Dr. Stacy Garrop’s musical aesthetic embraces a diverse range of styles and languages, which she weaves together into a musical tapestry that fits the needs of each new piece. Her music has strong dramatic and programmatic tendencies, which are tempered by more abstract, gesture-based ideas. In all that she composes, she strives to clearly communicate the intention of each piece, whether this is to musically portray the words of poets, to depict Greek myths, or to simply explore a range of sonic qualities.
Dr. Garrop has received numerous awards and grants including a commission from the Fromm Music Foundation at Harvard University, Detroit Symphony Orchestra’s Elaine Lebenbom Memorial Award, Pittsburgh New Music Ensemble’s Harvey Gaul Composition Competition, Raymond and Beverly Sackler Music Composition Prize, two Barlow Endowment commissions, Chicago Symphony Orchestra’s First Hearing Composition Competition, Omaha Symphony Guild’s International New Music Competition, San Francisco Song Festival’s Phyllis C. Wattis Prize for Song Competition, and the New England Philharmonic’s Call for Scores Competition. She has participated in reading session programs given by the American Composers Orchestra, Minnesota Orchestra (the Composers Institute), and the Dale Warland Singers.
Theodore Presser Company publishes her chamber and orchestral works; Inkjar Publishing Company publishes her choir music. Cedille Records, Innova, Equillibrium, Chicago a cappella Records, Ravello Records, and Summit Records have recorded her music on fourteen commercial CDs. Of particular note, Cedille Records released in February 2011 the first all-Garrop CD that includes String Quartet No. 3: GAIA, Silver Dagger, and In Eleanor’s Words.
Dr. Garrop is on the composition faculty of the annual Fresh Inc Festival, sponsored by Fifth House Ensemble and held in Kenosha, WI. She was in residence with both the Skaneateles Festival and the Volti Choral Institute for High School Singers in 2011, Albany Symphony Orchestra in 2009/10, and Chicago’s Music in the Loft chamber music series in 2004/05 and 2006/07. She has attended residences at the Atlantic Center for the Arts, Aspen Music Festival, Banff Centre for the Arts, MacDowell Colony, Millay Colony, Oxford Summer Institute, Ragdale Colony, Round Top Music Festival, Wellesley Composers Conference, and Yaddo Colony.
Her orchestra works have been performed by the Detroit Symphony Orchestra, Minnesota Orchestra, Grant Park Music Festival Orchestra, Albany Symphony Orchestra, Amarillo Symphony, Charleston Symphony Orchestra, Civic Orchestra of Chicago, Erato Chamber Orchestra, Illinois Symphony Orchestra, Minnesota Youth Orchestra, Nashua Symphony, National Repertory Orchestra, New England Philharmonic, Omaha Symphony, Santa Cruz Symphony, and the Women’s Philharmonic; her string quartets by the Avalon, Biava, Cecilia, Chiara, Enso, and Artaria String Quartets; her chamber ensemble works by the Ambassador Duo, Anaphora Ensemble, Capitol Saxophone Quartet, Dinosaur Annex, EARPLAY, Empyrean Ensemble, Fifth House Ensemble, Gaudete Bras Quintet, Indiana University’s New Music Ensemble, International Contemporary Ensemble (ICE), Lincoln Trio, New EAR, Orion Ensemble, Pilgrim Chamber Players, Pittsburgh New Music Ensemble, Seattle New Music Ensemble, Society for New Music, Third Angle, and Voices of Change; mezzo-sopranos Buffy Baggott and Julia Bentley, sopranos Patrice Michaels and Josefien Stoppelenberg, saxophonists Christopher Creviston and Timothy McAllister, and pianists Amy Briggs, Winston Choi, and Kuang-Hao Huang; and her choir works by Chicago a cappella, C4, Ecco (of the Piedmont East Bay Children’s Choir), Grant Park Chorus, musica intima, Peninsula Women’s Chorus, Princeton Singers, Sacred and Profane, Santa Cruz Chamber Singers, University of Michigan Chamber Choir, Voices of Ascension, Volti, and the Wicker Park Choral Singers. Her works have been choreographed by the a-ha! Dance Theatre of Kansas City, and she has worked with numerous conductors including Martín Benvenuto, Christopher Bell, Jerry Blackstone, Cliff Colnot, Karen Lynne Deal, Robert Geary, Apo Hsu, Paul Hostetter, Carlos Kalmar, Jonathan McPhee, David Alan Miller, Peter Oundjian, Donald Portnoy, Jeffrey Renshaw, Steven Sametz, James Setapen, Stephen Squires, and Victor Yampolsky.
