DEI

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 ��ý�Ļ��Ʒ 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.

Off

Traditional

White

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 ��ý�Ļ��Ʒ 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 ��ý�Ļ��Ʒ 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.

Off

Traditional

White

Rudy Betancourt named director of ��ý�Ļ��Ʒ Artist Series

Anonymous — Wed, 04 Sep 2024 14:48:48 +0000

Rudy Betancourt named director of ��ý�Ļ��Ʒ Artist Series Anonymous (not verified) Wed, 09/04/2024 - 08:48

Clay Bonnyman Evans

After almost 15 years at the helm of Macky Auditorium at the University of Colorado Boulder, Rudy Betancourt has also been named the new director of the College of Music’s long-running Artist Series which has brought the finest jazz, classical, world music and dance performers to town for more than eight decades.

Betancourt—a native of Venezuela and an accomplished classical guitarist—will continue to serve as director at Macky which welcomes more than 100,000 people to over 100 events every season. He says adding the beloved series to the venue’s portfolio has the potential to turn over a new page for both.

“The Artist Series has been evolving for decades with an unparalleled cultural impact,” he says. “Having the Artist Series within Macky’s portfolio helps the venue to be a presenter as much as a facility for rent.”

Betancourt says the Artist Series will continue to delight long-time patrons as it also seeks to expand and diversify its programming.

“The series will still include dance, classical music, jazz, performing arts from all over the world, as well as new genres. Keeping true to its well-established mission while feeling the cultural pulse in Boulder will help determine its evolution,” he says. “There will be wonderful choices for our legacy and new audiences to enjoy.”

When CU Presents Executive Director Joan Braun retired at the end of June after 30 years, it was determined that it made sense to separate the curation of the Artist Series from the operations of CU Presents. Braun and ��ý�Ļ��Ʒ College of Music Dean John Davis recommended Betancourt to be the Artist Series director as the most natural choice.

“Rudy is an excellent, accomplished musician and he has impeccable taste and awareness of the music scene,” Braun says. “As director of Macky, he also is very aware of audience tastes and preferences, and what they respond to. He can see some different pathways and possibilities and I’m excited to see what he does with it.”

“Joan’s legacy of innovation in the arts and securing the Artist Series’ place in the hearts of its audiences is a tall order—one that I am honored to continue. I am excited to work with the College of Music’s leadership and the Artist Series Advisory Board. It is a real privilege,” Betancourt says.

Betancourt will continue to work closely with the staff at CU Presents. “The CU Presents team brings unparalleled knowledge of how to reach our audiences and cultivate our relationship with them,” he says. “Continuing and deepening this collaboration will be paramount to the success of the series.”

CU Presents will continue to work with other College of Music programs as well as with the Colorado Shakespeare Festival and CU Theatre & Dance.

Tickets for the 2024-25 Artist Series are on sale now.

After almost 15 years at the helm of Macky Auditorium, Rudy Betancourt has also been named the new director of the College of Music’s long-running Artist Series which has brought the finest jazz, classical, world music and dance performers to town for more than eight decades.

Off

Traditional

White

College of Music welcomes new executive director of CU Presents

Anonymous — Tue, 03 Sep 2024 06:00:00 +0000

College of Music welcomes new executive director of CU Presents Anonymous (not verified) Tue, 09/03/2024 - 00:00

Marc Shulgold + Sabine Kortals Stein

Andrew (“Metz”) Metzroth can’t contain his joy when he talks about his new job as executive director of CU Presents, effective since Aug. 5. “I’ve worked toward this for a decade—it’s truly exciting,” he enthuses. As part of the University of Colorado Boulder College of Music, CU Presents is the home of performing arts on campus annually presenting hundreds of events by ��ý�Ļ��Ʒ students and faculty, as well as world-famous guest artists.

Overseeing CU Presents requires administrative skill, a steady hand and a cool head. Just consider the competition Metzroth had to contend with after longtime director Joan Braun retired at the end of last season.

