College of Music

�鶹��Ѱ��Professor Shanti Simon Views Music As Connection

Anna Tolette — Mon, 20 Jul 2026 19:10:55 +0000

�鶹��Ѱ��Professor Shanti Simon Views Music As Connection Anna Tolette Mon, 07/20/2026 - 13:10

Christie Sounart

Last year, professor Shanti Simon joined �鶹��Ѱ��Boulder’s College of Music from the University of Oklahoma as director of bands, where she oversees the band program, leads the wind conducting program and teaches undergraduate conducting. Previously, she served as flight commander and associate conductor with the United States Air Force Academy Band in Colorado Springs and the United States Air Force Band in Washington, D.C. Her leadership at �鶹��Ѱ��is guided by music’s power to bring people together, an insight she credits to her global travels.

How did you decide to pursue conducting as a career?

Becoming a conductor was a natural outgrowth of my love for music, which started in elementary school and extended into high school, where I had a positive experience in the band program. When I was a sophomore, I realized music was something I could pursue as a career.

I did my undergraduate degree at Florida’s Stetson University in music education and trumpet performance, taught in Florida public schools for four years, and then decided to get my master’s and doctorate degrees in conducting at the University of Minnesota. At 30 years old, when I was coming out of my doctorate, I applied to the Air Force and won a job. I was a professional conductor for my seven years on active duty.

You’ve traveled the world with the U.S. Air Force Band. What performance is among the most memorable for you?

The Air Force gave me an opportunity to do what I love as a profession and serve my country at the same time. My first performance was memorable because it was my first assignment in Washington, D.C. It was in 2011 for the National Tree Lighting at the White House with the Airmen of Note, one of the best jazz ensembles in the world. As a young trumpet player, I grew up listening to them on cassette tapes. And then, here I was, conducting this group for the president of the United States and the first family at the White House.

But what I think are the most memorable performances I did with the Air Force are the full honors funerals at Arlington National Cemetery. There are bands of all services out there 365 days a year honoring our fallen heroes. Allowing families a space to feel emotions during a fragile time of their lives is really meaningful. I’ll always remember the professionalism and care that was put into those funerals, and what it felt like to be honoring something much bigger than me or the bands.

When deployed to the Middle East, what were your main duties?

I was deployed in 2016 for six months. My job was leading a band for the Air Force Central Command, and I worked closely with the public affairs officer to determine where the band could be most helpful to meet the Air Force commander’s priorities. We were stationed in Qatar and went to Jordan, the United Arab Emirates, Afghanistan, Kuwait and Egypt.

Before I left, I wondered about the purpose of military bands in the region. It didn’t take long for me to understand. The mission was twofold: first, to support the troops and bring a taste of home to the forward operating bases, and, second, to build relationships with our host nations and allies in the region. Every day, music was able to open doors to conversations and connections between people.

Can you give examples of this?

We would often learn the songs in the native languages of the countries that we were in. We would collaborate with other musicians, sometimes play on radio programs. We were not just representing the Air Force — we were representing the United States in these missions.

When we were at school performances, we knew these interactions with kids could have a long-term impact on how they view the United States. Once, the band was setting up in a cafeteria surrounded by windows. The kids just were coming to the windows and looking in. They could not wait to get in. Then they had a wonderful experience singing along, and at the end, the kids came up and hugged the musicians, hugged someone in an American uniform. I looked at those interactions as a chipping away at the negative narrative and replacing it with a positive experience that really only music can do.

Another time, we went to a NATO base in Kabul, Afghanistan, to perform for the troops. One day, we were instructed to go to the Afghan side of the base. In order to do this, we had to get armored up and travel in an armored vehicle from one side of the base to the other. We set up in a hangar to create an atmosphere where the NATO and Afghan troops could share time together. When we first started the concert, the troops kept to different sides and didn’t talk to each other. But by the end of the hour, people had gone to the other side and were having conversations. We gave them a chance to get to know each other as people through music.

Was there something about �鶹��Ѱ��Boulder that inspired you and your family to move to Colorado?

The College of Music has a mission to develop its students as universal musicians. This resonated with me because, after my professional experience with the Air Force bands, I saw a disconnect between what I learned in my studies and what I ended up doing with the Air Force. Now, I want to try to bridge that gap so that we’re preparing our students the best we can for the professional jobs that exist beyond CU.

What else should we know about your work here?

I’m thinking about crafting seamless concert experiences through innovative audience engagement. I want people to come to the concert hall and have something happen in the space that makes them want to come back. I’ve been exploring all kinds of things, from video to lighting to memorized performances where we take away chairs and stands.

What do you do when you’re not conducting?

