Natalie L. Haslam College of Music

Archives for June 2024

UT College of Music To Be Named After Natalie L. Haslam

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The University of Tennessee, Knoxville’s College of Music will be named the Natalie L. Haslam College of Music, following approval by the Board of Trustees during its meeting that ended June 25.

The recognition is in honor of alumna Natalie L. Haslam, a member of the Haslam family, which is among the university’s most generous benefactors.

“I am not a musician, but music has always meant a lot to me,” said Haslam. “If we are lucky, music is a part of our lives at almost every turn – from the church services and weddings we attend, to football, basketball and other sports functions, and even to the parties, movies, plays and social activities in our lives. There’s always music. At the University of Tennessee, we are blessed to have an amazing music program, and Jim and I appreciate that very much. I’m honored to have my name associated with it.”

The college resides within a state-of-the-art facility, which in 2013 unified all music programs under one roof. Formally established in 2023 as an independent college — having evolved from the School of Music — it is the first college of music at a public university in Tennessee and the first in the Southeastern Conference. It is the fourth named college in UT’s 230-year history, joining the Haslam College of Business, the Herbert College of Agriculture and the Tickle College of Engineering.

“Natalie Haslam’s love for her alma mater and her appreciation for music and the arts have been both an inspiration and a benefit to us all. I am grateful for the generations of Volunteers who will hone their talents at the Natalie L. Haslam College of Music and who will pursue lives and careers that continue to extend the joy of music to others,” said Chancellor Donde Plowman.

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Exploring Polyrhythms through Pop Music: Kevin Zetina of UT Music publishes latest book 

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Kevin Zetina, lecturer of percussion at the University of Tennessee College of Music, has recently unveiled a captivating exploration into the world of polyrhythms within popular music. Titled Polyrhythms Through Pop Music, this book is a testament to his expertise and passion for rhythm.  

Zetina’s book delves into the intricate rhythms found in popular songs, providing a comprehensive guide that appeals to both music enthusiasts and scholars alike. With his deep understanding of percussion and rhythm, Zetina offers readers a unique perspective on how polyrhythms are utilized and appreciated in modern music genres. 

“It is my goal that by setting this music to songs of a popular style, the art of snare drumming can become more accessible despite the complexity of the rhythms,” says Zetina.  

Beyond his role as an educator and author, Zetina remains actively involved in the music community, contributing his expertise to workshops and performances that enrich the cultural fabric of the college and beyond. As a lecturer, his dedication to inspiring the next generation of musicians is evident, shaping a dynamic learning environment within the UT College of Music. 

Polyrhythms Through Pop Music stands as a testament to Zetina’s commitment to advancing the understanding and appreciation of rhythm in contemporary music. For those eager to explore the rhythmic intricacies of their favorite songs, Zetina’s book promises a journey that is both educational and enlightening for students, musicians, and anyone with an interest in music theory. 

To discover more about Zetina and his latest publication, visit Liquidrum.com. 

Mehrenegar Rostami Joins UT’s Musicology Faculty

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The University of Tennessee College of Music proudly welcomes Mehrenegar Rostami to its musicology faculty for fall 2024. With a rich educational background and a passion for exploring the intricate connections between music and political philosophy, Rostami brings a unique perspective to the university’s faculty. 

Rostami’s academic journey began at the Art and Architecture branch of Azad University (BA field of music ‘04) in Tehran, Iran. There, she laid the foundation for her future studies in musicology, setting the stage for a remarkable academic career that would take her across the globe. 

Her thirst for knowledge led her to the city of Salzburg, Austria, where she delved into musicology and dance studies at Paris Lodron University. Continuing her academic journey, Rostami attended Memorial University of Newfoundland (MA ethnomusicology ‘13) in Canada. Her thesis, a meticulous analysis of Kayhan Kalhor’s “Silent City,” offered not only a historical and musicological examination but also served as a testament to her dedication to exploring the social and political underpinnings of musical compositions. 

