At Northern Arizona University’s Kitt School of Music, the rhythms are changing.
Since joining the faculty in 2022, Abby Fisher has guided the percussion program to incorporate global traditions, student-led composition, and a strong esprit de corps. She now holds the title of Steven Hemphill Endowed Professor of Percussion Studies, a position established by Michael and Karen Kitt to honor the impact and legacy of NAU Professor Emeritus of Percussion Steven Hemphill.
In this conversation, Fisher shares how this endowed role fuels her teaching, supports creativity amid an evolving musical landscape, and creates new opportunities for students.
How do you see percussion evolving, and how are you preparing students for that future?
The future of percussion is collaborative. That means working closely with composers—not just receiving a finished piece but shaping the work together. Back-and-forth conversation is becoming more of the norm, and I think that’s exciting.
We’re also seeing a lot more multimedia and cross-artform work. Last year, I premiered a piece that involved interactive lighting, marimba, and robotic percussion.
I want my students to be ready for that world, so I try to reflect it in how I teach. One way I do that is by having them compose their own pieces each year, starting with a portion in the fall and completing it in the spring. It gives them the confidence to experiment and think like creators. They also compile a portfolio to document their work, including a YouTube page featuring their performances.
What kind of life skills do students develop in your studio?
Because percussion requires so much sharing—of practice rooms, instruments, and performance space—our students learn collaboration fast. You literally can’t do this alone. Even just moving a marimba requires two people. Sharing builds trust and communication, and leadership emerges naturally in that environment. Students start helping one another and taking initiative in ways that support the whole studio.
They also develop discipline and focus. Learning an instrument well requires consistent practice, time management, and self-motivation. That can be a challenge, especially when students are juggling jobs or personal responsibilities.
These are real-world, transferable skills that go far beyond music.
How do you incorporate diverse musical traditions into your curriculum?
That’s something I care about deeply. I integrate global music traditions alongside the Western repertoire because they’re equally important. In percussion ensemble rehearsals, we might work on a piece by a contemporary American composer, and the next part on Gahu, a traditional rhythm of the Ewe people in West Africa. We also perform Brazilian samba, which the students learn by ear.
This diversity deepens students’ musicality and sense of rhythm. Exposing them to variety of backgrounds and cultural traditions also helps them think more about representation. If they see a name like Johanna Beyer, Alexis Lamb, or Devonté Hynes on a score and realize, “Oh, this composer is a woman, BIPOC, or queer,” they might connect further to the music.
What does the Kitt Endowed Professorship make possible for you and your students?
It’s a game changer. Steve and Lydia Hemphill have donated several instruments. That’s huge for the studio. It has an immediate impact on our students’ access to practice and performance opportunities.
The funding from the endowed professorship will allow me to keep growing as an artist and educator. In the future, I plan to use it to attend a program for samba ensemble directors and continue my studies in West African percussion through remote lessons with my Ewe teacher. That work directly benefits my students, because I bring those rhythms and techniques back to the classroom.
It allows me to bring in guest artists—whether for master classes, private lessons, or collaborative concerts with our students.
It also helps me release music recordings, supporting my own creative work while raising the profile of NAU.
What stands out to you about NAU students?
They truly want to be here. A lot of them are balancing jobs or covering college expenses on their own, and it just shows how committed they are. They’ve chosen this, and they’re showing up every day to do the work. They’re also inquisitive. They ask questions. They want to understand the why, and I love that.
What are your aspirations for the percussion program in the next 5 to 10 years?
I want to see our graduates thrive—whether they go on to professional performance, teaching, or something else. One of my students was just accepted to the University of Wisconsin – Milwaukee as a graduate assistant in percussion and a few more are planning on applying to grad programs.
Long term, I want to apply for the International Percussion Ensemble Competition at the Percussive Arts Society International Convention, and for our ensemble to be selected to perform a showcase concert.
