DEPARTMENT CHAIRS 2014—2015 Academic Year
With an illustrious history as the oldest independent school of music in the United States, New England Conservatory (NEC) offers numerous courses and degrees. On the college level, NEC features training in classical, jazz, and contemporary improvisation. Through its Preparatory School, School of Continuing
Education, and Community Programs and Partnerships Program, it offers lessons, classes and performing opportunities for children, pre-college students, adults, and seniors. Through its outreach projects, it allows young musicians to engage with non-traditional audiences in schools, hospitals, and nursing homes.
Courses are offered in Strings, Woodwinds, Brass, Percussion, Conducting, Piano, Jazz Studies, Contemporary Improvisation, Voice & Opera, Collaborative Piano, Graduate Languages, Chamber Music, Historical Performance, Composition, Music History & Musicology, Music Theory, Intercultural Studies, Music-in-Education, Liberal Arts, and Interdisciplinary Studies, as well as Entrepreneurial Musicianship.
Below are abbreviated biographies of New England Conservatory’s department chairs. Additional information on these individuals, and all 225 of NEC’s distinguished faculty members, may be found here.
Yeesun Kim, Co-Chair
Cellist Yeesun Kim enjoys worldwide acclaim as a soloist, chamber musician and teacher. A founding member of the Borromeo String Quartet, Ms. Kim has performed in over 20 countries, in many of the world’s most illustrious concert halls and festivals, including Alice Tully Hall, the John F. Kennedy Center for the Performing Arts, Suntory Hall in Japan, and Wigmore Hall in the UK. She has given solo and chamber music recitals in Carnegie Hall and Jordan Hall at NEC, among others. As a member of the Borromeo String Quartet, Ms. Kim has been part of the Ensemble in Residence for NPR’s Performance Today and has had extensive involvement with the Chamber Music Society of Lincoln Center’s Chamber Music Two Program. In this capacity, Ms. Kim has performed on all the series of the Chamber Music Society, including being featured on a “Live from Lincoln Center” broadcast. Her radio and television credits also include numerous appearances on WGBH in Boston, Radio France, and NHK Radio and Television in Japan. Ms. Kim also frequently appears as a member of the Yeesun Kim Piano Trio with Wu Han and Pamela Frank.
A native of Seoul, Korea, Ms. Kim has won several top Korean awards, including the Ewha and Jungang national competitions, and in 1981 the Seoul Young Artists Award for achievement in music and academics.
B.A., Curtis Institute; M.M., Artist Diploma with Borromeo String Quartet, NEC. Violoncello with David Soyer, Laurence Lesser. Also faculty of the NEC at Walnut Hill School for the Performing Arts.
Donald Palma, Co-Chair
Bassist Donald Palma founded and coaches the NEC Chamber Orchestra, a conductorless orchestra modeled on the Orpheus Chamber Orchestra,of which he is a founding member. The NEC Chamber Orchestra is one of the first such orchestras at a music school.
Mr. Palma joined Leopold Stokowski's American Symphony Orchestra at the age of 20. At age 24, he joined the Los Angeles Philharmonic, and later served as principal bass of Canada's National Arts Centre Orchestra.
A Grammy award-winning recording artist, Mr. Palma has made over fifty recordings with Orpheus for Deutsche Grammophon. As music director of the San Francisco Contemporary Music Players, Mr. Palma won two ASCAP-Chamber Music America Awards for adventurous programming. With the contemporary music group Speculum Musicae, he serves a double function as bassist and conductor. He has conducted critically acclaimed recordings of works by Poul Ruders, Lee Hyla, Elliott Carter, Peter Lieberson, and Stephen Jaffe, and has recorded over thirty CDs of contemporary works.
As a chamber musician, Mr. Palma has appeared in recital with Dietrich Fischer-Dieskau, Jean-Pierre Rampal, Jan DeGaetani and Jorge Bolet, and has performed with the Nash Ensemble, the Juilliard Quartet, the Chamber Music Society of Lincoln Center, and the Da Camera Society of Houston.
B.M., The Juilliard School. Double bass studies with Frederick Zimmermann, Robert Brennand, Orin O’Brien, Homer Mensch. Recordings on New World, Nonesuch, CRI, Deutsche Grammophon, Bridge, Columbia, Sony Classical, MusicMasters. Former faculty of Princeton and Columbia universities, Manhattan School of Music. Also faculty of Yale University.
