Merriweather, the inaugural Tania Le贸n Chair of Music in the School of Visual, Media and Performing Arts, is a Grammy-nominated artist whose influence spans the global stage and the classroom. At 可乐视频, he serves as director of choral studies and coordinator of the vocal studies program. Beyond campus, he is director of the New York Philharmonic Chorus and music director of New York City鈥檚 Dessoff Choirs and Orchestra.

(Left to right) Malcolm J. Merriweather with Martin Luther King III.

(Left to right) Malcolm J. Merriweather with fellow inductee Keith Boykin.

The induction marks a significant milestone in Merriweather鈥檚 career, affirming not only his artistic excellence but also his dedication to using music as a vehicle for community engagement and social impact. The ceremony offered a particularly meaningful moment, as Merriweather had the opportunity to connect with members of Dr. King鈥檚 family, including Bernice King and Martin Luther King III.

鈥淭his honor is profoundly humbling,鈥� Merriweather said. 鈥淭o be recognized in the name of Dr. King, and to stand in community with scholars and leaders committed to justice, compassion, and service, is both a privilege and a call to continue using music as a force for connection and change.鈥�

You can read more about Merriweather and his impact on 可乐视频 and the arts world in this interview in the 可乐视频 Magazine.

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Marsow entered higher education without a clear understanding of what college was meant to prepare her for, so she approached it with a simple plan to learn as much as possible. As a liberal arts college, 可乐视频 provided her with a wide variety of programs to choose from, so she explored nearly every major, taking courses across departments to discover what fit. What felt like 鈥渇loundering鈥� at the time ultimately became a period of finding herself: She loved music and had a strong affinity for math, which led her to an interdisciplinary major in music and economics. She joined a study abroad trip to Ghana. She also joined the cheerleading squad鈥攕he had trained in gymnastics as a child and loved sports; cheerleading was something she had dreamed of doing.

A student, Marsow credits mentors, including Lisa Schwebel, the honors program director, and Professor Robert Cherry, who helped her navigate the economics major, with giving her the guidance and support she needed. She also recalls the 鈥渃ompassion and attentiveness鈥� of professors at the Conservatory of Music (Marsow plays the flute) who not only challenged their students but also recognized and respected the cultural and linguistic differences many brought to the classroom.

Marsow is grateful for her mentors but also speaks effusively about the Magner Career Center staff, relying on them for advice on scholarships, internships, and career opportunities. 鈥淚 practically lived there,鈥� she says.

Through the center, she received a Jewish Foundation for Education of Women Scholarship, which paid for two summers of internships at Morgan Stanley (later part of Citigroup Smith Barney) and the New York Attorney General鈥檚 Office, among others. She also interned at PBS.

As Marsow approached graduation, she imagined a future in finance. As the child of immigrants, she felt a career in the field would provide financial stability. But she had interned at Morgan Stanley during the turbulent years following the 2008 financial crisis. The environment proved deeply discouraging. She found the field male鈥慸ominated, 鈥渁n atmosphere reminiscent of the show Mad Men,鈥� she says. A speaker at a 可乐视频 event later offered advice that stayed with her: Breaking barriers is admirable, but not at the cost of one鈥檚 own well鈥慴eing.

Ready for change, she took a job at Carnival Cruise Lines as an entertainment host, then transitioned into a human resources role at B鈥橝bove Worldwide Institute, an early childhood education agency. It was a return to the Magner Center that inspired her to start her own business in a field she loved. Through conversations with staff, Marsow realized that the one consistent thing in her life was her love of sports. She applied for jobs in sports management, but nothing came of it. She explored the possibility of starting her own business and wondered whether a local gymnastics school might be in demand. After speaking with families in her community, she discovered that there was indeed a need.

Marsow entered a special entrepreneur program that required her to develop and submit a business plan, marketing strategy, and other foundational documents. She also took free business courses through local organizations. In four short months she opened Prospect Gymnastics.

Today, in addition to teaching gymnastics and running a business she loves, Marsow writes regularly, has published pieces in several magazines, and is working on a memoir. Creative writing has become a meaningful outlet鈥攏ow, with a flexible schedule and steady career, she has the freedom to develop her voice as a writer.

