Assistant Professor of Voice & Opera
The UBC School of Music invites applications for a full-time, limited-term position in Voice and Opera. The anticipated start date will be August 1, 2026. This is a one-year position as Assistant Professor Without Review (i.e., non-tenure-track), potentially renewable for up to two more years, subject to the availability of funds and demonstration of excellence in research, teaching, and service.
We seek an accomplished professional singer and educator with significant experience in opera. Qualified candidates will have demonstrated engagement with diversity or inclusion through performance, mentoring, teaching, or community-based initiatives that will help diversify the activities of the Voice and Opera division. They should have demonstrated experience in teaching studio voice lessons, preferably at the university level, including familiarity with the vocal training needed to develop young voices. They should have extensive knowledge of art song and oratorio repertoire, including contemporary forms, different languages used in classical vocal repertoire, and the IPA. They should be familiar with young artists and summer voice programs, community-based work, and the current professional environment. The successful candidate will have a PhD, DMA, or appropriate terminal degree, but candidates with a combination of education and appropriate experience, as noted above, will be considered.
Duties will include individual undergraduate and graduate voice lessons; teaching courses; supervision of masters and doctoral students, other service on School and University committees, and active and ongoing performance/research activities consistent with successful teaching and productive service.
The UBC School of Music offers a full range of undergraduate and graduate programs in music, including M.Mus., M.A., DMA, and Ph.D. programs. For information about the School, visit
music.ubc.ca
Applications and all supporting materials should be received byJune 15, 2026
Applicants should be prepared to provide:
- a letter of application that includes the names and contact information (incl. institutional affiliation, address, e-mail address) of three referees;
- curriculum vitae;
- a statement of major research accomplishments, and current and future research;
- a statement of teaching/pedagogy philosophy; and a concise record of teaching experience, including evidence of teaching effectiveness (e.g., evaluations and sample syllabi);
- a statement addressing experience working with a diverse student body as well as past and potential contributions to creating/advancing a culture of equity and inclusion.
Referees for the candidates on the long list will be contacted to provide confidential reference letters. Long-listed candidates will be asked to provide samples of their performances, including links to recordings, and other relevant documented professional experiences. The expected pay range for this position is $8,333/month – $9,167/month; salary will be commensurate with qualifications and experience. This position is subject to final budgetary approval.
The University is committed to creating and maintaining an accessible work environment for all members of its workforce. Within this hiring process we will make efforts to create an accessible process for all candidates (including but not limited to disabled people). If you have any questions regarding accommodations or accessibility during the recruitment and hiring process or for more information and support, please visit UBC’s Centre for Workplace Accessibility website
The UBC – Vancouver Campus is located on the traditional, ancestral, and unceded territory of the hən̓q̓əmin̓əm̓-speaking Musqueam people. Equity and diversity are essential to academic excellence. An open and diverse community fosters the inclusion of voices that have been underrepresented or discouraged. We encourage applications from members of groups that have been marginalized on any grounds enumerated under the B.C. Human Rights Code, including sex, sexual orientation, gender identity or expression, racialization, disability, political belief, religion, marital or family status, age, and/or status as a First Nation, Métis, Inuit, or Indigenous person. All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given priority.
Deadline for applications: Monday June 15, 2026
Posting date: Thursday May 14, 2026
How Sign Language Analyzes Musical Form
Author: Anabel Maler
Publication details: Anabel Maler, How Sign Language Analyzes Musical Form, Music Theory Spectrum, 2026;, mtag001.

Weblink: https://academic.oup.com/mts/advance-article/doi/10.1093/mts/mtag001/8664087
Abstract:
This article reframes sign language cover songs as music analysis, arguing that Deaf listeners are expert formal analysts who use sign language to convey analytical insights into the form of existing pieces of popular music through the medium of sign language cover songs. Sign language cover songs are placed on a continuum from literal to free translations, and from descriptive to suggestive analysis. The article explores three form-defining parameters—movement type, space, and nonmanual markers—revealing how each one can be used in an American Sign Language (ASL) cover to articulate aspects of musical form.
Trio Garibaldi: In Faded Sepia

In Faded Sepia by Trio Garibaldi
Featured UBC Faculty: Jose Franch-Ballester, clarinet & David Fung, piano with Marina Thibeault
Release: March 2026 on ATMA Classique
Description:
With In Faded Sepia, the Garibaldi Trio offers a musical journey where memory, lyricism, and stylistic contrasts intertwine in a remarkably rich sonic palette. The album brings together works by Lowell Liebermann, Dorothy Chang, and Stephen Chatman, along with a vibrant tribute to Duke Ellington through original arrangements by Yuri Kuriyama. Through these works, the trio showcases the full sonic range of the clarinet, viola, and piano. This intimate yet expansive ensemble allows for a seamless transition from profound lyricism to a more vibrant energy, with occasional nods to jazz.
