Music programs are enhanced by the vital cultural life in the city of Pittsburgh, which is consistently ranked as one of America's "most livable cities." The proximity of the Mary Pappert School of Music to the city frequently brings these cultural events to the campus. Workshops, master classes, and special performances are often presented by visiting artists, including notable international musical icons.

Applied faculty in the Mary Pappert School of Music include members of the Pittsburgh Symphony Orchestra, Pittsburgh Opera and Ballet Orchestras, and Pittsburgh Jazz Orchestra, among others. Many of these musicians are also GRAMMY® winners. Affiliated ensembles include the Pittsburgh Youth Chorus, Three Rivers Young Peoples Orchestras, and Youth Chamber Connection. Our faculty members are recognized in the academic and cultural communities for their activities as performers, conductors, composers, music technologists, music therapists, church musicians, clinicians, and music scholars. Their experiences are invaluable to the development of our students.

Duquesne students also take advantage of the many performance opportunities available to them by local music organizations. Students are active members of many local orchestras, bands, and other performing ensembles.

History

The Mary Pappert School of Music is a recognized national leader in performance, music education, music therapy, music technology, and sacred music. Founded in 1926, the School of Music has enjoyed a rich tradition of preparing professional musicians for leadership roles in the 21st century. The earliest course of study led to the Bachelor of Music degree. A Bachelor of Science in Music Education was added later. The first graduate degree was awarded in 1928.

With collegiate enrollment numbering over 250 students, along with our community music program City Music Center, active summer sessions, and more than 200 public concerts and recitals each year, the Mary Pappert School of Music plays an important role in the intellectual and cultural life of the Pittsburgh region.

Â鶹ֱ²¥ recognizes the changes that technology is bringing to the world of music in concert halls, classrooms, and recording studios. Our state-of-the-art facilities include electronic music labs, electronic instruments, and recording studios that benefit all students within the school. Music technology courses are available to students in every degree program.

The School of Music has been fully accredited by the National Association of Schools of Music since 1966.

Today, the Graduate Division continues to add to the number of prominent professionals in the world of music by offering degrees in Performance and Music Therapy, as well as an Artist Diploma in Performance.

Mission Statement

The Mary Pappert School of Music provides musical education that connects the broad spectrum of historical and current practices; promotes the relationship between theory and practice; and prepares professionals who will be leaders in the musical culture of the 21st century.

Contact

Mary Pappert School of Music
Â鶹ֱ²¥
600 Forbes Avenue
Pittsburgh, PA 15282

412-396-6080

music@duq.edu
duq.edu/music

Administration and Faculty

David Allen Wehr, M.M.
Dean

Rachel Whitcomb, Ed.D.
Associate Dean

Thomas Carsecka, Ed.D.
Director of Music Admissions and Community Programs

Jane Cubbison, A.D.
Student Success Coach

David Egyud, B.M.
Production Coordinator

Stephen Groves, M.M.
Director of Music Engagement, Events, and Marketing

Thomas Haas, B.M.
Operations Manager

Barbara McCandless
Music Enrollment Administrative Assistant

Carrie McCormack, M.M.
Assistant to the Deans

Karyn Reinhart, M.Ed.
Office Manager

Justin Stag, B.M.
Audio/Visual Technician

Emma Terhune, B.S.
Student and Alumni Services Coordinator

Colleen Woods, M.S.Ed.
Director of Business and Administration

Elaine Abbott
Professor Emerita
B.M., Michigan State University
M.M.T., Ph.D., Temple University

Christopher Allen
Adjunct Professor of Percussion
B.M., Curtis Institute of Music
M.M., Temple University
Member, Pittsburgh Symphony Orchestra

Michael Andreas
Adjunct Professor of Music Technology
Music Composition, UCLA
Music Performance, Cal State University, Los Angeles and Los Angeles City College

Gray Baldwin
Adjunct Professor of Music Therapy
B.M., Colorado State University
M.A., Saint Mary-of-the-Woods College

Leanne Belasco
Adjunct Professor of Music Therapy
B.S., Â鶹ֱ²¥
M.S., Johns Hopkins University