Lucy Chapman, Chair
Violinist Lucy Chapman,Chair of NEC's Strings studio faculty, also served as chair of chamber music from 2002 through 2010. While widely sought after as a chamber musician, Chapman has had a varied career that spans many musical worlds. She has had solo and chamber music concerts throughout the USA and in Europe, Korea and Japan. She has held positions as acting associate concertmaster of the San Francisco Symphony and first violin of the Muir String Quartet, and won a Grammy nomination for a recording of Bartok, Stravinsky and Ives with clarinetist Richard Stoltzman and pianist Richard Goode.
She also recorded with Keith Jarrett, whose solo sonata she premiered in Chicago's Orchestra Hall. Recent performances include the Mozart Sinfonie Concertante with violist Kim Kashkashian, an all-Mozart concert in New York with pianist Robert Levin, frequent guest appearances with the Boston Chamber Music Society, and return visits to the Busan Festival in Korea and the Marlboro Music Festival in Vermont.
Chapman is a former faculty member of the University of California/Santa Cruz, Boston and Harvard Universities. During the past eight summers she has been on the faculty of Kneisel Hall in Blue Hill, Maine.
She is a graduate of the Curtis Institute of Music where she studied with Arnold Steinhardt of the Guarneri Quartet; her other principal teachers include Dorothy Delay and Marc Gottlieb.
B.M., Curtis Institute; M.Ed., Antioch New England. Studies with Dorothy Delay, Marc Gottlieb, Arnold Steinhardt. Recordings on EMI, CRI, New World, RCA/BMG. Former faculty of University of California/Santa Cruz and Boston and Harvard University.
Bruce Brubaker, Chair
Bruce Brubaker joined the New England Conservatory faculty as Chair of Piano in 2005. Well known as an identifier and nurturer of musical talent, Mr. Brubaker is also renowned for his active international performance career. Among the venues at which he has appeared are the Hollywood Bowl and New York’s Avery Fisher Hall, Tanglewood, London’s Wigmore Hall, Leipzig’s Gewandhaus, Antwerp’s Queen Elizabeth Hall, and Finland’s Kuhmo Festival.
He has been broadcast on the BBC in the UK, and RAI in Italy, and has premiered works by Phillip Glass, Nico Muhly, Mark -Anthony Turnage, and John Cage.
A respected authority, Mr. Brubaker's articles about music have appeared in The Wall Street Journal, USA Today, Piano Quarterly, Dutch Journal of Music Theory, and Chamber Music Magazine. He is the U.S. representative for "Behind the Music: The Performer as Researcher," a research initiative based in Australia. His blog “PianoMorphosis” appears at ArtsJournal.com.
Mr. Brubaker trained at the Juilliard School, where he received the school's highest award, the Edward Steuermann Prize, upon graduation. At Juilliard, where he taught from 1995 to 2005, he has appeared in public conversations with Philip Glass, Milton Babbitt, and Meredith Monk. Among his honors are being named “Young Musician of the Year” by Musical America, being profiled on NBC’s "Today" show, and being awarded a solo artist grant from the National Endowment for the Arts.
B.M., M.M., and D.M.A. in piano, The Juilliard School. Principal piano studies with Jacob Lateiner; chamber music with Felix Galimir and Louis Krasner; analysis with Milton Babbitt. Recordings on Arabesque and Vital Music. Former faculty of the Juilliard School.
Cameron Stowe, Chair
NEC collaborative piano chair Cameron Stowe has earned a reputation as a leading specialist in the study and performance of song recital repertoire, and is recognized for his commitment to this art form as a performer, researcher and teacher. Mr. Stowe maintains an active performance schedule as a song recital collaborator, and has appeared at some of the world’s foremost venues, including The John F. Kennedy Center for the Performing Arts, Festival Radio France (Montpellier), Alice Tully Concert Hall, San Francisco’s Herbst Theater, Weill Recital Hall at Carnegie Hall, Philadelphia's Academy of Music, and the Asociación Cultural Humboldt in Caracas, Venezuela, to name a few. He has given world premiere performances of songs by Victoria Bond, Daron Hagen, and Richard Pearson Thomas, and George Tsontakis (Midnight Rain song cycle).
In 2008, Mr. Stowe joined the Aspen Music Festival faculty, overseeing song studies for the Aspen collaborative pianists. Prior to this, he designed a new graduate program in collaborative piano at University of Toronto. He has also served on the staff at Steans Institute for Young Artists (Ravinia), and coached song repertoire for the Young Artists at Chicago Opera Theater for several seasons.
