CCM Assistant Professor of Electonic Media Raul Barcelona.

This Saturday, CCM presents a unique multimedia production of Berlioz’s The Damnation of Faust. CCM E-Media faculty member Raul Barcelona recently discussed his work on the project with CCM Public Information Assistant and Arts Administration student Lillian Matchett.

Lillian Matchett: Could you give me a little background about your work at CCM?

Raul Barcelona: I’ve been here now for almost two years. My role here is Assistant Professor of Electronic Media, and I specifically teach new media and video production classes. My main focus is film making, but in the past I have also worked as a web designer and graphics designer, so I am also teaching some of those new media courses as well.

LM: Could you tell me a little about how you originally got involved with the production of The Damnation of Faust?

RB: Earl Rivers [CCM’s Director of Choral Studies and conductor] approached me to see if I would be interested in developing some visuals for the performance. He had this idea that it’s a work that is very cinematic in nature, even just by itself, and he thought that it would be a good opportunity to collaborate so that the music is accompanied with visuals.

LM: What was your original inspiration for the visuals we’ll see on Saturday?

RB: My main inspiration comes from this news article I read a couple of years ago about migrating birds that would go through American cities and crash to their deaths against sky scrapers. These birds get confused because they think of these skyscraper lights as stars that they use to navigate. So I was reading this article and became very aware of urban wildlife; that is animals that thrive, and live and lead lives within these concrete canyons, so to speak.

A still from Raul Barcelona's film.

I became fascinated with the fact that these animals have a different kind of survival experience than we do—we go to work, we get a paycheck so that we can survive, whereas these animals live in the same environment, but with a different existence. I started focusing on filming these red-tailed hawks that live in New York, so a lot of the inspiration for the visuals I’ve created comes from that theme of nature versus human progress, wildlife in a modern city.

LM: Could you tell me a little bit about special techniques or effects that you are using, if any?

RB: Originally I wanted to experiment with this method of editing images where you take the sound wave of the music and you can have the rhythm of the visuals respond to that. However, the images that would come out of that were very processed and heavily manipulated. One of my goals is to create these images that will allow the audience to contemplate and meditate on certain themes as they are listening to the music, and because the images that were coming out were so processed and manipulated, I feared that people would pay more attention to the technique rather than the content.

So then I went the opposite way, and only produced images that I had filmed and could capture that way, rather than trying to manipulate them. Because a lot of the theme is nature, I felt that I wanted to capture things the way that I see them in the real world. In terms of effects, mostly what I ended up using were very basic thing, such as slowing the motion or speeding the motion to emphasize certain details. For example, the flight of the hawk is very beautiful, but they move very fast. Since the poetry in the movement of their wings doesn’t come across as well at normal speed, I slowed it down. At other times, to show the insane pace of modern life—rush hour traffic, for instance—I sped it up.

All the footage that you see is actually shot in real life, but the perspective might be different. There’s some really abstract-looking footage, for instance, that looks like it could be some weird-looking cosmic matter, but what you are looking at is actually a chemical experiment with milk, food dye and dishwashing soap that blend, swirl and mix together in very beautiful ways. But when you zoom in very close then blow it up, you have no idea what you are looking at. So most of the effects are like that, where I try not to use a computer to generate them, but they can still look very abstract.

There is one shot that is of a street light in the middle of the night, and it’s shot with very low shutter speed. When you zoom in very close on the bulb of the street lamp it looks like these wavy lines, and you don’t know that you are looking at something so tangible. I could create those effects on the computer and it would be an easier, more automated way of doing it, but, again, the theme is capturing things the way they are in the world.

LM: That’s very interesting. So then how do you use those themes and tie them into the Damnation of Faust?

