Dr. Adrian Childs
Associate Professor and Chair, Composition and Theory
Dr. Adrian P. Childs joined the UGA School of Music faculty in 2001. He holds bachelor's degrees in both mathematics and music from the Massachusetts Institute of Technology, and master's and doctoral degrees in music (composition and theory) from the University of Chicago. His composition studies include work with Peter Child, John Eaton, John Harbison, Andrew Imbrie, Marta Ptaszynska, Shulamit Ran, and George Tsontakis. Prior to his arrival in Athens, Dr. Childs taught on the faculties of the University of Chicago, the University of Wisconsin, and the University of Illinois.
Dr. Childs was a finalist in the 1999 Rome Prize competition. Among his other awards and honors in composition are an ASCAP Foundation Morton Gould Award and a Jacob K. Javits Fellowship from the U.S. Department of Education. His music has been performed extensively in North America and Europe and can be heard on the ACA Digital label.
Dr. Childs' theory work includes research in the area of transformational theory and interests in issues of post-tonal music and referential collections. His scholarship appears in the Journal of Music Theory and Music Theory Online. He is a founding member of the editorial board of the Journal of Mathematics and Music.
Dr. Childs is also active as a pianist and conductor, specializing in contemporary music.
Dr. Peter Van Zandt Lane
Assistant Professor, Composition
Director, Dancz Center for New Music
Peter Van Zandt Lane is Assistant Professor of Composition and Director of the Dancz Center for New Music at the University of Georgia Hodgson School of Music. He holds a BM in music theory and composition from the University of Miami Frost School of Music and MA and PhD degrees from Brandeis University. His composition studies include work with Melinda Wagner, Eric Chasalow, David Rakowski, and Lansing McLoskey. Prior to arriving in Athens, Dr. Lane taught at the University of Florida, Wellesley College, Massachusetts Institute of Technology, and Harvard.
Dr. Lane has received commissions from the Barlow Endowment, the Composers Conference, American Chamber Winds, Sydney Conservatorium Wind Symphony, Emory University Wind Ensemble, Transient Canvas, Dinosaur Annex Music Ensemble, and the SUNY Purchase Percussion ensemble, among others. His full length ballet composed in collaboration with Juventas New Music Ensemble (Boston) and The People Movers contemporary dance company (Brooklyn), HackPolitik, explores the unique topic of cyber-dissidence through live music, dance, and electronics. Bringing contemporary music and dance into the cross-section of art, technology, and politics, HackPolitik was the subject of features on BBC radio, Forbes, CNet, and Boston Magazine, praised by critics as "angular, jarring, and sophisticated . . . very compelling . . . Ballet needs live music, and this one offered it at the highest level." (Boston Musical Intelligencer). The NYC run of the ballet was a New York Times Critic's Pick, hailed as "refreshingly relevant." (New York Times).
Composing primarily for chamber ensembles, wind ensembles, and orchestras, Dr. Lane often integrates electronics into works alongside traditional instruments. He has received fellowships from Yaddo, MacDowell Colony, the Atlantic Center for the Arts, the Virginia Center for the Creative Arts, and Composers Now. His music has been performed by the Cleveland Orchestra, International Contemporary Ensemble, Lydian String Quartet, Ensemble Signal, Triton Brass, East Coast Composers Ensemble, Xanthos Ensemble, quux collective, Freon Ensemble, the New York Virtuoso Singers, and a number of college and university ensembles.
Festivals and conferences that have programmed Dr. Lane's compositions include the Sound and Music Computing Conference (Copenhagen), Festival of Contemporary Music in San Francisco, June in Buffalo, the Wellesley Composers Conference and Chamber Music Center, Festival Miami, SEAMUS, New Gallery Concert Series, Third Practice, Forecast Music, the Leonard Bernstein Festival of the Arts, Boston Cyber-Arts, and 12-Nights Music and Art (Miami). An avid advocate for new music, Dr. Lane has performed as a bassoonist in a number of contemporary music ensembles, participating in the commissioning and premiering of several new chamber and electroacoustic works. Recordings of his music are available on Parma/Navona Records, New Dynamic Records, and Innova Records.
Dr. Adam Roberts
Assistant Professor, Composition
Adam Roberts’ music has been recently performed by ensembles such as the Arditti Quartet, the JACK Quartet, le Nouvel Ensemble Moderne, the Callithumpian Consort, Earplay, fellows of the Tanglewood Music Center, the Boston Conservatory Wind Ensemble, the Association for the Promotion of New Music, violist Garth Knox, Guerilla Opera, and at festivals such as Wien Modern (Vienna), Tanglewood, the Biennale Musique en Scene (Lyons), and the 2009 ISCM World Music Days (Sweden).
