Faculty

Nerissa Rebagay joins College of Music faculty as assistant professor of music education

Mariefaith Lane — Thu, 02 Apr 2026 19:39:43 +0000

Nerissa Rebagay joins College of Music faculty as assistant professor of music education Mariefaith Lane Thu, 04/02/2026 - 13:39

College of Music

Our music education department is pleased to announce the hiring of Nerissa Rebagay as assistant professor of music education beginning in fall 2026, specializing in elementary and classroom music.

“I am thrilled to be joining the University of Colorado Boulder and the College of Music community,” says Rebagay, currently a doctoral fellow (ABD) in music education at the University of Miami. “I’m inspired by the joy of teaching and music itself, and by the engagement and curiosity of my students.”

Rebagay has experience teaching chorus, strings and modern band instruments to students of all abilities in Miami-Dade County Public Schools. She conducts the Young Mozarts orchestra and serves as education coordinator for the Greater Miami Youth Symphony. She also runs Miami Jam Sessions, a free music therapy socialization group and mentoring program for neurodiverse teens and young adults.

Rebagay’s research interests include neurodiversity, creativity and music teacher training. A life-long learner, she is a Kodály certified teacher and holds a Bachelor of Music in music education and music therapy from the University of Miami, and a Master of Philosophy in Arts, Creativity, Education and Culture from the University of Cambridge (UK).

Rebagay adds, “I plan to bridge educational theory with classroom practice and expand opportunities for students to thrive as both musicians and educators.”

We’re thrilled to welcome a colleague who brings such a wide range of experience, scholarly expertise and engagement with diverse populations of music makers.

Discover our music education program

The College of Music is pleased to announce the hiring of Nerissa Rebagay as assistant professor of music education beginning fall 2026, specializing in elementary and classroom music. Welcome!

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SSCI grant to examine singing at altitude

Mariefaith Lane — Mon, 23 Mar 2026 16:56:55 +0000

SSCI grant to examine singing at altitude Mariefaith Lane Mon, 03/23/2026 - 10:56

College of Music

Nicholas Perna, associate professor of voice + director of vocal pedagogy—along with students Whitney Robinson (DMA ’28) and Alice Del Simone (DMA ’26)—demonstrates how the RespTrak system measures abdominal and rib cage movement.

The С�� Boulder College of Music is pleased to share that Associate Professor of Voice + Director of Vocal Pedagogy Nicholas Perna—and a team of collaborators including Jen Walentas Lewon (С�� Boulder Speech, Language and Hearing Sciences), and Mona Abaza and Blair Whiteside (С�� Anschutz Department of Otolaryngology)—were awarded a $10K grant from the С�� Boulder Division of Social Sciences (SSCI).

SSCI grants support initiatives focused on equity, interdisciplinarity, student success and staff/faculty support. This newly funded collaboration is a multiyear initiative that will examine why it's difficult to adapt to singing here in Colorado, and provide best practices for singers who tour through or move to our state “to keep their voices healthy and adapt to singing at altitude with efficiency,” says Perna, who directs the college’s vocal pedagogy program.

To start, a new RespTrak system—purchased with support from Perna’s С�� Boulder Arts & Sciences grant last year and housed in the Berton Coffin Voice Lab—will measure abdominal and rib cage movement as singers adapt respiratory strategies upon arriving at altitude over several months. The SSCI grant funds a stroboscope system housed in the С�� Boulder Department of Speech, Language and Hearing Sciences (SHLS). “This is the first stroboscopic system on the С�� Boulder campus,” notes Perna. “This system will allow us to take high-definition pictures and videos of the vocal folds of a singer to determine function, normality and health of vocal fold anatomy.”

The screenings will provide SLHS graduate students with supervised experience performing stroboscopic exams on singers. Participating College of Music singers will benefit from the opportunity to have a baseline stroboscopic screening upon their arrival at С�� Boulder and near the conclusion of their first year.

Congratulations to all awardees!

