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Meet Willem Rohwer—2024 Sher Distinguished Musician Scholarship recipient

Anonymous — Wed, 18 Sep 2024 06:00:00 +0000

Meet Willem Rohwer—2024 Sher Distinguished Musician Scholarship recipient Anonymous (not verified) Wed, 09/18/2024 - 00:00

Kathryn Bistodeau

We’re pleased to announce freshman Willem Rohwer as our 2024 Sher Distinguished Musician Scholarship recipient!

Rohwer comes to the College of Music from Edwards, ŷ��ڱ��Ƶ, to pursue an undergraduate degree in double bass performance studying with Associate Professor of Double Bass Susan Cahill. “She’s absolutely wonderful,” Rohwer says. “I had the opportunity to take a couple lessons with her over the summer and her approach to teaching is through a fresh lens.”

At ŷ��ڱ��Ƶ Boulder, Rohwer hopes to explore different musical ensembles, genres and styles to find his own niche. “Developing my own musical opinions and character are really something that I want to find here,” he says.

Rohwer first learned about the scholarship through an email inviting him to an additional audition. He had just a few weeks to prepare and utilized an unusual tactic: “I had figured out that one of the most helpful things for me was to play in different locations throughout my house and throughout my town instead of just in my room,” he says.

“You can hear different things. I practiced in my living room and then I practiced in a closet and then I practiced outside.”

The traveling practice paid off and Rohwer was offered the four-year, full-ride scholarship funded by John and Anna Sie.

“You couldn’t wipe the smile off my face for a week, I was really happy to hear that I would be able to go here and that I was so wanted.”

Rohwer is also part of the Music Buffs Living Learning Community—a program that brings together music loving students to collaborate and create. “It’s so exciting to be a part of this community because everyone I meet is eager to do exactly what I want to do, which is jam out with people my age who have different ideas about music,” he says.

Additionally, Rohwer wants to develop another passion of his: Space.

“I’ve always been fascinated with astrophysics and space,” he says. “I think music and astrophysics relate because they both have to do with exploring—with music, there’s such an infinite space ahead of you where you can explore how everything sounds.”

He adds, “When you’re playing music, it brings you to a space that’s so separate from time, stress or any of the other happenings of daily life. The same feeling that I get in that musical space is what I experience when I think about exploring deep space because it’s so far out and separate from everything else … and always brand new.”

Rohwer joins these current Sher Distinguished Musician Scholarship recipients:
2023: Nate Bonin (horn) and Danny Kaminski (jazz bass);
2022: Jude Dow-Hygelund (piano) and Cian Kreuger (jazz sax); and
2021: Anna Kallinikos (trumpet) and Raven Dow-Hygelund (classical guitar).

Our gratitude to the 2024 Sher Distinguished Musician Scholarship selection committee comprising faculty members Gary Lewis, Matthew Roeder and Elizabeth Swanson. “I’m excited that we’ve added another very talented musician as part of our incoming class of first-year Music Buffs!” says Roeder.

Willem Rohwer comes to the College of Music from Edwards, ŷ��ڱ��Ƶ, to pursue an undergraduate degree in double bass performance. “Developing my own musical opinions and character are really something that I want to find here,” he says. Discover Rohwer’s unique approach to a successful audition and his other interests.

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Alternative keyboard offers College of Music students greater reach

Anonymous — Tue, 10 Sep 2024 06:00:00 +0000

Alternative keyboard offers College of Music students greater reach Anonymous (not verified) Tue, 09/10/2024 - 00:00

Kathryn Bistodeau

When Abigail Terrill (MM ’24) learned about alternative piano keyboards, it seemed she’d found an obvious solution to a complicated problem. Terrill spent the last year of her master’s experience researching narrower keyboards to accommodate pianists with smaller hands, and how quickly pianists can transition to and from them.

“The length of alternative keyboards is the same as standard keyboards, only the width of each key is very slightly smaller,” Terrill says. The ŷ��ڱ��Ƶ Boulder College of Music has had such a keyboard on loan from the DS Standard Foundation since April 2023, featuring a six-inch octave instead of the standard six-and-a-half-inch octave.

“The reason I got interested was because I have tendonitis and I noticed a bunch of my female pianist friends were also getting tendonitis. I’ve had friends who have had to quit because they got some kind of severe playing-related injury,” Terrill says.

Alternatively sized keyboards can help pianists avoid injuries sustained from over-reaching and enable individuals with smaller hands to play some repertoire that is physically impossible for them to perform on standard-size pianos.

“Keyboards are made to a standard size and the human hand is not a standard size,” says Jennifer Hayghe, associate professor of piano and chair of the Roser Piano + Keyboard Program at the College of Music. “In my 25 years as a professor, I have seen the number of students with injuries rise exponentially. I spend a lot of my time working with students trying to reduce their stress and tension and work through the injuries they’ve accrued. I do believe that if we had smaller keyboards as a standard thing, that would not be an issue.”

