Tiffany Ng (she/her/hers) is an associate professor of carillon and university carillonist at the University of Michigan, Ann Arbor. An energetic advocate of diversity in contemporary music, she has premiered or revived over sixty pieces by emerging and established composers from Augusta Read Thomas to Yvette Janine Jackson, pioneered models for interactive “crowdsourced” carillon performances and environmental-data-driven sound installations with Greg Niemeyer, Chris Chafe, Ed Campion, Ken Goldberg, John Granzow, and Laura Steenberge, and through her composer collaborations significantly increased the American repertoire for carillon and electronics. Her concert career has taken her to festivals in fifteen countries in Europe, Australia, Asia, and North America, including the 2018 University of Chicago Rockefeller Carillon New Music Festival, 2018 Canberra Carillon Festival, 2017 University of Michigan Bicentennial, 2015 UC Berkeley Campanile Centennial, 2014 Stanford CCRMA anniversary festival, the 23rd International Carillon Festival at Bok Tower Gardens, Florida, the 2014 International Carillon Festival Barcelona, and the 2008 Post-Congress Festival of the World Carillon Federation. She has taught master classes at Yale University, the Eastman School of Music, Wellesley College, the University of Chicago, the University of Toronto, the University of Texas at Austin, and the Mayo Clinic. At U-M, she is a faculty affiliate of the Digital Studies Institute and the Center for World Performance Studies.
Ng’s previous positions include visiting professor of music history at St. Olaf College, associate carillonist at the University of California, Berkeley, and instructor of carillon at the University of Rochester. Her musicology dissertation, “The Heritage of the Future: Historical Keyboards, Technology, and Modernism,” explores the carillon and organ in terms of music technology, the Early Music movement, and the Cold War in America and the Netherlands, drawing on media studies, urban planning, legal history, and the history of military electronics to reevaluate the Organ Reform Movement and the postwar use of carillons as diplomatic and urban planning technologies.
Ng holds a licentiate diploma magna cum laude from the Royal Carillon School “Jef Denyn” where she studied with Geert D’hollander; a PhD from UC Berkeley where she studied with Richard Taruskin (musicology and new media); a master’s degree from the Eastman School of Music where she studied with William Porter (organ); and a bachelor’s degree from Yale University (English and music). She is former assistant director of the Women in Music Festival and the Contemporary Organ Music Festival in Rochester, New York; author of the multimedia catalog of the Municipal Carillon Museum of Mechelen, Belgium; and former curator of a special exhibit of bells at the Yale University Collection of Musical Instruments.
Ng’s awards include the Henry Russel Award, the U-M Institute for the Humanities Faculty Fellowship, the Shirley Verrett Award for service to women of color in the arts, the Ronald Barnes Memorial Scholarship for Carillon Studies, the E. Power Biggs Fellowship of the Organ Historical Society, the Consortium for Faculty Diversity Fellowship, the UC Berkeley Arts Research Center Fellowship, the Westfield Center for Early Keyboard Studies paper award, and the Belgian American Educational Foundation Fellowship.
Licentiate diploma, magna cum laude, Royal Carillon School “Jef Denyn”
PhD (musicology and new media) and MA (musicology), University of California, Berkeley
MM (organ), Eastman School of Music
BA (English and music), Yale University
“Ultimate Parameter Control: The Military-Industrial Idealization and Gendering(s) of the Organ Interface,” Keyboard Perspectives 12 (2019-2020): 101–21.
“Annotated Bibliography of African American Carillon Music,” Bulletin of the Guild of Carillonneurs in North America 68 (2019).
“A New History of the Carillon,” review of Singing Bronze, by Luc Rombouts, Keyboard Perspectives 8 (2015): 185-94.
“Polartide,” Sound and Video Anthology, Computer Music Journal 38:4 (2014).
Tintinnabulation! Exhibit Catalog. New Haven, CT: Yale University Collection of Musical Instruments, 2006.
Catalog of the Mechelen Municipal Carillon Museum. Mechelen, Belgium: Koninklijke Beiaardschool, 2006.
Selected Musical Scores
“Respect” by Otis Redding and Aretha Franklin, arranged for carillon. The Guild of Carillonneurs in North America (2020).
Editor, “The Music of March.” Collection of songs from John Lewis’ March trilogy arranged for carillon, illustrated by Nate Powell. American Carillon Music Editions (2019).
“Short Organ Works by Florence Price,” arranged for carillon. With an introduction by Douglas Shadle. American Carillon Music Editions (2019).
“Three Preludes by Clara Schumann,” arranged for carillon. American Carillon Music Editions (2019).
Gershwin, George. “The Man I Love,” arranged for carillon. The Guild of Carillonneurs in North America (2017).
Open Source Downloads
A Century of Women and the Carillon, a multimedia and ArcGIS website celebrating 2023 as the centennial of women’s full entry into the carillon profession
- Dark Matters (album)
- Sarah Davachi, Two Sisters (album appearance)
- University of Chicago, Ripple Effects: New Music for Carillon at the University of Chicago (album appearance)
- Peter Happel Christian, AA: Volume 4
- ‘CLANGOR + ostinato’ for carillon, by Jay Cloidt – performed by Tiffany Ng on the 60-bell Lurie Carillon
- "Navajo Prelude No. 3" by Connor Chee – performed by Tiffany Ng on the 60-bell Lurie Carillon
- “Perpetual Undulation” by Neil Thornock – performed by Tiffany Ng on the John Brombaugh Organ opus 20, St. John's Presbyterian Church, Berkeley, California.