Chicago 430 S. Michigan Ave.Chicago, IL 60605(312) 341-3500
Schaumburg 1400 N. Roosevelt Blvd.Schaumburg, IL 60173(847) 619-7300
Roosevelt University/CCPA offers minors in Music Theory and Music History for undergraduate students.
Linda Berna is the Associate Dean and Director of the Music Conservatory at Chicago College of Performing Arts, Roosevelt University, a position she has held since 2001, She is also a member of the Core Music Studies faculty and has taught a wide range of subjects from Freshman First Year Experience through advanced seminars for master's students. She earned degrees in Piano Performance from Roosevelt University, and the Ph.D. in Music Theory from Northwestern University; she specializes in text-music relationships in her research. Most recently, she presented a paper on disturbance and contradiction in Barber’s “Knoxville: Summer of 1915” at the Third International Conference on the Image in Poznan, Poland. Dr. Berna serves as an accreditation visiting team member, as well as a presenter and panelist, for the National Association of Schools of Music.
Linden Christ made her international debut as Gretel in Hänsel und Gretel with the Rome Opera Festival in 2005. She made her professional American debut in 2008 as First Lady in Mozart’s Die Zauberflöte with Cedar Rapids Opera Theatre. Christ performed the role of Ellen in Lakme with Union Avenue Opera in St. Louis and sang the role of Sandman and Dew Fairy in Hansel and Gretel in Wisconsin. Christ directed Amahl and the Night Visitors at North Park Covenant Church in February 2012. She played the role of Jane in Brigadoon at Music By the Lake, WI. She made her premiere with the Peoria Symphony Orchestra on Friday, September 23, 2011 at the Civic Center in “A Walk Down Broadway”. Christ was asked to return to the Civic Center on Valentine’s Day to sing with the Peoria Symphony Orchestra’s Romantic Gershwin Concert.
Christ is the artistic director of the opera outreach company, Chicago Opera Playhouse. The 2012-2013 season will present the mixed up musical Cinderhood, by Adam Busch and Knightly News by Jonathan Stinson. Christ is the Manager of Education and Outreach for Chicago Opera Theater, working with the After School Matter’s Chicago Opera Theater For Teens, and the elementary school program, Opera for All. www.lindenchrist.com
Henry Fogel was appointed Dean of the Chicago College of Performing Arts at Roosevelt University beginning in July, 2009, a school at which he has taught a course in orchestral studies since 2002. In addition, he continues to provide a limited amount of consulting for musical organizations, working as a part of the Catherine French Group. He has been an artistic consultant to the Sao Paulo Symphony Orchestra in Brazil since 2008, and in the summer of 2012 he was engaged for a consultancy at the Royal Scottish National Orchestra.
Mr. Fogel has had a long and varied career in music administration. From 2003-2008 he was President and CEO of the League of American Orchestras. He retired from that position in 2008, but remained as a senior advisor through 2009. During his seven years with the League, he visited over 190 orchestras in America. Under his leadership the League attained fiscal stability, fully paying off a $1.2 million accumulated deficit and operating in the black for each year of his Presidency. In addition, the League undertook a major strategic planning process, resulting in a more effective and responsive service organization for the field.
From 1985-2003, Mr. Fogel was President of the Chicago Symphony Orchestra. Under his leadership the Orchestra’s endowment increased from $19 million to over $160 million, and he oversaw the $125 million renovation of Orchestra Hall. In addition to maintaining its artistic supremacy, the Chicago Symphony during Mr. Fogel’s term dramatically strengthened its community engagement and educational programs. Fifteen of the eighteen years in which he served saw balanced budgets or surpluses, and during his time there attendance to classical subscription concerts increased by more than 20%.
From 1981-1985, Mr. Fogel was Executive Director of the National Symphony Orchestra of Washington, D.C., and from 1978-1981 he was Orchestra Manager of the New York Philharmonic. From 1963-1978, he was Program Director and Vice-President of WONO, a full-time classical music commercial radio station in Syracuse, New York.
