Sidney M. Boquiren | Faculty Profiles

Diplomas/Degrees

Ph.D., Music Composition, Duke University (1999)

B.M., Music Theory and Composition, Butler University (1992)

Professional Experience

Department of Music, Adelphi University
September 1, 2021 – Current: Full Professor
September 1, 2011 – August 31, 2021: Associate Professor (with Tenure)
September 1, 2005 – August 31, 2011: Assistant Professor
September 1, 2004 – August 31, 2005: Visiting Assistant Professor

Penn Humanities Forum, University of Pennsylvania
September 2003 – May 2004: Andrew W. Mellon Postdoctoral Fellow

Recent Courses

Composition

First Year Seminar: Bach, Beyonce, And Beyond

Form And Analysis I

Improvisation Ensemble

Theory And Harmony III

Theory And Harmony IV

Courses Previously Taught

MUSIC THEORY:

Form and Analysis

This course is a study of musical form and structure as exemplified by works drawn primarily from the Western canon. During the semester, students develop a set of skills and a vocabulary that allow them to analyze and discuss various aspects of form and structure in music, which are then applied to analysis of works from their own studio repertoire.

Theory and Harmony I

This course focuses on the fundamentals of reading and notating music, the principles of voice leading, and analyses of brief diatonic harmonic progressions using Roman numerals and lead sheet symbols. Examples studied are drawn primarily from the Western classical canon, supplemented by excerpts from other genres of music such as jazz, rock, and musical theatre.

Theory and Harmony II

This course begins with a review of diatonic chords in both major and minor keys, as well as the basic principles of voice leading and part-writing before proceeding to the analysis of musical examples drawn primarily from the Western classical canon, supplemented by excerpts from popular literature, and ending with the study of non-chord tones.

Theory and Harmony III

This course begins with a review of the principles of diatonic harmony and part-writing, focusing on triads and seventh chords, before proceeding to the study of chromatic harmony, including but not limited to: chromatic chords and progressions, borrowed chords, altered chords, modulation, extended dominants, and modal and nonfunctional harmony.

Theory and Harmony IV

This course focuses on complex chromatic and harmonic principles, particularly Neapolitan and augmented sixth chords, and ends with an overview of harmonic practices in the late 19^th Century including extended chromatic tonal harmony and compositional techniques of the 20^th Century.

Composition Seminar

This course focuses on the development and application of a variety of compositional techniques. During the semester, students will be required to compose five different projects. The first four of these will each focus on a particular dimension of music (melody, harmony, rhythm, and timbre/texture) while the final one demonstrates the synthesis of all elements into a single cohesive composition.

Conducting and Orchestration

This course is taught in two parts. The first half of the semester focuses on the study of orchestration, including a review of instruments and their technical considerations (ranges, transpositions, basic characteristics, etc.) before moving toward scoring and arranging techniques. Students are required to complete a major orchestration project.

During the second half of the semester, students study the fundamentals of conducting, working toward learning techniques and methods necessary to prepare, rehearse, and perform music as a conductor of various types of musical ensembles. For the final evaluation, students are required to conduct a small ensemble of musicians and/or singers.

Counterpoint

This course is a study of counterpoint, from the modal practice of the Late Renaissance, through tonal counterpoint of the Baroque Period, and imitative polyphony in the 19^th and 20^th centuries. Students will write their own counterpoint following exemplary and representative models, both modal and tonal.

Independent Studies in Composition and Songwriting

These Independent Studies varied from introductory to advanced levels as well as songwriting and thesis writing. Students worked on various compositional projects appropriate to their level of ability and accomplishment, working toward live performance and/or the workshop of their music.

MUSIC HISTORY

Honors College Liberal Arts Seminar: From Bach to Beck: Understanding Music
Honors College Liberal Arts Seminar: From Bach to Beyoncé: Understanding Music

This multi-disciplinary seminar focuses on the close examination of encounters and experiences with music in various contexts: from live performance to YouTube videos, from music for worship to rock concerts. Through reading, listening, and writing assignments, students will develop a vocabulary and an arsenal of analytical tools as well as methods of inquiry that will help them to explore, study, and critically discuss their experiences of music in a nuanced and sophisticated manner, instead of merely offering a categorical judgment on its supposed quality and value. Reading knowledge of music is not a pre-requisite—just a curiosity and desire to be able to speak and write critically and intelligently about music and how it interacts and merges with other disciplines.

