- San Francisco Conservatory Of Music -

Academic Schedule

Fall Semester 2004 (16 weeks)
Placement exams and auditions: August 26-28, September 2-4
First day of Fall Semester: September 9
Thanksgiving Holiday: November 25-28
Lessons and classes resume: November 29
Winter Recess: December 21-January 2
Lessons and classes resume: January 3
Last day of Fall Semester: January 15

Spring Semester 2005 (16 weeks)
First day of Spring Semester: January 18
Family Day and open classrooms: March 5
Jury Examinations (no lessons or classes): March 20-26
Spring Recess: March 27-April 3
Lessons and classes resume: April 4
Last day of Spring Semester: May 23
Make-up week: May 24-30

Enrollment Information

How to Enroll
Complete the application form and enclose a $15 non-refundable application fee made out to San Francisco Conservatory of Music. Please return all materials to the Preparatory Division office. Applicants will be contacted to schedule an audition or interview. Early Childhood classes do not require any further audition or interview. Application forms are available from the Preparatory Division office at 415.759.3429.

> General Application (pdf format)

> Early Childhood Application (pdf format)

Entrance Auditions and Placement Tests
Applicants to the Preparatory Division must audition before placement into the program. Priority will be given to students auditioning on scheduled audition dates. Students should be prepared to play two contrasting pieces demonstrating their current level of proficiency. Beginning students will be asked to interview in place of an audition. Placement tests are required for entrance into musicianship; chamber music and musical theater workshop require an audition. For more information, contact the Preparatory Division office at 415.759.3429, or prep@sfcm.edu.

Tuition and Fees
The Conservatory strives to maintain reasonable tuition fees. For a complete list of tuition expenses and other fees, please contact the Preparatory Division office. Payment must be received before the start of lessons or classes. If unable to complete tuition payment before lessons begin, you must arrange a deferred payment plan by contacting the Conservatory's business office at 415-759-3436.

Scholarships and Financial Aid
Scholarships are based on talent, demonstrated financial need and number of applicants. Most awards are assigned during the summer for the next academic year. Scholarship applications are available in the Preparatory Division office. The deadline for scholarship applications is July 1, 2004; some financial aid may be offered after the deadline depending upon availability.

> Scholarship Application (pdf format)

Library Card Policy
A $25.00 refundable library deposit is required of all new students. This fee is not applicable to early childhood students, who are not eligible for library cards. Library cards are available upon request once the student tuition has been paid. You may request your library card directly from the library. Please allow two weeks to receive the card.

Make-Up Policy
The Preparatory Division does not provide make-ups for classes or lessons missed by students. If instructors cancel a class or lesson, a make-up session will be scheduled.

Refund Policy
Lessons: Intention to withdraw must be submitted in writing. If notice is received on or before October 18, 2004 (for Fall Term) or February 20, 2005 (for Spring Term), one-half of the tuition amount will be refunded. No refunds will be made after these dates.

Classes: Students who submit notice in writing before the second class meeting will receive a tuition refund less the non-refundable application and registration fees. No refunds will be made after the second class meeting.

FAQs

What are the ages of Prep Students?
Early Childhood classes accept students between the ages of 4 and 9 years old. Chamber Music accepts students ages 11 and older. While most students enrolled in musicianship classes are at least 9-10 years old, some younger students are admitted on the basis of their interview. There is no age requirement for private lessons, but we do advise parents not to enroll their children in voice lessons before they have reached puberty.

Does the Prep accept beginners?
Our early childhood classes do not require any previous musical experience. Musicianship classes require training on a musical instrument, but do not require previous experience in music theory. Chamber music is not offered to beginners on an instrument. In general, the Preparatory Division does not accept beginners into private lessons; usually students have 1-2 years experience playing an instrument before they audition. Currently we are able to accept beginning cello and piano students. Beginning voice students are also welcome, but should be able to read music.

Is it possible to request a specific faculty member?
Yes. Just write the faculty member’s name in the appropriate blank on the application form. We try to accommodate all faculty requests when appropriate and possible.

What should I play at the audition?
Students should come prepared to play two contrasting pieces demonstrating their current level of proficiency. Pianists are expected play from memory.

How long does the application and audition process take?
The Prep office will call to schedule an audition after applications are processed—this can take up to one week. Upon acceptance, you will be placed with an appropriate faculty member based on level of technique, personality, interests, artistic goals and instructor availability. This process can take up to three weeks.

When are lessons and classes?
Private lessons are scheduled throughout the entire week at the convenience of the instructor and student. Some Early Childhood classes take place during the week; all other classes meet on Saturdays. All lessons and classes meet in the Conservatory. Please see Class Schedules for details.

Preparatory Certificate Program
The Preparatory Certificate Program is the perfect choice for highly motivated students. In this challenging and stimulating program students develop competence in musicianship, and are exposed to a broad range of musical literature while developing their performance skills. The structure of the program is unique and can accommodate students at every level. Students enrolled in the Certificate Program receive tuition discounts for classes.

