A picture of CCM faculty member Donald Hancock holding his Emmy Award.

Emmy Award-Winning Producer Donald Hancock is Named Assistant Professor of Film and Television Production at CCM

CCM Dean Stanley E. Romanstein has announced the appointment of Donald Hancock to the position of Assistant Professor of Film and Television Production in CCM’s Division of E-Media. Hancock joined CCM’s faculty as an adjunct in 2012. His new appointment will begin on Aug. 15, 2019.

A picture of CCM faculty member Donald Hancock holding his Emmy Award.

Hancock is an Emmy Award-winning producer, professor and an active member of the media community. He has an MA in Film and Television from Savannah College of Art and Design and a BFA in E-Media from CCM. Hancock currently works as a producer at CET, Cincinnati’s PBS Member Station. He has produced “The Art Show,” CET’s weekly art magazine program, since 2013. He also produces content for a variety of partners with CET, including ArtsWave and the Cincinnati Symphony Orchestra.

Hancock won a Regional Emmy Award for “Cincinnati’s Music Hall: The Next Movement,” a 60-minute documentary that he co-wrote, produced and shot. The documentary details the historic $150 million renovation of Cincinnati’s National Historic Landmark. Watch a promotional spot for the documentary below.

In 2013, Hancock was chosen as one of 25 producers from around the country to participate in the PBS/CPB Producer’s Academy, whose goal is to engage a talented pool of diverse producers in public broadcasting. Hancock has also partnered with WGBH and PBS to produce content around national programming including “Finding Your Roots,” “American Experience” and “Downton Abbey.”

For the past seven years, Hancock has been an adjunct professor at CCM, teaching Digital Video and Integrated Media Production courses to sophomore and junior-level students. In his spare time, he serves on the Executive Board for the UC Center for Film and Media Studies, as well as the community advisory board at Elementz Urban Arts Center. He is a member of the National Association of Black Journalists, a member of the Broadcast Education Association and volunteers as a Big Brother in the Big Brother Big Sisters Program.

Dean Romanstein thanked search committee members Kevin Burke (chair), Peter DePietroJohn HebbelerTondra Holt and Hagit Limor for their work on finding CCM’s new Assistant Professor of Film and Television Production.

Please join us in congratulating Donald Hancock on his new appointment!

CCM Alumni Applause CCM News Faculty Fanfare

CCM Offers Arts Classes to all UC Students in Fall 2019

 

CCM offers dozens of different general studies and fine arts elective courses in fall 2019. These credit-granting courses are open to all UC students and cover a wide range of topics including dance, movies and media, music and theatre arts!

Master the hip-hop dance moves seen in current music videos or learn the basics of modern dance and ballet in CCM’s dance classes. Film a digital video or binge-watch classic movies, Disney animated musicals and TV sitcoms in movie and media appreciation classes.

CCM’s music appreciation classes cover the music of Woodstock, The Beatles, Japanese Pop and more, or students can study women’s impact on music and the impact of music on politics. Students can also join UC Choruses or UC Symphony Orchestra, turn their laptops into musical instruments and jam with a virtual band, or learn how to play the piano and guitar in hands-on music performance classes.

In theatre appreciation classes students can study the history of theatre, explore how Lin-Manuel Miranda’s Hamilton revolutionized musical theatre, learn the craft of acting or stage design and more!

CCM’s fall 2019 arts elective classes are offered online or in person; view a complete list of class offerings below. Register for classes at https://www.catalyst.uc.edu.

Dance Performance Classes

Advanced Intermediate Ballet I (3 credits)
FAM 1020-001 (Tuesday/Thursday, 2-3:20 p.m.)
Breadth of Knowledge Areas: FA Fine Arts, CM Effective Communication

This course is intended for non-Dance majors with prior training in classical ballet at the advanced/intermediate level. It is repeatable and is offered each semester. The ballet class will consist of a traditional ballet barre followed by center practice and enchainment following the usual progression. A preexisting knowledge of the ballet French terminology is required in addition to the physical mastery and overall knowledge of classical ballet expected at the advanced/intermediate level.
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Beginning Ballet I (3 credits)
FAM 1015-001 (Tuesday/Thursday, 9:30-10:50 a.m.)
FAM 1015-002 (Tuesday/Thursday, 7:30-8:50 p.m.)
FAM 1015-003 (Tuesday/Thursday, 2-3:20 p.m.)
Breadth of Knowledge Areas: FA Fine Arts, CM Effective Communication

This is an introductory course for any non-major wishing to learn the fundamentals of classical ballet technique. It is a studio course, meaning students will be in the dance studio, in full attire (leotard, tights, ballet slippers for women/ white T-shirt, tights and ballet shoes for men) learning the essentials of a traditional classical ballet class. We will study the French terminology associated with the movement and poses we dance in order to better facilitate learning and comprehension of the movement. Mind/body awareness will be facilitated while a more thorough knowledge of the art form including historical perspective, origin and philosophical issues as to its importance in today’s cultural world will also be discussed.
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Ballet Conditioning for Athletes and Dance Team (3 credits)
FAM 1019-001 (Tuesday/Thursday, 8-9:20 a.m.)
Breadth of Knowledge Areas: FA Fine Arts, CM Effective Communication

This is a beginning level ballet course designed especially for athletes and dance team members. As well as focusing on increasing the skill and artistry level within the parameters of classical ballet, the student will also learn to understand the historical perspectives of the art form and the value it has to the culture of society. Within the framework of the traditional ballet class, students will focus on developing strong core muscles, as well as lengthening and toning the body with additional mat work and conditioning exercises, as part of the conditioning program. Daily proper attire is expected for this class. Exercise bands and mat or towel are also required.
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Beginning Modern Dance I (3 credits)
FAM 1025-001 (Monday/Wednesday/Friday, 10:10-11:05 a.m.)
Breadth of Knowledge Areas: FA Fine Arts, CM Effective Communication

In this course for non-dance majors, students are introduced to the techniques and movement vocabulary of contemporary and modern dance. Students will explore fundamental movement principles while emphasizing the development of improvisational and performance skills. The student will also develop the critical perspectives necessary to analyze and further appreciate dance as an art form and educational tool with cultural values.
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Dance Appreciation – Online (3 credits)
FAM 1095-001
Breadth of Knowledge Areas: FA Fine Arts, CM Effective Communication, CT Critical Thinking

This online course introduces dance as a performing art, focusing on the Western European and American dance forms of Ballet, Modern and Contemporary. The course will trace their development, historical development and cultural characteristics. Additional course topics will include viewing live dance performances.
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Hip Hop Dance (1 credits)
FAM 1030-001 (Monday, 5:30-6:30 p.m.)
Breadth of Knowledge Areas: FA Fine Arts, CM Effective Communication

A beginning/intermediate level dance course with no experience required. This class is designed to teach the fundamentals of Hip-Hop through choreographed dances. Hip-Hop style similar to that seen on current music videos will be the style taught in class. Individual work, floor work and partner work will be emphasized. Combinations will be performed to Rap and R & B music.
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Intermediate Ballet I (3 credits)
FAM 1017-001 (Tuesday/Thursday, 3:30-4:50 p.m.)
Breadth of Knowledge Areas: FA Fine Arts, CM Effective Communication

This is a ballet course designed for dancers with previous ballet training. It is a repeatable course for the non-major wishing to further pursue the complexities and artistic nuances of classical ballet technique. It is a studio course, meaning students will be in the dance studio, in full attire (leotard, tights, ballet slippers for women/ white T-shirt, tights and ballet shoes for men) learning the essentials of a traditional classical ballet class. We will study the French terminology associated with more complex movement and positions we dance in order to better facilitate learning and comprehension of the movement. Mind/body awareness will be facilitated while a more thorough knowledge of the art form including historical perspective, origin and philosophical issues as to its importance in today’s cultural world will also be discussed.
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Intermediate Modern Dance I (3 credits)
FAM 1027-001 (Monday/Wednesday/Friday 9:05-10 a.m.)
Breadth of Knowledge Areas: FA Fine Arts, CM Effective Communication

