Carolina Perez is a sound designer, audio engineer, and songwriter with experience in music production, film, theatre, and interactive multimedia. She holds an M.F.A. in Sound Design from the University of North Carolina School of the Arts and a B.M. in Music Technology from Florida International University. Before joining UNCA as a visiting assistant professor, she taught music technology and sound design at the University of Texas at Austin. Carolina’s creative research focuses on interactive and immersive sound design for performance and installation art. Her songs draw from a range of influences that span electronic, pop, rock, classical, and folk music.
Music Department
Why Study Music at UNC Asheville?
Music Department Programs
Music Studies
B.A. Minor
The Bachelor of Arts in Music degree program offers a unique blend of academic rigor and artistic exploration, preparing you to apply your craft and find success in your career. Begin an exciting musical journey supported by a welcoming campus environment and experienced faculty.
Jazz & Contemporary Music
B.F.A.
In our Bachelor of Fine Arts in Jazz and Contemporary Music program, explore music that shaped and continues to shape the genre. Dynamic by nature and grounded in both theory and practice, you learn through an engaging blend of courses, expert faculty, and numerous performance opportunities. Immerse yourself in Asheville’s vibrant culture and find your unique voice in our program.
Music Technology
B.S.
In the Bachelor of Science in Music Technology degree program, your passion meets innovation as you dive into a curriculum crafted to reflect new trends and advancements in music technology. Our world-class facilities, equipped with the latest recording studios, production labs, and performance spaces, nurture your talent and guide you toward success.
Career Outcomes
Career Outcomes
Graduates of UNC Asheville’s Music Department are prepared for a wide range of careers in performance, production, education, and sound technology. Whether studying Jazz and Contemporary Music, Music Technology, or a general music degree, students build creative and technical skills that translate across the music industry and beyond. Alumni have worked with top artists like R.E.M. and Alison Krauss, launched careers as performers, composers, educators, and audio engineers, and pursued graduate study or full-time roles through internships and professional collaborations.
Auditions
Auditions
To join UNC Asheville’s Music Department, all prospective music majors must complete an instrumental or vocal audition. Auditions are held twice yearly on campus and serve as an opportunity for faculty to get to know you as a musician. While some ensembles are open to all students, others require auditions as well. We strongly encourage students to complete the audition before enrolling to ensure a smooth entry into our vibrant and supportive musical community.
Outside the Classroom
Outside the Classroom
Ensembles
UNC Asheville’s ensembles are open to all students, offering opportunities to perform in groups ranging from choir and orchestra to wind, jazz, bluegrass, and more. With most requiring no audition, these ensembles create a welcoming space to explore music, connect with others, and share performances with both campus and community.
Outside the Classroom
Outside the Classroom
Performances & Events
Experience a range of music at UNC Asheville through weekly and seasonal events. From classical recitals to contemporary performances, our Music Department hosts a wide array of events that celebrate musical diversity and talent. Events include Live at Lunch, UNCA Loves Piano Series, faculty showcase concerts, and Asheville Singers performances, as well as a number of ensemble concerts.
Events Schedule Coming Soon
Internship Opportunities
Internship Opportunities
UNC Asheville’s music internships connect students with industry professionals to design hands-on, real-world experiences. Working directly with organizations and mentors, students gain practical skills, build networks, and prepare for careers while earning academic credit.
Music Facilities
Music Facilities
UNC Asheville’s Music Department features two cutting-edge facilities: the Bob Moog Electronic Music Studio, equipped with rare analog and digital synthesizers, theremins, and industry-standard software, and the Music Technology Studio, which includes a professional recording control room and a Dolby Atmos 7.1.4 mixing and mastering space. Together, they offer students hands-on experience in electronic music and audio production.
Scholarships
Scholarships
Outstanding music students at UNC Asheville may earn annual scholarships valued between $350 and $1,000—awarded through auditions and funded by named awards such as the David Wells Music Scholarship, Helen Edelstein Piano Scholarship, Paddison Family Scholarships, Collins Stringed Instrument Scholarships, and support from the Friends of Music.
I originally looked into studying classical voice at other in-state institutions, and then realized that by going to UNCA I’d be able to study a wider array of genres outside of just classical music. I didn’t really listen to or play much jazz music at all before coming to college. However, studying jazz has really helped me in my other musical interests.
