Milton Rubén Laufer, Head
Location: Hall of Arts 102

www.cmu.edu/cfa/music

The School of Music at Carnegie Mellon University offers the best aspects of conservatory-style training within a great university, combining preparation for a lifetime in performance, composition, electronic music, or music and technology with the advantages of learning in an intense academic environment. The School of Music is an accredited institutional member of the National Association of Schools of Music.

Our majors are challenged to develop through individual instruction with a studio teacher, including those who do not specialize in performance. All teaching is entrusted to professional faculty—there are no assistant studio teachers or doctoral teaching fellows. The School’s relationship with the renowned Pittsburgh Symphony Orchestra is among the strongest conservatory–symphony orchestra relationships in the United States. Pittsburgh’s uniquely strong sense of musical community fosters close relationships with the Pittsburgh Opera, Pittsburgh Chamber Music Society, Chatham Baroque, and a host of other professional musical organizations. Our specialists in musicology, theory, analysis, counterpoint, eurhythmics, solfege, music education and pedagogy, collaborative piano and coaching, acting and movement, conducting, and sound recording and production provide a broad and rich platform for comprehensive musical preparation. At the same time, the School of Music encourages students to take advantage of Carnegie Mellon's unique interdisciplinary environment. These opportunities significantly enhance a student’s career options and marketability in the evolving professional music world.

The School of Music centers performance at the heart of our degree experience. Ensembles within the School of Music include the CMU Philharmonic, Wind Ensemble, Baroque Ensemble, Contemporary Ensemble, Exploded Ensemble, Jazz Vocal Ensemble, Singers, and Opera. Some of the School’s ensembles are instrument-specific, and several programs have extensive requirements for chamber music. In addition to the performance opportunities on and off campus, community outreach projects are always supported. The School of Music has an intense commitment to new music. Our faculty are champions of new and unheard voices, as reflected in the works programmed on our concerts, recitals, and other performances. The School’s state-of-the-art recording facilities are a vital resource for composers beginning their public careers. 

The teaching facilities of the School of Music are located on the ground, main, and mezzanine floors of the College of Fine Arts, on the ground, main, and second floors of the Hall of Arts, on the first floor of Margaret Morrison Hall, and in WQED Studio A and B. Teaching, rehearsal, and practice rooms are equipped with Steinway pianos. Music students also have access to a state-of-the-art recording studio and music technology cluster. Performances take place in Alumni Concert Hall, Kresge Theatre, Carnegie Music Hall of Oakland, and other venues. The Hunt Library houses an extensive collection of books, records, and scores.

Degree Options

The School of Music offers the following undergraduate degrees:

Bachelor of Fine Arts in Composition

With an intense program in composition and a university environment enriched by computer technology, the School of Music places a strong emphasis on contemporary music. All members of the composition faculty are professional composers who share the creative evolution of their works with their students in a master/apprentice relationship. Students compose works for all types of instrumental and vocal groupings. The BFA in Composition provides students with guidance, space, and time to explore and develop their creative voice. This enables them to learn and test new methods for generating and developing material, and hone the technical skills necessary to communicate their ideas to performers and audiences effectively.

Bachelor of Fine Arts in Electronic Music

The Electronic Music major at CMU combines instruction in emerging practices for sound design, computer-based music generation, and electronic, electro-acoustic, and intermedia performance, together with a rigorous education in traditional music subjects. Our students’ exploration of emerging modes of sound synthesis, creative coding, and electronic instrument design are grounded within courses in music theory, history, solfege, and conducting. The Electronic Music major combines studies in electronic music composition, performance, production, and sonic art to form an integrative approach to the future of music-making. Electronic Music majors write and perform music with CMU’s ground-breaking Exploded Ensemble, a group dedicated to multimedia performances of new experimental music. Working with state-of-the-art facilities for immersive sound, visuals, and interaction, the Electronic Music major culminates in an ambitious capstone, which may take the form of an evening-length performance, an interactive experience, or a multimedia recording project.

Bachelor of Fine Arts in Music Performance (All Instruments and Voice)

The broader BFA in Music Performance is designed to prepare students for the various paths a career as a musician might take. Voice majors entering the program often have specific career goals in the field of opera, oratorio, and concert stage performance. Some also desire to pursue a career in musical theater, and specific courses and opera production programming make that possible. We strive to provide the basic tools needed to support the development of a professional singing career, regardless of the specific genre. Those tools include familiarity with repertoire and experiences in opera and musical theater.

