Previously based in Seattle and Boston, conductor and composer Sarah Riskind is the Director of Choral Activities at Eureka College in central Illinois and a faculty member at The Walden School. Riskind’s compositions are featured in the Project Encore catalogue of contemporary choral music and available at www.sarahriskind.com as well as Swirly Music. Among her works are Jewish and Judeo-Christian music, secular pieces with improvisatory elements, and choral settings with string obbligato parts. She holds degrees from the University of Washington, the University of Wisconsin at Madison, and Williams College.
Robert Oganovic (b. 1953) retired in 2015 after more than 30 years in the software industry. Since then he has devoted more time to his life-long avocational passions – singing, playing bassoon, and composing. In the summer of 2018 as a member of the Minnesota Orchestra’s symphonic chorus he was part of the first ever tour of Africa by a major American orchestra.
Robert studied composition at the University of Minnesota under Dominic Argento and Paul Fetler. His pieces have been performed throughout the United States. The piece Orientis Partibus (“From the East”) was commissioned and performed in 2016 by the Bethel University Wind Symphony of St Paul, MN. It was published by Grand Mesa Music in summer 2019.
Seán Deibler was a beloved and important figure in the musical life of Philadelphia for most of the 1980s, 90s and early 2000s. As Founder and Artistic Director of both the Choral Arts Society of Philadelphia and the Music Group of Philadelphia, a smaller, virtuosic choral ensemble, he presented countless memorable programs and numerous world premieres.
Also an uncommonly skilled music educator, he was an early pioneer in bringing the Kodály Method to the United States, having studied in Hungary among the first generation of teachers trained in that method. He maintained close ties with Hungary and was a great ambassador for American music there. Likewise, he generously performed the work of living Hungarian composers with his groups in Philadelphia, and in 1998, he received the Medal Pro Artibus, Artist of Outstanding Merit for promotion of Hungarian music abroad by the Hungarian Ministry of Cultural Arts.
Swirly Music is honored to make some of Mr. Deibler’s few compositions and arrangements available for all to enjoy.
Shane W. Dittmar is a music educator and composer of vocal music, including choral, art song, musical theatre, and commercial styles. A native of Raleigh, NC, he is currently studying Music Education at the University of North Carolina at Greensboro. His music is shaped by his unique view of the world; Shane is legally blind, and so he strives to create, in his musical endeavors, sincere expressions of landscapes, stories, and emotions you don’t need sight to experience
Phillip Rawle (born Birmingham, U.K.) Singer, pianist, saxophonist and composer. Trained at the Birmingham School of Music. Founder member of the City of Birmingham Symphony Orchestra Chorus travelling extensively throughout the world with the CBSO and other leading orchestras performing at over 100 different venues. Alto sax player and arranger with the West Midlands Light Orchestra. Has written many pieces for students, both choral and instrumental including two Musicals for school children. Visit my web site phil.rawle.org
Jennifer Durham is from Georgia, U.S. She graduated from Georgia State University with a degree in Piano Performance. She has taught music in public school and private settings for nearly 30 years, and a large portion of this has been teaching and accompanying choral groups. Jennifer began arranging for school choruses as an outgrowth of her teaching experiences. She tends to focus on pieces appropriate for contests and formal concerts.
Award-winning composer Ian A. Cook (b. 1990) has received performances of his music across North America by prominent ensembles such as the VocalEssence Ensemble Singers, the Northern Symphony Orchestra, the Lirica Chamber Ensemble, MPLS (imPulse), Aliro Voices, and at the Aries Composers Festival. Ian enjoys the way things grow and change through history, and his musical language reflects that, often blending traditional and newer styles together into a new amalgamation which speaks to today’s performers and audiences alike.
Ian is also an active performer as a trombonist and vocalist. He currently sings with the National Lutheran Choir, Aliro Voices, and MPLS (imPulse), and has sung previously with Magnum Chorum. Ian also serves on the MPLS (imPulse) board of directors. Ian graduated from St. Olaf College in 2012 where he studied Music Theory and Composition, Instrumental Music Education, and Educational Studies under teachers such as Justin Merritt, Timothy Mahr, Christopher Aspaas, and Steven Amundson.
Rebecca Oswald composes music for orchestra, chamber ensembles, choruses, solo piano, and solo voices. In 2016 her first opera premiered in Bend, Oregon. In 2015 she received an Honorable Mention for “Theseus and the Minotaur” from The American Prize in Composition (chamber music, professional division); several of her other chamber and choral works also achieved semifinalist and finalist status for The American Prize in 2014 and 2015.
Oswald has released two CDs of original piano music, “Whereas” (2011) and “October Wind” (2005). Several of her chamber and orchestral works have been recorded by other artists as well. Enjoying great variety in her work, Oswald has also scored music for CD-ROM games, documentaries, and film.
Oswald received a bachelor of music degree summa cum laude in music theory and composition from Westminster Choir College of Rider University (1998), and a master of music degree in music composition from the University of Oregon School of Music (2001) where she was on the faculty from 2002-2004. Today she lives in Oregon and is a full-time composer and pianist.
For more information please visit rebeccaoswald.com.
A native of Quincy, MA, Kirsten is thrilled to be heavily involved in the choral community of the South Shore as the Choral Director at Ahern Middle School in Foxborough, MA. She is also the Founding Director of the South Shore Children’s Chorus, based in Braintree, MA.
Kirsten found a passion in music composition, which soon became her major in college. In 2011, Envisaged Dance, a composition for small instrumental ensemble, won first place in the Music Teacher’s Assocation of California Composition Competition, in the collegiate division. The same composition placed in the top seven collegiate compositions in the United States in 2012 for the Music Teacher’s National Associate Composition Competition. Psalm 8, a composition for two pianos, was the first place winner in 2012 for the International Piano Composition Contest in the Adult Division, and is currently being performed across the US. Many of her choral compositions are often performed, including her setting of Spirit of God, Descend Upon My Heart and her original work A Quiet Place. Shetler’s Alleluia for women’s chorus was premiered and professionally recorded by the women of the Point Loma Singers, and was performed on the England/Scotland tour.Kirsten graduated with a Bachelor of Music degree in Composition from Point Loma Nazarene University in San Diego, CA.
In only two years of activity within the San Diego music community, Kirsten founded and created four different choral programs for children – most notably, her after-school choral program at San Diego High School and the SACRA/PROFANA Summer Choral Intensive. Over the course of two years, Kirsten also founded a voluntary, after-school classical choral program at San Diego High that gained Superior Ratings at the Music in the Parks Festival at Disneyland. Similarly, Kirsten founded, recruited, and administrated a wildly successful Summer Choral Intensive program for high school students in San Diego. The SCI program, sponsored by San Diego’s only year-round professional choir, SACRA/PROFANA, served 78 students in its first year (2014) and 97 students in its second year representing over 35 different high schools. She ignited musical and professional passion in all of the 10-15 choral and musical theatre programs in which she has been an integral part.