Music Department Faculty
As active musicians dedicated to nurturing student success, our music faculty enrich Asheville's thriving music scene and the cultural life of our campus. Students benefit from small class sizes that encourage collaboration and mentorship between professors and students and students and their peers.
Jonathan Toby King
Associate Professor and Chair
221D Lipinsky Hall
Phone: (828) 251-6431
Email: jking6@unca.edu
Bio
Jonathan T. King holds a B.A. from Amherst College, a M.S. in Geology from the University of Montana – Missoula, and an M.A., M. Phil., and Ph.D. in Music from Columbia University. He wrote his dissertation on improvisatory bluegrass music performance. Other areas of interest include include American vernacular musics, North American popular music, East and West African musical traditions, music and language, critical genre studies, and creative improvisatory practice. He has taught classes examining the relationship of music with language, social identity, modernism, cosmopolitanism, orientalism, and political power. He has directed ensemble classes with Nyoman Saptanyana (Balinese Gamelan), Andy Algire (Afropop), and Famoro Dioubate (Guinean Balafon), among others.
Education
- B.A., Amherst College (Geology)
- M.S., University of Montana – Missoula (Geology)
- M.A., Columbia University (Music Theory)
- Ph.D., Columbia University (Ethnomusicology)
Courses Taught
- Modernity and World Music: the Middle East, and Eastern Africa (Sarah Lawrence College)
- World Music, Cosmopolitanism, and “the West”: Europe, the Mediterranean, and West Asia (SLC)
- Music, Language & Identity: Ethnomusicology of the Americas (SLC)
- Structures of Music / Structures of Power: Africa, Asia & the Middle East (SLC)
- “Non-Western” Western Musics in Europe and Asia (SLC)
- Music, Circulation, and Appropriation (SLC)
- Studies in Music and Culture (SLC)
- The Anthropology of Sound (SLC)
- First-Year Studies: Music as World Culture (SLC)
- Masterpieces of Western Music (Columbia University)
- Classical Music History Introduction (Fordham University)
- 20th Century Composers (Purchase College (SUNY)
- Scales in World Music (Purchase College (SUNY)
Ensembles Directed
- Old Time (Country) Ensemble
- AfroPop Ensemble
- Traditional Bluegrass Ensemble
- Guinean Balafon Ensemble
- Balinese Gamelan Ensemble
Pamela Miller
Administrative and Program Support Staff
215 Lipinsky Hall
Phone: 9828) 251-6432
Email: pmiller4@unca.edu
Emily Mariko Eng
Director of Wind Bands
117B Lipinsky Hall
Phone: (828) 251-6530
Email: eeng@unca.edu
Originally from New Hampshire, Emily Mariko Eng recently earned a Doctor of Musical Arts degree in Conducting with a Minor in Music Theory from the University of Georgia, where she studied with Cynthia Johnston Turner. Emily holds a Master of Music with honors in Conducting from New England Conservatory and a Bachelor of Science summa cum laude in Biochemistry and Music Composition from Brandeis University. Her research and artistic interests include fostering comprehensive musicianship in the college music curriculum, exploring the role of conductor-as-facilitator in the collaborative creative process, and creative placemaking.
As conductor, Emily’s experience ranges from wind ensemble to orchestra, opera to musical theater. At UGA, she conducted department and recital ensembles and served as a teaching assistant for UGA Athletic Bands. Dedicated to promoting new music, Emily has built close collaborative relationships with composers and has premiered works by Kevin Day, Badie Khaleghian, and Ayako Pederson-Takeda. Emily has also been involved with the Athens Hip Hop Harmonic from its inception, serving as conductor for its inaugural set of performances and recordings.
Prior to moving to Georgia, she worked with the NEC Wind Ensemble, NEC Symphonic Winds, the North End Music & Performing Arts Center’s Opera Project, the Waltham Philharmonic Orchestra, Needham Community Theater, and the Brandeis University Undergraduate Theater Collective. Highlights include conducting the world premiere of Michael Gandolfi’s Polymath, a fanfare written to commemorate NEC’s 150th Anniversary year.
