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JERE HUMPHREYS (USA)
(Key Note Speech: The Future of Music Education: Embracing Change)
Professor of music at Arizona State University (ASU), is the contributing editor for music education for the New Grove Dictionary of American Music (2nd ed.) and a section editor for the Oxford Handbook of Music Education, both forthcoming from Oxford University Press. He has served as editor of the Journal of Historical Research in Music Education and on the editorial committees of twelve national and international journals; a reviewer for the U.S. National Endowment for the Humanities, Social Sciences and Humanities Research Council of Canada, and numerous scholarly presses; and a consultant and research team member for the European Union and U.S. National Endowment for the Arts. One of the most prolific scholars in his field with more than one hundred publications and reprints in six languages, he is a Senior Fulbright Scholar, winner of the prestigious biennial MENC Senior Researcher Award from the 130,000-member National Association for Music Education (MENC), and recipient of the MENC Citation of Excellence in Research.
Humphreys is a versatile researcher and teacher who applies historical, quantitative, philosophical, and sociological research methods to music education and arts business. He has lectured, consulted, and presented keynote and other addresses in twenty-seven countries on six continents and more than half the North American states and provinces. He has advised twenty-nine doctoral dissertations (55% historical, 41% quantitative, 3% other), several of which won national awards; and he serves as a dissertation and thesis advisor, committee member, and reviewer for institutions in Australia, Eastern and Western Europe, and North and South America. He has served as a visiting professor in Argentina, Cyprus, and Macedonia; an Endowed Chair Resident at the University of Alabama; and an Academic Specialist for the U.S. Department of State. He has been nominated for ASU Professor of the Year, ASU Distinguished Mentor of Women, and ASU College of Fine Arts Distinguished Teacher of the Year awards.
Humphreys has held leadership positions in the College Music Society, Greek Society for Music Education, International Society for Music Education, MENC, and other organizations, mostly related to finance, hall of fame, research, and teacher education. He has been a university accreditation evaluator in Canada and currently sits on the Board of Directors for the Arizona Chapter of The Fulbright Association. He has served on and chaired numerous curriculum- and personnel-related committees, including several at the university level, and he is the faculty advisor for the ASU Habitat for Humanity Campus Chapter. In recognition of his research, teaching, and service, he is included regularly in the Marquis Who’s Who in America and Who’s Who in American Education.
Outside of academia Humphreys serves on the Board of Directors for the American Civil Liberties Union of Arizona. He has also contributed for over a decade to Habitat for Humanity (HFH) construction and fundraising projects in the U.S. and internationally: serving as the construction house leader or co-leader for fourteen houses in Phoenix and Jimmy & Rosalynn Carter blitz builds, supervising another fourteen builds as a block leader, and participating in a Global Village build in Belfast, Northern Ireland. In 2002 he collaborated with HFH founding president Millard Fuller to found HFH Macedonia, and he continues on that award-winning affiliate’s Assembly and Board of Directors. In 2008 he was nominated for the ASU Woodside Sustained Community Service Annual Award.
A native of Tennessee, Humphreys holds a B.M. in music education from the University of Mississippi, an M.M. in clarinet performance from Florida State University, and a Ph.D. in music education from the University of Michigan. Before moving to ASU in 1987 he taught at West Virginia University and Huntingdon College (Montgomery, Alabama), in the Mississippi public schools, and served in the U.S. Army National Guard.
For more information, including curriculum vitae see www.public.asu.edu/~aajth.
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PATRICIA ADKINS CHITI (UK- Italy) (workshop & Board)
Gigliola Zecchi Balsamo (Italy) (donna in Musica board)
(Symposium on Teaching Music Education- Gender Studies : Women In Music)
Musician, musicologist. Resident in Italy, born in England, she studied at the Guildhall School of Music and Drama, London and Teatro dell’Opera, Rome, with operatic debut in 1972. Her long and highly successful international career (symphony orchestras, festivals, opera houses, CDs, cinema) includes her own television series. Many important composers have dedicated works to her voice. She was Italian State Commissioner for Equal Opportunities and is consultant to institutions throughout Europe. For the World Congress on Cultural Policies (Stockholm, 1998), she prepared clauses for women included in final document now part of UN document “Cultural Diversity”. Sweden nominated her president of music section for the Intergovernmental European Conference (Visby, 2001).
