Brass + percussion

A new beat: Transformed CU ��ý�� percussion studio prepares musicians for every stage

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

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

MarieFaith Lane

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

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

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

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

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

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

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

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

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

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

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

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

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

Photo credit: Kathryn Bistodeau

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

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

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

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

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

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

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

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

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

Learn more + apply

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

Off

Traditional

White

2025-26 Bruce Ekstrand Memorial Graduate Student Competition winners announced

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

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

Kathryn Bistodeau

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

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

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

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

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

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

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

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

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

Finalists of the 2025-26 graduate competition.

Skyline Saxophone Quartet with Assistant Professor of Saxophone Nathan Mertens.

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

Off

Traditional

White

Faculty Tuesdays event spotlights songwriting, individual expression

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

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

Adam Goldstein + Sabine Kortals Stein

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Off

Traditional

White

Trombone studio attends International Trombone Festival

Mariefaith Lane — Thu, 11 Sep 2025 12:40:10 +0000

Trombone studio attends International Trombone Festival Mariefaith Lane Thu, 09/11/2025 - 06:40

Kathryn Bistodeau

Following Tanner’s ITF solo recital on July 17, with CU ��ý�� trombone students (left to right): Luke Meredith, Jackson Franco, Corey Nance, Sam McDiarmid-Sterling, Madison Joy, Sterling Tanner, Alex Weeks, Ben Garcia, Wesley Shores, Mark Bennett, Abby Burford.

This summer, Assistant Professor of Trombone Sterling Tanner led a group of CU ��ý�� students to participate in the International Trombone Festival (ITF) hosted at Western University in London, Ontario.

The group performed at the festival, opening for Christian Lindberg, and attended numerous lectures, concerts and workshops over four days. While performance opportunities brought them to the festival, Tanner says the networking and bonding with the broader trombone community were additional highlights.

“It's not just about the playing and the level of their performance,” explains Tanner. “It's more about the people part, and the hang.

“Watching the students connect—sharing meals, grabbing coffee, playing duets and exchanging ideas—was inspiring. What’s most special for me is just seeing them flourish as humans in that environment.”

On July 18, the CU ��ý�� Trombone Octet opened for international trombone soloist Christian Lindberg (left to right): Ben Garcia, Abby Burford, Madison Joy, Corey Nance, Wesley Shores, Sam McDiarmid-Sterling, Mark Bennett, Scott Underwood.

CU ��ý�� was well represented with Tanner presenting a recital of his new solo album, ”Resonant Renaissance”; graduate student Corey Nance presenting with the ITA Student Council as its vice president; and Mark Bennett competing as one of three finalists in the Larry Wiehe Tenor Trombone Competition.

For Tanner, the experience felt full circle as his undergraduate professor was also present. “The first ITF that I attended was in 2013,” Tanner recalls. “I was lucky enough to be at the institution where it was hosted, Columbus State University. And my teacher, Bradley Palmer, was really a figurehead in the trombone community.”

As College of Music ITF participants readied for the festival, Tanner asked Palmer to conduct a piece on the students’ recital. “It was really special because when the students played the first piece, I’m standing backstage with my former teacher and he’s like, ‘Man, they sound really great. This is what you’ve always dreamed of, and I'm excited that you're getting to experience that now’,” Tanner shares.

He hopes to involve more students in the ITF in the future. For now, he’s excited to be getting back to work with his studio and building on the impact of their ITF experiences. “You never know what they picked up on—maybe it's something that's not even related to playing the trombone, you know? I'm excited to speak with the students as we get started and know like, okay, that really stuck with you? Maybe we should look into seeing how we can incorporate that here.”

Looking back on a fruitful summer, Assistant Professor of Trombone Sterling Tanner led a group of students to participate in the International Trombone Festival in London, Ontario! Learn about their impactful trip and Tanner’s full-circle experience.

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 ��ý��, 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 CU ��ý�� 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

2025 ECM grants help students shine

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

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

Kathryn Bistodeau

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

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

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

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

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

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

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

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

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

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

Off

Traditional

White

2024-25 Ekstrand Graduate Student Competition winners announced

Mariefaith Lane — Wed, 20 Nov 2024 19:00:00 +0000

2024-25 Ekstrand Graduate Student Competition winners announced Mariefaith Lane Wed, 11/20/2024 - 12:00

Kathryn Bistodeau

We are thrilled to announce the winner of the 2024-25 Bruce Ekstrand Memorial Graduate Student Performance Competition: The Koa String Quartet!

The College of Music’s current graduate string quartet in residence—comprising violinists Kisa Uradomo and Leah Pernick, violist Thomas Chafe and cellist Heewon Lee—studies with the Takács Quartet. On Nov. 19, the Koa Quartet performed selections from works by Joseph Haydn and Kevin Lau, and was awarded $2,000 for their Ekstrand win.

