March 8th 2019

ROBOT THINKS

The intersection of classical music and artificial intelligence!

Presented by

Nebula Ensemble

With special thanks to

Cherry Creek Presbyterian Church

In this interactive program, tap on any red and underlined text for more information.

Tonight's Program

Program Notes

Meet the Ensemble

Donations and More

Visit the Full Nebula Website

View the Dark Theme Program

(consider this for the performance)

 

PROGRAM

Automata: 6 Futuristic Vignettes

     by Jasper George, The Lively Robot


     1. Ancient Discovery (Truth Forgotten—and without warning, Remembered)
     2. Gogutron & The Lively Robots: Live in New Seoul City
     3. The Last Royal Seer
     4. Welcome to Dreamland57
     5. Song of the Terraformers
     6. Less Ancient Discovery

 


Interactive Quartet

     by Stephen Bailey

 


Panel Discussion
     Featuring Loretta Notareschi and Stephen Bailey

 


Cell-U-lar Groove

     An over-exaggerated, ringtoneful yet musical satire by Catherine Flinchum

 


Probabilistic Improvisation No. 1: Chopin vs. Sweet

     by Stephen Bailey

 


Digital Hildegard: The Cavern of Stars.2

     by Sarah Perske

 

PROGRAM NOTES

 

Automata: 6 Futuristic Vignettes

     by Jasper George, The Lively Robot

     My piece “AUTOMATA: 6 Futuristic Vignettes” is work for live players, visuals, & written vignettes. There are 6 movements & each movement has an accompanying short story (see below).

 

     The visuals in Movement 5 were created by Polyducks. Polyducks is a PETSCII artist, game developer, Javascript programmer, lead front end developer, pixel artist and dungeon master from England. More at polyducks.co.uk or @polyducks on Twitter.

Vignettes

1. Ancient Discovery (Truth Forgotten—and without warning, Remembered)

     100 miles east of Moscow, the clatter of spades & rakes monetarily paused. The dust from the dig site settled, so the two excavators could clearly see each other.

     “Что это такое? [What is that?]” said one excavator.

     “Песочные часы? Давайте разберемся. [Hourglass? Let’s find out.]” said the other, holding the relic in one hand. The other hand projected a beam of light onto the hourglass.

     Before the beam’s scan was finished, the hourglass slipped out of the the excavator's hand & shattered on the ground, spilling sand everywhere.

     “Дерьмо!”

 

2. Gogutron & The Lively Robots: Live in New Seoul City

     Even from out on her green room’s balcony, Gogutron could hear the rumble of the arena’s growing audience. She leaned over the railing & watched the sunset as her anxiety grew:

     The only thing I will miss about this tour of the sky cities is the sunset. It’s so beautiful, ah, gosh. I need to tell the gang I’m done after tonight. They won’t understand, they never do, but I need to tell them. They’re just robots, well, & I am too, but… it’s different. I just don’t know what to do with my life. Why do I even bother singing? I need to take some time & figure out wh—huh?

     There’s no way… it can’t be… We’re above the clouds!

     Gogutron zoomed in & saw that it was, in fact, a colossal wave towering over the edge of New Seoul City, fifty miles away from the concert venue.

     I know what I need to do.

     The audience erupted with excitement as she stepped on stage, now ready to sing.  


 

3. The Last Royal Seer

     Waiting in the office of the Chief Executive Officer, Ramah puffed on his electronic pipe. The door finally swung open, & the Officer rushed in.

     “Ramah, I want this to be the last time I tell you to not puff on that in here. I swear, it’ll be the end of you if I have to smell that foul odor again.” As the Officer raged, Ramah slipped his pipe back into his coat pocket.

     “Ramah, I need to know how long is left. It’s urgent, the escape shuttles aren’t ready, & we fear our time is running out. Please, see into the future, & tell me how much is left on this timeline.”

     Ramah closed his eyes. He heard the caws of thousands of birds, & felt the fear of billions. He saw waves crashing down upon the sky cities. Ramah couldn’t help but shriek as he opened his eyes.

     “What is it, Ramah? Ramah? Tell me what you saw!!”

     Ramah reached into his coat pocket & exhaled, foul odors filling the room.

 

4. Welcome to Dreamland57

     “Antiques for sale! Real Earth antiques, like nothing you’ve ever seen on any of the off-world colonies!”

     “Buzz off, old man. No one wants your Earth junk.”

     “Even metal humans need to remember the past! Haven’t you ever wanted to listen to music on mp3s, with headphones, just like your biological grandparents did?”

