ConverZations
Our FREE monthly lecture series dives into the world of music. This series of discussions brings you closer to the music with a different topic each month. Each topic and speaker is chosen to specifically enhance our MasterWorks concert series. The atmosphere is casual and engaging.

Bring your lunch, relax, and enjoy!

Music Education: Why We Need It

February 8, 2021

What are the benefits of music education in the schools of America beyond developing performers, educators, and improving test scores in other areas? As we prepare for Music In Our Schools month in March, Michelle Monigold will give us her perspective on music education as a career educator. Join us to discuss the many aspects and benefits of music education in the public schools and learn how you can support your local music programs.

Bio

Michele Monigold is Director of Bands and Music Department Head at Jackson High School, and was named Ohio District 8 Teacher of the Year for 2019. She holds degrees from the University of Cincinnati College-Conservatory of Music and the University of Akron and is currently an adjunct instructor at Kent State University. Michele directs the Jackson High School Symphony Band, the “Purple Army” marching band, assists with middle school bands, and teaches Advanced Music/Composition and Music as a World Phenomenon courses. Mrs. Monigold is the Tri-M Music Honor Society advisor, an active adjudicator for the Ohio Music Education Association, a certified mentor teacher, and is a trainer for National Geographic Certified Educator Phase 1 workshops.

All About Baroque

March 8, 2021

Today, we take the value of instrumental music for granted. Orchestras across the world regularly delight audiences with complete concerts of instrument-only works, like those featured on the “Baroque Bash” program. The high status of instruments and instrumental genres in Western music, however, was a unique product of the Baroque era, which saw the significant cultivation of instrumental art music separate from vocal music for the first time in Western music history. This lecture will examine the meteoric rise of instrumental music in Western Europe during the Baroque era, focusing on the ways that instruments, in particular, help to reveal the diverse foundations of eighteenth-century European music and highlight the complex socio-economic factors that influenced musical performance—factors that continue to resonate in Western music today.

Bio

Danielle M. Kuntz is assistant professor of music history and Riemenschneider Bach Institute (RBI) Scholar-in-Residence at Baldwin Wallace University Conservatory of Music. She holds a Ph.D. and M.M. in historical musicology from the University of Minnesota, with research specializations in eighteenth-century music at European courts, especially that in Lisbon, Portugal, and the music of the Luso-Hispanic world. Her research has received the support of numerous competitive fellowships and awards, including a Fulbright Dissertation Research Fellowship, Foreign Language and Area Studies Grant (Advanced Portuguese Language Study, Universidade de Lisboa, Portugal, 2012), the University of Minnesota Doctoral Dissertation Fellowship, and the University of Minnesota Best Dissertation Award (Fine Arts, 2014). She has presented her research nationally and internationally, including the Annual Conference of the American Musicological Society and the Biennial International Conference on Baroque Music. Prior to her graduate work, she received a B.S. in music education from Indiana University of Pennsylvania (IUP), where she studied clarinet (primary) and organ (secondary). She was the recipient of a IUP’s Young Alumni Achievement Award in 2019. At home in Cleveland, she enjoys playing accordion and and spending time with her bassoonist husband, Dr. Andrew Machamer, their music-loving toddler Louis, and two especially beautiful cats, Kitty and Barbara.

Art of the Soloist: Friends or Foes? The Musical Synergy between Orchestra and Soloist

April 12, 2021

What does it mean to be a soloist? This is a question that has a more convoluted answer than one may think. In this ConverZation, we will learn the good and the bad of soloist playing while learning the history of the concerto and other types of soloistic playing. What is different when playing a concerto than other types of classical playing and how can a soloist and orchestra come together to create their art?

Bio

Currently a professor of music at the University of Mount Union, pianist Dr. Maira Liliestedt has piano degrees from Bowling Green State University and the University of Cincinnati’s College-Conservatory of Music. An active performer and teacher, and twice the recipient of the prestigious Presser Music Award, she is a regular solo and chamber pianist and concerto soloist. Her Appassionata Piano Duo with Janelle Phinney has garnered praise for “flawless, often fiery technique,” and “terrific collaboration full of grace and passion.” Liliestedt has presented solo and chamber recitals at many universities in the Midwest and abroad, as well as duo and solo concerto performances. Her most recent engagements include orchestral collaboration on Gershwin’s Rhapsody in Blue, Appassionata Piano Duo work on Brahms’s complete Hungarian Dances, and upcoming solo recitals featuring chamber-versions of Chopin’s E Minor Concerto.
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