I have a wonderful husband, Jebodiah, who supports my career and everything I do, and two young kids. A lot of my time and joy is spending time with my family. I still serve in the Oklahoma Air National Guard as a public affairs officer. I also love hiking. I’m really excited that this will be my first full summer in this area.

What else should we know about you?

I love music, I love people and I love the connection that music brings for people. I’ve really found my place here at CU, and I plan to spend the rest of my career building on the legacy of this incredible program.

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Photo by Casey A. Cass

Last year, Shanti Simon joined �鶹��Ѱ��Boulder’s College of Music as director of bands, where she oversees the band program, leads the wind conducting program and teaches undergraduate conducting.

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Summer 2026

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The Takács Quartet Enters a New Era

Anna Tolette — Mon, 09 Mar 2026 21:22:45 +0000

The Takács Quartet Enters a New Era Anna Tolette Mon, 03/09/2026 - 15:22

Sabine Kortals Stein

The Takács Quartet, from left: Edward Dusinberre, András Fejér, Harumi Rhodes and Richard O’Neill. Fejér will step down at the end of the 2025-26 season after a 51-year tenure.

The Takács Quartet, dubbed “the essential quartet of our time” by The New York Times, is fresh off its 50th anniversary season of international touring and critical acclaim. In December, the quartet announced the retirement of cellist András Fejér, the last remaining member of the original quartet, which was founded by four students — Gábor Takács-Nagy, Károly Schranz, Gábor Ormai and Fejér — at the Franz Liszt Academy, Budapest, in 1975.

Fejér will step down at the end of the 2025-26 season after a remarkable 51- year tenure. And the quartet’s newest member, Romanian-born cellist Mihai Marica, will join the quartet this fall. As part of the ensemble’s longstanding residency at �鶹��Ѱ��Boulder (beginning in 1986), Marica also will join the College of Music faculty.

“We’re very grateful to András for the fulfilling and fun quartet work we’ve shared,” said Edward Dusinberre, first violinist. “We’re especially grateful for the sustained integrity of his musicianship, and for his friendship, support and humor. While cherishing András’ extraordinary legacy, we’re thrilled to welcome Mihai.

“From the very first notes we played together with Mihai, we felt an instant musical connection, and we eagerly look forward to the future.”

Fejér added, “It’s the right time — I’ve had a beautifully rewarding quality of life, working on inspiring music with wonderful colleagues who became great friends and performing all over the world for appreciative audiences. My heartfelt thanks to all our friends and supporters over the years — I’ll miss you like mad.”

The news comes among many recent accolades for the quartet, including Chamber Music America’s prestigious Richard J. Bogomolny National Service Award in recognition of the Takács Quartet’s contributions to the chamber music field.

“The quartet not only elevates the reputation of our college and university as a whole through its world-class artistry, but especially through its members’ devoted mentorship of our students and their strong spirit of community engagement,” said John Davis, dean of the College of Music. “The Takács Quartet represents the very best of what we do, and we look forward to its continued impact and influence.”

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Photo by Amanda Tipton

Last year, the group announced the retirement of cellist András Fejér, the last remaining member of the original quartet.

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Spring 2026

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Celebrating 150 Years of �鶹��Ѱ��People

Anna Tolette — Mon, 09 Mar 2026 21:16:07 +0000

Celebrating 150 Years of �鶹��Ѱ��People Anna Tolette Mon, 03/09/2026 - 15:16

Julia MacLean

Over 150 years, �鶹��Ѱ��Boulder has been shaped by the vision, courage and tenacity of many students, faculty, staff and alumni. These Buffs have spurred change for the university and left an imprint on the legacy that propels it forward.

Joseph Sewall

1877 — Became CU’s first president

A 19th-century American physician, scientist and educator, Joseph Sewall served as �鶹��Ѱ��Boulder’s first president from 1877 to 1887. Before he arrived in Colorado, he trained in medicine and natural science and taught as a professor of chemistry at Illinois State Normal University. When �鶹��Ѱ��opened on Sept. 5, 1877, there was only a single building — Old Main — which contained classrooms, a library, a chapel and the living quarters for the Sewall family.

Today, Sewall is remembered as the man “in at the birth” of CU, who directed its first steps and helped lay the foundation for what the university would become. In 1935, the university built Sewall Hall in his honor, which is the oldest continuously used residence hall on campus.

Mary Rippon in 1882.

Mary Rippon

1878 — Appointed CU’s first female professor

Mary Rippon’s distinguished career at �鶹��Ѱ��Boulder spanned over 30 years. Besides making history as the first female professor at CU, she is also believed to be one of the first women in the United States to teach at a state university. Beloved by students, Rippon taught language and literature, eventually earning a position as head of the Department of Germanic Languages and Literature. She is honored today by the Mary Rippon Outdoor Theatre on CU’s campus. Rippon also lived a fascinating hidden life — in 1888, she secretly married a �鶹��Ѱ��student, Will Housel, and gave birth to their daughter, Miriam Housel. She concealed this truth for decades to retain her position and support her family.