He has received honorary doctorate degrees from Roosevelt University, Northwestern University, the Curtis Institute, and Columbia College in Chicago. In 1999 Mr. Fogel received a Cultural Leadership Citation from Yale University for service to the cultural life of the nation. In 2003 he was named an Illinois Arts Legend by the Illinois Arts Alliance. In June, 2009, he received the highest honor in the symphony orchestra field, the League of American Orchestras’ Gold Baton Award. In 1997 he received the Top Chicagoan Award from Chicago Magazine, and in 1990 was named by Business Week magazine as one of the five best managers of cultural organizations in the United States. He has also received the Dushkin Award for his service to music by the Music Institute in Chicago. In 2007 he was cited for “outstanding contributions to and accomplishments in the field of Music Education” by the National Association for Music Education. In 1986, the Chicago Chapter of the Brandeis University National Women’s Committee established a Collector’s File in his name in the Brandeis University Library.
Mr. Fogel has served on non-profit boards virtually without interruption since 1967, when he was elected to the Board of Directors of the Syracuse Symphony Orchestra. Boards on which he currently serves include, the Executive Committee of the Avery Fisher Artist Program, the Institute for the Study of Black Music at Columbia College, the Chicago Opera Theater, and the WFMT Committee of the WTTW Board in Chicago, and the Chinese Fine Arts Society. He urrently chairs the Board of the Chicago Classical Music Recording Foundation.
Mr. Fogel has also served as a consultant to many orchestras, on labor, governance, and artistic issues, as well as on strategic planning. He has been a reviewer of recordings for Fanfare magazine since 1986. He has contributed several entries to the book Contemporary Composers, and to The Harvard Dictionary of Music. He has been a judge for conducting competitions in New York, Tokyo, Helsinki, and Sofia, Bulgaria, and has served on arts council review panels in New York, Ohio, Missouri, Illinois, and Ottawa, as well as for the National Endowment of the Arts. In November, 2009, he was the President of the Jury for the Music Competition of the Montreal Symphony Orchestra.
Mr. Fogel has also served as a narrator with a number of orchestras, performing Copland’s Lincoln Portrait, Britten’s Young Person’s Guide to the Orchestra, and many other works. He has recorded a speaking part in Paul Salerni and Dana Gioia’s opera Tony Caruso’s Last Broadcast released on the Naxos label. He has also produced internationally syndicated radio programs for Chicago’s Fine Arts Station WFMT, including currently Collectors’ Corner, which is derived from his extensive personal collection of over 20,000 classical recordings. He has also been a regular panelist on the Metropolitan Opera Broadcast Quiz.
Mr. Fogel lives in River Forest, Illinois with his wife Frances. They have two children, Karl and Holly, and five grandchildren. In addition to music, he also has a passion for cooking Chinese food, and he studied over three years with Virginia Lee, who wrote the New York Times Chinese Cookbook.
BM, Music Theory and Composition, Nicholls State University, 1983; MM, Composition, University of Texas at Austin, 1986; DMA, Composition, University of Texas at Austin, 1997. In 1989, he studied composition at the University of Wales, College of Cardiff on a Rotary International Fellowship. His composition teachers include Donald Grantham, Eugene Kurtz, Richard Elfyn Jones, Anthony Powers, Alun Hoddinott and Sir Michael Tippett.
Dr. Folse's principal research activity involves the integration of popular and world musics into musicianship pedagogy. He is published in the Journal of Music Theory Pedagogy and Oxford University Press' Analytical Studies in World Music and has presented papers at national and regional conferences of the College Music Society. His compositions have been performed throughout the United States and Great Britain and have premiered at the University of Texas at Austin, The University of Michigan, Ann Arbor, the British Music Information Center in London and New York City's Carnegie Hall. His music has attained recognition from the Ithaca College Choral Composition Competition, the Uroboros Ensemble and The University of Texas New Music Ensemble and University Chorus. To date, his works have been published by Neil A. Kjos Music Company, Tuba-Euphonium Press and Brazinmusikanta Publications.
