Community Engagement

“Always a Flutist” celebrates flutes, community and music

Mariefaith Lane — Thu, 18 Sep 2025 11:44:34 +0000

“Always a Flutist” celebrates flutes, community and music Mariefaith Lane Thu, 09/18/2025 - 05:44

Adam Goldstein

Christina Jennings continues to marvel at the deep, existential roots of the flute.

It’s an instrument that has long been part of the human creative process, stretching all the way back to the prehistoric discovery that music can emerge from a simply carved piece of bone or wood. “The flute is humankind’s oldest instrument,” says Jennings, professor of flute at the College of Music. “We’ve been playing flutes for thousands of years.”

Those deep, ancient ties will be on full display on the upcoming “Always a Flutist” Faculty Tuesdays recital, Sept. 23, 7:30 p.m. in Grusin Music Hall. The program—titled “Threads of Silver, Ties of Gold”—celebrates the flute through community by showcasing the flute in solo, duo, quartet and a 50-member flute orchestra. In this reunion between Jennings and some 30 flute alumni, selections include Charles Ives’ “Unanswered Question,” Luciano Berio’s arrangement of Beatles songs and music of Helen Fisher, Dianna Link, Lowell Liebermann and others. Performers also include Jenning’s 16 current students and other collaborators—from talented area high school musicians to faculty and staff musicians from across campus.

Jennings kicked off this celebration of flutes, community and music in 2017 when she organized the first three-day iteration of the event that featured world-renowned flutists Sir James and Lady Galway. This year’s two-day gathering reflects the same spirit.

“The festival in 2017 was my way of inviting alumni back, and inviting the Colorado flute community to create a ‘We love the flute’ gathering,” she explains. “It was incredibly successful and seeded the idea for doing something else.

“Since 2017, even more so since the pandemic, what’s become the central core value to who I am as a teacher is the idea of centering community.”

As Jennings celebrates her 20th year on the College of Music faculty, next week’s “Always a Flutist” event also includes non-public opportunities for teachers, former students and current student musicians to reconnect and network; but it’s the culminating Faculty Tuesdays recital that best unites all participants and our flute-loving audience members in a wide-ranging program.

“The program is basically pieces that I love,” says Jennings, adding that the final piece—Egemen Kesikli’s “Breathless”—will “bring everybody up on stage including some of my colleagues that only had a passing interest in flute in seventh or eighth grade. That gets back to the ‘Always a Flutist’ theme.”

The spirit of such a communal celebration is also a fitting tribute to Jennings’ impact on our college over two decades, and a meaningful opportunity for alumni—whose career paths have ranged from law to medicine to professional performance and beyond—to meet again in a shared love of a very old instrument.

“It has absolutely been a dream to be with this community, with these students … and to be in a place where I feel honored as an artist, and teaching a curriculum that honors the universal musician,” Jennings says. “I will always have something to say through the flute.”

On Sept. 23, the “Always a Flutist” Faculty Tuesdays recital celebrates the flute through community by showcasing the instrument in solo, duo, quartet and a 50-member flute orchestra. Performers include flute faculty, alumni and current students—as well as talented area high school musicians, and faculty and staff musicians from across campus!

Off

Traditional

White

Grammy-nominated artist-in-residence Marco Pavé to showcase artistry, wisdom

Mariefaith Lane — Tue, 16 Sep 2025 11:09:13 +0000

Grammy-nominated artist-in-residence Marco Pavé to showcase artistry, wisdom Mariefaith Lane Tue, 09/16/2025 - 05:09

Kathryn Bistodeau

As artist-in-residence of our American Music Research Center (AMRC) and the ��ɫ��Ƶ Center for African & African American Studies, Grammy-nominated hip-hop artist, dramatist and writer Marco Pavé—stage name for Tauheed Rahim II—will showcase his artistry and wisdom through classes, workshops and a concert, Sept. 22-26.

