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Page 1: The Pacific Alliance of Music Schools Summit · The Pacific Alliance of Music Schools Summit In 2012, Prof. Wang Cizhao, President of Central Conservatory of Music in Beijing and
Page 2: The Pacific Alliance of Music Schools Summit · The Pacific Alliance of Music Schools Summit In 2012, Prof. Wang Cizhao, President of Central Conservatory of Music in Beijing and

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The Pacific Alliance of Music Schools Summit

In 2012, Prof. Wang Cizhao, President of Central Conservatory of Music in Beijing and Prof. Karl Kramer, Dean of Sydney Conservatorium of Music at the University of Sydney jointly proposed the establishment of a music summit of the leading tertiary music schools from the Pacific region, with the aim of creating closer ties between the region’s music conservatories, enhancing multi-lateral exchange and deepening opportunities for internationalization development. While many schools in the region offer a high musical level of cultivation and performance in their countries and enjoy outstanding reputations at home and abroad, this was to be the first time they would assemble together with the ambition to understand better and project a regional identity

In April 2014, the Inaugural Summit of Pacific Alliance of Music Schools was held at the Boardroom of the Sydney Opera House, attended by 10 leaders from schools in Australia, China, Japan, New Zealand, Singapore, Taiwan and the west coast of the United States. At the inaugural meeting, the directors agreed there would be value in an annual gathering which would be not only to share awareness of their successful experiences but also exchanging views on challenges they faced in music education. Every representative was able to share personal views on many issues, share their visions and learn from each other’s strengths. It was recognised that the diversity of approach evident in the region was something to be celebrated and shared. A further decision was that subsequent meetings would focus on a central topic of mutual relevance as well as explore more general contemporary trends. It was determined that the summit should normally last 3-4 days involving not only official sessions but also allowing space for more informal interactions and dialogue.

The 2nd Summit of Pacific Alliance of Music Schools was hosted by Central Conservatory of Music in Beijing with the theme of "Pedagogy and Performance of String Instruments". Alongside the directors’ meetings, string faculty and students gathered together, coming to know each other through performances and discussions about issues relevant to string education and training. For the second summit, the initial schools were joined also by representatives from the Academy of Performing Arts, Hong Kong.

This year’s 3rd Summit, to be held at the Yong Siew Toh Conservatory of Music, National University of Singapore, will focus on issues pertaining to New Music in the region and will run in tandem with a festival entitled Traditions & Innovations. Representatives from Canada and South Korea will join the summit so that the full range of schools involved in PAMS now includes:

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Auckland School of Music, University of Auckland Victorian College of the Arts and Melbourne Conservatorium of Music,

University of Melbourne* Sydney Conservatorium of Music, University of Sydney Yong Siew Toh Conservatory of Music, National University of Singapore Hong Kong Academy for Performing Arts School of Music, Taipei National University of the Arts Shanghai Conservatory of Music Beijing Central Conservatory of Music College of Music, Seoul National University Faculty of Music, Tokyo University of the Arts School of Music, University of British Columbia San Francisco Conservatory of Music Thornton School of Music, University of Southern California

* University of Melbourne students and staff have been generously supported by

University of Melbourne Universitas 21 funding support to be part of this project.

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Programme

Thursday, 7 April 2016 2.40pm Pick up from Park Rochester Hotel 3.00 – 4.30pm Session 1: Welcome, Introductions and Updates

Introductions of new members /Updates on significant institutional developments

4.30pm Break 5.00 - 6.30pm Session 2: Discussion of Network Ambitions I

What do we seek PAMS to be? What are our limits, values and potential? Why?

