Nancy Weems has performed extensively in the United States, Europe, Asia, Mexico, Central America, and the former Soviet Union to wide critical acclaim. A graduate of Oberlin Conservatory and the University of Texas, her solo appearances include concerts in fourteen foreign countries, in addition to the U.S. After a recital in Reykjavik, Iceland, one critic called her "a rare treasure... Nancy Weems is an extraordinary pianist, grand in scope, and powerful in her interpretation, possessing fantastic technique." In Mexico City, a reviewer stated that "Nancy Weems is gradually beginning to occupy the place of one of the top international pianists in Mexico." A Houston Post article reported, "The young performer put an amazing display of energy and keyboard technique into a recital that went from strength to strength." View More...
In l984, Ms. Weems won the Artistic Ambassador Competition sponsored by the United States Information Agency in Washington, D.C. As a result, Ms. Weems represented the United States in an international concert tour, including the countries of Norway, Denmark, Iceland, and the U.S.S.R. In March, l987, Ms. Weems presented a solo debut recital at the John F. Kennedy Center for the Performing Arts in Washington, D.C. The music critic of The Washington Post praised "Weems' powerful technique" and "delightful mix of strength and flexibility." In 1987, Ms. Weems was invited for a second international tour to the countries of Mexico, Jamaica, Trinidad, and Costa Rica and in 1993, to Taiwan and Hong Kong. In addition, Ms. Weems has represented the United States in the 1981 Van Cliburn International Competition, and won top awards in the International Recording Competition. She has appeared as guest artist with numerous symphony orchestras, and has given master classes in music schools and conservatories in the United States, Europe, Asia, and the West Indies. Ms. Weems was an exchange professor and guest performer at the Royal Academy of Music in London, England; Sungshin Women's University in Seoul, Korea; and in 2008, the International Piano Master Class Series of Kuala Lumpur, Malaysia.
Currently, Nancy Weems is Professor and Coordinator of the piano area at the University of Houston Moores School of Music in Houston, Texas. Her students have won top awards in many national and international competitions including the first prizes in the MTNA Collegiate Artist Competition, the Corpus Christi Young Artist Competition, and the Nena Wideman National Young Artist Concerto Competition. Many of her current and former students now hold positions in music schools and universities worldwide, and several have successful performing careers under professional artist management. A dedicated teacher, she was named the Outstanding Collegiate Teacher in 1991 by the Texas Music Teachers Association, and received a University of Houston Teaching Excellence Award in 1995. Professor Weems regularly presents lectures, recitals and teacher workshops and has been a featured MTNA convention artist for the states of New York, Washington, Minnesota, Utah, New Mexico, Arizona, Wyoming, Louisiana, South Carolina, Mississippi, Arkansas and Texas. In addition, Ms. Weems has been a frequent presenter at the Music Teachers National Association Convention and the World Piano Pedagogy Conferences.
Ms. Weems has recorded for the Albany and the Bay Cities labels. The recording, "Classical Hollywood" was nominated for a Grammy award in 1990. In addition, she has been featured in recordings of American composers Arnold Rosner and Chris Theofanidis.
Betsy Cook Weber is highly active as a conductor, clinician, adjudicator, and presenter internationally. Under her direction, Concert Chorale has sung for the national American Choral Directors’ Association convention in Miami (2007), two Texas Music Educators Association conventions (2005 & 2008), and for the prestigious Eesteddfod in Wales, UK, at which event Chorale won or placed in every category in which they entered (Chamber Choir/first place, Mixed Choir/second place, Youth Choir/third place).
She served for seven years as Assistant and later Associate, Director of the Houston Symphony Chorus. Her duties with the Houston Symphony Chorus included assisting in the preparation of large choral-orchestral works for conductors such as Christoph Eschenbach, Robert Shaw, Robert Page, Peter Schrier, and Nicholas McKeegan among many others. She is highly sought-after and active as a conductor, clinician, lecturer, and adjudicator. View More...