AMRC Director Michael Uy notes that many College of Music students have been interested in a chance to engage with hip-hop. “When Marco Pavé reached out, I jumped at the opportunity because I knew of his participation as a cultural ambassador for the U.S. State Department,” says Uy. “He also came highly recommended as Georgetown University’s first hip-hop artist-in-residence.”

In preparation for classes that he’s guest teaching, Pavé asked students to listen to his Grammy-nominated work “Requiem for the Enslaved” which blends contemporary classical music with hip-hop. MORE

As artist-in-residence of our American Music Research Center and the Center for African & African American Studies, Grammy-nominated hip-hop artist, dramatist and writer Marco Pavé will showcase his artistry and wisdom through classes, workshops and a concert, Sept. 22-26.

Off

Traditional

White

The Cleveland Orchestra residency returns

Mariefaith Lane — Thu, 04 Sep 2025 11:00:13 +0000

The Cleveland Orchestra residency returns Mariefaith Lane Thu, 09/04/2025 - 05:00

Kathryn Bistodeau

From Sept. 10-12, members of The Cleveland Orchestra will resume their biyearly collaboration with the College of Music that began over a decade ago—including a guest recital on Sept. 11, joined by College of Music faculty and students, and offering coachings, rehearsals, panel discussions on auditions and careers in music, and more.

Professor of Clarinet Daniel Silver describes the residency as a unique opportunity for students to observe and learn from professionals in the industry.

“No one gets into The Cleveland Orchestra unless they’re one of the very best,” he says. “People don’t win jobs like that because they’re lucky. So you’re really dealing with an incredibly high level of skill and artistry.

“This is a really wonderful group of people, too—they have a sense of humor. And they love coming to Boulder, meeting students and sharing what they know.”

Participating members of The Cleveland Orchestra will team up with their instrument’s faculty counterpart at the College of Music for studio classes, lessons and coachings. For Silver, a standout event on the schedule is a side-by-side rehearsal with the ��ɫ��Ƶ Symphony Orchestra.

“I think that’s one of the linchpins, because the orchestra is playing big orchestral repertoire—and not only do The Cleveland Orchestra members know these pieces well, but they’ve played them dozens of times in their lives,” he explains. “So they’re full of experience about the pieces, and how to be more artistic, responsive and professional in an orchestra at a high level.”

According to Silver, the impact of the residency on students is tangible: They come away fired up and eager to put their new ideas and advice into practice.

“Somebody who plays in an orchestra at this level all the time will bring insights, wisdom, suggestions, ideas about practice and approaches to the music that are unique—and that would be hard for our students to get anywhere else,” he says.

There’s also a personal connection for Silver, who grew up attending The Cleveland Orchestra concerts. “I used to hear the orchestra every week when I was in middle school and high school,” he reflects. “It took me a few years to realize when I would go other places and come back how fortunate I was. I’m looking forward to rekindling the connections to my hometown.”

Our gratitude to the 16 members of The Cleveland Orchestra who are joining us on campus this year:

Amy Lee, Associate Concertmaster
Stephen Rose, Principal Second Violin
Stanley Konopka, Assistant Principal Viola
Mark Kosower, Principal Cello
Maximilian Dimoff, Principal Bass
Mary Fink, Principal Piccolo | Flute
Frank Rosenwein, Principal Oboe
John Clouser, Principal Bassoon
Amy Zoloto, Bass Clarinet | Clarinet
Michael Sachs, Principal Trumpet | Cornet
Meghan Guegold, French Horn
Shachar Israel, Assistant Principal Trombone
Yasuhito Sugiyama, Principal Tuba
Paul Yancich, Principal Timpanist (retired)
Marc Damoulakis, Principal Percussion
Trina Bourne, Principal Harp

From Sept. 10-12, members of The Cleveland Orchestra will resume a biyearly collaboration with the College of Music that began over a decade ago—including a guest recital on Sept. 11, joined by College of Music faculty and students.