6.30 – 8.30pm Dinner (with Visiting Faculty) – University Club 8.30pm Return to Park Rochester Hotel Friday, 8 April 2016 1.40pm Pick up from Park Rochester Hotel 2.00 – 2.45pm Session 3: Music & Technology

Attend panel discussion: ‘Music & Technology’ as a catalyst for our own subsequent discussion – Orchestra Hall

3.00 – 4.30pm Meeting: Director’s discussion on Music & Technology 4.30pm Break 5.00 – 6.30pm Session 4: Discussion of Network Ambitions II

Meeting: Continuation of discussions from previous afternoon. 7.00 – 7.30pm Pre-concert drinks 7.30 – 8.45pm PAMS Summit Festival Traditions & Innovations Concert 8.45 - 9.45pm Post-concert reception with performers & Visiting Faculty 9.45pm Return to Park Rochester Hotel

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Saturday 9 April 2016 9.40am Pick up from Park Rochester Hotel 10.00 – 10.45am Session 5: Engaging with Newly Created Work Attend panel discussion: Traditions & Innovations – Concert Hall

11.00 – 12.30pm Meeting: Strategies for Encouraging Broader Engagement with

Newly Created Work (building out from issues raised in the panel discussion)

12.30 - 2.00pm Tour of NUS UTown & lunch (optional) Afternoon Attendance at Traditions & Innovations Festival events (optional) Evening: 6.00pm Pick-up from Park Rochester Hotel 6.30 – 9.30pm Dinner (including partners) at National Gallery (Optional: Attendance at Traditions & Innovations Festival at

National Gallery) Sunday 10 April 2016 2.00pm Pick-up from Park Rochester Hotel 2.30pm – 4.15pm Session 6: Planning for the Future

‐ Clarifying final plans about representation, communication, administration, ambitions, membership.

‐ Plans for 2016 and 2017 (Esplanade Office Boardroom – Level 3)

5.00 - 6.15pm Concert – In View of Distant Lands (Esplanade Recital Studio) Conservatory New Music Ensemble 7.00 - 9.00pm Final Dinner, Knolls at Capella, Sentosa, Singapore

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BIOGRAPHIES

Allan BADLEY Head and Associate Professor in Musicology

School of Music, University of Auckland

Dr Allan Badley is a specialist in late 18th-century Viennese music whose publications include several hundred scholarly editions of works by major contemporaries of Haydn, Mozart and Beethoven. Among the most significant of these are his editions of the complete works for piano and orchestra by Ferdinand Ries, mass settings by Wanhal, Hofmann and Hummel, and an extensive series of symphonies and concertos. He has also published articles on Hofmann, Pleyel, Wanhal and Haydn as well digital (text-audio) composer studies on Wanhal, Kraus, Hummel and Ries. The leading authority on Leopold lHofmann (1738-1793), he is currently working on biographical study and thematic catalogue of the composer’s complete works for the Tabulae Musicae Austriacae published under the auspicies of the Austrian Academy of Sciences. Allan Badley co-founded the now Hong-Kong based publishing house Artaria Editions in 1995 with Klaus Heymann which specializes in rare 18th- and early 19th-century repertory. His own editions have featured in over fifty critically-acclaimed recordings on the Naxos label. A graduate of the University of Auckland (PhD, 1986), Allan Badley is a Distinguished Alumni Award winner (2003) and in 2007 he was awarded the Goldene-Pleyel-Medaille of the Internationale Ignaz Joseph Pleyel Gesellschaft (Austria). He is a member of the editorial boards of Eighteenth-Century Music and Haydn, and Musikwissenschaftlicher Leiter of the Pleyel Gesamtausgabe. Allan Badley is an Associate Professor in Musicology at The University of Auckland and Head of the School of Music.

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Sharon CHOA Chair, School of Music

Hong Kong Academy for Performing Arts

Born in Hong Kong and enjoyed an exceptional Anglo-Chinese education, Sharon excelled in the violin at an early age and first began conducting while still at school at the age of 16. She was later accepted at the Royal Academy of Music as a violinist to study under the great quartet leader Sidney Griller. Choa also holds a First Class B.Mus. and Ph.D degrees from King's College London. It was during her studies at King’s that her talent for conducting was re-discovered and led to coaching from the conductors Lawrence Leonard, Diego Masson, Georg Tintner, Janos Fürst and Jiří Bĕlohlávek.