“I’m happy that the College of Music conducted a national search,” says Metzroth. “I think there were about three dozen applicants.” But one look at his résumé and it’s not surprising that Metzroth landed the position. For starters, his years of experience in nearly every aspect of the theater—backstage, onstage, above-stage, you name it—is mind-boggling. As his local credits will attest, he’s been everywhere at CU Presents for decades. Plus, his enthusiasm is contagious.

“I’ve always had a love for the theater,” he says. As for his relationship with ��ý�Ļ��Ʒ, he became box office manager in 2007, handling ticketing for campus performing arts events for nine years. That’s no small task, he emphasizes: “The ticketing software [Tessitura] goes incredibly deep, and takes a long time to learn and teach.” Moving further up the ladder, he became director of operations at CU Presents in 2017.

Today, Metzroth’s responsibilities entail close involvement in managing the Artist Series in Macky Auditorium and Takács Quartet concerts in Grusin Music Hall. But there are more shows to handle—a lot more. “There are some 450 on-campus events including about 350 College of Music events, 50 Theatre & Dance Department events and 50 Colorado Shakespeare Festival performances,” he explains. “I’ll be involved in strategy, ticketing, and marketing and communications for all our series, particularly College of Music events. You have to know what’s important to all of them, to know their goals.”

Not that he intends to remain invisible. “I never want this to be a desk job,” stresses the four-time ��ý�Ļ��Ʒ alumnus. “I see myself as a community ambassador—I want to bring audiences into performing arts experiences.”

In previous years, you could usually find Metzroth behind a box office window handling ticket sales. With a laugh, he says those days may not be entirely behind him. “Yeah, I might have to work there some nights, if we’re short-staffed.”

But as long as there’s a show going on, CU Presents’ new executive director is happy. “We’re performance- and outreach-oriented,” he adds. “An example of upcoming outreach opportunities are student matinees of [Engelbert Humperdinck’s] ‘Hänsel und Gretel’ in October. We’ll be bringing in students from kindergarten through second grade. That will take some coordinating with a number of schools.”

Sounds like a lot of work for “Metz”—but it’s a good bet he’ll be as excited as all those kids when the school buses arrive.

Andrew (“Metz") Metzroth can’t contain his joy when he talks about his new job as executive director of CU Presents. “I want to bring audiences into performing arts experiences,” he says.

Off

Traditional

White

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 ��ý�Ļ��Ʒ 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 ��ý�Ļ��Ʒ 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.

Off

Traditional

White

Graduating DMA student shares College of Music experience, future plans

Anonymous — Thu, 02 May 2024 06:00:00 +0000

Graduating DMA student shares College of Music experience, future plans Anonymous (not verified) Thu, 05/02/2024 - 00:00

Adam Goldstein

When Joy Yamaguchi graduates from the University of Colorado Boulder’s College of Music next week with a Doctor of Musical Arts degree (violin performance + Music Theory Certificate), the work she started here will continue well beyond her official stint as a student.

“I’m looking forward to further developing the projects I started through my research here at ��ý�Ļ��Ʒ,” says Yamaguchi. “Completing this degree has helped me realize my strength and solidify my focus as a multifaceted artist.”

Yamaguchi came to ��ý�Ļ��Ʒ as a doctoral student with credentials as an accomplished teacher, performer and entrepreneur. She started playing violin at age 8 (she describes her musical roots as being a “Suzuki violin kid”), and went on to earn a bachelor’s in music from the University of Minnesota and a master’s from Florida State University.

Our College of Music offered Yamaguchi opportunities to expand her already refined approach as a musician, educator and artist. Thanks in part to the mentorship of top-notch faculty and the availability of top-tier academic resources, Yamaguchi has deepened her connection to music—and to the history of the art form.

Her time at ��ý�Ļ��Ʒ saw Yamaguchi researching and creating a new edition of two violin sonatas by Nobu Kōda, a Japanese composer of the Meiji era whose works were historically excluded from the classical canon, due in part to the fact that she was a woman.

The DMA program also offered Yamaguchi the chance to create a new curriculum for beginning string students. This curriculum, which focuses on teaching music theory through composition and improvisation, wasn’t just theoretical: Yamaguchi had the chance to put the system into practice with students at El Sistema Colorado.

