Dr. James Ball III
Assistant Professor and Director of Undergraduate Studies
Areas of Research/Interest:
Diplomacy and Performance; Performance and Activism; Performance and the Law; Performance and Technology; Theatre and War; Interactive, Immersive, and Participatory Theatre; Comedy/Satire; Theories of Spectatorship; Theatricality; Speech Act Theory; Carnival Theory; Adaptation; Theatre and Gaming; Drama and Performance Theory; Shakespeare.
James R Ball III studies the politics of performance and the performance of politics, analyzing both the theatrical structures that underwrite public political events and aesthetic performances that seek to intervene in political processes. His book manuscript, Theatre of State: Theatricality and Spectatorship in International Institutions, considers the historical relationship between theatre and the United Nations and International Criminal Court, proposing that diplomatic and theatrical performance are mutually constitutive phenomena in a cohesive field of practices. Dr. Ball’s work emphasizes the forms of theatricality that situate individuals as engaged spectators to global politics.
Dr. Ball’s research on spectatorship has also led to a special interest in immersive and interactive performance genres, and he has developed ongoing research projects on performing robots, theatre and war, and civic dramaturgy. His work has been published in TDR: The Drama Review and e-misférica, and been presented at numerous interdisciplinary conferences. Dr. Ball produced and directed theatre in New York City and Washington, DC. Dr. Ball has taught courses on Cold War theatre, adaptation and intertextuality, carnival and festive cultures, politics and performance, spectacle, Shakespeare, and interactive theatre.
Dr. Isaac Bustos
Instructional Assistant Professor
“Soulful and virtually flawless,” hails the Portland Oregonian and the Boston Globe writes, “In warm, round tones, the notes of Bach cascaded from the guitar, every note correct and played without hesitation.” Classical guitarist, pedagogue and educator Isaac Bustos, enjoys an extensive performing career that has taken him to Canada, Central America, Europe and all over the US. Dr. Bustos has made several Radio and Television appearances and is in demand as clinician and master class teacher invited to perform in some of the most prestigious festivals including the Guitar Foundation of America Annual Convention, Portland Guitar Festival, St. Joseph International Guitar Festival, Southwest Guitar Festival, Brownsville Guitar Festival, Classical Minds Festival, Festival Internacional de Guitarra Monterrey, Festival Ramon Noble and Festival del Noreste in Mexico. Isaac has also appeared as soloist with the Orchestra of New Spain, The Baytown Symphony Orchestra, The Nicaraguan National Symphony Orchestra and the Buffalo Philharmonic Orchestra under the baton of Maestro JoAnn Falletta.
Isaac holds an impressive number of top prizes in over 12 major international competitions, 7 of which are first prizes. Some of these include: the Miami International Guitar Competition, Texas International Guitar Competition, Lachine International Guitar Competition, St. Joseph International Solo Guitar Competition, Portland Solo Guitar Competition, East Carolina University Solo Guitar Competition, Appalachian State University Solo Guitar Competition, International JoAnn Falletta Concerto Competition, Columbus State University Solo Guitar Competition, Southwest International Guitar Competition, Boston Guitar Fest International Guitar Competition and the prestigious Concurso Internacional Guitarras Alhambra held in Valencia, Spain.
In the fall of 2008, Isaac released his debut CD titled Caprichos y Sonatas which Soundboard magazine described as “…one of the best…it has everything one could want.” In addition, Bustos has performed several premieres of new music for guitar. Most recently, works by composers Peter Askim for solo guitar, Andrew Dickinson for four guitars, a work for two guitars and electronic sound effects by Jeremy Cumbo and “After Sylvius” a solo guitar work written for Isaac by composer/guitarist Frank Wallace. In the summer of 2010, Bustos premiered a new guitar Sonata commissioned and dedicated to him by renowned American Composer Peter Lieuwen.
Isaac holds a Bachelor of Music degree in guitar performance from the University of New Hampshire, where he was the only guitarist to ever hold a full scholarship, a Master of Music degree from the University of Texas at Austin where he also completed a Doctor of Musical Arts degree under the tutelage of world-renowned American guitarist Adam Holzman. Bustos is also a founding member of and performs regularly with the award-winning Texas Guitar Quartet.