Before coming to the University of Houston, Dr. Weber taught public-school vocal music (K-12). While there, she helped design various curricula, and her choirs received numerous awards and prizes. She was one of the founding directors of the all-district Spring Branch Boys Choir and also directed the Spring Branch Girls Choir.
Franz Anton Krager, an American born and trained conductor, has been making his artistic presence felt both at home and abroad. Performance engagements in some of the world's most celebrated concert halls and musical centers are testimony to his emergence as a conductor on the international music scene. Since making his prize-winning European conducting debut in Copenhagen's Tivoli Koncertsalen in 1978, Krager has led orchestras in the Leipzig Gewandhaus, Moscow's State Kremlin Palace, Manchester England's Bridgewater Hall, Birmingham England's Adrian Boult Hall, Sydney Opera House, Amsterdam Congresgebouw, Kazan's State Philharmonic Hall in Russia, Guadalajara's Degollado Theater, and Sarasota's Van Wezel Performing Arts Hall. His affiliations with leading music festivals include the Lancaster International Concert Series and the Lichfield and Aberystwyth International Arts Festivals in the U.K., the "Lago di Como," "Lunatica," "Pianomaster," "Sinfonico," "Giovedì a Teatro," "Scarlino Castello," and "All Around Jazz" festivals in Italy, and the Texas Music Festival and Interlochen National Music Camp in the U.S. View More...
In November 2000, Krager served as General & Artistic Director for "Shostakovich 2000," a five-day international music festival marking the 25th anniversary of Shostakovich's death. "Shostakovich 2000" drew people to Houston from across the U.S., Europe, and Russia, and was recognized by the DSCH Journal as a major world event for ballet, opera, chamber, and orchestral music by Shostakovich. In October 2003, Krager again conducted Shostakovich with the Russian State Symphony Orchestra & Symphonic Cappella and Alexander Kisselev of the Bolshoi Theatre, inside the State Kremlin Palace in Moscow. This command performance, initiated by the Kremlin authorities, was given in honor of the great Russian poet, Yevgeny Yevtushenko, on the occasion of his 70th birthday. Krager conducted to a packed house of 6500 people. In November 2004, Krager made his European opera-conducting debut with the Stagione Lirica in the Tuscany region of Italy. This production of Puccini's Tosca was met with great enthusiasm by the Italian public and received rave reviews from the Italian press. In November 2005, Krager's international profile was again heightened when he was invited to be a jury member for the prestigious Concurso Internacional de Piano Compositores de España in Madrid. In September 2006, Krager was appointed as Artistic Consultant for the World Holocaust Forum Foundation's "Let My People Live," the International Forum in commemoration of the 65th anniversary of the tragedy in Babi Yar, Kiev, Ukraine. This event garnered global media attention and included state delegations from several countries including the Presidents of Israel and Ukraine. More recently, Krager directed a three-day international music festival in Houston celebrating the great Finnish composer, Jean Sibelius. The "Jean Sibelius Festival 2006," like "Shostakovich 2000," drew people to Houston from across the U.S. and abroad.
Timothy Jones is acclaimed throughout the United States, Canada, South America and Europe, and is rapidly emerging as one of the leading bass-baritones of his generation. His eagerly anticipated performances combine intelligent musicianship, commanding vocal technique and a unique ability to connect with audiences. He is a champion of opera, the concert stage, chamber music, solo recitals and the premieres of contemporary works.
In the 2006-2007 season Mr. Jones sang Handel's Messiah with The Cleveland Orchestra, Jake in Porgy and Bess with Opera Pacific, Alidoro in La Cenerentola with the Opera Birmingham, Eight Songs for a Mad King with the Utah Symphony, Haydn’s "Lord Nelson Mass" with the Jacksonville Symphony, the St. John Passion with the Florida Bach Festival, concerts at the Cactus Pear Festival, a gala concert with the Marshall Symphony, Beethoven’s Symphony No. 9 with the Wichita Symphony, and performances at Michigan State University and the University of Houston. View more...