RB: One of the things I didn’t want to do was create a literal story of Faust, so not a staging. What I wanted to do was more a poetic construction of images that some times seem to line up well with the story, but at other times you are not quite sure if it does. I like that gap between the visuals and the music because it allows the audience to step in and create associations of their own. When the music matches perfectly what you’re seeing, you don’t have to think about it because the connection is already made for you. I instead like it when there is that area to contemplate and be creative in the moment when you are absorbing the performance.

But the way that these different themes play out does have to do with the music, and in some places more than others. For instance, there is a theme where Faust and Marguerite are talking about their love for each other and they end up consummating their relationship at the end of that scene. During that part, the visual is of a couple of red-tailed hawks during the mating season flying around together. So in that part the music and the visuals do line up very well.

My goal was to break away from a narrative: to not become a slave to the story, but to still illustrate the story, and let the audience create their own conclusions.

LM: With the performance coming up this weekend, have you had any new insights now that it’s almost here?

RB: Yesterday we watched the rehearsal with the visuals for the first time, and it was very interesting to see and make connections that I hadn’t even realized before. For example, some things that weren’t intentional from the get-go end up being perfectly matched and the music drew out new themes.
_________

Barcelona also discussed the production with the Enquirer‘s Janelle Gelfand. You can read the interview here.

CCM presents Hector Berlioz’s The Damnation of Faust (La Damnation de Faust), Op. 24 at 8 p.m. on Saturday, Feb. 25 in Corbett Auditorium. Tickets are $12 general admission, $5 non-UC students and free for UC students. Tickets can be purchased by visiting the Box Office or calling 513-556-4183. You can learn more about the production here.

CCM Season Presenting Sponsor: The Otto M. Budig Family Foundation

Kaitlyn Adams with INTO THE WOODS' Witch, played by Victoria Cook.

Into the Woods Wig & Make-Up Designer Kaitlyn Adams recently sat down with CCM Public Information Assistant and Arts Administration student Jenifer Thomas to discuss the work that went into this monumental production. Kaitlyn is handling wig and make-up design for this production alongside CCM faculty member Kelly Yurko.

Jenifer Thomas: Hi Kaitie! Tell me a little bit about yourself.

Kaitlyn Adams: I’m a Senior from Cincinnati. I went to high school at Seton on the West side.

JT: Local girl, huh? So what got you into wigs and make-up?

KA: My mom is actually a wig master and make-up artist, so I’ve grown up with it.

JT: And why’d you choose CCM?

KA: There are only two schools in the country that teach wigs and make-up. The other school focuses primarily on wigs and make-up for film, and that wasn’t where I was interested. I want to do stage work.

JT: So when you found out you were assigned to design Into the Woods, what did you do?

KA: I was very excited, because it’s a big show and I like doing character make-up rather than just doing your basic male or female corrective make-up. So, I got to develop my own thing, which was exciting.

JT: And obviously, there’s one major character that has a lot of make-up and wig challenges, and that’s the Witch. How did you approach this character?

KA: The first thing I did when I found out I was designing Into the Woods was to actually know the story, so I bought the movie (which isn’t entirely the same as the stage version) and when I saw the Witch character, I knew what I was dealing with. We knew that we were going to have to do some prosthetic pieces, but it was a matter of what I wanted it to look like, and then conferring with Terri Nikolits, who created the prosthetics, and asking ‘what can we do with this?’ I wanted the Witch to be old and falling apart, but still wanting to be a beauty, so she needed a twist.

We started with the renderings from Dean Mogle, the costume designer, and went from there. We began with the wig. It took me about six hours to create the wig. I had to sew in pieces of weft (which is like a weave where we take hair that we wrap around pieces of string). I cut the weft into small pieces and I had made various colors: purple, green, some yellow and blue, and silver. Then I had to wet-set it [wet setting is winding wet hair around curlers and letting it dry to achieve a specific hairstyle] on straws, which took about three hours. Then I had to style it. So, I unwound the hair from all of the straws and took each individual curl and pulled it into several smaller curls. That’s the wig.