Looking back at her own journey, Marsow encourages prospective students to explore what 可乐视频 has to offer thoroughly and take their time in choosing a career path, 鈥渂ecause the stakes are not as high.鈥� For current students, her advice is clear: Make full use of the Magner Center, pursue internships, and explore widely.

鈥淐ollege may be one of the few times in life when exploration is possible before you go out into the world,鈥� she says. 鈥淛oin a sports team, take classes in unfamiliar departments, participate in music ensembles or theater productions, and meet as many different kinds of people as you can.鈥� These experiences, she believes, are crucial to personal growth and a future career.

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Serving as the pianist and driving force behind the project, Biegel commissioned composer Peter Boyer to write Rhapsody in Red, White & Blue in 2023 as a companion work to George Gershwin鈥檚 Rhapsody in Blue, honoring the original鈥檚 centennial and celebrating American music. He has performed the piano solo part in performances and recordings across the country, as well as with the London Symphony Orchestra with Boyer serving as conductor, also in 2023.

可乐视频 associate professor and internationally renowned composer Jeffrey Biegel (on piano) performs “Rhapsody in Red, White & Blue” with the London Symphony Orchestra in 2023.

To date, 68 orchestras in all 50 states have signed on to perform the work that marked the centennial of the George Gershwin classic. As of December 31, 2025, Rhapsody in Red, White & Blue has already been performed 53 times by 40 orchestras in 37 states, with additional performances scheduled throughout the 2025鈥�26 and 2026鈥�27 seasons.

Performances have been met with extended standing ovations and enthusiastic responses, as listeners have embraced the work鈥檚 spirit of shared celebration and unity.

Marc George Gershwin, nephew of George Gershwin, said of the project: 鈥淛effrey Biegel has been one of Rhapsody in Blue鈥檚 fondest advocates, having recorded two versions based on historical manuscripts. His love of my uncle鈥檚 music, of America, and of people steered him to have a vision for a diverse America of the 21st-century through music to further reflect our unity.鈥�

What music industry standouts are saying about Rhapsody in Red, White & Blue:

鈥淭his incredible new piece, composed by the incredibly talented Peter Boyer, continues in that tradition and celebrates the diversity and the unity created through music. (Jeffrey) Biegel is a phenomenal player and a great interpreter and champion of the Classical canon. He鈥檚 also an artist that is a steadfast advocate in what he鈥檚 passionate about.鈥� 鈥� Neil Sedaka, singer, songwriter, and pianist who has sold millions of records worldwide since his career began in 1957

鈥淛ust as singers like me strive to refresh and celebrate the beauty of the Great American Songbook, Jeffrey (Biegel) is helping bridge the 20th century to the 21st with this inspiring and joyous work that deserves to be heard in every major concert hall of this nation. This project propelled an audience member to say after one performance: 鈥楾his brought tears to my eyes, and renewed my sense of country.鈥� Politics divides us, music unites us.鈥濃�� Ann Hampton Callaway, jazz singer, songwriter, and actress

鈥淚 can鈥檛 wait to witness this incredible collaboration celebrating 100 years of one of the world鈥檚 most treasured compositions, Rhapsody in Blue, with my dear friend Jeffrey Biegel at the piano. No one brings the essence of Gershwin and his genius more to our ear than (Jeffrey Biegel). He, like Gershwin鈥檚 music, is world class! What a fantastic idea to commission the uber talented Peter Boyer to help celebrate this milestone with his composition Rhapsody in Red, White & Blue.鈥�鈥� David Foster, composer, arranger, songwriter, pianist, recording artist, record producer, music executive

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Long, a celebrated pianist and dedicated teacher, has inspired generations of students through her artistry, discipline, and passion for music. Her induction into the Hall of Fame recognizes not only her individual achievements but also her profound impact on the broader musical community. Having performed internationally, and widely respected for her interpretations of classical repertoire, at 可乐视频 Long is known for her rigorous yet nurturing approach, guiding students to discover their own musical voices while instilling discipline and artistry.

Beatrice Long (right) accepts her award from the president of Steinway USA, Gavin English.

