Bridging Traditions, Celebrating Heritage

Jonathan Bailey Holland, born in 1974 in Flint, MI, is an acclaimed composer whose works have been performed by orchestras and ensembles worldwide. His music has been commissioned by prominent institutions such as the Atlanta, Cincinnati, and Detroit symphony orchestras, and chamber groups like Roomful of Teeth. Blending classical traditions with contemporary and popular influences, his compositions often explore themes of duality, social justice, and identity. Notable works include Synchrony, a meditation on police brutality, and Motor City Dance Mix, a tribute to Detroit’s rich musical heritage.

Currently the dean of Northwestern University’s Bienen School of Music and the Kay Davis Professor of Music, Holland is dedicated to music education and mentorship. He previously held leadership and teaching positions at institutions such as Carnegie Mellon University and the Berklee College of Music. A strong advocate for authenticity in composition, Holland encourages his students to embrace their unique identities in their art, a philosophy reflected in his own work. His music continues to captivate audiences, offering expressive commentary on the human condition while celebrating the richness of diverse musical traditions.

Holland’s Motor City Dance Mix was commissioned by the Detroit Symphony Orchestra to celebrate the grand reopening of Detroit’s historic Orchestra Hall and the addition of the Max M. Fisher Music Center. The piece is a vibrant celebration of the musical legacy of Detroit. Rather than composing a traditional fanfare, Holland sought to capture the essence of the city’s iconic sounds, drawing inspiration from the soul, pop, and dance music styles that have influenced his artistic voice.

In Motor City Dance Mix, Holland avoids direct quotations from specific musical works or genres. Instead, he weaves together the spirit and energy of the music associated with Motown’s rich cultural history. The piece is a nod to the rhythm and joy found in Detroit's soul and pop heritage, blending these influences with the colors and textures of the orchestra. Holland challenges traditional notions of what belongs in the symphonic repertoire. He said, “Perhaps that is not what one expects to hear in Orchestra Hall, but I don’t see why they shouldn’t.”