Distinguished honors include prizes from the Wigmore Hall International Song Competition, Tanglewood Music Center, and Juilliard (Richard F. French Doctoral Dissertation Award), and research grants from the Theodore Presser Foundation, and the University of Toronto.
Bachelor of Music, Oberlin College Conservatory. Master of Music, The Peabody Conservatory of Johns Hopkins University. D.M.A., The Juilliard School. Also studies at the North Carolina School of the Arts, and the Académie de Musique de Sion, Switzerland. Current faculty, The Juilliard School. Former faculty, University of Toronto.
Karen Holvik, Chair
Soprano Karen Holvik, chair of New England Conservatory’s Voice program, began her singing life in the world of popular music and jazz, but set her sights on a career in classical music during her graduate studies. After touring with San Francisco Opera's Western Opera Theater, Ms. Holvik settled in New York, where she pursued an eclectic musical path, building a large repertoire of concert music, oratorio, and operatic roles. She has toured extensively in the United States, and has appeared in Canada and Western Europe singing both popular and classical repertoire.
Highlights of Ms. Holvik’s work in regional opera include appearances with Houston Grand Opera's Spring Opera Festival, Skylight Opera, Opera Festival of New Jersey, Opera Illinois, Anchorage Opera, and Texas Opera Theater. She has worked with prominent directors, including Christopher Alden, Francesca Zambello, Edward Berkeley, Ken Cazan, and the late Richard Pearlman.
A prize winner in many competitions, Ms. Holvik made her Avery Fisher Hall debut at a Richard Tucker Gala Concert, an event that was recorded by RCA Victor Red Seal and shown nationally on PBS. She made her Carnegie Hall debut singing Handel's Messiah with the Masterwork Chorus and Orchestra.
A champion of contemporary American song and operatic repertoire, Ms. Holvik has premiered works by Ricky Ian Gordon, Aaron Kernis, John Musto, James Sellars, Stewart Wallace, Tom Cipullo, and Richard Wilson. She was featured in the New York premiere and on the subsequent tour of Kabbalah by Stewart Wallace and Michael Korie, and appears on the Koch International Classics recording. She created the role of Rose in the premiere of The World is Round by James Sellars on a text by Gertrude Stein.
Master's degree and performer's certificate in opera, Eastman School of Music. Opera Fellow, Aspen Music Festival. Former faculty of the University of Missouri-Columbia, Vassar College, New York University, and the Eastman School of Music.
Joshua Major, Chair of Opera Studies
Joshua Major, part of the leadership team for New England Conservatory’s Opera Studies program, joined the New England Conservatory as Chair of Opera Studies in fall 2012. Previously, Mr. Major had been a guest stage director at NEC on productions of Ariadne auf Naxos, Dido and Aeneas, and La Perichole.
A stage director for over 25 years throughout the United States and Canada, Mr. Major began his opera stage directing career at the age of 23 with La Cenerentola for Opera Omaha. Soon after, he worked as an assistant to Rhoda Levine at Juilliard, Cynthia Auerbach at both Chautauqua Opera and New York City Opera, and William Gaskill at the Welsh National Opera. Recent engagements include The Cunning Little Vixen for the Cape Town Opera; Lucia di Lamermoor for the Academy of Vocal Arts in Philadelphia, L'Impressions de Pelleas in Tel Aviv, La Traviata for the Jacksonville Symphony; L'Elisir d'amore for Cleveland Opera, and The Tales of Hoffmann and Lucia di Lammermoor for Indianapolis Opera.
Mr. Major previously served for 20 years on the faculty of the University of Michigan, where he oversaw the Opera Program, both teaching and directing.
Joshua Major has been the Artistic Director of the Pine Mountain Music Festival since 2003. He is also a stage director and faculty member with the Israel Vocal Arts Institute, where he has directed annually since 1993, and of the Institut Canadien d’Arts Vocal based in Montreal, where he has directed since 2005.
Stephen Lord, Artistic Advisor
Conductor Stephen Lord , named one of the "25 Most Powerful Names in U.S. Opera" by Opera News turns his attention to the comprehensive education of young singers as Artistic Advisor of New England Conservatory's (NEC’s) opera studies program. Currently the music director of Opera Theatre of Saint Louis, Maestro Lord has also served as music director of the Banff Festival Opera and Boston Lyric Opera. He has also visited or had primary affiliations with many other opera companies in the U.S. and overseas. Among the opera companies with which he has guested are English National Opera, Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Santa Fe Opera, Wolf Trap Opera, New York City Opera and Canadian Opera.
