College of Music

CU Is Revolutionizing Musicians’ Wellness

Julia Maclean — Mon, 10 Mar 2025 17:15:53 +0000

CU Is Revolutionizing Musicians’ Wellness Julia Maclean Mon, 03/10/2025 - 11:15

Ally Dever

When a CU Buffaloes football player gets injured, coach Deion Sanders enlists a team of professionals to ensure a swift recovery. That’s what professor James Brody does with students at the College of Music’s Musicians’ Wellness Program (MWP).

A study estimates that 90% of professional musicians experience playing-related pain or injuries due to misuse or overuse, and 80% of college-aged musicians report stress, anxiety or depression tied to their craft.

In response, Brody founded the MWP in 2003 to help students prevent and recover from injuries, sustain peak performance and maintain robust mental health throughout their careers.

“It became glaringly obvious this was a necessity when students came to me with injuries 20 years ago,” said Brody. “I was committed to finding ways to make a difference.”

The MWP was among the first of its kind, predating the National Association of Schools of Music’s 2005 mandate requiring music programs to address wellness. Since its inception, Brody and the MWP have expanded services and recently shared their work at three international conferences.

The program teaches performance psychology and exercise techniques for breathing, hearing and vocal health. It also includes on-staff therapist Matthew Tomatz, who provides therapy sessions to support students’ emotional well-being, including managing performance anxiety.

After 47 years of teaching, Brody will retire as director of the MWP on July 31, leaving behind a legacy that will continue to positively influence the health of College of Music students, faculty and staff — and wellness aspirants across the globe.

“The fact that we’ve already helped so many to continue to do what they love is truly gratifying,” he said.

With a search for a new director underway, Brody hopes the program will receive expanded funding to introduce initiatives like a certificate in musicians’ health, onsite physical therapists and medical professionals and hearing protection devices for students. But one thing’s for sure: Brody’s revolutionary vision ensures the program’s lasting impact on future generations of musicians.

Submit feedback to the editor

Photo courtesy Stacy Nick/KUNC

The Musicians Wellness Program was among the first of its kind.

Off

Traditional

Spring 2025

White

CU Opera Songbirds Hit the High Notes

Anna Tolette — Tue, 12 Nov 2024 20:47:05 +0000

CU Opera Songbirds Hit the High Notes Anna Tolette Tue, 11/12/2024 - 13:47

Helen Olsson

In June, two renowned opera singers from CU were inducted into the Colorado Music Hall of Fame. Cynthia Lawrence (Mus’83; MM’87) studied music at CU and went on to share the stage with Italian tenor Luciano Pavarotti more than 70 times. Keith Miller (Art’97), on the other hand, was a star football player who pivoted to opera after graduation. They have both performed stints as principal artists at the Metropolitan Opera in New York.

Soprano, equestrian, stunt woman

“When I heard about [the Hall of Fame induction], I couldn’t believe it,” Lawrence said. “To be recognized is beyond an honor.” But the honor is no surprise to those in the singer’s orbit. Lawrence has performed with virtually every opera company in Colorado and worldwide, from Paris to Prague, with legendary performers like Plácido Domingo and Mirella Freni.

"Cynthia has a world-class voice. People say she was kissed in the throat,” said acclaimed tenor Mark Calkins (MMus’87), who met Lawrence at CU. (They married in 1985.) “She won the Metropolitan Opera contest in 1984 at age 23 — a stunning achievement.”

Lawrence credits her success, in part, to her time at CU. “It’s a great school with great facilities. Barbara Doscher was one of the best voice teachers in the world,” said Lawrence. She also points to her background as a competitive equestrian. “If you’re nervous on horseback, that horse may dump you in the dirt,” she said. “In opera, you also have to keep your nerves underneath you. That discipline, concentration and preparation made me a better performer on stage.”

