Longy's Divergent Studio

June 14–27, 2021
New Music Workshop
for Performers & Composers

Divergent Studio Faculty

Eve Beglarian

Sebastian CurrieR

Angélica Negrón

Marianna Ritchey

Donald Berman, piano (Longy Faculty)
Jeffrey Gavett, baritone
Andy Kozar, trumpet (Longy Faculty)
William Lang, trombone (Longy Faculty)
Adrian Sandi, clarinet, bass clarinet

Alexandra du Bois (Longy Faculty)
Amy Beth Kirsten (Longy Faculty)
Katherine Pukinskis (Longy Faculty)
Jeremy Van Buskirk (Longy Faculty)
Evan Johnson
Matthew Ricketts
Matthew Evan Taylor

Transient Canvas
Matt Sharrock, marimba
Amy Advocat, (bass clarinet)

Divergent Trio
Mary Mackenzie, soprano (guest artist)
Sarah Darling, viola (Longy Faculty)
Donald Berman, piano (Longy Faculty)

Divergent Quintet
Rachael Elliott, bassoon (Longy Faculty)
Kemp Jernigan, oboe (Longy Faculty)
Sooyun Kim, flute (Longy Faculty)
Rane Moore, clarinet (Longy Faculty)
Geoffrey Landman, saxophone (Longy Faculty)

Andy Kozar
Assistant Director
Aaron Clarke
Administrative Assistant
Eva Skanse

Join us for Divergent Studio, a 14-day immersive new music experience focused on interdisciplinary tools and holistic creative practices for contemporary musicians. Featuring collaborations with resident new music ensemble loadbang, guest composers Eve Beglarian, Sebastian Currier, and Angélica Negrón, and Longy’s cutting-edge contemporary music faculty, participants form a tight-knit community centered around conversations about new directions in musical practice.


Divergent Studio was amazing!
The coachings were intense and extremely supportive.
The program was individualized and it fostered a comradery that I haven’t experienced elsewhere.
Ciera C. (Divergent Studio Alumni, soprano)

I am a more knowledgeable, connected, and confident composer. The Divergent Studio was incredibly formative for me as an artist: It connected me with professional new music ensembles and I worked with composers from around the world
Alissa V. (Divergent Studio Alumni, composer)

Attending Divergent Studio is like being adopted into
the nicest family on the block! The entire festival is full of such intense enthusiasm that you can’t help but love every note you play and every person you play with!
Teagan F. (Divergent Studio Alumni, violinist)

Due to Longy’s current COVID-19 safety plan, the composition component of the 2021 Divergent Studio will be ONLINE ONLY. Students will still have the full educational experience of a normal Divergent Studio – interactive lectures, composition lessons, collaboration with student performers remotely, and of course the opportunity to write a piece for your assigned professional ensemble. We hate to have to make this decision, as we would love to have you all here with us, in person, together. Unfortunately, we are still weathering a global pandemic and, under current COVID guidelines from both the state/federal government and Longy, we have strict capacity limits we cannot exceed. Because of this, there has been a reduction of the tuition for composers which can be seen in the Tuition, Schedule & Accommodations Tab.

With guest composers Eve Beglarian, Sebastian Currier, and Angélica Negrón alongside Longy’s own composition faculty, Divergent Studio’s composition program provides the freedom to develop your own individual voice in a collaborative and community-driven setting.  Divergent Studio Composers will have the opportunity to write for one of our four ensembles of new music specialists.  This includes loadbang, Transient Canvas, Divergent Quintet, and Divergent Trio.

