Professional Bio

  • Ph.D., M.M., Musicology, University of Colorado
  • B.A., Music History & Literature, State University of New York
  • Sarah Lawrence College, Bronxville, New York

Mark Davenport, director of the Music Program at Regis, teaches music history, survey courses in the Fine Arts Core, Core writing seminars, and Integrative Core. In 2002 he founded, and continues to direct, the Collegium Musicum, an ensemble specializing in music before 1750. He is also director of the newly established Recorder Music Center, housed in the Dayton Memorial Library at Regis. Davenport holds the Ph.D. and Master of Music degrees in Musicology from the University of Colorado at Boulder, where he was the recipient of both the Gordon Getty Foundation Scholarship and the Ogilvy Research Fellowship (Center for British Studies) for his doctoral work on the seventeenth-century English composer William Lawes. He conducted doctoral research at the Bodleian and Christ Church Libraries in Oxford. His undergraduate work was at Sarah Lawrence College, in Bronxville, New York, and the State University of New York, College at New Paltz, where he received a B.A. in Music History and Literature, summa cum laude. He has taught at the State University of New York, College at New Paltz, the University of Colorado at Boulder, and the Metropolitan State College of Denver.

Davenport’s areas of specialization are in Early Music and American Music. His scholarly articles have appeared in The Journal of the Viola Da Gamba Society of America, Early Music America: The Magazine of Historical Performance, American Recorder, and in a chapter of a book entitled William Lawes: Essays on His Life, Times, and Work, published by Ashgate (1998). He has served as Book Review Editor for American Recorder, the journal of the American Recorder Society, and Editor of Early Music Colorado Quarterly. From 1993-1997 he served on the Board of Directors of Early Music Colorado and he is currently on the Board of Directors of the American Recorder Society where he chairs its Education and Programs Committee. He has also edited numerous editions of early music for his music publishing company Landmark Press.

Davenport’s performance background includes working in both the early music and popular music fields. As an instrumentalist, Davenport specializes on baroque and renaissance woodwinds. His early career included touring with the internationally acclaimed New York Pro Musica in its production of the thirteenth-century liturgical drama The Play of Daniel. As a recorder soloist he has appeared with both the Colorado Music Festival and Boulder Bach Festival Orchestras. He has also founded several early music ensembles including the Boulder-based Fiori Musicali and Trio Dolce. Studying cello throughout his youth (with Lawrence Lessor and Judith Davidoff), he received a cello scholarship to attend Sarah Lawrence College where he also studied composition with David Maslanka and Meyer Kupferman. As a contemporary keyboardist, vocalist, songwriter (ASCAP), and producer, Davenport has an extensive performing and recording background with popular groups and projects based in the New York area. His most recent release "Full Circle: Songs on the Carousel of Time," set in a song cycle, offers a retrospective of his original songs. He is currently completing a new album of songs based on 16th-century hymns, motets and madrigals.

Creative & Professional Work

Conductor, Musical Director

2002-Present
  • Regis University Collegium Musicum. Over 20 performances for Regis University Music Program Concert Series. Special guest appearances at Early Music Colorado Fall Festival (2002, 2003, 2005, 2006, 2010, 2012) in Boulder Public Library, Colorado, and at the King Center, Auraria Campus in Denver (October, 2012), at “Lights Lesson & Carols” (2005, 2008, 2011), and at Colorado Music Educator’s Conference (CMEA), Grand Ballroom, Broadmoor Hotel, Colorado Springs (January, 2012).
1998-Present
  • Denver Chapter of the American Recorder Society Workshop in the Rockies, Estes Park (Takes place in May)
2012
  • American Recorder Society Festival and Conference, Reed College, Portland, OR (July 5-8)
  • Whitewater Early Music Festival, University of Wisconsin, Whitewater (June 1-3)
  • Boulder Chapter of the American Recorder Society, Boulder, CO (May 13)
  • Denver Chapter of the American Recorder Society, Denver, CO (February 19)
2011
  • Chicago Early Music Festival, University of Wisconsin, Whitewater (June 3-5)
1998-2010
  • Canto Antiguo Early Music & Dance, Chapman University, Orange, CA (July)
2009
  • American Recorder Society Festival and Conference, University of Missouri, St. Louis (July 30-August 2)
2008
  • Montreal Recorder Festival, Montreal, Canada (September 11-14)
  • San Diego Early Music Society, Palomar (May 23-25)
2007
  • Ft. Collins Chapter of the American Recorder Society, Fort Collins, CO (September 23)
  • Boston Chapter of the American Recorder Society, Harvard University, Cambridge, MA (March 24)
2005
  • Rio Grande Viol and Recorder Workshop, Las Cruces, NM (October 7-9)
  • Early Music Colorado Benefit Workshop, Regis University, Denver, CO (August 14)
  • American Recorder Society Festival and Conference, Regis University, Denver, CO (July 28-31)
1993-2004