Certificate Levels

Beginning
Successful performance in yearly Jury examination
Complete Musicianship II
Community Outreach Project

Intermediate
Successful performance in yearly Jury examination
Complete Musicianship III
Community Outreach Project

Advanced
Successful performance in yearly Jury examination
Complete Musicianship IV
Complete one year of ensemble, piano duo or chamber music
Present a half or full recital
Community Outreach Project

Young Artist
Successful performance in yearly Jury examination
Complete Musicianship V
Complete two years of ensemble, piano duo or chamber music
Present a full recital
Community Outreach Project

Musicianship/Composition
The musicianship program is designed to cultivate and enhance aural perception and musical imagination. The elements of music are mastered through vocal and keyboard performance, aural dictation and score analysis. Classes are designed for highly motivated music students, who are required to spend part of their daily practice time in preparation.

Growth in musicianship skills is a highly individual process, and students progress through the curriculum at their own pace. All musicianship students are required to take departmental exams once a semester. Student Reports are issued in June and consultations with the teacher are available as needed. Accelerated progress through the curriculum is also available by placement exam.

Beginning
Level 1 - Theory & Ear Training: Sight singing and conducting using diatonic melodies in simple and compound time. Students study all major and minor keys, the intervals in those keys, chord progressions, rhythmic design and phrasing.
Level 2 - Theory & Ear Training: Sight singing using skips in all diatonic triads, syncopation, harmonic cycles of thirds and fifths, dominant 7th and V7 chords, non-tonal use of seconds, fourths and fifths; binary and ternary form.

Intermediate
Level 3 - Theory & Ear Training: Sight singing material to include seventh chords, rhythmic patterns of two against three, inversions of triads and dominant seventh chords, non-tonal use of thirds, theme & variations and rondo form.
Level 4 - Theory & Ear Training: Sight singing with secondary dominants and chromatic non-harmonic tones, small subdivisions of the beat, changing meters, inversions of dominant 7th chords, secondary dominants, modulation, non-tonal use of sixths, sonata and concerto form.

Advanced
Level 5 - Theory & Ear Training: Sight singing with modes and remote modulation in 20th century idioms, polyrhythms, quintuplets, meters with unequal beats, tempo modulation, leading tone seventh chords, augmented sixth chords, Neapolitan chords, all intervals in a non-tonal context, fugue.

Electives*
Composition Seminar: Open to all students enrolled in the Theory & Ear Training series with permission of the department chair. Composition assignments are performed and discussed in class. Formal performances are presented in recital. Offered during the 2004-2005 academic year.

* Electives are offered in Music History, Analysis, and Counterpoint. Offerings vary from year to year.

Ensembles
Participation in ensembles cultivates collaborative skills that are invaluable to a young musician's education. Students work closely with faculty in performance preparation and rehearsal techniques. Auditions are required for placement in an ensemble. Placement is based on ability, level of commitment to serious study and enrollment for the entire academic year (32 weeks).

Intermediate & Advanced Chamber Music string ensembles emphasize quartet and trio repertoire, string and wind trios through sextets, two-piano literature, guitar ensemble and Baroque ensemble. Priority is given to students enrolled for private lessons at the Preparatory Division; pre-formed groups are welcome.

Musical Theater Workshop
Young singers learn the art of musical theater from rehearsal to performance in this intensive workshop. Topics of study include character development and portrayal, stage movement, acting for singers and audition preparation. Students will participate in theatre games, individual coachings and scene development in preparation for a final public performance of musical theater scenes. Acceptance and role assignment by audition. Ages 12-18.

Early Childhood
Early childhood classes provide developmentally appropriate training for children ages four through nine. The classes' goals are to cultivate each child's appreciation of music and to give parents the tools to create a musically rich home environment. Because of the progressive nature of the early childhood curriculum, students are required to commit to enrollment for the entire academic year.

Dalcroze-Eurhythmics
Eurhythmics taps into the natural desire for movement all children possess. Students are furnished with not just an understanding of music and knowledge of its written language, but a thorough sense and feeling for it. Among other benefits, the study of music through movement cultivates inner hearing and gives children a holistic understanding of musical elements such as pulse, meter, rhythm pattern, phrasing and form. This grounding in the basic language of music leads to a distinct advantage when learning a musical instrument.

Orff Schulwerk
Orff Schulwerk weaves together the strands of speech and poetry, movement and dance, drama and song, improvisation and playing musical instruments. Children explore their musicality through the mediums best suited for their ages: rhymes, children's games, movement exploration, folk dances, songs and playing specially designed Orff instruments. Orff Schulwerk embraces the music and dance of cultures around the world, and cooperative ensemble work is encouraged.

First Steps at the Keyboard
An Introductory Piano Course for Children Ages 6 to 8
First Steps at the Keyboard is a two year program designed to transition students from Early Childhood classes into private lessons within the Preparatory Division. Students learn the basics of piano technique, sight-reading and piano literature in weekly group classes; activities include duets, mini-recitals and music games that sharpen their reading skills. Students share their music with family and friends in three class recitals every year. After two years, First Steps students are evaluated for private piano lessons with the Conservatory's Preparatory Division faculty. Students should be able to commit to two full years in the First Steps program. Priority is given to students already enrolled in the Early Childhood curriculum.

Class Schedules

Musicianship
Intermediate/Advanced: 8:30-10:00 a.m.
Beginning: 10:00-11:30 a.m.
Composition Seminar: 12:30-2:00 p.m.
Musicianship Levels 1-5 meeting times subject to change to accommodate enrollment

Chamber Music
Beginning/Intermediate: 12:00-2:00 p.m.
Advanced: 10:00-12:00 p.m.
Musical Theater Workshop: 2:00-3:30 p.m.

