Cali School of Music News – College of the Arts

�鶹��ý�� Alumni Jason Zacher and Jeremy Brauner Make Sarasota Opera Role Debuts in Susannah

thelinal — Wed, 25 Feb 2026 16:24:39 +0000

We proudly celebrate alumni Jason Zacher and Jeremy Brauner as they make their Sarasota Opera role debuts in Carlisle Floyd’s powerful American opera Susannah with .

, baritone (Music Education ’16; Performer’s Certificate in Voice ’22), who studied under esteemed voice teacher Karen Driscoll, takes on the pivotal role of Olin Blitch. A commanding presence both vocally and dramatically, Zacher brings depth and intensity to the complex revivalist preacher, marking an important professional milestone in his burgeoning operatic career.

Joining him on the Sarasota stage is , tenor (BFA in Musical Theatre ’12), who studied with Peter Stewart. Brauner performs the role of Sam Polk, adding to his growing list of professional credits with this role debut appearance. His transition from musical theatre training to operatic performance highlights the versatility and strong foundational training he developed at �鶹��ý��. This marks Brauner’s 4th season at Sarasota Opera (2013, 2024, 2025, 2026).

Composed by Carlisle Floyd, Susannah remains one of the most frequently performed American operas, celebrated for its emotional intensity and distinctly American musical voice. The Sarasota Opera production showcases both alumni in a work that demands dramatic nuance and vocal strength.

From campus to prominent professional stages, �鶹��ý�� graduates continue to build distinguished careers across the field. Zacher and Brauner’s Sarasota Opera role debuts underscore the excellence of �ѴǲԳٳ��’s vocal and musical theatre programs and the enduring mentorship of its faculty.

Cali Student Spotlight

thelinal — Wed, 26 Nov 2025 18:44:00 +0000

Highlighting the diverse journeys that lead students to �鶹��ý��, this potlight features Graduate Performance flutist Ashley Mendeke.

Could you start by telling us a little about your background and what brought you to the Cali School of Music? I’m an Austin, TX native and earned my Bachelor’s in Music Performance and Education from the University of North Texas. In 2013, I joined the West Point Band as a piccolo player with the Hellcats. While I was finishing basic training, my husband drove a U-Haul from Dallas to West Point — it’s been an adventure ever since! Last fall, I told friends and colleagues I planned to return to school, and Keith Kile (Professor of Tuba) recommended the Cali School of Music. I added �鶹��ý�� to my list of options and scheduled a lesson with Flute Professor Tanya Witek. I enjoyed working with her so much that I applied right away. Thanks to �ѴǲԳٳ��’s rolling admission, I was able to start in Spring 2025, and I’ve already gained so much from the experience, both as a musician and as a person.
You’re also serving in the military while studying full time—can you share a bit about your service experience? I enlisted in the Army in 2013 and arrived at West Point in 2014 upon completion of Basic Combat Training. I have performed several concerts, military functions, and high-visibility ceremonies representing West Point as a musical ambassador. My primary mission includes playing fife music for the United States Corps of Cadets. The cadets really love the piccolo, and I am grateful I’ve been able to make a positive impact performing music that has been around for centuries.
What has it been like balancing your military commitments with your coursework and performances at �鶹��ý��? Balancing my military commitments with my studies has been a unique challenge, so I focus on putting forth my best effort. Balancing these two commitments wouldn’t be possible without support from my band’s leadership team, the �鶹��ý�� faculty, and most importantly my family, including my two cats.
Have the skills or discipline from your military service influenced your approach to music or academics? I’m sure my experience in the Army has influenced my approach to music and academics, although I’m not sure in which specific ways. My family tells me that I was always very disciplined growing up. In kindergarten, I would wake up and do Mickey Mouse Aerobics before school.
Are there particular classes, professors, or ensembles that have had a strong impact on your development? I’ve grown as a flutist in my lessons with Professor Witek. I appreciate her feedback and ear. Also, preparing for weekly lessons for the first time since 2009 has been immensely helpful to my practice! I’m looking at you, long tones! I also appreciated my classes with Professor Susan Dadian and Dr. Marissa Silverman last semester. I’ve felt very inspired in my time at �鶹��ý�� and the Cali School of Music!
What advice would you give to new students entering the Cali School of Music, especially those balancing school with other major responsibilities? Be kind to yourself. The more we give ourselves the more we can ask of ourselves. I lived many years as a perfectionist, and it just doesn’t work. I believe that self-compassion is a more sustainable and joyful approach to living and it only adds to our music. It’s something I’m working on in my own life and something I hope to share with my future students.