Senior Victoria Cook at the Witch. Photography by Mark Lyons.

The Witch also has prosthetics: two cheek pieces, a cheekbone and a jowel, a chin and a nose. I gave my design to Terri [the prosthetics designer] and told her I wanted the Witch to have these big bulldog jowels and pointy chin and a bulbous nose, and she went with it. And then she created it, and we painted it, and here it is!

JT: And she transforms in the middle of the show. How do you deal with that?

KA: Well, we have six people on her change. Backstage left, we have an 8’ by 8’ quick change booth. So, we’re all shoved into this quarter. She runs offstage and as she’s running, she’s got people behind her taking off her cloak and undressing her. Then we take off the wig and the prosthetics. It was difficult to figure out how to do that because we apply the prosthetics with spirit gum and latex. The latex peels right off, but leaves her splotchy and red. So, we have to give her a few minutes to cool down, drink some water, and let the redness die down. We only have about six minutes to do this full change. After she’s cool, we start dabbing her and cleaning her off because she’s got make-up on her forehead and around her mouth. The prosthetics cover everything else. So we start applying foundation and working. There are two of us doing make-up, one of us putting on her wig, and three people dressing her. Plus someone’s there for sound. All the while, she has a live mic on because she has lines from backstage, so there’s no sort of noise being made. We have to be very, very quiet and clear all the stagehands out from backstage, because if something were to happen, it would pick up very easily. So, the mic is on, and we’re working quickly and trying not to swear, and she says her lines during all of this.

JT: Were there any other characters that posed a particular challenge for you?

KA: Well, the Witch isn’t the only one with prosthetics in this production. We actually have four characters with prosthetics. The Wolf was also very challenging, because we needed him to have a snout that covers his nose, but we didn’t want him to sound like he had a cold and sound muffled. So we consulted with Rocco [Dal Vera, Professor of Drama] about where to poke the holes in the snout so he wouldn’t sound strange. We had Blaine [Krauss, the student playing the Wolf] rehearse in the snout so he could learn how it moved and we could make sure it would stay on. He also has side burns and this really awesome wig with ears built in. Then, Cinderella’s father has a baldpate and a hand-tied wig plus a prosthetic nose. Jack’s mother also has a prosthetic nose. So we had to figure out how to make these characters work creatively.

Sophomore Blaine Krauss as the Wolf, alongside freshman Lawson Young as Little Red Ridinghood. Photography by Mark Lyons.

JT: Well, I can’t wait to see the show!

KA: It’s definitely an experience. There’s pyro, there’s… well, I don’t want to give away too much. But there’s a LOT of effects. This make-up is not the only cool thing. My little brother is nine and he saw the show last night and was in absolute awe. Everyone did a really great job, and I’m glad you’re excited to see it.

_________

Stephen Sondheim’s Into the Woods runs Feb. 23-26 and March 1-4 in Patricia Corbett Theater. Tickets are $27-$29, $17-$19 for students and can be purchased by visiting the Box Office or calling 513-556-4183. This production celebrates the 20th anniversary of the establishment of the Patricia A. Corbett Distinguished Chair of Musical Theatre at CCM. Learn more about the production here.

Mainstage Season Production Sponsor: Macy’s

Musical Theatre Program Sponsor: The Otto M. Budig Family Foundation

Lighting Sponsor: Vincent Lighting Systems

You can listen to the full interview here. Performance information for The Damnation of Faust is available after the jump!

Performance Date
Saturday, Feb. 25, 8 p.m.

Location
Corbett Auditorium, College-Conservatory of Music
University of Cincinnati

Tickets & Parking Information
Tickets to The Damnation of Faust are $12 general admission $5 non-UC students and UC students are free. Parking is available in the CCM Garage (at the base of Corry Boulevard off of Jefferson Avenue) and additional garages throughout the UC campus.

For complete ticket information, visit ccm.uc.edu or call the CCM Box Office at 513-556-4183.

