Composing a New Musical

Sutedjo has applied this combo approach to his research and musical works, including composing the book, music, and lyrics, for Fly Me Away, an original musical featuring a teenage jazz pianist named Frank and his father who move from Shanghai to New York City.

“He does in a single day, more than most people do in a month,” said Eric Bianchi, an associate professor of music and one of Sutedjo’s mentors.

The idea to write a musical came to Sutedjo in high school, when he realized “that there just wasn’t a lot of Asian representation in the musical theater canon.”

He began working on it in his free time, until he developed it as his honors thesis. His work intensified junior year, when Sutedjo participated in Fordham’s partnership with Juilliard. Jake Landau, one of his instructors there, told Sutedjo that he would be a perfect fit for a program he was leading that summer.

“I was able to secure funding from the Fordham undergraduate research grant, which allowed me to participate in this two-week intensive in Italy—the New Voice Composers Studio at the Narni International Vocal Arts Festival—which was really cool,” Sutedjo said. “I was able to workshop and premiere two new pieces of mine at this international music and arts festival.”

Uplifting Voices

At the center of Sutedjo’s work is a desire to share and uplift the stories of Asian Americans, particularly after witnessing and experiencing marginalization, and microaggressions against the community.

“I’ve been able to find my voice and realize this is something that not only can I do, but it’s needed—if I was feeling that way when I was 14, I’m sure there’s a lot of other young Asian kids who also feel that way,” said Sutedjo, who is Indonesian American of Chinese descent.

Sutedjo said this work is particularly important now as many Asian Americans have experienced discrimination over the past few years.

“In order to combat these stereotypes, you need to tell a much wider array of stories that portray Asians not as a monolith, not as a stereotype, but really as a diverse array of people with individual stories,” he said.

The Power of Connections

Sutedjo knows how impactful representation can be. When he was an actor (and later assistant music director) with Fordham’s theater club Mimes and Mummers, the group brought in Dennis Yueh-Yeh Li, a director of Taiwanese descent and the director of performance, storytelling, and community at the Museum of Chinese in America (MOCA) in Lower Manhattan.

“He was the first Asian director that I’ve ever worked with and that was a very cool experience for me to see someone that looks like me in that position of theater leadership,” he said.

Sutedjo participated in a couple of projects helmed by Li, and eventually their connection led to Fly Me Away’s debut at MOCA, with support from Fordham’s undergraduate research community and honors program.

A Debut Reading at the Museum of Chinese in America

“We were able to bring on an all-Asian cast and creative team alongside two Fordham musicians,” Sutedjo said. “We had a full stage reading, and roughly 90 people came to each show, which was a great reception.”

Sutedjo said that he plans to use the feedback to revise the production before its next iteration.

“Most musical projects don’t go that far,” said Bianchi, who is also a musician. “To watch somebody who’s 21 do that, it’s astounding by any count.”

Fly Me Away was also recognized at Fordham, as he received the Fordham College Alumni Association Research Symposium Award for the production.

Advancing the Music Department

Another mentor, music professor Nathan Lincoln-Decusatis, said Sutedjo’s unique talents and skill sets have not only benefited him, but they’ve also helped the music department explore new areas, such as “music as research.”

“Research can be in the performing arts, and Miguel opened the door for the future at Fordham, because he was the first one to really think of harnessing the resources of the research community,” he said. “And now that’s a precedent. Miguel was the trailblazer for that.”

Global Perspective

Sutedjo said that he hopes to use this Fulbright to immerse himself in teaching and his own heritage, and use those experiences in the future.

“Being able to live abroad in Taiwan for a year, absorbing the language, I think will not only help me connect with my heritage, but also it allows me to tell a greater range of stories through having that lived experience,” he said.

The shift to remote learning last month necessitated by the COVID-19 outbreak has presented unique challenges to students and professors in the performing arts. They’ve been forced to temporarily leave behind concert halls, dance studios, and theaters, and in some cases, to reconsider the very nature and purpose of what they do.

In Theater, Special Attention to the Medium

“It’s a huge challenge to adjust to this, and like any kind of trauma, it plays itself out very differently in different personality types. To be aware of that and sensitive to that is an education,” said George Drance, S.J., artist-in-residence at Fordham University Lincoln Center and a member of the Fordham Theatre faculty.

For Drance, who is teaching the courses Acting IV and Theatre, Creativity, and Values this semester, the shift has involved helping students learn and rehearse plays such as The Centaur Battle of San Jacinto while separated by both space and—for students not on the East Coast—time. Scenes would be impractical to rehearse on Zoom, so students have been working on monologues instead. Drance also split his Acting IV class into an East Coast group and a West Coast Group, and when they meet in person, it’s primarily to review monologues the students have recorded of themselves earlier.

“We decided to really use the platform to focus on individual on-camera technique, because they’re dealing with a camera instead of an audience,” he said.

“So rather than force a Zoom conference to be anything other than it is, we took it as a way to demonstrate how the principles of working with a partner and doing on-camera work are really the same principles but executed with subtle differences.”

Drance said he has also challenged his students to ask themselves what it’s like to be attentive to themselves now that their regular routines have been stripped away.