In addition to jumping horses, Lawrence credits childhood time on the trampoline with her ability to perform dramatic free-flying leaps in Puccini’s “Tosca.” Lawrence, who insisted on doing her own stunts, perfected numerous daring feats on stage. She frequently plummeted backward (into a hidden foam pit), and her most notable stunt was a 26-foot forward jump at Royal Albert Hall.

Bass-baritone, athlete, thespian

Keith Miller grew up on a beet farm in Ovid, Colorado, a town so small that its high school football team consisted of six players and there was no school choir. A football scholarship recipient and three-year starter as a fullback, Miller played opera music in the locker room and sang in the shower.

He was inspired by varsity players singing the CU fight song on the sidelines. “These guys, my idols, were singing like they were warrior poets,” he said. Not long after the 1994 Michigan game, when CU made one of the greatest comebacks in Buff history, Miller took his then-girlfriend to see “Phantom of the Opera” in Denver. “I felt the same emotion at the opera that I had during the Michigan game,” he said.

In 2001, while working out with the Denver Broncos at North Dakota State University, Miller took refuge from a snowstorm in a music practice room. “I started singing along to “Don Giovanni” — and someone knocked on the door.” He was offered a scholarship on the spot. He declined, but decided it was time to start following the music. On the way out, he saw a flier for the Pine Mountain Music Festival in Minneapolis and decided to audition. Suddenly, Miller had a dozen job offers to sing and decided to pursue singing full-time.

The next fall, Miller enrolled at the prestigious Academy of Vocal Arts in Philadelphia and, after graduation in 2006, auditioned for the Met in New York. He made his debut at the opera’s opening-night gala. At the reception, he bumped into someone who remarked, “Wonderful performance,” in a familiar Scottish accent. It was Sean Connery.

Beyond the Hall of Fame

Today, the inductees are still showing off their versatility. Miller serves as founder and CEO of CedoHealth and has recently moved back to Colorado to re-engage with the Crested Butte Music Festival (CBMF). (For six years, he served as director of opera and oversaw the CBMF’s Opera Young Artists Program.) He also has his sights set on film acting. “There are things out there creatively I want to do,” he said. “My journey’s not done.”

Meanwhile, Lawrence works as the endowed chair professor for voice and opera at the University of Kentucky, where she’s teaching the next generation of opera singers. “I love teaching. When students have that ’Aha’ moment, when they finally get it — that’s the prize.”

Submit feedback to the editor

Illustration by Chris Buzelli

This year, CU songbirds Cynthia Lawrence (Mus’83; MM’87) and Keith Miller (Art’97) made the Colorado Music Hall of Fame.

Off

Traditional

Fall 2024

White

Developing the Universal Musician at CU Boulder

Anonymous — Tue, 16 Jul 2024 06:00:00 +0000

Developing the Universal Musician at CU Boulder Anonymous (not verified) Tue, 07/16/2024 - 00:00

Ally Dever

With over three decades of experience as a performer, educator, conductor and administrator, College of Music Dean John Davis champions a holistic approach to musical education through a mission he calls “developing the universal musician.” Davis originally joined CU Boulder in 1999 as director of the jazz studies department. Following three associate dean roles from 2012 to 2020, he assumed the role of dean in January 2021. He discusses his musical background, career achievements and the issues within higher education that have inspired his leadership philosophy.

How did you get your start in music?

My musical journey began with the decision to pick up the trumpet in elementary school, which is reflective of how one small choice can change a person’s entire life.

I eventually joined my high school jazz band, which was led by a band director who regularly performed in shows and big-band gigs. And that came at a time when jazz musicians like Stan Kenton and Woody Herman were touring the nation. That exposure really inspired me, so I stuck with it.

What prompted your shift from music performance to education and leadership?

After earning my master’s degree in music, I found myself seeking a change. I realized that the life of a professional freelance musician lacked the stability I sought, particularly in terms of job security and benefits.

Reflecting on my family’s military history, with my father’s service in both World War II and the Korean War, and my grandfather’s tenure as one of the oldest soldiers in the army, I became curious about that experience. So I enlisted as an infantry soldier for two years.