The piece loaned to the College of Music is a piano action—that is, the keyboard and the mechanism that causes hammers to strike the strings when keys are pressed. This action can technically fit onto any piano, though some fittings are more difficult than others. Mark Mikkelson and Phil Taylor, both piano technicians at the College of Music, say they put in 50 to 60 hours of work fitting the alternative keyboard into a Steinway piano.

“The problem in making these keyboards for Steinway instruments is that Steinways are entirely handmade, which means they’re not all exactly the same,” Hayghe explains. “So when alternative keyboards are made as close as possible to a ‘standard’ Steinway size, all these little adjustments are necessary. It took a long time and a lot of adjusting to get that keyboard used to that piano.”

Abigail Terrill (MM ’24) and duo partner James Morris (DMA ’25) rehearse his first piano duo composition that premiered last year. Terrill is playing an alternatively sized keyboard on loan at the ŷ��ڱ��Ƶ Boulder College of Music.

As part of her master’s thesis, Terrill discovered that attitudes around alternative keyboards are often of disdain. “I was really frustrated when I first started this research because I was telling people how unfair it was to not have smaller keyboards available to students—and the reaction I heard most was people saying ‘you don’t need that, you just need to fix your technique.’ So my response was, if I can show numbers to people who don’t want to bother with having to switch sizes, that may be more convincing.”

Terrill’s thesis project involved 15 pianists playing a musical excerpt on a standard piano, and then on a narrow keyboard. She measured their errors when initially playing on the alternative keyboard and after 10 minutes of practice.

“We found that everyone by the end—transitioning from the standard size to the second try on the narrow keyboard—had fewer errors than on the first try,” Terrill says. “Most of them said ‘I wish I could practice more on it.’”

Since graduating this spring, Terrill has been teaching piano lessons—another instance when narrow keyboards would be helpful. “Most instruments have smaller versions for when you’re learning as a kid, but not the piano,” she notes.

“I really see this as an equality issue. I’m looking for movement from people. I want to push for more research and for people to have conversations about it—I think even arguments will help.”

The College of Music has had an alternatively-sized keyboard on loan since April 2023. Recent graduate Abigail Terrill shares how the narrower keyboard is helpful, why it’s needed and what her thesis research found about the process of transitioning between pianos.

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The (musical) kids are back in town

Anonymous — Fri, 28 Jun 2024 06:00:00 +0000

The (musical) kids are back in town Anonymous (not verified) Fri, 06/28/2024 - 00:00

Marc Shulgold

SPA participants reap the benefits of the College of Music’s Musicians’ Wellness Program.

Last summer, the College of Music and Sphinx Performance Academy (SPA) kicked off a new partnership to welcome 22 talented string students—ages 11-17—to our campus for an intensive scholarship program emphasizing cultural diversity.

Associate Professor of Double Bass Susan Cahill coaches an SPA participant.

This month, June 20-30, it’s déjâ vu as auditioned youths engage in lessons, master classes and performances with their instructors and guest teachers—all under the auspices of the Sphinx Organization and thanks to a DEI Impact Grant from the ŷ��ڱ��Ƶ Boulder Office of the Senior Vice Chancellor for Diversity, Equity and Inclusion.

Associate Professor of Cello David Requiro (left) with other SPA participants.

That’s a lot to plan and implement. Yet for Alex Gonzalez—returning SPA faculty member and College of Music assistant professor of violin—it’s all a joy. “It’s wonderful to see how the SPA gives the kids space to grow, presenting them options as they pursue music,” he says.

In between, Gonzalez explains, the students do more than improve their skills on violin, viola, cello and bass: “For example, Jim Brody, who runs the College of Music’s wellness program, instructed them in healthy playing habits. It’s so important for them to learn how to prevent injury and avoid poor practice positions.” Gonzalez also notes a master class by violinist Andrea Segar who’ll join the College of Music faculty as assistant professor of violin this fall.

Success stories are many. Among the 22 students who’ve flown in from around the country, a few are returning from last summer’s inaugural SPA on our campus; and, according to Gonzalez, three students from the first cohort have applied for admission to ŷ��ڱ��Ƶ Boulder and were accepted—including SPA alum Ryannah Blackman who will join Gonzalez’s violin studio as a freshman performance major this fall. “She told me, ‘The SPA made me want to settle here,’” he says.

A member of the Sphinx Virtuosi where he’s concertmaster, touring extensively with the group across the country and abroad, Gonzalez understands first-hand that the road to success in music isn’t without its challenges. But programs like the Detroit-based Sphinx Organization, established in 1997 to focus on “increasing representation of Black and Latinx artists in classical music,” have done much to ease and advance that journey.

Intense teaching and motivation are valuable, of course, but the SPA provides something else, Gonzales discovered: “There’s a sense of community here, friendships have developed,” he says. “These kids are sharing their love of music, of being together. I think it lifts them up.

“They’ve worked hard but they got Sundays off, so they went on field trips. They went to the Pearl Street Mall and they took hikes. They got to see Boulder.”