Lucile Berkeley Buchanan Jones (Ger’1918)

1918 — Graduated from CU

Lucile Berkeley Buchanan Jones was an educator and the first known Black woman to graduate from �鶹��Ѱ��Boulder. Born to parents who had been enslaved, she grew up in the Barnum subdivision of Denver, where her family became the area’s first Black property owners. Before attending CU, she broke barriers by becoming the first Black graduate to earn a two-year teaching degree from what is now the University of Northern Colorado. In 1918, she earned a bachelor’s degree in German from �鶹��Ѱ��— however, due to racial prejudice, she was not allowed to walk across the stage at commencement or appear in the yearbook. Her diploma was handed to her off-stage, an act that led her to vow that she would never return to campus. Nearly 100 years after her graduation, �鶹��Ѱ��formally recognized Buchanan’s achievement, and during the 2018 commencement ceremony, a diploma was symbolically accepted on her behalf by CMDI associate professor Polly McLean.

George Norlin

1919 — Appointed president of CU

George Norlin joined �鶹��Ѱ��as a classics professor in 1899, became acting president in 1917 and began serving as permanent president in 1919, where he remained until 1939. Under his transformative leadership, �鶹��Ѱ��underwent a dramatic period of expansion, despite the Great Depression: the student body more than tripled, several university buildings were constructed and architect Charles Klauder redesigned the campus in the Tuscan vernacular style. Norlin left a lasting moral and cultural legacy at the university. He is famous for resisting pressure from the legislature (influenced by the Ku Klux Klan), refusing to dismiss all Catholic and Jewish faculty. He also wrote The Norlin Charge, first read at the 1935 commencement ceremony, which remains a part of �鶹��Ѱ��tradition today.

Byron White (Econ’38)

1935 — Earned the Buffaloes national attention

Byron “Whizzer” White is among the most celebrated student-athletes in the history of Colorado Buffaloes football. His senior year, he led the Buffaloes through a successful season, earning national attention and helping elevate the profile of the program. He was later inducted into the Buffaloes’ Athletic Hall of Fame in recognition of his elite play and impact on �鶹��Ѱ��athletics. After his athletic career, White distinguished himself in public service, eventually serving as a justice of the United States Supreme Court.

Peggy Coppom (A&S ex’46) and Betty Hoover (A&S ex’46)

1940 — Began cheering on the Buffs

The “�鶹��Ѱ��Twins” earned legendary status on campus through decades of unwavering devotion to �鶹��Ѱ��athletics. The sisters first began cheering for the Buffs as Boulder High School students. They were loyal season ticket holders for �鶹��Ѱ��football (beginning in the late 1950s) and basketball (late 1970s). Wearing matching goldenrod �鶹��Ѱ��sweatshirts and waving pom-poms, Peggy and Betty became a fixture in the stands and remain one of the most iconic fan duos in school history. After Betty’s death in 2020, Peggy’s dedication to CU has remained as strong as ever. In recognition of her lifelong commitment, Peggy was honored with the 2025 Chancellor’s Impact Award.

David Bolen (Mktg; MBA’50)

1948 — Competed in the Olympic Games

After David Bolen served in the Army Air Force for two years during World War II, �鶹��Ѱ��Boulder track and field coach Frank Potts recruited him to the university. He then earned All-America honors. At 25, Bolen became the first �鶹��Ѱ��student to qualify for the 1948 U.S. Olympic Team, where he placed fourth in the 400m race at the London games. After graduating, Bolen began a distinguished diplomatic career, serving as U.S. Ambassador to Botswana, Lesotho and Swaziland beginning in 1974, and to East Germany beginning in 1977. He also was the first Black ambassador to a nation behind the Iron Curtain.

Billy Kidd

1964 — Won an Olympic alpine skiing medal

In February 1964, at the Winter Olympics in Innsbruck, Austria, Billy Kidd became the first U.S. man to win an Olympic alpine skiing medal, a silver in the slalom. Over the next several years, he captured gold in the combined event at the 1970 World Championships in Val Gardena and became the first American man to win a world alpine title. He then went professional, claiming the pro world championship that same year. After graduating from CU, Kidd remained in Colorado and became the long-time director of skiing at Steamboat Ski Resort in 1970. Beyond instruction, he helped initiate ski-based outreach and inclusion efforts, supporting Special Olympics athletes, wounded veterans and Native American youth through ski camps and mentorship programs.

