Tamara Cashour is a NYC-based 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