Multiple year appointments with the following societies, festivals, workshops and orchestras:

  • San Francisco Early Music Society Workshop, Dominican College, San Rafael, CA
  • Colorado Recorder Festival, Colorado Springs, CO
  • Ann Arbor Recorder Workshop
  • Mid-Peninsula Recorder Orchestra (Palo Alto)
  • Rio Grande Viol and Recorder Workshop (Las Cruces, NM)
  • San Diego Early Music Society Workshop (Palomar)
  • Adirondack Early Music Camp and Workshop
1993 -2001
  • Denver Recorder Consort
  • Fort Collins Collegium Musicum.
1993-1997
  • Canto Antiguo Early Music & Dance, Thornton School, Ojai, California (July)
1991-1992
  • Collegium Musicum, State University of New York at New Paltz
1976-1978
  • Painters Theater, an off-Broadway theater and dance company in residence at Sarah Lawrence College

Performance and Recording Experience (Early, Classical & Contemporary Music)

2012 Premier performance (laptop) of contemporary piece for violin and laptop entitled Bordone, by composer Loretta Notareschi at Regis University “Second Wednesday Faculty Recital Series” (October 10).

1992-2008 Featured Soloist (recorder):

“Masterpieces of the Baroque” with Christine Kyprianides (viola da gamba) and Thomas Gerber (harpsichord). Guest Artist Concert Series, Lamont School of Music, University of Denver (May 2, 2008).

The Grand Canonical Ensemble (featured guest artist). King of Glory Lutheran Church, Ft. Collins, CO (April 13, 2008), Harmony in the Round, Ft. Collins Regional Library, Ft. Collins, CO (April 11, 2008), and Regis University “Guest Artist Series” (February 13, 2008).

“A Taste of Early Music” featuring The Grand Canonical Ensemble (guest featured artist). Our Savior’s Lutheran Church, Ft. Collins, CO (February 8, 2008).

Music Faculty Recital with Ben Cohen (lute). Berkeley Church, Regis University, Denver, CO (September 27, 2006).

“Collage” Rio Grande ARS Chapter Workshop Faculty Concert, with Vicki Boeckman and Clea Galhano (recorders). Peace Lutheran Church, Las Cruces, NM (October 9, 2005).

Trio Dolce, with Ann Marie Morgan (viola da gamba) and Phebe Craig (harpsichord). Packard Hall, Colorado College, Colorado Springs, CO (January 27, 2004).

Trio Dolce, with Ann Marie Morgan (viola da gamba) and Phebe Craig (harpsichord). O’Sullivan Arts Center, Regis University, Denver CO (January 25, 2004).

Faculty Recital, with Shirley Stephens-Mock (viola da gamba) and Debra Throgmorton (harpsichord). Front Range Community College, Ft Collins, CO (April 7, 1997).

“Music of the Winds: Works for Recorder, Viola da Gamba & Harpsichord,” with Vicki Boeckman (recorder), Denise Briese (viola da gamba) and Phebe Craig (harpsichord). Grace Lutheran Church, Boulder, CO (February 26, 1997), and Epiphany Lutheran Church, Denver CO (February 25, 1997).

Friends of Early Music Showcase Performance (debut Los Angeles appearance) with Patricia Mabee (harpsichord), and Margaret Moores (cello). Westwood United Methodist Church, Los Angeles, CA (October 29, 1996).

Faculty Recital: Patrick Mason (tenor), with Mark Davenport (recorder), Elizabeth Farr (harpsichord), and Shirley Stephens-Mock (viola da gamba). Grusin Music Hall, University of Colorado, Boulder (September 17, 1996).

Fiori Musicali “Musical Flowers of the 17th & 18th Centuries,” with Patrick Mason (tenor), Jelena Mathys (harpshicord), and Mary Springfels (viola da gamba). Grace Lutheran Church, Boulder, CO (April 7, 1995).