William Hussey received a Bachelor of Music in Music Composition from Louisiana State University, a Master of Music in Music Theory from the University of Texas at Austin, and a Doctor of Philosophy in Music Theory from University of Texas at Austin. He specializes in interdisciplinary and intertextual studies in music, particularly in the works of Johannes Brahms. Dr. Hussey has presented papers at the South Central Society for Music Theory, Music Theory Midwest, and at the Texas Society for Music Theory where he received the Herbert L. Colvin Award for scholarly excellence.
While completing his doctorate at the University of Texas, Dr. Hussey was awarded a Texas Excellence in Teaching Award for teaching assistants and assistant instructors. He has authored several computer applications for music theory pedagogy, and is currently converting Douglass M. Green's counterpoint text, Harmony Through Counterpoint, into a computer application on CD-ROM.
Yeeseon Kwon brings with her expertise and scholarship in piano pedagogy as a teacher and performer. Her published research on strength-based teaching in piano pedagogy demonstrates how to implement best learning and teaching strategies for students and teachers. Formerly as Associate Professor of Music, Dr. Kwon taught piano and piano pedagogy at Greenville College, Ithaca College, and Northwestern University, among others.
Author and formerly Associate Editor for Clavier Magazine, Dr. Kwon has written new music reviews for Clavier Companion as well as published numerous articles and books in the area of piano pedagogy, including Written For You Collections, Books 1-4 with Teaching and Practice Guides (F.J.H). She is active nationally as an adjudicator, workshop clinician, and featured conference presenter.
As a performing artist, Dr. Kwon has been featured in international solo and collaborative performances in the United States and Russia. She received her Doctor of Musical Arts degree in piano performance and pedagogy from the University of Oklahoma as well as M.M. and B.M. degrees from Northwestern University.
Rudy Marcozzi teaches music theory, aural skills and music history at The Music Conservatory.
He holds a B.M. in Music Education from the University of Dayton, a M.M. in Piano Performance from Kansas State University, and a doctoral degree in music theory from the Indiana University School of Music. While at Indiana, Dr. Marcozzi received two teaching fellowships and Indiana's prestigious Lieber Award in recognition of distinguished teaching. His principal research activity includes musicianship pedagogy and structural tonal relationships in late Verdi operas.
He is past editor of the Indiana Theory Review and is a reviewer for Pastoral Music. His publications include a textbook, Strategies and Patterns for Aural Training.
Scott Mason is a native Chicagoan. He began his musical studies on piano, then switched to double bass while in high school. After graduating from Grinnel College in 1975, he pursued his original ambition of becoming an orchestral bassist, playing with the Civic Orchestra of Chicago and studying with Chicago Symphony Orchestra principal Joseph Guastefeste. However, a strong interest in improvised music led him to lessons with the great bassist Rufus Reid, and in 1979 Mr. Mason switched his focus to jazz and commercial fields. Since then he has freelanced extensively in Chicago, playing with jazz artists such as Bunky Green, Joe Daley, Guy Fricano and Marshall Vente. He has recorded several albums with Vente's Project Nine, and also on Fricano's release Jazz Inside Out. He has also played on numerous radio and TV spots.
In the commercial field, Mr. Mason has backed such diverse acts as Bob Hope, Carol Lawrence, The Fifth Dimension, Mary Wells, and The Lettermen. He was a finalist in the jazz division in the International Society of Bassists' Competition. He has been on the faculty of The Music Conservatory since 1984.