Dr. Garrop earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).
Kyong Mee Choi
Dr. Choi, composer, organist, painter, and visual artist, received several prestigious awards including John Simon Guggenheim Memorial Foundation Fellowship, Robert Helps Prize, Aaron Copland Award, Illinois Arts Council Fellowship, First prize of ASCAP/SEAMUS Award, First prize for the Birmingham Arts Music Alliance Concert Exchange program, Second prize at VI Concurso Internacional de Música Eletroacústica de São Paulo, Winner of the Tempus Continuum Ensemble Composition Competition, Mention for Musique et d’Art Sonore Electroacoustiques de Bourges, Honorary prize for the Musica Nova by the Society of Electroacoustic Music of Czech Republic, Honorable Mention for the Luigi Russolo International Competition, Honorary mention in the Destellos Competition, Finalist of the Contest for the International Contemporary Music Contest “Citta’ di Udine, Finalist for Concurso Internacional de Composicai eletroacoustica in Brazil among others.
Her music was published at CIMESP (São Paulo, Brazil), SCI, EMS, ERM media, SEAMUS, and Détonants Voyages (Studio Forum, France). Ravello records published her multimedia opera, THE ETERNAL TAO, which was supported by the John Simon Guggenheim Memorial Foundation Fellowship and Roosevelt University. Aucourant Records published her CD, SORI, featuring her eight compositions for solo instrument and electronics. The project was supported by the IAS Artist Project Grant from the Illinois Arts Council.
Her compositions have been performed at international venues including the Concurso Internacional de Música Eletroacústica de São Paulo, Australasian Computer Music Conference, Musique et d’Art Sonore Electroacoustiques de Bourges, Musica Contemporanea in Ecuador, Luigi Russolo International Electroacoustic Concert in Italy, International Computer Music Conference, Electroacoustic Musical Festival in Santiago de Chile, EPTA-European Piano Teachers’ Association Conference in Dusseldorf, Germany, Piano 40 Concert in London, England, Con Brio in Mumbai, India, as well as conferences and festivals in the States such as Society for Electro-Acoustic Music in the United States, Society of Composers, Inc., College of Music Society, International Alliance for Women in Music, Electronic Music Midwest, Boston New Music Initiative, Electro-Acoustic Barn Dance, Third Practice Festival among others.
Her paper, Spatial Relationship in Electro-Acoustic Music and Painting, has been presented and published in numerous conference proceedings including the Electroacoustic Music Studies Network-5th International Conference Series, Musique concrète, 60 years later, INA-GRM (Paris) and University Paris-Sorbonne (Maison de la Recherche), the Hawaii International Conference on Arts and Humanities, the International Conference on Technology, Knowledge and Society, and the Korean Electro-Acoustic Music Society (KEAMS) Computer Music Conference. The paper was also accepted at the International Conference on Fine and Performing Arts in Athens, Greece. As a researcher she had worked in the CAVE (Cave Automatic Virtual Environment) as part of the Virtual Music Project where she developed a real-time audio synthesis patch to respond to user/performer gestures. THE ETERNAL TAO: A Multimedia Opera by Kyong Mee Choi was written by Yayoi U. Everett, musicologist, and published in the IAWM (International Alliance for Women in Music) Journal by the University of Nebraska Press.
Dr. Choi’s interview with Theresa Sauer, musicologist (American Musicological Society) was also published in the IAWM journal. Dr. Choi’s essay on notation, composition, performance and improvisation was published in Notation 21, an anthology of innovative musical notation. She had an interview with National Public Radio (NPR) regarding her piece, Gestural Trajectory, which won the Robert Helps Prize.
Dr. Choi received a B.S. in chemistry and science education at Ewha Woman’s University, and studied Korean literature in a master’s program at Seoul National University in South Korea. She received a M.M. in music composition at Georgia State University and a D.M.A. at the University of Illinois at Urbana-Champaign. She composes chamber, electro-acoustic, interactive, and multi-media music.
Dr. Choi has also been active as a painter and visual artist with recent art exhibitions at the High Cross Art Studio of Urbana-Champaign and at Roosevelt University. Jenny Southlynn reviewed one of Dr. Choi’s multi-media exhibitions and said, “The show is polished and elegant. The paintings mineral hues shimmer one beneath the other, as mesmerizing as a reflecting pool. The accompanying musical compositions play in perfect harmony with the works, completing the immersive meditative effect.”