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					sonorities                                         WINTER 2004




T he News Magazine of the University of Illinois School of Music




                                                            Star Trek Scripts
                                                            The Pacifica Quartet
                                                            Hobson at Carnegie Hall
                                                            Experiences in Iran
                                                            Giving:
                                                            Paul and Virginia Uhlenhop
                                                            Alumni Profile:
                                                            David Bilger, Chris Hall
                                                            Diabelli Double-dactyls
                                                            www.music.uiuc.edu




                                                 Keith Wilson
                                                 Interwoven Threads of Harding’s Legacy
   Campus News
                                                                       From the Dean


                                                                       Greetings and best wishes for the new year! The School
                                                                       of Music is rapidly advancing its mission as a leading
                                                                       institution with imaginative leadership, superb scholar-
                                                                       ship, creative research, and fine student achievement.


sonorities
Winter 2004
                                                                       The array of inspirational and challenging programs
                                                this year are dazzling in their breadth and scope. With support from the Col-
                                                lege of Fine and Applied Arts and the Office of the Provost, we are pleased to
                                                welcome one of the finest, world-class chamber groups to our faculty—the
Published for alumni and friends of the         Pacifica String Quartet. This dynamic quartet will be active in our studios
School of Music at the University of Illinois   teaching a significant number of our students, performing on campus at the
at Urbana-Champaign
                                                Krannert Center for the Performing Arts, and sustaining a rigorous interna-
The School of Music is a unit of the College    tional schedule of performances. Our own faculty Illinois Brass Quintet has
of Fine and Applied Arts at the University      been active regionally, working hard at re-establishing our relationships with
of Illinois at Urbana-Champaign and has
been an accredited institutional member of      significant music programs throughout the state. Jazz studies have seen a
the National Association of Schools of          resurgence of interest and faculty programming both within the campus and
Music since 1933.
                                                out in the community. Faculty are hosting major symposia with a special one
                                                on campus this spring dedicated to the art of improvisation—within its his-
Karl Kramer, director                           torical and performative contexts. Sinfonia da Camera celebrates its twentieth
Edward Rath, associate director
                                                year in residence with a superb concert schedule featuring our finest faculty,
David Atwater, assistant director, business
Sarah Green, assistant director,                advanced students, and guests.
 development
Joyce Rend, assistant director, enrollment
 management and student services                These are challenging times for the state and for the University at large. But
Janet Manning, coordinator, alumni              the relentless drive of talented musicians and scholars propels us into the
 relations and development
Jerry Tessin, editor
                                                future, sometimes with trepidation, but always with the profound joy of sim-
Anne Mischakoff Heiles, staff writer            ply making music. If you haven’t visited us in a while, drop by to see what we
PrecisionGraphics.com, design                   are up to. Stay tuned to even more exciting news as we report later in the year
                                                on our newest experimentations in arts and technology, as well as on a
UI School of Music on the Internet:
                                                ground-breaking project in co-commissioning new work in collaboration with
http://www.music.uiuc.edu
                                                the theatre and dance departments.


                                                If you are serious about good music—from new work, to orchestras, bands,
                                                choral performances, opera, and ethnic studies, come visit our programs that
                                                make Smith Memorial Hall, the Music Building, and the stages of Krannert
                                                Center for the Performing Arts come alive.



                                                Kathleen F. Conlin
                                                Dean, College of Fine and Applied Arts
                                                                                             in this issue
From the Director

“City boy goes country…defining moments”

No, I haven’t traded in my symphonic, chamber, jazz, and rock CD collection for
Shania Twain, Tim McGraw, or Conway Twitty, but I did experience a defining
moment this past summer. In June, my wife, Jean, and I were driving back to Cham-
paign from St. Louis. While traveling on Interstate 55 and gazing out the window,
and, with the utmost sincerity, I exclaimed to Jean, “Geez, look how high the corn
has gotten in the last couple of weeks!” I caught myself and realized at that moment
that this city boy had gone country.
     I’ve finished my first year and am back for a second, “rare’n” to go. I learned
several things in my first year of Midwest living at the UI. I learned that the greatest
change of elevation for 100 miles is the Amtrak underpass at University Avenue and
South Neil Street. I learned that there is actually a compelling reason why WILL Radio
                                                                                                         Winter 2004
                                                                                                         CAMPUS NEWS
broadcasts soil temperatures every hour on the hour. And I learned that I am blessed
with an experienced and hard working faculty, a staff that just won’t quit, and a fabu-
                                                                                                     2   Markers Honor School
                                                                                                         of Music Faculty
lously talented student body and alumni base that would make any director proud.
     Despite the budget cuts and trying financial times, we have some significant
news to share with you in this issue of sonorities that will affect the School of Music
                                                                                                     4   International Exchange
                                                                                                         Programs
for many years to come. We welcome the Pacifica Quartet to our full-time faculty. The
members of the Quartet will perform a series of concerts at the Krannert Center for                  5   Admissions Activities
the Performing Arts; will have significant teaching loads, both as studio instructors
and chamber music coaches; and will carry the flag for the University of Illinois and
the School of Music as they concertize throughout the world. We also welcome to the                      COVER STORY
faculty Jonathan Keeble (flute) of the Prairie Winds and Rob Botti (oboe) of the New
York Philharmonic. Other initiatives in the works include a full-fledged jazz program,
                                                                                                     6   Keith Wilson:
                                                                                                         Interwoven Threads
complete with undergraduate and graduate degrees, and a chamber music institute                          of Harding’s Legacy
that we hope will draw the best and brightest pre-formed groups to incubate here in
Champaign-Urbana, learning musicianship from our faculty and the business of flour-
ishing as a professional ensemble from the staff of the Krannert Center . . . more to                    FEATURES
come later about these exciting programs.
     Through the generosity of an anonymous donor, Smith Memorial Hall has had                      16   Star Trek Scripts
some upgrades. The next time you attend a performance in the Memorial Room, you
will notice the comfortable, new chairs. And for the first time in many years, the audi-
                                                                                                    19   Diabelli Double-dactyls
ence in the Recital Hall will be able to see the performers, the performers will be able
to see their music, and the organ will not appear as a black hole straight out of a
                                                                                                    20   Giving:
                                                                                                         Paul and Virginia Uhlenhop
Carl Sagan novel—for the hall has been outfitted with a new lighting system.
     My summer reading this year included Stephen Jay Gould’s last collection of                    24   Faculty Profile:
                                                                                                         The Pacifica Quartet
baseball essays, entitled Triumph and Tragedy in Mudville. In this collection he retells
the historic World Series game of October 8, 1956, between the Yankees and
Dodgers. Twenty-six Dodgers up, twenty-six bums down. The catalyst of this perfection               26   www.music.uiuc.edu
was, of course, Don Larsen. Pinch hitting for Sal Maglie was Dale Mitchell, the twen-
ty-seventh batter. Larsen took the count to one ball and two strikes . . . then delivered
                                                                                                    27   Hobson at Carnegie Hall
a pitch a little high and a little outside that Mitchell let go by. Babe Pinelli, umpiring          36   Experiences in Iran
his very last game in the major leagues before retiring, immediately called strike
three, completing what many felt was impossible–the first and only perfect game in
                                                                                                    42   Alumni Profile:
                                                                                                         David Bilger, Chris Hall
major league World Series history. Yogi Berra ran and
jumped into Larsen’s outstretched arms while Mitchell, still
standing at the plate, groused at Pinelli, “Outside by a foot!”
                                                                                                         D E PA RT M E N T S
Pinelli shot back, “A man can’t take a pitch so close with so
much on the line.” UI alums have been, are, and will continue
to be out in the forefront. Continue that tradition, swing away,
                                                                                                    11   Events
don’t let anything close get by you, and keep us apprised of                                        22   New Faculty
your count!
                                                                                                    28   Faculty News                 w
                                                                                                                                      i
Karl Kramer
                                                                                                    38   Student News                 n
                                                                                                                                      t
Director, School of Music                                                                           46   Alumni Notes
                                                                                                                                      e
                                                                                                    48   Alumni News                  r
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                                                                                                    58   Partners in Tempo            0
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    Campus News

    Markers Honor School of Music Faculty
    As part of an effort to honor significant        Lejaren Hiller (1924-1994), professor   mentalism and intellectual intrigue that
    events and great achievements of facul-      of composition-theory from 1958 to          is still seen today in the works of both
    ty at the University of Illinois, the Uni-   1968, is credited (along with Leonard M.    faculty and students. His revolutionary
    versity has established a series of          Isaacson) for creating the first substan-   idea of using computers to assist in the
    markers on the Urbana-Champaign cam-         tial and original musical composition       construction and rendering of music,
    pus.Two of the markers are erected out-      produced with a computer. Hiller is also    both in structure, as in algorithmic com-
    side the Music Building and recognize        the founder of the Experimental Music       position, and in sound, by using com-
    the accomplishments of Professors Paul       Studio on the UI Campus, the first such     puters for tone generation, remains a
    Rolland and Lejaren Hiller.                  studio in the Western Hemisphere.           valuable part of the study of composi-
        Paul Rolland (1911-1978), professor      Almost all aspects of music making and      tion to this day.”
    of violin from 1945 to 1978, revolution-     distribution today depend to some
    ized string teaching in the United States.   extent on the use of computers. Hiller’s
    He was a founding member of the Amer-        work not only paved the way for such
    ican String Teachers Association (ASTA)      uses but also pointed out new ways of
    and received many honors, including:         thinking about music and its connection
    Outstanding Teacher of the Year Award        with science.According to Brad Decker,
    (UI, 1976); Bronze Medal and Honorary        visiting lecturer and D.M.A. degree can-
    Membership, Ysaye Foundation (Brux-          didate,“Lejaren Hiller’s influence on the
    elles, 1975); and grants from the U.S.       composition division and the Experi-
    Department of State (1961) and USA           mental Music Studios is felt in many
    Office of Education (1965, 1966-1970).       ways. As a scientist, Hiller brought to
    He was director of the University of Illi-   music composi-
    nois String Research Project (1966-          tion a sense
    1970). Rolland presented hundreds of         of experi-
    workshops and clinics around the
    world and contributed to countless
    articles.Among his most notable publi-
    cations are Basic Principles of Violin
    Playing and Teaching of Action in
    String Playing. “Paul Rolland used the
    most picturesque language. He had a
    clear way of expressing his ideas to
    students and analyzing violin perform-
    ance.The materials he developed are
    simply the best. His expectations for
    his students were high, but he took
    great pride in helping students
s   achieve their best potential.Without
o   a doubt, of all the teachers in any
n
o   field, Paul Rolland ranks at the top of
r   the list,” said Susan S. Starrett
i
t   (B.S.’62, in music education), music
i   teacher, violinist, and conductor.
e
s
2
                                                                           A NOTE FROM THE SCHOOL OF MUSIC ADVISORY BOARD PRESIDENT
                                                                           Greetings from the advisory board of the School of Music!
                                                                           Whether you attended the School of Music or enjoy per-
                                                                           formances staged by the School of Music and its ensembles,
                                                                           we all have something in common—a connection to one of
                                                                           the most renowned music schools in the country.

                                                           In 1985, I began my studies in music education with an emphasis in per-
                                                           cussion and instrumental music. All through my undergraduate years I
“Paul Rolland was a dear teacher and a                     worked for the School of Music, Krannert Center for the Performing Arts,
 dear friend who had a great deal of influ-                and the UIUC Board of Trustees in a variety of positions. My support of the
 ence, not only on my professional life, but               University of Illinois, and most importantly the School of Music, has never
 on my personal life as well. Through his                  waned. My UIUC degree led me to two fabulous positions in outstanding
 genius, he not only inspired me, but also                 school districts in Illinois—Mannheim, District 83, and Northbrook, District
                          inspired thou-                   28. After five years in the band room, I moved into the Principal’s
                          sands of students                Office/Director of Fine Arts in Lake Forest School District 67.
                          across the country
                          and around the
                                                           Why do I share all of this? In every single district in which I have worked,
                          world. Through
                                                           UI School of Music alums have been actively leading excellent music pro-
                          his teachings, I
                          was able to estab-
                                                           grams.The School of Music graduates have been prominent in sharing their
                          lish the National                rich background in the arts with young students. Each one of the districts I
                          Music Conserva-                  mentioned has had at least two School of Music alums in the ranks.
 Paul Rolland
                          tory in Amman,
 Jordan, for King Hussein and Queen                        This is just one small example of how intertwined the School of Music is
 Noor. Paul Rolland’s legacy lives on all                  within the educational community. The examples could go on and on,
 over the world.”                                          showing the successes of distinguished School of Music graduates in all
       Sheila C. Johnson (B.S.’70, in music education)     fields of study—performance, musicology, education, research, and compo-
       Honorary Doctorate in Humane Letters, State Uni-    sition. Just read the articles describing the exceptional accomplishments of
       versity of New York, and CEO, Salamander Farm,
       L.L.C., Salamander Development, L.L.C.              our graduates.

                                                           The advisory board of the School of Music was organized in 1999 to pre-
                                                           serve and strengthen the mission of the School of Music through leader-
                                                           ship, advocacy, and resource development.We work very closely with Dr.
                                                           Karl Kramer, director of the School of Music; Sarah Green, assistant director
                                                           of development; and Janet Manning, coordinator, alumni relations and devel-
                                                           opment. Over the next two years and beyond, our hope is to reunite those
                                                           who have lost touch with former friends and acquaintances, as well as
                                                           reunite alumni and friends of the School with the incredibly rich resources
                                                           that the UI has to offer.
Lejaren Hiller (right) and John Cage

“Lejaren Hiller was one of the great pio-                  Membership on the advisory board includes: Phyllis Cline, Ruth Cortright,
 neers and computer music experimenters                    Frances Crawford, Mark Duker, Ralph Fisher, John Frauenhoffer, John Heath,
 of the 20th century. His work became leg-
                                                           Linda Linke, Jana Mason, Laura Mensik,Armine Mortimer, Howard Osborn,
 endary after his being recognized as the
                                                           Joyce Rend,Willie Summerville, David Thies, Joy Thornton-Walter, and Mari-
 first person to compose music with the aid
 of a computer. His gentle personality, sin-
                                                           an Wyatt. My incredible vice-president is Joy Thornton-Walter. Each member
 cere interest in people, and persuasive                   has a personal mission to reach out to members of our School family and
 abilities brought a forward-thinking                      friends. If you are an active member of the School of Music or Friend of the
 approach to our University community and                  School, thank you for your continued support. If you are seeking to
 the world of contemporary concert music.                  become reunited with the School of Music, welcome home.                         w
 Little did he know how relevant the con-                                                                                                  i
 nection between science, technology, and                  Please feel free to contact any of the board members through Janet Man-         n
 music would become.”                                      ning at jmanning@uiuc.edu or at 217-333-6452. Have a great year!                t
                                                                                                                                           e
       Scott A. Wyatt, professor of composition-theory
       and director of the UI Experimental Music Studios
                                                                                                                                           r
                                                           Kyle A. Schumacher (B.S.’90)                                                    2
                                                                                                                                           0
                                                           president, advisory board                                                       0
                                                                                                                                           4
                                                                                                                                           3
    Campus News

    International Exchange Programs:                                                                  person, everyone spoke to how now was
                                                                                                      the perfect time to develop some formal-
    All Aboard for International Studies!                                                             ized exchange programs. Third, there was
    Edward Rath, associate director                                                                   a unanimous feeling that exchanges should
                                                                                                      be pursued. Finally, I was encouraged by
    There continues to be an increasing inter-      Gunn (B.M.,‘94) sing the role of “Marcello”       this trip to look into how we can get our
    est on the part of music majors to study        in La Bohème at Glyndbourne, certainly a          students and faculty to start thinking early
    abroad. As well, many students from other       bonus for yours truly!                            on about how they might participate in
    countries contact my office, inquiring about                                                      international exchanges.
    the possibilities for their studying music on   A short trip across the English Channel
    the Urbana-Champaign campus. UIUC has           and I was visiting with the admissions            It became obvious to me that some courses
    focused on international educational            director at the Amsterdam Conservatory,           we offer are not offered in the European
    opportunities, recently naming Earl Kellogg     just down the street from the famous Con-         schools I visited, but the same was true of
    as associate provost for international          certgebouw. An overnight train trip to            some courses offered overseas. Music busi-
    affairs and dedicating an entire building to    Prague and its conservatory was followed          ness, music industry, music and society,
    International Programs of Study. The Col-       a few days later by a confer-                                               sound recording
    lege of Fine and Applied Arts constructed       ence with the vice-director of the                                          technology, and
    an International Arts Minor a few years         Vienna University for Music and                                             even some non-clin-
    back and initiated a foundation course,         the Dramatic Arts. The time in                                              ical music therapy
    taught by faculty from various units of the     Vienna allowed for a meeting                                                courses are those
    College.                                        with Bruce Murray, coordinator                                              in which our stu-
                                                    of the Austria-Illinois Exchange                                            dents have
    So, this positive mood concerning study         Program, with whom I had been                                               expressed great
    abroad and international aspects of univer-     discussing possibilities for                                                interest for years.
    sity studies prompted me to investigate this    expanded involvement by music                                               With proper plan-
    past summer what possibilities might exist      students in this excellent program, now in        ning to make sure prerequisites would be
    for organized exchange programs                 its fourth decade! The last day of my Euro-       met, our students could have ready access
    between the                                                  pean odyssey was spent visit-        to such offerings. And, again, with appro-
    School of                                                    ing the Kodály and Liszt             priate planning, auditions for private les-
    Music and                                                    museums in Budapest. But even        sons in performance and composition
    some select                                                  more moving was a visit with         would allow both student and teacher to
    colleges and                                                 the rector and vice-rector at the    know well in advance about the possibili-
    universities                                                 Franz Liszt Academy, where I         ties of studio music instruction.
    abroad. With the support of a research          was able to see not only one of the most
    grant and funding from International Pro-       beautiful recital halls in Europe, but to visit   Certainly, there are hurdles to jump when
    grams of Study and the School of Music, I       the classroom of Leo Weiner, with whom            studying abroad. While there is no lan-
    developed an itinerary that was both inter-     my piano teacher, György Sebök, and               guage problem for students exchanging
    esting in what it included and challenging      other musical luminaries such as Georg            between American and British universities,
    in what I needed to accomplish in some          Solti, Janos Stark-                                                   the Dutch, Czech, and
    rather short time periods.                      er, Laszlo Varga,                                                     Hungarian languages,
                                                    and our own Paul                                                      and maybe even Ger-
    First, I was able to take advantage of the      and Clara Rol-                                                        man, would seem to be
    British Exchange Program, the largest and       land, among                                                           problematic, until I real-
    oldest exchange program of the University.      many others, had                                                      ized that there are some
    UIUC is in a consortium of 18 schools in        studied during                                                                    classes
    England, Scotland, Wales, and Ireland,          their younger                                                                     taught in Eng-
    many of which have very good music pro-         years.                                                                            lish at those
    grams. This was my starting point, and on                                                                                         conservato-
    the advice of Natalia Jiminez, coordinator      I came away from this trip, which was                                             ries, and
    of the BEP, I was able to establish connec-     about as perfect as anyone could have                                             crash courses
    tions with music directors or admissions        hoped for, with a very wonderful impres-          in those languages are offered for English-
    personnel at public universities in Edin-       sion of what exists on the international          speaking students prior to the start of the
    burgh, Newcastle, York, Leeds, Manches-         scene in the study of music. Four things          fall term. Then there is the question of
s
o   ter, and London. I expanded my schedule         emerged as central to this impression.            finances; the way things appeared to me,
n   of visits to include conservatories in Glas-    First, the people at every school I visited       with a true exchange of students over a
o
r   gow, Manchester, and London, allowing a         were well-acquainted with the University of       period of, say, five years, the tuition and
i   little extra time in London which provided      Illinois School of Music, its heritage, and       fees would probably even out. And, for
t   me with an opportunity to hear Nathan           the quality musical education it has provid-
i
e                                                   ed for more than a century. Second, to a
s
4
Campus News
students participating in the BEP and Aus-      School of Music                                  New York, Los Angeles, and Interlochen,
tria-Illinois Exchange, there is already a                                                       along with seven on-campus dates slated
mechanism in place to deal with finances.       Admission Activities—                            later this winter.
                                                A Tour de Force                                      In addition to our summer activities, rep-
What about progress toward a degree? It         Joyce Rend, assistant director enrollment        resentatives from the School of Music
really is important that students do not lose   management and student services                  attended the NACAC Performing and Visu-
a semester or more by taking courses that                                                        al Arts fairs held in Los Angeles, San Fran-
do not count toward a degree (at a fairly                            Jet-setting, nights spent   cisco, Seattle, Portland, Interlochen Arts
hefty cost). Again, with appropriate plan-                           in hotels (and unfortu-     Academy, Chicago, Minneapolis, Philadel-
ning, probably the junior year being the                             nately sometimes air-       phia, New York, Boston, Washington
best, course sequences could be arranged                             ports), and greasy          (D.C.), Atlanta, Miami, Houston, and Dal-
to accommodate a student’s academic                                  room service is the         las. Once again the School was able to
needs. Our faculty has already shown                                 lifestyle for an admis-     develop relationships with some of the
great flexibility with regard to recital and                         sions director through-     most sought-after musicians on a national
course requirements being satisfied             out the summer, during the entire month          level.
abroad, as long as a recording or suitable      of October, and much of the winter. I                Should you have students or colleagues
written evidence (such as syllabi and           know that this must sound like a glam-           who are interested in applying to the Uni-
exams) are available upon the student’s         orous and exciting life. For the most part,      versity of Illinois School of Music, please
return. And where better to study Shake-        it is. I have met some of the nation’s most      refer them to our website:
speare than England to satisfy a literature     talented music students during these trips.      www.music.uiuc.edu. The new website has
requirement, or for music educators to          In many cases, these initial contacts dur-       admission guides for prospective students,
study the Kodály method in Hungary,             ing the fall lead to students auditioning        as well as information regarding our
where it is used almost throughout the          and selecting the University of Illinois,        admission activities, auditions, application
entire country...the list could go on.          after receiving admission offers from            deadlines, and scholarship information. As
                                                other leading music schools. The deter-          the University moves into a paperless envi-
Faculty exchanges were also of interest to      mining factors: the faculty, facilities, and     ronment, the website becomes an invalu-
my counterparts in Europe, and I am look-       unlimited performance and academic               able resource for prospective students.
ing forward with great excitement to the        opportunities offered at the UI.                     I would be happy to discuss our recruit-
possibilities in this area. Our faculty would       The School of Music continued its            ing activities or schedule appointments
find very eager students and audiences,         efforts this past summer and fall to raise       with prospective students. If you would like
and guest faculty on our campus would           the national presence and awareness level        to contact me, please do so by e-mail at
expand upon a tradition of bringing in          among leading high schools by participat-        musadm@music.uiuc.edu or phone at
some of the world’s finest performers and       ing in a myriad of admissions activities.        217/244-7899. I wish you all the best for
scholars, only now it would be a week or        We attended summer                               a successful and productive year.
two of residence rather than a few days.        festivals throughout
                                                the U.S. and
Of course, the opportunity to travel during     planned for
breaks or following the spring semester is      three nation-
an added benefit for our students. Learn-       al audition
ing about another culture by living it rather   dates in
than just visiting would expand a student’s
perspective at the same time as preparing
him or her.

