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This archived information is dated to the 2011-12 academic year only and may no longer be current.

For currently applicable policies and information, see the current Stanford Bulletin.


Emeriti: (Professors) John M. Chowning, Albert Cohen, George Houle, William H. Ramsey, Leonard G. Ratner, Leland C. Smith; (Professors, Performance) Arthur P. Barnes, Marie Gibson

Chair: Stephen M. Sano

Professors: Jonathan Berger, Karol Berger (on leave), Chris Chafe, Brian Ferneyhough, Thomas Grey, Stephen Hinton, Julius O. Smith (on leave Autumn)

Associate Professors: Mark Applebaum, Heather Hadlock, William P. Mahrt

Assistant Professors: Jaroslaw Kapuscinski, Jesse Rodin (on leave), Anna Schultz, Ge Wang

Professors (Teaching): George Barth (Piano), Stephen M. Sano (Director of Choral Studies)

Associate Professor (Performance): Jindong Cai (Director of Orchestral Studies)

Courtesy Professor: Paul DeMarinis

Senior Lecturers: Giancarlo Aquilanti (Director of Theory; Wind Ensemble), Talya Berger (Theory), Stephen Harrison (Violoncello), Thomas Schultz (Piano), Gregory A. Wait (Voice; Director of Vocal Studies), Frederick R. Weldy (Piano)

Lecturers: Kumaran Arul (Piano), Fredrick Berry (Jazz Ensemble), Mark Brandenburg (Clarinet), Marie-Louise Catsalis (Voice), Marjorie Chauvel (Harp), Jonathan Clark (Mariachi), Tony Clements (Tuba), Laura Dahl (Resident Collaborative Pianist), Anthony Doheny (Violin), John Dornenburg (Viola da Gamba), Charles A. Ferguson (Guitar), Debra Fong (Violin), Claire Giovannetti (Voice), Dawn Harms (Violin, Viola), Alexandra Hawley (Flute), David Henderson (Classical Saxophone), Wendy Hillhouse (Voice), Robert Hubbard (Oboe), Joyce Johnson-Hamilton (Trumpet), Wendy Ju (HCI theory), Jay Kadis (Audio Recording), McDowell Kenley (Trombone), Mary Linduska (Voice, Summer only), Murray Low (Jazz Piano), Janet Maestre (Flute), Anthony Martin (Baroque Violin), James Matheson (Oboe), Seward McCain (Jazz Bass), Charles McCarthy (Jazz Saxophone), Robert Huw Morgan (University Organist, Organ), Bruce Moyer (Contrabass), Herbert Myers (Early Winds), James Nadel (Jazz), Rufus Olivier (Bassoon), Larry S. Ragent (French Horn), Joseph Sargent (Musicology, Autumn only), Melody Schaefle (Flute), Amy Schneider (Voice, on leave), Robin Sharp (Violin), Livia Sohn (Violin), Elaine Thornburgh (Harpsichord), Erik Ulman (Composition, Theory), Linda Uyechi (Taiko), Rick Vandivier (Jazz Guitar), Mark Veregge (Percussion), Sharon Wei (Viola), John Worley (Jazz Trumpet), Hui (Daisy) You (Guzheng), Timothy Zerlang (University Carillonneur, Piano)

Consulting Professors: Jonathan Abel (CCRMA), David Berners (CCRMA), Marina Bosi-Goldberg (CCRMA), Walter Hewlett (Computer-Assisted Research in the Humanities), Eleanor Selfridge-Field (Computer-Assisted Research in the Humanities), Malcolm Slaney (CCRMA)

Visiting Professor: Thomas Rossing (CCRMA)

Acting Assistant Professor: Charles Kronengold

Artists-in-Residence (St. Lawrence String Quartet): Geoff Nuttall (Violin), Scott St. John (Violin), Lesley Robertson (Viola), Christopher Costanza (Violincello)

Department Offices: Braun Music Center, Room 101

Mail Code: 94305-3076

Phone: (650) 723-3811


Web Site:

Courses offered by the Department of Music are listed under the subject code MUSIC on the Stanford Bulletin's ExploreCourses web site.


The Department of Music's aims are to provide specialized training for those who plan careers in music as composers, performers, teachers, and research scholars, and to promote the understanding and enjoyment of music in the University at large through its courses and performance offerings.


Students majoring in music pursue foundational theoretical and historical coursework before moving on to this in-depth, writing intensive musical analysis course. This course provides the requisite skills needed to continue in advanced work for the major. Students must demonstrate an understanding of tonal music and facility in discussing it.

  1. the ability to select and outline an appropriate topic area and select appropriate methodologies for tonal music analysis.
  2. an appropriate mastery of the principles underpinning tonal music analysis, referencing appropriate authors and analytical tools and methodologies.
  3. appropriate mastery of the use of primary source materials in written and oral presentations.
  4. appropriate mastery of the use of secondary source materials in written and oral presentations.
  5. the analytical writing skills necessary for the execution of the course papers.
  6. the skills necessary to present a musical analysis to an audience in a coherent manner.

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