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Faculty Profiles

The Institute is shaped by its faculty. All offer courses that enhance the curricula of their respective schools and reflect the mission of the Institute. As the following profiles indicate, the faculty bring a variety of gifts and expertise, representing the finest in their disciplines.

Teresa Berger Professor of Liturgical Studies and Thomas E. Golden Professor of Catholic Theology. Professor Berger holds doctorates in both liturgical studies and constructive theology. Her scholarly interests lie at the intersection of these disciplines with gender theory, specifically gender history. Her book Gender Differences and the Making of Liturgical History was published in the Ashgate series Liturgy, Worship and Society in 2011. Most recently, Professor Berger has published on liturgical practices in cyberspace. Previous publications include Dissident Daughters: Feminist Liturgies in Global Context (2001); Fragments of Real Presence: Liturgical Traditions in the Hands of Women (2005); and a video documentary, Worship in Women’s Hands (2007). Professor Berger has also written on the hymns of Charles Wesley and on the liturgical thought of the nineteenth-century Anglo-Catholic revival. She coedited, with Bryan Spinks, the volume The Spirit in Worship—Worship in the Spirit (2009) and served as editor of the volume of essays from the 2011 ISM Liturgy Conference, titled Liturgy in Migration: From the Upper Room to Cyberspace (2012). An active Roman Catholic, Professor Berger has produced (with MysticWaters Media) a CD-ROM, Ocean Psalms: Meditations, Stories, Prayers, Songs and Blessings from the Sea (2008), and she contributes to the liturgy blog Pray Tell. Originally from Germany, she has been a visiting professor at the Universities of Mainz, Münster, Berlin, and Uppsala. In 2003 she received the distinguished Herbert Haag Prize for Freedom in the Church. L.Th. St. John’s College, Nottingham; M.Th. Johannes Gutenberg-Universität, Mainz; Dr.Theol. Ruprecht Karl-Universität, Heidelberg; Dipl.Theol. Johannes Gutenberg-Universität, Mainz; Dr.Theol. and Habilitation Westfälische Wilhelms-Universität, Münster

Jeffrey Brillhart Lecturer in Organ Improvisation. Jeffrey Brillhart has performed throughout the United States, South America, South Africa, and Europe as conductor and organist and is known for his musical versatility. He was awarded first place at the American Guild of Organists National Competition in Organ Improvisation in 1994. Mr. Brillhart is director of music and fine arts at Bryn Mawr Presbyterian Church, where he oversees music, education, and arts programs that involve more than 500 children, youth, and adults each week. He is also music director of Philadelphia’s acclaimed Singing City Choir, one of the first integrated community choirs in the United States. At Singing City he follows a distinguished line of conductors that includes Elaine Brown and Joseph Flummerfelt. Under his direction, his choral ensembles have performed with the Kronos Quartet, the Philadelphia Orchestra, Symphony in C, the Chamber Orchestra of Philadelphia, Ignat Solzhenitsyn, Bobbie McFerrin, Dave Brubeck, Helmuth Rilling, and Rossen Milanov, and on tours to Cuba, Northern Ireland, Brazil, and the Balkans. Mr. Brillhart maintains an active schedule as conductor, organist, competition adjudicator, and clinician, most recently at the Curtis Institute of Music, the Eastman School of Music, Westminster Choir College, Furman University, Walla Walla College, and Baylor University. His organ improvisation textbook, Breaking Free: Finding a Personal Language for Organ Improvisation through 20th-Century French Improvisation Techniques, was published by Wayne Leupold Editions in 2011. B.M. Drake University; M.M. Eastman School of Music

Marguerite L. Brooks Associate Professor (Adjunct) of Choral Conducting. Professor Brooks was named to the faculty in 1985 to chair Yale’s graduate program in choral conducting and to direct the Institute’s choral activities. She conducts the Yale Camerata and serves as director of music at the Church of the Redeemer (UCC) in New Haven. She has taught at Mount Holyoke College, Smith College, and Amherst College and was director of choral music at the State University of New York at Stony Brook. Professor Brooks served on the jury for the most recent Eric Ericson competition and has taught and guest-conducted in North and South America, Europe, and Asia. B.A. Mount Holyoke College; M.M. Temple University

Maggi E. Dawn Associate Dean for Marquand Chapel and Associate Professor (Adjunct) of Theology and Literature. Originally from England, Professor Dawn came to Yale in 2011. After a first career in music, she was a teaching fellow in systematic theology at the University of Cambridge, where she also served as college chaplain. She teaches courses on performative theology and on theology and poetics in the writings of Samuel Taylor Coleridge. Her next book, forthcoming in 2015, is an annotated edition, with introduction, of Coleridge’s Confessions of an Inquiring Spirit. Her five published books are Like the Wideness of the Sea: Women Bishops and the Church of England (DLT, 2013), The Accidental Pilgrim: Modern Journeys on Ancient Pathways (Hodder and Stoughton, 2011), The Writing on the Wall: High Art, Popular Culture and the Bible (Hodder and Stoughton, 2010), Giving it Up: Daily Bible Readings from Ash Wednesday to Easter Day (Oxford: BRF, 2009), and Beginnings and Endings (and What Happens in Between): Daily Bible Readings from Advent to Epiphany (Oxford: BRF, 2007). In addition to articles and essays in various journals and periodicals, she has contributed chapters to four collections of essays: An Acceptable Sacrifice? Homosexuality and the Church (ed. Dormor and Morris; SPCK 2007), Anglicanism: The Answer to Modernity (ed. Dormor, McDonald, and Caddick; Continuum, 2003), The Rite Stuff: Ritual in Contemporary Christian Worship and Mission (ed. Ward; BRF, 2004), and Post-Evangelical Debate (Dawn et al.; SPCK 1997). She is the composer of many contemporary songs and hymns, published by EMI (Kingsway Thankyou Music) and Big Jungle Music. In 2014 she was made the first Ruth Etchells Fellow in Theology and Literature at the University of Durham, UK. Professor Dawn is an ordained priest in the Church of England, an accredited pastoral supervisor with APSE (Association of Pastoral Supervisors & Educators), an associated writer member of PRS for Music, and a member of the Society for the Study of Theology (UK). She serves on the advisory board for the Royal School of Church Music and is a senior member of King’s College and Robinson College in the University of Cambridge. B.A., M.A., Ph.D. University of Cambridge