“A Concert Honoring Henry Purcell (1659-1695) 300 Years After His Death,” with Robert Harrison (tenor), Martha Sandford (harpsichord), and Gordon Sandford (viola da gamba). Grusin Music Hall, University of Colorado, Boulder (February 12, 1995).

Fiori Musicali “The Music of Henry Purcell” with Patrick Mason (tenor), Jelena Mathys (harpshicord), Shirley Stephens-Mock (viola da gamba), and others. Multiple performances: First Presbyterian Church, Ft. Collins, CO (November 20, 1994); Grace Lutheran Church, Boulder, CO (November 18, 1994); Colorado College Visiting Artist Series, Packard Hall (November 17, 1994); and Early Music Colorado Fall Festival, Boulder, CO (October 22, 1994).

Baroque Music Academy (Matthew Loucks, director). St. Luke’s Episcopal Church, Fort Collins, CO (October 7, 1994).

“A Little Night Music” with Wayne Templeman (cello), Jim Vaughn (bass), and Laurie Kahler (harpsichord). Private Estate Concert, Denver, CO (June 4, 1994).

Boulder Bach Festival Orchestra (Robert Spillman, Director). Grusin Music Hall, University of Colorado, Boulder (April 29-May 1, 1994).

Boulder Bach Festival “Bach for Kids” (Robert Spillman Director). Boulder Public Library Auditorium. Boulder, CO (April 17, 1994).

Fiori Musicali “French and Italian Music of the 17th & 18th Centuries” with Patrick Mason (tenor), Jelena Mathys (harpshicord), and Alyssa Pava (baroque cello). St. Barnabas Episcopal Church, Denver, CO (February 26, 1994) and Grace Lutheran Church, Boulder, CO (February 25, 1994).

“Contrasts” Solo Recorder Recital with guests Robert Spillman (piano), Greg Dyes (piano), Jelena Mathys (harpsichord), Lisa Eakins (cello), Kevin Thomas (bass), Matt Houston (percussion), and others. Grusin Music Hall, University of Colorado, Boulder (October 26, 1993).

Columbine Pro Music, with Gordon Sandford (viola da gamba), Martha Sandford (harpsichord), and Quinn Kerrane (soprano) and Martin Wachter (recorder). Divine Science Church, Denver, CO (October 2, 1993).

“Italian Recorder Sonatas of the Baroque Period” with Jelena Mathys, harpsichord. First Divine Science Church, Denver, CO (October 2, 1993).

“Jewels of the Baroque” with Michael Sand (baroque violin), and Phebe Craig (harpsichord). Grace Lutheran Church, Boulder, CO (August 13, 1993).

“Italian and German Music of the Baroque Period,” with Jelena Mathys, harpsichord. Boston Early Music Festival, Harvard University, Swedenborg Chapel, Cambridge, MA (June 18, 1993) and Grace Lutheran Church, Boulder, CO (April 16, 1993).

Boulder Bach Festival Orchestra (Robert Spillman, Director). Grusin Music Hall, University of Colorado, Boulder (April 29-May 1, 1993).

Boulder Bach Festival “Bach for Kids” (Robert Spillman Director). Boulder Public Library Auditorium. Boulder, CO (April 18, 1993).  

The American Recorder Society Boulder Chapter Concert. Grace Lutheran Church, Boulder, CO (November 6, 1992).

Faculty Recital. Grusin Music Hall, University of Colorado, Boulder (October 13, 1992).

Founder/member, the New Paltz Baroque Trio (recorder), with Mary Jane Corry, harpsichord, and Susan Seligman, cello.

1978-1979 Toured with internationally acclaimed New York Pro Musica in their production of The Play of Daniel including sold-out engagements at the Kennedy Center in Washington D.C., St. John the Divine in New York City, and Princeton University.

1974-1978 Member/soloist (cello) the Sarah Lawrence College Chamber Orchestra (Harold Axe, Director), and the Suburban Symphony in Rockland County, New York.
 
Recording artist (recorder) for Eighteenth Century Recorder Music. Music Minus One Records, 1974. Recordings of Telemann, Sammartini and Loeillet with LaNoue Davenport (recorder), Judith Davidoff (viola da gamba), and Edward Smith (harpsichord).

Performance and Recording Experience (Popular) as Artist, Songwriter, Producer

2013 Recording artist (lead vocalist, keyboards and recorders), producer, songwriter, on independently released 10-song compact disc Joyful Sighs & Soulful Hymns. Songs based on 16th-century hymns, motets, and madrigals (forthcoming).