Stephen Benham
Professor of Music Education
Chair of Performance Department
B.S., University of Minnesota
M.M., University of Michigan
Ph.D., Eastman School of Music

Mary Lynne Bennett
Adjunct Professor of Piano
B.M., B.A., Oberlin College and Conservatory of Music
M.M., West Chester University
D.M.A., University of South Carolina

Jim Benoit
Adjunct Professor of Percussion
B.M., Berklee College of Music
M.M., The Juilliard School
A.D., Â鶹ֱ²¥
Member, Pittsburgh Symphony Orchestra

Ronald Bickel
Adjunct Professor of Jazz Piano
B.S., M.M., Â鶹ֱ²¥

Benjamin Binder
Associate Professor of Music
Chair of Musicianship Department
B.A., Yale University
M.M., Washington University
Ph.D., Princeton University

Luke Boegel
Adjunct Professor of Music Technology
B.M., Â鶹ֱ²¥

Judith Bowman
Professor Emerita
B.S., Nazareth College
M.M., Ph.D., Eastman School of Music

Jeff Bush
Adjunct Professor of Jazz Studies
Assistant Program Director of Jazz Studies
B.M., Youngstown State University
M.M., Manhattan School of Music

Robert Cameron
Professor and Director of Bands Emeritus
B.M., University of Miami
M.M., University of Michigan
D.M.A., University of Maryland

J.D. Chaisson
Adjunct Professor of Jazz Trumpet
B.M., M.M., Â鶹ֱ²¥

Benjamin Cornelius-Bates
Assistant Professor of Musicianship
B.M., University of Montana
M.M., A.D., Â鶹ֱ²¥
D.M.A., West Virginia University

Caron Daley
Associate Professor and Director of Choral Activities
Ensemble Area Coordinator
B.Mus., A.D., Western University
M.M., M.A., Ohio State University
D.M.A., University of Toronto

Kelley Krepin DeFade
Adjunct Professor of Jazz Voice
B.M., M.M., Youngstown State University

Meghan DeWald
Adjunct Professor of Voice
Voice Area Coordinator
B.M., Northwestern University
M.M., D.M., Indiana University

Deanna Diederich
Adjunct Professor of Music Therapy
B.S., Â鶹ֱ²¥

Paul Doerksen
Professor of Music Education
B.M., Western Washington University
M.M., Northwestern University
Diploma of the Faculty of Fine Arts in Music, The University of Calgary
Ph.D., Ohio State University

Jay Dudt
Assistant Professor of Music Technology
Gordon College
Community College of Allegheny County

Jasmine Edwards
Adjunct Professor of Music Therapy
B.M., Florida State University
M.A., New York University

Shawn Funk
Adjunct Professor of Music Education
B.S., Clarion University
M.M., Â鶹ֱ²¥
Orff-Shulwerk Certification, University of Memphis

Perry J. Gatch, III
Adjunct Professor of Music Education
B.M., M.M., Â鶹ֱ²¥

Marylène Gingras-Roy
Adjunct Professor of Viola
B.M., Quebec Conservatory
A.D., The Curtis Institute of Music
Member, Pittsburgh Symphony Orchestra

James Gorton
Adjunct Professor of Oboe
B.M., Eastman School of Music
Former Member, Pittsburgh Symphony Orchestra

James Gourlay
Director of Bands
Adjunct Professor of Tuba & Euphonium
M.Mus., University of Leeds
D.M.A., University of Salford

Guenko Guechev
Professor Emeritus
M.M., State Conservatory of Music, Sofia, Bulgaria

Brandon Guillot
Adjunct Professor of Music Technology
B.M., Â鶹ֱ²¥
M.F.A., Columbia College Chicago

Audrey Hausig
Adjunct Professor of Music Therapy
B.A., M.M.T., Temple University

Mark Houghton
Adjunct Professor of French Horn
B.M., Eastman School of Music
Member, Pittsburgh Symphony Orchestra

Jack Howell
Adjunct Professor of Clarinet
B.M., M.M., University of Northern Colorado
Member, Pittsburgh Symphony Orchestra