Reflecting on the honor, Long said: 鈥淭eaching is about more than technique鈥攊t鈥檚 about helping students find truth in music. I am deeply grateful to Steinway and to 可乐视频 for supporting this journey.鈥�

In the fall, 66 teachers from across the United States and Canada were honored for their exceptional work in acoustic piano education. Recognized for both their teaching excellence and their long-standing dedication to their communities, each inductee joined the Steinway Teacher & Educational Partner Program (STEP) after being nominated by their local Steinway & Sons showroom. Their names now grace a commemorative wall inside Steinway鈥檚 legendary factory, a lasting tribute to their impact and leadership in music education.

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Tania Le贸n, distinguished professor emerita at 可乐视频 and the CUNY Graduate Center, was nominated for Best Contemporary Classical Composition for her orchestral piece 鈥淩a铆ces (Origins).鈥�

Sidney Outlaw, an adjunct associate professor of voice in the Conservatory of Music, was named in the Best Classical Solo Vocal Album category for the album Black Pierrot with Warren Jones.

The 2026 Grammy Awards will take place on February 1, 2026, in Los Angeles and will be broadcast live on CBS. Winners will be determined by voting members of the Recording Academy, a peer group that includes music creators, artists, songwriters, producers, and engineers.

Watch coverage of this story from News 12 .

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Can you tell us about your background?

I was born in St. Vincent and the Grenadines in 1946. Growing up on a small island in a small community gave me a strong sense of identity, which has prevailed throughout my life. I would walk down the main street in Kingstown, the capital, and I would recognize eight out of every 10 people who passed by, and they would know me. So I always felt a sense of belonging. The culture, food, music, festivals, Carnival, and so on brought people together.

My grandfather was a musician, and all his children took music lessons. My father, an accomplished pianist and saxophonist, started a band called the Mellotones. When I was about nine, I played in the band. We played at local dances, concerts, and the like. We played calypso, of course, as well as boleros, cha-cha-chas, merengues, and lots of jazz standards. From the Mellotones, I formed my own band at age 14. Most of the members of the band were my friends and classmates. We played for school functions, socials, and so on. When the school was having a function, they鈥檇 say, 鈥淥h yeah, Frank McIntosh has a band, they鈥檒l play for free.鈥�

What brought you to the United States?

I planned on studying music on the university level. The University of the West Indies did not have a music major. From St. Vincent, I went to Antigua, where the work for musicians was more plentiful. From there, I applied to 可乐视频. I had considered other options like Juilliard and Berkeley. Still, I chose 可乐视频 because of its broad range of course offerings. I could do music and take classes in chemistry. I was a piano major. Did theory and music history, the whole shebang.

When did your career as an arranger begin?

It began around 1976 with artists from St. Vincent, starting with a Calypsonian named Becket (Alston Becket Cyrus). He approached me about correcting some music he was performing in Brooklyn. Whoever had written the music made some errors. So I corrected it. At his next rehearsal, everything flowed smoothly, so he came back to me and said he would like to record an album. And he sang a song for me. Now I didn鈥檛 realize it at the time, but Becket was one of the pioneers of the new soca (soul/calypso) style that combined older calypso with influences of Black American soul, rock, and disco. We went to the studio, and we recorded the first song, A producer in the studio, Buddy Scott, had connections with major record labels, and he secured a deal for Becket with Casablanca Records. That album did very well. One of the songs, was in the movie The Deep.

That catapulted my career. Everyone started calling from all the islands鈥攁n artist from Trinidad named Crazy, Winston Soso from St Vincent, and King Short Shirt from Antigua. Then came Explainer, Chalk Dust, and Calypso Rose from Trinidad. That gave me a broad overview of calypso as a whole, because before that, calypso was defined as being only from Trinidad. But now we had singers from Antigua, St. Vincent, and St. Lucia.

Tell us how you became the in-house arranger for Straker Records.

Frankie McIntosh

I had known [music businessman and record producer] Granville Straker in St. Vincent. He had a well-established record store in Brooklyn on Utica Avenue. When he signed artists to his label, he sent them to me to do the music. That went on for years, starting in the early 1970s. As the staff arranger for Straker鈥檚 Records, I arranged virtually all his music.