Other notable choral experiences include conducting the Intermediate Level Choir at San Diego Children’s Choir in 2013-2014, helping to prepare (and performing in) the on-stage chorus for Disney Theatrical’s U.S. Premiere of The Hunchback of Notre Dame in 2014, and singing professional choral performances as a core member of SACRA/PROFANA. Kirsten’s most recent singing project was recording the soundtrack for the live action Beauty and the Beast film being released by Walt Disney pictures in March 2017.
Jesus told us that no one puts new wine into old skins, but Robert Myers is putting that to the test with a mid-life career change into composition focused on sacred music, for Jesus also said, “what is impossible with man is possible with God!” Consequently, Mr. Myers is nearing completion of a Master of Church Music degree at Southwestern Baptist Theological Seminary where he is studying composition. He has studied composition under the tutelage of R. Christopher Teichler, Gary Joe Hardin, and Don Wyrtzen.
Myers’ compositions are focused on sacred choral music with an aim to preserve and promote artistic choral music in our churches. He composes for both choral and instrumental ensembles with original works, arrangements of extant hymns, and new settings of old texts, and enjoys an occasional foray into absolute music of an impressionistic/neo-classical bent. The highlight of his burgeoning output to date is the performance of his arrangement of the Medieval tune “Divinum Mysterium” by the Fort Worth Symphony Orchestra. Over the last twenty years Mr. Myers has performed in and assisted with choral and music ministries in churches across the Dallas-Fort Worth Metroplex and has performed with the Southwestern Symphony Master Chorale. He currently volunteers at First Baptist Church, Keller, TX.
Brian Kogler (b. 1954) lives on the sunny Central Coast of New South Wales, Australia. He has been composing rounds and other choral music for over forty years. Between 1989 and 2000 Brian was a professional cartoonist with The Sydney Morning Herald, receiving seven coveted “Stanley Awards” from the Australian Black & White Artists’ Club. He studied briefly at the NSW Conservatorium of Music under composers Anthony Gilbert and Ross Edwards.
Brian enjoys listening to Early Music, playing the family of recorders and setting difficult crosswords puzzles.
Richard Dudas is an American composer of contemporary classical art music. In addition to writing music for acoustic instruments, he has been actively invloved with computer music since the late 1980s. From 1996 to 1998 he taught computer music courses at the musical research center IRCAM in Paris, France, and from 1999 to 2008 worked for Cycling ’74, Inc., developing musical tools and audio effects for the musical software programming environment, Max/MSP. Since 2007 he has been teaching music composition and computer music at Hanyang University in Seoul, Korea, where he currently holds the position of Assistant Professor.
Michael Kaulkin is an accomplished composer of chamber, orchestral and choral music, as well as music for the stage. In the Bay Area, his works have been performed by the Oakland East Bay Symphony, San Francisco Choral Artists, Mission Chamber Orchestra, LIEDER ALIVE! and others.
His clarinet and piano piece American Standard is popular with clarinetists around the world and is included on the U.K. label Clarinet Classics’ 2007 CD Time Pieces: 60 Years of American Music. He holds a Master of Music degree from the San Francisco Conservatory of Music, where he studied composition with Conrad Susa after a previous 3-year period studying composition and choral conducting at the Franz Liszt Academy in Budapest, Hungary. He is on the Musicianship faculty of the San Francisco Conservatory’s Pre-College Division.
Mark Growden is an American composer, multi-instrumentalist, singer, music educator, visual artist, and the founder/artistic director of The Calling All Choir and The Chromatic Community Music Center in San Francisco, CA. He was raised in the mountains in Northeastern California. He is mentored by Vance George, Director Emeritus San Francisco Symphony Chorus; is an Alice Parker Composers Workshop Fellow; and has also studied with Michael Kaulkin, Joseph Stillwell, and Remy Charlip. He has released several critically acclaimed albums and has toured the US extensively. He has composed original musical scores for dozens of dance and theater companies and scored several films.
Growden has devoted his life to making music for other people and to helping other people make music for themselves.
Clark Suprynowicz is a San Francisco Bay Area composer. Following residencies in recent years with the Berkeley Symphony and the Berkeley Opera, Clark had three large works premiered: The opera Caliban Dreams (with writer Amanda Moody, featuring tenor John Duykers) in a Berkeley Opera production; Tectonic, a commission from the Mill Valley Philharmonic, featuring readings by poet Jane Hirshfield, and Machine, a new opera with writer / director Mark Streshinsky, which premiered at the Crucible in Oakland. In 2012, Clark’s string quartet Elegance and Superstition was part of the Hell Hot Festival in Hong Kong in a program with works by the Hear Here Composers Collective and esteemed composer Tan Dun. Joshua Kosman has said of Clark Suprynowicz, in a San Francisco Chronicle review: “When Suprynowicz goes all out with lyrical, melodic writing, the effect is ravishing.” Mr. Suprynowicz spent many years in the trenches as a jazz musician before decamping to compose full-time. He has worked as a bassist with John Zorn, Bill Frisell, Art Lande, Max Roach, and Tom Waits.
Sanford Dole is Artistic Director of Bay Choral Guild, a 45-voice community choir in Palo Alto, North Star Vocal Artists, and 16-voice chamber choir in Marin County, and Music Director of St. Gregory of Nyssa Episcopal Church in San Francisco.
Active in the Bay Area as a conductor, singer and composer for his entire adult life, Mr. Dole had performed with, and had his compositions performed by, many of the area’s leading ensembles. He was a member of the San Francisco Symphony Chorus for 23 seasons, and was that group’s Assistant Director from 1987-97. More recently, he was a member of Philharmonia Baroque Orcherstra’s Chorale from 1998-2009 and appears on several recordings in oratorios by Handel.
A founding member of the male vocal ensemble, Chanticleer, his arrangements have often been performed by the renowned 12-man chorus as well as his commissioned work, “I Am With You,” set to a poem by Walt Whitman.
Mr. Dole received his Bachelor and Masters degrees, in composition and conducting respectively, from the San Francisco Conservatory of Music.
Kurt Erickson is currently serving a multi-year composer residency with the San Francisco performing arts organization Lieder Alive!, writing works for their guest artist recitals on their subscription concert season. His music has been commissioned and performed by a wide range of ensembles, including opera companies, orchestras, cathedrals and national shrines, ballet companies, choruses, chamber ensembles, and colleges and universities.
