Tamara Cashour is a music composer and interdisciplinary academic/writer, with research interests in the broad discipline of critical theory, and including the subdisciplines of: philosophy (particularly contemporary philosophy of economies and technology), theatre (avant-garde, community, theatre for social justice), feminist/gender studies and class studies.
Cashour composes: vocal and instrumental chamber music, incidental music, sacred organ and choral music and opera/musical-theatre hybrid works in new forms. Awards include: five ASCAPlus awards; the 2015 Bronx BRIO award, 2015 International Conference of the International Alliance of Women in Music featured score (for Queens Suite); first place, For Women Only Composition Choral Contest. Cashour's compositions have been widely heard in New York City at: Dimenna Center for Classical Music, Symphony Space, St. Peters Church @ Citicorp Center, Columbia University's CASA ITALIANA, WINGS Theatre, Theatre Lab, Queens College LeFrak Concert Hall, as well as nationally and internationally.
Cashour is a collaborative pianist at The New School College of Performing Arts, Assistant Conductor at The Bronx Concert Singers, Music Director of The Footlight Players and Music Director/Organist/Composer at the Presbyterian Church of New Rochelle. Cashour has also presented her compositions as part of conferences at Brandeis University and Truman State University, and has read academic papers on music topics at St. Louis University and Gettysburg College. She has written music criticism/book reviews for the IAWM journal and The Barnard Bulletin.
Ms. Cashour holds degrees from Columbia University (BA) and New York University (MA) and is currently completing an MFA in Music Composition from the Vermont College of Fine Arts. Additional educational credits include: the Interdisciplinary Humanities PhD Cohort 1 of the Global Center for Advanced Studies, and continuing education classes in philosophy at the Institute for Radical Imagination.
Cashour is committed to artistic citizenry; her theatrically-infused musical compositions often engage issues of ethics and social justice. She actively seeks new 'open' forms which performatively address or highlight ideas/artifacts originally expressed in or as static, non-live/interactive media (such as academic papers, books, digitally recorded media). Active audience engagement figures highly in her work. Particularly in areas of socio-political concern--how does musical abstraction within new musical form engage with semiotics, critical and cultural theory to offer a message of potency--particularly in live performance to a diverse audience?
Tamara Cashour is a NYC-based ASCAP composer of vocal and instrumental chamber music, secular solo music for piano and organ, incidental music, sacred organ and choral music and opera/musical-theatre hybrid-interdisciplinary works in new forms. Awards for composition include: 1) six ASCAPlus awards (2012-2018); 2) 2015 Bronx BRIO award in musical composition for QUEENS SUITE, in 7 movts. for strings/harp (premiered @ Symphony Space, Queens College, & a featured score at the 2015 IAWM International Online Conference); 3) First Place, For Women Only Composition Choral Contest 2008 (for GIRLY HURLY BURLY, choral-theatre burlesque for SSAA women's voices, 2 violins, hurdy gurdy, piano, and actress, premiered 2008 Christ & St. Stephens Church, NYC.) Additional compositions and performances include: 1) FIVE SACRED INTROITS for SATB, piano/organ (C-4, Church of the Transfiguration, NYC); 2) LOVE IS NOT A SUBARU for guitar and string quartet (Dimenna Center for Classical Music, NYC); 3) SIX LYRICS OF MARILYN HACKER, song cycle for: mezzo-soprano, soprano, flute, Engl. horn, Guitar, Piano, (@ St. Peters Church @ Citicorp Center & Brandeis University's ALIVE BY HER OWN HAND: Women Composers Who Play Their Own Music Conference); 4) eMIly DIckinson: toward TECH-NOlogy for counter-tenor, Nicki Minaj Beats Pill Wireless, pianist-actress(Dimenna Center for Classical Music, NYC); 5) EMILY UNLEASHED for soprano, synthesizer, piano (Symphony Space, NYC); 6) A POSTMODERN FEMINIST FANTASIA ON POULENC-COCTEAU'S LA VOIX HUMAINE, a feminist musical-theatrical deconstruction of the original work, (WINGS Theatre NYC, Truman State University's COMPOSING WOMEN Conference); 7) CITY SKETCHES , a musical(47th St. Theatre, NYC); 8) incidental theatre music FIE ON SINFUL FANTASY for tuba, SATB choral and percussion, and FULL FATHOM FIVE for Woman/Fish, SATB, strings, percussion (Theatre Lab, NYC). Cashour's works have also been heard at NYC's National Opera Center, where she has given masterclasses. Cashour has also read academic papers on music topics at St. Louis University and Truman University (POSTMODERN FEMINIST FANTASIA on P-C LA VOIX HUMAINE), Gettysburg College (CRITICAL THEORY OF NEW MUSIC TECHNOLOGIES IN THE CLASSROOM) and was invited to read at the 2017 Working Class Studies Association Annual National Conference (GIRLY HURLY BURLY). Ms. Cashour is also active as a collaborative concert/recital pianist and soprano (Carnegie Hall debuts 2002 and 2001, respectively), and is Music Director/Organist at the Presbyterian Church of New Rochelle, where she is also is composer-in-residence, composing introits and anthems as performed by the PCNR Choir. Recently, five of her sacred introits for SATB choir and organ were performed (with piano reduction) at The Church of The Transfiguration in NYC. She holds degrees from Columbia University (BA) and New York University (MA), where her thesis was on female subjectivity in opera (performance and written double-thesis). She has also studied composition at The Juilliard School, counterpoint at the European American Musical Alliance in Paris and in the MFA Composition program at Vermont College of Fine Arts. Cashour is a HASTAC (Humanities, Arts, Science and Technology Alliance and Collaboratory) Scholar 2017-2019. Composition video: http://youtu.be/5Q089Pt-zWs YOUTUBE CHANNEL: https://www.youtube.com/channel/UCt-_NRuWJiyW12d0QoRuxjw/featured?view_a...