Teddy Niedermaier, educator, composer and pianist, previously taught music theory at the Oberlin College Conservatory of Music, and has served on the faculty at the European American Musical Alliance summer program since 2006. Teddy completed a Doctor of Music degree in Music Composition in 2010 from Indiana University, where he studied with Claude Baker and David Dzubay. He earned two degrees in Music Composition (Master of Music and Bachelor of Music) from The Juilliard School as a student of John Corigliano, Samuel Adler, and Robert Beaser.Teddy has received commissions from the Indiana University New Music Ensemble, Minnesota Youth Symphonies, Hidden Valley Music Seminars, the New Juilliard Ensemble, the Minnesota Symphonic Winds, and the Philomusica Chamber Orchestra of Minneapolis. His compositions have been performed throughout the United States and in France, Kosovo, South Korea, Argentina, and Japan. Honors include the 2009 Dean’s Prize in Composition from Indiana University and two national awards from the National Federation of Music Clubs in 2007. In 2011 he was nominated for an annual award from the American Academy of Arts and Letters. As composer and pianist, Teddy has collaborated with such established artists as Thomas Stacy (New York Philharmonic), Robert Walters (Cleveland Orchestra), Elaine Douvas (Metropolitan Opera Orchestra), Linda Strommen (Indiana University), Roger Roe (Indianapolis Symphony), April Clayton (Brigham Young University), and Nicholas Stovall (National Symphony). More information can be found at www.teddyniedermaier.com
Gregory Reish, Associate Professor of Music History and Head of Core Music Studies, teaches courses in music history, literature, and analysis. Previous faculty appointments have been at the University of Georgia, the State University of New York-College at Buffalo, and the University of Hawaii at Hilo. Dr. Reish holds the B.M. in jazz guitar from the University of Miami, and the M.A. and Ph.D. in musicology from the University of Georgia. In 1996–97 he received a Fulbright grant to conduct research in Italy for his dissertation on the twentieth-century Italian composer Giacinto Scelsi. He has published and presented articles regionally, nationally, and internationally on the music of Scelsi, Xenakis, and Bruckner.
Dr. Reish is also an active scholar and performer of bluegrass and old-time country music. As a singer, storyteller and multi-instrumentalist (guitar, banjo, mandolin, fiddle, and dulcimer) he has performed across much of the United States and in 2007 did a solo tour of Japan. His scholarship in the area of traditional American music focuses on early American vernacular guitar styles. www.oldtimestrings.com
Colin Roust, Assistant Professor of Music History, teaches courses in music history, literature, and analysis. He previously taught at the Oberlin College Conservatory of Music and holds the B.Mus. in euphonium performance and music history from the University of Missouri and the Ph.D. in musicology from the University of Michigan. Dr. Roust is active in the area of music history pedagogy, serving as a Fellow of Roosevelt's Center for Teaching and Learning, a presenter at the annual Teaching Music History Day conference, and as a member of both the American Musicological Society's Committee on Career-Related Issues and Pedagogy Study Group.
His research focuses primarily on the French composer Georges Auric, and revolves around issues of music and politics, and the relationship of music and other arts in multimedia works. He is a co-editor of the Routledge Film Music Sourcebook and his research has appeared in such journals as Ars Lyrica, The Musical Quarterly, and twentieth-century music. He has presented his research at national and international meetings of the American Musicological Society, College Music Society, Royal Musical Association (UK), and Society for American Music, in addition to the American Comparative Literature Association, Society for Cinema and Media Studies, and Society for French Studies (UK).
Dr. Roust’s current projects include a monograph titled Georges Auric and the Internationalization of Film Music, an edited translation of William Ritter's Etudes d'Art Etranger (with Salvatore Calomino), and a study of music making by women in the French Resistance during World War II.
David Schrader is a performer of wide ranging interests and accomplishments who is equally at home in front of a harpsichord, organ, piano, or fortepiano, Mr. Schrader has been invited to perform at the American Guild of Organists' national convention on three occasions, performing as a featured artist with the Dallas Symphony Orchestra (1994), the San Francisco Symphony Orchestra (1984), and the Colorado Symphony Orchestra (1998). Mr. Schrader has appeared as a soloist on organ and on harpsichord with the Chicago Symphony Orchestra, performing under the direction of Sir Georg Solti, Daniel Barenboim, and Pierre Boulez. He has also appeared with the Grant Park Symphony under Carlos Kalmar, and with many other orchestras throughout the United States and Canada.