Emily has presented at the Midwest Clinic, the Percussive Arts Society International Conference, and the Maryland Music Educators Association Conference. She is a member of the College Band Directors National Association (CBDNA), the National Association for Music Education (NAfME), and the Georgia Music Educators Association (GMEA) and was also inducted as an honorary member of Kappa Kappa Psi.
Emily is Executive Director and Founder of Lift Music Fund (www.liftmusicfund.org), a nonprofit organization that makes achievement in music more accessible and equitable by awarding microgrants every month to BIPOC student musicians.
Melodie Galloway
Director of Visual & Performing Arts, Professor of Music; Director of Choral & Vocal Studies
223 Lipinsky Hall
Phone: (828) 251-6769
Email: mgallowa@unca.edu
Dr. Melodie Galloway holds the rank of Full Professor and is Chair of the Department of Music at the University of North Carolina at Asheville, where she is the Coordinator of Choral and Vocal Studies. She holds a Master’s degree from Florida State University in Vocal Performance and a Doctor of Musical Arts degree in Conducting from the University of North Carolina at Greensboro. Her experience as a conductor and soprano soloist includes major works, opera and musical theater. In 2012 she was an invited conductor at Carnegie Hall, leading 200 singers and orchestra and in 2017 she conducted the Eastern European premiere of Dan Forrest’s Requiem for the Living with choirs and orchestra in Vienna, Prague and Salzburg. As the Director of UNCA’s Asheville Singers, she has been invited to perform as part of the Holiday Open House Performances at the White House from 2006-2018, including a private audience with President and Mrs. Obama in 2012. Areas of research include the choral/orchestral music of legendary jazz artist, Dave Brubeck; choral pedagogies for vocal health; music and wellness; and the migration of Celtic music to Appalachia. She is in demand as a clinician, conference presenter and consultant for arts advocacy.
William Bares
NEH Distinguished Professor; Professor of Music
222 Lipinsky Hall
Phone: (828) 250-2312
Email: wbares@unca.edu
Associate professor of music William Bares received his Ph.D in ethnomusicology from Harvard University under the supervision of Ingrid Monson, Quincy Jones Professor of African American Music. He taught at Harvard, Brown, Berklee College of Music and the New England Conservatory before becoming director of jazz studies at UNC Asheville. He has published articles in American Music, Jazz Research Journal, the Grove Dictionary of American Music, and Jazz and Culture, among others. An active pianist and music promoter in Asheville’s musical community, Bares coordinated “Ecomusicologies 2014: Dialogues”—a conference/festival that took place in Asheville in October 2014, and hosted the weekly Sunday Jazz Showcase at Asheville’s Isis Music Hall. His book, Jazz and the European Dream, is forthcoming on Routledge Press’s Transnational Studies in Jazz Series.
Education
- B.A., Amherst College
- M.M., University of Miami
- Ph.D., Harvard University
Courses Taught
- Jazz History (MUSC 357)/li>
- Humanities 414, Critical Perspectives on Contemporaneity (HUM 414)
- Humanities 414, The Individual in the Contemporary World (HUM 414)
- Music and Environmental Consciousness (MUSC/HON 178)
- African American Music: Slavery to Swing (MUSC 343)z
- African American Music: R&B to Hip Hop (MUSC 344)
- Music Experimentalism at UNC Asheville (MUSC 373)
- Transatlantic Jazz (MUSC 373)
- Music Business and Industry I (MUSC 382)
- Harmony and Improvisation II (MUSC 392)
- Harmony and Improvisation III (MUSC 393)
- Harmony and Improvisation IV (MUSC 394)
- Jazz Band: Big Band (MUSC 122)
- Jazz Band: Saxophone Quintet (MUSC 122)
- Jazz Ensemble: Thelonious Monk (MUSC 129)
- Jazz Ensemble: Eco-Music Ensemble (MUSC 129)
- Jazz Ensemble: Experimental Music Ensemble (MUSC 129)
- Jazz Ensemble: Trio Ensemble (MUSC 129)
- Jazz Ensemble: UNCA Scholarship Quintet (X-Tet) (MUSC 129)
- Applied Music: Piano (MUSC 191-491)
Publications
Books
- Bares W. (contracted; release 2020) Jazz and the European Dream: the Transatlantic Eternal Triangle, 2001-2008. Routledge Press, Transnational Studies in Jazz Series, Tony Whyton and Nick Gebhardt, eds.
