Cadenza | Opus 29

CADENZA UTSA DEPARTMENT OF MUSIC | APRIL 2021

Opus 29

APRIL OFFERS A MUSICAL BOUQUET

CONTENTS

03 04 07 08 10 13

WELCOME A word from Department of Music Chair, Dr. Tracy Cowden

ALUMNI SPOTLIGHT Letslie Aguirre Molina incorporates her culture in her craft

COVID-19 PULSE POLL Thoughts as the pandemic reaches conclusion

AWARD-WINNING MUSIC THEORIST STRIVES FOR EQUALITY Philip Ewell speaks on race, gender, music and theory

UTSA MUSIC GOES ABROAD Music study abroad endowment brings life-changing opportunities to students

UTSA GIVING DAY Give back to #UTSAMUSIC through university-wide donation days

15

RENARD STAYS AT THE TOP

16

UTSA FLUTES WORK HARD IN THE STUDIO

Assistant Professor Stan Renard amongst the top educators in North America

Dr. Rachel Woolf and the flute studio prepare recordings for upcoming events

CONTRIBUTORS: Jason Guzman - Graphic Designer Cindy Solis - Senior Events Manager Rebekah Alegria - PR Assistant/Editor Dr. Jennifer Beavers Diana Maldonado Dr. Rachel Woolf Dr. J. Drew Stephen

Welcome to

CADENZA

Showcasing UTSA Music

FRIENDS, Welcome to the April 2021 issue of Cadenza on behalf of the Department of Music! We are excited to be in the heart of performance season, with several upcoming – and recent – performances available for viewing on our YouTube channel and Facebook page. As always, more information about livestreams will be available on our website (www.music.utsa.edu) and social media sites, so be sure to follow us on Facebook, Twitter, and/or Instagram.

In addition to announcements of upcoming concerts, this issue features several exciting announcements from our department, including Dr. Stan Renard’s appointment as a member of the Yamaha Master Educator Collective, an upcoming and crucially relevant lecture on race, gender, music, and music theory with Dr. Philip Ewell, and an article highlighting the work of the UTSA Flute Ensemble. We also feature Letslie Aguirre Molina in an alumni spotlight.

One thread running through this issue is how much the generosity of donors impacts the student learning experience in the UTSA Department of Music. As we proudly announce the new Music Study Abroad Endowment and describe the impact of scholarships on our students, we encourage you to consider making a gift during UTSA’s Giving Day on April 6-7. There will be opportunities to give to Friends of Music and to the Spirit of San Antonio marching band, directly supporting students through scholarships and other opportunities, and no gift is too small to make an impact!

As always, one of our primary purposes of Cadenza is to connect with you! To our alumni, in particular, we invite you to submit your news and reconnect with your UTSA Music friends. We would love to hear from any of you with any feedback about Cadenza and Department of Music events; please reach out to us at music@utsa.edu with questions and comments. We are grateful for all of you who support the work we do to learn and share music with those around us, and we look forward to sharing our music with you soon!

Tracy Cowden Roland K. Blumberg Endowed Professor in Music and Chair

ALUMNI SPOTLIGHT: LETSLIE AGUIRRE MOLINA The Spanish verb for “to open” is abrir which sounds very close to the Spanish name for the month of April – Abril. The semblance is noteworthy especially since this month’s Alumni Spotlight is Letslie Aguirre Molina (B.M. ’18), a Mexican-born alumna whose professional and educational paths have opened up a vast array of experiences and opportunities for her, some within her home country. Letslie has studied abroad in Urbino, Italy as part of the Study Abroad program at UTSA and has had her works performed in Nuevo Laredo, and at the Music by Women Festival in Mississippi. The Latinx composer is currently pursuing a master’s degree in ethnomusicology at the University of Texas – Rio Grande Valley where she has begun her career as a scholar on the subject of feminism.

How would you describe the kind of music you compose, and who or what influences you?

My music reflects my multiple creative processes and the immense cultural curiosity in which I thrive. A huge benefit of living in different cities and countries is having the opportunity to try new things, listen to new music, get to know completely different people, and reflect on their perspectives, cultures, and customs. I cannot possibly picture myself in a narrow creative environment; instead, I have learned to incorporate into my creative thinking sounds from popular and academic music, Latin folk music, bird songs, and canciones de protesta [protest songs].