     “Is this your first day on Dreamland57? That’s not even how we hear anymore. Do you even know how we work? Hey, is that real leather? What’s in the leather bag?”

     “Ah, I’m sorry, little cybro. That’s where I keep all my sentimentals. I don’t sell those. Just a bunch of junk, but they remind me what it’s like to be human.”

     “Well, I want ‘em.”

     “Hey, you can’t do that. Hey, stop! Let go! Leave me alon—”

 

     “Wow, that’s seriously all it takes! They crumble like plastic! Well, I guess he was an Earth human, he couldn’t have had much longer anyway.”  


 

5. Song of the Terraformers

     Far off, on a planet just like Earth, but three times in size, lived a small colony, full of metal humans. A mother & father had just moved here from Earth’s off-world colonies, light years away. They wished to raise their child here, in the land of new possibilities, away from the crime & hostility of Dreamland57.

    “Father, I feel there is something wrong with our child.”
    “Mother, what is wrong? Must we take our child to the clinic?”

     “Come to the window & listen. Do you hear that?”
     “Yes, those are the terraformers, shaping our world as beautifully as we imagine it.”

     “Now, look” the mother pointed off into the distance. “There is our child, chasing those blasted machines & singing along with them. Child has been out there every day this week! This is not typical metal human behavior.”

     “Alright, let us go fetch our child.”

     The mother & father took off after their child, but their pace slowed as they got closer & closer to the terraformers. When they had finally stopped, their metal jaws opened, & vocal utterances left their voice boxes. Losing control over their synthetic muscles, they, too, began to sing along with the terraformers.

 

6. Less Ancient Discovery

     “Honey, if we don’t leave soon, we’ll be late! This party is very important to me, you know that my grandparents were some of the first colonizers on this planet. Let’s go, already!”

     “Just a second, boo, I just want to see what’s in the rest of this shipment.” In his free time, he had liked to order big crates of ancient antiques from the off-world colonies near Earth. It was expensive to have them mailed several light years, but reselling these old goods made for easy living.

     The crate was almost empty, but peaking out from the corner was a leather bag. His heartbeat quickened, as he had never seen real leather before. With care, he dumped the contents of the bag onto his work table. He gasped with pleasure because he had promised himself that he would personally keep the next wristwatch he found, & today was that day. He held the watch with a grin of pure joy.

     Then, without notice, it slipped from his fingers, crashing & breaking on the hard metal floor. The room began to spin, & his vision went dark.

   

     He awoke in a large, dark room, surrounded by many other humans, with two humans standing on a stage at the front of the hall. The two humans were holding instruments, one must be a flute, but he was not sure about the other instrument.

     Suddenly, the musicians began playing, & the humans around him began dancing. Fear & confusion continued to fill his mind, but his body started to move.

     He danced & danced & danced, & for that moment, everything was bliss.

Take me back to the program.

Interactive Quartet

     by Stephen Bailey

 

     Both pieces I present on tonight’s concert are experiments in using technology to create opportunities for humans and computers to interact with one another. While both pieces use fairly heavy technological resources, both accomplish the specific act of creating sound using only acoustic instruments (no synthesizers were harmed in the making of this music).

     The first piece (Interactive Quartet) requires audience participation! As the music is happening, please navigate your phone’s internet browser to:

www.stephenbaileymusic.com/interact

and cast a vote expressing your opinion about the music you hear by clicking one of the two buttons on that website. You can vote more than once, and can change your vote at any time.

     This piece is a quartet that implements the Bach Automated Composer's Assistant, developed by Andrea Agostini and Daniele Ghisito, to algorithmically generate music for each instrument that is interpretable by human beings. It also uses some Node script to access the voting system on my website.

     The music you will hear is automatically generated by the computer in real time. During the piece, you can use the website to express if you like the music you are hearing or not, and, based on that reaction, the computer will change elements of the algorithm used to generate the music to attempt to fit the taste of the audience in real time.

Take me back to the program.

 

 


Panel Discussion
     Featuring Loretta Notareschi and Stephen Bailey

     A panel discussion exploring and demystifying the intersections of music and technology, hosted by artistic director Jasper Schmich Kinney and featuring local composers and music technology experts Loretta Notareschi and Stephen Bailey.

Take me back to the program.

