Ph.D. Musicology, Boston University 1986Mellomfag (equivalent to M.A.), German Studies, Trondheim University, Norway 1974Staatsexamen für das Lehramt an Gymnasien (equivalent to M.A.), Music, Musikhochschule Detmold, West Germany 1971
Medieval, Renaissance History and Theory,
Historiography, Missionary Music in Africa
Busse Berger has published articles and books on notation,
mensuration and proportion signs, music and memory, mathematics
and music, historiography, and music in African mission stations.
It is indicative of the interdisciplinary nature of her work that
she has won major awards from scholarly societies representing
the three musicological disciplines: the American
Musicological Society, the Society for Music Theory, and the
Society for Ethnomusicology. Winner of the Alfred Einstein
Award from the American Musicological Society (AMS) for best
article by a young scholar, she has had fellowships at the
Harvard University Center for Italian Renaissance Studies, Villa
I Tatti, Florence (twice); the Guggenheim Foundation,
the NEH, the Stanford Humanities Center, the University of
Vienna, and the Institute of Advanced Studies
(Wissenschaftskolleg) in Berlin.
In her first book,
Mensuration and Proportion Signs she presents the first
fundamental study of time signatures in early music and their
relationship to other measuring systems of the period and
fifteenth-century arithmetic. Her book Medieval
Music and the Art of Memorywon the ASCAP Deems
Taylor Award and the Wallace Berry Award from the Society of
Music Theory for 2006, and has been translated into
Italian. Her article “Spreading the Gospel
of Singbewegung: An Ethnomusicologist
Missionary in Tanganyika of the 1930s” won both the Colin
Slim Award for best article by a senior scholar from
the AMS and the Bruno Nettl Prize from the Society for
Ethnomusicology in 2014. She co-edited (together with Jesse
Rodin) the Cambridge History of Fifteenth-Century Music (2015).
In 2015, Busse Berger gave the Faculty Research Lecture at
UC Davis, the Academic Senate’s highest honor. In addition,
the UC Davis Honors Teaching Award in 2019.
Robert Samson Bloch holds a master’s degree from the University
of Chicago and a le prix avec distinction from the Royal
Conservatory of Music, Brussels. A violinist and violist known
equally for his performance of early and contemporary music, he
is the recipient of the First Prize in the Young Artists Contest
of the Society of American Musicians, the Kranichsteiner
Musikpreis, and an Alfred Hertz Memorial Fellowship.
Jonathan Elkus was born in San Francisco and attended UC Berkeley
and Stanford. He taught largely at Lehigh University and from
1992 to 2002 served as lecturer and director of bands at UC
Davis. His visiting appointments include the North Carolina
School of the Arts and the Yale School of Music.
Andrew Frank (b. Los Angeles, 1946) studied composition with
Jacob Druckman at Bard College (B.A. 1968) and with George Crumb,
George Rochberg, and Richard Wernick at the University of
Pennsylvania (M.A. 1970). Since 1972, he has been a member of the
Department of Music at UC Davis, where he is professor emeritus
Albert John Joseph McNeil is a native Californian, born in Los
Angeles. He earned bachelor’s and master’s degrees at the
University of California, Los Angeles, and did doctoral studies
at the University of Southern California, the Westminster Choir
College of Princeton, and the University of Lausanne,
Switzerland. He was director of choral activities for 21
years and headed the music education program at UC Davis.
David Nutter studied music at the Conservatorio di Musica “Luigi
Cherubini” and musicology at the Villa Schifanoia Graduate School
of Fine Arts (Florence, Italy). He received his Ph.D. from the
University of Nottingham in 1977. A specialist in
16th-century Italian music, his research interests include
secular and sacred vocal music, and music for the lute.
Slawson’s compositions include works for various chamber
ensembles, chorus and orchestra. He is best known for his
theories about an aspect of timbre called “sound color” and his
compositions of computer music that apply those theories. His
programming system, SYNTAL, is an adaptation of a computer speech
synthesizer to music composition.