Sale began writing music for feature films in 1995 with The Cheshire Cat and worked on his own until becoming Mark Mothersbaugh’s head writer, orchestrator, and conductor after working with Mothersbaugh on Herbie: Fully Loaded in 2005. Sale worked for Mothersbaugh for 12 years writing the vast majority of the scores for top-grossing films such as Cloudy With a Chance of Meatballs 1 and 2, The LEGO Movie, Hotel Transylvania 1 and 2, 21 and 22 Jumpstreet, Alvin and the Chipmunks, Chipwrecked and Road Chip, as well as SAFE with Jason Statham, and Last Vegas. In 2014, Sale began a fruitful collaboration with director Sean Hanish with Return to Zero. He then scored Sister Cities in 2016 continuing with Saint Judy in 2019. In 2024, Sale scored Just A Bit Outside: The Story of the 1982 Brewers for Hanish which led the Milwaukee Brewers organization to recruit Hanish to create a memorial sequence for Bob Euker’s Memorial to be held at Brewers stadium August 24^th with Bob Costas as the Emcee.

Sale also writes music for the concert hall including a concert piece called Dark Music for Bass Clarinet and Small Orchestra which is being promoted by Bass Clarinetist Mark O’Brien of the City of Birmingham Symphony Orchestra. O’Brien is also premiering a new work with the British Clarinet Ensemble as soloist. The piece premiered in Dublin in August of 2024 and is called The Dublin Concerto. Sale has had chamber music performed in Los Angeles and Denmark. He has conducted orchestras in Los Angeles, London, Sydney, Salt Lake City, and Seattle.

In 2022, Sale won a Gold Remi Award for Best Feature Score at the Houston WorldFest International Film Festival for his score for the coming-of-age hockey film Playing the Crease. Sale is starting a new feature film about fans of the Green Bay Packers in September.

Sale has taught at USC, UCLA, and was the head of the Composing for Visual Media Department at Los Angeles College of Music before coming to the Peabody Conservatory.

Her career includes a decade as an English teacher and reading specialist in Baltimore’s public school system, followed by over 25 years as an administrator in the nationally honored school at Kennedy Krieger Institute, a research and rehabilitation hospital affiliated with Johns Hopkins Medicine. The students there have complex physical, cognitive and social/emotional needs requiring intense coordination of services to progress in school.

She has worked on multiple projects with the Maryland State Department of Education, including as a member of the Maryland State Professional Standards Board and the committee designing the standards for courses related to instruction in literacy for grades kindergarten through twelve,

She has taught for Johns Hopkins for over 30 years, in addition to teaching at Notre Dame University of Maryland and Goucher College. She is also an alumna of Hopkins, receiving her master’s and doctoral degrees there. Her courses are offered to Peabody students in an online format. 

She lives in Lititz, Pennsylvania, where she continually practices her calligraphy skills.

As an experienced educator, Lugo managed an international private voice studio for five years, specializing in guiding students through the transition from high school to collegiate- level music study. Her teaching and research interests span a wide range of topics, including the modern-day impacts of minstrelsy in classical music, Caribbean art song, accessibility in higher education, opera performance, vocal pedagogy, and information literacy. At the Peabody Institute, she teaches Foundations of Music Research and Basic Vocal Pedagogy, additionally guest lecturing on the history and legacy of minstrelsy in American classical music.

Lugo holds a Bachelor of Music in Vocal Performance from the University of Central Florida, a Master of Music in Performance and Pedagogy from the Peabody Institute of Johns Hopkins University, and recently completed a Supervisor Development Certificate through Johns Hopkins University. She currently serves as Access Services Manager for the Arthur Friedheim Library at Peabody.

In addition to his notated compositions, Smith is also an electronic musician and sound artist, working primarily with modular synthesizers.

In addition to his position at Peabody, Smith is Instructional Faculty and the Manager of New Music Activities at The Curtis Institute of Music. He holds a PhD from Princeton University, a Master of Music degree from the Peabody Institute of The Johns Hopkins University, and a Bachelor of Music degree from the Boston Conservatory, all in Music Composition. Smith’s music is published by Project Schott New York.

Kappraff performs regularly with the orchestra of Bach in Baltimore, the Alexandria and York Symphonies, and the Peacherine Ragtime Society Orchestra. He is also principal trumpet of the Maryland Winds. Alongside freelancing from Philadelphia through Washington D.C., Kappraff maintains a robust private studio serving students from age 8 to 80, mentoring trumpeters who frequently compete in state and national competitions and honors ensembles. Additionally, he holds the position of lecturer in music at Stevenson University and the Peabody Institute and has been on the faculty of the Peabody Preparatory division since 2020.

