Among our graduate degree recipients before 2004 are the composers Eric Sawyer, Martha Horst, and Anne Guzzo; and musicologists Donna M. DiGrazia, Carol Hess, Don Meyer, John Palmer, Matthew Daines, Suzanne Jubenville, Mark Brill, and Paul Christiansen.
Michael Accinno received his Ph.D. in Musicology in 2016. His dissertation, “Gestures of Inclusion: Blindness, Music, and Pedagogy in Nineteenth-Century Thought,” traces the development of music education at schools for the blind in New York City, Boston, and London. Accinno has presented papers at national meetings of the American Musicological Society, the Society for American Music, and the Society for Disability Studies. In 2016, his article on Civil War-era organ grinders was published in the Oxford Handbook of Disability Studies (Oxford University Press).
Hendel Almétus received a PhD in composition from UC Davis in 2012. He was born in Haiti where he began his musical training at the age of 12. He earned a bachelor’s in music composition from the Houston Baptist University and an master’s in composition from the Eastman School of Music.
An alumnus of the Juilliard School, William David Cooper has enjoyed a diverse career as composer, conductor, and keyboardist.His music has been championed by Augustin Hadelich, the Juilliard Orchestra, Trio 180, the JACK Quartet, and the Lysander Trio, and has been performed at the Radio France Festival and the Wellesley Composers Conference. He has recently been commissioned by Soli Deo Gloria, and is currently writing Hagar and Ishmael, a two-act opera, that will premiere with members of the Indianapolis Symphony Orchestra. In addition to positions on faculty at Purdue
David Dennen is currently a Ph.D. candidate in ethnomusicology at the University of California, Davis. He received his bachelor’s from the Evergreen State College in Olympia, WA, where he concentrated on ethnomusicology, cultural studies, and performance.
Anthony (Tony) Dumas is a Visiting Assistant Professor at the State University of New York, The College at Brockport where he teaches courses in both the Department of Theatre and Music Studies and the Delta College Program. Previously, Dr. Dumas has taught at UC Davis, Woodland Community College, St. Lawrence University, and SUNY Potsdam.
Chantal Frankenbach’s dissertation is titled “Disdain for Dance, Disdain for France: Choreophobia in German Music Criticism.” Frankenbach is the recipient of the Alvin H. Johnson AMS 50 Fellowship (2012), a Phi Beta Kappa Graduate Scholarship (2010), a Mabelle McLeod Lewis Grant in Aid of Scholarship (2009–10), a fellowship from the UC Davis Humanities Institute (2010), and a Graduate Research Award from the UC Davis Consortium for Women and Research (2009).She served as a UC Davis Chancellor’s Teaching Fellow in 2008–09.
With a growing diary of international guest engagements, Fawzi Haimor only recently completed his tenure as Resident Conductor of the Pittsburgh Symphony Orchestra, where he conducted a variety of concerts including classical, pops and outreach. While in Pittsburgh, he served as a cover to esteemed conductors including Manfred Honeck, Leonard Slatkin, Gianandrea Noseda, Rafael Frühbeck de Burgos and yan Pascal Tortelier.
Sarah Lappas received her Ph.D. in 2013 in Ethnomusicology with research interests in African American and African popular music, music and violence, multispatial criminalization, indexicality, and musico-racial signification.
David Möschler is an award-winning San Francisco Bay Area-based musical director and conductor. He has music-directed over one hundred musical theater, opera, and theater productions, and conducted over eightypieces for orchestra, including over two dozen first performances.
Conductor Garrett Rigsby is a graduate student at the University of California, Davis, where he works as a teaching assistant and is pursuing a master of arts degree in conducting. He currently studies conducting with Jeffrey Thomas,Christian Baldini, and D. Kern Holoman. This season, Rigsby will serve as assistant conductor of the UC Davis Symphony Orchestra, assistant conductor of the UC Davis University Chorus and Alumni Chorus, assistant director of the Davis Chorale, and conductor of the Davis Brass Ensemble. Previously, he was principal conductor of Pacific Arts Contemporary Ensembles (P.A.C.E), in which he conducted several world premieres. He continues to advocate for the performance of contemporary music.
The music of Garrett Ian Shatzer (b. 1980) has been performed by such musicians as the Mobius Trio, Erato and Finisterra Piano Trios, GRAMMY-award winning countertenor Ian Howell, EOS Duo, Lyris Quartet, Meridian Arts, Empyrean, Luna Nova and Citywater Ensembles, violinist Rolf Schulte, cellist David Russell, and pianist Geoffrey Burleson in such venues as the Kennedy Center (Washington, D.C.) and the Teatro Colón (Buenos Aires). His current commissions include a choral work to be premiered in St.
David Verbuč (from Slovenia) received his master’s degree in ethnomusicology at UC Davis (with distinction), and his bachelor’s degree in music education from the Academy of Music, University of Ljubljana, Slovenia (under the supervision of Svanibor Pettan, professor of ethnomusicology).
Ching-Yi Wang began her music training in piano at the age of five, and started taking composition lessons at the age of twelve and received bachelor and master of fine arts degrees in theory and composition from Taipei National University of the Arts in Taiwan (TNUA). One of her music compositions, Yu Lin Ling, was awarded the Tune in Taiwan, 2002. Wang has taught at Tainan National University of the Arts.
Her music can be found on the Taiwan Composer League’s Taiwan Contemporary Composers I: Chamber Music CD, released in 2007.
Beverly Wilcox is a Ph.D. candidate in musicology and criticism at UC Davis and Alvin H. Johnson AMS-50 fellow of the American Musicological Society. Her in-progress dissertation, “The Music Libraries of the Concert Spirituel: Canons, Repertoires, and Bricolage in Eighteenth-Century Paris” concerns concert entrepreneurs who amassed libraries of musical scores and parts and later leased them to their successors, and the effect these practices had on public concert repertoires.