- Bares W. EcoJazz: Jazz, Race and Nature [in progress].
Peer-Reviewed Publications
- Bares W. (2020). “A Jazz Course for the Information Era.” Jazz Education in Research and Practice, Vol 1, no. 1, Jan 2020.
- Bares W. (2019). “Europe, Western” in the SAGE International Encyclopedia of Music and Culture. (SAGE Publications, 2019; Janet Sturman, ed.). Pages and article url pending.
- Bares W. (2018). “Review: Erroll Garner: No One Can Hear You Read.” Jazz and Culture [formerly International Jazz Archives Journal] Vol 1, no. 1. Spring 2018.
- Bares W. (2016). “Young German Jazz and the Politics of Jazz Cosmopolitanism in Germany.” Continental Drift: 50 Years of Jazz From Europe. Medbøe, Moir, Atton, eds. Edinburgh, UK. Continental Drift Publishing, July 2016: 1-17.
- Bares W. (2015). “Transatlanticism as Dutch National Spectacle: Universalism and Postpolitics at the North Sea Jazz Festival.” American Music, Volume 33.3, Fall 2015: 345-374.
- Bares, W. (2012). “Way Out East: Cowboys and Pioneer Women on Berlin’s Jazz Frontier.” Jazz Research Journal, Volume 6.2, Nov 2012: 171-201.
- Entries for the Grove Dictionary of American Music, 2nd ed. (Oxford University Press, 2012-2016):
- Bares, W. (2016). “Joe Zawinul” in the Grove Dictionary of American Music, 2nd ed. (Oxford University Press, 2013; Charles Hiroshi Garrett, ed.), 641-2. Article url pending.
- Bares, W. (2013). “Roswell Rudd” in the Grove Dictionary of American Music, 2nd ed. (Oxford University Press, 2013; Charles Hiroshi Garrett, ed.), 255. Article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/A2276429
- Bares, W. (2013). “Brad Mehldau” in the Grove Dictionary of American Music, 2nd ed. (Oxford University Press, 2013; Charles Hiroshi Garrett, ed.), 432. Article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/A2276098
- Bares, W. (2013). “Marcus Roberts” in the Grove Dictionary of American Music, 2nd ed. (Oxford University Press, 2013; Charles Hiroshi Garrett, ed.), 157. Article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/A2276381
- Bares, W. (2013). “Acid Jazz” in the Grove Dictionary of American Music, 2nd ed. (Oxford University Press, 2013; Charles Hiroshi Garrett, ed.), 10-11. Article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/A2226805
- Bares, W. (2013). “Albert Murray” in the Grove Dictionary of American Music, 2nd ed. (Oxford University Press, 2013; Charles Hiroshi Garrett, ed.), 608. Article url pending.
- Bares, W. (2013). “Stanley Crouch” in the Grove Dictionary of American Music, 2nd ed. (Oxford University Press, 2013; Charles Hiroshi Garrett, ed.), 499-500. Article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/A2282477
- Bares, W. (2013). “Kevin Whitehead” in the Grove Dictionary of American Music, 2nd ed. (Oxford University Press, 2013; Charles Hiroshi Garrett, ed.), 487. Article url pending.
- Bares, W. (2013). “Mike Zwerin” in the Grove Dictionary of American Music, 2nd ed. (Oxford University Press, 2013; Charles Hiroshi Garrett, ed.), 662. Article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/A2263504
- Bares, W. (2013). “Tau Moe Family” in the Grove Dictionary of American Music, 2nd ed. (Oxford University Press, 2013; Charles Hiroshi Garrett, ed.), 117. Article url pending.
- Bares, W. (2013). “Hapa” in the Grove Dictionary of American Music, 2nd ed. (Oxford University Press, 2013; Charles Hiroshi Garrett, ed.), 41. Article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/A2284554
- Bares W. (2011). “Sounds of Silence: The Politics and Poetics of Norwegian Jazz.” American Music Review Volume XLI, No.1, Fall 2011: 9-11; 15.
- Bares W. (2011). “Play Your Own Thing, Play ‘Our’ Thing: ‘Young German Jazz’ und die deutsche Jazzidentität.” Hofheim 2011. Darmstädter Beiträge zur Jazzforschung, Band 11: 156-185.
