Adam Shanley is currently in the fourth year of his doctoral studies at the University of Oregon in the music theory program with a secondary area in intermedia music technology. Adam has presented papers at the West Coast Conference of Music Theory and Analysis as well as the Nief-Norf Research Summit at Furman University and the Rocky Mountain Society for Music Theory. His research interests include experimental, atonal rock and electronic music as well as 12-tone and post-tonal composition. He has recently completed a paper that explores structural cohesion across the recorded output of the psychedelic pop band “of Montreal” for submission to the Journal of Popular Music Studies. Upon completion of his course work this year, Adam will begin work on his dissertation which will focus on Webern’s Op. 18 and its impact on the composer’s serial works.
Krista Abrahamson is a PhD student in Music Theory at the University of Oregon. She is in the beginning stages of the dissertation process, working on a project involving Functional Analysis. She has previously received an MM in Composition from UO and a BM in Music Theory from University of Nebraska Lincoln. Additionally, she enjoys playing cello in chamber ensembles and singing, as time allows.
Matthew Ferrandino is an MA student in Music Theory at the University of Oregon. He is currently working on his thesis, “What to Listen For In Zappa: Philosophy, Structure, and Allusion in Frank Zappa’s Works.” He has received a BM in composition from the Hartt School of Music and a MM in Music Composition from SUNY Fredonia. Other interests include practical approaches to microtonality and algorithmic processes in music.
Wing Lau is a PhD candidate in Music Theory at the University of Oregon. She is working on her dissertation that explores the expressive motivation of notated meter change in Brahms’s Lieder. She received a MM in Piano Performance from Indiana University. She has presented papers at the annual meetings of the Society for Music Theory, Music Theory Midwest, Pacific Northwest Chapter of American Musicological Society, and the West Coast Conference of Music Theory and Analysis. Her research interests include rhythm and meter, poetic declamation, and the relationship between performance styles and the canonization of western
music. Wing is also a harpsichordist of Oregon Bach Collegium, an ensemble specialized in historical performance practice.
Andrew Pokorny is an adjunct instructor in the music theory department at the University of Oregon, where he recently completed a PhD in music theory with a supporting area in jazz piano. Previously, he studied music theory and classical piano at the University of Minnesota and jazz piano at Webster University in St. Louis. His dissertation, titled “Chord-Specific Scalar Material in Classical Music: An Adaptation of Jazz Chord-Scale Theory,” explores the implications of a chord-scale perspective for classical repertoire and classical music theory, in which such perspectives are rarely considered. More generally, his research interests gravitate around chord and scale colors in all styles of tonal music (including jazz and popular styles), and in the future he hopes to blend this with his interests in musical meaning by exploring the meanings commonly associated with particular chords, scales, and scale degrees.
Joon Park is a PhD candidate in Music Theory at the University of Oregon. He is working on a dissertation on the genealogy of musical space from its birth in ancient Greek philosophy to Neo-Riemannian analysis. He received an MA in Music Theory Pedagogy from Eastman School of Music, and received a BM in music theory from the same institution. He is a harpsichordist and a co-director of Oregon Bach Collegium, an ensemble specialized in historical performance practice. In his spare time, he enjoys long-distance running and participating at various running events.
Sean Peterson is a PhD candidate in Musicology at The University of Oregon, and holds a Master’s degree in Jazz Studies from that institution. His research is focused on instrumental performance in hip-hop and jazz. Mr. Peterson plays bass in projects as various as contemporary jazz, historically-informed classical, bluegrass-meets-gypsy-jazz, R&B and afro-funk. He has performed with Taarka, Beta Collide, The Oregon Composers’ Big Band, The Harry James Orchestra, Oregon Bach Collegium, and Eleven Eyes. In December of 2013 he recorded an album of ten original compositions and arrangements with some of Oregon’s best jazz instrumentalists.
Publicity and Web Coordinator:
Meghan Naxer is a doctoral student in music theory at the University of Oregon. Her research interests include pedagogy, late-nineteenth-century music, the music of César Franck, rhythm and meter, and form. She has presented papers on some of these topics at regional, national, international, and interdisciplinary conferences and recently published “Beyond Part Writing: Modernizing the Curriculum” with coauthor David Kulma in Engaging Students in Music Pedagogy, Vol. 2. Meghan is also an active flutist and performs with the Asculta! woodwind quintet. She holds degrees from the University of Akron and Kent State University.
Mark Rockwood is a third-year PhD student and a Graduate Teaching Fellow in the music theory area at the University of Oregon. Research interests include order in music, aesthetic theory, and eighteenth- and nineteenth-century form. Also an active violinist, Mark has performed with the University of Oregon Symphony Orchestra, among other local ensembles. Mark earned a Master of Music in violin performance from the University of Oregon, and a Bachelor of Music with the same concentration from San Jose State University.
Bereniece Jones-Centeno has appeared as a solo performing artist and as a director with many ensembles including Eugene Opera, Cascadia Concert Opera, Chicago Opera Theater, Pegasus Players, The Astoria Music Festival, and The Goodman Theatre to name a few. She is the President of the board of directors for Eugene Opera and the Co-Founder and Artistic Director for Cascadia Concert Opera where she has developed education and engagement programs for learners of all ages and lifestyles. Her research interests include concepts of subject position, cross-culturalism, and feminism in the stage works of contemporary American composers. Currently, she is pursuing the PhD in Musicology along with Arts Administration at the University of Oregon.