Early Childhood
Dalcroze-Eurhythmics
Wednesdays with Alice Mosley
3:15-4:00 p.m. Level 1 (ages 4-5)
4:00-4:45 p.m. Level 2 (ages 5-6)
Saturdays with Yoriko Richman
9:45-10:30 a.m. Level 1 (ages 4-5)
10:30-11:15 a.m. Level 2 (ages 5-6)
11:15-12:00 p.m. Level 4 (ages 7-8)
12:00-12:45 p.m. Level 3 (ages 6-7)

Orff Schulwerk
Mondays with Greacian Goeke
4:15-5:15 p.m. Level 1 (ages 4-5)
5:15-6:15 p.m. Level 2 (ages 5-6)

First Steps at the Keyboard
Saturdays with Christie Peery Skousen
9:00 a.m.-10:00 a.m.
10:00 a.m.- 11:00 a.m.
11:00 a.m.- 12:00 p.m.

Preparatory Division Faculty

Composition
Alexis Alrich
June Bonacich
David Conte

Early Childhood
Greacian Goeke
Alice Mosley
Christie Peery Skousen
Yoriko Richman

Ensembles
Timothy Bach
Susan Bates
Scott Cmiel
Dana Putnam Fonteneau
Bruce Foster
Randolph Fromme
Doris Fukawa, chair
Aenea Keyes
Eun Mee Ko
Machiko Kobialka
Steven Miller
Richard Rogers
Yaada Weber

Guitar
Scott Cmiel
Curtis Renshaw
Ross Thompson

Harpsichord
Corey Jamason

Musicianship
Alexis Alrich
June Bonacich
Colin Cmiel
Scott Cmiel, chair
Jane Jackson Colombo
Max Hollander
Jeffrey Morton

Organ
Rodney Gerhke

Percussion
Tommy Kesecker

Piano
Katherine Buss
Jacqueline Chew
Trudi Denney
Jacqueline Divenyi
Erna Gulabyan
Tomoko Hagiwara
Dorian Ho
Machiko Kobialka
Sima Kouyoumdjian
Meikui Matsushima
Annamarie McCarthy
John McCarthy
Mack McCray
June Choi Oh
Scott Pratt
Richard Rogers
Lena Schuman
William Wellborn
Jerri Witt
Helen Wong

Strings
William Barbini, violin
Susan Bates, viola
Pat Burnham, violin
Shinji Eshima, bass
Doris Fukawa, violin
Wei He, violin
Aenea Keyes, violin
Davis Law, violin
Jodi Levitz, viola
Li Lin, violin
Steven Miller, violin
Bettina Mussumeli, violin
Dana Putnam Fonteneau, violoncello
Jean-Michel Fonteneau, violoncello
Michael Rado, harp
Carol Rice, violoncello
Monica Scott, violoncello
Axel Strauss, violin
Barbara Wirth, violoncello

Winds and Brass
Bruce Chrisp, trombone
Yueh Chou, bassoon
Bruce Foster, clarinet
Gary Jagard, horn
Esther Landau, flute
Scott Macomber, trumpet
Timothy Price, saxophone
Laura Reynolds, oboe
Yaada Weber, flute

Voice
Pamela Alexander
Helen Dilworth
Eun-Mee Ko
Hermann Le Roux*
Ruby Pleasure
Dina Rosario

* On Leave

Faculty

Pamela Alexander, voice
M.M., New England Conservatory of Music, B.A., Lewis and Clark College; Merola program, San Francisco Opera; performances in Salzburg, Brussels,Hamburg, Vienna, Boston and New York; solo performances at Davies Symphony Hall.

Alexis Alrich, composition, musicianship
M.A., Mills College, B.A. California Institute of the Arts; studied at New England Conservatory of Music; Continental Harmony grant to write large choral and orchestral piece for the state of Maine; collaborative residency with choreographer Robert Moses funded by American Composers Forum; recordings by SoundsFound and Ottava Records.

Timothy Bach, ensembles
D.M.A., University of Southern California; B.A., Stanford University; studied with Gwendolyn Koldofsky, Brooks Smith and Adolph Baller; accompanist, Music Academy of the West, Carmel Bach Festival, Piatigorsky Memorial Cello Seminars, Klein International String Competition and Banff Festival; has collaborated in master classes with many renowned artists, including Yo-Yo Ma, Peter Pears and Gerard Souzay; Collegiate faculty, San Francisco Conservatory of Music; Chair, Conservatory Accompanying Department.

William Barbini, violin
Diploma, The Juilliard School; studied with Ivan Galamian and Paul Makanowitsky; Concertmaster, Monterey Symphony; Music Director, Chamber Music Society of Sacramento; faculty, CSU, Sacramento; former member, New York Philharmonic; performs with San Francisco Contemporary Players and Music Now; performed at Festival San Miguel Allende in Mexico, Pacific Music Festival and Other Minds Festival.

Susan Bates, viola, ensembles
M.A. and B.A., CSU, San Jose; studied with Albert Gilis and Rafael Druian; San Jose String Quartet; member, San Francisco Ballet Orchestra; recipient, 1992 Gruber Award from Chamber Music America for excellence in chamber music teaching; former member, New Age Quartet;. former faculty, San Jose State University and San Diego Chamber Music Workshop.

