Fall 2021 / Spring 2022 Visiting Artists

Becca Stevens

Since making her debut with the 2008 album Tea Bye Sea, GRAMMY-nominated singer/songwriter/multi-instrumentalist Becca Stevens has tested the limits of musical identity, mining everything from jazz to Irish folk to indie-rock in her striving for complete and authentic expression. In her latest musical endeavor—WONDERBLOOM —the North Carolina-bred, Brooklyn-based artist again defies all expectation, this time dreaming up a groove-heavy, dance-ready sound infused with elements of pop and funk and R&B. But despite its brighter textures and uptempo rhythms, WONDERBLOOM finds Stevens achieving a profound complexity in her lyrics, ultimately redefining what’s possible in creating music that elevates and edifies. 

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Victoria Keddie

Victoria Keddie is an artist working in experiential media, with a focus on transmission and broadcast. Keddie’s work and research explore the choreography between the human body and the tools built for televisual production and electromagnetic signal generation, incorporating the earliest machinery used for sound and video transmission with emerging immersive and virtual-based technologies.

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Ellen Fullman

Ellen Fullman has been developing the Long String Instrument, an installation of dozens of wires fifty feet or more in length since the early 1980s. This project encompasses the study of Just Intonation tuning theory, a compositional practice centered on string harmonics, the development of a tablature graphic notation system, and musical instrument design and fabrication. The enveloping nature of the rich acoustic tones produced by The Long String Instrument evokes a sensation of being inside of a musical instrument.

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Tigran Hamasyan

With pianist/composer Tigran Hamasyan, potent jazz improvisation fuses with the rich folkloric music of his native Armenia. Turning 30 in 2017, he’s one of the most remarkable and distinctive jazz-meets-rock pianists of his generation. A piano virtuoso with groove power, Tigran’s latest adventurous project is 2017’s An Ancient Observer, his second solo album, his eighth overall as a sole leader, and his sophomore recording for Nonesuch. (Overall, this is his eighth recording as a sole leader.) Conceptually, An Ancient Observer is a poignant album focusing on the art of observing. 

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Jeff Tain Watts

Jeff Watts, the drummer they call "Tain," spent his formative years with Wynton and Branford Marsalis, and his compositional skills now command equal attention. Jeff joined the Wynton Marsalis Quartet in 1981 and proceeded to win three Grammy Awards with the ensemble: Black Codes From The Underground,  J Mood and Marsalis Standard Time - Vol. 1. Watts left Wynton Marsalis in 1988.  After working with George Benson, Harry Connick. Jr. and McCoy Tyner, he joined the Branford Marsalis Quartet in 1989, winning Grammy's for I Heard You Twice the First Time and Contemporary Jazz. In the film and television industry Jeff has appeared as both a musician on the Tonight Show with Jay Leno and as an actor, Rhythm Jones in Spike Lee’s "Mo Better Blues".

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Sharon Chohi Kim

Sharon Chohi Kim is a classical vocalist who specializes in contemporary opera and experimental voice. She recently performed the role of Hungry Ghost in Meredith Monk’s opera ATLAS with the Los Angeles Philharmonic. Other performances include the role of Lucha in The Industry’s world premiere of Hopscotch, and the West Coast premiere of Sila: The Breath of the World by John Luther Adams. She has also performed with Los Angeles Opera Company, the Broad Museum, four larks, Getty Villa, MOCA, REDCAT, Dorothy Chandler Pavilion, and Walt Disney Concert Hall. She has toured Canada and the U.K. singing experimental music. As well as performing, Sharon recently co-composed Unseal Unseam. This opera was described as “hair-raising” and “paralyzingly beautiful” (New Classic LA)

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Paula Matthusen

Paula Matthusen is a composer who writes both electroacoustic and acoustic music and realizes sound installations. In addition to writing for a variety of different ensembles, she also collaborates with choreographers and theater companies. She has written for diverse instrumentations, such as “run-on sentence of the pavement” for piano, ping-pong balls, and electronics, which Alex Ross of The New Yorker noted as being “entrancing”. Her work often considers discrepancies in musical space—real, imagined, and remembered.

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