“Art is possibility, expression is potential.”

That’s according to , the Pulitzer Prize-winning Diné composer, musician and sound installation artist slated to deliver the ��������Ƶ Boulder College of Music’s annual  Genevieve McVey Wisner lecture on Feb. 26. In his wide-ranging and ambitious oeuvre, Chacon—a member of the Navajo Nation who resides in Albuquerque, New Mexico—has tackled themes ranging from colonization to displacement to questions of environmental stewardship and conservation.

The myriad media he’s chosen to explore these themes reflect a spirit of creative exploration. His Pulitzer Prize-winning work, “Voiceless Mass,” is an ensemble work composed specifically to be performed in any space of worship with high ceilings and pipe organ. “Sound Ladder” is a sound installation—debuted in 2024—that features a sequence of 16 pine planks hung from ceiling to floor; for this work, Chacon collaborated with members of the Bål Nango family, a Sámi family of reindeer herders and land guardians.

Chacon has built instruments and explored new ways to present sound. He’s paired his compositions with visual cues and physical components, and drawn upon the very land surrounding his compositions to convey his messages.

“I think art is there to show that we can all think in different ways, we can all dream in ways we didn’t know we could,” Chacon explains. “We’re in danger when we become narrow and exclude possibilities.” That philosophy is part of the lure of Chacon’s upcoming visit to Boulder. Working firsthand with students and offering novel perspectives about the possibilities of self-expression reconnects the artist to his own commitment to learning and growth; the chance to explore his work and style with developing musicians and artists holds its own unique appeal.

“Part of my interest in giving lectures and visiting universities is to share my work and offer music students insights into ways that music doesn’t have to be on the stage,” Chacon says, also reflecting the College of Music’s universal musician approach to achieving our mission. “It can be presented in different media—performance art, sound sculpture, as film or video. I am really interested in sharing my different tactics with students.”

The concept of place plays a large role in Chacon’s work and one of the pieces he’ll detail in his lecture is located in the United Arab Emirates in a “ghost village” that was originally assigned to a tribe of nomads by the government. “Being that they’re nomadic people, they did not move in. These houses are being taken by the desert,” Chacon explains. 

“I’ve collaborated with these individuals and musicians to record their songs,” he adds, noting that the ultimate effect of the installation is that “it sounds like their music is moving through these houses and into the desert.”

It’s an immediacy that Chacon stresses in his approach to music. While he’s a classically trained composer and musician, he’s careful not to undervalue the importance of the indefinable elements of the art form—the aspects of music that can’t necessarily be conveyed in a classroom, studio or textbook.

“I do feel like I’m continually learning,” says Chacon . I’m always seeking out the best media that an artwork should take. I’m constantly researching new technologies—experiencing exhibitions, artists and concerts. 

“I’m still a big fan of being able to see musicians play, even more so than listening to recordings. I think live music is not only an obligation or responsibility, but it’s something that is wonderful to do, as a member of an audience.”

Even as he tackles weighty questions in his work, Chacon also finds power and joy in the ability to create—a boon he looks forward to sharing during his residency. “No matter what our occupation or how we spend our daily lives, we should be conscious of the work we can do to improve upon justice and the way we treat each other.”
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Join us for the College of Music’s annual Genevieve McVey Wisner Lectureship* featuring Raven Chacon on Feb. 26 at 11:30 a.m., Chamber Hall (S102), Imig Music Building. On Feb. 27 at 9:30 a.m., Room NB185, Imig Music Building, Chacon will be part of a panel discussion, “Situating your soul’s work in a hegemonic sphere.” Both events are free and open to the public. 

Raven Chacon’s residency is made possible by the ��������Ƶ Boulder American Music Research Center, the College of Music’s composition department and the college’s Diverse Musicians’ Alliance. 

*Having graduated from Western University in Kansas—an historically Black college—with her first bachelor’s degree in 1922, Genevieve McVey Wisner became the first Black graduate of the College of Music in 1940 with a bachelor’s degree in music education, followed by a master’s degree in 1944 at age 42.