Nicole Jenkins
Assistant Professor of Voice
B.A., University of Maryland at College Park
M.M., The Conservatory of Music at Brooklyn College
D.M.A., James Madison University

Christine Jordanoff
Professor Emerita
B.S., M.M., Â鶹ֱ²¥
Diploma, Kodaly Music Training Institute
Cert., Franz Liszt Academy of Music

Rhian Kenny
Adjunct Professor of Flute
B.M., McGill University
Member, Pittsburgh Symphony Orchestra

Thomas Kikta
Associate Professor of Music Technology
Chair of Commercial Music Media & Jazz Department
B.M., North Carolina School of the Arts

Maribeth J. Knaub
Adjunct Professor of Alexander Technique
B.M., Lawrence Conservatory
M.M., Peabody Conservatory, Johns Hopkins University
Ed.D., University of Pittsburgh

Edward Kocher
Duquesne Professor of Music
B.M.E., Northwestern University
M.A., University of Iowa
Ph.D., University of Illinois at Chicago

Todd Kuczawa
Adjunct Professor of Music Education
B.S., Â鶹ֱ²¥

Kayla Kurtz
Adjunct Professor of Music Education
B.S., Â鶹ֱ²¥
Post-baccalaureate, Lebanon Valley College

Ann Labounsky
Professor of Organ and Sacred Music
B.M., Eastman School of Music
M.M., University of Michigan
Ph.D., University of Pittsburgh
Diploma, Schola Cantorum
Diploma, Ecole Normale

Max Leake
Adjunct Professor of Jazz Piano

Meng-Shan Lee
Assistant Professor of Music Therapy
B.A., Tainan National University of the Arts
M.M., Ph.D., Temple University

Jeffrey Leonhardt
Adjunct Professor, Music Education
B.S., M.F.A., Â鶹ֱ²¥

Adam Liu
Adjunct Professor of Cello
B.A., Peabody Conservatory of Music
M.M., University of Southern California
Member, Pittsburgh Symphony Orchestra

Xiu-ru Liu
Adjunct Professor of Voice
B.M., Central Conservatory of Music (Beijing)
M.M., Performance Certificate, Eastman School of Music

Danielle Maggio
Adjunct Professor of Musicianship
B.A, Columbia College Chicago
M.A., University of Pittsburgh

Jeffrey Mangone
Adjunct Professor of Double Bass/Bass Guitar
B.S., Â鶹ֱ²¥

Jennifer Gerhard Mangone
Adjunct Professor of Viola
B.F.A., State University of New York at Purchase

Phillip Mauskapf
Adjunct Professor of Music Therapy
B.A., University of Pittsburgh
B.A. Equivalency, M.A., Indiana University-Purdue University Indianapolis

Jayne McDonald
Adjunct Professor of Eurythmics
B.S., Messiah College
Dalcroze Eurhythmics Certificate, Carnegie Mellon University
M.M., Â鶹ֱ²¥

Ryan McMasters
Adjunct Professor of Musicianship
B.M., Â鶹ֱ²¥
M.M., University of Hartford

Johnna Mernick
Adjunct Professor of Music Therapy
B.S., Â鶹ֱ²¥

Benjamin Meyer
Adjunct Professor of Guitar
B.M., Millikin University
M.M., Â鶹ֱ²¥

Daniel Meyer
Director of Orchestral Activities
B.A., Denison University
M.M., University of Cincinnati College-Conservatory of Music

Paul Miller
Associate Professor of Musicianship
A.B., Vassar College
M.A., M.M., Ph.D., Eastman School of Music

Stephanie Morris
Adjunct Professor of Music Therapy
B.M., Seton Hill University
M.M.T., Augsburg University

John Moyer
Adjunct Professor of Voice
B.S., M.M., Â鶹ֱ²¥

Jesse Naus
Assistant Professor of Music Technology
B.M., Â鶹ֱ²¥

John Alex Noble
Adjunct Professor of Voice
B.A., Point Park University

James Nova
Adjunct Professor of Trombone
B.S. Curtis Institute of Music
M.M., New England Conservatory
Member, Pittsburgh Symphony Orchestra