“How can you be patient with yourself, rigorous with yourself, and generous with yourself according to what is appropriate for each moment? In that way, it’s very Ignatian,” he said, noting that Saint Ignatius, the founder of the Society of Jesus, often spoke of focusing on whatever is more conducive to a person’s place and circumstance.

Clint Ramos, head of design and production in the theater program, said when it comes to set design, students who would have been expected to turn in the second of the semester’s two projects are instead receiving in-depth tutorials. Even if students can’t build models of theater sets from home, they can still dissect the texts of plays and discuss emotional responses that might then be translated into physical forms.

“When we’re looking at a text, instead of immediately jumping to a design, we spend a lot more time talking about the piece, its social implications, what could be a potential design for it. We’ll research materials that could lead to a design rather than concentrate on the practical methods of designing the piece itself,” he said.

Stage Directing a Zoom “Play”

For Lillian Rider, a Fordham College at Lincoln Center junior who will graduate in December with a degree in theater design and production, the pandemic ended her chance to stage manage To The Bone, the final production of the department’s mainstage season.

Instead, the cast came together via Zoom for a reading of the play on April 18, the day that would have been the final performance of a two-week run. Roughly 90 people attended, and Rider supervised from her parents’ home in Hartford. Although it was never meant to replace a real performance, she and director Lou Moreno took small steps to make it more than a regular Zoom meetup, such as making sure the backgrounds behind actors were similar.

At the conclusion, audience members were allowed to turn their cameras on, and the cast could see them applaud. It was a far cry from the real thing, but Rider said she was satisfied that it did what she most wanted it to do, which was reunite the cast and introduce new people to the material.

“We had a few sound problems, which were bound to happen, but we just didn’t stop, and they worked themselves out. I was texting actors throughout, helping with technological things, but nothing that held up the run,” she said.

“I didn’t think I’d actually end up getting to manage a mainstage show this year, but it did end up being a lot of management, a lot of emails and scheduling, and then I got a hand in the running of the show.”

For Music Class, Professionals Record Students’ Arrangements

Nathan Lincoln-DeCusatis, an assistant professor of music, was fortunate that the two classes he is teaching this semester, Music Theory II and Jazz Arranging, are more amenable to online instruction, thanks to music-writing sites like Noteflight. After some trial and error, he settled on a system where he makes a prerecorded lecture of himself playing chords and working with notation software. Live meetings are reserved for questions about the lecture and demonstrations of exercises students can practice.

“It’s like a flipped classroom, because you do the lecture for homework, and then you do the homework together in class. As I’ve gotten better, I’ve been able to do more in real time over Zoom, because I’ve figured out tricks like how to play the music from my computer,” he said.

Lincoln-DeCusatis did lose a live performance element of his music theory class, as he had arranged for professional musicians to visit class and perform pieces that students had arranged. Rather than scrap it, he emailed the students’ works to the musicians, who then recorded them in their home studios and returned tracks to him. He then synced the tracks—one each for a trombone, tenor saxophone, alto saxophone and bass—with a piano track of his own, and uploaded the finished result to SoundCloud.

“It actually sounded better than anything we’ve done before, because that’s how you record in a recording studio,” he said.

“Every instrument is isolated, and you can mix it and add effects to it. It sounded really great; it’s the best-sounding outcome we’ve had so far. That was probably my greatest pandemic teaching triumph.”

Antonio Rivoli, a sophomore at Fordham College at Rose Hill majoring in music and urban studies, and one of Lincoln-DeCusatis’ music theory class students, is also enrolled in the Afro-Latin Music Ensemble course. The course was significantly hampered by the suspension of in-person instruction, but he said that ensemble director Peter “Jud” Wellington shifted the focus of the class to sampling, a change Rivoli has embraced wholeheartedly.

“We’ve really challenged ourselves to make the best out of a really difficult time. No one expected that this could have happened, and to be putting together other kinds of projects that the courses aren’t designed for has been really cool,” he said.

Rivoli said he’s also tried to make the most of his time at home in Battery Park City.

“I have a microphone, and I took music production last fall, so I’ve been doing some mini-recordings to try to be productive. I’ve been practicing more guitar, which I never do on campus. So there have been certain perks,” he said.

A Barre in Brooklyn

Meagan King is, in her words, “trying to find the light in everything.” By now, King, a senior in the Ailey/Fordham BFA program, would have normally auditioned for one of Ailey’s two dance companies, where she hopes to dance upon graduation. Instead, King is studying at her parents’ home in Mill Basin, Brooklyn.

“I’ve been trying to stay ready,” she said.

“I’ve been telling myself, ‘If I put in the work now, I won’t have to feel like I’m unprepared when it comes to the audition.’ I know that I can be naturally nervous in auditions as most people are, but I want to take out all the extra factors that can take away from me just shining.”

In addition to working with instructors, King has been using the time to explore online presentations from other dancers. She’s been working on the custom-made barre her father built for her and her younger brother, who is also a dancer, and she’s dampening her ballet slippers to give her more grip on the floor.