New York City-based new music chamber group loadbang is building a new kind of music for mixed ensemble of trumpet, trombone, bass clarinet, and baritone voice. Since their founding in 2008, they have been praised as ‘cultivated’ by The New Yorker, ‘an extra-cool new music group’ and ‘exhilarating’ by the Baltimore Sun, ‘inventive’ by the New York Times and called a ‘formidable new-music force’ by TimeOutNY. Creating ‘a sonic world unlike any other’ (Boston Musical Intelligencer), their unique lung-powered instrumentation has provoked diverse responses from composers, resulting in a repertoire comprising an inclusive picture of composition today. In New York City, they have been recently presented by and performed at Miller Theater, Symphony Space, MATA and the Look and Listen Festival; on American tours at Da Camera of Houston, Rothko Chapel, and the Festival of New American Music at Sacramento State University; and internationally at Ostrava Days (Czech Republic), China-ASEAN Music Week (China) and Shanghai Symphony Hall (China). loadbang has premiered more than 300 works, written by members of the ensemble, emerging artists, and today’s leading composers. Their repertoire includes works by Pulitzer Prize winners David Lang and Charles Wuorinen; Rome Prize winners Andy Akiho and Paula Matthusen; and Guggenheim Fellows Chaya Czernowin, George Lewis, and Alex Mincek. They are an ensemble-in-residence at the Charlotte New Music Festival, and through a partnership with the Longy School of Music of Bard College in Boston, they are on the performance faculty of Divergent Studio, a contemporary music festival for young performers and composers held each summer in Cambridge, MA.

Transient Canvas
Boston-based contemporary duo Transient Canvas is on a mission to revolutionize the modern concert experience. Since 2011, their innovative performances have been praised as “superb” by the Boston Globe and “disarming” by Cleveland Classical, with the San Francisco Chronicle lauding “the versatile imagination they both display and inspire in others.” Bass clarinetist Amy Advocat and marimbist Matt Sharrock relish the creative potential of working with living composers, having amassed a varied repertoire of over 80 commissioned works in addition to working with hundreds of student composers from all over the world. Since 2017, they have hosted their annual paid Composer Fellowship Program that is free and open to composers of all ages. They maintain an active touring schedule with recent performances at the Charlotte New Music Festival, Music on the Edge, Composers, Inc., Music at the Forefront, and People Inside Electronics, among others. Recent educational residencies include the University of Southern California, University of Pittsburgh, North Carolina NewMusic Initiative, and Divergent Studio at Longy School of Music. They have two albums, Sift and Wired, both released on New Focus Recordings. Transient Canvas proudly endorses Henri Selmer Paris and Marimba One. For more information, visit www.transientcanvas.com.

Divergent Quintet

Divergent Quintet is comprised of Longy performance faculty and new music specialists Sooyun Kim (flute), Kemp Jernigan (oboe), Rachael Elliott (bassoon),  Rane Moore (clarinet), and Geoffrey Landman (saxophone).

Divergent Trio
Mary Mackenzie, soprano, guest artist
Divergent Trio is comprised of new music specialists including guest artist Mary Mackenzie (soprano) and Longy performance faculty Sarah Darling (viola) and Donald Berman (piano).

2021 Divergent Studio performers will be IN-PERSON this summer. Due to Longy’s current COVID-19 safety plan, the composition component of the 2021 Divergent Studio will be ONLINE ONLY. There will still be collaborative projects and online social events between the composers and performers.

Led by members of one of the country’s most active new music ensembles, loadbang, and the virtuosic pianist Donald Berman, you will plunge into an intensive 14 days of studying and performing works by some of the most exciting composers of our time!  Join us and make connections, make discoveries, and make new music together!

Donald Berman, piano

Born and raised in San José, Costa Rica, Adrián Sandí began his clarinet studies in 1997 at the National Institute of Music of Costa Rica. He obtained his BM magna cum laude from Virginia Commonwealth University, his MM with distinction from DePaul University, and his Doctorate in Musical Arts from the Eastman School of Music. His main professors have included Ken Grant, Jon Manasse, Larry Combs, Julie DeRoche, Dr. Charles West, and Jose Manuel Ugalde. Hailed by the New York Times as “a brilliantly cool yet tender soloist”, he is an active solo recitalist and has given chamber music and solo performances throughout his musical career in different cities in Costa Rica, Panama, USA, Canada, China, Mexico, Germany, Belgium and Guatemala. As an avid performer of new music, Adrián is currently a member of loadbang, Ensemble Signal, founder of Ensamble ECO and has performed with groups such as New York New Music Ensemble, SEM Ensemble, Mimesis Ensemble, Numinous, and has toured with Bang on a Can All-Stars. Regularly performing works of rising and living composers, he has had the opportunity to collaborate with composer/conductors Oliver Knussen, Tristan Murail, Steve Reich, Charles Wourinen, Hilda Paredes, Anna Clyne, David Lang and John Zorn.

