Since the National Association of Teachers of Singing (NATS) announced the pairing of 12 emerging composers with established art song composers for the Mentoring Program for Composers this past October, the exchange of many creative musical ideas and talks have taken place.

Now in its fourth iteration, the program nurtures early-career art song composers by pairing them with established composers to create new vocal compositions. The program runs from October to June, with mentee and mentor pairs meeting monthly online. Depending on the needs of the mentees and their interests, the mentors help review their work and provide guidance about the nuances of writing for voice. There is no cost for composers to apply and the program for them is free.

Vocal composers Lori Laitman and Tom Cipullo serve as co-advisors, and both participate as mentors. Each mentee composer has been commissioned to write a new work for a digital concert in June presented by Cincinnati Song Initiative. Past mentees also have had the opportunity to present their works as part of NATS events at the chapter, region or national level.

The 2023-24 mentee and mentor pairs are:

Mentee Linda Uran, paired with mentor Juhi Bansal, has found the NATS program to be insightful in several ways.

“As a young composer, having a mentor means having a professional to guide you not just through the composing process, techniques or nuances, but also get to know you with the other side of music which is not so much favored — business,” Uran explained. “My mentor [Juhi Bansal] showed me where to look for an artist’s network and gave me information on where and how my music can get to the wider audience. That was very helpful advice, and I have had a very positive experience.”

Bansal has enjoyed being a mentor in the program as well.

“Linda and I have been meeting and talking about a combination of music details sometimes, and business of music sometimes,” Bansal said. “She’s extremely smart and brings a lot of questions, which lets me focus on giving guidance and support that’s tailored to her.”

Myron Silberstein said his mentor Stephen Eddins has been “incredibly supportive” with the process.

“It’s obvious that he takes joy in seeing the creative process take shape,” mentee Silberstein explained. “I opted to write my own text for my Mentoring Program commission, and Stephen was excited to read it and think about it. He asked detailed, provocative questions about it, engaged with the philosophical elements of the text, and even shared it and discussed it with friends of his. As I began to compose the piece, I shared it with him stanza by stanza. He always had insightful comments that were based in his understanding of what I was trying to convey rather than in his own compositional style. These comments stimulated detailed discussions — sometimes they led directly to revisions, and sometimes they helped me articulate my own intentions more precisely.”

Likewise, mentee Keane Southard is gaining a lot from the program to date.

“I’ve learned a lot from getting to ask my mentor [Lori Laitman] all kinds of questions and learn from her experience and connections in the field,” Southard said.

Part of the overall mentor experience is having someone who shares words of encouragement.

“It has been nice working with my mentor [Niloufar Nourbakhsh] and getting a completely new perspective on my music and my process,” said mentee Carolyn Quick. “It’s been a neat experience getting a window into her process. She has also been very encouraging, helping keep me and my work accountable.”

Quick’s mentor also said it’d been great working together so far and that she’s looking forward to the music her mentee will be creating for the concert.

Mentee Jane Kozhevnikova is having a “delightful” experience so far with her advisor.

“Tom Cipullo is not only a great composer but also a wonderful mentor and colleague!” Kozhevnikova added. “Our monthly meetings with him are incredible and inspiring. We worked on my art songs and arias from the chamber opera ‘Unbroken’ (libretto by Germaine Shames). He always has helpful suggestions and is an amazing guide.”

Cipullo is also working with mentee Mena Williams.

“I’ve been very much enjoying my time,” Williams said. “Working with Tom [Cipullo] is amazing, and the feedback and advice he gives me during our meetings is extremely helpful. I’m very excited to finish the remainder of the program. I’ve been on the edge of my seat since the day I got the email saying I was accepted to hear the Cincinnati Song Initiative premiere the work I’m creating for the program.”

The Cincinnati Song Initiative will record a song from each composer mentee and share these 12 world premieres in a digital concert in June. This will be the fourth year for the “Let it Be New” collaboration between NATS and CSI. NATS will post the concert date and details when available.

Mentee Tommi Paavilainen said applying for this program was one of the best decisions he has ever made. He has been learning a lot with his mentor Laura Schwendinger and is enthusiastic about the upcoming CSI opportunity.