A one semester, repeatable (by audition or permission of instructor) course for non-dance majors, providing a more sophisticated approach to the techniques and movement vocabulary of contemporary and modern dance. Students will also continue to explore and further develop fundamental movement principles while emphasizing the cultivation of improvisational and performance skills. The student will also develop the critical perspectives necessary to analyze and further appreciate dance as an art form and educational tool within our society.
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Legends of Dance – Online (3 credits)
FAM 1094-001
Breadth of Knowledge Areas: FA Fine Arts, CM Effective Communication

This course introduces dance legends of Ballet, Modern and Contemporary Dance, their significant contribution to the world of dance in America, as well as the passion and insight that brought the legends to their height of success. Additional course topics include viewing live dance performances.
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Modern Dance Basics – Online (3 credits)
FAM 1022-001
Breadth of Knowledge Areas: FA Fine Arts, CM Effective Communication

In this course for non-dance majors, students are introduced to the techniques and movement vocabulary of contemporary and modern dance. Students will explore fundamental movement principles while emphasizing the development of improvisational and performance skills. The student will also develop critical perspectives necessary to analyze and further appreciate dance as an art form and educational tool with cultural values. Through interactive online instruction students use recording devices (e.g., smartphones, laptops, and camcorders) to develop their dance technique while building a dance community. To complete assignments students may film the dances with friends and/or family in locations of their choosing. (e.g., dorm room, apartment, basement, backyard, park, and riverside). Students may also utilize the 414 Video Production Room in Langsam Library.
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Movie and Media Appreciation Classes

Art of Recording (3 credits)
FAM 1050-001 (Monday, 4:30-7:20 p.m.)
Breadth of Knowledge Areas: CM Effective Communication, CT Critical Thinking, IL Information Literacy

Art of Recording focuses on the basic technical musical understanding needed to engage music at progressively deeper levels of understanding. Starting from simple listening experiences you will soon be able to appreciate what it means to be an “expert listener.” A musician learns the function musical scales; a painter, the knowledge paint and brushes; a writer, the craft of words and sentences. The expert listener integrates specific gateways that can reveal the depths of sound possibilities. This course expresses the Art of Recording from basic sound physics, music and brain functions as they pertain to the technology used in producing the popular music we love over the last five decades.
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Digital Audio for Non-Majors (3 credits)
EMED 2007-001 (Tuesday/Thursday, 3:30-4:50 p.m.)
Breadth of Knowledge Areas: CM Effective Communication, CT Critical Thinking KI Knowledge Integration

This course is designed to introduce the student to the fundamentals of digital audio theory and practices through the development of basic digital audio production projects. Course topics include general production principles and theory of operation of digital audio workstations with an emphasis placed on internet radio, podcast, and commercial production processes. The student will be introduced to basic audio production techniques through the corresponding laboratory phase of this course. The student will be required to demonstrate knowledge of the principles of audio production and apply those principles in laboratory exercises. Prerequisite Definition: To take this course you must: Have taken the following Courses EMDT1011C min grade D-, or EMED1005 min grade D-, or EMED1015 min grade D-.
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Digital Video for Non-Majors (3 credits)
EMED 2002-001 (Tuesday/Thursday, 9:30-10:50 a.m.)
Breadth of Knowledge Areas:  CM Effective Communication, CT Critical Thinking KI Knowledge Integration

The medium of digital video has become an increasingly pervasive means of communication in contemporary culture. Digital Video allows students to apply media aesthetic theory, processes and techniques in communicating their ideas to a specified audience via the digital video production process. While taking this course, each student is required to write, produce, shoot, and edit several projects using digital video cameras, working in a digital nonlinear editing environment, and delivering their content through a variety of digital distribution channels to a specified audience. Prerequisite Definition: To take this course you must: Have taken the following Courses EMDT1011C min grade D-, or EMED1006 min grade D-, or EMED1016 min grade D-.
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Disney Animated Musicals (3 credits)
FAM 2090-001 (Tuesday/Thursday, 12:30-1:50 p.m.; Tuesday, 2-4 p.m.)
FAM 2090-002 (Tuesday/Thursday, 11 a.m.-12:20 p.m.; Tuesday, 2-4 p.m.)
Breadth of Knowledge Areas: FA Fine Arts

This course explores the genre of the animated film musical with a special emphasis on its presumed originator, the Walt Disney Studios. We will consider the unique expressive properties of this form, examining the ways in which both song and the animated medium distort, rearrange, and reflect the world for its audiences. As we trace the genre’s history and evolution from the earliest experiments with sound technology to the latest multi-billion-dollar franchises, we will simultaneously track shifting trends in popular song and film. This history will run alongside discussions of Disney’s complex and often problematic roles as a purveyor of American and global entertainment.
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Foundations of Digital Media (3 credits)
DMC 1000-001 (Monday, 2-4:50 p.m.)
Breadth of Knowledge Areas: FA Fine Arts, CM Effective Communication, CT Critical Thinking, IL Information Literacy, KI Knowledge Integration, SR Social Responsibility

Introduces the field of Digital Media and Cinematic Arts, the faculty who teach it and the professionals who practice it. Faculty members will present their research and relate that topic to the wider field of Digital Media and Cinematic Arts. Professionals will present their work and relevant projects. This course encourages students to clarify their course of study and build connections with faculty, professionals and students with similar interests.
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Going to the Movies: 20th Century Classics (3 Credits)
EMED 1075-001 (Tuesday, 6-8:50 p.m.)
Breadth of Knowledge Areas: FA Fine Arts, CM Effective Communication, CT Critical Thinking, IL Information Literacy, KI Knowledge Integration, SR Social Responsibility

Through lectures and screenings of classic films students will explore the evolution of the motion picture as a unique and significant form of expression. The course includes investigation into film style and structure, distribution and consumption. Students will be guided in the development of aesthetic criteria for critical examination.
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Integrated Media Production 1 for Non-Majors (3 credits)
EMED 1015-001 (Online)
EMED 1015-002 (Monday, 6-8:50 p.m.)
Breadth of Knowledge Areas: TI Technology and Innovation, CM Effective Communication, CT Critical Thinking, IL Information Literacy

Media convergence is a vital component of our new media culture. In new media there is a melding of production, design and message with user-experience. Integrated Media Production I is an introductory course — the first of a two-course sequence within the E-Media major at CCM — that provides students with a theoretical and practical foundation in the intersecting worlds of digital media production, content development and new media design. This course is an overview of concepts and processes in convergent media production.
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Jammin’ with Laptops (3 credits)
FAM 2014-001 (Tuesday/Thursday, 11 a.m.-noon)
Breadth of Knowledge Areas: FA Fine Arts, CM Effective Communication, CT Critical Thinking, KI Knowledge Integration
This course will explore the potentials of laptop computers for music making. Various technical topics, including analog v. digital sound, audio software, effects, gear, MIDI and audio programming languages will be surveyed. In addition, a survey of the history of computer music will be conducted by way of an investigation into seminal readings and recordings. Both of these inquiries will provide participants.
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Jammin’ with Laptops – Online (3 credits)
FAM 2023-001
Breadth of Knowledge Areas: FA Fine Arts, SE Social and Ethical Issues, CM Effective Communication, SR Social Responsibility
In this course, you will play, record, and make music with online instruments. There are three units, and each unit includes a distinctive music making session; Individual Session (Unit 1), Collaborative Session (Unit 2), and Creative Jam Session (Unit 3 In the Unit 1, you will individually study the basic knowledge of music making, including identifying musical instruments, playing online instruments, and recording the music that you played through the exercises. In the Midterm Exam, you will be asked to answer the basic knowledge that you have learned so far. In the Unit 2 and 3, you will form your laptop band with your online classmates to play and record music together. In the Unit 2, you will collaborate with 1~2 classmate(s) to complete the assignment together. In the Unit 3, you will collaborate with 2~4 classmates to create your own band under your instruction to direct your band members, and play for your band member’s music under their respective directions. In the Final Exam, you will be asked to answer all the materials that you have learned.
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Japanese Pop, Anime and Video Game Music – Online (3 credits)
FAM 2050-001
Breadth of Knowledge Areas: FA Fine Arts DC Diversity and Culture, CM Effective Communication