In the 2005-2006 season Mr. Jones sang Bach’s St. Matthew Passion with the Cleveland Orchestra, Tippett’s A Child of our Time with the Dallas Symphony, Beethoven’s Symphony No. 9 with the Jacksonville Symphony, Verdi’s Requiem with the Portland Symphony (Maine), Jake in Porgy and Bess with Mobile Opera, returned to the Pittsburgh New Music Festival, and performed solo recitals at the University of Houston.
The many highlights of Timothy Jones' 2004-2005 season included the title role of Don Giovanni with Ebony Opera with conductor Willie Waters, Handel's Messiah with both the Austin Symphony and the Syracuse Symphony, Crown and Jake in Porgy and Bess with Pensacola Opera, Haydn's Creation with the Virginia Symphony,Tippett’s A Child of our Time with the Victoria Bach Festival, Judus Maccabeus with the Shreveport Symphony, Seven Last Words of Christ with the Texas Bach Choir, Beethoven's Symphony No. 9 with the Appleton Symphony, Verdi’s Requiem with the Naval Academy and Smith College and several unique concerts with the Pittsburgh New Music Ensemble.
In the 2003-2004 season Mr. Jones performed the Mozart's Requiem with Paul Salamunovich and the St. Petersburg Chamber Orchestra in Rome, Italy, world premiere performances with the Pittsburgh New Music Ensemble of works by composers David Heuser and Jeffrey Nytch, performances of A Sea Symphony by Vaughn Williams at the historical Smith College, Mozart's Requiem with the New Haven Symphony and the Wichita Symphony Orchestras, Hindemith's "When Lilacs Last in the Door-yard Bloom'd" with the New Mexico Symphony, a concert of Gershwin's Favorites with the Victoria Symphony, Handel's Messiah with the San Antonio Symphony and Beethoven's Ninth Symphony with the combined forces of the University of Houston (Moores School of Music) and Rice University (Shepherd School of Music).
He was also featured on programs with the Cactus Pear Music Festival with Jeffrey Sykes, piano, Texas Bach Choir with Daniel Long, harpsichord, Ars Lyrica with Matthew Dirst, harpsichord, Musical Bridges Around the World with Anya Grokhovsky and Elena Nogaeza, piano and The Olmos Ensemble with Warren Jones, piano. In past seasons, Jones has appeared in productions with the Michigan Opera Theater, the Lake George Opera Festival, Opera Idaho, the Shreveport Opera, Opera Southwest, the Pensacola Opera and the San Antonio Lyric Opera. He has performed leading roles in Le Nozze di Figaro, Cosi fan Tutte, Don Giovanni, Don Pasquale, Madam Butterfly, La Boheme, Falstaff, Macbeth and La Traviata. His English repertoire includes Porgy and Bess, Four Saints in Three Acts, The Old Maid and the Thief, A Midsummer Night's Dream and Owen Wingrave. In French and German opera, Jones has performed leading roles in Carmen, La Damnation de Faust, Romeo et Juliette, Gounod's Romeo et Juliette, Die Zauberflöte, Hansel and Gretel, and Die Fledermaus. Jones' versatility as a performer has also made him a favorite on the recital stage. He made his New York debut with the Chamber Music Society of Lincoln Center in February 2000. His performances have taken him as far as the Pacific Northwest, the Czech Republic, Germany, Mexico, Ecuador, and Canada. He has appeared at the Victoria Bach Festival, the New Texas Festival, the Round Top Music Festival, and the Cactus Pear Music Festival. He has also been heard on National Public Radio's Performance Today. He frequently collaborates with pianists Brian Connelly, Craig Hella Johnson, Jeffery Sykes, Mark Alexander, and Howard Watkins. A favorite of contemporary composers, Timothy Jones has commissioned and premiered numerous compositions. Works have been composed for him by Robert Avalon, James Balentine, Derek Bermel, Laura Carmichael, John Vasconcelos Costa, Ellwood Derr, Jeffrey Goldberg, David Heuser, Jeffrey Nytch, Doug Opel, and Joe Stuessy. His most recent recording project took him to Sweden for a program of art songs. Jones is a native of Shreveport, Louisiana.