In 1978 She created The Fondazione Adkins Chiti: Donne in Musica which produces music performances, undertakes research, publications, symposiums and training. The library and archives are under the tutelage of the Archival Superintendence and contain over 32 thousand scores of music by women. The Foundation is an Italian Cultural Institute, and works with the patronage of the Italian Ministries of Culture and Fine Arts, Internal Affairs, Education, University and Research, Equal Opportunities, is a partner in projects with the Ministry of ForeignAffairs and a member of the International Music Council of UNESCO and the European Music Council. Famous worldwide for its advocacy and empowerment of women in music, the Foundation and members of its International Honor Committee (comprising associations, composers and musicologists), together with a network of over 15 thousand musicians in 116 countries, gives visibility, safeguards and sustains research regarding women’s musical activity in the past, encourages the creation of new works and the musical and cultural diversity of women. The document known as the “Declaration of Fiuggi” is a mission statement undersigned by members of the Women in Music Network, working on behalf of women creators and composers of music and cultural institutions worldwide to promote women’s contribution to music, culture and development and to ensure women’s participation in the formulation and implementation of cultural policies at all levels and access to decision-making positions within the cultural world. Donne in Musica works to preserve, promote, sustain, and safeguard the artistic rights of women artists and creators in all communities.
www.donneinmusica.org
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CATHARINE JARJISIAN (USA)
(Conference Preparation Committee of University Music Programs Reform & Board)
Catherine Jarjisian is the previous Interim Dean at the Cleveland Institute of Music. She held prior positions as Director of the Conservatory of Music at Baldwin-Wallace College and Director of the Music Education Division at Oberlin Conservatory, as well as faculty positions at Oberlin, Iowa State University, and the University of Wisconsin-Whitewater. She is serving a second term on the NASM Commission on Accreditation and was a recent president of the Ohio Association of Schools of Music. Her undergraduate degree is from Susquehanna University, graduate degrees from Temple University.
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JOHN KRATUS (USA)
(Board & paper: Music of the Heart: A Biological Theory of Emotional Response to Music (with Teaching Implications)
Kartus is professor of music education at the Michigan State University College of Music. He received Bachelor of Arts and Master of Fine Arts degrees from the State University of New York at Buffalo, and a Doctor of Philosophy from Northwestern University. Kratus teaches secondary general music methods, music education foundations, songwriting, research methods, and philosophy of music education. He is published in the fields of creativity and curriculum development in the "Music Educators Journal," the "Bulletin of the Council for Research in Music Education," "Psychology of Music," "Canadian Music Educator," and the "Journal of Research in Music Education." He has presented his ideas to audiences around the world. Kratus was previously director of Music Education at Case Western Reserve University for 10 years, and has also taught at Bowling Green State University and Northwestern University.
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MADELINE WILLIAMSON (USA)
(Workshop on Teaching Extended Piano Techniques)
(Conference Preparation Committee of University Music Programs Reform ,Board & Performer)
Pianist MADELINE WILLIAMSON has a diverse background and wide-ranging musical interests. During her 30 year career on the Artist Faculty of the School of Music at Arizona State University in Tempe, Dr. Williamson was especially known for championing the performance and creation of new music for piano and has premiered numerous works written for and dedicated to her. She has performed widely as soloist and collaborator in many major U.S. venues as well as in Europe, Mexico, South America, and the Middle East. Madeline was also an invited Artist in Residence for a year at Escola Profissional Artistica Do Vale Do Ave Conservatory (ARTAVE) in Caldas da Saude, Portugal.
Throughout her professional career, Madeline was avidly involved as an arts administrator and advocate in numerous capacities, most notably as founding Dean of Fine Arts and Humanities for the ASU West Campus in Phoenix. She has also developed and administered many music festivals and chamber series. During 2008, Madeline and pianist EDWIN LIGHT formed an artistic partnership, performing piano duo programs together throughout NM. She also performs as part of the core ensemble with Santa Fe New Music. Madeline is also devoted to her studio of young, aspiring pianists that she nurtures in Los Alamos.
