CCM offers a variety of public lectures each year, including regular installments in the long-running Thinking About Music Lecture Series and other one-off public lectures hosted by individual departments.
Since its inception in January 1997, Thinking About Music has presented nearly 130 lectures and one symposium by guests from numerous different colleges, universities, schools of music, foundations, institutes, museums and publishing concerns. The subjects of the lectures have covered historical musicology, music theory and ethnomusicology, along with the ancillary fields of organology, dance, music business and law, cognitive psychology, and the philosophy, theology and sociology of music.
1:30 p.m. Friday, April 11
• The Joseph and Frances Jones Poetker Thinking About Music Lecture Series •
MAPPING THE GAMUT: SOLMIZATION PEDAGOGY, TONAL COMPASS, AND 16TH-CENTURY COUNTERPOINT
Megan Kaes Long, Associate Professor of Music Theory at Oberlin Conservatory of Music
Renaissance musicians learned to sing using hexachordal solmization, a precursor to our modern solfège systems. Solmization instruction books often describe their goal as building “musical understanding” in their students—something deeper and richer than merely training singers to sight-read effectively. This talk explores what musical understanding might have looked like in 16th-century polyphony, arguing that solmization represents implicit knowledge about tonal space and how to navigate it. Using examples drawn from Palestrina’s masses and motets, we will see how attention to solmization makes Palestrina’s tonal strategies transparent, and how solmization shaped the tonal system of 16th-century music more broadly.
Location: Baur Room
Admission: FREE
1:30 p.m. Friday, Sept. 13
• The Joseph and Frances Jones Poetker Thinking About Music Lecture Series •
LISTENING TO SCHOENBERG’S WORKS IN HIS FUNDAMENTALS OF MUSICAL COMPOSITION
Philip Stoecker, Professor of Music and Director of Music Theory and Ear Training Department Chair at Hofstra University
Location: Baur Room
Admission: FREE
1:30 p.m. Friday, Sept. 1
• The Joseph and Frances Jones Poetker Thinking About Music Lecture Series •
ANALYZING LARGE-SCALE TONALITY IN ROCK MUSIC: STEADY-SCALE AND STEADY-TONIC SYSTEMS
Brett Clement (PhD Music Theory, '09), Associate Professor of Music Theory at Ball State University
How do rock songs create tonal unity? This presentation addresses this question by introducing a conceptual framework built around two contrasting tonal systems: steady-scale and steady-tonic. These systems are named according to the underlying feature that remains consistent in the music, with steady-scale systems unified by their adherence to notes within a diatonic pitch collection/key signature and steady-tonic systems unified by an unwavering tonic pitch. As the two systems exploit musical elements in largely opposite ways, this presentation lays out the range of possibilities for tonal drama, ambiguity, and global hierarchy in songs exemplifying one or the other system. It concludes with analyses of songs that are mixtures of the two systems, thereby featuring a more fluid approach to tonal organization.
Location: Baur Room
Admission: FREE
1:30 p.m. Friday, Oct. 27
• The Joseph and Frances Jones Poetker Thinking About Music Lecture Series •
SEEKING ENLIGHTENMENT IN THE MAGIC FLUTE
Richard Kramer, Professor Emeritus from CUNY Grad Center
What is Enlightenment? In a certain sense, The Magic Flute may be understood as a playing out of Immanuel Kant’s answer to that question: “Sapere aude! [dare to know] – Have the courage to use your own understanding” – a challenge that is at the core of Tamino’s perilous journey. But the idea of Enlightenment and the complexity of original thought encompassed under its banner demands of us that we examine the deeper questions that it asks: What view of Enlightenment is conveyed in Mozart’s music and Schikaneder’s libretto, and how does this view accord with those strains of thought and expression, of wit and sensibility, that we take to constitute the defining aura of the Enlightenment? The great arias of Tamino and Pamina, studied as embodiments of these qualities, are viewed against the master plots of the opera.
Location: Online via Zoom; contact Professor Steven Cahn for details.