See you next year, SPA!

SPA faculty and students will perform free, public concerts in Grusin Music Hall tonight and this weekend.

Photos: Kathryn Bistodeau, Sphinx Organization

Last summer, the College of Music and Sphinx Performance Academy kicked off a new partnership to welcome talented string students—ages 11-17—to our campus for an intensive scholarship program emphasizing cultural diversity. This month, it’s déjâ vu as auditioned youths engage in lessons, master classes and more, culminating in public performances tonight and this weekend.

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Fortepiano refurb a labor of love

Anonymous — Wed, 26 Jun 2024 06:00:00 +0000

Fortepiano refurb a labor of love Anonymous (not verified) Wed, 06/26/2024 - 00:00

Sabine Kortals Stein

Avlona Yarbrough Taylor, daughters Karen (Patrice Walsh) and Kathryn (Paul Barchilon), as well as Evelyn Taylor—sister of the late Douglas Taylor.

It was a long time coming.

Piano Technician Mark Mikkelsen—who, for more than eight years, has supported the care and maintenance of the College of Music’s fleet of 160 pianos, two harpsichords and an organ—was thrilled when the opportunity arose to rebuild, refurbish and restore one of two fortepianos donated to our college by the late Douglas Taylor and his wife, Avlona, as an in-kind gift in 2019.

The two fortepianos—one is a replica after Conrad Graf 1828 by Robert Smith, ca. 1982; the other is a replica after J. A. Stein by Richard Kingston, ca. 1982—are a tremendous boon for our college. Five years following their donation, the refurbished Smith fortepiano was performed on for the first time on April 8 by Wes Leffingwell, a doctoral student of Professor of Harpsichord Robert Hill.

Since the instrument’s donation, Mikkelsen—whose overall responsibilities include tuning, voicing, regulation, rebuilding and repair—researched the Smith fortepiano and embarked on a years-long restoration project in service to our students and faculty.

“The more I learned about the fortepiano from various sources—its history, how it was made, how it was shipped—the more I understood the instrument which inspired my problem solving,” says Mikkelsen, who was trained in piano technology at the nationally renowned North Bennet Street School in Boston, Massachusetts.

Avlona Taylor enjoying Wes Leffingwell’s performance on the refurbished fortepiano up close.

Adds Operations Manager and Head Piano Technician Ted Mulcahey, “When the Smith fortepiano arrived, it was not in playable condition. After about 120 hours of creative work—including inventing or sourcing missing parts, strings, tools and more—Mark turned it into a beautiful working instrument.”

“It was like working on a ship in a bottle,” continues Mikkelsen, who grew up playing piano. “I really enjoyed the historical and problem-solving aspects of this project … and the positive reactions of the Taylor family, Wes and our faculty really made the effort worthwhile.”

Mikkelsen’s connection to the Taylor family extends beyond this project and our College of Music. Over the years, he’s worked on Avlona Taylor’s harpsichord and he’s started tutoring her daughter, Karen, in the art of tuning.

“Mark is very generous with his time and attention,” concludes Mulcahey. “He knew this project meant a great deal to our donors, faculty and students … and he gave it his all. He cares an awful lot.”

Our tremendous gratitude to the Taylor family; to Robert Hill for his guidance throughout this project; and to the College of Music’s entire Operations team—also including Piano Technician Phil Taylor—for their tireless, behind-the-scenes commitment to keeping our college running smoothly.

Photos below: Members of the Taylor family with Leffingwell, Mulcahey, Mikkelsen, Piano Technician Phil Taylor, Professor of Piano Andrew Cooperstock—with whom Leffingwell studied as a master’s student—and friends. A new plaque adorns the newly playable fortepiano, a replica after Conrad Graf 1828 by Robert Smith, ca. 1982: “This fortepiano was generously donated by Douglas and Avlona Taylor.”

Photos: Shih-Han Chiu

It was a long time coming. Piano Technician Mark Mikkelsen—who, for more than eight years, has supported the care and maintenance of the College of Music’s fleet of 160 pianos, two harpsichords and an organ—was thrilled when the opportunity arose to rebuild, refurbish and restore one of two fortepianos donated to our college by the late Douglas Taylor and his wife, Avlona, as an in-kind gift in 2019.

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Nurturing young singers with new opera

Anonymous — Fri, 31 May 2024 06:00:00 +0000

Nurturing young singers with new opera Anonymous (not verified) Fri, 05/31/2024 - 00:00

Marc Shulgold

Photos: Table Read of “Polly Peachum” with the full cast, composer Gene Scheer and librettist Bill Van Horn.

It’s an old cliché, but the image of great oaks-from-little acorns really does apply to ŷ��ڱ��Ƶ NOW, the ŷ��ڱ��Ƶ Boulder College of Music’s successful summer opera workshop that launched its 14th season on our campus this week running through June 16.

First, we should spell out its full title: New Opera Workshop. It’s a unique program that began with a modest, acorn-like suggestion in 2009, recalls founder/artistic director Leigh Holman.