June Bonacich, musicianship, composition, Explorations in Music
M.A., Sonoma State University; M.M., San Francisco Conservatory of Music; studied with Elinor Armer; faculty for San Francisco Boy’s Chorus; Winner, Kris Getz Composition Award in 1997 and 1998.

Pat Burnham, violin
B.M., San Francisco Conservatory of Music; studied with Isadore Tinkleman and Jenny Rudin; participated in pedagogy workshops by Dorothy DeLay and Mimi Zweig; member, San José Chamber Orchestra; performs with Opera San Jose; former department head, Sequoia Chamber Music Workshop at Humboldt State University; former faculty member, Delay School and Nueva School.

Katherine Buss, piano
M.M., New England Conservatory of Music; B.A., UC Berkeley; studied with Mortimer Markoff, Alexander Libermann, Irwin Freundlich, Russell Sherman and Nathan Schwartz; former faculty, New England Conservatory of Music Extension Division and University of the Pacific.

Jacqueline Chew, piano
M.A., San Francisco Conservatory of Music; B.M., SUNY-Binghamton; private studies with Roger Muraro, Yvonne Loriod-Messiaen and Leonard Shure; recently released new double-CD entitled Messiaen: Vingt Regards sur l'Engant-Jesus; 14 years as pianist in Women's Philharmonic; currently teaches at University of California-Berkeley and S.F. Community Music Center.

Yueh Chou, bassoon
D.M.A. and M.M., University of Southern California; B.M., The Juilliard School; bassoon with Rose Corrigan, Stephen Maxym and Stephen Paulson; Banff Center School of the Arts; performances at Lincoln Center, Carnegie Hall, Kennedy Center.

Bruce Chrisp, trombone
M.M., San Francisco Conservatory of Music; B.M.E., University of Michigan; studied with Edward Zadrosny, Dennis Smith and Mark Lawrence; Principal Trombone, Santa Rosa, Santa Cruz and Vallejo symphony orchestras; participated in many festivals including Salzburg, National Orchestral Institute, Music Academy of the West and Los Angeles Philharmonic Institute; faculty, UC Davis.

Colin Cmiel, musicianship
B.M., San Francisco Conservatory of Music; studies with David Conte, Steven Tramontozzi, Geoffrey Gallegos, Edwin Outwater and William Wellborn; assistant conductor, Golden Gate Philharmonic.

Scott Cmiel, chair, musicianship department, guitar
B.M., San Francisco Conservatory of Music; B.A., Northwestern University; studied guitar with Michael Lorimer and Aaron Shearer; solfège with James Wimer; faculty, UC Berkeley; former music staff, San Francisco Opera; former faculty member, Chicago Musical College.

Jane Jackson Colombo, musicianship
M.M., University of Michigan; B.M., Pomona College; studied with Theodore Lettvin, Martin Katz and Benjamin Kaplan; former faculty, College of Notre Dame, College of San Mateo, Wells Cathedral Music School, Wells, England.

Lauren Cony, secondary piano
M.M., San Francisco Conservatory of Music; B.A., Skidmore College; studied piano with Sharon Mann, Paul Hersh and Pola Baytelman, harpsichord with Laurette Goldberg; attended Bowdoin and Banff Chamber Music festivals; accompanist and participant at Oberlin in Casalmaggiore, Italy; faculty, San Francisco Community Music Center; former faculty, San Domenico Music School.

Trudi Denney, piano
B.A., Florida State University; studied with Robert Pace at Columbia University; Orff-Schulwerk at San Francisco State University.

Helen Dilworth, voice
Ed.D., University of Southern California; A.M., Stanford University; M.A., San Francisco State University; certificate in Voice Restoration, McClosky Institute; studied with James Schwabacher, Dietrich Erbelding, Peter Gregg, Marcie Stapp, Monroe Kanouse, Lucille Evans, Donald Stenberg, Lenoir Hosack, Dewey Camp, Earl Jones, Sylvia Olden Lee, Martial Singher and Dr. William Warfield; soloist with San Francisco Ballet Orchestra, Indianapolis and Oakland Symphonies, Pocket Opera, Columbia Artists and California Arts Council; recording for Cambria label; faculty, City College of San Francisco; former faculty, San Francisco State University; Jazz Camp and gospel workshops.

Jacqueline Divenyi, piano
Diploma, Geneva Conservatory of Music; Concert Diploma, Vienna Academy of Music; studied with Bruno Seidlhofer and Stefan Askenase; former faculty member, Geneva Conservatory of Music and Webster University in St. Louis.

Shinji Eshima, bass
B.A. Stanford University, M.M. The Julliard School; Associate Principal Bass, San Francisco Ballet Orchestra; member, San Francisco Opera Orchestra; faculty, San Francisco State University; former faculty, Stanford University, UC Santa Cruz, San Francisco School of the Arts and The Crowden School.

Jean-Michel Fonteneau, cello
Founding member, Ravel String Quartet, winner of two prizes in the Evian String Quartet Competition in 1989; founding member, Le Nouveau Trio du Val-de-Marne; performances with Orchestre de l’Opéra de Lyon, Orchestre National de Lyon, Orchestre de Chambre Français, Ensemble Orchestral de Paris; former Assistant Professor, Conservatoire National Supérieur de Musique in Lyon; Collegiate faculty, San Francisco Conservatory of Music.