Admission: FREE
1:30 p.m. Friday, March 22
• The Joseph and Frances Jones Poetker Thinking About Music Lecture Series •
THE PRIMA DONNA AS TEACHER: PAULINE VIARDOT AND HER STUDENTS
Hilary Poriss, Chair and Professor of Musicology at Northeastern University
The silence surrounding 19th-century singers, particularly following retirement, is often deafening. Not only were many of their accomplishments quickly forgotten, but their voices also faded quickly into oblivion. Active just prior to the age of recording, one of the only ways that performers could ensure that their voices would continue to resonate was through their students. Pauline Viardot (1821-1911), one of the 19th-century’s most renowned divas, managed to maintain a rigorous schedule as a pedagogue as professor of singing at the Paris Conservatoire (1871-1875) and in her private studio throughout much of her adult life. In total, Viardot instructed more than 350 men and women, many of whom went on to achieve fame on the international stage (Ada Adini, Désirée Artôt, and Aglaja Orgeni are just a few). In this talk, Poriss will explore Viardot’s relationships with her singers, traces of which are scattered throughout her prolific correspondence. She will address the close connections that Viardot formed with some of her students, tracing her relationships with them through their correspondence. The image that emerges is of a teacher dedicated to perpetuating her own unique style while simultaneously encouraging a group of young artists to invent themselves anew.
Location: Baur Room
Admission: FREE
1:30 p.m. Friday, April 5
• The Joseph and Frances Jones Poetker Thinking About Music Lecture Series •
GENDERED ACTS IN COMEDY: JUNE CARTER’S VOCAL AND KINETIC PERFORMANCE IN COUNTRY MUSIC
Stephanie Vander Wel, Associate Professor, Department of Music and Global Gender and Sexuality Studies at the University at Buffalo
June Carter is typically known as a member of the country ensemble Mother Maybelle and the Carter Sisters as well as the self-sacrificing wife and duet partner of the iconic Man in Black, Johnny Cash. These modernist concepts of femininity linked to traditionalism and domesticity, however, have obscured Carter’s dynamic career as one of the most prominent comediennes in mid-century country music. This paper, thus, centers on Carter’s multi-faceted practices of adapting and modernizing the comedic tropes of early country music into her own performance style of the 1940s and 1960s. In a variety of media, Carter offered a kaleidoscopic array of gendered images that highlighted the kinetic and verbal excesses of the white unruly female rustic. Her strategies of aggressive and parodic vocal humor proved integral in her 1960s duets with Cash, revitalizing his failing career at the time, and broadening the expressive opportunities for other female artists, including Loretta Lynn and Dolly Parton.
Location: Baur Room
Admission: FREE
1:30 p.m. Friday, Sept. 16
• The Joseph and Frances Jones Poetker Thinking About Music Lecture Series •
WOMEN AUDIO PRODUCERS AND ENGINEERS, AND THE CASE AGAINST GENDER VENTRILOQUISM
Helen Reddington, Senior Lecturer in Music Production at the University of East London
This talk will focus on women professionals in the UK music industry. Reddington’s The Lost Women of Rock Music (Equinox, 2012) features women punk instrumentalists in the UK in the late 1970s, speaking through the lens of history. These experiences, voiced by the women themselves, challenged the male narrative of the subculture and indeed its very maleness. Reddington’s She’s at the Controls (Equinox, 2019) follows the same methodology, this time focusing on much more recent accounts by women in the music industry. It focuses both on the reasons why it is important that women have equality of access to the music industries, and the impact of often invisible male gatekeeping on the end product (the music) that we listen to and map our lives to. Reddington will discuss issues raised by the women producers and engineers that she interviewed and will contextualize these within the central concept of the book: that of gender ventriloquism.
Location: Online via Zoom. Contact Professor Jeongwon Joe for details.