Like her fellow seniors, she has had virtual conversations with dance professionals from around the city that were arranged by the Ailey Company, to address any concerns related to the field. The talks have spurred her to think deeply about why she started dancing in the first place, as a student at LaGuardia High School of Music and Art in Manhattan, just a few blocks from Fordham’s Lincoln Center campus.

“I realized, that kind of free spirit is the same person I want to connect to now when I get to go out and do my audition whenever this is over. It’s easy, once you have the knowledge, to become critical of yourself,” she said.

“Not to say I should just be reckless and audition, but I feel like I’m taking off layers in this quarantine so I can just dance. I have the knowledge; I have the foundation I’ve been working on.”

Melanie Person, co-director of the Ailey School, said the school has had to rely more on video and written instruction in lieu of in-person instruction, and instructors are particularly sensitive to the fact that students’ living rooms and bedrooms are no substitute for a spacious, well-lit studio.

Person also noted that self-discipline has always been paramount for world-class dancers.

“At Ailey, they’re taking two to three dance classes a day, even via Zoom,” she said.

“This requires self-motivation and self-discipline that you really need anyway for dance, but now you really have to draw more from your own reserves for this. You’re a dancer, this is what you do, you have to have to keep your own schedule with it.”

There is a culpable sense of loss born from the fact that the community is separated from each other, she said. But perhaps counterintuitively, Person said, it can be empowering for a dancer to assume complete responsibility for themselves and their art.

“It’s a different model. It’s time to be reflective. And really, you can sit back and think about, ‘Why do I dance?’ Once you have distance from something, perhaps you come back to it with a different appreciation and from a different perspective. I believe that is what is to be gained from this.”

The assistant professor in the Department of Art History and Music said he infuses the classical tradition with a “jazz edge.” And it’s not just his music that departs from a purely classical approach, but also his teaching.

“You’re not studying music necessarily to become concert pianist, that’s a very old fashioned and narrow conservatory approach,” he said. “Music is just like anything else in the humanities; there’s not an exact job that corresponds to an English major. This is not a pre-professional training program or trade school.”

Fordham’s instruction, in fact, offers music students a broad humanities education along with any focus on performance, he said.

Lincoln-DeCusatis will be giving a preshow talk on Frank Sinatra to alumni attending the “Sinatra at 100” concert at Jazz at Lincoln Center as part of a sold out Fordham Alumni Culture and Entertainment event. The event marks the centenary of Sinatra’s birth. He said he would focus on Sinatra’s comeback in the 1950s.

“One thing that falls in the scholarship is there is this interregnum between the end of the big band era with jazz and the beginning of rock and roll with Elvis,” he said.

“There’s about 10 years between the end of World War II and the mid-1950s where it was all about the Rat Pack Era with Sinatra, Sammy Davis, and Dean Martin.”

It was also a period in which musicians frequently mixed jazz and classical, as Lincoln-DeCusatis does today.

“My take is there aren’t as many boundaries between those things as you would think,” he said.

Through a Fordham Faculty Research grant, Lincoln-DeCusatis is working with an ensemble composition that blends big band and chamber classical. He said it’s written for 10 musicians and is a long piece with jazz improv that straddles both worlds.

The structure of classical music and free form of jazz improvisation aptly describes Sinatra’s musicality, he said. But he stressed that whether someone improvises, or whether someone even reads music, should not be taken as a reflection of his or her musical intellect.

“Sinatra wasn’t as fluent a music reader as you think,” he said. “But had an encyclopedic musical knowledge. Think of all the tunes that he just knew off the top of his head.”

More importantly, he said, in an age when vibrato and showiness reigns as a sign of musicality, Sinatra was a subtle interpreter.

“We like to think of this guy as a musical genius who was just naturally gifted, but that’s actually a myth,” he said. “Frank Sinatra was someone who worked incredibly hard at his craft to develop his voice (and) expand his range, and he did this very, very carefully.

“For him it wasn’t about this virtuosic Mariah Carey style of musical delivery where it’s all over the place,” he said. “Something we lost in popular song that Sinatra had was a simple, clean style.”

Lincoln-DeCusatis said that Fordham has traditionally taught music by stressing history and theory, essentially couching it within the humanities. But now the program includes the more creative aspects, such as performance, composition, and improvisation. While he still teaches music theory and jazz traditions, he also provides classroom support for Fordham’s collaboration with Jazz at Lincoln Center.

Recently he has partnered with the Department of Communication and Media Studies to create a production class for electronic music. The music department equipped the communication department’s state-of-the-art computer lab with keyboards and appropriate software.

“This first class is a good split between music and communication majors and some Gabelli students in there, too, who want to make beats,” he said.

The class, he said, shows one of the many opportunities that open up to music majors when they begin to “piece things together” to seek a niche in today’s competitive and diverse music industry.

“Fordham offers this broad education that makes you a well-rounded and cultured person in general, but it’ll also support you intellectually in anything you decide to do,” he said.

Music and technology will only grow in the coming years, he said. In addition to New York’s having a burgeoning tech sector, the city remains a center of the performing arts world, one that hires as much—if not more—for the back of the house as it does for the stage.