You will learn the evolution of Japanese Pop, Anime, and Video Game Music (post 1980) including anime theme songs, video game music, and popular songs. Each topic will provide the composer’s biography, historical background and word-by-word translation of lyrics, and will investigate the cultural differences between Japan and America.
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The Evolution of the Television Comedy (3 credits)
EMED 1050-001 (Wednesday, 6-8:50 p.m.)
Breadth of Knowledge Areas: FA Fine Arts, HU Humanities and Literature, CM Effective Communication, CT Critical Thinking, IL Information Literacy, KI Knowledge Integration, SR Social Responsibility

Through lectures and screenings of classic scenes and episodes, students will explore the American television comedy as a significant form of storytelling, as a uniquely elastic form of expression and contemporary critique, and as an exceptionally creative and influential art. The course includes investigation into comedy and sitcom style and structure, as well as historical and societal context and impact. Students will be guided in the development of aesthetic criteria for critical examination. This course is focused in the historical and cultural development of television comedies from their pre-TV origins to their contemporary manifestations. Students will develop the strategies for reading media properly while also investigating the historical, literary, cultural and aesthetic contributions of television to 20th and 21st century art forms.
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Music Appreciation Classes

American Music – Online (3 credits)
FAM 2006-001
Breadth of Knowledge Areas: FA Fine Arts, HP Historical Perspectives, CM Effective Communication, CT Critical Thinking
An online history of music in America c. 1620 to the present. Musical life as we experience it in the USA today is the product of a history that is in many ways unique, but never far from world-wide influences. This course surveys a wide variety of music along with the social, political, and religious movements that have shaped American musical life right up to the present. Examines the contributions of numerous cultural groups, regional developments over four centuries, and the ways music reflects values, aspirations, and problems of the population. Course topics include musical genres, styles, personalities, and trends. Musical examples, discussions, quizzes, and videos are all online. No prior experience with music required.
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Experimental Rock ‘60s and ‘70s (3 credits)
FAM 2013-001 (Tuesday/Thursday, 1:30-2:50 p.m.)
FAM 2013-002 (Online: 8/26-10/15, 1st half semester)
Breadth of Knowledge Areas: FA Fine Arts, DC Diversity and Culture, CM Effective Communication, CT Critical Thinking, KI Knowledge Integration

This course will provide a detailed overview of the tools, techniques and musical styles which had a tremendous impact on the aesthetic of various genres of Rock Music in the 1960s and 70s, the resonance of which can be observed in many mainstream and non-mainstream musical trends of the last 30 years. It will begin with an examination of multi-tracking tape machines: their development and techniques such as sound on sound, tape-delay and flange, which had become standard practice in studios by the late 1960s. This is followed by a technical overview of electronic instruments, specifically the synthesizer, whose development will be traced from the Theremin. Musical trends such as the 1950s avant-garde and Minimalism will serve as a bridge to examinations of seminal bands such as the Beatles, Pink Floyd, Kraftwerk, Can, Neu:, Brian Eno and the Talking Heads among others; the technical knowledge gained from the initial lectures on tape techniques and electronic instruments will be used to gain a deeper understanding of the music of these artists.
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Hamilton: A Musical Theatre Revolution (3 credits)
FAM 2075-001 (Tuesday/Thursday, 9:30-10:50 a.m.)
Breadth of Knowledge Areas: FA Fine Arts, DC Diversity and Culture, CM Effective Communication, CT Critical Thinking, KI Knowledge Integration, SR Social Responsibility

Lin-Manuel Miranda’s musical, Hamilton, has been credited as revolutionary and a game changer in the history of the American musical since its off-Broadway opening in 2015. This course explores the revolutionary aspect of this musical, covering song and plot conventions of musical theater as they appear in musicals from the 1920s to the present and investigating how Miranda employs, challenges, and transforms them in Hamilton. We will also consider Hamilton among other “history musicals,” its relationship with popular music (especially hip-hop and socio-political issues of race and ethnicity derived from Miranda’s choice to offer a multi-racial cast to represent the Founding Fathers. We will thus contextualize Hamilton in musical theater history and investigate what aspects of the musical are conventional and which ones are original.
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History of Rock ‘n’ Roll – Online (3 Credits)
FAM 3031-001
FAM 3031-002
Breadth of Knowledge Areas: FA Fine Arts, CM Effective Communication, CT Critical Thinking

Rock and Roll had humble beginnings in the Southeastern United States, but over time it developed into a force, beyond mere entertainment, that has defined youth culture on a global scale. Rock and roll culture is embedded in the fabric of youth identity. Rock and roll music is a commodity that young people use daily, often with an obsessive devotion. Marketing campaigns that target youth are so relentless that young people are under enormous media and social pressure to join the ranks of consumers. The goal of History of Rock and Roll is, therefore, threefold: 1. To provide for students a chronological survey that examines the relationship between the music, its most successful and colorful artists, the associated recording technology, and the impact of the genre on American culture. 2. Through critical listening and reading, the course will provide students with useful, evaluative tools so that they can make historically informed and thoughtful decisions about the music they select and enjoy. 3. Finally, the course will encourage students to seek and appreciate new styles, and perhaps inspire those who seek a career as a pop music artist. No prerequisite.
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Japanese Pop, Anime and Video Game Music – Online (3 credits)
FAM 2050-001
Breadth of Knowledge Areas: FA Fine Arts DC Diversity and Culture, CM Effective Communication

You will learn the evolution of Japanese Pop, Anime, and Video Game Music (post 1980) including anime theme songs, video game music, and popular songs. Each topic will provide the composer’s biography, historical background and word-by-word translation of lyrics, and will investigate the cultural differences between Japan and America.
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Jazz Appreciation (3 credits)
FAM 2051-001 (Tuesday/Thursday, 9:30-10:50 a.m.)
FAM 2051-002 (Tuesday, 6-8:50 p.m.)
Breadth of Knowledge Areas: FA Fine Arts, DC Diversity and Culture, CM Effective Communication, CT Critical Thinking, KI Knowledge Integration

A one-semester overview of America’s true art form: jazz. The course will introduce students to the various styles of jazz, its major performers, its history and origins, and will also involve attending jazz performances at CCM or elsewhere.
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Live at CCM (2-3 credits)
FAM 1060-001
Breadth of Knowledge Areas: FA Fine Arts, CM Effective Communication, CT Critical Thinking, KI Knowledge Integration

Through this course, students will have the opportunity to experience concerts at CCM in a directed environment. Learn about a broad range of music and style through exposure to a wide variety of instrumental ensembles. Attend orchestral, wind ensemble, choral, jazz and contemporary music programs and more with the chance to discuss and write about them through interaction with knowledgeable graduate assistants and the directors of the respective ensembles themselves.
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Music and Politics (3 credits)
FAM 2018-001 (Monday/Wednesday, 11:15-12:35 p.m.)
Breadth of Knowledge Areas: FA Fine Arts, SE Social and Ethical Issues, CM Effective Communication, KI Knowledge Integration
This course examines the impact of music on politics during the last 100 years in the contemporary classical realm, as well as folk and popular musical styles. Students will become familiar with prominent politically influenced musicians and composers such as Fela Kuti, Woody Guthrie, Bob Marley, and Frederic Rzewski. Also, this class will cover the impact on music from major political and historical events throughout the century, such as World War II’s influence on jazz, or the life and career of Dmitri Shostakovich under Stalin’s Soviet Union. By studying the biographies and major works of this broad spectrum of musicians, students will be able to outline the diverse characteristics of politically oriented music.
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Music Appreciation – Online (3 credits)
FAM 2005-001
Breadth of Knowledge Areas: FA Fine Arts, DC Diversity and culture, CM Effective Communication