As an educator, his commitment to teaching is reflected in the success of his students whose prize-winning performances have included the Eastfield Guitar Festival and competition, The Brownsville Guitar Ensemble Competition, the Classical Minds Guitar Competition, the Houston Young Artist, the East Carolina University Competition, The Rosario Competition, the Appalachian State Competition, The Boston Guitar Fest International Competition and the Guitar Foundation of America International Youth Competition. Since 2005, Dr. Bustos serves on the faculty at Texas A&M University Department of Performance Studies where he is head of guitar studies and artistic director of the Texas A&M International Guitar Symposium and Competition.
Dr. Leonardo Cardoso
Leonardo Cardoso is a Sound Studies scholar with interests in noise, urban space, law, technology, citizenship in Latin America, and Actor-Network Theory. He has written on visual music (from abstract cinema to liquid shows, from DJ/VJ performances to software development), film music, and youth culture.
His current research project, Sound-Politics in São Paulo: Noise and Citizenship in the Brazilian Metropolis (under contract with Oxford University Press) tackles controversies surrounding noise control in São Paulo. By focusing on the city’s soundscape as an unstable assemblage that includes music, traffic noise, industrial noise, protest sounds, religious sounds, and silencing techniques (such as soundproofing), the book examines the constant tensions that surface when local actors attempt to categorize “silence/rest,” “noise,” and “music,” and justify the presence of certain sounds in the city.
Dr. Cardoso’s upcoming research project is an ethnographic and archival study of the Brazilian government through sonic assemblages, including acoustic surveillance, wiretapping, and the acoustics of governmental buildings.
Dr. Matthew DelCiampo
Matthew DelCiampo earned his Ph.D. in Musicology from Florida State University. His research examines the ways in which contemporary musicians have made specific places the focal points of their music in order to counteract perceived negative impacts of larger forces–globalization, suburbanization, and anthropogenic climate change. Dr. DelCiampo earned his Master of Music degree in Ethnomusicology from Florida State University and his Bachelor of Music degree in Percussion Performance and Music Management from The Hartt School, University of Hartford. His Master’s thesis analyzed how Hindu call-and-response chant–known as kirtan–is represented and commodified within the American yoga industry.
For many years he has been a dance accompanist and has worked with internationally-recognized choreographers at institutions and festivals such as Florida State University, Wesleyan University, the American Dance Festival, DanceMasters (Wesleyan University), and the American College Dance Festival Association Southeast Conference. One of his compositions for dance was recently presented at the 2016 Chicago Fringe Festival.
Dr. DelCiampo is an active percussionist and continues to perform in a variety of contexts. His research interests include ecomusicology, popular music, contemporary classical music, modern dance, music and movement, and dance film.
Professor Rayna Dexter is an Instructional Assistant Professor in the Department of Performance Studies at Texas A&M University. Professor Dexter’s teaching areas include performance design and technology, theater studies, and sartorial design as a method of semiotic communication and identity expression.
Dr. David Donkor
Associate Professor and Director of Graduate Studies
Areas of Research:
africana theatre, directing, folklore, globalization, neoliberalism, popular culture
David Afriyie Donkor earned his PhD in Performance Studies and doctoral certificate in African Studies from Northwestern University, where he was a Gwendolyn Carter Doctoral Fellow. He received his MFA in Directing and MS in Multidisciplinary Studies (Ethnic Studies, Speech Communication, Educational Foundations) from Minnesota State University, and a Diploma in Theatre from the University of Ghana.
Dr. Donkor engages theatre/performance as forms of public address in Africana cultures. His ethnographies of Ghanaian stand up comedy, popular theatre, and storytelling explain the interplay of a trickster ethos (based on folk figure Ananse) with performance, political liberalization, and economic (neo) liberalization in Ghana. His study of Ghana’s 1956 independence celebration examines dances, musical performances and diplomatic protocols in light of British colonial valedictory strategies, the U.S.’ Cold War displays of “Soft Power,” and Africa-descended people’s circum-Atlantic expressions of “transnational blackness.” Donkor has examined postcolonial nationalism and theatre architecture in Ghana, has ongoing research work on African migrant’s urban cultural performances in the United States, and plans future work on the culture-economy, dramaturgy, and choreography of urban street vending in West Africa.