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The University of Colorado Boulder is widely recognized for its commitment to sustainability—most often associated with protecting the environment. At the College of Music, that definition extends further. 

Associate Dean for Graduate Studies and Professor of Music Education Margaret Berg highlights the importance of human sustainability—that is, the well-being of individuals and communities. By integrating both human and environmental sustainability into music education, our college is helping students develop into responsible, thoughtful professionals who are prepared to make an impact on our interconnected society.

“Human sustainability is about more than just resources,” Berg explains. “It’s about the self—students and teachers—the community around the school or studio, and the larger systems like colleges or universities.” This multifaceted approach emphasizes the significance of emotional resilience, community building and cultural inclusivity in shaping the future of music education. 

Berg’s Sociology of Music Education course amplifies the College of Music’s unique focus on preparing students for roles beyond music performance; the college’s universal musician approach to achieving its mission encourages interdisciplinary learning and broadly-based student development. “A teacher taking a more holistic approach will make a difference,” says Berg, emphasizing the value of connecting music education with sustainability in the classroom and beyond.

Aligned with ��������Ƶ Boulder Chancellor Justin Schwartz’s priority to accelerate sustainability on our campus, human sustainability in music education complements the College of Music’s progress toward reducing its environmental impact—from “green” digital program books, energy-efficient LED lighting in Grusin Music Hall and music tablets that replace paper scores. Additionally, the use of braille building placards and other accessibility measures reflects the college’s commitment to inclusivity in all forms.

Integrating human and environmental sustainability equips students with the knowledge, skills and awareness to engage with both their immediate communities and the planet. In the classroom, Berg advocates for experiential learning practices that promote ecological literacy and environmental activism. For example, music educators can encourage students to engage with local sounds and landscapes, fostering an awareness of the natural world and its challenges. “We can integrate local ecosystems into the repertoire selection process,” Berg suggests, noting that Colorado’s mountains or water issues might inspire student projects.

Berg further emphasizes the significance of core reflection which encourages educators and students to assess their well-being and resilience. “It has to start with the human,” she says. That is, to sustain both the work and the community, we must take care of individuals first—teachers and students alike. Core reflection allows teachers to identify their strengths and recognize the need to care for their own mental and emotional health to avoid burnout. In this way, self-care becomes foundational to sustaining long-term success in educational settings.

Adds Berg, “Nature is constantly creating and evolving, and engaging with the arts is a creative act that empowers both students and teachers to respond to the challenges of climate change, for example, in productive and meaningful ways. This is invaluable, as it engages their hearts and fosters powerful, thoughtful responses. 

“It’s a profoundly healthy way to navigate such challenges.” 

Related resources

• Berg, M. H. (2023): Fostering care through core reflection.
• Shevock, D. J., & Bates, V. C. (2019): A Music Educator’s Guide to Saving the Planet.
• Smith, T. D. (2023): Caring with the Earth, community, and co-learners for the health of biological, social, and musical ecosystems.

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“While I am deeply saddened by the news of Ben’s passing, I fondly remember his passion for music and his love for teaching,” says Associate Dean for Undergraduate Studies + Enrollment Management and Associate Professor of Conducting + Music Education Matthew Roeder.

“Ben’s dedication to music students and music education was recognized by his being named the Colorado Music Educators Association’s Young Teacher of the Year in 2019. His commitment to his students was rightly acknowledged early on in his teaching career by being honored as the first-ever recipient of this award.”

“Teaching music is the most important thing I do,” said Pollack five years ago in an interview celebrating his CMEA award. “It has to matter every day.”

Pollack was the recipient of a full out-of-state tuition scholarship from the University of Colorado Boulder where he earned a bachelor’s degree in music education. As an undergrad, he was principal chair of the ��������Ƶ Boulder Symphonic Band euphonium section and tuba/euphonium ensemble. Pollack was also a member of our Golden Buffalo Marching Band and the ��������Ƶ Buffoons, one of the state’s premiere a cappella groups. 