Bruce Foster, clarinet, ensembles
M.A., UC Santa Cruz; B.M., San Francisco Conservatory of Music; studied with Mark Brandenburg and Rosario Mazzeo; member, Bayshore Lyric Opera and West Bay Opera Orchestras; performances with Opera San José, Midsummer Mozart, Santa Cruz Symphony; faculty, San Francisco University High School; former principal, Air Force Band of the Golden West.

Randolph Fromme, ensembles
Artists Certificate, San Francisco Conservatory of Music; M.A., University of Minnesota; B.A., University of Wisconsin; studied with Mark Sokol, Clive Greensmith, Jean Michel Fonteneau, Tanya Remenikova, and Paul Kosower; collaborative performances with Frederica von Stade, Donald and Vivian Weilerstein, and Paul Galbraith; member, Fromme Duo with pianist Shu Li; former member, Oberon and Del Sol quartets; faculty, Nueva School and San Francisco School of the Arts performances in Other Minds, Garth Newel, Sandpoint and Round Top summer festivals; former coach, Bravo! and San Diego Chamber Music workshops.

Doris Fukawa, violin, director of ensembles; ensembles
M.Ed., Columbia University Teachers College; B.M., Manhattan School of Music; studied with Raphael Bronstein, Ariana Bronne and Anne Crowden; chamber music studies with Colin Hampton, Anne Crowden, Ariana Bronne and Lillian Fuchs; performances with San Francisco Symphony and Opera, Oakland-East Bay Symphony; former Concertmaster, Midsummer Mozart; member, Skywalker Symphony; former member, Opera San Jose.

Rodney Gerhke, organ
M.A., musicology, University of California at Berkeley; studied with Hugo Gehrke, David Dahl, Lawrence Moe and Harald Vogel; director of Music and Liturgy at St. Mark's Lutheran Church in San Francisco; organist and choir director at Temple Sherith Israel; private organ instructor, University of California at Berkeley; adjunct lecturer in church music and liturgy at Pacific Lutheran Theological Seminary; performed and recorded with the Philharmonia Baroque Orchestra; recorded and toured with Chanticleer; appears on CD collection Historical Organs of San Francisco.

Greacian Goeke, Orff Schulwerk
M.F.A., California College of Arts and Crafts, Oakland; B.A., Cornell University; Orff Schulwerk Certificate at Mills College, Oakland; postgraduate Orff Schulwerk training with Judith Thomas and Barbara Haselbach; training in modern dance with Peggy Lawler and choral singing with Thomas Sokol.

Erna Gulabyan, piano
Graduate of Moscow Conservatory and Central Musical High School for Specially Gifted Children in Erevan, Armenia; former faculty, Erevan Conservatory and Central Musical High School.

Tomoko Hagiwara, piano
B.A. and graduate studies, University of Tokyo; B.M., San Francisco Conservatory of Music; studied with Adolph Baller, Max Egger and Lilli Kraus; first prize, San Francisco Symphony Competition; performed with San Francisco Symphony as soloist under Josef Krips; competed internationally at Long-Thibaud, Paris and Queen Elizabeth Competitions, Brussels; numerous performances and recordings as soloist and chamber musician.

Wei He, violin
B.A., University of Texas at Austin; Artist Certificate in Chamber Music, San Francisco Conservatory of Music; studied with Camilla Wicks and Mark Sokol; founding member, New China Trio; former member, Austin Symphony Orchestra and Austin Lyric Opera Orchestra; member, San Jose Symphony; violin coach, San Jose Youth Symphony; Collegiate faculty, San Francisco Conservatory of Music.

Paul Hersh, piano
Attended Yale University; studied viola with William Primrose and piano with Leonard Shure and Edward Steuermann; former violist and pianist of the Lenox Quartet; piano debut at Carnegie Recital Hall; artist-in-residence and visiting faculty at UC Davis, Temple University, Oregon State University, Berkshire Music Festival, Aspen Music Festival and the Spoleto (Italy) Festival of Two Worlds; Collegiate faculty, San Francisco Conservatory of Music; former faculty member, Grinnell College and SUNY Binghamton.

Dorian Ho, piano
Ph.D., New York University; M.M., The Juilliard School; diploma, Vienna Academy of Music; studied with Beatrice Beauregard, Eugene List and Martin Canin; winner, Young Artist International Audition; New York debut at Carnegie Recital Hall; soloist, Franz Liszt, Kazakstan State, and Moscow Chamber Orchestras, Slovic Sinfonietta, St. Petersburg String Quartet.

Max Hollander, musicianship
M.M., Peabody Institute of Music; B.Mus. Oberlin Conservatory of Music; studies with Janet Popesco and Laura Reynolds; member, Boise Philharmonic; masterclass with Alex Klein; Preparatory Division alumnus.

Gary Jagard, horn
B.A., San Francisco State University, studies with Earl Saxton and Herman Dorman; performances with the San Francisco Symphony; former faculty, West Contra Costa Unified School District.