Bachelor of Science in Music and Technology

Carnegie Mellon University’s Music and Technology program was established in 2009 as a joint project between three units: the School of Music, the School of Computer Science, and the Department of Electrical and Computer Engineering. Building on this interdisciplinary approach, Carnegie Mellon University's Music and Technology program equips students with the skills and knowledge they need to become the future leaders of the music industry. Students at the undergraduate and graduate levels can hone their skills in an interdisciplinary environment, focusing on a chosen area of study, such as Recording Technology, Audio Engineering, Computer Music, Music Composition, Music Performance, and Music Theory. Our expert faculty promotes a collaborative approach to cutting-edge education, providing our students with both specialized knowledge and a broad range of skills to foster development in the field of music.

Collaborative Piano Minor

The collaborative piano minor consists of a six-semester sequence of courses designed to provide students with experience working with instrumentalists and vocalists. Individual coaching sessions are also available, along with practical experience in instrumental and vocal studios. 

Conducting Minor

This minor is designed for students who are interested in acquiring conducting skills, in anticipation of either graduate study in conducting or a music education career. It includes mandatory courses in conducting techniques for both choral and instrumental ensembles, orchestration, score reading/keyboard harmony, and elective courses in instrumental and vocal methods, diction, and literature and repertoire. 

Music Education Minor

This minor is designed for students interested in music education but who may not wish to fulfill the requirements for music education certification. A separate track for certification is available, and students who pass the Praxis tests will receive Pennsylvania state certification in music (K-12), which is recognized in almost all other states.

Music Technology Minor

The student will take a series of courses which may include electronic and computer music, recording technology, the physics of musical sound, and computer programming. A rich computer music research environment enables talented students to work alongside outstanding faculty researchers, whose current projects are gaining international recognition in the areas of computer music and artificial intelligence. 

Music Theory Minor (PAUSED AS OF FALL 2025)

This minor is designed for students interested in advanced theory and analysis skills, preparatory for either graduate study in theory or graduate studies that require a substantial level of theoretical knowledge. The student will take advanced theory and analysis courses and also support courses in the physics of musical sound and the psychology of music.

Sonic Arts Minor

Students in this minor will explore the processes and products of digital sound and music. They will receive basic training in key component areas: principles of computer music, hybrid instrument building, and concepts in sound design. Combining this training with courses that bring together experts from many disciplines, they will create experimental music or explore new, technology-enabled applications and markets for sound design, music creation, and performance.

Dalcroze Eurhythmics Certificate

This program is designed to prepare teachers in the Dalcroze approach to music learning. The course of study includes eurhythmics, piano improvisation, and Dalcroze pedagogy. Carnegie Mellon undergraduates may enter the Dalcroze Training Program during their junior year. However, the certificate is granted only upon completion of their undergraduate degree. This program is particularly recommended for students who wish to incorporate Dalcroze principles into their teaching and for those seeking additional experience in this field. 

Piano Pedagogy Certificate

This two-year program leads to certification in piano pedagogy. Students learn to teach piano in a closely supervised environment of class piano instruction. This program has received national acclaim as a model of excellence. 

Core Degree Requirements

Academic Calendars and Units

The academic year at Carnegie Mellon University is divided into a fall semester, a spring semester, and a summer session. The majority of Music courses are offered only in the fall and spring, but some requirements can be satisfied by summer offerings when they are available. The fall and spring semesters are further divided into seven-week blocks known as “minis,” with two minis per semester. 

Carnegie Mellon University measures student work in terms of units, not conventional credit hours. One (1) unit equals one (1) hour of time spent on coursework per week, including class meeting times. Therefore, three (3) units equal one (1) standard credit hour. A 9-unit CMU course typically corresponds to a 3-credit course at most other universities, consisting of three (3) hours of in-class instruction and six (6) hours of outside work.

Units vary by course. Units are displayed in the CMU Course Schedule, and units earned are tracked in the students' Student Information Online (SIO) accounts as well as the Stellic Audit platform. All students who matriculate at CMU (undergraduate and graduate) must be enrolled in at least 36 units for full-time status. A minimum of 360 units is required for graduation in addition to the specific requirements of each curriculum. 

Core Courses for Music Majors

Mandatory CMU Courses

All undergraduate Music students at Carnegie Mellon University are required to take the following courses:

• 99-101 Core@CMU
• 76-10X: First-Year Writing Course 
• XX-XXX: Global, Cultural, and Diverse Perspectives (GCD) Course. The following courses qualify: any History course 79-100 or higher; any English course 76-200 or higher; any Modern Languages course 82-100 or higher. Students with questions about qualifying courses should confer with the Senior Academic Advisor. 

Convocation

Convocation (57-100) is a required course for all undergraduate students enrolled in BFA programs in the School of Music. The course serves as a community-building forum for SOM, providing essential instruction and experiences that individual courses may not always address.