An innovative, ‘multiplistic’ approach to vocal pedagogy

A newly funded interdisciplinary collaboration will examine why it’s difficult to adapt to singing here in Colorado, and provide best practices for singers who tour through or move to our state “to keep their voices healthy and adapt to singing at altitude with efficiency,” says Nicholas Perna, associate professor of voice + director of vocal pedagogy.

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An innovative, ‘multiplistic’ approach to vocal pedagogy

Mariefaith Lane — Thu, 19 Feb 2026 03:14:32 +0000

An innovative, ‘multiplistic’ approach to vocal pedagogy Mariefaith Lane Wed, 02/18/2026 - 20:14

Adam Goldstein + Sabine Kortals Stein

In August 2024, Nicholas Perna joined the College of Music faculty as associate professor of voice and director of vocal pedagogy. In describing the college’s wide-ranging approach to teaching the subtleties of the human voice, Perna draws on a unique term that bears the precision, creativity and out-of-the-box thinking he brings to his teaching style.

“I really like the word ‘multiplistic,’” says Perna, promptly conceding that it’s not liable to be found in a dictionary. “We teach across a variety of genres and styles, and we approach the singing voice from the perspective of functional voice training—not from any kind of tradition of ‘right’ or ‘wrong.’

“We view the human body as a functional system,” he adds.

This nuanced approach to developing the human voice has made Perna one of the world’s most in-demand vocal trainers, long before his arrival at С�� Boulder. Perna’s students have found success on Broadway stages and international touring productions; and they’ve won prestigious prizes and honors including the Lotte Lenya Foundation grand prize and the Chinese Art Song International Singing Competition. Perna himself—a 2025 С�� Boulder Arts & Humanities grantee for his “Adaptation of Singers Respiratory Plethysmography at Altitude“ project—has won praise and plaudits for his vocal work in companies like Opera Mississippi and the Santa Fe Opera.

Perna’s work at the College of Music has further advanced his innovative approach to music education, aligned with the college’s universal musician approach to achieving its mission. “One of the things we try to do here is prepare our students for the future,” explains Perna. “We believe they need to be ready to navigate in and out of as many styles and genres as possible.”

In his current role, Perna teaches voice lessons and voice pedagogy courses, and supervises graduate theses and dissertations as well as vocal pedagogy teaching assistants. He also oversees the Berton Coffin Voice Lab, named after the late С�� Boulder professor who established the college’s first doctoral program in voice and pedagogy.

“Berton Coffin was an internationally recognized, seminal figure and author in vocal pedagogy,” notes Perna, pointing to books like “Overtones of Bel Canto” that revolutionized methods for improving vocal strength and musicality through the lens of scientific phonetics. “He was actually writing about applied acoustics and physics in the singing voice at a time when to measure any of that would’ve taken a very large computer, a very high-tech lab.”

Perna is committed to making the lab one of the premier centers for research and innovation in the country when it comes to the science and craft of vocal pedagogy. “Over the past 18 months, we’ve been able to build out a very impressive facility,” he shares. “We’ve expanded to have one of the top five voice labs embedded in a music unit in the country.

“We’re doing significant work, not just on the singing voice, but also acoustics, aerodynamics. We’re now set up to measure respiratory physiology as well. Here at altitude, it’s an especially important consideration.”

For all the serious science and academic rigor that comprise his professional pursuits, Perna is also committed to including a degree of fun into his teaching and his own study of the human voice. In 2017, he launched the weekly “VocalFri Podcast” that combines voice science, pedagogy and even dashes of sci-fi and nerd pop culture. To date, the podcast has logged over 250 hours of content featuring top vocalists, performers and teachers from around the world.

Since his arrival in Boulder, Perna and his fellow VocalFri creators have used the podcast to spotlight what’s happening at the College of Music; he’s involved students, explored the ins and outs of teaching voice and offered insights into the college’s priority to develop multiskilled, multifaceted universal musicians who are well-equipped for flexible career options.

“‘VocalFri’ has become the public-facing voice of С�� Boulder vocal pedagogy,” Perna says. “It’s certainly put this program back in the national spotlight.”

