Lecturer in Music, Composition and Theory
BM in Music Theory and Piano Performance, University of Michigan; diploma in Film Scoring, Berklee College of Music; MM in Composition, Longy School of Music; DMA in Composition, Boston University
Composition studies with William Bolcom, Leslie Bassett, James Hartway, Eric Sawyer, Theodor Antoniou, and Sam Headrick.
Dr. Aghababian was a film music editor with Triad Music at Warner Brothers Studios (Burbank, CA) and has scored several documentary films while continuing to compose on commission. His music is performed throughout New England, across the United States, and in Asia and Europe.
Faculty appointments include Boston University (Boston, MA), the Longy School of Music (Cambridge, MA), the South Shore Conservatory (Hingham, MA) and the Winchester Community Music School (Winchester, MA); he directs a chamber orchestra at the Longy School of Music and is a former member of the faculty at Boston University Academy.
Professor of Music; Chair of Composition and Theory Department
M.M., D.M.A., Performer’s Certificate, Eastman School of Music
855 Commonwealth Avenue, Room 228
Composer and pianist Martin Amlin has received grants from the National Endowment for the Arts, the Tanglewood Music Center, the Massachusetts Cultural Council, the Massachusetts Artists Foundation, the St. Botolph Club Foundation, and the Massachusetts Council for the Arts. He was a recipient of an ASCAP Grant to Young Composers and has received numerous ASCAP Plus Awards. He has been a resident at Yaddo, the Virginia Center for the Creative Arts, and the MacDowell Colony, where he was named a Norlin Fellow. His compositions have been performed throughout the world and are published by the Theodore Presser Company.
Dr. Amlin studied with Nadia Boulanger at the Écoles d’Art Américaines in Fontainebleau and the École Normale de Musique in Paris. He received masters and doctoral degrees as well as the Performer’s Certificate from the Eastman School of Music, where he studied piano with Frank Glazer and composition with Joseph Schwantner, Samuel Adler, and Warren Benson. Formerly an instructor at the Phillips Exeter Academy and an Affiliate Artist at the Massachusetts Institute of Technology, he is currently Professor of Music and Chair of the Composition and Theory Department in the College of Fine Arts at Boston University. He is also Director of the Boston University Tanglewood Institute Young Artists Composition Program. He is a rehearsal pianist for the Tanglewood Festival Chorus, the Boston Symphony Orchestra, and the Boston Pops Orchestra, and has appeared as soloist with the Boston Pops on several occasions in performances ofMendelssohn’s Piano Concerto No.1 and Gershwin’s Rhapsody in Blue. He has performed on the FleetBoston Celebrity Series and has been pianist for the M.I.T. Experimental Music Studio and the New England Ragtime Ensemble. He has appeared live on Boston’s WGBH radio station as both performer and composer.
Martin Amlin has recorded for the Albany, Ashmont Music, Centaur, Crystal, Hyperion, Koch International, MSR Classics, and Wergo labels.
Associate Professor of Music, Composition and Theory
Diploma in Piano Performance, Mannes College of Music; MM, Yale; PhD, University of Michigan
855 Commonwealth Avenue, Room 223
Deborah Burton is currently Associate Professor of Music at Boston University, and has taught at Harvard University; University of Massachusetts at Amherst, Florida International University, Fordham, University of Michigan and Adrian College. In Spring 2016, she will be a Visiting Professor at the University of Rome – Tor Vergata. Her research concerns opera analysis, counterpoint, and the history of theory, emphasizing Italian sources. Professor Burton was president of the New England Conference for Music Theory from 2006-2008, and a Junior Fellow of the Boston University Humanities Foundation in 2009-2010. Her recent monograph, entitled Recondite Harmony: Essays on Puccini’s Operas, was published by Pendragon Press in Autumn 2012. Along with Giorgio Sanguinetti (University of Rome, Tor Vergata), Dr. Burton edits the scholarly series, also for Pendragon Press, entitled Italian Theoretical Treatises as part of the Harmonologia: Studies in Music Theory umbrella. Dr. Burton collaborated with Gregory Harwood to write a prize-winning annotated translation of Francesco Galeazzi’s 1796 Elementi Teorico-Practici, volume II, entitled The Theoretical-Practical Elements of Music, Parts III and IV as volume 5 of the Studies in the History of Music Theory and Literature of the University of Illinois Press (2012).