Looking back at your years as a UTSA Music undergrad, from which professor(s) did you learn the most longstanding lesson(s)?

I cannot be more fortunate to have found incredibly attentive and knowledgeable professors at UTSA. I can think of at least one valuable lesson from each professor I ever took classes from. My first

composition lessons with professors James Syler and Ethan Wickman taught me to be resourceful and keep my works concise and simple.

Studying abroad in Urbino, Italy, influenced my decision to study ethnomusicology. Visiting the cities where beautiful music happened, attending live performances, and observing and interacting with historical musical instruments planted the seed that would lead me to choose ethnomusicology. I am grateful for having the opportunity thanks greatly to Dr. J. Drew Stephen.

I took the class Music of Latin America and the Caribbean with Dr. Mark Brill, and I was able to connect and cherish my Latinidad. I decided to study ethnomusicology after the UTSA Mexico Center granted me a fellowship to study Mayan music in Yucatán, Mexico. With the help of Dr. Brill, who guided me throughout the application and research process, I had my first fieldwork experience. Hearing the stories of hardworking musicians, teachers, and composers in Yucatán, traveling to many pueblos mágicos [magic towns], witnessing the people’s interest to preserve the

Mayan language as their first language, and hearing live music was an unforgettable experience that set me on track to study ethnomusicology.

Feminism is a subject you feel strongly about.

How has it manifested in your music?

At UTGV, I began my career as a scholar, and writing has been my platform to address my feminist views. Feminist theory and talking about gender, race, sexuality, and class intersectionality has become a part of my writing. I deeply admire authors like Gloria Anzaldúa, Deborah Wong, Nadine Hubbs, Judith Butler, and Sydney Hutchinson. These amazing women scholars have inspired and influenced my work, and I feel very lucky to have these great examples that will help me grow as a feminist writer.

In 2015, I composed a guitar prelude called “Escóndete” (“Hide Yourself”) performed in 2018 by UTSA alum Ariel Alba. I tell the story of a woman victim of domestic violence who anxiously roams her home and hides from a violent ex-partner who arrives at her home, and after chasing her around the house, kills her.

“No Mereces Perdón” (“You Do Not Deserve Forgiveness”) is a salsa song composed in 2017.

The song narrates the interaction between a man and a woman whose romantic relationship is declining after he cheats and lies to her. With it I seek to empower women and encourage them to leave relationships where toxic behaviors and psychological violence dominate. I want to tell women that it is never too late to leave. A family member who has suffered immensely because of the psychological abuse that her partner has exerted on her inspired me to write this song.

Where do you see yourself 10 years from now?

I have a deep desire to keep creating music as I advocate to bridge academic music with popular styles and genres. I see myself pushing the limits within my feminist thinking and voicing inclusive values through my music. I want to create music that raises questions and makes the people uncomfortable as a social deconstruction method against machismo, racism, and the subjugation of women and gender minorities.

What attracted you to the UTSA Department of Music?

UTSA was my first choice because the music department had a warm sense of community to offer. The professors were always available to help even before I was admitted to the university.

It offered excellent financial opportunities [and] scholarships to pay for tuition throughout the four years I studied at UTSA. I also loved observing the diversity among students and faculty members, which I saw as an opportunity to expand my knowledge and mexicanidad by observing and interacting with different cultural expressions.

Would you recommend UTSA and why?

I would unquestionably recommend UTSA; its friendly environment and its academic and financial opportunities make the university a wonderful learning experience. The music department professors are skilled, warm, and exceptionally helpful, always seeking to excel in their careers and prepare students for success. I could not have made a better choice than to go to UTSA, and I am very grateful to the people who made that possible.

“I cannot possibly picture myself in a narrow creative environment”

COVID-19 Quarantine Pulse Poll

As the semester and quarantine come to an end, so too will the need to query our #UTSAMUSIC denizens about life during a pandemic. This then is the last of our COVID-19 Pulse Poll: “Have you become more savvy when it comes to technology during the pandemic? What are you better at?”

Regina Seeman Music studies Trumpet

“The pandemic allowed me to take the time to improve in many ways.