Off

Traditional

White

Global Seminar livecasts piano recital from Paris to Denver

Mariefaith Lane — Mon, 14 Jul 2025 14:07:35 +0000

Global Seminar livecasts piano recital from Paris to Denver Mariefaith Lane Mon, 07/14/2025 - 08:07

Kathryn Bistodeau

Steinway & Sons Spirio, “the world’s highest resolution player piano.”
Photo: Steinway & Sons.

Professor of Piano Andrew Cooperstock loves all things French—the art, music, food and language—and he’ll soon combine that passion with his love for teaching and performing.

In partnership with ��ɫ��Ƶ Education Abroad, a brand new Global Seminar—Chamber Music Performance—will engage a dozen student participants in Aix-en-Provence, Marseille and Paris, France. Eight of the students traveling to France with Cooperstock are from ��ɫ��Ƶ and four are joining the class from the University of South Carolina.

From July 24 to Aug. 7, the seminar will offer students opportunities to perform chamber music across France—including a unique occasion for a local audience to experience the performers from half a world away.

“One of the concerts in Paris is going to be at the new Steinway & Sons gallery there,” explains Cooperstock. “The students will perform chamber music and then—in the second half of the program—just the pianists will each play a short piece on the Spirio Steinway.

College of Music students Juhyun Hwang (MM ’26, piano) and James Morris (DMA ’25, piano) rehearse for their Spirio piano duet at ��ɫ��Ƶ before traveling to France for a two-week Global Seminar.
Photo: Andrew Cooperstock

“A signal will be livecast from Paris to the Spirio piano in the new Steinway & Sons Denver location where audience members can hear the sound actually coming out of another Spirio piano, like a player piano—not from a speaker like a Webcast or Zoomcast or something.

“The sound is extremely accurate, so it should sound pretty much exactly like the Paris concert,” he adds.

In addition to the technologically remarkable Steinway recital, participating students will perform in a Baroque church in Aix-en-Provence and the American Church in Paris, among other venues, and rehearse great chamber music by American and French composers with talented peers. Students will also engage in guest master classes, studio classes and private lessons.

The students’ cultural immersion further includes French language lessons, a boat ride along the Seine, a trip to Notre Dame, a tour of the Institute for Research and Coordination in Acoustics/Music (IRCAM) and more.

“The support of Stephanie Pund and Sylvie Burnet-Jones from Education Abroad, College of Music Dean John Davis and the college’s administrative team were really instrumental in supporting this class and recognizing its importance. It’s a lot of work on everybody’s part but well worth it!”

Join us to experience the livecast recital at Steinway & Sons on July 28, 11 a.m. (56 Steele Street, Denver)!

On July 28, a new Global Seminar in France includes a special opportunity for local fans of the College of Music to experience a recital livecast from Paris to Denver with digital piano technology.

Off

Traditional

White

American Music Research Center reflects on successful AY2024-25

Mariefaith Lane — Thu, 10 Jul 2025 17:32:49 +0000

American Music Research Center reflects on successful AY2024-25 Mariefaith Lane Thu, 07/10/2025 - 11:32

Kathryn Bistodeau

Friedel leads an archive tour as part of the AMRC’s spring Open House.

The American Music Research Center (AMRC) had a bustling year. With the introduction of a new director, Michael Uy, came new events, collaborations and opportunities to leverage our varied archives.

The AMRC, jointly housed by the ��ɫ��Ƶ College of Music and University Libraries, has an archive collection full of musical memorabilia; collection highlights include silent film music, big band artifacts and Colorado-specific research and manuscripts.

In February, the AMRC opened its doors to curious members of our community: Our Open House attendees were treated to a range of archival materials as well as a guided tour through the stacks to see where the collections are held. Megan K. Friedel, head of collections management and stewardship for the libraries’ Rare and Distinctive Collections (RaD), and A. R. Flynn, project archivist for the Glenn Miller Collection, helped organize the event and curate the selection of materials.