- Bares W. (2007). “Jazz in the Loeb Music Library.” Golden Muse: The Loeb Music Library at 50 (Harvard Library Bulletin), Vol. 18.1-2, Spring-Summer 2007: 43-48.
Recordings
- Bares W. (2020). Take Two: Jazz Duets at the White Horse. Recorded in Lipinsky Hall, UNCA: May, 2016. William Bares, piano; various guest instrumentalists.
- Bares W., Ray J., Rodriguez J., Page Z., and Martin E. (2019). The Core: Turning Point. Recorded at Echo Mountain Studios, Asheville: Aug 15-16, 2016. William Bares, piano; Justin Ray, trumpet; Jacob Rodriguez, saxophones; Zack Page, bass; Evan Martin, drums.
- Bares W., Ray J., Rodriguez J., Page Z., and Martin E. (2016). The Core. Recorded at Echo Mountain Studios, Asheville: Aug 15-16, 2016. William Bares, piano; Justin Ray, trumpet; Jacob Rodriguez, saxophones; Zack Page, bass; Evan Martin, drums.
- Bares W. (2016). You Held the Light, I Found the Sign. © 2016 BaresMusic. Recorded at Balsam Pillow Studio: 20-21 June, 2012. William Bares, piano; Mike Holstein, bass, Austin McMahon, drums.
- Bares W. and DeCristofaro J. (2015). Dialogues. Recorded at Sound Temple Studios, Apr 2015. William Bares, piano; Jason DeCristofaro, vibes.
This faculty member teaches in UNC Asheville’s Humanities Program.
Christine Boone
Associate Professor of Music
221 Lipinsky Hall
Phone: (828) 258-7668
Email: cboone@unca.edu
Bio
Christine Boone received a B.M. in vocal performance at Indiana University and both an M.M. and Ph.D. in music theory at the University of Texas. Christine’s research interests are centered around popular music. She has presented papers on the Beatles in both the United States and the United Kingdom. Her current research focuses on mashups and AI, and her work on these subjects has been published in both books and articles. She is also passionate about music theory pedagogy, and is co-author (with Brad Osborn, University of Kansas) of Music Theory Matters (forthcoming, Oxford University Press), a new textbook that decenters the classical canon in favor of popular music and music of BIPOC and women composers. Throughout her career as a music theorist, Christine, a lyric soprano, has remained active as a professional soloist in major works, such as Haydn’s Creation, Vivaldi’s Gloria, Handel’s Messiah, and as a featured soloist in the Asheville Amadeus Festival. In addition, she has put her musical knowledge to work on NPR’s classical music game show, “Piano Puzzler.” For more on Christine’s work, please see christineboone.wix.com/mashademia.
Education
- B.M. Indiana University
- M.M. University of Texas
- Ph.D. University of Texas
Courses Taught
- Introductory Music Theory
- Music Theory I
- Music Theory II
- Music Theory III
- Introductory Aural Skills
- Aural Skills I
- Aural Skills II
- Aural Skills III
- Advanced Topics in Music Theory: Analytical Techniques
- Advanced Topics in Music Theory: Analysis of Popular Music
- Music and Math (co-taught with Dr. Samuel Kaplan)
- First-Year Seminar
Hwa-Jin Kim
Professor of Music
117C Lipinsky Hall
Phone: (828) 251-6594
Email: hkim@unca.edu
Bio
Dr. Hwa-Jin Kim was born in Daegu, South Korea, where she began her piano studies at the age of five. At age seven, she was chosen to perform at MBC Television Station in Daegu, and at age fourteen, she appeared as a soloist with the Daegu Symphony Orchestra, performing Grieg’s piano concerto in A minor. She won numerous competitions and entered the prestigious Seoul National University in South Korea on a full scholarship. Upon graduation, she came to New York to continue her studies at the Manhattan School of Music, where she received her Master’s and Doctor of Musical Arts degrees. Dr. Kim has performed in South Korea, Italy and many other venues in Boston, Rhode Island, and New York, including Weill Recital Hall at Carnegie Hall. Dr. Kim was the youngest faculty member at the Manhattan School of Music and Reformed Presbyterian Seminary of the East, teaching piano and music literature and history. She also taught at Brown University in Rhode Island. After moving to the Asheville/Hendersonville area of North Carolina in 2000 with her husband, Dr. Paul Kim and their two daughters. Dr. Kim has been featured as a soloist in numerous concert series and benefit concerts. She actively works as soloist, chamber musician, lecturer, masterclass clinician and teacher as well as competition adjudicator. Dr. Kim joined the music faculty at University of North Carolina Asheville in 2003. To promote classical music in the community, Dr. Kim founded Asheville Chopin Club in 2016 and has produced very successful concerts.
