ITF 2025: Presenters

Lectures, recitals, and presentations featuring top performing artists, teachers, and researchers from around the world.

Dr. Karen Marston, Director, ITF; Mt San Antonio College
Dr. Justin Cook, Manager, ITF; University of Central Arkansas
Dr. Christopher Van Hof, Assistant Manager, ITF; Ball State University
Dr. Hana Beloglavec, Florida State University

As the heart of the ITF are our amazing presenters - artists, teachers, and sholars who are the forefront of trombone playing around the world. Selected by a juried panel for their exceptional contributions, dedication to excellence, and passion for advancing trombone performance, repertoire, and education, ITF presenters bring both diversity and innovation to the festival. Expect to see recitals featuring groundbreaking works, sessions on progressive teaching methods, lectures on niche topics that are uniquely showcased at the ITF, and everything in between.

Be sure to look for ITF presenters throughout the festival schedule!

Shelly Suminski

  • Clinic Overview: Many instrumentalists are familiar with the Hungarian composer/musicologist Zoltán Kodály for his orchestral works like the Hary Janos Suite, and a few know that he created a music pedagogy philosophy that involves solfege. The Kodály Approach goes far beyond singing with hand signs and employs thought-provoking pedagogical techniques that are of value to both the beginning and advanced trombonist. The Kodály Approach is for teachers of  all levels, as the tools from this philosophy are designed to hold high musical standards for the teacher and deepen the musicianship of the student. These tools can be used in private lessons, the group lesson classroom, and in secondary ensembles. Take a dive into Kodály’s philosophy and learn how to employ these techniques in the lesson and classroom setting.

     

  • Shelly Suminski received a BM in Trombone Performance from the University of Southern California as the 2007 recipient of the Robert Marsteller Outstanding Brass Musician Award while studying with Dr. Terry Cravens. In 2009 she earned her Masters Degree at the California Institute of the Arts, studying under James Miller, Associate Principal of the Los Angeles Philharmonic.  As an active freelance musician in Southern California, Suminski has performed with many local orchestras and musical theatre companies. In addition to classical performance, Shelly also performs and tours with local rock and big bands and has recorded for film, television and other media projects. Her career has led her to play in major venues across the United States, Middle East and Asia. In 2019 she performed the world premier of Meditation and Decision for solo trombone and piano at the International Trombone Festival in Muncie, IN. She returned to ITF in 2022 performing as a founding member of the all-women Empress Trombone Quartet. In 2023, Shelly became a founding member of the organization She Can Play Brass. an organization created to support and elevate women brass players in Southern California. 

    Devoted to music education, Suminski serves on the Brass Faculty at the Colburn School CSPA, San Bernardino Valley College and Victor Valley College. She received her Kodály Certification from the Kodály Association of Southern California (KASC), and currently teaches Level III Pedagogy for KASC Levels. She previously served on the Board of Directors for the Organization of American Kodály Educators as the Instrumental Advisor and Western Division President and is a Past President of the Kodály Association of Southern California. She served as the Co-Chair for the 2023 International Kodály Society Symposium in Los Angeles.

    Shelly Suminski is a Conn-Selmner (Vincent Bach) Performing Artist.

Dr. Jason Hausback

  • Clinic Overview: Playing By Ear is a presentation designed to investigate the correlation between engaging the auditory cortex and increased acquisition of musical skills. Research into several different areas affirms that playing without notation not only has many musical benefits, but also aids with memorization and learning. For most of the history of music, performers played by ear, rather than with notation.  Applying these techniques to both one-on-one and group settings can help both students and musicians of all ages improve at a much faster rate, play more musically, and even help manage performance anxiety.

  • Dr. Jason Hausback serves as Professor of Trombone at Missouri State University and is also the Director of Jazz Studies.  While a student at the University of North Texas, he was a member of the internationally-acclaimed One O’Clock Lab Band and was on the recording “Lab 2009,” which was nominated for two Grammy awards.  In 2008, Jason was the winner of the Eastern Trombone Workshop National Classical Bass Trombone Solo Competition, as well as the ITA Kai Winding Jazz Trombone Ensemble Competition.  His trombone quartet “Bell Street Four” also won the 2008 ITA Quartet competition, and he won the 2010 Eastern Trombone Workshop Jazz Trombone Ensemble Competition as director of “The U-Tubes” at the University of North Texas.  He has performed, presented and adjudicated at may prominent brass conferences throughout the world including the International Trombone Festival (2015-present), The American Trombone Workshop, and the International Women’s Brass Conference.  Jason is a S.E. Shires Performing Artist.

TexiCali Trio

  • The TexiCali Trio is an ongoing collaboration between Dr. Karen Marston, Professor of Music at Mt San Antonio College (California) and Dr. Deb Scott, Professor of Trombone at Stephen F Austin State University (Texas). The group is a natural extension of the long standing friendship between Deb and Karen, who met on a gig in Houston, Texas, in 1999. Knowing at that time that were the only two professional female trombonists in the area, they formed a close bond, which has endured many years and many miles. TexiCali was officially named in 2021, after Deb and Karen had already formed a habit of sharing recitals and working together on commissions of new music. Since that time, TexiCali has performed at the International Trombone Festival and the International Womens Brass Conference, and has given recitals at numerous universities, including Ohio University, Northern Kentucky University, and Wright State University. In 2021, together with pianist Dr. Jason Lo, TexiCali commissioned and premiered Justin Writer’s Spectrums, for two trombones and piano.

  • Dr. Cory Mixdorf is proud to be a part of the distinguished faculty at the University of Arkansas where he maintains a strong studio and directs the RAZORBONES, the U of A Trombone Ensemble, who were selected to perform at the 2022 and 2018 International Trombone Festivals. In addition to his teaching duties, Dr. Mixdorf maintains a regular schedule as a guest artist and clinician on the national and international levels. In addition to frequent solo recital tours, his most recent endeavors include: recording his first solo album, “Songs and Elegies,” performing a full recital at the 2023 International Trombone Festival, touring with the Blue Ridge Trombone Quartet, recurring performances at the American Trombone Workshop, and touring Germany and recording an album with the brass ensemble, Eurobrass.

     

    Dr. Mixdorf holds positions with several regional orchestras including the Symphony of Northwest Arkansas, the Fort Smith Symphony, and the Arkansas Philharmonic. He has served as Acting Principal Trombone of the Tulsa Symphony and Acting Second Trombonist with the Chattanooga Symphony Orchestra, and has also performed with the Atlanta Symphony Orchestra, the Oklahoma City Philharmonic, the New World Symphony, and the Dayton Philharmonic among others. Before his appointment at the University of Arkansas, Dr. Mixdorf served as Assistant Professor of Trombone at Georgia State University in Atlanta, GA. He holds a Bachelor of Arts degree from the University of Northern Iowa as well as Master of Music and Doctor of Music degrees in trombone performance from Indiana University. His principal teachers include Peter Elleftson, M. Dee Stewart, Nancy Vogt, D. Paul Pollard, Bruce Tychinski, and Brad Edwards. Dr. Mixdorf is a Greenhoe Performing Artist.

Dr. Joseph Brown

  • Clinic Overview: Brass instruments can be quite effective at emulating qualities of the human voice.  Teachers of all brass instruments have made certain elements of singing a vital part of their teaching styles; much can be gained from a singing approach to learning trombone fundamentals as well.  This session will present strategies for teaching the fundamentals of brass performance in a way that shows parallels to qualities of the human voice as well as drawing on certain ideas found in choral pedagogy.  How does vocal diction connect to trombone articulation?  What can we learn from singers in order to improve our range?  How can we improve tone production and intonation through using the voice in our daily fundamentals?  Can trombone legato technique benefit from a study of the lyric qualities of the voice?  How can these ideas be applied to help with common performance issues found in younger performers?  "Singing Through Your Fundamentals" has been previously presented at the North Carolina Music Educators Association convention, as well as for the Trombone Symposium of the State of Goiás (Brazil) and the Association of Trombonists of Paraíba (Brazil). 