In October 2013, Dr. Burton organized a series of events celebrating the 200th anniversary of Wagner’s birth, collectively entitled Wagner in Context. These included lectures by Gottfried Wagner, Donald Palumbo and William Berger of the Met Opera, the filmmaker/documentarian Hilan Warshaw, and an interdisciplinary round-table with BU faculty members. The Facebook page for the festival is www.facebook.com/wagnerincontext. In December 2010, in honor of the centenary of Puccini’s La Fanciulla del West, she created a websitewww.fanciulla100.org, moderated a special panel discussion on the opera at the Italian Cultural Institute of New York, and organized a symposium and exhibition in conjunction with Boston University’s Howard Gotlieb Archival Center, videos of which can be seen at: http://www.bu.edu/buniverse. In Spring 2008, she organized and presented at the interdisciplinary conference Opera and Society at Boston University, podcasts of which can be seen at www.operaandsociety.org. She has recently been a guest lecturer at the University of Rome-Tor Vergata, at the Metropolitan Opera Young Artists Program, and at the Hartt School of Music. Dr. Burton will present a paper on operatic Formenlehre at the national meeting of the Society for Music Theory in November 2015. She gave two research presentations at the 2008 AMS-SMT national meeting in Nashville, and presented at the 2006 Fourth International Schenker Symposium, and the 2005 meeting of the New England Conference of Music Theorists. Co-editor of Tosca’s Prism: Three Moments of Western Cultural History (Northeastern University Press, 2004), which won an AMS subvention prize, she has published articles and reviews in Music Theory Spectrum, Rivista di Analisi e Teoria Musicale, Studi Musicali, Nuova Rivista Musicale Italiana, Opera Quarterly, and others. Dr. Burton was an originator of and participant in the interdisciplinary conference “Tosca 2000” in Rome, honoring the centennial of Puccini’s opera, and the bicentennial of the events that inspired it.
Lecturer in Music, Composition and Theory
BM, Hartt School of Music (Composition and Jazz Studies); MM, Longy School of Music (Composition); DMA, Boston University (Composition)
Justin Casinghino is a lecturer in the departments of composition and theory at Boston University and the Massachusetts Institute of Technology, and is the Associate Director of the Young Artists’ Composition Program at the Boston University Tanglewood Institute. Casinghino composes in a variety of genres, striving to create works that are lyrical, rich in harmony and possess a sound structural integrity. Also a performer in the jazz and popular idioms, this influence is often present in his music, but commonly at subtle levels. His studies of composition include work with, amongst others, Gunther Schuller, Lukas Foss, Theodore Antoniou and Richard Cornell. Casinghino has had pieces requested and performed by such groups as the Boston Symphony Orchestra Wind Quintet, ALEA III, the Longy Chamber Orchestra, the Rivers Symphony Orchestra, the Arneis String Quartet, the Lorelei Vocal Ensemble and the wind quintet Vento Chiaro, and has recently had works presented at such venues as New York’s Carnegie Hall, the Walt Disney Concert Hall in LA, and Tanglewood’s Seiji Ozawa Hall in the Massachusetts Berkshires. His music has been funded via grants through the Free For All Concert Fund and the New England Federation for the Arts, and he appeared as the featured composer on the Rivers School Conservatory’s 34th Annual Seminar on Contemporary Music for the Young. Casinghino is the founder and director of the Boston Composers’ Coalition, a group that is dedicated to the collaborative creation, education and dissemination of new American music.
A firm believer that pedagogy is an art within itself, Casinghino takes great pride in his students of composition, who have won awards including numerous ASCAP Young Composer and Downbeat composition prizes, and have earned commissions and performances by such ensembles as the Boston Pops, the Newton Symphony Orchestra and Dinosaur Annex. Casinghino performs throughout the New England area on piano, Hammond organ, SATB saxophones and as a vocalist with a number of “popular” genre groups, and is regularly recruited as a guest speaker and lecturer on a variety of musical topics.
Media links and a list of upcoming events can be found at www.jdcas.com and more information about the Boston Composers’ Coalition can be found at www.bostoncomposers.org.
Director ad Interim, School of Music; Professor of Music, Composition
855 Commonwealth Avenue, Room 424
Richard Cornell composes works in a range of symphonic and chamber music forms, as well as sound art. He holds awards from the National Endowment for the Arts, Massachusetts Cultural Council, and the New England Foundation for the Arts. A Far Cry, Boston Musica Viva, New England Philharmonic, Collage New Music, the International Trumpet Guild, the Muir Quartet, and others have commissioned his works. Cornell’s sound art collaborations with visual artists have been presented at the Ruschman Gallery (Indianapolis), the Hafnarborg Museum (Reykyavik), and ProyectoACE (Buenos Aires). Virtual reality artworks, developed with visual artist Deborah Cornell have been presented at Indiana University, Boston CyberArts, SuperComputing, at Boston’s Institute of Contemporary Art, and at the Taipei Biennial. Recordings are on Ravello, Northeastern Records, Sony Classical, and EMI/Virgin Veritas labels, and distributed worldwide by Naxos. Cornell is Professor of Music, College of Fine Arts, and the Director ad interim of the School of Music, Boston University.