Daniel Parasky
Director, Duquesne Flute Choir
B.M., Â鶹ֱ²¥
M.M., Boston University

Noah Potvin
Associate Professor of Music Therapy
Chair of Music Education and Music Therapy Department
B.M., M.M., Temple University
Ph.D., Drexel University

Alex Price
Director, Recording Studio Ensemble
B.F.A./B.S., Indiana University of Pennsylvania
M.M., Â鶹ֱ²¥

Lynn Purse
Professor Emerita
B.A., Chatham University
M.M., Â鶹ֱ²¥

William Purse
Professor Emeritus
B.M., M.M., Â鶹ֱ²¥

Eliseo Rael
Adjunct Professor of Percussion
Percussion Area Coordinator
B.M., University of North Texas
M.M., New England Conservatory of Music
A.D., Â鶹ֱ²¥

Marlo Rankin
Adjunct Professor of Music Education
B.A., Denison University
M.M.S., Carnegie Mellon University

Laura Reynolds
Adjunct Professor of Piano
B.M., Wayne State University
A.D., Consevatorio Antonio Scontrino
M.M., University of South Florida

Sr. Carole Riley
Professor Emerita
B.S., M.M., Ph.D., Â鶹ֱ²¥

James Rodgers
Adjunct Professor of Bassoon
University of Southern California
Rice University Shepherd School of Music
Member, Pittsburgh Symphony Orchestra

Leonard Rogers
Adjunct Professor of Percussion
B.S., Â鶹ֱ²¥

Ronald Samuels
Adjunct Professor of Clarinet
Woodwind Area Coordinator
B.M., University of Southern California
Member, Pittsburgh Symphony Orchestra

Steven Schmidt
Adjunct Professor of Music Education
B.M., Â鶹ֱ²¥
M.S., Walden University

Robert Shankovich
Professor Emeritus
B.S., M.M., Â鶹ֱ²¥
D.A., Carnegie Mellon University

Joseph Sheehan
Associate Professor of Musicianship
B.A., Â鶹ֱ²¥
M.M., D.M., Indiana University

Rachel Skilone
Adjunct Professor of Music Education
B.S., M.M., Â鶹ֱ²¥

Stephenie Sofield
Instructor of Music Therapy
B.M., University of North Texas
M.M., Ohio University

John Soroka
Adjunct Professor of Percussion
B.M., Temple University
M.M., Philadelphia Musical Academy
Former Member, Pittsburgh Symphony Orchestra

Jennifer Steele
Adjunct Professor of Flute
B.M., The Juilliard School
Member, Pittsburgh Symphony Orchestra

Charles Stegeman
Professor of Violin
B.M., Curtis Institute of Music
M.M., The Juilliard School

Rachel Stegeman
Adjunct Professor of Violin
B.M., M.M., Â鶹ֱ²¥

Kevin Lee Sun
Assistant Professor of Piano
B.A.S., Stanford University
M.M., San Francisco Conservatory of Music
D.M.A., Eastman School of Music

Eric Susoeff
Adjunct Professor of Jazz Guitar

Inessa Beylin Tamar
Adjunct Professor of Voice
B.M., Tel Aviv University
M.M., Brooklyn College

Anoush Tchakarian
Adjunct Professor of Piano
Keyboard and Sacred Music Area Coordinator
B.M., Pancho Vladigerov National Music Academy, Sofia, Bulgaria
M.M., A.D., Â鶹ֱ²¥

Chad Thompson
Adjunct Professor of Music Education
B.S., Â鶹ֱ²¥

Paul Thompson
Adjunct Professor of Jazz Bass
Pittsburgh Creative and Performing Arts School

Michael Tomaro
Professor of Jazz Saxophone
Director of Jazz Studies
B.S.M.E., Â鶹ֱ²¥
M.A., George Mason University

Robert Traugh
Adjunct Professor of Music Technology
Program Director of Composition for Media
B.M., Youngstown State University
M.M., Â鶹ֱ²¥