“Ralph”

1966 — Folsom Field debut

The first official Ralphie mascot, “Ralph” was the live buffalo that launched one of the most beloved traditions at the �鶹��Ѱ��Boulder. In 1965, �鶹��Ѱ��freshman Bill Lowery was determined to bring a live buffalo to Buffs football games instead of a costumed mascot. With the help of his rancher father, he successfully brought a buffalo calf from northeastern Colorado to Boulder. Ralph made her debut at Folsom Field on Oct. 1, 1966, charging onto the field with Lowery and a few of his fellow students flailing alongside her in cowboy boots.

Juan Espinosa (Jour’74)

1972 — Launched the newspaper El Diario de la Gente

As a �鶹��Ѱ��Boulder student, Espinosa launched the bilingual newspaper El Diario de la Gente in 1972 as a member of the United Mexican American Students, a campus group aimed at bringing cultural awareness to Boulder’s Chicano community. The Vietnam War veteran later moved to Pueblo, Colorado, where he co-founded the alternative community newspaper La Cucaracha and worked for 22 years at The Pueblo Chieftain.

Tom Cech

1989 — Awarded the Nobel Prize in Chemistry

A distinguished professor of chemistry at �鶹��Ѱ��Boulder, Thomas Cech is a renowned biochemist whose work has fundamentally reshaped our understanding of molecular biology. After earning his doctorate degree in chemistry from the University of California, Berkeley in 1975 and completing postdoctoral research at the Massachusetts Institute of Technology, he joined the faculty of �鶹��Ѱ��Boulder in 1978. In 1982, he and his research group made a groundbreaking discovery that RNA molecules, specifically from the pond organism Tetrahymena thermophila, could splice themselves, acting as enzymes in cellular reactions without proteins. In recognition of this paradigm-shifting work, Cech was awarded the Nobel Prize in Chemistry in 1989. Cech continues to lead research and education at �鶹��Ѱ��Boulder as the founding director of the BioFrontiers Institute.

Ceal Barry

2018 — Inducted into the Women’s Basketball Hall of Fame

As head coach for over 22 seasons, Ceal Barry left an undeniable mark on �鶹��Ѱ��Boulder’s women’s basketball. In her time as coach, she accumulated a record of 427-242, the most wins by any head coach in �鶹��Ѱ��sports history. Under her leadership, the program flourished. She had 13 seasons with 20 or more wins, 12 NCAA Tournament appearances and three trips to the Elite Eight. She was inducted into the Women’s Basketball Hall of Fame in 2018 in recognition of her impact and achievements. After stepping down as coach, Barry served for 15 years in �鶹��Ѱ��Athletics administration, including a year as interim athletic director in 2013. The university unveiled Ceal Barry Plaza in her honor in January 2026.

Joe Neguse (Econ, PolSci’05; Law’09)

2018 — Elected to Congress

At �鶹��Ѱ��Boulder Joe Neguse was involved in student government, served as co-student body president under the “tri-executive” system and worked on issues like diversity, affordability and higher-education finance. After graduating, he went on to serve on the �鶹��Ѱ��Board of Regents, co-founded a nonprofit aimed at youth civic engagement and worked in Colorado politics. In 2018, Neguse was elected to represent Colorado’s 2nd Congressional District in the U.S. House of Representatives, becoming the first Black Coloradan elected to Congress. During his time in office, he has focused on priorities like public-lands protection, affordable higher education, consumer protection and government accountability.

Wei Wu (MMus’13)

2019 — Awarded a Grammy Award

A bass singer from Beijing, Wei Wu has built a remarkable career in opera, earning international acclaim. Upon arriving in the U.S. in 2007, he auditioned for graduate work at �鶹��Ѱ��Boulder’s College of Music, officially enrolling in 2008. During his time at CU, he honed and perfected the vocal technique, diction and stage presence that became instrumental to his professional success. Wu received his big break after performing the role of Kôbun Chino Otogawa in the world premiere of “The (R)evolution of Steve Jobs” at Santa Fe Opera. The recording won the 2019 Grammy Award for Best Opera Recording.

David Ellsworth (Art’71; MFA’73)

2021 — Honored with the Smithsonian Visionary Award

David Ellsworth helped elevate wood turning from a utilitarian craft to fine art. While studying sculpture at �鶹��Ѱ��Boulder, he developed his signature approach, “blind turning,” a method using a set of bent tools that enables woodturners to hollow out wood into elegant, thin-walled vessels. Ellsworth taught his strategies at Arrowmont School of Arts and Crafts and Anderson Ranch Arts Center, going on to found his own Ellsworth School of Woodturning. In 2021, he was honored with the Smithsonian Visionary Award by the Smithsonian Institution in recognition of his “ground-breaking, innovative and transformative career in wood art.”

