Jacob Harrison has accepted an appointment at Texas State University as Associate Professor of Conducting and the new Director of the Texas State Symphony Orchestra. He will also conduct major student opera productions. This begins an exciting new era for orchestral activities in the TXST School of Music.
Dr. Harrison holds both the Doctoral of Musical Arts degree in Orchestral Conducting and the Master of Music Education degree from Arizona State University. He earned his Bachelor of Music Performance degree from the University of Texas at Austin. He comes to Texas State from Iowa State University, where he served as the director of orchestral activities and taught advanced conducting. In 2014, Dr. Harrison received two awards for his teaching at ISU, the Early Achievement in Teaching and the Shakeshaft Master Teacher award.
A sought-after conductor, clinician, and educator, Dr. Harrison is a regular guest conductor with professional orchestras, honor ensembles, and music festivals throughout the country. This past December, Dr. Harrison returned to Phoenix to again lead performances of The Nutcracker with Ballet Arizona and the Phoenix Symphony and has been reengaged to return for December 2018. He has also been repeatedly engaged as a guest conductor with the Chattanooga Symphony and Opera. In recent years, he has worked with orchestras in Arizona, Kentucky, Illinois, Indiana, Michigan, Missouri, Nebraska, New Mexico, Tennessee, Texas, and Wisconsin. He was regularly invited to clinic high school orchestra programs across the state of Iowa.
Dr. Harrison is equally at home conducting opera and music theater as he is conducting contemporary music and the great symphonic literature. He made his opera conducting debut in Arizona with the Lyric Opera’s production of Bartok’s Bluebeard’s Castle. He has conducted productions of Bernstein’s Candide, Mozart’s Magic Flute, and Sondheim’s Sweeney Todd.
Andrew Cheetham joins the Texas State University School of Music as an Assistant Professor of Trumpet. He leaves a position as Associate Professor at Eastern Illinois University, and has taught in trumpet and jazz roles at Oklahoma State University and Nazareth College of Rochester. A native of Columbia, Missouri, Andrew attended the University of Texas at Austin where he earned a bachelor's degree in Music Education, master's degree in Trumpet Performance, and a Performer's Certificate. Andrew also holds a Doctorate in Performance and Literature from the Eastman School of Music, where he received a Certificate of Excellence in Performance, the Outstanding Teaching Assistant Award for his area, and a minor in Music History.
With experience as a band director in the Austin public schools, he has taught trumpet, led jazz ensembles and small groups, and taught various academic courses at all levels for nearly twenty years. He was a trumpeter and ensemble leader in the United States Army, where he was often a featured trumpet soloist, performed in countless ceremonies, concerts and conventions all over the country, and received two Army Achievement medals for his work.
As a classical and jazz trumpeter, Dr. Cheetham has performed in and conducted various ensembles across the United States and in Europe. He has held the principal trumpet position in the Danville (Illinois) Symphony Orchestra, has held principal trumpet positions with the North Arkansas Symphony and the Prairie Ensemble Chamber Orchestra, and performs regularly with a number of regional orchestras across Illinois. He has performed with the Austin Symphony, Rochester Philharmonic and the Tulsa Symphony Brass.
As a jazz musician, Andrew is a founding member of the Four Other Brothers Jazz Trumpet Quartet and has collaborated with musicians including Bobby Shew, Slide Hampton, Peter Erskine, Conrad Herwig, Gregg Bissonette, and many others. He is also sought after as an adjudicator and clinician and regularly travels across the country for jazz festivals and other events to speak about practice techniques, jazz improvisation, and performance anxiety. He holds a deep interest in new music in both classical and jazz idioms and regularly supports young composers through individual commissions and consortium projects. Dr. Cheetham is an Artist/Clinician for the Edwards Instrument Company in Elkhorn, Wisconsin.
Greek-American mezzo-soprano Daveda Karanas joins the TXST voice faculty as an assistant professor. She is a winner of the 2008 Metropolitan Opera National Council Auditions and was an international semi-finalist in the 2007 Neue Stimmen Competition, a recipient of the 2006 Encouragement Award at the Marilyn Horne Foundation Competition, and grand-prize winner of the 2005 Arizona Opera League Competition. Ms. Karanas holds a Master of Music degree from Arizona State University. While earning her degree, she performed such roles as Judith in Bluebeard’s Castle, Mère Marie in Dialogues des Carmélites, and the Mother in Amahl and the Night Visitors. She was also a member of the Boston University Opera Institute where she performed the role of Zia Principessa in Suor Angelica and the Lady with a Hat Box in Postcard from Morocco.