Perna is always on the lookout for ways to keep the College of Music connected to the broader trends and innovations in the field. He’s currently vice president of outreach for the National Association of Teachers of Singing (NATS), the largest association for professional voice teachers in the world. He’ll begin his term as the organization’s president-elect in July.

“NATS has been so much of my professional life,” reflects Perna. “I’ve served at every level of NATS that there is.

“The most important thing with NATS is the networking—it’s a vast international network of singing teachers that has given me my professional colleagues and mentors.”

All these perspectives have culminated in an approach to vocal pedagogy that’s turned out world-renowned artists—and one that is evolving voice education at the College of Music to new heights.

Discover the Berton Coffin Voice Lab

Associate Professor of Voice + Director of Vocal Pedagogy Nicholas Perna is committed to making the Berton Coffin Voice Lab one of the premier centers for research and innovation in the country, emphasizing the science and craft of vocal pedagogy.

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С�� Boulder’s Nathan Mertens awarded NEA GAP grant

Mariefaith Lane — Wed, 18 Feb 2026 00:52:24 +0000

С�� Boulder’s Nathan Mertens awarded NEA GAP grant Mariefaith Lane Tue, 02/17/2026 - 17:52

College of Music

The University of Colorado Boulder College of Music is proud to announce that Assistant Professor of Saxophone Nathan Mertens has been awarded a National Endowment for the Arts (NEA) Grants for Arts Projects (GAP) grant valued at more than $35K. This is the College of Music’s first NEA GAP grant representing an important step forward for С�� Boulder in national arts funding.

The funded initiative—“American Saxophone Concertos New Voices and Visions”—is part of the NEA’s Celebrating America’s 250th Anniversary highlighting American composition and performance. The project centers on the professional recording of four saxophone concertos by living American composers, culminating in a commercial CD release.

A newly commissioned concerto by Anthony R. Green sits at the heart of the project. Written for Mertens—to be premiered with the С�� Boulder Wind Symphony in fall 2026—this work is funded by the Bixler Family Foundation and a С�� Boulder Research & Innovation Office Arts & Humanities Grant. In addition to Green’s concerto, Mertens will record another concerto with the Wind Symphony conducted by the College of Music’s Director of Bands Shanti Simon; as well as two concertos with the С�� Boulder Symphony Orchestra under our Director of Orchestral Studies Gary Lewis (details forthcoming). All recordings will be engineered by the college’s Kevin Harbison.

“This is an exciting and important milestone for our college, in keeping with our universal musician approach to achieving our mission,” says John Davis, Dean of the College of Music. “Nathan’s work supports American composition at the highest level and offers many of our students access to a significant creative project from development to recording.” Students will work directly with composers in rehearsals and recording sessions and appear on the final album, earning a rare professional credit while still in training. Through collaboration with visiting composers and participation in professional sessions, the project prepares them for real-world performance and artistic collaboration.

“I am thankful to the College of Music and the University of Colorado Boulder for the support that made this possible. This was far from a solo effort and I’m very lucky to have colleagues at С�� Boulder who turn complicated processes into something possible,” says Mertens. “I especially want to thank Donna Axel, Associate Director of Research Development at the С�� Boulder Research & Innovation Office (RIO), for her guidance and encouragement throughout this process; and Tessa Brandt, Proposal Analyst in RIO’s Office of Contracts and Grants, for her budgetary wizardry!

“Grants are often associated with big, shiny ideas—but they really begin in the details, in offices and email threads. I’m excited to turn all these details into reality … and some fun!”

Congratulations!

Recording sessions will take place throughout 2026 and 2027 in С�� Boulder’s Macky Auditorium.

Meet Nathan Mertens—NEA GAP grant recipient

Assistant Professor of Saxophone Nathan Mertens was awarded a National Endowment for the Arts (NEA) Grants for Arts Projects (GAP) grant! This is the College of Music’s first NEA GAP award representing an important milestone for С�� Boulder in national arts funding.