Mr. Schrader has appeared at the Brooklyn Academy of Music as the repetiteur and principal harpsichordist in Chicago Opera Theater's highly acclaimed production of "Orfeo" under Jane Glover. He has appeared at numerous music festivals throughout the United States and Europe. At the prestigious Irving Gilmore Keyboard Festival, he was the featured performer performing five separate concerts, performing on organ, harpsichord and clavichord. He performed as the Artist of the Year at the Oulunsalo Soi Music Festival in Oulu, Finland. In 2000 he was the harpsichord soloist with the Nagaokakyo Chamber Ensemble in a tour of Japan under Yuko Mori and the Canadian baroque orchestra Tafelmusik in a European tour. He has also performed at the Aspen Music Festival, the Michigan Mozartfest with Roger Norrington, the Connecticut Early Music Festival, the Manitou Music Festival, and the Woodstock Mozart Festival where he performed as soloist and conductor.
A resident of Chicago, Mr. Schrader leads an active musical life at home. He performs with Music of the Baroque, the Newberry Consort, and Bach Week in Evanston. Mr. Schrader has appeared with Chicago Chamber Musicians, Contemporary Chamber Players, Chicago Baroque Ensemble, The City Musick, and as a soloist at the Ravinia Festival. He is a frequent guest on WFMT radio (Chicago) on recordings and in live broadcasts as part of WFMT's "Live From Studio One" programming.
Mr. Schrader's newest recording with Grant Park Symphony of music for organ and orchestra by American composers is the first recording of the Casavant Frères organ in Chicago's Symphony Center. Mr. Schrader's other recordings include concerti of J. S. Bach with the Stuttgart Chamber Orchestra, and continue with the Chicago Symphony Orchestra for both recordings of Sir Georg Solti's "Creation", and the "St. Matthew Passion" and "Messiah". Mr. Schrader has many releases of solo repertoire on the Cedille label, and has also recorded for the Centaur and CRI labels.
Mr. Schrader has been on the CCPA faculty since 1986, where he teaches both graduate and undergraduate courses. He has also taught at the Music Institute of Chicago and directed the Collegium Musicum at Northwestern University from 1993 - 1995. For 20 years, he has been the organist of the Church of the Ascension, whose liturgies command a national reputation for musical integrity.
Mr. Schrader received a Doctor of Music degree in organ from Indiana University as well as the coveted Performer's Certificate. He received a Bachelor of Music in piano and a Bachelor of Music in organ from the University of Colorado.
Stephen Squires is Professor of Conducting in the Music Conservatory at Chicago College of Performing Arts, Roosevelt University. At CCPA, Mr. Squires conducts the Wind Ensemble. As a professional conductor, Mr. Squires has worked with many exceptional artists, including Janos Starker, Pinchas Zukerman, Shmuel Ashkenasi, John Browning, Leon Bates, Ani Kavafian, Wendy Warner, James Tocco, Richard Stoltzman, and most of the principal players of the Chicago Symphony Orchestra and Lyric Opera Orchestra.
Mr. Squires received his musical training at the Preparatory School of the Eastman School of Music and the Crane School of Music, in his home state of New York. He earned his Master's degree in Instrumental Conducting/Trumpet Performance at California State University, Northridge. He continued conducting study in seminars with Helmuth Rilling, Maurice Abravanel, Daniel Lewis, Tsung Yeh, and the Aspen School.
A conductor active in orchestral, wind, operatic and ballet music, Mr. Squires' current professional appointments include Associate Conductor of the Elgin Symphony Orchestra, Music Director of the Mendelssohn Chamber Orchestra (Rockford, IL), Principal Guest Conductor of the Millar Brass (Evanston, IL), and Conductor of the Salt Creek Ballet Orchestra (Hinsdale, IL). He recently made his debut conducting the Syracuse Symphony. He is the former Music Director of the Illinois Chamber Symphony. In addition, Mr. Squires is an accomplished recital accompanist and freelance trumpeter. He joined the faculty of CCPA in 2001.