  • Dr. Joseph Brown is Assistant Professor of Trombone at Appalachian State University.  At Appalachian State, Dr. Brown teaches applied trombone, trombone choir, trombone pedagogy/literature, and chamber music.  He is an advocate for chamber music and is active in several chamber groups including the low brass trio 3Basso, Ohio Trombone Quartet, and Carolina Trombone Project.  Dr. Brown is second trombonist in Symphony of the Mountains, and has performed with orchestras in North Carolina, Texas, Illinois, Ohio, and West Virginia; he was also proud to be selected as part of the Fellow class at the 2013 Alessi Seminar. A passion for music education began at a young age, learning first from his mother who was a choral music educator and church musician in North Carolina.  Similarly, Dr. Brown began his career as a middle school instrumental music educator at W.P. Grier Middle School in his native Gastonia, North Carolina.  Dr. Brown holds degrees from the University of Texas at Austin (DMA Trombone Performance) and Appalachian State University (MM Music Education/Trombone Performance and BM Music Education), where he was a North Carolina Teaching Fellow.  His professional memberships include the International Trombone Association, National Association for Music Education, North Carolina Music Educators’ Association, as well as an honorary membership in Phi Mu Alpha Sinfonia, Rho Tau Chapter.

Dr. Jason Sulliman

  • Clinic Overview: There’s more than one way to skin a cat, and we all know several ways to practice. We often turn to seasoned professionals with long records of measured success for the best practice tips. When these methods don’t work out as well, one of the easiest scapegoats is that a lack of “talent” must exist. In this presentation, I provide a richer context across the spectrum of developmental levels for players and why certain techniques seem to be ‘fine’ for some but problematic for others. I apply solid research-based findings toward common pedagogical ideas and break down the breakdowns that can exist between teachers and students. No matter where you are on the journey, this session can provide 21st-century insight that can help you in your practicing and/or teaching. This session is ideal for high school and collegiate-level students as well as those who teach them.

  • Dr. Jason Sulliman is an innovative brass teacher who combines principles from kinesiology and cognitive science to rethink pedagogy in the 21st-century. He is a leading expert on facial stability and embouchure rehabilitation and is in constant demand as a consultant with professional wind musicians all over the world. Recent presentations include the Midwest Clinic, Juilliard, Eastman, TMEA, ITG, and the ITF. Currently, Jason is Associate Professor of Trombone at Troy University.

     

    Jason earned his DM in Brass Pedagogy from Indiana University where he also studied kinesiology and cognitive science. Dr. Sulliman also holds degrees from the University of New Mexico and the University of Massachusetts.

    As a performer, Jason is the current bass trombonist for the Meridian Symphony (MS) and is an active freelancer with several orchestras throughout the southeastern United States. His performance experience includes ensembles such as the Indianapolis Symphony, the Alabama Symphony, the Dallas Brass Quintet, and the Atlantic Brass Band.

    Jason is passionate about providing resources to developing players of all ages through social media and is proud to be an M & W Custom Trombone artist.

Dr. Gwang Kim

  • Clinic Overview: First-generation college student (FGCS) face a range of challenges in higher education, from financial difficulties to a lack of familiarity with academic systems and expectations. Though these issues are not only applicable to FGCS, as a FGCS myself who've completed a DMA and now teaching at a university, I've personally felt the need for support and awareness that I was not alone. For FGCS, these obstacles are often magnified in specialized fields such as music education, where students must navigate not only general college demands but also the rigorous and highly competitive nature of music school. This presentation proposes to explore the unique challenges faced by FGCS in music schools and to investigate the resources that can help these students succeed. By identifying and evaluating both academic and non-academic supports, this presentation will provide insights into how music schools can create environments that foster the success of FGCS.

    Finally, the goal of this presentation is to spark a community for FGCS, and promoting diversity, equity and inclusion for our trombone society. I also believe that the resources to be presented will be applicable and useful for all trombone students majoring in music, but especially for those in the FGCS community. I also hope that this would inspire more International students to apply to study in the United States, and/or vice versa, for students from the United States to apply for international study in different parts of the world. This whole initiative hopes to unite and bond our international community at large.

  • Dr. Gwang Kim is the second trombone of the Bakersfield Symphony Orchestra, faculty at California State University Fresno, Concordia University Irvine, Loyola Marymount University, Ventura College Schwab School of Music, and YOLA, Los Angeles Philharmonic. He has performed with notable ensembles around the world including the Los Angeles Philharmonic, Hollywood Bowl Orchestra, New West Symphony, Seocho Philharmonic, and the Daesan Philharmonic. He has also performed at Coachella with artists from 88 Rising and has recorded for numerous television shows including ABC’s The Fosters and Netflix original The Chef’s Table. As an educator, Gwang has been invited as a guest clinician for the Rockport Brass Festival, Pasadena City College, California State University Northridge, WMU Symphony and KAYS Orchestra. As a passionate educator, he has previously served on faculty at the Harmony Project, Pasadena Conservatory of Music, and UCLA.

    As a devout Christian, his dissertation entitled “Coram Deo: The Trombone and the Sublime in the works of Beethoven,” explores the profound role of the trombone as a musical embodiment of the presence of God, or Coram Deo, and discusses its contribution to the aesthetics of the sublime in compositions by Ludwig van Beethoven. By drawing on an interdisciplinary approach combining musicology, theology, and aesthetics, it assesses recurring motives, orchestration choices, and other musical techniques that emphasize the trombone’s association with the divine. By examining the special role of the trombone as an instrument with a distinctive range of expressive and spiritual associations, the publication strives to provide more understanding of the relationship between the trombone, spirituality, and the sublime.

    He holds his Bachelor of Music degree from the USC Thornton School of Music, a Master of Music and Doctor in Musical Arts degree from the UCLA Herb Alpert School of Music.

Drew Bryant

  • Clinic Overview: Focusing on the playing, compositions, and lives of unsung heroes Grachan Moncur III & Roswell Rudd, this presentation serves to outline a pedagogical and performance framework in avant garde jazz for those who improvise and teach jazz.

    “Avant garde jazz” as it’s often loosely defined is very seldom studied and taught in a serious academic setting.  Jazz study curriculums around the country operate off the use of collectively agreed upon canons as a starting point for creating measurements for grading.  This approach undoubtedly has left many rocks unturned and instead placed immense focus on a handful of individuals utilizing a fairly narrow aesthetic view, that being the music and vocabulary of bebop, hard-bop, and post-bop. 

    Teaching is greatly lacking outside of this bop-centric curriculum; when confronted with the prospect of codifying avant-garde or free jazz, no serious attempt in my findings have been taken, most certainly within the trombone community.  This presentation intends to broach this subject by demystifying the music of Grachan Moncur III and Roswell Rudd in the 1960’s and 70’s, creating an organized pedagogical canon for study around their music, playing, and techniques.

  • Drew Bryant is a Chicago-based freelance bass trombonist, tubist, educator, and writer.  He studied at Elmhurst University under Tom Garling and Tom Stark, later earning his Master’s degree on jazz bass trombone at the University of North Texas under Nick Finzer.  Drew performed with the One O’Clock Lab Band and can be heard on their 2024 album, Lab ‘24.

