Alumni

С�� NOW unpacks the story of an opera legend

Mariefaith Lane — Mon, 09 Jun 2025 19:59:54 +0000

С�� NOW unpacks the story of an opera legend Mariefaith Lane Mon, 06/09/2025 - 13:59

Kathryn Bistodeau

Photo credit: Kathryn Bistodeau

It’s that time of year again—С�� Boulder’s New Opera Workshop (С�� NOW) has taken over the College of Music, and the world of opera will never be the same.

Every summer, С�� NOW hosts an extended workshop where graduate voice students and alumni have direct interaction with living composers and librettists to develop and perform their music over a few weeks—resulting in premieres at Houston Grand Opera, San Francisco Opera, Wexford Festival Opera and more. This year, С�� NOW again welcomes composer and librettist Mark Adamo and his new work “Sarah in the Theatre” about the legendary American opera conductor, impresario and stage director, Sarah Caldwell.

“Other than the best acronym in the business, С�� NOW serves as a laboratory—an incubator for pieces that are going to be produced and commissioned at some point,” Adamo says of the program founded in 2010 by Leigh Holman, the College of Music’s associate professor of opera and director of our Eklund Opera Program. “Generally, the composer and the librettist come in, and either they want to work out certain things musically that they haven’t tried before, or develop it dramatically. It’s a pretty flexible brief.”

Adamo has been a guest artist here before to workshop “The Gospel of Mary Magdalene.” The opera premiered in 2013 but Adamo wasn’t quite satisfied with the end product. He brought the work to С�� NOW in 2017 to create a revised, compressed version that he says was transformational. “It was a great, great experience, I have to say. We had a fabulous time together. So I’m very grateful to be back,” Adamo says.

Hannah Benson, an Artist Diploma student in opera and solo voice, says the workshop was a draw for her attending С�� Boulder. In her first year participating, she’ll play the lead role. “С�� NOW is unique in that it’s such a good environment for learning, including how to be professional and how to work efficiently in some higher stakes,” she says.

Photo credit: Kathryn Bistodeau

Working on brand-new material offers С�� NOW participants the opportunity to trust their instincts and try new things in a collaborative space. Benson notes the experience has helped her to break past mental boundaries and push the limit of her craft.

“The thing that’s the most different is that what we’re working on is tangibly new,” Benson says. “When you’re working on something that you’ve been with for a while, it can sometimes feel like it gets stale. With this experience, things are always changing.”

“Sarah in the Theatre” focuses on the real character of Sarah Caldwell (1924-2006)—the first woman to conduct the Metropolitan Opera, the second woman to conduct the New York Philharmonic, and chief conductor and artistic director of the Opera Company of Boston which she founded in 1959.

“A great figure, but one of the reasons that we may not know her so much today is that she never met a budget that she couldn’t blow through,” Adamo says of Caldwell’s well-documented financial mismanagement. “She could be thoughtless and negligent to her artists. It was all constantly a race between the genius and the demons.”

“Sarah in the Theatre” aims to explore what makes a show come to life by highlighting Caldwell’s collaborators behind the scenes. It tells the story of Caldwell’s incredible rise and fall, and offers an honest look at artistic geniuses and what they sacrifice for their art.

For Adamo, the heart of the show comes to one question: “How do you love someone who can do as much damage as they can do good?”

Join us for a semi-staged production of “Sarah in the Theatre“ on June 13 at 7:30 p.m. and June 15 at 2 p.m. in the Imig Music Building’s Music Theatre, N1B95. Performances are free and open to the public, and include a deep-dive, moderated talkback.

Every summer, the С�� New Opera Workshop (С�� NOW) hosts an extended workshop where graduate voice students and alumni have direct interaction with living composers and librettists to develop and perform their music over a few weeks. This year, С�� NOW again welcomes composer and librettist Mark Adamo and his new work “Sarah in the Theatre” about the legendary American opera conductor, impresario and stage director, Sarah Caldwell.