Musicianship and Analysis

All undergraduate students in the School of Music undertake a central sequence of coursework in their first and second years to hone their skills in musicianship and analysis. The basic outline includes three semesters of harmony (theory), four semesters of solfege/ear training, four semesters of eurhythmics, and at least one upper-level course in analysis (e.g., Form and Analysis (57-408)). Non-piano students are also required to take four semesters of keyboard studies. Students take placement exams in harmony, solfege, and keyboard studies before matriculating to ensure they are placed at their appropriate level of ability.   

History

All students in the BFA programs in Composition and Music Performance currently take a three-semester sequence in music history that starts with the first millennium and moves up to the present. This sequence has a companion track called “Listening and Repertoire,” plus an introductory course. Students in the BFA in Electronic Music and BS in Music and Technology programs take a compact one-semester survey of music history course with a companion Listening and Repertoire section(s). These courses are taught by faculty in the Music, Culture, and Inquiry division with the goal of broadening the content beyond the familiar confines of the Western canon.

Performance and Studios

Performance of some kind is a major component of undergraduate degrees, including contemporary creative practice degrees in composition, electronic music, and music and technology. Most directly, Music Performance and Electronic Music students are required to take eight semesters of a major ensemble course, instrumental or vocal. Students in the BFA in Composition are required to take at least six semesters of a major ensemble. Students in the Music Performance degree also have specific requirements for chamber music courses, generally starting in the second year. Complementing these requirements are the individual major studio requirements for each degree. These courses are required for all semesters of each program and serve as the vessel for private lessons and group courses as required. Each instructor currently manages individual studio requirements. 

Juries, Reviews, and Capstones

All studios culminate in a jury and/or recital each semester, depending on the program. All BFA in Music Performance students must perform a recital in their third and fourth years. Additionally, Music Performance students in voice must pass 57-587 Sophomore Review  at the end of their second year, while Music Performance students concentrating in string instruments have an additional second-year recital. Specific requirements for the contents of recitals are established in each performance area. Composition and Electronic Music majors are required to complete a fourth-year capstone project that culminates in a public performance, either with the CMU Philharmonic or another ensemble.

Bachelor of Fine Arts Curricula

Overview

Students should consult with the Senior Academic Advisor at least once a year to ensure they are making adequate progress or if they need to depart from the suggested degree plan. The Senior Academic Advisor, Faculty Advisor(s), and/or instructors of record can advise about appropriate course sections where necessary.

The degree plans below are the intended sequence of all required courses for successful and on-time degree completion. Students must complete the first-year fall semester of coursework as indicated below. 

Placement in harmony, solfege, and keyboard studies courses is determined by examination prior to matriculation. Students will then complete the series in sequence. 

For the Global, Cultural, and Diverse Perspectives (GCD) requirement, the following courses qualify: any History course 79-100 or higher; any English course 76-200 or higher; any Modern Languages course 82-100 or higher. Students with questions about qualifying courses should confer with the Senior Academic Advisor. 

Bachelor of Fine Arts in Composition

FIRST-YEAR FALL (56 units)

Bachelor of Science Curricula

Please note:

Students should consult with the Senior Academic Advisor at least once a year to ensure they are making adequate progress or if they need to depart from the suggested degree plan. The Senior Academic Advisor, Faculty Advisor(s), and/or instructors of record can advise about appropriate course sections where necessary.

The degree plans below are the intended sequence of all required courses for successful and on-time degree completion. Students must complete the first-year fall semester of coursework as indicated below. 

Placement in harmony and solfege courses is determined by examination prior to matriculation. Students will then complete the series in sequence. 

For the Global, Cultural, and Diverse (GCD) Perspectives requirement, the following courses qualify: any History course 79-100 or higher; any English course 76-200 or higher; any Modern Languages course 82-100 or higher.

Bachelor of Science in Music and Technology (Music Concentration)

NOTE: Students following the Music Concentration are required to complete at least 4 semesters each of Ensemble and Studio. The degree plan here places those in the first four semesters.

FIRST-YEAR FALL (52 units)

57101 Introduction to Music Technology (6 units)
57149/152 Basic Harmony I or Harmony I (9 units)
57161 Eurhythmics I (3 units)
57180/181/185 Basic Solfege I, Solfege I, or Advanced Solfege I (3 units)
57189 Intro to Repertoire & Listening for Musicians (3 units)
57337 Sound Recording (6 units)
57338 Editing and Mastering (6 units)
574XX Ensemble (6 units)
575XX Studio (9 units)
57570 Music & Technology Seminar (1 unit)
99101 Core@CMU (3 units)

FIRST-YEAR SPRING (58 units)