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Meet Mihai Marica, Takács Quartet cellist designate

Mariefaith Lane — Tue, 03 Feb 2026 14:00:32 +0000

Meet Mihai Marica, Takács Quartet cellist designate Mariefaith Lane Tue, 02/03/2026 - 07:00

Adam Goldstein

Mihai Marica has plenty of musical memories of the С�� Boulder College of Music’s Takács Quartet-in-residence.

The Romanian-born cellist can easily rattle off moments he fondly associates with the internationally renowned quartet, currently in its 51st season: Obsessively listening to Takács recordings of the Beethoven cycle with fellow musicians; watching the Takács perform as part of the prestigious Cliburn Competition 20 years ago and being “completely mesmerized”; playing alongside Takács’ violist Richard O’Neill at the Lincoln Center in New York … and more.

“They’re such an honest and natural-sounding group,” Marica notes. “The musical tastes of the Takács Quartet through the eras somehow align with what I like musically, too.”

Starting this fall, Marica will have many opportunities to create more memories with the critically acclaimed group called “the essential quartet of our time” by The New York Times; that’s when Marica succeeds cellist András Fejér—the last remaining member of the original Takács Quartet, who will retire at the end of the current season. Leading up to the transition, Marica will join the quartet for its final Boulder performance this season in Franz Schubert’s String Quintet in C Major, D. 956; on Sept. 1, he’ll step into his role as a full-fledged member, signing on for a season that includes high-profile performances in Boulder and worldwide.

For Marica, his new position is the latest in a long string of prestigious musical roles. He started studying cello at the age of 7 in his hometown Cluj/Koloszvar, Romania, with Gabriela Todor and later Mihaly Guttman, who taught chamber music. “The school of cello playing that I was brought up in was a mix between the old Soviet school and the Hungarian school,” he says. “We were kind of right in the middle of those huge entities.”

From these roots, Marica became a chamber music luminary with a global reach: After studying at Yale University with Aldo Parisot, he went on to collaborate with orchestras and ensembles globally—from Chile to Mexico and from Switzerland to Russia. An alumnus of the Chamber Music Society of Lincoln Center’s Bowers Program, Marica has kept up a presence in that program and on that stage, and he’s called New York home for the past 15 years.

Moving to Boulder will be just one of many big shifts to come as part of joining the Takács Quartet, but Marica never hesitated in saying ‘yes’ to the invitation. “I still can’t believe my luck, that I was given this opportunity,” Marica says. “When I think about it, it’s a bit like the moment when Mr. Parisot said, ‘Why don’t you come and study with me at Yale?,’” Marica adds, referencing another seminal point in his career, “It’s life-changing.”

The Takács Quartet’s 2026-27 season will include works by Gabriela Lena Frank as well as more selections by Schubert, Carlos Simon, Johannes Brahms and Joseph Haydn. Beyond Boulder, the quartet will also bring its signature musical style to Carnegie Hall and embark on a North American tour with pianist Jeremy Denk.

While the composers, concerts and touring aren’t new for Marica, the chance to play with such an iconic ensemble feels novel. Stepping in for Fejér, whom Marica cites as a “model,” will carry its own significance; and aligning with the Takács’ dynamic approach onstage stands as a specific responsibility. “My ambition is to match their energy,” Marica says. “They’ve always blown me away on stage—they’re so direct in their music making, all qualities that I’m aiming to keep in the group dynamic.”

This fall, Romanian-born cellist Mihai Marica joins our internationally renowned Takács Quartet-in-residence. Get to know this accomplished artist!

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A new beat: Transformed С�� Boulder percussion studio prepares musicians for every stage

Mariefaith Lane — Thu, 04 Dec 2025 15:00:00 +0000

A new beat: Transformed С�� Boulder percussion studio prepares musicians for every stage Mariefaith Lane Thu, 12/04/2025 - 08:00

MarieFaith Lane

The С�� Boulder College of Music’s percussion studio is taking bold steps forward with a revamped curriculum and a renewed focus on versatility, collaboration and joy in music making.

Associate Teaching Professor of Percussion Michael Tetreault says nearly every aspect of the program has been reimagined with one goal in mind: To prepare percussionists to thrive in any musical setting.

