Callender's music has been recognized by and performed at the Primavera en La Habana Festival of Electroacoustic Music in Cuba, Florida Electroacoustic Music Festival, North American Saxophone Alliance 2002 and 2006 Biennial Conferences, the iChamber New Music Series, the NACUSA Young Composers Competition, the Northern Arizona University Centennial Composition Competition, the Composers Conference at Wellesley College, the Ernest Bloch Music Festival, the 2nd PIANISSIMO festival in Bulgaria, the University of Chicago Contemporary Chamber Players, SCI conferences, SEAMUS, the Fifth World Harp Congress in Copenhagen, and the Whitaker New Music Reading Sessions with the American Composers Orchestra.

His solo piano work, Patty, My Dear, is recorded on the Capstone Records label. Also active in music theory, Dr. Callender has published articles in the Journal of Music Theory, Perspectives of New Music, and Music Theory Online. Professor Callender received the Ph.D. in composition from the University of Chicago as a Whiting Fellow. He holds a M.M. in composition from the Peabody Conservatory and a B.F.A. from Tulane University.

Professor Callender maintains a personal website at: http://myweb.fsu.edu/ccallender/

Evan Jones, Associate Professor of Music Theory and Coordinator of Music Theory and Composition, holds the Ph.D. in music theory and the D.M.A. in cello performance from the Eastman School of Music. Dr. Jones supervises sophomore aural skills and teaches modal counterpoint, form and analysis, music since 1945, post-tonal aural skills, and readings in music theory. He received The Florida State University Undergraduate Teaching Award in 2007, having previously won teaching prizes from both the Eastman School and the University of Rochester. He is a past winner of the Sproull Fellowship from the University of Rochester and a Doctoral Fellowship from the Social Sciences and Humanities Research Council of Canada; he was also a co-recipient of the inaugural Alfred Mann Dissertation Prize from the Eastman School.
 
Dr. Jones has presented his research at numerous regional, national, and international conferences. His dissertation and related papers focus on pitch-class voice leading in chromatic music; other research interests include transformational theory, 20th-century rhythm and meter, and the interaction of analysis and performance. He has published articles on the music of Xenakis, Schubert, Quantz, and Orlando di Lasso in Perspectives of New Music, Computer Music Journal, the Journal of Schenkerian Studies, and in several edited collections of essays. Supported by a publication subvention grant from the Society for Music Theory, he edited and contributed to a collection of twenty essays entitled Intimate Voices: The Twentieth-Century String Quartet(Rochester, 2009), which was awarded the Society for Music Theory's Citation of Special Merit in 2010. He has also co-authored two textbooks on modal and tonal counterpoint (with Douglass Green) and an anthology of tonal music for sight singing and ear training (with Matthew Shaftel). From 1997–99 he served as co-editor of Intégral, a peer-reviewed journal of music theory; he now serves on that journal's editorial board. He was elected to the Executive Board of the Society for Music Theory in 2010.
 
An active cellist, Dr. Jones has given the world premières of solo works by Clifton Callender, Robert Morris, and Ciro Scotto, the North American premières of solo and chamber works by Iannis Xenakis, and the New York City premières of works by Dexter Morrill and Christopher Auerbach-Brown (in Merkin Hall and Weill Recital Hall, respectively). He has performed under the auspices of the Banff Centre for the Arts, Baroque Southeast, the College Music Society, Electronic Music Midwest, Music on the Lake, the Music Teachers National Association, Musique Royale, the Orford Arts Centre, the Scotia Festival of Music, the Society for Electroacoustic Music, the Spark Festival of Electronic Music and Arts, the Syracuse Society for New Music, and the Tallahassee Bach Parley, as well as on faculty recital programs at The Florida State University. He previously appeared as principal cellist of the Binghamton Philharmonic, the Orchestra of the Southern Finger Lakes, and the Montreal Chamber Players, and currently serves as assistant principal cellist in the Tallahassee Symphony Orchestra.