“The event that had the most significant impact on me was our Open House,” reflects Uy. “The initial idea was Josie Moe’s—as administrative and student services assistant for the College of Music, she noted that staff, faculty and students wanted more opportunities to see what was in the AMRC collections. With professors Friedel and Flynn, we were able to bring out Glenn Miller’s trombone, original and sketch scores by Dave Grusin and music compositions by Carrie B. H. Collins.” MORE

The American Music Research Center had a bustling year. With the introduction of a new director, Michael Uy, came new events, collaborations and opportunities to leverage our varied archives. Learn more and discover what lies ahead for the center!

Off

Traditional

White

Nathan George named 2025 Outstanding Graduating Senior

Mariefaith Lane — Fri, 18 Apr 2025 21:27:26 +0000

Nathan George named 2025 Outstanding Graduating Senior Mariefaith Lane Fri, 04/18/2025 - 15:27

Adam Goldstein

Singing in a choir requires a delicate balance of skills.

One voice becomes part of a larger ensemble; one artist’s creative spirit thrives only through collaboration, teamwork and humility. It’s an art form that demands a fusion of individual talent and selflessness for the sake of the greater musical good.

For Nathan George (BME, choral)—who will graduate from the ��ɫ��Ƶ’s College of Music on May 8 as our Outstanding Graduating Senior—the choir’s blend of creativity and community was always a draw. And the teachers who brought that dynamic were always an inspiration.

“I started choir in middle school. I loved performing with my friends and I think that was the main thing—the community of performance,” recalls George who grew up in the Broomfield/Thornton area, finding direction in the choir and the theatre that would ultimately steer his path to ��ɫ��Ƶ—thanks in part to influential teachers like Karen Stacks at Legacy High School.

“I felt empowered by a lot of my teachers and I wanted to do the same—provide students something they can enjoy, give them a way to gain confidence, learn intangibles, learn how to be a good person.”

George found a direct route to these aspirations when he was a high school senior looking over the College of Music’s course catalog for music education majors. The catalog described courses with targeted specialties and conveyed a pedagogical approach that fit George’s budding passion for music, theatre and—above all—education.

“Becoming a Music Teacher, Teaching Choral Music, Choral Literature—those classes stood out. I had never seen such specific classes geared toward choral education,” shares George.

While George will receive a music education degree with an emphasis in choral music and a minor in theatre, he’s quick to point out how his journey as a Music Buff opened his eyes to myriad facets of music education. He fully leveraged the College of Music’s wide-ranging programs and opportunities for engagement—from working with the ��ɫ��Ƶ Middle School Ensembles (MSE) program and Middle School Summer Music Academy (SMA) to his role as president of the ��ɫ��Ƶ chapter of the National Association for Music Education (NAfME), serving as a student ambassador for the College of Music since his sophomore year and participating in our Diverse Musicians’ Alliance (DiMA).

In addition to his time in the classroom with dedicated and invested faculty members like Associate Professor of Voice Andrew Garland and Associate Professor of Music Education Leila Heil, George’s involvement with these programs offered real-world, practical experiences. In the MSE and SMA programs, he conducted an orchestra and focused on violin/cello sectionals. Through NAfME, George served as choral representative; organized gratitude initiatives for faculty, staff and students; and even organized a fundraiser for University Hill Elementary School—an effort that generated $1,100 for new equipment for Kimberly Alspaugh-Humecky’s students. “I think that’s what I’m most proud of, getting to organize that fundraiser and make that difference,” he notes.

George also organized a holiday concert that featured musicians from ��ɫ��Ƶ and the broader community performing works by the late composer George Lynn which led to the opportunity to organize a performance for the St. Anthony North Holiday Gala.

