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Ashley J. Jackson Adjunct Artist in Music

Praised for her rhythmic precision and dynamic range, harpist Dr. Ashley Jackson enjoys a multifaceted career in New York and beyond. She holds degrees from Juilliard (DMA) and Yale University (BA, MM). As an orchestral harpist, she performs with the New York Philharmonic, Metropolis Ensemble, and Novus NY, and has appeared on stages in New York and around the world including Carnegie Hall, Park Avenue Armory, Royal Opera House in Muscat, Oman, and the National Center for the Performing Arts in Beijing, China.

  • BA, Yale College; M.M., Yale School of Music
  • At Vassar since 2012

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Research and Academic Interests

  • Harp
  • Harp Performance and Pedagogy
  • Chamber Music
  • Race, Gender, and Classical Music

Departments and Programs

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Photo: Courtesy of Ashley Jackson
Photo: Courtesy of Ashley Jackson

Praised for her rhythmic precision and dynamic range, harpist Dr. Ashley Jackson enjoys a multifaceted career as a highly sought-after musician and collaborator in New York and beyond. She holds degrees from Juilliard (DMA) and Yale University (BA, MM). As an orchestral harpist, she performs with the New York Philharmonic, Metropolis Ensemble, and NOVUS NY, and has appeared on stages in New York and around the world including Carnegie Hall, Park Avenue Armory, Royal Opera House in Muscat, Oman, and the National Center for the Performing Arts in Beijing, China. A passionate advocate for developing new works across artistic disciplines, she has premiered works by Brad Balliett, Doug Balliett, Danielle Eva Schwob, and Nina Young.  She also premiered a mixed-medium immersive performance curated by Roya Sachs titled What Did Freud Dream About, performed at New York Fashion Week, and was featured in the fashion and style blog, Swagger New York.

Throughout her academic and professional careers, Dr. Jackson has demonstrated a commitment to diversity and inclusion within the performing arts. Her speaking engagements have included “Affinities: Margaret Bonds and Langston Hughes” (Studio Museum of Harlem) and “Representation as Resistance: How an Activist Orchestra Redresses the Push-out of Black Practitioners from Classical Music” (Harvard University). As a writer, her works have appeared on NewMusicBox (“The Cultural Citizen: How Classical Music Got Me Woke,” as well as in the International Journal of Women in Music (“Margaret Bonds and The Ballad of the Brown King: A Historical Overview”).

 



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