Cell-U-lar Groove

     An over-exaggerated, ringtoneful yet musical satire by Catherine Flinchum

     Have you experienced the moment, sitting in a concert and hearing a phone go off in the middle of the performance? Have you noticed in your lifetime the multiple attempts of people texting and scrolling through their endless social media accounts while they rest in a rehearsal? Let’s face it, there’s a 98.98% you’ve witnessed or done this yourself. Sure, rehearsal & concert etiquette is presented as turning off and putting away the cellular devices that have basically ruled over our lives, but somehow we have come into the habit of forgetting to turn on the mute button and even taking it out when we are feeling “bored” in the music. No matter what we “try” to do, our cellphones are basically apart of us, and one day we’ll feel the embarrassment of a phone call or text coming in OR get caught in the act of roaming through the digital world and fall behind in our musical adventures.


     Hence, comes a short satire filled with music and ringtones that portray this picture. As you hear these groove-tacular sounds, MOST LIKELY you will hear the interruptions of our cellular devices, falling into the mix of the acoustic beats. You might even see the reactions within the ensemble, some may stare and some may just not even be phased by these digital transactions being released. Lastly, enjoy the music, the new sounds of the digital age and most importantly, TURN OFF YOUR DANG CELLPHONES DURING THE PERFORMANCE YA’LL!

Take me back to the program.

Probabilistic Improvisation No. 1: Chopin vs. Sweet

     by Stephen Bailey

     Both pieces I present on tonight’s concert are experiments in using technology to create opportunities for humans and computers to interact with one another. While both pieces use fairly heavy technological resources, both accomplish the specific act of creating sound using only acoustic instruments (no synthesizers were harmed in the making of this music).

     The second piece (Probabilistic Improvisation no. 1: Chopin vs. Sweet) uses a fairly simple form of artificial intelligence called a Markov chain. Markov chains are an attempt to emulate the way humans make decisions about “what comes next” based on “what came before.” This particular implementation “remembers” the last two events, and uses those two ordered events to determine the next event.

     Here is an example: The computer is told that if it plays a C, followed by a D, the next note it plays can be an Eb 50% of the time, an E 25% of the time, and an F 25% of the time. Then, when the computer preforms, if it plays a C and then a D, it registers this and uses the rules it was taught to determine the next note to be played: half of the time the following note will be an Eb and a quarter of the time it will be an E or an F. Whatever note it selects is then used to generate the next note pairing (50% D-Eb, 25% D-E or D-F), which has its own rules for determining the following note in the sequence.

     In this particular case, the Markov chain being used in this performance was trained on about 150 works of Chopin. Basically, I played it a bunch of Chopin and it used Chopin’s choices to create the probability rules that it follows to move from note to note. In a very rudimentary sense, the computer has been trained to think like Chopin.

     The computer doesn’t actually know anything about music, though. It hasn’t been taught anything about harmony or music theory, or even what a note, chord, or scale is; it really only knows how to move between different numbers used to represent different notes. Further, the training data was not normalized to a particular key, so it only thinks in chromatic terms. In effect, its behavior is that of a 21st century, free improvising Chopin.  If you listen carefully, Chopin-y harmonic and melodic gestures should emerge as part of a larger, atonal framework.


     In this performance, we pair a 21st century, free improvising Danny Sweet with a Disklavier piano that is controlled by the Markov chain to see how effectively the two can perform together.

Take me back to the program.

Digital Hildegard: The Cavern of Stars.2

     by Sarah Perske

     Hildegard von Bingen would have been jealous of us 21st century composers. The "technologies" Hildegard had at her disposal to communicate her mystic visions were the written word, the art of manuscript illumination, and live musical performance. My piece makes use of all of these early "technologies" (the image on the screen is one of my own paintings), but enhances them with new ones. Computers create layers of sound Hildegard could only dream of, and allow the painting on the screen to move and change in direct response to the musicians.

 

     The song itself, inspired by Hildegard's melodic writing, is a substantial re-working of the very first piece I ever wrote for Nebula Ensemble, and the lyrics tell the story of a Hildegardesque vision of my own. Many years ago, I dreamed I went into a cavern deep inside a mountain, and looked up suddenly to see a starry sky over my head where a ceiling of rock should have been. Somehow I knew the stars were the souls of people. I longed to join them, but I feared making sacrifices, so I decided to stay inside the cavern. Will I ever find my way out of it, I wonder?

 

     A special thank you to my colleague Stephen Bailey for building the Max patches that make this performance possible. 

Text

Flood and wind and fire 

Swept me to a door 

Leading into a mountain.

I went deep inside

Where all was dark and silent.

 

But deep inside the mountain

Was a sky 

Filled with stars.

 

I know you are the light

That hollowed out the cavern of the universe.