So, for next year, I have my sights on            One of the many
Spain, France, Italy, Germany, and                recruiting projects
Poland, and maybe the year after, Aus-            the School took on
tralia??? Quién sabe. For now, the excite-        in the past year
ment of the trip still provides much              was the develop-
enthusaism for this new way in which we           ment of a 24-page
                                                  full-color view book.
can provide a more complete educational
experience for our undergraduates. As we                                                                                                          w
develop the exchange program in music,                                                                                                            i
we will keep things current on our website,                                                                                                       n
                                                                                                                                                  t
so please refer to www.music.uiuc.edu to                                                                                                          e
find the latest news.                                                                                                                             r
                                                                                                                                                  2
Bon voyage!                                                                                                                                       0
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    Cover Story




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                     Keith Wilson
                     INTERWOVEN THREADS OF HARDING’S LEGACY
                     Anne Mischakoff Heiles




                     K
                                eith Wilson and A.A. Harding seem to have uncanny         me on my career, so to speak. Keith Wilson was a good play-
                                similarities in their life histories—not surprising       er and demonstrated it, and as a clarinet teacher he seemed
                                when you consider that one emulated the other.            to say just the right things and get you going with the right
                     Sharp as a tack and his wit very much intact, 86-year-old Wil-       instrument and kinds of reeds—and [created] an atmosphere
                     son is a living link to Harding, his mentor. Still actively coach-   of enjoying good music.”
                     ing wind chamber music at Yale University after more than 40            “During the winter,” Wilson reminisces, “the big concert
                     years of full-time teaching and administrative work there,Wil-       was in the University Auditorium.We played a series of spring
                     son has himself been a mentor to many fine younger musi-             twilight concerts at 7:00 p.m., as well as occasional short
                     cians, including past and present SOM directors Austin               tours. And we did broadcasts from the band building over
                     McDowell and Karl Kramer. Like Harding, who was a cor-               WILL every week. Band directors from all over the country
                     netist and legendary band director, clarinetist Wilson became        came to the big band clinics every year. Publishers would
                     an outstanding band director. One of his finest students,            supply new music, and we would have reading sessions.”
                     Richard Stoltzman, said,“It was through Mr.Wilson that I dis-           Explaining how Harding came to transcribe some 147
                     covered the greatest mission of a musician, to communicate           works for band,Wilson recalls “He felt that there was so little
                     music with peers to the audience. He gave me that wisdom             good literature written for band at that time, just marches and
                     and that love.” One suspects that Wilson developed that              the occasional folk song or suite by Holst or Vaughan
                     desire—and power—to communicate many years ago from                  Williams. He wanted to play great music, which he thought
                     Professor A.A. Harding.                                              would build a much larger audience for classical music. As he
                        It was no wonder that Keith Wilson had heard about “the           put it, a lot of people who were afraid to go into the sym-
                     great University of Illinois Band” as he grew up in Fort             phony hall would go to a band concert. I learned all the
                     Collins, Colorado. He enrolled at the UI in 1934, the year Mark      Strauss tone poems playing in that band.” McDowell confirms
                     H. Hindsley became assistant director of bands.“I went to Illi-      Wilson’s impressions:“Harding was just a brilliant man for his
                     nois because of Mr. Harding and the famous University of Illi-       time, a first-rate musician. We played his transcriptions and
                     nois band,” says Wilson.“Everyone I knew always called him           only later, when I got to play more orchestral music and
                     Mr. Harding. Only the really old guys in the American Band-          operas, did I realize that we had played a lot of that music in
                     masters Association called him ‘Aus,’ but he was always              the UI Band. Harding was very serious and a little bit
                     referred to as Mr. Harding or A.A. Harding. As a student one         detached, but greatly admired. He was a private man,
                     not only respected but almost feared him because he could            immersed in band work, and he would be in his office until
                     be very direct in rehearsals. He would be difficult if someone       the wee hours of the morning working away on his tran-
                     played out of tune or wrong rhythms. He knew how to                  scriptions.”
                     rehearse and treated us like a professional group. I don’t              Harding “knew all the instruments very, very well,” accord-
                     know of any formal training he had in conducting, but he was         ing to Wilson. “Sousa was Harding’s model, his hero. So we
                     a natural musician and great, great man; his students all            played marches in Sousa style. Sousa had a particular way of
                     admired him.”                                                        making or not making repeats, and he never played a strain
                        Meanwhile, when Wilson was a university undergraduate,            twice with the same instrumentation. Harding would say,‘Play
                     UI Professor Emeritus Austin McDowell was growing up in              the intro, then the first strain everybody’s in, and on the
                     Urbana and studying clarinet in high school with both                repeat the brass will drop out.The first time through the Trio     w
                     Clarence Sawhill (who divided his time between Urbana                the brass will not play and the clarinets will play an octave      i
                                                                                                                                                             n
                     High School and the University’s band program, where he              lower, and the last time everybody will play.’ Though it was       t
                     was an assistant director) and Keith Wilson. Attending UI as         sort of a formula, it would differ for various pieces.Also Hard-   e
                     an undergraduate, he became first chair clarinet in Harding’s        ing, like Sousa, took marches faster than most conductors          r
                     band and graduated in 1942. McDowell says,“These men sent            then. And there were accents. He insisted the bass drummer         2
PHOTO: EUGENE COOK




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                                                                                       Cover Story
      A.A. HARDING
      THE ORIGINAL BANDMASTER
                          Albert Austin Harding was born in George-
                          town, Illinois, February 10, 1880, and stud-
                          ied cornet, then trombone, and other wind
                          instruments. While still in high school in
                          Paris, Illinois, he conducted the local concert   just follow him and not read the music; then he would give
                          band. He enrolled in the UI College of Engi-      him all sorts of special little subtle accents, wherever he
                          neering in 1902 as an undergraduate, and          thought the music needed that added emphasis.The marches
                                                                            were really very interesting.”
                          auditioned for Frederick Locke Lawrence,
                                                                               Asked about Harding’s appearance,Wilson remembers him
                          director of the band and the School of            as about five foot, six or seven inches “and slightly on the
                          Music, who made him first chair of the            pudgy side—but not fat by any means.” He also was well
    band’s cornet section and bassoonist in the orchestra. By his jun-      organized, a trait that Wilson came to appreciate. “I learned
                                                                            from him all the time, for instance, how to run a library and
    ior year, Harding was asked to take over as band director and
                                                                            an equipment department. I was the head librarian at the
    give band-instrument lessons. In short order the young man              National Music Camp at Interlochen in 1936-37, using his sys-
    blazed a path of innovations at the University of Illinois: the         tem of checking out and filing music for performing groups,
    country’s first “bleacher song;” the first band to play and simul-      which was different from an academic library’s system. Hard-
    taneously march into and out of formation (using the Block I);
                                                                            ing did not make formal lesson plans as music educators do
                                                                            now. He taught classes in conducting and so forth, but it was
    and the first to strike a symphonic level by adding oboes, saxo-
                                                                            watching what he did and being a part of it that taught me.
    phones, and other reed instruments to the usual brass contin-           He played it by ear. He himself used to say, ‘For a good edu-
    gent. Harding also incorporated new instruments, such as                cation go where the action is, and keep your eyes and ears
    mellophones and sarrusophones, and had band members sing                open.’”
                                                                               Wilson learned well, and his own natural gifts quickly car-
    along a cappella on the field.
                                                                            ried him far in his own career. He graduated with a B.S.
                                                                            degree in music education in 1938 and a B.M. degree in 1939,
                                                                            and took a position as solo clarinetist in the Denver Munici-
                                                                            pal Band.Then he received a telegram from Harding, offering
                                                                            him a half-time job as UI woodwind instructor. “When I
                                                                            reported, the director of the School of Music, Frederic Stiven,
                                                                            called me in and said they needed someone to teach part-
                                                                            time piano to minors or a couple of sections of counterpoint.




    As Harding’s band increased in size and renown, he instituted
    an annual statewide band competition and Illinois Band clinic.
    In 1929 he became a charter member of the American Band-
    masters Association, and in 1930 invited his friend John Philip
    Sousa (1854-1932) to the campus and to his home. (In an odd
    twist, after Harding’s death, his daughter called Aus McDowell

s   and asked whether he and his wife would be interested in pur-
o
    chasing her father’s house. They bought it—and can say that
                                                                            PHOTO: JOHN LAING




n
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r   Sousa slept in their home.) Sousa conducted the massed univer-
i   sity bands on March 20, 1930, and dubbed the UI Concert
t
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    Photos courtesy of UIUC Sousa Archives for Band Research.
8
             “[Harding] taught classes in conducting and so forth, but it was
              watching what he did and being a part of it that taught me. He
              played it by ear. He himself used to say, ‘For a good education go
              where the action is, and keep your eyes and ears open.’”
Well, I wasn’t ready to teach any of those and refused to even     turn around a person’s biography. Wilson explains, “A leg-
consider piano. But he convinced me to take home a text-           endary clarinet player, the late Russell Howland, was teaching
book written by my former professor Hubert Kessler. And it         at the University of Michigan but, having started his master’s
was funny, but after four years, that book looked easier to me     degree at Illinois, was back that summer, and we were living
than it had when I was a freshman, so I finally agreed.” On        in the same Urbana apartment complex. One day Russ came
four-fifths time until he finished his B.M.degree, he became a     over with a letter from Bruce Simonds, dean of the Yale
full-time instructor after one year and still managed to earn an   School of Music, saying that [composer and oboist] Alvin Etler
M.M. degree three years later. Drafted in May, 1943, he served     had recommended him to be the director of the Yale Band
for two and a half years in the Army Air Force Band down in        and teach winds. Etler had grown up in Urbana and been a
Fort Worth,Texas, where Mark H. Hindsley also had been com-        freshman at UI when Russ was Harding’s favorite pupil in
missioned in 1942.                                                 1932 or so. Russ, though, had promised to teach one more
   In Fall, 1945,Wilson returned to Illinois and resumed con-      year at Michigan, and Simonds asked him to recommend
ducting a section of the Second Regimental Band.“ROTC was          somebody else. So Russ asked me,“Would you be interested?”
big at the school, and the Regimental Band was on campus.             “I didn’t have much respect for Ivy League bands in those
Every male student had to take two years of ROTC because it        days (and some people in the Midwest still don’t), but I said,
was a land-grant college, but if                                                            “Sure,” thinking that with an offer I
you were in the band, that gave                                                             could get more money at Illinois.”Wil-
you military credit.There was the                                                           son wrote to Dean Simonds saying,
Concert Band and the First Regi-                                                            “Yes”but listing “a bunch of ‘ifs,’”such
mental Band, and there were also                                                            as his conducting not only a football
two smaller bands of about 50                                                               band but also a concert band and
each, sections of the Second Reg-                                                           Yale’s matching his new assistant pro-
imental Band.” Austin McDowell                                                              fessor rank.After these assurances he
also served in W.W. II, as a dive                                                           and his wife drove to New Haven on
pilot flying off an aircraft carrier,                                                       August 26. Wilson chuckles at the
and he, too, returned to UIUC to finish his master’s degree        memory:“I didn’t know that Hindemith was at Yale or much
and work as an assistant band director, rehearsing the wood-       else about the school.” Fortunately, the interviewing commit-
wind players.                                                      tee included Yale’s organist, who, Wilson later learned, had
   Wilson was grateful that the                                                             been a saxophonist in the North-
University had helped get him out                                                           western University marching band.
of military service early, without                                                          After exchanging pleasantries, the
his having to go to Japan for the                                                           organist asked,“How’s Mr. Harding?”
occupation. On the other hand,                                                                  Wilson explains that part of what
he felt his salary was too low and                                                          made Harding larger than life was the
he itched to play clarinet more, so                                                         vast network of people who knew
he was uncertain whether an aca-                                                            and admired him. He credits his men-
demic career was the way to go.                                                             tor with opening all sorts of doors for
“The dean told me that the only                                                             him. “Harding’s name was just a key
way he could give me more money was if I had an offer from         to any place or school that had a band, and from all his tran-
someplace else.That summer of 1946 I had plans to go to Tan-       scriptions, publishers, too, knew him. He went to New York                          w
glewood, do something at Juilliard, and play professionally in     every year and came back with scores to arrange. Once he                            i
a chamber orchestra in New Jersey. Then every one of the                                                                                               n
                                                                   This page: Wilson and David Shifrin (top), Wilson and Richard Stoltzman (bottom).   t
opportunities fell through.” That left Wilson teaching in                                                                                              e
Urbana over the summer, when another former UI student                                                                                                 r
returned to the campus, one of those coincidences that can                                                                                             2
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                                    Cover Story
                                                                             came back with Piston’s      ‘Keith, we can raise you to $3,600, but I think you’d be a fool
                                                                             Incredible Flutist and       if you don’t take that job.We’d be proud to have you there.’”
                                                                             stayed up through a few          Soon afterward Frederic Stiven, Clarence Sawhill, and
                                                                             nights transcribing it for   Keith Wilson were in the director’s office, conferring over
                                                                             band. We played it at the    Wilson’s leaving. Austin McDowell happened to walk in just
                                                                             UI before the Boston         then, and, as he recalls,“They asked me if I’d like to take Keith
                                                                             Symphony premiere!”          Wilson’s job as he was leaving for Yale University.That’s how
                                                                             Wilson appreciates that      things worked in those days. We didn’t have months-long
                                                                             the friendly organ profes-   search committees. I’m glad I stayed here rather than taking
                                                                             sor at the interview         the offer I had to go to Florida. It’s been kind of a magical
                                                                             “tried to explain the dif-   thing to have such good people to work with. If your life has
     PHOTO: MICHAELA ALLAN MURPHY




                                                                             ferences between the Ivy     been more or less successful and you see that two or three
                                                                             League and Big 10. My        people whom you got to work with by chance were pretty
                                                                             wife, Rachel, and I didn’t   much responsible,” he adds,“you feel very grateful.”
                                                                             think it would work out,         Keith Wilson concludes,“So that’s how I came to leave Illi-
                                                                             because the band situa-      nois. And when I got to Yale, I ran the band as closely as I
                                                                             tion looked hopeless. At     could to the way Harding did. I tried to make it a small Illinois
                                    Illinois, everybody got ROTC credit for playing in the band, as       band, and had a concert band that I became very, very proud
                                    well as tuition credits for the third and fourth years of Con-        of.We made an extended concert tour in Europe by 1959.” UI
                                    cert Band. Credit at Yale? Scholarship for band in the Ivy            Professor Emeritus Lawrence Gushee reminisces about his
                                    Leagues? They don’t even give football scholarships. So I did-        former teacher and band director at Yale: “What a scene it
                                    n’t know how one would get a good undergraduate activities            was. Rehearsals were sometimes chaotic, but Keith was able
                                    band going. In the Ivy League the idea was to be funny, clever.       to get the band together. He had a sense of humor and a pixie
                                    We didn’t spend hours drilling. The biggest problem I had             grin, the corners of his mouth turned up.We wore blazers at
                                    was the Harvard game and                                                                                least and no funny hats, and
                                    which students wrote the                                                                                the Concert Band played
                                    cleverest script. I was glad                                                                            good repertory because
                                    when a senior faculty member                                                                            Keith’s taste was very good.”
                                    commented to me a few years                                                                                Wilson went on to become
                                    later, ‘Keith, I think you’ve got                                                                       president of the College Band
                                    it just right.The boys obviously                                                                        Directors National Associa-
                                    are enjoying themselves. They                                                                           tion from 1962 to 1964, direc-
                                    sound very good and look                                                                                tor of the Yale Summer
                                    good enough that we are not                                                                             School of Music in Norfolk,
                                    embarrassed—but not so good                                                                             CT, for 22 years, and associate
                                    we could suspect you of                                                                                 dean of the Yale School of
                                    spending too much time on                                                                               Music. As president he over-
                                    this sort of thing’”                                                                                    saw the first CBDNA conven-
                                        Yale had some definite pluses: composers Paul Hindemith           tion, held on a college campus (rather than in a Midwest
                                    and Quincy Porter were at Yale, and the school was halfway            hotel), and the association’s first commission of a band com-
                                    between New York and Boston, offering a clarinetist good              position, from no less a composer than Aaron Copland. That
                                    playing opportunities. Just before school was to open Wilson          commission resulted in “Emblems,” premiered by the USC
                                    got a telegram with Yale’s final offer: “It began, ‘After vexing      Band at the 1964 convention in Tempe, Arizona, and later
                                    delays, I can offer you….’We thought it over, and I talked with       recorded by it in Copland’s revised version. The composer
                                    Mr. Harding,” he says, recalling that his mentor was in his           himself conducted the Yale Band in the piece, and Wilson led
                                    favorite vacation spot in Traverse City, Michigan. “He said,          it many times subsequently. Keith Wilson is also highly
                                    ‘Well, Keith, if you go off, I’ll feel like I’ve lost my right arm,   regarded for the band transcription he made, at Paul Hin-
                                    but I’d be proud to have one of my boys be in the Ivy League.’        demith’s request, of the Symphonic Metamorphosis—
s
o                                   One of the sticking points had been that Yale usually gave            working in yet one more sphere like his mentor A.A. Harding. I
n                                   only a one-year appointment, but they offered a two-year con-
o                                                                                                         (Top) Back stage at the Music Shed in Norfolk Connecticut following a chamber music concert in
r                                   tract and $4,000. I was getting $3,000 at Illinois. So I went to      1986 with family and fellow musicians.
i                                   see the dean at the Fine and Applied Arts School, and he said,        (Center) Wilson with his wife, Rachel (UI ’37).
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Events

Starker and Parisot at UI CelloFest                                                      times for rehearsals.The guests of honor
                                                                                         talked about their careers during an
Anne Mischakoff Heiles
                                                                                         afternoon dessert hour. Lots of food and
                                                                                         convivial meals also contributed to high
                                                                                         spirits. Instrument makers and dealers
                                                                                         brought a collection of cellos for
                                                                                         participants to try out.
                                                                                            As a grand finale, the competition
                                                                                         winners, UI students, and professional
                                                                                         cellists performed Sunday afternoon in
                                                                                         tribute to the two legendary masters.
                                                                                                                About three dozen
                                                                                                                present and former
                                                                                                                UI students, through
                                                                                                                Laufman the “musi-
                                                                                                                cal grandchildren” of
                                                                                                                Starker and Parisot,
                                                                                                                played Laszlo Varga’s
                                                                                                                transcription      of
                                                                                                                Bach’s Prelude and
Janos Starker
                                                                                                                Fugue from Suite V.
UI Professor Laurien Laufman, along          younger colleagues                                                 Then appropriately,
with some six dozen other cellists,          the world over. Many                                               Starker’s former stu-
payed a unique tribute to two of her for-    of their former stu-                                               dents dedicated an
mer teachers, both of them internation-      dents attended the                                                 arrangement        of
ally renowned artists. Janos Starker, with   event and participated                                             Bartók’s Hungarian
whom she studied at Indiana University,      in panel discussions.                                              Peasant Songs to
and Aldo Parisot, with whom she stud-           Topping off the                                                 him; and Parisot’s
ied at Yale University, were the featured    weekend of tributes to                                             former       students
guests at the School of Music’s              and master classes                                                 countered with two
CelloFest, held on campus October 31         with Parisot and Stark- Aldo Parisot                               movements          of
to November 2. Friends of one another,       er were national cello competitions, one    Bachianas Brasileiras No. 1, under his
the two cellists are revered by their        for pre-college students and one for        direction. Finally, all of the CelloFest par-
                                                            undergraduates. With all     ticipants, ranging from seven to at least
                                                            of that experience and       77 years old, played Bach’s Air, conduct-
                                                            talent among the profes-     ed again by Parisot. I
                                                            sionals, cello students
                                                            had help pondering how
                                                            to develop their budding
                                                            music careers. Visitors to
                                                                                                                                         w
                                                            Smith Memorial Hall                                                          i
                                                            heard it awash in rich                                                       n
                                                            tenor sounds from the                                                        t
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                                                            competitors and their                                                        r
                                                            pianists, as well as the
                                                                                                                                         2
                                                            Cello Choir using free                                                       0
PHOTOS: CHRIS BROWN
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     Events

     2003 Summer Jazz
     Festival: The Joy of
     Cooking and the Rite
     of Swing
     Assistant Professor Gabriel Solis,
     musicology faculty member

     The School of Music inaugurated a
     revived jazz presence this past summer
     with four days and nights of “hot cooking
     and cool swing.” Joined by Dizzy Gille-
     spie protégé Jon Faddis, School of Music
     jazz division director Chip McNeill and a
     host of faculty and students put together a
     series of concerts featuring the music of
     Dizzy Gillespie and Miles Davis, among
     others. Two centerpiece concerts were
     composed of Dizzy Gillespie’s early big
     band classics, played by the School’s
     Concert Jazz Band with Faddis, and a
     reconstruction of the classic Miles Davis
     album “Birth of the Cool,” featuring,
     among others, Faddis, McNeill, Director
     Karl Kramer, Professor Kazimierz Macha-
     la, Jim Pugh, and student Juan Turros.