360 Seminar, Music +: Bach, Beyoncé, and Beyond
First-Year Seminar: Bach, Beyoncé, and Beyond

These two multi-disciplinary courses focus on the close examination of and its intersection with other disciplines (psychology, social justice, politics, visual arts, etc.) in a variety of contexts (from live performance to YouTube videos and TikToks, from music for worship to rock concerts). Through reading, listening, and response assignments and projects students will develop the vocabulary, analytical, and methods of inquiry that will help them to explore, study, and critically discuss their experiences of music in a nuanced and sophisticated manner, beyond merely offering a categorical judgment on its supposed quality and value. Musical examples are drawn from a wide diversity of cultures, emphasizing the interconnectedness and common aspects of the human experience of music across a broad range of traditions and practices. Students have the opportunity to bring in their own musical selections for careful study and consideration. Reading knowledge of music is not a pre-requisite—just a curiosity and desire to be able to speak and write critically, cogently, and intelligently about music and how it interacts and merges with other disciplines, and how this is experienced in a diversity of contexts.

MUSIC ENSEMBLE

Improvisation Ensemble

This is a course in musical improvisation without stylistic boundaries. Students research, practice, and develop skills in free and structured improvisation in a variety of styles through performance, listening, and discussion, supplemented by reading and writing assignments. Ability to read music is not required.

Specialization/Interests

MUSIC and SOCIAL JUSTICE
Creative works and projects that delve into issues of immigration, climate change, and other contemporary social issues such as gun violence.

MUSIC and IMPROVISATION
Improvisation of music toward building community, developing musicianship skills, and furthering creativity.

MUSIC, WORSHIP, and ETHNICITY
Research into the conveyance, perception, and reception of religious and ethnic identity and practices in music, focusing on the compositions of Jose Maceda, Olivier Messiaen, and Arvo Pärt, and the writings of Anscar Chupungco and Catherine Bell in their work on inculturation and ritual studies.

MULTI-DISCIPLINARY and COLLABORATIVE PERFORMANCE PROJECTS
Creative and performance interest in the production of collaborative projects that involve multiple disciplines and media.

MUSIC of TODAY
Commitment to the study, promotion, performance, and advocacy of works by living composers.

Teaching Philosophy

Teaching Philosophy

My teaching philosophy and practice is very much rooted in the belief that deep and sustained learning is best accomplished in an environment that involves active student engagement in a variety of activities that allow students to apply and demonstrate gained knowledge and skills, thereby leading them to develop ownership over what they learn. I am passionate about music theory and how this is practiced and found in a wide variety of musical traditions and experiences, from Bach chorales, to songs from Broadway, and the artistry of Beyoncé. I aim to help students develop a certain proficiency that will allow them to understand, appreciate, and speak intelligently about their varied interactions with music in a more nuanced way. In the classroom, I have adapted and adopted a teaching practice based on Process Oriented Guided Inquiry Learning (POGIL). Originating from the STEM disciplines, I have found that certain practices of POGIL allow for more active student participation in the music classroom. Additionally, the team-based practices that are at the heart of POGIL help students develop process skills such as communication, collaboration, creativity, and critical listening.

Research Interests

MUSIC and SOCIAL JUSTICE
Creative works and projects that delve into issues of immigration, climate change, and other contemporary social issues such as gun violence.

MUSIC, WORSHIP, and ETHNICITY
Research into the conveyance, perception, and reception of religious and ethnic identity and practices in music, focusing on the compositions of Jose Maceda, Olivier Messiaen, and Arvo Pärt, and the writings of Anscar Chupungco and Catherine Bell in their work on inculturation and ritual studies.

MULTI-DISCIPLINARY and COLLABORATIVE PERFORMANCE PROJECTS
Creative and performance interest in the production of collaborative projects that involve multiple disciplines and media.

MUSIC of TODAY
Commitment to the study, promotion, performance, and advocacy of works by living composers.

International Experience

My music has been performed all over the United States as well as the following countries:

Australia
Austria
Canada
France
Germany
Indonesia
Italy
Japan
The Netherlands
The Philippines
Singapore
South Korea
Spain
Sweden
Thailand
United Kingdom
Vietnam