As an Adler Fellow at the San Francisco Opera, Ms. Karanas has performed in scenes as Amneris in Aida and Brangäne in Tristan und Isolde, as well as covering the role of Fricka in Das Rheingold conducted by Donald Runnicles. She made her San Francisco Opera debut as Mamka in Boris Godunov as a first-year Adler Fellow. Prior to her residency at San Francisco Opera, she made debuts with the Boston Symphony Orchestra conducted by James Levine in Schönberg’s Moses und Aron as Vierte nackte Jungfrau and the Chicago Opera Theater as Ericlea in Il ritorno d’Ulisse in patria conducted by Jane Glover. She also performed the role of Tisbe in La Cenerentola with the Merola Opera Program, conducted by Martin Katz.
In the 2017-2018 season, Ms. Karanas returned to Arizona Opera in her role debut as Fricka in Das Rheingold and also made her New Orleans Opera debut as Hasbeena in the Burlesque Opera of Tabasco. Last season, Ms. Karanas made her role debut as Ježibaba in Rusalka with Arizona Opera. Recently, she was seen as Liese in The Passenger at both Florida Grand Opera and Michigan Opera Theater following her successful role debut at the Lyric Opera of Chicago in the same role. She made a major role debut as Kundry in Parsifal at the Lyric Opera of Chicago under Sir Andrew Davis. She then debuted at the Opera Theatre of Saint Louis as Mother Marie in Dialogues of the Carmelites and with the Auckland Philharmonia as Brangäne in concert performances of Wagner's Tristan und Isolde. She made her German debut at Oper Frankfurt as Marfa in Khovanshchina and debuted at the Canadian Opera Company as Brangäne in Tristan und Isolde conducted by Johannes Debus and directed by Peter Sellars. She also joined the roster of the Metropolitan Opera in their production of the Berlioz masterpiece Les Troyens covering the role of Cassandre in La prise de Troie. Ms. Karanas made an acclaimed European debut at the Maggio Musicale Fiorentino as Judith in Duke Bluebeard’s Castle under Zsolt Hamar in the festival’s 75th Anniversary. She also covered the role of Judit in the same production at the Saito Kinen Festival in Japan and on tour in China under Seiji Ozawa. She was then seen at Opera Grand Rapids for her role debut as Azucena in Il trovatore. Ms. Karanas sang her first performances of Amneris in Aida at Arizona Opera, followed by Vancouver Opera, Glimmerglass Festival in a new production by Francesca Zambello, and covered the role at the Lyric Opera of Chicago. The summer of 2011 saw Ms. Karanas in her first complete Ring Cycle at San Francisco Opera under Donald Runnicles. In Francesca Zambello’s staging, she sang both Waltraute and the 2nd Norn in the new production of Götterdämmerung and Waltraute in Die Walküre. Ms. Karanas also sang Suzuki in Madama Butterfly and covered Amneris in Aida, both under Nicola Luisotti at the San Francisco Opera.
Marc Reynolds has accepted an appointment at Texas State University as Assistant Professor and the new Director of the Texas State Opera Theater. A native of Los Angeles, Reynolds received his undergraduate degree in Vocal Performance from Brigham Young University, Master of Music degree with an emphasis in Opera Directing from The University of Texas at Austin, and a Doctor of Musical Arts degree with an emphasis in Opera Directing at The University of Texas at Austin. He has held administrative positions including Associate Administrative Director and Resident Stage Director for Utah Lyric Opera, and founding associate director for The University of Texas at Austin’s Butler Opera Center Young Artist Program.
Dr. Reynolds has taught for Westminster College, Utah Valley University, The University of Texas at Austin, The Butler Opera Center Young Artist Program, Brigham Young University, Texas A&M Corpus Christi, Sparkling City Light Opera’s Vocal Arts workshop, Utah Vocal Arts Academy Workshop, and the Cornish-American Song Institute. He has also given master classes and workshops across the United States and abroad.
As a stage director Marc Reynolds has enjoyed success in directing including The Man Who Mistook His Wife For A Hat for Austin Lyric Opera, Carmen, Falstaff, Die Fledermaus, and The Merry Widow for Utah Lyric Opera, The Mikado, The Old Maid and the Thief, La Cenerentola, The Magic Flute, and Amahl And The Night Visitors for Sparkling City Light Opera, La Serva Padrona for La Follia Austin Baroque, as well as La Curandera, Albert Herring, and Cosi Fan Tutte for the University of Texas at Austin’s Butler Opera Center. His work has received awards, nominations, and acclaim from the press and critics.
Jose M. Garza, Jr.
Jose M. Garza, Jr. joins the TXST faculty as a Lecturer in Music, teaching music theory and aural skills. He received his bachelor’s degree in Music Studies and Master of Music degree in Music Theory from Texas State University, then attended Florida State University, where he received his Ph.D. in Music Theory. While at FSU, he served as Secretary and Forum Co-Chair for the Music Theory Society. He also performed with the Sekaa Gong Hanuman Agung Balinese Gamelan and FSU Rock Ensemble.
