Jeff studied music composition at the University of Wisconsin-Madison (B.M. 2006) and at the University of California-Los Angeles (M.A. 2008 & Ph.D. 2011) and he has taught music theory, ear training and composition at UCLA and the Colburn Conservatory of Music.
Some of his recent credits include composing the score for the Disney+ documentary series The Imagineering Story, the HBO Max documentary series Superpowered: the DC Story, and the documentary feature Traces of the Brush, as well as orchestrations on: Inside Out 2, The Batman, Society of the Snow, Marvel’s Spider-Man trilogy, What If…?, the Jurassic World trilogy, Jojo Rabbit, Glass Onion, Coco, Incredibles 2, Vivo, Rogue One: a Star Wars Story, Doctor Strange, Zootopia, and Star Trek Beyond.
For more information, please visit www.jeffkrykamusic.com
Ray Briggs holds a PhD and a MA in Ethnomusicology from the University of California, Los Angeles, an MM in Music Performance: Woodwind Doubling from the University of Redlands, and a BM in Music Education from the University of Memphis. His areas of specialization include Jazz Studies, African-American Music, and Arab Music. He has worked with a number of reputable musicians including Jeff Clayton, Benny Green, and Rufus Reid. Currently, he is Assistant Director of Jazz Studies at CSU Long Beach and coordinator of the Instrumental and Vocal Jazz Workshop supported through CSU Summer Arts.
His published research addresses various topics, including statistical methodology and the perception of rhythms in music. He is especially interested in how music, and other emotive auditory information, is cogni8vely and emo8onally experienced. In addi8on to his scientific work, Dr. Frane has also composed and produced music for film and audiobook soundtracks.
His music has been recently premiered by the Choral Arts Initiative and published by MusicSpoke. He is also published under GIA and regularly writes on topics of Latin American music. Dr. Fernandez earned his DMA from USC in Sacred Music and is under Seven Eight Artists management.
Previously, she held the position of principal second violin with the Cincinnati Symphony Orchestra and has also been guest concertmaster of the Shanghai Symphony Orchestra since 2009, where she has been highlighted in televised concerts conducted by Riccardo Muti, Daniele Gatti, and Jaap van Zweden. As a soloist, Ms. Wang has won critical praise for her performances with the Los Angeles Philharmonic. She appears annually as both concertmaster and soloist at the Hollywood Bowl, under the baton of composer John Williams, performing solos from movie classics. She has also been a featured soloist with the Oregon Symphony, Pacific Symphony, Eugene Symphony, the YMF Debut Orchestra, and the American Youth Symphony. Ms. Wang has collaborated with such distinguished artists as Lang Lang, Yefim Bronfman, Emanuel Ax, and Jean-Yves Thibaudet. Born in China, Ms. Wang attended the Music Middle School Affiliated to the Shanghai Conservatory, Peabody Conservatory, and Manhattan School of Music, under the tutelage of Berl Senofsky and Glenn Dicterow. In addition to being on faculty at the Colburn Conservatory of Music, Ms. Wang is an adjunct associate professor at the USC Thornton School of Music and has served on the faculty at the Aspen Music Festival and School since 2003.
The Colburn Conservatory of Music opened in 2003 with one goal: to train the very highest level of classical instrumental performers for careers in the 21st century. All students accepted into the Conservatory receive full scholarship support so that they can focus on their craft without financial burden. With world-renowned faculty, outstanding performance opportunities, and unparalleled financial support, the Colburn Conservatory gives young musicians unrivaled opportunity to develop their art.
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The Colburn Music Academy, founded in 2010, is a highly selective training program for gifted young musicians. Guided and mentored by world-class faculty, Music Academy students develop their artistic voice in a supportive and enriching learning environment. The Music Academy prepares students for future success as professional musicians by providing conservatory-level training in all orchestral instruments and piano.