“I was at an opera conference here [Boulder] and was visiting with composer Hershel Garfein,” says Holman, who also directs the college’s Eklund Opera Program. “He suggested the idea of young artists working on new works with their composers. It turns out young singers just loved sampling new music. I knew it would also be a wonderful experience for the composers since they could be here to work on their music.”

ŷ��ڱ��Ƶ NOW debuted in 2010, becoming the nation’s first such program based at an academic institution, designed to bring together student singers and renowned composers in rehearsing and performing a new opera—all in three weeks. Since then, the likes of composers Mark Adamo, Jake Heggie, Gene Scheer, Libby Larsen, Mark Campbell, Garfein and Tom Cipullo have participated.

This year’s workshop brings together Gene Scheer—returning to ŷ��ڱ��Ƶ NOW as guest composer, alongside collaborating librettist Bill Van Horn—and 14 auditioned ŷ��ڱ��Ƶ Boulder graduate student singers, plus a trio of grad and undergrad composers as well as Eklund Opera Program staff. Emmy Award winner Gary Fry—arranger for “Polly Peachum”—will be in residence during the final week of the workshop as a resource for both our voice and composition students.

Participants are rehearsing six days a week on “Polly Peachum," a rollicking romantic musical comedy set in the early 1700s that depicts the intertwining worlds of government intrigue, London criminal life and the world of theatre. If the name in the title rings a bell, she’s a character in English composer John Gay’s 1728 hit “The Beggar’s Opera.”

“Gene wrote it with Bill about a decade ago and they recently reworked it,” explains Holman. The story concerns the creation of that old tale of London street life and lists characters such as Mr. Gay and historical figures Jonathan Swift, Alexander Pope, Robert Walpole—and Ms. Peachum herself.

“Our work is underway,” says ŷ��ڱ��Ƶ NOW Music Director Nicholas Carthy of the new opera with old characters, staged in less than a month. The British-born conductor—music director of the Eklund Opera Program—joined ŷ��ڱ��Ƶ NOW in 2023. He notes that he anticipates only “a few tiny adjustments” will be made to the score once Scheer and Van Horn observe rehearsals.

For the student singers, this marks their first true professional operatic experience. And for Carthy? “I’m prepared for whatever.”

But wait, there’s more to ŷ��ڱ��Ƶ NOW: Running simultaneously with “Polly Peachum” is the Composers’ Fellow Initiative (CFI) which occurs every other year alongside ŷ��ڱ��Ƶ NOW. Three student composers who had expressed interest in writing opera were chosen to participate in the program, directed by Bud Coleman. The trio—Alan Mackwell, Holly McMahon and Joshua Maynard—have been working with New York-based composer Tom Cipullo, creating music and librettos for 10-minute opera scenes that are being rehearsed, staged and costumed for a performance on June 15.

Holman said plans have already been made for ŷ��ڱ��Ƶ NOW 2025: Mark Adamo will return with “Sarah,” a new work about famed Boston-based opera conductor Sarah Caldwell.

“Polly Peachum” will be performed at 7:30 p.m. on Friday, June 14 and 2 p.m. on Sunday, June 16. Scenes by the Composer Fellows’ Initiative will be presented at 7:30 p.m. on Saturday, June 15. Free and open to the public, all performances will be held in our Music Theatre. More info at ŷ��ڱ��Ƶ Presents.

The College of Music’s 2024 New Opera Workshop (ŷ��ڱ��Ƶ NOW) is underway, leading up to performances of Gene Scheer’s “Polly Peachum”—as well as performances of opera scenes presented by our Composer Fellows’ Initiative—in June.

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Embracing DEI: Keystone of the universal musician

Anonymous — Thu, 21 Mar 2024 06:00:00 +0000

Embracing DEI: Keystone of the universal musician Anonymous (not verified) Thu, 03/21/2024 - 00:00

John Davis

Friends,

Recently, we’ve witnessed troubling trends where diversity, equity and inclusion (DEI) initiatives are being curtailed or eliminated in some settings, including higher education. At the University of ŷ��ڱ��Ƶ Boulder, however, we stand resolute in our commitment to fostering a diverse, equitable and inclusive environment; and at the College of Music, specifically, we’re doubling down on our dedication to actively championing DEI as key to our universal musician mission.

DEI isn’t just about compliance or a checkbox to be ticked off. Essential to fulfilling our mission of developing versatile musicians who are equipped to thrive in a rapidly changing world, DEI is woven into the very fabric of our educational philosophy. Our faculty and staff work daily to create conditions where every individual—regardless of their background—feels welcome, valued, respected and empowered to reach their full potential.

