Dr. Michael Stepniak
Dean and Professor of Music
Our focus on professional arts training started approximately 135 years ago, when we began our leadership role as Virginia’s first and flagship music school. Since then, we’ve grown into an institution of international significance, offering more than 30 degrees across the performing arts and access to the rich resources of the multiple schools that together make up Shenandoah University.
Shenandoah Conservatory differs from other conservatories in a few important ways. Unlike most conservatories, our focus extends beyond music to include dance and theatre. Even more uniquely, we offer degrees in such additional areas as performing arts leadership & management, music education, music therapy and music production & recording technology. We also provide all students with the opportunity to be fully immersed in performance and premier ensembles regardless of their program of study.
What we are especially proud of, though, and what truly sets us apart in the experience of our alumni, is our conservatory’s cherished heritage. Simply put, we are an arts school where distinguished faculty are as passionate about providing a caring and supportive learning environment as they are committed to enabling rigorous training and excellence of the highest order.
This is a wonderful place to be immersed in the arts, and a wonderful place to prepare for lifelong success!
Dr. Michael Stepniak
Dean and Professor of Music
Position: Dean of Shenandoah Conservatory and Professor of Music
Location: Ruebush Hall, Room 108-D
Phone: (540) 542-6201
Employed Since: 2009
Fields of Expertise:
Music Performance, Arts & Aesthetics Education, Education Leadership
Recently in Print:
Book: Beyond the Conservatory Model (Preorder, published by Routledge Press & College Music Society)
B.A., Atlantic Union College (Music/English); Graduate Studies, New England Conservatory (Violin Performance); M.M., Northwestern University (Musicology); M.M. and GPD Studies, Peabody Conservatory at Johns Hopkins University (Viola Performance); Ed.M, and Ed.D., Harvard University Graduate School of Education (Aesthetic Education & Leadership)
Michael Stepniak is a broadly trained artist and educator. As Dean of Shenandoah Conservatory, Stepniak oversees a dynamic community: a higher education unit of over 120 faculty and close to 750 undergraduate and graduate students enrolled in 28 degree programs; the Shenandoah Conservatory Arts Academy serving approximately 1,200 students; a performance season and venues serving over 28,000 patrons each year; and 52 operational budgets. Since beginning his work as dean in 2009, Stepniak has been privileged to work with conservatory faculty and students and broader university leadership in radically increasing the conservatory’s profile while simultaneously strengthening its historical commitment to providing an exceptionally nurturing community for young artists.
As a soloist and chamber musician, Stepniak has performed in major concert halls and venues in 11 countries, been featured on National Public Radio, recorded for the Centaur Records label, performed frequently with the Mendelssohn Piano Trio, as a member of the National Philharmonic String Quartet, the Contemporary Music Forum, and the Razumovsky String Quartet, and has collaborated with various leading chamber musicians, ranging from Ann Schein, Earl Carlyss, and Lory Wallfisch, to Arlo Guthrie. Papers such as The Washington Post have referred to his playing as tremendously poised and transcendent.
Stepniak completed interdisciplinary doctoral studies in aesthetics, education, and leadership at Harvard University (where he won the Spencer Fellowship and Entering Award), and graduate studies in viola at Peabody Conservatory (where he won the Sidney Friedberg Prize), in musicology at Northwestern University (where he was appointed to the alpha chapter of Pi Kappa Lambda) and in violin at New England Conservatory (where he was leader of the Honors Quartet). After leaving his native Australia at 15 for studies in Canada, he completed his undergraduate studies in the United States with high distinction in Music and English at Atlantic Union College.
Stepniak maintains an active role in arts education at the national and international level. He has served on the board of directors of the International Council of Fine Arts Deans, and has chaired the global connections taskforce in that same body. Beyond the arts, Stepniak has worked with college and university presidents and senior leadership from Rice University to Harvard’s Kennedy School of Government on issues ranging from leadership development and arts initiatives, to curriculum reviews and strategic planning.
As an artist, Stepniak is connected to an exceptionally rich musical heritage through studies with foremost chamber musicians and soloists. As leader of New England Conservatory’s Honors Quartet, the Polish-Australian Stepniak worked extensively with Eugene Lehner, longtime member of the legendary Kolisch Quartet (which premiered chamber works for Schoenberg, Berg, Webern, and Bartók), and former student at Budapest’s Royal Conservatory of Music of Zoltán Kodály and Jenő Hubay.
As principal violist with the Peabody Conservatory symphony orchestra and violist with the Razumovsky Quartet, Stepniak studied chamber music with Earl Carlyss, a 20-year member of the Juilliard Quartet and former student of Ivan Galamian and the Paris Conservatoire’s Roland Charmy and Jacques Février. He also received coachings at Peabody from Berl Senofsky, a former student of Louis Persinger and Ivan Galamian.
Stepniak’s other primary teachers include violinst/composer/pianist Virginia-Gene Rittenhouse (former student of Louis Persinger, Nadia Boulanger, and Leon Fleisher) and violinist James Buswell (former student of Ivan Galamian). His viola training at Peabody Conservatory included work as the teaching assistant to Victoria Chiang (a former student of Heidi Castleman and Dorothy DeLay). Stepniak’s musicianship is further informed by a breadth of intellectual training from leading music theorists, musicologists, and ethnomusicologists including Robert Levin, Theodore Karp, and Paul Berliner.
Prior to joining Shenandoah, Stepniak served at Adelphi University as Associate Dean of Performing Arts. Reporting to the Dean of the College of Arts & Sciences, he was responsible for overseeing the further development of the Music, Dance, and Theatre departments, and was the director of Adelphi’s new Performing Arts Center, overseeing the successful launch and operationalization of a $30M state-of-the-art facility.