Confederates

thelinal — Wed, 19 Nov 2025 19:34:05 +0000

The Department of Theatre and Dance presents Confederates, a play by Dominique Morisseau. The production invites audiences to confront the lasting impacts of racism and sexism in America through two narratives from different time periods.

Confederates focuses on the journeys of two black women. One is a political science professor navigating being a minority in academia, and the other is an enslaved woman living over 100 years earlier, existing just before the Civil War begins. Though their lives are different, they both endure criticism, bias, and racism, revealing similarities that remain the same over time. The play flips between the two eras using heavy dialogue and intense emotion to highlight both women’s personal and societal conflicts. Morisseau’s script showcases how systems of oppression adapt across generations, and how black women continue to face and deal with them.

Confederates brings together stories from history and issues we still face today, encouraging people to discuss and reflect on fairness and justice. The audience can expect a performance that is both engaging and thoughtful, showing how challenges from the past continue to shape the world we live in now.

�鶹��ý��’s staging of Confederates offers students and community members an opportunity to engage with these themes in a theatrical setting. The production is held at the Life Hall Studio Theatre.

Upcoming shows:

Thursday, November 20 @ 7:30 pm
Friday, November 21 @ 7:30 pm
Saturday, November 22 @ 2:00 pm & 7:30 pm

Leyla McCalla Launches Residency with Inspiring Cali Midweek Event

thelinal — Tue, 23 Sep 2025 17:50:12 +0000

The Cali School of Music officially welcomed acclaimed singer, songwriter, and instrumentalist as its 2025–2026 Artist-in-Residence during a special event held on Wednesday, September 10, in Leshowitz Recital Hall.

Part of the Cali Midweek Series, the evening featured both a concert and an engaging conversation between McCalla and Cali School Director Shea Scruggs, offering audiences a rare glimpse into the creative life of a celebrated artist. The discussion explored themes of heritage, storytelling, and the power of music to inspire cultural understanding and social change.

Leyla McCalla, 2025–2026 Artist-in-Residence at the Cali School of Music, with Shea Scruggs, Director of the Cali School of Music, during their on-stage conversation in Leshowitz Recital Hall.

A multilingual musician and master of the cello, tenor banjo, and guitar, McCalla is known for blending Haitian roots, Afro-Caribbean rhythms, American folk traditions, and socially conscious songwriting. Her music reflects her Haitian heritage, classical training, and the vibrant cultural traditions of the African diaspora.

In addition to her acclaimed solo career, McCalla is a founding member of the renowned group , alongside Rhiannon Giddens, Amythyst Kiah, and Allison Russell, and a former member of the Grammy Award-winning .

McCalla’s residency at the Cali School will offer students unique opportunities to learn from her artistry and experience firsthand how music can bridge cultures and histories.

Stay tuned for more programs and performances with McCalla throughout the 2025–2026 academic year.

Shea Scruggs Appointed Director of the John J. Cali School of Music at �鶹��ý��

thelinal — Fri, 21 Mar 2025 18:04:16 +0000

�鶹��ý�� is pleased to announce the appointment of Shea Scruggs as the new Director of the John J. Cali School of Music effective July 1st, 2025. A highly accomplished arts administrator, educator and former professional oboist, Scruggs brings a dynamic background in music education and institutional leadership and program development to the Cali School.

Scruggs joins �鶹��ý�� from the prestigious Curtis Institute of Music, where he served as Chief Enrollment Officer and Director of Institutional Research and Musician Experience. At Curtis, he led initiatives in admissions, alumni engagement, and institutional research, while also playing a pivotal role in enhancing opportunities for all in classical music.

A graduate of Swarthmore College, the Curtis Institute of Music and Cornell University’s Johnson Graduate School of Management, Scruggs has also enjoyed an acclaimed professional career, serving in principal oboe positions in the San Francisco Opera, Cincinnati Symphony and Baltimore Symphony Orchestra. His leadership extends beyond performance and education—he is also a founding member of the , an organization dedicated to increasing representation for Black musicians in classical music. His work in this space has garnered national attention, including being featured on NPR’s “.”