     “It was a real success!” McNeill enthused.
     “It was nice to be able to play that music,
     and the audiences really enjoyed it. The
     event at Allerton Park [playing “Birth of the
     Cool”] was particularly nice.” Bassist Paul
     Musser noted that working with Faddis
     was a rare treat—one of a sort that may
     become more common in years to come.
     “Faddis is seen as really carrying the torch
     from Dizzy,” Musser said,
     “so working with him was
     interesting.” By all accounts
     audiences seem genuinely
     excited to see so much jazz
     coming out of the as-yet-
     embryonic jazz program.

     All involved noted that they hope and
     expect to see this jazz festival continue and
     grow in the future. A program like this is a
     win-win for everyone, bringing music to the
     community and giving School of Music fac-
     ulty and students a chance to work on
     unusual, challenging music. Some
     expressed the hope that, in the future, a
s
o    festival could be scheduled at a time when
n    even more of the School of Music communi-
o
r    ty is in town, so that a larger swath of our
i    community can partake.
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     Events

     To Russia with Love:                        hotel for dinner and an opportunity to         Rachmaninov’s Blazhen Muzh (from
                                                 get to know Russian musicians.                 his Vespers), conducted by Dr. Boris
     UI Concert Choir tours                         Tuesday featured a visit to the incred-     Tevlin, and Moses Hogan’s arrangement
     Russia                                      ible Hermitage (the world’s largest            of Elijah Rock, which I conducted.The
     Professor Chester Alwes, choral faculty     museum) and a concert at the Glinka            two choirs’ sound filled this historical
     member and                                  State Conservatory.The Glazunov Hall is        concert hall with an amazing sound!
     UI Concert Choir conductor
                                                 one of the most beautiful rooms, both              But the end of the concert was not
                                                 acoustically and decoratively, that I have     the end of our day! Both choirs sang for
     Fifty members of the UI Concert Choir
                                                 ever seen.The choir responded with the         each other in the rehearsal room and
     embarked on March 22 for a concert
                                                 best concert in which I’ve ever taken          seemed reluctant to part. Some of the
     tour of Russia. Arranged through the
                                                 part. We opened with the Russian               Russian singers even came to our hotel,
     International Fine
                                                                  National Anthem, a            where we sang and talked (and drank a
     Arts Institute (Mil-
                                                                  moment that galvanized        little vodka!) until almost 3 a.m. For all
     waukee, Wisconsin),
                                                                  the crowd, producing          of us this was perhaps the most memo-
     the choir participat-
                                                                  the first of many ova-        rable moment of the trip. After a Satur-
     ed in festivities
                                                                  tions.They seemed espe-       day filled with sightseeing and a visit to
     marking the 300th
                                                                  cially touched by our         the famed Moscow Circus, we bid
     anniversary of the
                                                                  performances of Russian       farewell to Russia, drowsily filing on to
     founding of St.
                                                                  music (Rachmaninov,           our buses at 4 a.m. for the trip to
     Petersburg. A “Gala
                                                                  Gretchaninov, Kalinnikov      Sheremeteyov Airport and the long
     Send-off Concert” in
                                                                  and Rubtsov) sung in          flight home. We left Moscow at 7 a.m.
     the Foellinger Great
                                                                  Russian!                      (Moscow time) and landed at Chicago at
     Hall of the Krannert
                                                                     Wednesday, we trav-        11 a.m. (10 p.m. Moscow time), exhaust-
     Center for the Per-
                                                                  eled to the summer            ed but excited to be home. Needless to
     forming Arts set the
                                                                  palace of Peter the           say, this experience is one none of us
     tone for my first for-
                                                                  Great, where we gave a        will soon forget! I
     eign tour.
                                                                  concert in the same
         Arriving in St.
                                                 room in which Van Cliburn gave his first
     Petersburg, we were greeted by our
                                                 recital after winning the Tchaikovsky
     hosts—George Gordon (the tour organ-
                                                 Competition. Late Thursday, we boarded         Ensemble Choragós
     izer) and our guides, Rita and Marena,
     who were to be our constant compan-
                                                 the “Moscow Express” for an overnight          Tours Europe
                                                 trip to Moscow, a city of 12 million peo-      Professor Fred Stoltzfus, choral faculty
     ions for the next week. That first night
                                                 ple, with spectacular scenery. For most        member
     we attended an entertaining show of
                                                 Americans, the Kremlin evokes memo-
     Russian folk music and dance, held in
                                                 ries of military parades in Red Square.        Ensemble Choragós, with Professor Fred
     one of St. Petersburg’s many beautiful
                                                 We were unprepared for the beauty and          Stoltzfus, director, and Professor Herbert
     palaces.The next day began early with a
                                                 size of this ancient, walled fortress, espe-   Kellman, musicological advisor, recently
     tour of the city and culminated with the
                                                 cially given the sunny, unseasonably           completed its third tour in Europe.This
     first concert of the tour—a joint concert
                                                 warm weather. That night we gave our           time the group gave seven concerts in
     with “Galaktika” (a women’s ensemble
                                                 final concert with the Chamber Choir of        France and Germany from July 18 to
     of about 30 singers) given in the White
                                                 the Moscow State Conservatory. In the          August 4, appearing in St.Benoit-du-
     Hall of Sheremetiev Palace. After the
                                                 same hall where Tchaikovsky per-               Sault, Argenton-sur-Creuse, St. Uzerche,
     concert, both groups returned to our
                                                 formed, each choir sang its own pro-           and Chateau du Bouchet in Central
                                                 gram, and then combined to sing                France. The musicians then traveled to
                                                                                                Berlin, where they performed in the
                                                                                                “Alte ‘Live’ Musik” series in the Music
                                                                                                Instrument Museum of the German
                                                                                                Musicological Institute.They concluded
s                                                                                               their tour with two appearances during
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sance Music Conference, sponsored by        one more performance, singing in a                 In France and Germany this summer,
the Friedrich-Schiller Universität Jena     right-bank church, in one of the many           Choragós sang to extraordinarily enthu-
and the Hochschule für Musik Weimar.        memorial services held throughout               siastic audiences. Its final concert, on
Choragós performed repertoire by            Paris. Since then, it has continued, under      the last day of the Medieval-Renaissance
Pierre de la Rue, Jacob Obrecht, Jean       the tutelage of Stoltzfus and Kellman, to       conference, took place in the beautiful
Mouton,Antoine de Févin, Mathieu Gas-       give concerts on campus and elsewhere           Johanneskirche in Weimar, packed with
congne, Costanzo Festa, Adam Rener,         in this country and abroad, taking its          conference members and townspeople
and Johann Walther, as well as anony-       repertoire principally from the Alamire         to its last seat. I
mous works.                                 manuscripts, and exploring seldom
    The seven-voice Ensemble Choragós       heard works by known and anonymous
was formed at the University of Illinois    composers.
in 1999. Currently the group consists of
Sherezade Panthaki and Patricia Poulter,
soprano; Richard Rossi, counter-tenor;
Daniel Hughes and Stephen Sieck,
tenor; and Jonathan Borchardt and Fred
                                                                                         2004 Liszt Festival
                                                                                         Edward Rath, associate director
Stoltzfus, bass. The group was founded,
at the instigation of Kellman, to perform
                                                                                          Franz Liszt: say the name, and immediately
repertoire from the so-called “Alamire
                                                                                          one thinks of daring virtuosity at the key-
manuscripts,” 50 choir books produced
                                                                                          board, experiments with tonal harmony,
by the scribe Petrus Alamire between                                                      and a sincere, if a bit misguided, quest to
1495 and 1535 for the courts of the                                                       discover the roots of Hungarian music. As
regents of the Low Countries. These                                                       was the case with many pianist-composers
sources, which contain 600 polyphonic                                                     of the nineteenth century, Liszt wrote for his
masses, motets, and secular pieces, have                                                  own use many works for solo piano with
been one focus of Kellman’s research                                                      orchestra. The best known of these arguably
for 40 years. When he helped organize                                                     are the first and second concerti, the Toten-
an international conference on the man-                                                   tanz, variations on the Gregorian melody
                                                 “Dies Irae,” and the Hungarian Fantasy. But there is also the arrangement of the
uscripts in Belgium in 1999, he pre-
                                                 Wanderer Fantasy, originally for piano solo by Schubert and based on Schu-
vailed upon Stoltzfus to form and direct
                                                 bert’s song, Der Wanderer. And then there’s the Grande Fantaisie on Berlioz’s
the group, and bring it to the confer-           Lélio, (Lélio is the sequel to the Symphonie Fantastique), Malédiction for piano
ence to give a concert of works that             and strings, a third piano concerto, and the Concerto Pathétique!
Kellman and his students had edited                  With these works as the focus, the American Liszt Society has chosen the UI
from the Alamire manuscripts.                    campus for its annual conference on Liszt, to be held March 4 - 6, 2004. All
    The group’s success in Belgium sub-          of the above-named works will be performed by some of the world’s greatest
sequently earned it invitations to the           pianists: Wolke Banfield, Luis de Moura Castro, UI pianist Timothy Ehlen, Anton
multi-society meeting “Toronto 2000,” to         Nel, Jerome Lowenthal, Robert Roux, and Ann Schein. Sinfonia da Camera, resi-
ACDA conventions, and to a tour in               dent chamber orchestra at the UI Krannert Center for the Performing Arts, will
                                                 provide the orchestral ensemble for the two concerts, to be held in the Krannert
France in September, 2001.The last two
                                                 Center (March 4 and 6). UI pianist and conductor Ian Hobson, himself no
performances in that tour, in Paris, were
                                                 stranger to the most demanding of Liszt’s piano works, will conduct.
scheduled for September 11.The first, a              Masterclasses and recitals featuring UIUC piano students, concerts including
noon-time concert, six hours ahead of            some rarely heard Liszt works for piano and violin, as well as the Saint-Saëns
New York time, took place as planned.            transcription of the Sonata in B Minor for two pianos, will complement lectures on
Then the tragic events of that day               such diverse topics as “Liszt the Transcriber,” “Liszt the Conductor,” “The Dante
occurred, and the evening performance,           Theme,” and commentary on specific concerted works. Leading a list (no pun
in the great church of Saint-Sulpice, was        intended!) of numerous scholars will be Alan Walker, author of a three-volume
cancelled. The performers were forced            biography of Liszt and recipient of the Hungarian Liszt Society Medal, the Ameri-
                                                 can Liszt Society Medal, and the Pro Cultura Hungaria medal.                              w
to wait nine days before they could fly                                                                                                    i
                                                     So, if you have a penchant for exciting music, some of it not often heard (in         n
back to the U.S., but in that period gave
                                                 fact, it is possible that live performances of all these works as the sole repertoire     t
                                                 for two concerts have never occurred before), then you’ll want to be on campus            e
                                                 in March, 2004, for a rare treat. For more information, visit the School of Music         r
                                                 website at www.music.uiuc.edu.                                                            2
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     George Brozak visiting music education faculty member




                                                 including the removal of Mr. Spock, a
     On March 11, 1964, Gene Roddenberry         decision that Roddenberry fought           In 1986, after years of incredible success
     submitted his first idea for a television   relentlessly.                              in syndication, and four feature films,
     series named “Star Trek” to NBC. Rod-          In an unprecedented move, NBC           Paramount Pictures once again turned
     denberry had written episodes for such      ordered a second pilot episode to be       to Gene Roddenberry to create a televi-
     television programs as “Dragnet,”“High-     filmed: “Where No Man Has Gone             sion show based on his popular series.
     way Patrol,” and “Have Gun,Will                                                                And so, in 1987, “Star Trek: The
     Travel,” and was eager to break                                                                Next Generation” was born.
     new ground in television pro-                                                                     Star Trek: TNG was an immedi-
     gramming. His original 16-page                                                                 ate success.At the start of its third
     outline for the show, described                                                                season, Michael Piller, a successful
     as a “wagon train to the stars,”                                                               writer and producer for shows
     capitalized on the popularity of                                                               like Simon and Simon, Cagney &
     Western genre television at the                                                                Lacey, and Miami Vice, joined the
     time. The original outline                                                                     staff in charge of writing. Piller
     involved a starship named the                                                                  instituted a policy unheard of in
     USS Yorktown “somewhere in                                                                     episodic television by opening
     the future,” guided by an adven-                                                               script submissions to un-agented
     turous crew as they trekked                                                                    writers.This meant that anyone—
     through space.                                                                                 any writer with an idea and no
        NBC approved the idea and provided       Before” began production on July 15,       agent—could submit a treatment, as
     $630,000 dollars in September, 1964, for    1965. Roddenberry also won his fight to    long as it was a complete script, follow-
     the first Star Trek pilot entitled “The     keep the character of Spock, one of the    ing standard formatting with all dialog
     Cage.” In this episode, the Yorktown is     series’ most beloved characters, and       and camera angles properly placed. Not
     renamed the now-familiar Enterprise,        William Shatner was brought onboard in     surprisingly, Star Trek was flooded with
     and Jeffrey Hunter stars as Captain         the role of Captain Kirk. Despite a        thousands of script submissions.
     Christopher Pike.                           tremendous following and five Emmy             This was the beginning of my writing
s
o       The first pilot was rejected by the      nominations, NBC cancelled Star Trek       career. I decided to try my hand at writ-
n    network executives at NBC, who found        because of low Nielsen ratings.The final   ing a complete script.The best part was,
o
r    “too cerebral” for their audience. They     episode, “Turnabout Intruder,” aired on    if I failed, no one would ever know!
i                                                June 3, 1969.
t    also demanded major cast changes,
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    I purchased several sample scripts       script so much that they were offering       Typically, this process is reversed, but I
from a Hollywood memorabilia store in        me a job? Had I forgotten to sign an         had the benefit of a scheduled pitch ses-
an effort to learn script formatting. The    important document? No, just a very          sion, and agents were very happy to
real challenge was dialog. Every word        gracious note from head of the legal         speak with me. I didn’t feel I needed an
an actor says must be scripted. Every sci-   department at Paramount. My letter of        agent, but I was keenly aware that I
entific anomaly, device, or situation must   submission contained a three-sentence        knew nothing about surviving in Holly-
be named (this term is affectionately        explanation of the story. Based on this,     wood.
referred to as “technobabble”), and most     the writing staff could not read the            A few weeks later, I was on the plane
importantly, the dialog must drive the       script, as they had a “similar idea in       to Paramount. I spent the next day see-
story about the human condition, set in      progress.”A member of the writing staff,     ing the sights—Beverly Hills, Mann’s
a world of the future.                       Ron Moore (Ron recently re-vamped the        Chinese Theater; my agent and I ate din-
    Star Trek had rules. No stories about    series Battlestar Galactica for the Sci-Fi   ner one evening and David Spade sat
time travel. No stories that involved the    network, and is currently executive pro-     two tables away.
original series characters (Kirk, Spock,     ducer for HBO’s Carnivale) gra-
etc.), and no conflict among the regular     ciously offered to personally read
cast characters.                             the script after the episode aired.
    My idea involved the alien race          Though I was disappointed that my
known as the Klingons, who had first         idea would never be considered as
appeared in the original
series and were very
popular with the fans. In
his wisdom, Roddenber-
ry thought at this point
in the future, the Klin-
gons and Federation
would be allies, and so                                                                                The next day, my agent
he put a Klingon officer                                                                            Nancy took me to the wrought
on board the Enter-                                                                                 iron gates of Paramount Pic-
prise—Lieutenant Worf.                                                                              tures, which was like walking
The idea involved the                                                                               into Disney World. The place
leader of the Klingon                                                                               was crawling with people—
race dying and the role                                                                             workers moving sets and
Captain Picard was                                                                                  wardrobe, people on bicycles
forced to assume in                                                                                 whizzing by, and costumed
order to protect the                                                                                characters from every show.
empire. In the mix was                                                                              Walking past one of the sound
Romulan treachery and lots of phaser         an episode, at least my work would not       stages, I noticed a large garage door was
fire.What could be better?                   go unread.                                   open. Inside was the shuttle bay of the
    I spent the next month writing the          After the show aired, (it was the sea-    Enterprise! There sat a shuttle craft, and
script; constantly writing and re-writing    son finale) I once again sent the script     barrels of some imagined substance.
dialog, and trying to devise interesting     to Ron. A few weeks later, I received a      Above the door, emblazoned in huge let-
situations for the crew to encounter. I      call from Jeri Taylor’s office informing     ters was a sign,“Caution: Variable Gravi-
called the script “The Burning Bridge.”      me that the producers liked my writing       ty Area.”
    Once completed, I proudly sent the       style and ideas, and wanted to invite me        My meeting was set for 4:00 p.m.,
script to Paramount Pictures via FedEx.      in to “pitch” story ideas.A pitch session    and I made my way to the Hart Building.
I knew the process was not a quick one,      is where a writer and the show’s pro-        Stages 8 and 9 were the Star Trek sets
and so I prepared to wait through the        ducers sit in a room and the writer tells    (Stage 8 was the Enterprise and other        w
summer for some kind of response.            his/her story ideas for an episode.          interior sets) and Stage 9 was the planet    i
    Two days later, I arrived home to find      There was no way I could turn down        set. The Hart building was the home of       n
a package from Paramount Pictures on         this offer. I pooled my resources and        the writing and production staff, and my     t
                                                                                                                                       e
my doorstep. I could not imagine what        ordered a plane ticket to Los Angeles. I     pitch session was with Jeri Taylor, the      r
they were sending. Did they love my          also began the hunt for finding an agent.    supervising producer.
                                                                                                                                       2
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                            sat looking at me as if I were about to tell them the last digit of π.”

                                                                                                      Clearances Department at Paramount
                                                                                                      called to inform me that the producers
                                                                                                      wished to purchase one of my stories
                                                                                                      premises. René had taken interest in one
                                                                                                      of the ideas about Worf finding a group
                                                                                                      of Klingons living in a Romulan “con-
                                                                                                      centration camp,” and this eventually
                                                                                                      became part of the two-part episode
                                                                                                      “Birthright.”
                                                                                                          This simple premise began my career
                                                                                                      at Star Trek. It afforded me the ability to
                                                                                                      “pitch” ideas whenever I had several to
                                                                                                      tell, and Jeri Taylor and I built a relation-
                                                                                                      ship that thrives to this day. My pitches
     Deep Space Nine set “Ops,” 1996
                                                                                                      subsequently led to the sale of stories
         Jeri Taylor was a very successful tually he would be completely blind if                     for Deep Space Nine (“Broken Link”)
     writer. She had written scripts for Little he continued to serve on the Enterprise.              and Voyager (“False Profits”). Enterprise
     House on the Prairie, Magnum P.I., the                Jeri sat back in her chair, crossed her    is the newest Star Trek, and I’m expect-
     Incredible Hulk, and Quincy. She asked arms, and smiled at Ron and René.They                     ing to pitch ideas to them this month.
     about me, and when I told her I was a began discussing the idea as though I
     music major, she informed me that she weren’t even in the room. Jeri looked at
     was also a musician, a flute and guitar me and said, “Now, this is facile… it’s
     player. As I told her that I was from character driven… this is what we
     Ohio, her eyes widened, for she had want.” Ron said, “Well, I think it’s a “B”
     grown up in Wilming-                                                  story, but a good one.”
     ton, Ohio. We estab-                                                  “I agree,” Jeri replied.
     lished a great rapport                                                She then said, “René,
     right away.                                                           would you draft a
         We sat down with                                                  pitch      memo       to
     staff writers, and Jeri                                               Michael with this
     stepped on a button on                                                idea, please?” And
     the floor beneath her                                                 with that, our meeting     Jeri Taylor and George Brozak, Paramont Pictures, 1996

     desk. The door to her                                                 had ended. I didn’t           Jeri has often said the odds of selling
     office closed automati-                                               know it, but I had suc-    a story to Star Trek is akin to being
     cally, and they all sat                                               ceeded at the highest      struck by lightening. “It hit you three
     looking at me as if I                                                 level possible in a        times.” While I never lost my love for
     were about to tell them Deep Space Nine set “Quark’s Bar,” 1996       pitch session.             teaching, or gave serious thought to leav-
     the last digit of π. Jeri broke the silence,          We said our goodbyes, and Jeri             ing the profession, I’m thankful for the
     asking,“So… what do you have for us.” I explained that I would be hearing from                   opportunities Star Trek has given me.
     began telling the stories. In some cases, them in the next few days. I left the Hart
     I was able to build a story from begin- Building ready to move to Los Angeles.
     ning to end before Jeri said, “Pass.” In My agent threw a party for me that night
     other cases, she started shaking her to celebrate.                                               Gene Roddenberry was a visionary. He
     head before I had four sentences out,                 I returned to Ohio and to my classes       conceived a futuristic world allowing us
     offering a litany of reasons (“That’s at Ohio University. Several days later,                    to explore the human condition and fan-
     already been pitched,” “We don’t like René called to tell me that Executive                      tastic situations through the travels of a
     that character,” “We’re doing a similar Producer Michael Piller had passed on                    starship. Star Trek has even become part
     story already.”) I finally told a story the idea I pitched. I was crushed. How                   of pop culture and our society’s vernac-
s                                                                                                     ular. I’m thankful to have been allowed
o    about Geordi (the chief engineer) learn- could this have happened?
n    ing that the ship’s engines were emit-                Several weeks had passed, and we           to build a few sandcastles on Gene’s
o
r    ting a substance that was perfectly were now in summer break. One                                playground. I
i    harmless to everyone but him, and even- evening, a man from the Rights and
t
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“”
                                                                To Bill Kinderman, 20-02-2002, in honor of his performance of the “Diabelli Variations,” as well as of his appreciation
                                                                of palindromes. Kinderman, author of a book on the Diabelli Variations, came to the University of Illinois from the
                                                                University of Victoria in 2001. Double-dactyls are a poetic form developed by Anthony Hecht and John Hollander. The
“The UI was the perfect place to study and                      rules: four lines, each with four dactyl feet. The rhyme scheme is ABCB, but the third line must have internal rhyme.
 learn my craft.”
                                                                The first line must begin with a nonsense sequence such as “jiggery-pokery,” and continue with a name or name-plus-
               David E. Bilger (B.M.’83)
               principal trumpet, Philadelphia Orchestra        title of six syllables. The third line must end with a single six-syllable word. It’s enough to make you cry.