In addition, Yamaguchi—who’s also the inaugural recipient of the András Szentkirályi Memorial Scholarship—found opportunities to present her research, insights and innovations to an audience beyond our campus. In 2023, she presented during the National American String Teachers Association’s annual conference, specifically detailing research that drew connections between bell hooks’ pedagogical framework and music education.

All of these accomplishments align with the mission that Yamaguchi had in mind when she decided to pursue her doctoral work at ��ý�Ļ��Ʒ. “I was looking for a program that would allow me to gain hands-on teaching experience and explore my interdisciplinary research interests,” she says.

“I was very fortunate to have a graduate teaching assistantship throughout my degree,” she adds, explaining that the assistantship allowed her to interact firsthand with students, and to learn the ins and outs of the academic world. “I taught lessons to undergraduate and graduate students, assisted with music theory courses and grew my understanding of the inner workings of academia.”

All of this valuable experience is set to pay off in very practical ways. This spring, for example, Yamaguchi will head directly from Boulder to Wisconsin where she’ll manage this year’s Blackbird Creative Lab, a prestigious musical immersion event hosted by Grammy Award-winning musicians—surely only the first of many ways that she’ll carry what she learned at our College of Music into the wider world.

“The DMA challenged me in ways that were expected and unexpected,” she concludes. “Throughout, I’ve been very grateful for the community of teachers and colleagues who have supported me. The relationships I’ve formed at CU will continue.”

Congratulations, Joy—and to all our fantastic 2024 graduates!

When Joy Yamaguchi graduates from our College of Music next week with a Doctor of Musical Arts degree, the work she started here will continue. “Completing this degree has helped me realize my strength and solidify my focus as a multifaceted artist,” she shares.

Off

Traditional

White

Michael Sy Uy to direct American Music Research Center

Anonymous — Mon, 22 Apr 2024 06:00:00 +0000

Michael Sy Uy to direct American Music Research Center Anonymous (not verified) Mon, 04/22/2024 - 00:00

Marc Shulgold

Michael Sy Uy has been recently appointed the director of the American Music Research Center (AMRC) at the ��ý�Ļ��Ʒ College of Music, and the newest member of our musicology faculty. A quick glance at the impressive biography of Michael Sy Uy begs two immediate questions—each eliciting chuckles from him during a call from his current office at Harvard University where he’s a music lecturer.

“[In the United States,] I pronounce my last name ‘Wee,’” he replies to Question No. 1, explaining that his family is Chinese-Filipino. “My parents immigrated from Manila and I was born in Las Vegas. I grew up in southern California.”

Question No. 2 addresses the bottom of his bio, which notes that Uy “biked across the United States, from California to Massachusetts, in 42 days.”

So, the obvious query: Will he peddle his way from Massachusetts to begin his new position in Boulder? More laughter. “Actually, I thought about it—but only for a minute.” Instead, he’ll pack his bags and drive west to assume a critical role at our college.

“The center provides an excellent opportunity for a researcher and professor,” he says. “In Boulder, I can immerse myself in the center’s archives, as well as incorporate the material in my teaching.”

Uy has a rich background in academia: He’s published a book on public and private arts funding and his other work appears in American Music, Journal of the Society for American Music, Journal of Musicology, and Music and Arts in Action. He’s also the recipient of several prestigious teaching awards and served as the Allston Burr Resident Dean of Dunster House and Assistant Dean of Harvard College from 2017 to 2023.

Uy is enthusiastic about the wide-ranging responsibilities and activities ahead of him. “I want to gain a deeper understanding of how the center operates and learn from its remarkable previous directors,” he says. “From them, the advisory board and others, I can think about how best to realize the center’s mission and how to achieve the goals of helping students and the community engage with our archival material. Perhaps our amazing performers within the College of Music students and faculty can showcase this music.

“I look forward to working with both undergraduate and graduate students, and I hope to continue to raise the profile of the AMRC.”

Uy also speaks in admiration of the college’s universal musician mission to develop well-rounded, multiskilled students. “I think the work of the center ties in with this mission perfectly,” he says. “Through what we do, what we research and what we write, we can all learn more about ourselves.”