Prior to her doctorate, Madeline's principal musical training was at Ohio Wesleyan University and Western Michigan University. Her major teachers were Robert Lawrence, Steven Hesla, Phyllis Rappeport, and Curtis Curtis-Smith. Since first discovering Abiquiu, Madeline’s long held dream was to inaugurate the Abiquiu Chamber Music Festival at her studio and home overlooking the beautiful Rio Chama. In 2008, that dream became reality and Madeline serves as the Festival's Artistic Director.
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GLENN HACKBARTH (USA)
(Composer & Board)
Glenn Hackbarth received degrees from the University of Wisconsin (BM) and the University of Illinois (MM, DMA) where his principal teachers were Ben Johnston and Herbert Brun. The recipient of awards from the Arizona Commission on the Arts, ASCAP, and the National Endowment for the Arts, he has written works in both the acoustic and electronic mediums and received numerous performances in the United States, Canada, and Europe. His music has been performed by the Eastman, Cincinnati, Northwestern, and New England Conservatory wind ensembles, Basso Bongo, the California EAR Unit and The Voices of Change; is published by Carl Fischer and Dorn Publications; and has been recorded on the Access, Advance, Crystal, EAM, Whole>Sum, and Orion Labels. Hackbarth joined the faculty at Arizona State University in 1976 where he is currently Professor of Music Composition and director of both the New Music Ensemble and the Electronic Music Research Studios.
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SERGIO PUCCINI (Argentina)
(Performer & Board)
Sergio Puccini was born in Rosario, Argentina, in 1958. He started his musical training at the age of ten with
S. Grande Castelli (jazz guitar and harmony), Dante Grela (harmony and composition) and Juan Di Lorenzo
(classical guitar). He also studied at the School of Music of the UNR (Universidad Nacional de Rosario)
where he took part in a Guitar Quartet. He attended several courses and master classes with Leo Brouwer,
Alexandre Lagoya, David Russell, Alberto Lysy, Jorge Martínez Zárate, Oscar Ghiglia, among others. In 1981
he received guitar training from Ernesto Bitetti at Indiana University (Bloomington, USA).
Since 1990 Mr. Puccini is serving as Dean of the Instituto Provincial del Profesorado de Música de Rosario
(IPPM). As a teacher he worked at National School of Music, UNR School of Music, Pro Música Institute. S.
Puccini gave Master Classes in Argentina and abroad: Albany University (NY-USA), IPPM (Rosario-
Argentina), Florida Youth Conservatory (Fort Lauderdale-USA), Universidad de las Américas (Puebla-
México). He was also Coordinator of the Music Department (1993-97) at the Secretaría de Cultura de la Municipalidad de Rosario.
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JOHN BABOUKIS (USA)
(Board & Conductor)
Music educator and performer. Currently Director of the Music Program at the American University in Cairo. Extensive experience teaching conducting and directing choral ensembles in universities in the U.S. and Canada, and as a specialist in early music, particularly medieval and renaissance vocal repertory; founded and directed the Saint Paul Early Music Ensemble, Les voix médiévales de Montréal, and the Lions of Cairo. Singer and harpsichordist. Active as a composer, with several commissions and a few major awards. About twenty-five years experience performing Byzantine chant (in English and Greek), and directing performances of Russian Orthodox liturgical music (in English, however, not Church Slavonic) in Orthodox Churches; currently chanting in St. George Greek Orthodox Church in Old Cairo (Egypt).
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ELIZABETH OEHRLE (South Africa)
(board & paper: The Relevance Of A Philosophy Of Education Through Music/Arts For South Africa)
Prof. Oehrle is a Senior Research Fellow at UKZN, South Africa. She is a graduate of Hood College in Frederick, Maryland, Syracuse University, Syracuse, NY, the Eastman School of Music of the University of Rochester in Rochester, NY and UKZN.
Prof. Oehrle championed the promotion of intercultural education through music in Southern Africa by organizing the first multiracial conference for all music educators at tertiary institutions in 1985. From this arose the Southern African Music Educators Society (SAMES) open to all practicing musicians/teachers. In 1991 she started a network for the promotion of intercultural education through music (NETIEM) and initiated The Talking Drum. Issue #30 published in December 2008.
In 1988 she founded “One of the first and most enduring performing arts outreach programmes in the country”. (UKZN Development Brief-2006) called UKUSA, an NPO Community Performing Arts Organization now in its twenty-first year, and she remains the facilitator. Her concern for the establishment of an African Music Post led her to raise funds for the first such post established at UKZN in the 1990s. She is a choral conductor, advocate of creativity in education, a member of the International Education Board of Music Education Research Journal and World Conference on Religion and Peace.