Jeffrey Gavett, baritone, is dedicated to the creation and presentation of new music as composer, performer and improviser. He has performed with a broad range of collaborators, from the Rolling Stones and indie rock group Clogs to new music groups Alarm Will Sound, ICE, New Juilliard Ensemble, New York New Music Ensemble, Red Light New Music, Roomful of Teeth, SEM Ensemble, Signal, Talea Ensemble, Le Train Bleu, and Wet Ink Ensemble. His own mixed ensemble loadbang has premiered more than 250 new works since 2008, writing their own music, improvising, and working closely with composers to create a repertoire for their unique instrumentation (trumpet, trombone, bass clarinet, baritone voice). In 2010 he founded the Ekmeles vocal ensemble, which is dedicated to performing new works for a cappella voices and classics of the avant garde. Ekmeles has been praised by the New York Times for their “extraordinary sense of pitch”, and described as “virtuosically adventurous” by Alex Ross. As a solo vocalist, he has performed in Alice Tully Hall, Issue Project Room, The Kitchen, Le Poisson Rouge, Merkin Hall, Roulette, The Stone, and Zankel Hall. He has also championed new theatrical and operatic works, giving the US premiere of Steven Takasugi’s Strange Autumn, and singing numerous premieres under the auspices of American Opera Projects and Experiments in Opera. He was involved in the World Premiere of the full version of Xenakis’s Oresteïa, which took place at Miller Theater, featuring ICE conducted by Steven Osgood; Mr. Gavett sang in the chorus and covered the twin roles of Kassandra and Athena, later performing the complete role in concert. He made his European stage debut in 2014, performing in Rudolf Komorous’s Nonomiya and the world premiere of Petr Kotik’s Master-Pieces at New Opera Days Ostrava in the Czech Republic, and singing Berio’s Coro under the baton of Sir Simon Rattle at the Lucerne Festival Academy. In January 2015 he made his European solo recital debut in Reykjavik as part of Dark Music Days; and toured Europe with Annie Dorsen’s Yesterday/Tomorrow, performing at the Holland Festival, in Strasbourg, Oslo, and Zagreb.

A native of Pittsburgh, Andy Kozar is a New York City based trumpeter, improviser, composer and educator that has been called a ‘star soloist’ by TimeOutNY, noted for his ‘precise trumpeting’ by New York Classical Review and has been said to be ‘agile as he navigated leaps and slurs with grace…he shifted between lyricism and aggression deftly’ by the International Trumpet Guild Journal. A strong advocate of contemporary music, he is a founding member of the contemporary music quartet loadbang which has been called ‘inventive’ by the New York Times, ‘cultivated’ by The New Yorker, and ‘a formidable new-music force’ by TimeOutNY. With loadbang, his playing has been said to be ‘polished and dynamic, with very impressive playing’ by the Baltimore Sun, and that he ‘coaxed the ethereal and the gritty from [his] muted instrument…and revealed a facility for shaping notes and color’ by the San Francisco Classical Voice. He is also a member the Byrne:KozarDuo, and has performed with new music ensembles including Bang on a Can, Ensemble Signal, Boston Modern Orchestra Project, Argento Chamber Ensemble, Talea Ensemble, Ensemble Echappe, Tilt Brass, Wet Ink, Boston Music Viva, and Mark Gould’s Pink Baby Monster. He has worked closely with numerous composers including Helmut Lachenmann, Christian Wolff, Joe Hisaishi (Spirited Away), George Lewis, Chaya Czernowin, and Pulitzer Prize winning composers David Lang and Charles Wuorinen. Kozar has performed at venues both domestically and abroad including Carnegie Hall, Lincoln Center, The Kennedy Center, MoMA, Rothko Chapel, The Barclays Center, and Shanghai Symphony Hall. Andy has studied with Anthony Pasquarelli, James Thompson, Brian McWhorter, Jens Lindemann and Mark Gould, has studied at Carnegie Mellon University, holds a BM from the Eastman School of Music, and a MM in contemporary performance at Manhattan School of Music. He has given lectures and master-classes at institutions including The Juilliard School, Eastman School of Music, Peabody Conservatory, New York University, and Northwestern University. Kozar regularly works as a teaching artist for the New York Philharmonic’s Very Young Composers program and is on faculty at Hunter College as well as the Longy School of Music of Bard College in Boston where, in addition to teaching trumpet, he is the Chair of the Winds and Brass Department, co-directs Ensemble Uncaged, Longy’s contemporary music ensemble, and is the director of the Divergent Studio, a summer program designed for young composers and performers of contemporary music. Andy is a Yamaha Performing Artist and exclusively performs on Yamaha trumpets.

