Rowe frequently performs as a solo pianist and saxophonist with area groups. He released a CD, Jazz Life, which is a tribute to an older style of jazz, recorded live.More about Monk Rowe >>
Heather Buchman is director of the Hamilton College Orchestra, as well as Education and Outreach Conductor for Symphoria, Syracuse’s new professional orchestra. With Symphoria she has developed several innovative and collaborative programs for the Education and Family, Spark, and Casual series. She also appears frequently as conductor and trombonist for the Society for New Music and other organizations.
Buchman completed professional studies in conducting at the Juilliard School, earned a M.M. in orchestral conducting from the University of Michigan, and a B. Mus. degree in trombone from the Eastman School of Music. More recent studies include workshops in St. Petersburg, Russia, and classes and intensives in ballet and related movement.
Buchman’s work in regional arts advocacy, the arts in higher education, and innovative collaborations between arts organizations has been recognized by various arts groups throughout Central New York. She currently serves on the board of CNY Arts.
Buchman served as principal trombonist of the San Diego Symphony from 1988 to 1997. She won prizes at the ARD International Music Competition in Munich, Germany, and the New York Philharmonic Young Artists Concerto Competition.More about Heather Buchman >>
She received the Class of 1962 Outstanding Teaching Award in 2007 and the Samuel & Helen Lang Prize for Excellence in Teaching in 2013. She was twice awarded the Class of 1963 Faculty Fellowship to support the development of additional areas of teaching expertise.
She was the coordinator for the conference Feminist Theory and Music: Toward a Common Language, in Minneapolis, held in 1991. Hamessley has published articles in Music & Letters; Queering The Pitch: The New Gay and Lesbian Musicology; Menacing Virgins: Images of Virginity in the Middle Ages and Renaissance; Women & Music: A Journal of Gender and Culture; Ruth Crawford Seeger's Worlds: Innovation and Tradition in Twentieth-Century American Music; and 19th-Century Music. She is the co-editor, with Elaine Barkin, of Audible Traces: Gender, Identity, and Music. Hamessley is currently working on a project about Dolly Parton as well as a preparing an article on the music for Paul Green's symphonic drama The Lost Colony (1937). She is also a clawhammer banjo player.
His dissertation provided the basis for his book, Closure and Mahler's Music (1990). Hopkins' research interests include the evolution of the barbershop quartet style of singing, analysis of codas in the works of 19th-century composers, and changes in sonata form in instrumental works during the nineteenth century.
At Hamilton he teaches courses in music history, theory, and perception of music. Hopkins is also very active in the Barbershop Harmony Society (SPEBSQSA, Inc.), which he served as president in 2004-2005. He performs in his barbershop quartet and directs a barbershop chorus. Several of his arrangements have been published by the Barbershop Harmony Society.
Kolb is director of choral activities at Hamilton and is conductor of the Hamilton College Masterworks Chorale, as well as past conductor of the Syracuse Vocal Ensemble and Cayuga Vocal Ensemble. He is a contributing author to Up Front: Becoming the Complete Choral Conductor and Six Centuries of Choral Music. Kolb is a former holder of the Christian A. Johnson Excellence in Teaching Chair at Hamilton.
Many of Pellman’s works may be heard on recordings by the Musical Heritage Society, Move Records, and innova recordings (including his October 2003 release titled "Selected Planets"), and much of his music is published by the Continental Music Press and Wesleyan Music Press.
Recently his music has been presented at the International Symposium of the World Forum for Acoustic Ecology in Melbourne, Australia, and the Electric Rainbow Coalition festival at Dartmouth College, and the Musicacoustica Festival at the Central Conservatory for Music in Beijing. Pellman is also the author of An Introduction to the Creation of Electroacoustic Music, a widely-adopted textbook published by Cengage.
At Hamilton he teaches theory and composition and is co-director of the Studio for Transmedia Arts and Related Studies. Pellman is also the organist and the director of instrumental music at the Clinton United Methodist Church. Further information about his music can be found on the web at: http://www.musicfromspace.com
Woods was the first African-American to receive a doctorate in composition from Oklahoma University. He also received a M.M. degree in jazz studies from Indiana University.
Woods has written more than 600 compositions in various styles including choral, orchestral, and chamber works, as well as jazz combo and big band charts. He has had his musical compositions performed by the Albany Symphony, the North Arkansas Symphony Orchestra, the Central New York Jazz Orchestra, and the Tulsa Philharmonic. Woods is also director and bassist for the Zoe Jazz Band, and bassist for the Omniverse jazz ensemble. Both groups often perform his compositions.
At Hamilton, Woods teaches courses in jazz history, jazz arranging and jazz improvisation. He also directs the College's Jazz Ensemble.
In addition, Zaplatynsky has been a member of the first violin section with the Minnesota Orchestra and the Rotterdam Philharmonic. These many years of orchestral experience have presented opportunities to work with some of the most notable conductors of the last 30 years, including Leonard Bernstein, Thomas Schippers, Leonard Slatkin, Erich Leinsdorf, Gennadi Rozhdestvensky, Yuri Temirkanov, Kiryl Kondrashin, Christopher Keene, Fabio Mechetti, Gerard Schwarz, JoAnne Falletta, Daniel Hege and Kazuyoshi Akiyama.
His decades of teaching experience include seven years at Syracuse University, four summers at the Fundacion Univesitaria Juan N. Corpas in Bogota, Colombia, and an ongoing relationship with Hobart & William Smith Colleges and Onondaga Community College.