Guest performing member (recorder, krumhorn, voice and synthesizer) with RCA recording group Autosalvage. South by Southwest Festival and Conference, Austin, TX (March 14 and 15, 2013).

2010 Recording artist (lead vocalist, keyboards), producer, on independently released single I Love You More (November 21, 2010).

Featured solo artist (piano, voice) at the First Annual “Cabaret for a Cause” at the Boulder Theater, Boulder, CO (August 28, 2010).

2009 Recording artist (lead vocalist, keyboards and recorder), producer, songwriter, on independently released 10-song compact disc Full Circle: Songs on the Carousel of Time.

Producer, songwriter, performer (lead vocalist and keyboards) for single “One Hope (Standing Proud).” Included in compilation compact disc Adult Contemporary Radio Sampler, Vol. IX No. 5. Oasis Disc Manufacturing compact disc. 2009.

Producer, editor, songwriter, performer for single “Mark Davenport: One Hope (Standing Proud).” Music video to help raise awareness of the genocide in Darfur.
 
1996 Songwriter for two tracks (“From Black To Blue” and “Love Is”) performed by One Small Favor. Lazy Lizard Records. 1996.
 
1995 Producer/engineer for three-song CD performed by The Piranha Bros.
 
1985-1992 Founder/member, producer, songwriter, performer (lead vocalist and keyboards) for Vox Humana. Four-song EP entitled One Hope engineered and mixed by Grammy Award winner Larry Alexander. Produced fourteen--song cassette A Voice From Long Ago.

Producer, songwriter, performer (keyboards, drum programming) for “Give Me Your Answer.” Performed by solo artist Barbara George. Raven Records, 1990.

1985-1992 Founder/member, producer, songwriter, performer (vocals, keyboards) for The Late Show (aka Page & Davenport). Recorded/co-wrote 27 songs with Bill. Several songs produced by multi-Grammy Award winner Jack Douglas at the Record Plant in New York City. Band members included solo artist/saxophonist Andy Snitzer (The Rolling Stones, Paul Simon), drummer Van Romaine (Steve Morse, Enrique Iglesias), bassist Hugh McDonald (Bon Jovi), and guitarist Al Orlo.

1987-1988 Founder/member, producer, performer (lead vocalist, keyboards) for solo project i2i. Recorded two singles for Now & Forever Records.

Producer for three-song EP recorded by Dirty Blonde.
 
1985-1986 Producer for three-song EP recorder by Ressless.

Music Director/performer (vocals, keyboards) for Broken Promises (aka Made in the U.S.A.). Group included Bill Page and brother Tommy Page (who penned the #1 hit “I'll Be Your Everything" with New Kids On The Block members Jordan Knight and Danny Wood).
 
1982-1984 Performer (keyboards, backing vocals), horn arrangements for “Singer Without A Song.” Performed by John Babcock (solo artist) on self-titled compact disc.
 
Founder/member, performer (vocals, keyboards), songwriter for Tribeca. Thirteen-song cassette On The West Side produced by Jimmy Simpson. Group included Ray Simpson (lead singer for the Village People) on lead vocals.
 
Founder/member, performer (lead vocals, keyboards, recorders), songwriter for 4 On The Floor. Group was produced by Bob Suede and recorded more than 20 master recordings.
 
Performer (keyboardist, backing vocalist) for Reggae Rockers w/Pearl Marley Livingston (five-piece reggae band fronted by Bob Marley’s niece). Recording project produced by Jack Douglas.
 
1978-1981 Founder/member, performer (lead vocalist, keyboards, recorders), songwriter for 4 On The Floor. Recording project produced by Thom Cimillo and Randy Adler, under contract to Norby Walters & Associates. The group recorded 11 masters for Horn Records. Earlier master recordings produced and recorded at the legendary 914 Recording Studio by Grammy Award winner Larry Alexander and later by Andy Wirkmaa. 
 
Performer (keyboards, backing vocals) for Saturday Night Band. Includes 9-month national tour and sold-out performances at the Apollo Theater in New York. Single release "Come On Dance, Dance," from first album on Prelude Records, reaches #17 on Billboard's Dance Charts. Re-released on CD (1992).

Professional Positions Held

1998 –Present Owner/Editor, Landmark Press. Music publishing company. Produces and distributes performing and critical editions of early music.