Dr. Garza’s scholarship deals primarily with rhythm, meter, and musical meaning in popular music, particularly metal and punk rock. He implements existing models of analysis and introduces new modes of analysis, as in his dissertation, “Adapt and Prevail: New Applications of Rhythmic and Metric Analysis in Contemporary Metal Music,” examining paradigmatic structures in metalcore, progressive metal, and death metal from the latter half of the 1990s to today. His other research interests include video game music, percussion repertoire, and twentieth- and twenty-first-century art music repertoire. He has presented this work at several regional and national conferences, including Music Theory Southeast, Music and the Moving Image, and Texas Society for Music Theory.
Brian Pardo joins the faculty to teach jazz guitar as a Lecturer in Music. He has held faculty appointments at the University of California Berkeley, California State University East Bay, the California Jazz Conservatory, Mills College, Temple College, Central Texas College, and Diablo Valley College. For 11 years, he was Director of Jazz Studies at the Bentley Upper School in the San Francisco Bay Area. He has been a clinician for Sibelius, Yamaha, Brian Moore Guitars, and the Jazz Masters Series, and teaches for Jazz Camp West and the Lafayette Summer Jazz Workshop. He has performed or recorded with Jack McDuff, Chuck Israels, John Clayton, Stan Getz, Eddie Harris, Charles McPherson, Arthur Blythe, Barbara Dennerlein, Paul Hanson, Mark Levine, Claudia Gomez, Tony Monaco, Paul McCandless, Bonnie Raitt, Audra McDonald, The Shirelles, Coco Lee, Tom Waits, Train, and many others. He has performed at the Monterey, San Francisco, Russian River, Clearwater, San Jose, Stanford, and JVC jazz festivals. His recent album, It’ll Always Be Home, features members of the Yellowjackets, Santana, Tower of Power, the Roy Hargrove Group, and Kitaro. Dr. Pardo has also composed and produced music for film and television, including Paramount Pictures, PBS, Comedy Central, Apple Computers, Wells Fargo, The Ford Motor Company, Century 21, and Levi’s Apparel.
Pardo holds a Doctor of Musical Arts in Jazz Guitar Performance from the University of Texas at Austin, a Master of Arts in Music Composition from Mills College, a Bachelor of Arts in Music Theory and Composition from Haverford College, and a teaching credential from the State University of New York at Stony Brook. He studied guitar with Pat Martino, Bruce Saunders, Allen Hanlon, Fred Frith, and Tuck Andress, and studied music theory and/or composition with Mark Levine, David Bernstein, Fred Frith, John Mills, Harold Boatrite, Annie Gosfield, Alvin Curran, and John Davison.
Brian David Smith
An experienced educator, Brian has taught at Houston's High School for the Performing and Visuals Arts, Lynchburg College, Randolph College, and Stony Brook University. He served as a Teaching Artist with the ensemble Tales & Scales, working in local schools and community centers as an artist-in-residence, and also with Midori & Friends in New York City schools. Brian received bachelor’s and master’s degrees from the University of Cincinnati College-Conservatory of Music and the Shepherd School of Music at Rice University, and a Doctor of Musical Arts degree at Stony Brook University.
His primary work as a contemporary percussionist incorporates many electro-acoustic and multimedia pieces. As a co-founder and member of the ensemble ScreenPlay, he pursues a deep interest in experimental musical practices and improvisation through audio-visual works that utilize animated notational schemes. Brian’s current “solo” project, Human+, combines his interest in technologically-mediated sonic arts with a fiendish advocacy for new works by living composers to develop a repertoire of duets for musical robotics and percussionist. As an orchestral percussionist, Brian has performed with ensembles throughout the U.S. and Europe, appearing in world-class concert halls including the Amsterdam Concertgebouw and the Berlin Philharmonie. He plays period timpani and percussion with the Staunton Music Festival, and his ethnographic interests include West African drumming and dance from Ghana, Togo, and Benin.
Blythe Cates currently serves as a lecturer of voice at Texas State University after terms at the University of Texas at El Paso and the University of the Incarnate Word. Originally from Southern California, she received her doctorate in vocal pedagogy at the University of Texas at Austin under Darlene Wiley and Ruth Ann Swenson. She also has a master’s in Opera Performance from UT Austin under the direction of Dr. Robert DeSimone. Dr. Cates began teaching in 2007 and specializes in vocal health, age-appropriate material, musical interpretation and applying classical vocal technique to many genres, including opera, classical, pop, folk and musical theater. An active soloist with many orchestras and ensembles, she has most recently performed with the Inland Master Chorale, Missouri Symphony, Riverside Opera, and the Texas Music Educators Association. She has performed operatic roles in Lakmé, The Old Maid and the Thief, Summer and Smoke, The Rape of Lucretia, The Consul, Der Schauspieldirektor, Die Zauberflöte, Carmen and I Pagliacci and has extensive experience in performing musical theater.