A. Jan Taylor, educator, pianist, singer and choral conductor, is Director of Choral Music Activities at Prairie View A&M University. A native of Houston, Texas, she received the Bachelor of Music degree from the University of Houston, and the Master of Arts degree from Prairie View A&M University. She is currently completing requirements for the Doctor of Musical Arts degree in Choral Conducting at the University of Houston, where she studies with Charles Hausmann.
Prior to her appointment at Prairie View, Taylor taught general music, piano, and trained choirs in elementary, middle, and high schools in the Houston Independent School District. She has served as adjudicator and choral clinician for numerous choral competitions, festivals, and regional choirs across the state of Texas. As an authority on the African-American spiritual, Taylor frequently lectures on the performance practices and preservation of the genre. View more...
She is the founding director of Intermezzo, a professional vocal chamber ensemble, and has traveled throughout the United States, Europe, and Asia as a singer with such premier professional choral ensembles as the Houston Chamber Choir and the Houston Chorale. As Assistant Conductor of the Houston Symphony Chorus from 2003 until 2006, she assisted in preparing the chorus for world-class conductors in performances of such choral-orchestral works as Benjamin Britten's War Requiem, Beethoven's Missa Solemnis, the Verdi Requiem, and Leonard Bernstein's Kaddish Symphony. She has prepared choruses and collaborated with such renowned conductors and composers as Barbara Baker, Roland Carter, Nathan Carter, Moses Hogan, and Adolphus Hailstork. For the Houston Ebony Opera Guild, she coaches and accompanies singers, and conducts the Guild's Chorus in performances of spirituals, African-American concert music, and operatic works.
Since 2008, Mrs. Taylor has served the "105 Voices of History" HBCU National Concert Choir as co-chair of the annual conductor's summit, and has prepared choristers from the Southwest Region for performances at the John F. Kennedy Center for the Performing Arts in Washington, D.C. In January 2012, Taylor conducted the national choir in a performance at the Grand Ole Opry House in Nashville.
Under Mrs. Taylor's direction, the Prairie View A&M University Concert Chorale and PV Chamber Singers have performed to critical acclaim throughout the United States and abroad, including performances at the Texas Music Educators Association convention, and the International Festival Wratislavia Cantans, a prestigious music festival for choirs and orchestras in Poland. Her choirs have performed with the Houston Symphony, the Acadian Symphony, and have collaborated with several professional and community choruses in the Greater Houston area.
Taylor is a member of the Board of Directors of the Bay Area Chorus, and holds memberships in the Texas Music Educators Association, American Choral Directors Association, Texas Choral Directors Association, and Sigma Alpha Iota, a music fraternity for women. Visit her website
Andrzej Grabiec, international soloist, recitalist, chamber musician and conductor; performed extensively throughout countries of Europe, North America, Australia, New Zealand and South Pacific; First Prize winner, International Competition for Chamber Music Ensembles in France; prize winner, Wieniawski and Thibaud International Violin Competitions; concertmaster, American Sinfonietta; former concertmaster, Polish National Radio and Television Symphony Orchestra, Rochester Philharmonic Orchestra, Eastern Philharmonic Orchestra; recording artist, Summit Records, Albany, Vifon, Natural Soundfields labels, and Polish Radio and Television, ORF (Austrian Radio, Vienna), West German Radio (West-Deutsche Rundfunk).