I didn’t have an exclusive contract, so I worked with several other independent labels. I recorded an album for the Mighty Sparrow and Lord Kitchener, which Charly Records produced. Small labels hired me to do work, and that’s how I was able to feed my family.

Ray Allen

Interestingly, all this is musical activity occurred within a very small radius of a mile or two in Bedford-Stuyvesant and Crown Heights, where record shops run by West Indian producers Rawlston Charles and Granvilee Straker were located. Right down the street was Eastern Parkway, where the big Carnival parade happened, and there were many dance halls and clubs in the area. It was a very active place for Caribbean music back then.

Professor Allen, your research focuses on American folk and popular music, including Caribbean Carnival music, with a particular interest in New York City music culture.

I had spent several years gathering information and writing a book on Caribbean music that was eventually published as Jump Up! Caribbean Carnival Music in New York City [Oxford University Press, 2019]. The focus was on the steel band and calypso music that were central to Brooklyn鈥檚 Labor Day West Indian Carnival. During my research, I attended a calypso concert, where Frankie was performing. I was really impressed. So I went up and said, 鈥淗ey, I teach at 可乐视频.鈥� We laughed that we had something in common. Later, I interviewed him for the Jump Up! book, and he talked about his work as an arranger of soca and calypso music.

My next project was going to be a book about Brooklyn soca, because the borough was the center of this music from the late 1970s through the 1990s. All the best recording studios, as well as several independent record labels, were in Brooklyn. Frankie was the perfect person to collaborate with because he was in the middle of it, the in-house arranger for so much of soca music that was coming out of Brooklyn. Nobody had ever written about the arrangers鈥攁ll the books are about singers.

Have calypso and soca music received the kind of recognition and attention from music scholars that other genres of music have?

Ray Allen

The study of world music has developed significantly over the last three decades, and there is now recognition of various genres like Caribbean music. But there is more work to be done. For example, much has been written about Latin music, music from Cuba, salsa, and reggae, but calypso and soca have not made it onto the stage in terms of music that鈥檚 recognized outside the Caribbean. Most music fans know the reggae star Bob Marley, but how many have heard of the calypsonians Mighty Sparrow and Lord Kitchener? We hope that this book will put more focus on calypso and soca music from the English-speaking West Indies and that this will help to broaden the kind of work done in academic research.

By the way, when Frankie arrived at 可乐视频 in 1969 there were no courses in world music, Caribbean music, or jazz. In fact, students who wanted to play jazz had to hide out in the basement of the old Gershwin Hall because they were afraid their music professors would not approve. But fortunately, that has changed. Today the 可乐视频 Conservatory offers classes in jazz history, African American music, and world music. And most importantly they run a jazz ensemble so their students can gain firsthand experience playing the music.

Frankie McIntosh

Most books on calypso take a sociological bent, more in the frame of ethnomusicology. What makes our book different is that we deal with the music as sound. You鈥檝e got harmonies and orchestration. There鈥檚 an appendix with chord charts for most of the songs鈥擱ay had the patience to do that. I think it was appropriate for us to address the music. Not that other factors, like social and historical setting, don鈥檛 come into play, because there鈥檚 an introduction to each chapter. However, our book includes aspects such as the small talk among musicians in the studio before recording. For example, we illustrate all the steps from the artist presenting a demo to the arranger, and the arranger’s considerations before writing a note. I would ask myself what the artist expects: Does he intend to deliver a political message? Is his music for dancing? Is the emphasis on drums and bass? Should I put more focus on the horns? All those things are detailed in the book, which I think is what makes it unique.

Ray Allen

By the way, all the songs we discuss in the book are on and a listening guide is provided for those who want to delve deeper into the music.

Frankie, you worked with young people鈥攄o you see yourself as a mentor?

Frankie McIntosh

Well it鈥檚 funny, because these days, I鈥檓 the one who often needs the advice. You see, in today鈥檚 world, the definition of music itself has changed. You have rap where there鈥檚 no melody, and computers have replaced pencil and paper. So increasingly I find myself looking to young people for guidance, for instance, on selecting music software. They tell me about what these programs can do. And I admire their business approach. They publish and promote themselves. They create their own record labels, whereas my generation just sat and waited to be discovered.