Other Work

PODCASTS, PRESENTATIONS, SEMINARS, and WEBINARS

2025 AMS-SMT Joint Annual Meeting, Minneapolis, MN, November 6-9, 2025: (“Developing a Student-Centered Approach to Classroom Learning”) with Dr. Ashley Pribyl The National Conference to Advance POGIL Practice (NCAPP), Emory University, Atlanta, GA, June 22-25, 2025: “Birds of a Feather: Interdisciplinary Activities and Alternative Models” POGIL eSeries. April 23, 2025 (online webinar): “Empowering Through Language: Asset-Minded Approaches in the Classroom” The National Conference to Advance POGIL Practice (NCAPP), University of Utah, Salt Lake City, UT, June 26-28, 2023: “Birds of a Feather: POGIL Activity Models in Non-STEM Disciplines” College Music Society (CMS), Northeast Regional Conference, Southern Connecticut State University, New Haven CT, March 11, 2023: “Process-Oriented Guided Inquiry Learning (POGIL): a Flexible Method for Music Instruction” Teaching & Learning Conference, Adelphi University, Garden City, NY, February 16, 2023: “Active Learning in the Classroom” POGIL Podcast, December 5, 2022: “What If a POGIL Activity Doesn’t Exist?” Composer Presentation, Duke University: October 9, 2020 Composer Presentation, Butler University: September 24, 2020 Hawaii International Conference on Education, Panel Presentation, “Curricular-izing Improvisation: Considering Improvisation Across the Undergraduate Music Curriculum”: January 11, 2020

Creative Scholarship

""Lento Misterioso" from Three Preludes for Solo Piano". David Holzman (piano). Great Hall, LIU-CW Post. September 2012.

""Stop and Frisk" from Triptych in Grant Park". This is the first scene of a one-act opera. Realized with the support of American Opera Projects through the Composers and the Voice series. Libretto by Daniel Neer. Music by Sidney Marquez Boquiren. Direction by Noah Himmelstein. Jorell Williams (baritone), Brandon Snook (tenor) Mila Henry (piano). The Irondale Center, Fort Greene, Brooklyn, NY. September 2012.

""Stop and Frisk" from Triptych in Grant Park". This is the first scene of a one-act opera. Realized with the support of American Opera Projects through the Composers and the Voice series. Libretto by Daniel Neer. Music by Sidney Marquez Boquiren. Direction by Noah Himmelstein. Jorell Williams (baritone), Brandon Snook (tenor) Mila Henry (piano). Brooklyn Conservatory of Music, Park Slope, Brooklyn, NY. September 2012.

""Stop and Frisk" from Triptych in Grant Park". This is the first scene of a one-act opera. Realized with the support of American Opera Projects through the Composers and the Voice series. Libretto by Daniel Neer. Music by Sidney Marquez Boquiren. Direction by Noah Himmelstein. Jorell Williams (baritone), Brandon Snook (tenor) Mila Henry (piano). Flatbush Reformed Church, Flatbush, Brooklyn, NY. September 2012.

""Stop and Frisk" from Triptych in Grant Park". This is the first scene of a one-act opera. Realized with the support of American Opera Projects through the Composers and the Voice series. Libretto by Daniel Neer. Music by Sidney Marquez Boquiren. Direction by Noah Himmelstein. Jorell Williams (baritone), Brandon Snook (tenor) Mila Henry (piano). AOP S. Oxford Space, Fort Greene, Brooklyn, NY. September 2012.

"AOP's First Glimpse Concert". Performance of three arias as follows: 1. "Sunday, Early Evening"_Justin Hopkins (bass), Mila Henry (piano); 2. "Riverview Amusement Park"_Amy Shoremount Obra (soprano), Kelly Hosted (piano); 3. "The View from the Lunch Counter"_Rebecca Ringle (mezzo-soprano), Jeanne-Minette Cilliers (piano). AOP S. Oxford Space, Fort Greene, Brooklyn, NY. May 2012.

"Music for Cuttlefish". Film by Jane Pickett. Performed by pulsoptional: Sidney Marquez Boquiren (piano) marc faris (electric guitar) Todd Hershberger (bassoon) Thom Limbert (percussion) John Mayrose (bass guitar) Carrie Shull (oboe). DiMenna Arts Center, Manhattan, NY. March 2012.

"Music for Cuttlefish". Film by Jane Pickett. Performed by pulsoptional: Sidney Marquez Boquiren (piano) marc faris (electric guitar) Todd Hershberger (bassoon) Thom Limbert (percussion) John Mayrose (bass guitar) Carrie Shull (oboe). Concert Hall, Performing Arts Center, Adelphi University, Garden City, NY. March 2012.

"Music for Cuttlefish". Film by Jane Pickett. Performed by pulsoptional: Sidney Marquez Boquiren (piano) marc faris (electric guitar) Todd Hershberger (bassoon) Thom Limbert (percussion) John Mayrose (bass guitar) Carrie Shull (oboe). Campus Auditorium, IUSB, South Bend, IN. March 2012.