    In 2023, he participated in the JAS Academy in Aspen, Colorado, working alongside top collegiate musicians and esteemed faculty under the direction of Christian McBride.  Passionate about education, Drew teaches classical and jazz trombone throughout the Chicagoland area.

Dr. Chris Van Hof

  • Clinic Overview: Trombone21 is my new project co-authored by Carol Jarvis that explores new pedagogical philosophies and approaches for preparing trombonists to better perform in multiple different styles. The modern trombonist must be at least conversant, if not fluent, in many styles and genres, and our approach to study helps both students and professionals build those requisite skills. During the presentation, I will describe and demonstrate our approach to authentically performing in the following styles of music: early music, symphony orchestra, jazz big band, popular music, and Latin music. This will also be an interactive experience, as I will invite attendees to perform alongside me using our backing tracks. The recordings were made with some of the top players in London, England and Indianapolis, IN.

  • Chris Van Hof is the Associate Professor of Trombone at Ball State University, and an active freelance performer in all styles of music in Indianapolis, IN. He regularly performs as extra/substitute trombone with the Indianapolis Symphony Orchestra, guest principal with the Indianapolis Chamber Orchestra, in recording studios in Indianapolis for Disney, theme parks, and publishing companies like Hal Leonard, and he is the Principal trombone of the Carmel (IN) Symphony Orchestra. He has taught at BSU since 2017, where he has built a strong studio of students. Recent graduates have gone on to graduate study at the University of Michigan and the university of Minnesota, have been accepted into the USMC Music Program, and have found employment as music educators across the state of Indiana. Chris is a performing artist for S.E. Shires and is also the Assistant Manager of the International Trombone Festival.

Dr. Bruce Tychinski

  • Clinic Overview: Want to perform something on your next recital on alto trombone, but aren't sure how to go beyond Wagenseil, Albrechtsberger, and Leopold Mozart?  Would you like to play some contemporary repertoire?  How about representing diverse composers?

    While most performers on the alto trombone know the standards, it can be intimidating to consider newer works, transcribing music from other instruments, or commissioning new works.  The focus of the session is expanding the performer’s repertoire for the alto trombone and offering performers some new perspectives on the instrument.  During the session, Dr. Bruce Tychinski will present a lecture recital format that will intertwine performing and informational content.  Repertoire to be discussed and/or performed will include modern works for the alto trombone, works from diverse composers, compositions that use both alto and tenor trombones, and some brand new compositions and transcriptions.  This session would be suitable for collegiate through professional level players who have a desire to perform and promote the alto trombone in the 21st century.

  • Dr. Bruce Tychinski is Professor of Trombone at the University of Delaware where he teaches applied lessons, directs the Trombone Choir and UD Slides jazz trombone ensemble and hosts an annual Trombone Day event.  Dr. Tychinski is a member of the Washington Trombone Ensemble, the Nittany Trombone Quartet, Principal Trombonist of the Johnstown Symphony, and Second Trombonist of the Lancaster Symphony.

    During his career, Dr. Tychinski has performed with orchestras, chamber groups, and jazz ensembles throughout the United States and also with many well-known popular artists including Rosemary Clooney, the Four Tops, Little Anthony and the Imperials, the Drifters, Leslie Gore, Lou Christie and Connie Francis.  In recent years, he has appeared at the International Trombone Festival, the International Tuba and Euphonium Conference, International Horn Symposium, and the American Trombone Workshop. Dr. Tychinski spearheaded the Stamp Trombone Commission Consortium that resulted in the composition Divertimento for Trombone and Band by Jack Stamp which he premiered at the 2013 Eastern Trombone Workshop with the United States Army Band.  Dr. Tychinski was named a 2016 Delaware Division of the Arts Fellow and released his first solo compact disc recording, Interplay: New Music for Trombone and Band on the Arts Laureate label in 2017.

    Dr. Tychinski has been performing and recording on the alto trombone since 1988.  He has presented dozens of recitals including the alto trombone, performed and recorded on alto with the Washington Trombone Ensemble and Nittany Trombone Quartet, and performed works with many orchestras on the instrument.  He performed the Albrechtsberger Alto Trombone Concerto with the University of Delaware Symphony Orchestra in 2012.  He has appeared at the American Trombone Workshop, International Horn Symposium, MTNA 

    Dr. Tychinski holds Bachelor and Master of Music in Trombone Performance degrees from Penn State University and the Doctor of Musical Arts in Trombone Performance degree from the University of Kansas. Prior to his appointment at the University of Delaware in 2010, Dr. Tychinski taught at the University of Southern Mississippi, St. Norbert College and the University of Northern Iowa.  Bruce and his wife Heidi live in Landenberg, PA with their three children: Gretchen, Clara and Peter.

Marcos Botelho

  • Clinic Overview: Gilberto Gagliardi (1922–2001) is considered by many to be the greatest trombone pedagogue in Brazil, and gives his name to one of the ITF competitions. He was the author of 4 methods for trombone (3 for tenor and one for bass), with only one method being edited and the others being handwritten copies or homemade editions. However, in a survey carried out in 2019, it was pointed out as the method most used by Brazilian trombonists. He developed his methods and studies due to the difficulty of accessing foreign methods that existed in Brazil in the mid-20th century. Being a talented composer, he composed countless studies, duets, chorals, pieces and arrangements. Thus, in our presentation, we will show part of this immense and rich material, intensely used by Brazilian trombonists of all levels.

  • Dr. Marcos Botelho is Professor of Trombone and Chamber Music at Goiás Federal University (UFG) Brazil, where he is also coordinator of the BandaLab Laboratory and the group “Trombones Goianos”. He holds a Doctoral degree from the Bahia Federal University  (UFBA), Master’s degree and a Bachelor’s degree from Rio de Janeiro Federal University (UFRJ). Dr. Botelho was teacher at Cândido Mendes University for five years and temporary teacher at age 25 at Rio de Janeiro Federal University. 

    He is part of some chamber music groups like the brass quintet Metais do Cerrado. He is regularly invited to important music festivals in Brazil, which include: Festival Brasileiro de Trombones (issues from 2014, 2015, 2016 and 2017) and Trombonanza 2023 (Argentine). He is International Affair of the Brazilian Association of Trombonists (2015-2018). He presented musical performances, research works and master classes at important universities in Brazil, Europe and USA

    Recently, he released the album Solitário, with pieces for trombones unaccompanied by Brazilian composers, in 2017 he recorded his first album Relembrando Goiás alongside singer Maria Eugênia, with classic songs by composers from the State of Goás.

Dr. Jonathan Allen

  • Clinic Overview: In this presentation common sources of body tension that negatively contribute to brass playing will be identified. Potential solutions and exercises will be presented to help students and teachers of brass instruments resolve these issues. 

  • Dr. Jonathan Sayre Allen serves as Assistant Professor of Practice in Trombone at The University of Iowa. His students have received scholarships and graduate assistantships to attend the New England Conservatory, Eastman School of Music, University of Miami, Mannes College, University of Iowa, Indiana University, Western Michigan University, University of Utah, University of Missouri Kansas City, and the University of Northern Iowa. Students have won positions in prestigious ensembles and intensive programs, such as the United States Air Force Bands, orchestras throughout the United States, Eastern Music Festival, Brevard, Aspen Jazz Snowmass, Grammy All-Star Band, Next-Generation Jazz Orchestra, Brubeck Jazz Colony, Jazz Band of America, as well as Iowa All-State Orchestra, Band, and Jazz Band.