CCM Season Presenting Sponsor: The Otto M. Budig Family Foundation

You can listen to the full interview here. Performance information for Into the Woods is available after the jump!

Performance Times
February 23- March 4, 2012

• Thursday, Feb. 23, 8 p.m.
• Friday, Feb. 24, 8 p.m.
• Saturday, Feb. 25, 2 & 8 p.m.
• Sunday, Feb. 26, 2 p.m.
• Thursday, March 1, 8 p.m.
• Friday, March 2, 8 p.m.
• Saturday, March 3, 2 & 8 p.m.
• Sunday, March 4, 2 p.m.

Location
Patricia Corbett Theater, College-Conservatory of Music
University of Cincinnati

Tickets & Parking Information
Tickets to Into the Woods are $29 for adults ($27 matinee) and $19 for students ($17 matinee). $11 student rush tickets will be available for the Saturday matinee beginning at 1 p.m. on Feb. 25 & March 3; limit two rush tickets per student ID. Parking is available in the CCM Garage (at the base of Corry Boulevard off of Jefferson Avenue) and additional garages throughout the UC campus.

For complete ticket and parking information, visit ccm.uc.edu or call the CCM Box Office at 513-556-4183.

CCM Season Presenting Sponsor: The Otto M. Budig Family Foundation

In anticipation of this month’s anniversary production of Into the Woods, we present a look back at CCM’s 1991 production of Into the Woods, the show that celebrated the initial creation of CCM’s endowed chair of Musical Theatre.

CCM Musical Theatre is the oldest program of its kind in the country. Established in 1969, the innovative program was used by the National Association of Schools of Theatre in formulating the guidelines for accreditation of musical theatre programs nationwide.

Likewise, at the time of its inception in 1991, the Patricia A. Corbett Distinguished Chair of Musical Theatre was the only academic chair of its kind in the United States, the American equivalent of the Chair in Musical Theatre endowed by Cameron Macintosh in honor of Stephen Sondheim at Oxford one year later.

CCM’s original production of Into the Woods was directed by Aubrey Berg, with sets by Paul Shortt, costumes by Dean Mogle and lighting by Jim Gage. “It’s always fun to revisit a musical that one has done before, especially in a new venue and with an entirely different scenic concept,” explains Berg. “When we first produced the show at CCM, it was brand new. Now it is one of Sondheim’s most produced and beloved musicals.”

“Our approach to the show today is rather different than the previous production. In place of a fairytale forest, there is a toy theatre rendered in the style of British illustrator Ronald Searle – look for the whimsical cats – and if the audience gets the sense that a Giant is loose on the UC campus, so much the better.”

Learn  more about CCM’s anniversary presentation of Into the Woods here.

E-Media Alumnus Elliot Greenberg

The science fiction film Chronicle topped the box office last weekend and CCM alumnus Elliot Greenberg had a large part in the film’s success. The film was edited by Greenberg, who graduated from CCM E-Media in 2001. You can view the trailer for the film below:

Greenberg’s success does not come as a surprise to those who knew him while he was pursuing his degree. E-Media Associate Professor Kevin Burke elaborates that Greenberg “has worked hard and come up through the ranks of assistant editors in LA, while learning from a number of talented editors and directors.”

Greenberg takes a casual and humble attitude toward his success. “His response to it all: ‘pretty crazy isn’t it?’” recounts Burke.

Having begun his West Coast career immediately following graduation, Greenberg has had the opportunity to work on several other films, including Devil, Sorority Row and Quarantine. While at CCM, one of Greenberg’s major collaborative projects was the award-winning student film Eastern Standard Time, which will be shown at an upcoming E-Media event.

Chronicle is about three high school friends who gain superpowers after making an incredible discovery. Soon, though, they find their lives spinning out of control and their bond tested as they embrace their darker sides. The film grossed $22 million when it opened the first weekend in February and over $40 million to date.

