Guillermo Mager, Ph.D.


New York University: Ph.D. in Music Education, 1997. Dissertation title: “The Status of MIDI in the Curricula of Higher Education Institutions offering Degree Programs in Music”.

New York University: Master of Arts in Music Education, 1983. Master’s Thesis: “The Use of Music to Modify Non-music Behaviors, A Research Review”.

New York University: Bachelor of Science in Music Business and Technology, 1978.

Institute of Audio Research: Certificate of completion: Elements of Multitrack Recording Technology program, 1977.

Estudio de Fonologia, Caracas, Venezuela. Courses in acoustics, recording techniques, sound synthesis, music composition and conducting.

Conservatorio de Musica "Jose Angel Lamas", Caracas. Courses in harmony, counterpoint, orchestration, conducting, composition, and oboe.

Universidad Central de Venezuela: Electrical Engineering (credits transferred to NYU).


Dr. Mager was born in Caracas, Venezuela, where he studied Electrical Engineering at the Universidad Central and composition and conducting at the Conservatorio de Musica. In addition to degrees in Music and Technology and Music Education from New York University (NYU), his education also includes the study of multitrack recording technology at the Institute of Audio Research (IAR) in New York City. Before joining the University of New Haven, he was the Senior Instructor for Advanced Technologies at IAR and also served as the Music, Business, and Technology Program Coordinator at NYU.

He is currently a tenured associate professor in the Department of Music. Between June of 2002 and December of 2008 he served as chair of the Department of Visual and Performing Arts and coordinator of multimedia studies. His teaching duties include courses in music, sound recording, music industry, and multimedia.

Dr. Mager has served as chair of the College of Arts and Sciences Curriculum Committee, chair of the Faculty Senate, member of the Faculty Affairs Committee, member of the Commission for the Future of UNH, member of the Global Studies Task Force, and faculty representative to the Board of Governors. He is currently a member of the faculty Budget and Finance Committee and the Arts and Sciences Professional Development Committee.

He has presented papers at professional conferences such as the First New England Conference in Uses of the Internet in Music Education in New Haven, CT; the Technological Directions in Music Learning Conference  in San Antonio, TX; and the Music and Entertainment Industry Educators Association Conferences in New York, Boston, and Los Angeles. He has published articles in International Musician and Recording World, Music and Sound Output, and MIX magazines. 

He has engineered or produced recordings for ORION, Soul Note Records, Polyform Records, MCA, A-Okay Records, Philips, Wacket Records, and VELVET. Professional memberships include the Audio Engineering Society (AES), The College Music Society (CMS), The Music and Entertainment Industry Educators Association (MEIEA), and the National Academy of Popular Music (NAPM).

Recording/Production Highlights - Classical/Contemporary

  1. The Audubon Quartet: String Quartets by Brian Fennelly and Leo Kraft. Orion.
  2. Music by NYU Composers: Bruce Saylor, John Gilbert, Dinu Ghezzo, Brian Fennelly. Orion.
  3. Ruth Schonthal: Composition for Piano. Orion.
  4. Music by Wally Weigl, Dinos Constantinidis, Dinu Ghezzo, Brian Fennelly. Orion.
  5. Venezuela Symphony Orchestra: Recording engineer for weekly radio broadcasts.
  6. Orchestra New England, New Haven, CT: Recording engineer for archives and radio broadcasts.