Awards for Roberts’ music include a 2016 Guggenheim Fellowship, the Benjamin H. Danks Award from the American Academy of Arts and Letters, an ASCAP Morton Gould Young Composer Award, the Bernard Rogers Prize (Eastman), the New York Bohemians Prize (Harvard), the André Chevillion-Yvonne Bonnaud Prize from the Orléans Piano Competition, the Earplay Donald Aird Award, the Christoph and Stefan Kaske Fellowship from the Wellesley Composers Conference, the Leonard Bernstein Fellowship from the Tanglewood Music Center, the Bldodgett Prize (Harvard) as well as other academic scholarships and awards. Commissions have come from the Callithumpian Consort, the Boston Conservatory Wind Ensemble, pianist Nolan Pearson, the Tanglewood Music Center, Guerilla Opera, and others.
Roberts’ music has been called “a powerful success,” “arresting,” and “amazingly lush,” (theBoston Musical Intelligencer), “an attractive mix of the familiar and exotic,” and “otherworldly” (Boston Classical Review), and “invigorating” with a “persistent melodic urge” (American Academy of Arts and Letters citation).
Roberts obtained a Bachelor’s degree in composition from the Eastman School of Music in 2003 and his Ph.D. from Harvard University in 2010. Roberts also studied at the University for Music and Performing Arts in Vienna from 2007-2008 on a Harvard University Sheldon Traveling Fellowship. Roberts’ primary teachers have included David Liptak, Augusta Read Thomas, Julian Anderson, and Chaya Czernowin, and he has also studied with Steven Stucky, Martin Bresnick, Bernard Rands, Joshua Fineberg, Magnus Lindberg, and Rand Steiger. In addition, Roberts has had lessons and masterclasses with composers such as Brian Ferneyhough, Helmut Lachenmann, John Adams, John Harbison, Lee Hyla, Alvin Lucier, and Jonathan Harvey.
Roberts has taught at Harvard University, Northeastern University, Istanbul Technical University’s Center for Advanced Studies in Music, and he is currently Assistant Professor of Composition and Theory at the University of Georgia’s Hugh Hodgson School of Music. Roberts’ first disc, “Leaf Metal,” was released on Tzadik Records in January, 2014.
Dr. Rebecca Simpson-Litke
Assistant Professor, Theory
Dr. Rebecca Simpson-Litke completed a B.Mus. in flute performance at the University of Manitoba in 2001, receiving the University Gold Medal for outstanding performance in music. Following that, she completed a M.A. in music theory at the University of British Columbia in 2003, examining pitch organization in the flute music of Philippe Gaubert in her thesis. She then completed her Ph.D. in music theory at UBC in 2010 under the supervision of Dr. William Benjamin. Funded by the Social Sciences and Humanities Research Council of Canada, her Ph.D. research uses transformational and tonal approaches to explore pitch organization in the music of Olivier Messiaen, with a focus on the structure, compositional use, and musical effects of the composer’s Modes of Limited Transpositions.
She has presented papers on 20th-Century French music at a number of conferences in Canada, the U.S., and Europe, including meetings of the Society for Music Theory, the Canadian University Music Society, and the Royal Musical Association. Her most recent research project explores rhythmic interactions between music and dance.
Prior to joining the UGA School of Music as an assistant professor of music theory in the fall of 2012, Dr. Simpson-Litke held faculty positions at Dalhousie University (2011-12), Memorial University of Newfoundland (2010-11), the University of Minnesota (2009-10), and UBC (2007-09). In her spare time, she performs as a flutist and vocalist, collaborating with her composer husband, Dr. David Litke, and enjoys teaching salsa and other Latin dance.
Dr. Emily Gertsh
Emily Gertsch received her Ph.D. in music theory from Florida State University. Her current research centers on Schenkerian analysis and music and meaning, and her dissertation brings these interests together in an exploration of narrative in Robert Schumann’s Piano Quintet and Piano Quartet. Dr. Gertsch has presented her research at national and regional conferences, including the Society for Music Theory, the Semiotic Society of America, Music Theory Southeast, and the Texas Society for Music Theory. She was awarded the Colvin Award for Outstanding Student Paper at the 2012 Texas Society for Music Theory 34th Annual Conference.
Prior to joining the faculty at the Hugh Hodgson School of Music, Dr. Gertsch served on the faculty at Furman University and as a graduate teaching assistant at Florida State University and The Catholic University of America. She was honored with the Phi Mu Alpha Outstanding Teaching Award at Furman University and was nominated three times for teaching awards at Florida State. She also holds a M.M. in piano pedagogy from The Catholic University of America and a B.M. in piano performance and music theory from Furman University.