2004-2012 Board of Directors, American Recorder Society (elected to two 4-year terms). Chair, Education Committee (2004-2010); Chair, Programs Committee (2010-2012). Served on Governance Committee, Publications Committee, and Festival and Conference Committees.

2006-2008 Board of Directors, Early Music Colorado.

1994 –1997 Editor, Early Music Colorado Quarterly, the Journal of Early Music Colorado.

1993 –1997 Book Review Editor, American Recorder, the Journal of the American Recorder Society.

Board of Directors, Early Music Colorado.

1987-1989 President, Downtstairs Records. Independent record label based in New York.

1984-1992 President, Miles of Music Publishing, Inc. Music publishing company.

Membership in Professional Organizations

  • American Musicological Society (AMS)
  • American Recorder Society (ARS)
  • College Music Society (CMS)
  • Colorado Music Educators Association (CMEA)
  • Early Music America (EMA)
  • Early Music Colorado (EMC)
  • Society for American Music (SAM)
  • Society for Seventeenth Century Music (SSCM)
  • Viola da Gamba Society of America (VdGSA)
  • Viola da Gamba Society of Great Britain (VdGS)

Research & Scholarship

Published Work

“The Recorder Music Center Turns Five,” American Recorder 51 (November, 2010): 4-5.

“ARS Names DAA and PSHA Recipients,” American Recorder 50 (January, 2009): 4.

“The Recorder Goes to School,” American Recorder 50 (January, 2009): 11.

“News from the Recorder Music Center,” American Recorder 49 (November, 2008): 11.

“An Interview With Shirley Robbins,” by Martha Bixler. Transcribed and Edited With An Introduction by Mark Davenport. American Recorder 49 (September, 2008): 12-17.                                                       

“News from the Recorder Music Center,” American Recorder 47 (September, 2006): 14.

“Education Committee Changes Focus: Phases Out ARS Teacher Certification,” ARS Newsletter (September, 2006): 1.

“News from the Recorder Music Center,” Early Music Colorado Quarterly 14 (Summer, 2006): 5, 7.

“News from the Recorder Music Center,” American Recorder 46 (May, 2005): 4.

“Early Music well-represented at American Musicological Society 2004,” American Recorder 46 (January, 2005): 6-7.

“The Recorder Music Center: Making a Home for All Things Recorder,” American Recorder 45 (May, 2004): 28-29.

“Between Fantazy and Aire: The ‘Active Braine’ of William Lawes,” Journal of the Viola da Gamba Society of America 39 (2002): 49-75. (Published June, 2003.)

“American Recorder Pioneer LaNoue Davenport Dies at Age 77,” The Recorder Magazine 20 (Summer, 2000): 47-49.

“LaNoue Davenport (1922-1999): A Son’s Recollections,” American Recorder 41 (January, 2000): 12, 14, 32.

“The Aire in William Lawes’s Five- and Six-Part Consort Setts: A Comparison and Analysis.” Chapter in William Lawes (1602-1645): Essays on His Life, Times and Work, ed. Andrew Ashbee. Aldershot, England: Ashgate Publishing, 1998, 283-306.

“Exploring the Music of Sixteenth-Century Spain,” San Francisco Bay Area Early Music News (September, 1998): 6-7.

“Noah Greenberg: The Man Behind the Music,” Early Music America 3 (Fall, 1997): 39-44, 47.

“Troubadours and the Art of Courtly Love,” Southern California Early Music News 22 (November, 1997): 1, 12-14, 19.

“The Changing Christian Liturgy and its Affect on Music Through the 16th Century: A Backdrop for the Early Music Audience,” Early Music Colorado Quarterly 5 (Winter, 1996-97): 3-8.

“Musicians, Madrigals, Marriages, Women and Opera: The Mantuan Court of Vincenzo Gonzaga, 1587-1612,” Southern California Early Music News 21 (October, 1996): 1, 12-22, 26.

“The New York Pro Musica’s ‘Play of Herod’: Research Issues Then and Now,” Early Music America: The Magazine of Historical Performance 1 (Winter, 1995): 26-34.

“Carl Orff: The Katz Connection,” American Recorder 36 (September, 1995): 7-15, 34-39.

"Spain in the New World: Some Musical Consequences," Early Music Colorado Quarterly 3 (Winter, 1994): 6-11.