Chris Blem, Victoria Cook and Michelle Rombola in CCM's Mainstage Production of 'Into the Woods.' Photography by Mark Lyons.

In celebration of the 20^th anniversary of the Patricia A. Corbett Distinguished Chair of Musical Theatre, CCM’s Mainstage Musical Theatre Series continues its 2011-2012 season with Stephen Sondheim’s Into the Woods. The award-winning pairing of new and existing fairy-tales with Sondheim’s witty music and lyrics runs February 23-26 and March 1-4 in Patricia Corbett Theater in CCM Village.

The Tony Award-winning comedic musical Into the Woods centers upon a Baker, his Wife and the Witch next door who has placed a curse upon them. In a quest to reverse the curse, the Baker goes “into the woods” to gather the magical ingredients the Witch needs to create a potion. Along the way, the Baker runs into his neighbor, Jack, who tries to feed his family with “magic” beans, Little Red Ridinghood on the way to her grandmother’s house, Cinderella scurrying away from a night cut short with a handsome Prince, and several other beloved characters from Grimm’s fairytales. But, as the characters scour the woods to fulfill their greatest wishes, greed, deceit and misfortune thwart their journeys and force them to confront the morals of their stories. Is there really a happily ever after?

For senior Victoria Cook, landing the role of the Witch in Into the Woods was an emotional experience. “I cried when I got cast as the Witch. It’s a dream role for an actress to be cast as a dynamic character that starts as this hideous creature and then transforms into someone very glamorous.”

But for her, this role is just the tip of the iceberg of the great things that have come from CCM’s Musical Theatre program. She explains, “I’m very blessed to have gone here because it’s recognized as the top program in the country. It’s the best place to be if you want to be in this field.”

Marking A Milestone

CCM last presented 'Into the Woods' in 1991 to celebrate the creation of the Patricia A. Corbett Distinguished Chair of Musical Theatre. Photography by Patrick L. Pfister.

2012 marks the 20^th anniversary of the Patricia A. Corbett Distinguished Chair of Musical Theatre, currently held by Chairman of the Department of Musical Theatre and Into the Woods director Aubrey Berg. This production of Into the Woods serves as a celebration of this generous gift to the Musical Theatre program.

Berg explains, “It is always fun to revisit a musical that one has done before, especially in a new venue and with an entirely different scenic concept. When we first produced the show at CCM, it was brand new. Now it is one of Sondheim’s most produced and beloved musicals. Our approach to the show today is rather different than the previous production. In place of a fairytale forest, there is a toy theatre rendered in the style of British illustrator Ronald Searle – look for the whimsical cats – and if the audience gets the sense that a Giant is loose on the UC campus, so much the better. The cast is constantly in the steeply-raked aisles of the Patricia Corbett Theater. Ours is a forest with hills.”

“With the establishment of the Corbett Chair in Musical Theatre, we were able for the first time to present our ‘Not Famous Yet’ showcase in New York City,” says Berg. “This allows our graduating class to be seen by agents and casting directors, an enormous selling point for the program. It also enables us to bring master teachers in every aspect of the craft to Cincinnati to interact with our students, to provide scholarships in musical theatre and to present our ‘admission free’ series of musicals in the Cohen Family Studio Theater. We are fortunate, too, that the work begun by Mrs. C is continued today by the Otto M. Budig Family Foundation.”

Cook recognizes that without the support of generous donors, the things that make CCM’s program a standout would be impossible. “We want to use Into the Woods to honor Patricia Corbett and the good that she’s done in creating this chair because the program wouldn’t have the showcase and master class opportunities that is has without her, and that’s the number one reason that students want to be a part of this program,” explains Cook. “I wouldn’t have had the experience at CCM I had without this generosity, so it’s important to us to do our best to honor her.”