Since 2002, Jonathan Brown has been the violist of the Cuarteto Casals, with whom he has performed in all of the major concert halls in Europe, North America, and Asia as well as making numerous recordings on the Harmonia Mundi label including repertoire ranging from Bach through Haydn, Mozart and Beethoven to Bartók, Ligeti and Shostakovich. As a guest violist, Mr. Brown has performed with the Tokyo, Jerusalem, Kuss, Marmen, Miro, Zemlinsky, Quiroga, and Armida quartets and has been on the jury of international quartet competitions in London, Salzburg, Prague, and Katowice. Mr. Brown has also been an artistic director of the Da Camara chamber orchestra, the contemporary ensemble FUNKTION and Musethica Spain.
Since 2003, he has been professor of viola and chamber music at ESMUC in Barcelona and since 2011, assistant professor of viola at the Escuela Reina Sofía in Madrid. Outside of these positions, he has given masterclasses in Köln, London, Aix-en-Provence, Den Haag, Weikersheim, Fiesole, Linz, Lübeck, Essen, Rotterdam, Los Angeles, and Cleveland, among others. Originally from Chicago, his principal viola teachers were Martha Strongin Katz, Karen Tuttle, Heidi Castleman, Thomas Riebl, and Veronika Hagen and he was deeply influenced by Ferenc Rados and György Kurtág.
Mr. Brown is Professor of Chamber Music for the Colburn Conservatory and on the chamber music and viola faculty for Colburn’s Music Academy.
Dr. Tammy S. Yi is a first-gen conductor-educator, string pedagogy specialist, and music education scholar from Los Angeles, CA. She is the orchestra conductor of the Los Angeles Philharmonic YIYO Orchestra, director of Mariachi Panteras, and assistant professor of music education at Chapman University.
Dr. Yi emphasizes the significance of transformative social activism for youth in music, education, and the performing arts. She maintains an active conducting schedule with El-Sistema orchestra programs, local school communities, and All-State ensembles. In addition to conducting, she mentors pre-K–12 music teachers in the community, Teaching Artists in the YOLA program, facilitates professional development sessions, and designs music education curricula for the Los Angeles Philharmonic. Dr. Yi’s research focus is on ethnic studies, culturally responsive pedagogy, and EDIA (equity, diversity, inclusion, and access) initiatives as they pertain to music performance and education. She regularly presents her work at music education and conducting conferences worldwide, gaining impressive international exposure for her and her research, including Oxford University, Sydney Conservatorium of Music, National Association for Music Education, California Music Educators Association, Sphinx Organization, and headlining the 2023 Texas Orchestra Directors Association Conference. Dr. Yi continues to serve on the American String Teachers Association’s national board to train current and future music teachers in a social justice ethos so that educators can develop culturally and community-responsive pedagogy in orchestra education. Her research has appeared in leading music education journals, including Music Education Research, Update: Applications of Research in Music Education, Oxford Handbook Series, and Music Educators Journal.
Prior to teaching at Colburn Conservatory, Dr. Yi taught violin and orchestra conducting at Columbia University, was the conductor of the Manhattan School of Music Pre-college Orchestra, and was an assistant professor of string education and conductor of the UA Philharmonic at the University of Arizona. Dr. Yi earned her doctorate in music and music education from Columbia University as a Florence K. Geffen Fellow, and she was awarded the Ella Fitzgerald Scholarship for her master’s degree at the University of Southern California.
This interview has been edited for style, content, and clarity.
Let’s go back to the beginning when you first were introduced to music. Would you share that background or experience?
Emily: We started around four, and both my parents really loved music. Actually, my whole family loves classical music, and I think it was the only type of music we listened to on the radio when we were younger. We grew up learning a lot of instruments. We started with violin and then piano a year later. I think it was when we were seven, we auditioned for the music program at our elementary school. We selected piano as our major, and we both got in. At the time, we were required to choose another instrument as our minor so that we could participate in the school orchestra. I think Christy chose viola and I chose flute. Because my parents really want everything to be fair with us, I also learned a little bit of viola. Christy also learned a little bit of the flute. Later when we auditioned for the music program in our middle school, we changed our minor to violin, and we have been playing both instruments ever since.