“Suffering the loss of a student—current or former—is in many ways akin to losing a child,” reflects Associate Professor of Tuba + Euphonium Michael Dunn with whom Pollack studied. “When I heard about Ben’s passing, my first reaction was shock followed closely by gratitude—he was by all measures an extraordinary student. 

“Ben was truly born to teach. Our lessons often revolved around how to deliver a view of the ‘bigger picture’ to students. He wanted his students to have a sense of their place in the world and for each of them to understand that they are capable of changing the world for the better. Ben happened to use music as his vehicle to deliver this message.”

Pollack continued his pursuit of excellence by earning a master’s degree in music education from the Jacobs School of Music at the University of Indiana, Bloomington, where he was principal chair of the IU Concert Band euphonium section.

As a band and choral music educator with a track record of success, Pollack sought to influence large-scale changes in education through music and community. Upon graduating from our College of Music, Pollack taught choir music at Carmel Middle School in Colorado Springs and later embraced the challenge of building up a music program in Walsenburg, Colorado, leaving an indelible mark on the students and community whose lives he touched and transformed. Last summer, he began a new chapter teaching instrumental music at Ponderosa High School in Parker, Colorado. 

“We in the College of Music’s tuba and euphonium studio are grateful to have had Ben in our fold and know his star will continue to burn brightly,” says Dunn.

(Legacy.com)

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Like any other musician, Civelli finds a very personal kind of magic in performing. As a clarinet player, Civelli depends on the instrument for inspiration. But she doesn’t operate in a musical vacuum. 

Soon after Civelli began connecting with music and performance on a personal level, she knew she wanted to share the experience with others.

“I’ve known I wanted to teach music since I was in 7th or 8th grade,” recalls Civelli, who graduates from the ��������Ƶ Boulder College of Music this month with a bachelor’s in music education (instrumental band emphasis). “It’s always been something that’s been there.”

The dual drive to play and to teach is part of what brought Civelli from Connecticut, where she completed the first two years of her college career, to ��������Ƶ Boulder—a place she felt had more to offer in terms of her professional and personal ambitions. Transferring to the College of Music halfway through her undergraduate studies boiled down to a “gut feeling,” she recalls, a sense that Boulder was the right place to refine her skills.

Two years later, that intuitive leap to a new learning environment has proved invaluable. “I don’t think I really knew what was in store for me while I was transferring. I saw opportunities as they came up and I discovered more than I thought I would,” Civelli says, crediting her professors, TAs and fellow students with helping her find new dimensions to her playing and teaching. “I’m a far better clarinet player than I ever thought I could have been, and a far better teacher as well.”

True to the college’s mission to develop multiskilled, multifaceted universal musicians, Civelli found opportunities in both realms. Between playing high-profile performances with concert ensembles and coaching high school marching band students, Civelli’s time in Colorado has deepened her firsthand experience as both a musician and an educator, roles that are equally important as she looks beyond graduation.

“One of my strong beliefs in music education is that I am developing lifelong lovers of music,” Civelli says. “Whether they end up becoming professional musicians or not, at the end of the day they will be consuming music for the rest of their lives. Having the ability to explain why they like or do not like a song they hear, or why a guitar riff is really neat, is important.”

Congratulations to Ashley and all our winter grads!

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Not one to mince words, College of Music alumnus gets right to the point: “I want music to have a purpose,” he says. But finding his purpose didn’t come right away. 

Fixmer earned a bachelor’s degree in music education in 2010 and went straight into teaching. Which was fine. Still, he admits, “I’d been composing my whole life. I was always noodling on some sort of piece.

“Five years ago, my mom showed my wife [alumna Sarah Off] and me a song I’d written many years ago. I guess I’ve always been a composer.”

But first things first: With an undergrad diploma from ��������Ƶ Boulder in hand, he spent a decade teaching in small Colorado towns such as Hotchkiss and Rifle, also serving as a counselor at the YMCA of the Rockies. Along the way, he earned a master’s in music education from Indiana University. Truth be told, Fixmer got his biggest kick out of time spent in Hotchkiss, population 875.