15112 Fundamentals of Programming and CS (12 units)
57150/153 Harmony II or Basic Harmony II (9 units)
57162 Eurhythmics II (3 units)
57182/186 Solfege II or Advanced Solfege II (3 units)
57438 Multitrack Recording (9 units)
574XX Ensemble (6 units)
575XX Studio (9 units)
57570 Music & Technology Seminar (1 unit)
761XX First-Year Writing Course (9 units)

SECOND-YEAR FALL (52 units)

15122 Principles of Imperative Computation (12 units)
21127 Concepts of Mathematics (15122 co-req) (12 units)
57173 Survey of Western Music History (9 units)
57183/487 Solfege III or Advanced Solfege III (3 units)
574XX Ensemble (6 units)
575XX Studio (9 units)
57570 Music & Technology Seminar (1 unit)

SECOND-YEAR SPRING (56 units)

18100 Introduction to ECE (12 units)
21120 Differential and Integral Calculus (10 units)
33141 Physics I for Engineering Students (12 units)
57184/488 Solfege IV or Advanced Solfege IV (3 units)
57190 Repertoire & Listening for Musicians I (3 units)
574XX Ensemble (6 units)
575XX Studio (9 units)
57570 Music & Technology Seminar (1 unit)

THIRD-YEAR FALL (41 units)

21122 Integration and Approximation (10 units)
57151 Counterpoint in Theory and Application (6 units)
57257 Orchestration I (6 units)
57289 Repertoire & Listening for Musicians II (3 units)
57347 Electronic and Computer Music (6 units)
57570 Music & Technology Seminar (1 unit)
XXXXX Global, Cultural, and Diverse Perspectives Course (9 units)

THIRD-YEAR SPRING (41 units)

15322 Introduction to Computer Music (9 units)
33114 Physics of Musical Sound (9 units)
57258 20th–21st Century Techniques (6 units)
57290 Repertoire & Listening for Musicians III (3 units)
57408 Form and Analysis (6 units)
57570 Music & Technology Seminar (1 unit)
XXXXX Elective (9 units)

FOURTH-YEAR FALL (41 units)

18202 Mathematical Foundations of Electrical Engineering (12 units)
57570 Music & Technology Seminar (1 unit)
57571 Music and Technology Project (12 units)
XXXXX Elective (9 units)
XXXXX Cognition, Choice, and Behavior Course (9 units)

FOURTH-YEAR SPRING (43 units)

18290 Signals and Systems (12 units)
57570 Music & Technology Seminar (1 unit)
57571 Music and Technology Project (12 units)
XXXXX Elective (9 units)
XXXXX English, History, Languages, Philosophy, or Psychology Course (9 units)

Bachelor of Science in Music and Technology (Technical Concentration)

FIRST-YEAR FALL (55 units)

15112 Fundamentals of Programming and CS (12 units)
57101 Introduction to Music Technology (6 units)
57149/152 Basic Harmony I or Harmony I (9 units)
57161 Eurhythmics I (3 units)
57180/181/185 Basic Solfege I, Solfege I, or Advanced Solfege I (3 units)
57189 Intro to Repertoire & Listening for Musicians (3 units)
57337 Sound Recording (6 units)
57338 Editing and Mastering (6 units)
57570 Music & Technology Seminar (1 unit)
99101 Core@CMU (3 units)

FIRST-YEAR SPRING (61 units)

15122 Principles of Imperative Computation (12 units)
21127 Concepts of Mathematics (15122 co-req) (12 units)
57150/153 Harmony II or Basic Harmony II (9 units)
57162 Eurhythmics II (3 units)
57182/186 Solfege II or Advanced Solfege II (3 units)
57438 Multitrack Recording (9 units)
57570 Music & Technology Seminar (1 unit)
761XX First-Year Writing Course (9 units)

SECOND-YEAR FALL (52 units)

21120 Differential and Integral Calculus (10 units)
33141 Physics I for Engineering Students (12 units)
57151 Counterpoint in Theory and Application (6 units)
57173 Survey of Western Music History (9 units)
57183/487 Solfege III or Advanced Solfege III (3 units)
57570 Music & Technology Seminar (1 unit)

SECOND-YEAR SPRING (56 units)

15213 Introduction to Computer Systems (12 units)
15322 Introduction to Computer Music (9 units)
18100 Introduction to ECE (12 units)
33114 Physics of Musical Sound (9 units)
57184/488 Solfege IV or Advanced Solfege IV (3 units)
57190 Repertoire & Listening for Musicians I (3 units)
57408 Form and Analysis (6 units)
57570 Music & Technology Seminar (1 unit)

THIRD-YEAR FALL (41 units)

18202 Mathematical Foundations of Electrical Engineering (12 units)
57257 Orchestration I (6 units)
57289 Repertoire & Listening for Musicians II (3 units)
57347 Electronic and Computer Music (6 units)
57570 Music & Technology Seminar (1 unit)
XXXXX Global, Cultural, and Diverse Perspectives Course (9 units)

