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Stony Brook Welcomes New Faculty!

The Department of Music at Stony Brook University is excited to welcome new faculty to campus beginning Fall, 2014.  These faculty embody excellence in the areas of Composition, History and Theory, Ethnomusicology, and Performance.  We welcome the new energies these ethnomusicologists, performers, historian, and composer will contribute to a faculty already well-known for its collaborative engagement across disciplines.

 

Matthew BarnsonMatthew Barnson, Music Composition and Theory

Matthew Barnson composes for orchestras, choirs, string quartets, voices, chamber ensembles, dancers, and computers. Recently, his music has been performed at Carnegie Hall, the Centre Pompidou, the Museum of Modern Art, the Aldeburgh Festival, the Royal Academy of Music, Wigmore Hall, Aspen, Heidelberger Frühling, and many other venues throughout the United States and Europe.He studied at Eastman, the University of Pennsylvania, IRCAM, and Yale with Christopher Rouse, Joseph Schwantner, Steven Stucky, Augusta Read Thomas, Martin Bresnick, Ezra Laderman, Ingram Marshall, and David Lang. In February 2014, Tzadik released his album of string quartets performed by the Arditti and JACK Quartets. Barnson teaches composition, electronic music, theory, and the history of music after 1945. He comes to Stony Brook having taught at Yale College, chaired the composition and theory department at New York’s Third Street Music School Settlement, and served as assistant professor of composition at Trinity College Dublin. 

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Jennifer FrautschiJennifer Frautschi, Violin and Chamber Music

Two-time GRAMMY nominee and Avery Fisher career grant recipient Jennifer Frautschi has garnered acclaim as an adventurous musician with a remarkably wide-ranging repertoire, ranging from the classic to the contemporary. Highlights of her 2013-14 season included performances with the St. Paul Chamber Orchestra and Tucson Symphony, as well as return engagements with the Alabama, Arkansas, Belo Horizonte, Chattanooga, Phoenix, and Toledo Symphonies and the Rhode Island Philharmonic, while during the summer she performed at the Ojai, Santa Fe, La Jolla, Bridgehampton, SaltBay, and Moab Music Festivals. Her discography includes the Stravinsky Violin Concerto with the Philharmonia Orchestra, conducted by Robert Craft, and two GRAMMY-nominated recordings with the Fred Sherry Quartet, of Schoenberg's Concerto for String Quartet and Orchestra and the Schoenberg Third String Quartet. Her most recent releases are a recording of Romantic Horn Trios, with hornist Eric Ruske and pianist Stephen Prutsman; the Stravinsky Duo Concertant with pianist Jeremy Denk; as well as two discs with pianist John Blacklow for Albany: the first devoted to the Schumann sonatas; the second an exploration of recent additions to the violin and piano repertoire by American composers Barbara White, Elena Ruehr, Steven Mackey, Stephen Hartke, and Dan Coleman. 

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Arnaud Sussman

Arnaud Sussmann, Violin and Chamber Music

Arnaud Sussmann has distinguished himself with his unique sound, bravura and profound musicianship. A thrilling young musician capturing the attention of classical critics and audiences around the world, he has appeared with the American Symphony Orchestra, Stamford Symphony, Chattanooga Symphony, Minnesota Sinfonia, Lexington Philharmonic, Jerusalem Symphony and France’s Nice Orchestra. Arnaud Sussmann has performed with many of today’s leading artists including Itzhak Perlman, Menahem Pressler, Gary Hoffman, Shmuel Ashkenazi, Wu Han, David Finckel, Jan Vogler and members of the Emerson String Quartet. Winner of several international competitions, including the Andrea Postacchini of Italy and Vatelot/Rampal of France, he was named a Starling Fellow in 2006, an honor which allowed him to be Mr. Perlman’s teaching assistant for two years. A frequent recording artist, Arnaud Sussmann has released albums on Deutsche Grammophon’s DG Concert Series, Naxos, Albany Records, Telos, and CMS Studio Recordings labels.

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Erika Supria HonischErika Supria Honisch, Music History and Theory 

Erika Honisch holds a PhD from the University of Chicago (2011) and comes to Stony Brook from the University of Missouri (Kansas City), where she was Assistant Professor (2012–2014). Before that, she spent a year as a post-doctoral scholar at the University of Toronto. Honisch’s research and teaching engage questions of the diverse ways in which music was heard in early modern Europe, with an emphasis on how contesting religious groups used and experienced music in the urban spaces of Central Europe before and during the Thirty Years War. A regular presenter at national and international conferences, Honisch has a number of articles published and in forthcoming publications. She looks forward to developing courses exploring the cultivation of the “stile antico” in Baroque Europe, music’s place in the variegated urban soundscapes of early modern Europe, and the relationship of music and scientific inquiry in the sixteenth and seventeenth centuries.

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Margarethe AdamsMargarethe Adams, Ethnomusicology

Margarethe Adams specializes in music, political ideology, and belief in Central Asia, specifically, Kazakhstan and northwest China. She teaches classes examining intersections of music with political ideology, cosmology, and religion, such as Music and Islam; Music of Central Asia and the Middle East; and the Music of China. Her publications include “The Fiddle’s Voice: Timbre, Musical Learning, and Collaborative Ethnography in Central and Inner Asia,” Collaborative Anthropologies, vol. 6 (2013). Her current works in progress include an article on the musical and cinematic representation of World War II in Kazakhstan; and a monograph on nationalism, transnational networks, and entertainment in post-Soviet Kazakhstan. Margarethe Adams has been at Stony Brook as a Visiting Assistant Professor in Ethnomusicology since Fall 2012, and from Fall 2014 will be an Assistant Professor in Ethnomusicology.

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Benjamin TausigBenjamin Tausig, Ethnomusicology

Benjamin Tausig's research focuses on music, sound, and political protest in Bangkok, Thailand. He has published on the musical activity of the Thai military's psychological operations unit, and on the lives and art of protest musicians, among other topics. Tausig's interdisciplinary interests combine ethnomusicology, sound studies, and human geography. His dissertation, "Bangkok Is Ringing," is a critical study of the music and broadcast environment of Thailand's Red Shirt movement in 2010-11, during which time he conducted fieldwork in Bangkok and elsewhere. The dissertation tracks the fragmentation of the Red Shirt movement through its musical and sonic spatial ordering. Tausig's work has appeared in the journals Culture, Theory, & Critique, Twentieth-Century Music, and Positions: Asia Critique. He has taught classes on urban soundscapes, the art of listening, and the elements of music at both the New School and NYU, where he received his Ph.D.

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