“I am thrilled to join this fantastic community of students, faculty and staff and continue the Cali School’s tradition of excellence in performance and teaching,” said Shea Scruggs. “As director, I look forward to supporting faculty as they teach and develop the next generation of performers and educators, and empowering students as they create, explore and connect with local and global communities.”

�鶹��ý�� leadership expressed great enthusiasm for Scruggs’ appointment, highlighting his deep understanding of both artistic and academic landscapes.

As Director, Scruggs will oversee the continued growth and innovation of the John J. Cali School of Music, ensuring its commitment to excellence in music education, performance and therapy, while strengthening the school’s presence in the New York and New Jersey arts communities.

“Shea’s extensive experience as both an innovative arts administrator and an accomplished orchestral musician uniquely positions him to build on the Cali School’s legacy of excellence while broadening its reach and impact,” College of the Arts Dean Daniel Gurskis said. “His visionary approach and commitment to creating opportunities for young musicians align seamlessly with the university’s mission and our aspirations for the future of music education.”

About the John J. Cali School of Music
The John J. Cali School of Music offers undergraduate and graduate degrees in music education, music performance, music therapy, composition, jazz studies and recording arts and production, as well as a two-year Artist’s Diploma and one-year Performer’s Certificate. Twenty-one full-time faculty members and approximately 200 part-time instructors serve more than 500 students, who matriculate through a competitive admissions process. The school maintains strong relationships with professional performance and educational organizations along with several music schools around the world, and beginning in the 21-22 Academic Year launched two major new initiatives with the Cali Pathways Project, focused on reducing barriers for burgeoning musicians in underserved communities, and the Cali Immersive Residency program, imbedding world-renowned artists and ensembles for week-long residencies at the school. Its facilities provide a conservatory-like setting, consisting of the 235-seat Jed Leshowitz Recital Hall, teaching studios, music practice and rehearsal rooms, and faculty studios. Our students and faculty engage in over 300 concerts and recitals a year.

Tops in Music: How Does �鶹��ý�� Attract World-Class Musicians?

thelinal — Thu, 13 Mar 2025 14:48:14 +0000

When saxophonist Will Travis was auditioning for music schools, one of the things that stood out about �鶹��ý�� was its record of drawing renowned jazz artists like Christian McBride��Ի� Wynton Marsalis to work with music majors. That was a key factor in his decision to enroll in �ѴǲԳٳ��’s John J. Cali School of Music.

“I auditioned for probably about eight or nine schools, and this is the one that really stuck with me,” said Travis, who is from Maine and now a sophomore Jazz Studies major. Once on campus, he wondered if �鶹��ý�� would continue to host high-caliber artists. “They’ve continued to deliver. They brought in – and Arturo Sandoval last year,” he said.So how does �鶹��ý�� attract world-class musicians? Through the Cali Immersive Residency Program, started by Cali School of Music Director Anthony Mazzocchi, now in its fourth year. The program provides students with opportunities to learn from and collaborate with world-class solo artists and ensembles. The school’s proximity to New York, a cultural capital only 12 miles from campus, as well as faculty who are working music professionals makes it advantageous in attracting diverse talent to work with Cali students.

Metheny, an internationally renowned jazz guitarist with more than 20 Grammy Awards in 12 different categories, is the latest in a line of legendary musicians to engage with Cali students through the program.

Benefits of the Cali Immersive Residency Program for Students

�ѴǲԳٳ��’s Immersive Residency Program provides students with invaluable opportunities to:

Connect with and learn from the visiting artists in a more intimate setting.
Gain insight into the artist’s journey and receive mentorship that can shape their careers.
Benefit from exposure to the diverse range of artists, covering different areas like brass, vocals and composition.

�ѴǲԳٳ��’s Cali School Hits the Right Notes

Metheny had high praise for �鶹��ý�� and the Cali School: “The whole program, every aspect of the school, is absolutely incredible.”

Despite dropping out of high school, Metheny became the youngest music teacher ever at the University of Miami at 18 and at Berklee College of Music in Boston at 19. During his residency, he emphasized the importance of music education. “I think that it’s incredibly useful for talented musicians to go to school,” he said.

