Faculty

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, ��ƷSM��ӰƬ 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."

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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 ��ƷSM��ӰƬ 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 ��ƷSM��ӰƬ, 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.

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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 ��ƷSM��ӰƬ 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.

��ƷSM��ӰƬ 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.

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Distinguished professor shares delayed tribute to Beethoven’s semiquincentennial birthday

Mariefaith Lane — Tue, 04 Mar 2025 18:33:44 +0000

Distinguished professor shares delayed tribute to Beethoven’s semiquincentennial birthday Mariefaith Lane Tue, 03/04/2025 - 11:33

Adam Goldstein

Photo credit: Manfred Fuß

The timing was unfortunate for Ludwig van Beethoven’s 250th birthday celebration.

Commemorations of the fêted composer came in 2020 (scholars’ best guess at his birthday is 1770), just as the world was shutting down in the wake of the COVID-19 pandemic—and opportunities to experience the great artist’s music and legacy in person disappeared.

So David Korevaar, distinguished professor of piano at ��ƷSM��ӰƬ’s College of Music, sought alternative ways to honor Beethoven’s oeuvre in the face of lockdowns and social distancing.

“I found myself, like many of us, at something of a loss—no concerts, no in-person teaching, isolated at home,” Korevaar recalls now. “I had been thinking of filling in the gaps in Beethoven’s 32 piano sonatas—there were a few that I had never played—and that inspired me to begin the process of playing through all of them and sharing ‘quick and dirty’ video recordings from home on my YouTube channel.”

Those videos (which are still available on Korevaar’s channel) were only the beginning. Korevaar found himself intrigued by the prospect of recording the complete sonatas properly and—in his role at the College of Music—he realized that he had the resources to realize that vision. With support from the college's C.W. Bixler Family Foundation Faculty Initiatives Fund, Korevaar set about doing justice to Beethoven’s timeless music.

“I talked with Kevin Harbison—the College of Music’s fantastic recording engineer—with Kawai America and with the college’s scheduling guru Brooke Balbuena to set up sessions in our gorgeous new Chamber Hall,” Korevaar says, adding that Kawai came through with a loan to the college of a 9-foot Shigeru Kawai concert grand for a year. “We recorded in a series of sessions that ended in July 2024 with all 32 sonatas completed.”

The next step was finding a way to share roughly 11 hours of music with the world. Enter Prospero Classical, a Swiss orchestral music label that offered Korevaar and his crew a thoroughly modern and multifaceted way to distribute the music. On March 7, the label will release a two-CD physical release of highlights from the sonatas followed by a series of digital-only albums of the sonatas issued chronologically.

“The two CDs will feature three sonatas from Beethoven’s ‘heroic’ period—so called because of the composition of the Eroica Symphony during this time: The Sonata Op. 53 (‘Waldstein’), Sonata Op. 54, Sonata Op. 57 (‘Appassionata’) as well as the ‘Andante favori,’ a movement originally intended to be part of the ‘Waldstein’ sonata,” Korevaar explains. “The second CD has two more sonatas, both of which Beethoven suggested be published as written for the ‘Hammerklavier,’ a German word for piano.”

All of the recorded sonatas (with the exception of Op. 106) are also up on Spotify as EPs; those are accessible here.

This approach offers a perfect way to share Beethoven’s music in the era of streaming and Spotify; it also offers a way to fulfill a musical mission that first came to Korevaar during the pandemic.

“I really wanted and, in a way, needed to do these properly,” he adds. “To record professionally, in a beautiful space, on a beautiful piano, with a first-rate engineer.”

Distinguished Professor of Piano David Korevaar found an alternative to celebrating Beethoven’s 250th birthday in the face of COVID-19 lockdowns and social distancing five years ago.

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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 ��ƷSM��ӰƬ 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 ��ƷSM��ӰƬ 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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Creating sustainability through music education

Mariefaith Lane — Wed, 12 Feb 2025 17:29:50 +0000

Creating sustainability through music education Mariefaith Lane Wed, 02/12/2025 - 10:29

MarieFaith Lane

The ��ƷSM��ӰƬ is widely recognized for its commitment to sustainability—most often associated with protecting the environment. At the College of Music, that definition extends further.

Associate Dean for Graduate Studies and Professor of Music Education Margaret Berg highlights the importance of human sustainability—that is, the well-being of individuals and communities. By integrating both human and environmental sustainability into music education, our college is helping students develop into responsible, thoughtful professionals who are prepared to make an impact on our interconnected society.