Peter S. Hawkins Professor of Religion and Literature. Professor Hawkins’s work has long centered on Dante, most recently in Dante’s Testaments: Essays on Scriptural Imagination (winner of a 2001 AAR Book Prize), The Poets’ Dante: Twentieth-Century Reflections (2001), coedited with Rachel Jacoff, and Dante: A Brief History (2006). The poet features as well in his expansion of his 2007 Lyman Beecher Lectures on Preaching in Undiscovered Country: Imagining the World to Come (2009). His research in the history of biblical reception has led to three coedited volumes to which he also contributed essays: Scrolls of Love: Ruth and the Song of Songs (2006), Medieval Readings of Romans (2007), and From the Margins I: Women of the Hebrew Bible and Their Afterlives (2009). Together with Paula Carlson he has edited the Augsburg Fortress four-volume series Listening for God: Contemporary Literature and the Life of Faith. He has also written on twentieth-century fiction (The Language of Grace), utopia (Getting Nowhere), and the language of ineffability (Ineffability: Naming the Unnamable from Dante to Beckett). Professor Hawkins’s essays have dealt with such topics as memory and memorials, televangelism, scriptural interpretation, and preaching. From 2000 to 2008 he directed the Luce Program in Scripture and Literary Arts at Boston University. While at BU he won the Metcalf Award for Excellence in Teaching. He has held fellowships at Lady Margaret Hall (Oxford), Pembroke College (Cambridge), and the Centro Studi Ligure in Bogliasco (Genoa); in spring 2015 he will be at the Centre for Medieval Studies at the University of York in the UK. He has chapters in the Oxford Handbook of the Psalms (2014) and forthcoming in the “Oxford Encyclopedia of the Bible and the Arts” (Cambridge University Press). Professor Hawkins is a fellow of Jonathan Edwards College and also teaches regularly in the Directed Studies Program in Yale College. B.A. University of Wisconsin at Madison; M.Div. Union Theological Seminary; Ph.D. Yale University

David Hill Professor (Adjunct) of Choral Conducting and Principal Conductor of Yale Schola Cantorum. Professor Hill has a long and distinguished career as one of the leading conductors in Europe. He has held appointments as chief conductor of the BBC Singers, musical director of the Bach Choir, chief conductor of the Southern Sinfonia, music director of the Leeds Philharmonic Society, and associate guest conductor of the Bournemouth Symphony Orchestra. In 2002 he was awarded an honorary doctorate by the University of Southampton in recognition of his services to music. In 2007 he was named an honorary member of the Royal School of Church Music and in 2010 an honorary fellow of the Royal Academy of Music. With more than seventy recordings to his credit, Professor Hill has performed virtually every style and period in the choral repertoire from Gregorian chant to Renaissance polyphony, from baroque oratorios to modern masterpieces for chorus and orchestra. He has commissioned dozens of works from leading composers, including Judith Bingham, Francis Pott, Patrick Gowers, Sir John Tavener, and Philip Wilby. Previously, he was master of music at Winchester and Westminster Cathedrals, music director of the Waynflete Singers, artistic director of the Philharmonia Chorus, and director of music at St John’s College, Cambridge. M.A. University of Cambridge

Martin D. Jean Professor of Organ, Professor in the Practice of Sacred Music, and Director of the Institute of Sacred Music. Professor Jean has performed widely throughout the United States and Europe and is known for his broad repertorial interests. He was awarded first place at the international Grand Prix de Chartres in 1986, and in 1992 at the National Young Artists’ Competition in Organ Performance. A student of Robert Glasgow, in the fall of 1999 he spent a sabbatical with Harald Vogel in North Germany. He has performed on four continents and in nearly all fifty states. In 2001 he presented a cycle of the complete organ works of Bach at Yale, and his compact discs of The Seven Last Words of Christ by Charles Tournemire and the complete Six Symphonies of Louis Vierne, both recorded in Woolsey Hall, have been released by Loft Recordings. Recordings of the organ symphonies and Stations of the Cross of Marcel Dupré are forthcoming on the Delos label. Professor Jean is on the board of directors of Lutheran Music Program. B.A. Concordia College; M.M., A.Mus.D. University of Michigan

Judith Malafronte Lecturer in Voice. Judith Malafronte has an active career as a mezzo-soprano soloist in opera, oratorio, and recital. She has appeared with the San Francisco Symphony, the Los Angeles Philharmonic at the Hollywood Bowl, the St. Louis Symphony, the St. Paul Chamber Orchestra, the Handel and Haydn Society, and Mark Morris Dance Group. She has sung at the Tanglewood Festival, the Boston Early Music Festival, the Utrecht Early Music Festival, and the Göttingen Handel Festival. Winner of several top awards in Italy, Spain, Belgium, and the United States, including the Grand Prize at the International Vocal Competition in Hertogenbosch, Holland, Ms. Malafronte holds degrees with honors from Vassar College and Stanford University, and studied at the Eastman School of Music, in Paris and Fontainebleau with Mlle. Nadia Boulanger, and with Giulietta Simionato in Milan as a Fulbright scholar. She has recorded for major labels in a broad range of repertoire, from medieval chant to contemporary music, and her writings have appeared in Opera News, Stagebill, Islands, Early Music America Magazine, Schwann Inside, and Opus. Ms. Malafronte also teaches undergraduate music courses in Yale College. B.A. Vassar College; M.A. Stanford University