An online course that introduces students to a wide range of music in the Western World, covering several historical periods, including our own time. Examines musical styles, musical terms, composers, and other aspects of the music listening experience. Considers the historical and cultural context of musical activity and the way it has shaped the musical life from medieval Europe up to the present in our own communities. Students will discuss their own experiences with music and have the opportunity to attend a musical performance of their choice, near where they live, for class credit. Musical examples, discussions, quizzes, videos, and film are all online. No prior experience with music required.
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Music of the Beatles (3 credits)
FAM 2061-001 (Online)
FAM 2061-002 (Online)
FAM 2061-003 (Tuesday/Thursday, 12:30-1:50 p.m.)
Breadth of Knowledge Areas: FA Fine Arts, SE Social and Ethical Issues, CM Effective Communication, KI Knowledge Integration

The Music of the Beatles has made an impact in the whole world both musically and sociologically. The Beatles are considered one of the most influential bands of any era. Their music reflects the cultural and social revolution of the 1960s and serves as a model for understanding all subsequent popular music. This class will chronologically trace the development of the Beatles from their early days through the band’s dissolution. There will be analysis of selected compositions with regard to lyrics, harmony, song structure, instrumentation, and arranging. This class will examine their groundbreaking production techniques, individual writing styles, and the impact of their music on other musicians and social trends.
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Music of Woodstock (3 credits)
FAM 2070-001 (Tuesday, 6-8:50 p.m.)
Breadth of Knowledge Areas: FA Fine Arts, SE Social and Ethical Issues, CM Effective Communication, CT Critical Thinking, KI Knowledge Integration

The course thoroughly examines the musical artists and the works they performed at history’s most iconic pop music festival, Woodstock (officially the “Woodstock Music and Art Fair”). As many as half a million people or more, descending on a dairy farm in upstate New York in August of 1969 for “three days of peace and music,” were treated to a wildly diverse lineup of musicians and artists hailing from no less than five different continents. The Woodstock Festival is the perfect prism through which to view the 1960s popular scene, when various streams of musical genres converged to forge a new breed of “pop”; the soundtrack of the counterculture and a young, idealistic generation. How did a music festival, let alone pop music in general, become a catalyst for social, political, and artistic change and upheaval? How was the motley assortment of musicians of various stripes, genres, genders, and ethnicities received by the crowd, temporarily the fourth-largest city in New York? How did this crowd co-exist and survive without virtually any of the realities that plague a similar-sized urban center? These are just a few of the many questions posed in this course as we study and—equally as important—savor and experience the musical performances of the 1969 Woodstock Festival.
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Talking about Music (3 credits)
FAM 1102-001 (Monday/Wednesday/Friday, 3:35-4:30 p.m.)
Breadth of Knowledge Areas: FA Fine Arts
This course will explore contemporary musical topics through dialogue and reflection. Themed weeks will investigate the intersection of philosophy, aesthetics, and culture as they pertain to the musical experience. Within these three broad concepts, diverse topics (posed as questions) will range from the existential (What is Music?) to the social (Where do you find music?) to the economic (What is a fair way to pay creators for their music?). All are designed to focus and enrich the musical experience, while broadening student awareness of the music industry and endeavoring to answer questions that don’t fit neatly into traditional music course contexts. Students will journal their reflections on these discussions, culminating in a final project, either written or practical.
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Understanding Music for Non-Majors (3 credits)
FAM 1100-001 (Monday/Wednesday/Friday, 2:30-3:25 p.m.)
Breadth of Knowledge Areas: FA Fine Arts
The appreciation of music is enhanced by a deeper knowledge of musical materials and structures. This introductory course will focus on reading and writing music in treble, bass, and C-clefs; using rhythms as complicated as triplets in simple and compound meters; recognizing intervals and chords; and understanding basic forms used in popular and classical music. The skills learned in this course will provide the basis for further study and understanding of music of all genres.
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What’s Hot in Popular Music – Online (3 credits)
FAM 2062-001
FAM 2062-002
Breadth of Knowledge Areas: DC Diversity and Culture, SE Social and Ethical Issues, CM Effective Communication, KI Knowledge Integration

This online course examines current popular music in its trending styles and genres. Students will critique selected songs from the weekly “Billboard” charts and various other media resources, including You Tube and digital download statistics, and consider both the hottest artists as well as promising up-and-comers. Students will develop skills for evaluating artistic intent with respect to lyrics, some basic literary techniques, melody, harmony, rhythm, song form, and psychology, and with a look at cutting edge production techniques. Students will identify and compare unique composing and performing styles of today’s artists and identify links between the music business and societal trends. Weekly activity will include reading, viewing, and listening to examples online and completing assignments on Canopy. No prerequisite. No textbook.
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Women in Music (3 credits)
FAM 2025-001 (Monday/Wednesday/Friday, 11:15 a.m.-12:10 p.m.)
Breadth of Knowledge Areas: FA Fine Arts, CM Effective Communication, KI Knowledge Integration

Women in Music is an historical survey of women’s lives and accomplishments in Western music from the medieval period to the present time. The course includes women of diverse races, classes and cultures, and the historical issues that impacted or limited their work. An examination of women’s roles as composers, performers, and patrons reveals their achievements that have been largely ignored because of their gender. Furthermore, although the cultural and societal values change over time and geographic locations, it is evident that suppression and exploitation are recurring themes with regard to social status, education, economics, politics, religion or racial prejudice.
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Music Performance Classes

Classical Guitar Class (2 credits)
GTAR 1075-001 (U)
GTAR 6075-001 (G)
Tuesday/Thursday 12:20-1:15 p.m.
Breadth of Knowledge Areas: FA Fine Arts, CM Effective Communication, CT Critical Thinking
Applied course in basic guitar skills. Emphasis on playing classical and folk styles. Review of current published methods and materials. Open to non-CCM students. Course repeats each semester. Students provide their own nylon string guitars.
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Group Piano I Non-majors (2 credits)
PIAN 1001-001 (Tuesday/Thursday, 10:10-11:05 a.m.)
PIAN 1001-002 (Tuesday/Thursday, 9:05-10:00 a.m.)
PIAN 1001-003 (Tuesday/Thursday, 10:10-11:05 a.m.)
PIAN 1001-004 (Tuesday/Thursday, 1:25-2:20 p.m.)
PIAN 1001-005 (Tuesday/Thursday, 12:20-1:15 p.m.)
Breadth of Knowledge Areas: FA Fine Arts, CT Critical Thinking, KI Knowledge Integration

Designed for those with little or no piano experience; teaches the fundamentals of reading music, playing by ear, using chord charts, and improving finger flexibility.
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Jammin’ with Laptops (3 credits)
FAM 2014-001 (Tuesday/Thursday, 11 a.m.-noon)
Breadth of Knowledge Areas: FA Fine Arts, CM Effective Communication, CT Critical Thinking, KI Knowledge Integration
This course will explore the potentials of laptop computers for music making. Various technical topics, including analog v. digital sound, audio software, effects, gear, MIDI and audio programming languages will be surveyed. In addition, a survey of the history of computer music will be conducted by way of an investigation into seminal readings and recordings. Both of these inquiries will provide participants.
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Jammin’ with Laptops – Online (3 credits)
FAM 2023-001
Breadth of Knowledge Areas: FA Fine Arts, SE Social and Ethical Issues, CM Effective Communication, SR Social Responsibility
In this course, you will play, record, and make music with online instruments. There are three units, and each unit includes a distinctive music making session; Individual Session (Unit 1), Collaborative Session (Unit 2), and Creative Jam Session (Unit 3 In the Unit 1, you will individually study the basic knowledge of music making, including identifying musical instruments, playing online instruments, and recording the music that you played through the exercises. In the Midterm Exam, you will be asked to answer the basic knowledge that you have learned so far. In the Unit 2 and 3, you will form your laptop band with your online classmates to play and record music together. In the Unit 2, you will collaborate with 1~2 classmate(s) to complete the assignment together. In the Unit 3, you will collaborate with 2~4 classmates to create your own band under your instruction to direct your band members, and play for your band member’s music under their respective directions. In the Final Exam, you will be asked to answer all the materials that you have learned.
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Piano Lead Sheet Non-majors (3 credits)
PIAN 1003-001 (Tuesday/Thursday, 11:15-12:10 p.m.)
PIAN 1003-002 (Tuesday/Thursday, 12:20-1:15 p.m.)
Breadth of Knowledge Areas: FA Fine Arts, CM Effective Communication, CT Critical Thinking