More specifically, in the technology world. I feel so grateful for the time and effort all of my professors put in for their students.

Many of them introduced me to programs which I had never heard of before.

Professor Ellis decided to teach Virtual Wind Ensemble how to use programs like GarageBand and Audacity. This allowed me to improve and become more tech-savvy when it comes to editing music audio and videos. I have used this new knowledge to help my friends and colleagues improve their own recordings for themselves or their ensembles.

While it was extremely frustrating at first, I was finally able to understand the different programs and how to use them to my advantage. Little did I know, this new skill set would inevitably push me to become a better musician for the long run.”

Jessica Serna Music studies Percussion

“COVID-19 has made it a necessity to be able to navigate through technology and I feel as though I have become more savvy as a result.

I am better at creating presentations, delivering content, and compiling a vast array of supplemental resources for myself and for my future students. I have found endless educational tools that reinforce concepts that can be hard to explain or fully grasp. I have come to know different means of getting in

contact with individuals that would have otherwise been inaccessible in person. There are still so many more technological aspects to explore. While we still see and experience the effects of the pandemic, I can continue to become accustomed to even more ways to develop my craft through technology.”

Savannah Blanton

Music Office work-study Sociology “Pre-pandemic I was already almost always working on my laptop. But because we had to video call to attend our classes/meetings, that is an area my technology savvy has grown in. I started using different platforms like zoom or Cisco Webex to attend my classes, which was something I had never done before COVID. Because my life has now been spent on my laptop, I have learned new and cool things that my laptop could do. I use the stickies feature to write down all my important notes and dates that I need to remember.

Something different than I do now, is I exclusively take notes on my computer.”

Joaquin Guzman Music studies Percussion

“I have definitely become more tech-savvy in my own learning for school. I have definitely gotten better at scanning documents using Adobe reader and scanner, also creating different PowerPoints and spreadsheets, which is something I did not do very often before COVID started.”

The Institute of Music Research Presents Award-Winning Music Theorist Philip Ewell

By Dr. Jennifer Beavers and Diana Maldonado

T

he Institute of Music Research at UTSA proudly announces that Philip Ewell, Associate Professor of Music Theory at Hunter College of the City University of New York, will deliver a talk about race, gender, music, and music theory. The event will take place on zoom, Monday, April 5th, from 6-7:30 PM. Dr. Ewell’s passion for music is rivaled only by his passion to fight for equality for people of color. Dr. Ewell has used his specializations in music theory, popular music, and critical-race studies in recent years to actively battle the white-male bias still present in the modern professional music setting and in music academia. A self-proclaimed “feminist and antiracist killjoy,” a term borrowed from Sara Ahmed’s “Feminist Killjoy,” Dr. Philip Ewell endeavors to reveal the present systemic racism and sexism in music theory and history.

His 2019 study titled “Music Theory’s White Racial Frame” and his subsequent blog entries of the same name are but the first of his efforts to bring about education, change, and equality in music studies.

Philip Ewell serves as Director of Graduate Studies in the CUNY music department. His specialties include Russian music and music theory, Russian opera, modal theory, and critical-race studies. He received the 2019–2020 “Presidential Award for Excellence in Creative Work” at Hunter College, and he is the “Susan McClary and Robert Walser Fellow” of the American Council of Learned Societies for 2020–2021. In August 2020 he received the “Graduate Center Award for Excellence in Mentoring,” which recognized his “ongoing, long-term, commitment to students at all stages of graduate research.” He is also a “Virtual Scholar in Residence” at the University of the Pacific Conservatory of Music for 2020–2021. As a result of his ACLS award, he is currently working on a monograph—to be published by the “Music and Social Justice” series at the University of Michigan Press—combining race and feminist studies with music and music theory.

Finally, he is under contract at W.W. Norton to coauthor a new music theory textbook, “The Practicing Music Theorist,” which will be a modernized, reframed, and inclusive textbook based on recent developments in music theory pedagogy.