LADISLAV KUBIK, Professor of Composition and eminent Czechoslovakian composer, joined the FSU faculty to teach composition during the 1990-91 academic year. A native of Prague, Mr. Kubik has been the recipient of many awards and prizes, including the International Rostrum of Composers UNESCO, Intervision Prize and finalist in the Prix Italia, Sudler Wind Band Composition Competition, and the New Music International Competition, Miami.

Kubik has been commissioned to write numerous works, among which are a concerto for winds and percussion for Florida State University. His compositions have been performed throughout the world, including major symphony orchestras and string quartets. Many of his musical creations have been released on commercial records and compact discs.

Mr. Kubik received the Diploma-Composition and the Diploma-Music Theory from the Prague Academy of Music. In 1980 the Prague Academy of Music awarded him the Aspiranture-Composition, a degree equivalent to the Ph.D. Prior to coming to FSU, Mr. Kubik taught at the Prague Conservatory, Charles University in Prague, University d'Orsay, and the University of South Florida. His compositions are published by Panton, Ltd., and distributed by Schott und Söhne.
 

MARK WINGATE is a composer on the faculty of the College of Music at Florida State University where he serves as Associate Professor of Composition and Director of Electroacoustic Music. Dr. Wingate came to FSU after co-founding and directing the Electronic Arts Studio at Istanbul Technical University in Turkey. He holds a D.M.A. from the University of Texas, during which time he composed electronic music at EMS studios in Stockholm as a Fulbright Scholar to Sweden. A subsequent travel grant from the National Endowment for the Arts allowed him to write theater music in Caracas, Venezuela.

Wingate has been the recipient of numerous awards, including the Rome Prize, a Guggenheim Fellowship, and a National Endowment for the Arts Composer Fellowship. His electroacoustic works have received international acclaim at new music festivals such as the International Society for Contemporary Music’s World Music Days (Copenhagen and London), the Autumn International Festival of Contemporary Music (Warsaw), le Festival Rien à Voir (Montreal), the Acousmatic Experience (Amsterdam), the Pierre Schaeffer Concert de Bruits (Perugia), and many others.

Dr. Wingate's compositions have garnered prizes and honors from international juried competitions such as the Stockholm Electronic Arts Award, the Prix de la Musique Electroacoustique Caractère (Bourges, France), a Prix Ars Electronica Honorable Mention (Austria), and others. His music can be heard on Bridge Records, Centaur Records, empreintes DIGITALes Records, Fylkingen Records, and Mnémosyne Musique Média Records UNESCO/CIME.

ELLEN TAAFFE ZWILICH, Francis Eppes Distinguished Professor, is widely considered to be one of America's leading composers. She studied at the Florida State University and the Juilliard School, where her major teachers were Roger Sessions and Elliott Carter. She also studied violin with Richard Burgin and Ivan Galamian and was a member of the American Symphony Orchestra under Leopold Stokowski.

Zwilich is the recipient of numerous prizes and honors, including the 1983 Pulitzer Prize in Music (the first woman ever to receive this coveted award). She was elected to the Florida Artists Hall of Fame and the American Academy of Arts and Letters and, in 1995, was named to the first Composer's Chair in the history of Carnegie Hall. Musical America designated her the 1999 Composer of the Year. A prolific composer in all media except opera, Zwilich has produced four symphonies and other orchestral essays, numerous concertos for a wide variety of solo instruments, and a sizable canon of chamber and recital pieces. Her works are commissioned and played regularly by the leading orchestras and ensembles throughout the world.

Many of her works have been issued on recordings, and Baker's Biographical Dictionary of Musicians (8th edition) states: "There are not many composers in the modern world who possess the lucky combination of writing music of substance and at the same time exercising an immediate appeal to mixed audiences. Zwilich offers this happy combination of purely technical excellence and a distinct power of communication."