RETIREMENT ROUNDUP

Revolutionizing Musicians’ Wellness

My 27 years at the College of Music have gone by so fast, yet I’ve done so much during those years. I have published books and numerous articles on a wide variety of topics, ranging from Japanese traditional music and dance to Western prog rock, punk and glam. 

I think my biggest contribution to CU Boulder—and the most fun—has been integrating applied music into my academic classes and facilitating the performance of music that is often underrepresented in music schools—such as Japanese music and rock 'n' roll. For decades, my wife Mami Itasaka and I have staged memorable Japanese Ensemble concerts that merge traditional music and dance with contemporary pop. One of my favorite activities has been organizing students in my Music and Space class into rock bands to play songs by Pink Floyd, Sun Ra, David Bowie, Parliament, Coldplay and others. It gave me great pleasure to feature students from outside the college on the Grusin Music Hall stage. 

Recently, my music majors have been playing various kinds of popular music: Metal, punk, rap, funk, progressive, psychedelic, synthpop and other genres that some had never experienced before as musicians. 

My advice to music majors is to always be open to all kinds of music and avoid a myopic vision; try to experience every kind of music you can because you never know what may come your way in the future. Experience is the key to art at the highest level. Art is experience, as John Dewey defined it; he urged artists to “restore continuity between the refined and intensified forms of experience that are works of art and the everyday events, doings and sufferings that are universally recognized to constitute experience.”

The impact + influence of jazz polymath Paul McKee (contributed by John Gunther—Professor of Jazz Studies (saxophones, clarinet, flute); Director, Thompson Jazz Studies Program)

When I first came to Boulder for my interview in April 1994, I could see myself living in this charming college town near the foothills of the Rocky Mountains. Since that first visit, I have been very fortunate to have made the CU Boulder College of Music my home for the past 31 years. 

The best thing about my job was having wonderful colleagues and supportive staff members. From the beginning, voice studio teachers trusted me to coach their students in any way I wanted and esteemed opera faculty members—Dennis Jackson (stage director and program director) and Bob Spillman (opera conductor as well as piano professor)—treated me like their equal. 

Since there was no collaborative piano program back then, Bob and I were the collaborative pianists at the College of Music and I had many opportunities to perform with other faculty members, vocal and instrumental. Making music regularly with Patrick Mason, Patti Peterson, Julie Simson, Erika Eckert and others in my early days gave me lots of wonderful experiences and tremendous joy. 

And, of course, the students! I didn’t have my own studio, but I taught almost all voice majors; they were all “my” students. As an educator, there is nothing more rewarding than witnessing the students’ progress: Many of our voice alumni became very successful in the performing field and/or in academia. Some of them found great ways to continue music while holding other jobs and/or raising families. Some others found totally different paths to explore their various talents. 

My wish for my students is for them to remember that finding happiness—a happy place in one’s life—is far more important than making lots of money or becoming famous. And I hope their happy place always includes beautiful music.

In 27 years as a music composition faculty member at CU Boulder, my journey has been defined by interdisciplinary exploration and collaborative inquiry. From the very beginning, Dean Dan Sher’s encouragement to pursue my intermedia interests opened doors to partnerships that shaped my career, particularly my long-standing work with the ATLAS Institute and collaborative courses like “Interdisciplinary Performance” with dance faculty and frequent collaborator Michelle Ellsworth.

The university’s generous support for my creative research enabled me to pursue deep adventures in robotics and AI applications in music, culminating in exhibitions featuring kinetic robotic sound sculptures at the CU Boulder Art Museum, and in galleries and museums in the United States and abroad. This institutional backing was instrumental in translating creative concepts into tangible artistic expressions that reached diverse audiences.

What I cherish most from my time at CU Boulder are the relationships formed with extraordinarily talented students, some of whom evolved from mentees to valued collaborators with whom I continue to work today. These connections represent the most meaningful aspect of my academic career.

To future students, I offer these thoughts: Master the fundamentals of your discipline thoroughly, but never hesitate to venture beyond established boundaries. The most significant growth often happens at the intersection of tradition and innovation where established knowledge meets unexplored territory.

As I reflect on nearly three decades at CU Boulder, I’m grateful for an environment that nurtured experimentation, supported artistic risk-taking and valued interdisciplinary collaboration—elements that have defined both my teaching philosophy and creative practice.

In June, I’m changing my relationship with CU Boulder, staying to work on the Philosophy BA I started in 2019 (my first CU diplomas—French Literature and Western Civilization—took 20 years; I’ll have to hustle). I’m retiring from the College of Music, but I will never quit making music and will get my teaching kicks as a clinician and guest.

All three sons are Buffs, so I’ll also be volunteering at CU Boulder and will occasionally make music with CU Boulder folks. 

Thanks for the great music, inspiring teaching, character examples and committee conversing; as well as the personal encouragement, camaraderie and all the laughter.

This photo of me dangling en famille circa 1959 explains a lot. I've always been a performer, ready to put on a show, who also likes teaching as I perform. Here, of course, I am an object lesson:

My first drum teacher, big brother Bobbo (the blondie in the front row with his head turned) cared a great deal for me and asks our sister, "Was he that bad? Are we really going to bar-bee-que him?"

Being ready for adventure means knowing how and when to go find it.