Faculty
Joseph Auner, Associate Professor, Ph.D., University of Chicago: 19th- and 20th-century history and theory.
Colin Carr, Professor, Certificate of Performance, 1974, Yehudi Menuhin School: Cello.
Dan Faulk, Assistant Professor, M.A., Rutgers University: Jazz ensembles and jazz studies.
Sarah Fuller, Professor, Ph.D., University of California, Berkeley: Medieval and Renaissance history and theory. Recipient of the President’s Award for Excellence in Teaching, 1984.
Perry Goldstein, Associate Professor and Director of Musicianship, D.M.A., Columbia University: Analysis; composition; musicianship; theory. Recipient of the State University Chancellor's Award for Excellence in Teaching, 1997, and the President's Award for Excellence in Teaching, 1997.
Bonnie Gordon, Assistant Professor, Ph.D., University of Pennsylvania: : Renaissance music and gender studies.
Arthur Haas, Professor, M.A., University of California, Los Angeles: Harpsichord; performance of early music.
Gilbert Kalish, Professor and Co-director of Contemporary Chamber Players, B.A., Columbia University: Piano; chamber music.
Maiko Kawabata, Assistant Professor, Ph.D., University of California, Los Angeles: 19-th century music; gender studies.
David Lawton, Professor, Ph.D., University of California, Berkeley: Orchestral and opera conducting; 19th-century history.
Julius Levine, Professor Emeritus, B.S., Juilliard School of Music: String bass; chamber music.
Judith Lochhead, Professor, Ph.D., University at Stony Brook: 20th-century theory and history.
Timothy Mount, Professor and Director of Choral Music, D.M.A., University of Southern California: Choral conducting.
Joyce Robbins, Professor Emerita, B.S., Juilliard School of Music: Violin; viola; pedagogy; chamber music.
Daria Semegen, Associate Professor and Director of Electronic Music Studio, M.Mus., Yale University: Composition; theory; electronic music.
Sheila Silver, Professor, Ph.D., Brandeis University: Composition; theory.
Jane Sugarman, Associate Professor, Ph.D., University of California, Los Angeles: Ethnomusicology; world music cultures, South-Eastern European music. Recipient of the State University Chancellor’s Award for Excellence in Teaching, 1995, and the President’s Award for Excellence in Teaching, 1995.
Daniel Weymouth, Associate Professor and Director of Computer Music Studio, Ph.D., University of California, Berkeley: Composition; computer music and technology.
Peter Winkler, Professor, M.F.A., Princeton University: Composition; theory; popular music. Recipient of the State University Chancellor’s Award for Excellence in Teaching, 1977.

Performing Artists in Residence
Elaine Bonazzi, B. Mus., Eastman School of Music: Voice; opera workshop.
Joseph Carver, D.M.A., University at Stony Brook: String bass.
Richard Cross, B.A., Cornell University: Voice; opera workshop.
Christina Dahl, M.M., Peabody Conservatory: Piano, accompaniment, chamber music.
Raymond Des Roches, Co-director of Contemporary Chamber Players, M.Mus., Manhattan School of Music: Percussion; chamber music.
Bruce Engel, M.M., Juilliard School of Music: Director of the University Wind Ensemble; conducting.
Daniel Gilbert, M.M., Juilliard School of Music: Clarinet
Ani Kavafian, M.S., Juilliard School of Music: Violin
Timothy Long, M.M., Eastman School of Music: Vocal coach.
Katherine Murdock, B.M., Boston University: Viola; chamber music
Michael Powell, B. Mus., Wichita State: Trombone.
William Purvis, B.A., Haverford College: Horn; chamber music.
Susan Radcliffe, D.M.A., University at Stony Brook: Trumpet.
Philip Setzer, M.M., Juilliard School of Music: Violin; chamber music.
Stephen Taylor, Diploma, Juilliard School of Music: Oboe, chamber music.
Carol Wincenc, M.Mus., The Juilliard School: Flute
Jerry Willard, Cleveland Institute of Music; study with John Williams and Misha Mishakoff: Guitar; chamber music.

Quartet-in-Residence
The Emerson String Quartet: This prestigious ensemble give concerts, coaches chamber music instruction, and gives master classes each year.
Eugene Drucker, Mus.D., Middlebury College: Violin; chamber music
Lawrence Dutton, M.M., Juilliard School of Music: Viola; chamber music
David Finckel, Mus.D., Middlebury College: Cello, chamber music
Philip Setzer, (see above)
Teaching Assistants
Estimated number: 58

1. Admittance to the Major
   Any student wishing to major in music must pass an audition in voice or instrument and a musicianship examination that tests aural skills and musical literacy (elementary theory, interval recognition, simple melodic, harmonic, and rhythmic dictation, and sight singing). The undergraduate musicianship examination is given three times each year: the first or second day of each semester and at the end of April. Auditions are held in the first week of classes. Students should consult the department office to sign up for the undergraduate musicianship examination and to make an appointment for an audition.
2. Study within the Area of the Major
   1. Theory:

      MUS 121 Musicianship I

      MUS 122 Beginning Keyboard

      MUS 141, 142 Keyboard Harmony A, B

      MUS 220, 221 Musicianship II, III

      MUS 321, 322 Tonal Harmony I, II

      MUS 323 Techniques of Music; 1880 to the present

      MUS 331 Musicianship IV

      MUS 421 Analysis of Tonal Music

      MUS 422 Analysis of Post-Tonal Music

   2. History and Literature:

      MUS 130 Sound Structures

      MUS 350 Western Music before 1600

      MUS 351 Western Music from 1600 to 1830

      MUS 352 Western Music from 1830 to the present

      Two additional history courses numbered 450 to be chosen in consultation with the student’s advisor. The courses should be distributed among a range of historical periods. MUS 340, 432 or 434 may be substituted for one semester of MUS 450, as may MUS 339, 437, or 491 with the consent of the Director of Undergraduate Studies.