    While a student at The University of Northern Colorado, Jonathan began his professional career by winning a position in the Greeley Philharmonic Orchestra. As a member of the Orchestra at Temple Square (UT), Dr. Allen performed weekly international television and radio broadcasts with the Mormon Tabernacle Choir, in addition to performing on several audio and video recordings with the ensemble. Allen has performed with the Quad-City Symphony, Orchestra Iowa, Utah Symphony Orchestra, Boulder Philharmonic, Cheyenne Symphony, Ft. Collins Symphony, and The Temptations. He has appeared on several film soundtracks and commercial recordings. Dr. Allen has performed as a soloist at the American Trombone Workshop in Washington D.C. and the International Trombone Festival. As a member of the Southeast Trombone Symposium “Professor’s Choir,” he can be heard on the album, “Legacy, Artists of the Southeast Trombone Symposium.”

    Allen hosted the 2018 International Trombone Festival at the University of Iowa. Dr. Allen holds degrees from The University of Iowa, University of Utah, and the University of Northern Colorado. His teachers have included Edwin “Buddy” Baker, Dr. Nathaniel Wickham, Larry Zalkind, Dr. Donn Schaefer, and Dr. David Gier.

Tim Conner, Gretchen McNamara, and Austin Pancner

  • Clinic Overview: This session will bring together three professional trombonists, colleagues, and friends who share a common interest in the personal health and wellbeing of the next generation of trombonists, not only as artists but also as human beings. As a panel, we will discuss the integration of mindfulness, mobility, and the focus of attention to establish an intentional approach to wellness that will holistically impact their playing, performance, and daily lives.

    Each of us has a unique story that has been transformative in our day-to-day experiences on and away from the trombone. Although our backgrounds are different, our goals are the same. We hope this panel discussion piques your curiosity, sends you home with some new ideas with which to experiment, and points you towards experiencing the life-changing benefits of mindfulness, mobility, and intention.

  • TIM CONNER, Associate Professor of Practice, Instrumental Performance, joined the faculty of the Frost School of Music at the University of Miami in 1995. In addition to teaching individual studio lessons, he conducts the Frost Trombone Choir, coaches chamber music, teaches courses in trombone pedagogy and literature, and serves as a faculty mentor on multiple doctoral committees.  He currently performs as Principal Trombone with several regional orchestras in the South Florida area.  Tim was Principal Trombone with the Florida Philharmonic Orchestra for eighteen years, Principal Trombone for the Florida Grand Opera for more than twenty years, and Principal Trombone for the Miami City Ballet for several years.  He has been the guest trombonist with many other orchestras, including the Tonhalle-Orchester Zurich, the Jerusalem Symphony, and the Academy of St Martin in the Fields. He received his formal musical education at the Eastman School of Music.

    Tim has been studying mindfulness practices since 2010. He has completed Mindfulness-Based Stress Reduction training (MSBR) through the UHealth Fitness and Wellness Center in Miami. He completed Mindful Performance Enhancement, Awareness, and Knowledge (mPEAK) training for athletes through the University of California- San Diego Center for Mindfulness. He is a member of the University of Miami’s Mindfulness Research and Practice Initiative (UMindfulness). He has given presentations on mindfulness practice, having a growth mindset, and the mental aspects of music performance to numerous targeted music school groups, at the International Trombone Festival, the College Music Society National Conference, and Festival Napa Valley.

    DR. GRETCHEN McNAMARA is the Senior Lecturer of Trombone and Music Education at Wright State University in Dayton, OH. She is an active artist-educator locally, regionally, and nationally. Before earning a Doctor of Musical Arts degree from the University of Cincinnati-College Conservatory of Music, she was a high school band director in Dundalk, Maryland at Patapsco High School and Center for the Arts. She uses her background in both performance and education to meet the needs of her students and help them achieve their personal and professional goals. Dr. McNamara's pedagogical interests include efficiency of movement and sound production as well as mental focus of attention. She has explored various systems including Alexander Technique, Body Mapping, Functional Movement, Physical Therapy, and Mindfulness practices and is currently investigating how the discipline of physics can inform brass pedagogy and instruction. 

    Dr. McNamara has presented numerous pedagogical clinics at the International Trombone Festival, Ohio Music Education Association Professional Development Conference, Big 12 Trombone Conference, Association for Music in International Schools, and Brass Chix. She has conducted Ohio Music Education Association District Honor Bands and Honor Jazz Ensembles and is regularly invited as a school music clinician and/or adjudicator in the region. Dr. McNamara has performed with Monarch Brass and the Athena Brass Band and has been a featured soloist with area ensembles including the Piqua (Ohio) Wind Ensemble, Kettering (Ohio) Civic Band, Wright State Wind Ensemble and Symphonic Band, Xavier (Ohio) University Wind Ensemble, and the Shoreline (Washington) Concert Band. She earned a Doctor of Musical Arts Degree from the University of Cincinnati College-Conservatory of Music, a Master of Music Degree from Kent State University, and a Bachelor of Music Degree and K-12 teaching credentials from the University of Washington.

    AUSTIN PANCNER is the founder and CEO of The Functional Musician, an online coaching company that helps musicians live and perform without pain through injury prevention and recovery programs. As a health professional, Austin has personally worked with over 100 musicians and holds a handful of accredited health and wellness certifications. Recently, he acquired an additional certification in Biomechanics and Recovery. As an educator, Austin has given masterclasses and workshops at Universities and Conservatories, focusing on trombone and a variety of topics such as injury prevention, breathing, posture, movement, performance anxiety, and entrepreneurship. As a trombonist, Austin holds the bass trombone chair with the Southwest Florida Symphony. Throughout his career, he has performed with ensembles across the country including the Cincinnati Symphony Orchestra, Atlanta Symphony Orchestra, Indianapolis Symphony Orchestra, The Florida Orchestra, and the Sarasota Symphony Orchestra.  Austin is an Edwards Artist, a Doctoral Candidate at Indiana University, and resides in Cincinnati, OH with his flute/piccolo playing wife Rebecca and his mini goldendoodle Poochini. 

Carli Castillon

  • Clinic Overview: Throughout the world, low brass musicians are predominantly male in performance, pedagogy, and practice. The purpose of this study was to survey female-identifying low brass professors across the United States to uncover any gender-based biases, discriminations, or obstacles they have faced in their positions. This study examined the effects of representation in higher music education and how we can undo the gendering of instruments. Professors responded to a survey about their experiences which yielded both quantitative and qualitative results. The findings of this study showed that the majority of female-identifying low brass professors face gender-based discrimination and microaggressions in their everyday professions. In addition, survey results suggested that representation from these professors has encouraged diversity in their student populations

  • Hailing from Port Orange, FL, Carli Castillon is a doctoral candidate in Trombone Performance at the University of Florida. Alongside her DMA studies, Carli is getting a graduate certificate in Women’s Studies, where her research lies in the gender biases in music in higher education. Since 2023 she has held the role of Adjunct Professor of Low Brass at the College of Central Florida in Ocala, FL. Carli is a regular sub with the Ocala Symphony and Gainesville Orchestra, also playing with the South Florida Symphony. Carli is the principal trombone of the University of Florida Symphony Orchestra and the University of Florida Brass Band.

    She has performed at the International Trombone Festival and the American Trombone Workshop. Outside of the classical world, Carli is a low brass technician for the Colts Drum & Bugle Corps, a brass consultant for Ethereal Winds Indoor, and a visual technician for the Buchholz High School Golden Regiment. In the past, she has worked on staff for the University of Florida and Colorado State University marching bands. Carli holds a Master of Music degree from Colorado State University and a Bachelor of Music degree from the University of Florida.