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Trained rigorously both in performance and academia, she became Director of Performance and Lecturer in Music at the University of East Anglia (UEA) Norwich in 1996; taking over the UEA Symphony Orchestra as Chief Conductor. Since then, she has taken the orchestra on tour to Germany, Italy, Austria and Moravia as well as guest conducted professional orchestras in Germany, Russia, the Czech Republic and Hong Kong, all amidst her busy teaching and conducting schedule in Norwich, UK. Choa has been awarded many performance and academic prizes whilst a student in London and has recently been given individual grants by Arts Council England, the British Academy, the Arts and Humanities Research Council and the British Council to further her many musical and entrepreneurial activities. As a Haydn scholar, she has worked closely with the Haydn Institute in Cologne during her years of research for her doctoral thesis (Sonata-Fugue Synthesis in Haydn’s String Quartets); she has been directing an extensive project to create a web-based thematic catalogue of all of Britten’s works in collaboration with the Britten-Pears Foundation; and she is currently working on a critical edition of Martinů’s Symphony No.4 for Bärenreiter as part of the Martinů Institute’s ambition to bring out a complete critical edition of all Martinů’s works. In 2001, Choa founded Chamber Orchestra Anglia (COA) in order to draw together creative, cultural and academic strengths in the UK. The orchestra has since presented a string of concerts that earned itself a reputation for its innovative programming. COA is also orchestra-in-residence at UEA and the patron orchestra for the DCSF-funded 'In Harmony' project in Norwich.

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Barry CONYNGHAM Dean

University of Melbourne

Australian composer Barry Conyngham MA (Hons) Syd, DMUS Melb. studied with Peter Sculthorpe and with Toru Takemitsu. He is Emeritus Professor from both the University of Wollongong and Southern Cross University, the later where he was Foundation Vice–Chancellor (1994-2000). He is also the first musician to hold the Chair of Australian Studies at Harvard University (2000-2001). He has been a Churchill, Harkness and Fulbright Fellowship holder. In 1997 he became a Member of the Order of Australia. With premieres and performances of his works in Japan, North and South America, Europe, the UK and Australia, Conyngham is one of Australian international composers. He has over seventy published works and over thirty recordings including those by the London, New Zealand, Sydney and Melbourne Symphony Orchestras. International premieres include the orchestral work Cala Tuent (2008) in Spain, Australia and Hong Kong, and the double bass concerto Kangaroo Island (2009) in the United States. 2011 saw premieres of Fallingwater for two bassoons and orchestra, Showboat Kalang for the Australia Ensemble and Gardener of Tiime a new work for the Melbourne Symphony. Most recent premiere was Symphony, commissioned by The Sydney

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Symphony Orchestra performed in November 2012. In May 2014 was the first performance in Vienna of Rainspell Dry. His next large-scale work was Anzac for nine soloists and orchestra with its first performance being held in late August 2014 on the occasion of his 70th Birthday. He has been involved with a number of arts organisations over time including, the Australia Council (Chair of Music Board), Opera Australia (Deputy Chair), the World Music Council, NORPA (treasurer) and the Australian Music Centre (Chair). In late 2010 he accepted an appointment as Dean of the Faculty of Victorian College of the Arts and Music at the University of Melbourne.