“An awful lot is new and an awful lot has changed,” shares Tetreault. “Every student at every level–undergraduate, master’s, doctoral, artist diploma–studies all five major percussion areas including marimba, timpani, snare drum, drum set and world percussion.”

Tetreault notes the studio’s mission to ensure that every student graduates with a strong foundation across percussion instruments, ready to pursue specialized interests or advanced degrees. “An undergraduate should be able to get into any graduate program they want,” he says. “Our goal is that students’ education here is more than sufficient to unlock any door.”

Building depth for the next generation
Reflecting the college’s universal musician approach to achieving our overall mission, Tetreault says the percussion program aims to shape adaptable, versatile, collaborative and thoughtful musicians who are equipped to make an impact in a changing musical landscape—and across a wide range of careers, on and off stage.

“Let’s support musicians to excel in all kinds of roles,” Tetreault says. “Future students might pursue hyper-specialized career paths, or opportunities as educators or generalists. But over time, I’ve found that the stronger your fundamentals and the better your communication skills, the more doors will open.

“Our students aren’t just preparing to perform—they’re learning to create, to connect and to forge their own paths in music.”

He adds, “If piano was the instrument of the 19th century, percussion was the instrument of the 20th. The next step is depth—supporting underrepresented composers, finding excellent new works and creating music that reflects a 21st-century aesthetic.”

A community of access, opportunity + collaboration
Students in the College of Music’s percussion program often remark on their growth, and how connected they feel to both faculty and the professional world around them.

“They’re surprised how much better they get, so quickly,” Tetreault says. “Often, they haven’t realized how connected the five core areas are—and how work on one instrument strengthens all the others.”

Students’ growth is fueled by the program’s accessibility. Tetreault and his colleague, Associate Professor Carl Dixon, both live and work in Boulder full time. “Such ready access to faculty, instruments, performances and professional opportunities is something students don’t necessarily expect,” he says.

From their first semester, students perform in orchestras, wind symphonies, a classical percussion ensemble and С�� Boulder’s samba bateria—a Brazilian-style group that learns entirely by ear. They also take part in recording projects, community gigs and teaching opportunities across the region.

“Every year, we also commission a new piece from a С�� Boulder student composer,” says Tetreault. “We have competition seminars, collaborations with faculty from other departments and visits from some of the best percussionists in the country.”

Photo credit: Kathryn Bistodeau

Guest artists this year include Los Angeles Philharmonic Principal Percussionist Matt Howard; the drummer for NBC’s “The Voice,” Nate Morton and many others; and, just last month, the С�� Boulder Percussion Ensemble presented a concert of Brazilian music featuring guest artist Jorge Alabê, a renowned master of the genre. The program included styles such as choro (instrumental music), Candomblé drumming and song (a sacred Afro-Brazilian tradition), samba de roda (call-and-response singing with improvised drumming), pagode (backyard party music) and samba enredo (drumming and song performed by samba schools in Carnaval parades), illustrating the history, evolution and musical connections of these African diasporic art forms. Later that week, six current students and several С�� Boulder alumni traveled to the Percussive Arts Society International Convention (PASIC) where they presented much of the same repertoire during Dixon’s Featured Showcase performance with mestre Alabê. “The concert was electrifying!” shares Tetreault.

“We’re also doing a collaborative recording project with С�� Boulder Thompson Jazz Studies next semester,” adds Tetreault. “These kinds of collaborations and projects are going to define the percussion program moving forward.”

Camaraderie, excellence + passion
To capture the studio’s culture, Tetreault asked students to describe their goals in a word cloud—a visual that enlarges each word the more often it’s shared. The most prominent themes were “camaraderie,” “excellence” and “passion.”

“We should work hard, believe in what we're doing and have fun together,” he says. “Excellence grows naturally when you’re fully engaged and enjoying the work and each other.”

That energy carries into studio life—from shared dinners before concerts to playful events like a percussion “maintenance Olympics” at the start of the year. Students split into teams of three to assemble cymbal stands while Tetreault provided running color commentary—and, of course, there were prizes for the fastest team.