“I put together a little 8^th-grade jazz band,” he reminisces, somehow managing to keep a straight face as he listed the instrumentation: “We had two tubas, a bass clarinet and drums. I played piano and there were some other instruments. But the best part was, they played my compositions.”

Are we starting to see a pattern here? Fixmer, 35, recalls that, yes, while pursuing his degree at our College of Music, he studied composition and theory with noted Professor of Composition Carter Pann. Even as he pursued his graduate degree in music education and found work in the classroom, life as a composer continued to beckon. “I was always going through textbooks on composing,” says Fixmer, exemplifying the college’s universal musician mission. “I wanted to expand my vocabulary.”

And so it came to pass, in a big and meaningful way. Fixmer not only found life as a composer, but he found a way of writing music with a purpose. “I’m not sure I’d ever want to write a piece of absolute music,” he admits, referring to a composition that is simply a collection of melodies with no storyline or subtext. Instead, Fixmer creates for a reason.

Consider his Violin Concerto, premiered by the Greeley Philharmonic in September 2022—in partnership with the Greeley Family House and other homelessness assistance organizations to increase support for the unhoused. This work has such an extraordinary backstory that it deserves a movie treatment. Off performed the premiere on an instrument once owned by Terri Sternberg—an accomplished musician who had fallen on hard times, became homeless and died in 2013. Learning her story propelled Fixmer to create a heartfelt concerto that generated critical raves, a radio broadcast on and eventually helped bring attention to the cause of homelessness as far away as London and Paris.  

His deep concern about people goes beyond writing a thoughtful piece of music, he stresses. “In Greeley, I’m on a homelessness task force. That’s part of my desire in identifying topics to write about—ones that focus on human connections.” 

Those connections now include some of Fixmer’s neighbors in Northern Colorado. Recently, another of his orchestral works was premiered by the Greeley Philharmonic where he now serves as composer-in-residence and where he’s created an impactful education outreach program. His “”—commissioned by the Greeley Philharmonic and the Weld Community Foundation—was unveiled in October at the Union Colony Civic Center. “It’s for the people of Weld County,” he says, “to describe the experience of living here, of what brings people to this county.”

There’s not enough space to cover all that the JW Pepper Editor’s Choice Award recipient has to offer. No space to discuss his children’s Spanish-language opera, “Clara y los Cuarto Caminos” (“Clara and the Four Ways”). Nor to get around to his side career in a guitar-fiddle duo with his wife, appearing at folk festivals playing bluegrass and traditional foot-tapping Irish tunes. No time to write about a commissioned work aimed at increasing interest in mental illness. 

Once again, Fixmer—with recent commissions and premieres under his belt from UC Health, Opera Guanajuato and the Crested Butte Music Festival, among others—doesn’t mince words. “I don’t want to be typecast,” he says.

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Planning for such an intense on-the-road course began “a few years ago,” says Shay. “Before we left, we had three class sessions, sort of as a crash course. I wanted to get the basics in place.” Once in Vienna, everything changed. “By actually being there, you’re seeing these things we’re talking about,” Shay adds. “There’s an immediacy. I can see how rapidly students can internalize information.”

Since nine of the 10 young travelers had never visited Europe, one wondered about the impact of visiting the great Austrian city. “We talked as a group afterward,” recalls Shay, “and I got a general sense of their response to the trip—I think I whetted their appetite for more learning and for more travel.”

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For most of us, retirement is a major milestone. And for these esteemed faculty members—Professor of Music Education and CMEA Hall of Fame inductee James Austin, Professor of Double Bass Paul Erhard, Associate Professor of Trombone William Stanley, and Professor of Piano and former Dean Daniel Sher—their retirements this spring represent a tireless commitment and dedication to inspiring up-and-coming musicians and educators. 

Austin, Erhard, Sher and Stanley have deeply influenced and helped shape the futures of countless students’ lives through their unique teaching methods and shared expertise. As we bid them farewell and look back on their contributions, achievements and legacy at the College of Music, we’re pleased to pass along some of their reflections:

What experience are you most proud of, during your career at ��������Ƶ Boulder?
SHER: My relationships with people come first. I was gratified by the number of faculty I became privileged to appoint and to come to know, the many students whose acquaintances I made, and the wonderful staff upon whom I relied every day for their work and support of our programs and people. It has been an added bonus that my wife Boyce and I now enjoy so many enriching and rewarding friendships to this day among Music Advisory Board members and former members, and the many patrons who chose to invest in our college. 