Students will learn how to play piano parts of popular idiom piano pieces. They will learn how to realize chord “lead” sheets and also listen to music to pick up piano accompaniment styles. Learning to read music is not part of this course, although you will learn to read rhythm charts. Music will be chosen from artists such as Coldplay, Rihanna, Bruno Mars, as well as earlier works by Chicago, Motley Crue and John Lennon. Choices will be made depending on the type of accompaniment style you are learning.
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UC Cabaret Singers (0-1 credit)
ENSM 1082 (Monday/Wednesday, 6-7:30 p.m.)

The UC Cabaret Singers seeks to enrich the university experience by providing quality musical experiences for UC students within the context of performance of a variety of choral idioms. Members of the UC Choruses work towards excellence in musical performance with other students who share a common interest in choral music. The ensemble regularly performs on campus, locally, and on national tours.
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UC Men’s Chorus (0-1 credit)
ENSM 1081 (Monday/Wednesday/Friday, 4-5:30 p.m.)
Breadth of Knowledge Areas: FA Fine Arts, CM Effective Communication

The UC Men’s and Women’s Choruses seek to enrich the university experience by providing students a wide range of aesthetic experiences, introducing them to a variety of musical styles, helping them gain appreciation for tonal sounds, and making connections between music and their own personal lives. Members of the UC Men’s and Women’s Choruses will work toward excellence in performance with other students who share a common interest in choral music. The ensembles regularly perform on campus, locally and on annual national tours.
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UC Symphony Orchestra (0-1 credit)
ENSM 2091 (Tuesday, 8-10 p.m.)
Breadth of Knowledge Areas: FA Fine Arts, CM Effective Communication

The UC Symphony Orchestra is specifically for and is designed to provide students with an opportunity to rehearse and perform great orchestral repertoire. Membership in the orchestra is open to instrumentalists who own their own instrument, have a basic technical proficiency, and the ability to read music. Specific seating assignments in the orchestra are determined by informal auditions at the start of each quarter.
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UC Women’s Chorus (0-1 credit)
ENSM 1085 (Monday/Wednesday/Friday, 4-5:30 p.m.)
Breadth of Knowledge Areas: FA Fine Arts, CM Effective Communication

The UC Men’s and Women’s Choruses seek to enrich the university experience by providing students a wide range of aesthetic experiences, introducing them to a variety of musical styles, helping them gain appreciation for tonal sounds, and making connections between music and their own personal lives. Members of the UC Men’s and Women’s Choruses will work toward excellence in performance with other students who share a common interest in choral music. The ensembles regularly perform on campus, locally and on annual national tours.
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Voice Class (1-2 credits)
VOIC 1075-001 (Thursday, 2-2:55 p.m.)
VOIC 1075-002 (Tuesday, 4-4:55 p.m.)
Breadth of Knowledge Areas: FA Fine Arts, CM Effective Communication, CT Critical Thinking

Voice Class is intended to impart the rudiments of classical vocal technique. Topics addressed include breathing for singing, phonation, anatomy of the breathing process, anatomy of the larynx, posture, vowel formation, and characteristics of consonant sounds. The class will culminate in the student performing a song in English.
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Theatre Appreciation Classes

Acting for Non-Majors (3 credits)
FAM 1001-001 (Monday/Wednesday, 1-2:20 p.m.)
FAM 1001-002 (Monday/Wednesday, 6-7:20 p.m.)
FAM 1001-003 (Monday/Wednesday, 4-5:20 p.m.)
FAM 1001-004 (Monday/Wednesday, 2:30-3:50 p.m.)
Breadth of Knowledge Areas: FA Fine Arts, CM Effective Communication

An introductory course in the craft of acting designed for University students interested in theatre performance. Students will work on unscripted material in group improvisations and scripted material in the presentation of monologues or scenes. Basic actor vocabulary common to all styles of performance will be taught.
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Hamilton: A Musical Theatre Revolution (3 credits)
FAM 2075-001 (Tuesday/Thursday, 9:30-10:50 a.m.)
Breadth of Knowledge Areas: FA Fine Arts, DC Diversity and Culture, CM Effective Communication, CT Critical Thinking, KI Knowledge Integration, SR Social Responsibility

Lin-Manuel Miranda’s musical, Hamilton, has been credited as revolutionary and a game changer in the history of the American musical since its off-Broadway opening in 2015. This course explores the revolutionary aspect of this musical, covering song and plot conventions of musical theater as they appear in musicals from the 1920s to the present and investigating how Miranda employs, challenges, and transforms them in Hamilton. We will also consider Hamilton among other “history musicals,” its relationship with popular music (especially hip-hop and socio-political issues of race and ethnicity derived from Miranda’s choice to offer a multi-racial cast to represent the Founding Fathers. We will thus contextualize Hamilton in musical theater history and investigate what aspects of the musical are conventional and which ones are original.
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Introduction to Arts Administration for Non-Majors (4 credits)
AADM 5160-001 (U)
AADM 6060-001 (G)
Monday/Wednesday, 9:05-10:45 a.m.
This course offers an introduction to the theory and practice of American not-for-profit arts administration/management. The course opens with an introduction to the not-for-profit profit sector. The not-for-profit arts sector is then examined in this context. The second section of the course consists of an overview of the principles and practice of not-for-profit arts administration/management. The topics of mission, governance and leadership, human resources, strategic and financial management and the development of revenue resources to support mission are covered. Through readings, lectures and class discussions, students will apply those principles to the case study of an actual organization and, time permitting, will model the creation of an organizational plan outline for a small not-for-profit performing arts organization.
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Introduction to Stage Lighting and Sound (3 credits)
THPR 1020C-001 (Tuesday/Thursday, 9:30-10:50 a.m.)
Breadth of Knowledge Areas: FA Fine Arts, CM Effective Communication, CT Critical Thinking

In this course, the student will learn hands on skills with lighting and sound equipment, while discovering the ways in which modern technology can be effectively applied as a key production element in drama, musical theatre, opera and dance. Through experiences both practical and theoretical, each student will gain operational skills, and recognize the importance of teamwork and collaboration in creating art and discovering a personal aesthetic.
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Stage Lighting Lab and Crew for Non-Majors (1-2 credits)
THPR 1018C-001 (Friday, 10:10-11:05 a.m.)
Breadth of Knowledge Areas: FA Fine Arts, CM Effective Communication, CT Critical Thinking

Practical production undergraduate crew work in the execution of stage lighting designs for major opera, musical theatre, dance and dramatic productions. Each student will practice their understanding in accomplishing the execution of a realized lighting design project(s). Non-typical work session hours required (evening and weekends) for installation and running crews for productions. May be repeated for credit.
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Theatre History for Non-Majors (3 credits)
DRPF 2054 001 (Monday/Wednesday/Friday, 11:15-12:10 p.m.)
DRPF 2054 002 (Monday/Wednesday/Friday, 2:30-3:25 p.m.)
Breadth of Knowledge Areas: FA Fine Arts, HP Historical Perspectives, CT Critical Thinking

History of Theatre is a chronological look at the rise of Western theatre from ancient times to the Renaissance. The course examines how theatre emerges, its dramatic structure, styles of acting, various visual elements, and different production techniques. The course also explores how theatre artisans built upon the experiences of one another, introduces key figures from theatre history and shows how theatre continues to influence us today.
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Registration Information

UC students can register for classes online at https://www.catalyst.uc.edu.