“The UI was a wonderful place to earn my
 master’s degree, and teacher John Wust-
                                                                                  Diabelli Double-dactyls1
 man was peerless as an accompanist/
 coach…. I was exposed to an enormous                                             Jiggery-Pokery,Anton the publisher2
 amount of repertoire in the University’s                                         Wished variations, wrote a waltz within reach;
 various studios; there is no better way for                                      Sent it to fifty-one:3 “Ain’t this a nifty one?
 learning one’s craft than through the con-                                       Variabilissime? Please, one from each.”
 stant performing of recitals.”
               Susan Shiplett Ashbaker (M.M.’84)
               director of artistic and music administration,                                                      rs
                                                                                  Fiddledy-faddledy, Jan Hugo Voˇíˇek
               Opera Company of Philadelphia
                                                                                  Wrote one, quite faithful to key, rhythm, scale,
                                                                                  After fortissimo, pianississimo.
“It was perhaps the most crucial, decisive                                        Czech, soon he checked for his cheque in the mail.
 year of my entire career.”
              Jon Deak (M.M.’69)                                                  Hickory-dickory, Ludwig van Beethoven
              associate principal bass and creative edu-
              cation advisor, New York Philharmonic;                              Looked at the tune, said,“not bad, it would seem,
              composer
                                                                                  And, as it soon will be eighteen-and-twenty-three,
                                                                                  Thirty-three times I shall vary that theme.”
“My years at the UI gave me lifelong
 contacts with great performers that I still                                      Thinkety-pinkety, Genius Beethoven
 treasure.”                                                                       Crafted his Opus One-twenty, in C,
              David Halen (M.M.’83)
              concertmaster and soloist, St. Louis
                                                                                  Rivalling “Goldberg.” See, fortepianically
              Symphony Orchestra                                                  This is his largest work—one whole CD.

                                                                                  Zippety-zappety,William A. Kinderman
“My experience as a percussion and com-                                           Played Ludwig’s masterwork in the Great Hall,
 position student at the UI School of Music
                                                                                  ‘Twas a sensational interpretational,
 (1950-54) was more than an education—
 it charted the course of my life. When I                                         Technical triumph, so said one and all.
 went to New York City after graduation, I
 was more prepared as an all-round per-                                           Jiffero-piffero, Researcher Kinderman
 cussionist than many of the pros I met and                                       Studied the sketches from Beethoven’s pen,
 was immediately accepted into the inner                                          Published a book where he musicologically
 circles of free-lance musicians. Gradually,                                      Shows how this work came to be, why and when.
 my dream of being a composer blos-
 somed into a career and became also my                                           Revilo Oliver!4 Pianist Kinderman
 prime source of income. I will forever be                                        Picking the time to begin this big Do,
 thankful for the teachers who were so
                                                                                  Chose (continentally) Palindromentally,
 patient with that inexperienced high
 school student who entered with a chip                                           eight:two, two-oh oh-two, two-oh-oh-two.5
 on his shoulder and left with a sense of
 direction in his life. Little did I know then                                    Lickety-splitecky, Bill (ex-Victorian,
 that I was running into the most innova-                                         Now a Champaigner who works in Urbán-)
 tive percussion program in the country,                                          No way dichotomous (phil-hippopotamous),6
 created by Paul Price, which became the                                          Scholar and musicus, our kind[a/er]man.                                                                 w
 model for the development of the percus-                                                                                                                                                 i
 sion ensemble in American universities.”                                                          Bruno Nettl, professor emeritus of musicology                                          n
              Michael Colgrass (B.M.’56)                                                                                                                                                  t
              composer; 1978 Pulitzer Prize for music;
              1982 Emmy Award for PBS documentary;
                                                                                  Footnotes                                                                                               e
              recipient of two Guggenheim Fellowships,                            1. Higgledy-piggledy, Poets John Hollander, Anthony Hecht, et al, drinking a quart,                     r
              as well as grants from Rockefeller, Ford,                              Chatting idyllically, doubledactyllically Made up this intricate form – is it art?
              Fromm, and first prize in the Barlow and                            2. Anton Diabelli (an Austrohungarian).                                                                 2
              Sudler International Wind Ensemble Com-                             3. Actually more; and fifty-one responded. Inaccuratical poetic license.                                0
              petitions; winner of the 1988 Jules Leger                           4. Famously palindromaniac UIUC professor of Classics.                                                  0
              Prize for Chamber Music                                             5. Explained superpedantically: 20:02, 20/02. 2002.                                                     4
                                                                                  6. He a collector of hippopotami, by the way.
                                                                                                                                                                                          19
      Gifts




                                                                                                      years. Paul and Ginny are also involved
      Paul and Virginia Uhlenhop:                                                                     with various organizations in the Chicago
                                                                                                      area, including the Ravinia Music Festival
     “UI Has Strongly Influenced Our Lives”                                                           and The Cradle, a child adoption agency.
                                                                                                           In addition to their volunteer efforts at
      Sarah Green, assistant director of development
                                                                                                      the UI, Paul and Ginny have been very
                                                                                                      generous contributors to the University of
      Paul Uhlenhop (A.B.’58, J.D.’61) and Vir-        school, Paul was a member of the Junior        Illinois and are members of the Presidents
      ginia (“Ginny”) Zucks Uhlenhop (B.S.’59,         Bar Association. Their fondest memories as     Council, the University’s highest donor
      Music Education) met as students at the          students were of attending football games      recognition organization. They have estab-
      University of Illinois. The UI has been an       and School of Music performances, and of       lished an endowment for the College of
      important part of their lives, and                                                                      Law and have supported a number of
      they have remained its loyal sup-                                                                       initiatives in the School of Music,
      porters for many years.                                                                                 including purchasing dresses for the
           Ginny grew up in Mamaroneck,                                                                       Women’s Glee Club, providing funds
      New York, and came from a musi-                                                                         for scores and other materials for the
      cal family. She decided to pursue a                                                                     Music Library, and providing finan-
      career in music education because                                                                       cial support for undergraduate and
      she liked the idea of teaching and                                                                      graduate students. One of the pro-
      enhancing arts education for young                                                                      grams the Uhlenhops are currently
      people. Her family moved to Illinois                                                                    involved with is the Advocates for
      her senior year of high school, and                                                                     Young Artists program, a program
      she was selected to perform in the                                                                      that provides scholarships to outstand-
      Illinois All-State Band. As a member                                                                    ing undergraduate students. “The AYA
      of the All-State Band, Ginny was                                                                        program recognizes exceptionally tal-
      able to visit the UI and was                                                                            ented students and provides the
      impressed with the campus, the con-                                                                     incentive for these students to attend
      geniality of the people, and the                                                                        the UI. We have really enjoyed our
      wonderful atmosphere of the School of            the people they met on campus. Many of         correspondence with our students and like
      Music. Paul, originally from Litchfield, Illi-   their colleagues in school have become life-   to hear about their accomplishments, as
      nois, served in the U.S. Navy. He was a          long friends.                                  well as their plans for the future. It is very
      Holloway Plan Scholar and enrolled as a              Since their graduation, Paul and Ginny     gratifying to be involved with and support
      political science major. After he completed      have had very successful careers. Ginny        these students during this early stage in
      his duties with the Navy, Paul returned to       was an educator for 12 years, and Paul is      their education and their careers,” said
      campus to enroll in the College of Law.          a senior member with the law firm              Ginny.
           As students, Paul and Ginny were            Lawrence Kamin Saunders & Uhlenhop.                 Paul and Ginny plan on being actively
      involved with many organizations. They           They have remained very active with the        involved with the UI for many years to
      were members of the Greek system–Ginny           University as volunteers, members of the UI    come. What inspires the Uhlenhops to sup-
      was a member of Alpha Phi sorority, and          Alumni Association, and the UI Foundation.     port their alma mater? According to Paul,
      Paul was a member of Beta Theta Pi frater-       They currently volunteer as Illinois Connec-   “The University of Illinois provides one of
      nity–and met through activities associated       tion Ambassadors through Illinois Connec-      the finest educations in the United States;
      with their chapters. Ginny served on Junior      tion, a coalition of University alumni,        however, with a decrease in state support,
      Panhellenic Council and various committees       business, civic and community leaders inter-   it will become increasingly difficult to com-
      of the Union Board, and as chair of the          ested in the UI and the future well-being of   pete with our peer institutions without pri-
      Dance Committee, organized many events,          the University. Paul has also been involved    vate support from alumni and friends of the
s     including Homecoming dances. Ginny also          with the College of Law in several capaci-     University. We look forward to our contin-
o     served as vice president of the Women’s          ties. He is an adjunct faculty member, has     ued relationship with the UI and to helping
n     Glee Club. Paul was on active duty, and          served as past president of the Board of
o                                                                                                     provide opportunities for future generations
r     although his role as company commander           Visitors, and was a member of the Capital      of students.” I
i     kept him busy, he still found time to serve in   Campaign Committee. Ginny served on the
t     the Student Senate for three years. In law       School of Music Alumni Board for several
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 New Gifts
 The School of Music is pleased to announce several new endowment gifts.
 Through the generosity of our donors, the School of Music will continue to
 attract outstanding students to study at the University of Illinois.


                  Andrew George                             sity of Illinois, and was Professor of                            Ph.D. and D.M.A. dissertations completed
                  De Grado Piano                            Library Science at the University of Illinois                     by recent graduates of the School of
                  Award                                     at Urbana-Champaign from 1959 to                                  Music.
                  Andrew George De                          1993. This award recognizes a student
                  Grado was assistant pro-                  for outstanding performance and poten-                                                Dr. Gladys L.
                  fessor of piano at the Uni-               tial in vocal music, with an emphasis on                                              Phillips-Evans
                  versity of Illinois from                  operatic roles.                                                                       Scholarship Fund
 1991 until his untimely death in 1998.                                                                                                           Dr. Gladys L. Phillips-
 Professor De Grado performed throughout                                      Nicholas Temperley                                                  Evans received a Bachelor
 the world as recitalist, chamber musician,                                   Award for Excellence                                                of Music degree in vocal
 and soloist. He also collaborated with                                       in a Dissertation in                                                performance from the Uni-
 highly respected artists and was the recipi-                                 Musicology                                      versity of Illinois, a Master of Arts degree
 ent of numerous awards. Professor De                                         Born and educated in                            from California State University, and a
 Grado received a Bachelor of Arts degree,                                    Great Britain, Professor                        Doctor of Education degree in Institutional
 magna cum laude, from Kean University,                                       Temperley holds a Ph.D.                         Management from Pepperdine University.
 as well as a Master of Music degree, cum                   degree from Cambridge University and                              She is currently Superintendent of the Valle-
 laude, in piano performance, and the                       was a postdoctoral fellow in music and                            jo City Unified School District (Vallejo, Cal-
 highly coveted Performer’s Certificate from                psychology at the University of Illinois                          ifornia). Dr. Phillips-Evans has been
 Indiana University. This award, established                from 1959 to 1961. After teaching in the                          recognized for her commitment to educa-
 by Libby De Grado-Condo, family, friends,                  music departments at Cambridge and Yale                           tion and was awarded the Association of
 and colleagues of Professor De Grado,                      Universities, Professor Temperley joined                          California School Administrator of the Year
 honors the excellence and accomplish-                      the University of Illinois musicology faculty                     Award. She continues to perform and has
 ments of a pianist who exemplifies the                     in 1967 and retired in 1996. He contin-                           traveled throughout Europe, performing
 ideals of Professor De Grado.                              ues to be active in research, writing, and                        opera and concert spirituals. This fund,
                                                            editing. He has directed more than 40                             which was established by Dr. Phillips-
 Sara de Mundo Lo Award                                     doctoral dissertations and research proj-                         Evans, provides scholarships to students
 This award was established by Dr. Sara                     ects at the University of Illinois. This                          who are preparing for careers in music
 de Mundo Lo. Dr. Lo is a graduate of the                   award, which was established by Profes-                           education or music performance.
 University of Buenos Aires and the Univer-                 sor Temperley, recognizes outstanding



The importance of private gifts to the    The following items represent the current         Advocates for Young Artists: twenty-five         Opera Sponsorships: the School of Music
School of Music increases every year.     needs and wishes of the School of Music in        outstanding undergraduate students have          produces two full-length operas each year.
The State of Illinois provides basic      order of impact:                                  participated in the AYA program since its        An opera production takes considerable time,
operating revenue for the University                                                        inception in 1999. Donors make a four-year       effort, and money. Current productions can
of Illinois; however, support from the    Chairs and Professorships: endowed                commitment to support one student during         cost in excess of $60,000. While ticket sales
State accounts for less than 24 percent   chairs and professorships serve as effective      his/her tenure and are invited to various        cover about half the cost of each production,
of the total budget. Thus gifts from      tools with which to recruit and retain scholars   events featuring AYA scholarship recipients.     additional support will assure both student
alumni and friends help provide the       and performers. Renowned faculty attract the                                                       performers and audience members of
margin of excellence that distinguishes   most talented students and the brightest          Building Infrastructure and Equipment:           operatic experiences comparable to produc-
the University of Illinois School of      minds to study at the University of Illinois.     maintaining the facilities and equipment for     tions found in major cities, while keeping
Music.                                    This is vital to the continued success of the     our faculty and students takes considerable      ticket prices reasonable.
                                          School of Music.                                  resources, and to be competitive with our
We look forward to a very bright                                                            peer institutions, we must continue to have      We hope you will consider making a major gift
future for the School of Music, and       Fellowships: the continued excellence of the      outstanding practice facilities and performing   to the School of Music. If you are interested in
we continue to evaluate new opportu-      School of Music depends in part on attracting     venues. There are numerous opportunities,        funding projects such as these or would like to
nities and programs that will help to     the most talented graduate students from          ranging from studio recording equipment to       explore other opportunities, please contact        w
ensure our position as one of the lead-   across the nation and around the world. For       renovating Smith Memorial Hall.                  Sarah Green, assistant director of development,    i
ing music schools in America today.       us to remain competitive among the leading                                                         at 217/244-4119 or sgreen@uiuc.edu.                n
                                                                                                                                                                                                t
In order for us to reach our goals and    schools in the country, we must be prepared
                                                                                                                                                                                                e
provide the best education possible       to assist the exceptional students we serve.                                                                                                          r


                                                                                                Wish List
for our students, we must have the
resources in place.                                                                                                                                                                             2
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     New Faculty

                             Simin Ganatra,          was well received. He appears regularly in        Arts Ensemble’s Young Artist Competition
                             artist-in-residence,    solo recitals throughout the United States        Grand Prize, and the Lillian Fuchs Award
                             violin, has won         and Scandinavia, and his concerto                 for outstanding graduating violist at The
                             wide recognition for    appearances include performances with             Juilliard School, where he received his
                             her performances        the Iceland Symphony and the Reykjavik            Bachelor and Master of Music degrees.
                             throughout the Unit-    Chamber Orchestra. He has performed               Rostad has performed internationally as a
                             ed States and           internationally in such prestigious venues        member of the International Sejong Soloists
                             abroad. She has         as New York’s Carnegie Weill Recital Hall         and the Metamorphosen Chamber Orches-
     performed in such prestigious venues as         and Chicago’s Pick-Staiger Concert Hall,          tra, and has participated in the Marlboro
     Lincoln Center’s Alice Tully Hall, the Corco-   and has collaborated with such artists as         Music Festival. Prior to his appointment,
     ran Gallery, and Carnegie’s Weill Recital       Michael Tree and Rachel Barton. A gradu-          Rostad was on the faculty of Northwestern
     Hall. Collaborations include performances       ate of the Reykjavik College of Music,            University and the University of Chicago.
     with Michael Tree, Toby Hoffman, and the        Bernhardsson also earned a Bachelor of
     St. Lawrence Quartet. She is the recipient      Music degree from the Oberlin Conserva-                                  Brandon Vamos,
     of several awards and prizes, including         tory of Music, where he was elected to the                               artist-in-residence,
     the Naumburg Chamber Music Award, top           Honorary Society, and a Master of Music                                  cello, has performed
     prize at both the Concert Artists Guild         degree from Northern Illinois University. As                             solo and chamber
     Competition and the Coleman Chamber             a member of the Icelandic String Octet, he                               music recitals to crit-
     Music Competition, and first prizes in the      has performed throughout Europe, the Unit-                               ical acclaim both in
     Union League of Chicago Competition,            ed States, Asia, South America, and Cana-                                the U.S and
     Pasadena Instrumental Competition, Min-         da. His international television appearances                             abroad. Vamos has
     nesota Sinfonia Competition, and Schubert       have included the MTV awards, “Saturday           appeared as soloist with several orchestras
     Club Competition. Originally from Los           Night Live,” and the “Jay Leno Show” with         world-wide, including performances with
     Angeles, she studied with Idell Low, Robert     the award-winning pop star, Bjork. Prior to       the Taipei City Symphony, Suwon Sympho-
     Lipsett, and, most recently, Roland and         his appointment at UIUC, Sibbi served as          ny in Seoul, Samara Symphony in Russia,
     Almita Vamos. She is a graduate of the          visiting professor at the Oberlin Conserva-       New Philharmonia Orchestra, and Elgin
     Oberlin Conservatory, where she was con-        tory, and as a faculty member of both             Symphony Orchestra. Heralded as a
     certmaster of the Oberlin Conservatory          Northwestern University and the University        champion of new music, he has recently
     Orchestra and recipient of the Louis Kauf-      of Chicago.                                       been featured as soloist in Krzysztof
     man Prize for outstanding performance in                                                          Meyer’s Concerto da Camera at University
     chamber music. Prior to her appointment                                  Masumi Per               of Chicago’s Mandel Hall. Vamos has col-
     at UIUC, Simin was on the faculty of                                     Rostad, artist-in-res-   laborated with many distinguished artists,
     Northwestern University and the University                               idence, viola, has       including Paul Katz, Michael Tree, Rachel
     of Chicago.                                                              distinguished himself    Barton, and the St. Lawrence Quartet, and
                                                                              with numerous            has recorded for Cedille and Cacophony
                            Sibbi                                             prizes and awards.       Records. Awarded a Performer’s Certifi-
                            Bernhardsson,                                     In March of 1999,        cate at the Eastman School of Music,
                            artist-in-residence,                              as a Juilliard compe-    where he earned a Bachelor of Music
                            violin, began his        tition winner, Rostad performed the world         degree as a student of Paul Katz, Vamos
                            violin studies at the    premiere of Michael White’s Viola Concer-         has also studied with distinguished artists
                            age of five in Ice-      to in Avery Fisher Hall with conductor            such as Tanya Carey in Macomb, Illinois,
                            land, his native         James DePreist. In January of 1999, he            and Aldo Parisot at Yale University, where
                            country. His teach-      gave the New York premiere of Paul                he earned a Master of Music degree. Prior
     ers included Gudny Gudmundsdottir,              Schoenfield’s Viola Concerto with the Juil-       to coming to UIUC, he was a faculty mem-
s    Roland and Almita Vamos, Matias Tacke,          liard Symphony. He has also performed             ber of both Northwestern University and
o    and Shmuel Ashkenasi. He has received           concertos with the Mozart Players Orches-         the University of Chicago.
n
o    several awards and prizes, including the        tra in Alice Tully Hall and the New York
r    Icelandic “Lindar” award, and the release       Youth Symphony at Queens College Cold-
i
t    of his solo CD on the Icelandic label Skref     en Center. Rostad was winner of the Bronx
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                        Robert Botti, visit-                             Jonathan
                        ing professor of
                        oboe and B.A.
                                                                         Keeble, assistant
                                                                         professor of flute, is
                                                                                                  Now Registering for Illinois
                        Nugent Professor of
                        Performance Stud-
                                                                         a regular on concert
                                                                         series throughout
                                                                                                  Summer Youth Music 2004
                                                                                                  ISYM is a comprehensive and intensive program of
                        ies, comes to the                                North America, and
                        UIUC School of                                   is active as a solo
                                                                                                  music instruction for student musicians. It is held on
                        Music directly from                              and chamber music        the campus of the University of Illinois at Urbana-
the New York Philharmonic Orchestra. He        performer. He is a past winner of the Cole-        Champaign. More than 52,000 students have experi-
joined that orchestra in 1992, after serv-     man Chamber Music Competition and                  enced music at ISYM. Many are now performing in
ing as principal oboe of the New York          recipient of the Eastman School of Music
City Opera Orchestra. He has been heard        Performer’s Certificate. His concerto
                                                                                                  major symphony orchestras and other professional
as soloist in the Mozart Oboe Concerto         appearances have taken him to venues in            ensembles. A significant number are successful teach-
with the New York Symphonic Ensemble in        North America, South America, and                  ers, engineers, scientists, lawyers, doctors, and busi-
Alice Tully Hall. An active chamber musi-      Europe. Keeble’s passion for new music             ness executives. ISYM has as its objectives to develop
cian, Botti has also been a member of the      has led him to commission many new
Sylvan Winds, with whom he has per-            works for the flute from rising, young com-
                                                                                                  musical skills, and to improve the understanding and
formed numerous premieres. Botti has per-      posers. He is in demand as a performer at          appreciation of music. Our 16 different camps are
formed frequently with the New York            flute festivals around the world, and he has       designed to challenge musicians in varying degrees of
Philharmonic Ensembles in both Avery Fish-     presented new works at National Flute              musical skill and development. Though final perform-
er and Merkin Halls. As a guest on Judith      Association Convention Concerts, as well
LeClair’s New York Legends recording,          as at festivals in Ecuador, Sweden, and
                                                                                                  ances are a high priority, the learning process is of
Botti performed the Tafelmusik Quartet by      Japan. Keeble routinely tours with the             equal value at ISYM.
Telemann. He is featured on the premiere       Prairie Winds, a professional wind quintet,
recording of Arnold Sturm’s Suite for Oboe     which also includes Timothy McGovern, UI
                                                                                                       First Session June 19-26, 2004
and Piano and has participated in numer-       professor of bassoon. Its critically
ous other recordings with ensembles,           acclaimed recording, Gale Force, can be                 Second Session July 11-17, 2004
including the Sylvan Winds, Philharmonia       found on the Albany Record Label and
Virtuosi, New York Kammermusiker,              was ranked among the top15 recordings
                                                                                                       Third Session July 25-31, 2004
Amadeus Ensemble, and Harmonie Ensem-          of 2001 by Chicago Tribune critic John
ble. As a guest artist with Jazz at Lincoln    von Rhein. In addition to Keeble’s active
Center, he has collaborated and recorded       solo and chamber career, he has enjoyed
with Gunther Schuller and Wynton               regular appearances with the Tulsa Philhar-
Marsalis. Botti holds bachelor’s and mas-      monic (Oklahoma), Spokane Symphony
ter’s degrees from The Juilliard School,       (Washington), and Eugene Symphony
where his teachers were Harold Gomberg         (Oregon). A graduate of the Eastman
and Ronald Roseman. He was on the facul-       School of Music and Northwestern Univer-
ty of SUNY Purchase, has served on the         sity, Keeble includes among his former
faculties of Princeton University and the      teachers Bonita Boyd, Walfrid Kujala, and
Manhattan School of Music, and has given       Frances Risdon. Prior to his arrival at the
masterclasses at Yale, Princeton, and Indi-    University of Illinois last year as a visiting
ana Universities. He has also performed in     assistant professor, he was associate pro-              For more information contact:
the Grand Teton, Bach Stony Brook, and         fessor of flute at Oklahoma State Universi-             Illinois Summer Youth Music
Music from Colorado Festivals.                 ty, visiting assistant professor at the State                                                                w
                                                                                                       1114 Nevada Street                                   i
                                               University of New York at Fredonia, and a
                                                                                                       Urbana, IL 61801                                     n
                                               teacher at the Eastman School of Music.                                                                      t
                                                                                                       217-244-3404                                         e
                                                                                                       www-conted.music.uiuc.edu                            r
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       Faculty Profile