Outside of traditional opera subscription seasons, Lord has been a guest with the Boston Pops and first appeared in San Francisco leading the Merola Grand Finale Concert for the opera company, which he has repeated alongside other concert activities with the company. Before making the transition to conductor, Lord had a highly successful career as accompanist and coach of opera, counting among his clients such singers as Renata Scotto, Neil Shicoff, Rockwell Blake, Evelyn Lear, and Thomas Stewart.
In addition to the masterclasses at NEC that preceded the announcement of his joining the faculty, Lord has offered masterclasses at numerous educational and performing institutions such as Yale, University of Toronto, University of Colorado, L'Opéra de Montréal, and McGill University. A frequent adjudicator, Lord regularly has judged for the Metropolitan Opera and the Richard Tucker Foundation, on whose advisory board he sits.
B.M. in piano performance, Oberlin Conservatory.
Richard Svoboda, Chair
Richard Svoboda has been principal bassoonist of the Boston Symphony Orchestra (BSO) and a member of the Boston Symphony Chamber Players since 1989. At the BSO he occupies the Edward A. Taft chair, endowed in perpetuity.
Before joining the Boston Symphony Orchestra, Mr. Svoboda served as principal bassoonist of the Jacksonville Symphony for 10 seasons.
Mr.Svoboda has been a member of the New England Conservatory faculty since fall 2011. Among Mr. Svoboda's BSO concerto appearances have been performances of John Williams's Five Sacred Trees, with the composer conducting, and the Weber Concerto under the baton of Seiji Ozawa. Of special interest to bassoonists among his many recordings with the BSO would be discs of Ravel's Bolero (including Alborada del gracioso) with Bernard Haitink, as well as Sibelius's Symphony No. 2 with Vladimir Ashkenazy.
B.M.E. with high distinction, University of Nebraska. Studies with William Winstead, George Berry, Gary Echols. Former faculty of Symphony School of America (Wisc.) and Grand Teton Orchestral Seminar. Current faculty of Tanglewood Music Center.
BRASS and PERCUSSION
Frank Epstein, Chair
A native of Amsterdam, percussionist Frank Epstein came to the United States in 1952. He joined the Boston Symphony Orchestra in 1968, following serving as a member of the San Antonio Symphony. Mr. Epstein has made recordings with the Los Angeles Philharmonic, the Boston Symphony Orchestra, and the Boston Pops, as well as with Collage New Music.
As founder of Collage, and music director from its inception in 1972 through 1991, Epstein has overseen the commissioning and performance of more than 200 new works written especially for the ensemble as well as the production of 17 recordings. Epstein was awarded a presidential commendation from NEC for his work with Collage.
Mr. Epstein is a consultant to the Avedis Zildjian Company on new product development (including the introduction of the Classic Orchestral Cymbal Selection), and as a clinician conducts workshops and seminars throughout the country, and is also a member of the Tanglewood Music Center faculty.
Mr. Epstein has written a book entitled Cymbalisms, a complete guide for the orchestral cymbals player.
B.M., University of Southern California; M.M., NEC. Studies at Tanglewood Music Center and with Robert Sonner, Earl Hatch, Murray Spivack, William Kraft, Everett Firth. Recordings on RCA, Columbia, Deutsche Grammophon, Polydor, London, Nonesuch, Crystal, Inner City, GunMar, Delos, Sony. Also faculty of Tanglewood Music Center and frequent clinician in the U.S. and Europe
Hugh Wolff, Chair
A faculty member of the New England Conservatory (NEC) since fall 2008, American conductor Hugh Wolff (in photo above with conducting students) conducts many of NEC’s College orchestra concerts, works with students in NEC’s training program for young conductors, and serves as Resident conductor of the NEC Preparatory School’s Youth Philharmonic Orchestra. In addition to being chair of the Orchestral Conducting department, he also holds the Stanford and Norma Jean Calderwood Director of Orchestras Chair.
A renowned international conductor, Maestro Wolff ‘s previous posts include principal conductor of the Frankfurt Radio Orchestra (1997–2006), principal conductor and then music director of the Saint Paul Chamber Orchestra (1988–2000), music director of Chicago’s Grant Park Music Festival (1994–1997) and music director of the New Jersey Symphony (1986–1993). He began his professional career in 1979 as associate conductor of the National Symphony Orchestra under Mstislav Rostropovich.
