Tiffany Chang

Position
Associate Professor
Affiliated Departments
Telephone
617-747-6439

For media inquiries, please contact Media Relations

Taiwanese-American conductor Tiffany Chang has garnered recognition through two Solti Foundation U.S. Career Assistance Awards, the Opera America Grant for Women Stage Directors and Conductors, and the American Prize in Opera Conducting.

She’s worked at the Lyric Opera of Chicago, Washington National Opera, the Dallas Opera, Portland Opera, Minnesota Opera, Opera Columbus, BlueWater Chamber Orchestra, OperaHub, College Light Opera Company, and Fulton Summer Music Academy Orchestra, among others.

Chang optimizes work culture for job satisfaction, promotes psychological safety for musicians, and leverages people-first leadership for artistic excellence.

She authors the blog Conductor as CEO and has been an active guest speaker and published contributor for Routledge Press, Notes from the Podium, PM World Journal, Girls Who Conduct, Sound Mind, and the Canton Symphony Orchestra. She’s also been a participant of global leadership development cohorts, such as Forefront and the altMBA.

For the first decade of her career, Chang revolutionized orchestral programs as a conductor and professor at the Oberlin Conservatory, Berklee College of Music, Boston University, and the Baldwin Wallace Conservatory.

She holds a Doctor of Musical Arts degree in orchestral conducting from Boston University and several degrees from the Oberlin Conservatory in cello performance, music education, composition, and music theory.

Career Highlights
  • Conductor (opera) at the Lyric Opera of Chicago, Washington National Opera, Minnesota Opera, Portland Opera, and Opera Columbus
  • Conductor (orchestra) at BlueWater Chamber Orchestra, Brookline Symphony Orchestra, Dinosaur Annex New Music Ensemble, and ALEA III
  • Residency at the Dallas Opera Hart Institute
  • Director of orchestral programs at the Oberlin Conservatory, the Baldwin Wallace Conservatory, and Boston University
  • Contributor for Routledge Publishing, PM World Journal, Notes from the Podium, and Sound Mind
Awards
  • Solti Foundation U.S. Career Assistance Award
  • Opera America Grant for Women Stage Directors and Conductors
  • The American Prize in Opera Conducting
  • LIT International Talent Award
In Their Own Words

"In Conducting 1 and 2, one of my goals is to expose students to this facet of a well-rounded music education. We focus not only on the technical aspects of conducting but also on other aspects of musicianship, like how to decipher a score and how to work with a soloist. This contributes to the overall literacy and leadership skills of my students, whether they are jazz, contemporary, or classical musicians."

"Twice a semester I ask my students to observe a live rehearsal of any type of ensemble with a conductor. When they come back to class, they’re full of questions. They’ll ask, for example, 'We talked about doing it this way in class; why did the conductor do it that way?' It’s important for them to be able to critically evaluate themselves and others, so I also play videos of different conductors conducting the same piece and ask them to critique them as they would critique each other."

"I’ve been fortunate to have had many passionate music teachers in high school and college who inspired me to be involved in teaching music in some way. I began my undergraduate studies in music education and cello performance, then I got hooked on conducting after working with ensembles from my student teaching in the public schools and my work with collegiate, community, and professional orchestras."

"Curiosity about every aspect of music really helped me become a more thoughtful conductor, educator, and musician. So being exposed to as many professional and artistic skills as possible is something I work hard to communicate to my students. I encourage them to be open-minded about their activities as musicians and students, and I tell them not to be afraid to experiment with a project they’re not yet comfortable with. Every skill and concept in music is connected. When you absorb ideas like a sponge, that’s what makes that large web clearer and clearer. I want my students to leave my class feeling that they have become more well-rounded, better educated, more curious, and more interesting musicians."