Kirsten Lies-Warfield

  • Clinic Overview: In 1999, the United States Army Band “Pershing’s Own” hired me as their first ever female trombonist. This was fifty-one years after the establishment of the Women’s Army Corps (WAC) Band, a band of women that served the same mission as the all-male special bands while never receiving special status. The army used the WAC Band as a friendly public face for decades but when the WAC Band applied for special status in 1972, they not only were denied but were downgraded and in a few short years effectively dissolved. I have researched the historical patterns of power structures as they relate to gender relations in the army and army bands and social psychology as it relates to women in non-traditional occupations. This research has helped to answer the question of why it took until the dawn of the twenty-first century for a woman to break into this specific role and to explain the unfortunate course of my career. Theories of status construction, implicit bias and ambivalent sexism help to explain how in one year my evaluations went from “promote ahead of peers” to “SFC Lies-Warfield has no potential for promotion.”

  • A graduate of Lawrence and Indiana Universities, Ms. Warfield was the first woman trombonist ever hired by the United States Army Band. She worked to develop their National Solo Competition and ran it from 2009 until 2017. After retiring, she was a fellow with the Bang On A Can Summer Festival and then went on to earn a degree in audio technology from American University. She was elected to the International Trombone Association Board of Advisors in 2018 and serves on their pedagogy committee. She moved to Minneapolis in 2023 and continues to teach, perform and compose.

Michael Stanton

  • Clinic Overview: Historically and currently, music history scholarship has falsely promoted that there was a marked decline of the trombone in the eighteenth-century repertoire. Through the reappearance and discovery of several manuscripts, mostly by the composer Anton Zimmermann, I aim to not only dismantle this broad claim, but to establish a narrative that the trombone was utilized in a prominent and virtuosic manner in the eighteenth-century. This presentation also describes several contemporaneous soundscapes and musical environments of the Hapsburg Empire and how composers connected the trombone’s pre-established traditional role with compositional innovations novel to the eighteenth-century. An overall goal of this presentation  is to ultimately showcase a foundation of research, music publication, and guideline for performance of an all too neglected and generally misunderstood era of the trombone’s history.

  • Michael Stanton is currently an active freelancer in the central Florida area. Michael has regularly performed with The Florida Orchestra, Sarasota Orchestra, Opera Tampa, St. Petersburg Opera, Orlando Philharmonic, and Jacksonville Symphony.  In May 2024, he earned a DMA in trombone performance with a connate in history at the University of Florida studying with Dr. Jemmie Robertson. Previous studies have included a masters degree with Michael Powell at SUNY Stony Brook University and with Per Brevig and Haim Avitsur at the Manhattan School of Music and CUNY Queens College for undergraduate studies. Michael also studied at the Royal Danish Academy of Music from 2017-2018 with Jesper Juul.  For the 2022-2023 season, Michael was  named an Associate member of the Chicago Civic Orchestra and is second trombone of the Ocala Symphony. In 2025, Michael will be the Visiting Trombone Professor at the University of Florida and member of the Sarasota Opera Orchestra. 

Bodie Pfost with Christopher Routh, Sam Gossner, and Dan Green

  • Clinic Overview: In this presentation, I will walk the audience through the history of the trombone (or sackbut) from its birth through the seventeenth century, with the Quadriga sackbut quartet playing pieces from the sackbut repertoire for one, two, three, and four sackbuts. A fantastic set of divisions on Susan un jour is likely the earliest published trombone solo. La Hieronyma by Césare, one of the earliest published solos for the tenor instrument, would be featured on the program along with Marini’s Canzon, one of the earliest published quartets. Unfortunately no trombone duets were published, so they have to be stolen from singers and bassoons. Finally, a set of trombone trios were published by Daniel Speer at the very end of the seventeenth century. I will rely on the best scholarship on the history of the trombone to connect the pieces to the historical, social, and cultural contexts in which they were created, performed, and heard. We will demonstrate the glory of the sackbut through the music and history of the sackbut.

  • Bodie earned his Doctorate of Musical Arts in historical trombone performance from Boston University in January of this 2022. He lives in Providence, Rhode Island, where he works at S.E. Shires Co. making trombones and freelancing around the New England area and beyond. Bodie has enjoyed performing on the sackbut and historical trombones with such ensembles as Teatro Nuovo, Philharmonie Austin, ARTEK, the Clarion Choir, the Baroque Chamber Orchestra of Colorado, Mercury Chamber Orchestra, and Ensemble VIII. Bodie enjoys playing trombone music from all periods of history as well as singing the lowest bass parts he can find. Bodie grew up in California and earned his undergraduate degree from Humboldt State University (now Cal Poly Humboldt). After playing a few seasons as the principal trombonist of the Bakersfield Symphony Orchestra, Bodie earned his Master of Arts in musicology at the University of Oregon in Eugene. His thesis, The Trombone in A: Repertoire and Performance Techniques in Venice in the Early Seventeenth Century, can be found online.

Dr. Sterling Tanner

  • Recital Description: This program will feature works from my debut album, Resonant Renaissance. The project is focused on amplifying the voices of underrepresented composers and standardizing the trombone’s repertoire. 

    Resonant Renaissance revitalizes the trombone repertoire by showcasing the works of composers whose voices deserve greater recognition. The program features a mix of styles and emotions, from the reflective beauty of Nicole Piunno’s In the Secret Places to the jazz-infused energy of David Wilborn’s Jazz Triptych. Barbara York’s A Caged Bird and Elizabeth Raum’s Concerto for Bass Trombone bring a profound emotional and technical depth, making this recital a compelling journey through underexplored musical landscapes. Additionally, this recital will include a world premiere of a new piece for bass trombone by Robert Spillman titled Ballade.

    This recital offers a fresh perspective that resonates with the festival’s goal of pushing boundaries and elevating diverse voices. This opportunity would be fantastic to promote and share my album while sharing this incredible music with our trombone community. I would be honored to present Resonant Renaissance at the 2025 International Trombone Festival as a step toward expanding the community’s celebration of underrepresented composers.

  • Performer, educator, and clinician Dr. Sterling Tanner currently serves as the Assistant Professor of Trombone at the University of Colorado Boulder. 

    An S.E. Shires Performing Artist, Sterling Tanner has appeared as a soloist throughout the United States and abroad, including performances in Hong Kong and Valencia, Spain. Sterling Tanner was named the winner of the 2016 and 2018 American Trombone Workshop Division III Bass Trombone Solo Competition and the 2015 Southeastern Trombone Symposium S.E. Shires Solo Competition. Sterling Tanner frequently performs with the Boulder Philharmonic, Boulder Chamber Orchestra, Colorado Symphony, Colorado Springs Philharmonic, Richmond Symphony, and Opera Colorado. 

    A native of Birmingham, Alabama, Sterling Tanner earned his bachelor’s in music education from Columbus State University. He holds MM and DMA degrees in trombone performance from the University of Texas at Austin.

Jim Nova, Peter Sullivan, Doug Rosenthal, Jeff Dee, and Craig Knox

Jaime Morales-Matos

  • Recital Description: Imagine traveling through Latin America, with its rich musical tradition of rhythms and melodies from Central, South, and Caribbean countries. Classical Music with a Latin Accent.

  •  Jaime Morales-Matos is an Associate Professor of Trombone at Miami University in Oxford, Ohio. He received a Bachelor of Arts, Performer's Certificate, and Artist Diploma from Indiana University and a Master of Music from Cincinnati College-Conservatory of Music.