“Human sustainability is about more than just resources,” Berg explains. “It’s about the self—students and teachers—the community around the school or studio, and the larger systems like colleges or universities.” This multifaceted approach emphasizes the significance of emotional resilience, community building and cultural inclusivity in shaping the future of music education.

Berg’s Sociology of Music Education course amplifies the College of Music’s unique focus on preparing students for roles beyond music performance; the college’s universal musician approach to achieving its mission encourages interdisciplinary learning and broadly-based student development. “A teacher taking a more holistic approach will make a difference,” says Berg, emphasizing the value of connecting music education with sustainability in the classroom and beyond.

Aligned with ��ƷSM��ӰƬ Chancellor Justin Schwartz’s priority to accelerate sustainability on our campus, human sustainability in music education complements the College of Music’s progress toward reducing its environmental impact—from “green” digital program books, energy-efficient LED lighting in Grusin Music Hall and music tablets that replace paper scores. Additionally, the use of braille building placards and other accessibility measures reflects the college’s commitment to inclusivity in all forms.

Integrating human and environmental sustainability equips students with the knowledge, skills and awareness to engage with both their immediate communities and the planet. In the classroom, Berg advocates for experiential learning practices that promote ecological literacy and environmental activism. For example, music educators can encourage students to engage with local sounds and landscapes, fostering an awareness of the natural world and its challenges. “We can integrate local ecosystems into the repertoire selection process,” Berg suggests, noting that Colorado’s mountains or water issues might inspire student projects.

Berg further emphasizes the significance of core reflection which encourages educators and students to assess their well-being and resilience. “It has to start with the human,” she says. That is, to sustain both the work and the community, we must take care of individuals first—teachers and students alike. Core reflection allows teachers to identify their strengths and recognize the need to care for their own mental and emotional health to avoid burnout. In this way, self-care becomes foundational to sustaining long-term success in educational settings.

Adds Berg, “Nature is constantly creating and evolving, and engaging with the arts is a creative act that empowers both students and teachers to respond to the challenges of climate change, for example, in productive and meaningful ways. This is invaluable, as it engages their hearts and fosters powerful, thoughtful responses.

“It’s a profoundly healthy way to navigate such challenges.”

Related resources

Berg, M. H. (2023): Fostering care through core reflection.
Shevock, D. J., & Bates, V. C. (2019): A Music Educator’s Guide to Saving the Planet.
Smith, T. D. (2023): Caring with the Earth, community, and co-learners for the health of biological, social, and musical ecosystems.

Associate Dean for Graduate Studies and Professor of Music Education Margaret Berg highlights the importance of human sustainability—that is, the well-being of individuals and communities. By integrating both human and environmental sustainability into music education, the College of Music is preparing students to make an impact on our interconnected society.

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Welcome Shanti Simon, director of bands

Mariefaith Lane — Wed, 05 Feb 2025 16:13:17 +0000

Welcome Shanti Simon, director of bands Mariefaith Lane Wed, 02/05/2025 - 09:13

Sabine Kortals Stein

We’re pleased to announce that—beginning this fall—Shanti Simon will join our College of Music as director of bands.

“I’m thrilled to join a dynamic faculty committed to preparing universal artist-musicians to contribute to and lead the next generation of music making in our world,” says Simon, currently director of bands at the University of Oklahoma where she conducts the Wind Symphony and leads the graduate wind conducting program. Additionally, she serves as associate conductor of the Oklahoma City Philharmonic.

“I’m looking forward to working with students and colleagues to further the culture of wind music in our nation,” adds Simon, “and to enhance the national and international reputation of stellar music making at the ��ƷSM��ӰƬ College of Music through creative, engaging, and artistic programming and performance.”

Prior to joining the faculty at OU, Simon was flight commander and associate conductor with the United States Air Force Academy Band in Colorado Springs. Before that, she served as flight commander and associate conductor with the USAF Band in Washington, D.C. where she conducted performances in the national capital region and around the country.

Simon further held the position of associate director of bands at Shenandoah Conservatory before she deployed to the Middle East in 2016 with the United States Air Forces Central Command Band (AFCENT Band) as the officer-in-charge overseeing musical troop support, community outreach and partnership building missions in seven countries.