Four years after first scanning the College of Music’s music education curriculum, George has completed an education that, in some ways, represents the complex, nuanced dynamics of a choir: His journey has been equal parts individual skill and community engagement. He’s shown a commitment to expanding his own artistic abilities, even as he’s worked for the benefit of the broader world around him—an achievement and an approach ideally suited to a teaching career.

Adds George: “I’m very grateful. It’s really an honor to be named Outstanding Senior—there are a lot of incredible, talented people here.”

[Editor's note: Both Nathan George and Leonard Eppich (BM, viola performance) maintained a 4.0 GPA throughout their academic careers at ��ɫ��Ƶ, earning Chancellor’s Recognition Awards this spring as graduating music students.]

Congratulations and best wishes to ALL our fantastic graduates in the Class of 2025!

For Nathan George—who will graduate from the ��ɫ��Ƶ College of Music on May 8 as our Outstanding Graduating Senior—“community of performance” drew him to prepare for a career in music education.

Off

Traditional

White

Celebrate + aspire

Mariefaith Lane — Thu, 13 Mar 2025 15:59:06 +0000

Celebrate + aspire Mariefaith Lane Thu, 03/13/2025 - 09:59

John Davis

On March 2, the College of Music’s talented Opera Theater Singers once again delivered outstanding performances at our Eklund Opera Program gala at the Academy University Hill. We were honored to welcome Chancellor Schwartz for the first time at this annual fundraising event that aims to sustain and support the arts in our community. Pictured above (left to right): Andrew Todd, Assistant Dean for Advancement; Justin Schwartz, ��ɫ��Ƶ Chancellor; Leigh Holman, Eklund Opera Program Director; Paul + Kristina Eklund, naming donors of the Eklund Opera Program; and John Davis, College of Music Dean.

At the College of Music’s recent Eklund Opera gala, Chancellor Justin Schwartz described the magic of music as a hallmark of human connection; of a civilized society; and as its own kind of renewable energy.

More broadly, in the words of Ukrainian-born writer Joseph Conrad, “All creative art is magic, is evocation of the unseen in forms persuasive, enlightening, familiar and surprising, for the edification of mankind.”

As I reflect on the first months of 2025, I’m struck by the countless ways in which our students, alumni, faculty, staff and supporters embody these values. In these disorienting times, I’m heartened that our mission is more relevant than ever—as is my commitment to continue to celebrate and support our students and colleagues in their transformative work and artistic aspirations.

For example, I encourage you to discover how Associate Dean for Graduate Studies and Professor of Music Education Margaret Berg is creating sustainability through music education, ensuring the well-being of individuals and communities. By integrating human and environmental sustainability into music education, the College of Music is preparing students to make an impact on our interconnected society. Related, two graduate students—Nicholas Felder and Ian Gunnarschja—received grants to support innovative projects that promote equity in music and wellness among neurodiverse musicians.

Creative courage and unique expression at our college are further personified by Enion Pelta-Tiller—a master’s candidate in jazz performance and pedagogy—whose ambitious, experimental approach to music brings together a wealth of coexisting influences and helped shape our new cross-genre ensembles and curricula. And, in case you missed it, our Distinguished Professor of Piano David Korevaar recently shared a delayed tribute to Beethoven’s semiquincentennial birthday—a labor of love and creative fortitude in the face of COVID-19 lockdowns and social distancing five years ago.

Additionally, more than 100 guest artists, ensembles and lecturers have energized our classrooms and graced our stages so far this academic year—most recently including Kennedy Center honoree and five-time Grammy Award-winner Renée Fleming, and Pulitzer Prize-winning Diné composer, musician and sound installation artist Raven Chacon; as well as visiting scholars in our Musicology + Music Theory Colloquium Series and local luminaries like alumnus Gregory Walker—son of the late Helen Walker-Hill and Pulitzer Prize-winning composer George Walker—who presented a master class last week as part of our annual Persevering Legacy events showcasing works by women composers including those from historically marginalized groups. Also inspiring to our community this month was a musicians’ workshop led by Blues icon (and Boulder resident) Otis Taylor, a Colorado Music Hall of Famer.