We know that embracing and uplifting diversity—encompassing a spectrum of identities, including but not limited to race, ethnicity, gender, sexual orientation, socioeconomic status and disability—enriches our students’ educational experience and enhances the creativity, innovation and cultural richness of our college, campus and greater community. From last month’s first-ever statewide Jamaican Choral Music Symposium, organized by doctoral student O’Neil Jones and supported by a Roser Visiting Artists Program grant; to our fifth annual Persevering Legacy event earlier this month, with support from the College of Music Diversity, Equity + Inclusion Endowed Fund; to our upcoming Cross Genre Showcase representing an autophysiopsychic approach to musicking; to hosting the Sphinx Performance Academy again this summer, supported by a DEI Impact Grant from the Office of the Senior Vice Chancellor for Diversity, Equity and Inclusion—our commitment to diversity is gaining momentum and recognition.

I’m especially proud of the ongoing work of the College of Music’s DEIA (diversity, equity, inclusion and accessibility) committee. Reflecting principles of shared equity leadership, this committee comprises faculty and staff colleagues who are passionate about putting into practice inclusive excellence recommendations in the areas of curriculum development, co-curricular programming, concert repertoire/programming, faculty hiring and student recruitment.

Drawing inspiration from the diverse lived experiences and cultural assets that our students, staff and faculty bring to the learning environment, we’re creating opportunities for them to leverage their unique backgrounds as sources of strength and ingenuity. In this way, it’s my goal to not only advance inclusivity, but also ignite greater collaboration and collective action within our college—and across other colleges, schools and programs on campus.

The result? Over time, I’m convinced that by embracing DEI as integral to our universal musician mission, we not only achieve flexible, interdisciplinary career options for our graduates, but also expand the artistic landscape and cultivate a community of curious, continuous learners who challenge biases, question assumptions and engage with diverse perspectives—and who navigate nuance and complexity with openness, understanding and empathy.

I’m so grateful for your support and engagement in this critical mission.

John S. Davis
Dean, College of Music

In this edition of the Dean’s Downbeat, Dean John Davis doubles down on the College of Music’s commitment to championing diversity, equity and inclusion. “I’m convinced that by embracing DEI as integral to our universal musician mission, we not only achieve flexible, interdisciplinary career options for our graduates, but also expand the artistic landscape and cultivate a community of curious, continuous learners who challenge biases, question assumptions and engage with diverse perspectives—and who navigate nuance and complexity with openness, understanding and empathy.”

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College of Music hosts drumming legend + clinician Chad Wackerman

Anonymous — Thu, 14 Mar 2024 06:00:00 +0000

College of Music hosts drumming legend + clinician Chad Wackerman Anonymous (not verified) Thu, 03/14/2024 - 00:00

Marc Shulgold + Sabine Kortals Stein

On March 19 and 20, rock/jazz drumming giant Chad Wackerman will hold a rare residency at the University of ŷ��ڱ��Ƶ Boulder College of Music, thanks to support from a Roser Visiting Artists Grant and DW Drums. “We’re grateful to Becky Roser and her late husband Jim who have been wonderful benefactors to ŷ��ڱ��Ƶ for quite a while,” says Mike Barnett, associate teaching professor in composition and music theory. “This is going to be such an amazing opportunity for students to spend time with Chad.”

Barnett’s past life in rock is paying off. “I was in a metal band when I saw Chad back in ’88 in Pittsburgh when he was drumming with [Frank] Zappa—it was life-changing,” he recalls. “He’s a phenomenal musician.

“We met up recently and he reached out about coming here. On March 19, he’ll talk with my songwriters and that night he’ll do a drumming technique master class that’s open to the public. On March 20, he’ll work with student composers on improvising.”

While the residency lasts only two days, the experience can resonate much longer for young students, Barnett suggests—just as Wackerman’s drumming with Zappa influenced him. That thought brings him to the College of Music’s universal musician mission.

“A musician these days needs as many skills as possible,” explains Barnett, himself an artist-composer-songwriter-educator. “As an artist, you can grow throughout your entire life. And what we’re accomplishing here at the College of Music can be an example to inspire students. If they branch out while they’re here, they will be ahead of the game when they graduate.

“It’s about more than getting good grades. It’s about making your inner self larger. College is just the beginning of your life in learning.”

Barnett’s experience in the music business still fires his imagination—and is key to the College of Music’s new degree emphasis in music production. He also calls up his vast experience and connections in the world of rock ‘n’ roll to bring his students up close to musicians from the outside world.

Barnett’s impressive résumé further includes songwriting and drumming work for 30 years with numerous rock, heavy metal and classical fusion bands with such exotic names as Tainted Saint, Phantom Crew, Terminal Degree and Throttle.

Barnett’s compositions include chamber works, concertos for piano and violin, pieces for wind ensemble, solo works and songs—music that has been performed by various orchestras and ensembles around the world. Closer to home, he’s collaborated with College of Music colleagues Erika Eckert, David Korevaar, David Requiro, Michael Thornton and particularly the late Charles Wetherbee.

All that said, one of his first loves is teaching and his commitment to one-on-one mentoring. “I enjoy creating a welcoming environment for all my students,” he says. “I teach the history of rock music. I also teach a songwriting class for non-music majors. I believe that music belongs to everybody.”