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Robert CUTIETTA Dean

Thornton School of Music, Kaufman School of Dance University of Southern California

Robert Cutietta is Dean of both the Thornton School of Music and the Kaufman School of Dance at the University of Southern California. Since 2002, he has overseen an expansion in endowment, programs, and space while building upon the traditional quality of education that is the school’s trademark. Under Dr. Cutietta’s leadership, the Thornton School has introduced innovative new degrees in music education, arts journalism, visual and performing arts studies, choral music, vocal jazz, and the groundbreaking popular music performance program. In the fall of 2014, a graduate degree in Music Leadership was introduced further positioning the Thornton School as an innovator in music instruction. During his tenure, the Thornton school’s endowment has seen a dramatic increase with the addition of five new endowed faculty chairs and one professorship, tens of millions of dollars in new scholarships, and funding for new endeavors such as an ensemble touring fund and a travel fund for student finalists in national and international competitions. He has been especially effective supplementing the already illustrious faculty with new world-class artist/teachers such as Midori, Bob Mintzer, Glenn Dicterow, Ralph Kirshbaum and Jeffrey Kahane. Under his leadership he created the Kaufman School of Dance, which opened in the fall of 2015. This is the first new school at USC in 41 years. He has assembled one of the finest dance faculties and staff in the country and has overseen the construction of a new 57,000 S.F. building to house the school. He has published a wide range of articles in journals such as the Journal of Research in Music Education, The Psychology of Music and many others. He is also author, co-author or editor of four books and has contributed chapters to several others. He has sat on the

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editorial boards of the Journal of Research in Music Education, and Contributions to Music Education. His most recent book, Ask the Dean: Answers to questions about Classical Music you thought everyone else knew is being published by Oxford University Press. Prior to his appointment as Dean, he was Director of the School of Music and Dance at the University of Arizona and held faculty positions at Kent State and Montana State Universities. He received his Doctorate in music education and psychology from Penn State University and his undergraduate and Masters degrees from Cleveland State University.

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GUO Shulan Chairwoman of University Council

Beijing Central Conservatory of Music

Guo Shulan is research fellow and Chairwoman of the University Council of Central Conservatory of Music (CCOM) in Beijing, China. Graduated from Jilin University in 1980, majoring in Chinese Language and Literature, Guo started her career at China’s Ministry of Culture. Her first post was the editor of Art Education, a journal issued by the Education Department of the Ministry. She then served as deputy director of the research centre and head of the planning section. In 1996, Guo was promoted as vice Chairwoman of the University Council of CCOM and has been the Chairwoman since 2001. She was elected as a representative of the 9th to 11th Beijing Municipal Congress of the Communist Party of China (CPC) and member of the 12th Beijing People's Political Consultative Conference. Guo now serves as executive director of Beijing Municipal Higher Education Institution, Chairwoman of the CCOM Music Education Foundation as well as chairwoman of the Art Education Research Association under Beijing Municipal Higher Education Institution. Guo's researches focus on the art education policies and regulations, history of art education, art education management and overseas promotion of Chinese music culture. Her published books include History of the Art Circle (co-author), A Collection of the Brief History of the Chinese Art Universities, etc. The research papers she has published include “Vigorous Development of Art Education in China”, “The Cultivation of Musicians for the 21st Century Calls for the Full Implementation of Quality-oriented Education”, “Development Planning and Strategies of Modern Universities”, “Cultivating Top-notch Creative Art Talents and Enhancing Creativity in Culture & Arts’, “Interactive and Comprehensive Model: a New Method to Promote Chinese Music Abroad”, etc. Her research report titled “Thoughts on the Development Model of CCOM” was an awarded teaching science paper of Beijing in 2008. She also presided and completed the research projects of “Reform and Practice of Professional Musical Talents Education” and “Innovate Cadre Administration and Improve Scientific Management (collective)”. Both projects were sponsored by the China Ministry of Education. The latter one got the “Award of Excellence” by the Ministry of Education in 2010. The research projects of “Practice

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and Research on the Brand Building of Party Construction in Universities of Fine Arts” won the “Excellence Award” by Party Construction Society in Beijing Higher Education Institutes. ____________________________________________________