Gretchen Van Hoesen
Adjunct Professor of Harp
B.M., M.M., The Juilliard School
Member, Pittsburgh Symphony Orchestra

John Sebastian Vera
Adjunct Professor of Trombone
B.M., Southern Methodist University
M.M., Mannes College of Music

Nicole Vilkner
Assistant Professor of Musicianship
B.A., Princeton University
M.M., Manhattan School of Music
Ph.D., Rutgers University

Brent Weber
Adjunct Professor of Voice
B.M.E., Kansas State University
M.M., University of Missouri-Kansas City
M.M., Yale School of Music

David Allen Wehr
Dean, Professor, and Jack W. Geltz Distinguished Piano Chair
B.M., M.M., University of Kansas

Thomas Wendt
Adjunct Professor of Jazz Percussion
Pittsburgh Creative and Performing Arts School

Rachel Whitcomb
Associate Dean
Associate Professor and Program Director of Music Education
B.S., West Chester University
M.M., Northwestern University
Ed.D., University of Illinois at Urbana-Champaign

Aaron White
Adjunct Professor of Double Bass
String Area Coordinator
B.M., Southern Methodist University
M.M., Â鶹ֱ²¥
Member, Pittsburgh Symphony Orchestra

Micah Wilkinson
Adjunct Professor of Trumpet
B.M., St. Olaf College
Member, Pittsburgh Symphony Orchestra

Christopher Wilson
Adjunct Professor of Trumpet
Brass Area Coordinator
B.M., M.M., University of Arkansas
D.M.A., Catholic University of America

Brian Worsdale
Adjunct Professor of Conducting

Xuelai Wu
Adjunct Professor of Voice
B.M., South China Normal University
M.M., Beijing Central Conservatory of Music
M.M., Cleveland Institute of Music
D.M.A., Arizona State University

Keith Young
Adjunct Professor of Saxophone
B.M., Bowling Green State University
M.M., Catholic University of America
D.M.A., University of Maryland

Admissions Requirements: Graduate Division

In order to be considered for admission to the Mary Pappert School of Music, graduate applicants must have completed an adequate undergraduate preparation in music; normally, a bachelor's degree in music from an institution of recognized standing, a college-level conservatory diploma, or its foreign equivalent. The minimum overall quality point average must be 2.5 and at least 3.0 in music courses ("A" grade = 4.0). Entrance to the Mary Pappert School of Music is determined by faculty committee and the Director of Music Admissions. Applicants are considered for admission by review of required materials and the successful completion of the music audition process.

NOTE: All official documents that are submitted for admission become the property of the University.

  • Application
    Those who wish to pursue graduate studies in music must first apply through the University Office of Admissions. All application materials must be received by the school no later than 60 days prior to the beginning of the term in which the applicant anticipates commencing graduate work.
  • Audition Portfolio
    A collection of materials supporting the applicant’s qualifications and musical ability is required. Specific requests are made of each applicant depending on major. Visit duq.edu/AuditionPortfolio for additional detail.
  • Résumé or Curriculum Vitae
    Applicants are required to supply, at a minimum, a list of solo repertoire (concertos, sonatas, orchestral exceprts, or etudes) and are strongly encouraged to include media links and any relevant experiences in music performance, production, and pedagogy as well.
  • Statement of Purpose
    A single page letter expressing the applicant’s intention in pursuing a graduate music degree is required.
  • Letters of Recommendation
    Two letters of recommendation are required from professionals in the field of music who can attest to the applicant's qualifications for admission to the Graduate Division of the Mary Pappert School of Music.
  • Official Transcripts
    Each student applying for admission to the Graduate Division must request an official transcript from each institution attended, including any attended during summer sessions, regardless of whether credit or degree was received.

In addition to the requirements listed above, a live music audition and/or interview is required for admission to any graduate music program. Applicants must schedule their appointment through the online application portal. Detailed information about music audition/interview dates and requirements, as well as instructions for registering for an appointment and submitting audition materials are listed on the music admissions webpage. Appointments must be scheduled at least two weeks in advance of the desired audition/interview date. All applicants must pass the audition/interview process in order to be accepted into any graduate music program. For more details about the Audition Guidelines and Requirements please visit duq.edu/AuditionOverview.