Admission: FREE
1:30 p.m. Friday, Sept. 30
• The Joseph and Frances Jones Poetker Thinking About Music Lecture Series •
HIDING IN PLAIN SIGHT: VARIETIES OF INVERTIBLE CANON IN THE LONG SIXTEENTH CENTURY
Denis Collins, Associate Professor in Musicology from University of Queensland, Australia
This presentation takes as its starting point a seeming error in a musical example in Gioseffo Zarlino’s Le istitutioni harmoniche (1558). Careful comparison with similar examples shows that all of his examples are correct as notated. They demonstrate a contrapuntal technique that results in a type of invertible canon in performance. This lecture points to other situations where Zarlino’s theories can help in unravelling the complexities of 16th-century counterpoint. It also discusses how canons, including those that employ complex procedures, enjoyed a long history as title pages or frontispieces to manuscript collections or printed volumes of music. These canons were often presented in geometric shapes whose symbolic significance could be reinforced by accompanying artwork or textual commentaries.
Location: Online via Zoom. Contact Professor Steven Cahn for details.
Admission: FREE
1:30 p.m. Friday, Feb. 17
• The Joseph and Frances Jones Poetker Thinking About Music Lecture Series •
EXPANSION, CONTRACTION, AND TRANSFORMATION: THE CREATION OF SACRED SPACE THROUGH MUSIC FOR COMMUNAL HEALING AND SOCIAL JUSTICE
Lisa Osunleti Beckley-Roberts, Associate Professor of Musicology from Jackson State University
Through the study and exploration of African and diasporic music and movement practices, the author shares experiences with facilitating communal healing in the planning, preparation, and performance of a work in honor of Trayvon Martin. This paper explores the ways that the terms expansion and contraction, borrowed from Ifa cosmology of the Yoruba ethnic group, may be applied to the practice of reimagining African and African diaspora music and dance, in order to respond to and navigate the emotional turmoil of social injustice. Furthermore, additional instances of the use of music and the reimagining of musical ideas have been used to aid in communal healing.
Location: Baur Room
Admission: FREE
1:30 p.m. Friday, March 3
• The Joseph and Frances Jones Poetker Thinking About Music Lecture Series •
MOURNING AND MANEUVERING: MUSICAL PRACTICE AND THE NEW TRAUMAS OF RECONSTRUCTION
Thomas Kernan, Associate Dean of the Chicago College of Performing Arts and Associate Professor of Music History at Roosevelt University
In recent years American journalists, activists, and scholars have devoted significant attention to identifying, examining, and in many cases removing statues of Confederate Civil War generals from public spaces. One element of the case for statue removal has been that most of these statues never held a close chronological connection to the war; rather, they were the products of twentieth-century segregationists. This is an important point, as it demonstrates the way in which segregationists activated war memory to make overtly racist claims many decades later. However, the argument about the comparatively late arrival of these statues to public squares often obscures our understanding of a different type of commemoration—an aural one—that occurred in these same locales.
Decades prior to placement of a bronze Robert E. Lee or marble Stonewall Jackson, many American parks, plazas, and boulevards where marked as commemorative spaces hostile to Black life. Musical compositions and performances, perhaps more holistically than other types of sources, allow us to recognize the ways in which spaces that excluded Black Americans during the period of slavery were swiftly reaffirmed as places hostile to Black lives during Reconstruction. To this end, the trauma of having a Confederate monument in a public space in 2022 is connected to a consistent trauma of having had crowds of people singing songs of the segregationist narrative during the crucial interregnum of Reconstruction. While physical monuments were added later, they had musical precursors that are relevant in recognizing the ways in which musical practices predate physical manifestations of Confederate commemoration.
Location: Baur Room
Admission: FREE
1:30 p.m. Friday, March 31
• The Joseph and Frances Jones Poetker Thinking About Music Lecture Series •
GENERATING NEW PREDICTIONS: NEW DIRECTIONS IN MUSIC FOR BRAIN HEALTH
Psyche Loui, Associate Professor from Northeastern University College of Arts, Media and Design
The ability to predict events in the near future is a ubiquitous feature of biological systems that underlies perception, action and reward. Guest speaker Psyche Loui, PhD, will present recent work that combines music theory and music technology with cross-cultural behavioral testing, neuropsychological assessments and neuroimaging studies in her lab on how and why humans across societies learn to love music, uncovering the role of different types of prediction on the dopaminergic reward system in the brain. These results are the first to highlight the process by which we learn from our predictions, and that learning itself becomes rewarding. Given that music taps into a relatively domain-general reward system which in turn motivates a variety of cognitive behaviors, Loui will also consider how this knowledge can be translated into music-based interventions for those with neurological and/or psychiatric disorders, presenting preliminary results on Alzheimer’s Disease and Parkinson’s Disease.