   3. Performance:
      1. A minimum of four semesters from courses in the series MUS 161-187 Performance Study (2 credits each) or MUS 361-387 Advanced Performance Study (4 credits each).
      2. Mandatory co-registration in a performance ensemble for each semester of lessons. Instrumentalists should enroll in MUS 262 University Orchestra, MUS 263 University Wind Ensemble, or MUS 264 Jazz Ensemble. Vocalists should enroll in MUS 261 Stony Brook Chorale or MUS 393 Chamber Chorus. Pianists and guitarists should enroll in MUS 391 Chamber Music.
      3. Study for a minimum of four semesters from the following: MUS 261 Stony Brook Chorale or MUS 262 University Orchestra or MUS 263 University Wind Ensemble or MUS 264 Jazz Ensemble or MUS 393 Chamber Chorus. MUS 391 Chamber Music may be used to satisfy two semesters of the four semester requirement. Pianists and guitarists who do not pass the audition for one of the ensembles may fulfill the four semesters with MUS 391 Chamber Music; pianists may also substitute MUS 388 Fundamentals of Accompanying.

   Note: No more than 30 credits of individual instruction in instrument or voice may be included in the 120 credits required for the B.A. degree.

3. Upper-Division Writing Requirement
   As evidence of acceptable writing skills in the discipline, students majoring in music must submit to the director of undergraduate studies a portfolio of three papers no later than one month before the end of their junior year. Papers written for music history courses (MUS 350, 351, 352 or higher) or for MUS 421 or 422 are preferred, but in any case, at least one of the three papers must be from such a course. Up to two of the remaining papers may have been written for other courses in the humanities or fine arts, such as English, theatre arts, or foreign languages. The papers should demonstrate a mastery of language sufficient to express clearly and accurately concepts of sophistication commensurate with upper-division work. A special committee reads the papers and assesses the quality of writing. The committee communicates the results of its assessment by the end of the student’s junior year. If writing skills are judged deficient, the committee recommends a course of action for the improvement of such skills and reviews examples of writing during the senior year. Students must demonstrate acceptable writing skills before they graduate.
4. Foreign Language
   Students who intend to continue their studies beyond the B.A. degree are advised that most graduate music programs require a reading knowledge of French or German, often both. (For this purpose, but not for the entry skill in foreign language requirement, language courses may be taken under the Pass/No Credit option.)

1. Theory:

   MUS 119 Elements of Music or MUS 130 Sound Structures

   MUS 315, 316 Structural Principles of Music

2. History:

   Three courses chosen from the following:
   MUS 105, 106, 301-314

3. Performance:

   Two semesters of one or more of the following:

   MUS 261 Stony Brook Chorale

   MUS 262 University Orchestra

   MUS 263 University Wind Ensemble

   MUS 264 Jazz Ensemble

   MUS 391 Chamber Music

   MUS 393 Chamber Chorus

1. Theory:

   MUS 121 Musicianship I

   MUS 130 Sound Structures

   MUS 220 Musicianship II, III

   MUS 221 Musicianship III

   MUS 321 Tonal Harmony I

   MUS 322 Tonal Harmony II

2. History:

   Two courses from the following:
   MUS 105, 106, 301-314

3. Performance:

   Three credits from the following:

   MUS 261 Stony Brook Chorale

   MUS 262 University Orchestra

   MUS 263 University Wind Ensemble

   MUS 264 Jazz Ensemble

   MUS 391 Chamber Music

   MUS 393 Chamber Chorus

1. Theory:

   MUS 119 Elements of Music or MUS 130 Sound Structures

   MUS 315 Structural Principles of Music

   MUS 389 Jazz Improvisation

   Note: Students well versed in music notation and basic theory (demonstrated by the MUS 119 challenge examination) should take MUS 130.

2. History:

   MUS 101 Introduction to Music

   MUS 308 History of Jazz

   One of the following:

   • MUS 304 Contemporary Traditions in American Music
   • MUS 310 Music and Culture in the 1960s
   • MUS 355 Special Topics when topic is appropriate

3. Performance:

   Two semesters of the following:

   • MUS 264 Big Band Jazz Ensemble
   • MUS 267 Jazz Combo

1. Theory:

   MUS 121 Musicianship I

   MUS 130 Sound Structures

   MUS 220 Musicianship II, III

   MUS 221 Musicianship III

   MUS 321 Tonal Harmony I

   MUS 389 Jazz Improvisation

2. History:

   MUS 308 History of Jazz

3. Performance:

   MUS 267 Jazz Combo

   Two semesters of the following:

   • MUS 187 Lessons
   • MUS 264 Big Band Jazz Ensemble