Amy C. Beal
20th-century music and American music. History of American experimental music, in particular its relationship to patronage and support provided by the West German new music community (including radio stations and new music festivals) between 1945 and 1990. Teaching interests include historical surveys, experimentalism, performance practice, composers' lives, John Cage, twentieth-century American opera, and "world" musics. Active as a pianist and as a participant in gamelan ensembles. Performance and reception of contemporary music; ensembles that include both musicians and non-musicians for the realization of indeterminate compositions.
 
 Linda Burman-Hall
Linda Burman-Hall's research centers on performance practices and improvisation in selected Western and non-Western musics. She is active not only as a musicologist-performer specializing in Baroque and classical literature for early keyboards, but also as an ethnomusicologist of Euro-American and Indonesian traditional musics. She is interested in relating regional styles and fashions in music to their cultural context and in describing and performing appropriate realizations of musical materials.
 
Benjamin Carson
Ben Carson's work as a composer is supported by a variety of research, including work in music perception, computation, philosophy of science, and gender theory. His graduate work was conducted at the University of Washington and at the University of California at San Diego. Carson is recognized for excellence in research and teaching, and won first prize in composition (2001) from the British and International Bass Society. His music has been performed throughout the U.S., at numerous international festivals, including Aspen and Buffalo, the Sydney Conservatory's Music and Social Justice conference, and at the New England Conservatory's Summer Institute for the Contemporary Piano. A series of essays addressing Carson's piano music is published in Issue 5 of the Open Space magazine.
Carson has collaborated in projects at the Institute de Recherche et de Coordination Acoustique/Musique in Paris, and at the Neurosciences Institute in La Jolla, and he has lectured in the series Perception et Cognition Auditives (Paris Université VI), and at other international colloquia in cultural studies, psychoacoustics, and music theory. Carson's writing also appears in ECHO, the Journal of New Music Research, the Institute for Advanced Feminist Studies' Shock and Awe: War on Words, and in theAmerican Journal of Psychology.

David Evan Jones 
David Evan Jones is a composer/theorist with diverse interests and publications in chamber music, chamber opera, computer music, and computer-assisted composition. Some of his theoretical and compositional work focuses on structural relationships between phonetics and music. Jones has worked extensively in computer music, composing in residence at the Elektronmusikstudion (EMS) in Stockholm, at L'Institut de Recherche et de Cooordination Acoustique/Musique (IRCAM) in Paris, and at Bregman Electronic Music Studio at Dartmouth College.
 
Karlton Hester
Composer/performer Karlton Hester's work is often ecumenical and interdisciplinary. He integrates Global African music with various elements of music from other regions of the world in premeditated and spontaneous compositions, electro-acoustic composition, and other interdisciplinary collaboration projects. Hester's work on African polyrhythm and dissertation on the music of John Coltrane (with analytic focus on the music of Coltrane's late period) serve as the basis for a freedom of expression that defines his musical approach.
 
Hi Kyung Kim
Hi Kyung Kim is a composer whose music often integrates Non-Western with Western music. As a Fulbright scholar she conducted research on Korean traditional music at the National Center for Korean Traditional Performing Arts and at Seoul National University in Korea. She was a stagiare (composer-in-residence) at L'Institute de Rechérche et de Coordination Acoustique/Musique (IRCAM), and studied 20th Century Music and Musicology at École Normale Supérieure and IRCAM during her residency in 1988-90 in Paris on a George C. Ladd Prix de Paris from the University of California, Berkeley. She has also researched Elliott Carter's music at the Paul Sacher Foundation in Basel, Switzerland. She is the artistic director of the Pacific Rim Music Festival, which was founded in 1996 and has been presented periodically. The next festival is planned for 2010. She also directed the Festival for Korean Gayageum and Western Instruments in 2007 that included eleven events in California and in Seoul.  Her commissioned works include a piece for chamber ensemble for the special project Hun Qiao (Bridge of Souls) "Commemorating World War II" written for the Chamber Music Society of Minnesota and Yo-Yo Ma, a work for the Alexander String Quartet, a piece for voice and chamber ensemble commissioned by the Koussevitzky foundation and the Chamber Music Society of Minnesota and a piece for choir and chamber orchestra commissioned by the Fromm Foundation and BluePrint Festival. Her current project includes a multi-disciplinary and multi-cultural project, Rituel Suite which is the conclusion to her previous works Rituels I, II, and III that received successful performances between 2001 and 2005 at international venues.>
 
Anatole Leikin
Anatole Leikin specializes in Classical and Romantic performance practice, music history, and theory, and piano performance. His recent and present projects cover a variety of topics: structural and hermeneutic analysis, early tonality, Romantic performance practice, Chopin, Scriabin, Granados, and Shostakovich.
 
Fredric Lieberman
In recent years, Fredric Lieberman’s research has focused on the music industry and copyright law and on organology, particularly with regard to taxonomic methods and systematic description. Geographic areas of interest include China, Japan, Korea, Tibet, South India, and American vernacular musics from Tin Pan Alley through contemporary rock.
 
Leta Miller 
Leta Miller is a musicologist and flutist with publications in renaissance, baroque, and 20th-century American music. Prior to 1998 she published books, articles, and critical editions on the 16th-century chanson and madrigal, the relation of music and science in the baroque, and the music of C.P.E. Bach. Miller's recent research has resulted in two books on composer Lou Harrison, a critical edition of his chamber music, and more than a dozen articles on Harrison, John Cage, Henry Cowell, and Charles Ives. She is currently working on a book on San Francisco's musical life from 1906 to 1945. Miller has been featured as flute soloist on nearly 20 compact discs, and has received grants from the National Endowment for the Arts, the National Endowment for the Humanities, and the Copland Fund.