Vasileios Marinis Associate Professor of Christian Art and Architecture. Professor Marinis has been the recipient of numerous grants and fellowships including the Aidan Kavanagh Prize for Outstanding Scholarship at Yale, a fellowship at Dumbarton Oaks in Washington, D.C., the S.C. and P.C. Coleman Senior Fellowship at the Metropolitan Museum of Art, and a membership at the Institute for Advanced Study in Princeton. In 2015–2017 he will be a Humboldt fellow at the Ludwig-Maximilians-Universität in Munich. Professor Marinis has published on a variety of topics ranging from early Christian tunics decorated with New Testament scenes to medieval tombs, graffiti, and Byzantine transvestite nuns. His monograph on the interchange of architecture and ritual in the medieval churches of Constantinople was published by Cambridge University Press in 2014. Before coming to Yale he was the first holder of the Kallinikeion Chair of Byzantine Art at Queens College, CUNY. B.A. University of Athens; D.E.A. Université de Paris I Panthéon-Sorbonne; M.A.R. Yale University; L.M.S. Pontifical Institute of Mediaeval Studies, University of Toronto; Ph.D. University of Illinois at Urbana-Champaign

Mark Miller Lecturer in Sacred Music. Since 1994, Mark Miller has served on the faculty of Drew Theological School in Madison, New Jersey, where he is director of music, composer in residence, and instructor in church music. He is also the minister of music at Christ Church in Summit, New Jersey; minister of music at Covenant United Methodist Church in Plainfield, New Jersey; and composer in residence for the Harmonium Choral Society, based in Morris County, New Jersey. From 2002 to 2007 he was director of contemporary worship at Marble Collegiate Church, and from 1999 to 2001 was music associate and assistant organist at the Riverside Church, both in New York City. He travels regularly around the country to perform concerts and lead worship. He has published music with Abingdon Press, Choristers Guild, and Pilgrim Press, and his songs are found in the hymnals The Faith We Sing, For Everyone Born, Zion Still Sings, Sing! Prayer and Praise, Amazing Abundance, and others. His organ work, Toccata on “God Rest Ye Merry” (recorded in 2000 on Gothic’s label) was featured on National Public Radio’s program Pipe Dreams. James Earl Jones was the narrator of his original work Let Justice Roll: Song from a Birmingham Jail, which was also featured on NBC’s program Positively Black. B.A. Yale University; M.M. The Juilliard School

Walden Moore Lecturer in Organ. Walden Moore graduated from the ISM/School of Music in 1980, after organ studies with Robert Baker and Gerre Hancock. He has been organist and choirmaster of Trinity Church, New Haven, since 1984, where he works with the renowned Choir of Men and Boys, the Choir of Men and Girls, and the parish mixed-adult choir in a regular schedule of parish services and outside appearances. He has served as clinician, guest conductor, and organist for choir festivals across the nation. He is past chair of the Music Commission of the Episcopal Diocese of Connecticut, and has served on the Executive Board of the Connecticut Chapter of the American Choral Directors Association. He has also served as consultant in organ design for several churches in Connecticut. Since January 2007 he has been team-teaching a course in service playing with fellow Baker student Mark Miller. B.M. University of Kentucky; M.M. Yale University

Thomas Murray Professor in the Practice of Organ. Professor Murray has been a member of the faculty since 1981 and was appointed University organist in 1990. Successor to Charles Krigbaum and Robert Baker as the senior professor of organ, he teaches the organ literature seminar and gives instruction to graduate organ majors. His performing career has taken him to all parts of Europe and to Japan, Australia, and Argentina. He has appeared as a soloist with the Pittsburgh, Houston, Milwaukee, and New Haven symphony orchestras, the National Chamber Orchestra in Washington, D.C., and the Moscow Chamber Orchestra during its tour of Finland in 1996. The American Guild of Organists named him International Performer of the Year in 1986. The Royal College of Organists in England awarded him an FRCO diploma honoris causa in 2003, and in 2007 the Yale School of Music awarded him the Gustave Stoeckel Award for excellence in teaching. During his years at Yale he has at times been active as a choral conductor, and prior to joining the faculty he was organist and choirmaster at the Cathedral Church of St. Paul (Episcopal) in Boston. Professor Murray is principal organist and artist-in-residence at Christ Church Episcopal in New Haven, where he mentors a current ISM organ major. A.B. Occidental College

Henry Parkes Assistant Professor of Music. Professor Parkes is a specialist in the music and liturgy of the central Middle Ages (ca. 800–1200), with particular interests in the performance and experience of religious ritual, the history of religious communities (monastic and clerical), reform movements, manuscripts and material culture, and wider trends in medieval intellectual history. After graduating with a first-class degree in music from the University of Oxford, he earned a Ph.D. in musicology at the University of Cambridge, where he was subsequently appointed as a postdoctoral research fellow at Gonville and Caius College. Prior to coming to Yale in 2014, he also served as a visiting lecturer at the University of Cambridge and at Royal Holloway, University of London. While his teaching interests encompass the major musical repertories of the Middle Ages, both monophonic and polyphonic, Professor Parkes’s recent publications traverse the disciplines of theology, history, musicology, canon law, and liturgy. Forthcoming from Cambridge University Press is his first book, “The Making of Liturgy in the Ottonian Church,” which narrates a history of religious life in early medieval Germany by means of its surviving liturgical books. Professor Parkes has an FRCO diploma in organ and has held organist positions at a number of the UK’s leading Anglican choral foundations; until his move to Yale he regularly shared the concert platform with the London Philharmonic Orchestra. M.A. University of Oxford; Ph.D. University of Cambridge