"Father's Song (from Music from Eurydice)". Mark Menzies (violin). Sidney Marquez Boquiren (piano). Concert Hall, Performing Arts Center, Adelphi University, Garden City, NY. November 2011.

"Panalangin ("Prayer")". Version for solo violin + electronics. Mark Menzies (violin). Sidney Marquez Boquiren (electronics). Concert Hall, Performing Arts Center, Adelphi University, Garden City, NY. November 2011.

"Father's Song (from Music from Eurydice)". Version for violin, guitar, and bass clarinet. Mark Menzies (violin), Peter Mayer (guitar), and Fabian Rucker (bass clarinet). Galerie am Roten Hof, Vienna, Austria. November 2011.

"Music for Eurydice". Incidental music for the play "Eurydice" by Sarah Ruhl. Directed by Maggie Lally. Music composed and performed by Sidney Marquez Boquiren. October 25 - 30, 2011. Olmsted Theatre, Performing Arts Center, Adelphi University, Garden City, NY. October 2011.

"Babaylan ("Healer")". Commissioned by Christopher Adler and NOISE. Supported by a Faculty Development Grant from Adelphi University. Christopher Adler (khaen, a Lao/Thai bamboo mouth organ), Lisa Cella (flute), and Franklin Cox (cello). The Athenaeum Music & Arts Library, La Jolla, CA. June 2011.

"Babaylan ("Healer")". Commissioned by Christopher Adler and NOISE. Supported by a Faculty Development Grant from Adelphi University. Christopher Adler (khaen, a Lao/Thai bamboo mouth organ), Lisa Cella (flute), and Franklin Cox (cello). Concert Hall, Performing Arts Center, Adelphi University, Garden City, NY. March 2011.

Grants

GRANTS

POGIL SPUR+ Grant. Granted, $2500. 2024-2025. With Dr. A. Pribyl and Dr. J. Pribyl.

Adelphi University Faculty Development Grant for “Two Recording Projects.” Granted, $5,000. 2021-2022.

Young Dancemakers Company Choreographer/Composer Project. New Music USA. $4000. Granted, 2018. Declined, 2019 and 2020.

32 Bright Clouds. Commissioned as one of the 32 international composers. New Music USA. Declined, 2018.

New Musical Geographies. Commissioning project for new works for the khaen (Lao/Thai bamboo mouth organ). New Music USA. Declined, 2018.

Independence Eve. A chamber opera on race relations in America. American Opera Projects. New Music USA. Declined, 2017.

Synaesthesia: an Inter-Sensory Experience. Multi-media collaboration. New Music USA. Declined, 2016.

The New American Art Song. With vocalist/writer Daniel Neer. New Music USA. Declined, 2014.

Adelphi University Faculty Development Grant for pulsoptional Residency (New York, NY). Granted, $5,000. March 8-11, 2012.

Adelphi University Faculty Development Grant for “Babaylan: a New Work for Khaen, Flute, and Cello” (New York, NY). Granted, $5,000. March 10-13, 2011.

Honors and Accomplishments

HONORS, AWARDS, FELLOWSHIPS, and RESIDENCIES

2025 POGIL PEACH (POGIL Early Achievement) Award

Featured Composer, soundON Festival (San Diego, CA): January 2026, January 2025, and June 2011

ASCAP Plus Award Recipient (Concert Division): 2006 – 2025

Panelist/Judge, First Round Review of Submissions, The American Opera Project’s Composers & the Voice Program: 2023-2025, 2021-2023, and 2019-2021

Faculty Excellence in Creative Works Award, Adelphi University: May 5, 2021

Wentworth Residency with the Weiss-Kaplan-Stumpf piano trio at Sarah Lawrence College: 2019

Panelist/Judge, Cerddorion Choral Composition Contest: 2025, 2019, and 2017

Guest Composer, Nief-Norf Summer Festival: 2018

Residency with pulsoptional at Sonoma State University: 2018

Residency with violinist Sarah Plum at Duke University: 2018

Residency with pulsoptional at the University of Wisconsin-Oshkosh: 2017

Featured Composer, New Music for Strings Festival: 2017

Residency with pulsoptional at Adelphi University: 2012

Residency with pulsoptional at Indiana University-South Bend: 2012

Ruth Boshkoff OAKE Composition Commission Prize: 2012

Residency with pulsoptional at Adelphi University: 2012

Residency with pulsoptional at the North Carolina School for Sciences and Mathematics: 2012

Composer Fellow, American Opera Project’s Composers and the Voice Series: 2011 - 2012

Professional Activities

ACADEMIC and PROFESSIONAL SOCIETIES: Memberships

American Composers Forum (ACF)

American Society of Composers, Authors, and Publishers (ASCAP)

College Music Society (CMS)

New Music USA

Society for Music Theory (SMT)

University Service

SERVICE: School/Department

African, Black, and Caribbean Studies Unit Peer Review Committee (2021 – current). Member, 2021-2023. Chair, 2021-current.