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2025 ECM grants help students shine

Mariefaith Lane — Fri, 23 May 2025 17:51:36 +0000

2025 ECM grants help students shine Mariefaith Lane Fri, 05/23/2025 - 11:51

Kathryn Bistodeau

Each spring, the Entrepreneurship Center for Music (ECM) awards project grants to support students in their professional and artistic endeavors. This year’s adjudicator panel—comprising Dairy Arts Center Executive Director Melissa Fathman, Colorado Symphony member Nick Davies and myself—considered 27 applicants and awarded 16 grants totaling just over $6,200. I sat down with a few of these students to learn about their projects and how the grants helped fuel their success:

Electronic oboe piece
When Grace Stringfellow discovered composer Gracie Fagan’s work, they knew they had to work together. Stringfellow, a DMA student in oboe performance and pedagogy, first discovered Fagan (MM ’25) through an Instagram post of a piece she wrote for Assistant Professor of Saxophone Nathan Mertens.

“It was a really good example of her compositional style. She’s very into using electronics, live processing and other more modern sounds,” Stringfellow says. “She’s inspired by EDM and other dance musics.”

They then reached out to Fagan about writing a piece for oboe—something that would bring the repertoire into the present and showcase more extended techniques on the instrument. The ECM grant helped Stringfellow to compensate Fagan for the project.

“The main motivation was to create something that feels modern—that feels like something you would hear on the radio, something that’s singable, maybe has a little bit of improvisation,” they say. “Throwing everything out of the window of what is expected.”

Stringfellow and Fagan worked together to come up with inspiration for the piece, creating a collaborative and integrative process that Stringfellow says is unique from their commission experiences in the past.

“This feels like almost, almost co-writing. Obviously, she’s doing the body of the work, but it feels like co-writing and co-creating which is fantastic.”

The completed piece will be six or seven short movements, reflecting the shorter songs heard in pop music. Stringfellow plans to premiere the work at a recital in October, then hopes to perform at other local venues as well. They also plan to record the piece for public release.

“I really want to push the boundaries with this commission, so I’m really glad that we can do this,” Stringfellow says. “Gracie will be able to come back for the premiere, so I think I’m looking forward to that most of all and continuing to work with her!” MORE

Each spring, our Entrepreneurship Center for Music awards project grants to support students in their professional and artistic endeavors. This year’s adjudicator panel awarded 16 grants—meet some of the amazing student recipients and learn about their projects!

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Fennoyee Thomas named 2025 Distinguished Alumna

Mariefaith Lane — Mon, 21 Apr 2025 18:47:33 +0000

Fennoyee Thomas named 2025 Distinguished Alumna Mariefaith Lane Mon, 04/21/2025 - 12:47

MarieFaith Lane

The University of Colorado Boulder College of Music is pleased to announce that triple alumna Fennoyee Thomas (BA ’68, MA ’71, DMA ’83) has been named our 2025 Distinguished Alumna, honoring her lifelong contributions to the arts.

“When I graduated from high school, I had no intention of attending С�� Boulder,” recalls Thomas, reflecting on her journey. “But my piano teacher was insistent—and in the end, it felt like a conspiracy between my parents and him to get me here. Looking back, they were right.”

Thomas—who established a distinguished career as a pianist and educator—spent decades shaping the next generation of musicians. “Teaching was never just a job, it was my calling,” she says. “Seeing students grow, challenge themselves and find their voices as musicians has been one of the greatest joys of my life.”

Beyond teaching, Thomas is a passionate advocate for the arts, having served on numerous local, state and national boards, commissions and committees—including the College of Music Advisory Board and the С�� National Alumni Board Association. “Music connects us in ways words cannot,” she observes. “It brings communities together and that’s why I’ve always believed in supporting the arts at every level.”

Looking back on her College of Music experience, Thomas credits her professors with igniting her confidence and shaping her career. “I was very fortunate to have wonderful teachers,” she shares. “My first two years, I studied with [the late] Storm Bull who was not only an excellent teacher, but who also made me feel secure and supported.”