Sally M. Promey Professor of Religion and Visual Culture (ISM/YDS), Professor of American Studies and Religious Studies (Faculty of Arts and Sciences), and Deputy Director of the Institute of Sacred Music. Professor Promey is director of the Initiative for the Study of Material and Visual Cultures of Religion, generously supported by a grant awarded in 2008 from the Henry Luce Foundation. She convenes the Sensory Cultures of Religion Research Group at Yale. Prior to arriving in New Haven in 2007, she was chair and professor in the Department of Art History and Archaeology at the University of Maryland, where she taught for fifteen years. Her scholarship explores relations among visual/material cultures and religions in the United States from the colonial period through the present. Current book projects include volumes titled “Religion in Plain View: The Public Aesthetics of American Belief” and “Written on the Heart: Sensory Cultures, Material Practices, and American Christianities.” Most recently, she was contributing author to and editor of Sensational Religion: Sensory Cultures in Material Practice (Yale University Press, 2014); and coeditor, with Leigh E. Schmidt, of American Religious Liberalism (Indiana University Press, 2012). Among earlier publications, Painting Religion in Public: John Singer Sargent’s “Triumph of Religion” at the Boston Public Library received the American Academy of Religion Award for Excellence in the historical study of religion, and Spiritual Spectacles: Vision and Image in Mid-Nineteenth-Century Shakerism was awarded the Charles C. Eldredge Prize for outstanding scholarship in American art. Recent articles and book chapters include essays titled “Hearts and Stones: Material Transformation and the Stuff of American Christianities”; “Sensory Cultures: Material and Visual Religion Reconsidered” (coauthored with Shira Brisman); “Mirror Images: Framing the Self in Early New England Material Piety”; and “Taste Cultures and the Visual Practice of Liberal Protestantism, 1940–1965.” Professor Promey is the recipient of numerous grants and fellowships including a Guggenheim Fellowship, a residential fellowship at the Woodrow Wilson International Center for Scholars, two Ailsa Mellon Bruce Senior Fellowships (1993 and 2003) at the Center for Advanced Study in the Visual Arts, and a National Endowment for the Humanities Fellowship for University Teachers. In 2001 she received the Regent’s Faculty Award for Research, Scholarship, and Creative Activity from the University System of Maryland, and in 2002 the Kirwan Faculty Research and Scholarship Prize, University of Maryland. She was codirector (with David Morgan, Duke University) of a multiyear interdisciplinary collaborative project, “The Visual Culture of American Religions,” funded by the Henry Luce Foundation and the Lilly Endowment Inc. A book of the same title, coedited by Professors Promey and Morgan, appeared in 2001 from University of California Press. In 2004 she was senior historian in residence for the Terra Summer Residency Program in Giverny, France. She serves on the editorial boards of Material Religion and Images: A Journal of Jewish Art and Visual Culture and is editorial adviser to American Art. She is a member of the Advisory Committee of the Center for Historic American Visual Culture at the American Antiquarian Society. Professor Promey is a fellow of Berkeley College. B.A. Hiram College; M.Div. Yale University; Ph.D. University of Chicago

Markus Rathey Associate Professor (Adjunct) of Music History. Professor Rathey studied musicology, Protestant theology, and German philology in Bethel and Münster. He taught at the University of Mainz and the University of Leipzig and was a research fellow at the Bach-Archiv, Leipzig, before joining the Yale faculty in 2003. His research interests are music of the seventeenth, eighteenth, and early nineteenth centuries, Johann Sebastian Bach, and the relationship among music, religion, and politics during the Enlightenment. Recent publications include the books Johann Rudolph Ahle (1625–1673): Lebensweg und Schaffen (Eisenach, 1999), an edition of Johann Georg Ahle’s Music Theoretical Writings (Hildesheim, 2007, 2nd edition 2008), and Kommunikation und Diskurs: Die Bürgerkapitänsmusiken Carl Philipp Emanuel Bachs (Hildesheim, 2009). He was guest editor of a volume of the German journal Musik und Kirche (2005) on church music in the United States. He has contributed numerous articles to Die Musik in Geschichte und Gegenwart, the Laaber Lexikon der Kirchenmusik, and the handbook for the new German Hymnal (Liederkunde zum Evangelischen Gesangbuch). Recently, Professor Rathey published a chapter on Bach’s chorale cantatas in the new Laaber Bach-Handbuch. He has published numerous articles on music by Bach and his contemporaries in scholarly journals such as Eighteenth-Century Music, Early Music History, Bach-Jahrbuch, and Schütz-Jahrbuch. Professor Rathey is vice-president of the American Bach Society and past president of the Forum on Music and Christian Scholarship (2009–2011); currently he serves on the editorial board of BACH: Journal of the Riemenschneider Bach Institute and the board of directors for the Society for Eighteenth-Century Music. Ph.D. Westfälische Wilhelms-Universität, Münster

Melanie Ross Assistant Professor of Liturgical Studies. Prior to coming to Yale, Melanie Ross was professor of worship leadership at Huntington University. She pursues research that facilitates the intersection of popular American evangelicalism and academic liturgical theology. Her articles have been published in the journals Worship, Pro Ecclesia, Liturgy, and Scottish Journal of Theology. In 2010, with Simon Jones, she edited The Serious Business of Worship: Essays in Honour of Bryan D. Spinks (Continuum Books). Her first authored book, Evangelical vs. Liturgical? Defying a Dichotomy, was recently published by Eerdmans Publishing Co. In 2014 she was awarded a Luce Fellowship by the Association of Theological Schools and a Sabbatical Grant for Researchers by the Louisville Institute to work on an ethnographic study entitled “Varieties of Evangelical Worship: An American Mosaic.” B.S. Messiah College; M.A.R. Yale University; Ph.D. University of Notre Dame