THIRD-YEAR SPRING (41 units)

18220 Electronic Devices and Analog Circuits (33142 co-req) (12 units)
18290 Signals and Systems (12 units)
21122 Integration and Approximation (33142 co-req) (10 units)
33142 Physics II for Engineering and Physics Students (12 units)
57258 20th–21st Century Techniques (6 units)
57290 Repertoire & Listening for Musicians III (3 units)
57570 Music & Technology Seminar (1 unit)

FOURTH-YEAR FALL (41 units)

18240 Structure and Design of Digital Systems (12 units)
57570 Music & Technology Seminar (1 unit)
57571 Music and Technology Project (12 units)
XXXXX Elective (9 units)
XXXXX Cognition, Choice, and Behavior Course (9 units)

FOURTH-YEAR SPRING (43 units)

152XX/183XX Elective in ECE or CS (12 units)
57570 Music & Technology Seminar (1 unit)
57571 Music and Technology Project (12 units)
XXXXX Elective (9 units)
XXXXX English, History, Languages, Philosophy, or Psychology Course (9 units)

Minors

The Office of the Senior Academic Advisor in Music handles admission to all Music minors, including those for non-majors.

Minors for Music Majors

Minor in Collaborative Piano

A minimum of 54 units is required for the Minor in Collaborative Piano. 

36 unitsRequired Courses

18 units neededElective Course Options

Minor in Conducting 

A minimum of 54 units is required for the Minor in Conducting. Undergraduate students enrolled in the School of Music can apply for the Conducting Minor starting in their sophomore year. Please note that space is limited. 

Applicants should have a minimum 3.0 QPA and maintain good academic standing for their major program through graduation. An interview with the conducting faculty is part of the application process in addition to the prerequisite coursework below.

39 unitsPrerequisite Courses

33 unitsRequired Courses

 Two of the following courses, with instructor recommendation:

21 units requiredElective Course Options

Minor in Music Education (without certification)

A minimum of 57 units is required for the Minor in Music Education. This option does not include teaching certification.

Questions about the Minor in Music Education and the options available for teaching certification should be directed to Dr. Susan Raponi, Director of Music Education (sraponi@andrew.cmu.edu). Admission to the Music Education minors is handled by the office of the Senior Academic Advisor in consultation with the Director of Music Education.

Admission to this minor is open to Music majors and BXA students in Music after the completion of their first semester at CMU. Once accepted into the program, students must maintain a 3.0 QPA and remain in good academic standing. Enrollment in Clinical courses requires completing all Pre-Clinical Courses with a 3.0 QPA and securing all necessary Child Protection Clearances through the Director of Music Education and CMU Human Resources.

Required Pre-Clinical Courses30 units

Choose three of the following courses:

Required Clinical Courses27 units

Minor in Music Technology

A minimum of 54 units is required for the Minor in Music Technology. Any prerequisite courses for electives do not count towards the minor.  

Required Courses21 units

Elective Course Options33 units needed

MInor in Music Theory

Admission for the Minor in Music Theory is temporarily paused.

Minor in Music (for non-Music majors only)

Requirements for the Minor in Music (open only to non-majors) can be found on the minors catalog page for the College of Fine Arts. Non-majors interested in the Minor in Music should contact the Senior Academic Advisor directly.

Academic Standards

The College of Fine Arts seeks to support each of our students on their pathway towards graduation.  Thus, we review each student’s academic performance and progress towards degree at the close of each semester. Academic actions are designed to notify a student of specific academic and graduation requirements, outline goals for completion, and identify avenues of support. Academic actions are opportunities for students to reflect, grow, and get connected with appropriate campus resources to help them succeed.

To stay on track for graduation, each student is expected to complete a minimum of 36* units each semester, have both a semester and cumulative QPA of at least 2.0, pass at least 80% of their attempted units for the semester, as well as to make adequate academic progress towards their declared degree. Adequate progress requires that a student registers for and passes all of their degree’s critical coursework as defined in each program’s curriculum.

To remain in good academic standing a student must achieve the following criteria:

1. Pass at least 80% of attempted units in the current semester.
2. Achieve a minimum QPA of 2.0 both in the current semester and cumulatively.
3. Make adequate academic progress towards their declared degree as defined by their degree track. 

Academic progress for all Music majors requires a passing grade in studio classes and ensembles. Each major has additional specific requirements to maintain academic progress. For more details, please refer to the School of Music Handbook. If a student does NOT make progress towards their designated degree path, they will receive an academic notification.  See CFA Handbook for specifics concerning academic standards, academic policies, and the academic action sequence.