“We are so happy to have started our residency at CU ��ý�� on such a positive note! It was an incredible opportunity to perform onstage alongside so many of our talented peers,” Pernick says. “Thank you so much to the Takács Quartet and string faculty for their mentorship, and to the Ekstrand family for their generous support of students.”

Lee shares, “Our main goal of the performance was to have fun and keep up the good energy. I think us dancing backstage helped with that. But in all seriousness, we’re super thankful for the win!”

Second prize ($1,000) went to saxophonist Joel Ferst, who also won the audience favorite prize ($250). This year’s other Ekstrand finalists ($500 each) include pianist John-Austin King, baritone Andrew Konopak and violinist Laura Pérez Rangel.

This year’s esteemed panel of judges were Jason Bergman—Associate Professor of Trumpet, Indiana University Jacobs School of Music; Courtney Hershey Bress—Principal Harpist, Colorado Symphony; Adjunct Professor of Harp, University of Denver Lamont School of Music; and Lecturer of Harp, University of Wyoming; and Cameron Stowe—Chair, Collaborative Piano, New England Conservatory; Director, Collaborative Piano, Aspen Music Festival and School.

The Ekstrand Competition was launched by previous College of Music dean Robert Fink, and later renamed to honor the late Vice Chancellor for Academic Affairs and psychology professor Bruce Ekstrand. The competition invites top graduate students to compete for cash prizes for professional development. This year’s faculty judges for the  semi-final competition were Renee Gilliland, Jeremy Reger and Branden Steinmetz.

Semi-finalists included:

Voice: Sidney Grimm, soprano; Andrew Konopak, baritone; James Robinson, baritone
Piano: John-Austin King, Luca Pompilio
Strings: Julian Bennett, cello; Koa String Quartet; Laura Pérez Rangel, violin
Woodwinds: Joel Ferst, saxophone; Dylan King, saxophone; Harold Gomez-Montoya, clarinet
Brass + percussion: Mark Bennett, trombone; Sydney Hoehl, trumpet; Connor Johnson, trumpet

Congratulations to the Koa String Quartet and all participants in this year’s competition, as well as their teachers—the Takács Quartet, Andrew Cooperstock, Andrew Garland and Nathan Mertens in the final round. Our special thanks also to collaborative pianists Runze Li, Hsiao-Ling Lin, Matthew Sebald—and all other pianists, mentors and teachers involved in the previous rounds of this competition.

Partially funded by the Ekstrand Competition Endowment Fund, this annual event is the premier performance competition for the College of Music’s most outstanding graduate students.

We are thrilled to announce the winner of the 2024-25 Bruce Ekstrand Memorial Graduate Student Performance Competition: The Koa String Quartet!

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

College of Music hosts drumming legend + clinician Chad Wackerman

Anonymous — Thu, 14 Mar 2024 06:00:00 +0000

College of Music hosts drumming legend + clinician Chad Wackerman Anonymous (not verified) Thu, 03/14/2024 - 00:00

Marc Shulgold + Sabine Kortals Stein

On March 19 and 20, rock/jazz drumming giant Chad Wackerman will hold a rare residency at the ��ý�� College of Music, thanks to support from a Roser Visiting Artists Grant and DW Drums. “We’re grateful to Becky Roser and her late husband Jim who have been wonderful benefactors to CU for quite a while,” says Mike Barnett, associate teaching professor in composition and music theory. “This is going to be such an amazing opportunity for students to spend time with Chad.”

Barnett’s past life in rock is paying off. “I was in a metal band when I saw Chad back in ’88 in Pittsburgh when he was drumming with [Frank] Zappa—it was life-changing,” he recalls. “He’s a phenomenal musician.

“We met up recently and he reached out about coming here. On March 19, he’ll talk with my songwriters and that night he’ll do a drumming technique master class that’s open to the public. On March 20, he’ll work with student composers on improvising.”

While the residency lasts only two days, the experience can resonate much longer for young students, Barnett suggests—just as Wackerman’s drumming with Zappa influenced him. That thought brings him to the College of Music’s universal musician mission.

“A musician these days needs as many skills as possible,” explains Barnett, himself an artist-composer-songwriter-educator. “As an artist, you can grow throughout your entire life. And what we’re accomplishing here at the College of Music can be an example to inspire students. If they branch out while they’re here, they will be ahead of the game when they graduate.

“It’s about more than getting good grades. It’s about making your inner self larger. College is just the beginning of your life in learning.”

Barnett’s experience in the music business still fires his imagination—and is key to the College of Music’s new degree emphasis in music production. He also calls up his vast experience and connections in the world of rock ‘n’ roll to bring his students up close to musicians from the outside world.

Barnett’s impressive résumé further includes songwriting and drumming work for 30 years with numerous rock, heavy metal and classical fusion bands with such exotic names as Tainted Saint, Phantom Crew, Terminal Degree and Throttle.