Bryan D. Spinks Bishop F. Percy Goddard Professor of Liturgical Studies and Pastoral Theology. Professor Spinks teaches courses on marriage liturgy; English Reformation worship traditions; the eucharistic prayer and theology, Christology, and liturgy of the Eastern churches; and contemporary worship. Research interests include East Syrian rites, Reformed rites, issues in theology and liturgy, and worship in a postmodern age. His most recent books are The Worship Mall: Liturgical Initiatives and Responses in a Postmodern Global World, published by SPCK (London 2010; New York 2011), and Do This in Remembrance of Me: The Eucharist from the Early Church to the Present Day, SCM Press (London 2013). He coedited, with Teresa Berger, The Spirit in Worship—Worship in the Spirit (2009). Other recent publications include “The Elizabethan Primers: Symptoms of an Ambiguous Settlement or Devotional Weaning?” in Natalie Mears and Alec Ryrie (eds.), Worship and the Parish Church in Early Modern Britain (2013); “Carefully Chosen Words? The Christological Intentionality in the Institution Narrative and the Epiclesis of the Syriac Anaphora of St. James” in Steven Hawkes-Teeples, Bert Groen, and Stefanos Alexopoulos (eds.), Studies on the Liturgies of the Christian East: Selected Papers of the Third International Congress of the Society of Oriental Liturgy Volos, May 26–30, 2010 (2013); and “A Tale of two Anaphoras: Addai and Mari and Maronite Sharar” in Cesare Giraudo (ed.), The Anaphoral Genesis of the Institution Narrative in Light of the Anaphora of Addai and Mari (2013). He is currently writing two essays for the Oxford History of Anglicanism and another on the revival of liturgical forms in the nineteenth-century Church of Scotland. Professor Spinks is coeditor of the Scottish Journal of Theology, a former member of and consultant to the Church of England Liturgical Commission, president emeritus of the Church Service Society of the Church of Scotland, and a fellow of the Royal Historical Society and of Churchill College, Cambridge. He is a regular Sunday Presbyter in the Middlesex Area Cluster Ministry. Professor Spinks is a fellow of Morse College. B.A. (Hons), Dip.Th. University of Durham; M.Th. University of London; B.D., D.D. University of Durham

James Taylor Associate Professor (Adjunct) of Voice. With an extensive repertoire ranging from the medieval period to the twenty-first century, tenor James Taylor devotes much of his career to oratorio and concert literature. As one of the most sought-after Bach tenors of our time, he performed the St. Matthew Passion for his debut with the New York Philharmonic under Kurt Masur. His career has taken him throughout the United States, South America, Japan, Korea, and Israel, and to virtually all the major orchestras and concert halls of Europe, where he has performed with conductors such as Christophers, von Dohnányi, Harding, Harnoncourt, Herreweghe, Jacobs, Koopman, Labadie, Nézet-Séguin, Norrington, Rilling, Suzuki, and Welser-Möst. His artistry has been documented on more than forty professional CD and DVD recordings for labels such as Sony, Hänssler, harmonia mundi, and Naxos; and on numerous television and radio broadcasts in the United States, Canada, and abroad. He joined the Yale faculty in 2005 and serves as coordinator for the voice program in Early Music and Oratorio. B.Mus. Texas Christian University; Master’s Diploma, Hochschule für Musik, Munich

Ted Taylor Lecturer in Voice. Equally at home in the pit conducting a repertoire of more than fifty operas and musicals or on the stage accompanying some of the world’s preeminent vocalists, Ted Taylor enjoys a varied international career. As pianist he has appeared with such luminaries as Sylvia McNair, Christine Schäfer, Ben Heppner, Kathleen Battle, Eileen Farrell, Elisabeth Schwarzkopf, Régine Crespin, and Carlo Bergonzi, and as a conductor who has appeared with many American opera companies, he made his New York City Opera debut in 2003 conducting La Traviata. Mr. Taylor has been a member of the conducting staffs of the Metropolitan Opera and Lyric Opera of Chicago and also served as music director of the New York City Opera National Company. In April 2009 he conducted the world premier of Libby Larsen’s Picnic for the University of North Carolina at Greensboro. He has recorded for Philips, CRI, BBC Worldwide, and Leonarda labels. In the field of contemporary opera, Mr. Taylor served as assistant to Academy Award-winning composer Tan Dun for the premiere of his first opera, Marco Polo, at the Munich Biennale and prepared the Hong Kong Philharmonic and Tokyo Philharmonic orchestras for subsequent performances. This fall marks his thirteenth year on the faculty of the Opera Program at Mannes College The New School for Music in New York City and his seventh year with the Institute of Sacred Music. He has guest conducted at such music schools as Indiana University and Cincinnati Conservatory of Music. This summer found him teaching for the third time in the University of Houston’s seminar Le Chiavi di Bel Canto, and he returned for his sixth year as master coach for CoOPERAtive at Westminster Choir College in Princeton. Next spring he will return to coach and play at the Metropolitan Opera National Council Grand Final Awards for the third year. A native Texan, he makes his home in Manhattan, where he maintains an active studio as coach and teacher. B.M. George Peabody College, Vanderbilt University; M.M. Indiana University