Yet, it was at the University of California, Los Angeles (PhD ethnomusicology ‘23) that Rostami’s academic journey culminated. Under the mentorship of ethnomusicology professors Roger W. H. Savage and Timothy D. Taylor, she embarked on a groundbreaking research journey. Her doctoral dissertation, focusing on the complex interplay between music festivals and political ideologies in Central Asian and Middle Eastern countries, unveiled the profound ways in which music serves as a conduit for socio-political discourse. For her doctoral dissertation, she conducted extensive research around the world. “I conducted ethnographic fieldwork in Iran, Tajikistan, Uzbekistan, Austria, Germany, and the U.S. between 2015 and 2022,” Rostami said. 

Upon joining the COM faculty, she brings with her a wealth of knowledge and a passionate dedication to her craft. She aims to inspire students to explore the transformative power of music across multiple cultures and contexts. “My goal as an ethnomusicologist in my teaching and research is to uncover the role music plays in constructing diverse forms of identities, how it gives meaning to people’s lives, and how it brings people together,” Rostami said. 

In her ongoing research endeavors, Rostami continues to push the boundaries of ethnomusicology. Rostami is currently preparing a paper for the 2024 Fonds Ricoeur’s Summer Workshops in Dublin, Ireland. “My paper examines the role remembering plays in promoting an ethos of intercultural hospitality. This ethos, as I argue, is the requisite condition for equitable intercultural exchanges,” Rostami said.  

Beyond academia, Rostami eagerly anticipates immersing herself in the vibrant community of Knoxville. “I am excited at the prospect of collaborating on a wide variety of musical, scholarly, and service-oriented projects with members of the UT community,” Rostami said. “I am also excited about Knoxville and looking forward to the ways I can contribute to the broader community in my role as educator, musician, and scholar.” 

UT College of Music’s Ryan Lindveit Named 2024 ASCAP Foundation Morton Gould Young Composer Award Recipient 

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The UT College of Music is proud to announce that Ryan Lindveit, Lecturer of Music Theory & Composition, has been named a recipient of the 2024 ASCAP Foundation Morton Gould Young Composer Award. This esteemed recognition celebrates the exceptional talent and creativity of young composers in the realm of concert music. 

Lindveit’s award-winning composition, enriched by collaboration with bass clarinet soloist Andrew Koeppe, reflects his profound musical journey. “Through collaboration with musicians, especially bass clarinet soloist Andrew Koeppe, I developed a musical language that feels like a very honest representation of my current musical and artistic interests. It is therefore especially gratifying that the work received external recognition from ASCAP,” Lindveit said. 

The composition,“Bass Clarinet Concerto”, was composed for a solo bass clarinet and wind ensemble, drawing inspiration from both nature and neuroscience. Specifically, it explores the visual parallels between neurons and tree branches. 

The ASCAP Foundation Morton Gould Young Composer Awards, established in 1979, are designed to encourage and support composers aged 14 to 29. The program, funded by The ASCAP Foundation Jack and Amy Norworth Fund, provides cash prizes to composers selected through a rigorous national competition.  

The ASCAP Foundation Young Composer program, dedicated to the memory of Pulitzer Prize-winning composer Morton Gould, honors his legacy of fostering young talent. Gould, a prodigy whose first composition was published at the age of six, served as President of ASCAP and The ASCAP Foundation, leaving an indelible mark on the music industry. 

For more information about The ASCAP Foundation Morton Gould Young Composer Award, visit https://www.ascap.com/press/2024/06/06-05-morton-gould-winners. 

Renowned Guitarist/Music Executive Juan Carlos Quintero Joins UT College of Music

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Juan Carlos “JC” Quintero, an esteemed Latin jazz guitarist and music executive, is set to join the University of Tennessee College of Music as a professor of practice and Director of Music Communications and Business for fall 2024. Known for his adeptness in blending a career path as a recording artist, music producer and music executive, Quintero brings a unique perspective to the academic realm. His journey from student to accomplished musician and businessperson reflects a deep commitment to artistry and the practicalities of the music industry.  