Maestro Wolff has appeared with all the major American orchestras. Much in demand in Europe, he is also a regular guest conductor with orchestras in Japan, Scandinavia, and Australia.
A recording artist with an extensive discography ranging from classical masterworks to contemporary pieces, Maestro Wolff has been nominated four times nominated for a Grammy Award, and is the recipient of the 2001 Cannes Classical Award. Maestro Wolff studied piano with Leon Fleisher and composition with George Crumb. After graduating from Harvard College in 1975, Wolff won a fellowship to study conducting with Charles Bruck and composition with Olivier Messiaen in Paris. He returned to the United States to continue piano studies with Fleisher at the Peabody Institute. In 1985, Wolff was awarded the Seaver/National Endowment for the Arts Conducting Prize, the largest conducting prize in the world at that time.
A.B., Harvard College; M.M. in piano and M.M. in orchestral conducting, Peabody Institute. Studies with George Crumb, Leon Kirchner, and Olivier Messiaen in composition, Leon Fleisher and Leonard Shure in piano, Charles Bruck in conducting. Recordings on Teldec, CPO, Decca, Sony Classical, Deutsche Grammophon, Virgin, Koch Swann, New World, HR, Argo, NMC.
Ken Schaphorst, Chair
A founding member of the Boston -based Jazz Composers Alliance, an organization in the tradition of jazz composer-directed ensembles dedicated to the promotion of new music in the jazz idiom, trumpeter and composer Ken Schaphorst has been awarded Composition Fellowships from the National Endowment for the Arts, the Massachusetts Cultural Council, the Wisconsin Arts Board, and Meet the Composer.
Since coming to NEC as Chair of the Jazz Studies and Improvisation Department in 2001, Mr. Schaphorst has directed the Jazz Orchestra in its performance of new music and traditional big band repertoire. Named Best College Big Band in the 2004 Downbeat Student Music Awards, the ensemble has won critical acclaim for its recordings and for its performances throughout the country. Schaphorst also works with high school–age students at NEC with the Youth Jazz Orchestra, which he founded in 2008.
Mr. Schaphorst’s three-movement Concerto for John Medeski, composed for his friend and fellow NEC alumnus, was commissioned by the National Endowment for the Arts. He has received commissions from the NEA, Marimolin, Orange Then Blue, Boston University, Lawrence University, the Fox Valley Arts Alliance, the Jazz Composers Alliance, the Wisconsin Arts Board, Phi Mu Alpha Sinfonia, Ball State University, and Augustana College.
B.A., Swarthmore College; M.M., New England Conservatory; D.M.A., Boston University. Composition with Thomas Oboe Lee, Gerald Levinson, William Thomas McKinley, Bernard Rands. Recordings on JCA, Accurate, Naxos.
Former faculty of Lawrence University.
Hankus Netsky, Chair
A multi-instrumentalist, composer, and ethnomusicologist, Hankus Netsky teaches improvisation and Jewish music. He is founder and director of the Klezmer Conservatory Band, an internationally renowned Yiddish music ensemble. He has also taught at McGill University, Hampshire College, Wesleyan University and Hebrew College. His essays have been published by the University of California Press, the University of Pennsylvania Press, the University of Scranton Press, Hips Roads, and the University Press of America.
Mr. Netsky has composed extensively for film, theater, and television, and collaborated closely with such artists as Itzhak Perlman, Robin Williams, Joel Grey, and Theodore Bikel.
He has produced numerous recordings, including ten by the Klezmer Conservatory Band. He served as musical director, producer and arranger for Eternal Echoes, Itzhak Perlman's much-acclaimed 2012 collaboration with cantor Yitzchak Meir Helfgot, released on Sony Masterworks. He also collaborated with Marty Ehrlich '77 on the August 2010 release Fables, an entry in the "Radical Jewish Culture" collection on John Zorn's Tzadik label.
He has been honored with New England Conservatory's Outstanding Alumni award and the Louis and Adrienne Krasner and the Lawrence Lesser awards for Excellence in Teaching.
Ph.D.in Ethnomusicology, Wesleyan University. B.M. with honors, M.M.with honors, NEC. Studies at Carnegie Mellon University. Jazz with Jaki Byard and George Russell; contemporary improvisation with Ran Blake, Composition with William Thomas McKinley and Malcolm Peyton.