Timothy Hester, is an Associate Professor of Piano Director of Keyboard Collaborative Arts at University of Houston. He says, "My chief goal here at the Moores School of Music is to use the utmost care and clarity to pass on what I have learned to my students in the hope that, when they become professional musicians, they will do the same. I strive to encourage our keyboard students to understand and experience the intertwining relationship between solo performance, piano pedagogy, accompanying and chamber music, and am establishing a Keyboard Collaborative Arts Department which models this philosophy." Read more
Born in Japan, Shino Hayashi, began studying cello at the age of 5. She holds degrees from the Toho Gakuen School of Music, the Moores School of Music at the University of Houston and an Artist Certificate from the Meadows School of the Arts at Southern Methodist University. Her principal teachers have included Keiko Matsunami, Ko Iwasaki, Christopher Adkins and Vagram Saradjian. She has performed with symphony orchestras throughout Japan and the United States including the NHK Symphony Orchestra, the Tokyo Metropolitan Symphony Orchestra, the Yomiuri Nippon Symphony Orchestra, the Saito Kinen Festival Orchestra, the Houston Symphony, Houston Grand Opera, and the River Oaks Chamber Orchestra. An avid chamber musician, Hayashi was a prize winner in the Japan Chamber Music Competition and a recipient of the Ishikawa Music Academy Award. She was a member of Cello Ensemble Saito at the World Cello Congress in St. Petersburg Russia and toured with the ensemble throughout Europe and Japan. She attended the string quartet young artist program at the Saito Kinen Festival and was chosen as a soloist to perform under the baton of Maestro Seiji Ozawa in Matsumoto, Japan. Read More
She regularly appears throughout Japan with acclaimed violinist Takayoshi Wanami and is a teaching assistant at his summer seminars for violin and chamber music. In Houston she has also performed as a guest artist on faculty recitals at the Shepherd School of Music, the Moores School of Music, and the Texas Music Festival.
Felix Alanis Barradas, the 3rd place winner of the Violin National Competition in Zacatecas, Mexico 2010, was born in Xalapa, Mexico. He graduated from Universidad Veracruzana (University of Veracruz) with a Bachelor’s Degree in Music Performance. Mr. Alanis completed his Master’s degree in Violin Performance in December 2008 and his second Master’s degree in Violin Pedagogy in 2009 at Texas Tech University. Mr. Alanis has been the featured soloist with the Xalapa Symphony Orchestra, The Zacatecas Philharmonic, the Texas Tech University Symphony Orchestra, and the Chamber Music Orchestra of Xalapa. He is now pursuing Doctoral studies in Violin Performance at the University of Houston with Kirsten Yon as his mentor.
Katherine Ciscon, received her undergraduate degree in music from Rice University’s Shepherd School of Music as a student of John Perry and Mary Norris. Ms. Ciscon then completed two Master of Music degrees in both Piano Performance and Collaborative Arts as a student of Ruth Tomfohrde and Abbey Simon at the University of Houston’s Moores School of Music. In 1995, Ms. Ciscon was named Principal Pianist of Houston Ballet, a position she held for ten years. During that period, she was featured as soloist for many ballets, including the world premieres of Stanton Welch’s Nosotros (Rachmaninoff Paganini Variations), Ben Stevenson’s Eclipse (Chopin Piano Concerto No. 2) and Dracula (music of Liszt), Trey McIntyre’s Bound (Britten Piano Concerto), Lila York’s All American (Beethoven Piano Concerto no. 5) and Rapture (Prokofiev Piano Concertos Nos. 3 and 5), and Glenn Tetley’s Lux in Tenebris (music of Sofia Gubaidalina).