The Pacifica Quartet:
    Cycles and OCircles
     Anne Mischakoff Heiles                              ne of this country’s most exciting string
                                                         quartets now calls the University of Illinois
                                                         home, and it is already energizing the
                                                   string and chamber music program in the
                                                   School of Music. The appointment echoes the
                                                   late 1940s, when a foursome from the Cleve-
                                                    land Orchestra and Cornell University founded
                                                    the Walden Quartet at the University of Illi-
                                                     nois, the first quartet with faculty privileges in
                                                     residence at any university. The Pacifica Quar-
                                                     tet originated nearly a decade ago on the
                                                     West Coast, a group with buoyant, sunny per-
                                                      sonalities. Its members (first violinist Simin
                                                      Ganatra, second violinist Sibbi Bernhardsson,
                                                      violist Masumi Per Rostad, and cellist Bran-
                                                       don Vamos) say they strive, in the words of
                                                       American author James Montgomery, to be
                                                       “distinct as the billows/yet one as the sea.”
                                                              They are indeed establishing both a
                                                       distinctive and coherent presence in the
                                                        country’s musical life. Part of their success,
                                                        the members believe, grows from their
                                                        respect and affection for one another.
                                                         Ganatra comments, “We’re good friends,
                                                         and there’s a certain understanding
                                                         because of that. In any string quartet there
                                                         are disagreements as you rehearse, and
                                                         occasionally it can get tense. But in our
                                                         quartet as soon as the rehearsal is finished,
                                                          we’re friends again.”
                                                              Vamos adds, “If the rehearsal has pro-
                                                          duced tension, we go have lunch together.
                                                          When it’s a major problem, we sit down
                                                          and talk it through. All our decisions are
                                            made together. We may have disagreements, but we
                              also respect one another. That’s the most important thing about
                              working together: you must have that respect.”
                                  “Otherwise it wouldn’t work,” Ganatra continues. The two are
s                             married, and though they don’t finish one another’s sentences,
o                             they often elaborate, without missing a beat, on what the other
n                             just said, almost as if extending the musical phrase with a slight
o
r                             twist of the motive. “Making any decision is hard for the four peo-
i                             ple in a quartet partnership,” she says, “whether an interpretive
t
i                             decision or a business one. To allow us more time to talk business
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we may hire a driver to take the four of us to out-of-town airports     received the Cleveland Quartet Award, resulting in concert
so we can have business meetings en route. Traveling is a big           engagements in eight American cities. The New York Times called
time issue.” He continues the theme, “We can discuss arrange-           its recording of Elliott Carter’s five string quartets one of the top
ments for other concerts as we ride, deciding what repertoire to        10 classical music events of 2002.
play where, contacting people, and other details. We have a                 The Pacifica Quartet’s first appearance at Krannert Center for
manager, but there still are a million things to do; few young quar-    the Performing Arts in September neatly showed how right a
tets realize how big a part the day-to-day details play in its work.”   match the ensemble is for the UI when they performed Carter’s
    Although the Pacifica Quartet has residencies in Chicago, New       First Quartet. In a remarkable coincidence, the Pacifica has made
York, and Urbana this year, the members teach only at the Univer-       the cycle of Elliott Carter’s five string quartets something of a call-
sity of Illinois. Studio professors on their respective instruments,    ing card, and it was UI’s Walden Quartet that commissioned the
they also coach ensembles. Teaching seems to be in their blood,         composer’s First Quartet in 1951. In fact, the Pacifica Quartet
probably strongly nourished by their own renowned teachers—             hopes to bring this association full circle by commissioning a sixth
and in the case of cellist Brandon Vamos, his parents—Almita and        quartet from Carter.
Roland Vamos. Ganatra says “We all really like teaching; that               Intensive activity in twentieth-century music marks the Pacifica
was the greatest draw for us at the UI,” and Bernhardsson adds:         Quartet’s programs, as it did the Walden Quartet’s in its tenure
“We are really excited to be in residence here. It’s such a fine        here from 1948 until 1977. The Pacifica Quartet has recorded
school, and the students we’ve been working with so far have            Chicago composer Easley Blackwood’s three string quartets, for
been wonderful. Teaching is a big part of what we want to do.           example, and Rostad as soloist performed the world premiere of
We sometimes joke that rehearsing is like having                                          Michael White’s and Paul Schoenfield’s viola con-
lessons with three other people; it’s constantly help-                                    certos.
ing each other out.”
    “We’re here to help build the string program
                                                      “We all really like                      The Quartet’s introduction to Elliot Carter’s
                                                                                          music came several years ago, when Robert Mann,
and perform chamber music as well,” Vamos says.
The group hopes to bring outstanding young “pre-
                                                       teaching; that was                 former first violinist of the Juilliard Quartet, recom-
                                                                                          mended to the Pacifica members that they learn the
formed” ensembles to the school. The Pacifica
members will help not only with coaching but also
with practical advice garnered from their first-hand
                                                       the greatest draw                  First Quartet. After learning Carter’s First Quartet,
                                                                                          the group moved to the Fifth Quartet, and then
                                                                                          filled in the others, playing all five at Columbia Uni-
experience: such down-to-earth tasks as how to
develop publicity photos and flyers, make contacts,
                                                       for us at the UI,”                 versity, the University of Chicago, UCLA, and final-
                                                                                          ly at the Edinburgh International Festival in August,
and build a career. Vamos adds, “These aspects are important but        2003. “Playing the five quartets as a cycle works because they’re
challenging for a new quartet.”                                         distinctive and their progression shows a kind of journey through
    Bernhardsson explains the new program as chamber music              Carter’s compositional evolution,” according to Ganatra. She
mentoring. “Michael Ross and others at the Krannert Center for          asserts that his development of metric modulation appears in all
the Performing Arts have been planning this innovative program          the works, in varied types of notation. “The great thing about the
with School of Music Director Karl Kramer. Coordinating this new        metric modulation is that you can go from one tempo or feeling to
program with Krannert will make it especially strong. Krannert is       another without even realizing how it happened,” says Vamos.
one of the great performance venues in the nation, and people in        “Unlike distinct tempo changes, the shifts evolve and are organic.
the UI Chamber Music Institute can see what happens there               Carter describes metric modulation as the unconscious mind hav-
behind the scenes. That’s a vital part of the job that has not been     ing one thought and going into the next.”
taught in schools. We had great instrumental training, but we had           Nearing the end of a long project to record all of Mendelssohn’s
to learn the business part of being a quartet the hard way.”            quartets, the players admit that switching from Carter to the earlier
    The Pacifica members are well versed, for example, in the           composer can be a jolt. “You have to change gears completely,
value of networking. The Quartet members have become chamber            play and think a different way. But what we get from Carter has
music partners of some of this country’s finest chamber musicians.      helped us with other repertoire; it’s stretched us technically and
When finding a new violist became necessary, the group turned           mentally. It takes an unbelievable amount of concentration,” Gana-
to Masumi Rostad, a friend whom Bernhardsson had met through            tra says, and Vamos remarks, “Any great music will stretch you
a quartet at the Norfolk Festival. They’re now participating in the     and make you a better player and musician.”
Lincoln Center Chamber Music Society II program, designed for               The Pacifica Quartet’s 2003-2004 schedule, posted on its
younger professional quartets, an honor that gives the group not        website (www.pacificaquartet.com), is busy. One extended week-
only a New York venue but also opportunities to play alongside          end in September, for example, included programs in Aspen,
venerated chamber musicians. This fall, for example, the players        Deerfield, and New York City. In addition to series at the Universi-
joined a select chamber orchestra with violinist-conductor Joseph       ty of Illinois, University of Chicago, and Lincoln Center, perform-         w
Silverstein and also played a quartet recital for the Society. They     ances in Pennsylvania, Colorado, Ohio, Connecticut, Washington              i
also teamed up with the Emerson String Quartet to perform               D.C., New Jersey, North Carolina, Oklahoma, Arkansas, Ari-                  n
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Mendelssohn’s Octet in Chicago and New York performances.               zona, Florida, Maryland, Massachusetts, Maine, Michigan, Min-               e
The members find it exciting to visit New York, and have positive       nesota, Germany, Spain, Canada, and, yes, their “billowing”                 r
feelings from having won the Concert Artists Guild Competition          West Coast roots in California, Oregon, and Washington, round
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     w w w. m u s i c . u i u c . e d u
     BRINGING THE SCHOOL OF MUSIC TO THE WORLD
     Edward Rath, associate director


                                                                                                       of applications and request forms.
                                                                                                       Our new director, Karl Kramer, focused on
                                                                                                       the website as one of his first projects in
                                                                                                       Fall 2002 to bring the School’s electronic
                                                                                                       presence to the forefront among our
                                                                                                       competitors.
                                                                                                            Dr. Kramer decided to redo the entire
                                                                                                       website, starting from scratch. A new logo,
                                                                                                       based on the scroll of a violin, became the
                                                                                                       signature for the School. New photo-
                                                                                                       graphs of faculty and ensembles—and of
                                                                                                       students in the act of making music—gave
                                                                                                       an artistic flavor to the site. A much larger
                                                                                                       server would eventually provide for the use
                                                                                                       of sound files of faculty recitals and ensem-
                                                                                                       ble concerts. And the site was reorganized
                                                                                                       along more user-friendly lines to be more
                                                                                                                 competitive with—or even superior
                                                                                                                 to—sites of peer institutions.
                                                                                                                   From the very opening of the top
                                                                                                                 page, with the playing of the
                                                                                                                 Reiche Fanfare (yes, the same
                                                                                                                 theme as “CBS Sunday Morning”!)
     Almost ten years ago, the School of Music                                                                   by Professors Ronald Romm and
     was seeking a new way to get its recruiting                                                                 Michael Ewald, and throughout the
     and publicity message to a wider audience.                                                                  website, there’s a feeling of
     Raymond Killian (M.M. ‘90), then our coor-                                                                  action—students and faculty per-
     dinator of undergraduate admissions, had                                                                    forming, teaching, and studying.
     the idea that something using a computer        School was launched into the Internet era.             To visit the School’s site, simply go to
     would be the best way to accomplish the         The website brought instant access to infor-      www.music.uiuc.edu. The site has become
     task. Working with technologically gifted       mation concerning the School. Eventually,         the principal means of communication with
     students, Ray developed an electronic “view     a monthly calendar of events appeared,            prospective students. At the point where
     book” that provided biographies of faculty,     and this led to the creation of a separate        the campus goes to electronic applications
     descriptions of programs, pictures, and         calendar for the Music Events Office, one         for undergraduate students (graduate stu-
     sound clips of ensembles. This computerized     that would show the availability of and           dents already may apply electronically),
     view book was unveiled at The Midwest           events scheduled for all campus perform-          then most of the admissions effort will uti-
     Clinic in Chicago, and it immediately           ing spaces under the jurisdiction of the          lize the web. We do, however, want to
     became a major conversation point of the        School of Music.                                  maintain the personal touch of communica-
     conference.                                          As is true with any publicity vehicle, the   tions between people, so phone calls, let-
         Upon returning to campus, Killian pre-      website became dated. After three or four         ters, and personal visits will help to keep
     sented to then-Director Don Moses the case      years, the site had been “tweaked” to the         us truly “user friendly.”
     for developing a website for the School of      point of requiring a major redesign. This              But there is no doubt about it—we’ve
     Music. In the early to mid-1990s, the Inter-    fell to Seth Beckman, assistant director for      come a long way in bringing the School
s                                                    enrollment management and student servic-
o    net was not yet the common household                                                              into a more technologically savvy exis-
n    and office tool that it is today, so the idea   es (2000-2002). Seth worked with design-          tence with regard to promotion and public-
o
r    of a website was a bold initiative. The         ers to bring a brighter look to the site,         ity. Check us out on the web—and please
i    website eventually went live, and the           comparable to more commercial websites,           let us know if you have any suggestions for
t
i                                                    and to create electronic printable versions       improvements to www.music.uiuc.edu! I
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 CHOPIN, POLAND, SINFONIA VARSOVIA,
    HOBSON, AND CARNEGIE HALL
                                           Professor Ian Hobson, piano faculty member


My first trip to Poland was in October, 1975, just after my                              world. I was asked in 2002 by Peter Ker-
arrival as a new faculty member at the University of Illinois. I                         mani of Albany Records to record some
was a contestant in the International Chopin Competition in                              American symphonic music, and I imme-
Warsaw, which takes place every five years and lasts for three                           diately suggested using Sinfonia Varsovia.
weeks. It was one of my first international competitions as a                            The music we chose was by Quincy
pianist, and I became a quarter-finalist. My performance in the                          Porter, a New England composer of the
first round (with more than one hundred contestants) earned                              early 20th century, whose music I had
me a recital with three others at Zelazowa Wola (Chopin’s                                heard and liked immensely when I was a
birthplace), where the performing pianists are relatively pro-                           student at Yale. Sinfonia Varsovia and I
tected from the elements inside an elegant country house,                                recorded Porter’s two symphonies and
while their audience outside the French doors is subjected to                            Poem and Dance in November, 2002.We
the harsh Polish Autumn climate.                                                         worked very intensely and quickly with
    The semi-finalists were announced in two different loca-                             this unfamiliar music. (One of the pieces
tions in Warsaw; 12 names at one place and 14 at another (the      required a flyswatter to be used as a percussion accessory. I
extra two were Polish), reflecting that those were different       brought one from Illinois, as I didn’t think they existed in
times in the Eastern Bloc (the Hotel Forum no longer has sur-      Warsaw).The orchestra and I enjoyed a wonderful rapport.
veillance microphones in the reading lamps.)                          A day after returning from the trip to Warsaw, I received a
    I did not return to Poland until after Communism there         call asking me to conduct the Sinfonia Varsovia in concert at
had collapsed. In 1991, I was invited to play at the Chopin        Carnegie Hall in January of 2003, sponsored by the
                                   Festival at Duszniki-Zdroj, a   Kosciuszko Foundation. It was no doubt fortuitous that I had
                                   spa town where the com-         won the Kosciuszko Chopin Competition in New York in
                                   poser spent time in 1826.       1974, and thus the program featured Chopin’s Piano Con-
                                   There, I became re-             certo No. 2, which I conducted from the keyboard,
                                   acquainted with a number        Beethoven’s Symphony No. 3, and the central work, Three
                                   of musicians who remem-         Hymns by Karol Szymanowski, Opus 5, with the great Polish
                                   bered my participation in       mezzo-soprano Ewa Podles as soloist.The concert was set for
                                   the Chopin competition of       January 12 at Carnegie Hall with rehearsals on the 11th. Ms.
1975. At this Festival I was approached and asked to record        Podles’ contract precluded her rehearsing the day of, or day
concert works by another great Polish compatriot, Ignace Jan       before, the concert.Therefore, I was obliged to return to War-
Paderewski, with the Sinfonia Varsovia and Jerzy                   saw for 36 hours on December 23 to rehearse with her and
Maksymiuk.The recording took place eventually in 1995 and          the orchestra. It was a marvelous collaboration with Sinfonia
was released in 2001, winning critical recognition in Poland       Varsovia and part of an ongoing working relationship that I
as the best Polish concerto recording of the year.                 cherish very highly. I have recorded with them symphonic
    Meanwhile I had begun guest conducting with other              music of Don Gillis, as well as the Paganini Rhapsody and Sec-
orchestras in Poland, including the Pomeranian Philharmon-         ond Concerto of Rachmaninov (as soloist and conductor).
ic, Capella Bydgoszcziensis, and the Antonin Festival Orches-         They have plans for more concert and recording activities
tra, performing Polish music by composers such as                  in ensuing years.The newly refurbished Carnegie Hall was a
Karlowich, and Kilar, and introducing the music of Delius for      great venue for a celebration of the best Polish music with a
first performances in Poland. Sinfonia Varsovia, though, it was    Polish orchestra comprised of musicians with a remarkably
clear to me, was a great orchestra, the best in the country, and   cosmopolitan culture, who yet retain their individuality and
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comparable with the finest ensembles from around the               affinity for the rich and vibrant music of their homeland. I       i
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     Faculty News