Dr. Kim is the creator and director of UNC Asheville Summer Piano Camp since 2018 for students between 6th and 12th grades.
Piano with Dr. Kim
https://youtube.com/channel/
Education
- B.M. Seoul National University
- M.M. Manhattan School of Music
- D.M.A. Manhattan School of Music
Courses Taught
- Applied Piano
- Levels 191-492
- Class Piano I
- Class Piano II
- Intro Music Theory
- Music Theory 1
Thesis
The Piano in Igor Stravinsky’s Orchestral Works
Carolina Perez
Assistant Professor of Music
027 Lipinsky Hall
Phone: (828) 251-6456
Email: cperez4@unca.edu
Matthew Richmond
Lecturer of Music
117A Lipinsky Hall
Phone: (828) 251-6447
Email: mrichmon@unca.edu
Bio
Matthew Richmond is a percussionist, composer, recording artist, and educator who can’t stick to one genre. He appears most frequently with Like Mind Trio and the Asheville Symphony Orchestra and has extensive experience in classical music, rock, funk, jazz, Latin music, and marching percussion. He contributed vibraphone and percussion to Infinity Plus One by Secret Agent 23 Skidoo, which won the 2017 Grammy Award for Best Children’s Album. He has also performed and/or recorded with Jonathan Scales, Steve Reich, Gordon Stout, Lizz Wright, Jeff Sipe, Billy Jonas, Kevin Spears, Kat Williams, and many others.
Matthew loves musical theater, and has played more than 70 local and regional productions from Amélie to Zombie Prom. He served as music director of TheaterUNCA’s productions of Into the Woods and Marat/Sade, and for the latter he composed an original score. He has also composed and directed music for dance and drama performances by Asheville Ballet, Norte Marr, Black Swan Theatre, and The Road Company, and created the score for the feature film Flight of the Cardinal (Gaston Pictures).
Education
- B.A. East Tennessee State University
- M.M Ithaca College
Courses Taught
- Percussion Ensemble
- Jazz and Contemporary Ensembles
- Introductory Aural Skills
- Aural Skills I
- Introductory Music Theory
- Music Theory I
- Studio Musicianship I
- Studio Musicianship II
- Applied Percussion
- Applied Composition
-
Music Appreciation
Ensembles Directed
- Chick Corea Ensemble
- Paul Simon Ensemble
-
John Scofield Ensemble
-
Cal Tjader Ensemble
- Stax Ensemble
- Booker T and the MGs Ensemble
- Latin Jazz Ensemble
-
Remix Ensemble
Charles Jude Weinberg
Director of Music Technology; Lecturer in Music Technology and Electronics
026 Lipinsky Hall
Phone: (828) 251-6488
Email: cweinber@unca.edu
Charles Jude Thornton Weinberg is an electrical and sound engineer, musician, and university lecturer in audio engineering and electronics. While studying electrical engineering at Duke University, Charles DJ’ed at WXDU in Durham, played bass with the instrumental band Spear-it, and managed the Duke Coffeehouse, where he hosted local and touring indie music bands and a weekly jazz night. After graduation, he worked as a live sound engineer for Randall Schiller Productions in San Francisco. Charles worked with Friends of the Earth on Paul McCartney’s 1989 European Tour to raise awareness of climate change and the destruction of the world’s rainforests, and he wrote about the McCartney tour for The Beatles Book Monthly. He formed a musical duo on the streets of London with English actor Paul Bettany, designed electronics hardware and software for B-E Electronics Co., worked on a campaign to protect and preserve the ancient Headwaters Redwood Forests of Northern California, and wrote songs and engineered at a recording studio near Taos, New Mexico. He joined the UNC Asheville Music department in 2005 to teach audio engineering and recording and he teaches electronics in UNC Asheville’s Physics department. Charles Jude is currently associate director of UNC Asheville’s Music Technology program, chief engineer of UNC Asheville’s recording studios, and an active member of the Audio Engineering Society.