Violist and Music Education major Denton Moreland takes in every word of wisdom from Pat Metheny during the Cali Conversations. (Photo by Mike Peters)

Levi Taple, a first-year graduate student studying jazz guitar, also chose �鶹��ý�� in part because of the residency program. Taple, who is from Minneapolis and earned his undergraduate degree at Michigan State, admires Metheny’s mastery on guitar. He was thrilled to work closely with the jazz giant during his residency, particularly in a guitar master class.

“As a guitar player, it’s been cool to observe his artistry and control of his instrument,” Taple said. “He’s been kind, sharing his tips and tricks and giving me advice.”

Taple, who has an assistantship at �鶹��ý��, teaches at Jazz House Kids in �鶹��ý��, an organization founded by Grammy-winning jazz musician, composer and producer Christian McBride, a former Cali artist in residence.

Travis, who performed some Metheny songs for Metheny with the Big Band Ensemble, was grateful for the experience. “A lot of the players that got to play were more experienced than I was, so it was cool to be able to play for him,” he said. “He had us rerun the tune a couple times, and every single time it just sounded better.”

Bass player Drew Tyson, a 10th-grader from the Paterson Music Project and member of the Cali Pathways Program, performs with Pat Metheny. (Photo by Rob Davidson)

Metheny’s Surprising Advice

During his time at �鶹��ý��, Metheny shared one key piece of advice for young musicians: “Try to be the worst person in the band. If you’re the best person in the band, you’re in the wrong band; get in another band. In other words, try to be around people who are better than you; that’s been the key thing for me.”

Even when scouting for young talent, Metheny applies the same principle: “I’m always looking for guys who can do things that I can’t do.”

�ѴǲԳٳ��’s Strengthening Reputation

Music students’ enthusiasm for learning from professionals has played a role in the program’s success, according to Associate Professor Kathryn Lockwood, who curates the Immersive Residency Program. “It’s wonderful to get this interaction with upper-level artists. �鶹��ý�� is gaining traction and an excellent reputation for providing a good experience for these Immersive Residency artists.”

For the artists, the residency program provides a break from touring, allowing artists to give back and impact future talent. “You just never know the ripple effect of what you say to a young adult,” said Lockwood.

A few previous program participants include: Avery Fisher Prize-winning clarinetist Anthony McGill, leading soloist and principal clarinet for the New York Philharmonic; artistic director and pianist��³�-�Ჹ��, Co-Artistic Director of the Chamber Music Society of Lincoln Center; and electronic composer and Pulitzer Prize finalist Jlin (Jerrilin Patton), who has made the “best of” lists in The New York Times,��Rolling Stone��Ի� Vogue.

(L to R) Professors Oscar Perez and Alan Ferber discuss composition, theory and arranging with Pat Metheny before an audience of students. (Photo by Mike Peters)

Next up,�� two-time GRAMMY-award-winning Attacca Quartet��Ի� Grammy Award-winning mezzo-soprano, who was named one of the cultural leaders in 2002 and has been described by BET as the “Beyonce of the Opera,” will visit �鶹��ý�� and work with students in March.

With the Immersive Residency Program continuing to attract top-tier talent, �鶹��ý��’s Cali School of Music is crystallizing its reputation as a premier destination for aspiring musicians.

Jazz masters Pat Metheny and Billy Hart, an adjunct professor at the Cali School, play for a sold out performance hall during Metheny’s residency. (Photo by Mike Peters)

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Prospective Student / Parent: Learn more about the many music programs the John J. Cali School of Music has to offer, plan a visit to our campus or apply to become a Red Hawk! For individual visits to the Cali School, call 973-655-7610.

Author Talk at Sprague Library: Dr. Karen Goodman on Music and Music Therapy Collection

thelinal — Wed, 12 Feb 2025 18:32:07 +0000

Dr. Karen Goodman, Professor Emerita of Music Therapy at the John J. Cali School of Music, presented a talk celebrating the 286 music therapy book collection she gifted to the university.

In her talk, Dr. Goodman discussed the specific contents of her collection, divided into 17 categories, all of which interrelate with the interdisciplinary study of music therapy. At this point, the music therapy and music therapy related holdings at �鶹��ý�� total 327 print books and periodicals��Ի� approximately 435 eBooks and eJournals.