The recording’s central theme is Dorothy Chang’s Persistence, and more specifically its “Song, in Faded Sepia” movement, which inspired the album’s title. Like an old photograph whose contours have softened with time, the music evokes a memory. Fragments of a familiar theme reappear, like fleeting images that cannot be held onto. Between the almost diabolical fervor of Liebermann‘s trio, the virtuosic and luminous sweep of Chatman‘s Garibaldi Suite, and the timeless elegance of Ellington revisited with freedom and imagination, In Faded Sepia weaves a sensitive dialogue between tradition and modernity.
Listenings: A publication following the Soundings exhibition
Curated by Dylan Robinson and Candice Hopkins
Publication details:Listenings:
A publication following the Soundings exhibition
Listenings is published by the Agnes Etherington Art Centre, Independent Curators International (ICI) and the Morris and Helen Belkin Art Gallery with Information Office.
Weblink: belkin.ubc.ca/product/listenings
From the Belkin Gallery:
“Listenings is published in response to and alongside Soundings: An Exhibition in Five Parts, a travelling exhibition curated by Candice Hopkins and Dylan Robinson and organized by Agnes Etherington Art Centre at Queen’s University and Independent Curators International
How can a score be a call and tool for decolonization?
In Soundings: An Exhibition in Five Parts, artists responded to this question through commissioned works that ranged from performance and video to sculpture, bead work, sound installation, written instructions and re-presentations of cultural belongings held in museum collections. Unfolding in sequences of five parts, these “scores” were activated at specific moments by musicians, dancers, performers and members of the public, gradually filling the gallery and surrounding public spaces with sound and action. Curated by Candice Hopkins and Dylan Robinson, Soundings was cumulative, limning an ever-changing community of artists, players, artworks, shared experience and engagement as it travelled from one venue to the next over the course of three years and beyond. Some artworks had multiple parts; others changed to their own rhythm as the exhibition grew.
Listenings features writing and responses to the artists represented in the many iterations of Soundings.”
Ari Cohen Mann’s New Album: VORTEX

Featured UBC Alum: Ari Cohen Mann, Oboe (BMus ’12)
Release: 2025
Description:
The album features works by Kevin Day, Jennifer Higdon, Jocelyn Morlock, C. Tyler Nickel, and Rodney Sharman, and includes the world-premiere recording of Jean Coulthard’s The Enchanted Island.
You can pre-save VORTEX here: https://orchid-music.lnk.to/VORTEXem
Music videos including Kevin Day’s VORTEX and C. Tyler Nickel’s English Horn Sonata (third movement): https://www.youtube.com/@oboeari
Cris Derksen’s New Album: THE VISIT
Featured UBC Alum: Cris Derksen, Cello (BMus ’07)
Released: November 6, 2025
Description: Cris Derksen, a Juno-nominated Indigenous cellist and composer, is internationally renowned for her genre-defying music that bridges the traditional and contemporary. Hailing from Treaty 8 territory in Northern Alberta, Derksen comes from a lineage of chiefs from the NorthTall Cree Reserve on her father’s side and strong Mennonite homesteaders on her mother’s. Her work intricately weaves together her classical training and Indigenous heritage with modern electronic elements.
Derksen’s unique sound began to take shape in 2006 when she started performing with Tanya Tagaq, using multi-effect guitar pedals to make the cello more relatable and innovative. Her debut album, “The Cusp,” remains a staple on national radio and is frequently licensed for television and film. A staple of the Canadian Folk Fest circuit since 2007, she has performed with her quartet and various indie rock bands. In 2016, she released “Orchestral Powwow,” blending symphonic elements with powwow music, a project performed with symphonies and arts festivals across Canada, marking her return to classical roots.
For more information, visit Cris Derksen’s site at https://www.crisderksen.com/music
Check out Derksen’s new album now available on Tidal and Apple Music.
Standing Wave: in an archipelago
Featured UBC Faculty and Alumni: Vern Griffiths percussion; Christie Reside, flute and UBC Alum AK Coope, clarinet (BMus)
Release: October 2025 on Redshift
Description:
in an archipelago (2020) – James O’Callaghan
In an archipelago is a work for sextet and electronics, or any combination of its constituent parts, from solos, various possible duos and trios, and so on, all the way up to the full band, for a total of 127 possible combinations. The work was composed during the COVID-19 pandemic, where an uncertain future led to the idea of affording the extracting of solos from the commission of a chamber piece-to-be. Each instrument’s part was composed one-by-one, first as a mockup assembled from recordings of my past pieces, among other sources. I listened to each of these parts in different combinations and fine-tuned them as I went in order to compose in such a way that they could exist on their own or in this variable company. I then transcribed the parts into a notated chamber score. Each instrument has a phoneme attached to it, drawn from the title, and the title of each performance becomes an assemblage of its parts.