WILLIAM CAMPBELL (b. 1969) is a composer, performer and teacher whose music is performed by orchestras, symphonic bands, soloists, chamber groups and choirs throughout the U.S. He also works with choreographers and directors for dance, theater and film scores.
As a pianist and improviser he has performed as soloist and in contemporary ensembles including the acclaimed Sonoran Consort. “Piano Songs,” a CD of solo piano compositions is available through all major outlets. Additionally, churches nationwide sing his music for worship every Sunday. Awards include multiple ASCAPPlus Awards, a Penfield Commission Project Composition Prize, and a Waging Peace International Composition Special Honor.
His compositions are included in guitarist Phil Hemmo’s CD “Guitar Recital,” and his film score work can be heard on the Academy Award nominated film “50 Feet From Syria.” Recent concert premieres include “Splendor Paterne Gloriae” by the St. Ambrose University Chamber Singers, “Green Fire Variations” for Cello and Piano, and “Where the River Bends” by the Quad City Symphony Orchestra.
Campbell is Professor of Music and Chair of the music department at St. Ambrose University in addition to being the director of contemporary music at St. Paul Lutheran Church in Davenport, Iowa. He earned degrees from the University of Arizona (B.M.), the San Francisco Conservatory of Music (M.M.), and the University of Oregon (Ph.D.). His music has been awarded by regional and national agencies including the Penfield Commission, Waging Peace, the Kennedy Center, and ASCAP.
ANDREW RUDIN [roo-DEEN] (b. 1939) is a Texas-born composer of Swedish ancestry whose many contributions to the literature of electronic music brought him early recognition. Critic Michael Caruso, reviewing his Violin Concerto in 2007, remarked “Andrew Rudin has been an important presence in the local contemporary music scene for the past four decades.” His Il Giuoco was the first large-scale work for Moog Synthesizer, a U.S. representative in the 5th Paris Biennale. His synthesized music is heard in the sound-track of the film Fellini: Satyricon and his Tragoedia was the second of Nonesuch Records’ electronic music commissions, described by critic Alfred Frankenstein as “The best large-scale electronic work I have ever heard. In Andrew Rudin’s hands the electronic idiom finally comes of age.”
His interest in theatrical music has resulted in ballets for the Pennsylvania Ballet, Murray Louis, Dance Theatre Workshop, Louis Falco, Jeff Duncan, London Contemporary Dance Theatre, and four collaborations with Alwin Nikolais, as well as incidental music for Tennessee Williams’ Outcry and numerous scores for PBS Television. In 1972, his opera The Innocent was produced in Philadelphia by Tito Capobianco. His orchestral and chamber music has been performed throughout the United States by such artists as pianists Lydia Artymiw, Beth Levin, Steve Beck and Marcantonio Barone, violinists Diane Monroe and Miranda Cuckson, violist Brett Deubner, cellists Sam Magill and Eugene Moye, percussionist Anthony Orlando, of the Philadelphia Orchestra, flutists Mimi Stillman and Patricia Spencer, and clarinetist Ronald Reuben. Recent concertos for Violin, Viola, and Piano have brought him renewed recognition.
“Extroverted, engaging and driven by an almost heroic sense of drama, Rudin has a gift for the kind of gesture that grabs you by the ears and won’t let go.”, wrote the Washington Post at the 2008 premiere of his Piano Concerto. Of the Viola Concerto, Fanfare magazine declared “The concerto is an important addition to the none-too-large repertoire for this instrument.” He is the recipient of fellowships from Yaddo, The MacDowell Colony, Ucross Foundation, Virginia Center for the Creative Arts and The Pennsylvania Council on the Arts, among his many grants and awards. His teachers have included George Rochberg, Karlheinz Stockhausen, Ralph Shapey, Kent Kennan, and Paul Pisk.
He has taught on the faculties of the Juilliard School and The Philadelphia College of the Performing Arts, where he was founding director of the Electronic Music Center. He is retired from the faculty of The University of the Arts (Philadelphia), where he taught from 1964 to 2001. His music may be heard on the Centaur, Innova, and ERM labels, and is published by Associated Music Publishers as well as Skåne Hill Music. The composer’s professional affiliation is BMI.
Liam Wade is an American composer of opera, art song, symphonic works and chamber music. His comic opera, Part of the Act, was commissioned by Washington National Opera and premiered at the Kennedy Center on their 2012-13 season. His one act opera, The Stranger The Better, won the Audience Award at The Atlanta Opera’s 24-Hour Opera Project in 2016. His music has been heard on concerts at La Jolla Music Society, ProQuartet France, Toronto Music Garden, One Ounce Opera, The Atlanta Opera, West Edge Opera, Academy of Vocal Arts, The Kennedy Center and Semperoper Dresden.
He studied composition with Philip Lasser and Jake Heggie.
Bruce Rockwell is a Bay Area composer whose work spans all music genres, with a noted emphasis on vocal music. Having studied with Conrad Susa and David Conte at the San Francisco Conservatory of Music, his music is noted for its unabashed lyricism and accessibility. Bruce has taught at the San Francisco Conservatory Pre-College Division, the San Francisco Waldorf schools, the San Francisco School for the Performing Arts, and College Park High School. In the early 2000s, he was the founder and director of the San Francisco Song Festival. His music is published by Swirly Music, Walton Music, and E.C. Schirmer.
Mr. Ramsey is composer of a variety of music including solo keyboard example, accompanied works for solo flute, voice, violin, trumpet and others. Ensemble pieces include a string quartet, brass quintet, choral works accompanied by organ and a cappella. Large scale works include a Requiem and a fully staged three-act opera. A goodly number of these works are available for purchase here at Swirly Music.
Mr. Ramsey lives in Kansas City, Missouri where he has been an active musician since 1994. An organist, he has played for local churches as organist and associate organist. Two of his pieces have been performed in the remarkable Kaufman Center for Performing Arts on the large Casavant Organ in Helzberg Hall. His “Sortie” was the first local composer to be performed on that organ. His “Fantasia on Crucifer” was a contest winner in the local American Guild of Organist competition. It was premiered by Chelsea Chen at the Kaufman Center.
Many of Mr. Ramsey’s works are very approachable from both a listener and performer perspective. The range of demands covers the ground up to major works and major efforts for performers. His “Conversations for Organ” was performed extensively in the USA and Canada by the highly regarded concert organist Jan Kraybill. His String Quartet is acknowledged as an adventurous and appealing work. The “Requiem” has had full performances with orchestra, and his “Magnificat and Nunc Dimitis” and been performed, literally, from coast to coast.