“How We Got Here, Where To Next: Examining Assimilationism in American Music Studies” exams the role of race and racism in music education. He writes, The societal tipping point that is so often cited in the United States these days is intimately linked with our past as understood through the prism of race, a troubled and, at times, violent past that has infused virtually everything that we Americans do. This past is now under great scrutiny in music studies, in how we teach music to our students, how we examine music in analysis, and how we choose the music we professional musicians consider worthy of attention. In this talk I consider our past so that we might chart a path for the future. Only through an exhaustive study of the past can we truly understand why the academic study of music is what it is today, a study that remains exclusionist with respect to musics that are not centered around both whiteness and maleness. In coming to terms with this difficult past we together—white, black, and everyone in between—can create a new academic study of music, rich and inclusive, which will be rewarding and emancipating for all.

Dr. Ewell’s lecture is part of the 2020-21 IMR Lecture Series. To join the lecture, please visit the Music Department’s website, music.utsa.edu, the week of the event. A zoom link will be posted March 29th through the event on April 5th. For more information, please contact Jennifer Beavers, jennifer.beavers@utsa.edu.

UTSA music students enjoying a performance of Tchaikovsky’s Eugene Onegin at the Teatro dell’Opera di Roma

Music Study Abroad Endowment Study abroad programs offer life-changing opportunities that define a student’s university experience. By exploring a new country, meeting new people, learning new languages and customs, and taking classes immersed in experiential learning activities, students enrich their lives and their studies in countless ways. This is especially true of the music department’s study abroad program in Urbino, Italy, which allows students to work directly with Italian musicians, travel to important centers of music, see original instruments and music manuscripts, and attend concerts in the locations where opera, the concerto, and the symphony were born. For many students, these are irreplaceable and unforgettable experiences.

I saw my very first opera in Rome and cried when the soprano sang her highest note. When first reading the summary of the opera, I thought it was going to be pretty silly, a classic rom-com level miscommunication plot, but reading the summary and seeing it live are two completely different things!

I will never forget how the soprano drew me into the story, how she made me feel what she felt, and how her entrancing voice evoked so much power that I couldn’t help but to cry.

-Seleste Cabrera (‘19) Experiencing live performances and visiting galleries or museums in a study abroad setting is enormously rewarding, but it also presents many challenges. Even when student prices are available, the costs add up, and attending an opera at one of Italy’s major opera houses is expensive. It is for this reason that we are excited and proud to announce the establishment of the Music Study Abroad Endowment due to the generosity of an anonymous donor. The endowment will support program-related activities including attending concerts and visiting museums or galleries during the semester abroad.

There was something so special about the days we would see an opera, getting ready in our hotel rooms, hurrying across the cobblestones to the theater, and the excitement of hearing your instrument warm up before the show. To see this historical craft in the country of its origin sung by Italian artists, adds an entire new level to the listening and viewing experience of an opera.

-Daulton Mattingly (‘19) The impact of experiential study abroad learning has enormous benefits that are widely acknowledged.

Whether it is attending a performance in the opera houses where Rossini and Verdi worked, seeing an original Stradivari violin, or visiting the chapels where Palestrina and Monteverdi held appointments, students become part of the living traditions of the music we study. They develop direct connections and experience music not as examples in a book, but as part of the rich social contexts that created it. Students take pride in their appearance when attending events, put extra effort into their preparations, become aware of the social etiquettes of the performances, and discover the intricate ways that music, not just the sound of it, but the entire experience, shapes our understanding and our behaviors. These are experiences that transform students and ignite their passions.

These opportunities are so important because music is such a beautiful thing in this world and having the opportunity to witness it on a grand scale, such as opera, is fantastic. You can read all you want about opera history or watch live recordings, but neither will ever be a stand in for experiencing the grand spectacle of a live opera production. The spectacle is what stays with you for the rest of your life.

-Matthew Perez, current student One of the biggest impediments students face when considering a semester abroad is the cost. The Music Study Abroad Endowment brings some consistency to our programs, but we are also asking for support to increase the endowment so that we can offer these extraordinary experiences to as many students as possible. For many music students at UTSA, the semester abroad is their first chance to visit a foreign country or even to leave the state of Texas. During their time abroad they develop confidence, discover their passions, and gain experiences that expand their perspectives. Please consider supporting the Music Study Abroad Endowment. Your support will transform a student’s university experience and have an impact that lasts a lifetime.