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CCM Announces 2019 Opera Scholarship Competition Winners

Artist Diploma candidate Yi Li with Mark Gibson and the CCM Philharmonia.

Six students won awards in CCM’s 2019 Opera Scholarship Competition, which was held on Saturday, March 16, 2019 at Corbett Auditorium.

Since its inauguration in 1976, the annual competition welcomes current and incoming CCM voice students to compete for scholarships and cash prizes, and a panel of judges composed of opera industry professionals selects each year’s class of prizewinners.

The 2019 CCM Opera Scholarship Competition winners are:

Victor Cardamone, first-year Master of Music student
From Pittsburgh, Pennsylvania; Studying at CCM with Tom Baresel
Prize: Full-tuition scholarship and the Corbett Award ($15,000)
The Corbett Award is supported by the Corbett Foundation in cooperation with CCM.

Carlos Cardenas, first-year Artist Diploma student
From Bogota, Columbia; Studying at CCM with Daniel Weeks
Prize: Full-tuition scholarship and the Italo Tajo Memorial Award ($15,000)
This award is supported by the Italo Tajo Memorial Scholarship Fund (established by Mr. Tajo’s wife Inelda Tajo) in cooperation with CCM.

Samuel Kid, incoming Master of Music student from the University of Michigan
From Ann Arbor, Michigan
Prize: Full-tuition scholarship and the Andrew White Memorial Award ($12,500)
This award is supported by the Andrew White Memorial Scholarship Fund in cooperation with CCM.

Teresa Perrotta, second-year Master of Music student
From Orlando, Florida; Studying at CCM with Gwen Detwiler
Prize: Full-tuition scholarship and the Seybold-Russell Award ($10,000)
This award is supported by the Seybold-Russell Scholarship Fund in cooperation with CCM.

Amanda Olea, second-year Master of Music student
From Mexico City, Mexico; Studying at CCM with Gwen Detwiler
Prize: Full-tuition scholarship and the John Alexander Memorial Award ($10,000)
This award is supported by the John Alexander Memorial Scholarship Fund in cooperation with CCM.

Maria Miller, first-year Master of Music student
From Paducah, Kentucky; Studying at CCM with Amy Johnson
Prize: Norman Treigle Award ($3000)
This award is supported by the Norman Treigle Opera Scholarship Competition Award Fund in cooperation with CCM.

The judges panel for CCM’s 2019 Opera Scholarship Competition included:

  • Thomas Bankston, Artistic Director of Dayton Opera
  • Lawrence Edelson, Founder and Producing Artistic Director of American Lyric Theater in New York, where he oversees the Composer Librettist Development Program.
  • Neal Goren, Founder and Artistic Director of Catapult Opera, a new touring company premiering in fall 2020 with a new Robert Wilson production of Menotti’s Amahl and the Night Visitors.

About CCM Opera
The Department of Opera at CCM boasts one of the most comprehensive training programs for opera singers, coaches and directors in the United States. Students at CCM work with some of the most renowned teachers and artists active in opera today.

CCM students and alumni frequently advance to the final rounds of the Metropolitan Opera National Council Auditions. In 2017, four CCM alumni competed in the semi-finals: Jessica Faselt, soprano (MM Voice, 2016); Summer Hassan, soprano (MM Voice, 2014); Andrew Manea, baritone (MM Voice, 2016); and Cody Quattlebaum, bass-baritone (BM Voice, 2015) — who was chosen as a finalist in the national competition. In 2018, former CCM Artist Diploma in Opera Performance student Brandon Scott Russell (MM Voice, 2018; AD Vocal Performance, 2018) took first place at the Met’s National Council Auditions Southeast Regional Competition and went on to compete in the semi-final round. This year, three CCM alumni and students will advance to the Met’s National Council Semi-Finals: Joshua Wheeker, tenor (CCM Voice 2007-2012); Murrella Parton (MM Voice, 2017); and Elena Villalón, soprano, currently studying at CCM with William McGraw. The semi-finals take place in New York on March 24, 2019. Learn more at metopera.org/about/auditions/national-council-auditions/.

In addition, CCM’s Mainstage Opera and Studio Opera Series have received some of the National Opera Association Production Competition’s highest honors throughout the years, taking home six of the 18 non-professional prizes awarded in 2010 and four prizes in 2011.

CCM Opera graduates have performed on the stages of the world’s greatest opera companies, including Cincinnati Opera, Metropolitan Opera (New York), Lyric Opera of Chicago, San Francisco Opera, Royal Opera (London), La Scala (Italy) and more.

CCM’s 2018-19 Mainstage Opera season concludes with W.A. Mozart’s La Clemenza di Tito (The Clemency of Titus), conducted by Jiannan Cheng with stage direction by Robin Guarino. The opera runs April 12-14, 2019 at CCM’s Corbett Auditorium. Learn more about the production at uc.edu/news/articles/2018/09/n201495.html

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Jesse Leong. Photo by Nicholas Viltrakis Photography.

CCM Alumnus Jesse Leong Named Julius Rudel/Kurt Weill Conducting Fellow

The Kurt Weill Foundation recently announced the appointment of CCM alumnus Jesse Leong (BM Piano, 2015; MM Orchestral Conducting, 2017) as the recipient of the Julius Rudel/Kurt Weill Conducting Fellowship. Established in 2015 to honor Rudel’s extraordinary artistic achievements and dedication to the music of Kurt Weill, this award enables a young conductor in the early stages of a career to assist a master conductor in the preparation and performance of a work by Weill or Marc Blitzstein and expand his or her knowledge of their works. The fellowship carries a stipend of $10,000.

Jesse Leong. Photo by Nicholas Viltrakis Photography.

Jesse Leong. Photo by Nicholas Viltrakis Photography.

Leong will serve as assistant conductor to Fellowship Mentor Ted Sperling, Artistic Director of MasterVoices, for that organization’s presentation of Weill’s Lady in the Dark in April 2019 at New York City Center. Leong, age 26, completed his Bachelor’s degree in Piano Performance and Master’s degree in Orchestral Conducting at CCM. He has worked as assistant conductor at Cincinnati Opera, and the Glimmerglass Festival; Interim Music Director at CCM Opera d’Arte; and currently holds the post of Associate Music Director at Queen City Opera in Cincinnati. His repertoire spans the standard operatic canon, as well as new works, and works of Golden Age and contemporary musical theater.

“I am thrilled and honored to be selected as a Julius Rudel/Kurt Weill Conducting Fellow,” said Leong. “I look forward to working with Maestro Ted Sperling, Victoria Clark, and everyone at both MasterVoices and the Kurt Weill Foundation! Coming from a Broadway family myself (my father is a fight choreographer, and my stepmom is a dancer/choreographer), I have always had a love and affinity for music theater.” As a passionate proponent of American music, he also plans to present several recitals this year focusing on the music of “crossover” composers, including Gershwin, Bernstein, Sondheim, Bolcom, Weill and Blitzstein.

Sperling, sharing in Leong’s enthusiasm, said, “We at MasterVoices are thrilled and grateful to be working with Jesse Leong. With his background in both opera and musical theater, he is a perfect fit for this position. Jesse will play piano for all cast rehearsals, and be a standby for me as conductor when we move into dress rehearsals and performances. As I’m both directing and conducting these performances, it’s crucial to have someone I trust to listen and watch for me, as well as to step in and conduct rehearsals so I can take a longer view.”

Sperling is a long-time proponent of Weill’s music. As Artistic Director of MasterVoices, he has directed concert performances of Knickerbocker Holiday and conducted The Firebrand of Florence. In 2015, he conducted the US premiere and world premiere recording of The Road of Promise. He has also previously served as a judge of the Lotte Lenya Competition. His history with Lady in the Dark dates back to 2001 when he directed the Prince Music Theatre production in Philadelphia. He returns to the work now 18 years later, in a new semi-staged concert version featuring choreography by Doug Varone, and starring Tony Award-winning theater, film, and television actor and director Victoria Clark as Liza Elliott. Sperling described the performances: “Our presentation of Lady is turning out to be quite ambitious. Our collaborations with Doug Varone and Dancers, as well as our incredible design team (which include contributions from couture designers Zac Posen, Christian Cowan and Thom Browne) are yielding very exciting results—this will be a one-of-a-kind event.”

