Alan Abel (percussion) is the former associate principal percussionist of the Philadelphia Orchestra, retiring in 1997 after 38 years. Abel has compiled two books of orchestral studies for timpani and percussion and has designed and produced symphonic triangles and bass drum stands that are used in orchestras all over the world. He has served on the board of directors of the Percussive Arts Society and was inducted into the Hall of Fame in 1998.

Cecil Adderley III (music education) earned degrees at Western Carolina University, the University of North Carolina, and the University of South Carolina. His research focuses on music teacher preparation relative to the national standards. He has published articles in the Southeastern Journal of Music Education, Journal of Band Research, Contributions to Music Education, and Choral Journal. He also serves as a consultant, clinician, and adjudicator for concert band and orchestra festivals.

William Berz (music education and instrumental conducting) has degrees from Michigan State University. His research interests include nonverbal communication, instructional technology, and music cognition. He is active as a clarinetist and conductor.

Antonius Bittmann (music history and organ) holds degrees from the Staatliche Hochschule für Musik in Freiburg, Germany, and the Eastman School of Music. As a scholar, he specializes in 19th- and 20th-century repertoires, particularly the works of Max Reger. He has earned degrees in and performed extensively on both harpsichord and organ.

Peter Bond (trumpet) is a graduate of Western Illinois University and Georgia State University. He has performed with the Atlanta Symphony and the New York Philharmonic, and he is a member of the Metropolitan Opera Orchestra. Among his teachers are Adolph Herseth, Arnold Jacobs, Vincent Cichowicz, and John Head.

Ralph Bowen (saxophone and jazz theory) has degrees from Mason Gross School of the Arts. He has concertized internationally and worked with David Baker and Eugene Rousseau. He has recorded with Blue Note Records and other major labels.

Earl Lawrence Carter (theory and composition) is author of several music theory books and is a reviewer for the New York Council on the Arts. He has performed at the Village Club, Four Seasons, and the Parsons School of Design.

Gerald Chenoweth (theory and composition) has degrees from the University of Massachusetts and the University of Iowa. His works have been performed extensively in this country and in Europe. He has been a conductor of contemporary music ensembles at Rutgers University and the University of Iowa. His compositions have been recorded for CRI, the Smithsonian Collection of Recordings, and Access labels. His works are available from American Composers Alliance, New York.

Richard Chrisman (theory and composition) has degrees from the University of California-Riverside and Yale University. He has written numerous articles and papers on the analysis of 20th-century music and is a composer of electronically synthesized film music for public television documentaries.

Lenuta Ciulei (violin) tours extensively and has appeared on radio and television in the United States, Europe, Asia, and Central and South America. She earned her master`s degree at the Music Academy in Bucharest, Romania.

Richard Auldon Clark (conducting, violin, and viola) has performed frequently in the New York area as soloist and conductor. He has made numerous recordings with the Manhattan Chamber Orchestra, which he founded, including an award-winning performance of music by Alan Hovhaness. His degrees in violin are from the Manhattan School of Music, where he also taught.

Paul Cohen (saxophone) brings the saxophone into the mainstream of classical music performance. He is active as a performer, teacher, historian, musicologist, and author. Cohen has appeared with many of the nation`s top symphonies and professional ensembles, and his recordings include solo, chamber, concerto, and quartet works, both historical and modern, in classical and jazz. The author of numerous articles on saxophone literature and history, he has written the "Vintage Saxophone Revisited" column in the Saxophone Journal since 1985. He holds degrees from the Manhattan School of Music.

Stanley Cowell (jazz piano) performs professionally, as a solo pianist and in ensemble formations from duo to orchestra, in a variety of venues, from jazz club to concert hall. He has degrees from Oberlin and the University of Michigan, and also has studied at the Mozarteum Akademie in Salzburg. His extensive list of recordings as both a composer and pianist includes performances with such artists as Miles Davis, Stan Getz, Sonny Rollins, and the Heath Brothers.

Nanette de Jong (ethnomusicology and flute) holds degrees from the University of Minnesota, DePaul University, and the University of Michigan. She plays traditional flute repertoire as well as contemporary and world musics. Her ethnomusicological research focuses on the musical cultures of Aruba, Curaçao, and Bonaire, with specific attention to their unique inclusion of Brua, the Afro-syncretized religion found on Netherlands Antilles.