During my service, I gained a deeper understanding of the educational backgrounds of my fellow soldiers, many of whom had very little education beyond a GED or a few years of college. This made me realize the power of education in expanding opportunities beyond people’s immediate circumstances.

That really solidified my commitment to education and prompted my return to academia to pursue a doctorate in trumpet performance and pedagogy, with an emphasis in jazz studies. But I wanted to play a more significant role in shaping music education, and that ultimately steered me toward administration.

What’s the basis of your leadership philosophy?

Most music institutions have traditionally offered two career paths for students: performance and education. While those tracks are still very valid, many students are now seeking out music careers that don’t necessarily fit into those two areas, such as arts administration and entrepreneurship, tour management, recording engineering, music copyright law or health and wellness in music.

For decades, students have had to find their way to these careers through mentorships, outside education, self-teaching or learning on the job. As the dean, I want to address the demand for additional career pathways.

This has led me to establish the concept of the universal musician — a leadership philosophy and strategy aimed at providing students with a wide range of experiences and training so they can meet the demands of today’s industry and be better equipped to find success and fulfillment in emerging fields.

How did the pandemic impact higher education?

The pandemic was by far the most influential factor in shaping my approach to leadership.

During the peak of COVID-19, one of our professors shared an impressive composition created by a recent graduate and performed by current and former CU Boulder students over Zoom. I was struck by the remarkable quality of the sound and presentation, despite each musician performing from their own little Zoom square. From technical setup to sound engineering and video editing, the project showcased a range of abilities beyond the traditional curriculum and allowed students to explore unique avenues of learning.

It also highlighted the skills and training that we as a college didn’t provide at the time — these students had to develop these skills independently. Since then, we’ve offered new badges, micro-credentials, certificate programs and interdisciplinary degree options to give students more agency in their education. With these new offerings, we hope to confirm the value and redefined relevance of higher education today.

How do diversity, equity and inclusion factor into your philosophy?

Many musicians seeking higher education face significant barriers due to a lack of early training or access to instruments, teachers and practice spaces.

CU Boulder’s goal is to create an environment of inclusive excellence where all aspiring musicians, regardless of their background, feel welcome, valued and supported. It’s an essential part of our mission to develop universal musicians who are equipped and empowered to thrive in a rapidly changing world.

What’s your favorite song?

The one song that always stops me in my tracks is Charlie Chaplin’s “Smile.” The lyrics mean everything: “Smile though your heart is aching; smile even though it’s breaking…although a tear may be ever so near, that's the time you must keep on trying.” Despite being released in 1936, its relevance persists, demonstrating the impact of music across generations.

What do you believe is music’s most significant impact on society?

Music is what makes us human. When something of great significance takes place, people turn to music. It can serve as a celebration of joyous occasions, but it’s also where we find comfort and understanding in times of darkness.

Music provides a platform for self-expression and helps us navigate the complexities of the world and our role within it. And that is crucial in today’s society, where the need for connection and empathy is paramount.

Submit feedback to the editor

Photo by Matt Tyrie

Off

Traditional

White

Brass Queens: Redefining the Landscape for Female Musicians in NYC

Anonymous — Tue, 16 Jul 2024 06:00:00 +0000

Brass Queens: Redefining the Landscape for Female Musicians in NYC Anonymous (not verified) Tue, 07/16/2024 - 00:00

Erika Hanes

In the heart of New York City’s vibrant music scene, a dynamic force is shaking up traditions and breaking down barriers. Meet Brass Queens, an electrifying nine-piece, New Orleans-style brass band on a mission to redefine the landscape for female musicians in the Big Apple.

But before they were playing major gigs like the Met Gala, performing on Good Morning America or releasing their debut album, “Black & Gold” the Brass Queens had to fight their way into existence. According to Ally Chapel (ArtHist’14), one of the founders of the Brass Queens, opportunities for female musicians in New York City circa 2018 were abysmal.