This was the first event in a series of author talks the Sprague Library planned.

Dr. Ethan Hein Writes for Music Radar

thelinal — Fri, 24 Jan 2025 16:51:11 +0000

Dr. Ethan Hein, Adjunct in the Cali School of Music, recently wrote a piece for Music Radar about the Hein also wrote a piece about

Dr. Hein specializes in music technology, audio production, songwriting and composition, and electronic music. He teaches music education, technology, theory and songwriting at NYU, The New School, �鶹��ý��, and Western Illinois University. As a founding member of the NYU Music Experience Design Lab, Ethan has taken a leadership role in the development of online tools for music learning and expression, most notably the Groove Pizza. Together with Will Kuhn, he is the co-author of , published in 2021 by Oxford University Press.

Why Are Classic Christmas Songs Still Popular as Ever?

thelinal — Wed, 11 Dec 2024 18:58:27 +0000

Everyone has a favorite Christmas song. Whether it’s Mariah Carey’s “All I Want for Christmas is You,” Wham’s “Last Christmas,” or Jose Feliciano’s “ Feliz Navidad,” these classics have stood the test of time, spanning 30, 40 and 54 years old, respectively. Meanwhile, holiday staples, such as “Rudolf the Red-nosed Reindeer,” “White Christmas” and “The Christmas Song” are even older – with “Jingle Bells” now in its 167th year. As Billboard notes, some of the .

So, what’s the secret to their enduring appeal? We asked two �鶹��ý�� professors – both musicians and songwriters – to break it down.

Classics Evoke Emotions of Christmases Past

Jon Caspi, a Family Science and Human Development professor in �ѴǲԳٳ��’s College for Community Health, believes emotional resonance is key. “Something that moves people and makes them feel connected to the song, either in a nostalgic, aching kind of way or like Mariah Carey’s very happy and upbeat ‘All I Want for Christmas.’ ” It also helps if the song has “a pretty simple premise.”

Bob Bailey-Lemansky, an adjunct music professor at �ѴǲԳٳ��’s John J. Cali School of Music, agrees. “They’re light and tend to not be religious. They’re more about the holidays and snow and gifts and love, and some are about messages of peace or charity.”

Characteristics of a Great Christmas Song

Emotional Resonance – The song has an emotional or nostalgic appeal that connects with people and evokes the spirit of the holidays. Think “I’ll Be Home for Christmas” and “Have Yourself a Merry Little Christmas” or “Christmas Time is Here.”
Catchy Melodies – The song should be catchy and have a memorable melody that gets stuck in people’s heads. For example, “Jingle Bell Rock,” “Rockin’ Around the Christmas Tree,” and “Let It Snow! Let It Snow! Let It Snow!”
Upbeat and up-tempo – With the exception of a few ballads, most classics are up-tempo, festive and fun. Think “Rudolph the Red-Nosed Reindeer,” “Sleigh Ride” and “Santa Claus is Coming to Town.”
Timeless Nostalgia – Songs that harken back to an earlier era or sound and tap into people’s nostalgic feelings about the holidays. Classic examples include: “It’s Beginning to Look A Lot Like Christmas,” “Deck the Halls” and the entire “Charlie Brown Christmas” album.

Additionally, good lyrics talking about the weather, curling up by a cozy fire with hot cocoa and throwing in some sleigh bells can’t hurt, says Bailey-Lemansky. “Sleigh bells definitely say Christmas.”

Why Do Old Christmas Songs Still Dominate?

As Bailey-Lemansky, who teaches music theory to Recording Arts and Production majors, points out: “It’s harder for songs to take hold in the consciousness of the public these days. Gone are the days of the Beatles on Ed Sullivan, where everyone’s watching the same thing. Attention spans are splintered and all over the place.”

This explains why chart shows that “just about everything is old,” says Bailey-Lemansky. Classics like Carey’s “All I Want for Christmas Is You” have dominated the Billboard Christmas charts almost continuously since Billboard started charting Christmas music. Similarly, Michael Bublé’s 2011 classic-filled Christmas album remains No. 1 on the chart week after week.