Faith Esham (voice) has garnered critical acclaim for her outstanding performances in most of the major opera houses of the United States and Europe. She won a Grammy award as principal soloist and best opera recording of 1984 for her performance as Micaela in the film version of Carmen opposite Placido Domingo. She is the recipient of the Walter W. Naumburg Award and a winner of the Concours International de Chant de Paris. She is an advocate for new works by contemporary composers.

Bart Feller (flute) studied at the Curtis Institute with Julius Baker and John Krell. He has been principal flutist with the St. Paul Chamber Orchestra and, since 1989, with the New Jersey Symphony. He has recorded with the Chamber Music Society of Lincoln Center.

William Fielder (trumpet) studied with Adolph Herseth and Vincent Cichowicz. He is a former member of the Nashville Symphony. His jazz experience has been with Duke Ellington, Ray Charles, Kenny Burrel, and Art Pepper.

Charles Fussell (theory and composition) did his graduate work in composition at the Eastman School of Music, receiving a Fulbright grant to study with Boris Blacher at the Berlin Hochschule für Musik. He has a long list of published and recorded compositions.

Patrick Gardner (director of choral activities) has degrees in voice and conducting from California State University- Hayward and the University of Texas. He has taught at the University of Michigan, the University of Texas, and Wagner College. He is director of the Riverside Choral Society in New York, and his choirs have given many world premieres. He also is active as a guest conductor, lecturer, and adjudicator.

Pamela Gilmore (opera workshop/opera director) graduated Phi Beta Kappa from Mount Holyoke College and holds a master`s degree from the Catholic University of America. She has taught at the Israeli Vocal Arts Institute, North- western University, the Mannes College of Music, and the Brooklyn College Conservatory. An active recitalist, she has maintained a private studio in Manhattan since 1984.

Barbara González-Palmer (accompanying and vocal coaching) has degrees in piano and accompanying from Oberlin College and The Juilliard School. She has performed as soloist throughout the United States and Europe and has accompanied such artists as Phyllis Bryn-Julson and Barry Tuckwell in recital. Her extensive experience as an accompanist for master classes and auditions includes work with Martina Arroyo, Frederica von Stade, James Galway, and Dorothy Delay.

Floyd Grave (music history) trained at the Eastman School of Music and New York University. He specializes in the music of Haydn and Mozart, and in 18th- and early 19th-century music theory, criticism, and analysis.He is coauthor with M.G. Grave of In Praise of Harmony: The Teachings of Abbé Georg Joseph Vogler and Franz Joseph Haydn: A Guide to Research. A contributor to the New Grove Dictionary of Music and Musicians, he has written numerous articles and reviews for major scholarly journals.

Susan C. Guerrini (music education) received her M.A. in music education from Rowan University and her Ph.D. in music education from Temple University. She has published several articles in Tempo and the Journal of Research in Music Education. Before coming to Rutgers, she taught in the Evesham Township Public Schools and at the University of Delaware.

Rufus Hallmark (department chair, music history) was educated at Davidson, Boston University, and Princeton, and has taught at Brown, MIT, College of the Holy Cross, and  Queens College (CUNY), where he served as director of the Aaron Copland School of Music. He has published articles on the songs of Schumann and Schubert, and is the editor of and a contributor to German Lieder in the Nineteenth Century. He is also a singer and has sung Tamino and Pedrillo, the Evangelist in the St. John Passion, Dichterliebe, Winterreise, and Britten's Serenade.

Paul Harris (double bass) studied at the University of Cincinnati and the Cleveland Institute of Music. He is the principal bass of the New Jersey Symphony Orchestra and also has played and toured internationally with the New York Philharmonic and the Metropolitan Opera. He has recorded for London, RCA, Sony, 20th Century Fox, Paramount, and CBS.