"Recorder Pitch: Always Throwing Us a Curve," American Recorder 34, (March, 1993): 7-10. Article cited in The Cambridge Companion to the Recorder, ed., by J. M. Thomson, (Cambridge: Cambridge University Press, 1995), 213, and in Richard Griscom and David Lasocki, The Recorder: A Guide to Writings about the Instrument for Players and Researchers, (New York: Garland Publishing, Inc., 1994): 122.

Book Reviews

"Méthodes et Traités Flûte À Bec 8,” 3 Vols. Edited by Susi Möhlmeier and Frédérique Thouvenot, American Recorder 45 (January, 2004): 30-33.

"The Viola da Gamba Society Index of Manuscripts Containing Consort Music, Vol. I." Compiled by Andrew Ashbee, Robert Thompson, and Jonathan Wainwright, Journal of the Viola da Gamba Society of America 40 (2003): 61-67.

"The Cambridge Companion to the Recorder." By John Mansfield Thomson (ed.), American Recorder 37 (March, 1996): 36-38.

"English Musicians in the Age of Discovery." By Ian Woodfield, American Recorder 36 (November, 1995): 34.

"The Recorder: A Guide to Writings about the Instrument for Players and Researchers." By Richard Griscom and David Lasocki, American Recorder 36 (January, 1995): 24-26.

"On Playing Oboe, Recorder, & Flageolet." By J.P Freillon-Poncein. Translated by Catherine Parsons Smith, American Recorder 35 (March, 1994): 19-20.     

Music Reviews

“John Jenkins: ‘Fantasia-Suites’ for two trebles (violins), two basses (viols) and organ.” Edited by Andrew Ashbee, Viola da Gamba Society of America News, 43 (September, 2006): 10-11.

"Crumhorn Collection," "More Ancient Carols," and "More Carols for Krumhorns or Recorders." Arranged by Hans Neuberger, American Recorder 34 (November, 1993): 16-17.

Ernst Krahmer. Works edited by Piers Adams: "Concert Polonaise, Op. 5;" "Rondo 'La Tryolienne,' Op. 35;" "Souvenir A La Suisse, Op. 27;" and "Variations Brillantes, Op. 18," American Recorder 34 (November, 1993): 17.

"Extraordinary Encores for Solo Recorder and Pianoforte, Vol. I." By Piers Adams. American Recorder 34 (March, 1993): 37-38.

"Solos in Swing for Descant Recorder and Piano." By Don Bateman. American Recorder 34 (March, 1993): 37-38.

Music Editions, Historical Notes

William Lawes, The Three-Part Consorts, for Two Treble Viols (or Violins) and Bass Viol (With Optional Continuo). Edited by Mark Davenport (Colorado: Landmark Press, 2002).

"Erich Katz: His Life." Introduction to Erich Katz, Santa Barbara Suite: Gala Centennial Edition. Published as a supplement to American Recorder, 46 (January, 2000).

Nicolas Gombert, Dezilde al Cauallero, Five-Part Villancico for Voices, Recorders, Viols or Other Early Instruments. Transcribed and edited by Mark Davenport (Colorado/New York: Landmark Press, 1999).

Cristóbal de Morales, Emendemus in melius, for Recorder Quintet. Edited by Mark Davenport (Colorado/New York: Landmark Press, 1998).

Alonso Lobo, Ave Maria, Double Choir Motet (Eight-In-Four-Canon). Edited by Mark Davenport (Colorado/New York: Landmark Press, 1998).

Alonso Lobo, Versa est in luctum, for Recorder Sextet. Edited by Mark Davenport (Colorado/New York: Landmark Press, 1998).

Presentations, Papers, Conference Activity

“Tradition and Trust in (Music) Education.” Panelist and presenter at the Fall Faculty Conference. Regis University, Denver, CO, 5 October, 2012.

“Essential Graces: Ornamenting Baroque Music.” Lecture and demonstration presented at the American Recorder Society Festival and Conference “The Recorder: Past, Present and Future,” Reed College, Portland, OR, 7 July, 2012.

“New Paths for Teaching the Recorder.” Session moderator for the American Recorder Society Festival and Conference, “The Recorder: Past, Present and Future,” Reed College, Portland, OR, 7 July, 2012.

“Leading a Group: Recorder Orchestras, Collegia and Consorts.” Session moderator at the American Recorder Society Festival and Conference, University of Missouri, St. Louis, 1 August, 2009.

“The Art of Dying.” Session chair for the annual meeting of the American Musicological Society, Quebec City, Quebec, 2 November, 2007.