                          Chester Alwes             burgh in June, 2002, he organized and          tion were performed. Browning’s Sole
                          (choral) has recently     chaired a special session on “Music            Injection (for violin and computer-generat-
                          received publication      Recognition Systems,” which involved           ed tape) was performed at the ISCM (Inter-
                          as follows: Edition of    speakers from Europe and the U.S. The          national Society for Contemporary Music)
                          Hans Leo Hassler’s        session included topics on automatic pitch     Festival in Miami and was reviewed in the
                          Missa super Dixit         transcription, voice separation, timbre        Miami Herald. Browning also received
                          Maria (Roger Dean         recognition, and tempo and beat tracking.      performances of his music by the PRISM
                          Music, 2003); Let         At a meeting in Cancun in December,            Saxophone Quartet in New York City and
     peace descend, anthem for SATB choir           2002, he sponsored a special session on        Philadelphia, at the Electronic Music Mid-
     and organ (R.D. Music, 2003); Noel nou-        “Analysis, Synthesis, Perception, and Clas-    west Festival at Lewis University, and at the
     velet, French Christmas carol arranged for     sification of Musical Sounds” and present-     Three Two Festival in New York City. He
     flute, keyboard, and women’s chorus            ed a paper on “Easily extensible unix          conducted the New York University Trum-
     (Roger Dean, 2003); and Be Still and           software for spectral analysis, display,       pet Ensemble in a performance of his com-
     Know Your God, anthem for mixed chorus         modification, and synthesis of musical         position Breakpoint Screamer at NYU. UI
     and organ, commissioned by Orchard             sounds.” At the ASA April, 2003, meeting       faculty violinist Sherban Lupu recorded
     Park Presbyterian Church (Indianapolis,        in Nashville, Beauchamp presented “Music       Browning’s Double Shot (for violin and
     Indiana) and premiered on June 15,             4C, a multi-voiced synthesis program with      piano) for the Capstone CD Inner Visions,
     2003. Alwes has an article, “Words and         instruments defined in C.” For the ASA         which received a favorable review in
     Music: Benjamin Britten’s Evening Prim-        meeting in New York City in May, he is         Neue Musikzeitung. Browning recently
     rose,” submitted to the Choral Journal         organizing a special session on “Restora-      completed a Chamber Music America
     (under review for 08/03 issue). He has         tion of Old Recordings.” Recently              commissioned work, Back Speed Double
     been invited to deliver a paper, entitled      Beauchamp and UI alumnus Andrew                Circuit, for the Bang on a Can All-Stars; it
     “Words and Music—The Choral Music of           Horner (Ph.D., ‘93) began a collaboration      will be premiered in New York City in
     Benjamin Britten,” at the Hawaii Confer-       to explore ways that a computer can distin-    2004.
     ence on the Humanities in January, 2004.       guish between musical sounds that are
                                                    very similar in gross respects, such as                             Donna Buchanan
                          Reid Alexander            pitch, duration, loudness, time variation,                          (musicology) taught a
                          (piano pedagogy) pre-     and brightness, but different in terms of                           series of lectures on
                          sented, along with his    tone color. He gave a paper on their initial                        music ethnography in
                          co-authors, the latest    results at a meeting of the Society for                             the Balkans at “The
                          revision of the widely    Music Perception and Cognition at the Uni-                          Balkan Studies Semi-
                          used text Keyboard        versity of Nevada at Las Vegas in June,                             nars,” held in
                          Musicianship (Vol. 1,     2003. Their schedule for this academic                              Olympia, Greece, in
                          8th Edition, Stipes) at   year involves plans to present subsequent      August. This semester she is teaching a
     the MTNA convention, held in Salt Lake         papers on this subject at meetings in Fall,    new 300-level course on “Music, Politics,
     City (March, 2003). In addition, Alexan-       2003, at Singapore; New Paltz, New             and Spirituality in Eurasia,” the result of a
     der was the featured clinician for the Pres-   York; and Austin, Texas.                       Summer Course Development Grant
     byterian College Piano Festival in Clinton,                                                   awarded by the UI Russian and East Euro-
     South Carolina, in April, as well as one of                      Zack Browning                pean Center. Buchanan presented a
     three guest clinicians for the Oregon Music                      (composition-theory)         paper, “How to Spin a Good Horo:
     Teachers Association program, held in                            served as composer-in-       Melody, Mode, and Musicianship in the
     Ashland during August.                                           residence at the Uni-        Composition of Bulgarian Dance Tunes,” at
                                                                      versity of South Florida     the Annual Meeting of the Society for Eth-
s
o    James Beauchamp (emeritus, composi-                              during the Bonk Festi-       nomusicology, as well as at the Seventh
n    tion-theory) has been active with the musi-                      val of New Music at          Joint Meeting of North American and Bul-
o
r    cal acoustics group of the Acoustical                            Tampa, Florida, where        garian Scholars, both held in October,
i    Society of America. At its meeting in Pitts-   his Coming Up Sevens and Impact Addic-         2003. She also presented a paper, “The
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Lady, the Clerk, and the Handkerchief:                                 Eric Dalheim                                      Timothy Ehlen
Music and Interculturality from the Aegean                             (accompanying) con-                               (piano) recently per-
to the Atlantic to the Arctic,” at the UI Joint                        tinued his collabora-                             formed chamber music
Area Centers Symposium “Interculturality in                            tion with tenor and                               of Brahms and Schu-
a Globalizing World” in November,                                      School of Music alum-                             bert at the Plymouth
2003. Buchanan published an article,                                   nus Jerry Hadley in                               Chamber Music Festi-
“Soccer, Ethno-Pop, and National Con-                                  concerts at College                               val in Massachusetts,
sciousness in Post-State-Socialist Bulgaria,                           Park, Maryland, in                                as well as programs of
1994-1996,” in the British Journal of Eth-         September and Pensacola Christian Col-           Mozart and Brahms with the Oklahoma
nomusicology (Volume 11, No. 2, 2002).             lege (Florida) in March for an audience of       String Quartet in Norman and Oklahoma
Her book Performing Democracy: Bulgari-            6,000.                                           City. His recent solo recitals include per-
an Music & Musicians in Transition will be                                                          formances at Baylor University (Texas),
published by University of Chicago Press                                Ollie Watts Davis           Kansas City College Conservatory (Mis-
and is now in press.                                                    (voice and choral) par-     souri), Krannert Museum Second Sunday
                                                                        ticipated in SongFest       Series (Champaign), and Western Illinois
                      Barrington                                        2003, held at Pepper-       University (Macomb). Ehlen presented a
                      Coleman (voice and                                dine University in Mal-     recital of the music of Mozart and Schu-
                      choral) presented the                             ibu, California, with       bert at the Leo S. Bing Theater in the Los
                      keynote lecture and                               accompanists Graham         Angeles Museum of Art, broadcast live on
                      discussion on vocal                               Johnson and Martin          KMZT radio and the internet. He served as
                      interests for the Illinois   Katz, and also served on the faculty for         a screening adjudicator for the Cleveland
                      State Music Teacher’s        the SongFest 2003 Apprentice Program. In         International Piano Competition, and he
                      Association confer-          January, 2003, she released Here’s One,          continues to offer masterclasses and lec-
ence, held at the UI School of Music in            a compact disc of arrangements of                tures at various universities, including
November, 2002. The presentation, titled           African-American spirituals for solo voice       “Gobbi of Jacques Callot: a history of the
“Methodology and Application Skills for            and piano. Davis appeared as soprano             macabre in Ravel’s Gaspard de la Nuit” at
the Collegiate Solo Performance Artist,”           soloist in Orff’s Carmina Burana with the        the University of Missouri in Kansas City.
offered a discussion of various vocal tech-        Springfield Orchestra (Maine) in March,
niques, analytical procedures, repertoire          2003, and as soprano soloist in Poulenc’s                             Michael Ewald
considerations, and practical execution of         Gloria with the Traverse City Symphony                                (trumpet) performed
song literature for the developing student         Orchestra (Michigan) in April, 2003. In                               two concerts with La
soloist. During March, 2003, he served as          July, 2003, she presented a benefit recital                           Orcestra de Tenerife
a guest lecturer and conductor/arranger            for the Hope Community Foundation at the                              on the Island of Tener-
for the 2003 Black Sacred Music Sympo-             Clay Center for the Performing Arts and                               ife, Spain, in March,
sium, hosted by UI Professor Ollie Watts           Sciences in Charleston, West Virginia.                                2003. While there, he
Davis and the UI Black Chorus at Krannert                                                                                recorded the Spanish
Center in Urbana. In the same month Cole-                                Nicholas Di Virgilio       national anthem and did several master-
man served as guest conductor and clini-                                 (voice and opera)          classes at the conservatory. This past sum-
cian for the North Illinois Choral                                       gave masterclasses in      mer Ewald was the trumpet teacher at the
Conference High School festival, held at                                 December, 2002, and        Iron County Music Camp in The Upper
J.D. Darnall Senior High School in Gene-                                 February, 2003, for        Peninsula of Michigan, where he ran sec-
seo. He served as director of choral activi-                             the Adler Fellows of       tionals, gave private lessons, and per-
ties and clinician for an Illinois State Music                           the San Francisco          formed a recital. He gave a recital in
Educator’s Association Summer Youth                                      Opera Company. He          Thousand Oaks, California, with UI Profes-
Music Choral Festival in May, 2003, held           also presented masterclasses and adjudi-         sor of Organ Dana Robinson in October.
at the UI School of Music and Krannert             cated the A-i-T (Artists-in-Training) program,
Center.                                            sponsored by the Opera Theater of St.                                Peter Griffin (bands)
                                                   Louis and underwritten by the Monsanto                               served as guest con-
                                                   Company, in St. Louis, Missouri, in April,                           ductor for Illinois        w
                                                   2003.                                                                Music Educators Asso-      i
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     Faculty News
     ing Illini for the convention of State Univer-                        Joan Hickey (jazz              formed concerts and conducted master-
     sities and Land Grant Colleges at the                                 piano and piano ped-           classes at Northwestern University, North-
     Palmer House in Chicago, both in Novem-                               agogy) was featured            ern Illinois University, University of
     ber, 2002. He served as guest conductor                               in an article in August        Wisconsin at LaCrosse, and Augsburg Col-
     for the Sangamon Valley Conference                                    issue of Chicago Jazz          lege. In addition, the Prairie Winds served
     Honor Band in March; clinician/adjudica-                              Magazine. She is               as quintet in residence at the Madeline
     tor for Festivals of Music in Evanston, Illi-                         scheduled to present a         Island Music Festival on Lake Superior’s
     nois, in April; clinician/adjudicator for All                         masterclass at the             Apostle Islands. The quintet will also be
     Star Music Festivals in Orlando, Florida, in      annual Chicago Area Music Teachers                 one of three ensembles featured at this
     April; and guest conductor for a Waubon-          Association Jazz Festival in March, 2004.          year’s Chamber Music America Education-
     sie Valley High School spring concert in                                                             al Residency Institute in Chicago.
     May. Griffin was the head clinician for the                             John Hill (musicolo-
     nationally famous Smith-Walbridge Drum                                  gy) will be mentoring                              James Keene
     Major Clinics, with 27 states represented,                              a post-doctoral fellow                             (bands) released three
     held at Eastern Illinois University, July,                              during the academic                                new compact disc
     2003.                                                                   year 2003-04. She is                               recordings with the UI
                                                                             Dr. Bella Brover-                                  Wind Symphony:
                          Ronald Hedlund                                     Lubovsky, who has                                  Music for a Golden
                          (voice), having suc-                               been teaching at                                   Sky, Dreams and
                          cessfully narrated the       Hebrew University in Jerusalem, where she                                Achievements, and
                          PBS documentary              earned her Ph.D. degree in 1994, having            Winds of a Higher Order. Keene was
                          about the Tarahumara         completed her previous university degrees          named Honorary Lifetime Member, Texas
                          Indians of Mexico a          in Moldova. Dr. Brover-Lubovsky won her            Bandmasters Association (only the sixth
                          few years ago, was           post-doctoral fellowship in a university-          such designation in its 55-year history). He
                          invited to sing and          wide competition in Jerusalem and asked            has served as president, American Band-
     appear in the WILL-TV documentary “The            to study with Professor Hill after reading         masters Association; board of directors,
     Music of World War II” (filming date: Fall,       several of his published articles. This year,      John Philip Sousa Foundation; past presi-
     2003). Hedlund is the co-director of the          in addition to sitting in on several musicol-      dent, board of advisors, National Band
     Metropolitan Opera National Council Dis-          ogy classes, she will revise and expand            Association; national advisory board,
     trict Auditions (Central District), held at the   her dissertation for publication as a book         Goldman Memorial Band; board of direc-
     Krannert Center each fall.                        on the definition and nature of the style of       tors, Percy Grainger International Society;
                                                       tonal harmony pioneered by Antonio Vival-          and editorial board, Journal of Band
                            William Heiles             di early in the eighteenth century. Dr.            Research. In March, 2003, Keene served
                            (piano), in addition to    Brover-Lubovsky will team up with Professor        as adjudicator at the Saint Patrick’s Week
                            performing seven on-       Hill for a seminar on Late Baroque Tonality        Music Festivals, Dublin, Limerick, Ireland,
                            campus recitals this       during the Fall, 2004, semester.                   and as guest conductor of the United
                            past year, presented                                                          States Air Force Band, Washington D.C.
                            several programs else-                           Jonathan Keeble,             This past summer, he was guest conductor
                            where. In April, 2003,                           (flute) was the featured     of the Dublin (Ireland) Concert Band; clini-
                            he performed Bach’s                              guest artist for the thir-   cian at the Bands of America Summer
     Art of the Fugue at Roosevelt University in                             teenth annual Flute          Directors Workshop, held at Illinois State
     Chicago; in July he gave a recital of Bach,                             Mania, offered               University (Normal); and featured clinician,
     Mozart, and Chopin works at the Chau-                                   through Sweden’s Uni-        Texas Bandmasters Association Conven-
     tauqua (New York) Music Festival. In                                    versity of Karlstad,         tion, held at San Antonio, Texas. Other
     November, 2003, he presented all-Mozart                                 where he gave con-           professional activities this academic year
     programs for Second Sunday series at the          certs, ranging from solo recitals to concer-       for Keene include clinician and conductor,
     Krannert Art Museum and at Millikin Uni-          to engagements, and taught daily                   Texas Christian University Honors Bands
     versity (Decatur, Illinois). He also will give    masterclasses. In March, Keeble was guest          (Ft. Worth, November 20-23); conductor,
     a recital, including works of Mozart and          artist for the week-long Cottonwood Pro-           Texas Music Educators Association All-
     Chopin on the fortepiano, in Freeport, Illi-      ject, a chamber music residency program            Region Honor Band (Brownsville, Decem-
s    nois, in January, 2004. Heiles spoke on           designed to bring chamber music to rural           ber 4-6); guest conductor, Australian Youth
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n    “What the Harpsichord Teaches a Pianist”          areas surrounding Hays, Kansas. Keeble’s           Wind Symphony (Sydney, January 5-12);
o    at the Illinois Music Teachers Association        first solo CD, icarus, is to be released late      Symphonic Band conductor for Melbourne
r
i    Convention in November.                           this year on the Albany label. With the            Youth Music Summer Camp (Australia, Jan-
t                                                      woodwind quintet Prairie Winds, he per-            uary 19-24); conductor, Texas ATTSB All-
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State Symphonic Band (San Antonio, Feb-         the University of California-Santa Cruz       performance during the presentation. At
ruary 12-14); clinician, evaluator, Nation-     musicology faculty on Ph.D. program ini-      the annual national meeting of the Society
al Concert Band Festival (Indianapolis,         tiatives.                                     for Music Theory, held at Madison, Wis-
Indiana, February 26-28); adjudicator,                                                        consin, in November, Kinderman present-
Saint Patrick’s Week Music Festivals                                                          ed a paper, titled “The Third-Act Prelude of
(Dublin and Limerick, Ireland, March 14-                                                      Wagner’s Parsifal,” which investigates the
18); clinician, Circle of Honor Perform-                                                      compositional genesis and structure of
ance Festival (Orchestra Hall, Chicago,                                                       Wagner’s final work. Part of Kinderman’s
Illinois, March 27); clinician, Young Con-                                                    ongoing research on Parsifal, this study
ductors Mentor Program, National Band                                                         will appear in two forthcoming books: A
Association Convention (Bloomington-Nor-                                                      Companion to Wagner’s Parsifal, edited
mal, Illinois, June); and clinician, Texas                                                    by Kinderman and Katherine Syer, and a
Bandmasters Association Convention (San         William Kinderman and Katherine               separate monograph on this subject, sup-
Antonio, July).                                 Syer (musicology) presented the seminar       ported by his spring-term appointment in
                                                “Richard Wagner at Bayreuth: Music,           the UI Center for Advanced Studies.
                      Herbert Kellman           Drama, Politics” on July 30 - August 15,
                      (director of the UI       2003, at Bayreuth, Germany, held in con-                          Karl Kramer (direc-
                      Renaissance Archives      junction with the Wagner Festival at                              tor and tuba) contin-
                      and professor emeritus    Bayreuth, with performances in the Fest-                          ued his concerts with
                      of musicology) gave       spielhaus, which was built to Wagner’s                            the New Haven Sym-
                      an invited lecture on     specifications and completed for the first                        phony Orchestra,
                      “Court Music and His-     festival in 1876. Participants in the semi-                       including a perform-
                      torical Identity in the   nar received tickets to all seven of the                          ance in Carnegie Hall
Burgundian Netherlands, 1480-1530,” in          works performed in the Festspielhaus: The                         of Mahler’s Eighth
April, 2003, at Louisiana State University,     Flying Dutchman, Tannhäuser, Lohengrin,       Symphony. In June, he performed in the
under the sponsorship of the LSU School         and the four operas of the cycle Der Ring     world premiere of the opera The Phantom
of Music and the Program in Medieval            des Nibelungen. The seminar study ses-        Palace by Mexican composer Hilda
and Renaissance Studies. He also gave           sions were held at the University of          Parades as part of the International Festi-
two seminars on the late works of Josquin       Bayreuth, and a special tour of the theater   val of Arts and Ideas.
des Prez for the Department of Music His-       was arranged with the support of Wolf-
tory. At the International Medieval and         gang Wagner, the composer’s grandson,                              Erik Lund (composi-
Renaissance Music Conference, held in           who remains an important directorial pres-                         tion-theory) received a
August, 2003, at the University of Jena         ence in Bayreuth. UI students participating                        live performance of his
(Germany), he chaired the opening ses-          in the seminar included undergraduates                             chamber work Raccon-
sion, gave a presentation on “The Jena          Ashley Boughton and Raquel Adorno and                              tini on WDR Radio,
Alamire Manuscripts,” and was inter-            graduate students Henry Pleas and                                  Germany, in February,
viewed for Jena television about his initial    Edward Hafer. Kinderman gave two pre-                              2002. The perform-
manuscript research in Jena 42 years ear-       sentations at the annual national meeting                          ance was by the
lier, when the city was part of the German      of the American Musicological Society,        Wolpe Trio, which also premiered Lund’s
Democratic Republic (East Germany). Also        held at Houston November 13-16, 2003.         loose change in Essen, Germany, in Octo-
this summer Kellman was in France and           He gave a lecture recital on “Beethoven’s     ber, 2002. Raccontini was also performed
Germany with Ensemble Choragós, for             Known and Unknown Bagatelles,” which          by the MAVerick Ensemble in Chicago in
which he had arranged seven appear-             included discussion and performance of a      April, 2003. In November, 2002, Lund’s
ances (see separate article). His article,      number of smaller piano pieces by             solo trombone work Truth Relations was
“The Chigi Codex: A Mirror of Burgundi-         Beethoven that Kinderman discovered in        performed by trombonist Andrew Glenden-
an Court Music, Art, and Poetry,” will be       the composer’s sketchbooks. In addition,      ning at the American Music Festival in
published in the Proceedings of the UIUC-       he presented a paper, titled “Beethoven       Sofia, Bulgaria. Lund’s most recent compo-
CNRS conference Images of Authority and         Unfinished F Minor Trio from 1816,”           sition for solo piano, aftermath, was pre-
the Authority of Images. He is now work-        which focuses on a major work of cham-        miered in February, 2003, by British            w
ing with Edward Houghton on the edition         ber music that has remained unknown but       pianist Ian Pace, and has subsequently          i
of the Chigi Codex, commissioned by the         which can be transcribed from manuscripts     been performed by David Psenicka at the         n
University of Chicago Press for the series      held in Berlin and in Princeton, New Jer-     Western Illinois New Music Festival, as         t
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Monuments in Renaissance Music. In Janu-        sey. The first section of this innovative,    well as by Janis Mercer at several California   r
ary, 2003, Kellman was a consultant to          unfinished composition was presented in
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     Faculty News
     venues. Lund is currently composing a new                           Timothy McGovern           for his “thrilling, amazing, virtuoso dis-
     work for the Crash Ensemble of Dublin, Ire-                         (bassoon) performed        play” as timpanist for Sinfonia da Cam-
     land.                                                               the Mozart Bassoon         era’s back-to-back Beethoven Symphonies
                                                                         Concerto in October        Nos. 7 and 8, and closed last season with
                          Kazimierz Machala                              with the Illinois Cham-    a rare performance of Henry Cowell’s
                          (horn) premiered his                           ber Orchestra for con-     Concerto for Percussion with the UI Illini
                          composition Concerto                           certs in Springfield       Symphony. He then had a busy summer,
                          for Horn, Winds, and                           and Bloomington, Illi-     traveling first to Spain for the 2003 Alcoy
                          Percussion in Septem-    nois. As a member of the Prairie Winds           Second International Percussion Course,
                          ber, 2002, with the      Woodwind Quintet, he was involved with           where he was both faculty and solo recital-
                          University of Illinois   the beginning of a new summer chamber            ist, and then appearing as a featured artist
                          Wind Symphony,           music camp, The Madeline Island Music            at the Patagonian International Percussion
     James Keene conductor. In February,           Camp for woodwind quintets, held on an           Festival in General Roca-Rio Negro,
     2003, Machala performed the work again        island in Lake Superior. Students from the       Argentina. Next Moersch joined his UI Per-
     with the Symphonic Band of Bowling            UI, Eastman School, Curtis Institute, Indi-      cussion Division colleague Ricardo Flores
     Green State University during the Midwest     ana University, DePaul University, and           in hosting the Illinois Summer Youth Music
     Horn Workshop in Ohio. In June, 2003,         other major schools attended this new pro-       Advanced Percussion Camp in Urbana.
     his composition Intuitions for Horn Quartet   gram. The Prairie Winds was awarded a            Closing out the year’s full circle, he was
     was performed as part of the International    residency at the 18th annual Juneau Jazz         back in New York, performing at the Bard
     Horn Symposium, held at Indiana Universi-     and Classics Festival in Alaska; Chamber         Music Festival for ”Janácek and His
     ty in Bloomington. In July, 2003, The Dori-   Music America’s Residency Partnership            World” and the opening of the new Frank
     an Wind Quintet performed Machala’s           Program sponsored the residency, which           Gehry-designed Richard B. Fisher Center
     American Folk Suite at the Round Top Inter-   presents concerts and visit to schools in        for the Performing Arts at Bard College.
     national Music Festival in Texas. Machala     May, 2004. The Prairie Winds also was in
     was the recipient of the 2002/03 Ameri-       residence at the October, 2003, Chamber                                Bruno Nettl (musicol-
     can Society of Composers, Authors, and        Music America Conference at Roosevelt                                  ogy and ethnomusicol-
     Publishers Award.                             University (Chicago, Illinois), where it pre-                          ogy) gave invited
                                                   sented a concert and a seminar in cham-                                lectures on various
                          Charlotte Mattax         ber music coaching. The Prairie Winds                                  aspects of ethnomusi-
                          (harpsichord and musi-   2003-04 season will include concerts in                                cology at Federal Uni-
                          cology) celebrates her   Illinois, Louisiana, North Carolina, and                               versity of Rio de
                          20th year as harpsi-     Wisconsin.                                                             Janeiro; the Museum
                          chordist and organist                                                     of Anthropology, Madrid; and Indiana Uni-
                          for the Bach Choir of                        Chip McNeill (jazz)          versity, Northwestern University, and Uni-
                          Bethlehem, Pennsylva-                        toured with Maynard          versity of Washington. He received
                          nia, the oldest Bach                         Ferguson, as well as         publication of his book, Encounters in Eth-
     organization in the United States. The                            McNeill’s own jazz           nomusicology (Harmonie Park Press,
     2003-2004 season features concerts of                             quartet, from April 29       2003), which is largely a professional
     Bach Cantatas, the B Minor Mass, and the                          through June 16,             memoir with chapters about the history of
     St. John Passion, with countertenor Daniel                        2003, playing con-           ethnomusicology at the University of Illi-
     Taylor, as well as chamber and solo harp-                         certs in Azerbaijan          nois. Other publications of Nettl include
     sichord performances. In addition, Mattax     (Baku), Ukraine (Kiev), Lithuania, Italy, Aus-   “Ethnicity and Musical Identity in the
     has been invited to Taiwan in January,        tria, Luxembourg, and Germany.                   Czech Lands,” in Pamela Potter and Celia
     2004, to play harpsichord recitals and                                                         Applegate, eds., Music and German
     present masterclasses. Her reviews of three                         William Moersch            National Identity (University of Chicago
     books on basso continuo improvisation are                           (percussion) performed     Press, 2002); “What’s to be Learned:
     forthcoming in the Early Keyboard Journal                           for the Bard Music Fes-    Comments in Teaching Music in the World
     and the Journal of the Society for Seven-                           tival’s “Mahler and his    and Teaching World Music at Home,” in
     teenth-Century Music.                                               World” and made his        The Arts in Children’s Lives, edited by Liora
                                                                         PASIC solo timpani         Bresler and Christine Thompson (Dor-
s                                                                        debut as part of the       drecht, Netherlands: Kluwer, 2002); and
o
n                                                                        “Carter Timpani Car-       “Ethnomusicology of the Nineties, an His-
o                                                  tel” at the Percussive Arts Society Interna-     torical Perspective,” Music Estoria