“We should remember the AMRC’s location and history as part of the ‘American West,’” he adds. “Integral to our work will be documenting, preserving and performing the contributions of Native Americans, Chicanos, Asian Americans and African Americans. This is what America really looks and looked like.

“At the AMRC, we can support this research, preservation and history sharing.”

The first person in his family to attend college in the United States—earning a bachelor’s at the University of California, Berkeley; a master’s at Oxford University; and a doctorate at Harvard University—Uy identifies as a member of the BGLTQ community and a person of color who’s committed to a more socially just world. He is an avid coxswain, runner and peony farmer.

Welcome!

Our gratitude to Associate Professor of Ethnomusicology Austin Okigbo who served as interim director of the American Music Research Center this past academic year.

Uy will join the College of Music’s musicology faculty as an associate professor and assume leadership of the AMRC this fall, bringing to his new responsibilities a rich background in musicological research as well as a broadly-based perspective on academic administration.

Off

Traditional

White

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 Colorado 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 ��ý�Ļ��Ʒing 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.”

Off

Traditional

White

Paul McKee: On mentorship and a new take on “Pomp & Circumstance”

Anonymous — Wed, 20 Mar 2024 06:00:00 +0000

Paul McKee: On mentorship and a new take on “Pomp & Circumstance” Anonymous (not verified) Wed, 03/20/2024 - 00:00

Marc Shulgold + Sabine Kortals Stein

Associate Professor of Jazz Studies Paul McKee (center) at the inaugural Paul McKee Jazz Festival!

For Associate Professor of Jazz Studies Paul McKee, it doesn’t seem all that long ago that he was playing a gig with a small combo at yet another wedding. Around him were a handful of bored players, earning another paycheck. “But regardless of whether it’s a rehearsal or a gig, it’s important to always put forth your best effort,” says the trombonist and composer/arranger extraordinaire. “That’s what I told the kids at Indianola last month: ‘You’ve got to play full power all the time. Give it 100% effort.’”

McKee was referring to his recent visit to Indianola High School: On Feb. 17, his high school alma mater inaugurated the Paul McKee Jazz Festival, rebranded in tribute to an illustrious alumnus. “It’s a huge honor and a big event,” he explains. “Forty bands competed in the festival—from middle school to high school.

“Next year, I’m going to write a piece for the Indianola High School Jazz Band—and maybe come back and play something.” This year, McKee served as a guest judge.

McKee speaks with the Indianola High School Wind Ensemble sharing stories and life advice.
Photo courtesy: Indianola High School Band.

Being recognized in this way invites reflection on an unusual life in music—one in which McKee nimbly juggles academics with exciting experiences in jazz performance including a stint with the legendary Woody Herman’s Thundering Herd.

“I always wanted to play,” he says. “But I felt that getting a college degree would be a wise choice, so I earned music education and composition degrees. I later had the opportunity to send an audition tape to the Woody Herman band. That was in 1984.

“I had sought out opportunities to go out on the road—so when they brought me on board, I was ecstatic. It was one of the big deals of my lifetime.”

McKee’s years as a traveling musician still serve as a valuable experience to share with his students. “I always strive to teach by example,” he points out. “I give them the ball and let them run with it.”

On May 9, McKee’s impact will extend beyond the classroom to the university commencement ceremony at Folsom Field stadium, premiering his new arrangement of the familiar theme from Sir Edward Elgar’s Pomp & Circumstance March No. 1 In D (1901), performed and recorded by students in the college’s Thompson Jazz Studies Program. “It’s a contemporary arrangement in three parts capturing the diversity of our graduates and our campus community,” explains McKee. “You’ll hear a big band rendition of the march, then in the Latin montuno style and finally in the New Orleans style that should lighten things up for everybody.”

This eclectic musical mix both mirrors McKee’s approach to life and the lessons he imparts in his teaching, and reflects the College of Music’s universal musician mission: “The more skills you have, the stronger a candidate you are for finding interesting, interdisciplinary work,” he says. “That’s what I reinforce in mentoring my students. I encourage them to build on what they’ve experienced, what they’ve learned and what they know, and to understand how much they have to offer.”