Education
- B.S.E., Duke University
Courses Taught
- PHYSICS 310 Electronics
- MUSC386 Audio Engineering Technology II
- MUSC387 Recording Studio Practicum II
- MUSC486 Audio Engineering Tech IV
- MUSC487 Recording Studio Practicum IV
- MUSC488 Directed Studio Projects
- MUSC372 Sp Top in MUSC
- MUSC484 Audio Engineering Tech III
- MUSC485 Recording Studio Practicum III
- MUSC384 Audio Engineering Technology I
Michael Barnes
Adjunct Faculty
043 Lipinsky Hall
Phone: (828) 251-6432
Email: mbarnes@unca.edu
Bio
Asheville Guitar founder, Mike Barnes, was inspired to play the guitar when he was just 11 years old studying classical guitar with the late great Jerry Young. At 14, he formed a band called Blue Sky with childhood friend Warren Haynes, and improvised each time they performed while spending many rehearsals working on the art of improvisation. Mike went on to study at University of Miami, Musician’s Institute and UNCA and holds two music degrees. Mike has recorded on countless recording sessions in Memphis, Nashville and L.A. and was signed to recording contracts with Geffen Records and Polygram records. He has been blessed to study and share the stage with some of the worlds greatest and most influential guitarists and musicians. Jimmy Page, Pat Martino, John Scofield, Joe Walsh, The Allman Brothers Band, Robben Ford, Jimmy Herring, Derek Trucks, Ben Harper, John Paul Jones, Branford Marsalis, Neal Larson, Jeff Sipe, Jerry Jemmott, The Black Crows, Moe, String Cheese Incident, Grace Potter and the Nocturnals and Steve Miller to name a few.
Website
Will Boyd
Adjunct Music Faculty
Phone:
Email: wboyd1@unca.edu
Multi-reed instrumentalist, composer, educator Will Boyd hails from soul sax tradition like artists Eddie Harris, Hank Crawford, David “Fat Head” Newman, King Curtis and Yusef Lateef. Originally from Orangeburg SC by way of Queens NY, Will currently resides in Knoxville TN. He is a member of the Knoxville Jazz Orchestra and currently has 3 solo albums “Live at the Red Piano Lounge”, “Freedom Soul Jazz”, and “Soulful Noise”. Will also co-leads a group with Wife, jazz radio host, and founder of the Knoxville Women in Jazz Jam Festival Kelle Jolly.
Will was playing with professional local R&B groups before he was 18. He then received more training at the music program at South Carolina State University where he received BA in Music Business and met future wife vocalist Kelle Jolly. There he played on the jazz ensemble that boasted distinguished alumni such as tenor man Houston Person, trombonist Ron Westray (Lincoln Center Alum), and trumpeter Charlton Singleton (Ranky Tanky). There he also played in the concert band and the Marching 101. Was inducted into the university’s jazz hall of fame in 1997.
Will would later become a staple in the music scene in Columbia SC where he would play with mostly fusion, funk, and soul bands. There he got opportunities to play with legends in this field including local guitarist, educator Robert Newton, drummer John Blackwell (Prince, Justin Timberlake), trombonist Fred Wesley (JB’s, James Brown) and soul singer William Bell. Through a chance encounter with saxophonist Patrick Langham (Brubeck institute) would lead him to Knoxville TN.
Will moved to Knoxville in early 2000s, and enrolled into the University of TN program where he would receive his Masters of Jazz Studies. During this period Will worked with many local soul, blues and jazz bands, while also studying and performing with prominent jazz educator saxophonist, author Jerry Coker (Woody Herman), South African free jazz artist Zim Ngqawana, and pianist, composer, producer Donald Brown (Art Blakey Jazz Messengers).