Currently Ms. Ciscon is a Visiting Assistant Professor of Music for the Moores School Opera Program, as well as continuing as Solo Pianist for the Houston Ballet. In spring 2008, she will be featured as soloist for a Stanton Welch world-premiere ballet set to the Piano Concerto of George Gershwin. Read more
Cynthia Clayton, American soprano Cynthia Clayton is an audience favorite in opera houses throughout the United States and overseas for her critically acclaimed performances of roles including Puccini heroines Tosca, Manon Lescaut, Mimi, Musetta, Liù, and Madama Butterfly, Mozart heroines Donna Anna, Donna Elvira, Pamina, Countess Almaviva, and Fiordiligi, and numerous others, such as Marguerite in Faust, Nedda in Pagliacci, Violetta in La traviata, Micaela in Carmen, Janacek’s Jenufa, and Floyd's Susannah. She has bowed in leading roles at New York City Opera, Houston Grand Opera, Dallas Opera, San Diego Opera, Utah Opera, Cleveland Opera, Opéra en Plein Air (Belgium), Lyric Opera of Kansas City, Anchorage Opera, Central City Opera, Opera Delaware, Arizona Opera, Fort Worth Opera, Knoxville Opera, Orlando Opera, Cedar Rapids Opera Theater, Opera Santa Barbara, Festival Opera of Walnut Creek, and Opera San Jose, where she was a Principal Artist in Residence for four seasons. Read more
Melanie Sonnenberg has impressed the music world with her distinctive mezzo soprano interpretations, ranging from the bel canto to the French and Russian repertoire. Whether recognized as “a rich and fluent mezzo” by The New York Times, or “a master and virtuosa of voice” by Opernwelt, her performances throughout Europe, the United States, and Canada, as with the Hamburg Staatsoper, Teatro San Carlo, Salzburg Festspielhaus, Graz Oper, Tokyo Yoyogi Arena, New York City Opera, Washington National Opera, Dallas Opera, Seattle Opera, Pittsburgh Opera, Opera Theatre of St. Louis, San Diego Opera, Austin Lyric Opera, Edmonton Opera, Opera Ontario, among others, have garnered critical and public acclaim. Read more
Earl L. Stewart is an Associate Professor in the Department of Black Studies at the University of California - Santa Barbara. He received his BS in Secondary Education from Southern University, Baton Rouge, studying under Walter Craig and the late Alvin Batiste in its Jazz Institute. He then received his MM and DMA in Composition from The University of Texas at Austin, studying with Karl Korte, Joseph Schwantner, and world-renowned author of Counterpoint (the late) Kent Kennan.
In addition to conducting, Dr. Stewart’s compositions have been performed by soloists Brenda Wimberly, Carolyn Sebron, and Metropolitan Opera diva Barbara Conrad; choreographer Chuck Davis; jazz artists Jullian "Cannonball" Adderly, Alvin Batiste and Kent Jordan; and narration by actor Moses Gunn. Ensembles who have performed his music include the Southern University Chorus (Baton Rouge, Louisiana); the Southern University Jazz Orchestra; the Austin Symphony Orchestra (Texas); the Boston Orchestra and Choral (Massachusetts); the National Symphony Orchestra of Ghana (Accra, Ghana, West Africa); the National Academy of Music Chorus of Wineba (Ghana); the Scott Joplin Orchestra of Houston (Texas); the University of California Jazz Orchestra; and the Mobile Symphony Orchestra (Alabama); and members of the Louisiana Philharmonic Orchestra. View more...
Works have also been performed at such venues as the Heineken Jazz Festival in Tel Aviv, Israel; Milsaps College; Dillard University (New Orleans); Saenger Theatre (Mobile, Alabama); Brooklyn Conservatory of Music (New York); The New Orleans Jazz and Heritage Festival (Louisiana); the Sixth Annual Biennial International and Symposium Festival on New Intercultural Music, University of London, Institute of Education (England); the University of New Orleans Performing Arts Center Recital Hall (Louisiana); and Weill Recital Hall at Carnegie Hall in New York.