Simon earned MM and DMA degrees in conducting from the University of Minnesota where she studied with Craig Kirchhoff; and BME and BM degrees from Stetson University with Bobby Adams. The Florida native also served as associate director of bands at Vero Beach High School for four years where her ensembles consistently earned top ratings in all areas of district and state assessment.

“In addition to a thorough study of music history, theory, gesture, social context and performance, I encourage my students to be actively involved in conceptualizing new ways of presenting and sharing music with audiences,” continues Simon who’s active nationally and internationally as a guest conductor and clinician, serves as a major in the Oklahoma Air National Guard and is a voting member of the Grammy Recording Academy.

Simon adds that her family—husband Jebodiah Eaton, Grace (4) and Bodhi (2)—“can’t wait to immerse ourselves in the energy and artistry of the ��ƷSM��ӰƬ College of Music community.”

Welcome!

“I’m thrilled to join a dynamic faculty committed to preparing universal artist-musicians to contribute to and lead the next generation of music making in our world,” says the Florida native.

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College of Music hosts 2025 Colorado Clarinet Day

Mariefaith Lane — Fri, 20 Dec 2024 17:04:35 +0000

College of Music hosts 2025 Colorado Clarinet Day Mariefaith Lane Fri, 12/20/2024 - 10:04

Marc Shulgold

Photo: Internationally acclaimed clarinetist Mariam Adam headlines Colorado Clarinet Day 2025.

It seemed like a nice idea, recalls Professor of Clarinet Daniel Silver: Let’s gather together the clarinet programs at Colorado’s four major Front Range university music departments and create a day celebrating the clarinet with workshops, exhibits, a lecture, maybe a concert or two and a master class with a guest artist. Let's call it Colorado Clarinet Day.

That was 15 years ago—and it's been going strong ever since. On Jan. 19, 2025, Colorado Clarinet Day returns to the ��ƷSM��ӰƬ College of Music.

“There’s always been camaraderie among us,” notes Silver, referring to his counterparts at Colorado State University, the University of Northern Colorado and the University of Denver’s Lamont School of Music. The clarinet departments agreed to each hold a Clarinet Day annually, with the locale rotating, so that each campus would host every four years; thus, it falls on ��ƷSM��ӰƬ to welcome clarinet lovers to our Imig Music Building next month.

Every Colorado Clarinet Day is different, Silver points out. “Each host puts their own stamp on it.”

The upcoming Clarinet Day will begin with a morning recital by Colorado players (with guests from Wyoming), followed by Silver's talk on practicing techniques. An afternoon concert by the Ambler Clarinet Choir will be followed by a free evening recital featuring guest clarinetist Mariam Adam—with Suyeon Kim, associate teaching professor, collaborative piano—at 6:45 p.m. in Grusin Music Hall.

Silver notes the significance of Adam’s presence. A founding member of Imani Winds and a sought-after international soloist, she represents more than a superior interpreter of the clarinet: “She’s a woman of color and—going back 30 years—there haven’t been many like her in the music world. We need more like her, shining a light on (musicians) who are not white males.”

Referencing the College of Music’s universal musician approach to achieving its mission, he adds: “We’re seeing a reflection of that here, where we’ve taken steps to increase the diversity of our people.”

Recalling the first Clarinet Day, Silver points out: “We had about 60 attendees. Now, each event attracts around 200.” So, who are all those clarinet lovers? Students, alumni, educators and performers, as well as exhibitors—from Brad Behn and Brandon Chambers to the Flesher-Hinton Music Company, Mark Sloss Professional Wind Instrument Consultants and Vandoren | Dansr.

Lastly, Silver highlighted another important category of attendees: “Audiences who just want to hear good music.”

2025 Colorado Clarinet Day program

We thank all participating staff, faculty, and guest artists and teachers; and we thank the Roser Visiting Artists Program, the ��ƷSM��ӰƬ Center for Humanities & the Arts and Conn-Selmer for their support of Colorado Clarinet Day.

On Jan. 19, 2025, Colorado Clarinet Day returns to the ��ƷSM��ӰƬ College of Music! The annual day-long event this year features internationally acclaimed clarinetist Mariam Adam.

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Outstanding winter 2024 graduate student: Melda Turunçoğlu

Mariefaith Lane — Fri, 13 Dec 2024 22:49:40 +0000

Outstanding winter 2024 graduate student: Melda Turunçoğlu Mariefaith Lane Fri, 12/13/2024 - 15:49

Adam Goldstein

For Melda Turunçoğlu, music is more than its ingredients.

