Music theorist/organist Diane Luchese joined the Towson University faculty in Fall 1999, and has since been teaching courses in music theory, aural skills, counterpoint, and analysis. Before coming to Towson, she taught music theory at the Ohio State University, Chicago Musical College, New England Conservatory, and DePaul University's Community Music Division. She previously held positions as an organist/choir master in the New York, Boston, and Chicago metropolitan areas, and currently freelances as a church organist in the Baltimore area.
Among her special interests are counterpoint; pedagogy as informed by cognition research; rhythm, time and motion; and the musics of Bach, Hildegard, Messiaen, and Ligeti. Accordingly, she has presented papers at numerous conferences, which include meetings of the Society for Music Theory, the International Society of Hildegard von Bingen Studies, the First International Congress on Messiaen Studies, the International Congress on Medieval Studies, the Symposium on Music and Nature at Syracuse University, and the Bridges International Conference. In 2010 she contributed a chapter to Olivier Messiaen: The Centenary Papers, published by Cambridge Scholars Publishing. Her articles have been published in Sonus and The American Organist. Luchese has performed recitals throughout the northeast, and especially enjoys performing early and contemporary works. In 2009 she performed John Cage’s Organ2/ASLSP in a 15-hour uninterrupted performance at Towson University, and in 2012, Cage’s centennial birth year, performed an 11-hour realization at the nief-norf Research Summit held at Furman University.
Luchese earned a Ph.D. in music theory from Northwestern University, Master of Music degrees from the New England Conservatory in both music theory and organ performance, and a Bachelor of Music in organ performance from the Manhattan School of Music, where she was awarded the Bronson Ragan Memorial Award for Excellence in Organ. Her organ teachers include Yuko Hayashi, Frederick Swann, and Paul-Martin Maki. She also studied composition privately with M. William Karlins and Robert Cogan.