r
i                                                  tional Convention 2002. He was praised           (Bologna) 10 (2002). Several of Nettl’s
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older publications on Persian music have       communication technologies for teaching        the University of Illinois Office of Continu-
been published in Iran in the music journal    and learning. He also will be presenting a     ing Education and included day trips to
Mahoor Music Magazine (Tehran), translat-      session, titled “Creating Jazz Listening       Milan, Bolzano, Venice, and Bologna.
ed into Persian, published in 2002-2003.       Guides with PowerPoint,” at the Interna-
Nettl gave plenary lectures: “The Compar-      tional Society of Jazz Education confer-                            Jerold Siena partici-
ative Study of Musical Change: Case Stud-      ence in New York City on January 21,                                pated in the
ies,” Inaugural Lecture of the first meeting   2004. Reese presented a workshop, titled                            Beethoven Sympo-
of the Associao Brasileira de Etnomusicolo-    “Creating Listening Guides with Power-                              sium, held this spring
gia, Recife, Brazil, Nov. 19, 2002; “Eth-      Point” at the National Symposium for                                on UI campus, by per-
nomusicology among the Musicologie,”           Music Instruction and Technology at Illinois                        forming the song cycle
keynote lecture at a conference, “Words        State University (Normal).” He had a chap-                          An die ferne Geliebte
and Things and Music,” celebrating the         ter, “Responding to Student Compositions,”                          and two different set-
fiftieth anniversary of the establishment of   published in a recent book from MENC,          tings of An die Hoffnung. He was also
the program in folklore, Indiana University,   titled Why and How to Teach Composi-           invited by UI Chancellor Nancy Cantor to
Bloomington, June 7, 2003. The fourth edi-     tion: A new horizon for music education,       sing at a memorial service for Illinois
tion of Excursions in World Music, by          edited by Maud Hickey.                         Senator Wellstone, which was held by
School of Music faculty members Bruno                                                         Senator Durbin at the Illini Union. Siena
Nettl, Charles Capwell, Thomas Turino,                             Debra Richtmeyer           also arranged for his friend and colleague
and Isabel Wong, and UI alumnus Philip                             (saxophone) recorded       Ben Heppner to speak to music students in
Bohlman, was published in 2003 by Pren-                            a CD, Extravaganza         connection with his recital in the Great
tice-Hall. This widely-used textbook for                           for Saxophone and          Hall of Krannert Center. This season Siena
courses introducing undergraduates to the                          Orchestra, with the        will perform in Puccini’s Turandot at the
world’s musical cultures was first published                       Slovak Radio Orches-       Casals Festival in Puerto Rico, as well as
in 1991 and is accompanied by two illus-                           tra, conducted by Kirk     present a song recital at Indiana
trative CDs.                                                       Trevor. Released by        University.
                                               Albany Records, it is available through
Susan Parisi (research scholar) carried        Albanyrecords.com.                                                   Gabriel Solis (musi-
out research in July in the Archives du Roy-                                                                        cology) had his article
aume in Brussels for a project on musical                           Ronald Romm (trum-                              “Hearing Monk: Histo-
exchanges between the Mantuan and Brus-                             pet) and his pianist-                           ry, Memory, and the
sels courts during the time of Monteverdi.                          wife Avis offered a                             Making of a ‘Jazz
In August she participated in the Interna-                          successful concert                              Giant’”published this
tional Medieval & Renaissance Confer-                               appearance on Sep-                              summer in The Musical
ence, held in Jena, Germany. Earlier in the                         tember 6 with the Cali-                         Quarterly (Volume 86,
year she completed an article, “Francesco                           fornia Philharmonic       Number 1). In addition he presented a
Rasi’s La favola di Cibele ed Ati and the                           Orchestra, Victor         paper, titled “Testaments Betrayed: The
Cybele Legend from Ovid to the early Sei-      Vener, music director. The event, attended     Publication of Thelonious Monk’s Live
cento” (Harmonie Park Press, in press).        by more than 4000 people at the Los            Recordings from the Five Spot, 1958,” at
Parisi has been elected to the board of        Angeles Arboretum, prompted two stand-         the annual national meeting of the Ameri-
Musica Toscana.                                ing ovations for the guest soloists. It also   can Musicological Society in Columbus,
                                               launched the newest aspect of their concert    Ohio, and another paper, titled “Sidney
                     Sam Reese (music          career (concerts involving trumpet, piano,     Bechet, Jazz Historiography and the Ques-
                     education) will be the    and symphony orchestra) and premiered a        tion of Race,” at the Midwest regional
                     keynote speaker at the    spectacular version of Porgy and Bess          meeting of the American Musicological
                     University of Miami’s     Suite by Lee Norris. During October Ron        Society in St. Louis.
                     Music Education Day       and Avis performed concerts in Kansas,
                     conference for 400 in-    Colorado, New Mexico, and California.                               Ken Steinsultz
                     service music teachers                                                                        (bands) conducted the
                     on January 23, 2004.      Thomas Schleis (opera program manag-                                Tri-County Honor Band      w
He will be speaking about music technolo-      er and principal coach) led a study group                           of Virden, Illinois, and   i
gy and its potential to transform music        to Verona, Italy, July 20-29, 2003, for lec-                        the Mid-State Six          n
learning. The speech will be presented         tures about three operas, performed at the                          Honor Band of Peoria,      t
                                                                                                                                              e
from New York University, using video con-     famed Arena di Verona: Aida, Nabucco,                               Illinois, both in March,   r
ferencing over Internet 2 to feature new       and Turandot. The tour was sponsored by                             2003. He conducted
                                                                                                                                              2
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     Faculty News
     the Triad Music Festival Honor Band of                                                            The book will be offered along with a soft-
     Illiopolis, Illinois, in April. During June-July.                                                 ware CD and an interactive, on-line HTML
     Steinsultz conducted the Mark Foutch Brass                                                        version of the manuscript. Taube’s composi-
     Band for three concerts in Champaign, Illi-                                                       tion Aeolian Harp (for piano and tape)
     nois. In July, he performed as soloist on                                                         was performed at the International Com-
     double-bell euphonium, playing Carnival                                                           puter Music Conference (Singapore) in
     of Venice with both the Mark Foutch Brass                                                         September.
     Band and with the UI Summer Band. Ken
     sang with vocal quartet Four O’Clock                Sylvia Stone (voice) was a faculty mem-                             Stephen Taylor
     Sharp on the Champaign-Urbana Sympho-               ber and taught voice for five weeks this                            (composition-theory)
     ny “Symphony at Sunset” concert in Sep-             summer for the Austrian-American-Mozart                             was on a leave in
     tember, and he performed on euphonium               Academy, a summer program for young                                 Spring, 2003, funded
     for Don Quixote by Strauss with the Illinois        opera singers, held in Salzburg. In addi-                           in part by a grant from
     Symphony for September performances in              tion, she was resident co-director of the                           the Howard Founda-
     Bloomington and Springfield, Illinois.              Komische-Kammer-Oper-München in Ger-                                tion. He spent the
                                                         many. Stone presented a masterclass at the                          semester in Portland,
                           Fred Stoltzfus                Salzburg College for the University of        Oregon, and in China, completing several
                           (choral) served as            Miami School of Music Summer Program          commissions and meeting with the science-
                           guest conductor for the       and adjudicated for the Leopoldskron          fiction writer Ursula K. Le Guin about a
                           Alberta Choral Federa-        Vocal Competition. From left to right are     possible opera project. Taylor also is com-
                           tion University Honors        Maggie Malone (Rice University), Roxann       pleting a consortium commission for a
                           Choir during its annual       Ferguson, Professor Stone, Heidi Richter,     wind ensemble piece, The Surface of Last
                           meetings at Calgary,          Ashmani Jha, and Wendi Jones, all of          Scattering, and a large-scale commission
                           Alberta, in November,         UIUC.                                         from the Quad Cities Symphony for a
     2002. He was guest conductor, master-                                                             work for orchestra and four singers. His
     class teacher, and lecturer for Liederkranz,                             Katherine Syer           new work Seven Memorials is scheduled
     a consortium of professional conductors                                  (musicology) read a      to be premiered at the UI in February,
     from the states of Washington, Oregon,                                   paper, entitled “Stag-   2004, by pianist Gloria Cheng.
     Colorado, and Utah in November, during                                   ing Wagner’s Parsifal:
     which he presented lectures and master-                                  Who Gets to Die?,” at                          Sever Tipei (compo-
     classes on the Alamire complex of Renais-                                last fall’s American                           sition-theory) gave an
     sance choral works. Stoltzfus served as                                  Musicological Society                          invited talk, “Control
     clinician and masterclass teacher at                                     Midwest Chapter meet-                          and Hazard in Musi-
     Greenville College (Illinois) in February,          ing. An expanded form of this paper was                             cal Composition: Man-
     2003. In June, Stoltzfus was guest conduc-          presented at the New York Wagner Soci-                              ifold Compositions,” at
     tor and masterclass teacher for the Univer-         ety’s Annual Seminar Day in April. In May,                          the Paris-Sorbonne Uni-
     sity of Sherbrooke, Québec, where he                she presented “Associative Tonality, Tonal                          versity (Paris IV), in the
     conducted a concert of choral music of              Pairs and Psychological Space: Wagner’s       Salles des Actes on January 9, 2003. His
     Brahms and Schubert, and coached                    Tristan und Isolde Set Against the Back-      new computer-generated piece dARIA was
     advanced students in choral conducting.             drop of Romantic Psychology” at the Music     premiered on April 15 as part of the 50th
     During July and August, 2003, he toured             Theory Midwest conference, held at Indi-      Anniversary Celebration Concert of the
     with Ensemble Choragós to France and                ana University. Upcoming papers presenta-     first public concert of tape music in North
     Germany. While on tour, seven concerts of           tions by Syer include “Wagner ohne Ende:      America. A second version of dARIA, a
     music from the early 16th century were              Production History as Reception History” at   manifold composition, was presented at
     presented in the following churches and             the Hawaii International Conference on        the University of Wisconsin-Milwaukee a
     concert venues: St. Benoit-du-Sault, Argen-         Arts and Humanities in January.               week later. In this same concert Tipei per-
     ton-sur-Creuse, St. Uzerche, Chateau du                                                           formed as a pianist for William Albright’s
     Bouchet, the Music Instrument Museum in             Heinrich Taube (composition-theory)           Sphaera (for piano and computer-generat-
     Berlin, the International Medieval-Renais-          authored a book on computer composition,      ed tape). A third version of dARIA was
     sance Music Conference in Jena, Ger-                Notes from the Metalevel, an Introduction     programmed during the MAVerick Festival
s    many, and the Johanniskirche in Weimar,             to Computer Composition, which is sched-      in July.
o
n    Germany.                                            uled to be published in Fall, 2003, by
o                                                        Swets-Zeitlinger Publishing of Amsterdam
r
i                                                        in its “New Music Research” book series.
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                      Christos Tsitsaros         tion of Positional Three-dimensional Audio       Duo colleague Kyo-Jin Lee of South Korea,
                      (piano pedagogy) had       Imaging for Eight-Channel Performance Pre-       who also presented a masterclass for the
                      his new book of origi-     sentations,” (Spring, 2003). Wyatt’s elec-       harp students. In June, she was a featured
                      nal piano music, enti-     troacoustic music composition Night Visitors     clinician and performer at the American
                      tled Poetic Moments,       was selected for inclusion on the compact        Harp Society’s biennial National Summer
                      published in August,       disc recording in Music from SEAMUS (Vol-        Institute, held in Salt Lake City, Utah. She
                      2003, by Hal Leonard       ume 12 [EAM-2003], released in May,              also conducted the first “Summer Harp
                      Publishing Corporation.    2003). He organized and presented a con-         Class with Ann Yeung” on the UI campus,
Soon after its release, Tsitsaros presented      cert commemorating the 50th anniversary          which involved 20 participants from the
workshops in Iowa, Oregon, and Montana,          of the first public concert of electroacoustic   Midwest. She has co-authored an article
representing the teacher-ambassador pro-         music in the United States with University of    with Charles Lynch on the “Roslyn Rensch
gram of Hal Leonard Corporation. He was          Texas guest composer Larry Austin and            Papers and Harp Collection at the Univer-
awarded a second residency at the Helene         commentary by UI Professor David Patter-         sity of Illinois at Urbana-Champaign,” pub-
Wurlirzer Foundation of Taos, New Mexi-          son, held on April 15, 2003, at the Kran-        lished in the Summer, 2003, issue of the
co, where he returned in November to per-        nert Center for the Performing Arts. Wyatt’s     American Harp Journal. She also was a
form his Recurdos de Taos, a series of           composition Time Mark was performed at           juror for the Contest for an American Solo
twelve-tone poems composed during the            the 2003 national conference of the Soci-        Harp Composition (held in 2003), spon-
last two years. Tsitsaros was also invited to    ety for Electroacoustic Music in the United      sored by the 2004 USA International Harp
present his new original piano composi-          States, hosted at Arizona State University,      Competition.
tions at the World Piano Pedagogy Confer-        March 13-15, 2003. He was guest com-
ence in October, 2003. His biographical          poser at the University of Missouri-Kansas                          Stephen Zank (musi-
profile was selected for inclusion in the        City, March 5-7, 2003, when his composi-                            cology) won both the
2004 edition of the Marquis’ Who’s Who           tions Time Mark, Four for Flute, and In the                         Humanities Release
in America.                                      Arms of Peril were performed. On the edi-                           and A. O. Beckman
                                                 torial board for Organised Sound, An Inter-                         awards to continue
                      Tom Ward (musicolo-        national Journal of Music Technology                                work in Paris on his
                      gy) presented a paper      (Cambridge University Press), he also con-                          second book, Irony &
                      at the international       tinues on the board of directors of the Soci-                       Sound: The Music of
                      conference “Der Men-       ety for Electroacoustic Music in the United      Maurice Ravel (University of Rochester
                      suralcodex St. Emmer-      States, as well as the board of advisors for     Press, 2005) during the autumn semester.
                      am (Clm 14274):            the Musical Entrepreneurial Studies Pro-
                      Entstehung, Bestand,       gram (Millersville University, Pennsylvania).    Special Note
                      Kontext,” held June 20     Wyatt continues as project director and          Roslyn Rensch-Erbes (former faculty
and 21 at the Bayerische Staatsbibliothek,       engineer for the music from SEAMUS com-          member) gave a presentation on historical
Munich. Ward was the sole U.S. musicolo-         pact disc recording series of the Society for    harps at the International Harp Archives,
gist invited to attend this conference, along    Electro-Acoustic Music in the United States.     located at Brigham Young University in
with scholars from Germany, Italy, Switzer-                                                       June, 2003, as part of the American Harp
land, and Great Britain.                                               Ann Yeung (harp)           Society’s Fifth National Summer Institute.
                                                                       performed a recital at     Her writings were also featured in the
                      Scott Wyatt (compo-                              Yildiz University in       IAH’s on-going exhibit “Master Harpists of
                      sition-theory) had an                            Istanbul, Turkey. She      the 20th Century.”
                      article, “Investigative                          also sponsored a visit
                      Studies on Sound Diffu-                          and performance at UI      In Memoriam
                      sion/Projection,”                                by Russian harpist         Gordon Ware Binkerd, died on Sep-
                      included as one of                               Natalia Shameyeva,         tember 5, 2003, in Urbana, Illinois.
                      nine specialized arti-     principal harpist of the Bolshoi Theater         Harold Decker, died on June 16, 2003,
                      cles relating to the use   Orchestra, and Russian/U.S. composer             in Wichita, Kansas.
of spatialization in sound art practice in       David Finko in November, 2002. In
Sound In Space, a book published by the          March, 2003, Yeung was a featured                                                               w
Canadian nonprofit organization New              soloist on the Champaign-Urbana Sympho-                                                         i
Adventures in Sound Art in September,            ny Orchestra’s Kinderkonzerts. In April she                                                     n
2003. He was awarded a large research            gave the U.S. premiere of works for two                                                         t
                                                                                                                                                 e
grant by the University of Illinois Research     harps by Stephen Andrew Taylor and Ger-                                                         r
Board for the “Development and Applica-          ardo Dirié at the UI with her Pacific Harp
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     A’„s†ws‚qs‡£                                                    How much things have
                                                                     changed since I first
                                                                     went to Iran, in 1966,
                                                                                              fascinating, slightly odd at first with its
                                                                                              use of three-quarter and five-quarter
                                                                                              tones, and I quickly determined to
     Field Work a                                                    in the era of the last
                                                                     Shah, to try to learn
                                                                                              return for longer to try to learn some-
                                                                                              thing about the workings of this impro-
     Generation Ago                              something about the musical culture of       vised music, hoping to answer such
                                                 the Persian people. Before I went, peo-      questions as, Is this music in some ways
     Professor Bruno Nettl
                                                 ple would ask me whether “Iran” was          like jazz, or contemporary free improvi-
     professor emeritus of musicology
                                                 the same as “Iraq” and couldn’t find it on   sation, or Indian ragas? (Well, it is, but it’s
                                                 a map. Today, Americans see Iran as a        also quite unique.) How do Persian
                                                 problem in international relations, oil      musicians’ minds work? How, creating
                                                 production, and military matters, but        music in the course of performance, do
                                                 most are unaware of the great traditions     they decide what to do next?
                                                 of literature, art, and music that have          On that first visit I met a musician
                                                 developed there over hundreds of years.      who was to make a great difference in
                                                 My first foray, five summer weeks, result-   my life, Nour-Ali Boroumand, an older
                                                 ed from a relationship the Universities      blind gentleman known mainly as a
                                                 of Illinois and Tehran had established,      teacher and authority. He agreed to be
                                                 and I arrived knowing only that Irani-       my principal guide when I returned. But
                                                 ans, like other Middle Eastern Muslims,      in the meantime we arranged to bring
                                                                                                                 him to the Urbana
                                                                                                                 campus for a month in
                                                                                                                 1967 as a Miller Profes-
                                                                                                                 sor to give classes
                                                                                                                 introducing our stu-
                                                                                                                 dents      to     Persian
                                                                                                                 music. Dr. Boroumand
                                                                                                                 had a flair for the dra-
                                                                                                                 matic, beginning his
                                                                                                                 first class by saying,
                                                                                                                 “To understand Per-
            Professor Bruno Nettl (right) and                                                                    sian music, you must
            his teacher, Nour-Ali Boroumand,
                                                                                                                 understand the singing
            playing setar at a workshop at the
                                                                                                                 of the nightingale,
            University of Illinois, 1967.
                                                                                                                 because when it sings,
                                                 tended to be ambivalent about music,         it doesn’t repeat itself, and Persian musi-
                                                 loving to hear music and yet feeling that    cians must not repeat themselves. But as
                                                 musical activity might be morally dan-       you don’t have nightingales in America,
                                                 gerous, frowned upon or forbidden by         I have brought you a recording,” and he
                                                 Islamic law, perhaps even by the Holy        proceeded to play a tape. Only later
                                                 Koran. And I knew that a major charac-       came the nitty-gritty of Persian music
s                                                teristic of the traditions that Middle       and theory. Well, nightingales—which
o
n                                                Easterners designate as their classics       symbolize the good and beautiful in
o                                                was the centrality of improvised music.      Iran—and Persian musicians do some-
r
i                                                I quickly found Persian classical music      times repeat, but he used this gesture to
t
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36
w‚£E†i‚
present important principles about
music and culture in a way none of us
ever forgot.
                                              watching him record folk songs and nar-
                                              ratives.
                                                 The richness of this tradition, in a cul-
                                                                                             exceptionally strong traditions of kind-
                                                                                             ness, courtesy, hospitality, and broad-
                                                                                             mindedness.
   Then, during1968-69, I lived, with my      ture in which on the surface music and             I returned to Champaign-Urbana and
family, in Tehran for a year, devoting        musicians were not really respected,           began teaching Persian music, particu-
myself to the problem of improvisation.       continued to amaze me.The musicians I          larly its improvisatory system and its
Dr. Boroumand told me this: We don’t          recorded thought, however, my research         interestingly ambiguous place in Islamic
teach improvisation outright; we teach a      method “wacky.” I had selected for my          culture, and I returned to Tehran a few
repertory of some 300 largely non-met-        case study the mode or dastgah of Cha-         more times, briefly, until 1974.The revo-
ric short pieces called the Radif, divided    hargah (which means “fourth place”)            lution of 1978 caused musical life to
into twelve parts, each in one mode or        —about which I later wrote a short             become vastly more restricted, music
dastgah (a concept related to the bet-        book—and in time musicians began jok-          influenced by Western musical culture
ter-known Arabic maqam). Once the             ing, calling it “the mode of Illinois.” Cha-   (which I had also tried to study) was
radif has been memorized—it should be         hargah was associated in vocal music           outlawed, and public musical life was
learned aurally, without notation, con-                                                      for a time shut down, as Ayatollah
templated, over several years—it                                                             Khomeini said,“music is a treason to our
becomes the basis or point of departure
                                              “To understand Persian                         country.” Many of the greatest Iranian
for improvised performance, somewhat                                                         musicians settled abroad, notably in
like chord changes or tunes for jazz, but      music, you must under-                        Paris and Los Angeles. But since 1990,
probably more complex. I undertook to                                                        most governmental restrictions have
learn two or three of the twelve modes         stand the singing of the                      been lifted, and the classical music of
on a small long-necked lute called                                                           Iran is again flourishing, at home and
sehtar, and I’m afraid I sound on it like a
violin student sounds after just a year of
                                               nightingale, because                          abroad, and is being taught at institu-
                                                                                             tions. Dr. Azin Movahed, who received
study, but I tried to learn Persian music                                                    her D.M.A. in flute at UIUC in 1993 and
more or less like Dr. Boroumand’s Iran-        when it sings, it doesn’t                     wrote a dissertation on Persian tradi-
ian students. I also determined to look at                                                   tional flute music, now teaches both
the system as an outsider, recording as        repeat itself, and Persian                    Western and Persian music at the Uni-
many musicians as I could, some 45 over                                                      versity of Tehran.The events of the past
the year, improvising in the same mode,        musicians must not                            decades have actually made Persian
to see how they differed or agreed, and                                                      music better known in Europe and
I got them to help me analyze their per-                                                     America; and Iranian immigrants to
formances, so I could learn what might
                                               repeat themselves.”                           America, who would once have scoffed
always be required, and what could                                                           at their traditional music at home, now
never be done, and what was typical,          with heroic poetry about great battles,        treasure it as a central aspect of their
and where musicians could show their          and was thought to have a warlike char-        heritage. I have continued to be inter-
individuality. While I was living in Iran,    acter, and so I wonder today whether           ested in cross-cultural research on
my first ethnomusicology advisee at UI,       elderly musicians who remember me              improvisational systems and hope that
Dr. Stephen Blum—Ph.D. in Musicology,         think, today, “no wonder this American         this branch of
1972, now professor of music at the           was so attracted to our warlike musical        music-making will
                                                                                                                                         w
CUNY Graduate Center and the fore-            mode.” Probably not. Governmental rela-        flourish further in                         i
most American authority on the folk tra-      tions between Iran and the United              the School of                               n
ditions of Northeastern Iran—was doing        States have had their ups and downs,           Music in perform-                           t
                                                                                                                                         e
dissertation research, and I went several     but basically, Iranians like Americans,        ance, scholarship,                          r
times to spend time with him in villages,     and I have always found Iranians to have       and education. I
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BRAVO!
 DUANE A. BRANIGAN AWARD
 Daniel Mayo, Jennifer Nelson,
 Colleen Potter
 THEODORE PRESSER UNDERGRADUATE
                                                               AWARD, SCHOLARSHIP, AND
                                                               FELLOWSHIP RECIPIENTS
                                         MARILYN PFLEDERER ZIMMERMAN