Michael Gandolfi, Chair
Composer Michael Gandolfi has written works for the London Sinfonietta, Riverside Symphony Orchestra, Parnassus, Speculum Musicae, Sonor, Boston Musica Viva, San Francisco Contemporary Music Players, and the Orpheus, Los Angeles, and St. Paul Chamber orchestras. The Boston Symphony Orchestra has performed Gandolfi's Points of Departure, written for Orpheus, and excerpts from his suite The Garden of Cosmic Speculation. He received the first Paul Jacobs Memorial Commission from the Tanglewood Music Center in 1987, and has also received commissions and grants from the Fromm, Koussevitzky, and Guggenheim foundations and the NEA, among others.
Gandolfi has received the American Academy and Institute of Arts and Letters’ Charles E. Ives and Academy-Institute awards.
In 2008, a recording of The Garden of Cosmic Speculation was released on Telarc in a performance by its first interpreter, Robert Spano leading the Atlantic Symphony. The recording received a Grammy Award nomination. In 2009, the Boston Modern Orchestra Project released a recording of Y2K Compliant, the outcome of several concerts in which Gandolfi's music has been performed.
B.M., M.M. with honors in composition, NEC. Studies with Oliver Knussen, William Thomas McKinley, and John Heiss. Recordings on CRI, Deutsche Grammophon. Former faculty of Harvard University. Director of Compositional Activities, Tanglewood Music Center.
Katarina Miljkovic, Chair
Composer Katarina Miljkovic has written for symphony orchestra, string orchestra and various other groupings, including works for amplified saxophone, saxophone quartet, prepared piano, percussion, electric guitar and computer generated sounds. Miljkovic's interest in the relationship of science, nature and music led her to the mathematician Benoit Mandelbrot's essay "The Fractal Geometry of Nature" and self-similar complex structures. Her cycle based on this idea, Forest , for two prepared pianos and percussion, has been released by Sachimay Records.
Miljkovic's Rondo, Sequence for String Orchestra was performed on international tours of the Belgrade String Orchestra, Dusan Skovran, in China, Greece, Hungary, Bulgaria, Italy, Russia, and Great Britain, at venues such as the Beijing Concert Hall, the Moscow Conservatory Big Concert Hall, and the Bulgaria Symphony Hall. Her work Swifts, Sequence for Symphonic Orchestra was performed by the Belgrade Radio Orchestra, and by the Athens Symphony Orchestra, and broadcasted internationally.
Katarina Miljkovic's works have been performed at major music festivals in her native Yugoslavia, including the Belgrade Music Festivities, BEMUS the Music Biennale of Contemporary Music, MBZ, the World Festival of Chamber Music in Zagreb, the Rostrum of Yugoslav Music, and wider, at the International Festival of Santorini, Greece, Budapest Festival of New Music, Romanische Sommer, Cologne, soundAxis, Toronto, and Boston CyberArts Festival.
At Commencement 2004, Katarina Miljkovic received NEC's Louis and Adrienne Krasner Teaching Excellence Award. She has taught at NEC since 1996.
B.A., M.A. in composition, University of Belgrade; D.M.A. in composition , NEC. Former faculty of Holy Cross College and University of Belgrade.
MUSIC HISTORY & MUSICOLOGY
Anne Hallmark, Chair
A specialist in late medieval and early Renaissance music, Anne Hallmark has taught in the music history department at New England Conservatory since 1975.
Ms. Hallmark has also published in this country and abroad on teaching music and is currently involved with women’s studies. She has coedited the works of the composer Johannes Ciconia.
B.A., Barnard College; M.F.A., Princeton University; Ph.D. in progress, Princeton University. Piano with Robert Goldsand, Maria Clodes. Member of the American Musicological Society. Former faculty of Vassar College, MIT.
Larry Scripp, Chair
Larry Scripp, Ed.D., is an accomplished educator, researcher, and administrator in music. Chair of the Music Education Department at New England Conservatory (NEC) since 1998, Dr. Scripp and his colleagues have designed an institution-wide Music-in-Education Concentration for students of all majors and created a Research Center at New England Conservatory, as a result of a six-year curriculum reform and dissemination grants from the Federal Department of Education and four-year grants from the National Endowment for the Arts. As Founding Director of the new Research Center for Learning Through Music, he is designing and implementing music and music integration school programs in public schools and, most recently, became the Founding Principal Investigator for the National Music -in-Education National Consortium, a coalition of schools of music and education, arts organizations, and school reform organizations through the arts.