“We foster a work-hard, play-hard atmosphere,” Tetreault says. “When we’re working, it’s demanding and productive, but there’s also plenty of laughter and camaraderie along the way.”

The heart of it all: Love for music
In considering prospective students, Tetreault says the program values personality as much as performance. “The number one thing we’re looking for—along with a standard of excellence in playing—is personality,” he says. “People who are collaborative, who help others and who love music.”

He emphasizes that the studio environment is best suited for curious, motivated percussionists who embrace all areas of the craft. “We give a lot of time, a lot of energy, a lot of resources and a lot of inspiration—we hope—to everybody,” he says. “We also recognize that to be successful, students need to generate a lot of that energy and enthusiasm themselves.”

Tetreault concludes, “Percussion doesn’t need to apologize for itself anymore. It’s a serious art form and we’re committed to making it deeper, more accessible and more representative of today’s musical world.”

Learn more + apply

Explore how the College of Music’s percussion studio is taking bold steps forward with a revamped curriculum and a renewed focus on versatility, collaboration and joy in music making.

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2025-26 Bruce Ekstrand Memorial Graduate Student Competition winners announced

Mariefaith Lane — Wed, 19 Nov 2025 17:38:43 +0000

2025-26 Bruce Ekstrand Memorial Graduate Student Competition winners announced Mariefaith Lane Wed, 11/19/2025 - 10:38

Kathryn Bistodeau

Congratulations to the winner of the 2025-26 Bruce Ekstrand Memorial Graduate Student Performance Competition: Violinist Katharine Nelson!

At the competition finals on Nov. 18 in Grusin Music Hall, Nelson performed works by Eugène Ysaÿe, Florence Price and William Kroll accompanied by collaborative pianist Gabrielle Lowman. In addition to winning first prize ($2,000), Nelson—a student of Takács Quartet members Harumi Rhodes and Edward Dusinberre—also earned the $250 audience favorite prize.

“I’m immensely grateful to Harumi Rhodes and Edward Dusinberre for their guidance,” Nelson says. “It was a privilege to share the stage with my pianist, Gabrielle Lowman, who made the learning process so enjoyable.”

Flute and piccolo player Mallory Wood, a student of Professor of Flute Christina Jennings, won second prize ($1,000). Other finalists this year (awarded $500 each) include soprano Alice Del Simone, a student of Associate Professor of Voice Jennifer Bird-Arvidsson and Associate Professor Voice Andrew Garland; baritone Tyler Middleton, also a student of Andrew Garland; and the Skyline Saxophone Quartet comprising Joel Ferst (soprano saxophone), Spencer Cox (alto saxophone), Catherine Oles (tenor saxophone) and Gavin Martellotti (baritone saxophone)—all studying with Assistant Professor of Saxophone Nathan Mertens.

Esteemed judges
This year’s competition finals were judged by Barbara Lynne Jamison, general director and CEO of Opera Colorado; alumnus Charles Lee (DMA ’04, cello performance), principal cellist of the Boulder Philharmonic and cello faculty at Metropolitan State and Regis universities; and Rita Sloan, professor emeritus of collaborative piano at the University of Maryland and founder of the Aspen Music Festival collaborative piano program.

2025 semifinalists
Mark Bennett, trombone
Alice Del Simone, soprano
Jared Hartl, tuba
Carrina Macaluso, mezzo soprano
Aimée McAnulty, viola
Paige Michaud, flute
Tyler Middleton, baritone
Katharine Nelson, violin
Luca Pompilio, piano
Mallory Wood, flute
Alex Yang, percussion
Cello Quartet: Priscilla Kim, Matthew Huff, Thea Dardanis, Sam Moore
Skyline Saxophone Quartet: Joel Ferst, Spencer Cox, Catherine Oles, Gavin Martellotti

2025 semifinal judges
Associate Professor of Opera and Director of the Eklund Opera Program Leigh Holman; Professor and Chair of Composition Carter Pann; and Teaching Professor + Chamber Music Coordinator for the Chamber Music Program Meta Weiss.