“It is an absolute pleasure to write a new song for Cincinnati Song Initiative,” Paavilainen said. “As a singer and singing teacher myself, I think the human voice is perhaps the most beautiful and versatile instrument in the world. That’s why it always feels wonderful to write new vocal and choral music. I am very much looking forward to the release of the song and the collaboration with the fantastic performers.”

Paired with composer mentor Shawn Okpebholo, mentee Sofia Rocha said she has really enjoyed the past few months in the program.

“It’s been a wonderful experience working with my mentor, Shawn Okpebholo, and having him as a resource and sounding board for things!” Rocha said. “I’ve had the chance to look at my music with him, and also to get career advice, ideas and editing for grant applications and just general advice for living and working as an artist.”

She thinks the mentorship has been “very useful” and is eager for the second half.

“I’d definitely recommend the program for others,” Rocha said. “I’m most excited to finish up my commissioned art song and hear the performance of it and the work of the other mentee composers in our concert!”

As a mentor, Okpebholo has nothing but good things to say about the process.

“Sophia [Rocha] is absolutely wonderful and a brilliant artist,” Okpebholo said. “I absolutely would recommend the program to others, and I’m looking forward to seeing how all of the works come together. To all, keep up the good work!”

Mentee Xuesi Xu is calling the time spent with his mentor Nkeiru Okoye a “fantastic” experience.

“Working alongside [Nkeiru Okoye] has been truly enjoyable, and I have gained valuable insights,” Xu said. “As I am composing a song for tenor, Dr. Okoye suggested employing the grand staff for a male singer, emphasizing its visual clarity on score. Additionally, she advised thoroughly digesting the text before commencing the writing process, encouraging me to both read it aloud and commit it to memory. Following her guidance proved immensely beneficial.”

Collectively, both mentees and mentors are enthusiastic about these new works being brought to life at the conclusion of the program.

“It will be really nice to hear how artists from all over the world approach their music, to hear their ideas and be introduced to their musical language, and the way they communicate,” mentee Uran said. “I really am looking forward to the final performance.”

Overwhelmingly, mentees agree that they would recommend the program to fellow early-career composers.

“I wholeheartedly recommend it to others,” mentee Xu said. “In fact, I've already done so.”

Building their network is another invaluable component for mentees.

“My mentor [Stephen Eddins] has also been generous in connecting me with other mentors in the program when I have had questions that match most closely with their expertise,” Silberstein said. “He is also a tremendously nice person whom I enjoy speaking with. Aside from the direct value in working with my mentor, and the inner confidence that acceptance into the program has bolstered, it has provided introductions to composers who now know who I am and are ‘on my side.’ I also find it to be a valuable credential; I mention it in the first paragraph of my cover letters for calls for scores and in applications to other programs. I would emphasize to prospective applicants that, though they will be paired with one mentor, they should consider the cohort of mentors and mentees to be an open community. I have felt free to contact other mentors with questions. I have had contact with other mentees, and it has all been a great joy.”

For composers who are interested in the program, mentee Kozhevnikova encourages to keep applying, even if they don’t get in on the first try.

“I absolutely recommend other composers to apply to the program,” Kozhevnikova said. “It took me several attempts before I got in the program, but I am so glad I didn't stop trying. This is a great reminder for me that persistence is one of the necessary qualities for a musician.”

NATS is proud to offer programming that supports rising composers of new art song. In addition to the Mentoring Program for Composers, NATS holds the Art Song Composition Award each year. Most recently, NATS named Jodi Goble as the 2024 first place winner. The association will accept entries starting June 1, 2024, for the 2025 Art Song Composition Award with a submission deadline of December 1, 2024. The contest awards more than $3,000 in prizes to the winner composers and provides the winners with performance opportunities. The NATS Art Song Composition Award competition is led by Carol Mikkelsen, coordinator, Lori Laitman, advisor.

NATS is currently offering opportunities to support this Mentoring Program for Composers and the costs associated with recording these new works. If you would like to donate, please visit the NATS secure donation portal and select “Mentoring Program for Composers” from the drop-down menu to designate your gift.