Katie A. Berglof (she/they/them) is a founding member of the Board of Directors of Unbound Symphony, former Personnel Chair, and current Vice President & Secretary. She helped support the creation of the National Survey on Orchestral Musician Safety & Culture in partnership with the King County Sexual Assault Resource Center, contributing to research aimed at fostering safer and more inclusive environments within the orchestral community.

Katie is an arts nonprofit leader and musician safety, health, & labor rights advocate. Her work is distinguished by her advocacy for accountability, musician health and injury awareness, and fair labor rights within the classical music industry.

She is the founder of the orchestra journal Harpsichords & Hot Sauce, and the founder of Courage Over Silence (Read: The Violin Channel's Article on Courage Over Silence), a defense fund supporting musicians navigating harassment, discrimination, and retaliation. Her passion for French horn pedagogy led her to author A Short Guide to Horn Transposition. Her work in musician’s dystonia awareness has been particularly influential. Over the past decade, she has publicly documented her own recovery while advocating for stronger integration between music and medicine. During the pandemic she launched Musicians Dystonia & Injury Live Talk, a livestream interview series featuring 24 musicians and performing arts medicine practitioners.

A lifelong musician, Katie’s background spans music performance as a French horn player, music education in both private and public school settings, arts administration, union representation, human resources, DEI, and community engagement. Her work reflects a holistic understanding of the musical ecosystem, shaped by experience across both artistic and institutional spaces.

She began her studies at the University of Northern Colorado and earned her Bachelor of Music in Horn Performance from the University of Northern Iowa. She later pursued post graduate and graduate studies in K–12 music education and arts administration and leadership at the University of Colorado Boulder and Seattle University. She also holds certification in Diversity, Equity, and Inclusion through the Human Resources Certification Institute.

Her professional experience spans performance, education, labor, and executive administration. She has held roles with Seattle Symphony in People and Culture (HR), where she served as Office Administrator, Acting Executive Assistant to the President and CEO, and coordinated organizational COVID response efforts. During her tenure, she also helped proctored professional auditions and represented the organization on the Northwest Orchestra Gathering Steering Committee.

She later worked with International Alliance of Theatrical Stage Employees (IATSE), hiring and upholding fair labor practices for performing arts stage technicians. Her additional experience includes roles with El Sistema Colorado and the University of Denver Newman Performing Arts Center, where she contributed to program support and community engagement initiatives.

Katie was a finalist for the Assistant General Manager role at the International Women’s Brass Conference (IWBC) in 2023 and for the Assistant to the Executive Director position at the International Horn Society (IHS) in 2024. She was also nominated for the IHS Advisory Council in 2023.

Her national leadership includes service on the Advisory Council for the Arts Education Partnership, a collaboration among the National Endowment for the Arts, the U.S. Department of Education, and the Education Commission of the States. She has also served on the Young Professionals Committee of the Performing Arts Medicine Association (PAMA). She has earned the essentials in performance art medicine certificate for practitioners through PAMA.

Katie is a Salvadoran-born American who was adopted as an newborn infant during the Salvadoran Civil War of the 1980s. She was raised in rural North Dakota by a Midwestern farming family of Scandinavian-American heritage. In 2001, she was able to find her indigenous birth mother, and in 2026, she traveled to San Salvador on vacation and met her birth family in person for the first time.

Katie is passionate about exploring and learning about the heritage, ancestry, and histories of both her biological and adoptive families. In her free time, she enjoys writing, drawing, wood-burning art, hiking, savoring a good cup of coffee, reading tarot, and getting lost in a good book. An avid lifelong learner, her interests include psychology, spirituality, world cultures, and medicine.

With a career spanning four decades, Dr. Sarah Bassingthwaighte is a Canadian-American composer and flutist who loves to play, teach and create music, and focuses her work on social and climate justice. She has received accolades in each of these roles in Iceland, England, Europe, Russia, Mexico, and the United States. The London Symphony Orchestra recorded Dr. Bassingthwaighte’s Concerto for Double Bass and Orchestra in 2023, and a full album was released in 2025. Other notable performers include members of the Scottish Royal Orchestra, the Seattle Symphony, the Port Angeles Symphony, and the Beaverton Symphony, and soloists including Megan Lanz, Jill Felber, Claudia Anderson, and Steve Schermer. In fall of 2022, Sarah performed the US Premiere of Marquez’ Danzon #3 with guitarist Alejandra Reyes Zamarano and the Northwest Symphony Orchestra. She will be Composer-in-Residence in Sweden, at the Visby International Centre for Composers (VICC)as well as at the Uncool Residency in Switzerland. 