Location: Baur Room
Admission: FREE
1:30 p.m. Friday, April 14
• The Joseph and Frances Jones Poetker Thinking About Music Lecture Series •
THE FRAGMENT AND THE LONG SONG OF JULIUS EASTMAN
Ellie Hisama, Dean of the Faculty of Music and Professor of Music from the University of Toronto
This talk examines the ways in which the archive of the composer, pianist, and vocalist Julius Eastman (1940-1990) performs an act of refusal. Eastman’s subjectivity as a queer African American musician and the narratives about his life strongly resonate with researchers and the public who are eager to excavate the work of Black artists and musicians. In writing a “long song” about Julius Eastman, this project brings together the fragments of Eastman’s work, focusing on his radical sonic expressions of and commentary on black being in compositions from the 1970s and 1980s. It serves as an initiative in music studies that offers tangible pathways of listening to Julius Eastman’s uncompromising and fierce musical engagements of refusal.
Location: Zoom
Admission: FREE, but registration is required. Register for the lecture here. After registering, you will receive a confirmation email containing information about joining the Zoom meeting.
This virtual installment of CCM's Thinking About Music Series features a lecture by Michael Haas, a multiple Grammy Award-winning recording producer also known for his recovery of music lost during the Third Reich. The title of Haas' talk is “Hans or Hanuš: Winterberg’s Complex Tangles with the 20th Century.”
The following is an alphabetical list of past Thinking About Music speakers:
Organized by the University of Cincinnati Alumni Association, CCM Speaks is a lecture series designed to showcase accomplished alumni from various degree programs who share brief and impactful stories about specific pivotal moments in their career journey.
CCM alum Timothy O'Neill (BM '03, MM '04, MS '06) presents "A New Renaissance: AI's Future Influence on Classical Music," weaving together a unique blend of high-level expertise and decades of experience in the tech and music sectors. O'Neill is a Senior Director of Engineering & Data Science for a public software company where he manages approximately 150 technical personnel in Product Development, co-leads Artificial Intelligence strategy for the organization, and regularly presents to internal and external business leaders on AI's impact to industry.
Evan Gidley (MM '18) presents "Inspiring Hope: Creating Connection Through Participatory Art." Gidley has served as executive director of the Cincinnati Chamber Orchestra since May 2022. He is responsible for planning and executing the orchestra’s annual Summermusik and We Are One festivals as well as special projects such as September 2023’s historic Walk with Amal. Prior to this appointment, he was orchestra personnel manager with the Columbus (OH) Symphony Orchestra, where he helped lead the organization’s robust community outreach program. Gidley received his MM in Saxophone Performance from CCM, and he remains active as a freelance saxophonist and private lesson instructor.
Kathleen Shimeta (MM '79) presents "Bringing Back Branscombe: A Woman Composer Lost – Now Found." A musician, music researcher and writer, Shimeta has enjoyed a singing career performing art songs, chamber music, oratorio and opera. As a strong advocate for contemporary American composers, she has premiered works written for her by late 20th and 21st-century composers. For over 20 years, Shimeta has championed the music of Canadian-American composer Gena Branscombe through a variety of projects that have been celebrated and shared in performance and historic venues across the country. Shimeta received her Bachelor’s degree from St. Cloud State University in St. Cloud, Minn., and her Master of Music degree from CCM.
"Amplifying Justice: Music, Activism, and Intersectional Advocacy" is an innovative workshop series that seeks to foster meaningful connections between graduate music students and dedicated community activists. Through engaging discussions and collaborative initiatives, participants will explore pressing issues surrounding climate justice, reproductive justice, and trans* rights, within the context of music and its potential for social impact. This series serves as a dynamic platform for knowledge exchange, empowering attendees to enact positive change in their communities and beyond. This workshop series is hosted by the Division of Composition, Musicology and Theory (CMT) and supported by a CCM DEI Committe grant through CCMpower. In the spirit of inclusivity, all CCM graduate students are welcome to attend. Join us in this transformative journey towards a more inclusive and equitable future.
