Piano Trio. Glass cites Schubert's work as a "big influence" growing up. In a 2011 interview, Glass stated that Franz Schubert—with whom he shares a birthday—is his favorite composer. He studied the flute as a child at the Peabody Preparatory of the Peabody Institute of Music. At the age of 15, he entered an accelerated college program at the University of Chicago where he studied mathematics and philosophy. In Chicago, he discovered the serialism of Anton Webern and composed a twelve-tone string trio. In 1954, Glass traveled to Paris, where he encountered the films of Jean Cocteau, which made a lasting impression on him. He visited artists' studios and saw their work; Glass recalls, "the bohemian life you see in [Cocteau's] Orphée was the life I ... was attracted to, and those were the people I hung out with." Glass studied at the Juilliard School of Music where the keyboard was his main instrument. His composition teachers included Vincent Persichetti and William Bergsma. Fellow students included Steve Reich and Peter Schickele. In 1959, he was a winner in the BMI Foundation's BMI Student Composer Awards, an international prize for young composers. In the summer of 1960, he studied with Darius Milhaud at the summer school of the Aspen Music Festival and composed a violin concerto for a fellow student, Dorothy Pixley-Rothschild. After leaving Juilliard in 1962, Glass moved to Pittsburgh and worked as a school-based composer-in-residence in the public school system, composing various choral, chamber, and orchestral music. 1964–1966: Paris In 1964, Glass received a Fulbright Scholarship; his studies in Paris with the eminent composition teacher Nadia Boulanger, from autumn of 1964 to summer of 1966, influenced his work throughout his life, as the composer admitted in 1979: "The composers I studied with Boulanger are the people I still think about most—Bach and Mozart." Glass later stated in his autobiography Music by Philip Glass (1987) that the new music performed at Pierre Boulez's Domaine Musical concerts in Paris lacked any excitement for him (with the notable exceptions of music by John Cage and Morton Feldman), but he was deeply impressed by new films and theatre performances. His move away from modernist composers such as Boulez and Stockhausen was nuanced, rather than outright rejection: "That generation wanted disciples and as we didn't join up it was taken to mean that we hated the music, which wasn't true. We'd studied them at