Associate Professor of Jazz Studies Paul McKee reflects on the impact of mentorship and shares the spirit of his new, three-part arrangement of “Pomp & Circumstance” to be premiered at the spring 2024 university commencement ceremony!

Off

Traditional

White

Meet 2024 Presser Scholar Louis Saxton

Anonymous — Thu, 07 Mar 2024 07:00:00 +0000

Meet 2024 Presser Scholar Louis Saxton Anonymous (not verified) Thu, 03/07/2024 - 00:00

Kathryn Bistodeau

For senior Louis Saxton, the decision to go into music and the decision to come to ��ý�Ļ��Ʒ was made the same way—by the inspiration of a teacher.

“I chose to pursue music because I had a really amazing teacher as a kid. She taught me from age 4 until probably 14 or 15, and she is the reason that I love music,” says Saxton, who’s pursuing a Bachelor of Music in cello performance. “Getting to see how infectious her love of music was, I thought, I want to do that.”

When it was time to pick a school for his undergraduate degree, Saxton explains, “It was evident after five or six minutes in my trial lesson with [Associate Professor of Cello] David Requiro, it was a really quick connection. He has a good way of giving constructive feedback in a manner that’s uplifting and isn’t just smacking you down for playing out of tune.”

Saxton is the College of Music’s 2024 Presser Undergraduate Scholar Award recipient. The $3,000 award goes to an undergraduate music major at the end of their final year of study, chosen by faculty vote. Award recipients demonstrate a high level of musical and academic excellence, leadership and impact through formal or informal roles in the College of Music, ��ý�Ļ��Ʒ and our community, and will have advanced equity and inclusion values and priorities.

“It’s a big honor,” continues Saxton, who was also awarded first prize in the College of Music’s Concerto Competition in February. “It’s really flattering to know that the faculty have noticed my exuberance, we’ll call it. I’ve tried really hard to get to know a lot of the different professors and I’ve been really lucky to get to work with them. It’s nice and it’s humbling to get recognition for that.”

A couple of College of Music faculty members who made a particular impression on Saxton are Associate Professor of Viola Erika Eckert and Assistant Professor of Composition Annika Socolofsky.

“Erika seems to offer help to anyone in the entire College of Music. I’ve gotten coachings from her and every one of them has been so wonderful,” Saxton says. “And Annika Socolofsky’s Instrument Design Lab class was so amazing because I think that all music majors, especially in classical music, tend to have this very rigid idea of what you have to do to be a musician, how you need to compose, how you need to perform.

“Her class was eye-opening to the possibilities behind all different kinds of music and new music, and the fact that we need experimentation even when it goes horribly wrong.”

After graduating in May, Saxton will take a gap year, teaching cello students, working, gigging and preparing for future auditions. He hopes that his pursuits will lead him to a career that combines his love of teaching and performing.

“I think it would be really fun to be a part of a university music program that is really strong and brings in excited students,” he adds. “I would love to keep teaching because I had such good teachers.

“I feel so lucky that I’ve had teachers who have lifted me up and inspired me. Like David, I got to see him play with the Boulder Philharmonic and it was bonkers—I want to be that teacher for somebody, too. They see you perform and they feel inspired.”

Louis Saxton (BM ’24) has been named the College of Music’s 2024 Presser Undergraduate Scholar Award recipient. Discover Saxton’s inspiration, journey and experience at ��ý�Ļ��Ʒ!

Off

Traditional

White

DEI

Alumnus spotlight: Cody Goetz

Off

Alternative keyboard offers College of Music students greater reach

Off

Rudy Betancourt named director of ����������ý�Ļ���Ʒ Artist Series

Off

College of Music welcomes new executive director of CU Presents

Off

The (musical) kids are back in town

Off

Graduating DMA student shares College of Music experience, future plans

Off

Michael Sy Uy to direct American Music Research Center

Off

Embracing DEI: Keystone of the universal musician

Off

Paul McKee: On mentorship and a new take on “Pomp & Circumstance”

Off

Meet 2024 Presser Scholar Louis Saxton

Off

Rudy Betancourt named director of ��ý�Ļ��Ʒ Artist Series