The night was completely unforgettable and inspired me down to my bones. It was like watching something from a dream, somehow perfect. It reminded me why I love opera, and why every sacrifice made for this career is worthwhile. Thank you, thank you for giving me the opportunity to be totally immersed in beautiful music and culture while studying abroad!

-Kaitlyn Sanders (‘17)

UTSA music students in the orchestra pit at the Teatro La Fenice in Venice before a performance of Puccini’s La Bohème

To find out more about the opportunities offered to music students during the COLFA Semester in Urbino, visit: http://colfa.utsa.edu/urbino/

Giving Day Brings Opportunities to Give Back to #UTSAMUSIC Students T

his coming April 6th - 7th, 2021, Roadrunners near and far will have the opportunity to join together to support #UTSAMUSIC in a new and opportunistic way. UTSA’s first-ever Giving Day—a celebration of all things UTSA in support of our extraordinary students, faculty, and staff—is set to begin. For 1,969 minutes— or 32 hours, 49 minutes—in honor of the university’s founding in 1969, Roadrunner Nation will make their voices heard by donating to areas of campus that are important to them. The #UTSAMUSIC Department has two significant areas to which you can donate: The Spirit of San Antonio Marching Band (SOSA) and the Friends of Music. The funds accumulated from UTSA’s first annual Giving Day not only benefit the Department of Music, but also directly support #UTSAMUSIC students through scholarships. These scholarships make a significant impact on students throughout their academic journey.

José Eduardo Ibarra

General Music Scholarship Trombone

“Having the UTSA Music scholarship has not only helped me financially but also in motivation. I feel like earning this scholarship boosted my confidence knowing that I have the talent to achieve something great. This scholarship has helped me so much throughout my collegiate career in ways that are beyond me. When I found out I received the scholarship from the department, it opened my eyes to understanding that I truly want to pursue my passion in music, my passion for becoming a music director. My family isn’t a family of money so when I found out about this opportunity, I knew right away I had to go for it. This opportunity was worth every effort I put into it. Just knowing I would have more money towards college made me happy--knowing I didn’t have to put so much stress on my parents about paying my tuition. Thank you to every individual who donates on Giving Day, not only is it helping those in need but it is giving to musicians who are passionate and soulful about what they do and want to do for their careers. The money donated goes a long way, from giving students less to worry about, to also giving families the happiness of something so great that their kids can achieve.”

Angela Martinez

Ensemble Scholarship Percussion

“The scholarship I received from UTSA Music has helped me put my focus towards my education here at UTSA rather than always worrying about my tuition! With my scholarship, I am able to afford to be a full-time student and to spend more time building relationships with music and my peers here at UTSA. My family faced the hardships of losing my dad a few years back, but having my scholarship helps my family and me to continue my education. The UTSA Music department provides a nurturing and comforting environment, one that is welcoming to all. If you are considering donating you could potentially help ease a student’s pathway to pursue their degree in this encouraging department!”

Alejandro Palacios

General Music Scholarship Tuba

“I am fortunate to have my tuition paid for by the Texas Hazlewood Act. The scholarship money I receive from #UTSAMUSIC helps pay the remaining balance left in my account after the Hazlewood exemption, which is a HUGE blessing. My scholarship also enables me to save the money from my general refund which allows me to pay for rent, books, etc. During the pandemic, the music scholarship helped me immensely. Especially when I was out of work after being exposed to COVID-19. I knew that I would be okay financially because of this. It really means the world to many students to have these donations and scholarships. It really helps out, no matter how big or small the donation is.”

Music’s Renard Named to Collective of Top Educators Across North America

A

ssistant professor Stan Renard, coordinator of UTSA’s music marketing program, has been named to the Yamaha Master Educator Collective in its newly launched music business and entrepreneurship group. The group is the latest evolutionary stage of the collective, expanding its capabilities to help educators prepare students for the modern music industry.

Renard joins a group of 30 distinguished academics, clinicians, consultants and authors who make up the Yamaha Master Educator Collective, top-tier educators from across North America recognized as the most highly regarded experts in their fields.

Renard is also the founder of Music Biz Day—the largest free music-business expo in Texas—and assistant director of the Center for Innovation, Technology and Entrepreneurship at UTSA. And he is the director of the university’s Arts Incubation Research Lab. The lab’s research team studies the intersection of the arts, entrepreneurship and innovation at its incubation stage to understand artists’ economic potential as nonconventional entrepreneurs and the impact of the digital divide upon arts-based entrepreneurs.