Publications appear in World Music and Music Education (Bennett Reimer), in Multicultural Perspective in Education (Anderson/Campbell) and in British Music Educator’s Journal, International Journal of Music Education, Symposiums on Ethnomusicology and Proceedings of both ISME Conferences and the Commission on Community Music Activity.
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TRACY HEAVENER (USA)
(board & paper: Music Pedagogy: Training Ensemble Directors To Be Comprehensive Music Educators
Dr. Tracy Heavner is a professor of music education, applied woodwinds and director of jazz studies at the University of South Alabama in Mobile. He earned bachelor’s and master’s degrees in music education from Appalachian State University and a doctorate of music education degree from the University of Northern Colorado. He is a performing artist for Cannonball, Yamaha and Beechler music corporations and a recording artist for LiveHorns.Com. He has performed throughout the United States and Europe including a recent performance at the 42nd Montreux Jazz Festival in Switzerland.
Dr. Heavner has published research in many music journals including the Southeastern Journal of Music Education, Dialogue in Instrumental Music Education, International Education Journal, The Instrumentalist, Ala Breve, Downbeat and a series of articles in the Saxophone Journal. He also appeared on the cover of the January 2006 issue of the Saxophone Journal with an in-depth interview inside.
Dr. Heavner has presented research at conferences throughout the United States and at international conferences around the world including Australia, England, Germany, Ireland, Canada, Spain, Italy, Hong Kong and Malta. He has also authored an innovative aural skills textbook entitled Sight Singing and Rhythmic Reading, Progressive Exercises for Developing Aural Skills published worldwide by Edwin Mellen Press.
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KLAUS HINRICH STAHMER (Germany)
(Workshop on Intercultural Music Composition Teaching)
(Board & Composer)
Klaus Hinrich Stahmer, born 1941 in Szczecin/Stettin (Germany, since 1945 Poland) had his first musical training when 5 years old. During school years which he spent in Lueneburg (near Hamburg) he had piano and violoncello lessons and manyfold experiences in chamber music. His musical studies at Dartington College of Arts (1959/England), Musikhochschule Hamburg (1960 - 1965/Germany), Universities of Hamburg (1960 - 1965/Germany) and Kiel (1965 - 1969/Germany) ended up with diplomas in music theory, school teaching, and violoncello teaching plus Dr. phil. Early compositions for private occasions, which he wrote since the age of fourteen, were more or less inspired by his own range of experience, and only since 1963 a change towards the language of the 20th century can be discovered. Hindemith, Bartok, and Berg were models for imitation, but since 1965 more progressive ideas became predominant, leading to a continuous collaboration with painters and sculptors of the Franconian region, where Stahmer had started his career as Professor at Wuerzburg Musikhochschule in 1969.
Klaus Hinrich Stahmer has been teaching in Wuerzburg since then and made the little town into one of the more interesting centers for experimental music. He collaborated with the leader of the Studio für Neue Musik and since the 80-es became leader of the institution. Having founded the „Tage für Neue Musik” and been the Festival Director until 1999, Stahmer has arranged an exhibition of around 40 sound sculptures coming from 5 European countries in Wuerzburg, Heidelberg, Frankfurt and Dornbirn (Austria) in 1985. Highlights of his inventive work as Festival Director were the presentation of more than 20 Contemporary African composers, a Festival devoted to Modern Music in Israel and a Festival totally focused on composers from the Pacific region. His first steps towards this intercultural direction was his festival , Begegnung der Kulturen“ (Melting of different cultures) in 1987. This was the same year, when Prof. Stahmer had hosted the ISCM World Music Days in Cologne/Bonn/Frankfurt as president of the German section of the International Society for Contemporary Music. Between 2000 and 2006 he worked as Artistic Director of the concert series “Global Ear” in Dresden, where up to 100 various composers from Non-European countries were presented as well as European “migrants” working on the intercultural field.
As a composer Stahmer destilled his own style through various phases, at first leaving behind his own academic years. Sound sculptures and musical graphics gave more freedom for improvisation, which he did on his cello as well as on the musical manuscript paper (more or less without the five-line-system). New timbres and colours of sound sculptures were blended with percussion instruments and gave birth to radiophonic pieces such as „Klanglandschaft“, „Landschaft in meiner Stimme“, and „tre paesaggi“.