Donkor’s publications include the book, Spiders of the Market: Ghanaian Trickster Performance in a Web of Neoliberalism (Indiana University Press); journal articles in Theatre Survey, Theatre and Drama Review (TDR), Cultural Studies, and Ghana Studies; chapters/entries in the volumes Legacy of Efua Sutherland: Pan-African Cultural Activism by Ann Adams and Esi-Sutherland Addy, and Cambridge Encyclopedia of Stage Actors and Acting by Simon Williams; and a book review in the Journal of West African History. He has presented papers and chaired panels at conferences including the International Federation of Theatre Research (IFTR), Performance Studies International, The Association of Theatre in Higher Education, The American Society for Theatre Research (ASTR), The Pedagogy and Theatre of the Oppressed Conference, Council for the Development of Social Science Research in Africa, and the African Studies Associations of the U.S.A., Australasia and Pacific. He currently co-convenes IFTR’s African & Afro-Caribbean Theater & Performance Working Group and ASTR’s Performance in/from the Global South Working Group.
Dr. Donkor has adapted and directed folktales, personal narratives and literature for stage in productions like Spiders and Spirits: Tale of Two Tricksters, Two Takes on Hurricane Katrina, Strange and Bitter Fruit (a memorial of the 1906 Springfield Missouri lynching), and his own one-person show, A Travelers Tale, on migration and memory. His directing credits include Efua Sutherland’s Edufa, Margaret Wood’s Day of Atonement, Joe C. de Graft’s Sons and Daughters, and Athol Fugard’s My Children! My Africa among others. Donkor has worked with Abibigromma, the resident theatre company of the University of Ghana, and Penumbra Theatre Company, Minnesota. He is a recipient of the Entertainment Critics and Reviewers Association of Ghana Talent award for his acting in and musical composition for the film Shoeshine Boy. In 2015 he was a visiting artist/scholar at the University of Michigan, Ann Arbor, as part of Conjuring the Caribbean: How Sweet it Is, a five-day symposium/performance/installation that looked at commercialism, tourism and gender identities in the Caribbean through the lens of a sugar-saturated history.
The classes Dr. Donkor has taught at TAMU include: Directing, Intro to Africana Studies, Script Analysis, Popular Music in the African Diaspora, Performance in World Cultures, Topics in Performance and Globalization, and Graduate Scholarship in Performance Studies.
Dr. Donnalee Dox
Donnalee Dox is Associate Professor in the Department of Performance Studies at Texas A&M University. She is also the Director of the Interdisciplinary Program in Religious Studies. She has served as the Associate Director of the Glasscock Center for Humanities Research. Her research focuses on religion and the human body. In addition to a monograph, The Idea of the Theatre in Latin Christian Thought: Augustine to the Fourteenth Century (University of Michigan Press, 2004), she has published articles on medieval intellectual history, middle eastern dance, modern postural yoga, neo-shamanism, and contemporary spiritual performance. Her work has appeared in Theatre Journal, The Journal of Dramatic Theory and Criticism, The Journal of Religion and Theatre, Theatre Research International, Viator: Medieval and Renaissance Studies, Ecumenica, and TDR as well as in collections of essays, including the groundbreaking Acts of Faith: Religion, Theatre, and Performance (Routledge, 2011). Her monograph, Reckoning with Spirit in the Paradigm of Performance is forthcoming (University of Michigan Press, 2016).
Dr. Mariana Gariazzo
Instructional Assistant Professor
Flutist Mariana Gariazzo is an Instructional Assistant Professor at Texas A&M University where she teaches Flute, Music in World Culture, Musicianship and Small Ensemble classes. Gariazzo holds a Bachelor of Music degree from Universidad Nacional de Cuyo in Argentina, a Master of Music from Yale University, and a Doctor of Musical Arts from the University of Texas at Austin. Her principal teachers include Lars Nilsson, Beatriz Plana, Jorge de la Vega, Ransom Wilson and Karl Kraber.
Dr. Gariazzo’s research focuses on new music by Latin American composers and she has served as a guest artist and speaker on the subject at prominent venues in Latin and North America including the Universidad Nacional del Litoral, Lima International Flute Festival, National Conservatory of Music in Peru, Texas A&M University-Kingsville, and Baylor University. She has been invited to present and perform at the Texas Music Association Conference in San Antonio, and the National Flute Association Conventions in Albuquerque (2007), Charlotte (2011), Las Vegas (2012), and New Orleans (2013).
Dr. Gariazzo enjoys a growing reputation as an engaging and thought-provoking pedagogue, lecturer and performer and she is a sought-after clinician. Her current performance projects consist of recording two CDs featuring works by living Argentine composers. As an advocate for low flutes, Dr. Gariazzo actively collaborates with composers in commissioning, recording and performing new music for alto and bass flute.