As a recitalist and clinician, Kappraff has presented solo recitals and masterclasses at Keene State College, MIT, Harvard University, Bucknell University, and Lycoming College. His primary trumpet teachers include Roy Poper, Terry Everson, Steve Emery, and Andrew Balio.

Hamilton is Adjunct Faculty of Violin and Viola at Howard Community College and teaches at The Music Institute. Her studio of 14 spans all ages and skill levels on violin and viola. In addition to her teaching, Hamilton coaches sectionals for the Columbia Youth Symphony and the Baltimore Symphony Youth Orchestra. She has served as an adjudicator for the Howard County School System’s Solo/Ensemble Festival since 2023. Previously, Hamilton taught viola and violin lessons at Mike’s Music in Ellicott City, Maryland from 2021-24 teaching 30 violin and viola students from ages 4-55 weekly, culminating in over 4000 lessons across 3 years. Hamilton has served as a guest clinician for the Suzuki Strings of Augusta Workshop since 2024. Hamilton spent the 2020-21 school year as an itinerate teacher in the Richmond County Orchestra Program in the Richmond County School System in Augusta, GA. She was responsible for orchestra programs at Goshen Elementary, McBean Elementary, Hains Elementary, Pine Hill Middle, Butler High, and Cross Creek High School, teaching 120 students across programs.

Hamilton has performed as a section viola with the Harrisburg Symphony, Bach in Baltimore, The Apollo Orchestra (DC), The Live Wire String Quartet, Augusta Symphony, Aiken Symphony, and the North Georgia Chamber Symphony. Hamilton has held principal positions in the UGA Symphony Orchestra under Mark Cedel and the Peabody Symphony Orchestra under Mei-Ann Chen. In addition to her ensemble experience, Hamilton has been a finalist in both the UGA Symphony Orchestra Concerto Competition and the UGA Wind Ensemble Concerto Competition. Masterclass credits include: Ettore Causa, Jordan Bak, Roberto Diaz, Ivo van der Werff, Edward Klorman, Jenny Snyder-Kozoroz, Erika Eckert, Daphne Gerling, and Hillary Herndon.

Hamilton has been a Strategic Advisor and student intern with the Pava Marie LaPere Center for Entrepreneurship at Johns Hopkins Technology Ventures since 2022. She most recently served as a Strategic Advisor for the 2025 Summer Incubator, where she advised 5 teams during the 6-week cohort. Hamilton co-developed the Kindling pre-accelerator program in 2024 and designed a new curriculum, and facilitated two 8-week student cohorts. As a Strategic Advisor for the Spark Accelerator from 2023 to 2024, she guided ventures in pitching, MVP planning, financial modeling, and customer discovery. In fall 2021, Hamilton completed the Spark Accelerator herself, subsequently founding The Practice Peg, LLC, which originated from that experience.

Hamilton served as an Assistant Dean/Lead Activities Dean for the Brevard Music Center’s 2024 season. Hamilton attended the Brevard Music Center during high school and college in 2015-17, 2019, and 2021, where she studied with Maggie Snyder and Jenny Snyder-Kozoroz and served as a high school and college Resident Assistant. At Brevard, Hamilton performed with the BMC Orchestra and the Brevard Camerata, where she held principal positions with maestros Keith Lockhart, Ken Lam, and JoAnne Falletta.

Following the success of his debut, Fiasco released “The Cool”, further cementing his reputation as a forward-thinking artist unafraid to push the boundaries of the genre. Hits like “Superstar” and “Daydreamin'” (which won a Grammy) elevated him to mainstream success, but Fiasco has always maintained a unique, uncompromising artistic vision. Over the years, albums like “Tetsuo & Youth” and “DROGAS Wave” have continued to explore deep, conceptual themes, showcasing his mastery of narrative-driven hip-hop.

In addition to his music, Fiasco has pursued intellectual endeavors, including time spent as a visiting scholar at prestigious institutions like MIT and Yale University, where he shared his insights on hip-hop, culture, and societal issues with academic audiences. His deep passion for philosophy, technology, and education has made him a sought-after voice beyond the world of music.

Fiasco’s forward-thinking approach also led him to collaborate with Google on the groundbreaking project TextFX, an AI-driven tool designed to help artists, songwriters, and creators explore the creative potential of language. This collaboration earned Fiasco three Webby Awards, further showcasing his innovation in merging technology and art.