Barnett’s compositions include chamber works, concertos for piano and violin, pieces for wind ensemble, solo works and songs—music that has been performed by various orchestras and ensembles around the world. Closer to home, he’s collaborated with College of Music colleagues Erika Eckert, David Korevaar, David Requiro, Michael Thornton and particularly the late Charles Wetherbee.

All that said, one of his first loves is teaching and his commitment to one-on-one mentoring. “I enjoy creating a welcoming environment for all my students,” he says. “I teach the history of rock music. I also teach a songwriting class for non-music majors. I believe that music belongs to everybody.”

Rock/jazz drumming giant Chad Wackerman will hold a rare residency at our College of Music next week. Mike Barnett, associate teaching professor in composition and music theory, shares how the residency demonstrates the college’s universal musician mission. “As an artist, you can grow throughout your entire life,” he says.

Off

Traditional

White

College of Music mourns passing of alumnus Ben Pollack

Anonymous — Wed, 24 Jan 2024 07:00:00 +0000

College of Music mourns passing of alumnus Ben Pollack Anonymous (not verified) Wed, 01/24/2024 - 00:00

Sabine Kortals Stein

The CU ��ý�� College of Music community mourns the loss of alumnus Ben Pollack (BME ’14) who unexpectedly passed away of natural causes on Dec. 14, 2023, in his home near Denver, Colorado. He was 31.

“While I am deeply saddened by the news of Ben’s passing, I fondly remember his passion for music and his love for teaching,” says Associate Dean for Undergraduate Studies + Enrollment Management and Associate Professor of Conducting + Music Education Matthew Roeder.

“Ben’s dedication to music students and music education was recognized by his being named the Colorado Music Educators Association’s Young Teacher of the Year in 2019. His commitment to his students was rightly acknowledged early on in his teaching career by being honored as the first-ever recipient of this award.”

“Teaching music is the most important thing I do,” said Pollack five years ago in an interview celebrating his CMEA award. “It has to matter every day.”

Pollack was the recipient of a full out-of-state tuition scholarship from the ��ý�� where he earned a bachelor’s degree in music education. As an undergrad, he was principal chair of the CU ��ý�� Symphonic Band euphonium section and tuba/euphonium ensemble. Pollack was also a member of our Golden Buffalo Marching Band and the CU Buffoons, one of the state’s premiere a cappella groups.

“Suffering the loss of a student—current or former—is in many ways akin to losing a child,” reflects Associate Professor of Tuba + Euphonium Michael Dunn with whom Pollack studied. “When I heard about Ben’s passing, my first reaction was shock followed closely by gratitude—he was by all measures an extraordinary student.

“Ben was truly born to teach. Our lessons often revolved around how to deliver a view of the ‘bigger picture’ to students. He wanted his students to have a sense of their place in the world and for each of them to understand that they are capable of changing the world for the better. Ben happened to use music as his vehicle to deliver this message.”

Pollack continued his pursuit of excellence by earning a master’s degree in music education from the Jacobs School of Music at the University of Indiana, Bloomington, where he was principal chair of the IU Concert Band euphonium section.

As a band and choral music educator with a track record of success, Pollack sought to influence large-scale changes in education through music and community. Upon graduating from our College of Music, Pollack taught choir music at Carmel Middle School in Colorado Springs and later embraced the challenge of building up a music program in Walsenburg, Colorado, leaving an indelible mark on the students and community whose lives he touched and transformed. Last summer, he began a new chapter teaching instrumental music at Ponderosa High School in Parker, Colorado.

“We in the College of Music’s tuba and euphonium studio are grateful to have had Ben in our fold and know his star will continue to burn brightly,” says Dunn.

Benjamin Michael Pollack obituary (Legacy.com)

The CU ��ý�� College of Music community mourns the recent passing of alumnus Ben Pollack (BME ’14). As a band and choral music educator with a track record of success, Pollack sought to influence large-scale changes in education through music and community.

Off

Traditional

White

Brass + percussion

A new beat: Transformed CU ������ý���� percussion studio prepares musicians for every stage

Off

2025-26 Bruce Ekstrand Memorial Graduate Student Competition winners announced

Off

Faculty Tuesdays event spotlights songwriting, individual expression

Off

Trombone studio attends International Trombone Festival

Off

The Cleveland Orchestra residency returns

Off

2025 ECM grants help students shine

Off

2024-25 Ekstrand Graduate Student Competition winners announced

Off

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

Off

College of Music hosts drumming legend + clinician Chad Wackerman

Off

College of Music mourns passing of alumnus Ben Pollack

Benjamin Michael Pollack obituary (Legacy.com)

Off

A new beat: Transformed CU ��ý�� percussion studio prepares musicians for every stage