In solo and orchestral settings, she has performed in South America and the United States with such ensembles as the Austin Symphony Orchestra, the Oak Ridge Symphony, the Santa Fe Symphony, the Philharmonia Orchestra at Yale, New Music New Haven, Neither Music, the National Youth Orchestra of Peru, the Academic Orchestra at Colon Theater, the National University of Cuyo Symphony, and the National Orchestra of Argentina.
Dr. Gariazzo has been a recipient of several awards and distinctions in solo and chamber music categories including Fundacion Antorchas, Juventudes Musicales, UNC Orchestral competition, and the Robert Wilson Award for Outstanding Woodwind Performance at Yale.
Ms. Andrea Imhoff
Instructional Assistant Professor
Andrea Imhoff holds the position of Instructional Assistant Professor in the Department of Performance Studies at Texas A&M University. She completed her early studies and undergraduate education in Performance and Accompanying in her native Australia, and was awarded the Yamaha Piano Prize for solo performance at the culmination of these degrees. Her graduate degree was completed at the University of Illinois in Urbana-Champaign. As collaborative pianist, Andrea has focused on realizing intersections between art forms and stylistic interpretations, while eliding the musical disciplines of teaching, coaching and performance. She joined Texas A&M University in 1998 as accompanist for the Choral Activities Department, and joined the Department of Performance studies in 2000. Andrea has appeared on local and international stages, including performances in Germany, Austria, the Czech Republic, England and Ireland.
Dr. Kim Kattari
Kim Kattari earned her PhD in Ethnomusicology and a doctoral certificate in Cultural Studies from the University of Texas at Austin in 2011. She received a Master of Music from UT Austin and Bachelor degrees in Anthropology and Ethnic Studies from the University of California, Berkeley. Her research interests in American popular and vernacular music include constructed nostalgia, working-class subcultures, gender and sexuality, race and ethnicity, and the representation of zombies. Her ethnographic research on the psychobilly subculture explores the ways in which fans and musicians adopt and adapt 1950s culture, rockabilly, shock rock, punk, and horror motifs to express their “rebel” identities and negotiate a variety of economic and social challenges. She also continues to explore the pan-Latino identity politics of reggaeton, the subject of her Master’s thesis.
She has published articles about psychobilly and reggaeton in Volume: The French Journal of Popular Music Studies, Music Research Forum, and Musicological Explorations. The International Association for Popular Music Studies featured a web blog she wrote about zombies in the psychobilly subculture. She is a contributing editor of the Rockabilly Deluxe Magazine and continues to regularly publish journalistic articles about the contemporary psychobilly/rockabilly scene on Examiner.com. She has published book reviews in Latin American Music Review and World of Music, and has written entries on reggaeton, Latin hip hop, Nuyorican identity, music in nature, whale songs, and the Green Music Alliance for encyclopedias such as Music in the Social and Behavioral Sciences, The Encyclopedia of Popular Music of the World, The Grove Dictionary of American Music, and The Latin Music Encyclopedia. She presents at national and regional conferences of the Society for Ethnomusicology, International Association for the Study of Popular Music, American Folklore Society, Experience Music Project, and the Popular Culture/American Culture Association.
She teaches a variety of undergraduate music history, appreciation, and theory courses at Texas A&M University through the Department of Performance Studies, including History of Rock, Music and the Human Experience, Music in World Cultures, Music of the Americas, and 20th Century Music Theory, and a graduate seminar on the Performance of Vernacular Culture. She organizes the Performance and Culture Working Group through the Glasscock Center for the Humanities, and collaborates with Dr. Jeff Morris to organize and curricularize student participation in Fresh Minds, a student-curated festival that invites audio-visual composers and artists from around the world to TAMU based on student response to their works. She advises the Korean Media Association and AIESEC, has volunteered for Student Research Week and the University Scholars Honors Program, and has served as an honors advisor to non-music majors who were interested in researching a musical topic. In 2015, she served as the Local Arrangements Committee Chair for the regional Southern Plains Chapter of the Society for Ethnomusicology, organizing the annual meeting on the TAMU campus. In addition to teaching piano lessons, she enjoys performing in Texas A&M’s steel pan ensemble (Maroon Steel) and playing keyboard in various local bands.