1:30 p.m. Wednesday, Oct. 9
• Guest Lecture •
IN TUNE WITH DEMENTIA: ENRICHING LIVES THROUGH MUSIC, MOVEMENT AND IMPROVISATION
Jude Jones, M. Ed, MT-BC (Board Certified Music Therapist)
This presentation will provide an overview of the universal power of music and the rationale for using this art form in working with clients with dementia from various cultural backgrounds. Creative singing, movement and improvisation interventions for engaging and empowering clients with dementia will be discussed and demonstrated with an emphasis on interactive involvement for participants attending the session. The Power of music lecture as it relates to helping others with dementia will briefly discuss how: 1) Music awakens our memories and emotions, 2) Music makes us move, 3) Music provides opportunities for social interaction, 4) Music reduces anxiety, 5) Music improves cognition. The Creative Singing portion of the session will address working with non-lexical vocals, call-and response methods in singing, songwriting and other creative vocal work ideas to engage folks with dementia in music. The Creative movement section of the session will demonstrate simple easy memorable original movement ideas that can be incorporated into movement routines with emphasis of teaching others how to choreograph their own movement routines for their clients. The Improvisational part of the session will address the use of improvisational games, story weaving and music listening exercises as treatment tools for helping folks with dementia.
Supported by the CCM General Studies Division and BA in Music program, with additional support from CCM's DEI Committee.
Location: Baur Room
Admission: FREE
1:30 p.m. Friday, Sept. 22
CLIMATE JUSTICE
Savanah Sullivan, Senior Director of Programs, Green Umbrella: Regional Sustainability Alliance
Presented by CCM Composition, Musicology and Theory (CMT) as part of its "Amplifying Justice: Music, Activism and Intersectional Advocacy" lecture series, supported by a CCM DEI Committee grant through CCMpower. The series seeks to foster meaningful connections between graduate music students and dedicated community activists. Through engaging discussions and collaborative initiatives, participants will explore pressing issues surrounding climate justice, reproductive justice and trans rights, within the context of music and its potential for social impact. This series serves as a dynamic platform for knowledge exchange, empowering attendees to enact positive change in their communities and beyond. Join us in this transformative journey towards a more inclusive and equitable future.
Location: Baur Room
Admission: FREE
1:30 p.m. Friday, Sept. 29
TRANS* RIGHTS
Tristan Vaught, Co-founder of Transform Cincy
Presented by CCM Composition, Musicology and Theory (CMT) as part of its "Amplifying Justice: Music, Activism and Intersectional Advocacy" lecture series, supported by a CCM DEI Committee grant through CCMpower. The series seeks to foster meaningful connections between graduate music students and dedicated community activists. Through engaging discussions and collaborative initiatives, participants will explore pressing issues surrounding climate justice, reproductive justice and trans rights, within the context of music and its potential for social impact. This series serves as a dynamic platform for knowledge exchange, empowering attendees to enact positive change in their communities and beyond. Join us in this transformative journey towards a more inclusive and equitable future.
Location: Baur Room
Admission: FREE
1:30 p.m. Friday, Oct. 13
REPRODUCTIVE JUSTICE
Rashida Manuel, Vice President of Diversity, Equity and Inclusion at Planned Parenthood Southwest Ohio
Presented by CCM Composition, Musicology and Theory (CMT) as part of its "Amplifying Justice: Music, Activism and Intersectional Advocacy" lecture series, supported by a CCM DEI Committee grant through CCMpower. The series seeks to foster meaningful connections between graduate music students and dedicated community activists. Through engaging discussions and collaborative initiatives, participants will explore pressing issues surrounding climate justice, reproductive justice and trans rights, within the context of music and its potential for social impact. This series serves as a dynamic platform for knowledge exchange, empowering attendees to enact positive change in their communities and beyond. Join us in this transformative journey towards a more inclusive and equitable future.
