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Kathryn Moreadith: 2009-10

Project Overview

Collaborative Musical Composition: A Global Vision
Music has, for centuries, been a medium through which social, cultural, and individual identities are expressed, awarding it a unique ability to transcend standard communicative boundaries. A pianist and composer since age five, I consider music a tool for communication. What most inspires me about music composition is the global power it possesses—a flexibility of power that, while it stands in contrast to verbal communication, offers a close link to universal human experiences. It is not surprising now, upon reflection, that I was immediately drawn to Mandarin Chinese at age eleven because of its musical qualities, and that the two languages have since been manifested as parallel facets of my self-identity and closely intertwined in my academic and extracurricular endeavors. Essential to its ability to traverse communicative boundaries is the idea that music is not an isolated pursuit, but rather a collaborative art, which provokes the relevant question: can musical collaboration—specifically the process of composer and performer working together—be achieved across global boundaries in the dynamic community that is the twenty-first century? Read the full overview »


  • July-October: England (London), Ireland (Dublin), Belgium (Brussels, Brugge), France (Paris), Cyprus (Nicosia)
  • October-early November: India (Delhi)
  • November-December: China (Beijing), US (North Carolina, Arizona)
  • January-early February: India (Delhi, Mumbai, Pune, Hyderabad)
  • February-March: US (California, North Carolina, Wisconsin, Nevada)
  • April-May: Australia (Sydney, Cairns, Melbourne)
  • May-June: Zambia (Lusaka), England (London)
  • June: California (Stanford)