Now in retirement, Mr. Ramsey continues composing, transcribing and arranging primarily in the church music arena. He lives with his wife, Marcia, in the Brookside area of Kansas City, Missouri.
New York City composer Bruce Lazarus characterizes his music as “diverse, concise, architectural, contemporary, and in turn meditative, energetic, humorous, moody, and exuberant.” Published here at Swirly Music are his works for
Five Explorations of the Messier Catalogue of Star Clusters and Nebulae
Starry Messenger for brass quintet
Far Corners for flute solo
collections of songs for male or female voice with piano:
A Lewis Carroll Songbook
Going to the Dogs
single songs for voice with piano:
The Mad Gardener’s Song
Our World – for Adult or High School chorus
Chanukah Candle Blessing
Snowflakes (a capella)
High Clouds, Low Clouds – for Adult or Middle/High School Chorus
science education songs for children’s chorus (treble voices with piano):
ROY G BIV: The Colors of the Rainbow
The Sun and the Moon
Jewish choral songs in Hebrew and English:
Chanukah Candle Blessing (SATB and piano)
They Shall Not Hurt, by Arthur Lazarus (tenor solo with men’s chorus and piano)
Click on the images below to listen to samples and flip through the scores.
Madelyn Byrne is an Associate Professor of Music at Palomar College where she has been on the faculty since 2000. She is an active composer of both acoustic and computer music. Some recent pieces include Joyce Settings — Rain Has Fallen and Winds of May (for SATB choir with piano accompaniment, composed for the Palomar College Chamber Singers), In A Winter Landscape (for bass flute and computer, commissioned and recorded by Peter Sheridan for MOVE Records), Arrival (computer music with video art by Lily Glass, recorded to DVD for Everglade Records), and Northern Flight (for piano and computer, recorded by Peter Gach for Innova Records).
Her music has been presented in a variety of venues in Europe, Asia, Australia and North America. This past year, Madelyn’s composition for Peter Sheridan has been performed worldwide and broadcast on public radio several times in Australia. 2013’s performance sites also include California, Illinois, New York, Oregon, Connecticut and the United Kingdom. Upcoming performances include the Society of Composers, Incorporated’s National Conference in March 2014 and the Morningside College Composition Competition in April 2014.
Madelyn’s music has also been selected for a wide range of new music festivals such as The International Computer Music Conference (five times), The Aries New Music Festival, The Australasian Computer Music Conference, College Music Society Conference, Electronic Music Midwest, Western Illinois University’s New Music Festival, Imagine II, and Merging Voices among others.
Madelyn completed her DMA in Composition at The Graduate Center in 1999. Her composition teachers include Charles Dodge, John Corigliano, and David Olan. The compositions for her dissertation were done while she was a guest composer at Columbia University’s Computer Music Center.
MARK D. TEMPLETON, born 1974, is an American choral composer, conductor, and countertenor. Templeton’s music has been described by the Boston Music Intelligencer as “charming and entertaining, playing with homophony and polyphony, and having a winning way with neo-romantic sweet dissonances.” Some of his music is published by Santa Barbara Music Publishing, and he has recently started to self-publish. His music for men’s voices, including When I Hear Her I Have Wings, has been performed across the world at various international festivals and ACDA conventions. His Missa Brevis has recently been featured in a doctoral dissertation at Florida State University.
Templeton is also a sought after performer and clinician. He currently sings countertenor with Vox Populi, Delaware’s professional chamber choir. He resides with his wife, Becca, at West Nottingham Academy in Colora, Maryland, the oldest boarding school in the United States, where he is the director of choral activities, music theory, and music composition. He also enjoys coaching, playing, and watching soccer when he is not working. He is available for commission upon request.
I started piano lessons when I was 4 ½. I studied the traditional piano lesson literature of the time (all classical.) Along the way, at around age 11, I started playing blues and boogie-woogie at my dad’s request. He was from Texas, and, being somewhat tired of hearing only classical music, asked me if I would consider playing some Texas music. I’m glad I took his suggestion. Later, during my time at University of the Pacific Conservatory, I began to explore improvisation, jazz, and ragtime.
It took me many years to stop thinking in the genre-specific mindset. When I had occasion to perform, I would always keep different styles of music separated and on different programs. I finally stopped doing that and just started playing whatever I felt like playing. In the beginning, it might have been a little disconcerting for some listeners, since we have all been conditioned to expect music to conform to fairly strict stylistic boundaries. It’s less of a problem now, (2015) as more and more people have become accustomed to genre bending and what the industry calls, “crossover.”
I have composed, and sometimes still do compose in the traditional manner. My focus has been on piano, choral, solo vocal, and chamber music. My wife, Maggie, is a poet, and we have collaborated on many projects. We live in Mystic, CT USA, where I continue to teach, compose, and perform.
Emmy Award winning composer Bear McCreary was first launched into pop culture with his groundbreaking score to the hit series Battlestar Galactica, that was lauded by Variety as “the most innovative music on TV today.” It “fits the action so perfectly, it’s almost devastating: a sci-fi score like no other” (NPR). Io9.com ranked McCreary one of the Ten Best Science Fiction Composers of All Time, and recently WIRED Magazine declared him one of only five “Secret Weapons” of the television industry. McCreary was recently voted “Composers’ Choice Composer of the Year – Television” by his peers in ASCAP, the first award of its kind.
See more at: http://www.bearmccreary.com/#about/
Dr. Patrick M. O’Shea, a native of Massachusetts, joined the faculty of Saint Mary’s University of Minnesota in 1997, and serves as Professor, Music Department Chair and Director of Choirs. He teaches voice, as well as classes in vocal pedagogy, vocal literature, and music history, and directs the auditioned 60-voice Concert Choir and the select Chamber Singers.
Prior to his appointment at Saint Mary’s, Dr. O’Shea was visiting assistant professor of choral music education at Stephen F. Austin State University in Nacogdoches, Texas. He holds the degree of Doctor of Musical Arts in Choral Music from Arizona State University, the Master of Music degree in Choral Music from the University of Illinois at Urbana-Champaign, and the Bachelor of Music degree, summa cum laude, in Vocal Performance from Shenandoah Conservatory in Winchester, Va., where he began his conducting studies with Grammy Award-winning conductor Robert Shafer. He continued conducting study with Don V. Moses and Donald Bailey. His composition teachers have included the late Russell Woollen, as well as Thomas Fredrickson and Randall Shinn. He has served widely as a clinician and adjudicator.
Dr. O’Shea is a member of American Composers Forum, the American Choral Directors Association, the American Society of Composers Authors and Publishers, and Phi Mu Alpha Sinfonia music fraternity. His biography appears in Who’s Who in America and Who’s Who Among America’s Teachers. He and his wife, soprano Lindsy O’Shea, reside in Winona, Minnesota with their five children.