Once registered for an appointment to audition/interview, applicants will receive detailed communications relative to the upcoming appointment from the Office of Music Admissions that include:

  • Graduate Interview Expectations
  • Personalized Audition Day Schedule

Applicants will receive notification of admission decision results directly from the Mary Pappert School of Music (typically within 7-10 days of the live audition/interview appointment). Those that have passed the music audition/interview process will receive an official letter of acceptance from the Director of Music Admissions.

Applicants from around the world are welcome in Â鶹ֱ²¥'s Graduate Music programs and are considered for admission on the same basis as students from the United States.

NOTE: All required materials and documents must be translated into English and official transcripts must be converted to fit US grade-point standards for consideration of admission. All international students are required to take an English placement test upon arrival at the university.

In addition to the aforementioned admission requirements, international students must complete the following:

Test of English as a Foreign Language

All international applicants to graduate degree programs are required to submit official TOEFL/IELTS/DuoLingo score reports current to within one year of the audition as part of their application. At the Mary Pappert School of Music, the minimum scores for admission into the Master of Music degree programs are listed below.

  • TOEFL: Minimum score of 90 (on the internet-based test) with a minimum sub-score of 23 in Reading, 23 in Writing, 23 in Speaking, and 21 in Listening. 
  • IELTS: Minimum overall band of 7.0 with a minimum sub-score of 7.0 in Reading, 6.0 in Writing, 6.0 in Speaking, and 6.5 in Listening.
  • DuoLingo: Minimum overall score of 120 with a minimum of 110 in each subsection.

*Applicants to the Artist Diploma program must complete the language exam as well, but there is no minimum score required for admission. The Mary Pappert School of Music reserves the right to require or recommend ESL coursework as needed.

Applicants who have not taken the required language exam or whose score is below the requirement, may be granted admission to the International Pathways program to improve English skills before being fully admitted into the Master of Music degree program or Artist Diploma program.  More information on the International Pathways program is available through the Office of International Programs.

International applicants who completed their undergraduate study at an accredited university in the United States do not have to submit a language exam score, but will still take the English Placement Tests upon arrival at the university.

Applicants will be granted acceptance in the following ways:

  1. Formal--Full and unconditional admission into a graduate degree program.
  2. Conditional--Admission pending completion of university-specified requirements.
  3. Â鶹ֱ²¥ Students--Applicants registered in the Mary Pappert School of Music who require no more than 12 semester hours for the completion of their baccalaureate studies may apply for conditional acceptance. Upon successful completion of the bachelor's degree, formal acceptance will be automatic, provided that all other admission requirements for the specific graduate program have been met.
  4. Â鶹ֱ²¥ Students Campus Courtesy--Especially qualified students within 12 semester hours of the completion of their baccalaureate studies may be granted conditional acceptance with permission to take graduate courses applicable to the master's degree. Normally, only courses numbered 500-599 are offered, subject to the approval of both the instructor and the Director of Graduate Studies. The maximum number of credits thus earned shall not exceed six hours. Upon successful completion of the bachelor's degree, formal acceptance will be automatic, provided that all other admission requirements for the specific graduate program have been met.
  5. Students from other Institutions--Qualified applicants from other institutions who file their applications during the final year of work toward a bachelor's degree may be granted conditional acceptance. Formal admission will be granted upon subsequent filing of a satisfactory supplementary transcript showing the degree awarded.
  6. Temporary Transfer--This is granted to a student in good standing in any recognized graduate school who wishes to enroll in the Mary Pappert School of Music for any one term or summer session and who plans to return thereafter to his or her former college or university. The student's graduate dean must provide a statement that he or she is in good academic standing, and must give written approval for the student's temporary transfer to Duquesne.
  7. Special Status--Music Education students who need credits for certification, and other students who do not wish to become degree candidates may be given special permission to register for courses, pending the approval of the Director of Graduate Studies and the professor(s) concerned. Credits thus accrued will not be counted toward a graduate degree unless all required application materials for formal admission have been submitted, evaluated, and approved.
  8. Doctoral Courtesy--Scholars who have attained doctoral status from this or other recognized universities and who wish to continue study in special fields may be permitted to attend individual courses subject to the permission of the instructor in charge. No official record will be made of the work done. If credit and/or official transcript are desired, regular admission procedures must be followed.
  9. Auditor--With the permission of the School, auditors may attend certain courses provided they pay regular rates per semester hour. Under no circumstances will credit be allowed for such attendance.