Dr. Peter Lieuwen
The music of Peter Lieuwen has been commissioned, performed and recorded by orchestras, small ensembles, and artists throughout North America and Europe. The composer has received honors, grants and awards from the National Orchestral Association (1991), Meet the Composer USA (1986), the League of Composers/ISCM (1987), Musicians Accord (1986), the Contemporary Record Society (1987), the Arts Council of Wales (1995, 1996, 1998), the Texas Composers Forum (1992), and Texas A&M University (1994, 2005).
Peter Lieuwen’s symphonic music has been hailed as “an attractive array of shimmering, shuddering sonorities, making the most of minimal means” (The New York Times). His orchestral works have been introduced by such orchestras as The Royal Philharmonic Orchestra, Saint Louis Symphony, Pacific Symphony Orchestra, Slovak National Symphony, Orchestra of the Americas, National Orchestral Association, Grosseto Symphony Orchestra (Italy), Kozalin State Philharmonic (Poland), Musicfest International Orchestra (Wales), Leipzig Academic Orchestra, Neuss Chamber Orchestra and the Orchestra of the Swan (UK). Renowned conductors including Carl St. Clair, Paul Freeman, Danielle Gatti, Szymon Kawalla Franz Krager, and Jorge Mester have presented his works.
The composer’s chamber and vocal works have been presented by various artists and ensembles including The Cassatt String Quartet, Western Arts Trio, New Mexico Brass Quintet, New Mexico Winds, Mexico City Wind Quintet, Moran Wind Quintet, Cumberland Wind Quintet, Enhake, SOLI Chamber Ensemble, The Core Ensemble, Ensemble Bash (UK), clarinetist David Campbell (UK), percussionist Steven Schick, pianist Marc Andre Hamelin, violinist Andrzej Grabiec and trumpeters Allen Vizzutti and Doc Severinsen. Peter Lieuwen was the featured composer at the Aberystwyth International Music Festival in Wales (1995) and Artist-in-Residence at the same festival in 1996, 1997, 1998, and 2000.
Peter Lieuwen is currently professor of music and composer-in-residence in the Department of Performance Studies at Texas A&M University. His compositions are published by Keiser Classical, St. Louis, and recorded on Albany, Crystal, Pro Arte/Fanfare, Naxos, New World, and Vienna Modern Masters labels.
Dr. Jeff Morris
Jeff Morris has studied at the Florida State University and the University of North Texas, where he served on the staff of the Center for Experimental Music and Intermedia. He composes for traditional instruments, fixed electronic media, and interactive electronics. His works have been performed internationally and include multimedia works and collaborations with dance artists. Notable events include the eXtensible Toy Piano Project, the Bonk Festival of New Music, Electronic Music Midwest, and the Ybor Festival of the Moving Image. He has also given presentations and performances at conferences including the International Computer Music Conference and International Society for Improvised Music.
Jeff Morris received his D.M.A. (2007) in Composition from the University of North Texas with a specialization in Electroacoustic Composition. He also holds a M.M. (2000) in Composition and B.A. (1998) in Music from Florida State University.
Dr. Zachary Price
Zachary Price is an Assistant Professor in the Department of Performance Studies at Texas A&M University. His research is broadly concerned with the relationship between performance, race, gender, and power and the epistemological frameworks that such relationships reveal. Dr. Price’s teaching and research areas include theater studies, performance theory and practice, film and media studies, comparative ethnic performance, ethnography, and Black Studies. His scholarly work has been published in TDR: The Drama Review, Theatre Topics, Journal of Asian American Studies, and The Postcolonialist. His first book, Afro Asian Martial Performance, explores the intersections and complexities created when black working-class soldiers during the Vietnam War learned and became master practitioners of Asian martial arts. Price also investigates why Asian performers have adopted African American jazz forms in contemporary theater. What, in other words, do transnationals have in common?
A playwright, performance maker, and public arts curator, recent projects include producing a staged reading of Philip Kan Gotanda’s Yohen with Robey Theatre Company, directing Byronn Bain’s spokenwordical What It Iz at Los Angeles Theater Center, directing an adapted version of Bronzeville at A&M’s Black Box Studio, an ongoing collaboration with UCSB’s prison-theater intervention program, The Odyssey Project, and Q&A with the Academy Award nominated director of I am Not Your Negro, Raoul Peck.
Previously a Chancellor’s Postdoctoral Fellow in the Department of African American Studies at UCLA, Dr. Price also held a position as an Assistant Researcher in the Bunche Center for African American Studies where he co-authored the first Hollywood Diversity Report.
PhD, University of California, Santa Barbara
MFA, New School University
BS, Northwestern University.