    Morales-Matos has wide-ranging experience as a trombonist, including as a soloist with orchestras and ensembles and performing solo recitals in Europe, Latin America, and the United States. As an orchestral player, he has performed with the Cincinnati Symphony and Pops Orchestra, Columbus Symphony, Dayton Philharmonic, Lexington Philharmonic, Iris Orchestra, the Casals Festival Orchestra, the Florida Music Festival Orchestra, and the New World Symphony in the United States, and with the Asturias, Granada, and Galicia Symphony Orchestras in Spain. He has performed solos with several orchestras, including the Puerto Rico Symphony, Bangor Symphony, Symphony Orchestra of Southeast Texas, Guayaquil Symphony, National Symphony of the Dominican Republic, Galicia Symphony, Central Ohio Symphony, American Youth Philharmonic, Clermont Philharmonic, and the orchestras of Indiana University, Cincinnati College-Conservatory of Music, Miami University and the Puerto Rico Conservatory of Music. Morales-Matos has extensive chamber music experience, performing with the Gabrieli Brass Quintet, Top Brass, Upbeat Brass, and concerts with members of the New York Philharmonic and Cleveland Orchestra brass sections. He has premiered various concertos and other works written primarily for him.

    He has performed with several Grammy Award-winning artists in the popular genre, including Tito Puente, Ray Charles, Eddie Palmieri, Gilberto Santa Rosa, Lalo Rodriguez, Ruben Blades, and more. Morales-Matos is also the Director of Son del Caribe, a well-recognized salsa band in Ohio.

    Morales-Matos has taught trombone as a faculty member at the Puerto Rico Conservatory of Music, the Conservatorio Superior de Asturias in Spain, and the Cincinnati Conservatory of Music Prep Department. He has also served as an assistant instructor at Indiana University and has been involved in the faculties of several summer festivals in the US, Puerto Rico, Venezuela, and Spain. He is very active as a Master Class Artist in the United States and Latin America.

    Morales-Matos'sMorales-Matos's principal trombone teachers have included, Antonio Slacedo, Keith Brown, Tony Chipurn, M. Dee Stewart, and John Swallow. He has also studied privately with Joseph Alessi and Arnold Jacob.

Dr. Louis Setzer and Joseph Rebman, Harp

  • Clinic Overview: My presentation is intended to bring awareness of a genre of music that has been performed and recorded by some of the biggest names in our field, and yet to this day many are unaware of its existence: Music for Trombone and Harp. My lecture will contribute to our field by examining and performing works that are appropriate for musicians from the undergraduate level to professional. I will also discuss the strategies I learned in this process related to finding repertoire through networking, collaborating and commissioning new music.

    In 2014 I encountered my first work for this instrument pairing, and it set me down a two-year path to create the first database examining the music of trombone and harp. There are over 50 original solo works for trombone and harp with the oldest discovered work dating back to 1968. In addition to those original solos there are hundreds of transcriptions for trombone and harp that have been performed and recorded (with the Massenet Meditation from Thais and Saint-Saëns’ The Swan as two of the most performed transcriptions). 

    My presentation will explain how I discovered this previously unknown music with the help of the trombone community, where to listen to and find this music, and will feature a performance of three short original solo works for trombone and harp in hopes that more musicians will play this music. 

  • Dr. Louis Setzer is the Brass Area Coordinator and Lecturer of Low Brass at Northern Kentucky University. In addition to overseeing the low brass studio at NKU, Louis directs the brass choir and teaches courses in music theory. 

    Louis has appeared as a soloist at the International Trombone Festival and the American Trombone Workshop. He is the Acting Principal Trombone of the Richmond (IN) Symphony.

    Louis can be heard with NKU faculty member, Joseph Rebman (harp) on their debut album, “JOLO Duo, The Bounds of Spring”. This album contains eight previously unrecorded solos for trombone and harp. It was a direct result of Louis’ book “Solo Literature for Trombone and Harp, An Annotated Bibliography.” This book contains information on over 200 solos, transcriptions, and chamber works featuring the trombone and harp.

    Louis earned his BM in Music Education from Mansfield University of Pennsylvania, his MM in Trombone Performance from The Pennsylvania State University, where he served as the Graduate Teaching Assistant for Mark Lusk, and his DMA from the University of Cincinnati College-Conservatory of Music. His primary teachers were Stephen McEuen, Mark Lusk, Timothy Anderson, and Peter Norton.

Cole Bartels, Justin Coyne, Zach Bethel, and Adam Nissenbaum

  • Recital Description: The Beltline Bones is a new music ensemble disguised as a trombone quartet. We perform a cutting edge program of entirely new electro-acoustic music. Our performances are presented in a continuous and seamless format meaning that our program acts more like a music streaming playlist, and each piece dovetails in and out of those on either side of it. Audiences hold their applause until the very end, creating an uninterrupted listening experience. Our concerts are meant to challenge the traditional notion of what the trombone quartet sounds like, and what the typical concert experience looks and feels like. 

    Our program traverses many different styles, from the beautiful tonal minimalist landscape of Eve Begalrian's "In and Out of the Game", to the microtonal sound mass of Pauline Oliveros' "Heart of Tones", as well as to the less serious drumbeat infused music of Jay Batzner's "Lo-fi Beats to Slide To", amongst many other engaging and thought provoking works. 

    Our exact concert program for ITF is to-be-determined. We expect to have new pieces from Jorge Variego and Vicki Leona to premiere at the Festival in addition to performing some of our existing repertoire.

  • Formed in 2021, the Beltline Bones, consisting of tenor trombonists Cole Bartels, Justin Coyne, Zach Bethel, and bass trombonist Adam Nissenbaum, have quickly established themselves as a unique and engaging voice within the world of classical chamber music. Combining the traditional idiom of trombone quartet with their interests in new music and electronics, the Beltline Bones offer a thought-provoking listening experience unlike any other. 

    When the ensemble was founded all members of the quartet resided in Madison, WI. The group began under the tutelage of Mark Hetzler while studying at the University of Wisconsin, focusing largely on playing existing repertoire from the canon while establishing themselves in the classical music scene of South Central Wisconsin. The group later shifted priorities towards electroacoustic performance after discovering the music of composer Eve Beglarian. Now based across multiple states, Beltline Bones continues their work through recording projects and touring to promote the mission of the ensemble. 

    Due to the limited amount of pre-existing repertoire for trombone quartet with electronics, the Beltline Bones have commissioned a number of works from composers such as Jay C. Batzner and Isaac Mayhew, among others, while also composing their own music and arranging existing electroacoustic chamber music to fit their instrumentation. Much of this body of work is featured on their 2024 EP ‘Audiogenica’ released by cmntx records. In 2022 the ensemble received a grant to collaborate with NYC based composer Brian Mark, resulting in the composition of “Golconda” - a work that heavily explores microtonal textures. The group has upcoming commissions with composers such as Vicki Leona and Jorge Variego, and is also exploring writing more of their own repertoire.

    The Beltline Bones have been touring extensively throughout the US over the past several years, with performances in: Arkansas, Illinois, Indiana, Iowa, Michigan, Minnesota, Missouri, Oklahoma, Wisconsin, and Washington D.C. at the American Trombone Workshop. 

Lucas Kaspar with Elena Fainshtein

  • Recital Description: The TromboKordion Duo will present a recital of new compositions and arrangements for bass trombone and accordion. TromboKordion Duo formed in 2022. This unique duo is comprised of bass trombonist, Lucas Kaspar and accordionist, Elena Fainshtein. The primary focus of this unique ensemble is perform new works for this eclectic instrumentation. The ensemble hopes that many more people will discover the vast versatility of the accordion and how rewarding it can be to perform with this instrument as a trombonist. The accordion can play with the technique of the piano, while playing with the lyricism of a great singer! 
    A new arrangement of Ernesto Nazareth's Odeon for tenor trombone, bass trombone, and accordion will be performed, featuring Lucas Borges, Associate Professor of Trombone at Ohio University. Other works will include Opa's Yodel by Michael Johnson, Eastern Folk Dances by Etienne Crausaz, Amore by Gorka Hermosa, Autumn Illusion by Stas Venglevski, and Aires Rioplantenses by Ricardo Arbiza. 