Sarah Gillis (AeroEngr’17)

2024 — Played the violin in space

Sarah Gillis made history on Sept. 13, 2024 when she became the first person to play the violin in space, performing “Rey’s Theme” from Star Wars: The Force Awakens aboard a SpaceX Dragon spacecraft more than 870 miles above Earth. Her crewmates captured her performance, which took place in zero gravity conditions during the Polaris Dawn mission, and sent to Earth via Starlink. Gillis first developed an interest in space in high school and went on to study aerospace engineering at �鶹��Ѱ��Boulder. After internships and work at SpaceX, she joined the Polaris Dawn crew as a mission specialist, where she became the youngest astronaut to participate in a spacewalk.

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Photo credits: In order of appearance: Courtesy Carnegie Library for Local History/Museum of Boulder Collection (Mary Rippon); �鶹��Ѱ��Heritage Center (Joseph Sewall); �鶹��Ѱ��Heritage Center (George Norlin); Glenn Asakawa (Peggy Coppom and Betty Hoover); Courtesy the Buchanan Archives (Lucile Berkeley Buchanan Jones); Courtesy Tom Cech; Glenn Asakawa (Tom Cech); Polaris Dawn crew (Sarah Gillis); Soloman Howard (Wei Wu); Courtesy Juan Espinosa; �鶹��Ѱ��Heritage Center (David Bolen); �鶹��Ѱ��Heritage Center (Byron White); �鶹��Ѱ��Athletics (Ceal Barry); Courtesy Joe Neguse; Roshni Gorur/Courtesy of Anderson Ranch (David Ellsworth); Courtesy Billy Kidd; Coloradan archives (Ralphie)

�鶹��Ѱ��Boulder has been shaped by the vision, courage and tenacity of many students, faculty, staff and alumni since 1876.

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Spring 2026

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�鶹��Ѱ��Is Revolutionizing Musicians’ Wellness

Julia Maclean — Mon, 10 Mar 2025 17:15:53 +0000

�鶹��Ѱ��Is Revolutionizing Musicians’ Wellness Julia Maclean Mon, 03/10/2025 - 11:15

Ally Dever

When a �鶹��Ѱ��Buffaloes football player gets injured, coach Deion Sanders enlists a team of professionals to ensure a swift recovery. That’s what professor James Brody does with students at the College of Music’s Musicians’ Wellness Program (MWP).

A study estimates that 90% of professional musicians experience playing-related pain or injuries due to misuse or overuse, and 80% of college-aged musicians report stress, anxiety or depression tied to their craft.

In response, Brody founded the MWP in 2003 to help students prevent and recover from injuries, sustain peak performance and maintain robust mental health throughout their careers.

“It became glaringly obvious this was a necessity when students came to me with injuries 20 years ago,” said Brody. “I was committed to finding ways to make a difference.”

The MWP was among the first of its kind, predating the National Association of Schools of Music’s 2005 mandate requiring music programs to address wellness. Since its inception, Brody and the MWP have expanded services and recently shared their work at three international conferences.

The program teaches performance psychology and exercise techniques for breathing, hearing and vocal health. It also includes on-staff therapist Matthew Tomatz, who provides therapy sessions to support students’ emotional well-being, including managing performance anxiety.

After 47 years of teaching, Brody will retire as director of the MWP on July 31, leaving behind a legacy that will continue to positively influence the health of College of Music students, faculty and staff — and wellness aspirants across the globe.

“The fact that we’ve already helped so many to continue to do what they love is truly gratifying,” he said.

With a search for a new director underway, Brody hopes the program will receive expanded funding to introduce initiatives like a certificate in musicians’ health, onsite physical therapists and medical professionals and hearing protection devices for students. But one thing’s for sure: Brody’s revolutionary vision ensures the program’s lasting impact on future generations of musicians.

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Photo courtesy Stacy Nick/KUNC

The Musicians Wellness Program was among the first of its kind.

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Spring 2025

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�鶹��Ѱ��Opera Songbirds Hit the High Notes

Anna Tolette — Tue, 12 Nov 2024 20:47:05 +0000

�鶹��Ѱ��Opera Songbirds Hit the High Notes Anna Tolette Tue, 11/12/2024 - 13:47

Helen Olsson

In June, two renowned opera singers from �鶹��Ѱ��were inducted into the Colorado Music Hall of Fame. Cynthia Lawrence (Mus’83; MM’87) studied music at CU and went on to share the stage with Italian tenor Luciano Pavarotti more than 70 times. Keith Miller (Art’97), on the other hand, was a star football player who pivoted to opera after graduation. They have both performed stints as principal artists at the Metropolitan Opera in New York.

Soprano, equestrian, stunt woman

“When I heard about [the Hall of Fame induction], I couldn’t believe it,” Lawrence said. “To be recognized is beyond an honor.” But the honor is no surprise to those in the singer’s orbit. Lawrence has performed with virtually every opera company in Colorado and worldwide, from Paris to Prague, with legendary performers like Plácido Domingo and Mirella Freni.