He is married to Anne Schempp and is the proud father of Marianna, Caroline, and Tristan.
In Conversation with Wynton Marsalis
January 21, 2015
In January 2015, legendary jazz trumpeter, music educator and Grammy Award-winning musician Wynton Marsalis completed his 2014-15 residency at Shenandoah Conservatory. Marsalis worked intensively with the 79-piece Shenandoah Conservatory Symphony Orchestra, providing them with insight into his work and teaching them how to incorporate more “swing” into their classical training. Wynton Marsalis sat down with Dean of Shenandoah Conservatory Michael Stepniak, Ph.D., to be interviewed as part of the conservatory’s American Icons series.
April 27, 2016
Deborah Voigt, one of the world’s greatest sopranos, was Shenandoah Conservatory’s 2015-16 American Icon. She spoke with Shenandoah Conservatory Dean Michael Stepniak, Ed.D., about her journey as an artist and a person. The delightfully plainspoken Voigt, who also taught a masterclass at the conservatory, touches on a wide variety of topics in this interview, from her artistic development and influences and issues with weight and having a healthy relationship with the body, to the importance of resilience and how challenges never end, no matter what level of success one achieves. She also discusses experiences revealed in her autobiography, “Call Me Debbie: True Confessions of a Down-to-Earth Diva.”
In Conversation with Deborah Voigt
In Conversation with Gidon Kremer
January 31, 2017
Dean of Shenandoah Conservatory Michael Stepniak, Ed.D., held a conversation and Q&A with Gidon Kremer, an internationally acclaimed violinist and the artistic director of Kremerata Baltica, a talented group of musicians that has developed into one of the best international chamber orchestras of its time. The two discussed Kremer’s career and creative endeavors, and students had the opportunity to ask questions toward the end of the event.
Teaching—A Personal Reflection
My greatest privilege and delight as dean is to give space and support to exceptional faculty; faculty who shape their disciplines and change the lives of generations of students. Below are some reflections on what I’ve come to understand and believe, as related to the great faculty and great teaching I continue to observe.
- Many teachers possess at least one of the following qualities, but great teachers possess all three: an open-heartedness towards others; an immoderate pursuit of excellence; and an orientation of service towards a discipline or cause greater than themselves.
- Many great teachers seem to know not only that students may differ in their proclivities and capacities, but also that there is great variability within each life. They understand that a student who was boisterous last month may be doing well this week just to be getting up in the morning. Their teaching, wonderfully, combines patience and resolve.
- I join faculty in cherishing the virtuosity and thrill of critique, but side with those who sense both the strengths and limits of the rational enterprise. I accept Mahler’s point that “what is best in music is not to be found in the notes,” and Braque’s point that “the only thing that matters in art can’t be explained.” I feel the weight of Dostoyevski’s confession, that “Reason and Knowledge have always played a secondary, subordinate, auxiliary role in the life of peoples, and this will always be the case.” Recognizing the multilayerdness of human nature, I accept James Boswell’s contention that “reasonable beings are not solely reasonable. They have fancies which may be pleased, passions which may be roused.”
- I cherish the complexity and variability of human development. While understanding the importance of artful teaching, I appreciate Jacques Barzun’s insightful (and gender-deaf) point that “education comes from deep within” and that “it is a man’s own doing, or rather it happens to him – sometimes because of the teaching he has had, sometimes in spite of it.”
- So many of the teachers I admire know not to confuse complexity and obscurity with profundity. (Martha Nassbaum was right: obtuseness is a moral failing, its opposite can be cultivated.) Along similar lines, I admire those faculty who are naturally averse to that which is dull and boring, watchfully sidestepping the attributes of WH Auden’s professor: a person who talks in other people’s sleep.
- I accept that reason and logic don’t necessarily lead to closure; that there are great moral conundrums – things that cannot be solved but which must be approached. I’m awed, for example, by the great tension and difficulty in Aeschylus’ contention that “God is not averse to deceit in a holy cause.”
- I cherish the capacity of exceptional musical and literary art works to disrupt. There is, quite delightfully, a Japanese word for the kind of disruption that leads to sudden illumination – a satori, also meaning ‘a kick in the eye.’ I’ve been grateful for the opportunity to witness how great teachers deftly navigate moments of conflict or wonder (whether in a masterclass or hallway conversation), understanding that such moments can produce a true kick in the eye with life-changing results.
- Finally, I am awed by the capacity of great faculty to pursue instruction and interactions with an eye to deeper questions of life purpose. I understand the truth in Thomas Merton’s gentle admonition that “if you want to identify me, ask me now where I live or what I like to eat, or how I comb my hair, but ask me what I am living for…” I strongly believe that if we individually seek to make advancement without paying heed to questions of life’s purpose and substance, we will succeed far less than desired. I agree, that is to say, with Abraham Lincoln’s assertion that “If we cultivate the moral world within us as prodigiously as we cultivate the physical world around us, then perhaps we can endure.”
Strengthening Diversity in Performing Arts Leadership at Shenandoah Conservatory
Our successful progress towards further diversifying our faculty, administration, staff, and visiting artists/scholars (especially in terms of gender and race) certainly fits hand in glove with our commitment to artistic and academic excellence and our university’s strategic plan, Shenandoah 2025 (including the goal of “creating a world class learning environment”). Even more importantly, our progress towards the above goal is critical to the very integrity of our conservatory community.