  • The TromboKordion Duo was formed in 2022. This unique ensemble consists of Elena Fainsthein, Accordion, and Lucas Kaspar, Bass Trombone. In 2023, TromboKordion performed at the International Trombone Festival and Accordionists and Teachers Guild-International Conference. The duo performed recitals at Southwest Oklahoma State University, Dallas College, and Lone Star College in 2024. The duo performed a full recital at the 2024 Accordionists and Teachers Guild-International Festival. TromboKordion can be heard on Illusions, a new album of music for bass trombone and saxophone. The album was recorded in 2023 and will be released later in 2024. They will also be performing a recital at the Big 12 National Trombone Conference in January 2025. 

    Elena Fainshtein is a world-renowned accordionist. She is Instructor of Accordion at Dallas College. She is one of only a few college level accordion professors in the United States. She has performed in Belarus, Germany, Latvia, Lithuania, Russia, Israel, Canada and the United States. Most of her performances around the world were with her husband, Gregory, also an Accordion Duo. Elena and Gregory performed together for nearly 40 years! Elena has a very active teaching studio in Plano, TX where she resides and across the globe via Skype. Her Accordion School, Musical Expressions has resulted in several students’ success in national competitions, including accolades at the Big Squeeze Accordion contest, the Las Vegas Accordion Convention, the National Accordion Convention, and the Accordionists and Teachers Guild-International Festival. As a conductor, Elena established the Fainsthein Accordion Ensemble in 2013, which has grown to become a regularly performing accordion ensemble that is comprised of current and former students from all over the United States. . As a professional musician, Elena has been recognized recently by the Dallas Morning News, Ted Talk, and KRLD 1080 DFW radio station.

    Dr. Lucas Kaspar is Instructor/Artist of Trombone at Arkansas State University.  Dr. Kaspar completed his Doctor of Musical Arts Degree in Trombone Performance from The Ohio State University in 2018 and his Master of Music in Trombone Performance from the University of Alabama in 2013. Dr. Kaspar is a sought-after trombonist. He has performed with many premier orchestras in the United States, including the Buffalo Philharmonic, Columbus Symphony, Oklahoma City Philharmonic, Mobile Symphony, and many more. He has performed as a soloist numerous times at the Big 12 National Trombone Conference and International Trombone Festival. Kaspar performed with the Cramer Trombone Choir at the 2024 International Trombone Festival.

    Before teaching at Arkansas State University, Kaspar taught at Cameron University for four years, where he was Assistant Professor of Low Brass and Concert Band. Kaspar has also taught at Muskingum University (7 years) and Ohio Wesleyan University (1 year). 

Andrea Neumann and Haim Avitsur

  • Recital Description: A premiere performance of 5 new duets for two trombones. Compositions by Judith Shatin, Victoria Bond, Faye-Ellen Silverman, Debra Kaye, and Meira Warshauer.

  • Haim Avitsur and Andrea Neumann have forged a dynamic collaboration, sharing their expertise through concerts, masterclasses, and private teaching nationwide. Their partnership extends beyond the stage, as they consistently engage with fellow artists in captivating performances and collaborative recording projects. This duo's commitment to musical education and collaborative ventures underscores their dedication to enriching the world of trombone artistry while fostering a vibrant community of musicians.

Branimir León, José León, and Sérgio Simões

  • Recital Description: Students are often encouraged or required to participate in trombone quartets, but trombone trios are often overlooked despite offering greater flexibility and requiring more responsibility from each musician.

    Threebone will present a recital fully comprised of music written originally for trombone trio with the goal of inspiring musicians to explore and develop this underappreciated repertoire more fully. To that end, we would like to have the opportunity to present the program we have recorded on our debut album, which will be published to digital platforms later this year. This program features original music for trombone trio by renowned composers.
    Whether it's exposing other trombonists to a beautiful repertoire they might not yet have enjoyed, or offering ideas to composers who might feel inspired to contribute their own work, our ambition is to help establish the trombone trio as a mainstream ensemble found in communities and schools across the world.

  • Threebone was founded in 2020, in Mexico, by two brothers and one friend who played together for the first time in 2017.

    Their basic aim is to bring together a wealth of performing experience at the highest level, from early and contemporary music, classical and jazz music, to romantic and latin music.


    The members of Threebone are also active in the pedagogical field, leading chamber music and individual instrumental classes in Latin America. Besides that, all three members are active orchestra musicians. José León is the Principal Trombone at the Orquesta Sinfónica Sinaloa de las Artes, and Branimir León and Sérgio Simões are the Co-Principal Trombone and Bass Trombone at the Jalisco Philharmonic Orquesta, respectively. To date they have recorded one album "Threebone" available in all digital platforms.

Marcos Botelho, Lelio Alves, Fabio Carmo, and Diego Ramires, with Elisama Golçalves, piano

  • The BR5 Quintet is a Brazilian chamber ensemble with an inedited formation: four trombones and piano. The repertoire is focused on pieces for trombone and piano inspired in Brazilian rhythms and culture.

    The repertoire is made up of original works and commissioned arrangements, being a short journey through the music and soundscapes of our country. In just over 2 years of existence, the group has performed in all regions of Brazil as well as international concerts in Argentina and the USA.

    All members are professors from universities located in the 5 different regions of Brazil, contributing with regional nuances and visions to create their unique sound.

  • The BR5 Quintet is a Brazilian chamber ensemble with an inedited formation: four trombones and piano. The repertoire is focused on pieces for trombone and piano inspired in Brazilian rhythms and culture. The quintet was founded in 2022 and it is composed by the trombone players: Lélio Alves, Diego Ramires, Marcos Botelho, and Fábio Carmo, and the pianist Elisama Gonçalves. All the members are professors and active musicians from different regions of Brazil. The Quintet has performed in different states of Brazil, as well as, in Trombonanza Festival, Argentina. The quintet also performed a tour of 7 universities in 3 states. They will record their first Albun (EP) in November.

    Dr. Lélio Alves 

    PHD in Music, Federal University of Rio de Janeiro State, Brazil Master of Music, Federal University of Rio de Janeiro, Brazil

    Bachelor of Music in Trombone and Tuba, Federal University of Rio de Janeiro, Brazil Professor of Trombone at Federal University of Bahia

    Professor and Wind Band Conductor at FAETEC-Marechal Hermes, Rio de Janeiro

    Dr. Diego Ramires

    PHD in Music, Santa Catarina State University, Brazil Master of Music, Federal University of Bahia, Brazil

    Bachelor of Music in Trombone, Federal University of Santa Maria, Brazil Professor of Trombone at Federal University of Santa Maria, Brazil

    Wind Band Conductor at Federal University of Santa Maria, Brazil

    Dr. Elisama Gonçalves

    DMA in Collaborative Piano, North Dakota State University, USA Master of Music, Federal University of Bahia, Brazil

    Bachelor of Arts - Music Education, Federal University of Bahia, Brazil Professor of Music Education and Piano at Bahia State University, Brazil Staff Pianist at Federal University of Bahia, Brazil

    Dr. Marcos Botelho

    PHD in Music, Federal University of Bahia, Brazil

    Master of Music, Federal University of Rio de Janeiro, Brazil

    Bachelor of Music in Trombone, Federal University of Rio de Janeiro, Brazil Professor of Trombone at Federal University of Goiás, Brazil

    Coordinator of Trombones Goianos Ensemble

    Coordinator of BandaLb-UFG

    Dr Fábio Carmo

    PHD in Music,Federal University of Bahia, Brazil

    Master of Music, Federal University of Bahia, Brazil

    Bachelor of Music in Trombone, Federal University of Bahia, Brazil Professor of Trombone at Amazonas State University, Brazil

    Pro-rector of Undergraduate and Teaching at Amazonas State University Coordinator of Tubones Trombones Choir

Alciomar Oliveira with Alla Dadaian, Piano

  • Commented recital on the Cosmopolitan repertoire for the Piano and Trombone DUET. Music production process in new media and technologies. Popularization of Research in an academic environment in Brazil/Canada.