For all these reasons among many more, I remain steadfast in our resolve to inspire artistry and discovery, together.

With gratitude,

John Davis
Dean, College of Music

"At the College of Music’s recent Eklund Opera gala, Chancellor Justin Schwartz described the magic of music as a hallmark of human connection; of a civilized society; and as its own kind of renewable energy. As I reflect on the first months of 2025, I’m struck by the countless ways in which our students, alumni, faculty, staff and supporters embody these values. In these disorienting times, I’m heartened that our mission is more relevant than ever—as is my commitment to continue to celebrate and support our students and colleagues in their transformative work and artistic aspirations."

Off

Traditional

White

The impact + influence of jazz polymath Paul McKee

Mariefaith Lane — Thu, 13 Mar 2025 14:55:28 +0000

The impact + influence of jazz polymath Paul McKee Mariefaith Lane Thu, 03/13/2025 - 08:55

John Gunther

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

On March 20, Thompson Jazz Big Bands will celebrate the impact and influence of Associate Professor of Jazz Studies Paul McKee who retires this year. In the following tribute, Professor of Jazz Studies John Gunther—who directs our Thompson Jazz Studies Program—reflects on the remarkable career and contributions of the world-renowned jazz trombonist, arranger, composer and educator:

For more than a decade, Paul’s contributions to the Thompson Jazz Studies Program and the College of Music have been of the highest caliber and his tenure at ��ɫ��Ƶ caps a 33-year career in higher education that began in 1991.

Paul possesses remarkable artistry in his performance and composition. As a jazz trombonist, he is regarded as one of the top performers in the world. His ability on the instrument shows a level of artistry rarely heard. He is simply a beautiful player with a gift for swing and expressive melodic improvisation.

As a composer and arranger, Paul is equally regarded as one of the best. Paul’s specialty as an arranger is in the tradition of big band swing, having spent many years on the road with one of the great touring swing bands—the Woody Herman Orchestra. He can create an arrangement that captures the spirit of the tradition of the music while adding his own contemporary voice. Many of his arrangements are performed by high school and college bands across the country. Creating a jazz composition that is accessible to young musicians yet still retains the sound and excitement of the idiom is not easily accomplished, but it is a craft that Paul has mastered.

Paul approaches all his classes and applied lessons with high expectations for his students, a sense of genuine care, and a dedication to their growth and learning. At ��ɫ��Ƶ, he has directed the department's large and small jazz ensembles, taught applied jazz trombone lessons, and taught Jazz Composition + Arranging and Jazz Theory + Aural Skills—as well as advised and directed graduate students in individual composition study. Just recently, while attending a concert, I heard how much growth had occurred in one of the young jazz trombonists. He had a grasp of jazz improvisation at a level that I had not heard just a few months before. When I complimented the student, he grinned and said, “... it’s because I’m studying with Paul!”

Paul has been an integral part of the growth and success of the College of Music’s jazz program. As department chair, I have always been able to rely on his steadfast commitment to his teaching and artistry. He will be greatly missed and leaves us with a legacy of great teaching and beautiful music making.

On March 20, Thompson Jazz Big Bands will celebrate the impact and influence of Associate Professor of Jazz Studies Paul McKee who retires this year. In this tribute, Professor of Jazz Studies John Gunther—who directs our Thompson Jazz Studies Program—reflects on the remarkable career and contributions of the world-renowned jazz trombonist, arranger, composer and educator.

Off

Traditional

White

Enion Pelta-Tiller on pushing creative expression

Mariefaith Lane — Wed, 05 Mar 2025 16:16:20 +0000

Enion Pelta-Tiller on pushing creative expression Mariefaith Lane Wed, 03/05/2025 - 09:16

Adam Goldstein

Photo credit: Anne Staveley

A wealth of influences coexist in Enion Pelta-Tiller’s approach to music.