KIM Kwi-Hyun

Dean Seoul National University College of Music

Dean KwiHyun Kim started her college education at Seoul National University College of Music, and continued her studies at the Philippine Women’s University and received her Bachelor of Music degree, Master of Music degree and Artist Diploma from the Philippine Women’s University under famous pedagogues Milagros de Ocampo and Lucrecia Kasilag. She went on to University of Michigan in order to study with world renowned Hungarian pianist Gyorgy Sandor. She has received her doctoral degree majoring both in Piano Performance and Chamber music/Accompanying from the University of Michigan. In 1982 she returned to her Alma Mater Seoul National University College of Music to teach. She has been teaching Piano Performance, Chamber Music, undergraduate and graduate Piano Literature classes, ‘Music of Debussy’ and ‘Music of Barok’. She, also, has performed numerous recitals, chamber music concerts, concerto performances with various orchestras in North and South America, Philippines and of course in Korea. Besides teaching and performing, she has writhen three extensive papers on the regenerational processes of the first, second and the third piano concertos by Bela Bartok and recently has published two papers titled ‘A study on the regenerational processes in Beethoven Piano Sonata Op. 109’ and ‘....... Beethoven Piano Sonata Op. 110’.

Richard KURTH Director and Professor of Music Theory

School of Music, University of British Columbia After undergraduate studies in mathematics (B.Sc., University of Toronto) and graduate studies in Oboe performance with Bert Lucarelli (M.Mus., Hartt School of Music) and Robert Bloom and Sara Lambert Bloom (Artist Diploma programme, University of Cincinnati College-Conservatory of Music), Richard Kurth earned the Ph.D. in Music Theory at Harvard University, under the supervision of David Lewin. Kurth's research interests include theory and analysis of 19th- and 20th-century repertoires, connections between music and poetry in vocal music, and relations between performance and

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analysis. His numerous publications on diverse aspects of Arnold Schoenberg's music have appeared as chapters in the Cambridge Companion to Schoenberg and in three other edited volumes, and as articles in Music Theory Spectrum and the Journal of the Arnold Schönberg Center. Additional articles on theoretical and analytical dimensions of twelve-tone music have appeared in the Journal of Music Theory and Theory and Practice, and essays on Schubert's vocal and instrumental music have appeared in 19th-Century Music. Kurth was co-recipient of the 1993 Society for Music Theory Young Scholar Award, and has served on the Review Board of Music Theory Spectrum. His research has received grant funding from the Social Sciences and Humanities Research Council of Canada. He has been a faculty member at McGill University (1992-93), the University of Western Ontario (1993-94), and at the University of British Columbia since 1994. He has served as Director of the UBC School of Music since July 2007, and in 2012 was reappointed for a second term extending to July 2018. As Director, he has supervised renovation of its Opera Theatre (535 seats) and Recital Hall (255 seats), evolution of its curriculum, and renewal of one third of the full-time faculty positions.

Bernard LANSKEY Director

Yong Siew Toh Conservatory of Music

Bernard Lanskey is Director of the Yong Siew Toh Conservatory of Music, National University of Singapore, where he was awarded a full professorship in 2008. Prior to his appointment in Singapore, he was the Assistant Director of Music (Head of Ensembles & Postgraduate Programmes) from 1994-2006 at the Guildhall School of Music & Drama London, where he was awarded a Fellowship (FGSM) in 2001. Since 2005, he has also been an Artist-in-Residence at La Loingtaine, near Fontainebleau, France. Born in Cairns in northern Australia, he originally studied music alongside philosophy and mathematics at the University of Queensland before moving to more specialised pianistic studies; first to Paris and then to the Royal College of Music in London to complete a master’s degree with Peter Wallfisch. As a pianist, he has performed throughout Australia, Great Britain and Asia, and in most European countries, working principally with string players and singers in chamber music, mixed recital and lecture-recital combinations with his regular musical partners, including violinists Aki Saulière and Qian Zhou, the German soprano Felicitas Fuchs, the Australian pianist Stephen Emmerson and British television journalist, John Suchet. In the past decade since moving to Singapore, he has performed also with violinists Seow Lee-Chin, Joshua Bell, Kam Ning, Zuo Jun and Renaud Capuçon, soprano Katherine Broderick, cellists Qin Li Wei , Pierre Doumenge and Francois Salque, and pianists Daniel Tong and Jeffrey Sharkey, as well as in a range of chamber music combinations. CD releases have included: Intimate Correspondences, featuring music by Brahms and