Registration

Conflicts with Required Major Courses

Required courses for the Music major should always be the student’s top registration priority. While the School of Music encourages students to pursue minors that interest them, coursework for minors cannot interfere with progress through the major.

Prerequisite and Corequisite Courses

Specific courses have mandatory prerequisite and corequisite courses. Students should always check SIO for these requirements. 

Registering for Graduate-Level Courses

Undergraduate students may take graduate-level courses with the approval of the instructor and the Senior Academic Advisor, pending availability of seats. These courses cannot be applied later to any graduate program requirements.

External Transfer Credit

Students may take courses at other institutions for external credit, provided they confer with the Senior Academic Advisor in advance that such courses will be accepted. Do not register for external courses expecting to receive credit without prior approval. 

Unit Overload

Students in the School of Music are permitted to exceed the total units indicated for each semester in the degree plans in the course catalog. At most, only 12 units over the semester total will be approved. All requests for overload must be submitted to the Senior Academic Advisor via a form on the School of Music website for approval.

Course Descriptions

About Course Numbers:

Each Carnegie Mellon course number begins with a two-digit prefix that designates the department offering the course (i.e., 76-xxx courses are offered by the Department of English). Although each department maintains its own course numbering practices, typically, the first digit after the prefix indicates the class level: xx-1xx courses are freshmen-level, xx-2xx courses are sophomore level, etc. Depending on the department, xx-6xx courses may be either undergraduate senior-level or graduate-level, and xx-7xx courses and higher are graduate-level. Consult the Schedule of Classes each semester for course offerings and for any necessary pre-requisites or co-requisites.

Faculty

FREIDA ABTAN, Associate Professor of Electronic Music Composition – Ph.D., Brown University; Carnegie Mellon, 2021–

CHRISTOPHER ALLEN, Artist Lecturer in Percussion – M.M. , Temple University; Carnegie Mellon, 2014–

ALBERTO ALMARZA, Associate Professor of Flute – M.F.A., Carnegie Mellon University; Carnegie Mellon, 1991–

DONNA AMATO, Artist Lecturer in Piano and Staff Pianist – B.M., University of Arizona; Carnegie Mellon, 1998–

JENNIFER AYLMER, Associate Professor of Voice – M.M., Westminster Choir College; Carnegie Mellon, 2012–

NEAL BERNTSEN, Artist Lecturer in Trumpet – M.M., Northwestern University; Carnegie Mellon, 2003–

JEREMY BRANSON, Artist Lecturer in Percussion – M.M., Temple University; Carnegie Mellon, 2009–

WILLIAM CABALLERO, Associate Teaching Professor in Horn – B.M., New England Conservatory; Carnegie Mellon, 2007–

CHRISTOPHER CAPIZZI, Adjunct Instructor – Ph.D., Eastman School of Music; Carnegie Mellon, 2005–

ANDREW CARLISLE, Artist Lecturer in Bagpipe – B.M., University of Ulster; Carnegie Mellon, 2010–

MARK CARVER, Associate Teaching Professor in Collaborative Piano – M.M., Carnegie Mellon University; Carnegie Mellon, 1995–

TATJANA CHAMIS, Artist Lecturer in Viola – B.M., Curtis Institute of Music; Carnegie Mellon, 2016–

REBECCA CHERIAN, Artist Lecturer in Trombone – M.M., Yale University; Carnegie Mellon, 1993–

FREDERIC CHIU, Associate Professor of Piano – M.M., Juilliard; Carnegie Mellon, 2020–

DENIS COLWELL, Associate Professor – M.M., Carnegie Mellon University; Carnegie Mellon, 1980–

MARIANNE CORNETTI, Artist Lecturer in Voice – B.M., Duquesne University; Carnegie Mellon, 2019–

DANIEL CURTIS, Associate Teaching Professor and Resident Conductor – M.M., Carnegie Mellon University; Carnegie Mellon, 2015–

MICHELE DE LA REZA, Teaching Professor of Dance – M.S., University of Pittsburgh; Carnegie Mellon, 2007–

CYNTHIA DEALMEIDA, Associate Teaching Professor in Oboe – M.M., Temple University; Carnegie Mellon, 1991–

JEFF DEE, Artist Lecturer in Bass Trombone – M.M., The Juilliard School; Carnegie Mellon, 2017–

HIRAM DIAZ, Artist Lecturer in Euphonium – M.M., University of North Texas; Carnegie Mellon, 2024–

MARK DOMENCIC, Artist Lecturer in Music Theory – M.M., Carnegie Mellon University; Carnegie Mellon, 2007–

THOMAS DOUGLAS, Professor of Voice – M.M., Duquesne University; Carnegie Mellon, 1991–