Thomas also speaks fondly of her later studies with the late Paul Parmelee: “He was a fantastic pianist and preparing for our lessons was something I truly looked forward to—we had the most wonderful discussions about music and piano. I admired him and he played a significant role in shaping my career.”

She adds, “My life was practically transformed at С�� Boulder. I learned to be self-confident and I experienced success in the College of Music that I carried with me throughout my professional career.”

As a student, Thomas was the recipient of the Theodore Pressler Piano Performance Award and represented our College of Music at its NASM Evaluation/Accreditation student concert.

She also cherished the natural beauty of the campus. “Coming from Houston, I was so taken by the mountains—the beauty of the campus. I still think that it’s one of the most beautiful campuses in the country.”

Beyond her personal experiences, Thomas supports the College of Music’s universal musician approach that aims to equip students with a flexible skill set to navigate broadly-based careers. “I think it’s very important and I’m impressed with the curricula, programs and all of the opportunities that students have now to help them become well-rounded artists in today’s society,” she says. “The arts can play such an important role in service to mankind. I applaud the College of Music administration for adapting to students’ needs, providing more options for them to be creative and responsive to today’s world.”

Noting the evolving role of education and advocacy in today’s cultural landscape, Thomas adds: “More people are beginning to appreciate the arts as essential to our humanity and how we relate to each other. From attending concerts and visiting museums to attending lectures, listening to poetry or even joining a book club—all of these experiences shape our perspectives on society.

“It’s encouraging to see so many patrons supporting the arts. Their dedication makes a difference, and it reassures me that the arts will continue to thrive and impact future generations.”

Although retired from her role as professor of music and associate dean at Texas Southern University, Thomas remains active as an arts advocate and mentor to young musicians. She offers this advice to our graduates: “Follow your passion and pursue what you love with determination. Use the knowledge and positive experiences you’ve gained here to go out into the world, make it a better place and support others—because now, more than ever, we need that.”

Congratulations on your well-earned distinction, Fennoyee Thomas!

The University of Colorado Boulder College of Music is pleased to announce that triple alumna Fennoyee Thomas has been named our 2025 Distinguished Alumna, honoring her lifelong contributions to the arts. Thomas credits the College of Music with igniting her confidence and shaping her career as she reflects on the mentorship of her former professors, the campus’ natural beauty, and the transformative experiences that inspired her dedication to music and education.

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Persevering Legacy events showcase works by women composers

Mariefaith Lane — Wed, 26 Feb 2025 20:40:09 +0000

Persevering Legacy events showcase works by women composers Mariefaith Lane Wed, 02/26/2025 - 13:40

Kathryn Bistodeau

Since 2019, the С�� Boulder College of Music’s annual Persevering Legacy events have showcased works by women composers, including those from historically marginalized groups. This year’s concert and master class are no different.

Student soloists and ensembles are encouraged to select works from the Helen Walker-Hill collection—housed in our American Music Research Center archives—comprising compositions by Black women composers.

This year, the concert will feature 11 different acts—including the С�� Boulder Chamber Singers led by Director of Choral Activities Coreen Duffy—presenting compositions by Connie Converse, Reena Esmail, Florence Price, B.E. Boykin and our previous Genevieve McVey Wisner lecturer Gabriela Lena Frank, among others.

“Persevering Legacy is an opportunity for students to research composers or pieces that may be entirely new to them and then present those works, broadening their scope,” says Alexis McClain, director of community support + programming, who helps facilitate Persevering Legacy. “Our audiences also benefit, experiencing music that’s not often programmed.”

Alumnus Gregory Walker (DMA ’92, composition)—son of the late Helen Walker-Hill and Pulitzer Prize-winning composer George Walker—will lead a master class for Persevering Legacy participants, working through the pieces they’ve selected and offering his unique background, knowledge, insight and passion for the collection based on his directly personal connection.

“I’ve watched the collection unfold from close proximity for a number of years and love every aspect of the master class,” he says. “I love the music. I love getting in touch with the students who are discovering this music, often for the first time. And really, this keeps my mom alive for me because it’s not just my mother’s work, but a life’s work.”