I know you are the eyes 

That hold the stars,

And count the grains of sand 

Beneath my feet.

My God 

You have pierced my heart with your splendor. 

 

“Call to me, and I will answer you, and tell you great and unsearchable things you do not know...” So the cypher reads.

 

My God

You have pierced my heart with your splendor:

I will give up 

Anything 

You ask of me.

Take me back to the program.

 
 
 
 
 
 

MEET THE ENSEMBLE

 

Stephen Bailey

     electronics, operations director

 

     Stephen Bailey is a Colorado-based composer, improviser, electronic musician, and sound engineer. His compositional output rejects stylistic constraints in favor of expressive efficacy, diversity, and fluidity and incorporates a wide variety of compositional innovations from the last century. With a strong emphasis on electronic and electro-acoustic music, his works focus on the interaction between humans and the world around them, including machines, science, nature, and each other.

     Stephen’s music has been performed extensively locally and internationally, in Denver, Brazil, New York, St. Louis, and Casper. He has presented, performed, and been programmed at The New York City Electroacoustic Music Festival, Electronic Music Midwest, Casper New Music Days, The Classical Salon at Dazzle Nightclub, The VU Symposium, and The Aspen Composer’s Conference, among others. He has been performed and commissioned by The Playground Ensemble, Nebula Ensemble, the Metropolitan State University of Denver and University of Denver Men’s choirs, The Lamont Symphony Orchestra, The Modern Hue Ensemble, as well as other musicians from Denver and the west.

     Stephen is the current Director of Operations for Nebula Ensemble, holds faculty positions at The University of Denver, and The University of Colorado at Colorado Springs, and is the chief sound engineer at Cherry Creek Presbyterian Church. He received a Bachelor’s of Music from Metropolitan State University of Denver, and a Master’s of Music from The University of Denver.

 

Take me back to the program.

 

 


Catherine Flinchum

     flute

     Known to be a versatile musician, flutist Catherine Flinchum has been able to create music through her instrument and with her pen. As an active performer in the Denver area, Ms. Flinchum performs with the Arapahoe Philharmonic. Other performances include the Denver Philharmonic Orchestra and the Stratus Chamber Orchestra, as well as Atlanta performances with the Georgia Symphony Orchestra and American Patriot Winds. Ms. Flinchum’s avid interest for contemporary music has led her to become a member of Nebula Ensemble, the Flinchum/Herring Guitar and Flute Duo, and the HPF Project (harp, percussion and flute). Highlights include the U.S. premiere of Song Without Words: for flute and guitar by Japanese composer Noriyasu Tanaka, and the winnings of the Bronze Medal for the Global Music Awards and First Prize with The Music of the 20th Century (Great Composers Competition) with Robert Paterson’s, The Book of Goddesses.

     As a soloist, Ms. Flinchum performed André Jolivet’s Suite en concert for solo flute and percussion with the Lamont Percussion Ensemble in May 2018. Other solo achievements include the selection as a concerto competition finalist for both the KSU School of Music (performing, Georges Hue’s Fantasie in 2013) and the Lamont School of Music (Jacques Ibert’s Flute Concerto in 2016).

     Her musical endeavors has allowed Ms. Flinchum to travel new places, meet phenomenal musicians, and perform a wide range of genres to the public. In 2011, she completed a three-concert tour in China with the Kennesaw State University Symphony Orchestra, performing at the Beijing Conservatory, Jiao Tong University and Xi’an Concert Hall. Other tours include the 2011 Collegiate Symphony tour with the band KANSAS, and the 2018 tour with Thee Phantom and the Illharmonic Orchestra.

     As a composer, Ms. Flinchum’s music presents a unique voice, reflecting elements of nature (A Sparrow’s Rain Song, for flute, cello and marimba), improvisation (The Cereal Diaries: OPERATION COCOA PUFFS, for solo percussion), mixtures of repetition and funk (Hiccup-pated Groove for flute, clarinet and bassoon), and imitation between players (Shadowplay for bass flute and guitar).

     Ms. Flinchum completed a performance certificate and master’s degree at the Lamont School of Music, studying under Julie Thornton of the Colorado Symphony and bachelor’s degree at Kennesaw State University, under Christina Smith of the Atlanta Symphony Orchestra. Other teachers include Cecilia Piehl Price and Anna Hobgood. Her instrumental performances include flute, piccolo, alto and bass flute.

 

Take me back to the program.