Dr. Gertsch teaches graduate courses in common-practice tonality and Schenkerian analysis, undergraduate second-year music theory, and supervises first- and second-year aural skills at UGA.
Dr. David Litke
Instructor, Composition and Theory
David Litke holds degrees in composition from the University of Toronto and the University of British Columbia, having completed doctoral studies at the latter under the supervision of Dr. Keith Hamel in 2008. He has taught courses in electroacoustic music and music theory at UBC and the University of Windsor, and currently teaches composition at the University of Georgia. His music has been performed by many fine musicians, including Ensemble l’Arsenale, the National Broadcast Orchestra, l’Ensemble Contemporain de Montréal, and the Turning Point Ensemble. His work has been recognized nationally and internationally, in composition competitions (NBO, SOCAN, and CUMS competitions) as well as in emerging composers’ programs (Composit 2013, acanthes@ircam New Technologies 2012, Bozzini Quartet's Composer's Kitchen 2010, NAC Young Composers 2008, ECM’s Génération 2006). He has also been active in electroacoustic music research, and has presented at TIES’14, TES’13, ICMC'07, and SMC'07 conferences, on gestural control, score-following, and spectral music.
Dr. Cynthia Johnston Turner
Conducting Area Chair, Director of Wind Ensemble and Rote Hund Musik
Cynthia Johnston Turner is in demand as a conductor, conducting and ensemble clinician, and speaker in the United States, Australia, Latin America, Europe, and Canada.
Before her appointment at the Hodgson School at the University of Georgia, Cynthia was Director of Wind Ensembles at Cornell University. Earlier in her career Cynthia was a high school music educator, taught middle school beginning instrumental music in Toronto and choral music in Switzerland. She currently serves as a conductor with the Syracuse Society of New Music, the Austrian Festival Orchestra, and the Paris Lodron Ensemble in Salzburg.
A Canadian, Cynthia completed her Bachelor of Music and Bachelor of Education degrees at Queens University and her Master of Music in music education and conducting at the University of Victoria. Touring with her ensembles inspired her master’s thesis on the musical and personal transformations that occur on tours, and her D.M.A. thesis at the Eastman School of Music centered on the music of William Kraft, one of this generation’s leading composers. At Eastman Cynthia was the recipient of the prestigious teaching award in conducting. She received the National Leadership in Education Award (Canada), the Excellence in Education Award (Ontario Secondary School Teachers Federation), and the Marion Drysdale Leadership Award (also from OSSTF). She is also the recipient of the Donald A. Reick Memorial Award for research with wearable technologies and music pedagogy, and the American Prize for innovative programming with wind bands.
Cynthia has commissioned numerous new works for wind band and orchestra, and she continues to actively promote commissions by today’s leading and emerging composers around the world. Under her direction, the Cornell Wind Ensemble was invited to perform at the College Band Directors National Association’s Eastern Division Conference in 2007 and 2012. In 2008, the Merrill Presidential Scholars at Cornell recognized Cynthia as an outstanding educator, and in 2009, she was awarded the Kaplan Family Distinguished Faculty Fellowship. Her performances have been praised by such composers as Steven Stucky, William Kraft, Steven Bryant, Marc Mellits, Eddie Mora, Dana Wilson, Roberto Sierra, Jesse Jones, and Karel Husa.
From January 2006, Cynthia led the Cornell Wind Ensemble on biennial performing and service tours to Costa Rica that included performances across the country, conducting master classes with Costa Rican teachers, instrument master classes for Costa Rican musicians, and the donation of over 250 instruments to music schools across the country.
Among other recent engagements, Cynthia has guest conducted the National Youth Wind Ensemble of Great Britain, the Syracuse Symphony (“Symphoria”), the National Youth Band of Canada, Concordia Santa Fe, the Ithaca College Wind Ensemble, the Eastman Wind Ensemble, the Latin American Honor Band, the National Band of Costa Rica, the National Orchestra of Heredia, and numerous state honor bands. Cynthia has been invited to present her research with teaching and technology, innovative rehearsal techniques, and service-learning and music performance at numerous conferences nationally and internationally. She is published in such journals as Music Educators Journal, Interdisciplinary Humanities, International Journal of the Humanities, Journal of the World Association of Bands and Ensembles, Fanfare Magazine, and Canadian Winds, and has recorded CDs with the Innova and Albany labels.
Cynthia serves as a board member with WASBE, and is an active member of CDBNA, Conductor’s Guild, College Music Society, Humanities Education and Research Association, the National Association for Music Education, and National Band Association.
As Director of Bands and Professor of Music at the Hodgson School, Cynthia conducts the Wind Ensemble, teaches conducting, leads the MM and DMA programs in conducting, and oversees the entire Hodgson band program.