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Schumann inspired by Clara Schumann (with Aki Sauliere and Felicitas Fuchs); The Inner Line, four-hand piano music by Brahms, Schubert and Andrew Schultz (with Stephen Emmerson); Suspended Preludes, featuring chamber music by Andrew Schultz; and Clarinet: North South East West with Marcel Luxen and Qin Li-Wei. He has organised a range of festivals and concert series, in association with the London Symphony Orchestra’s Discovery Series at St. Luke’s in London, as Artistic Director of the 20th and 21st Paxos International Music Festivals in Greece, the Hadstock Music Festivals in the UK, at La Loingtaine in France and for the University Summer Academy in Lausanne in 2011. In November 2012, he was invited to be President of the jury for the Geneva International Piano Competition. His research interests build out from his longstanding activity as a collaborative pianist and chamber music coach, focusing particularly on exploring the vital role played by metaphor and gesture in the pedagogical process or in performance preparation. More recently, he has been drawing from fields such as cognition, micro-biology, mathematics and literature, seeing in them potential to be contemporary metaphorical interpretative catalysts. As a recording producer, he has worked on recordings for Decca, Centaur and Cello Classics.

Isao MATSUSHITA Vice President

Tokyo University of the Arts

Isao Matsushita studied composition at the Tokyo National University of the Arts for his undergraduate and graduate degrees. In 1977 he won a prize at the Japan Music Competition in the orchestral composition division. From 1979 he studied at the University of the Arts in Berlin, and he stayed there until 1986. His honors include First Prize in the Mönchengladbach competition in 1985 and the 7th Irino Prize in 1986. He has been widely active as a composer, conductor and producer. His music includes the opera, "Shinano-no-kuni, Zenkoji story", which was the official cultural program of the Winter Olympics in Nagano (1998) and an Olympic March. Matsushita's terms as executive chairman of the Asian Music Week in 2000, 2003, 2010 and 2014 were quite successful. In 2000, his concerto for Japanese drum and orchestra "Hi-Ten-Yu" was performed at a summer concert by the Berlin Philharmonic Orchestra and was warmly received. Now he is Vice President of Tokyo University of the Arts and Professor at the Performing Arts Center, President of the Japan Federation of Composers (JFC), Chairman of the Asian Composers League (ACL) and a representative of Ensemble Koch, Japan.

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Anna REID

Dean and Principal (Acting) Sydney Conservatorium of Music

An alumna of the Sydney Conservatorium, Professor Anna Reid joined the Conservatorium in 2010 as Head of School and Associate Dean (teaching and learning). Her practical and research interests in social equity and professional preparation have led to the creation of internship programs, ‘buddy’ relationships with regional conservatoria, freeing up the music curriculum to deliver greater student choice, enhancing student engagement with musical studies, and fostering equity programs for the University’s music faculty. Professor Reid has established an international reputation for her research and collegial approach to learning and teaching development, supported by her publications, international collaborations with scholars, contributions to the academic community through reviews of others’ scholarly work, and the experience of colleagues who have taken part in her programmes. Her academic approach is underpinned by a strong research base in higher education theory and practice, which informs her interactions with academic staff and allows her to develop reflective and flexible teaching practices; construct curriculum and units that enable students to prepare well for a changing world; build a scholarly approach to the evaluation of teaching; enhance her and her colleagues’ research capacity; develop quality research programmes in various academic departments; and identify, implement and evaluate strategic policy for higher degree research. Professor Reid has a large group of research students whose interests lie in music pedagogy, social impact of music, creativity in theory and practice, and performance as research who she continues to teach. Her own active career as a researcher in higher education theory and practice, and associated work as an academic developer began at UTS (1996-1999) and Macquarie University (2000-2009) where she gained expertise in tertiary policy and practice. A tertiary educator her entire career, her first role was Director of music for Wesley Institute (1988-1994), when she composed “With Heads Held High” for the opening of Parliament House in Canberra. Her interest in higher education leadership developed during that time, and she gained a Master of Educational Administration from the University of New England. For her PhD on music in higher education, she explored variations in the ways that instrumental and vocal students and teachers learn and teach. Since starting at the SCM in 2010 Anna’s practical and research interests in social equity and professional preparation have led to the development of internship programs, ‘buddy’ relationships with Regional Conservatoria, ‘freeing’ the curriculum to broaden student choice, measure to ensure student engagement with their musical studies, and fostering