Antonio Benítez-Rojo’s 1985 essay The Repeating Island set out a way of thinking borne of the postcolonial conditions of the Caribbean that challenges the binary ontologies of Analytical and Continental Thinking. An Archipelagic Thinking is one of multiplicity and polyrhythm which conceptualizes through fragmentary interrelations rather than a system or a totality. In composing this piece, I was thinking about connectivity through isolation, and the idea that repetition brings necessarily a difference and a deferral. The kind of densely modular repetition I experiment with, where every moment is densely recontextualizable, is one that I hope offers an opportunity to collapse binary listening
Assistant Professor of Music Composition (Music Technology)
The UBC School of Music invites applications for a full-time, limited-term position in Music Composition (Music Technology) – non-tenure track. The anticipated start date will be September 1, 2026. This is a one-year position as Assistant Professor Without Review (i.e., non-tenure track), renewable for a maximum of two times, subject to the availability of funds and demonstration of excellence in research, teaching, and service.
We seek an accomplished and versatile composer-researcher specializing in music technology. Applicants must have a Ph.D. or DMA degree in Music Composition. Qualified candidates should also have a demonstrated record of research accomplishment, including high-level national and international performances and documented success of research grants, university-level teaching (of acoustic and electroacoustic music composition) and graduate supervision, as well as a commitment to advancing diversity, equity, and inclusion. Duties will include individual undergraduate and graduate composition lessons; teaching courses (which may include “Introduction to Music Technology,” “Electroacoustic Music,” “Computer Music,” and “Interactive Performance Systems”); supervision of masters and doctoral students, running and maintaining the Music Technology Lab, serving as Coordinator of the Applied Music Technology minor, other service on School and University committees, and active and ongoing performance/research activities consistent with successful teaching and productive service.
The UBC School of Music offers a full range of undergraduate and graduate programs in music, including M.Mus., M.A., DMA, and Ph.D. programs. For information about the School, visit
music.ubc.ca
Applications and all supporting materials should be received by November 21, 2025
Applicants should be prepared to provide:
- letter of application that includes the names and contact information (incl. institutional affiliation, address, e-mail address) of three referees;\
- curriculum vitae; \
- a statement of major research accomplishments, and current and future research;
- a statement of teaching/pedagogy philosophy; and a concise record of teaching experience, including evidence of teaching effectiveness >(e.g., evaluations and sample syllabi);
- a statement addressing experience working with a diverse student body as well as past and potential contributions to creating/advancing a culture of equity and inclusion.
Referees for the candidates on the long list will be contacted to provide confidential reference letters. Long-listed candidates will be asked to provide samples of their compositions, including links to recordings and scores, and other relevant documented professional experiences. The expected pay range for this position is $8,333/month – $9,167/month; salary will be commensurate with qualifications and experience. This position is subject to final budgetary approval.
The University is committed to creating and maintaining an accessible work environment for all members of its workforce. Within this hiring process we will make efforts to create an accessible process for all candidates (including but not limited to disabled people). If you have any questions regarding accommodations or accessibility during the recruitment and hiring process or for more information and support, please visit UBC’s Centre for Workplace Accessibility website
The UBC – Vancouver Campus is located on the traditional, ancestral, and unceded territory of the hən̓q̓əmin̓əm̓-speaking Musqueam people. Equity and diversity are essential to academic excellence. An open and diverse community fosters the inclusion of voices that have been underrepresented or discouraged. We encourage applications from members of groups that have been marginalized on any grounds enumerated under the B.C. Human Rights Code, including sex, sexual orientation, gender identity or expression, racialization, disability, political belief, religion, marital or family status, age, and/or status as a First Nation, Métis, Inuit, or Indigenous person. All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given priority.
Deadline for applications: Friday November 21, 2025
Posting date: Monday October 20, 2025
TAUBERT, W. Piano Sonatas Nos. 1, 2, 4, 6 (Romantic Piano, Vol. 2)
Artist: Lucas Wong
Release Year: 2025
Recorded at Fazioli Concert Hall, Sacile, Italy
Engineer: Federico Furlanetto
Description: As part of a brand new Naxos series “Romantic Piano”, this disc explores world premieres of Taubert’s piano works.