 

 


Josh Goo

     digital marketing director

     Josh Goo is a versatile musician with a strong commitment to new music. Though primarily  a clarinetist,  Josh also dabbles in jazz saxophone, mallet percussion, and composition, and has even played trombone in the past . As an undergraduate at the University of Denver’s Lamont School of Music, Josh has become extremely passionate about new music, with his first introduction to the genre coming from a performance by The Playground Ensemble in 2012. Since then his interest in composing has led to a greater understanding of and fascination with music in general.

     As a performer Josh has studied a wide array of solo pieces from Mozart to the works of 20th-century composers Carl Nielsen and William O. Smith. Unaccompanied clarinet pieces are his specialty, but he is equally skilled as a chamber and orchestral musician, and has played in all types of ensembles including wind quintet, orchestra, and more unusual combinations including his debut with Nebula Ensemble in 2015 in a group of 14 different orchestral instruments.

     Josh currently studies clarinet with Dr. Jeremy W. Reynolds, and has attended the Domaine Forget, Rocky Ridge, and Aspen Music Festivals where he studied, performed in master classes, and played with Dr. David Shea, Charles Neidich, Romain Guyot, Marie Picard, Jean-Francois Normand, Michael Rusinek, and Joaquin Valdepeñas.

 

Take me back to the program.

 

 


Danny Sweet

     saxophone, ensemble manager

     A multi-instrumentalist, Danny Sweet performs on all saxophones as well as clarinet and vocals. Having also performed with rock and metal bands throughout the Denver area, Danny boasts the skill set and experience to be successful in a large variety of ensembles. Currently a Bachelor of Music student at the University of Denver’s Lamont School of Music, Danny studies saxophone and woodwind performance with professor Art Bouton. Danny has performed on saxophone with many notable groups, including the Lamont Pit Orchestra, the Corpus de Funk jazz combo, and the Colorado Conservatory for the Jazz Arts. He was the first chair alto saxophonist in the Colorado All-State Band, he currently holds the spot as principal chair saxophonist in the University of Denver Lamont Wind Ensemble, and he performed in a master class taught by past president of the North American Saxophone Alliance Debra Richtmeyer. As a teacher, Danny maintains a private studio of saxophone students, and coaches for the Arapahoe High School marching band.

 

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Arlo Adams

     violin, website manager

     Arlo Adams is a classically trained violinist, performing as a soloist, chamber musician, and orchestral player in Denver and throughout the Colorado area. Along with performing in the Fort Collins Symphony, he has performed with the Greeley Philharmonic, Boulder Chamber Orchestra, and many Colorado based chamber groups including the Lyric Ensemble, Playground Ensemble, Sphere Ensemble, Con Brio Trio, and ARTsemble.

     Mr. Adams began his studies in Flagstaff Arizona at the age of 9 under the Suzuki method. From there, he moved to the Tucson area to study with Professor Mark Rush at the University of Arizona for two years before coming to Colorado to continue his studies at the University of Denver, where he received a Bachelor’s of Music in Violin Performance, and a Performance Certificate.

     During his studies, he became very interested in modern music, and since then has premiered orchestral works by Shafer Mahoney and Glenn Stallcop, the chamber work Deux pas de Deux for violin and piano by Charles Zoll, winner of the 2013 “Rapido!” composition contest, and was the violin soloist with the Lamont Symphony Orchestra in the premier performance of Sarah Perske‘s Therese’s Elevator.

     In addition to classical music, Mr. Adams enjoys other genres including pop and jazz, and performing with a looper to create unique music. He also performs in musical theatre pits around the country, and as a session violinist in recording studios.

     He has held a studio of ~15 students in the Denver area since 2014, and works with Manifest String Studio and City Strings to bring the joy and excitement of music to kids and adults alike throughout Denver. When he is not performing or teaching, he is likely enjoying what Colorado has to offer and building small electronics projects.

 

Take me back to the program.

 

 


Julia Emery

     cello

     Boulder-based cellist Julia Emery greatly enjoys collaborating and performing with a variety of artists and ensembles in the Denver-Boulder area, spanning a wide range of artistic interests, backgrounds and mediums. Her love of both traditional and nontraditional musical and artistic styles has led her to collaborate with a variety of ensembles, including Sound Circle a capella Ensemble, Briah Danse, Sound Circle Eurythmy, and Nebula Ensemble.

     Julia graduated in 2013 from the University of Denver’s Lamont School of Music with a Bachelor’s degree in Cello Performance, under the primary tutelage of Professor Richard Slavich, followed by a continuation of private study with Boulder-based cellists Elle Wells, and Dr. Charles Lee. Julia also completed a Performance Certificate in 2016 at the Lamont School of Music, under the guidance of Professor Matthew Zalkind.