Do you have a favorite of the two instruments?
Emily/Christy: Definitely piano.
And when or how did you become aware of the Colburn school?
Christy: The Colburn faculty came to Taiwan for an audition when we were 13, I think about 2017. We auditioned at that time and played for the live audition. So that’s when we met the faculty and how we first heard about Colburn.
What was your audition experience like at that time?
Christy: It was our first time doing a live audition playing the full length of the repertoire. So that’s kind of scary but exciting at the same time. We heard about admission to the Music Academy a month and a half later.
You’re in your second year at the Conservatory. Thinking back, how different was your first-year Conservatory experience from your time in the Music Academy?
Christy: I think when I first came to the Conservatory I was kind of surprised because I knew Colburn had a small student body, but I wasn’t expecting that small of a student [to teacher ratio]. It was only four or five people in our class, so we were really close with everyone.
Emily: And I think Performance Forum is what’s really different from the Music Academy because in MAYAP [(Music Academy Young Artist Performance)] there used to be only about one-fourth of the audience, but in Forum there’s always a full audience. And knowing that all your colleagues and faculty are there can sometimes be nerve-wracking. But I think it’s inspiring too.
For piano, you are both studying with Fabio Bidini in the Conservatory. During your time in the Music Academy you also studied with Mr. Bidini and Ms. Kim. Have you found that there are differences in the teaching or your experience between the two Colburn units?
Emily: It is pretty much the same in instruction with Mr. Bidini. We do have more lessons and time with Mr. Bidini in the Conservatory though.
As sisters and both pianists, do you engage in giving one another feedback or do you avoid doing so?
Emily: We used to not talk to each other. Not until this semester. I would ask her to come to my practice room and listen and give me advice.
Christy: But before this semester, we didn’t interfere with each other. I think she takes critiques better than me because last year when we were doing piano duo, I usually would get very mad when she told me to do something.
Do you play any duets?
Christy: We do. We performed the piano duo in last year’s Performance Forum. We also did a piano duo concert in Taiwan last summer. The program was all Rachmaninoff.
How did you get the opportunity to perform in Taiwan last summer?
Christy: You have to send recordings to the National Concert Hall concert, and then if the recordings get approved you can perform there.
In reference to Taiwan, are you international students?
Christy: We were born in Los Angeles, but we grew up in Taiwan. We came back when we were 14 to attend the Music Academy.
Given your former music training in Taiwan and that you’ve had here at Colburn, are there any major or key differences?
Christy: When I was in Taiwan, when I played music, I was focusing on how I do different phrases, just the musical things. But when I came to LA, I started focusing on not only my playing but also the background of music.
Was it the same for you, Emily?
Yes, I think in America it led us to think more openly, not just playing but also enjoying our own music.
Having been students in the Music Academy and now the Conservatory, do you have any tips or advice for someone interested in Colburn?
Emily: Just take in as much as you can during the years you’re at Colburn, and try to enjoy every interaction you have with your colleagues and your teachers; get to know as much as you can.
Christy: Take every opportunity that you have.
Now in your second Conservatory year, what’s one of your most memorable moments?
Emily: I think it’s when we got the acceptance letter from the Conservatory. We didn’t expect to get in because it’s so hard to get in the Conservatory. And also because there were two of us applying, and we knew that there were other colleagues applying too. We didn’t think that it was possible, so we were really happy when we got the acceptance letter.
Christy: I think one memorable experience would be playing with the Colburn Orchestra. Yes, it was my first time playing, well not my first time playing in an orchestra, but my first time playing piano in an orchestra. It was new for me, and I think it was really fun working with such well-known conductors such as Miguel Harth-Bedoya.
Do you find that you like it more or less playing with a larger group such as in an orchestra?
Emily: I played in a Recovered Voices performance. I also performed in the gala concert last semester. Both were great experiences. I think I enjoy playing in both [scenarios] because they’re really different. For Recovered Voices, it was a smaller chamber group and for the gala concert, it was a big orchestra.