Gordon Thornett (b. 1942) read Music at Manchester University, and has had a long career as a teacher and a music therapist in the UK. As a keen choral singer, he has written a number of new settings of Christmas texts, which have been performed by the City of Birmingham Symphony Orchestra Chorus, of which he is a long-standing member, and other symphony choruses and smaller choirs in the UK, USA and elsewhere. Some of these have been published by Oxford University Press, Shawnee Press and Norsk Musikforlag, but many others are self published, and available through this website.
He was commissioned by the CBSO to write a Festive Overture, ’The Joy of Christmas’, and this is published by Faber, and has been recorded by the RTE Concert Orchestra, on the Heritage label (HTGCD 299). His ‘Children’s Christmas Suite’ (score and parts obtainable through Swirly Music) has been recorded by the Birmingham Royal Ballet Sinfonia, conducted by Gavin Sutherland, and is available as a download through such sites as Spotify and Apple Music. He has also written a brass fanfare for the inaugural conference of the British Society for Music Therapy in 2014. One recent publication, ‘Lo! in the cold of Winter Deep’, with words by Julie Myers, was named ‘Editor’s Choice’ by J W Pepper.
Choirs in the UK who have performed his music include the CBSO Chorus, the Royal Liverpool Philharmonic Choir, the Royal Northern Sinfonia Chorus and the London Symphony Chorus. He has formed a close association with the Nidaros Cathedral Boys’ Choir in Trondheim, Norway, and has written a number of settings and arrangements for them. His extended setting of the Gloria, also obtainable through Swirly Music, for soprano soloist, mixed choir, brass, timpani and organ was premiered by in 2014 by the Bel Canto Chorus in Milwaukee, and has subsequently received several performances in the USA.
Anthony Doherty graduated summa cum laude with a major in composition from the Catholic University of America, and received a master’s degree in music history from Princeton University. He studied medieval liturgical and chant manuscripts in Italy on a Fulbright Scholarship, served on the staff of the Library of Congress’s Music Division, and contributed articles on music and musicians to the New Catholic Encyclopedia.
His works include numerous sacred and secular choral compositions, including commissions and/or first performances by the St. Thomas Apostle Choir, Washington DC (where he was designated Composer to the Choir under director James Walsh), The College of New Rochelle Glee Club, the National Shrine of the Immaculate Conception, and the Contra Costa Children’s Chorus. Other vocal works include songs as well as performing editions of liturgical chants and other medieval and renaissance music.
His orchestral and chamber works have been performed by the Arlekin Quartet and the Warsaw Symphony, and the Kensington Symphony commissioned and performed Anniversary Overture for its 30th anniversary. The Oakland Chamber Orchestra commissioned and performed his arrangements of selections from Scott Joplin’s opera Treemonisha. His concert overture Celebration was awarded an honorable mention in the Benjamin T. Rome School of Music (Catholic University of America) 50th Anniversary Composition Contest.
He has trained and conducted choirs at churches in the Washington DC area, Central Florida (where he was also Musical Director of the Opera Arts Association), and the San Francisco Bay area, as well as opera and musical theater choruses. He served as Staff Arranger for the internationally acclaimed Contra Costa Children’s Chorus, for which he composed a number of pieces, including My Voice, a major work with text by his late wife, novelist Patricia Doherty, commissioned by the Chorus for its 25th anniversary season. He is a member of St. Demetrios Church, Concord CA, where he serves as Music Director and Conductor of the choir.
Rich Campbell is an award winning composer (& recent fellow at the Virginia Center for the Creative Arts) whose works have been performed by ensembles including the Australian Boys Choir, Vocalessence, SACRA/PROFANA, Octarium, The Young People’s Chorus of New York, The Manhattan Choral Ensemble, Wasatch Chorale Ars Nova, Polyhymnia, Pacific Women’s Chorus, Pacific Edge Voices, Glass Menagerie, La Sarabande (France), College of St. Rose Chamber Choir, San Francisco State Chamber Choir, Georgia College, St. Andrew’s College Chapel Choir, MIT Women’s Chorale, Dordt College, University of Rhode Island, MYO Symphonic Choir, OAKE National Children’s Choir, Cantabile Youth Singers of Silicon Valley, South Shore Children’s Chorus, Idaho HS All State, Arkansas HS All State, Philadelphia Center City Opera Theatre, Brass Initiative, C Street Brass and ensembles at Indiana State’s Contemporary Music Festival and the Southern ACDA Conference. He has appeared playing his compositions on film and television, including SMASH and The Devil’s Advocate. His theatrical collaboration Puppy Love was staged at NY’s PS 122. He is the co-writer of songs on a Grammy nominated album by The Triplets and an alumnus of the Crane School of Music, SUNY Potsdam, where he studied composition with Robert Washburn and piano with James Ball.
Matthew Whiteside is a composer and producer originally from Northern Ireland currently based in Glasgow, Scotland. He writes music for concert, film and collaborative installations often using live electronics within his work. His music has been performed across the world including Dublin’s National Concert Hall, Glasgow City Halls, Salem Artworks in New York and the Belfast International Festival at Queen’s. Recently he has composed the soundtrack to The Loudest Sound and collaborated with artists Andrew Cooke and Toshinobu Takamitsu on two audio installations in R-Space in Lisburn, Northern Ireland.
He is in receipt of a Quality Production award from Creative Scotland to compose a new work for viola d’amore, live electronics and motion sensor and record an album of his music to be released in 2015. In 2013 he was selected to attend both Ghent Film Festival and Edinburgh International Film Festivals sound lab programmes.
Matthew is a founding member and director of Glasgow based electro acoustic ensemble, Edit-Point, who perform music for tape, instruments and live electronics.
Alberto Roque Santana is an orchestra conductor and composer from Spain. Born in La Laguna (Tenerife, Canary Islands) in 1961. Piano studies at the Conservatorio Superior de Música de Tenerife. Composition studies at the Franz Liszt Academy of Music in Budapest, with Emil Petrovics and János Vajda, and in Siena, with Franco Donatoni.
He has a long list of works commissioned by international public and private institutions. His compositions have been performed in Hungary, Denmark, Holland, Norway, Spain, Italy, France, Turkey, Venezuela, Brazil, Australia, and the United States. Works for piano, voice and piano, choral, chamber music ensembles, and concertos. Presently he is working on his opera “La Diva”, after a libretto by acclaimed Hungarian soprano Sylvia Sass, about Maria Callas.
David Post was born in New York City and holds degrees from the University of Chicago, the New School for Social Research and Brandeis University. He started musical training early, studying ‘cello with Samuel Reiner and Charles Forbes and composition with Charles Whittenberg and later Ralph Shapey at the University of Chicago. He pursued further study with Larry Bell and Lukas Foss.
