Avery Morris (DMA Candidate, Violin) and Michael Bennett (Critical Music Studies PhD Candidate) Fulbright Awards

Congratulations to not one but two Fulbright award winners from the Music Department!

Avery Morris (DMA candidate, violin) was recently awarded a 2023-24 Fulbright Research Award, allowing her to study and perform in Prague, Czech Republic next academic year. Her research project is entitled “Gideon Klein’s Lost Works and the Legacy of Czech Musical Modernism.”

Violinist Avery Morris is currently a Doctoral Candidate at Stony Brook University where she studies with Jennifer Frautshi, Arnaud Sussmann, Hagai Shaham and Philip Setzer. As a current member of the Vogelsang String Quartet, she is a member of the Emerson String Quartet Institute at Stony Brook. She completed her M.Mus at the University of Ottawa as a student of Yehonatan Berick.  Previously, Avery attended Bard Conservatory where she studied with Weigang Li of the Shanghai Quartet. Avery has performed at Lincoln Center, Walt Disney Concert Hall, Colburn School’s Zipper Hall and many historic halls throughout Cuba, Colombia, eastern Europe and Russia. She has soloed with The Orchestra Now, Palisades Symphony, Crossroads EMMI Orchestra, and her performances have been broadcasted on WQXR, KUSC and KCSN Radio. Avery has worked with artists Christian Tetzlaff, Jonathan Crow, Shmuel Ashkenasi, Ani Kavafian and Laurie Smukler. She has attended the Heifetz Institute, Sarasota Music Festival, Bowdoin Music Festival, Chautauqua Institution, Banff Centre and Pablo Casals Festival. In addition to her violin studies, Avery completed a degree in Mathematics at Bard College. Her senior thesis was entitled, “From Random to Organized: The Architecture of Neural Networks During Development.”

Michael Bennett (Critical Music Studies PhD Candidate, advised by Judy Lochhead; committee members Steve Smith and August Sheehy) won a Fulbright Award to support a year of study in Italy.
Michael will be immersed in the archives to complete work on his dissertation “Decomposing Fascist Modernism: The Musical Poetics of Luciano Berio,” which brings to light profound and important connections between the literary and musical avant-garde movements in Italy in the years following the Second World War, as the nation and its intellectuals grappled with Mussolini’s legacy and the remnants of fascism. Michael‘s research makes an original contribution not only to our understanding of music, literature, and modernism in postwar Europe, but also to the understanding of fascism from a perspective not so far considered. At this juncture, with populist movements the world over embracing fascist and neo-fascist ideals, Michael’s work is crucial and timely.

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