Dr. Stewart is the author of African American Music: An Introduction, a musicological survey of African American music from the Civil War to the present. He has published articles on the aesthetic and theoretical significance of African American music – several of which were co-authored with Dr. Jane Duran. A sampling includes "Towards an Aesthetic of Black Musical Expression," Journal of Aesthetic Education; "Scott Joplin and the Quest for Identity,"Journal of Aesthetic Education; "Coleridge-Taylor: Concatenationalism and Essentialism in an Anglo-African Composer," American Philosophical Association Newsletter of Philosophy and the Black Experience. Visit Earl Stewart's website
John Snyder has published books and critical editions including: Samuel Coleridge-Taylor: Symphonic Variations on an African Air, Opus 63 (Middleton: A-R Editions, 2007); Theinred of Dover's De legitimis pentachordorum et tetrachordorum, A Critical Text and Translation, with an introduction, annotations, and indices (Ottawa: Institute of Mediæval Music, 2006).
He has written articles on musical analysis and the history of music theory, including: "Samuel Coleridge-Taylor and (Extra-) Musical Exoticism" (Society for Musicology in Ireland, Dundalk, Ireland, 2012); "The Genesis of Coleridge-Taylor’s Symphony in A Minor: Sources, Chronology, Issues" (17th Biennial Conference on 19th Century Music, Edinburgh, Scotland, 2012); "Pitch and Pitch Relationships in Musicæ artis disciplina: Letter Notation, Species, and Contour Theory" (Theoria 17 ); "Reason and Original Thinking in English Intellectual Circles: Aristotle, Adelard and Auctoritas in Theinred of Dover's Musical Theory of Species," in Teaching and Learning in Northern Europe 1000-1200 (ed. Sally Vaughn and Jay Rubenstein; Brepols, 2006); entries on Theinred of Dover in The Revised New Grove Dictionary of Music and Musicians (2001); New Grove Online; The New Dictionary of National Biography (Oxford University Press, 2004); "Schenker and the First Movement of Mozart's Sonata, K. 545: An Uninterrupted Sonata-Form Movement?" (Theory and Practice 16 ); "Entropy as a Measure of Musical Style: The Influence of a priori Assumptions" (Music Theory Spectrum 12/1 ); "A Road Not Taken: Theinred of Dover's Theory of Species" (Journal of the Royal Musical Association 115/2 ); "Theinred of Dover on Consonance: A Chapter in the History of Harmony" (Music Theory Spectrum 5 ). View more...
Dr. Snyder has presented papers at regional, national, and international conferences and symposia, including: "Toward a Critical Edition of Coleridge-Taylor's Symphony in A Minor: Sources, Chronology, Issues" (Ft. Worth: Southwest Chapter of AMS & Des Moines: North American British Music Studies Association, 2010); "Pseudo-Odo's Eccentric Theories of Species and Contour: Two Approaches to Pitch Relationships from Medieval Italy" (San Marcos: Texas Society for Music Theory, 2008); "Pseudo-Odo's Musicæ artis disciplina: Questions of Content, Transmission, and Influence" (Tucson: Rocky Mountain Chapter of AMS & Rocky Mountain Society for Music Theory, 2007); "Cadences, Phrases, Periods, and Undergraduate Angst: Some Observations and Suggestions" (Tallahassee: Florida Theory Society, and San Marcos: Texas Society for Music Theory, 2004); "Aristotle, Auctoritas, and Theinred of Dover's Theory of Species: An English Contribution to the Twelfth‑Century Renaissance" (San Antonio: Texas Medieval Association, 2001); "Diabolus in musica: Structure and Tonality in the Wolf's Glen" (Waco: Texas Society for Music Theory, and Toronto, Society for Music Theory, 2000); "Schenker, Schoenberg, Brahms: Organic Unity in Theory and Practice" (Ottawa: Austria 996‑1996: Music in a Changing Society, 1996); "The Structure of Scriabin's Atonality: The Ninth Piano Sonata" (London, Ontario: Music Theory Canada, 1988); "The Date of Theinred of Dover's De legitimis ordinibus pentachordorum et tetrachordorum: A Review of the Evidence" (Philadelphia: American Musicological Society, 1984); "Non‑Diatonic Tones in Plainsong: Theinred of Dover versus Guido d'Arezzo" (Strasbourg, International Musicological Society, 1982).
