Recipient of the Rome Prize from the American Academy in Rome
Recipient of the Radcliffe Institute of Advanced Study at Harvard Fellowship and of the Guggenheim Fellowship
Compositions performed by Pro Arte Quartet, Boston Modern Orchestra Project, New Millenium, Callithumpian Consort, and Firebird Ensemble
Recordings include The Grief That Does Not Speak (Centaur Records), Theater of the Ear (Centaur Records), "Such Stuff" with String Quartet 1 and "Babel Dreams" with String Quartet 2 (Centaur Records), and On That Day (Centaur Records), among others
Commissioned by the Koussevitzky Foundation, Fromm Foundation, a consortium of wind ensembles, New York State Council on the Arts, and Christine Schadeberg, among others
Residencies include MacDowell Colony, Yaddo, Copland House, and Djerassi Foundation in the U.S., and Bellagio (Rockefeller Foundation), Bogliasco, and Camargo Foundation internationally
Performances throughout the U.S., England, France, Italy, Sweden, Netherlands, Germany, Mexico, China, Singapore, and Israel
Instruments include cello and piano

Awards

Grants include those from Massachusetts, Pennsylvania, Meet the Composer, and the American Society of Composers, Authors, and Publishers, among others
Fellowships include Mellon Post-Doctoral Fellowship in Composition at New York University, the Bunting Fellowship, Ives Fellowship, Goddard Lieberson Fellowship, American Academy Award from American Academy of Arts and Letters

Education

School Name

University of California-Berkeley

State or Province

California

Degree

Doctor of Philosophy (PhD)

Field of Study

Music Theory and Composition

Date Degree Received

1983

In Their Own Words

"In teaching composition, I seek to guide aspiring composers as they work to realize their own compositional voice amid a barrage of musical voices. My teaching of composition is as varied as the students I've met. My role is to provide more than encouragement; it is to give them experience with various techniques and concepts because as artists they cannot predict what they will want to communicate. I hope to free them from the limitations of narrow experience. As educated composers they will be far more liberated to make the choices that help them discover and hone their own sensibilities."

"Teaching is a dynamic endeavor, as is creative work. I come to the classroom with energy because I am actively engaged in creating music; I, too, am responsible for my own motivation, discipline, and artistic quest, and can relate directly to the students' endeavors, both artistically and practically."