Most of all, I am proud of the collaborative spirit that grew during my tenure. It has been a joy to see faculty leadership and a robust participation in shared governance—and to observe, since I stepped away from the Dean position, that this trajectory continues its upward path.

STANLEY: Hosting the 1998 International Trombone Festival with 750 participants and 60-plus artists and teachers from all over the globe was big. As was the graduate brass quintet winning a bronze medal at the 2009 Fischoff Competition. 

But the experience of working with the wide array of students who have come through the studio is what I’m most proud of. Many of them went on to outstanding graduate programs, to teaching and performing positions, and to other successful careers that include music in their lives. Seeing each student grow and learn about themselves as musicians, trombonists and humans is what kept me going.

AUSTIN: I’m most proud of my over two decades’ leadership provided to the College of Music as Music Education Chair and then as Associate Dean for Undergraduate Studies. As chair, I advocated for the music education faculty to make their own admissions decisions and scholarship recommendations through a formal interview and evaluation process; instituted sophomore interviews as a gateway to upper-division licensure coursework; increased enrollment in both the undergraduate and graduate programs; and improved the placement record of program graduates into K-12 and higher education positions. 

As associate dean, I established an early alert system to provide at-risk students with timely academic counseling and other forms of support; established a system for tracking budgetary implications of merit scholarship awards; expanded the student recognition program to include outstanding freshman and sophomore awards; and oversaw a major revision of the undergraduate curriculum. 

What trends or culture shifts did you observe over the course of your career? What’s your career advice to students today?
STANLEY: It would probably be easier to list what hasn’t changed. Technological advances have had a huge impact on how students learn and how teachers teach. In 1985, when I started at ��������Ƶ, personal computers were pretty new, compact discs were new, the library had a card catalog, there was no internet, no email—even the copy machine was terrible. The enormity and speed of technological change over that period of time has been amazing to watch. 

As well, an emphasis on offering a diverse cultural experience at ��������Ƶ has been under discussion for many years—it’s wonderful that these efforts are becoming actualized with increased diversity in repertoire selections, guest artists and speakers … and a genuine level of awareness throughout the college and across campus. Moving forward, I hope there can be continued efforts supporting the recruitment of diverse faculty and students.

Finally, my career advice is to go all in. A half-hearted effort during the college experience rarely leads to success. Students who can enjoy the process of preparation and improvement, and who are persistent and who have patience, will be better positioned for a life in music. But no one can say what that will look like. Given the rate of change in our society, flexibility and creativity will become not just catch phrases, but a way of life.

Oh, and go vote.

AUSTIN: One of the biggest cultural shifts I’ve observed is a broadening and rethinking of career paths open to music majors and, in a related sense, a steady increase in the number of undergraduate students pursuing dual degrees within music—or double majors in music and a second field outside of music. At the same time, unfortunately, it has been more difficult to attract students to a career in music education, largely because of the misperception of music teaching being a high-demand, low-status occupation. 

SHER: The trends that I’ve watched and tried to nurture include the establishment of our Entrepreneurship Center for Music, the first of its kind when it was established back in the mid-90s; as well as the establishment of our collaborative piano program and jazz studies program; the growth of our scholarly/research programs which now boast a blossoming ethnomusicology division; and a music theory master’s degree. Also of note are our Soundworks series, and I’ve been especially pleased to observe the chamber music program which is thriving and has grown to new heights.

As I look back on my 20-year tenure as dean, I think of it as a dream position during which time I tried my best “to do no harm” (borrowing from the physicians’ oath) and to enable a gifted, talented and perceptive faculty to work together—which has, in turn, enabled their students to be the best that they can be.