     Beyond playing music in the concert hall, Julia has also been deeply involved for many years in both music education and using music as a means of both communal and social outreach and connection. These interests have led to participation and collaboration with the Denver-based Playground Ensemble’s Educational Outreach Program, as well as the cultivation of a private studio spanning both the Denver and Boulder areas. She has also been actively involved in performing for communities of elders, as well as for individuals who are sick and dying. These communities have included the Presbyterian St. Luke’s Hospital Oncology Wards in Denver, the Boulder Senior Center, and clients of Windhorse Elder Care.

     Ultimately, Julia aspires to use her love and knowledge of music as a way to help others through difficult times in their lives, and as a means of bringing artists and communities together from a variety of traditions and backgrounds.

 

Take me back to the program.

 

 


Sarah Perske

     mezzo-soprano, guitar, public relations director

     Sarah Perske is a composer and classical guitarist whose music reflects her interests in crafting odd and unwieldy forms, exploiting found object sound sources, and combining musical performance with the visual and literary arts. Perske’s works emphasize collaboration with artists in other disciplines, and her music is frequently inspired by images, words, and physical gestures.

     Perske’s works have been performed by The Playground Ensemble, Nebula Ensemble, classical guitarist Laura Husbands, the Keith/Larson Duo, and virtuoso saw player Caroline McCaskey, among many others. In 2014 Perske won first prize in the Colorado Clarinet Days Composition Competition, and in 2013 Perske was winner of The Playground Anne Culver Commission Prize. Perske received a Bachelor of Music degree in guitar performance from the University of Denver’s Lamont School of music in 2012, where she studied guitar with Ricardo Iznaola and Jonathan Leathwood. She has studied composition with Chris Malloy, William Hill, and Leanna Kirchoff, and holds a Master of Music degree in composition from the Lamont School of Music. Perske also enjoys writing about music, and is founder and editor of the new music blog DeformingPrisms

 

To learn more about her music, visit http://www.sarahperske.com

 

Take me back to the program.

 

 


Jasper Schmich Kinney

     artistic director

     Jasper George (@thelivelyrobot) is a composer and visual artist from Northern Colorado. Through his music and art, he seeks to better understand himself & the world. Every Friday, Jasper posts music-related videos (newly composed songs, musician interviews, & community song collabs) on YouTube. Find him on YouTube, Twitter, Instagram, Soundcloud, and Twitch under thelivelyrobot. Subscribe & follow for weekly updates on Jasper's musical journey.

 

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Marilyn Brock

     director of finance and development

     A skilled arts administration professional, Marilyn Brock has worked for various performing arts organizations, including Seattle Opera, Canto Deo Choirs, the Boulder Philharmonic, AXS, and others. With an MBA, an MA in Musicology, and a BM in Vocal Performance, Brock’s career has encompassed a diverse range of nonprofit, academic, for-profit, and performance roles. Throughout her career, she has strategically created methods for streamlining operations, improving financial performance, and developing market engagement. As a soloist and choral singer, Brock has performed in venues across the United States and Europe, including New York City’s renowned David Geffen Hall, formerly known as Avery Fisher Hall.

 

     With a passion for expanding access to the arts, Brock works and volunteers with several arts organizations in the Denver Metro Area. In addition to her role as Director of Finance and Development for Nebula Ensemble, Brock serves as Marketing Committee Chair for REMIX: Young Professionals of the Colorado Symphony, and she regularly volunteers with the Denver Young Artists Orchestra and Opera Colorado.

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DONATIONS AND MORE

Thank you to all of our contributors!

These gifts allow us to continue creating thrilling, inspiring new music for the greater Denver community through concerts and educational outreach. Thank you for your support!

Moon ($5+)

Andrew Whisenand

 

Planet ($25+)

Norma Brechbill

Maria Souliotis

 

Solar System ($100+)

Marilyn Brock

Richard and Jane Perske

Dobroslav and Mariana Znidarcic

 

Nebula Insiders (Recurring Monthly Contributions of $10+)

Karen Abbott

Stephen Bailey

Nathan Cornelius

Sarah Perske

Nebula Ensemble is a Fractured Atlas Sponsored Project. Fractured Atlas is a 501(c)(3) public charity. That means contributions for the purposes of Nebula Ensemble are tax-deductible to the extent permitted by law.

If you are interested in donating to Nebula Ensemble, please visit: nebulaensemble.com/donate

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