Thomas H. Troeger J. Edward and Ruth Cox Lantz Professor of Christian Communication. Professor Troeger has written twenty-two books in the fields of preaching, poetry, hymnody, worship, and the theology of music; is a frequent contributor to journals dedicated to these topics; and is a monthly columnist for Lectionary Homiletics. His most recent books include “Song that Blesses Earth: Hymn Texts, Carols and Poems” (forthcoming); Music as Prayer: The Theology and Practice of Church Music; A Sermon Workbook: Exercises in the Art and Craft of Preaching (with Leonora Tubbs Tisdale); Sermon Sparks: 156 Ideas to Ignite Your Preaching; Wonder Reborn: Creating Sermons on Hymns, Music and Poetry; God, You Made All Things for Singing: Hymn Texts, Anthems, and Poems for a New Millennium; So that All Might Know: Preaching that Engages the Whole Congregation (with H. Edward Everding, Jr.); Preaching while the Church is under Reconstruction: The Visionary Role of Preachers in a Fragmented World; and Above the Moon Earth Rises: Hymn Texts, Anthems, and Poems for a New Creation. He is also a flutist and a poet whose work appears in the hymnals of most denominations and is frequently set as choral anthems. For three years Professor Troeger hosted the Season of Worship broadcast for Cokesbury, and he has led conferences and lectureships in worship and preaching throughout North America, as well as in Denmark, Holland, Australia, Japan, and Africa. Ordained in the Presbyterian Church in 1970 and in the Episcopal Church in 1999, he is dually aligned with both traditions. He is a former president of the Academy of Homiletics (the North American guild of scholars in homiletics) and of Societas Homiletica (the international guild of scholars in homiletics). He has served as the national chaplain to the American Guild of Organists. He was awarded an honorary D.D. degree from Virginia Theological Seminary. Professor Troeger is a fellow of Silliman College. B.A. Yale University; B.D. Colgate Rochester Divinity School; S.T.D. Dickinson College

Christian Wiman Senior Lecturer in Religion and Literature. Christian Wiman is the author, editor, or translator of eight books including, most recently, My Bright Abyss: Meditation of a Modern Believer (Farrar, Straus and Giroux, 2013), which was named one of the ten best nonfiction books of the year by the Wall Street Journal. His new book of poems, Once in the West, will be published in the fall of 2014. Mr. Wiman has taught at Stanford, Northwestern, Lynchburg College in Virginia, and the University of Economics, Prague. From 2003 until 2013 he was the editor of Poetry magazine, the premiere magazine for poetry in the English-speaking world. During that time the magazine’s circulation tripled, and it garnered three National Magazine Awards from the American Society of Magazine Editors. Mr. Wiman has written for The New Yorker, the New York Times Book Review, The Atlantic, and numerous other publications. He is a former Guggenheim Fellow and holds an honorary doctorate of humane letters from North Central College. His particular interests include modern poetry, Russian literature, the language of faith, “accidental” theology (that is, theology conducted by unexpected means), and what it means to be a Christian intellectual in a secular culture. B.A. Washington and Lee University

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Visiting Faculty, 2014–2015

Awet Andemicael Lecturer in Sacred Music (spring 2015). Active as a performer, writer, consultant, and educator, Awet Andemicael works primarily at the intersection of music and theology. As a concert and operatic soprano, she has sung at festivals and concert venues across North America, Europe, and Japan. She has received music awards from numerous organizations, including the Metropolitan Opera National Council, the Lee Schaenen Foundation, and the Oratorio Society of New York. As a writer, researcher, and consultant, she works in the fields of music and theology, peace studies, refugee studies, and interfaith engagement. She is a member of the Mellon Foundation Working Group on Music and Religion, through the University of Notre Dame, and is a scholar in the Jerusalem-based Elijah Interfaith Institute. Publications include essays in the journal Worship; The Christian Century; the Refugee Studies Centre’s Forced Migration Review (University of Oxford); and KANERE, a refugee-run independent news magazine based in Kakuma, Kenya. Her research study, Positive Energy: A Review of the Role of Artistic Activities in Refugee Camps, was published by the United Nations High Commissioner for Refugees, and she has authored a chapter in the upcoming anthology “For Such a Time as This: Young Adults on the Future of the Church” (Judson Press, 2014). Committed to education and mentoring, she has taught courses on music and worship and theologies of reconciliation at the Université Chrétienne Bilingue du Congo in Beni and has led master classes on singing in Brittany, France, and at the University of Notre Dame. A.B. Harvard University; M.F.A. University of California, Irvine; M.A.R. Yale University; Certificate, Yale Institute of Sacred Music

Paul F. Bradshaw Visiting Professor of Liturgical Studies (fall 2014). Paul F. Bradshaw is a specialist in the early history of Christian liturgy and emeritus professor of liturgy at the University of Notre Dame. He received bachelor’s and master’s degrees in theology from the University of Cambridge, his doctorate in liturgical studies from the University of London, and in 1994 was awarded the degree of Doctor of Divinity by the University of Oxford for his published works. He also has an honorary D.D. from the General Theological Seminary, New York. Ordained in the Church of England in 1969, he subsequently held several positions there, and he taught at Notre Dame from 1985 until 2013. Between 1995 and 2008 he served as director of Notre Dame’s London Undergraduate Program. He is an honorary canon of the Diocese of Northern Indiana, Priest-Vicar Emeritus of Westminster Abbey, and a consultant to the Church of England Liturgical Commission. He has published extensively on the subject of Christian liturgy, having written or edited more than thirty books, together with more than a hundred articles in periodicals and essays in composite works. He has been president of both the North American Academy of Liturgy (1993–94) and the international body Societas Liturgica (1993–95). From 1987 to 2005 he was also editor-in-chief of the scholarly journal Studia Liturgica. His project at Yale will focus on the ancient church orders, which have been used not only as significant sources for the reconstruction of primitive liturgical practices but also as models for liturgical revision in the twentieth century. The origin and nature of some of these documents have been radically reevaluated in recent years, and the project will examine both the validity of those judgments and the possible impact on the genre as a whole. B.A., M.A. University of Cambridge; Ph.D. University of London; D.D. University of Oxford