About the Patricia A. Corbett Distinguished Chair of Musical Theatre

Patricia Corbett was named a great Living Cincinnatian in 1994. She died on Jan. 28, 2008, and was honored with a special memorial concert at Music Hall performed by the Cincinnati Symphony Orchestra and the CCM Musical Theatre program.

Since its establishment in 1991, the Patricia A. Corbett Distinguished Chair of Musical Theatre has provided invaluable support for the Musical Theatre Program at CCM. At the time of its inception, it was the only academic chair of its kind in the United States, the American equivalent of the Chair in Musical Theatre endowed by Cameron Macintosh in honor of Stephen Sondheim at Oxford one year later.

Mrs. Corbett’s generosity has helped scores of students with scholarship aid, enabled the program to invite master teachers to campus, established New York and Chicago showcases for graduating seniors and underwritten admission-free Studio productions, CCM’s gift to the Cincinnati theatre-going community.

In 1991, the Musical Theatre Chair was inaugurated with a production of Into the Woods by Stephen Sondheim, directed by Aubrey Berg, with sets by Paul Shortt, costumes by Dean Mogle and lighting by Jim Gage. To mark the 20th anniversary of the Chair, the Musical Theatre program again stages this popular work, featuring current Corbett scholarship winners in the cast.

In March the celebration will continue with the 20th edition of the Musical Theatre “Not Famous Yet” Showcase, a tradition that began with the establishment of the Corbett Chair.

About Aubrey Berg

Professor and Patricia A. Corbett Distinguished Chair of Musical Theatre Aubrey Berg.

Aubrey Berg has headed the musical theatre program at CCM for the past 23 years. He has directed extensively for both professional and educational theatres, with productions ranging from the classics to new plays, from musical theatre to dramatic works. Musicals he has staged include West Side Story, Oklahoma!, Sweet Charity, Cabaret, Chicago, Babes in Arms, Into the Woods, Evita, Hair, A Chorus Line, The Pirates of Penzance, My One and Only, Assassins, Cyrano, Passion, Chess, Godspell and Little Me. Other productions include such works as Romeo and Juliet, Othello, Two Gentlemen of Verona, Tartuffe, Cat on a Hot Tin Roof, The Crucible, Electra and Vinegar Tom.

As a performer, Berg has been seen in roles as diverse as Dr. Pangloss in Candide and Frank in Educating Rita. He holds a PhD in Theatre Arts from the University of Illinois at Champaign-Urbana, and has studied at the Bristol Old Vic, the British Drama League and the British Council at Stratford-upon-Avon. His work has received a DALRO Award Citation, Joseph Jefferson Award Citations, Obelisk Awards for Excellence in the Performing Arts, Post-Corbett Award nominations, Cincinnati Entertainment Awards and Acclaim Awards.

Berg is the first holder of the Patricia A. Corbett Distinguished Chair of Musical Theatre at CCM and served as Artistic Director of its award winning summer repertory, Hot Summer Nights, for seven years. His students can be seen on Broadway, Off-Broadway and in national and international tours. In 2010, he received the League of Cincinnati Theatres Award of Excellence and was elected to the CEA Hall of Fame.

Performance Times
February 23- March 4, 2012

• Thursday, Feb. 23, 8 p.m.
• Friday, Feb. 24, 8 p.m.
• Saturday, Feb. 25, 2 & 8 p.m.
• Sunday, Feb. 26, 2 p.m.
• Thursday, March 1, 8 p.m.
• Friday, March 2, 8 p.m.
• Saturday, March 3, 2 & 8 p.m.
• Sunday, March 4, 2 p.m.

Location
Patricia Corbett Theater, College-Conservatory of Music
University of Cincinnati

Tickets & Parking Information
Tickets to Into the Woods are $29 for adults ($27 matinee) and $19 for students ($17 matinee). $11 student rush tickets will be available for the Saturday matinee beginning at 1 p.m. on Feb. 25 & March 3; limit two rush tickets per student ID. Parking is available in the CCM Garage (at the base of Corry Boulevard off of Jefferson Avenue) and additional garages throughout the UC campus.