Bassingthwaighte is the winner of many competitions, including European Classical Music Awards Composer of the Year 2025, NACUSA 2025, the 2025 International Couperin Competition in Orchestral Music, the 2024 European Classical Music Awards in Orchestral Music, the Erik Satie International Competition in both Orchestral and Chamber Music, the International Saint-Saëns Competition in Composition in both Orchestral and Chamber Music, and a 2024 and 2025 Finalist for the ICMA Awards, the American Prize and the FeNam Competition. Her compositions also won the Newly Published Music Competition of the National Flute Association in 2013, 2018, 2019, 2020, and 2021. Orchestrating the Wild was Album of the Week on the CBC in 2025, too. She is the flutist for The Sound Ensemble, the Ecco Chamber Ensemble, and Windsong Classical Trio. She has served on the faculties of University of Washington, Seattle University, the Rachmaninov Institute in Tambov, Russia, the Seattle Youth Symphony, Music Center of the Northwest, and was Founding Director of Affinity Chamber Players during its 13-year lifespan. At the age of 18, she performed Jacques Ibert’s Concerto with the Seattle Symphony, and has since received numerous awards. Her solo CDs include Songs from the Caucasus, Stalks in the Breeze and Flute MeetsMachine, and she and Mark Wilson recorded Around the World and Through Time as the ensemble Sirocco.

The British journal Pan Magazine acclaims her “hypnotic and rich sound” and goes on to say “The tone quality is full of depth and power.  Bassingthwaighte seems to have a particular talent for communicating the message of contemporary pieces,” which are “performed with polish and virtuosity.” A past president of the Seattle Flute Society, Sarah has been a featured lecturer and performer for the National Flute Association, and a presenter at College Music Society conferences.  She actively commissions new pieces for solo flute or chamber ensembles, and has been responsible for the commission, performance, and recording of more than 36 new pieces.

She has a DMA in flute performance and an MM in composition from the University of Washington, an MM in theory and pedagogy from Central Washington University, and a BM Honors in performance from Indiana University, Bloomington.  Her flute teachers include Carol Wincenc, Julius Baker, Peter Lloyd, James Pellerite, Felix Skowronek, Bonnie Blanchard and Hal Ott and her composition teachers include Richard Karpen, Diane Thome, John Mickel and Margaret Brouwer.  Bassingthwaighte is Head of Composition at Seattle Pacific University. Besides playing music, Sarah loves to hike and travel, especially with her son Izzy and her dog Bibi.  They’ve gone to Kenya, Uganda, Ecuador, Peru, Norway, Italy, Russia, Iceland, and more, in a spirit of adventure and broadening perspective. Sarah is a founding member of Unbound Symphony.

"simply first-rate" - The San Francisco Chronicle

A radiant violinist that delivers extraordinary performances imbued with imagination and insight, Denise Dillenbeck is “simply first-rate.” (San Francisco Chronicle) Celebrated for her work as a soloist, Dillenbeck offers “gripping and technically accomplished [interpretations]… at once soulful and well-reasoned,”  (The Oregonian) of both classic repertoire and breathtaking new masterworks. With her “long-lined phrases and unflagging focus,” (The Oregonian) Dillenbeck inspires and thrives in leadership roles as Concertmaster and within the region’s leading chamber ensembles. Through her board membership, volunteer work, and by modeling and mentoring empowered female roles, Dillenbeck enriches her communities with visionary thought leadership. 

“A superlative violin soloist… [offering] subtlety, honesty and vulnerability, with a rarefied tone” (The Tacoma News Tribune) Dillenbeck’s recent and upcoming solo engagements include a tour of China with the American Festival Orchestra in addition to concerti by Bernstein, Saint-Saens, Sibelius, Mozart, Beethoven, Tchaikovsky, Brahms, Prokofiev, Mendelssohn and Bach, with the Bellingham Symphony, Gettysburg Chamber Orchestra, Sinfonietta Nova, Boise Baroque Orchestra, Gonzaga Symphony, Yakima Symphony, York Symphony, Lake Union Civic Orchestra, Olympia Symphony, Seattle Metropolitan Chamber Orchestra, Washington-Idaho Symphony, Salem Chamber Orchestra, Tacoma Community College Orchestra, Central Washington University Orchestra, Lake Chelan Bach Festival Orchestra, and Northwest Sinfonietta. Her discography includes solo and chamber works on the Albion and KOCH International labels.

