The 3rd Annual Graduate Conference for Research, Scholarship, and Creative Activity at Georgia State University showcased groundbreaking work from graduate students across disciplines, all centered around the theme Scholarship for a Better World: Empowering Change, Inspiring Action. Among this year’s presenters was Braeden Weyhrich, a Master of Music student and graduate assistant in wind band conducting, who was awarded the Creative Excellence Award for the top presentation in the Art and Film category, along with a $250 prize. Before coming to GSU, Braeden was the Band Director at Hinton Community School in Iowa, where she led a comprehensive program for students in grades 5-12. She also served as Associate Conductor of the Siouxland All-America Concert Band and was involved in multiple leadership roles within the Iowa Bandmasters Association. A passionate advocate for representation in music, Braeden is part of The Access Collective, a program aimed at connecting band directors and students with diverse musical cultures.
Her award-winning research presentation focused on Samuel Coleridge-Taylor’s Othello Suite and the importance of bringing historically marginalized composers into the wind band repertoire. Through her work, she sheds light on a composer who, despite being celebrated in his time, has been largely overlooked in modern programming. We spoke with Braeden about her research, the significance of Coleridge-Taylor’s music, and what this recognition means for her future as a scholar and conductor.
What inspired you to present on Samuel Coleridge-Taylor’s Othello Suite, and what makes his work significant in the wind band repertoire?
Dr. Ambrose is the one who first introduced me to the piece. He assigned me to conduct the first movement, Dance, with SWE on our November concert. My study of this movement led to us making some edits together, and he then encouraged me to take on the remaining four movements. I got lots of emails about the conference this fall, and since I love talking about music, I thought it would be a good opportunity to do that in a more formal setting. I also have a little stubborn streak that pushes me to do things people don't expect musicians to do, to show that we can. I persisted through my Honors College Degree in undergrad because of this, and I thought my scholarly work was worthy of being viewed on the same stage as all the other amazing research happening at GSU.
Samuel Coleridge-Taylor didn't write any original music for band, so transcriptions are our only way to perform his music in this type of ensemble. If a student plays an instrument that isn't in orchestra (like euphonium or saxophone), they may never get to experience his music without transcriptions. This piece in particular is interesting because it shows Coleridge-Taylor's compositional skills in several different styles. The Willow Song shows influence from spirituals, while the Military March sounds more like large-scale symphonic writing—yet all of the movements feel like they belong together.
How does Coleridge-Taylor’s music contribute to a broader understanding of historically marginalized composers?
Coleridge-Taylor lived a fairly short life, but his work was revered during his lifetime. Edward Elgar was a champion for his music, and he had several successful tours to the United States, during which he earned the nickname "African Mahler" and met President Theodore Roosevelt. Upon his death, he was given a memorial concert in Royal Albert Hall, and King George V granted his wife an annual pension, demonstrating his appreciation for Coleridge-Taylor's legacy. Despite all of this, his music is often underappreciated today in history classes and in the concert hall.
I hadn't heard of Coleridge-Taylor until playing his Danse Nègre in orchestra my senior year of undergrad. That orchestra season, during which we also performed works by Florence Price, Emma Lou Diemer, Alice Mary Smith, and Clarence Cameron White, made me realize that there were voices missing from my music education. That experience inspired me to start working with underrepresented composers.
How did it feel to receive the Creative Excellence Award for the top presentation in the Art and Film category, and what does this recognition mean to you?
It is really nice to be recognized for my work by people outside of the music field. Of course, I think this project matters, but does it really make a difference in the broader world? Because of this award and the positive feedback I received from several audience members, I know that it does.
Do you plan to continue researching and advocating for historically marginalized composers in your future work?
YES! There has been a lot of progress toward equity in music in recent years, but there is still a long way to go. There are so many voices that are still being left out of the conversation, and I want to keep working to include them. Music can connect us to people similar to ourselves as well as to those different from us, and I think we are doing our students a disservice if we aren't trying to help each of them have both types of connections.
More specifically, I am currently planning for my recital next fall to include several works by underrepresented composers. The full Othello Suite will be on the program, as well as a march written by Canadian-American composer and conductor Gena Branscombe.
The Georgia State School of Music congratulates Braeden on this well-earned recognition and for representing us with such passion and scholarship.