Originally from Long Island, Trombonist William Lang is an active performer and improviser in New York and Boston. The New York Times has called his playing “fiercely, virtuosic”, and he has been hailed for his “superb performance” of James Bergin’s Langmusik by the Boston Globe, William is dedicated to playing premieres and new music. He has appeared as a soloist with the Janacek Philharmonia in an acclaimed performance of Iannis Xenakis’ trombone concerto: Trookh, as well as with the Fredonia Wind Ensemble on a tour of New York State; as a guest soloist with Ensemble Pi and the Broadway Bach Ensemble, as a special guest soloist with Talujon Percussion as well as on the Avant Media Festival, the Defacto Music Series, and the Electronic Music Festival, among others. As a chamber musician William is a founding member of two New York City based groups: loadbang, his groundbreaking ensemble consisting of Baritone, Bass Clarinet, Trumpet, and Trombone, hailed as “inventive” by the New York Times and “cultivated” by the New Yorker; and the Guidonian Hand, a trombone quartet hailed by the New York Times for their “expertly played, with meaty low brass textures” performance. William is a member of the SEM Ensemble, TILT Brass, the Argento Chamber Ensemble, Brooklyn Brass, and the Boston Microtonal Society’s premier ensemble: Notariotous, where he works alongside like minded composers and performers on the definition of pitch. He has also appeared as a guest artist with the Arts Ensemble of Chicago, Wet Ink, TACTUS, Ensemble Echappe, and Talea. As a recording and commercial musician William has appeared on albums with such luminaries as David Byrne and St. Vincent (their album Love This Giant,) and Jonsi’s (from Sigur Ros) solo album Go. He can also be heard on many classical releases, most recently with TILT Brass’ debut recording, to TILT vol. 1 and as a recording soloist for John Cage’s Ryoanji with the Avant Media Festival. He has also recorded commercial music for Philip Glass, as well as the soundtrack for a Matthew Barney film, the River Fundment. In addition to recording credits, William has been heard as the house trombonist for Rockefeller Center’s Christmas Music Spectacular, featuring the Rockettes!, as well as on numerous on and off-Broadway shows. William received his Masters Degree from Manhattan School of Music, where he studied with Benjamin Herrington, and his Bachelors Degree from SUNY Fredonia, where he studied with Stefan Sanders, Scott Parkinson, and Carl Mazzio. He is a also a frequent teaching artist for the New York Philharmonic’s Very Young Composers program and has also given masterclasses and lectures at Boston University, Columbia University, New York University, SUNY Purchase, SUNY Fredonia, the University of the Arts, Sacramento State, Central Michigan University, and Northern Arizona University. William is also on faculty at the Longy School of Music in Boston, where he teaches lessons in trombone and the nature of being a 21st century musician.