Corey Jamason, harpsichord
Ph. D. pending, Early Music Institute at Indiana University; M.M. Yale University; B.F.A. SUNY College at Purchase; studied with Richard Rephann; performances with National Public Radio's “Performance Today“, American Bach Soloists, Musical Angelica, Philharmonia Baroque Orchestra, El Mundo, Yale Spectrum and Camerata Pacifica; appearances at the Berkeley and Bloomington Early Music Festivals, Bach Aria Festival and Norfolk Chamber Music Festival; current member Duo Affetti with Astrid Andersson; former guest instructor at Music Academy at the West; former visiting lecturer at Early Music Institute at Indiana University's School of Music; former Artistic Director, Camerata Pacifica Baroque, audio recordings with Oxygenius (Focus label) and Gilles Apap.

Tommy Kesecker, percussion
B.M. San Francisco Conservatory of Music; studied with Barry Jekowski, Rick Kvistad and Johnny Rae; faculty member, Jazz School in Berkeley; performances with Zakir Hussain and the Rhythm Experience; performances and recordings with Larry Vuckovich; performances with Michael Feinstein at Davies Symphony Hall.

Aenea Keyes, violin, ensembles
B.A., Sarah Lawrence College; National Academy of Music, Sofia, Bulgaria; studied with Dorothy DeLay and Guinka Guichkova; member, DelSol string quartet; performances at Lincoln Center, Carnegie Hall, Baltchick International Arts Festival, Aspen Music Festival.

Eun Mee Ko, ensembles, voice
M.M. and B.M., San Francisco Conservatory of Music; studies with Hermann le Roux and Sylvia Anderson; International Opera Festival di Roma; solo performances at Davies Symphony Hall.

Machiko Kobialka, piano, ensembles
M.M., Catholic University; B.M., Hartt College of Music; graduate, Toho-Gakuen School of Music; studied with Akiko Iguchi, Raymond Hanson, William Masselos and Grant Johanneson; former member, Kobialka Duo; recipient, California Touring Grant; former faculty member, CSU, Hayward.

Sima Kouyoumdjian, piano
M.M. and B.M., San Francisco Conservatory of Music; studied with Mack McCray and Paul Hersh.

Esther Landau, flute
M.M., San Francisco Conservatory of Music; B.M., Oberlin Conservatory; studied with Robert Willoughby, Timothy Day, Julia Bogorad, William Grass, Ruth Wright and baroque flute with Michael Lynn; member, City Winds.

Davis Law, violin
B.M., New England Conservatory of Music; studied with Zaven Melikian and Dorothy DeLay; alumnus, Conservatory’s Preparatory Division.

Hermann Le Roux, voice
M.M., San Francisco Conservatory of Music; graduate, University of Cape Town; studied with Desiree Talbot, Gregorio Fiasconaro, Martial Singher and Leopold Simoneau; premiered works by John Cage, Arne Melnas, Robert Moran; president, International Voice Institute; founding member, Pacific Voice Foundation; former chair, Conservatory voice department; Frederica von Stade Distinguished Chair in Voice.

Jodi Levitz, viola
M.M. and B.M., The Juilliard School; studied with Margaret Pardee, Paul Doktor and William Lincer; principal viola of I Solisti Veneti; principal viola of the Chamber Orchestra of Mantova and the Orchestra Citta di Ferrara (Italy); chamber music faculty, Oberlin in Casalmaggiore, Italy; collegiate faculty, San Francisco Conservatory of Music.

Andrew Lewis, percussion
M.M. and B.M., The Juilliard School; B.M., San Francisco Conservatory of Music; studied with Saul Goodman, Buster Bailey and Barry Jekowsky; recipient, Saul Goodman Award from The Julliard School; principal timpani, Santa Rosa Symphony and Sun Valley Summer Music Festival; founder AC Lewis Jazz Trio.

Li Lin, violin
M.M., Eastman School of Music; B.M., San Francisco Conservatory of Music; Performing Diploma, Guangdong Conservatory of Music; studied with Peter Salaff, William Preucil, Ian Swensen, Isadore Tinkleman and Yiao-gi Lin; former member, New World Symphony, Kilbourn and Rochester Chamber Orchestras; former faculty, Eastman School of Music and Northern California Music and Art Cultural Center.

Scott Macomber, trumpet
M.M., San Francisco Conservatory of Music; B.M., Northwestern University; studied with David Burkhart and Vincent Cichowicz; principal, Music in the Mountains Festival Orchestra; member, Sacramento Philharmonic, Classical Philharmonic, Stockton Symphony and Sacramento Symphony Brass; faculty, UC Davis and San Francisco Community Music Center.

Meikui Matsushima, piano
Diploma, Toho Music College, Tokyo; additional studies at San Francisco Conservatory of Music; studied with Eiko Tanaka and Beatrice Beauregard; faculty, International Chamber Music Course & Festival, Positano, Italy.

Annamarie McCarthy, piano
B.A., Lone Mountain College; studied with Bernhard Abramowitsch and Peggy Salkind; performances at CAMI Hall in New York, Yosemite Bracebridge Concerts, Stanford University and UC Santa Cruz; recorded for Composer Recording Society label; member, Annamarie and John McCarthy Piano Duo; former faculty, Lone Mountain College.

John McCarthy, piano, director; preparatory and adult extension divisions
B.M., San Francisco Conservatory of Music; attended Mannes College of Music and Hofstra University; studied piano with Bernhard Abramowitsch, Katja Andy, Martin Canin, Robert Helps, Milton Salkind and Peggy Salkind; has recorded for Composer Recording Society label; performances with San Francisco Contemporary Music Players, Ojai Festival, Music in the Vineyards Festival; member, Annamarie and John McCarthy Piano Duo; former faculty member, Lone Mountain College.