Helen Walker-Hill

Walker says playing new and largely unfamiliar pieces is helpful to students in their music careers as it allows them to apply their creativity and artistry in perhaps unexpected ways.

“We spend most of our music education studying the guys that are the Mount Rushmore of classical music. The thing is, there’s a lot of baggage that comes with this default—not only are you trying to nail the notes, but there are all these expectations that have been dictated by performers who preceded you,” says Walker who recently released a satirical new book, “Curse of the Maestro and Other Stories.”

“So, if you’ve got these underrepresented composers, not only have you found them or are championing them, but you have to make these decisions,” he adds. “You have to develop your own internal tradition and use your creativity. It's more than you and impressing your audience that’s at stake, it's making a case for someone who could still be lost to history after you're done performing that night—and that is a really worthy challenge.”

Join us for the Persevering Legacy concert on Thursday, March 6 at 7:30 p.m. and the preceding master class with Gregory Walker on Tuesday, March 4 at 2 p.m., both in the Chamber Hall (S102), Imig Music Building.

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“Art is possibility, expression is potential.”

Mariefaith Lane — Tue, 18 Feb 2025 19:12:27 +0000

“Art is possibility, expression is potential.” Mariefaith Lane Tue, 02/18/2025 - 12:12

Adam Goldstein

“Art is possibility, expression is potential.”

That’s according to Raven Chacon, the Pulitzer Prize-winning Diné composer, musician and sound installation artist slated to deliver the С�� Boulder College of Music’s annual Genevieve McVey Wisner lecture on Feb. 26. In his wide-ranging and ambitious oeuvre, Chacon—a member of the Navajo Nation who resides in Albuquerque, New Mexico—has tackled themes ranging from colonization to displacement to questions of environmental stewardship and conservation.

The myriad media he’s chosen to explore these themes reflect a spirit of creative exploration. His Pulitzer Prize-winning work, “Voiceless Mass,” is an ensemble work composed specifically to be performed in any space of worship with high ceilings and pipe organ. “Sound Ladder” is a sound installation—debuted in 2024—that features a sequence of 16 pine planks hung from ceiling to floor; for this work, Chacon collaborated with members of the Bål Nango family, a Sámi family of reindeer herders and land guardians.

Chacon has built instruments and explored new ways to present sound. He’s paired his compositions with visual cues and physical components, and drawn upon the very land surrounding his compositions to convey his messages.

“I think art is there to show that we can all think in different ways, we can all dream in ways we didn’t know we could,” Chacon explains. “We’re in danger when we become narrow and exclude possibilities.” That philosophy is part of the lure of Chacon’s upcoming visit to Boulder. Working firsthand with students and offering novel perspectives about the possibilities of self-expression reconnects the artist to his own commitment to learning and growth; the chance to explore his work and style with developing musicians and artists holds its own unique appeal.

“Part of my interest in giving lectures and visiting universities is to share my work and offer music students insights into ways that music doesn’t have to be on the stage,” Chacon says, also reflecting the College of Music’s universal musician approach to achieving our mission. “It can be presented in different media—performance art, sound sculpture, as film or video. I am really interested in sharing my different tactics with students.”

The concept of place plays a large role in Chacon’s work and one of the pieces he’ll detail in his lecture is located in the United Arab Emirates in a “ghost village” that was originally assigned to a tribe of nomads by the government. “Being that they’re nomadic people, they did not move in. These houses are being taken by the desert,” Chacon explains.

“I’ve collaborated with these individuals and musicians to record their songs,” he adds, noting that the ultimate effect of the installation is that “it sounds like their music is moving through these houses and into the desert.”

It’s an immediacy that Chacon stresses in his approach to music. While he’s a classically trained composer and musician, he’s careful not to undervalue the importance of the indefinable elements of the art form—the aspects of music that can’t necessarily be conveyed in a classroom, studio or textbook.