Since then, Will has had the opportunity to perform with many artists across genres including Leslie Odom Jr (Hamilton), Wycliffe Gordon (Lincoln Center), Doc Severinsen (Tonight Show), Crissy Collins (Beyonce), Chris Blue (The Voice), Glen Jones, Jeff Coffin (Bella Fleck, Dave Mathews), Rick Simerly, Blanch McCallister- Dykes (Donald Lawrence), Elise Testone (American Idol), Amy Bormet, Laura Theadore, Dave Eggar, Regina Carter, Jeff Sipe, Four Tops, Jimmy Dorsey Orchestra, John Beasley’s Monk’estra, and Harry James big band. He is also on recordings which include artists such as Nicholas Payton, Michael Dease, Greg Tardy, Bobby Lyle, Jonathan Scales, Eric Reed, Carmon Bradford, Chris Potter, Jeremy Pelt, Tim Green, Russell Gunn and Darryl Hall. Will has performed at many music festivals from Big Ears in Knoxville TN, to Peter Barakan’s It’s Magic in Tokyo JP.
Currently, Will is adjunct music faculty at The University of North Carolina Asheville and Warren Wilson College. Will also performs with wife Kelle Jolly around the US as well as abroad including many trips touring Japan. They’ve appeared on Season 6 of the cooking show “The Jazzy Vegetarian” with Laura Theodore for the Create Channel. They have also performed on cruise ships and done musical theater. They received the MLK award for the arts in 2013. They are on the soundtrack for the PBS documentary on painter Beauford Delaney. Will also played the premier performances of “Shadow Light” (an opera celebrating the life of Beauford Delaney) with the Marble City Opera. Will also appears in the 2nd episode of “live at Lucille’s”, season 1 (a live jazz concert series on East TN PBS) in the Kenneth Brown Quintet.
Website
Tim Doyle
Adjunct Faculty
Phone:
Email: tdoyle@unca.edu
Bio
Tim Doyle is a 27-year veteran of the guitar and holds degrees from the University of North Carolina Greensboro and Indiana State University. He has worked as a professional performer and music educator in Austin, Texas, throughout the Midwest, and most recently, western North Carolina. Tim is also an active composer, and recorded and produced a CD of original compositions for guitar in 2009 as well as recordings with bands The Leonard Washington and Lunes Domingo.
As a performer, Tim began in high school, like most teenagers, rehearsing in a series of garage bands and playing on any stage where there was an opportunity. This led to a deeper drive to pursue music regularly, and to come to learn various styles ranging from metal to bebop. Upon graduation from music school, Tim moved to Austin, Texas and began shaping his approach to the guitar. While living in Texas, Tim worked with Latin ensemble Mosaic, art collective Mongoose, Tim’s own ensemble Polydactyl Hemingway, and as a soloist. After moving to the Midwest Tim toured and recorded with funk/R&B groups The Leonard Washingtons and Lunes Domingo. Now based in Asheville, North Carolina, Tim is back working on his solo material and preparing for his second CD release in the upcoming year. Tim also frequents North Carolina stages with local groups Drayton & The Dreamboats, Faded Jade, Rational Discourse, and The Strange Signals.
As an educator, Tim has worked as a guitar instructor and served as the creator/director of the Terre Haute Guitar Club and the Asheville Guitar Club, group guitar programs based on Tim’s experiences with Robert Fripp, Guitar Craft, and Guitar Circles. Tim also developed and directed the summer jazz camps and the ongoing annual resident Rock Camp for Indiana State University Community School of the Arts since 2012. Tim is currently teaching as an adjunct guitar instructor for the University of North Carolina Asheville, directing the UNCA Contemporary Guitar Ensemble, on staff of the UNCA Summer Jazz and Contemporary Music Intensive, as a guitar and class instructor for the Music Academy Asheville, and as Program Director for Rock Academy Asheville.
Lyndsay Pruett
Adjunct Music Faculty
Office: 043 Lipinsky Hall
Phone: 251-6432
Email: lpruett@unca.edu
Inez Hullinger Redman
Adjunct Music Faculty
Office: 043 Lipinsky Hall
Phone: 251-6432
Email: ihredman@unca.edu
Jacob Rodriguez
Adjunct Music Faculty
Office: 043 Lipinsky Hall
Phone: 251-6432
Email: jrodrigu@unca.edu
Richard Shulman
Adjunct Music Faculty
Office: 043 Lipinsky Hall
Phone: 251-6432
Email: rshulman@unca.edu
Paul Templon
Adjunct Music Faculty
Office: 043 Lipinsky Hall
Phone: 251-6432
Email: ptemplon@unca.edu
Ready for What's Next?
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