His music has received wide exposure on radio and in the concert hall, and his Fourth String Quartet was nominated for a Pulitzer Prize in music. His orchestral and chamber works have been played and recorded by international organizations including the Czech Radio Symphony Orchestra, the Moravian Philharmonic, the Cambridge Symphony Orchestra and the Salem Philharmonic, among others.
Writing in Fanfare magazine, William Zagorski termed his English Horn Concerto “…a tonal and unabashedly lyrical concerto, resulting in a piece that is able to stand beside Richard Strauss’s and Ralph Vaughan William’s essays for oboe and orchestra.” Zagorski termed his First String Quartet “a fine work–rigorously constructed and free of gratuitous effects. Here he takes the listener into the realm of intensely human communication.”
He has received numerous commissions from groups and individuals, including the Aiolos Collective, the Terezin Music Foundation, the Martinu Quartet, the Fenimore Quartet, the Hawthorne String Quartet and many others.
Post’s scores are published by Editions Bim, Switzerland and MMB Music, St. Louis, MO. Naxos Records, MMC Recordings, Turquoise Bee Productions and West Virginia University Sound Recordings, Inc. produce his commercial CDs.
Alessandro Cesaro began to study music very early when he showed his interest in musical composition. Then he completed regular piano studies with Franco Angeleri at Padua’s Conservatory where he graduated with top marks and special mention when he was 16. Later he attended classes with Paul Badura-Skoda and Aldo Ciccolini. He was soon awarded in several National and International Piano Competitions including Premio Venezia and Yamaha Prize in Stresa. His achievement at the 48th CIEM Geneva is especially important and places him in evidence at the age of 18. His recitals throughout Italy are countless and he regularly plays also in Argentina, Mexico, Switzerland, Germany and Croatia. For his recitals the Music Critics Association of Argentina awarded him “Premio Revelaciòn 2015”. He often collaborates with many notable musicians including Claudio Scimone, Paul Badura-Skoda, Anton Nanut and Pedro Ignacio Calderón. An uncommon feature of his personality is the extraordinary versatility which allows him to have in his repertory all the major composers from Haydn to the moderns. He is equally active also as a composer and his output includes piano music, chamber music with various combinations and some orchestral works. His eclectic but personal style is significantly changed during the years from neoclassicism to atonality, from aleatory to structuralism.
Alexis Renee Ford is a composer, conductor, singer, music educator, adjudicator, and accompanist. She has a wide variety of experience in both vocal and instrumental fields including teaching elementary through high school level choral and instrumental music, teaching college level music theory, conducting professional/community choirs and orchestras, directing church ensembles and semi-professional chamber groups, serving as a board member for local ensembles, and accompanying choirs and private voice studios.
She received both her Bachelor of Music degree in Composition/Music Theory with Dr. Jennifer M. Barker as well as her Master of Music degree in Choral Conducting with Dr. Paul D. Head from the University of Delaware. In addition to her studies at the University of Delaware, Alexis has performed, studied and worked with world-renowned composers and conductors including David Lang, Eric Ewazen, Gary Graden, Anton Armstrong, James Jordan, Weston Noble, Dennis Shrock, Bruce Chamberlain, Charles Bruffy, Giselle Wyers, Rick Bjella, Simon Carrington, and Sandra Snow.
An avid performer, Alexis has performed with a wide variety of musical groups throughout the years, touring across North America, Asia, and Europe. She currently sings with the Mastersingers of Wilmington, CoroAllegro, the Cathedral Choir School of Wilmington, and Vox Populi.
As a composer, Alexis has had performances and premieres of her pieces in Europe, Africa, and throughout the United States. She enjoys taking new projects and commissions and often does composing workshops and clinics with groups performing her music. Recordings of her works are available on Soundcloud and YouTube.
Alexis currently resides in Wilmington, DE and serves as the Director of Music at Grace Lutheran Church in Hockessin, DE. Additionally, she serves on the board of CoroAllegro and serves as the Co-Founder and Executive Director of the new vocal chamber ensemble, Vox Populi. When she is not performing, directing, or composing, she maintains a private studio including students studying voice, piano, music theory, and composition.
You can learn more about Alexis and her work at her website: www.alexisreneeford.com
Caroline Mallonee (b. 1975) is a composer and performer based in New York State. Mallonée’s music has been programmed at venues in New York including Carnegie Hall, Lincoln Center, Symphony Space, Merkin Hall, Bargemusic, Tenri Cultural Center, Town Hall, Roulette, Tonic and National Sawdust, as well as further afield at the Long Leaf Opera Festival (NC), Carlsbad Music Festival (CA), Bennington Chamber Music Conference (VT), the Corcoran Gallery (Washington, DC), Jordan Hall (Boston, MA), Cambridge Music Festival (UK), and Tokyo Opera City (Japan).
Mallonee has been commissioned to write new works for ensembles across the country, including the Buffalo Philharmonic Orchestra, Spektral Quartet, Firebird Ensemble, Present Music, Wet Ink Ensemble, Antares, PRISM Saxophone Quartet, ANA Trio, Ciompi Quartet, Ethos Percussion, and the Buffalo Chamber Players. Her music has been played by soloists including pianists Eric Huebner, Steven Beck, Stephen Gosling, and John McDonald, as well as Haruka Fujii (percussion), Natasha Farny (cello), Miranda Cuckson (violin), Amy Glidden (violin), Feng Hew (cello), Janz Castelo (viola) and Kimberly Sparr (viola). The New York Philharmonic included her music on its CONTACT! new music series in 2015.
Mallonee has been recognized through commissions and awards from the Fromm Foundation, Meet The Composer, the Jerome Fund for New Music, and ASCAP, from which she received a Morton Gould Young Composers Award.
Caroline Mallonee’s choral music has been performed across the country and abroad. Known for writing inventive pieces in English as well as motets in Latin inspired by early polyphony, Mallonée has recently been commissioned by the Baltimore Choral Arts Society, the Young People’s Chorus of New York City and Vocális Chamber Choir.
One of her earliest choral pieces, The Carolers At My Door, was named the winner of a Christmas carol contest on “A Prairie Home Companion.” She was named the winner in the Yale Glee Club’s Emerging Composers Competition for Wind Songsand was chosen to participate in VocalEssence’s Essentially Choral workshops with I Saw A Peacock With a Fiery Tail. Her choral music is available from Boosey & Hawkes and Swirly Music.