Kaoru Hinata (flute) received her master of music and artist diploma from Yale, studying under Ransom Wilson. She has held positions with the Civic Orchestra of Chicago and the Wallingford Symphony, as well as performing with the Orchestra of St. Luke`s, New Jersey Symphony, New Haven Symphony, DaCapo Opera Orchestra, Berkshire Opera, and Camerata New York. As a soloist, Ms. Hinata was the winner of the Lawrence Beauregard Competition in Canada in 1994 and placed second in the Myrna Brown Competition in Texas in 1995.

Paul Hoffmann (piano) studied with Cecile Genhart, Brooks Smith, and Leon Fleisher at the Eastman School of Music and the Peabody Institute of Johns Hopkins University. A specialist in 20th-century music, he has recorded with Orion, CRI, Voice of America, CRS, Northeastern, Composers Guild of New Jersey, and numerous foreign radio stations.

Maureen Hurd (clarinet) has appeared as a soloist and chamber musician in concerts throughout the United States, Canada, and Germany. Her performance highlights include appearances at New York City`s Merkin Hall, the Norfolk Chamber Music Festival in Connecticut, and the Banff Centre for the Arts in Canada. At the 2001 International Clarinet Association Clarinetfest in New Orleans, she was a prizewinner for her lecture-recital in the research presentation competition. As an orchestral clarinetist, she has performed with New York City`s Jupiter Symphony, the Peter Britt Festival Orchestra in Oregon, and the New Haven Symphony Orchestra, among others. She studied with David Shifrin, Charles Neidich, and Joseph Messenger, and she received the doctor of musical arts degree from the Yale School of Music.

Kynan Johns (orchestral conducting) has conducted over 60 orchestras and opera companies throughout the world, including performances of the Israel Chamber Orchestra, Chinese National Symphony Orchestra, Tasmanian Symphony Orchestra, and Opera Australia. He recently won the prestigious Dimitri Mitropoulos International Conducting Competition, and was invited to attend Kurt Masur`s master classes at the Verbier Festival in Switzerland. He is now a regular guest conductor throughout Australia and New Zealand.

Douglas Johnson (music history) has degrees from Hamilton College and the University of California-Berkeley. He works on topics in 18th- and 19th-century music and has published widely on Beethoven, with special concentration on the composer's sketchbooks. He coauthored the Beethoven Sketchbooks with Alan Tyson and Robert Winter.

Vic Juris (jazz guitar) has appeared on almost 40 CDs. He has performed with Dizzy Gillespie, Phil Woods, Sarah Vaughan, Mel Torme, Eddie Jefferson, and Nancy Wilson.

Taina Kataja (voice) earned several diplomas with distinction from the Sibelius Academy in Helsinki and the Hochshule für Musik in Vienna. She has been featured in major festivals throughout Europe and as soloist with the Clemencic Consort of Vienna, Musica Antiqua Vienna, the Helsinki Philharmonic, and the Finnish Radio Symphony. She has recorded for Finnvox, Telefunken-Decca, and Mirror Music of Austria.

Mary Kennedy (music education and choral conducting) holds degrees from the University of Victoria, British Columbia, and the University of Washington in Seattle. Her articles have been published in the British Journal of Music Education, Journal of Historical Research in Music Education, Research Studies in Music Education, and Choral Journal. She has presented papers at MENC national and regional conferences and at ISME.

Brian Kershner (bassoon and theory) studied with Stephen Maxym and William Winstead and is prominent throughout the United States as a bassoonist, pedagogue, and composer. His compositions have enjoyed national recognition, and he is active as a solo performer and orchestral musician throughout the northeastern United States.

David Kimock (choral conducting) received his undergraduate degree in sacred music from Westminster Choir College and master`s in music in choral conducting from Rutgers University. He has performed with the New York Philharmonic, Philadelphia Orchestra, New Jersey Symphony, Orchestra of St. Luke`s, and in many opera and choral productions in the United States, England, and Italy.

Andrew Kirkman (music history) has degrees from Durham University and King's College, London. He has published and lectured widely on music of the 15th-century and has directed the Binchois Consort in recordings of music by Dufay, Busnoys, Frye, and Josquin for Hyperion Records. He is the author of The Three-Voice Mass in the Later Fifteenth and Early Sixteenth Centuries: Style, Distribution, and Case Studies and coeditor of Binchois Studies with Dennis Slavin.

