Composition Alumni

Described by VAN magazine as “a multifaceted Black Swiss composer, performer, and scholar,” Jessie Cox makes music about the universe and our future in it. 

Jason Eckardt, renowned as a champion of new music, credits hearing the music of Anton Webern for his conversion from a heavy metal guitarist to a composer. While at Berklee, he changed his major from guitar performance to composition, graduating cum laude in 1992. He later received a doctorate in composition from Columbia University.

Michael Gandolfi combines a deep understanding of classical music with an equally rich background in rock, blues, and jazz to create his stunning compositions. His distinctively contemporary music distills all of his experiences to produce works that have been performed and recorded by the Boston Symphony Orchestra, San Francisco Symphony, Tanglewood Music Center Orchestra, the Orpheus Chamber Orchestra, Nieuw Sinfonietta Amsterdam, and many more.

Felipe Lara, the Brazilian-American composer praised by the New York Times and others for his brilliant modern music, rates collaboration with other musicians the most important aspect of his work. In an interview for Berklee, he said he is fortunate to have worked with some of the most talented groups and musicians, adding: “I consider these projects my biggest accomplishments, as opposed to awards, press, and such non-musical artifacts.”

Eunike Tanzil is an Indonesian composer, producer, and pianist based in Los Angeles, California, with degrees from Berklee College of Music and The Juilliard School.

Great results sometimes come through serendipitous meetings. The success of contemporary composer Roberto Toscano might be traced to an introduction to late Berklee professor Vuk Kulenovic when Toscano was a Berklee student. After that, the young Brazilian changed his direction from guitar to composing, studying intensely with Kulenovic.

Ken Ueno ’94 takes the composer’s imagination a step further than most, crafting each commissioned composition to match the very essence of the artist who commissioned it. As he puts it, "I take into consideration the specific skills of the performers and analyze them using computer technology to develop structures, form, and sounds from the analysis. When I write for myself and orchestra, I do overtone singing and multiphonics, then analyze the frequencies and create an acoustic resynthesis of some of my sounds.”