Join us on May 5 from 3-5 p.m. (E160) in honor of our retiring faculty members and in celebration of their many years’ dedicated service to the college and the university. They will be greatly missed by their colleagues and students. RSVP to Lauren Petersen by May 1.

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His playing got good enough so that he could jam with a few small ensembles. “Later, I turned professional and was in a brass quintet, and I found I was not afraid to share my views on how a piece should be played. I’d say to them, ‘Why don’t we try it like this?’” The path toward a career as a conductor of winds clearly beckoned. But he was haunted by the memory of his parents’ scoldings.

“They wanted me to be a lawyer,” McMurray says. “For years, I kept hearing the same warning from them: ‘You’ll never amount to anything if you pursue music.’” 

In 2013, McMurray retired after 35 years as professor at the University of Colorado Boulder College of Music, directing the college’s bands, developing the master’s and doctoral programs in instrumental conducting, hosting the first College Band Directors National Association (CBDNA) Summer Conducting Symposium and becoming the first in the College of Music to receive a lifetime appointment as a Distinguished Professor. 

No reason to stop there. McMurray has guest-conducted in 15 countries, guest-taught at more than 200 universities and conservatories, been keynote speaker at various CBDNA events and—you can catch your breath here—he has just been awarded the University Medal by the ��������Ƶ Board of Regents, one of five individuals to be honored on May 10 at a private ceremony on the Boulder campus.

Few in music can boast such an impressive résumé, and few can speak with such modesty and passion for their chosen profession. “My life has been so enriched by music,” he says. “I love working with students. 

“You know, the term maestro translates as teacher. When I teach, I dialogue with my students a lot—I ask them about the score we’re working on. I tell them, ‘The score is your friend. Talk to it. Get to know it.’ I tell them that you have to work hard, and if you do, you’ll get closer to where you want to be. Learning is a journey. What’s better than that?”

McMurray bubbles with endless optimism, even in these chaotic times. Amidst all the divisiveness around us, there is a common source of unity, he reminds us. “Everybody loves music—from lullabies for babies to taps at the end, there is music. The world needs music. Life needs music.”

Congratulations on your well-earned distinction, Allan McMurray!

Professor of Conducting Emeritus and Distinguished Professor Allan McMurray was nominated for the University Medal by Dean John Davis and Conducting Area Chair, Professor of Conducting and Director of Bands Donald McKinney; Associate Dean for Undergraduate Studies and Enrollment Management, and Associate Professor of Conducting and Music Education Matthew Roeder; and Professor of Piano and former College of Music Dean Daniel Sher. Also supporting his nomination was alumna Karen Fannin who earned a Doctor of Musical Arts in conducting from our College of Music, studying with McMurray; she’s now professor and director of bands at the University of Nebraska at Omaha.​

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She had earned a bachelor’s at Arizona State University in Tempe and she’d built up an impressive performance résumé with band members who just happened to be family: The Stoneback Sisters and Brass featured Sarah and her sisters, as well as her mother and father—all of whom played trumpet and brass. Complementing her undergraduate studies, this experience offered Stoneback real-world credits as a touring musician and a professional artist.

It was her experience at the College of Music, however, that helped steer the course of her chosen career. 

“When I think about the College of Music, I think about a vibrant learning environment and a vibrant space to grow,” says Stoneback, an active Conn-Selmer Bach clinician and artist. “I had the opportunity to work with faculty and administration in ways that helped me learn about the way the academic system runs and operates. That’s how I navigate my career at Montana State University.”

At MSU—as Assistant Professor of Trumpet Pedagogy and Performance—Stoneback is a respected educator, clinician, soloist and chamber musician who’s been featured on stages across the globe in various ensembles. She credits many of her accomplishments directly to the guidance, inspiration and encouragement she found at our college, where she earned a Master in Music degree and a Doctorate of Musical Arts in performance and pedagogy.

At ��������Ƶ Boulder, Stoneback embraced world-class performance opportunities: As a member of Flatirons Brass, she participated in numerous national competitions and world tours. In 2009, the ensemble was a Bronze medalist in the Fischoff National Chamber Music Competition. And in 2011, Flatirons Brass worked as artists in residence at the University of Renmin in Beijing, China; the group conducted workshops, provided individual instruction and performed recitals.