As an artist, activist, and innovator, Lupe Fiasco continues to evolve, challenging conventions and inspiring new generations of listeners. His most recent album, “Samurai,” is a reflection of his ongoing commitment to storytelling and social commentary, blending the ancient philosophy of the samurai with modern-day urban experiences and hip-hop culture. Throughout his career, Fiasco has remained a powerful voice for change, using both his art and his intellect to make an indelible impact on the world.

Nally has held distinguished tenures as chorus master for Lyric Opera of Chicago, Welsh National Opera, Opera Philadelphia, and for many seasons at Il festival dei due mondi in Spoleto, Italy. He has prepared choruses for the Philadelphia Orchestra, New York Philharmonic, Los Angeles Philharmonic, Chicago Symphony Orchestra, Boston Symphony Orchestra, and the BBC Symphony Orchestra.

Nally works closely with the artists Allora & Calzadilla and composer David Lang on projects in museums of London, Porto, Cordoba, Edmonton, Houston, Osaka, and Philadelphia. He has been visiting resident artist at the Park Avenue Armory and music director of The Mile Long Opera, David Lang’s 1000-voice work on The High Line in Manhattan. Two of his projects have been preserved by the National Archives of The Library of Congress as cultural artifacts, both responding to the 2020 pandemic: his 72-chapter series Rising w/ The Crossing, and Carols after a Plague, with contributions from 12 composers.

Recent collaborations include the Swedish Radio Choir, Klockriketeatern at the Finnish National Opera, Musikgebouw (Amsterdam), the Baltic Sea Festival in Stockholm, the Big Ears Festival, the Haarlem KoorBiënnale, and various projects at Carnegie Hall, Lincoln Center, and the Metropolitan Museum of Art. Nally is a frequent guest artist/teacher at universities, including Yale, Harvard, the University of Chicago, Indiana University, the University of Cincinnati’s College-Conservatory of Music, Notre Dame, UNC Chapel Hill, and Boston Conservatory.

Nally is the John W. Beattie Chair of Music Emeritus at Northwestern University.

He is Director of Choral Studies at Westminster Choir College of Rider University.

Teddy Baker began playing professionally around Boston’s Back Bay, North End, and downtown in his teens. In 2000 he won the Hilton Head Jazz Society Competition and led a quartet of past awardees. In 2001 he toured 8 weeks in South America, Central America, and Jamaica for the State Department Jazz Ambassador Program as part of the Richard Johnson trio. In 2002 he joined the Airmen of Note, USAF Band, Washington, D.C. Tedd Baker’s recordings “Mugshots,” and “Duos Vol. 1” received rave reviews from JazzTimes, All About Jazz, and The Washington Post. Baker is also featured on recordings such as steelpan/composer Victor Provost’s “Bright Eyes,” the Taylor/ Fidyk Big Band “Live At Blues Alley,” Ben Patterson Jazz Orchestra’s “Vital Frequencies feat Chris Potter, and Groove Junkies,” guitarist Paul Pieper’s “Making Time,” Jon Steele’s “Decades” featuring Vinnie Colaiuta and Kevin Hays, and The Young Lions “Live At Bohemian Caverns.”

An avid believer in educating the next generation, Baker has served as an adjunct professor of saxophone at the Peabody Institute of Johns Hopkins University, University of the Virgin Islands, SUNY New Paltz (State University of New York), and Morgan State University Baltimore (substitute professor), and has conducted masterclasses and guest artist/clinician performances throughout the US, Central and South America, and the Caribbean at high schools, universities, and conferences including American University, Shephard University School of Music, Howard University, Shenandoah University-National Jazz Workshop, Berklee College of Music, University of North Texas (UNT Jazz), Midwest Clinic Conference (2022), Mid-Atlantic Jazz Festival (2019), Universidad Centroamericana-El Salvador, Capitol University-Columbus, OH (2019), Valdosta State University, GA (2019), PASIC-Percussive Arts Society International Convention (w/Johnny Vidacovich Trio, 2017), and the Jazz Education Network Convention (2014, 2018).

“a grandly talented improviser” – Allaboutjazz.com

“It was a powerful reminder that Baker is one of the best—in a seemingly bottomless well of great musicians.” – Washington CityPaper (Jazz Festival Review)

“big muscular tone and perpetually moving lines produce hard-bop improvisations that grab the listener’s interest and generate intense emotion” -JazzTimes

“The highlight came in between, however, via tenor saxophonist Tedd Baker’s opulent, haunting arrangement of the standard “Autumn in New York.” – The Washington Post