 
Paul Nauert
Paul Nauert is a music theorist and composer whose areas of interest include rhythm and meter, music cognition, and mathematical and computer models of compositional resources and procedures. His recent work stems from a view of music as "time organized by sound." Current projects include an essay on harmonic progression in posttonal music, a book (with the working title Rhythms and Algorithms) on computer-based strategies for generating and coordinating musical rhythms, and software tools to support both the harmony and the rhythm projects.  As a composer, Nauert has concentrated in recent years on chamber music, including a piano trio commissioned by the Peabody Trio and a solo piece composed for the guitarist David Tanenbaum. The pianist Marilyn Nonken recently toured the U.S. with a program including NauertÕs A Collection of Caprices, which she will perform again at the Resonances Festival in Paris in Fall 2003.
 
Dard Neuman
Dard Neuman is Assistant Professor of Music and Hasan Endowed Chair in Classical Indian Music at the University of California, Santa Cruz.  He got his Ph.D. in Anthropology from Colmubia University in 2004.  He has studied the sitar for thirty-two years.  His research interests concern the musical cultivation, transmission and performance of Hindustani music in twentieth century North India.
 
Nicole Paiement
Nicole Paiement’s activities as orchestral and choral conductor have permitted her to develop a strong approach toward score study and musical performance. She greatly values the concept of historically guided performance to gain insight into the composer’s musical score.  In addition to her ongoing work at UCSC, she is also the artistic director of the New Music Ensemble at the San Francisco Conservatory of Music and of Parallèle Ensemble, a professional ensemble dedicated to the recording of new music and of obscure music from all periods. Paiement is also an active guest conductor.
Recording is one of Paiement’s major activities. Her work in this medium ranges from the music of the Renaissance to that of living composers. Most of her numerous recordings focus on world premiere recordings.  Her strong interest in French music of the 20th century has led her to in-depth study and to premiere performances of music by composer Germaine Tailleferre. Paiement has completed a recording and catalog of the works of Henri Collet. Her interest in interdisciplinary performance has culminated in several staged works at UCSC.
Through her experience in teaching conducting, Paiement has developed an approach that concentrates on clear and expressive baton technique combined with effective score study and rehearsal technique.
 
Nina Treadwell
Plucked-string instruments of the Renaissance and early Baroque periods, gender studies.  Social and political implications of women's musical performance on the sixteenth-century Italian stage, with performance practice issues bearing on questions of musical meaning.  Dr. Treadwell is currently working on two book projects. The first, tentatively titled "Bad Girls" and Vidding: Musicking and the Dynamics of Relational Embodiment draws together phenomenological, feminist, and musicological perspectives to develop a theory of practice-based "relational embodiment" in new media, focusing on online communities devoted to the British women's prison series Bad Girls.  Treadwell demonstrates how multisensory musical meaning figures into expressions of lesbian desire through fan-created music videos that promote productive, process-oriented virtual spaces. Her second project, Women, Music, and Performance in Sixteenth-Century Italy, is a collection of case studies examining women's performance and patronage particularly with respect to questions of gender and class.
 
Tanya Merchant
Tanya Merchant is an ethnomusicologist whose research interests include music’s intersection with issues of nationalism, gender, identity, and the post-colonial situation. With a geographical focus on Central Asia and the former Soviet Union, she has conducted fieldwork in Uzbekistan, Tajikistan, and Russia. She is an avid performer on both the Uzbek dutar and the baroque bassoon, and has given concerts with ensembles in the U.S., England, and Uzbekistan. Her recent publications include articles on Uzbek popular, folk, and traditional musics, which appear in journals such asCahiers de Musiques Traditionnelles, and Image and Narrative. 
 
 
Emeriti
David Cope 
David Cope is a composer, author, and Professor Emeritus. His books "Computers And Musical Style" (1991), and "Experiments In Musical Intelligence" (1996) are both available from A-R Editions, "Techniques Of The Contemporary Composer" (1997) is available from Schirmer Books, "New Directions In Music (7th Edition)" (2000) is available from Waveland Press, "The Algorithmic Composer" (2000) is available from A-R Editions, "Virtual Music" (2001), and "Computer Models Of Musical Creativity" (2005) are both available from MIT Press. His music, listed on his Website at http://arts.ucsc.edu/faculty/cope/, falls into three cycles: algorithmic, Navajo, and Post-Tonal. Recordings include a variety of orchestral works available from the Smithsonian Institution and chamber music on Vienna Modern Masters.
 
W. Sherwood Dudley
 
Edward Houghton
Choral conducting, Medieval and Renaissance music, musical paleography and mensural notation, Gregorian and Medieval chant, W. A. Mozart, acoustics and architecture, computer applications to historical-analytical studies, and computer transcription of notation in real-time. From 1992 - 2007 he served as Dean of the Division of Arts.

Gordon Mumma
Composer of electronic and instrumental music.
 
John M. Schechter 
Latin American music-culture. History and modern traditions of the harp in Ecuador and Latin America. Selected regional music cultures of Latin America and the Caribbean. Quechua verbal artistry. Conceptual issues behind the Andean Corpus Christi celebration, the issues of ensemble self-image and construction of symbolic value with respect to thebomba, a focal African-Ecuadorian musical genre, and the ethnography, visual semiotics, cultural history, and religious philosophy of the Latin American/Iberian child’s wake music-ritual. 
Schechter’s performance areas include Quichua- and Spanish-language song of the Andes region, Bolivian zampoña, or panpipes, Ecuadorian diatonic harp, and choral conducting of music from the Western art-music tradition.