Chris Beck '98, Sculptor
"As much as Professor Lewis wants you to learn technique and skills, he also wants you to be comfortable doing your work in the studio, whether you're drawing or painting or print making. He wants you to be very hands-on and that's kind of a cool deal."
Department of Fine Arts (Theater), Fuqua Computing Center
An expansion and renovation of Johns Auditorium was completed in January 2005. It included flexible audience and production space; easily accessible restrooms; seating for an audience of 300; a "black box" theater that doubles as a green room; set-building, properties, classroom, dressing, and storage areas; and an expanded Computing Center with ground-level entry and handicapped access.
Dr. R. David Salvage
Assistant Professor Fine Arts
Winston Hall, 204
Ph.D., CUNY, 2009; M.Phil., CUNY, 2007; M.Mus., Manhattan School of Music, 2003; A.B., Harvard University, 2001.
R. David Salvage is a composer and pianist who has taught at Hampden-Sydney since 2009. His piano, chamber, vocal, and orchestral works have been performed by many of America's most gifted musicians, including the Arcturus Chamber Ensemble, the Rosetta String Trio, the Monticello String Quartet, the Cygnus Ensemble, Miranda Cuckson (violinist), Christopher Swanson (tenor), Thomas Meglioranza (baritone), David Thomas (clarinetist), and the Newark-Granville Symphony Orchestra (OH). He has been in residence with the Atlantic Center for the Arts and is an alumnus of the Conservatoire Americain in Fontainebleau, France. He has taught at the Brooklyn College Conservatory of Music and privately in Bologna, Italy. He is a former Managing Editor of Sequenza21.com and the creator of the music blog Albumleaves.com. A selection of pieces from Albumleaves, performed by Salvage, appears on the album Lock and Key (Navona Records 5881). His teachers have included Richard Danielpour, David Lewin, and Jeff Nichols.
Music is not an "extra." Music, like language, is something that every known culture has; indeed, the two seem to have evolved co-dependently, and they are processed similarly by our nervous system. The risks of not studying music, therefore, are similar to those run by not studying language. While we needn't all be musicians (just as we needn't all be novelists), we owe it to ourselves as thinking individuals to become aware of music's technical fundamentals, ancient and colorful history, and its outstanding masterpieces. Otherwise, we are insufficiently prepared to navigate successfully the complex, multi-dimensional world of human communication.