Pianist Donald Berman is recognized as a chief exponent of new works by living composers, overlooked music by 20th century masters, and recitals that link classical and modern repertoires. His 2-volume The Unknown Ives and The Uncovered Ruggles (New World) represents the only recordings of the complete short piano works of Charles Ives and Carl Ruggles extant. Other recordings on Bridge Records include the 4-CD set Americans in Rome: Music by Fellows of the American Academy in Rome, The Piano Music of Martin Boykan, and Scott Wheeler: Tributes and Portraits. Berman has also recorded The Light That Is Felt: Songs of Charles Ives (with Susan Narucki, soprano New World), Wasting the Night: Songs of Scott Wheeler (Naxos) and Christopher Theofanidis’s Piano Concerto (Summitt), as well as music by Su Lian Tan (Arsis), Arthur Levering (New World), Martin Boykan (New World; Bridge), Tamar Diesendruck (Centaur), and Aaron Jay Kernis (Koch). Recent performances by Donald Berman include solo recitals at Bargemusic, National Sawdust, and (le)Poisson Rouge in New York City. He has also been a featured soloist at Zankel Hall, Rockport Muisc Festival as well as abroad in Belgrade, Rome, Beiijing, and Israel. A 2011 Radcliffe Institute Fellow, Berman is currently President of The Charles Ives Society. He teaches at the Longy School of Music of Bard College and Tufts University. His principal teachers were Mildred Victor, George Barth, John Kirkpatrick, and Leonard Shure.

Composition and performance students will have the ability to work with, hear lectures of, and perform music by our esteemed guests! The 2021 Divergent Studio guests include composers Eve Beglarian, Angélica Negrón, Sebastian Currier, and musicologist and author Marianna Ritchey.

Sebastian Currier is the recipient of the prestigious Grawemeyer Award. Heralded as “music with a distinctive voice” by the New York Times and as “lyrical, colorful, firmly rooted in tradition, but absolutely new” by the Washington Post, his music has been performed at major venues worldwide by acclaimed artists and orchestras, including Anne-Sophie Mutter, the Berlin Philharmonic, the New York Philharmonic, and the Kronos Quartet.

His music has been enthusiastically embraced by violinist Anne-Sophie Mutter, for whom he wrote Time Machines, which she premiered with the New York Philharmonic in June 2011 and subsequently performed with various orchestras in the United States, Europe, and Asia. He also wrote Aftersong for her, which she performed extensively in the US and Europe, including Carnegie Hall in New York, the Barbican in London, and the Grosses Festspielhaus in Salzburg. A critic from the London Times said, “if all his pieces are as emotionally charged and ingenious in their use of rethought tonality as this, give me more.”

He has also had an extended association with members of the Berlin Philharmonic, as well as the orchestra itself. In 2009 his harp concerto Traces, which was commissioned by the Berlin Philharmonic was premiered by harpist Marie-Pierre Langlamet under the baton of Donald Runnicles. He has written numerous pieces for Langlamet, which she has premiered at the Philharmonie, often with members of the Berlin Philharmonic. He recently wrote Spark for the 12 cellos of the Berlin Philharmonic, which they premiered in Rotterdam.

His orchestra piece, Divisions, was recently premiered by the Seattle Symphony, conducted by Ludovic Morlot, and will be performed by the Boston Symphony both in Boston and New York, conducted by Andris Nelsons. His Microsymph, referred to by the composer as a large-scale symphony that has been squeezed into only ten minutes, was commissioned by the American Composers Orchestra and premiered at Carnegie Hall. It has also been performed by such orchestras as the San Francisco Symphony, the Gewandhaus Orchestra, the BBC Wales Orchestra and the National Symphony Orchestra, and has been recorded by the Frankfurt Radio Orchestra with Hugh Wolff, conductor.

He has also written works that involve electronic media and video. Nightmaze, a multimedia piece based on a text of Thomas Bolt in which the protagonist dreams he is rushing along a dark, enormous highway, where strange road signs loom up only to disappear into the night, has been performed by Network for New Music and the Mosaic Ensemble. The Philadelphia Inquirer said “every turn is breathtaking” and the New York Times, “Currier’s rich and imaginative music sets the right tone, with its fractured and dissonant baroque-like gestures leading off like highway exits into the void and hinting at distant reservoirs of emotion and yearning.”