JOCELYN DUECK, Associate Professor of Collaborative Piano – D.M.A., University of Minnesota; Carnegie Mellon, 2017–

PAUL EVANS, Artist Lecturer in Percussion – M.M., Temple University; Carnegie Mellon, 1995–

DONNA FOX, Artist Lecturer of Music Education – M.F.A., Carnegie Mellon University; Carnegie Mellon, 2023–

NANCY GALBRAITH, Professor of Composition – M.M., West Virginia University; Carnegie Mellon, 1984–

PAUL GERLACH, Artist Lecturer in Music Education – M.F.A., Carnegie Mellon University; Carnegie Mellon, 1982–

JAMES GORTON, Artist Lecturer in Chamber Music – B.M., Eastman School of Music; Carnegie Mellon, 2020-–

SARI GRUBER, Assistant Teaching Professor of Voice – M.M., Juilliard School; Carnegie Mellon, 2018–

PETER GUILD, Artist Lecturer in Double Bass – M.M., University of Michigan; Carnegie Mellon, 2015–

DAVID HARDING, Associate Professor in Viola and Chamber Music – B.M., The Juilliard School; Carnegie Mellon, 2012–

JAMES HOULIK, Artist Lecturer in Saxophone – M.S., University of Illinois; Carnegie Mellon, 2018–

MICAH HOWARD, Assistant Teaching Professor in Double Bass – M.M., Duquesne University; Carnegie Mellon, 2010–

JACK HOWELL, Artist Lecturer in Clarinet – M.M., University of Northern Colorado; Carnegie Mellon, 2023–

ANNIE HUI-HSIN HSIEH, Associate Teaching Professor of Music Theory – Ph.D., University of California, San Diego; Carnegie Mellon, 2018–

ROSEANNA IRWIN, Associate Teaching Professor of Coaching and Accompanying – M.M., Duquesne University; Carnegie Mellon, 1990–

JOHN PAUL ITO, Associate Professor of Music Theory – Ph.D., Columbia University; Carnegie Mellon, 2011–

PAUL JOHNSTON, Artist Lecturer in Music History – B.M., Andrews University; Carnegie Mellon, 2005–

KENNETH KEELING, Associate Head and Professor Emeritus of Music – D.M.A., Catholic University of America; Carnegie Mellon, 1996–

ADRIANNE DAVIS KELLY, Artist Lecturer of Music Education – M.M., Duquesne University; Carnegie Mellon, 2019–

SUNG-IM KIM, Assistant Teaching Professor of Music – M.M., Carnegie Mellon University; Carnegie Mellon, 2011–

CRAIG KNOX, Artist Lecturer in Tuba – B.M., Curtis Institute of Music; Carnegie Mellon, 2005–

PETER KOPE, Teaching Professor of Dance – B.A., University of Dayton; Carnegie Mellon, 2007–

STEPHEN KOSTYNIAK, Artist Lecturer in French Horn – B.M., The Juilliard School; Carnegie Mellon, 2008–

JASON KUSH, Artist Lecturer in Saxophone – D.M.A., University of Miami; Carnegie Mellon, 2017–

CARLA LAROCCA, Associate Teaching Professor of Keyboard Studies – M.F.A., Carnegie Mellon University; Carnegie Mellon, 1991–

ELIZABETH LAWRENCE, Artist Lecturer in Jazz Voice and Director of Jazz Vocal Ensemble – M.M., Manhattan School of Music; Carnegie Mellon, 1996–

VICTORIA LUPERI, Artist Lecturer in Clarinet – B.M., Curtis Institute of Music ; Carnegie Mellon, 2024–

JOHN MARCINIZYN, Artist Lecturer in Guitar and Composition – Ph.D., University of Pittsburgh; Carnegie Mellon, 1991–

LUZ MANRIQUEZ, Teaching Professor in Collaborative Piano – M.M., Carnegie Mellon University; Carnegie Mellon, 1992–

ALEX MARTHALER, Artist Lecturer in Music Theory – M.M., Carnegie Mellon University; Carnegie Mellon, 2019–

DAVID MCCARROLL, Artist Lecturer in Violin – M.M., New England Conservatory of Music; Carnegie Mellon, 2024–

MONIQUE MEAD, Associate Teaching Professor of Music Entrepreneurial Studies – M.M., Indiana University; Carnegie Mellon, 2012–

ANNE MOSKAL, Assistant Teaching Professor in Solfege – M.M., Carnegie Mellon University; Carnegie Mellon, 2011–

STEPHEN NEELY, Associate Professor in Eurhythmics – Ph.D., Carnegie Mellon University; Carnegie Mellon, 1998–

RODRIGO OJEDA, Associate Teaching Professor of Collaborative Piano – M.M., Carnegie Mellon University; Carnegie Mellon, 2011–