Lady in the Dark will have two performances on April 25 and 26 at New York City Center, as part of its landmark 75th anniversary season. For more information, visit www.mastervoices.org and www.nycitycenter.org.

About The Kurt Weill Foundation
The Kurt Weill Foundation for Music, Inc. (https://www.kwf.org/) is dedicated to promoting understanding of the life and works of composer Kurt Weill (1900-1950) and preserving the legacies of Weill and his wife, actress-singer Lotte Lenya (1898-1981). The Foundation administers the Weill-Lenya Research Center, a Grant Program, the Kurt Weill Book Prize and the Lotte Lenya Competition, and publishes the Kurt Weill Edition and the Kurt Weill Newsletter.

CCM News Student Salutes

CCM Musical Theatre Stages Epic ‘The Hunchback of Notre Dame’

From the Oscar-winning team of Alan Menken and Stephen Schwartz comes a lush retelling of Victor Hugo’s epic story of love, acceptance and what it means to be a hero.

CCM’s Mainstage Series production of The Hunchback of Notre Dame opens on Thursday, March 7 and continues through Sunday, March 10, 2019, at CCM’s Corbett Auditorium. Directed by CCM Musical Theatre Chair Aubrey Berg, the beloved musical features the college’s student stars of tomorrow with musical direction from Stephen Goers.

Based on the Victor Hugo novel and songs from the Disney animated feature, The Hunchback of Notre Dame features the film’s Academy Award-nominated score, as well as new songs by Alan Menken and Stephen Schwartz. Peter Parnell’s book features verbatim passages from Hugo’s gothic novel. Parental discretion is advised.

CCM's 2014 production of "Les Misérables" featured Stephanie Jae Park, who is currently in the US tour of "Hamilton," and Eric Geil, who is in the US Tour of "Book of Mormon."

CCM’s 2014 production of “Les Misérables” featured Stephanie Jae Park, who is currently in the US tour of “Hamilton,” and Eric Geil, who is in the US Tour of “Book of Mormon.”

This isn’t the first time Berg has brought one of Victor Hugo’s dramatic tales to the CCM Mainstage. Berg staged a critically acclaimed production of Les Misérables at CCM in March 2014. CityBeat’s Rick Pender called CCM’s production “powerful and memorable, one of the best musical theater productions on a Cincinnati stage this season.”

“With ‘Hunchback,’ we are employing similar techniques,” Berg says. “Set designer Lindsey Purvis has created a 40-ton timber cathedral of the mind — a poetic rather than literal space — in which the action unfolds. Dean Mogle is supplying a boatload of Medieval costumes and Kelly Yurko and her elves are creating wigs and make-up that would be at home in any painting by Brueghel. Oliver Tidwell-Littleton, currently under contract to the Walt Disney Company, is creating the lighting.”

“There is quite a lot to look at, but the stars of the production are the hard-working actors who play a multitude of roles to bring the story to life. They are true ‘triple threats,’ singing and dancing and acting their hearts out to tell this moving tale.”

The musical begins as bells sound through the famed Notre Dame cathedral in 15th-century Paris. Quasimodo, the deformed bell-ringer, observes all of Paris reveling in the Feast of Fools, but he is held captive by his devious caretaker, the archdeacon Dom Claude Frollo. He escapes for the day and joins the boisterous crowd, only to be treated cruelly by all but the beautiful Esmeralda. Quasimodo isn’t the only one captivated by her free spirit, though — the handsome Captain Phoebus and Frollo are equally enthralled. As the three vie for her attention, Frollo embarks on a mission to destroy the gypsies and it’s up to Quasimodo to save them all.

Celebrating its 50th anniversary this year, CCM Musical Theatre took the No. 3 spot in Playbill Magazine’s list of “10 Most Represented Colleges on Broadway” in the 2018-19 season. Cincinnati audiences get the chance to see CCM’s stars of tomorrow perform locally before students move on to the world’s stages.

Berg first came to CCM 32 years ago to direct Nine as part of the college’s Hot Summer Nights performance series. He says that he particularly enjoyed working on CCM’s productions of Evita, West Side Story, The Secret Garden, Into the Woods and Les Misérables. “None of these would have been possible without the help of my collaborators, the musical directors, choreographers and designers who give their all to teach our students professionalism and discipline,” he adds.

Don’t miss your opportunity to see CCM’s stars in the college’s epic production of The Hunchback of Notre Dame on March 7-10, 2019. Tickets on sale now through the CCM Box Office.

CCM’s production of The Hunchback of Notre Dame will last 2 hours and 45 minutes, including a 15-minute intermission.

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THE HUNCHBACK OF NOTRE DAME
Music by Alan Menken
Lyrics by Stephen Schwartz
Book by Peter Parnell
Based on the Victor Hugo novel and songs from the Disney film
Originally developed by Disney Theatrical Productions

Creative Team

  • Aubrey Berg, director
  • Stephen Goers, musical director
  • Katie Johannigman, choreographer
  • Erin Magner*, production stage manager
  • Dean Mogle, costume designer
  • Oliver Tidwell-Littleton*, lighting designer
  • Matthew Tibbs, sound designer
  • Aria Braswell*, assistant director
  • Kelly Yurko, hair and make-up designer
  • Lindsey Purvis*, scenic designer
  • Hankyu Lee*, associate sound designer
  • Jenny Jones, fight choreographer

* CCM Student

Cast List

  • Andrew Alstat asLieutenant Frederic Charlus
  • Bryce Baxter as Claude Frollo
  • Jack Brewer as Father Dupin
  • Kevin Chlapecka as Clopin Trouillefou
  • Matt Copley as Jehan Frollo
  • Dylan Dougal as Saint Aphrodisius
  • Madison Hagler as King Louis Xi
  • Kendall McCarthy as Florika
  • Jenny Mollet as Esmeralda
  • Sam Pickart as Tribunal
  • Alex Stone as Quasimodo
  • Frankie Thams as Captain Phoebus de Martin
  • Madelaine Vandenberg as Madam
  • Jordan Alexander, Michael Canu, Madison Deadman, Sofie Flores, Kylie Goldstein, Zoe Grolnick, Chip Hawver, Joshua Johnson, Camila Paquet, Bryn Purvis, Mikayla Renfrow, Aaron Richert, Hank Von Kolnitz, Ethan Zeph as Multiple Roles
  • Leo Carmody, Samuel Cohen, Britta Cowan, Christian Feliciano, Carina Florio, Ashton Francis, Colton Harksen, Kai Horvit, Jack Johnson, Christian Kidd, Anna Chase Lanier, Tyler J. Martin, Cassandra Lyn Maurer, Drew Minard, Chesney Mitchell, Stone Mountain, Eli Owens, Ben Pimental, Brandon Schumacker, Matthew Skrovan, Eleanor Zambarano as The Voices of Notre Dame
  • Dance Captains: Joshua Johnson, Bryn Purvis
  • Vocal Warm-Ups: Ben Pimental

Understudies:

  • Quasimodo – Aaron Richert
  • Esmeralda – Camila Paquet
  • Male Cover – Ben Pimental
  • Swings – Tori Heinlein, Sammy Schechter

Performance Times

  • 8 p.m. Thursday, March 7
  • 8 p.m. Friday, March 8
  • 2 p.m. Saturday, March 9
  • 8 p.m. Saturday, March 9
  • 2 p.m. Sunday, March 10

Location
Corbett Auditorium, CCM Village
University of Cincinnati

Purchasing Tickets
Ticket prices start at $32. Discounts are available for UC and non-UC students. Service changes may apply for online orders.