Turunçoğlu—who graduates this month with a master’s in guitar performance from the ��ƷSM��ӰƬ College of Music—finds a value that goes deeper than melody, harmony and tempo when she plays classical guitar. Originally from Turkey, Turunçoğlu draws on music as an essential tool to make connections in a new country and a new culture.

“English is my second language. It’s difficult to try to connect with people in a different language,” she explains. “When I first came to the U.S., I was uncomfortable talking to people—I felt I couldn’t explain myself well. But I found a connection through music. It’s not only melody, or rhythm—you’re connecting with people.”

Turunçoğlu speaks candidly and earnestly about the odyssey that brought her from her native Turkey to a two-year stint in Italy (where she attended an early music school in Venice and studied with lutenist Massimo Lonardi for a year), then back to Istanbul and finally to her current home in Boulder.

Though she communicates in English with ease and grace, approaching a new language, culture and pace of life in Boulder wasn’t easy. Turunçoğlu came to Colorado with her husband and young son six years ago, and found herself facing profound inner questions.

“I began to ask myself, what am I doing here? Maybe I was regretful about coming here. Everything is very different,” Turunçoğlu recalls, adding that she realized she missed being a musician and a performer. That self-examination ultimately led her to contact Associate Professor of Guitar Nicolò Spera. “I played guitar for him and he encouraged me a lot to apply for a master’s at ��ƷSM��ӰƬ.”

That initial show of support from Spera ultimately offered a path toward connection, purpose and fulfillment as Turunçoğlu set about honing her craft and finding ways to communicate creatively on a universal level—an approach that aligns with the College of Music’s commitment to developing broadly-based, multifaceted universal musicians.

She expanded her network among faculty and fellow students alike, continuing to work with Spera and connecting with recently retired Professor of Harpsichord Robert Hill, who worked with Turunçoğlu on Baroque music and included her in showcases. The chance to play for audiences, to create that immediate bond with listeners, proved to be an important step in Turunçoğlu’s evolution as an artist.

“Hill encouraged me to play solo in his ensemble showcases even though I was feeling insecure after so many years without performing for people. He told me, you have to share your music. You are here for this,” she says. “So I played. I played many times for his ensemble showcases during the past two years—as well as in smaller spaces such as a retirement community, a coffee shop and even my son’s school. There was an earthquake in Turkey last year and I played for a fundraiser. It was an amazing feeling to help people in need with my music.”

All of these opportunities helped Turunçoğlu grow and advance, including the chance to study the music of the Renaissance, and the Baroque and Romantic eras; occasions to share her art with audiences; and access to a higher grade of instrument built by luthier John Weissenrieder.

“John’s family gave some of his guitars to the College of Music’s guitar studio and Nicolò gave me one of them for two years. I owe a lot to this guitar,” she says. “I met with John’s parents. They came to all of my recitals. We hugged and cried and it felt so nice to connect with them. They’re like a family now.”

At ��ƷSM��ӰƬ, Turunçoğlu has grown as an artist, a musician and as a part of our community. And she’s intent on continuing the journey—teaching, performing and learning. Turunçoğlu has been accepted to the College of Music’s Artist Diploma program and will begin studies next fall.

In the meantime, she’ll continue to draw on her music to find new ways to communicate and connect to a community that’s come to feel more like home.

“I didn’t perform for almost 10 years. I began again, and I feel like now I’ve found a connection with people. That’s precious for me and I don’t want to lose it,” she says. “People here—they care about your gift. They see a special thing. You are making music, they share their feelings afterward—and it’s great.”

The ��ƷSM��ӰƬ’s winter 2024 degree conferral is Dec. 19. To all our extraordinary graduates, CONGRATULATIONS and welcome to the Forever Buffs family—we hope you’ll join us for our spring 2025 recognition ceremony!

Meet Melda Turunçoğlu who graduates this month with a master's in guitar performance!

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Outstanding winter 2024 undergraduate: Clarrisse Bosman

Mariefaith Lane — Fri, 13 Dec 2024 08:00:00 +0000

Outstanding winter 2024 undergraduate: Clarrisse Bosman Mariefaith Lane Fri, 12/13/2024 - 01:00

Adam Goldstein

Photo credit: Hao Zhou

A complaint about high frequencies would prove fateful for Clarrisse Bosman and her future path as a musician and educator.