“Stan works daily to further his impact on the study of music business, not only at UTSA but also at the secondary school level, where he established a music business curriculum in San Antonio’s schools,” said John Wittmann, Yamaha’s senior director of artist relations and Education. “Stan recognizes that preparing for a life in the world of music can start in many ways and at many levels. His versatility and unique mentality highlight the true nature of arts entrepreneurship and the vast array of opportunities that exist.”

In addition to his work with arts entrepreneurship, Renard is a touring and recording artist, virtuoso violinist, violist, conductor and the founder and arranger of the Grammy-nominated Bohemian Quartet.

“Joining the Yamaha Master Educator music business and entrepreneurship group is a great honor,” Renard said. “One of my greatest ambitions is to create a high school curriculum that will empower students to learn about the vast opportunities available in the world of music business and gain handson experience in this exciting field. Being a part of this group will allow me to give students the tools they need to create fulfilling careers in this industry.”

Since 2016 the Yamaha Master Educator Collective has sought to connect the nation’s top thought leaders in music education as a resource for educators and students at the middle school through collegiate levels by offering professional development opportunities across diverse fields in the music industry.

The music business and entrepreneurship group focuses on providing meaningful access to new opportunities for innovation and growth within this quickly expanding educational field.

UTSA Today is produced by University Strategic Communications, the official news source of The University of Texas at San Antonio.

Reprinted with permission.

Flute Students to Record for Upcoming Conventions, Festivals, and Recitals

By Dr. Rachel Woolf The UTSA Flute Ensemble, directed by Dr. Rachel Woolf, is busy working on two recording projects that include four newly commissioned compositions, three by UTSA alumni. These performances will be presented at the National Flute Association’s (NFA) Convention, the Texas Flute Society’s Flute Festival, and the San Diego Flute Guild’s Spring Festival.

Our first program, entitled “Fiesta de las Flautas,” will open the Texas Flute Society’s May festival. We will also be presenting the same program at the San Diego Flute Guild. Embodying the spirit of San Antonio, it features music by Mexican composers inspired by Latin American musical traditions. This program will feature La Cumbia by Mexican composer Alejandro Carrillo, a piece the UTSA Flute Studio (with support from UTSA’s Friends of Music) commissioned, that is based on the folkloric genre Cumbia from Colombia.

(See more about this piece below). We will also be playing two pieces by Rubén Flores, México Mágico and La Bruja Llorano, which explore traditional Mexican songs as well as folkloric traditions.

México Mágico is based on a fast Huapango—a Mexican folkloric dance and musical style. La Bruja Llorona (The Weeping Witch) explores two traditional Mexican songs that connect to mythical and folkloric characters and themes: “La Bruja” from the Sotavento region and “La Llorona,” a traditional song from Tehuantepec. Flores writes, “References to these mythical characters can be found in almost all Latin American cultures and their respective variants. This arrangement brings these two songs together in representation of our traditions.”

For the NFA’s 15-minute performance, we will be showcasing premieres of newly commissioned works by three UTSA alumni composers: Taylor K. Rose, Alissa Stolt, and Dominic Valadez as well as presenting

a shortened version of Alejandro Carrillo’s piece, La Cumbia. Read about the UTSA Flute Ensemble’s 2021 commissions below!

La Cumbia by Alejandro Carrillo: La Cumbia could simply be described as a minimalist cumbia, showcasing many different extended techniques on the piccolo, flute, alto flute, and bass flute. Cumbia is a genre of folkloric music originating from Colombia, containing indigenous, African, and European musical influence.

Alejandro was inspired by a sub-genre known as slow down cumbia made popular in Monterey, Mexico. This past year, Alejandro was an assistant to composer Michael Nyman (who coined the term minimalism), and you can hear Nyman’s influence on La Cumbia. The logo he has made for La Cumbia reflects the influence of the piece on the weaves and patterns found in Latin American tapestries and rugs. Alejandro Carrillo, based in Mexico City, holds a BM in Composition from the University of North Texas, and worked as a graduate assistant at the Center of Experimental Music and Intermedia. His teachers include Mark André, Panayiotis Kokoras, Zygmunt Krauze, and Johannes Kreidler. Currently, he teaches musicalization for theatre at the National Autonomous University of Mexico (UNAM) and composes music for theatre performing across the country. His music has been performed in the United States, Mexico, South America, and Europe, and has collaborated with ensembles such as Roomful of Teeth, UNT Concert Orchestra, Lydian String Quartet, and the E-MEX Ensemble.