The competition, launched in 1986, is named in honor of Bruce Ekstrand—former С�� vice chancellor, supporter of the college and member of the С�� Golden Buffalo Men’s Chorus. Every year, С�� Boulder College of Music graduate students compete in preliminary competitions in their studios for the opportunity to advance to the semifinals and finals. The competition is generously supported by the Ekstrand family—Norma Ekstrand, Andrea Ekstrand, and Brad and Diana Ekstrand among other College of Music donors.

Finalists of the 2025-26 graduate competition. Photo by Kathryn Bistodeau.

Finalists of the 2025-26 graduate competition.

Skyline Saxophone Quartet with Assistant Professor of Saxophone Nathan Mertens.

Congratulations to the winners—and all participants—of the College of Music’s annual graduate student competition, named in honor of former Vice Chancellor for Academic Affairs Bruce Ekstrand.

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Minds in rhythm

Mariefaith Lane — Fri, 14 Nov 2025 20:09:01 +0000

Minds in rhythm Mariefaith Lane Fri, 11/14/2025 - 13:09

Michael Kwolek

Imagine the cacophony of a conversation in which everyone talks, listens and responds at the same time.

Trained musicians performing together can make a similar set of sensory inputs and brain activity truly resonate. Though a feature of the human experience for thousands of years, interbrain synchronization when playing music is not well understood.

As a member of the Brain Music Lab, ATLAS PhD student Thiago Roque has developed novel techniques for studying these nuanced dynamics with the aim to expand our understanding not only of musical performance, but also of human-to-human collaboration and connection more broadly.

In his teens, Roque fell in love with music while beginning to develop his engineering skills. “I always wanted to be an engineer because I wanted to understand how things work, mostly toys and mechanics, electrical stuff,” he said, “but at that point, I also wanted to understand music.”

When he got his first electronic keyboard, he realized, “An electrical engineer designed this to make music, so I realized that I could connect both things.”

After earning BS and MS degrees in electrical engineering at University of Campinas in Brazil, Roque came to study with Grace Leslie at Georgia Tech, then transferred to С�� Boulder when Leslie—assistant professor of music technology—opened her Brain Music Lab in the ATLAS Institute.

“Thiago has been a really integral part of the Brain Music Lab,” Leslie noted. “A lot of that has to do with his engineering background—it's rare to find graduate students who have the musical sophistication to be working on these projects and can rise to the occasion when it comes to developing custom technology for the research questions that we have.” MORE

Interbrain synchronization when playing music is not well understood ... until now.

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Living an artful life: Takeaways from a visit by Maria Rosario Jackson

Mariefaith Lane — Thu, 13 Nov 2025 03:20:12 +0000

Living an artful life: Takeaways from a visit by Maria Rosario Jackson Mariefaith Lane Wed, 11/12/2025 - 20:20

Kathryn Bistodeau

Photos: Johnette Martin

Urban planner, cultural policy expert and former NEA Chair Maria Rosario Jackson visited the College of Music on Oct. 24, hosted by the American Music Research Center.

Jackson visited AMRC Director Michael Sy Uy’s graduate seminar, Music and Prizes, to talk about cultural vitality in communities, what she learned while working at the Urban Institute and how that informed her position as chair of the National Endowment for the Arts.

DMA student Grace Stringfellow said the class visit was a great opportunity to talk to someone involved in arts funding and urban planning.

“The chance to learn more about the state of arts funding from a more general, multidisciplinary and administrative perspective was a rare treat,” they said. “I found it very inspiring that Dr. Jackson encouraged us to be more creative in the types of jobs we interview for and the types of projects that we involve ourselves in, expanding to roles outside of performer and teacher so that we can make the arts more impactful and community-focused.” MORE

Former NEA Chair Maria Rosario Jackson visited the College of Music on Oct. 24, hosted by the American Music Research Center. Learn more about her visit and the perspectives she shared with our community!

