Cuny queens Colleg

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The Aaron
Copland School
of Music
Director and Chair: Hubert S. Howe, Jr.
The Aaron Copland School of Music offers
conservatory-level training in performance
and university curricula in musical compo-
sition and scholarship leading to the Mas-
ter of Arts degree. In conjunction with the
Department of Secondary Education, the
Copland School offers a music education
program leading to the Master of Science
degree in Music Education.
In the M.A. degree program, the perfor-
mance sequence includes private instruc-
tion in the major instrument or voice,
ensembles, historical performance practice
studies, and other courses geared to the
needs of performers. A student may major
in a standard orchestral, keyboard, early,
or jazz instrument, in classical guitar,
voice, and choral or orchestral conducting.
The composition, theory, and music history
sequences are designed for the student
planning a career as a composer, for the
student interested eventually in college-
level teaching who needs solid grounding
for doctoral studies, and for the student
planning to enter music publishing, criti-
cism, editing, or other music-related fields.
The M.S. in Education (Music) degree
program includes methods, conducting,
and rehearsal techniques, and research
courses in music education. It is designed
to provide professional training for those
who expect to teach general or vocal,
choral, and/or instrumental music in ele-
mentary and secondary schools. Electives
are planned for the needs of the school
music teacher, or are drawn from other
graduate music offerings.
The Copland School moved into its new
music building in the Summer of 1991. The
facility includes the LeFrak Concert Hall
with tracker organ, a smaller recital hall,
choral and orchestral rehearsal spaces,
classrooms surrounding a central skylit
atrium, practice rooms and teaching stu-
dios, an expanded music library to house
the extensive music collections, an expand-
ed electronic music studio, music education
workshop facilities, recording studio, facul-
ty offices, and student and faculty lounges.
The building is acoustically isolated and is
one of the most advanced music facilities in
the area.
Master of Arts Program
Adviser: Charles L. Burkhart, Music Build-
ing, Room 356; [phone].
Faculty for Classical Performance
Adviser: Ronald Roseman
Violin: Burton Kaplan, Margaret Pardee,
Daniel Phillips
Baroque Violin: Nancy Wilson
Viola: Toby Appel, Burton Kaplan, William
Lincer 
Cello: David Geber, Alexander Kouguell,
Barbara Stein Mallow, Vagram 
Saradjian
Double Bass: William Blossom,* Walter
Botti, Homer Mensch
Flute: Robert Stallman, Keith Underwood
Baroque Flute: Sandra Miller
Oboe: Ronald Roseman
Clarinet: David Glazer
Bassoon: Loren Glickman
French Horn: Arthur Berv, Paul Ingraham,
David Jolley, William Purvis
Trumpet: Mel Broiles, Chris Gekker,
William Vacchiano,* John Ware*
Trombone: Erwin Price
Tuba: Richard Schneider, Lewis Waldeck
Percussion: Raymond DesRoches, Richard
Horowitz
Harp: Aristid von Wurtzler
Voice: Shirlee Emmons, Marcy Lind-
heimer, Jane Olian, Robert C. White
Piano: Ana Maria Bottazzi, Lev Natochen-
ny, Donald Pirone, Leon Pommers,
Morey Ritt, Gerald Robbins
Organ: Donald Joyce, Paul Maynard
Harpsichord: Raymond Erickson
Guitar (Classical): Frederic Hand, Ben
Verdery
Lute: Patrick O’Brien
Recorder: Daniel Waitzman
Gamba: Judith Davidoff
Orchestral Conducting: Maurice Peress
Chamber Music and Ensembles: Raymond
DesRoches, Loren Glickman, Phil
Granger, David Jolley, Barbara Stein
Mallow, William Matthews, Daniel
Phillips, Morey Ritt, Gerald Robbins,
Ronald Roseman
Opera Workshop: Doris Lang Kosloff,
Rhoda Levine, David Ostwalt
Faculty for Jazz Performance
Adviser: Jimmy Heath
Trumpet: Cecil Bridgewater, Jon Faddis
French Horn: John Clark, David Jolley
Saxophones and Flute: Jimmy Heath, Lew
Tabackin
Piano: Roland Hanna, Rob Schneiderman
Bass: Ben Brown, Victor Gaskin
Percussion: Keith Copeland, Akira Tana
Voice: Sheila Jordan
Trombone: Slide Hampton, Benny Powell
Guitar: Jim Hall, Tony Purrone, Attila
Zoller
Violin: John Blake
Faculty for Composition, Theory,
and Music History
Advisers: Henry Weinberg (Composition),
Joseph Straus (Theory), Henry Burnett
(History)
Berkowitz, Sol, Professor, M.A. 1946,
Columbia University: composer; orches-
tration, musical theatre
Burkhart, Charles L., Professor, M.Mus.
1957, Yale University: theorist, vocal
coach and accompanist, Schenkerian
analysis
Burnett, Henry, Associate Professor, Ph.D.
1978, City University of New York:
musicologist, ethnomusicologist; seven-
teenth and eighteenth centuries, Japan-
ese music
Erickson, Raymond, Professor, Ph.D. 1970,
Yale University: musicologist, harpsi-
chordist; Medieval and Baroque peri-
ods, computer techniques for
musicology
Gagné, David W., Assistant Professor,
Ph.D.1988, City University of New
York: theorist, Schenkerian analysis
Hallmark, Rufus E., Professor, Ph.D. 1975,
Princeton University: musicologist,
singer; manuscript studies, Schumann,
the Romantic lied
Heath, Jimmy, Professor, jazz composer,
saxophonist; woodwinds, jazz composi-
tion and arranging
Howe, Hubert S., Jr., Professor, Ph.D.
1972, Princeton University: composer;
computer synthesis of electronic music
Mandelbaum, Joel, Professor, Ph.D. 1961,
Indiana University: composer, theorist;
tuning and temperament, microtonal
theory-composition
Musgrave, Thea, Distinguished Professor,
B.Mus. 1950, University of Edinburgh:
composer; composition, orchestration
Orenstein, Arbie, Professor, Ph.D. 1968,
Columbia University: musicologist,
pianist; French music 1870-1940
Saylor, Bruce S., Professor, Ph.D. 1978,
City University of New York: composer;
composers’ workshop
Stone, Anne, Assistant Professor, Ph.D.
1994, Harvard University: Medieval
and Renaissance music
Straus, Joseph N., Professor, Ph.D. 1981,
Yale University: theorist; music of Igor
Stravinsky, set theory
Weinberg, Henry, Professor, Ph.D. 1966,
Princeton University: composer, theo-
rist; music of Arnold Schoenberg
Requirements for Admission
These requirements are in addition to the
general requirements for admission.
1. An undergraduate degree with a
major in music (or its equivalent).
2. A major audition for performance
applicants. Auditions are held at the Col-
lege each semester and are competitive. 
3. Other applicants should submit
copies of recent work to Professor Charles
Burkhart, Graduate Adviser, Music Build-
ing, as stipulated below:
Composition: two or three recent works
Theory: one or two examples of tonal com-
position and a recent paper
History: one or more recent papers
Requirements for the Degree
These requirements are in addition to the
general requirements for the Master of
Arts degree.
1. A student normally majors in one
area – Performance, Composition, Theory,
or Music History – or in a combined Theo-
M U S I C
*New York Philharmonic

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