Alumna Leads Orchestra

Amy Wilson (MM ’07) Artistic Director of the Atlanta Philharmonic Orchestra, spoke with Georgia based Huthmaker Violins “Classes for the Curious Musician – Amy Wilson, Woman in Charge” where she discusses what it’s like to become a conductor and what a musician can do to be a contributing, vital member of an ensemble.

UNT Faculty Member Joins Yale Steering Committee

The Yale Institute of Sacred Music has appointed Steven Friedson, University Distinguished Research Professor of Music and Anthropology, to its new Black Sacred Arts Steering Committee to design and implement a series of international conferences and related publications over the next four years. “This initiative will make a substantial contribution to an underrepresented field of study and to the diversification of sacred music studies.”

Opera Nationally Recognized

The National Opera Association Opera Production Competition for 2019-2020 recently announced that the UNT Opera production of Don Giovanni won 2nd Place in Division VI of the competition. Jonathan Eaton is the Margot and Bill Winspear Chair in Opera Studies.

Alumna Receives National Academic Honor

Lindsay Pope (DMA ’19) has received the Julius Herford Dissertation Prize recognizing outstanding doctoral terminal research project in choral music. Her dissertation titled Beyond the Binary: The Intersection of Gender and Cross-Cultural Identity in Reena Esmail's Life and Choral Works was previously honored with the University of North Texas 2019 Toulouse Dissertation Award in the Fine Arts field by the Toulouse Graduate School. According to Allen Hightower, Professor of Music and UNT College of Music Director of Choral Studies says, “There is no higher academic recognition in our field than the Julius Herford Dissertation Prize.”

Student Wins Brahms Society Award

The American Brahms Society has awarded the Karl Geiringer Scholarship to current UNT PhD student, Robert Anderson, in support of his dissertation “Ideale Hausmusik”: Johannes Brahms’s Vocal Quartets (opp. 31, 52, 64, 65, 92, 103) and the Politics of Domestic Music.

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