Location: Baur Room
Admission: FREE
CCM's Composition Program hosts events with guest artists from five countries throughout the 2021-22 school year. Visiting composers and guest artist ensembles present lectures and performances as part of the Alexander Zemlinsky Prize for Composition events. Learn more.
12:30 p.m. Wednesday, Sept. 29
COMPOSING WITH JOY
Guest Lecture by Carl Vine, visiting composer and Alexander Zemlinsky Prize for Composition jury member
Australian composer Carl Vine has written 25 scores for classical dance, eight symphonies, 12 concertos and a wide range of chamber music as well as music for film, television and theatre. His music is available on more than 60 commercial recordings and is performed frequently around the world. Vine served as a jury member for the 2019 Alexander Zemlinsky Prize for Composition.
Location: Mary Emery Hall, Room 3250
Admission: FREE
7:30 p.m. Thursday, Sept. 30
• Guest Artist Recital •
THE MUSIC OF CARL VINE
Featuring guest artists Beo String Quartet
Featuring student artists from the CCM Chamber Orchestra
Enjoy a recital of works by visiting composer and Alexander Zemlinsky Prize for Composition jury member Carl Vine. The program includes Vine's Piano Trio "The Village," String Quartet No. 3, Cafe Concertino and String Quartet No. 6. Reception to follow in the CCM Baur Room.
Location: Robert J. Werner Recital Hall
Admission: FREE
12:30 p.m. Wednesday, Nov. 17
GUEST LECTURE
Missy Mazzoli, Grammy Award-winning composer and Alexander Zemlinsky Prize for Composition jury member
Missy Mazzoli has had her music performed by the Kronos Quartet, LA Opera, eighth blackbird, the BBC Symphony, Scottish Opera and many others. In 2018 she became one of the first two women, along with Jeanine Tesori, to receive a main stage commission from the Metropolitan Opera and was nominated for a Grammy award. Mazzoli served as a jury member for the 2019 Alexander Zemlinsky Prize for Composition.
Location: Mary Emery Hall, Room 3250
Admission: FREE
7:30 p.m. Thursday, Nov. 18
• Guest Artist Series •
THE MUSIC OF MISSY MAZZOLI
Missy Mazzoli, Grammy Award-winning composer and Alexander Zemlinsky Prize for Composition jury member
Featuring guest artists Beo String Quartet and student artist Michael Delfin, piano
William R. Langley, guest conductor
Enjoy a recital of works by visiting composer and Alexander Zemlinsky Prize for Composition jury member Missy Mazzoli. The program includes Mazzoli’s Vespers for Violin (2014), Enthusiasm Strategies (2019), Harp and Altar (2009), A Thousand Tongues (2009), Lies you Can Believe In (2007), Heartbreaker (2013), Ecstatic Science (2017) and Still Life with Avalanche (2008). Reception to follow in the CCM Baur Room.
Location: Robert J. Werner Recital Hall
Admission: FREE
12:30 p.m. Wednesday, Dec. 1
GUEST LECTURE
Aya Yoshida, Winner of the 2019 Alexander Zemlinsky Prize for Composition
Japanese composer Aya Yoshida’s works have been performed in Japan and Europe by a diverse range of soloists, ensembles and orchestras, including the performances by Curious Chamber Players in Viitasaari, Finland; by Arditti Quartet and by Danish Radio Symphony Orchestra in Copenhagen, Denmark. She recently won the 2019 Alexander Zemlinsky Prize for Composition for her 10-minute piece Double-face. The first prize award includes $30,000 along with a new orchestral commission for dance. The commissioned piece will receive a world premiere by the CCM Philharmonia and CCM Ballet Ensemble during the CCMONSTAGE Dance Works performances on Dec. 2-5.
Location: Mary Emery Hall, Room 3250
Admission: FREE
Dance Works graphic.