“Locating and Playing Music from the Recorder Music Center.” Lecture and demonstration presented at the American Recorder Society Festival and Conference, Regis University, Denver, CO, 29 July, 2005.

"Between Fantazy and Aire: The 'Active Braine' of William Lawes." Performance/ Lecture presented at the Fortieth Annual Conclave of the Viola da Gamba Society of America, Franklin Pierce College, Rindge, New Hampshire, 22 July 2002.

"The Dances and Aires of William Lawes (1602-1645): Context and Style." 3 Vols. Doctoral Dissertation, University of Colorado, Boulder (May, 2001).

"Thematic Transformation and Other Abstract Tendencies: Decoding an Early-Seventeenth Century Autograph Manuscript by William Lawes (c. 1635-38)." Paper read at the annual meeting of the Society for Seventeenth-Century Music held at Franklin & Marshall College, Lancaster, PA, 20 April 2001. Paper first read at the annual meeting of the Rocky Mountain Chapter of the American Musicological Society held at Arizona State University in Tempe, 11 March 2000.

"The Aire in William Lawes's Five- and Six-Part Consort Setts: A Comparison and Analysis." Selected for presentation at the William Lawes Conference and Festival, 22-24 September 1995, Oxford University, England. Paper first read at the annual meeting of the Rocky Mountain Chapter of the American Musicological Society held at Brigham Young University, April, 1995.

"Handel's Opus I Solo Sonatas." Paper/performance presented at the San Francisco Early Music Society, Dominican College, San Rafael, CA, June, 1997.

"Erick Katz: His Early Years in Berlin and Freiburg, 1900-1939." Masters Thesis, University of Colorado at Boulder (1994).

"Student Evaluations of College Music Professors: Differences Between Professors With a Background and Without a Background In Music Education." Paper presented at the 51st Annual Colorado Music Educators Association (CMEA), Broadmoor Hotel, Colorado Springs, CO (January, 1994).

"Handel's Opus I Solo Sonatas." Paper/performance presented at the Colorado Recorder Festival, Colorado Springs, CO June, 1993.

"Rock in the American University: Popular Vs. Classical Musical Systems - Bridging The Gap," Senior Project/SUNY New Paltz (1992).

Community Service & Involvement

Nonprofits

2004-2012

  • Board of Directors, American Recorder Society (elected to two 4-year terms). Chair, Education Committee (2004-2010); Chair, Programs Committee (2010-2012). Served on Governance Committee, Publications Committee, and Festival and Conference Committees

2006-2008

  • Board of Directors, Early Music Colorado

1993 –1997

  • Board of Directors, Early Music Colorado

Regis University (2002-Present)

2005-Present
  • Chair, Music Program Outreach Committee
  • Chair, Music Program Concert & Events Planning Committee
  • Campus Representative for CMEA (Colorado Music Educators Association)
2010-2012
  • Integrative Teaching Institute (May 14-17, 21-24 and August 21-22, 2012)
  • Claver Hall (formerly ALC) Steering Committee
  • Music and Audio Technology Ad Hoc Planning Committee
  • Search Committee, Associate Minister for Liturgical Music
2005-2008
  • Chair, Budget and Facilities Committee
  • Faculty Forum Executive Committee
2004-2005
  • Chair, Search Committee, Assistant Professor Music Theory and Composition
  • Academic Council
  • Library Advisory Committee
  • Academic Governance Committee

Metropolitan State College of Denver (1999-2002)

1999-2002
  • Coordinator of Adjunct Music Faculty
  • Faculty Advisor for Music Education students
  • Faculty Liaison for MENC (The National Association for Music Education)

University of Colorado at Boulder

1995 –1997
  • Lead Graduate Teacher, Musicology
  • Graduate Teacher Program Teaching Certificate (1996)
  • Employed by the Graduate Teacher Program to assist and support in the training of Graduate and Teaching Assistants
  • Initiated and authored a comprehensive "Graduate Teacher Handbook" for the College of Music
  • Research Assistant, American Music Research Center. Assisted in the publication of the Center's annual journal, American Music Research Center Journal
  • Co-Chair, Musicology Colloquia, College of Music
  • Elected student representative of the American Musicological Society, Rocky Mountain Chapter

Sarah Lawrence College, Bronxville, NY

1975-1978
  • Assistant Librarian, Music Library
  • Orchestra Manager, Sarah Lawrence College Chamber Orchestra