Facilities Details

The Dr. Thomas D. Pappert Center for Performance and Innovation is a flexible, multi-purpose soundstage facility used for performances, recordings, and video production as well as large ensemble rehearsals and classroom learning. It is equipped with surround sound, 4k video, stage lighting systems, and a high-definition projection system. An adjacent mastering suite provides practical experience in 32-track recording, video capture, surround sound, and audio/video post-production.

At more than 5,000 square feet of space, the Dr. Thomas D. Pappert Center for Performance and Innovation is a premier state-of-the-art, acoustically enhanced recital and large ensemble rehearsal hall with Midas M32 front-of-house mixing as well as an Allen and Heath monitoring station, 4K video capture room and a complete mastering suite all digitally integrated into one facility. Designed for critical listening, the mastering suite is acoustically optimized for surround sound production and features 32 channels of Millennia HV microphone preamps feeding a Pro Tools 32-channel HD System with Avid S1 Control surfaces monitored with McIntosh or JBL surround sound speakers. In addition, Sequoia and Samplitude software are utilized for recording, mixing, and mastering. The performance space is equipped with stage lighting, multimedia projection with 5.1 surround sound audio, multichannel live sound, and live web streaming to provide a creative environment for student and faculty innovation in performance, recording, sound reinforcement, and live streaming. These facilities support the music school and music technology curriculum and provide students with real-world performance and production experience for the 21st century.

