Jeffrey Kresky is a music theorist, composer, conductor and keyboardist. As theorist he is the author of books and journal essays mostly in the areas of criticism and analysis. His keyboard performances are mostly in contemporary music, and his conducting specializes in the works of Gilbert and Sullivan. He holds a Ph.D. from Princeton University, and at William Paterson he chairs the music theory area and directs the Program in Music Honors.
Samantha Bassler obtained a Bachelor of Sacred Music degree from Nyack College and a Master of Studies in Musicology from the University of Oxford (UK). The title of her master's dissertation at Oxford was "Messiaen, Modernism and an Idea of the Sacred," in which she inspected traditional and avant-garde compositional procedures in the "sacred" music of Olivier Messiaen. Samantha is currently pursuing a Ph.D. in Musicology; her two primary research areas are music and politics in the English Reformation (1550-1600) and the reception history of William Byrd's Latin-texted motets in 19th- and 20th-century Britain.
André Brégégère received a BA in Jazz Composition from the Berklee College of Music, an MA in Composition from Queens College, and a PhD in Composition from the City University of New York Graduate Center. His recent and ongoing scholarly work includes “L’Apothéose de Rameau: A Study of Henri Pousseur’s ‘Network Technique’” (SMT St-Louis, 2015), and “The Serial Concept in Pousseur’s Votre Faust” (Oxford Handbook of Faustian Music, OUP, forthcoming). In recent years, his music has been performed in major venues including Carnegie/Weill Hall and Symphony Space; by leading ensembles including Cygnus, Second Instrumental Unit, MIVOS Quartet, Cadillac Moon Ensemble, Transit, and VocalEssence; broadcast on WQXR, WNYC, and WPRB; and released on the label New Dynamic Records. As a founding member and co-director of Dr. Faustus (www.drfaustus.org), he is an active advocate for new music, overseeing the commission and performance of more than twenty works by emerging composers since 2008. – www.abregegere.com
Darren Gage is a composer, arranger, percussionist, theatre director and arts educator. He holds a PhD in Music Theory and Composition from Rutgers University, where he studied with Charles Wuorinen. Dr. Gage and his wife, Kimberly Burja, co-founded the New Jersey Arts Collective in 2001 ( njartscollective.org ). He currently serves as the group’s Artistic Director, as well as Director of NJAC’s New Music ensemble, Ionisation. His compositions have been performed by ensembles that include Helix (New Brunswick, NJ), the Society of Chromatic Art (NYC), the Interlochen Faculty Chamber Ensemble (Interlochen, MI), and the faculty at American Dance Festival (Durham, NC). Dr. Gage is also Director of North Jersey Summer Theatre Workshop and Collective Youth Theatre Company. He won the 1998 Paper Mill Rising Star for Music Direction, the 2002 Paper Mill Educational Impact Award, and the 2007 Drew University President’s Award for Mentorship. Dr. Gage is also on the music faculty of Rutgers University in New Brunswick, NJ.
Ryan Howard is currently active as a composer, scholar, and educator in the New York metropolitan area. His music has been performed by acclaimed soloists and ensembles in the United States and Europe including Cygnus Ensemble, the Mivos Quartet, percussionist Gwendolyn Burgett, organist Gerd Rosinsky, duo JustMusic, and the Vigil Ensemble, and in recent years he has presented scholarly papers on the music of American composer Morton Feldman at music theory conferences in the United States. He holds degrees from the Graduate Center of the City University of New York (Ph.D), Yale University (M.M., M.M.A.) and Indiana University (B.M.), and currently serves as an instructor of music at William Paterson University and Montclair State University. www.ryanhowardmusic.com
John Link has composed for diverse media including orchestra, chamber and jazz ensembles, rock bands, and electroacoustic instruments. He has received commissions from guitarist Daniel Lippel, cellist Caroline Stinson, the Athabasca String Trio, the New Jersey Arts Collective (the 2006 Ionisation Commission for pianist Anthony de Mare), Flexible Music, clarinetist Marianne Gythfeldt, the Lincoln Friends of Chamber Music (for the Ames Piano Quartet), The High Mountain Symphony, and the Composers Guild of New Jersey. He was an invited guest composer at the 29th Annual New Music Festival at Bowling Green State University in 2008, and has received awards from the Centre Acanthes, ASCAP, and Meet the Composer. Dr. Link is a founding member of the composers group Friends & Enemies of New Music, which presents an annual series of new music concerts in New York City. His music is recorded on the New Focus Recordings, Bridge Records, and 60x60 labels. Link is also the author of Elliott Carter: A Guide to Research (Garland, 2000), co-editor with Nicholas Hopkins of Elliott Carter's Harmony Book (Carl Fischer, 2002), co-editor with Marguerite Boland of Elliott Carter Studies (Cambridge University Press, 2012), and is currently working on a book about Carter’s late music. www.johnlinkmusic.com.