Rock/jazz drumming giant Chad Wackerman will hold a rare residency at our College of Music next week. Mike Barnett, associate teaching professor in composition and music theory, shares how the residency demonstrates the college’s universal musician mission. “As an artist, you can grow throughout your entire life,” he says.

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Grad student brings first statewide Jamaican Choral Music Symposium to Boulder

Anonymous — Fri, 09 Feb 2024 07:00:00 +0000

Grad student brings first statewide Jamaican Choral Music Symposium to Boulder Anonymous (not verified) Fri, 02/09/2024 - 00:00

Marc Shulgold + Sabine Kortals Stein

Mention Jamaican music to most Americans and the pop sounds of reggae usually come to mind. But there’s much more—the wonderfully rich harmonies of choral music, hundreds of rarely heard sacred songs and folk songs that deserve more exposure.

O’Neil Jones—a third-year DMA student in choral conducting and literature at the College of Music—is bringing those sounds to Boulder.

Jones has created the first statewide Jamaican Choral Music Symposium, Feb. 22-25, to elevate the history, language and musical elements of Jamaican choral music through direct interaction with natives of the country. A highlight of the symposium will be a Sunday concert by the University Singers who are based at the Mona campus of the University of the West Indies in Kingston, Jamaica. The group, now led by Franklin Halliburton, will appear here thanks to a $25,000 Roser Visiting Artists Program grant awarded to Jones. Halliburton is a key figure in furthering Jamaican choral music as a genre, having worked with choral conductor-composer Noel Dexter over some 20 years prior to his passing.

“This music is a major part of who we are,” stresses Jones. “Jamaicans know this music, but they don’t know who wrote it.” A native of Montego Bay, he grew up singing those songs in church, noting that Jamaica has 1,600 churches, the largest per-capita number of any country in the world. “The music was not being preserved, beyond simply being performed,” he explains. Indeed, while there were sacred songs being sung all over the island, most were never written down or were notated in different versions.

Today, Jones—who’s also the 2023-24 recipient of the Susan L. Porter Memorial Fellowship—is advancing one of the goals of our American Music Research Center by bringing the choral music and culture of his island home to a wider audience this month, including the participation of area high schools and the ŷ��ڱ��Ƶ Boulder University Singers, Chamber Singers and Treble Chorus. He also hopes to publish the music of Jamaican choral composers.

Primary among those is a major force in Jamaican choral music—and a pivotal figure in the lives of both Jones and Halliburton: Noel Dexter (1938-2019). “He’s the reason I’m here,” says Jones. “He was my mentor, he gave me my first voice lesson and he taught me how to conduct.” Their bond began in 2009 and continued until Dexter’s death.

More than a teacher, Dexter influenced his protégé with his humble approach to life. “He was so modest,” recalls Jones. “When he was near the end, he told those gathered around him, ‘Just let people know that I tried.’ All Jamaicans know of him.”

Dexter sent Jones on a journey of discovery that led him to Boulder. Since Jamaica had no serious conducting program, he encouraged his young student to enroll at Mississippi’s Alcorn State University where another of Dexter’s former students had been teaching. Jones obliged, then continued his studies at the University of Southern Mississippi. Eventually, he met Assistant Professor of Voice Andrew Garland at a national singing competition at ŷ��ڱ��Ƶ Boulder. “ŷ��ڱ��Ƶ allowed me to accept Professor Garland’s invitation to continue studying voice while actively pursuing a career in conducting,” Jones says.

In 2021, he settled in Boulder, although Jamaica remained close to his heart. “In preparing my conducting recitals, I included one song by Mr. Dexter to honor his memory—from there, the zeal to bring more of his music to the world was ignited,” he adds.

The ŷ��ڱ��Ƶ Boulder College of Music presents the University Singers, Mona in concert—as part of the Jamaican Choral Music Symposium—at Macky Auditorium on Feb. 25, 2024.

Photos: O’Neil Jones (top); Noel Dexter (right).

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Thompson Jazz Studies Program introduces new vocal jazz degree, new ensemble and more

Anonymous — Thu, 01 Feb 2024 07:00:00 +0000

Thompson Jazz Studies Program introduces new vocal jazz degree, new ensemble and more Anonymous (not verified) Thu, 02/01/2024 - 00:00

MarieFaith Lane

The College of Music is set to launch an exciting addition to its curriculum this fall—the new Bachelor of Music in Vocal Jazz degree in our Thompson Jazz Studies Program will offer intensive development of all aspects of musicianship as a jazz vocalist with study in jazz improvisation, theory, arranging, repertoire and history as well as individual study and performing in our jazz ensembles.

Professor of Jazz Studies John Gunther shares details of the long-anticipated program: “Thanks to the generous support of Jack and Jeannie Thompson, this program is finally coming to fruition. Jack and Jeannie are astute supporters of the College of Music and are very involved and aware of the needs of the college.”