Current research projects with David Reider and colleagues at the Research Center include evaluation projects for the Boston Symphony Orchestra, San Francisco Symphony, Chicago Public Schools, Oakland Unified School District and the International Foundation for Music Research.
Formerly the Director of the Founding Coalition and Co-Director of the Conservatory Lab Charter School, Dr. Scripp now directs the Music in Education Learning Laboratory School Network, a network of schools in over six states dedicated to the evolving role of music and musicians in research-based music programs in public schools and funded by the Federal Department of Education.
B.M., Boston University; Ed.M. and Ed.D., Harvard University. NEC Faculty in Theoretical Studies and Music in Education at New England Conservatory, and Faculty Member of the Harvard Graduate School of Education Arts in Education Program.
LIBERAL ARTS and GRADUATE LANGUAGES
Patrick Keppel, Chair
Patrick Keppel is the Chair of the Liberal Arts and Graduate Languages departments and is director of the NEC Writing & Learning Center. He has developed a two-semester course of actor training in improvisation and scene development for new actors, the NEC Drama Workshop, and has guided student productions of Ferdinand Bruckner's Pains of Youth and Neil Bell's Therese Raquin, and Sam Shepard’s Buried Child.
Mr. Keppel is also a writer of fiction and plays. Stories from his collection of fiction, The Monologist, have appeared in The Literary Review, The Berkeley Fiction Review, Tamaqua, and the entire collection is featured on the web journal Web del Sol. His story "A Vectorial History of Leroy Pippin" was read by Eli Wallach at Symphony Space in New York as part of NPR's Selected Shorts program. His plays have been presented at The Boston Playwrights' Theatre, The Huntington Theatre's Studio 210, Boston University School for the Arts, and the Isabella Stewart Gardner Museum.
The 1999 production of his play, The Freeing of Mollie Steimer, was funded by a grant from the St. Botolph Foundation. In 2008 he presented his short play Triangle about the 1911 Triangle shirtwaist factory fire and lectured on “Form and Content in ‘Activist’ Theatre” at the annual conference of the Association for Humanist Sociology in Boston. Triangle was also performed at NEC in 2013-14.
Triangle and The Freeing of Mollie Steimer are now part of the permanent collection of the Kheel Center at Cornell University’s School of Industrial and Labor Relations.
Keppel received the Sproat Award for Excellence in Teaching at Boston University.
B.A. summa cum laude, Phi Beta Kappa, University of Notre Dame; M.A., Boston University
PROVOST and DEAN of FACULTY
An active chamber and freelance musician in New York for 10 years, bassoonist Thomas Novak was a founding member of the Amerigo Ensemble. In addition to performing, the quintet presented educational programs under the auspices of the New York Philharmonic, Chamber Music Society of Lincoln Center, and Chamber Music Northwest, among others.
Mr. Novak is also a former member of Quintet of the Americas, with whom he made his Carnegie Hall debut in 1992 and presented concerts in Canada, Bermuda, Venezuela, Colombia, and throughout the United States.
Mr. Novak also participated in a residency at Northwestern University's School of Music and recorded four albums with this ensemble. He has performed with Philharmonia Virtuosi, New Haven Symphony, American Symphony Orchestra, Bethlehem Bach Choir, New York Gilbert and Sullivan Players, several Broadway shows, and participated in the Tanglewood Festival, Round Top International Festival, and, for three consecutive summers, the Pacific Music Festival in Sapporo, Japan.
A member of New England Conservatory’s (NEC’s) administration since 2001, Mr. Novak was hired as Performance Outreach Manager, but within a month, was appointed Acting Director of Admissions and, later that same year, Director of Admissions. In January 2003, his role was expanded to Dean of Admissions and Financial Aid and Assistant Provost. Shortly after President Woodcock joined NEC in 2007, Mr. Novak was appointed to the position of Dean of the College. In 2012, he was appointed Provost and Dean of the College.
Mr. Novak continues to coach chamber music, often guiding NEC honors ensembles.
Undergraduate studies at Northwestern University. Bachelor of Music, Performer's Certificate, Eastman School of Music, with K. David Van Hoesen. Master of Music, Yale University, and additional studies at The Juilliard School, with Stephen Maxym.