Recording/Productions Highlights - Jazz/Rock/Pop

  1. Godspell: Caracas production: performer (piano and flute) and co-producer. Philips Records
  2. Fernando Yvosky: Dos Mundos: co-writer and performer (piano, organ, flute, vocals). Self-released.
  3. Guillermo Carrasco. Piano, flute, vocals and vocal arrangements. Velvet Records
  4. The Mike Walsh Band: Scared of the Dark. Recording and mix engineer, producer and synthesizer programmer. Wacket Records
  5. New York’s Best Bands ’85. The Mike Walsh Project: Gold Exchange. Engineer. Starstream Records
  6. Bobby Radcliff: Early in the Morning. Engineer. A-Okay Records
  7. The Michael Cochrane Quintet: Elements. Engineer. Soul Note Records
  8. Matrix. Matrix. Engineer. Gigmasters.
  9. The Pawnbrokers. Across the Line. Engineer and bass player. DBS Records.
  10. April. Glass House. Recording and mix engineer. AK/AA Records
  11. Thursday Savage. Thursday’s Child. Co-writer, recording and mix engineer. Polyform Records.
  12. Engineered/produced demo recordings for many artists such as Kevin Trainor, Barbeque Bob and the Spareribs, The Surreal McCoys, The Chris Carter Group, Frankie Paris, Mark Whitfield, The Holmes Brothers, Backflash, Steppin’ Out, and The Holden Truelove Band.

Additional Experience

New York University: assistant conductor of the New York University Symphony Orchestra and the Washington Square Chamber Orchestra

Founder and Music Director of HAUSMUSIK, a chamber orchestra.

Estudio de Fonologia, Caracas, Venezuela. Audio engineering, equipment maintenance and synthesizer programming

Composer/Music Director/Pianist for several Musical Theater productions, including: Godspell (1972), Pascal (1973), The Sandbox (1974), La Tempestad (1975), La Atlantida (1975), El Gato Rebelde (1978), A Wrinkle in Time (1979), and Pippin (1993).

Bass player for several blues/rock bands including Stranded, The Holden Truelove Band, The Pawnbrokers, The Kimberly Bon Band, BackFlash, Los Faculties, and Don’t Tell Daddy.


Subject of a four-page interview in the February 1984 issue of International Musician and Recording World

Author: "The Ups and Downs of VU Fluctuation" in International Musician and Recording World. May 1986.

Author: "Mic This Way: Microphone Basics, Part I." in Music and Sound Output. May 1987.

Co-author (with Ron Ajemian): "A program in BASIC for Microphone Sensitivity" in  MIX. July 1987.

Author: "Mic This Way: Microphone Basics, Part II" in Music and Sound Output. July 1987.

Author of Integrated Circuits. TECHNEWS, 1995.

Paper presented: "The Status of MIDI in the Curricula of Higher Education Institutions offering Degree Programs in Music." At The Fifth International Conference in Technological Directions in Music Education. San Antonio, Texas, Jan. 1998

Paper presented: "Adding Audio to a Web Site" at The First New England Conference in Uses of the Internet in Music Education. New Haven, CT, April 1999.

Paper presented: “Internet Royalties: A New Economic Model for the Music Industry” at the 2008 MEIEA International Conference. Dix Hill, New York, March 2008.

Chaired a panel discussion on “Performance Royalties in the Digital Age” at the 2009 MEIEA International Conference . Boston, MA, March 2009.

 Paper presented: “Use of NSEE Standards for the Planning, Supervision, and Evaluation of Music Industry Internships.” at the2009 MEIEA International Conference . Boston, MA, March 2009.

Paper presented: “Legal and Ethical Issues Regarding Unpaid Internships” at the 2011 MEIEA Intrernational Conference. Los Angeles, March-April 2011.


Organizer and speaker at the Career Opportunities in the Music Industry Seminar. UNH, spring 2003.

Organizer and panelist at the Future of the Music Industry Seminar. UNH, April 2004.

Organizer and Music Director, Concerts for All Ages. A series of Sunday afternoon concerts at UNH.

Memberhsips, Awards and Others

Member of the Audio Engineering Society (AES), The Music and Entertainment Industry Educators Association (MEIEA), and the College Music Society (CMS).

Recipient of two faculty research grants at UNH for the study of Computer-based Digital Recording Technology (1992) and Techniques for Adding Audio to a Web Site (1998)

Recipient of the "Gran Mariscal de Ayacucho" scholarship from the Venezuela Government between 1976 and 1978.

Member of Pi Kappa Lambda, National Honor Society in Music

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