Dillenbeck leads the Yakima Symphony, York Symphony, Lake Chelan Bach Festival Orchestra and the Northwest Sinfonietta, offering “dynamic nuances and virtuosic aplomb” (The Oregonian) as concertmaster. She has also served in that role for orchestras in America, England and Germany, as well as associate concertmaster of the Tacoma Symphony. Her extensive orchestral background includes touring Europe and America with the Philadelphia Orchestra, membership in the Oregon Symphony, and performances with the Seattle Symphony, Baltimore Symphony, Pennsylvania Ballet Theater and Philly Pops.

As a member of the Third Angle New Music Ensemble and Ethos Quartet, Dillenbeck capitalized on a rare combination of “skill and adventurousness… [that was] highly effective.” (The Oregonian) She has performed and coached chamber music as a part of concert series and festivals worldwide, such as the American Church of Paris, Siletz Bay Music Festival, Westminster Choir College, Bravo Summer String Institute, Max Aronoff Viola Institute, Charles Castleman's Quartet Program, and Icicle Creek Summer Academy. Additional appearances include the Oregon Bach Festival, Ernest Bloch Festival, Chautauqua Music Institute, Musicorda, and the International Congress of Strings. 

A passionate and generous teacher, Dillenbeck’s college courses include a class on viewing world history and literature through the prism of Beethoven. As a teaching artist in the Philadelphia Orchestra's Community Partnership Program, she led elementary school students in experiential music learning and directed workshops on aesthetic education. Additional leadership roles include Dean of Charles Castleman's Quartet Program and Program Coordinator of the Philadelphia Orchestra's Strings International Music Festival. Eric Booth quotes Dillenbeck at length in his seminal book, “The Music Teaching Artist's Bible,” and her thoughtful, industry-responsive writing appears regularly in the Yakima Herald. Dillenbeck studied at the New England Conservatory, the University of Minnesota, and was a Fellow at the renowned Aspen Music Festival. Densie is a founding member of Unbound Symphony.

A founding member of Unbound Symphony, Annie Chang-Center, a violist, violinist, and pianist, began her musical journey in Taiwan, performing piano for foreign dignitaries at six years old. After relocating to the U.S. at the age of thirteen, Annie thrived in a diverse international career as a soloist, chamber musician, and orchestral player.

Among her many accolades, Annie made her piano solo debut with the San Francisco Symphony at eighteen under the baton of Maestro Herbert Blomstedt, marking the beginning of her career as a piano soloist with major symphony orchestras, including the prestigious Cincinnati Symphony Orchestra and Hong Kong Philharmonic.

With equal prowess as a violist, Annie garnered recognition by winning a prize in the esteemed Irving Klein International String Competition. Her musical endeavors have taken her to renowned festivals, including Marlboro, Ravinia, Olympic, Utah, Prague, Red Rocks, and Music in the Mountains, where she collaborated with luminaries from the Juilliard, Guarneri, Emerson, Cleveland, and Philadelphia string quartets.

For over a decade, Annie held the position of assistant principal violist of the Phoenix Symphony and principal violist of its Sinfonietta, regularly performing as a viola soloist. In recent years, she performed with the Baltimore Chamber Orchestra and enjoys giving lecture-recitals where she weaves music with themed, enriching narratives.

Passionate about music education, Annie mentors young musicians in various youth symphonies and the Greater Seattle Public Schools' music programs. The InterHarmony International Music Festival in Italy has welcomed her to its faculty. She has also given masterclasses to college and high school students and shared her insights as an adjudicator for youth competitions and the Sounds Espressivo International Competition.

Offstage, Annie demonstrates an unwavering commitment to altruistic endeavors. She contributes articles to the International Rescue Committee (IRC) newsletters and plays an active role in organizing and participating in benefit concerts that provide aid to refugees, individuals experiencing homelessness, and victims of natural disasters.

Dr. Lorin Green (She/Her) is an arts leader, administrator, flutist, and educator in Seattle, WA. She currently serves as the Senior Manager of Community Relations & Partnerships for the Seattle Symphony where she acts as the bridge between the symphony and the community. Lorin co-edited the published anthology From Our Eyes & Ears: Writings by Musicians of Color, Volume 1- Black Voices that centers writings by musicians of color from various perspectives who chose to pursue music as a career path in the western classical music field.

As a performer and published researcher, Lorin has been selected to present and perform at numerous conferences including the National Flute Association Annual Convention, the Midwest International Band and Orchestra Clinic, and the League of American Orchestras Conference. Her latest research has centered around flutist, educator, author, and administrator Dorothy Antoinette Handy. 