Dr. Rumya S. Putcha
A scholar working in the fields of critical race theory, gender, sexuality, and queer theory, media and performance studies, ethnomusicology, dance studies, and popular music studies, Rumya S. Putcha is an assistant professor in the Department of Performance Studies and an affiliated faculty member in the Women’s and Gender Studies Program as well as the Race and Ethnic Studies Institute at Texas A&M University. Her first book, Mythical Courtesan | Modern Wife: Feminist Praxis in Transnational South Asia, examines the relationship between epistemologies of music and dance, gender and sexuality, rape cultures, raciality, and sex work in South Asian media economies. Dr. Putcha is currently working on a project titled, “Refrains of a Hillbilly Elegy: Country Boys, Social Media, and the Affective Politics of 21st Century White Supremacy,” which examines constructions of race, citizenship, and post-9/11 American cultural politics within country music publics. Her second book project, “Namaste Nation: Commercial Yoga Industries and Neo-Orientalism in 21st Century America” extends her work on South Asian dance cultures to critical analyses of commodified yoga practices within neocolonial discourses of body, race, and citizenship.
As an Indian classical dancer trained in both the Bharatanatyam and Kuchipudi styles, Dr. Putcha has conducted many years of ethnographic research on dance and yoga in India as well as the United States. She is also a professional soprano, performing in chapel choirs in both Boston and Chicago.
A.B., 2003, The University of Chicago
Ph.D., 2011, The University of Chicago
2015 “Dancing in Place: Mythopoetics and the Production of History in Kuchipudi.” Yearbook for Traditional Music 47: 1-26
2013 “Between History and Historiography: The Origins of Classical Kuchipudi Dance.” Dance Research Journal 45(3): 1-20.
Ms. Anne Quackenbush
Anne Quackenbush has been performing and teaching in Houston for the last 15 years; most recently she performed at the Alley Theatre in The Man Who Came to Dinner. Other shows at the Alley Theatre include three seasons of A Christmas Carol; The Mousetrap; You Can’t Take It with You; And Then There Were None; The Thirteenth Chair; and House and Garden, for which she won Best Actress in Houston, Houston Press Awards 2002. She has also worked in Houston with Stages Repertory Theatre: Searching for Eden; Orange Flower Water and The Pavilion, both by Craig Wright; Heart of a Woman; Anton in Show Business, for which the ensemble received Best Actresses, Houston Press Awards 2001; The Maiden’s Prayer and Ascendancy. She played Linda Loman in the University of Houston’s production of Death of a Salesman. As a teacher, she has worked with the Alley Theatre and Main Street Theatre as well as 10 years as a private tutor.
Anne began acting at the age of seven, performing at the Dallas Theatre Center, and Casa Mañana in Ft. Worth. She went on to high school at the Antwerp International School in Belgium, and attended Scripps College in Claremont, California, where she received her B.F.A. in Theatre. She also studied at the Royal Academy of Dramatic Arts in London, and the American Conservatory Theatre in San Francisco. While in San Francisco she performed with the San Francisco Shakespeare Festival as well as taught classes in acting and Shakepeare. Currently she is in her last year of the M.A. program at University of Houston, School of Theatre and Dance. While at UH, she has assisted with undergraduate courses in Dramatic Structure and Theatre History, as well as two years as a teacher’s assistant for Introduction to Theatre courses for undergraduates.
Marty Regan has composed over 70 works for traditional Japanese instruments and since 2002 has been affiliated with AURA-J, one of Japan’s premiere performance ensembles of contemporary-traditional Japanese music. Widely regarded as the authoritative source on the subject and the only resource of its kind available in English, his translation of Minoru Miki’s orchestration-instrumentation manual Composing for Japanese Instruments was published by the University of Rochester Press in 2008. His “Selected Works for Japanese Instruments” compact disc series is released by Navona Records and his music is published by Mother Earth Co, Ltd. He completed his Ph.D. in music with an emphasis in composition at the University of Hawai’i, Manoa in 2006. One of his newest works, a chamber opera entitled “The Memory Stone,” was commissioned by the Houston Grand Opera as part of the HGCOco’s Songs of Houston: East + West initiative and was premiered in April 2013 at the Asia Society Texas Center. In 2015 he was the recipient of a Helen Wurlitzer Foundation Artist Residency Grant as well as a Clare Hall Visiting Research Fellowship from Cambridge University, UK. He is an Associate Professor of Music at Texas A&M University.
Dr. David Wilborn