Daniel K.L. Chua Visiting Professor of Music History (spring 2015). Daniel K.L. Chua earned his doctorate in musicology from the University of Cambridge and is currently professor of music at the University of Hong Kong, where he heads the School of Humanities. He was previously a fellow and the director of studies at St John’s College, Cambridge, and professor of music theory and analysis at King’s College, London. Professor Chua was a Henry Fellow at Harvard and is the recipient of the 2004 Royal Musical Association’s Dent Medal. He has written widely on music, from Monteverdi to Stravinsky; his publications include The “Galitzin” Quartets of Beethoven (Princeton, 1995), Absolute Music and the Construction of Meaning (Cambridge, 1999), “Rioting with Stravinsky: A Particular Analysis of the Rite of Spring” (in Musical Analysis, 2007), “Beethoven’s Other Humanism” (in Journal of the American Musicological Society, 2009), and “Listening to the Self: The Shawshank Redemption and the Technology of Music” (in 19th-Century Music, 2011). He is currently working on a monograph entitled “Beethoven and Freedom.” B.A., Ph.D. University of Cambridge

Lars Gjerde Lecturer in Sacred Music (spring 2015). Lars Gjerde, from Aure, Norway, is director of music at Bethesda Lutheran Church in New Haven, Connecticut, where he is also chapter dean and regional convention coordinator for the American Guild of Organists. He performs and coaches church musicians privately through Encore Music Creations. Recent academic and artistic appearances include the EROI Festival, Yale University, Augustana College, DePauw University, and the national convention of the American Guild of Organists. His research on Egil Hovland and the avant-garde in Norwegian organ music was recently featured in Norsk Kirkemusikk. Mr. Gjerde earned his doctoral degree in organ performance with David Higgs and Hans Davidsson at the Eastman School of Music, where he also received the Sacred Music Diploma. He studied harpsichord and improvisation with William Porter and jazz piano with Tony Caramia. He taught secondary organ lessons at Eastman and sang with the Christ Church Schola Cantorum under Stephen Kennedy. At Augustana College, he served as the chapel organist, sang with the concert and chamber choirs, and accompanied choral and opera ensembles. He was organist and choir director at First Methodist Church in Bergen, where he also sang with the distinguished Bergen Domkantori under Magnar Mangersnes. Mr. Gjerde was Second National Winner in the Music Teachers National Association Collegiate Organ Competition, and he earned Honorable Mention in the Augustana Arts/Reuter National Undergraduate Organ Competition. He has won numerous music and academic scholarships, has participated in academic conferences and performed around America and Europe, and has played on the National Public Radio show Pipedreams. B.A. Augustana College; B.M. Grieg Academy (Bergen, Norway); M.M., D.M.A., S.M.D. Eastman School of Music

Cécile Guillaume-Pey Lecturer in Religious Studies (fall 2014). Cécile Guillaume-Pey obtained her doctorate in social anthropology from École des Hautes Études en Sciences Sociales, Toulouse, France, where her dissertation focused on the ritual practices of the Sora, a tribal group from Odisha-Andhra Pradesh border (Central Eastern India). She has recently been based in Ireland as a Fyssen Foundation postdoctoral research fellow at Queen’s University Belfast and University College Cork. At Yale, her project, “From Ritual Images to Animated Movies: The Transformative Journey of Sora Paintings,” investigates the creation and transformation of Sora murals in front of which sacrifices are performed. These images are a dwelling place for the gods whose presence is materialized in the domestic space. Their design is part of a complex ritual performance that requires close collaboration between a painter and religious specialists who, through songs, invite the gods to inhabit the images. Today, these “altar-paintings” are sometimes disconnected from their ritual use, exhibited in museums, and sold in local markets; they have even inspired the production of animated movies. Based on findings during ethnographic fieldwork on the production of these paintings in various contexts, Ms. Guillaume-Pey’s project focuses on the status and impact of these images. B.A., M.A., M.Phil., Université de Toulouse; D.E.A., Ph.D., École des Hautes Études en Sciences Sociales

Monique M. Ingalls Visiting Assistant Professor of Music History (spring 2015). Monique Ingalls is assistant professor of church music at Baylor University. She received her doctorate in ethnomusicology from the University of Pennsylvania and spent three years as a postdoctoral teaching fellow in popular music at the University of Cambridge. At Yale she will work to finish her first monograph, entitled “Made to Worship: Performing Evangelical Protestantism through Praise and Worship Music.” “Made to Worship” is a critical ethnography of “praise and worship music,” a mass-mediated, pop-rock-style congregational song genre that cuts across the distinctions among popular music, folk music, and liturgical music and has become the musical lingua franca for evangelical churches in North America and increasingly across the globe. Her book explores how the musical performance of praise and worship enables evangelical Protestants variously to erect, maintain, and challenge their religious community’s boundaries. The book positions itself within ethnomusicology but interacts with popular music studies, media studies, and social science approaches to religion, drawing upon five years of ethnographic fieldwork at sites in North America and the UK. B.A. John Brown University; Ph.D. University of Pennsylvania

Ronald S. Jenkins Visiting Professor of Religion and the Arts (spring 2015). Ronald Jenkins, currently on the faculty of Wesleyan University and a former Guggenheim and Fulbright Fellow, has facilitated theater workshops in prisons in Italy, Indonesia, and the United States. He has directed and/or translated the plays of the Italian Nobel Laureate Dario Fo and the Israeli playwright Joshua Sobol for numerous theaters, including the Yale Repertory Theatre, the American Repertory Theater at Harvard, and the Royal Shakespeare Company in London. His most recent book, Saraswati in Bali, is the third in a trilogy documenting sacred temple performances in Indonesia. His articles have appeared in The Drama Review, PAJ: A Journal of Performance and Art, UNESCO Theater Bulletin, The Jakarta Post, and The New York Times. A former circus clown, Professor Jenkins holds a doctorate from Harvard and a master’s degree in buffoonery from the Ringling Bros. and Barnum & Bailey Clown College. B.A. Haverford College; Ed.D. Harvard University