She is a professional singer in the Vocalis Chamber Choir and is the director of the Walden School Creative Musicians Retreat, a week-long festival for composers and improvisers held in New Hampshire each June. As a violinist, Mallonee was a founding member of pulsoptional (based in North Carolina) and Glissando (based in New York City).
She studied composition with Louis Andriessen at the Royal Conservatory of the Hague (Fulbright Fellowship, 2005), Scott Lindroth and Stephen Jaffe at Duke University (Ph.D. 2006), Joseph Schwantner and Evan Ziporyn at the Yale School of Music (M.M. 2000), and Bernard Rands and Mario Davidovsky at Harvard University (B.A. 1997).
Michal Dawson Connor is an accomplished performer and composer of choral, chamber, and solo vocal works, with a particular emphasis on Slave songs created before the Civil War. He was born in Jamestown, New York and is a proud alumnus of Carnegie-Mellon University, and L’Ecole Hindemith in Vevey, Switzerland- where he studied voice with Blake Stern and Helen Boatwright. Championing American composers has always been a high priority for him, and Mr. Connor has concertized extensively throughout North America and Europe, specializing in the rich vocal repertoire of Charles Ives, Samuel Barber, Aaron Copland, and many others.
Mr. Connor’s Broadway credits include featured performances in the Tony-Award winning productions of “RAGTIME” and “SHOWBOAT”, as well as starring roles in productions of “THE MOST HAPPY FELLA”, “BIG RIVER”, and “PORGY AND BESS”. In addition to soloing on multiple occasions for President Ronald Reagan, he’s immensely proud of performing for Archbishop Desmond Tutu, Reverend Billy Graham, and Elizabeth Dole. Mr. Connor is a published author of “THE SLAVE LETTERS” currently available on Amazon.com. On network television, he was a guest star on “FRIENDS”, as well as several appearances on the Emmy-Award winning show “EXTREME MAKEOVER: HOME EDITION” and “THE SURPRISE GARDENER”.
Joseph Hasper (b. 1963) is an emerging American composer best known for his jazz-influenced style of post-modern composition. His music is characterized by strong rhythmic impulses and harmonic structures borrowed from contemporary jazz idioms.
Joseph’s teachers include Leonardo Balada, Rich Shemaria, Phil Markowitz, and Marvin Lamb. His degrees include a BFA from Carnegie Mellon University and both an MM (music theory) and DMA (music composition) from the University of Oklahoma, where he was the recipient of the Michael Hennagin Scholarship, Carr-Wallace Scholarship, and grants from the American Music Center, Robberson Fund, and Weitzenhoffer College of Fine Arts. He was a guest composer at the 2012 Fresno New Music Festival, a presenter at the University of Oklahoma Graduate Seminar, and has won awards from the Anton Stadler Composition Competition, American Federation of Music Clubs, and the University of Oklahoma Graduate Research Program.
Joseph has been an Assistant Professor at Cameron University and Adjunct Professor at the University of Oklahoma, and currently teaches at Shippensburg University. He was formerly staff arranger and pianist for Army bands in the US and overseas. He has been a freelance composer and arranger since 1998.
Julius P. Williams Is an internationally acclaimed award-winning composer and conductor. He has conducted countless orchestras around the globe, as a composer he has performances by major symphonies,opera companies, film and musical theater. He is also a recording artist,educator, author and pianist. His career has taken him from his native New York to musical venues around the globe, and has involved virtually every musical genre.
A prolific composer, Maestro Williams has created dozens of works for virtually every genre ofcontemporary classical performance, including opera, ballet, orchestra, chamber ensemble, chorus and solo voice, dance, musical theatre and film. His music has been performed by countless symphony orchestras, chamber ensembles around the globe. He has served as Composer-in-Residence of Connecticut’s Nutmeg Ballet Company, which premiered his ballet, Cinderella. His “Norman Overture” was premiered by the New York Philharmonic, conducted by Zubin Mehta. The opera Guinevere was performed at the Aspen Music Festival and at Dubrovnik Music Festival in Croatia. He was composer of the score for the film “What Color is Love?” and he scored the theatrical production to “In Dahomey” . His Cantata “A Journey to Freedom” for the Reston Choral and Festival Orchestra in Virginia was recorded on his Album Somewhere Far Away, 2009, on the Albany Record label. The Detroit Symphony premiered the moving tribute to the victims of September 11, In Memoriam recorded on Albany records. He recently composed the music Dreams for the Boston Children’s Choir “raising the roof concert: concert televised on national television and recorded on their 2010 new CD. Maestro Williams has served as conductor-composer of the Connecticut Arts Award for Public Television. His film score for Lifetime TV’s Fighting for our Future won the Gracie Allen Documentary Award in 2003.
Julius Williams’ discography includes the critically acclaimed Symphonic Brotherhood a collection of African-American symphonic music, Shades of Blue , The New American Romanticism, Somewhere Far Away, Places in Time, The American Soloist and Midnight Tolls, Orchestral Equilibrium on Centaur Records and Heart on the Wall for Soprano and Orchestra on Albany Records.
He is currently Professor of Composition and Conducting and Co-Artistic Director of the Berklee International Composers Institute at the Berklee College of Music in Boston, and Music Director and Conductor of the Trilogy Opera Company in New Jersey. and Board member of the Conductors Guild.
Steve Kozminski is a composer, arranger, and instrumentalist. As a trumpet player, brass music is close to his heart, but Steve enjoys composing for all types of ensembles, instrumental and choral. Having had the opportunity to play in a variety of settings and groups through the years, his music is influenced by many styles, from classical to rock to jazz. Yet, regardless of the style, one the of the most important aspects for Steve is music’s ability connect with others. He believes these connecting moments in music are what keep us coming back to hear more. Steve particularly likes to play around with harmonic structure to achieve these essential moments.
Elliott Miles McKinley’s music has been performed in the United States, Canada, and Europe. Commissions include those from the Pittsburgh New Music Ensemble, the Czech Philharmonic Chamber Music Society, the SOLI Chamber Music Ensemble, the Whatcom Symphony Orchestra, the Martinů String Quartet, the Mirari Brass Quintet, and the Janaček Trio. The Minnesota Orchestra, the Warsaw Philharmonic, and the Czech Radio Symphony have performed his orchestral music, and his works have been featured on international festivals including the Alba International Music Festival in Italy, the Mid-American Contemporary Music Festival, Indiana State University’s Contemporary Music Festival, the SPARK Festival of Electronic Music and Art, as well as College Music Society and Society for Composers Inc. festivals. He is a recipient of a number of awards, grants, and fellowships including those from BMI, ASCAP, SCI, Meet the Composer, the American Music Center, the American Composers Forum, and Indiana University.