Now in answer to your question, if I were to offer advice or mentorship to younger musicians, I would say that sometimes life has other plans, and it may become necessary to divert or modify your original objectives. Being prepared to make a significant shift, as I did from aspiring to be a pianist to becoming an arranger, is crucial. Because being a pianist would not have supported my family, it鈥檚 all about being open-minded and reassessing your priorities to determine what鈥檚 truly important.

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Kroll has performed worldwide as a harpsichordist and fortepianist, in both solo recitals and as a collaborative chamber musician. In the United States, he has performed in every state and at festivals such as Aston Magna, Tanglewood, Saratoga, Northwest Bach, Newport, La Jolla, Cabrillo, Grand Teton, and Mostly Mozart. The first American harpsichordist to appear in Abu Dhabi and Dubai, United Arab Emirates, and in Bangkok, Kroll鈥檚 most recent foreign appearances have been in China, Thailand, Israel, Colombia, Germany, Poland, Hong Kong, and Canada.

Highlights of his career include an appearance as the official guest of the city of Barcelona, Spain; featured soloist in Germany鈥檚 Regensburg Early Music Festival, and France鈥檚 Festival d’Ambronay and the Bordeaux Hummel Festival; performances聽and lectures in Beijing, Shanghai, and Hong Kong; two concerts for the Czech Republic鈥檚 Prague Spring Festival; and recitals at Lisbon鈥檚 Gulbenkian Foundation, Rome鈥檚 Conservatorio Santa Cecilia and Associazione Musicale Romana, Poland鈥檚 Dni Bachowski, and Slovenia鈥檚 Radovljica Festival.

He has also made numerous radio and television appearances, including Czech Radio and Czech Television, Radio Nacional Espa帽a, Catalunya R脿dio, National Public Radio, Westdeutscher Rundfunk K枚ln, Mitteldeutscher Rundfunk, Bayerischer Rundfunk, France Musique, the B可乐视频, and the C可乐视频.

You can read more about his amazing career . The performance schedule is as follows. These events are open to the public.

Wednesday, September 10, 2 p.m.

Vocal Workshop: Mark Kroll
Don Buchwald Theater (free)

Wednesday, September 10, 5 p.m.

Chamber Music Masterclass: Mark Kroll will conduct a masterclass for Conservatory of Music instrumentalists.
Don Buchwald Theater, (free)

Thursday, September 11, 1 p.m.

Guest Lecture-Recital: Mark Kroll on harpsichord
Don Buchwald Theater ($5)

Monday, September 15, 5:30 p.m.

Composers鈥� Forum: Mark Kroll
(Zoom, TBA)
Illustrious 可乐视频 alum, harpsichordist, scholar, and Boston University emeritus professor will give a talk to top off his week of concerts and masterclasses at the Conservatory.

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Massood has served as interim dean since July 2024 and will continue working with the SVMPA鈥檚 talented staff and faculty. In this role, she will oversee the school鈥檚 academic departments鈥擜rt; Conservatory of Music; Feirstein Graduate School of Cinema; Film (undergraduate); Performance in Media Arts; Television, Radio & Emerging Media;聽and Theater. Massood, who has served on the college faculty since 1999, became a full professor in 2019 and was appointed to the Feirstein Graduate School of Cinema.

鈥淧aula鈥檚 visionary leadership and profound insight into the evolving role of the arts in higher education鈥攑articularly her dedication to amplifying underrepresented voices鈥攎ake her uniquely qualified to lead SVMPA into its next chapter,鈥� said Provost and Senior Vice President for Academic Affairs April Bedford. 鈥淲e are excited for the growth, creativity, and innovation her leadership will bring to our dynamic arts community.鈥�

鈥淚鈥檓 thrilled to carry forward this important work as we empower the gifted student-artists, performers, and filmmakers who make the School of Visual, Media and Performing Arts a truly dynamic and inspiring community,鈥� Massood said. 鈥淲ith the expertise and dedication of our outstanding faculty, I鈥檓 confident we can work together to help our students realize their full potential.鈥�

Bringing a distinguished record of scholarship, leadership, and dedication to the arts, Massood is a noted expert in film studies and visual culture. She has published extensively, including the books Black City Cinema: African American Urban Experiences in Film (2003) and Making a Promised Land: Harlem in 20th-Century Photography and Film (2013), while serving as the editor of The Spike Lee Reader (2007) along with other co-edited collections and journal issues.