Min Kwon (piano) has enjoyed an extensive performing career, giving 70 concerts a year in over 20 countries on five continents. She earned her bachelor of music degree from the Curtis Institute of Music at the age of 19 (studying with Sokoloff and Fleisher) and received her master`s and doctoral degrees from The Juilliard School, followed by postdoctoral studies in Europe with Hans Leygraf and Vitali Margulis. She has also worked in master classes and in private coachings with Andras Schiff, Murray Perahia, Richard Goode, Yefim Bronfman, Emanuel Ax, Micha Dichter, Andre Watts, and Leif Ove Andsnes, and contributes articles for the Pianoforte and Strad magazines.

Victor Lewis (jazz drums) was encouraged as a teenager by such artists as Buster Williams and Billy Hart to make the move to New York, where in 1974 he quickly ascended to prominence. He was the firstcall drummer for masters like Joe Farrell, Dexter Gordon, and Hubert Laws and started longtime associations with Woody Shaw, Carla Bley, David Sanborn, Kenny Barron, Bobby Watson, and Stan Getz. One of the leading drummers of our time, he also has a second reputation as a composer and bandleader.

Alison Lont (piano) has taught piano at the New School for Music Study and at Westminster Choir College, as well as her private piano studio. She has been chosen as adjudicator for a number of competitions and festivals.

Douglas Lundeen (horn and musicianship) has degrees from Plymouth State College, the University of South Florida, and Cincinnati Conservatory. A first-prize winner in the American Horn Competition, he is one of the leading period-instrument performers in North America. He has performed and recorded with such renowned conductors as Roger Norrington, Christopher Hogwood, Frans Brüggen, and Nicholas McGegan.

Brian McIntosh (voice) holds degrees from the University of Western Ontario, Canada, and Nordwestdeutsche Musikakademie, Germany. He regularly performs with opera companies and orchestras across North America and Europe, including the New York City Opera, the Canadian Opera Company, the Toronto Symphony, Schlossfestspiele Zwingenberg, Deutsche Bach Solisten, and Festival Vancouver. He has worked with artists such as Placido Domingo, Joan Sutherland, Gian-Carlo Menotti, and Siegfried Jerusalem.

Scott Mendoker (tuba and euphonium) has studied with Arnold Jacobs and Warren Deck. As a freelance artist, he has appeared with the New York Philharmonic, the Metropolitan Opera Orchestra, the American Symphony, and the New Jersey Symphony. He has recorded for DG and Koch International.

Paul Neubauer (viola) joined the New York Philharmonic in 1984 at age 21, the youngest principal string player in the orchestra's history. The first violist chosen to receive the prestigious Avery Fisher Career Grant, he also has been the recipient of a Solo Recitalist's Fellowship from the National Endowment for the Arts. A first-prize winner in the Mae M. Whitaker International Competition, the D'Angelo International Competition, and the Lionel Tertis International Viola Competition, he has performed as a soloist with orchestras and festivals around the world. He has recorded with top labels, including Decca, Delos, New World, RCA Red Seal, and Sony Classical.

Judith Nicosia (voice) has degrees from Ithaca College and Indiana University. She made her New York recital debut as winner of the New York Singing Teachers Association Competition. She was a prizewinner in Paris and Montreal vocal competitions and winner of a National Opera Institute Award. She has recorded with Orion, CRI, and DR.

Michael Powell (trombone) studied at Wichita State University. He is a member of the American Brass Quintet and plays with the Orchestra of St. Luke`s and the Orpheus Chamber Orchestra. He has taught at The Juilliard School, the Aspen Music School, and SUNY (Purchase).

Nancy Yunhwa Rao (theory) has degrees from National Taiwan Normal University and the University of Michigan, where she worked on the music of Schoenberg, Crawford, Babbitt, and Carter. She has delivered papers at many music theory conferences and has numerous publications on 20th-century music specializing in American music, Chinese composers and opera, post-tonal composition, and women in music.

Matthew Reichert (violin) holds degrees from The Juilliard School and Brooklyn College-Conservatory. He was a silver medalist in the 1995 Mondavi International Competition for Strings, and has taken top prizes in numerous other competitions. He performs extensively in concerts across the country.