For complete ticket and parking information, visit ccm.uc.edu or call the CCM Box Office at 513-556-4183.

Into the Woods Cast List

• Narrator/ Mysterious Man: Graydon Long (Senior from Perrysburg, Ohio)
• Baker: Chris Blem (Senior from Tampa, Fla.)
• Baker’s Wife: Michelle Rombola (Senior from Buffalo, N.Y.)
• Witch: Victoria Cook (Senior from Atlanta, Ga.)
• Rapunzel: Lauren Roesner (Junior from Chicago, Ill.)
• Cinderella: Katie Johannigman (Senior from Cincinnati)
• Cinderella’s Mother: Kate McMillan (Junior from Goldsboro, N.C.)
• Cinderella’s Father: Lee Slobotkin (Junior from Philadelphia, Pa.)
• Cinderella’s Stepmother: Christine Smith (Junior from Dallas, Texas)
• Florinda: Aubrey Ireland (Junior from Leawood, Kan.)
• Lucinda: Catherine Helm (Sophomore from Ft. Worth, Texas)
• Cinderella’s Prince: John Riddle (Senior from Vermilion, Ohio)
• Rapunzel’s Prince: Matthew Amira (Junior from New York, N.Y.)
• Steward: Greg Kamp (Junior from Atlanta, Ga.)
• Jack: Josh S. Smith (Junior from New Orleans, La.)
• Jack’s Mother: Cassie Levine (Junior from Vestal, N.Y.)
• Milky White: Joey Dippel (Junior from San Jose, Calif.)
• Little Red Ridinghood: Lawson Young (Freshman from Saratoga Springs, N.Y.)
• Wolf: Blaine Krauss (Sophomore from St. Petersburg, Fla.)
• Granny: Madeleine L. Spacapan (Freshman from Arlington Heights, Ill.)
• Sleeping Beauty: Kaela O’Connor (Freshman from Essex Falls, N. J.)
• Snow White: Katie Wesler (Sophomore from Birmingham, Ala.)
• Giant: Kate McMillan (Junior from Goldsboro, N.C.)
• Stagehands: Connor Deane (Sophomore from Orange, Conn.) and Dane C. Becker (Sophomore from Sarasota, Fla.)

* denotes CCM student

CCM Season Presenting Sponsor: The Otto M. Budig Family Foundation

CCM Dean Peter Landgren, UC Head Football Coach Butch Jones and CCM Assistant Professor of Trombone Tim Anderson.

Earlier today, UC Head Football Coach Butch Jones stopped by CCM’s Robert J. Werner Recital Hall to give a master class on performance preparation and mental conditioning.

From dealing with nerves and eliminating distractions to strategies for staying motivated, Coach Jones discussed the similarities between athletic and musical performance to a hall filled with CCM students and faculty!

Guest Lecturer Steven Rings. Photo: Valerie Booth O.

CCM’s “Thinking About Music” Lecture Series will present Steven Rings, University of Chicago, who will speak at 2 p.m. on Friday, Feb. 17 on the topic: “On Tonal Hearing: Quale and Chroma Revisited.” The lecture will be held in CCM’s Baur Room and is free and open to the general public.

Dr. Rings’s research focuses on transformational theory, phenomenology, popular music and questions of music and meaning. Animating all of his work is an abiding interest in the relationship between “technical” music theory and more broadly humanistic inquiries into music as a cultural practice.

His book Tonality and Transformation (Oxford, 2011) develops a transformational model of tonal hearing, employing it in interpretive essays on music from Bach to Mahler.

Congratulations to CCM alumni eighth blackbird on their Grammy win on Sunday! Formed at the Oberlin Conservatory of Music, the sextet studied as an ensemble at CCM in the late 1990s.

Learn more about their win on Janelle Gelfand’s Arts in Focus blog.