He continues, “The program is not only for aspiring jazz vocalists, as we hope it will serve the College of Music more broadly. Jazz improvisation is such an important part of the history of performance of American music and the skill sets that our musicians need to have in the 21^st century.”

The methods incorporated into the Thompson Jazz program reflect a commitment to providing real-world experiences. Unlike traditional audition-based ensemble formation, the program embraces a unique approach. “Ensembles are formed without auditions and then rotated every few weeks, fostering an environment where students of varying ages and experience levels come together and collaborate,” Gunther explains.

“This approach encourages students to build relationships, learn to communicate effectively and navigate the dynamics of working with musicians of varying backgrounds—mirroring the professional world, where collaboration is essential and musicians must adapt to different skill sets within the group.”

Developing and implementing the new degree program was both a response to internal recognition and driven by external demand. “The Jazz Studies department had been receiving inquiries from high school directors and prospective students eager to know when such a program would be offered,” Gunther says. “The call among young musicians for a broader experience is a clear recognition of the importance of engaging with contemporary music making, improvisation and diverse styles beyond their primary focus.”

Additionally, the jazz program has introduced a new extracurricular ensemble—Ralphie’s Ramblers—committed to embodying the spirit of New Orleans brass bands. Ralphie’s Ramblers ensures that students across disciplines have the opportunity to experience and collaborate in jazz in meaningful ways.

Looking ahead, over spring break, faculty and students from Thompson Jazz will spend a week-long intensive in Havana, studying and performing with master musicians of Afro-Cuban jazz, underscoring the College of Music’s commitment to providing a comprehensive education beyond the classroom walls. “With nearly 30 participants—20 students and 10 faculty—we’ll immerse ourselves in the culture and vibrant musical landscape of Havana,” shares Gunther. “This trip will broaden our understanding of Afro-Cuban and Latin jazz, and our appreciation for the cultural nuances that shape these genres.”

In sum, the opportunities within the jazz program at the College of Music extend beyond traditional education. In addition to immersive experiences, cultural exchanges and a comprehensive curriculum, students are actively engaged in shaping their musical journeys by producing their own music, composing original pieces, overseeing the production process and independently releasing their works. According to Gunther, the program’s commitment to fostering this creativity is further exemplified by its record label, Thompson Jazz Records, and strong student support: “We not only encourage but actively support students in entering professional recording studios, ensuring their artistic projects receive the attention they deserve. Our faculty supports students throughout the process—whether it’s recording in the studio or securing copyrights.”

As the Thompson Jazz Studies Program continues to empower students to be performers—as well as creators and contributors to the ever-evolving landscape of jazz music—it serves as a hub for innovation and artistic expression, and a space to pursue limitless creative possibilities.

Among several exciting developments, the College of Music’s Thompson Jazz Studies Program is set to launch a new Bachelor of Music in Vocal Jazz degree this fall.

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Celebrating the legacy and impact of Anna Sie, lifelong supporter of the arts and humanity

Anonymous — Fri, 12 Jan 2024 21:45:27 +0000

Celebrating the legacy and impact of Anna Sie, lifelong supporter of the arts and humanity Anonymous (not verified) Fri, 01/12/2024 - 14:45

Allison Nitch

Photo: Anna and John J. Sie.

Known for her heartfelt philanthropy on both local and national levels, Anna Sie dedicated her life to supporting causes she felt passionate about, including students and faculty at the University of ŷ��ڱ��Ƶ Boulder.

“She was really the most generous human being that I’ve ever met,” said ŷ��ڱ��Ƶ Boulder alumna Michele Ritter (Anth’81) and University of ŷ��ڱ��Ƶ Foundation trustee. “She really cared about people and issues, and if something came her way and she was able to make an impact—to make someone’s life better or to help in a broader way—she never missed an opportunity. She had this spirit about her that was open, generous, heartfelt and authentic.”

Sie left a powerful legacy of impact at ŷ��ڱ��Ƶ Boulder, establishing a transformational student scholarship in the College of Music with her husband, John, and endowing several faculty chairs.

“At the College of Music, we aim to offer our students diverse opportunities for interdisciplinary collaboration,” said John Davis, the college’s dean. “Such broad-based opportunities rely in no small part on the active, consistent engagement of our community of supporters. Anna Sie’s dedication to our college both indelibly impacted our students, programs and activities, and influenced others’ giving."

“Anna Sie was extraordinarily committed to giving back, and in countless arenas, that is exactly what she and John accomplished for many years,” agreed Daniel Sher, College of Music dean emeritus.

“Anna was a superb partner with John, and she will be remembered for her generosity of spirit as much as philanthropic generosity.”

Changing lives through scholarships

Sie’s love of music led to the sponsorship of a student scholarship program at ŷ��ڱ��Ƶ Boulder’s College of Music, which changed the lives of more than a dozen former students, including the accomplished opera singer Wei Wu (MMus’13).

