Growing up in Southern California, Kimberly Kang always heard her mother — an amateur pianist — play the piano, which sparked her early interest in music.
Kang, a Doctorate of Musical Arts (DMA) student at Stony Brook University, was introduced to music at an early age. She describes her parents making her attend music classes fitting the classic stereotype of Asian parents pushing their kids into music lessons.
“My parents paid for all my music lessons — piano, violin, and French horn,” Kang said. “But really they just wanted me to try all sorts of hobbies that didn’t involve sports because they didn’t want me to risk getting hurt.”
Kang’s academic journey into music began during her undergraduate studies at the University of California Berkeley. She didn’t imagine studying music until she received encouragement from a harpsichord teacher she met at a music festival.
Arthur Haas, Kang’s mentor and professor in the Department of Music, first met Kimberly at the Amherst Early Music Festival, where he had been teaching for years. “Meeting Arthur Haas at a music festival made pursuing music a possibility,” she said.
“When she arrived, I didn’t know who she was,” Haas recalled. “Coming from the West Coast and studying at Berkeley, Kimberly was full of enthusiasm for the harpsichord. Her excitement was remarkable,” he said.
Though she played well, Haas, who has over 40 years of experience in early music as a teacher and performer, saw she still had much to learn about style. He encouraged her to continue studying. “You’re only here for a week, and then you’ll leave and forget about it. But if you’d like to explore this further — perhaps even consider it professionally — you should continue your studies.”
Pursuing a DMA is a great milestone for Kang. One of the requirements for advancing is a lecture recital, where she “talked about the development of unmeasured preludes (free-flowing musical compositions) in 17th and 18th-century France.” Kang said, “There weren’t very many of them written, less than 50 that we know of, but they are an invaluable treasure for musicians who are learning to improvise today.”
The harpsichord, unlike the piano, is a highly delicate instrument, and the biggest difference between the two lies in how they produce sound. “On a piano, pressing a key triggers a hammer that strikes three strings, allowing for a rich, dynamic tone that changes based on how hard the key is pressed. In contrast, the harpsichord produces sound through a plectrum,” Kang said. She explained that “it is similar to a guitar pick, that plucks a single string per note. With fewer strings, the harpsichord is much quieter, and unlike the piano, pressing the keys harder does not change the volume.”
“The harpsichord’s pluck occurs about halfway through the key’s descent,” Haas notes, meaning players must use a lighter touch, relying on their fingers rather than their arms. He adds, “Pianists often develop physical strain from forceful playing, but harpsichordists rarely experience issues like tendonitis or carpal tunnel syndrome because of the instrument’s lighter action.”
Mastering the harpsichord requires advanced skill and agility, as players must rely on technique rather than force to create expression in their music.
A typical day in Kang’s life is different depending on whether there are upcoming concerts or not. “Before advancing, in my doctorate degree, I had a lot more on my plate, Latin, German, Italian diction, and performance practice classes. It was honestly a luxury being able to focus on just studying and practicing,” she said.
Now that she’s advanced, her focus has shifted to sharing interesting music with different communities. “I’m more focused on how I can introduce interesting music to different communities, like sending music proposals or asking church communities to host performances.”
Over the years, Kang has truly grown as a musician. “She started with simpler pieces, but more importantly, she learned not just to play notes but to truly make music. She worked hard to develop her artistry, and I’m very proud of her.” Haas said, adding that Kang is excelling beyond school, performing as an organist in concerts in New York City.
“She’s at the stage where job opportunities are becoming a real possibility. People are recognizing her talent and encouraging her to apply for professional positions,” Haas said. “Through dedication and education, Kang has truly distinguished herself in the program.”
Kang’s journey has been filled with challenges and achievements. Balancing coursework, concerts, and personal projects has been a major struggle, especially with burnout in the past year. “However, my private students and playing a nice, well-paying gig in the city kept me going,” Kang said.
Her philosophy is centered around the power of music to shape society, and she believes that communities are built through making and listening to music. “Communities are formed from making and listening to music,” she said.
For her future goals and aspirations, Kang hopes to perform and teach as much as possible, possibly move back to Southern California to start an ensemble there. “I don’t think about leaving a legacy, I just focus on what I’m doing now to make a difference for the people that are here now,” she added.
Professor Haas offers advice to students considering the program: “I would say it’s a great opportunity. Music is a demanding profession, and you have to be at the top of your field to make a career out of it,” he said. “It requires dedication, a deep understanding of the instrument, and a willingness to immerse yourself in different styles.”
Haas noted a common challenge in transitioning from piano to harpsichord. “The technique is entirely different, and you have to unlearn certain habits. It takes humility to start over, to play simple pieces, and to master the nuances of a historical style. But if you’re willing to put in the work, it can be an incredibly exciting journey.”
Haas believes the beauty of this music lies in its uniqueness. “Unlike modern music forms, it requires a different approach, but it is deeply rewarding. I’ve never regretted my choice, even though the path has not always been easy,” he said. “Some people may not appreciate this style of music, but the students I mentor here are truly dedicated. Seeing them grow and bring this music to life is one of the most rewarding aspects of my work.”
He concludes by saying, “True professionals devote themselves completely. The rewards may not always be material, but the satisfaction you gain in your heart, mind, and soul is incomparable.”
Kang’s advice to upcoming academics in music will be to “pursue as many outside opportunities as possible and don’t rush into graduate studies. You might not need the doctorate unless you want to be a professor at a university. And if you are doing graduate studies, enjoy the learning process.”
— Aisha Nasara Sulemana
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