"Cynthia has a world-class voice. People say she was kissed in the throat,” said acclaimed tenor Mark Calkins (MMus’87), who met Lawrence at CU. (They married in 1985.) “She won the Metropolitan Opera contest in 1984 at age 23 — a stunning achievement.”

Lawrence credits her success, in part, to her time at CU. “It’s a great school with great facilities. Barbara Doscher was one of the best voice teachers in the world,” said Lawrence. She also points to her background as a competitive equestrian. “If you’re nervous on horseback, that horse may dump you in the dirt,” she said. “In opera, you also have to keep your nerves underneath you. That discipline, concentration and preparation made me a better performer on stage.”

In addition to jumping horses, Lawrence credits childhood time on the trampoline with her ability to perform dramatic free-flying leaps in Puccini’s “Tosca.” Lawrence, who insisted on doing her own stunts, perfected numerous daring feats on stage. She frequently plummeted backward (into a hidden foam pit), and her most notable stunt was a 26-foot forward jump at Royal Albert Hall.

Bass-baritone, athlete, thespian

Keith Miller grew up on a beet farm in Ovid, Colorado, a town so small that its high school football team consisted of six players and there was no school choir. A football scholarship recipient and three-year starter as a fullback, Miller played opera music in the locker room and sang in the shower.

He was inspired by varsity players singing the �鶹��Ѱ��fight song on the sidelines. “These guys, my idols, were singing like they were warrior poets,” he said. Not long after the 1994 Michigan game, when �鶹��Ѱ��made one of the greatest comebacks in Buff history, Miller took his then-girlfriend to see “Phantom of the Opera” in Denver. “I felt the same emotion at the opera that I had during the Michigan game,” he said.

In 2001, while working out with the Denver Broncos at North Dakota State University, Miller took refuge from a snowstorm in a music practice room. “I started singing along to “Don Giovanni” — and someone knocked on the door.” He was offered a scholarship on the spot. He declined, but decided it was time to start following the music. On the way out, he saw a flier for the Pine Mountain Music Festival in Minneapolis and decided to audition. Suddenly, Miller had a dozen job offers to sing and decided to pursue singing full-time.

The next fall, Miller enrolled at the prestigious Academy of Vocal Arts in Philadelphia and, after graduation in 2006, auditioned for the Met in New York. He made his debut at the opera’s opening-night gala. At the reception, he bumped into someone who remarked, “Wonderful performance,” in a familiar Scottish accent. It was Sean Connery.

Beyond the Hall of Fame

Today, the inductees are still showing off their versatility. Miller serves as founder and CEO of CedoHealth and has recently moved back to Colorado to re-engage with the Crested Butte Music Festival (CBMF). (For six years, he served as director of opera and oversaw the CBMF’s Opera Young Artists Program.) He also has his sights set on film acting. “There are things out there creatively I want to do,” he said. “My journey’s not done.”

Meanwhile, Lawrence works as the endowed chair professor for voice and opera at the University of Kentucky, where she’s teaching the next generation of opera singers. “I love teaching. When students have that ’Aha’ moment, when they finally get it — that’s the prize.”

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Illustration by Chris Buzelli

This year, �鶹��Ѱ��songbirds Cynthia Lawrence (Mus’83; MM’87) and Keith Miller (Art’97) made the Colorado Music Hall of Fame.

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Fall 2024

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Developing the Universal Musician at �鶹��Ѱ��Boulder

Anonymous — Tue, 16 Jul 2024 06:00:00 +0000

Developing the Universal Musician at �鶹��Ѱ��Boulder Anonymous (not verified) Tue, 07/16/2024 - 00:00

Ally Dever

With over three decades of experience as a performer, educator, conductor and administrator, College of Music Dean John Davis champions a holistic approach to musical education through a mission he calls “developing the universal musician.” Davis originally joined �鶹��Ѱ��Boulder in 1999 as director of the jazz studies department. Following three associate dean roles from 2012 to 2020, he assumed the role of dean in January 2021. He discusses his musical background, career achievements and the issues within higher education that have inspired his leadership philosophy.

How did you get your start in music?

My musical journey began with the decision to pick up the trumpet in elementary school, which is reflective of how one small choice can change a person’s entire life.

I eventually joined my high school jazz band, which was led by a band director who regularly performed in shows and big-band gigs. And that came at a time when jazz musicians like Stan Kenton and Woody Herman were touring the nation. That exposure really inspired me, so I stuck with it.

What prompted your shift from music performance to education and leadership?

After earning my master’s degree in music, I found myself seeking a change. I realized that the life of a professional freelance musician lacked the stability I sought, particularly in terms of job security and benefits.