Recordings include his Time Machines, recorded by Anne-Sophie Mutter and the New York Philharmonic for Deutsche Grammophon, Next Atlantis with the Ying Quartet on Naxos, and “On the Verge” from Music from Copland House, featuring his Grawemeyer Award-winning Static, and other chamber works. His “Quartetset/Quiet Time” album, recorded by the Cassatt Quartet, says Anne Midgette for The New York Times, “…distances the present from the past, causing the listener to think about music itself.”

He has received many prestigious awards including the Berlin Prize, Rome Prize, a Guggenheim Fellowship, a fellowship from the National Endowment for the Arts, and an Academy Award from the American Academy of Arts and Letters, and has held residencies at the MacDowell and Yaddo colonies. He received a DMA from the Juilliard School and from 1999-2007 taught at Columbia University. He is currently Artist in Residence at the Institute for Advanced Study, in Princeton, New Jersey. Sebastian Currier is published by Boosey & Hawkes.

Puerto Rican-born composer and multi-instrumentalist Angélica Negrón writes music for accordions, robotic instruments, toys and electronics as well as chamber ensembles and orchestras. Her music has been described as “wistfully idiosyncratic and contemplative” (WQXR/Q2) and “mesmerizing and affecting” (Feast of Music) while The New York Times noted her “capacity to surprise” and her “quirky approach to scoring”. Angélica has been commissioned by the Bang on a Can All-Stars, loadbang, MATA Festival, Brooklyn Youth Chorus, Sō Percussion, the American Composers Orchestra, and the New York Botanical Garden, among others. Her music has been performed at the Kennedy Center, the Ecstatic Music Festival, EMPAC, Bang on a Can Marathon and the 2016 New York Philharmonic Biennial and her film scores have been heard numerous times at the Tribeca Film Festival. She has collaborated with artists like Sō Percussion, The Knights, Face the Music, and NOVUS NY, among others and is a founding member of the tropical electronic band Balún. Angélica is currently a doctoral candidate at The Graduate Center (CUNY), where she studies composition with Tania León and focuses on the work of Meredith Monk for her dissertation. She’s a teaching artist for New York Philharmonic’s Very Young Composers Program working with young learners on creative composition projects. Upcoming premieres include works for the LA Philharmonic, Dallas Symphony Orchestra and National Symphony Orchestra, San Francisco Girls Chorus, and NY Philharmonic Project 19 initiative. Negrón continues to perform and compose for film.

According to the Los Angeles Times, composer and performer Eve Beglarian “is a humane, idealistic rebel and a musical sensualist.” A 2017 winner of the Alpert Award in the Arts for her “prolific, engaging and surprising body of work,” she has also been awarded the 2015 Robert Rauschenberg Prize from the Foundation for Contemporary Arts for her “innovation, risk-taking, and experimentation.”

Beglarian’s current projects include a collaboration with writer/performer Karen Kandel about women in Vicksburg from the Civil War to the present, a piece about the controversial Balthus painting Thérèse Dreaming for vocalist Lucy Dhegrae, and a duo for uilleann pipes and organ that was premiered by Renée Louprette and Ivan Goff at Disney Hall as part of the Los Angeles Philharmonic’s 100th anniversary celebrations. Since 2001, she has been creating A Book of Days, “a grand and gradually manifesting work in progress…an eclectic and wide-open series of enticements.” (Los Angeles Times)

In 2009, “Ms. Beglarian kayaked and bicycled the length of the Mississippi River [and] has translated her findings into music of sophisticated rusticity…[Her] new Americana song cycle captures those swift currents as vividly as Mark Twain did. The works waft gracefully on her handsome folk croon and varied folk instrumentation as mysterious as their inspiration.” (New York Times)

Beglarian’s chamber, choral, and orchestral music has been commissioned and widely performed by the Los Angeles Master Chorale, the American Composers Orchestra, the Bang on a Can All-Stars, the Chamber Music Society of Lincoln Center, the California EAR Unit, the Orchestra of St. Luke’s, Sequitur, loadbang, the Guidonian Hand, Newspeak, the Ekmeles Vocal Ensemble and individual performers including Maya Beiser, Sarah Cahill, Lauren Flanigan, Marya Martin, and Mary Rowell.