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Faculty Tuesdays event spotlights songwriting, individual expression

Mariefaith Lane — Mon, 10 Nov 2025 21:14:58 +0000

Faculty Tuesdays event spotlights songwriting, individual expression Mariefaith Lane Mon, 11/10/2025 - 14:14

Adam Goldstein + Sabine Kortals Stein

Associate Professor of Composition Annika Socolofsky and Associate Teaching Professor of Composition Mike Barnett are dedicated educators at С�� Boulder’s College of Music who also play other roles outside of their status as professors.

Namely, both Barnett and Socolofsky are actively engaged composers and singer-songwriter artists who practice what they preach to their students when it comes to self-expression and creativity through music.

This week’s Faculty Tuesdays event, Nov. 11, offers the duo the chance to spotlight their singer-songwriter sides for our campus and community concertgoers. More broadly, the performance will represent the ways that the College of Music is evolving: Even as Barnett and Socolofsky bring their original compositions to the stage, opportunities for students’ self-expression as musicians, songwriters and artists are continually expanding.

“We were excited when Mike and Annika proposed their event for the Faculty Tuesdays series because it gives us the chance to more fully highlight the diversity of work being done at the С�� Boulder College of Music,” says С�� Presents Executive Director Andrew Metzroth. “It also gave us an opportunity to stretch the boundaries of what can happen in Grusin Music Hall.”

Specifically, Metzroth helped support audio engineering and supplemental lighting—as well as the extra funds needed to support a rock-style concert. С�� Presents in general manages event promotions and programs including for all Faculty Tuesday events.

“Mike and I are both so excited to bring songwriting to the Faculty Tuesdays series,” says Socolofsky. The event will feature 10 of her original songs as well as Socolofsky’s queer, country and Western alter-ego EmmyJean Jenkins.

“We’re starting two brand-new degree programs here at the College of Music: Songwriting and Music Production. We hope we’re the first of many songwriting Faculty Tuesdays that showcase the ways that the college’s offerings are branching out.”

Socolofsky will be joined onstage by an ensemble that includes Trace Hybertson on fiddle, isele phoenix harper on keyboards, alumnus Ilan Blanck (MM ’23) on guitar and Nicole Patrick on drums for a program including “a rather thorough needling of the patriarchy along with quite a few jokes about men named Brad ... or Brock ... or Brice ... or some name like that.”

Barnett’s portion of the program will draw on collaborations with Jazz Studies Lecturer Enion Pelta-Tiller on vocals and fiddle, Fritz Gearhart on fiddle and Assistant Teaching Professor of Percussion Carl Dixon on percussion for a showcase of eight of his original songs (plus one cover).

Barnett is an active musician in the Boulder community and beyond; he’s a regular attendee of local songwriting sessions and performs his self-described brand of “Outlaw Folk” in open mics and community performances. Like Socolofsky, he views this event as a chance not only to bring his music to the С�� Boulder campus, but to contribute to a deeper shift—in terms of focus, access and expression—in the entire community.

“We’re launching these new degree programs and we’re also in the process of building a multitrack studio,” he adds. “That’s going to open doors for all of our students. I think these efforts all speak loudly to what we’re doing here, building a more diverse and inclusive body of artistry.

“I think these efforts all speak loudly to what we’re doing here, building a more diverse and inclusive body of artistry.”

“Music belongs to everyone. There are so many voices that traditionally haven’t been heard in academia. It’s an important part of our mission—and the college’s universal musician approach to achieving that mission—to do these things.”

It feels fitting, then, that Barnett’s only cover tune during the performance will be Bob Seger’s 1971 folk ballad, “Turn the Page.”

As Barnett reiterates, this week’s event is part of a broader effort. “We’re helping to write a new chapter.”

Associate Professor of Composition Annika Socolofsky and Associate Teaching Professor of Composition Mike Barnett are actively engaged composers and singer-songwriter artists who practice what they preach to their students when it comes to self-expression and creativity through music.

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Faculty

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SSCI grant to examine singing at altitude

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Faculty Tuesdays event spotlights songwriting, individual expression

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A new beat: Transformed С�� Boulder percussion studio prepares musicians for every stage