Dr. Snyder's professional activity includes: Editorial Advisory Board, Thesaurus Musicarum Latinarum (1991–present); Editorial Board, Music Theory Online (2001–2003); President, Texas Society for Music Theory (1994–97); Fellow, Mannes Institute for Advanced Studies in Music Theory (Institute in Historical Theory, June 2001).
Yvonne Kendall, professor of music. Dr. Yvonne Kendall has been at UHD for 15 years. She graduated with a B.S. in Music Education (magna cum laude) from Austin Peay State University in Clarksville Tennessee, her hometown. After a brief stint teaching elementary school music, she earned a Master of Music degree in Flute Performance at the famed New England Conservatory of Music in Boston, where she performed in master classes of the late Julius Baker, principle flute of the New York Philharmonic. She earned her Doctor of Musical Arts in Early Music at Stanford University, while serving as piccolo player for the Santa Cruz Symphony. Dr. Kendall was then selected for a post-doctoral fellowship at University of North Carolina-Chapel Hill. She has also been granted two summer fellowships for the National Endowment for the Humanities (one in Italian Archival Sciences - taught in Italian; the other in Golden Age Spain), several UHD grants for Organized Research and Faculty Development, and the coveted Faculty Development Leave Grant for research in Barcelona Spain (Fall 2007). View more...
Dr. Kendall has been named recipient of the Award for Excellence in Faculty Service (2007) and as a finalist in the award for Scholarly/Creative Activities (2009). Dr. Kendall regularly presents her work internationally and publishes in journals devoted to musicology, dance history, and renaissance studies. She is also an active performer on modern and period instruments with performances at Miller Outdoor theater, Moores Opera House, Hobby Center, etc. to her credit. Dr. Kendall has designed classes that are unique in Houston universities. They include Introduction to African American Music and History of Spanish Music, among others. View Dr. Kendalls faculty page at UHD here.
Jeffrey Green, born in Nuneaton (in the center of England) and raised in London, lived and worked for several years in Africa. His interest in jazz led him to pursue research in the UK and the US, focusing on the African British and African American communities in the late nineteenth and early twentieth centuries. His books include Edmund Thornton Jenkins: The Life and Times of an American Black Composer, 1894-1926 (Westport, CT: Greenwood Press, 1982); Black Edwardians: Black People in Britain, 1901-1914 (London: Frank Cass, 1998); and Samuel Coleridge-Taylor, a Musical Life (London: Pickering and Chatto, 2011). Green has also contributed a chapter to Africans on Stage (Bloomington: Indiana University Press, 1999) and published numerous articles in many journals, including Storyville, Black Music Research Journal, Black Perspective in Music, Ghana Studies Bulletin, Journal of Caribbean History, History Today, Immigrants and Minorities, and New Community, among others. He has also contributed to the Oxford Dictionary of National Biography (more than thirty articles), the Oxford Companion to Black British History and the New Grove Dictionary of Jazz.
HORACE J. MAXILE, Jr., Assistant Professor of Music Theory, holds the Ph.D. in Musicology (Music Theory emphasis) from Louisiana State University. In addition he holds degrees from Louisiana Tech University (B.S. Music Education) and Southeastern Louisiana University (M.M. Music Theory). Prior to joining the faculty at Baylor, he taught at The University of North Carolina at Asheville and served as Associate Director of Research at the Center for Black Music Research (Columbia College Chicago).
His research interests include the concert music of African American composers, jazz analysis, gospel music, and musical semiotics. Among his publications are articles and reviews in Perspectives of New Music, The Annual Review of Jazz Studies, Black Music Research Journal, and Journal for the Society of American Music. He was Associate Editor of the Encyclopedia of African-American Music (Greenwood Press, 2011). He has read papers for the Society for Music Theory, the Society for American Music, the American Musicological Society, and other national/international meetings. He currently serves as chair of the Committee on Diversity for the Society for Music Theory and as Editor of the Black Music Research Journal.