of the SMPC, Berkeley, 1995.

Compositions (Some Compositions and their Performances)

String Quartet No. 5. Ganache String Quartet, Eastman School of Music, April 2016.

Cello Sonata #2. Daniel Ketter (Cello) and David Temperley; Hatch Recital Hall, Eastman School of Music, February 2015
___________ . Scott Kluksdahl (cello) and David Temperley; Weill Recital Hall, May 1994
___________ . Scott Kluksdahl (cello) and David Temperley; Miller Theater, Columbia University, March 1991

Preludes for Piano. David Temperley (piano); Hatch Recital Hall, Eastman School of Music, Feburary 2015

String Quartet No. 3. Christian Howes (violin), David Edge (violin), Chris Saetti (viola), Luis Biava (cello); Spagio New Music Series, February 1999.

Twelve Rhythmic Studies for Piano (selections). Ian Hobson; Smith Music Hall, University of Illinois, February 1998
___________ (selections), David Temperley; Columbia School of the Arts Showcase, Columbia University, February 1995
___________ (complete). David Temperley; choreographed by members of Barnard College Dance Faculty; Barnard College, May 1994
___________ (selections). Luk’; June in Buffalo Festival, 1993
___________ (selections). Margaret Kampmeier; Miller Theater, December 1992

Three Ballades for Piano, David Temperley; Ohio State New Music Festival, February 1998

Viola Sonata. Rudolf Haken; Krannert Center, University of Illinois,September 1997

___________ . Rudolf Haken; C-U Symphony Benefit Concert, Urbana, Illinois, May 1997

Guitar Quintet. Marka Gustavsson (violin), Ralph Farris (viola), Jennifer Morsches (cello), Scott Totten (guitar), Greg August (bass); Roulette, April 1997

Woodwind Quintet. Quintet of the Americas; Americas House, December 1996

String Quartet #6. Curtis Macomber, Carol Zealin, Maureen Gallagher, and Chris Finckel; Miller Theater, Columbia University, March 1995

Sonata for Violin and Piano. Margaret Kampmeier (piano) and Anna Lim (violin); Miller Theater, March 1994

Trio for Violin, ‘Cello, and Marimba. Aspen Contemporary Ensemble; July 1993

Elephant, for piano and narrator. David Temperley and Charles Major; Golden Fleece “Square One Series”, the New School, March 1992

Other Work Experience

Accompanying

Worked full-time as an accompanist for dance and theater in New York City, 1986-9 (and part-time, 1989-97).

Dance. Employers include the Martha Graham School (1987-9), the 92nd St. “Y” (1986-9), New York University (1988-9), and Barnard College (1989-97). Played for modern, ballet, jazz, improvisation, and dance composition classes.

Theater. Employers include the Bronx Opera (1986-9), Opera Northeast (1989-91), Light Opera of Manhattan (1990), and Golden Fleece Chamber Theater (a contemporary chamber opera company), (1987-90).

Musical Directing

Worked as free-lance musical director in New York City and elsewhere, 1987-1992. Duties included coaching singers, rehearsing orchestra, and conducting performances. Credits include Millicent Montrose (an Off-off Broadway Premiere), Pinoc The Barbarian (an Equity Showcase). Also worked for Mill Mountain Playhouse (Roanoke, Virginia), Summer 1987, Millbrook Playhouse (Lockhaven, Pennsylvania), Summer 1988, and Periwinkle Productions (a children’s theater company in New York City), 1988-9.