In the Mariachi sphere, Miguel Guzman, is a renowned Mariachi musician and educator, with 33 years’ experience as a professional musician and 28 years as a Mariachi educator. Violin is Guzman’s primary instrument but he is also fluent in vocals, guitarrón, vihuela, and guitar. Guzman’s musical schooling has its origins in trumpet, under Dr. Joseph Bellamah and classical violin under Genaro Ybarra and Cleo Aufderhaar of the San Antonio Symphony. Guzman also studied voice and composition under Iren Liden and Alice Gomez of San Antonio College. Born and raised in the culturally vibrant city of San Antonio, Guzman’s musical focus inevitably turned to Mariachi at the invitation of a high school band companion and Juan Ortiz of Campanas de America. As a public school Mariachi educator, Guzman taught pre-K – 12 with San Antonio ISD for 26 years. He taught and directed community Mariachi with the Guadalupe Cultural Arts center. Guzman has also taught or directed Mariachi at OLLU, San Antonio College, Texas Tech, UTRGV, and Texas State. Guzman is the co-founder and musical director of San Antonio’s premiere Mariachi Los Galleros, where he continues to cultivate and elevate Mariachi as a proper art form, while also teaching all Mariachi instruments at the Miguel Guzman Mariachi Conservatory.
In his early career, Guzman played alongside the very same Mariachi groups he learned from at training workshops, including the genre’s top groups, Mariachi Vargas de Tecalitlan, Nuevo Tecalitlan and Mariachi Los Camperos among others. Guzman is a regular artist at conferences such as the Tucson International Mariachi conference; Albuquerque Mariachi Spectacular; Guadalajara’s El Encuentro de Mariachi y Charreria; TMEA regional state clinics; New York Mariachi Conservatory and the Chicago Mariachi Project. Guzman has performed with Lucha Villa, Lola Beltran, Vicky Carr and Placido Domingo among many others. Guzman is also a studio musician recording on “Siempre Selena” – Selena; Grammy nominated “Llegaron los Camperos” –Mariachi Los Camperos; Grammy nominated “Que Paso” – Little Joe; and Grammy winner “Sigue El Taconazo” – Chente Barrere. Guzman has performed at the Hollywood Bowl, Tonight Show, Tejano Music Awards, Jazz at the Lincoln Center, and Teatro Degollado in Guadalajar among other venues. His musical career has also taken him to stages in Kumamoto, Rome, and Madrid. This experience has afforded Guzman the rare opportunity to train, teach and study under some of Mariachi’s most notable and skilled musicians, namely Rigoberto Alfaro, Jesus Guzman, Nati Santiago and Nati Cano, a recipient of the National Endowment for the Arts.
MUSIC HISTORY - LITERATURE
Susan Jackson earned her Ph.D. in musicology from the City University of New York Graduate School; she also holds the M. Phil and a B.S.Ed in Music Education. Her general areas of research interest are in 15th- and 16th c. music, music printing and print culture in the Reformation, women and music, Jazz, and 18th c. German music. Dr. Jackson has held teaching appointments at The University of Texas at Austin, Bucknell University, The Brooklyn Conservatory, and The City University of New York; her research has been supported by NEH, DAAD/Fulbright, and AMS 50 fellowships. Her current research project is a catalogue raisoneé of Katherina Gerlach’s prints (1563-95) and an article on the many roles of women in the book trades in 16th c. Nuremberg.
Juan Rosaly teaches Salsa ensembles for the Latin Music Studies area at Texas State University. A native of Ponce, Puerto Rico, Rosaly brings over 20 years of musical performance experience in the United States Army band program, with 15 of them in Latin Music performance in various military and civilian organizations. He earned a B.A. in Music Education at the Inter American University of Puerto Rico (1995) and his M.M. in Latin American music Studies at Texas State University (2018). Upon graduation from the Inter American University of Puerto Rico, Rosaly entered the United States Army Band program in May 1996. Upon enlisting, he began his career as a guitar and bass player with the Concert Band, Jazz combo, salsa band, and popular music ensembles, as well as holding several support and operational leadership positions of increasing responsibility. During his 20 years of military service, Rosaly served hardship tours in Bosnia, South Korea, and Iraq, as well as all around the continental United States. Rosaly maintains an active freelance schedule with various musical ensembles in the Austin and San Antonio area.