Mack McCray, piano
M.S. and B.M., The Juilliard School; studied with Irwin Freundlich; silver medal in International Georges Enesco Competition in Bucharest; 1st prize in the Charleston Symphony and San Francisco Symphony competitions, and Juilliard’s Steuermann Memorial Prize; guest at Festival d’Automne in Paris, Seville’s Great Interpreters Cycle, UNESCO Festival of International Artists at Monte Carlo, Bucharest Philharmonic’s Bach/Beethoven/Brahms Festival; performances as soloist with San Francisco Symphony; Collegiate faculty, San Francisco Conservatory of Music.

Steven Miller, violin, ensembles
Studied at Indiana University with James Buswell and Josef Gingold, and at San Francisco Conservatory of Music with Isadore Tinkleman; former member, Angeles String Quartet; performs regularly with San Francisco Opera Orchestra, San Francisco Contemporary Chamber Players and Stratos Ensemble.

Jeffrey Morton, musicianship
D.M.A. composition, M.M. composition, M.M. choral, University of Illinois Champaign-Urbana; B.A. New College of Florida; former faculty, Millikin University; music director, Unitarian Universalists of San Mateo.

Alice Mosley, Dalcroze-Eurhthmics
B.A., SUNY at Stony Brook; M.A., Cornell University; certificate in Dalcroze Eurhythmics, Carnegie Mellon University; Manhattan School of Music teacher training program with Robert Abramson; viola with Martha Katz; former faculty Larkhall Academy, Lanarshire, Scotland.

Bettina Mussumeli, violin
M.M. and B.M., The Juilliard School; studied with Dorothy DeLay, Ivan Galamian, Paul Doktor and Kato Havas; former concertmaster of The Juilliard Orchestra, National Orchestral Association of New York and I Solisti Veneti; concertmaster of the Orchestra Citta di Ferrara; chamber music faculty at Oberlin in Casalmaggiore, Italy; collegiate faculty, San Francisco Conservatory of Music.

June Choi Oh, piano
M.M. and B.M., The Juilliard School; studied with Herbert Stessin, William Masselos and Solomon Mikowsky; first prize, Aspen Music Festival Piano Competition, Marcia Polayes National Competition, Westchester Concerto Competition; medalist, Maria Canals de Barcelona International Competition; soloist with New Haven Symphony, Aspen Concert Orchestra; former faculty, Preparatory Division at Manhattan School of Music; faculty, Dominican University; founder and former director, Pacific Music Festival of California.

Christie Peery Skousen, piano, First Steps at the Keyboard
B. M., Peabody Institute of The Johns Hopkins University; studied with Leon Fleisher, Dmitri Boshkirov and Dr. Irene Peery; Carnegie Hall debut at age 18; winner Corpus Christi International, Missouri Southern International, Gina Bachauer International Junior Division and Joanna Hodges Competition; solo performances with Philadelphia Chamber Orchestra, Utah Symphony and Samara Philharmonic.

Ruby Pleasure, voice
M.A., Stanford University; B.A., Fisk University. Studied early music with George Houle and Imogen Horsley, voice with James Van Lowe, Phillip Jones, Marie Gibson, Elizabeth Appling and Hermann le Roux. Choir Director and organist, St. Edwards Episcopal Church, Pacifica. Collegiate faculty, San Francisco Conservatory of Music.

Scott Pratt, piano
M.M., Manhattan School of Music; B.M., San Francisco Conservatory of Music; studied with Mack McCray and Nina Svetlanova; four-time winner, Musical Merit Foundation Award.

Timothy Price, saxophone
M.A. with distinction, CSU Fresno; A.B. magna cum laude, Occidental College; further studies at Eastman School of Music and University of Northern Colorado; studied saxophone with Harvey Pittel and Gary Foster, piano with Richard Grayson and Phillip Lorenz; freelance arranger and woodwind and keyboard performer in Bay Area; co-founder, co-director of the Bay Area Jazz Composers Orchestra and San Jose Jazz Society Orchestra; faculty, San Francisco University High School; former faculty member CSU Fresno, Fresno City College.

Dana Putnam Fonteneau, ensembles, cello
M.M and B.M., San Francisco Conservatory of Music; Oberlin College-Conservatory of Music; studies with Bonnie Hampton and Peter Rejto; attended Tanglewood and Round Top Music Festivals; master classes with Robert Mann and Joel Krosnick; former faculty, Oberlin Preparatory Division.

Michael Rado, harp
Principal harp, Sacramento Opera, San Francisco Opera Center,Western Opera and Sacramento Chamber Orchestras, Santa Rosa Symphony and Anchorage Opera Orchestra; second harpist, San Francisco Ballet Orchestra; performs regularly with San Francisco Symphony and Opera Orchestras; performances with New York City Opera, Royal Ballet, La Scala Ballet and American Ballet Theater.

Curtis Renshaw, guitar
B.M., University of Redlands; studied at San Francisco Conservatory of Music; studied with George Sakellariou, Jose Rey De La Torre and Patrick Read; featured artist, Royal Viking Cruise Lines and World Explorer Cruise Lines; former faculty member, University of Redlands and Loma Linda University.