“That was a major part of my time at ��������Ƶ Boulder,” Stoneback recalls. “We did competitions, traveled internationally and did a lot of educational outreach. We had so many experiences that were musically enriching.”

Stoneback also leveraged opportunities to record professionally—and to participate in the marketing, design and packaging of the “Of Love and Life” CD, a performance she participated in with the ��������Ƶ Boulder Wind Symphony under Professor Emeritus Allan McMurray.

“The university invested in me by inviting me to work with them,” Stoneback says. “They welcomed my skills and interests. It was a pivotal experience.”

Just as critical to Stoneback’s development were the teaching opportunities she found at the University of Colorado. Stoneback participated in the college’s graduate teacher program, an opportunity that taught her how to teach students of all backgrounds and specialties how to build a professional portfolio, refine different performance styles, and effective ways of becoming better musicians and scholars of their chosen discipline. These teaching experiences, along with the chance to serve as an adjunct professor at Denver’s Regis University, laid the groundwork for her current role.

“The College of Music provided me the tools that I keep developing in pursuing my own teaching career,” notes Stoneback whose approach to teaching incorporates her evidence-based research in applying the Kolb Learning Style Inventory. “The academic side of my experience at ��������Ƶ Boulder helped me become more multifaceted.”

She concludes, “I loved every aspect of studying at the College of Music. I loved earning my graduate degrees in Boulder. I remember driving in the first time and thinking, ‘I just have to be here. This is exactly where I want to be.”

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The College of Music is pleased to announce the appointment of Kelly Parkes who will join our faculty in August 2023. 

“We’re thrilled that—after a comprehensive national and international search—Kelly Parkes has accepted our offer to join the College of Music as associate professor of music education,” says Associate Professor of Music Education David Rickels. “Parkes brings an incredible level of expertise and experience that inform her ideas about course content, research topics and preparing students to be 21st-century music educators. We’re delighted that our students—from bachelor’s to doctoral study—will get the chance to work with her. 

“She also brings an international reputation as a well-regarded and highly published researcher, looking at important and timely issues in our field. She is strongly committed to serving the needs of K-12 teachers and our Colorado community will be stronger for having her be a part of it.”

Originally from Australia, Parkes’ primary research interests are in music and music education assessment; measuring musical learning within K-12 settings and the applied studio; teaching readiness, professional dispositions and reflective practices in pre-service teachers; as well as teaching effectiveness and teaching quality. She served as chair of the National Association for Music Education’s (NAfME) Society for Research in Music Education (SRME) Assessment Special Research Interest Group. She also co-chaired the national Model Cornerstone Assessment research project in partnership with NAfME and served on its Music Teacher Evaluation Taskforce. 

Parkes appreciates the legacy of Professor of Music Education James Austin, her esteemed predecessor who will retire this year. “I’m very much looking forward to joining the faculty at the University of Colorado Boulder College of Music,” she says. “I’m honored to continue in the footsteps of Professor James Austin and work with the outstanding music education faculty in an environment of inclusive excellence.” 

Parkes was elected to the International Trumpet Guild Board of Directors (2015-19) and was awarded the Lowell Mason Fellow award (2018) by the National Association for Music Education for her leadership in music education. She served on the editorial committee for the Journal for Research in Music Education (2014-2020) and currently serves on the review boards of the Music Educators Journal and the Research Studies for Music Education journal; she’s also a member of the NAfME Society for Research in Music Education’s Executive Board. Additionally, Parkes’ co-authored books—“Developing and applying assessments in the music classroom” (2020) and “Applying model cornerstone assessments in K–12 music: A research-supported approach” (2018)—serve as models for classroom music educators and resources for music teacher educators.

“I'm grateful for the opportunity to get to know the City of Boulder and the ��������Ƶ Boulder campus,” adds Parkes. “I know I’ll enjoy collaborating with students, staff and faculty across the university.”

Welcome, Kelly Parkes!

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