Reflecting on my family’s military history, with my father’s service in both World War II and the Korean War, and my grandfather’s tenure as one of the oldest soldiers in the army, I became curious about that experience. So I enlisted as an infantry soldier for two years.

During my service, I gained a deeper understanding of the educational backgrounds of my fellow soldiers, many of whom had very little education beyond a GED or a few years of college. This made me realize the power of education in expanding opportunities beyond people’s immediate circumstances.

That really solidified my commitment to education and prompted my return to academia to pursue a doctorate in trumpet performance and pedagogy, with an emphasis in jazz studies. But I wanted to play a more significant role in shaping music education, and that ultimately steered me toward administration.

What’s the basis of your leadership philosophy?

Most music institutions have traditionally offered two career paths for students: performance and education. While those tracks are still very valid, many students are now seeking out music careers that don’t necessarily fit into those two areas, such as arts administration and entrepreneurship, tour management, recording engineering, music copyright law or health and wellness in music.

For decades, students have had to find their way to these careers through mentorships, outside education, self-teaching or learning on the job. As the dean, I want to address the demand for additional career pathways.

This has led me to establish the concept of the universal musician — a leadership philosophy and strategy aimed at providing students with a wide range of experiences and training so they can meet the demands of today’s industry and be better equipped to find success and fulfillment in emerging fields.

How did the pandemic impact higher education?

The pandemic was by far the most influential factor in shaping my approach to leadership.

During the peak of COVID-19, one of our professors shared an impressive composition created by a recent graduate and performed by current and former �鶹��Ѱ��Boulder students over Zoom. I was struck by the remarkable quality of the sound and presentation, despite each musician performing from their own little Zoom square. From technical setup to sound engineering and video editing, the project showcased a range of abilities beyond the traditional curriculum and allowed students to explore unique avenues of learning.

It also highlighted the skills and training that we as a college didn’t provide at the time — these students had to develop these skills independently. Since then, we’ve offered new badges, micro-credentials, certificate programs and interdisciplinary degree options to give students more agency in their education. With these new offerings, we hope to confirm the value and redefined relevance of higher education today.

How do diversity, equity and inclusion factor into your philosophy?

Many musicians seeking higher education face significant barriers due to a lack of early training or access to instruments, teachers and practice spaces.

�鶹��Ѱ��Boulder’s goal is to create an environment of inclusive excellence where all aspiring musicians, regardless of their background, feel welcome, valued and supported. It’s an essential part of our mission to develop universal musicians who are equipped and empowered to thrive in a rapidly changing world.

What’s your favorite song?

The one song that always stops me in my tracks is Charlie Chaplin’s “Smile.” The lyrics mean everything: “Smile though your heart is aching; smile even though it’s breaking…although a tear may be ever so near, that's the time you must keep on trying.” Despite being released in 1936, its relevance persists, demonstrating the impact of music across generations.

What do you believe is music’s most significant impact on society?

Music is what makes us human. When something of great significance takes place, people turn to music. It can serve as a celebration of joyous occasions, but it’s also where we find comfort and understanding in times of darkness.

Music provides a platform for self-expression and helps us navigate the complexities of the world and our role within it. And that is crucial in today’s society, where the need for connection and empathy is paramount.

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Photo by Matt Tyrie

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Brass Queens: Redefining the Landscape for Female Musicians in NYC

Anonymous — Tue, 16 Jul 2024 06:00:00 +0000

Brass Queens: Redefining the Landscape for Female Musicians in NYC Anonymous (not verified) Tue, 07/16/2024 - 00:00

Erika Hanes

In the heart of New York City’s vibrant music scene, a dynamic force is shaking up traditions and breaking down barriers. Meet Brass Queens, an electrifying nine-piece, New Orleans-style brass band on a mission to redefine the landscape for female musicians in the Big Apple.

But before they were playing major gigs like the Met Gala, performing on Good Morning America or releasing their debut album, “Black & Gold” the Brass Queens had to fight their way into existence. According to Ally Chapel (ArtHist’14), one of the founders of the Brass Queens, opportunities for female musicians in New York City circa 2018 were abysmal.

“In the music industry, a lot of success comes down to your connections,” Chapel said. “At the time, the scene was so oversaturated with male musicians and bandleaders that it was hard for us to get enough attention to make those critical connections in the first place.”

Love for the Marching Band

Chapel’s journey from art history major to working full time in music began in Colorado’s foothills. Born and raised in this Rocky Mountain state, �鶹��Ѱ��Boulder was a natural choice. Soon after enrolling, Chapel’s love for music and art found fertile ground when she joined the Golden Buffalo Marching Band. Having done marching band throughout high school, Chapel thought she knew what to expect.

"Where I came from, the marching band wasn’t in the spotlight," Chapel said. "There wasn’t this sacred bond between musicians and the school or the fans [like at �鶹��Ѱ��Boulder]. I remember thinking, “‘This is really special.’”