“I do feel like I’m continually learning,” says Chacon . I’m always seeking out the best media that an artwork should take. I’m constantly researching new technologies—experiencing exhibitions, artists and concerts.

“I’m still a big fan of being able to see musicians play, even more so than listening to recordings. I think live music is not only an obligation or responsibility, but it’s something that is wonderful to do, as a member of an audience.”

Even as he tackles weighty questions in his work, Chacon also finds power and joy in the ability to create—a boon he looks forward to sharing during his residency. “No matter what our occupation or how we spend our daily lives, we should be conscious of the work we can do to improve upon justice and the way we treat each other.”
__________________________________________________________________________________________

Join us for the College of Music’s annual Genevieve McVey Wisner Lectureship* featuring Raven Chacon on Feb. 26 at 11:30 a.m., Chamber Hall (S102), Imig Music Building. On Feb. 27 at 9:30 a.m., Room NB185, Imig Music Building, Chacon will be part of a panel discussion, “Situating your soul’s work in a hegemonic sphere.” Both events are free and open to the public.

Raven Chacon’s residency is made possible by the С�� Boulder American Music Research Center, the College of Music’s composition department and the college’s Diverse Musicians’ Alliance.

*Having graduated from Western University in Kansas—an historically Black college—with her first bachelor’s degree in 1922, Genevieve McVey Wisner became the first Black graduate of the College of Music in 1940 with a bachelor’s degree in music education, followed by a master’s degree in 1944 at age 42.

On Feb. 26 and 27, the College of Music’s annual Genevieve McVey Wisner Lectureship will feature trailblazing composer, musician and sound installation artist Raven Chacon. Even as he tackles weighty questions in his work, Chacon also finds power and joy in the ability to create—a boon he looks forward to sharing during his residency. “No matter what our occupation or how we spend our daily lives, we should be conscious of the work we can do to improve upon justice and the way we treat each other,” says Chacon, the first Native American to win the Pulitzer Prize for music.

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Gems of the AMRC collections: Dan Fong

Mariefaith Lane — Mon, 10 Feb 2025 22:02:39 +0000

Gems of the AMRC collections: Dan Fong Mariefaith Lane Mon, 02/10/2025 - 15:02

Kathryn Bistodeau

Among the American Music Research Center (AMRC) collections, hidden gems exist around every corner: Colorado history, music legends, big band ephemera, silent film scores, letters from С�� Boulder founders and more. In our new series—Gems of the AMRC collections—we aim to spotlight their content and the stories of the people behind them.

Our first deep dive explores the Dan Fong Collection comprising folders of photos captured by the legendary Colorado rock ’n’ roll and folk music photographer.

Fong’s start in photography wasn’t music at all, but a chance to capture the president at the time: Dwight D. Eisenhower. “Since I was such a little kid, all the photographers let me stand in the front. To me, those photos are amazing because at 14, I could tell that I already had the eye and the way to compose the pictures—plus they were really sharp and in focus.”

From there, Fong (Mktg. ’70) continued to take photos and started his own photography business after graduating from С�� Boulder. “I did everything from bar mitzvah photographs to portraits to weddings,” he recalls. “The biggest break came when KFML—the underground radio station—ended up three blocks from my studio. I went down there and made a deal with them: ‘I’ll take photographs of the artists and give them to you for your advertising and you do radio commercials for me.’ That was a big deal because that’s when I met all of the record guys.” MORE

The American Music Research Center collections, housed in the С�� Boulder Libraries Archives in Norlin Library, comprise the region’s largest repository of archival music materials. In this spotlight, discover Colorado’s involvement in the rock and folk eras through the Dan Fong Collection.

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Flourishing in times of flux

Mariefaith Lane — Fri, 06 Dec 2024 08:00:00 +0000

Flourishing in times of flux Mariefaith Lane Fri, 12/06/2024 - 01:00

John Davis

NASM celebrates 100 years
Last month, Dean John Davis attended the annual meeting—and centennial celebration—of the National Association of Schools of Music (NASM) in Chicago, Illinois. This organization of schools, conservatories, colleges and universities establishes national standards for undergraduate and graduate degrees, as well as other credentials for music and music-related disciplines. Our college has been a member since 1941.