Professor of Music, Composition and Theory
BM, Peabody Conservatory; Cursus de Composition et Informatique Musicale, IRCAM; DMA, Columbia University
855 Commonwealth Avenue, Room 473
American composer Joshua FINEBERG began his musical studies at the age of five; they have included – in addition to composition – violin, guitar, piano, harpsichord and conducting. He completed his undergraduate studies at the Peabody Conservatory with Morris Moshe Cotel where he won first prize in the bi-annual Virginia Carty de Lillo Composition Competition. In 1991, he moved to Paris and studied with Tristan Murail. The following year he was selected by the IRCAM/Ensemble InterContemporain reading panel for the course in composition and musical technologies. He worked for several years as a free-lance composer in Europe and as a consultant researcher at IRCAM, then, in the Fall of 1997, he returned to the US to pursue a doctorate in musical composition at Columbia University, which he completed in May 1999. After teaching at Columbia for a year, he went to Harvard University where he taught for seven years and was the John L. Loeb Associate Professor for the Humanities. In September 2007, Fineberg left Harvard to assume a professorship in composition and the directorship of the electronic music studios at Boston University. In 2012 he became the founding director of the Boston University Center for New Music. He has won numerous national and international prizes and scholarships and is published by Editions Max Eschig and Gérard Billaudot Editeur.
In 2011, Fineberg was named an Artist Fellow of the Massachusetts Cultural Council. Fineberg’s works are widely performed in the US, Europe and Asia. A monographic CD of his music recorded by the Ensemble Court-Circuit was released in 2002 as a part of Unviersal France’s Accord/Una Corda collection, another CD recorded by the Ensemble FA was released by Mode Records in June 2009 and in 2012 a CD with his complete works for Piano, performed by Marilyn Nonken, was released by Divine Art/Métier. Recent major projects include an ‘imaginary opera’ based on Vladimir Nabokov’s Lolita for actor, dancers, video, ensemble and electronics realized in collaboration with JOJI; Speaking in Tongues, a concerto written for Les Percussions de Strasbourg’s 50th anniversary tour, Objets trouvés written for the ensemble Court-circuit andLa Quintina for sting quartet and electronics written for the Arditti Quartet and premiered at the Ultraschall festival in Berlin that marked the first co-realization between the ExperimentalStudio in Freiburg and IRCAM in Paris.
Besides his compositional and pedagogical activities, Joshua Fineberg actively collaborates with music psychologists and computer scientists in music perception research and helps develop tools for computer assisted composition, acoustic analysis and sound modification. He has been involved in working with performing ensembles and as producer for recordings of many ensembles and soloists. Joshua Fineberg is also the issue editor for two issues of The Contemporary Music Review on “Spectral Music” (Vol. 19 pt. 2 & 3) and for a double-issue featuring the collected writings of Tristan Murail in English (Vol. 24 pt. 2&3). From 2003-2009, he served as the US Editor for The Contemporary Music Review, where he still serves on the editorial board. His book Classical Music, Why Bother? was published by Routledge Press in 2006.
Associate Professor of Music, Composition and Theory
BM and MM in Composition, University of North Texas; PhD in Composition, Eastman School of Music
855 Commonwealth Avenue, Room 459
Dr. Headrick received his BM and MM in Composition from the University of North Texas before earning his PhD in Composition at the Eastman School of Music, where he studied with Samuel Adler, Warren Benson, and Joseph Schwantner. Other studies include Horn with Roland Pandolfi, Guitar with Alan Rosenkoetter, and Computer Music at MIT with Barry Vercoe.
Professor Headrick has presented his own music and given lectures and master classes in composition and analysis for such institutions as the University of California at Berkeley, Williams College, UCLA, MIT, the Peabody Conservatory of Music, the Eastman School of Music, the University of North Texas, Southern Methodist University, Berklee College of Music, the Boston Conservatory of Music, the 2008 Opera & Society Interdisciplinary Conference, the St. Louis Symphony Orchestra, Boston Symphony Orchestra, and Brown University, where he was appointed as Visiting Associate Professor in Composition for the fall term of 2008.
He has served as Guest Conductor for the St. Louis Symphony On-Stage Series, and as Music Director and Composer for the Huntington Theater Company. Honors include the National Endowment for the Arts Composers Fellowship, the National Endowment for the Arts Collaborative Fellowship in Opera, the Massachusetts Artist Fellowship in Composition, two Composer Residencies with the St. Louis Symphony Orchestra, and Artists Residencies with the Berklee College of Music, Webster University, and the State University of New York. He has also received two Meet The Composer Grants and yearly ASCAP PLUS Awards since 1986.
Mr. Headrick has received performances and commissions from such artists as Lukas Foss, Theodore Antoniou, Sanford Sylvan, and Edwin Barker, and from such organizations as the St. Louis Symphony Chamber Players, Alea III, the Atlantic Brass Quintet, the Huntington Theater Company, the Opera Laboratory Theater Company, the Boston University Mainstage Theater, Dinosaur Annex, the Concordia Trio, the Esterhazy Quartet, the Synergy Brass Quintet, the Boston Conservatory Wind Ensemble, and the Armory Brass Quintet. Festival performances and commissions include the Warebrook Contemporary Music Festival, the Savannah Onstage International Arts Festival, the 4th Annual New York City Festival of New Trumpet Music (FONT), and the Iraklion International Festival of the Arts.
A video of his one-act opera and audio recordings of his Second Symphony and various other works are available on his website at www.samheadrick.com.
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