And Christy, how about for you? Is there any difference between the two experiences?
Christy: When you’re playing in an orchestra, the rhythms and everything are really strict. There are so many people in an orchestra you can’t change anything. But in chamber, you can talk to your colleagues about where you want to slow it down or what we can do differently in every piece.
With the fall semester coming to an end, is there anything you’re each looking forward to in the spring?
Christy: Right now we’re thinking of competitions. Before competitions, we need a wide repertoire, so we’re building up on the repertoire list.
Does music have a place in your future?
Emily: We both want to be teachers and also performers.
In mentioning teaching, do you want to teach private lessons or work at a school?
Christy: We applied for the Jumpstart program in the Conservatory this year, and we think that teaching is so inspiring. Especially in how we reflect on our own playing when we’re teaching students.
What is one thing that you hope to experience before you leave Colburn?
Emily: Playing with the Colburn Orchestra would be one of our goals. We might apply to the Concerto Competition next year.
Praised by Washington Post’s The Columbian as a “musician with great poetic phrasing and poised lyrical nature,” pianist Dr. Eloise Kim is a performing artist and passionate music educator. Kim regularly performs solo and collaborative music across the United States, and has been a featured soloist with the Vancouver Symphony (USA), Jefferson Symphony in Colorado, and the Columbia and Beaverton Symphony Orchestras in Oregon.
Kim has won numerous awards, including grand-prize of the Pinault International Piano Competition where she had her Carnegie Weill Recital Hall debut at age 11, semi-finalist of the Gina Bachauer International Piano Competition, and finalist of the New York International Piano Competition. Kim won top prizes in the Lennox, Kingsville, WPPC (dedicated to Leon Fleisher), and Jefferson Young Artists International piano competitions. In 2014, Kim was a recipient of the Jack Kent Cooke Foundation Graduate Arts Award, one of only 20 young artists in the United States to receive this award of a total of $100,000 scholarship for her graduate studies. She has also been a scholarship recipient of the Chopin National Foundation of the United States, featured young artist at Chamber Music Northwest, and a recipient of the Beaux Arts Society Award in Portland, Oregon.
As an active chamber musician, Kim was one of the six finalist groups of the 2010 International Chamber Music Ensemble Competition where the Kim-Garbot Duo made their first debut at Carnegie Weill Recital Hall. She was also a member of the Areta Piano Trio (2015-17) at Manhattan School of Music. The Areta Piano Trio performed in several outreach concerts together and was also one of the winners of the 2016 Lillian-Fuchs Chamber Music Competition.
Kim has participated and performed at the Aspen Music Festival, Orford Arts Centre, Banff Music Centre, “Art of the Piano” Festival, and the Lake George Chamber Music Festival, studying with renowned instructors including Jean-David Coen, John O’Conor, Lee Kum Sing, Marc Durand, Jacques Rouvier, Robert McDonald, Awadagin Pratt, Yoshikazu Nagai, and Gabriel Kwok.
Dr. Eloise Kim received her DMA at the USC Thornton School of Music studying with Daniel Pollack and was the recipient of the Outstanding Keyboard Departmental Award from the DMA program. Kim was also a Teaching Assistant and Studio TA at the USC Thornton School of Music, instructing group piano classes and individual instruction at the University. She also holds a Bachelor of Music degree at The Colburn Conservatory with Ory Shihor and her Master’s at the Manhattan School of Music with Andre-Michel Schub. At the Manhattan School of Music, Kim graduated with the honorary Helen Cohn Award in recognition as an Outstanding Pianist in Chamber Music.
Dr. Kim is currently a Faculty at the Colburn Conservatory, teaching Keyboard Harmony Skills and also works as a staff pianist at the Colburn Conservatory. Kim maintains a private piano studio in Los Angeles, and serves as CAPMT (California Association of Professional Music Teachers) Vice President of Conferences. Her students have won many local and state competition prizes and honors including MTAC branch, MTNA, and Certificate of Merit exams in California.