Dear friends,

As we approach our much-anticipated annual Holiday Festival performances this weekend, I’m filled with awe and gratitude as I reflect on a busy, successful fall semester at the С�� Boulder College of Music—including continued progress in developing multiskilled, multifaceted universal musicians.

Our commitment to both refining and expanding our offerings has never felt more relevant—and more urgent; our faculty members, advisors and other staff are highly motivated to ensure that our students not only master their chosen craft, but also emerge as well-rounded, adaptable professionals prepared to take on the opportunities and challenges of a rapidly changing world.

Having represented our College of Music at several conferences this fall—including, among others, the annual conferences of the College Music Society and National Association of Music Executives at State Universities, the National Association of Schools of Music annual meeting, and the annual conference of the International Council for Arts Deans in Montreal, Canada—I was heartened to observe that our work at С�� Boulder reflects real-world trends and mandates in music education. Colleges and schools like ours are similarly focused on widening students’ horizons, fostering interdisciplinary collaborations and emphasizing broadly-based skills. I’m proud that our approach amplifies current best practices at comparable institutions, nationally and internationally.

We’re also aware that the landscape of higher education is shifting and that we must be vigilant, agile and proactive. In the new year, changes to federal policies may impact how we accomplish—and communicate—our work; what isn’t changing, however, is our commitment to support our students with the resources, knowledge, experiences and inspirations they need to succeed and thrive in their chosen ventures—and in life. To that end, we continue to deepen our relationships with campus partners including Chancellor Justin Schwartz, who champions our efforts. The new С�� Boulder chancellor has encouraged our campus community to embody courage, curiosity, care and consistency as we engage with one another, prioritize free expression and pursue creative ideas. His vision aligns with our values and I’m optimistic that the College of Music—along with all arts and humanities units on campus—will prosper under his leadership, and sustain our current momentum in student recruitment and retention.

By reimagining our offerings to include more diverse disciplines and perspectives, we’re implementing a richer, more holistic educational experience for our students that ignites their explorations across wide-ranging fields of interest—while nurturing their capacity to engage meaningfully, compassionately and confidently with the summons of our time.

From our dedicated community of supporters to our versatile students to our forward-looking faculty and staff, I’m immensely proud of what we’ve already achieved together. In the new year, stay tuned for announcements of our most recent programmatic and curricular developments that meet the moment—including a new BA degree emphasis.

Meanwhile, I wish you peaceful, joyful holidays!

John Davis
Dean, College of Music

In his year-end message, Dean John Davis reflects on the college's commitment to both refining and expanding our offerings: "Our faculty members, advisors and other staff are highly motivated to ensure that our students not only master their chosen craft, but also emerge as well-rounded, adaptable professionals prepared to take on the opportunities and challenges of a rapidly changing world."

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Alumnus spotlight: Cody Goetz

Anonymous — Wed, 23 Oct 2024 06:00:00 +0000

Alumnus spotlight: Cody Goetz Anonymous (not verified) Wed, 10/23/2024 - 00:00

Kathryn Bistodeau

Photo credit: DB Productions

Cody Goetz (MM ’19, piano performance + pedagogy) was part of the first cohort to graduate from the College of Music with a Graduate Certificate in Arts Administration. In 2022, he became executive director of Mundi Project.

“It's my firm belief that the arts administration program helped prepare me to become a nonprofit executive,” Goetz says.

According to its website, Mundi Project “actively breaks down socioeconomic and generational barriers by providing high quality music experiences for all.” Mundi Project programs place donated pianos with people or organizations that can’t afford them, teach community piano classes, put on workshops and concerts covering various musical cultures and intergenerational learning, and more.