Performing Arts Unit Peer Review Committee (2012 – 2019; 2021 – current). Member. Chair: Professor Adelheid Strelick

General Education, Arts Subcommittee (2011 – current). Member. Chair: Professor Peggy Cassidy

Chair, Music Education Search Committee (2021 – 2022).

Chair, Department of Music (2013 – 2017; 2018 – 2023). Six credits release time per year.

CAS Dean Search Committee (2018 – 2019). Member. Chair: Professor Brian Lym (University Libraries, Dean)

Academic Affairs Committee, College of Arts and Sciences. Member. 2004 – 2013. Past Chair: Professor Sean Bentley

SERVICE: University

Faculty Senate (2021-2022). Parliamentarian and Departmental Faculty Senator.

Search Committee, Director of Environmental Health and Safety (Fall 2021). Member.

Faculty Mentor for Portfolio Intensive (January 20-21, 2021). Invited by FCPE Assistant Director, Nathan Ross.

Adelphi University High Impact Practices Team (2019 – current). Member.

Faculty Committee on Retention, Tenure, and Promotion (2017 – 2020)
Chair, 2019 – 2020 (release time: 3 credits as Member and 3 credits as Chair)
Secretary, 2018 – 2019 (release time: 3 credits as Member and 3 credits as Secretary); Chair: Professor Philip Rozario
Secretary, 2017 – 2018 (release time: 3 credits as Secretary); Chair: Professor Mara Manson

COVID-19 Restart Team, Academic Restart Task Force, Classes Subgroup (2020). Member. Co-Chairs: Associate Provosts Liz Ciabocchi and Chris Storm

DACA, International, and Immigration Task Force (2016 – 2018). Co-Chair with Professor CarolAnn Daniel

Middle States Working Group: Planning, Resources & Institutional Improvement (2017 – 2019). Member. Co-Chairs: Professors Lawrence Hobbie and Peter West; Lori Hoeffner, Director of Assessment

Faculty Senate (2016 – 2017). Member-at-Large, Parliamentarian.

Faculty Senate Executive Committee (2015 – 2016; 2017 – 2018). Member. Chair: Professor Beth Christensen; Previous Chair: Professor Devin Thornburg

Strategic Enrollment Group (2016 – 2017). Member. Co-Chairs: Provost Sam Grogg and Associate Vice President Kristen Capezza

Undergraduate Enrollment Working Group (2015 – 2016). Member. Chair: Associate Vice President Lauren Mounty

Sociology UPRC (2015 – 2017). Member. Chair: Professor Deborah Little; Previous Chair: Professor Jessie Klein

Inauguration Committee (2015 – 2016). Member and Co-Chair of the Programming Subcommittee. Chair: Vice President Lori Duggan-Gold

Faculty Advisor, S.A.R.A.P. (Student Appreciation and Recognition of Adelphi Pinoys). 2014 – 2015

Co-organizer (with Professor E. Zarco and Dean D. Hudson), Philippine Relief Fund. 2013 – 2014. In response to Super Typhoon Haiyan which struck the Philippines in early November 2013, Professor Zarco, Dean Hudson, and I organized the collection of funds across the university to assist in the relief efforts for the victims and survivors.

Senate Faculty Committee on the Assessment of Administrators. Member. 2010 – 2012. Co-Chairs: Associate Provost Audrey Blumberg and Professor Devin Thornburg. This committee was tasked with the development of an evaluation form for the performance assessment of University Deans.

CAS Strategic Planning Committee. Member. 2011 – 2012. This committee, led by then-Associate Dean Susan Briziarelli, met regularly to collect information on current practices and to develop strategic plans that followed the primary goals of AU 2015.

Task Force on Mapping Learning Goals. Member. 2009 – 2013. Co-Chairs: Professors Regina Axelrod and Sean Bentley. This Task Force endeavored to map across university curricula how the Adelphi’s General Education Learning Goals are being taught and learned with the goal of making recommendations for possible implementation.

