Bruce Engel

Bruce Engel played trumpet in my high school orchestra: The Central High School of Philadelphia (228th class) (1969).  He graduated from the Juilliard School and has had an impressive career in the field of music.

Bruce Engel: Stony Brook
 
conductor of the university wind ensemble

bengelbrass@yahoo.com

Bruce Engel's conducting credits include appearances with the Goldman Band and the New Jersey Pops. Internationally, he has conducted in Florence, Rome, Venice, Seville, Toledo, and Madrid. Presently Mr. Engel is Music Director of the Brooklyn Brass and the New York Herald Trumpets, and is Director of Music at St. Anthony's High School. After his studies in trumpet and conducting at Juilliard, Mr. Engel was granted fellowships to perform at the Tanglewood Music Festival, the National Orchestral Association, and the Festivals of Two Worlds in Spoleto. He is a member of the New York City Symphony and principal trumpet of the Goldman Band. As a free-lance musician, Mr. Engel has appeared with the Bolshoi and Metropolitan Operas, the American Symphony, the New Jersey Symphony, the New York and New Jersey Pops, the Winnipeg and Stuttgart Ballets, and the New York Philharmonic. In addition to directing the wind ensemble at Stony Brook, Mr. Engel teaches a summer graduate conducting course. He also appears nationally as a conducting clinician.

Education

Post Graduate Conducting studies with Anthony Maiello.
M.M. The Juilliard School, Brass Fellowship, Principal trumpet of Julliard Orchestra and Brass Ensemble. Conducting studies with John Nelson. Graduated 1974.
B.M. The Juilliard School, 1973.
Diploma National Orchestra Association, Principal trumpet and soloists, 1973 - 1977.
Fellowship Tanglewood Music Festival, 1969.
B.A. Central High School, Philadelphia, Pennsylvania, 1969.
Private Study William Vacchiano, Melvyn Broiles, Vincent Penzarella, Roger Voisin, Elin Frazier, Don Miles.

Courses Taught

Undergraduate non-major courses: Music and Culture of the 1960s, Introduction to Music, Contemporary Traditions in American Music
Undergraduate major courses: The Analysis of Twentieth Century Music, Analysis of Tonal Music, Twentieth Century Opera, History of Western Music—1830 to the present.
Graduate Courses: Phenomenological Approaches to Music Analysis; Postmodernism and Music; Implications of Postmodern Thought for Music Theory and Analysis; Theories of Contemporary Music; Visualizing the Musical Object; Music as Place.

Selected Publications

1993. "Analysis, Hearing, and Performance" with George Fisher, Indiana Theory Review 14/1:1-36.
1996. "The Expressivity of Timing in Musical Performance," Time and Life:The Study of Time VIII, ed. J.T. Fraser and Marlene P. Soulsby. (Madison, CT:International Universitites Press, Inc.) pp. 147-160.
1996. "A Question of Technique: The Second and Third Piano Sonatas of Roger Sessions," The Journal of Musicology. XIV/4 (Fall):544-578.
1997. "Lulu's Feminine Performance" Cambridge Campanion to Berg, ed. Anthony Pople. (Cambridge:Cambridge University Press):227-246. [The Cambridge Campanion to Berg has been translated into German and published by Laaber-Verlag.]
1998. “Retooling the Technique,” Music Theory Online 4.2 (March1998): http://www.ucsb.edu/mtohome.html
1999 "Hearing Lulu" Audible Traces, edited by Elaine Barkin and Lydia Hamessley (publisher: Carciofoli Verlagshaus, Zurich)
2001 “Hearing Chaos”, American Music 19/2 (Summer 2001):210-46.
2000/2001. “Music Theory as Knowledge Building”, Forum: “Music Theory at the Turn of the Millennium”, Intégral. Vol. 14/15.
2001. “Controlling Liberation: David Tudor and the ‘Experimental’ Sound Ideal”, part of the symposium “The Art of David Tudor: Indeterminacy and Performance in Postwar Culture May 17–19,” Getty Research Center. Paper published at: http://www.getty.edu/research/conducting_research/digitized_collections/davidtudor/symposium.html
2002. “Analyzing from the Body”, with George Fisher, Theory and Practice, Journal of the Music Theory Society of New York State, 27: 37-68.
2003. “Composer Portrait: Anne LeBaron”, International Alliance for Women in Music. 9/1: 1-6.
2004. “Refiguring the Modernist Program for Hearing: Steve Reich and George Rochberg”, Listening to Modernism: Re-Evaluating Contemporary Music at the Millennium, ed. Arved Ashby. Rochester: University of RochesterPress.
2005. “Textural/Timbral Analysis of Barbara Kolb’s Millefoglie, for Chamber Ensemble and Computer Generated Tape”, Engaging Music: Essays in Music Analysis, ed. Deborah Stein. New York: Oxford University Press.
2006. “Visualizing the Musical Object”, Expanding (Post) Phenomenology: A Critical Companion to Ihde, ed. Evan Selinger. Albany: SUNY Press: pp.
2006. “’How Does It Work?’: Challenges to Analytic Explanation” Music Theory Spectrum 28/2 (Fall 2006): 233-254