Student rush tickets will be available one hour before each performance to non-UC students, based on availability. UC students can receive one free student rush ticket with a valid Bearcat ID, based on availability.

Tickets can be purchased in person at the CCM Box Office, over the telephone at 513-556-4183 or online through CCM’s e-Box Office.

Parking and Directions
Parking is available in the CCM Garage (located at the base of Corry Boulevard off Jefferson Avenue) and additional garages throughout the UC campus. Please visit uc.edu/parking for more information on parking rates.

For detailed maps and directions, please visit uc.edu/visitors. Additional parking is available off-campus at the U Square complex on Calhoun Street and other neighboring lots.

For directions to CCM Village, visit ccm.uc.edu/about/directions.
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Mainstage Production Sponsor: Macy’s

Musical Theatre Production Sponsor: Dr. & Mrs. Carl G. Fischer

Musical Theatre Performance Sponsor: Graeter’s Ice Cream

THE HUNCHBACK OF NOTRE DAME is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI, 421 West 54th Street, New York, NY 10019 Tel: 212-541-4684 Fax: 212-397-4684 www.MTIShows.com

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CCM Mainstage Acting Presents Dark Comedy ‘Our Country’s Good’

Based on the true story of convicts and captors producing Australia’s first play, “Our County’s Good” is an inspiring tribute to the transforming power of drama. Tickets on sale now.

CCM continues its Mainstage series with Timberlake Wertenbaker’s Our Country’s Good from Wednesday, Feb. 13 (preview performance) through Sunday, Feb. 17, 2019. Directed by Susan Felder, the award-winning play centers on a group of 18th-century criminals and British colonialists who explore how theatre can help rehabilitate and inspire.

Based on Thomas Keneally’s historical novel “The Playmaker,” Our Country’s Good tells the true story of Australia’s first theatrical performance in the 1780s. A British Royal Marine lieutenant decides to put on a play to celebrate the king’s birthday. He casts the play with English convicts who populate a distant Australian prison camp to remind them that “there is more to life than crime and punishment.” Few of them can read, let alone act, and the play is produced against a background of food shortages and barbaric prison punishments. CCM’s production is for mature audiences.

“The play throws wild humor up against absolute brutality,” Felder says. “We see convicts and soldiers in their daily lives — all while trying their best to produce a play.”

CCM’s production takes advantage of Patricia Corbett Theater’s wide, thrust stage to create the maze of the Australian landscape. The set creates an “edge of the world” feel, Felder says, where the set and the characters transform — sails become a tent, the sun can change into the moon and condemned convicts become aspiring actors.

Recipient of the BBC Award: West End Play of the Year, the Laurence Olivier Award, the London Evening Standard Award and the New York Drama Critics Award, Our Country’s Good is described as “a tribute to the transforming power of drama…It is heartening to find someone standing up for theatre’s unique spiritual power” (The Guardian).

CCM Acting presents Our Country’s Good on Feb. 13 (preview performance)-17, 2019 at Patricia Corbett Theater. The production will last 2 hours, including a 10-minute intermission. Tickets are on sale now through the CCM Box Office; student discounts are available.
____________________

Creative Team

  • Susan Felder, director
  • Joshua E. Gallagher*, scenic designer
  • Sam Kittle*, hair and make-up designer
  • k. Jenny Jones, fight choreographer
  • Ashley Trujilo*, costume designer
  • Michael Ekema-Nardella*, lighting designer
  • Zachory Ivans*, sound designer
  • Travis Byrne*, associate sound designer
  • Yue Shi (Jenny)*, production stage manager
  • D’Arcy Smith and Katherine Webster, dialect coaches

* CCM Student

Cast List

  • Madeleine Page-Schmit as Mary Brenham
  • Jacqueline Daaleman as Dabby Bryant
  • Kayla Temshiv as Duckling
  • Abby Palen as Liz Morden
  • Chandler Bates as Meg/Reverend
  • Carlee Coulehan as Johnston/Convict/Narrator
  • Olivia Buss as Dawes/Convict/Narrator
  • Jack Steiner as Ralph Clark
  • Carter LaCava as Robert Sideway
  • Jabari Carter as Captain Phillip/Aborigine
  • Cameron Nalley as Ross/James Ketch
  • James Egbert as Harry Brewer/Campbell
  • Trey Peterson as Caesar/Narrator
  • Graham Rogers as Judge Collins/Narrator
  • Lucas Prizant as Arscot/Tench
  • Duncan Weinland as Wisehammer/Faddy

Performance Times

  • 8 p.m. Wednesday, Feb. 13 (preview)
  • 8 p.m. Thursday, Feb. 14
  • 8 p.m. Friday, Feb. 15
  • 2 p.m. Saturday, Feb. 16
  • 8 p.m. Saturday, Feb. 16
  • 2 p.m. Sunday, Feb. 17

Location
Patricia Corbett Theater, CCM Village
University of Cincinnati

Purchasing Tickets
Tickets prices start at $28. Discounts are available for UC and non-UC students. Preview performance tickets start at $15. Service changes may apply for online orders.

Student rush tickets will be available one hour before each performance to non-UC students, based on availability. UC students can receive one free student rush ticket with a valid Bearcat ID, based on availability.

Tickets can be purchased in person at the CCM Box Office, over the telephone at 513-556-4183 or online though our e-Box Office! Visit ccm.uc.edu/boxoffice for CCM Box Office hours and location.

Parking and Directions
Parking is available in the CCM Garage (located at the base of Corry Boulevard off Jefferson Avenue) and additional garages throughout the UC campus. Please visit uc.edu/parking for more information on parking rates.

For detailed maps and directions, please visit uc.edu/visitors. Additional parking is available off-campus at the U Square complex on Calhoun Street and other neighboring lots.

For directions to CCM Village, visit ccm.uc.edu/about/directions.
____________________

Mainstage Production Sponsor: Macy’s

OUR COUNTRY’S GOOD is produced by special arrangement with THE DRAMATIC PUBLISHING COMPANY of Woodstock, Illinois.

CCM News Faculty Fanfare Student Salutes

CCM Alumnus Returns for World Premiere concert:nova Performances

michael ippolito

Michael Ippolito (BM Composition, 2003) returns to Cincinnati this month for a collaboration with concert:nova, an innovative chamber music collaboration featuring members of the Cincinnati Symphony Orchestra. The ensemble will present the world premiere of a new work by Ippolito on “Cello+,” a concert featuring two cellists and their respective romantic partners, plus a few other friends.

Ippolito is currently an assistant professor of composition at Texas State University. His works have been performed by the Chicago Symphony, the Milwaukee Symphony and many more. He has received awards from both the American Society of Composers, Authors and Publishers and the American Academy of Arts and Letters, and he earned fellowships at the Aspen Music Festival and the Copland House’s Cultivate program. In addition to his studies at CCM with emeritus faculty member Joel Hoffman and current CCM professor Michael Fiday, Ippolito studied with John Corigliano at the Juilliard School.

The two musical couples featured on the program are violinist Stefani Matsuo and cellist Hiro Matsuo, with CCM faculty clarinetist Ixi Chen and her husband, cellist Ted Nelson. Also featured are concert:nova artistic directors Henrick Heide, flutist, and Michael Culligan, percussion.

“Cello+” will be presented at 7 p.m. on Jan. 31 and Feb. 1, 2019 at Mercantile Library, 414 Walnut Street, Cincinnati, OH 45202. Tickets range from $25 to $30 and can be purchased via the concert:nova website.

concert:nova is a boundary-pushing ensemble that challenges the audience to engage with the music in various ways. It’s mission is to transform hearts, minds and communities through thought-provoking musical exploration. The musicians collaborate with a cavalcade of interdisciplinary artists from all over the city, region and globe in a diverse array of surprising venues to create provocative, intimate, interactive, and unforgettable experiences that remove the barrier between the artists and the audience.

Learn more about concert:nova at concertnova.com.

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Story by CCM graduate student Alexandra Doyle

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