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Thursday Scholarship Series: Birth of the Cool (encore)

Faculty Jazz Ensemble with abstract images of Jazz instruments
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Hodgson Concert Hall at the UGA Performing Arts Center
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Thursday Scholarship Series
Special Concerts

A collection of pieces written by Gil Evans, Gerry Mulligan, Miles Davis and John Lewis from 1948-50, that was expanding past the “Be-Bop” hard driving small group Jazz music of the time. This encore performance features nine of the UGA performance faculty including senior lecturer in Jazz David D’Angelo and assistant professors of jazz piano and African American studies Greg Satterthwaite and James Weidman.

 

 

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Admissions director strikes the right chord with music students

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Marshall Williams is the director of admissions for the Hugh Hodgson School of Music. (Photo by Dorothy Kozlowski/UGA)

Marshall Williams is the director of admissions for the Hugh Hodgson School of Music. (Photo by Dorothy Kozlowski/UGA) 

May 19, 2024 by Krista Richmond

Marshall Williams guides students through the recruitment process and beyond

Marshall Williams knows when he’s struck the right chord with his students.

HHSOM 2024 Graduation and Convocation with Commencement Speaker UGA Alum Ana Abrantes

UGA School of Music Alum Ana Abrantas
Hodgson Hall UGA Performing Arts Center
Free Events

The Hugh Hodgson School of Music 2024 Commencement and Convocation is Thursday, May 9 at 6 p.m. at the Hodgson Concert Hall of the UGA Performing Arts Center. Tickets are free but are required for entry. If you are in need of tickets, please speak to your graduating graduate or undergraduate student for more details. The commencement ceremony and convocation begins this evening at 6 p.m. Seating begins at 5:30 p.m. If you're unable to attend, this event will be streamed below.

COMMENCEMENT SPEAKER: ANA ABRANTES

Dr. Ana Abrantes, originally from Campos do Jordão, Brazil, holds the esteemed position of Director of Education at the Sphinx Organization. In this role, she oversees the Overture Program, which provides access to music education to elementary school students in Detroit and Flint, as well as the Sphinx Performance Academy, a collaborative summer program with the University of Colorado, the Cleveland Institute of Music, and the Juilliard School.

Before joining the Sphinx family, Dr. Abrantes distinguished herself as the Curriculum Director for the renowned Heifetz Institute's junior division in Staunton, VA. Additionally, she played a pivotal role as Operations Manager, managing day-to-day operations and coordinating Heifetz On Tour activities throughout the year.

Dr. Abrantes' musical journey spans across the United States and Brazil. She held core positions in orchestras in Mississippi and Georgia. At the University of Georgia, she served as principal cellist of the ARCO Chamber Orchestra, a prestigious ensemble founded by Levon Ambartsumian in 1989. Her performances with ARCO included notable tours through Brazil as well as a feature as a cello soloist in Efrem Podgaits' CD, "String Fairy Tale," released under the Art Classics label.

Dr. Abrantes graduated with Honors from the University of Southern Mississippi with a Bachelor of Music degree in cello performance. She furthered her education at the University of Georgia, earning a Master of Music in cello performance and a Doctor of Musical Arts degree with a minor in music theory. Dr. Abrantes lives in Michigan with her husband and fellow UGA-HHSOM alum, Anderson Romero, where they remain committed to fostering excellence and accessibility in music education and performance.

FOR STUDENTS AND PARTICIPANTS
  • Students graduating (in cap and gown) and students who will be receiving awards (in business dress) MUST check in at the Music Library starting at 4:45 to get your reader card. This is how we will recognize you at the ceremony so you must have this card.
     
  • Everyone should be checked in and ready to participate no later than 5:45. If you will be late, please let us know. Faculty should be here in regalia by 5:45, as well.
     
  • The event starts at 6 p.m. If you need tickets or have tickets for guests at Will Call, that opens at 5:15 p.m. It will be open seating and the doors open at 5:30 p.m. Please note that seats will be reserved for graduates, award recipients, and family needing special seating. Please honor these blocked spaces.

CMA Academy Piano and Strings Ensemble Recital at First Presbyterian Church

Chamber Music Athens
First Presbyterian Church of Athens

CMA Academy chamber ensembles wrap up a week of intense work with festival coaches with a showcase of their musical performances. This concert features CMA ensembles with piano and strings.

Program will be announced closer to the concert.

This event is free and open to the public.

Borromeo String Quartet joins international artists featured in Chamber Music Athens Festival this May

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Borromeo String Quartet

Athens, GA – The Hugh Hodgson School of Music Chamber Music Athens Festival is making a full return to Athens, GA May 12-21, 2024. This premier festival brings together internationally acclaimed guest artists, UGA faculty, and UGA students for ten days of concerts, public masterclasses, panel discussions, and intensive collaboration in rehearsals and chamber music coaching.

UGA School of Music Director Accepts Dean Position at University of Cincinnati

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Hugh Hodgson School of Music Director Peter Jutras

The University of Georgia Hugh Hodgson School of Music (HHSOM) announced today that Peter Jutras, PhD, NCTM, professor of piano and piano pedagogy and director of (HHSOM), has accepted a position as dean of the College-Conservatory of Music (CCM) at the University of Cincinnati. His last day at HHSOM will be July 31, 2024. His wife Kristin Jutras, HHSOM Community Music School director, will be joining the CCM faculty as well.

Ilana Webster-Kogen: "On Aura, Baraka and Organology: the Mystical and Reciprocal Lives of Sephardi Torah Scrolls"

Ilana Webster-Kogen
Room 275 Miller Learning Center
Free Events
Guest Artists
ABOUT ILANA WEBSTER-KOGEN

Ilana Webster-Kogen is the Joe Loss Reader in Jewish Music at SOAS University of London and a Visiting Associate Professor at Yale University. She is author of the award-winning book Citizen Azmari: Making Ethiopian Music in Tel Aviv (Wesleyan University Press, 2018), and has published articles about the Ethiopian diaspora and Palestinian listening publics. She is spending 2023/24 at Yale’s Institute for Sacred Music completing her second book, entitled Traders, Chanters and Mystics: the Networked Afterlives of North African Torah Scrolls. 
 

"On Aura, Baraka and Organology: the Mystical and Reciprocal Lives of Sephardi Torah Scrolls"

From the once-vibrant centers of Jewish life in North Africa, little remains of everyday religious and commercial practice. The Jews of Morocco, Algeria, Tunisia and Libya have scattered across the Mediterranean basin, carrying with them their Torah scrolls as key objects of ritual and memory that facilitate communal worship when congregations chant from them. The scroll is not a musical instrument precisely, but like an instrument, it is a key conduit through which communal music-making takes place in the synagogue. In the mystical traditions of Morocco (kabbalah), chanting from the Torah scroll is like standing at Sinai, re-enacting Revelation in the day-to-day. In new diasporic surroundings, North African scrolls are venerated, chanted from and collected by uprooted North African Jewish communities in France, but also by synagogues in the USA that have adopted the scrolls, and by museums that perceive themselves to be the guardians of a lost culture. This presentation considers the different ways that Torah scrolls originating in North Africa are perceived by chanters, collectors and communities to possess Baraka, a term borrowed from Sufism that conveys shared Jewish-Islamic veneration practices. We consider the relationships that chanters and collectors develop with scrolls and the way those relationships connect with linear narratives of nation and patrimony, as well as alternative histories of exile and alienation. Centering the mystical practices that ascribe them near-magical powers, we consider Sephardic Torah scrolls through the lens of heritage and belonging, and of organology (the study of musical instruments) and its categoric limitations. 

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