Composer of primarily choral music, educator, and church musician.
Stephanie Andrews is a composer, church musician, and educator who began composing at the age of 18 and has taught piano, voice, elementary general music and movement, and elementary and middle school choir for over twenty-five years. She currently resides in Austin, Texas, and is on staff at Clearview Sudbury School in Austin, Texas. At Baylor University in Waco, Texas, she received a Bachelor of Science in Education degree with a music specialization in 1990 as well as a Master of Music Education degree in 2006. In 2011, she completed a Ph.D. in Curriculum and Instruction from the University of Texas at Austin. She has studied composition with Dr. Rachel McInturff at Armstrong Community Music School in Austin. To date, school choirs, church choirs, Vox Nova Chorale of St. Paul, MN, Cheyenne Chamber Chorus of Cheyenne, WY, and Chorus Austin and Inversion Ensemble of Austin, TX have performed her compositions. Recently, her first published piece, "On Compassion," has been printed by E. C. Schirmer. She has been selected as a Composition Scholar by Choral Arts Initiative, a role she will assume during the summer of 2018. A member of Chorus Austin since 2007, she sings in the Symphonic Chorus and the Chamber Ensemble. She is the proud mother of two amazing young men, Joshua and John Caleb.
Describe your music
“To send light into the darkness of men’s hearts – such is the duty of the artist.” These words from composer Robert Schumann serve as a philosophical underpinning for composing music that has been described as ethereal, spiritual, and transcendent. Although my work is primarily focused in the sacred choral music genre, incorporating texts from luminaries such as the Dalai Lama and Maria Rainer Rilke and sacred sources including holy scripture, I have also written secular choral music and instrumental music, including a string quartet based on the English folksong “Scarborough Fair.” Notions that inform my work include a compositional style created by Arvo Pärt that is known as tintinnabuli, which is characterized by two voices: one arpeggiates the tonic triad, while the second moves diatonically with stepwise motion. This style is most evident in my recent setting of “Da pacem, Domine.” Other influences include Gregorian and Anglican chant, Johannes Brahms (particularly his notion of “mystical sevenths”), and the music of a number of women composers including Clara Schumann, Lili Boulanger, and Hildegard von Bingen.