Karen Mandelbaum received a BA in Music Performance from the Mannes College, an MA in Music Theory from Queens College, and a PhD in Music Theory from the City University of New York Graduate Center. Her specialty is music analysis with an emphasis on historical context. She was a recipient of a Teaching Fellowship at Hunter College where she taught Music History and Music Theory. She has been on the faculty of Montclair State University and The Mannes College Preparatory Division. Her primary theory and analysis studies were with Carl Schachter, Ernst Oster, and William Rothstein. While a student at Mannes, she studied chamber music with Murray Perahia and following the awarding of her BA, studied piano with Nadia Reisenberg.
Anton Vishio teaches music theory, ear training, and composition. He received a PhD in music theory from Harvard University where he studied theory with David Lewin and composition with Donald Martino. Before returning to William Paterson in 2014, he was a member of the music faculties of McGill University, the University at Buffalo, Vassar College, and New York University-Steinhardt. He is an advisor for the B.A. program in Musical Studies, and a member of the board of the Gandhian Forum.
Vishio's main area of research is in the analysis of late 20th-century music. In 2016, he presented a paper on connections between late music of Morton Feldman and Milton Babbitt at a special session in honor of Babbitt's centennial at the annual meeting of the Society for Music Theory in Vancouver, and a paper at a conference on the late music of Luigi Nono at Tufts University. He is writing an essay on Priaulx Rainier's Quanta, to appear in Volume 2 of Analytical Essays on Music by Women Composers, edited by Laurel Parsons and Brenda Ravenscroft (Oxford University Press). He has previously given talks on music by Iannis Xenakis and Olivier Messiaen.
Vishio works on the analysis of film music and presented a paper at the NYU Conference on Music and the Moving Image on the Czech composer Zdenek Liška's music for the films of Jan Švankmajer. He also analyzes non-Western music, and presented a paper on tiger-taming music of Western Sumatra at the Fourth International Conference on Analytical Approaches to World Music at New School University in 2016. Upcoming presentations include a contribution to a symposium on singer/songwriter Leonard Cohen organized by the Society of Fellows at Columbia University, and a paper on temporal structures in the music of Jo Kondo to be given at the Congress of the International Musicological Society in Tokyo in 2017.
Vishio is also a composer and pianist; his work, "In Which Lenz is Calmed in the Presence of Oberlin", composed for Payton MacDonald's Sonic Divide Project, was premiered last summer, and a work for violin solo was recently premiered by Benjamin Kreith. As a pianist, he played for many years in the Neidhöfer-Vishio piano duo, which was awarded a Kranichstein Musikpreis at the Darmstadt Ferienkurse in 1994; the duo performed works by Babbitt, Ferneyhough, Tcherepnin, Stadelman, and Milhaud, among others. He has also performed with percussionist Peter Jarvis and music of Schnabel and Kondo with the new music group Musical Observations.
David Weisberg is an Associate Professor of Music at William Paterson University. His primary areas of interest include self-similarity in music, the treatment of form and compositional techniques involved in the works of modernist composers, and voice-leading in jazz. He completed his Ph.D. at Rutgers University in 2001, where he studied composition with Charles Wuorinen, and jazz piano with Kenny Barron. He also performs as a freelance pianist in the New York-Metropolitan Area with groups such as the New Jersey Percussion Ensemble and the New Jersey Pops. He has presented papers and has had his compositions performed both in the U.S. and abroad. He currently serves on the executive board of the Music Theory Society of the Mid-Atlantic.
* full-time faculty