  • International soloist of Trombone. He played with Orchestras and various chamber music formations. 2 solo CDs and around 200 recordings with renowned artists. Awards and honorary distinctions in Soloist competitions. He is an artist sponsored by WERIL Musical Instruments and your own brand Alciobone Mouthpieces. He played in the Trombones section of the OSTNCS in Brasília for 12 years. He was active in the Canadian Music Scene during his PhD stay

    from 2010 to 2016, followed by regular stays at Jazz Festivals and Concert halls of Universities and Music Education Centers in the USA, Canada, Germany and South American countries. He has a solid academic background (30 years) and was a grantee at the CAPES Development Agency. He is currently collaborator of this and other research agencies. He has thesis, dissertation and several articles published in Canada, England and Brazil. It has a book approved for publication and launch in 2022, now in press. Guided several students in academic work in Brazil. In the duo with Russian pianist Alla Dadaian, they have been acting for 17 years, whose repertoire ranges from standart to compositions and arrangements specially prepared for the Ensemble. 

    CV: http://lattes.cnpq.br/8379881713977338

    CV: https://orcid.org/0000-0003-2455-8941

Russ Zokaites with Dr. Drew Quiring, piano

  • Bone-core Playlist is a recital re-envisioning the sounds and culture of the early 2000s punk aesthetic. These selected works have used existing melodies or created their textures based on elements found in the punk genre. You will hear everything you need to program your next recital for a room of degenerate millennials! 

    Influenced by the in-your-face nature of a mosh-pit, Gary Gilroy’s Bone Slayer is full of aggressive rhythm associated with hardcore punk rock. Michael Krikorian's multimovement work Bone-core utilizes melodies of the early 2000s genre as if they were composed by famous romantic and 20th-century composers. Russ Zokaites dives into the DIY ethic with his first composition White-Hawk. As a symbol of clarity, focus, and creativity, White Hawk is inspired by board sports legends Sean White and Tony Hawk. 

    The non-conformist punk sound aesthetic destroys barriers between genres. The Island makes use of Schnyder’s in-your-face marriage of jazz and classic music that encouraged Newsday to write, “[Schnyder] comes from a generation of composers who throw all kinds of music under their beds as they grow up and emerge in adulthood with a natural concoction.” And Bryce Cannel’s Thrash utilizes the subculture’s raw energy mashing hardcore sounds on a classical stage.

    Relive your warped tour experiences without the trouble of finding your chucks and getting a new piercing. You will feel like you are back in the Southern California anti-establishment movement of the late 1990s. Join us for some hard-core trombone. 

  • As a performer, Russ Zokaites has all the skills necessary .. variety of color, precision, lyricism and a musical presence (Henry Fogal, Fanfare Magazine). His performance credits include, recording the Fuchs Bass Trombone Concerto with the United States Army Band “Pershing’s Own,” performances with the Dayton Philharmonic, Kentucky Symphony, Bergen Philharmonic (Norway), The Netherlands Symphony Orchestra, and live on Netherlands Radio 4. Zokaites has collaborated with over 35 composers including Grammy Award winning Kenneth Fuchs, American Prize winner Martin Hebel, and Inez McComas.

    Russ Zokaites’ work in new music consists of interdisciplinary collaborations and social commentary. Mood Swings (2021, McGillicuddy, Findley) presents music composed during the COVID-19 pandemic. His recent album Bootleg (2021, Fuchs, Edwards, Hebel, Timmons) uses folk tunes and elements of American music to convey aspect of Appalachian Identity. The Wild Called Maxx (2016, Whitney George composer, Sammy Lopez illustrator) combines original and popular music with an illustrated story book about a young millennial searching for a home. The Ghettoblaster Project (2014, the Netherlands) showcased seven compositions recycling noise pollution through a wall of 1980’s boomboxes. Transformative Perspectives (2014, the Netherlands) combined poetry and music in humorous social observation.

Ed Goroza, with Luke Smoak, Fil Starostka, Alexander Charles, Cameron Clements, Ted Belledin, Garret Gauvin, Bryan Lester, and Joshua Smith

  • Performance Description: The trombone plays a predominant role in the genre of American-style brass band. From its origins in the street and shout bands of the 20th-century American south to its further development and synthesis into the contemporary genre it is today, trombone has served as a cornerstone of the sounds of brass bands for the past century. 524 Brass currently stands on the frontlines of the American brass band tradition, and seeks to become one of the guiding figures in the further propagation of this genre.

    Through the course of this presentation, The 524 seeks to further educate audiences on the unique role the trombone plays in the American-style brass band both sonically and aesthetically, as well as showcase some of the current music being composed for the genre. With its unique blend of hip-hop, funk, jazz, soul, RnB, rap, and traditional New  Orleans style street music, this presentation aims to inform its audience of the exciting alternative ways trombone is being utilized in contemporary music through the display of new original compositions and arrangements.

  • The 524 is a 9-piece, contemporary-style brass band based out of San Diego, CA and operating throughout the American Southwest. The group seeks to provide its audiences with a quintessential taste of San Diego's vibrant local culture, whilst simultaneously paying homage to the rich New Orleans tradition from which the group can trace its lineage. Showcasing an idiosyncratic blend of classic and contemporary influences that draw heavily from both North American and Latin American musical convention, The 524 strives to present a uniquely "San Diegan" experience that, much like the city it calls home, exemplifies the vivacity and depth of the many cultures that define Southern California. Equally at home up on stage or out in the streets, the group is guaranteed to live up to its tagline: "Biggest. Baddest. Best."

    Formed in 2023 by a group of Navy and Marine musicians, what initially began as a small group of friends making music in their off-duty hours quickly developed into one of San Diego's most up-and-coming musical acts. While following in the footsteps of such greats as the Youngblood Brass Band, No BS!, Lucky Chops, and others, The 524's distinctive synthesis of Funk, Soul, Jazz, Gospel, RnB, Rap, Rock, and Hip-Hop, as well as an equally extensive collection of Hispanic musical influences, coalesces into a sound that is solely their own. What's more, through its frequent collaborations with other local and national musicians the group aspires to further explore the capabilities of the genre, and potentially redefine the idea of brass bands as a whole.

Angelo Cassanello Bueno

  • Through various arrangements and adaptations, the concert will showcase the distinct stylistic details of Chilean folklore through different orchestration formats and performance methods. Poetry also plays an important role, with the historical context playing a crucial role. This concert encompasses styles such as "La Tonada," "La Música Nortina," "La Música de Protest," and "La Ballada." Through this concert, this new space for learning and musical culture will be created for festival students.

  • Angelo Cassanello Bueno, trombone professor at the University of Chile in Santiago. President of the Chilean Low Brass Association and one of the directors of the national low brass festival in Chile, the Tourbon Festival. He holds a bachelor's and master's degree from the University of Chile. He has participated in festivals in Argentina, Brazil, Guatemala, Uruguay, Bolivia, and the United States.
    As a musician, his work in contemporary music, experimental sound, and chamber music stands out, where he has made an important recovery of traditional Chilean and Latin American music, bringing it to the trombone choir format.