Mike Richmond (jazz bass) holds a degree from Temple University. His bass method book, Modern Walking Bass Technique, is used by more than 300 school systems and universities. He is featured on more than 150 recordings and won the 1994 Teacher of the Year Award at New York University.

Matthew Riedel (composition, music technology) received his M.A. from the University of California-Riverside, and his Ph.D. from Rutgers, where he was a student of Charles Wuorinen. He runs the electronic music lab and the IMLC online training system. His compositions include No Gas, Brasspiece, Californicate, Additive, Ambiance, Passing Tones, and Kiss the Shattered Glass.

Tim Ries (saxophone, composition), saxophonist and composer, has collaborated with such jazz artists as Phil Woods, Tom Harrell, Dave Liebman, Maynard Ferguson, Freddie Hubbard, Red Garland, Badal Roy, Maria Schneider, and Donald Byrd. His other recording and performance credits include work with such diverse talents as Donald Fagan; Paul Simon; Tony Bennett; Stevie Wonder; Incognito; Blood, Sweat and Tears; Bob Belden; and David Lee Roth. He is a graduate of the University of North Texas and the University of Michigan.

John Rojak (trombone) has a degree from The Juilliard School. He joined the American Brass Quintet in 1991, touring internationally, recording, and teaching, with residencies at The Juilliard School and the Aspen Music Festival. He is an original member of the orchestra for Broadway`s Les Misérables and the New York Pops, as well as bass trombonist for the Orchestra of St. Luke`s, Orpheus, Little Orchestra Society, and Solisti New York. He has recorded with the New York Chamber Symphony, St. Luke`s, Orpheus, and Solisti New York.

Nicholas Santoro (music education) has degrees from Rutgers and Trenton State College. He is supervisor of the music department at Arts High School in Newark.

Timothy G. Smith (marching band and pep band) is finishing an M.M. in music education at Rutgers. His teaching experience includes work as field director and percussion instructor with several area high school band programs. He also coordinates the outreach efforts for athletic bands and the music department. He is an active member of the College Band Directors National Association.

Jonathan Spitz (cello) has established himself as one of the leading cellists in the New York area with his performances as soloist, chamber musician, and orchestral principal. A graduate of the Curtis Institute, Mr. Spitz has studied with David Soyer, Felix Galimir, Karen Tuttle, Mischa Schneider, Gerald Beal, and Robert Gardner. He has recorded for D.G., Sony Classics, Telarc, Nonesuch, Delos, CRI, XLNT, and New World. He has been principal cellist of the New Jersey Symphony Orchestra since 1991 and has performed extensively throughout the Americas and Europe. He is also a member of the Orpheus Chamber Orchestra and principal cellist of the American Ballet Theatre and the Bard Festival Orchestra.

Susan Starr (piano) studied with Eleanor Sokoloff and Rudolf Serkin at the Curtis Institute. She was the youngest winner of the Philadelphia Orchestra's Children's Concerts Auditions and later a silver medalist in the second International Tchaikovsky Competition. She has appeared in recitals throughout the world and as a soloist with nearly every major American orchestra.

George B. Stauffer (music history) is dean of Mason Gross School of the Arts and a professor of music history at Rutgers. He is known internationally as a scholar, writer, and performer who focuses on the music of J.S. Bach and the culture and music of the baroque era. He has contributed pieces to the New Grove Dictionary of Music and Musicians, Collier's Encyclopedia, Early Music, Bach-Jahrbuch, and numerous other publications. He is a former president of the American Bach Society. Before coming to Rutgers, Stauffer taught at Hunter College, where he was chairperson of the music department and the program in dance. He also has been on the faculties of the Graduate Center of the City University of New York and Yeshiva University. Stauffer was educated at Dartmouth College, Bryn Mawr College, and Columbia University. He has held IREX, Guggenheim, Fulbright, and ACLS fellowships.

Arnold Steinhardt (violin) studied with Ivan Galamian at the Curtis Institute of Music and with Joseph Szigeti. A prizewinner at the Leventritt and Queen Elizabeth competitions, he is a founding member and first violinist of the Guarneri Quartet. He is an active recitalist and soloist with major orchestras.

