BRANDON KEITH BROWN
DIRECTOR OF ORCHESTRAL STUDIES

LOUIS EPSTEIN
MUSIC HISTORY, Lecturer

Lecturer in Music History, Louis Epstein's research focuses on early twentieth-century French modernism(s).  His dissertation, Toward a Theory of Patronage: Funding for Music Composition in France, 1918-1939, explores the wealthy individuals, powerful institutions, and lucrative practices that made music composition possible during a time characterized by political and economic turmoil.  Louis has presented at regional and national meetings of the American Musicological Society, as well as at numerous other national and international conferences.

He received the Oscar S. Schafer Award in recognition of his excellent classroom teaching and has presented on pedagogy research at the 2011 Music History Teaching Day Conference. His other research interests include musical nationalism and exoticism, music sociology, and historiography. Epstein received his BA in Music from Princeton University and his PhD in Music from Harvard University.

STEFAN CARIS LOVE
MUSIC THEORY, Assistant Professor

Stefan Caris Love, Assistant Professor of Music Theory, has an MA/PhD in Theory from the Eastman School of Music of the University of Rochester, and an AB with Honors in Music from Brown University. He was an Instructor at Eastman, a Visiting Instructor at Oberlin Conservatory and a Lecturer in Music at the University of Chicago. 

Co-winner of the 2009 Bruce Benward Student Analysis Competition sponsored by the Journal of Music Theory Pedagogy, he published articles in leading peer-reviewed journals-- Music Theory Spectrum, Music Theory Online and the Journal of Music Theory Pedagogy.   He presented papers at the College Music Society Great Lakes Regional Conference, the Society for Music Theory Annual Meeting and the Renaissance Society of America's Annual Meeting.  His research includes analysis of jazz; his dissertation was entitled "On Phrase Rhythm in Jazz."  In his recent research, he applies his findings to other styles, including the music of the common-practice period.

EMILIANO RICCIARDI
MUSIC HISTORY, Lecturer

Emiliano Ricciardi, Lecturer in Music History, is completing a Ph.D. in musicology at Stanford University, supported by a Mellon/ACLS Dissertation Completion Fellowship. He holds an M.Phil. in historical musicology from the University of Cambridge, UK, a Diploma in violin performance from the Conservatory of Rome, Italy, and a Bachelor in Humanities from the University of Rome.

His research focusses on the Italian madrigal and the settings of Torquato Tasso's lyric poetry. He has published articles and reviews in The Journal of Musicology, Renaissance Quarterly and Notes, and has presented papers at international conferences in the U.S. and Europe.  With Stanford University's Center for Computer Assisted Research in the Humanities, he is preparing a digital edition of the about 500 extant settings of Tasso's lyric poetry.  He presented work on the reception and practice of twelve-tone music in fascist Italy at international conferences and at the annual meeting of the American Musicological Society. Ricciardi is a violinist and an avid chamber musician and has performed widely in the U.S. and Europe with leading ensembles and soloists.

DANA SCHNITZER
VOICE, Lecturer

Dana Schnitzer, Lecturer in Voice, continues to amass accolades for her numerous soprano operatic roles which include Fiordiligi in Cosi fan tutte, Rosalinda in Die Fledermaus, Alcina in Alcina, Hanna Glawari in The Merry Widow, First Lady in The Magic Flute and Giannetta in L'elisir d'amore, the latter performed at the prestigious Caramoor Festival in New York.  She has sung with Boston Lyric Opera, Opera Boston, Connecticut Lyric Opera, PORTOpera, Commonwealth Opera and Boston Baroque, amongst others.  Active on the concert stage, highlights of Ms. Schnitzer's concert and oratorio performances include the Beethoven Mass in C in Tanglewood's Ozawa Hall, the Dvorák Te Deum in NEC's Jordan Hall, Vaughan Williams' Sea Symphony and the Brahms Requiem with the Metropolitan Chorale, the Bach Magnificat and Mozart Requiem with the Choral Art Society, and Handel's Messiah with Masterworks Chorale.

Upcoming engagements for the 2013-2014 season include Handel's Messiah with the Rhode Island Civic Chorale and Orchestra, a holiday tour as soprano soloist with the Boston Pops, and the Verdi Requiem with the Cape Cod Symphony.  Dana Schnitzer holds the Doctor of Musical Arts degree from Boston University, the Master of Music degree from the New England Conservatory, and the Bachelor of Music degree from UMass Amherst.  She is a member of the faculty of the Young Artists Vocal Program at the Boston University Tanglewood Institute, and the Founder/Artistic Director of MetroWest Opera. 

JEFFREY SWINKIN
MUSIC THEORY, Lecturer

Jeffrey Swinkin, Lecturer in Theory, received his B.M. with High Distinction in Piano Performance from the Eastman School of Music, and his M.M. in Piano Performance and Ph.D. in Music Theory from the University of Michigan.  His dissertation advisor was Kevin Korsyn; he has also worked with Scott Burnham, Fred Lerdahl, Patrick McCreless, Wayne Petty and Janet Schmalfeldt.  Dr. Swinkin's primary piano instructor was Anton Nel, and he has played in masterclasses for Vladimir Feltsman, Richard Goode and Rosalyn Tureck.  He has taught at the University of San Francisco, where he was Adjunct Professor of Music, and at the University of Michigan, as a graduate teaching assistant. 

Dr. Swinkin researches the areas of performance and analysis, variation form, music aesthetics, and music pedagogy, focusing mainly on repertory of the long nineteenth century.  His articles appear in Music Analysis, College Music Symposium, Current Musicology, Indiana Theory Review, The Journal of Musicology, Performance Practice Review and American Music Teacher.  He has presented invited lectures and lecture-recitals at many universities, including Stanford, Kansas, UMass Amherst, Rice, Ohio and Ohio State-Lima, and has held residencies at Drury University and University of Wisconsin-Whitewater.  He has delivered papers at the Society for Music Theory, American Brahms Society, Music Theory Midwest, and West Coast Conference for Music Theory and Analysis.  He is working on a book, Performative Analysis: Reimagining Music Theory for Performers.