Quintero’s academic journey began in Boston at the Berklee College of Music (BM Composition/Arranging ‘84). Reflecting on his time there, Quintero said, “The teaching emphasized real-world applications prepping you to be able to function as a working musician. Additionally, playing with accomplished students from all over the world while studying with esteemed faculty (Gary Burton, Michael Gibbs, Willian Leavitt, George Garzone, etc.) created a unique environment to grow musically.” 

Following his time at Berklee, Quintero further honed his composition skills at the New England Conservatory under the tutelage of George Russell, professor of jazz theoretician and publisher of “The Lydian Chromatic Concept.” However, Quintero’s path took an unexpected turn when he felt the irresistible call to pursue a record deal in Los Angeles. Interrupting his studies, and encouraged by Russell, he ventured to LA, where he quickly found success, getting signed within a year.  

“A lot of people thought I was a bit crazy leaving my graduate studies after a year, but the call to go to LA and pursue a record deal was something I couldn’t ignore,” Quintero said. His mentor, the legendary session guitarist Tommy Tedesco of The Wrecking Crew, played a crucial role in this decision. “Tommy took me under his wing and helped me get started as a journeyman guitar player for sessions and touring work. He was truly generous and was a mentor for me along with an impressive list of guitarists in the LA studio scene. His main advice was to focus on writing and pursue a career as a recording artist-A central moment was when he appeared as a featured guest on my first album,” Quintero said.  

Quintero’s transition to LA was marked by relentless pursuit. He recounted his method of obtaining contact information for labels and publishers. “I would get the phone numbers to these labels by going to the local library and reading from industry source books that were released semi-annually,” Quintero said. Quintero’s relentless pursuit of opportunities included cold calling and sending demo tapes to various labels, a practice he described as capitalizing on a “brief little window” of naivety. Despite facing multiple rejections, Quintero’s charm and persistence paid off, with some industry insiders recognizing his potential and offering him a chance.  

With a record deal secured, Quintero’s career flourished, leading him to consistently chart on the Jazz Top 10 with a steady stream of album releases. As a Latin Jazz artist, Quintero discovered the benefits of managing his career by owning master and publishing rights and launching his own label (Moondo Music LLC) while assigning distribution rights internationally.

Along the way, opportunities to consult and manage music rights for TV production music companies bloomed as IP rights holders navigated new business models built on evolving streaming platforms. Integral roles as a creative music producer/executive followed allowing JC to merge creative producing skills alongside business knowledge. 

Now, as Quintero transitions to academia, he aims to enrich the UT College of Music with his unique music skills and business experience by leading the new music business, music advertising and public relations, and music journalism and media degrees. He sees an opportunity to bridge the gap between music and other disciplines, envisioning a program that attracts not just musicians but also future lawyers, publicists, and marketers.  

Quintero’s vision for the College of Music extends beyond traditional boundaries, emphasizing collaboration and interdisciplinary learning. “How great is it that music students will be in class, sitting next to the future lawyer, sitting next to the future publicist, or sitting next to someone they didn’t think they would interact with,” Quintero said. “The classes themselves are poised to become sort of like mini conventions where networking is essential as the scope of knowledge and experience remains boundless.” 

Jennifer Salamone Joins UT College of Music Faculty 

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The University of Tennessee’s College of Music proudly announces the addition of Jennifer Salamone to its music theory faculty for fall 2024. With a strong background in music education and dedication to community engagement, Salamone brings a wealth of experience and enthusiasm to her new role. 

Salamone attended the University of Hartford’s The Hartt School (BM voice ‘10). She furthered her studies with both a master’s degree and PhD in music theory from the University of Kentucky, solidifying her expertise in the field. Her commitment to teaching led her to a teaching fellowship at the Oberlin Conservatory for two years, followed by three years as a visiting faculty member. She then spent three transformative years at Florida Gulf Coast University as the Assistant Professor of Music Theory and Aural Skills. 

The COM’s dedication to fostering an inclusive environment drew Salamone to her new role. “I am really excited to be able to teach more diverse classes,” Salamone said. Her dedication to broadening musical perspectives aligns seamlessly with the COM’s values, making her an ideal addition to the faculty. 