During her college years, Chapel immersed herself in music as much as possible. Pivotal moments during this time shaped not only her musical aspirations, but also her life decisions for years to come.

After graduation, Chapel crammed all her belongings into two boxes, grabbed her saxophone and headed for the Big Apple, where she jumped into the arts scene. She soon found a day job at a prestigious painting gallery, filling her evenings with jam sessions and impromptu performances with local musicians.

Becoming Brass Queens

Among the female musicians Chapel met during these early days, many became the foundation for Brass Queens, not just as a band, but as a cultural revolution. Most had struggled to find reliable and consistent collaborators among their male cohorts. By 2019, Chapel was done waiting. Joining forces with friend and bandmate Alex Harris, the two musicians formed their own group dedicated to pushing musical boundaries and empowering female musicians.

“Brass Queens formed on March 9, 2019,” Chapel said. “I’ll never forget it because it was the day after International Women’s Day. That felt significant to us.”

Chapel immediately went to work on crafting the brand identity for the band, something she learned a lot about through CU’s Technology, Arts and Media (TAM) program. She knew the unifying power that two colors could have from her time at CU, so the group adopted black and gold as their official colors — also the colors of the Saints in New Orleans, where their sound originates.

By enforcing a black-and-gold dress code at gigs, Chapel hoped to establish the same sense of pride she felt while performing as a member of the Golden Buffalo Marching Band. That unifying element has become their story, which they celebrated by naming their debut LP “Black & Gold.”

Inspired by the soulful sounds of New Orleans, the Brass Queens’ band consists of one sousaphone, drums (both line and set), two trombones, one alto sax, one tenor sax, three trumpets and a whole lot of passion.

From Gigs to the Met Gala

When Brass Queens first hit the gig circuit, they accepted a variety of opportunities that came their way. Soon, birthday parties, street festivals and busking on the streets of Brooklyn turned into higher-paying gigs at venues across the city. Within the year, the group became a local standout, earning them invitations to play at iconic venues like the Blue Note Jazz Club and exclusive events like the Met Gala. Chapel’s leadership and unwavering commitment to her craft propelled the band forward, earning them a loyal following and critical acclaim.

“We’re experiencing more success now because we’re doing something different. We don’t look or sound like other bands. We’re showing people that you don’t have to fit the mold to be successful at what you love.”

Brass Queens do not take their success for granted. In 2017, several Brass Queens members helped establish Brooklyn Brass Band Collective, a nonprofit created to help increase access to the transformative power of music for adult musicians. Ally Chapel currently serves as the organization’s president along with two other Brass Queens, who serve on the board.

Looking ahead, Chapel’s impact on the music industry shows no signs of slowing. With collaborations on the horizon, including recording projects at Atlantic Records and touring across the country, the Brass Queens are poised to reach even greater heights.

Her advice to aspiring artists?

“Just start,” she said. “Find your community. Follow what inspires you.”

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Photos by BeKa Photography

Ally Chapel (ArtHist’14) started an all-female New Orleans-style brass band called Brass Queens. She adopted the colors black and gold for her band in CU’s honor.

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College of Music

�鶹��Ѱ�����Professor Shanti Simon Views Music As Connection

How did you decide to pursue conducting as a career?

You’ve traveled the world with the U.S. Air Force Band. What performance is among the most memorable for you?

When deployed to the Middle East, what were your main duties?

Can you give examples of this?

Was there something about �鶹��Ѱ�����Boulder that inspired you and your family to move to Colorado?

What else should we know about your work here?

What do you do when you’re not conducting?

What else should we know about you?

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�鶹��Ѱ�����Opera Songbirds Hit the High Notes

Soprano, equestrian, stunt woman

Bass-baritone, athlete, thespian

Beyond the Hall of Fame

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Developing the Universal Musician at �鶹��Ѱ�����Boulder

How did you get your start in music?

What prompted your shift from music performance to education and leadership?

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How did the pandemic impact higher education?

How do diversity, equity and inclusion factor into your philosophy?

What’s your favorite song?

What do you believe is music’s most significant impact on society?

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Brass Queens: Redefining the Landscape for Female Musicians in NYC

Love for the Marching Band

Becoming Brass Queens

From Gigs to the Met Gala

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�鶹��Ѱ��Professor Shanti Simon Views Music As Connection

Was there something about �鶹��Ѱ��Boulder that inspired you and your family to move to Colorado?

Celebrating 150 Years of �鶹��Ѱ��People

�鶹��Ѱ��Is Revolutionizing Musicians’ Wellness

�鶹��Ѱ��Opera Songbirds Hit the High Notes

Developing the Universal Musician at �鶹��Ѱ��Boulder