“In the music industry, a lot of success comes down to your connections,” Chapel said. “At the time, the scene was so oversaturated with male musicians and bandleaders that it was hard for us to get enough attention to make those critical connections in the first place.”

Love for the Marching Band

Chapel’s journey from art history major to working full time in music began in Colorado’s foothills. Born and raised in this Rocky Mountain state, CU Boulder was a natural choice. Soon after enrolling, Chapel’s love for music and art found fertile ground when she joined the Golden Buffalo Marching Band. Having done marching band throughout high school, Chapel thought she knew what to expect.

"Where I came from, the marching band wasn’t in the spotlight," Chapel said. "There wasn’t this sacred bond between musicians and the school or the fans [like at CU Boulder]. I remember thinking, “‘This is really special.’”

During her college years, Chapel immersed herself in music as much as possible. Pivotal moments during this time shaped not only her musical aspirations, but also her life decisions for years to come.

After graduation, Chapel crammed all her belongings into two boxes, grabbed her saxophone and headed for the Big Apple, where she jumped into the arts scene. She soon found a day job at a prestigious painting gallery, filling her evenings with jam sessions and impromptu performances with local musicians.

Becoming Brass Queens

Among the female musicians Chapel met during these early days, many became the foundation for Brass Queens, not just as a band, but as a cultural revolution. Most had struggled to find reliable and consistent collaborators among their male cohorts. By 2019, Chapel was done waiting. Joining forces with friend and bandmate Alex Harris, the two musicians formed their own group dedicated to pushing musical boundaries and empowering female musicians.

“Brass Queens formed on March 9, 2019,” Chapel said. “I’ll never forget it because it was the day after International Women’s Day. That felt significant to us.”

Chapel immediately went to work on crafting the brand identity for the band, something she learned a lot about through CU’s Technology, Arts and Media (TAM) program. She knew the unifying power that two colors could have from her time at CU, so the group adopted black and gold as their official colors — also the colors of the Saints in New Orleans, where their sound originates.

By enforcing a black-and-gold dress code at gigs, Chapel hoped to establish the same sense of pride she felt while performing as a member of the Golden Buffalo Marching Band. That unifying element has become their story, which they celebrated by naming their debut LP “Black & Gold.”

Inspired by the soulful sounds of New Orleans, the Brass Queens’ band consists of one sousaphone, drums (both line and set), two trombones, one alto sax, one tenor sax, three trumpets and a whole lot of passion.

From Gigs to the Met Gala

When Brass Queens first hit the gig circuit, they accepted a variety of opportunities that came their way. Soon, birthday parties, street festivals and busking on the streets of Brooklyn turned into higher-paying gigs at venues across the city. Within the year, the group became a local standout, earning them invitations to play at iconic venues like the Blue Note Jazz Club and exclusive events like the Met Gala. Chapel’s leadership and unwavering commitment to her craft propelled the band forward, earning them a loyal following and critical acclaim.

“We’re experiencing more success now because we’re doing something different. We don’t look or sound like other bands. We’re showing people that you don’t have to fit the mold to be successful at what you love.”

Brass Queens do not take their success for granted. In 2017, several Brass Queens members helped establish Brooklyn Brass Band Collective, a nonprofit created to help increase access to the transformative power of music for adult musicians. Ally Chapel currently serves as the organization’s president along with two other Brass Queens, who serve on the board.

Looking ahead, Chapel’s impact on the music industry shows no signs of slowing. With collaborations on the horizon, including recording projects at Atlantic Records and touring across the country, the Brass Queens are poised to reach even greater heights.

Her advice to aspiring artists?

“Just start,” she said. “Find your community. Follow what inspires you.”

Submit feedback to the editor

Photos by BeKa Photography

Ally Chapel (ArtHist’14) started an all-female New Orleans-style brass band called Brass Queens. She adopted the colors black and gold for her band in CU’s honor.

Off

Traditional

White