Highlights of Beglarian’s work in music theater includes music for Mabou Mines’ Obie-winning Dollhouse, Animal Magnetism, Ecco Porco, Choephorai, and Shalom Shanghai, all directed by Lee Breuer; Forgiveness, a collaboration with Chen Shi-Zheng and Noh master Akira Matsui; and the China National Beijing Opera Theater’s production of The Bacchae, also directed by Chen Shi-Zheng. She has collaborated with choreographers including Ann Carlson, Robert LaFosse, Victoria Marks, Susan Marshall, David Neumann, Take Ueyama, and Megan Williams, and with visual and video artists including Cory Arcangel, Anne Bray, Vittoria Chierici, Barbara Hammer, Kevork Mourad, Shirin Neshat, Matt Petty, Bradley Wester, and Judson Wright. Performance projects include Brim, Songs from a Book of Days, The Story of B, Open Secrets, Hildegurls’ Ordo Virtutum, twisted tutu, and typOpera. Recordings of Eve’s music are available on ECM, Koch, New World, Canteloupe, Innova, Naxos, Kill Rock Stars, CDBaby, and Bandcamp.

Marianna Ritchey received her PhD in musicology from UCLA in 2011. Her dissertation, entitled “Echoes of the Guillotine: Berlioz and the French Fantastic,” examined nineteenth-century music and culture, specifically relationships between the music of Hector Berlioz and the “fantastic” literature of Romantic-era France. Her current research investigates dynamics between musical and economic ideologies in the contemporary United States; she is currently finishing a book manuscript examining the transformations that ideas about classical music have undergone within late capitalism, and the ways these ideas can be marshaled in the service of corporate, state, and technocratic power.

Dr. Ritchey has written and presented on topics ranging from Berlioz to the films of Guy Maddin to the dies irae to the world-building practices of the Intel corporation. She gives periodic public lectures, including a presentation on Hildegard of Bingen at a women’s music festival in Anacortes, Wash. She also reviewed a recent opera about Steve Jobs for the American Musicological Society’s blog, Musicology Now. She is the co-founder of Musicology and the Present, a biennial conference series that engages a range of scholarly responses to musical, social, political, and economic questions emerging around contemporary music.

Before entering academia, Dr. Ritchey performed in many rock and art-pop bands. She has played all over the world, most recently touring in Australia. She also co-wrote the January ‘14 theme song for the feminist website Rookie, which included performances by luminaries like Carrie Brownstein, Tegan and Sara, and Aimee Mann. Her non-scholarly interests include sourdough bread baking, comedy, dogs, David Foster Wallace, and art and life in the Anthropocene.


Pay Divergent Studio Tuition

In-Person Performers

  • Full Rate – $1,400
  • Early Bird Rate – $1,350
  • Longy Community Rate – $700
  • Longy Community Early Bird Rate – $650

Remote Composers

  • Full Rate – $1,250
  • Early Bird Rate – $1,200
  • Longy Community Rate – $625
  • Longy Community Early Bird Rate – $575


We want to make attending Longy’s Divergent Studio as affordable as possible, an so we do offer scholarship opportunities. All students can request scholarship as a part of the application process and performance students are eligible for the loadbang Performers Scholarship based on the quality of the application.


  • March 15, 2021 – Application Deadline
  • April 1, 2021 – Notification Letters
  • May 1, 2021 – Deposit Due ($300)
  • June 13, 2021 (on or before) – Early Bird Rates Tuition Due
  • June 14, 2021 – Full Rates Due


Students who need accommodations may stay in the dorms at Lesley University, which is approximately a 5-minute walk from Longy. According to demand housing can be arranged at Lesley University.

If you have any questions regarding the institute or how to apply, please contact us at: DivergentStudio(at)longy.edu.

Andy Kozar
Assistant Director
Aaron Clarke
Administrative Assistant
Eva Skanse