Under Goetz's leadership, Mundi Project is the recipient of a $130,000 grant from ArtsHERE as part of a new pilot program from the National Endowment for the Arts in partnership with South Arts and in collaboration with the other five U.S. regional arts organizations. More than 4,000 organizations applied; only 112 were selected.

“These grants support specific projects that will strengthen the organizations’ capacity to sustain meaningful community engagement and increase arts participation for underserved groups and communities,” shares Goetz.

Specific to Mundi Project, the ArtsHERE award will support two key initiatives: Creating a strategic plan and providing professional development in community music education, trauma-informed practices, accessibility and cultural competency for staff, board, teaching artists and volunteers. “These initiatives will strengthen Mundi Project’s capacity, cultivate an inclusive culture and improve program delivery to better serve diverse communities,” adds Goetz.

“I want to express my gratitude for my educational experience at С�� Boulder and how the power of my experience has led me to have early successes in my arts administration career.”

Congratulations to Goetz and the entire Mundi Project team!

Cody Goetz (MM ’19, piano performance + pedagogy) was part of the first cohort to graduate from the College of Music with a Graduate Certificate in Arts Administration. Today, he’s executive director of Mundi Project.

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Jazz Studies Lecturer Matt Smiley awarded prestigious MacDowell Fellowship

Anonymous — Thu, 17 Oct 2024 06:00:00 +0000

Jazz Studies Lecturer Matt Smiley awarded prestigious MacDowell Fellowship Anonymous (not verified) Thu, 10/17/2024 - 00:00

MarieFaith Lane

Alumnus Matt Smiley (DMA ’22), a jazz studies lecturer at the С�� Boulder College of Music, has been awarded a MacDowell Fellowship—one of the most prestigious, cross-disciplinary artist residency programs in the country. Set to take place over fall break, the fellowship aligns perfectly with Smiley’s teaching schedule, allowing him dedicated time to focus on his creative work without disrupting his commitments to students.

Smiley, who teaches a large 370-student jazz history class as well as a jazz combo, plans to use the fellowship to advance his compositional goals. His primary focus during this time will be composing a suite of octet music—a significant leap in scope from his usual compositions for smaller groups like trios, quartets and quintets. He’s looking ahead to spring 2025 when he hopes to record his new compositions with both Colorado musicians and other collaborators from across the country.

As a composer, Smiley’s work sits at the intersection of jazz and contemporary classical music, drawing on improvisational techniques that challenge the conventions of both genres. “The music I write is always too improvisational for the contemporary classical world but utilizes modern compositional techniques that are still foreign to most of the jazz world,” he explains. Smiley is inspired by composers such as Christian Wolff, known for creating compositions meant to be performed in different ways with varying orchestrations, ensuring that no performance is ever the same. This flexible, open form of composition has become a hallmark of Smiley’s approach which he’s excited to explore further.

While Smiley is accustomed to composing for small ensembles of musicians with whom he regularly collaborates, the MacDowell Fellowship offers an opportunity to expand his creative work to larger ensembles and broader collaborations—a challenge he’s ready to embrace while maintaining the intimacy and improvisational spirit of his works for smaller ensembles.

Smiley’s path to the MacDowell Fellowship was marked by persistence and inspiration from peers. Annie Booth (BM ’11, MM ’20)—a С�� Boulder College of Music alumna and a successful local composer, pianist, educator and entrepreneur—encouraged him to apply for composition residencies. “I have never had planned time off from teaching, performing and working to sit down and focus solely on writing music,” Smiley notes. “I have a lot of goals to accomplish while I’m there.”

Especially, Smiley is eager to develop new compositions that embrace the unpredictability of improvisation while utilizing advanced compositional techniques. His work will undoubtedly continue to challenge the boundaries of both the jazz and contemporary classical music worlds—bringing fresh perspectives to both genres.

College of Music Jazz Studies Lecturer Matt Smiley has been awarded a MacDowell Fellowship enabling him to advance his compositional goals by exploring the intersection of jazz and contemporary classical music, and embracing improvisation and innovative composition techniques that challenge the boundaries of both genres.

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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 С�� 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 С�� 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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