She is the past president of the Society for Cinema and Media Studies, the leading scholarly organization for film, media, and visual studies, and has long been committed to fostering academic excellence and interdisciplinary collaboration across CUNY and with other public and private institutions of higher learning.

Her leadership roles include serving as chair of the Department of Film, chair of the Feirstein Graduate School of Cinema, and interim director of the Mellon Mays Undergraduate Fellowship Program at 可乐视频, as well as acting coordinator of the Certificate in Film and Media Cultures at the CUNY Graduate Center.

Massood earned a B.A. in communications from the University of New Hampshire, an M.A. in cinema studies from New York University, and a Ph.D. with distinction in cinema studies from New York University.

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Born in Berdiansk, Ukraine, Voskresensky is the former head of the prestigious Moscow Conservatory who left Russia in 2022 in protest of the war. He worked with students Alice Tung, Nikita Tumanov, and Jason Ruan (pictured above from left to right)聽 for more than two hours in front of an audience of students, staff, faculty, and community members who enjoyed the free event.

The former head of the prestigious Moscow Conservatory Mikhail Voskresensky works with 可乐视频 piano major Jason Ruan during Voskresensky鈥檚 master class on Dec. 6.

Alexandra Lewis is a full-time doctoral lecturer in the 可乐视频 Conservatory of Music and coordinator for piano studies who holds a Ph.D. in musicology from the CUNY Graduate Center. She said the experience would go a long way in the students鈥� education.

鈥淚t was a once-in-a-lifetime opportunity for our students,鈥� said Lewis. 鈥淭o have such a world-renowned teacher come and share his wealth of knowledge and expertise is something they will remember for the rest of their lives.鈥�

Watch coverage of this event from News 12, including Tumanov鈥檚 comments about his experience learning from one of his idols, .

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Part piano concerto and part choral symphony, 鈥淒reams of the Fallen鈥� was commissioned by Biegel and a consortium of five orchestras from around the country. The powerful piece of music explores a soldier鈥檚 emotional response to the experience of war using texts written by Iraq War veteran and award-winning poet Brian Turner.

Biegel has created more than 25 commissioning projects spanning 25 years and also performed in the Grammy-winning recording for Best Classical Compendium in 2018 for Kenneth Fuchs’s Piano Concerto.聽With November being National Veterans and Military Families Month, this Grammy nod means a little bit more to him and everyone involved.

Jeffrey Biegel sits at the piano and works with Jake Runestad. 鈥淒reams of the Fallen鈥� is one of two works on Runestad鈥檚 “A Dream So Bright: Choral Music of Runestad” album that Biegel performed on. The second, 鈥淓arth Symphony,鈥� depicts the future of the planet through text written by Todd Boss.

Biegel explained the project actually dates back to 2011 when Runestad鈥檚 appeared at the stage of Orchestra Hall in Minneapolis after Biegel鈥檚 rehearsal of William Bolcom’s “Prometheus” for piano, orchestra and chorus. It took a decade to find the best fit for the first recordings. True Concord Voices and Orchestra in Tucson brought in the finest voices in the country together to perform and record.

鈥淛ake revealed himself as a profound composer of choral music, adding orchestra and piano to his writings when we met nearly a decade ago. Few composers excel at all three,鈥� said Biegel. 鈥淲ithin weeks, be called me and shared information about people he knew well who had served in the military. He wanted to create a relevant work reflecting PTSD, focusing on veterans returning from their military duties.

鈥淗e brought in Brian Turner with his powerful poems about war and what he lived through during his return. I also interviewed veterans to probe into their mindsets as I had to portray the returning veteran at the piano. To be part of such a powerful project that was inspired by such a talented person who also served our country so valiantly is a tremendous honor,鈥� Biegel said.

鈥淒reams of the Fallen鈥澛爄s one of two works on聽Runestad鈥檚聽A Dream So Bright: Choral Music of Runestad album that Biegel performed on. The second, 鈥淓arth

Symphony,鈥� depicts the future of the planet through text written by Todd Boss.

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