Also active as a performer and improviser, McKinley is a founding member of the electroacoustic improvisation ensemble, earWorm, where he plays a variety of keyboard and percussion instruments, and executes real-time sampling, looping, and effects processing for the ensemble. earWorm has several commercially available recordings, and performs on conferences and festivals in the Untied States such as the International Society for Improvised Music.
McKinley earned a Bachelor of Music degree in jazz studies from the New England Conservatory of Music, a Master of Music degree in composition from the University of Michigan, and a Ph.D. in composition from the University of Minnesota. He has taught music composition and theory at the University of Tennessee School of Music, Washington and Lee University, and was Assistant Professor of Music and Music Program Coordinator at Indiana University East. Currently he is Assistant Professor of Music Composition, Theory, and Technology at Roger Williams University.
Born in 1950, John Bayley spent many years as a music teacher in schools and colleges in the English Midlands. Since leaving the profession in 1997 he had a brief spell as an actor, as well as being MD for several shows, ranging from Gilbert and Sullivan operettas to “Godspell”, which he also directed. John sang with the City of Birmingham Symphony Orchestra Chorus for 30 years, and has performed around the world under many of the greatest conductors. John studied choral conducting as a postgraduate at Birmingham Conservatoire under the renowned choral conductor Paul Spicer, and has conducted several choirs. He is currently conductor of the Solihull Chandos Choir. His composition work includes incidental music for several Shakespeare plays.
David is a classical composer and professional musician living and working in Dorset, on the south coast of England.
He writes sacred and secular choral music for a range of types of choir, from small church choirs of limited resources, through to experienced chamber choirs and large choral societies.
David has produced commissioned works for several choirs. He has found success in competitions, including winning the international Cantus Ensemble Choral Composition Competition in 2015, The Wessex Festival competition in 2016 and the Singers Prize in the Small Choirs International Composing Competition of 2013.
His works have been performed across the world, including in a growing number of cathedrals in the UK: St Paul’s, London, Wells, Norwich, Ripon, Sheffield, Birmingham (St Philip’s), Nottingham and Leeds. Performance venues in North America include St Paul’s Cathedral, Fond du Lac, WI, St Paul’s Cathedral, London, Ontario, Canada, and the Episcopal Church of St Francis, San Francisco.
A composer of diverse influences, Ethan McGrath seeks to write music that will help break down barriers between people and have the potential to convey meaning to anyone who hears it. A requiem entitled That They May Rest, a Missa Brevis, and a Magnificat are among Ethan’s most significant compositions to date, as well as a Te Deum, which was commissioned for the 2018 Southern Division ACDA Conference. His compositions have been featured in workshops by Rodney Eichenberger and have been performed by such choirs as the Capitol Hearings in Washington, DC, the Taipei Chamber Singers, and the Ely Cathedral Girls’ Choir. His Nunc Dimittis recently won first prize in the Musica Sacra Nova Competition in Poland and was premiered in July, 2018 by the Choir of Trinity College, Cambridge. Ethan holds a BMus in composition from the University of Tennessee at Chattanooga and an MMus in Choral Studies from the University of Cambridge (UK), where he studied conducting under Stephen Layton, Timothy Brown, Graham Ross, and others.
A native Marylander currently residing in the Republic of Ireland, R.A. Moulds studied composition with William Presser at the University of Southern Mississippi. His early music exhibited an idiosyncratic, non-dogmatic post-tonal style, which was soon abandoned in favor of a more eclectic manner. Around 1992, his music made increasing use of tonal materials, not as pastiche or postmodern irony, but rather as acknowledgment of the continuing power of such music to have a complex, expressive effect on performers and audiences. These later works draw on a wide variety of other works—both from the history of music and Moulds’s own—but are integrated within his own graceful, sophisticated sensibility.
Born in England, Daniel Wood (1974- ) was raised in the San Francisco Bay Area and received his training in composition and horn in Los Angeles. He enjoys crafting music for small forces spinning a conversational narrative and creating works with subtle shadings. His works favor intimate groups including brass, wind and string chamber music, steel drum ensembles and jazz combos. Recent commissions include “Blinding Light” and “Too Many Cliches” from the Presidio String Trio, “Searching for Attleby” from Teal Crane, and “Hot Date with Destiny” from the Avenue Winds. His music is published by Solid Wood Publishing and can be heard on the Quadre Record label.
Maria Ljungdahl lives in a village by the coast, in the archipelago region outside Stockholm, Sweden. Her first compositions were written in 1964. She has never stopped thinking about her own musical ideas and how to develop them, but school and other interesting or necessary things in life got in the way of a possible career in music. Composition teachers and mentors through the years have been, among others, Greta Westfelt, Gunnar Borén, Ladislau Müller, Monica Hansson, Carl-Axel Hall, Per-Anders Nilsson, Michael W. Morse, Patrick Ross-Ross, Mattias Lundberg and Magnus Holmlund. Beginning in 1995, she has studied musicology, music theory, music history, aesthetics, ethnomusicology, philosophy, music technology and composition at the universities in Gothenburg, Lund, Uppsala and Stockholm. She is, since 2005, author of a blog on the internet, called Beyond Good and Atonal.
DR. ROSS C. BERNHARDT is Director of Choral Activities and Professor of Music at Texas A&M University-Corpus Christi, where he conducts Camerata Isla, University Singers, and teaches applied voice and choral litertaure/techniques. He received a Doctor of Musical Arts degree in choral conducting from Michigan State University, and Masters and Bachelors degrees from the University of North Carolina at Greensboro and the University of Missouri, respectively.
Dr. Bernhardt previously served as Chair of the Music Department and Director of Choral Activities at Lambuth University. He also served on the faculties of Columbia College (Missouri) and Lansing Community College (Michigan) and was a high school choral director in southwest Virginia.
Dr. Bernhardt was Artistic Director of the Corpus Christi Chorale from 2008 to 2015. He was previously assistant conductor for the Santa Fe Desert Chorale and was bass faculty for the Berkshire Choral Festival. An active baritone soloist, Dr. Bernhardt has performed with musicians and organizations such as the Santa Fe Opera, Dave Brubeck, San Juan Symphony, Canterbury Choral Society, and the Santa Fe Symphony. He currently performs each summer with the Oregon Bach Festival under the direction of Helmuth Rilling.
Dr. Bernhardt has won first prize in the Ithaca College Choral Composition Competition, Silliman Anthem Award Competition (US), Longfellow Choral Composition Competition (US), and Concurso Internacional Amadeus de Composición Coral (Spain), and special commendation in the Phoenix Choral Composition Competition (UK). His compositions have been published by Hinshaw, Mark Foster, and Colla Voce. Self-published compositions are available via www.bernhardtmusic.com.