More than 100 compositions have been printed by leading publishing houses such as Schott, Breitkopf, Universal Edition and quite a few others. Stahmer now is represented exclusively by Verlag Neue Musik Berlin. A number of about 20 CD’s, published by Wergo, Thorofon, Kreuzberg records, ambitus and others represents the wide range of his creative output. Awards like 1st prize Tokyo („Nocturne fuer Enzensberger“), Halle Festspiele 1999 („There is no return“), Johann Wenzel Stamitz-Preis, and many more qualify him as one of Germany’s interesting composers, whose works have been played worldwide and are regularly to be heard in German Radio stations.
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CIHAT AŞKIN (Turkey)
(board & Concert)
Born in Istanbul, CIHAT AŞKIN started his violin lessons at the age of 11 with Prof. Ayhan Turan, at the Turkish Music State Conservatory of Istanbul Technical University, graduating in 1989. He completed his studies in London, studying under Rodney Friend at the Royal College of Music (where he took all the major solo and chamber music awards), and Yfrah Neaman at City University (1992-96, doctorate programme).Upon his arrival in Istanbul he was appointed as a violin professor in 1998 and founded the Advanced Music Research Center (MIAM) and became its first director in 2000 and appointed as an academic Professor in 2006 at ITU.
He gave his first recital at the age of 12 and was able to play all Paganini Caprices before he was 15. After his recital in 1983 he was invited by the Istanbul State Symphony Orchestra to play Tchaikovsky's Violin Concerto. Since then Cihat Askin became a prominent figure in the music life and he has been a regular soloist for all the major orchestras of Turkey. He has been invited to give recitals all through Turkey,and made tours as concertist and recitalist to Europe,Asia,Africa and the USA. Askin has appeared with violinist Shlomo Mintz and Ida Haendel, conductors such as J.L.Cobos, Yoel Levi and Alexander Dimitriev and orchetras such as Lausanne Chamber, Hannover NDR Symphony, Dusseldorf Philharmonic,Prag Symphony,Ukraine National Philharmonic and Sofia Philharmonic Orchestra. He was also invited to International Festivals in Turkey,Spain,Belgium,UK, Hungary,Bulgaria,Tunisia and Holland.
Among his many prizes may be mentioned, the Istanbul Philharmonic Society Award, The Best Bartók interpreter at the 1987 Yehudi Menuhin International Violin Competition, Outstanding Merit Prize at the 1990 London Carl Flesch International Violin Competition and Foyer des Artistes (Italy, 2002).
A noted champion and broadcaster of modern Turkish music, Cihat Askin has recorded extensively for Hungaroton, Kalan Müzik, Discovery, Meridian, CPO and UPR Classics, releases including Mozart's Fifth Violin Concerto . His album (Invitation to the Seraglio /Emre Aracı) was released from Warner Classics. He recently released the first integral recording of Kreutzer 42 etudes and highly acclaimed by the ciritics.
Askın became the founder and music director of the Istanbul Chamber Orchestra between 2001 and 2006 and was the founder of the Istanbul Modern Music Ensemble (IMME). He also established an educational project called CAKA 'Cihat Askin and Little Friends' which develops the violin education throughout Turkey. He recently established the 'Askin Ensemble' which performs variety of music from chamber works to experimental Turkish music.
Cihat Askin is currently Professor of Music at the Turkish State Music Conservatory, He uses a violin by Jean Baptiste Vuillaume (1846) in his concerts.
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Brid Grant, MPhil BMus DipMusTeach LTCL (Irish)
Bríd Grant, a native of Dublin, Ireland, has been working in the area of music performance and education for almost 30 years. She was appointed Head of the Dublin Institute of Technology’s Conservatory of Music and Drama in March 2004. Her love of music began at an early age when she studied piano, violin and oboe and she graduated with a BMus degree from University College Dublin. She taught for a number of years in one of Dublin’s second level schools, where she developed programmes in aural training, choral singing and instrumental training.