This fall, Salamone will teach graduate theory, displaying her expertise in music theory and pedagogy. However, her passion extends beyond the confines of traditional academia. Salamone is actively involved in music therapy as a vital aspect of treatment for individuals undergoing substance abuse rehabilitation. 

“We are looking to integrate music therapy into their interventions, specifically bluegrass and Appalachian music,” Salamone said. She envisions therapeutic interventions that incorporate culturally relevant music, providing patients with skills in instruments like the banjo and guitar.”

“The bluegrass communities are quite robust,” Salamone said. “When they step down to either intensive outpatient or step out of the program entirely, they have a skill set that allows them to integrate into the community in a really healthy way.” 

Salamone’s dedication to community integration extends to her plans for the COM. She envisions creating a mini-term course focused on topics such as music therapy or exploring the history of Black spirituals, further enriching the curriculum, and fostering inclusivity. 

“The University seems to be deeply integrated into the community, and I am really excited about that,” Salamone said. “I am looking forward to being in a place where not only can I be integrated into the University community, but also into the local community.” 

For Salamone, the heart of her work lies in her students. “Whenever I move to a new position, what I always look forward to most is meeting new students,” Salamone said. “The best part of the job is always the students, no matter where I go.” 

As the COM continues to embrace its exciting new designation as a college, Salamone is eager to contribute to its growth and development. “The college is in a great spot in terms of enrollment and growth,” Salamone said. “I look forward to meeting new colleagues and catching the vibe of how everyone functions and seeing how I can fit in and how I can help.” 

Taber Gable Joins UT’s College of Music Jazz Faculty 

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The University of Tennessee’s College of Music welcomes a new addition to its jazz faculty for fall 2024: Taber Gable, a renowned jazz pianist and educator. Gable’s musical journey traces back to his formative years, where the eclectic sounds of his parents’ record collection ignited a passion that would shape his career.  

“My first encounter with music was my parents’ record collection,” said Gable. “To be honest, any member of my family could’ve made a great living with music.”  

Guided by curiosity, 11-year-old Gable immersed himself in music, eventually finding his way to Knoxville’s Joy of Music School. Founded in 1998, this nonprofit organization offers free music lessons and instruments to children and teens who lack the means. Under the mentorship of former UT Jazz faculty like Donald Brown and Jerry Coker, Gable honed his craft and discovered the transformative power of jazz. In 2015 after earning his bachelor’s degree, Taber Gable returned to the school to perform a benefit concert, expressing gratitude for the opportunities it provided him. 

“I often sing the praises of what we have here in Knoxville,” said Gable. “One of my hopes and dreams with this opportunity at the University of Tennessee College of Music is to further connect the community in music and arts.”  

Gable attended the University of Hartford’s Jackie McLean Institute of Jazz (BM jazz piano ‘14) and was the first full scholarship recipient of the Hartt Performing Arts Scholarship. He continued his academic studies at The Juilliard School (MM jazz studies ‘16) under Wynton Marsalis, the director of Juilliard Jazz. 

As an educator, Gable emphasizes the importance of musical versatility, citing jazz as a foundational genre that prepares students for success across musical landscapes.  

“I believe jazz is one of the few styles that prepares you to communicate effectively in other genres of music,” said Gable. “It helps you learn to adapt quickly and navigate different musical challenges.”   

In addition to his teaching duties, Gable remains active in his artistic endeavors with a sophomore album slated for release later this year and plans to tour both nationally and internationally. Additionally, you can tune into Taber’s weekly radio show, Improvisations, on WUOT 91.9 FM every Thursday from 6:30 to 8 p.m., where he shares the latest and greatest in jazz.  

He looks forward to sharing his experiences and expertise with the next generation of musicians, fostering a legacy of creativity and innovation within UT’s College of Music.  

“I think one of the most recent beautiful moments I can remember is running into Donald Brown at a musical festival in Claremont-Ferrand, France and being able to talk shop with him backstage where we both played the festival,” Taber said. “I felt the full circle bond from a student to teacher and vice versa. I would love to one day share that same experience with one of my students to be proud and see the future in good hands.”