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equity programmes for SCM faculty. She also has a large group of research students whose interests lie in music pedagogy, the social impact of music, creativity in theory and practice, and in performance as research. She still teaches a graduate research seminar. Professor Reid is also a cellist and viola da gamba player.

Kate SHEERAN Provost and Dean

San Francisco Conservatory of Music Kate Sheeran became the Provost and Dean of the San Francisco Conservatory of Music in July of 2015. Equally motivated about performing and helping to shape music education in the 21st Century, she plays new and adventurous music as a horn player with such ensembles as the Wordless Music Orchestra, Ensemble Signal, Alarm Will Sound, TILT Brass, Red Light New Music, the Orchestra of the SEM Ensemble, Ensemble LPR, Trinity Wall Street's NOVUS NY, and more. She can be heard on a wide range of recordings for the Nonesuch, Cantaloupe, Western Vinyl, New Amsterdam, XL, and Warp labels, and for commercial television and film. Before moving to California, Kate was based in New York City and was an Assistant Dean at the Mannes School of Music, where she directed all pre-college and continuing education, and developed a minor in Post-Genre Music. Kate has served as horn faculty at Susquehanna University, Bucknell University, Dickinson College, and Mannes Prep. She has been a member of the Board of Trustees of Kinhaven Music School, and is currently on the Board of Directors of Alarm Will Sound. Originally from Vermont, she holds degrees from Eastman and Yale, where she was lucky to meet a lot of lifelong friends and collaborators.

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PAMS NEW MUSIC FESTIVAL: TRADITIONS & INNOVATIONS LIST OF PARTICIPATING PAMS FACULTY

Peter EDWARDS Yong Siew Toh Conservatory of Music

Clarence MAK HK Academy for Performing Arts

John COULTER University of Auckland

Paul FLETCHER University of Melbourne

Mark POLLARD University of Melbourne

Sngkn KIM Seoul National University

YE Guohui Shanghai Conservatory of Music

Damien RICKETSON Sydney Conservatorium of Music

Faculty Members Yong Siew Toh Conservatory of Music

LIST OF PARTICIPATING PAMS STUDENTS Austin LEUNG HK Academy for Performing Arts

Donald BOO HK Academy for Performing Arts

CHUNG Chiu Yee HK Academy for Performing Arts

LAU Hiu Kong HK Academy for Performing Arts

LEE Sunghyun Seoul National University

IM Hyejeong Seoul National University

KOH Kyeong Hwa Seoul National University

ZHANG Tianyang Shanghai Conservatory of Music

Matthew COLUCCI Sydney Conservatorium of Music

Elizabeth JIGALIN Sydney Conservatorium of Music

Josiah CARR University of Auckland

Imogen CYGLER University of Melbourne

Samuel KREUSLER University of Melbourne

Celeste BORG University of Melbourne

Marc BAPTISTA University of Melbourne

Anastasia DYAKOVA University of Melbourne

Student performers & composers

Yong Siew Toh Conservatory of Music

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