7:30 p.m. Thursday, Dec. 2
7:30 p.m. Friday, Dec. 3
7:30 p.m. Saturday, Dec. 4
3 p.m. Sunday, Dec. 5
• CCMONSTAGE: Dance •
DANCE WORKS
Shauna Steele, director
Featuring world premieres by choreographer Shauna Steele and composer Aya Yoshida, Alexander Zemlinsky Prize for Composition winner
CCM Dance showcases an array of classic and contemporary works restaged and choreographed by CCM Dance faculty and guest choreographers. From Paquita, choreographed by Marius Petipa (1910) and restaged by Deirdre Carberry, to Falling Upwards by Shauna Steele, which features the world premiere of a new work by Aya Yoshida, winner of the international Alexander Zemlinsky Prize for Composition. The premiere is performed by the CCM Dance Ensemble and the CCM Philharmonia, conducted by Mark Gibson. *Please be advised, some concert lighting effects may resemble or have a strobe affect.
Location: Patricia Corbett Theater
Tickets: Prices start at $29.50; student and group discounts available.
Please note that traffic around campus will the heavier than normal due to a UC football game at 4 p.m. on Dec. 4 at UC's Nippert Stadium. Patons are encouraged to purchase parking in advance through the CCM Box Office.
12:30 p.m. Wednesday, Feb. 23
GUEST LECTURE
Iris ter Schiphorst, visiting composer and Alexander Zemlinsky Prize for Composition jury member
Location: Mary Emery Hall, Room 3250
Admission: FREE
7:30 p.m. Thursday, Feb. 24
• Guest Artist Recital •
THE MUSIC OF IRIS TER SCHIPHORST
CCM Chamber Orchestra and guests
Aik Khai Pung, music director and conductor
Featuring music by Iris ter Schiphorst, visiting composer and Alexander Zemlinsky Prize for Composition jury member
This recital features Schiphorst’s The Fall of the House of Usher, Sometimes II, Dislokationen II , Ballade für einen Buldozer, Hi Bill and Vielleicht gestern, presented with film and electronics in a multimedia superfest! Reception to follow in the CCM Baur Room.
Location: Patricia Corbett Theater
Admission: FREE
2:30 p.m. Friday, Feb. 25
• Guest Artist Series •
MASTER CLASS WITH ICARUS QUARTET
Location: Patricia Corbett Theater
Admission: FREE
2 p.m. Saturday, Feb. 26
• Guest Artist Series •
icarus Quartet
New works for two pianos and two percussionists including the premier of faculty artist Douglas Knehans’s Transparent Waves.
Location: Patricia Corbett Theater
Admission: FREE
12:30 p.m. Wednesday, March 9
GUEST LECTURE
Colin Matthews, visiting composer and Alexander Zemlinsky Prize
for Composition jury member
Location: Mary Emery Hall, Room 3250
Admission: FREE
7:30 p.m. Wednesday, March 9
• Guest Artist Series •
THE MUSIC OF COLIN MATTHEWS
Colin Matthews, visiting composer and Alexander Zemlinsky Prize for Composition jury member
Featuring Marta Aznavoorian, piano; and guest artists the Lincoln Trio and Beo String Quartet
Showcasing Matthews’ Eleven Studies in Velocity, Three Enigmas, String Quartet No. 2, Nowhere to Hide and Hidden Agendas. Reception to follow in the CCM Baur Room.
Location: Robert J. Werner Recital Hall
Admission: FREE
November 19, 2024
Watch the latest alumni guest lecture presented as part of CCM Speaks, lead by the UC Alumni Association. UC College-Conservatory of Music alum Evan Gidley presents "Inspiring Hope: Creating Connection Through Participatory Art."
August 26, 2024
Experience world-class performances by the next generation of performing and media artists at the University of Cincinnati College-Conservatory of Music (CCM)! The college’s fall 2024 schedule of major events is now available; tickets are on sale now through the CCM Box Office.
March 29, 2024
Each semester, CCM's Thinking About Music Series welcomes distinguished experts for musical discussions and lectures that are open to the general public and free to attend. The series continues at 1:30 p.m. on Friday, April 5 with a presentation by Stephanie Vander Wel, Associate Professor in the Department of Music and Global Gender and Sexuality Studies at the University at Buffalo. The title of Vander Wel's talk is "Gendered Acts in Comedy: June Carter’s Vocal and Kinetic Performance in Country Music." The lecture will be presented in the CCM Baur Room.