Laura Reynolds, oboe
M.M., San Francisco Conservatory of Music; B.M., University of Michigan; studied with Harry Sargous and William Bennett; Oboe/English horn, Santa Rosa and Marin Symphonies and Citywinds Quintet; attended Music Academy of the West, National Orchestral Institute, Sarasota Music Festival, Bach Aria Festival and Institute at Stonybrook; former member, Virginia Symphony Orchestra; faculty, UC Davis.

Carol Rice, cello
M.M., Yale School of Music; B.A., UC Santa Cruz; studied with Gabor Rejto, Robert Adcock, Irene Sharp and Aldo Parisot; former principal, Monterey and Santa Cruz symphonies; principal, Berkeley Symphony.

Yoriko Richman, Dalcroze-Eurhythmics
B.A., Musashino Academia Musicae, Tokyo; Dalcroze Teacher’s License, Dalcroze School of Music, New York; Berklee College of Music, Boston; Postgraduate Diplome, Institut Jaques-Dalcroze, Geneva; former faculty, Mannes College of Music Preparatory Division and Showa Academia Musicae, Yokohama, Japan.

Richard Rogers, piano
M.M., San Francisco Conservatory of Music; B.A., Oberlin Conservatory of Music; studied with Seymour Bernstein, Marthe Motchane and Paul Hersh; performances at Chamber Music West and with San Francisco Conservatory Orchestra; former faculty, Summer Arts Festival in Fairbanks, Alaska.

Dina Rosario, voice
M.M., San Francisco Conservatory of Music; B.M, St. Isabel College, Manila, Philippines; studied with Hermann le Roux, John Lester and Teresita Agana-Santos; performed with Opera Chorus of the Philippines; assistant conductor, Opera Chorus of the Philippines; former faculty, Concordia College and St. Isabel College.

Lena Schuman, piano
M.M. and B.M., San Francisco Conservatory of Music; studied with Maria Itzkovich, Haggai Niv, Milton Salkind and Herbert Stessin.

Monica Scott, cello
B.M., Oberlin Conservatory of Music; Soloist’s Diploma, Sweelinck Conservatorium Amsterdam; studied with William Pleeth, Harro Ruijsenaars; resident, Banff Centre for the Arts; former assistant principal, Orquestra Metropolitana de Lisboa, Portugal.

Ross Thompson, guitar
M.M. and B.M., San Francisco Conservatory of Music; diploma of advanced study from The Royal College of Music in London; studied with David Tanenbaum, Carlos Bonell, Scott Kritzer; artist-in-residence for San Francisco Performances; former faculty Community Music Center of San Francisco; performances in the United Kingdom, Canada, Argentina, and the United States.

Yaada Weber, ensembles, flute
B.A., Mills College; studied with Herbert Benkman, Doriot Dwyer, Ferenc Molnar and Darius Milhaud; studies with Amos Gunsberg in physiological aspects of performance; member, Duo Linos; former member, Oakland Symphony Orchestra.

William Wellborn, piano
D.M.A., B.M., University of Texas at Austin; M.M., New England Conservatory of Music; studied with Gregory Allen and Patricia Zander; soloist, Austin Symphony, Laredo Philharmonic and Sudeten Philharmonie (Poland); guest artist for American Liszt Society, Paderewski Festival, Chopin Festival de Piano (France); creator and host of “Piano Legacy“ radio program; recording for Marco Polo records; faculty, Masterclasses of Saint Malo (France); former faculty, University of Idaho and Humboldt State University.

Barbara Wirth, cello
B.M., Northwestern University; M.M., Indiana University; studied with Janos Starker and Pierre Fournier; former member, Chicago Lyric Opera Orchestra, Cincinnati Symphony Orchestra and San Francisco Opera Orchestra; has performed with San Francisco Symphony and Ballet Orchestras; former faculty, Northwestern University preparatory department, Morehead State University, Eastern Kentucky University, Louisville Academy of Music, Dominican College, San Francisco State University and University of San Francisco.

Jerri Witt, piano
M.M. and B.M., Boston Conservatory of Music; attended Boston University and University of Denver; studied with Katja Andy, Maria Clodes, Bela Nagy and Bernhard Abramowitsch; faculty, Nueva School.

Helen Wong, piano
M.M., University of Michigan; graduate of Royal Academy of Music; studied with Gyorgy Sandor and Max Pirani; former collegiate and preparatory faculty, Hong Kong Academy of Performing Arts and Oxford Music School; performed at Wigmore Hall, London; Hong Kong, China, and Bay Area; Elected Associate, Royal Academy of Music; founding member and faculty, Hong Kong Summer Music.

Acknowledgements
We are grateful to the following individuals, corporations and foundations who have made significant gifts to provide for the education of Preparatory Division students during the 2003-2004 academic year.

Frank A. Campini Foundation
The May S. Kurka Scholarship
ISOM Foundation
The Martin J. Livingston Scholarship
The Susan McCarthy Scholarship
The Stanley K. Nairin Scholarship
Preparatory Division Parent Association
The Barbara Lull Rahm Scholarship
The Morris Stulsaft Foundation
Marilyn Townsend
Ashford D. Wood
Barbara D. Wood
The Marilyn Jo Wood Memorial Scholarship