Bosman, who will graduate from ��ƷSM��ӰƬ’s College of Music this winter with bachelor’s degrees in both bassoon performance and instrumental music education, recalls the moment that led her to the largest instrument in any typical orchestra.

“I started playing music on the flute. I was practicing one day, and my mother couldn’t stand the high register,” says Bosman, adding that she was asked to find some other musical means to express herself. She obliged, opting for an instrument at the other end of the register in terms of pitch and size. “I said, ‘Okay, I’ll pick the largest instrument that I can get my hands on.”

Bosman, who’s apt to chuckle as she points out that she’s a 5-foot-2 musician playing an instrument that normally measures about 4-foot-5, quickly made an immediate and profound connection to the bassoon—one that helped steer her course through Cherry Creek High School in Englewood and then at ��ƷSM��ӰƬ.

“I fell in love with it. It’s so unique. It literally stands out among the orchestra,” Bosman continues. “I knew that I wanted to pursue music and especially music education. I’ve always had a passion for music education and teaching people.”

The decision to build on the musical foundations she built in high school at ��ƷSM��ӰƬ boiled down largely to faculty, she says. When it came to finding a mentor that could offer her direction—both in terms of her own performance and her ability to inspire others—she found a perfect fit in Yoshiyuki Ishikawa, professor of bassoon.

“For me, music and where I chose to study depended on the professor,” she reiterates. “��ƷSM��ӰƬ has set me up for success in the teaching world. I’m grateful to have had such great mentors in the College of Music.”

Specifically, our program offered Bosman the chance to come into her own as a soloist, even as it provided opportunities to build real-world teaching experiences in classrooms across the Denver metro area, including a stint at Campus Middle School, literally next door to her former high school. Along with student teaching and practicums at Sunset Middle School, Horizon High School and other institutions, these experiences helped Bosman develop her own teaching style.

“I have a diverse teaching portfolio—I’ve taught concert band, jazz band and orchestra as well as mariachi ensemble. Usually students choose to only student teach in one area, but it’s been fun to have the opportunity to specialize in different areas,” she says. “Nothing prepares you like putting it into practice. ��ƷSM��ӰƬ provides rigorous challenges and puts us into actual classrooms.”

Bosman developed her teaching experience as she found opportunities to perform for audiences. One of her most memorable concerts came in the midst of a crisis, she says.

“My apartment caught on fire the night before my senior recital,” she remembers, crediting ��ƷSM��ӰƬ’s Basic Needs Center for providing assistance in the face of the emergency. “I grabbed my concert heels, my dress and a few belongings and woke up the next day like nothing happened. I had to put on my senior recital. It’s the concert that stands out the most,” she adds, noting that her bassoon was safe in her locker at school and that the performance ultimately turned out successful.

Bosman, who balanced several different interests and passions in high school, found the same equilibrium at ��ƷSM��ӰƬ. Even as she honed her skills as a musician and teacher, she continued pursuing other interests and passions—for example, she served as the ��ƷSM��ӰƬ Ice Skating Club president, coached members of the Ice Skating Club and participated in several on-campus programs. She notes that ��ƷSM��ӰƬ provides incredible opportunities and support programs, especially through the Center for Inclusion and Social Change which was instrumental as a first-generation student being the first in her family to graduate college.

Bosman dedicated herself to finding a well-rounded existence at ��ƷSM��ӰƬ—just as she pursued dual degrees that align with the college’s universal musician approach which aims to develop multiskilled artists who are equipped to make a difference in our world as broadly-based professionals.

That dynamic will remain with Bosman as she preps for her next steps. She knows she loves teaching, particularly at the middle school level; and she knows no matter where she travels, her passion for music and teaching will follow.

“I have plans to be a substitute teacher for music until more full-time positions open up and I’m exploring coaching opportunities in the figure skating world,” she notes. “I’m also a traveling spirit and I would be open to something a little more tropical if it ever arises. (But) I do keep music at my heart.”

The ��ƷSM��ӰƬ’s winter 2024 degree conferral is Dec. 19. To all our inspiring, accomplished graduates, CONGRATULATIONS and welcome to the Forever Buffs family—we hope you’ll join us for our spring 2025 recognition ceremony!

Meet Clarrisse Bosman who graduates this month with bachelor’s degrees in both bassoon performance and instrumental music education!

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