Matthew Strauss (percussion) received degrees from The Juilliard School and from the Esther Boyer College of Music at Temple University. In addition to his positions as principal timpanist of the Delaware Symphony and Bard Festival Orchestra, Mr. Strauss performed with the Chicago Symphony Orchestra throughout the 2002-03 season. He also performs regularly with the Philadelphia Orchestra, New York Philharmonic, New Jersey Symphony Orchestra, American Symphony Orchestra, and Harrisburg Symphony.

Matthew Sullivan (oboe) holds a degree from Miami University. He is principal oboist of the Westchester Chamber Orchestra and the New Jersey Pops Symphony Orchestra. He performs regularly with the New Jersey Symphony, the Colonial Symphony, and the pit orchestras of Les Misérables and Miss Saigon. His solo and chamber music performances have been featured on National Public Radio and Voice of America broadcasts worldwide. He has recorded for the Columbia, RCA, Virgin Atlantic, CRI, Mode, O.O. Discs, Newport Classics, and XLNT labels.

Gordon Tedeschi (music education) studied at Northern Illinois University, Trenton State College, and the Hartt School. He is the orchestra conductor at East Brunswick High School.

Gwendolyn Toth (harpsichord) has performed extensively throughout the United States and Europe as a soloist on harpsichord, fortepiano, and organ, and as a conductor. In addition to receiving M.M.A. and D.M.A. degrees in keyboard from the Yale University School of Music, she has an M.A. in composition from the City College of the City University of New York. She currently is music director of the Church of St. Francis of Assisi in New York City and artistic director of the Art of the Early Keyboard/ARTEK.

Mark Trautman (church music) studied piano at St. Mary's College of Maryland. He earned a bachelor's degree cum laude in organ performance from Towson University and a master's degree in church music from Westminster Choir College. Recently, he completed studies as a certificate student at the Hochschule für Musik und Theater International Summer Music Academie in Leipzig, Germany, under the direction of Jean-Claude Zehnder and Thomas Spacht. Since 1994, Mr. Trautman has served as director of music at Christ Church, New Brunswick, New Jersey, and as the artistic director and conductor of the Raritan Valley Choral Society.

Frederick Urrey (voice) has degrees from the Peabody Institute of Johns Hopkins University, the Hochschule für Musik in Vienna, and Louisiana State University. He is an internationally recognized tenor who performs in opera, oratorio, and concert in major halls and opera houses throughout North America and Europe. He records with Harmonia Mundi, Telefunken-Decca, Vox, Koch International, Newport Classic, BMG Classics, and Dorian.

Deborah Weisz (jazz trombone composition), a former trombonist with Frank Sinatra, has worked with many great trombonists, including Carl Fontana, whom she cites as one of her main influences, along with J.J. Johnson and Frank Rosolino. She has also studied with jazz pianist/composer Jim McNeely. Ms. Weisz performs with such groups as the big bands of Jimmy Heath, DIVA, Dennis Mackrel, Vanguard Jazz Orchestra, and in smaller ensembles with Freddie Hubbard, Louis Hayes, and with her own group, The Deborah Weisz Quintet.

Scott Whitener (conducting and brass instruments) trained at The Juilliard School, the University of Michigan, and Rutgers. He is a specialist in the performance of music for wind and brass ensembles. Widely known for scholarly work in brass instruments, he is author of A Complete Guide to Brass: Instruments and Pedagogy, published by Schirmer Books.

Hsin-Yi Wu (percussion) holds two degrees from the University of North Texas. As an undergraduate and the youngest contestant, she won third prize in the Stevens International Marimba Competition. She has been a featured soloist with the Tempus Fugit Percussion Ensemble and a member of the Bob Becker Ensemble.

Charles Wuorinen (theory and composition) is one of America's most eminent, prolific, and widely performed composers. Honors he has won include the Pulitzer Prize for his electronic work, Time's Encomium, and the MacArthur Foundation Award. He has received commissions from many organizations, including the New York City Ballet; the Library of Congress; and the orchestras of New York, Boston, Philadelphia, Houston, and San Francisco, where he was composer-in-residence. His works have been recorded on many labels and can be heard on recently issued compact discs.