OTHER SERVICE ACTIVITIES (not mentioned above)

I will be serving as one of two co-chairs for the National Conference to Advance POGIL Practice scheduled for June 2027.

On September 30, 2025, I was one of three featured speakers invited by Pax Christi to present on the “Nonviolence and the Ars,” which was sponsored by the Catholic Nonviolence Initiative.

On April 23, 2025, I co-facilitated an online eSeries workshop sponsored by The POGIL Office on “Empowering Through Language: Asset-Minded Approaches in Your Classroom.”

On February 19, 2025, I served as one of the moderators for the workshop on “High Impact Practices in Undergraduate Research” sponsored by the Office of Undergraduate Research and Creative Works.

In November 2024, I visited Dr. Melanie Bush’s Seminar 360 course on “Love, Home, and Belonging,” presenting on the relationship between music and concepts/understandings of “home.”

In 2023, I served as a peer reviewer for Oxford University Press for the book proposal by Dr. Jake Johnson, The Music Room: A Story of Art, Friendship, and Gathering in Betty Freeman’s Beverly Hills Home.

Since the fall of 2021, I have served on several working groups for the POGIL Project. In the fall of 2022, I was a member of the POGIL Impact Award selection committee. I was a co-facilitator of a 3-Day POGIL Workshop at Simmons University (Boston, MA).

In the fall of 2022, I was invited by Dr. Vincent Wang, Dean of the College of Arts & Sciences, to work with Professor Lahney Preston-Matto in determining ways to reduce the number of Unit Peer Review Committees in the College of Arts & Sciences at Adelphi University.

In May of 2022, I joined Dr. Philip Rozario, Dr. Rani Varghese, and Dr. Ming-Hsuan Wu on a panel to develop and present a faculty forum/workshop on “The AAPI Community and Experiences of Race and Racism.”

I was the primary author for the External Program Review Team evaluating the Performing Arts: Music program offered by the Department of Music at Nassau Community College. The review was held (with via Zoom due to the pandemic) on March 17, 2021, and our report submitted on March 31, 2021.

In spring 2022, I organized students in composing and performing a live performance of original compositions with commentary by the executive director of the WWBA, after collaborating with multiple departments for the bicentennial celebration of Walt Whitman’s birth (with the Departments of Art and Theatre) in the summer of 2019 that led to performances at the Walt Whitman Birthplace Association,

Since 2017, the Department of Music has provided the music for an annual event sponsored by the Cradle of Aviation and held in their planetarium. Music and Astronomy Night combines astronomy films with live music, performed, and also often composed by students of the department. I have been involved in three of these four years, inviting student performers, organizing rehearsals, and also performing alongside our students. This collaboration continued on its fifth year in February 2021, delivered as an online livestream experience for the audience, returning for its sixth year as a live performance in March 2022, attracting an audience of 120+ individuals. Starting in the spring of 2023, the Improvisation Ensemble (which I direct) has been the featured ensemble for this collaboration.

In the fall of 2020, I was invited by then-Associate Provost Chris Storm to join present and past FCRTP chairs to discuss “developmental processes to support promotion eligible faculty.”

On February 21, 2019, I served as a panelist for the The Soapbox Series: Consent, sponsored by the Department of English. Primarily, I spoke with regard to professional artists and their abuse of their own students, relating the impact this has on young artists.

In previous years, I have been on the panel for the review of candidates for the President’s Student Leadership Award. Members of this panel read through and evaluated applications, and joined other panel members (faculty members, administrators, and graduate students) in interviewing finalists for this award before making final recommendations to the President. I have returned to this panel for a couple of years but have been unable to rejoin recently.

Since 2007, I have been involved with the Collaboration Project primarily as an organizer of performance events focused on the particular theme for that year such as “Women, Peace, and Justice” (2007) and “Wake Up Everybody, Today is a New Day” (2017). For the latter, I collaborated with a team on selecting the repertoire, invited participants, led rehearsals, and handled logistics for the event.

Upon invitation in the spring of 2015, I joined the Ignatian Schola, a chamber choir that is regularly invited to provide the choral music for the Eastern Province of the Jesuit Order of the Roman Catholic Church. For this group, I have performed both as a singer and as a pianist.

Since 2012 I have been a member of the choir at The Church of St. Francis Xavier in Manhattan. I have taken on additional duties (such as accompanying the choir, singing in a quartet or as soloist, being the cantor for mass, as well as conducting the choir and bell choir) as requested by the church’s Music Director, John Uehlein. The choir has also sung my music.