After hearing then-student Wu perform at Central City Opera in 2007, the Sies were struck by the raw talent of this young man, explained Ritter. His performance inspired the couple to generously contribute to ŷ��ڱ��Ƶ Boulder’s Eklund Opera Fund—specifically to support two Chinese opera singers, Wu and Yang Bo, beginning in the 2008-09 academic year.

Now a Grammy Award-winning bass, Wu trained at the People University of China, Beijing, before continuing his education at ŷ��ڱ��Ƶ Boulder.

“Auntie Anna, also known as Mrs. Sie, always humbly said, ‘I am only a small part of your success,’” shared Wu. “However, I know deep down that her and Uncle John’s kindness and generosity played a significant role in my achievements.”

He continued, “She never expected anything in return, always welcoming me into her family with open arms. We cooked, laughed and shared countless memories together. She made me feel like I had a true family in the U.S.

“Now, I proudly make my Metropolitan Opera debut dedicated to Auntie Anna—a new production of Carmen opening on New Year’s Eve, one of the important performance events of the whole season. I hope to keep carrying her spirit of philanthropy forward and make her proud.”

Cultivating culture in higher education and beyond

Sie also established several faculty chairs at Front Range universities, including the Anna Maglione-Sie Chair in Italian Language & Literature at the University of Denver; and the Dan & Boyce Sher Chair at ŷ��ڱ��Ƶ Boulder’s College of Music. Faculty chair positions are important opportunities on campus, as they help provide talented faculty with the flexibility and resources to pursue their creative work in a university setting.

Sie received recognition through many awards for her philanthropic work and holds an honorary doctorate in higher education at the University of Denver, an honorary doctorate in humane letters from the University of ŷ��ڱ��Ƶ and an honorary doctorate from Regis University.

Beyond higher education, Sie helped enrich Denver’s cultural offerings. As the home of Denver Film, the Sie FilmCenter was established in 2010 and features the finest in independent and world cinema. The Sie FilmCenter also regularly hosts festivals, program series and other special events that bring filmgoers and filmmakers together to celebrate the art of film.

Sie also established the prestigious annual Italian Filmmaker Award at the Denver Film Festival.

“She was an immigrant child from southern Italy and she said she learned her English by watching movies,” noted Ritter. “She loved American movies. Everything she did was about giving back and about drawing on her own personal experiences—sometimes challenges and struggles—to make it easier for other people that might be also experiencing those [same] challenges and struggles.”

A loving legacy rooted in family

Sie immigrated from Napoli, Italy, to New York City with her family at age 10. She graduated from Watchung Regional High School in New Jersey, and while she was not permitted to attend college, she went on to accept a role as a switchboard operator at Microstate Electronics—where she met John Sie, her future husband of 56 years.

Together, they forged their own American dream, building a loving family of five children along with a legacy of giving back to the community.

A pivotal legacy that Sie held close to her heart was inspired by Sophia, the first of the Sie’s six grandchildren, who has Down syndrome.

In 2009, the couple established the Anna and John J. Sie Quasi Endowment Fund for the BioFrontiers Institute. These funds were used to support research toward the eradication of the ill effects of the extra Chromosome 21 for people with Down syndrome.

To significantly improve the lives of people with Down syndrome through research, medical care, education and advocacy on a national level, Anna and John also established the Global Down Syndrome Foundation in Denver that same year.

“The Global Down Syndrome Foundation … not only has benefited her granddaughter, but has benefited everyone who has Down syndrome in the world and their families—including my sister,” said Ritter.

“So it’s been … this movement really to help a very vulnerable demographic that hasn’t received much attention and oftentimes has been shunned and institutionalized. She totally changed the landscape … about the way people with Down syndrome are treated, perceived and cared for.”

Sie further worked to co-found organizations affiliated with the Global Down Syndrome Foundation—including the Linda Crnic Institute for Down Syndrome and the Alzheimer’s & Cognition Center, both on the ŷ��ڱ��Ƶ Anschutz Medical Campus; the Anna & John J. Sie Center for Down Syndrome at Children’s Hospital ŷ��ڱ��Ƶ; and the pilot GLOBAL Adult Down Syndrome Center at Denver Health.

Additionally, the recent GLOBAL Inclusive Program was launched at Regis University thanks to Sie’s generosity, which serves as the first post-secondary program for students with intellectual disabilities at a Jesuit university and the second at a Catholic university in the United States.

“She will be remembered for her deep commitment to the values of the many organizations in which they [Anna and John] made their investments,” said Sher—including the University of ŷ��ڱ��Ƶ Boulder.

“We will also remember Anna for the gift of her friendship, which we held dear and still do, and for her extraordinarily deep devotion to her family.”

To learn more about Sie’s life, view photos and read a poem she wrote, visit the Global Down Syndrome Foundation.

Known for her heartfelt philanthropy on both local and national levels, Anna Sie left a powerful legacy of impact at ŷ��ڱ��Ƶ Boulder, including establishing a transformational student scholarship in the College of Music with her husband, John, and endowing several faculty chairs.

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