David Mahan Lecturer in Religion and Literature (spring 2015). A graduate of Yale Divinity School in religion and literature (1995) and winner of the Religion and the Arts Prize, Mr. Mahan has focused on the relationship between works of the literary imagination and the tasks of Christian theology. His doctoral research at the University of Cambridge specifically explored the connection between poetic form and the witnessing aims of a responsive theological discourse. He published his dissertation under the title “An Unexpected Light”: Theology and Witness in the Poetry and Thought of Charles Williams, Micheal O’Siadhail, and Geoffrey Hill (2009). In addition to numerous papers and book reviews, his essay “‘A summons to try to look, to try to see’” appears as a chapter in the collection Musics of Belonging: The Poetry of Micheal O’Siadhail (2007). His article “Hearts of Stone and Feet of Clay: Geoffrey Hill’s Troubled Pilgrims” appeared in the Spring 2011 issue of Christianity and Literature, and his most recent article, “Poetry and the Complexities of Remembrance: An Appeal,” appeared in the August 2014 issue of Milin Havivin. Having served as a campus minister at Yale since 1987, Mr. Mahan is currently the director of the Rivendell Institute at Yale, a Christian research and study center founded in 1995. B.A. Miami University of Ohio; M.A.R. Yale University; Ph.D. University of Cambridge

Hugo Mendez Lecturer in Religious Studies (spring 2015). Hugo Mendez earned his doctorate in linguistics at the University of Georgia with a specialization in early Christian Indo-European languages, including Greek, Latin, Gothic, Classical Armenian, and Old Church Slavic. He also holds a master’s degree in religion. In his research, he applies his philological expertise to a variety of problems in comparative and historical liturgics. His publications include articles, printed or forthcoming, in the Journal of Biblical Literature, Vigiliae Christianae, and Studia Liturgica. His dissertation, which explores the poetics of four early Christian canticles in translation, has received one publication offer to date. While at Yale, he will complete a full-length study of the organization of early Christian calendars with special reference to the notion of a liturgical “new year.” B.A. Southern Adventist University; M.A., Ph.D. University of Georgia

Edmund C. Ryder Lecturer in Christian Art and Architecture. Edmund Ryder received his doctorate from New York University’s Institute of Fine Arts in 2007. His research focuses on the art and architecture of the late Byzantine period, and his work has been supported by a Jane and Morgan Whitney Fellowship from the Metropolitan Museum of Art, a Byzantine Summer Fellowship from Dumbarton Oaks, and an A. G. Leventis Foundation Fellowship. His dissertation, “Micromosaic Icons of the late Byzantine Period,” analyzes a small corpus of devotional panels commissioned by elite patrons and presents the first translations of a number of epigrams written by the court poet Manuel Philes (1275–ca. 1350), which were composed to be placed on the frames of micromosaic icons and icons in other media. He has published an article in the Journal of Modern Hellenism, “The Despoina of the Mongols and Her Patronage at the Church of the Theotokos ton Mougoulion” (May 2010), and an essay, “An Epigram in Honor of Saint Anastasia Pharmakolitria Commissioned by the Panhypersebastos Eirene Palaiologina,” in Anathemata Eortika: Early Christian, Byzantine and Armenian Studies in Honor of Thomas F. Mathews (fall 2009). In addition, he has published a number of Internet essays, currently found on the Metropolitan Museum of Art’s Timeline of Art. These include “Byzantine Ivories,” “Popular Religion: Magical Uses of Imagery in Byzantine Art,” and “Nudity and Classical Themes in Byzantine Art.” He is currently writing chapters on early Christian and Byzantine art for “Art and Its Histories” (working title), to be released in fall 2016 by Cognella. He continues to explore the poetic texts of Manuel Philes, which reveal many insights into patronage patterns during the late Byzantine period and much regarding the social, philosophical, and theological beliefs of the Byzantines. Mr. Ryder has taught graduate and undergraduate courses at New York University, Binghamton University, Connecticut College, and Queens College. B.A. New York University; M.A., Ph.D. New York University, Institute of Fine Arts

Avi Stein Lecturer in Early Music. Avi Stein is the associate organist-choirmaster at Trinity Church Wall Street in New York City. He teaches Baroque voice repertoire at the ISM and continuo and chamber music at the Juilliard School. He also serves as the artistic director of the Helicon Foundation and the 4x4 Baroque Music Festival. Mr. Stein has been featured in an Early Music America magazine article on the new generation of leaders in the field. He directed the young artists’ program at the Carmel Bach Festival and has conducted a variety of ensembles including the Opéra Français de New York, Opera Omnia, and the Amherst Early Music Festival opera. He studied at Indiana University, the Eastman School of Music, and the University of Southern California and was a Fulbright scholar in Toulouse. B.A., Eastman School of Music; M.M., University of Southern California

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Affiliated Faculty

Karla Cavarra Britton Lecturer in Christian Art and Architecture. Karla Britton has taught since 2003 on the faculty at the Yale School of Architecture. Before coming to Yale, she directed the Columbia University Graduate School of Architecture, Planning and Preservation program in Paris, France. Her academic work centers on the history and theory of modern architecture and urbanism, with a particular interest in France and Europe since the First World War, and the evolution of the modern religious building. Ms. Britton trained in comparative literature and in schools of architecture, and her approach is closely aligned with the concerns of authorship and the professional architect, as well as with the visual arts understood in terms of cultural representation. She has studied the questions of regional identity in relation to the global; how architects grapple with concepts of tradition in relation to modernization; and the changing role of materiality and construction as a cultural manifestation of twentieth-century society. Her interests also include the intersection of architecture and religion—and hence politics—as well as architecture and photography in the twentieth and twenty-first centuries. She has organized several international and interdisciplinary conferences at Yale concerned with the contemporary problematic relationship among the fields of architecture, politics, and religion. Her current book project, “Urban Tides: The Future of the Arab City,” explores religious space in contemporary urbanism. Other projects include the first book-length presentation of the work of the American modern architectural photographer Robert Damora (for which she received a Graham Foundation grant) and an examination of the history of the religious building since the Second World War. B.A. University of Colorado; M.A. Columbia University; Ph.D. Harvard University

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