Bouquet by Taylor K. Rose (UTSA BM Composition/Music Theory 2016): “In composing Bouquet, I was determined to use the lower voices of the ensemble as much as possible. In that regard, as often as I could, I wrote in four, fully realized parts for this section. My hope is that the richness of low, dense harmonies and depth of tone would offer a way to re-distribute the various weights of the ensemble. Delicate colors of concert flute and piccolo decorate melodic figures more soloistically, and starkly contrast the traditional four-part writing beneath them. This arrangement of voices, (deep, rich greens of the alto and bass flutes) and sensitive floral colors of the upper flutes are what inspire the title Bouquet. Please enjoy this bouquet of flutes!” Taylor K. Rose studied with composers James Syler, Ron Ellis, as well as distinguished theorist Dr. Jennifer Beavers, during her studies at UTSA. When not writing for chorus or completing graduate studies, she is a choir director for NISD. Taylor is lovingly and proudly supported by her wife, Sarah.

White Sands by AKstolt (UTSA BM Composition 2020): This work is inspired by the White Sands Desert in New Mexico where Alissa and her family would visit—resulting in her most vivid childhood memories. “The dissonance coupled with simplistic tonal motives is an artifact of both the awe I felt in the desert coupled with the simplicity of that time in my life and the fun I had with my family. The writing process was a novel way of revisiting those experiences.” A native of San Antonio, Alissa Stolt studied composition with James Syler, Dr. S. Andrew Lloyd, and Dr. Ethan Wickman, and voice with John Nix. She is currently pursuing a Master’s degree in Music Theory at Texas Tech University.

Smoke and Mirrors by Dominic Valadez (UTSA BM Composition 2020): “Smoke and Mirrors highlights the flute ensemble’s capability for extended techniques and timbres. The opening to the piece achieves that with its slow and mysterious, yet eclectic build-up. The unstable tonal center and asymmetrical meter are meant to be a slightly uncomfortable backdrop over which the flutes explore the sound world that they have created. In all, the piece is meant to sound like a slightly spooky carnival atmosphere.” Dominic Valadez is a flute player and composer currently finishing his Master of Arts in Music Theory with a focus on video game music from the University of Minnesota.

We are thrilled to highlight the music of these composers, as well as showcase musical styles and folkloric traditions from Latin America.

Both programs are part of our Flute Ensemble Recital, “La Nueva Primavera” on Sunday, April 25th at 3 pm, live-streamed on UTSA Music’s Facebook page. We hope you can join us!

Also, you won’t want to miss the UTSA Flute Studio Recital on April 12th from 5-6:30 pm, featuring solo performances of the UTSA Flute Studio as well as featuring a multi-track video recording of Valerie Coleman’s, Juba, streaming on UTSA Music’s social media pages!

APRIL

DATES

01 LYRIC THEATRE

7:30PM | UTSA Music YouTube Channel

08 JAZZ COMBO

7:30PM | UTSA Music Facebook Page

11 VOCAL ARTS SERIES

3:00PM | UTSA Music YouTube Channel

12 FLUTE STUDIO

5:00PM | UTSA Music Facebook Page

20 PERCUSSION STUDIO 5:00PM | UTSA Music Facebook Page

22 UTSA MARIACHI

7:00PM | UTSA Music Facebook Page

25 FLUTE ENSEMBLE

3:00PM | UTSA Music Facebook Page

28 GUITAR STUDIO

5:00PM | UTSA Music Facebook Page

30 ORCHESTRA CONCERT 12:30PM | UTSA Music Facebook Page

SPRING UPSWING STAY UP TO DATE WITH THE LATEST INFORMATION ON THE UPCOMING SEMESTER AT UTSA MUSIC MUSIC.UTSA.EDU

FOLLOW US! @UTSAMUSIC