Associate Professor Emeritus of Music
Founder, Roger and Phyllis Dancz Center for New Music
Dr. Leonard V. Ball, Jr. has been a member of the Composition/Theory faculty at the University of Georgia School of Music since 1987. His principal responsibilities include instruction in undergraduate and graduate acoustic and electronic composition, technology and theory. He currently serves the School of Music as chair of the composition and theory area, chair of the technology committee, and as director of the Roger and Phyllis Dancz Center for New Music. Additionally, he represents the school as a member of the executive committee for ICE (Ideas for Creative Exploration).
Ball's works have been performed across the United States, in Europe, South America, and Japan. Recently his electronic work has focused on interactivity involving dancers (movement) and sound. Dr. Ball holds the degrees Bachelor of Music in theory and composition and Master of Music in composition from Kansas State University. His Doctor of Musical Arts in composition was earned at the University of Memphis. His principal teachers were T. Hanley Jackson, John Baur, and Donald Freund.
Professor Emeritus of Music
Roger C. Vogel is Professor Emeritus of Music Theory and Composition at the University of Georgia. A native of Cleveland, Ohio, Dr. Vogel studied music theory and composition at the Ohio State University and earned the Ph. D. in 1975. His major professors were Marshall Barnes, Jay Huff, Norman Phelps, and Wolf Rosenberg.
A productive composer, Dr. Vogel has over 130 compositions and several journal articles to his credit. Since he joined the faculty of the University of Georgia in 1976, Dr. Vogel has written over 110 original works which have been published by eleven different publishing firms. Notable among his awards are prizes from the Roger Wagner Choral Composition Competition, the National Saxophone Workshop Composition Contest, the National Flute Association, the Delius Composition Competition, and the Albert Christ-Janer Award. His works have been performed in recitals and at conventions and festivals throughout the United States, South America, and Europe.
Dr. Vogel has received commissions from a vast array of organizations, including the Georgia Music Teachers Association, the University of Georgia, Sigma Alpha Iota Professional Women's Music Fraternity, Phi Mu Alpha Professional Men's Music Fraternity, the Helios Duo, The Fellowship of Reason, the Athens Master Chorale, the Medical College of Georgia, Georgia 'Cello Society, and the Bass Club of Georgia
IDEAS FOR CREATIVE EXPLORATION (ICE):
Ideas for Creative Exploration (ICE) is a catalyst for innovative, interdisciplinary creative projects, advanced research and critical discourse in the arts, and for creative applications of technologies, concepts, and practices found across disciplines. It is a collaborative network of faculty, students, and community members from all disciplines of the visual and performing arts in addition to other disciplines in the humanities and sciences. ICE enables all stages of creative activity, from concept and team formation through production, documentation, and dissemination of research. Visit the Students page for current ICE-supported graduate students in the composition area.
Executive Director, ICE
Associate Professor and Department Head, Theatre and Film Studies
David Saltz is a specialist in modern drama, performance theory, the philosophy of art, and directing. His primary research focus has been the interaction between live performance and digital media. He was Principal Investigator of Virtual Vaudeville, a large-scale research project funded by the National Science Foundation to simulate a nineteenth century vaudeville performance on the computer. He has explored the use of computer technology extensively in his own work as a director and teacher. Along those lines he established the Interactive Performance Laboratory at UGA, has directed a series of productions incorporating real-time interactive digital media, and has created interactive sculptural installations that have been exhibited nationally. He has published numerous articles in scholarly journals and books, and is coeditor (with David Krasner) of the book Staging Philosophy: Intersections between Theatre, Performance and Philosophy.
Artistic Director, ICE
Instructor, Lamar Dodd School of Art
Mark Callahan is a graduate of Cranbrook Academy of Art and the Rhode Island School of Design, where he was a member of the European Honors Program in Rome, Italy. His work has evolved from a traditional printmaking background to experimental multimedia projects. He was commissioned to create a site-specific work for Video Culture: Three Decades of Video Art, a collaboration that joined the forces of eleven institutions in the metro Detroit area to examine video art and its impact on contemporary culture. His work has also been used in concert by R.E.M. as a large-scale video projection. He is the executive producer of AUX, an event and publication series devoted to experimental art in all forms. Internet Soul Portraits (I.S.P.), a gallery of images created for the Web, is now part of the Rhizome Artbase at the New Museum of Contemporary Art in New York. Recent group exhibitions include Memery: Imitation, Memory, and Internet Culture at MASS MoCA and You All Fell for My Act at the Showroom for Moving and Media Art in the Netherlands, and Game Change: Videogames as Art Medium and Inspiration at the Telfair Museum in Savannah, Georgia.