The shift to streaming has also changed the music landscape. While artists like Carey once earned significant royalties, today’s streaming revenues provide only “micropayments,” says Bailey-Lemansky. Instead, touring and licensing deals drive the real revenue. The Queen of Christmas herself has actively kept her “All I Want for Christmas is You” song alive, embarking on a multi-city tour this year to celebrate its 30th anniversary.

Family Science and Human Development Professor Jon Caspi is the lead vocalist and guitarist of Jon Caspi & The First Gun. (Photo courtesy of Jon Caspi)

Why Christmas Classics are Likely to Endure

The two performing professors aren’t convinced that new holiday songs will easily replace the old favorites. Caspi and Bailey-Lemansky have performed together over the decades, first in the 80s band Bouncing Off Bob and currently in the band Jon Caspi & The First Gun; Caspi is the lead vocalist and guitarist while Bailey-Lemansky plays keyboard. Bailey-Lemansky also has written a Christmas song, “You & Me & X-Mas Time” penned in the 80s. This holiday season, the band expects to do a rockabilly version of “Rudolph the Red-nosed Reindeer” at a December gig because it’s fun and everybody knows the lyrics.

As Caspi explains: “Why the old music endures is because Christmas – not for everybody – but for most people, is a very positive association. It’s a time like when you’re little, you’re all excited because Santa is coming, and then you’re going to get gifts and family members are there, and there’s lights everywhere. It’s this magical experience and hearing the soundtrack to that warm time in our lives takes us right back.”

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Prospective Student / Parent: Learn more about the Recording Arts and Production program and other music programs at the John J. Cali School of Music or plan a visit to our campus��Ի� take the first step in applying to become a Red Hawk!

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Cali School of Music Faculty Perform at Carnegie Hall

thelinal — Tue, 02 Apr 2024 19:21:09 +0000

As part of Carnegie Hall’s city-wide celebration of , three John J. Cali School of Music faculty members performed on March 6, 2024. They include David Witten, Professor, and two Adjunct Music Professors, Michael Roth (violin) and Christine Lamprea (cello). Additionally, flutist Sue-Ellen Hershman-Tcherepnin played in the concert.

The Weimar Republic saw an outpouring of energy and activity in concerts and music composition. In 1921, in southwest Germany, the Donaueschingen Music Festival was established, the first European festival devoted to new works by contemporary composers. On July 26, 1925, during the festival’s fifth season, two works received their world premieres: Igor Stravinsky’s Piano Sonata and Alexander Tcherepnin’s Concerto da Camera for flute, violin, and chamber orchestra. Nearly a century later, both works will be performed on the same program, alongside piano compositions by Mario Castelnuovo-Tedesco, his Greeting Cards honoring five musicians who had significant careers in Germany in the 1920s before they escaped the Nazis and started new careers in the United States.

David Witten

Pianist David Witten’s international career has included numerous concert tours in Ireland, Finland, Russia, Ukraine, Europe, Mexico, and South America. As the recipient of a 1990 Fulbright Scholar award, Witten spent five months teaching and concertizing throughout Brazil, and he is frequently invited back to give concerts and masterclasses. Witten’s involvement in music has not been limited to performance. He is the editor of Nineteenth-Century Piano Music: Essays in Performance and Analysis (Garland Publishing, 1997), which includes his landmark analytical study of the Chopin Ballades.

Michael Roth

Michael Roth’s past work on Broadway and his current work at the Ballet and Mostly Mozart has given him a large range of experience in different styles of music. He is interested in the nitty gritty of technique as it relates to excerpts, but also in style and music.

Christine Lamprea

Cellist and Sphinx Medal of Excellence winner Christine Lamprea is an artist known for her emotionally committed and intense performances. Hailed a “firebrand” (IncidentLight.com) and noted for her “supreme panache” (The Boston Musical Intelligencer), she made her Carnegie Hall debut as soloist in 2013, and has since returned to Carnegie, the Kennedy Center, as well as performed with orchestras such as the Costa Rica National Symphony, Charlotte Symphony, Detroit Symphony, National Symphony of the Dominican Republic, Houston Symphony, National Symphony of Michoacan, New Jersey Symphony, Reno Chamber Orchestra, San Antonio Symphony, Santa Fe Pro Musica, and toured with the Sphinx Virtuosi across the United States.