The MPSOM Recording Complex serves as a fully functional multitrack recording studio as well as a classroom and recording lab. Students learn the art of multitrack recording utilizing a Solid State Logic AWS 948 recording console with a 32-channel Avid Pro Tools HD digital audio workstation. A wide selection of digital signal processing plugins as well as outboard effects processors are available. The studio is equipped with a 7' Yamaha Disclavier MIDI grand piano in its own iso booth, a Pearl drum set also isolated, as well as an additional vocal iso room, a comprehensive selection of standard and high-end dynamic, condenser, and ribbon microphones, an array of Fender guitar and bass amplifiers, and a MyMix personal monitoring system. An Ampex ATR 100, Otari MTR10, Otari 4 track, Logic Pro, the complete East West Music Library, and additional softwares are also available for production experiences in both analog and digital production.
The Digital Piano Lab is a piano classroom/computer lab featuring sixteen 88-key weighted action Roland digital pianos and a teacher's station with a Yamaha keyboard all interconnected via a Yamaha classroom headphone communication system. Each workstation is connected to an Apple iMac computer featuring MakeMusic's Finale music notation and publishing software and Microsoft Office. Printing is also available directly or through the University DUPrint portal.
Housed within the Gumberg Library on campus, the Mary Jane Shultz Music Center offers a robust collection of music holdings, including scores, journals, books, streaming resources, audio CDs, and DVDs. Books and scores are located on the second floor. Audio collections are found on the first floor. Visit https://guides.library.duq.edu/music for a comprehensive guide to Gumberg's music collections and services.
The Matty and Eddy Shiner Practice Rooms are a suite of acoustically enhanced practice rooms in the lower level of the school, providing individual as well as small group rehearsal space in comfortable and attractive surroundings. These rooms were made possible by the generous gifts of the Pappert and Schultz families who wished to honor the work of Matty and Eddy Shiner, renowned performers and teachers in trumpet and trombone who taught many Duquesne students through the years.
Â鶹ֱ²¥ is home to one of the nation's finest programs in organ and sacred music. The music school's organ studio is equipped with a three-manual Moeller pipe organ. Students in the organ and sacred music program also have access to a Schlicker tracker organ, a three-manual pipe organ enhanced and refurbished by Peter J. Luley, an Allen electronic organ, and two Moeller practice pipe organs. Organ and sacred music students regularly perform for liturgies and recitals in the historic Duquesne University Chapel of the Holy Spirit, where a new tracker organ by noted organ builder Dan Jaeckel was dedicated during the summer of 2015. Organ students also perform regularly on a variety of excellent and historic organs in churches throughout the Pittsburgh region.
The Music Technology Lab is a multipurpose learning facility with sixteen workstations, each equipped with a 21.5" iMac, high-speed internet connection, a Novation 61SL Mk II controller, and a Zoom TAC-2 audio interface. Other available software includes Apple Logic Pro X, MakeMusic's Finale music notation and publishing software, the complete Adobe Creative Cloud Suite, Microsoft Office, Final Cut Pro X, and Garage Band. Select stations also have access to the Alan Parsons "Art & Science of Sound Recording" Online Course. The teacher's station is equipped with an Alesis M1Active near-field monitors, and a Zoom TAC-8 audio interface. The lab is also equipped with a SmartBoard for electronic whiteboard instruction. Printing is also available directly or through the University DUPrint portal.
The PNC Recital Hall is a 250-seat, acoustically variable venue for performances ranging from solo recitals to chamber music, operatic scenes, jazz, and contemporary music, as well as orchestral tracking. The hall features two outstanding nine-foot Steinway concert grand pianos and a two-manual harpsichord. Integrated audio/visual and stage lighting systems provide opportunities for creative multimedia enhanced performances. The hall is tied to the Fender Recording Complex which provides 32 channels of Pro Tools HD recording, as well as being tied to a smaller studio for 8 tracks of archive recording. This hall provides the capability to live stream 4k video and gives the students practical video production experience with a Roland V60-HD production switcher, controlling three Marshall 4K high definition PTZ cameras and capturing video with four AJA Ki Pro 4K high definition video recorders.

PNC Recital Hall has a control room that is ready to go at the push of a button to record recitals and other events using the Samplitude DAW and an AJA Ki Pro to capture video.
In October 2008, the Anthony F. Triano Woodwind Suite was dedicated on the third floor of the music building, consisting of teaching studios for flute, clarinet, and double reeds. Triano, who played with the Hollywood Orchestra, left resources in his estate for providing scholarships and enhancements for woodwind students and updating teaching facilities.

This facility enables high definition 4K video capture, post-production, and live streaming for events held in the Dr. Thomas D. Pappert Center for Performance and Innovation. Students gain practical experience with video production through hands-on application of the Roland V60-HD production switcher, controlling three Marshall 4K high definition PTZ cameras and capturing video with four AJA KiPro 4K high definition video recorders. A Tascam DM-24 digital console allows audio mixing for live capture and multi-track recording utilizing Logic Pro software running on a 27 inch iMac. Final Cut Pro software is utilized for video post-production.

Production A is much like a home studio, where the control area and performance space are in the same location. This space is utilized primarily as a post-production room where students can edit and track on projects that don't require a large recording area. It is equipped with Pro Tools and a myriad of plugins, making it the perfect creative area for students to sweeten and adjust their latest projects.
Production B, while a more comprehensive space than Production A, is also set up like a home recording studio where students can edit and track on projects that don't require a large recording area. An Otari MX5050 even enables them to practice tape-based editing and looping. It is equipped with Pro Tools controlled by a Tascam US2400 surface, Korg Krome keyboard, and a myriad of plugins.

 

Student Organizations

The Mary Pappert School of Music is home to several student organizations:

  • American Choral Directors Association
  • American Guild of Organists
  • American String Teachers Association
  • Audio Engineering Society
  • Â鶹ֱ²¥ Music Creators
  • Mu Phi Epsilon
  • Music Teachers National Association
  • Music Therapy Student Association
  • National Association for Music Education
  • National Band Association Collegiate Chapter