Classical components drawn from composers like Berlioz, Mahler, Bartok and Stravinsky; jazz violin echoes that summon the best work of Stephane Grappelli and other giants of the genre; folk and traditional elements that run the geographical gamut from Eastern Europe to Ireland to India—all of these ingredients figure into Pelta-Tiller’s ambitious and unique brand of fusion.

It’s no wonder, considering her consistent dedication to musical exploration which started with childhood and college classical music studies in San Francisco and continued after she moved to New York, connected with her future husband/musical collaborator David Tiller and eventually landed in Colorado.

“The Bay Area was a great place to grow up, musically speaking,” Pelta-Tiller recalls. “I became quite interested in experimenting with improvisation and often spent hours improvising music that sounded like what I was supposed to be practicing, or played along with Coltrane, Miles, TISQ, Jascha Heifetz and Ravi Shankar records. I was in this environment of classical, new acoustic and bluegrass-adjacent music, jazz and Indian music—and soaking it all up.

“When I moved to New York after college, I got involved in playing new music, rock, Irish music and bluegrass.”

Combined, these influences helped carve out Pelta-Tiller’s unique niche in the local music scene, and show up in her work as a performer and an educator, as a composer and as a collaborator with musical luminaries from across the globe. She’s a founding member of the critically acclaimed indie-folk group Taarka and directs our new Cross-Genre American Roots Strings Ensemble, roles that draw directly on her wide-ranging interests and skills. She’s also a master’s candidate in jazz performance and pedagogy at the College of Music, set to graduate in May.

Pelta-Tiller’s no-holds-barred musical approach is sure to figure in her upcoming show at Dazzle Denver on March 11 with her group EnQuintet—a jazz ensemble that also features ��ɫ��Ƶ faculty members John Gunther on winds/reeds and Victor Mestas on piano as well as Eric Thorin on bass and Kevin Mathews on drums.

“This time, we’re mostly focusing on repertoire from members of the David Grisman Quintet because I’m interested in how that music—so inspired by both jazz and bluegrass—sounds when played by more traditional jazz instruments instead of in a string band setting,” she says. “For a couple tunes, we’ll add extra horns—Wil Swindler, Jonas Peterson and Cian Kruger—and give our pianist a rest.”

The show will also be an occasion to experience Pelta-Tiller playing her six-string violin—also known as a fadolin—made by New York-based luthier Eric Aceto, offering the depth and tone of a baroque instrument. “It’s amazing for accompanying myself on voice and expanding my improvisational palette,” she notes.

Expanding her skill-set and pushing the boundaries of creative expression have long been a hallmark of Pelta-Tiller’s approach and her connections within the College of Music have only deepened that mission, especially as it aligns with the college’s universal musician approach to fulfilling its mission.

She speaks of the work she’s done with students in her cross-genre ensemble, taking part in fiddle flash mobs and collaborating with artists like Klezmer fiddler Alicia Svigals. She speaks of working with jazz faculty members like Gunther, Mestas and composition professor Annika Socolofsky. It’s all been part of a musical evolution that began when Pelta-Tiller played musical call-and-response games with her father as an infant.

��ɫ��Ƶ has been integral to that evolution and Pelta-Tiller looks forward to continuing the connection long after the upcoming Dazzle show and her time as a graduate student.

“In directing combos, my arranging and improvisation skills have been challenged,” she notes. “And in playing with my graduate colleagues in the jazz department, some of whom are doing really far out stuff, my concept of form and my musical imagination have been stretched further than I could have conceived.”

A wealth of influences coexist in Pelta-Tiller’s ambitious, experimental approach to music. A master’s candidate in jazz performance + pedagogy at our College of Music, her creative evolution to date will culminate in a show at Dazzle Denver on March 11.

Off

Traditional

White

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 ��ɫ��Ƶ 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 ��ɫ��Ƶ 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.

Off

Traditional

White