Since becoming a fulltime member of staff of the Conservatory Brid has held various positions including lecturer in Academic Studies and Keyboard, Concerts Manager for the Conservatory and Manager of the National Youth Orchestra of Ireland. She was appointed Head of Academic Studies in 2002. Brid has played a formative role in the establishment of the Conservatory of Music and Drama as a key provider of undergraduate and postgraduate degrees in Ireland, having been closely involved in the creation and development of all degree courses since their conception in the 1980s.
Her postgraduate research focused on a key Irish composer of the Baroque Era, Thomas Roseingrave, for which she was awarded an MPhil degree. She has a keen interest in issues surrounding performance and performance-based research. Brid is a on the board of directors of the Irish Baroque Orchestra, The Cross Border Orchestra and Cork Music Works. She was appointed Acting Director and Dean of the Faculty of Applied Arts in October 2007 and currently has responsibility for five schools within the Institute.
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ROBERT ALDERSON (UK)
(board)
Robert Alderson was for many years senior vocal tutor in the School of Opera and Vocal studies at the Royal Northern College of Music in Manchester England, he is now a senior lecturer at the D.I.T. Dublin conservatory of Music and Drama in Ireland. Robert studied singing with the eminent Frederic Cox at the Royal Northern College of Music. Upon graduating he joined Scottish Opera for a period of three years after which he returned to Manchester to study for his post graduate certificate of education, with which he gained distinction in practice and principles of education. Within one year of qualifying as a school teacher, he was promoted to Head of Music within a large comprehensive school. During this period, many sixth form leavers went on to study music at some of Britain's major educational establishments including Oxford University, Royal College of Music (London) The Guildhall School of Music and Drama. Several of these young singers have since been contracted principal artists in some of the most prestigious opera houses worldwide and several are now heading their own music departments within schools and music colleges.
During Robert's career he has produced and presented to the singing profession some of the most important young singers who are now enjoying successful solo careers in venues such as the Royal Opera House, Covent Garden, The Metropolitan Opera, New York, English National Opera. Robert is in much demand as a visiting teacher and has a highly regarded international profile. His international interests include being vocal consultant for the Flanders Opera studio as well as holding a professional chair at the Royal Flemish conservatoire and also Krasnodar State University of Culture and Arts where he was honoured with a Doctor of Culture and Arts by the State Federation of Russia.
In 2002 he was invited to The Australian National University to give classes and was there awarded Professorship. Since, several Australian singers seeking Post Graduate study have travelled to England and Dublin in order to study with him. In December 2004 Robert travelled to Moscow in order to take up an invitation to give classes at the Tchaikovsky Conservatoire of music in Moscow. Every year since 2004 he has given classes in Cairo at the Faculty of Music Education, Helwan University and last year at the Opera House in Cairo.
The arts column in a recent edition of the Spectator magazine writes;
"It is highly unusual to find someone with the accute ear of Robert Alderson. As a secondary-school teacher he was able to pick out talented boys simply by hearing them shout in the school corridor. he has been responsible for encouraging a whole generation of singers now making successful solo careers at English National Opera and elsewhere."
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MRTIN NEUKUM (Switzerland)
(Board, Composer& Presentation: Computers in Music Education)
Martin Neukom was born in 1956. He studied musicology, mathematics und psychology at the University of Zurich, music theory at the Musikhochschule Zürich and choral conducting at the Kantorenschule Zürich. He works as a teacher of music theory and as a composer. He is engaged in sound synthesis and composition with computers. He was commissioned by the HMT (Hochschule Musik und Theater Zürich) to write the book „Signale, Systeme und Klangsynthese - Grundlagen der Computermusik“, which was accepted as his doctoral thesis by the University of Zurich.
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RYAN SKINNER (USA)
(Board & paper: World Music: Some Contemporary Reflections on the Ethnomusicological Pedagogy of John Blacking)
(Ph.D., Ethnomusicology, Columbia University, 2009) studies music, subjectivity, postcolonial history, and globalization in West Africa and its European and American diasporas. His current research focuses on popular music, personhood, and urban modernity in Bamako, Mali. His articles and reviews have appeared or are forthcoming in the Journal of American Folklore, Popular Music, Mande Studies, and Mixed Magazine. He is also the author and illustrator of the children's book, Sidikiba's Kora Lesson (Beaver’s Pond Press, 2008), and an accomplished kora (21-stringed West African harp) player. He is currently Adjunct Professor of Music at the American University in Cairo.
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