JEREMY OLISAR, Artist Lecturer in Music Education – M.M., Sam Houston State University; Carnegie Mellon, 2021–

DIMITRI PAPADIMITRIOU, Assistant Teaching Professor of Chamber Music and Piano – D.M.A., Royal Irish Academy of Music; Carnegie Mellon, 2015–

ANGELA PARK, Artist Lecturer in Cello – M.M., New England Conservatory of Music; Carnegie Mellon, 2023–

RYAN M. PRENDERGAST, Assistant Teaching Professor of Musicology – Ph.D., University of Illinois; Carnegie Mellon, 2022–

KATHERINE PUKINSKIS, Assistant Professor of Composition and Theory – Ph.D., University of Chicago; Carnegie Mellon, 2022–

RICHARD RANDALL, Associate Professor of Music Theory – Ph.D., Eastman School of Music; Carnegie Mellon, 2008–

SUSAN RAPONI, Assistant Professor of Music – Ph.D., University of Toronto; Carnegie Mellon, 2019–

BRIAN RIORDAN, Artist Lecturer in Electronic Music – Ph.D., University of Pittsburgh; Carnegie Mellon, 2025–

EMILY SAPA, Artist Lecturer in Alexander Technique – M.M., University of Minnesota; Carnegie Mellon, 2024–

VAHAN SARGSYAN, Artist Lecturer in Music – M.M., Yerevan Komitas State Conservatoire; Carnegie Mellon, 2005–

MOHAMMAD RIZKY SASONO, Artist Lecturer in Ethnomusicology – Ph.D., University of Pittsburgh; Carnegie Mellon, 2025–

SERGEY SCHEPKIN, Piano – D.M.A., New England Conservatory; Carnegie Mellon, 2003–

RICCARDO SCHULZ, Teaching Professor and Director of Recording Activities – M.A., University of Pittsburgh; Carnegie Mellon, 1988–

STEPHEN SCHULTZ, Teaching Professor of Music History and Flute – M.M., San Francisco State University; Carnegie Mellon, 2002–

FRANCO SCIANNAMEO, Teaching Professor of Film Musicology and CFA Associate Dean – D.M., Conservatorio di Musica, Santa Cecilia; Carnegie Mellon, 2014–

CALLUM SMART, Assistant Professor of Violin – Artist Diploma, Indiana University; Carnegie Mellon, 2025–

MARK SNYDER, Artist Lecturer in Music – M.M., Carnegie Mellon University; Carnegie Mellon, 2022–

MARIA SPACAGNA, Professor of Voice – M.M., New England Conservatory; Carnegie Mellon, 2012–

SARAH STERANKA, Woodwind & Mixed Chamber Music Coordinator – M.M., Duquesne University; Carnegie Mellon, 2023–

STEPHEN STORY, Associate Conductor of Wind Ensemble – M.M., Carnegie Mellon University; Carnegie Mellon, 2015–

PETER SULLIVAN, Artist Lecturer in Trombone – Studies, McGill University; Carnegie Mellon, 2000–

DANIEL TEADT, Assistant Teaching Professor of Voice – M.M., University of Illinois; Carnegie Mellon, 2011–

KELLY TRUMBULL, Artist Lecturer in Acting – M.A., New York University; Carnegie Mellon, 2015–

WILLIAM VAN DER SLOOT, Assistant Teaching Professor of Violin – B.M., University of Calgary; Carnegie Mellon, 2017–

GRETCHEN VAN HOESEN, Artist Lecturer in Harp – M.M., The Juilliard School; Carnegie Mellon, 1985–

GEORGE VOSBURGH, Associate Teaching Professor – B.A., University of Rochester; Carnegie Mellon, 2003–

JANE WALL, Artist Lecturer in Music Education – M.Ed., University of Pittsburgh; Carnegie Mellon, 2018–

JAMES WHIPPLE, Artist Lecturer in Music Theory – B.A., Carnegie Mellon University; Carnegie Mellon, 1995–

ANNE MARTINDALE WILLIAMS, Artist Lecturer in Cello – Artists Diploma, Curtis Institute of Music; Carnegie Mellon, 1987–

ALEXA WOLOSHYN, Associate Professor of Musicology – Ph.D., University of Toronto; Carnegie Mellon, 2016–

CHRISTOPHER WU, Artist Lecturer in Violin – M.M., Eastman School of Music; Carnegie Mellon, 2009–

LENNY YOUNG, Artist Lecturer in Solfege – M.M., Carnegie Mellon University; Carnegie Mellon, 2015–

MONICA YUNUS, Artist Lecturer in Music Entrepreneurship – M.M., The Juilliard School; Carnegie Mellon, 2018–