Lorin's education includes a certificate from the Juilliard School and a Doctorate of Musical Arts in Flute Performance from the University of Washington. Her work and education centers on amplifying the voices of the underrepresented within all fields of music and art at large. In her free time, Lorin loves trying new restaurants around Seattle, traveling, and spending time within her local arts communities. 

Rosie Rogers was born and raised in Oregon, where she learned piano from her mom, Angèle. She began playing the bassoon under the tutelage of Lyle Dockendorff and Evan Kuhlmann and soon discovered a love for orchestra and chamber music. Rosie moved to Washington to study with Francine Peterson at the University of Puget Sound, where she earned a Bachelor of Music in bassoon performance. She then completed her Master’s degree at Lynn Conservatory studying with Whitney Crockett.

Rosie performs regularly with groups around the Puget Sound including Symphony Tacoma, where she is currently acting second bassoon, Northwest Sinfonietta, and Rainier Symphony, where she appeared as a soloist in February 2026. Previously, she served as acting principal bassoon for a season with the Orquesta Sinfónica del Estado de México (OSEM) in Toluca. She has also reviewed opera as a freelance critic for Palm Beach Arts Paper and Bachtrack.

Rosie can most often be found at her local public library, where she works as a library assistant, at home watching reality TV and making reeds, and taking long walks around Tacoma with an audiobook.

Kenya Shakoor is a photographer and multi-disciplinary artist born and raised in Tacoma. Her work is a love offering; it is a contribution to the female gaze, rooted in a politic of care. City of Tacoma Council Member Jamika Scott describes Kenya’s work as photography and cinematography that “captures Black experience and existence in deep, yet soft and ethereal ways. Her work is savory and compelling and hard to ignore.”

In 2025, Kenya wrote, directed, and acted in a one-act play called Adjust Your Crown, an ode to a Maya Angelou quote. The play chronicles an unexpected moment of connection that turns into a layered conversation about everything from the cost of living to generational trauma and joy, reparations, and the current presidency.

From 2023 to 2025, Kenya served on the Tacoma Arts Commission, and in 2024, she served as Chair. About her leadership, former Arts Commissioner, composer, and sound liberator, Joe Williams says she's, “an unstoppable force for good within our community.”

In 2026, she is spinning all vinyl DJ sets and embodying Jazz as her life philosophy. That looks like embracing improvisation over rigidity, honoring duality, and continuing to center Blackness as divine intelligence.

Dr. Kate MacKenzie is a founding board member and festival & events chair for Unbound Symphony. She is a bassoonist, educator, arts administrator, and advocate dedicated to fostering vibrant artistic communities. She works at the intersection of arts administration, policy, and economic development, serving on the board of the Lake Stevens Arts & Parks Foundation and the Snohomish County Arts Commission. She has played a key role in numerous arts initiatives, including founding the Lake Stevens Community Concert Band and supporting creative sector growth through the Cultural Arts Network of Snohomish County.

As a bassoon historian, Dr. MacKenzie’s research focuses on the overlooked contributions of women in bassoon performance. She has presented lectures and workshops nationwide, including at the International Double Reed Society and the Meg Quigley Bassoon Symposium. Her work on performance anxiety and gender has been published in The Double Reed Journal (Understanding Performance Anxiety: An Analysis of Gender and Double Reed Musicians, Vol. 36 No. 2).

Dr. MacKenzie holds a Doctor of Musical Arts degree from Arizona State University, a Master of Music from Miami University of Ohio, and a Bachelor of Arts in Music from the University of California, Davis. Her primary teachers include Dr. Albie Micklich, Dr. Christin Schillinger, David Granger, and David Seidel.

Founding President Bhavani Kotha is a strong advocate for empowering women in classical music. Unbound Symphony brings together her many interests including music, nonprofit work, and supporting women artists. Her dream is to see the next generation of musicians have more equitable performing opportunities without barriers. Her experiences both as an oboist and working in the nonprofit industry have inspired her to take on a leadership role and help create the change she desires, together with an incredible team.

“Bhavani Kotha shines…she takes listeners on a musical journey that is both exciting and calming, and it is a joy to become absorbed in her playing. Her mastery of the oboe in all registers is noteworthy.” --The Instrumentalist

Based in Seattle, WA, she performs with orchestras throughout the region. Recently, she performed with the Seattle Symphony as substitute Principal Oboist. Additional orchestra engagements include the Fifth Avenue Theatre, Auburn Symphony,  Oregon Symphony, Eugene Symphony, and North Corner Chamber Orchestra (NOCCO)…