                                         EDUCATION
                                                               2003 SCHOOL OF MUSIC


                                         UNDERGRADUATE SCHOLARSHIP IN MUSIC

                                         Seredy Masar, Lisa Verdick
                                         MARILYN PFLEDERER ZIMMERMAN
                                                                                 LOUIE FRANK PIANO SCHOLARSHIP
                                                                                 JiKyung Kam, Fu-ju Song
                                                                                 ANDREW G. DE GRADO PIANO AWARD
                                                                                 Fu-ju Song
                                                                                                                         Student News
                                                                                                                         Although the School of Music honors its
                                                                                                                         talented students at the Annual Awards Lun-
                                                                                                                         cheon in the spring, when it presents cur-
                                                                                                                         rent students with awards, scholarships,
                                                                                                                         and fellowships, there are other student
                                                                                                                         winners of competitions sponsored by pro-
                                                                                                                         fessional organizations. Some of these win-
                                                                                                                         ners are listed below:
 MUSIC AWARD
                                         FELLOWSHIP IN DOCTORAL STUDIES IN       GERTRUDE WEBER GASSMANN PIANO           Margarethe Adams, doctoral candi-
 Kris Becker
                                         MUSIC EDUCATION                         AWARD                                   date in ethnomusicology, received a Sum-
 THEODORE PRESSER GRADUATE MUSIC         Rebecca Kellermeyer, Rachel Whitcomb    Laura Theby                             mer, 2003, FLAS fellowship to study
 AWARD
                                         SWANSON FAMILY PERCUSSION FELLOWSHIP    CLARA ROLLAND CHARITABLE TRUST          Kazak in Almaty, Kazakstan, under the
 Jennifer Fraser
                                         Brian Nesselroad                        SCHOLARSHIP                             auspices of the ACTR/ACCELS NIS
 BILL A. NUGENT FELLOWSHIP IN MUSIC                                              Jocelyn Ho                              Regional Language Program. She also was
                                         NANCY KENNEDY WUSTMAN MEMORIAL
 Stacey Jocoy Houck                      AWARD IN VOCAL ACCOMPANYING             PAUL ROLLAND MEMORIAL STRING AWARD      awarded a 2003-04 FLAS fellowship in
 JOHN D. AND FERN HODGE ARMSTRONG        Jeffrey Peterson                        Alda Dizdari, Xin Ted Tian              Russian-language study.
 AWARD FOR OUTSTANDING
                                         ELIZABETH MEIER FRAUENHOFFER            ROSLYN RENSCH HARP AWARD
 UNDERGRADUATE PERFORMANCE                                                                                               Kari Besharse, doctoral student in com-
                                         MEMORIAL SCHOLARSHIP                    Jing-I Jang
 winner – Claire Happel
                                         Ashmani Jha                                                                     position-theory, was the 2003 winner of
 runners-up – Rachel Scott,                                                      THOMAS J. SMITH SCHOLARSHIP             the Residence Prize at the Bourges 30th
 Nicole Stevenson                        ANN SCOTT MAHER MASON VOCAL MUSIC       Ellen Hebden, Suzanne Hermany,
                                         SCHOLARSHIP                                                                     International Competition of Electroa-
 OUTSTANDING GRADUATING SENIORS IN                                               Elizabeth Jaxon, Laura Keating, Megan
                                         Caroline Stuart                                                                 coustic Music and Sonic Art, held in
 MUSIC EDUCATION                                                                 Miller, Jennifer Nelson, Heidi Radtke
                                                                                                                         Bourges, France.
 choral – Kenneth Haug, Jeremy Little    GOLDEN LYRE FOUNDATION AWARD
                                                                                 VERNA K. TOWNSEND AWARD
 elementary general – Annabel Baptist,   Leslie Damaso
                                                                                 Elizabeth Jaxon, Thomas Neisler         Ashley Boughton, junior student,
 Julie Derges
                                         CHARLES F. AND HELEN W. LOEB VOICE
 instrumental – Lisa Khalili,                                                    DOLORES DLESK SCHOLARSHIP               received a European Union Grant for the
                                         SCHOLARSHIP
 Michelle Molnor                         Abigail Galle                           Katherine Cameron, David Farrell        spring semester.
 ROBERT E. GRAY TROMBONE AWARD                                                   UI SYMPHONY ORCHESTRA STUDENT
                                         DOROTHY E. BOWEN VOICE SCHOLARSHIP                                                                Stephanie Chigas was
 Andrew Burkemper                                                                COMPOSITION AWARD
                                         Rachel Scott
                                                                                 Michael Drews                                             a semi-finalist in the Metro-
 EDWARD J. KROLICK STRING AWARD          ELIZABETH MEIER FRAUENHOFFER
                                                                                 CHIP DAVIS/MANNHEIM STEAMROLLER
                                                                                                                                           politan Opera Auditions,
 Charles Macko                           MEMORIAL AWARD IN MUSIC
                                                                                 ORCHESTRA AWARD                                           held in New York in
 DANIEL J. PERRINO SCHOOL OF MUSIC       Amy Olipra
                                                                                 Cristina Lixandru                                         March, and was the first
 SCHOLARSHIP                             GRACE ELIZABETH WILSON MEMORIAL                                                                   place winner of the 15th
 Catharine Casey                                                                 DIVISION ACHIEVEMENT AWARDS
                                         AWARD FOR EXCELLENCE IN SINGING
                                                                                 brass – Jim Siders, Sybil Siska         Annual Bel Canto Scholarship Foundation
 ROBERT E. THOMAS AWARD                  Desireé Hassler
                                                                                 composition-theory – David Coll         Competition for Young American Opera
 Sara Marsh                              SARA DE MUNDO LO AWARD                  music education – Jennifer Buhrow,      Singers. She spent the summer performing
 GUY M. DUKER INSTRUMENTAL MUSIC         Christin-Marie Hill                     James Feldpausch, Laura-Lee             the role of Isaure in Offenbach’s Bluebeard
 EDUCATION AWARD                                                                 Johnson, Laura Skolnik, Joshua Spear    and covering the role of Zerlina in Don
                                         JOSEPH W. SCHLANGER MEMORIAL OPERA
 William Simpson                         SCHOLARSHIP                             musicology – Ashley Boughton
                                                                                                                         Giovanni for the Glimmerglass Opera Fes-
                                         Daniel Cardwell                         organ/harpsichord – Jeremy House
 JOHN AND ELVIA SUTER AND KARL                                                                                           tival in New York. She will be at the
                                                                                 percussion – Roxanne Moore
 MONTAGUE HAKES AWARD                                                                                                    Boston Opera Institute in Fall, 2003. In
                                         ILLINOIS OPERA THEATRE ENTHUSIASTS      piano – JiKyung Kam
 Patrick Hayes                           AWARD FOR EXCELLENCE                                                            April, 2004, Stephanie will sing Mahler’s
                                                                                 string – William Rietveld, Xian Meng
 WARREN H. SCHUETZ MEMORIAL AWARD        Darren Anderson, Desireé Hassler        voice – Ashley Lopez, Rebecca Rock,     Lieder eines Farenden gesellen and
 Stephen Sieck                           GERALDINE B. COOKE FELLOWSHIP AND       Allison Semmes, Stacey Tavor            Brahms’ Alto Rhapsody with the Cham-
                                         SCHOLARSHIPS                            woodwind – Heidi Radtke,                paign-Urbana Symphony.
 JUDY RIEMENSCHNEIDER MARDEROSIAN
 MEMORIAL MUSIC SCHOLARSHIP              fellowship – Jason Hibbard              Catherine Starks
 Abby Burgett                            opera scholarship – Chad Cygan
                                                                                 SCHOOL OF MUSIC CONCERTO COMPETITION    Minsoo Cho, graduate student in com-
                                         scholarship – Lucas Alberts, Courtney
s ALEXIS P. YOUNG MEMORIAL MUSIC                                                 Jing-I Jang, Eunjin Lee, Xian Meng,     position-theory, had a composition, The
                                         Huffman, Nicole Stevenson
o EDUCATION AWARD                                                                Gerald Wood                             Day, selected for performance at the
n                                        GERALD M. CRYSTAL MUSIC ORGAN AWARD
o Lauren Hurd                                                                                                            2003 SEAMUS National Conference,
r                                        Brett Milan
                                                                                                                         hosted at Arizona State University, March
i CAROLYN MITCHELL DAVY MEMORIAL
t AWARD                                  DOROTHY R. CLEMENTS SCHOLARSHIP                                                 13-15, 2003.
i Elizabeth Jaxon                        Kris Becker
e
s
38
Kyongmee Choi, doctoral student in                                                                              James Ivey, graduate
composition-theory, was one of four final-     Ivan Elezovic, doctoral student in com-                          student in voice, recently
ists for the ASCAP/SEAMUS Student Com-         position-theory, was awarded the Student                         won a Metropolitan
poser Commission Award.                        Bursary Grant by the Manitoba Arts Coun-                         Opera regional audition
                                               cil, Winnipeg, Manitoba, Canada, on July                         and participated in the dis-
Kate Christman, graduate student in            24, 2003, in the amount of $3,000.                               trict auditions in Chicago.
musicology, received the Diffenbaugh Fel-
lowship, administered by the University of     Diana Flesner, doctoral student in vio-                            Jing-I Jang, graduate
Illinois for incoming students who are resi-   loncello, was awarded a 2003-04 FLAS                               student in harp, was a
dents of Missouri.                             fellowship in Russian language study.                              finalist in the National
                                                                                                                  Anne Adams Awards
Julia Cortinas, doctoral student in ethno-                       Audrey Good, incoming                            Auditions, as well as a
musicology, was awarded a 2003-04                                freshman student, was                            finalist in the Franz Josef
FLAS fellowship in Russian-language study.                       awarded First Prize, age      Reinl-Stiftung International Harp Competi-
                                                                 18 and under, Internation-    tion, held in Munich, Germany, in March,
Maria Cueva-Mendez, graduate stu-                                al Women’s Brass Confer-      2003. She performed Reinhold Glière’s
dent in piano, was selected for the 2003                         ence Competition, Illinois    Concerto for Harp and Orchestra with the
Kate Neal Kinley Memorial Fellowship           State University, June, 2003. She also won      UI Symphony Orchestra on November 13,
from the UI College of Fine and Applied        the super finals, competing with all other      2003.
Arts.                                          brass winners in her category. She placed
                                               second in the 2003 Midwest Young Artists                         Elizabeth Jaxon, soph-
Brad Decker, doctoral student in compo-        Concerto Competition, held in January,                           omore student in harp,
sition/theory, had his composition Mon-        2003.                                                            received First Prize, Inter-
tage selected as a finalist in the Bourges                                                                      mediate II Division of the
30th International Competition of Electroa-    Arek Gorecki, D.M.A candidate, won                               American Harp Society’s
coustic Music and Sonic Arts, held in July,    the principal trombone position in the Civic                     Biennial National Solo
2003, in Bourges, France. His composi-         Orchestra of Chicago—the training orches-       Competition, held in June, 2003, in Salt
tion Ictus was selected for performance at     tra of the Chicago Symphony Orchestra.          Lake City, Utah. She also was awarded
the 2003 SEAMUS National Conference,                                                           the American Harp Society Foundation’s
hosted by Arizona State University, March      Claire Happel, senior student in harp,          Grandjany Prize for best performance of
13-15, 2003.                                   was a finalist in the June, 2003, National      Three Dances by Anthoine Francisque.
                                               Anne Adams Awards Auditions in Salt             Jaxon was a finalist in the National Anne
Alda Dizdari, graduate student in violin       Lake City, and she won Fifth Prize in the       Adams Awards Auditions.
performance, received the 2003 Kate            Advanced Division of the American Harp
Neal Kinley Memorial Fellowship of the UI      Society’s 2003 National Solo Competition        Lissette Jimenez, doctoral student in
College of Fine and Applied Arts.              Finals. As winner of the John D. and Fern       voice, studied with Professor Jerold Siena
                                               Hodge Armstrong Competition, she per-           in Salzburg last summer and has been
Michael Drews, doctoral student in com-        formed Gabriel Pierné’s Concertstück with       awarded a University fellowship to contin-
position-theory, won the 2003 ASCAP/           the UI Philharmonia on October 12, 2003.        ue her studies this year.
SEAMUS Student Composer Commission
Award. This award was presented at the         Courtney Huffman, junior student in             Natasha Kipp, doctoral student in musi-
National Conference of SEAMUS 2003             voice, received a Bel Canto Scholarship         cology, was awarded a Summer 2003                w
Awards Banquet, held at Arizona State in       (Chicago, Illinois) and a Sunriver Music        FLAS fellowship to study Azeri in Baku,          i
March. The commission includes an hono-        Festival Scholarship (Oregon) for vocal         Azerbaijan, under the auspices of the            n
rarium for a new electro-acoustic composi-     study. She also participated in the Universi-   ACTR/ACCELS NIS Regional Language                t
tion, a stipend for copying and material
                                                                                                                                                e
                                               ty of Miami’s 2003 Summer Vocal Pro-            Program with supplementary funding in the        r
costs, a plaque, a performance at the SEA-     gram in Salzburg, Austria.                      form of a Department of State Fellowship.
MUS 2004 National Conference, and a                                                            She also was awarded a 2003-04 FLAS
                                                                                                                                                2
                                                                                                                                                0
guaranteed recording on the SEAMUS                                                             fellowship in Russian language study.            0
Compact Disc Series, Vol.13.                                                                                                                    4
                                                                                                                                                39
     Student News
     Sarah Long, doctoral student in musicol-        in the national Metropolitan Opera Audi-       Gerald Wood, doctoral student in horn,
     ogy, is the recipient of a 2003-2004            tions in New York in March, 2004, per-         won Second Prize, professional division, of
     teaching assistantship in Versailles, France,   forming works by Handel, Donizetti,            the International Women’s Brass Confer-
     from the French Embassy. She is also car-       Puccini, Menotti, and Mozart.                  ence Competition, held at Illinois State Uni-
     rying out research in the Bibliothèque                                                         versity, June, 2003.
     Nationale in Paris for her dissertation on      Paul Oehlers, graduate student in com-
     Parisian printers of plainchant service         position-theory, had his composition Resid-    Miriam Wood, graduate student in horn,
     books in the early 16th century.                ual Impact selected for performance at the     won Second Prize, college division, of the
                                                     2003 SEAMUS National Conference, host-         International Women’s Brass Conference
                     Michelle Marshall,              ed at Arizona State University, March 13-      Competition, held at Illinois State Universi-
                     graduate student in trum-       15, 2003.                                      ty, June, 2003. She also won the 2003
                     pet, won Second Prize in                                                       Midwest Horn Workshop Solo Competi-
                     the Trumpet Category II         Ann Oleinik, graduate student in musi-         tion, graduate division, held at Bowling
                     Division, International         cology, received an award from the Tinker      Green University in February, 2003
                     Women’s Brass Confer-           Foundation for summer field research in
     ence Competition, held at Illinois State Uni-   Belize.
     versity in Normal.
                                                                     Colleen Potter, sopho-
                                                                     more student in harp, was
                                                                                                    More Student News
     Ed Martin, graduate student in composi-
                                                                                                    Elizabeth Anderson, graduate student
     tion-theory, had his composition Metalis-                       a finalist in the 2003
                                                                                                    in voice, participated recently in a master-
     sion selected for performance at the 2003                       National Anne Adams
                                                                                                    class with Professor Jerold Siena in Urba-
     SEAMUS National Conference, hosted at                           Award Auditions.               nia, Italy.
     Arizona State University, March 13-15,
     2003.                                                                                                             Brad Blackburn, doc-
                                                                      David Psenicka, gradu-                           toral student in composi-
     David McDonald, doctoral student in                              ate student in composition-                      tion-theory, made
     musicology, was awarded a 2003-04                                theory, had a paper                              arrangements of the Illi-
     Fulbright-Hays Fellowship for Doctoral                           accepted at the 2003                             nois state song, By Thy
     Dissertation Research Abroad. He is cur-                         International Computer                           Rivers Gently Flowing, to
     rently conducting ethnomusicological                             Music Conference in Sin-      be used in promotional videos for the Uni-
     fieldwork with Palestinian musicians in         gapore. The title is “SPORCH: An Algo-         versity, produced by the Office of Public
     Amman, Jordan.                                  rithm for Orchestration Based on Spectral      Affairs. The Illinois Brass Quintet per-
                                                     Analyses of Recorded Sounds.”                  formed on these recordings.
     Jeff Morton, doctoral student in composi-
     tion-theory, was a winner in the 21st Cen-      John Ritz, graduate student in composi-        Benjamin Bunsold, doctoral student in
     tury Piano Commission Competition for           tion-theory, had his composition lean back-    voice, returned to the UI after teaching and
     2003. He and the other winners, Maria           wards inside selected for performance at       performing opera and oratorio in Texas
     Cueva-Mendez, graduate student in               the Electronic Music Midwest conference,       and thourghout the Southwest. Last summer
     piano, and Sharon Hudson, doctoral              held October, 2003.                            he sang the role of B.F. Pinkerton in
     student in piano, performed his and other                                                      Madama Butterfly for the Janiac Opera
     works in concert on February 26, 2003,          Jessica Shelvik, graduate student in
                                                                                                    Company in Brevard, North Carolina.
     at the Krannert Center.                         musicology, was awarded the Skalnick
                                                                                                    While there, he also sang with Jerry
                                                     Prize for the Best Graduate Essay in Russ-
                                                                                                    Hadley (M.M.’77) in a concert recital
                      Adelaide Muir, junior          ian and East European Studies in Spring,
                                                                                                    and participated in Hadley’s masterclass.
                      student in voice, won the      2003. She also was awarded a Summer,
                      Millikin University Concer-    2003, FLAS fellowship to study Russian         Daniel Cardwell, graduate student in
                      to Competition, held in        language at Indiana University, as well as     voice, appeared this summer in a produc-
                      Decatur, Illinois, and         a 2003-04 FLAS fellowship in Russian-lan-      tion of The Merry Widow in Wisconsin.
                      appeared with the Mil-         guage study.
     likin/Decatur Symphony. She also won the                                                       Chieh-Hsien Chien, graduate assistant
s    Hollis Prize, which included a solo recital                    Stephen Sieck, gradu-           in University Bands, was appointed as
o    at the Harold Washington Auditorium in                         ate student in choral con-
n                                                                                                   instructor of flute, Southeastern Louisiana
o    Chicago. Muir was a winner in the region-                      ducting and literature, was     State University (Hammond).
r    al Metropolitan Opera Auditions, held at                       the 2003 winner of a
i
t    the Krannert Center for the Performing Arts                    Kate Neal Kinley Memori-
i    in October, and won the district auditions                     al Fellowship, UI College
e
s    in Chicago in November. She will compete        of Fine and Applied Arts.

40
Ben Collins, junior student in music edu-      was singled out for recognition in the Feb-    Andrew Packer, junior student in per-
cation, participated this past summer in the   ruary, 2003, issue of Early Music. This        cussion, participated this summer in the
Drum Corps International 2003 tour. The        year she is an adjunct visiting assistant      Drum Corps International 2003 tour. The
twelve-week season ended on August 10          professor at Illinois Wesleyan University      twelve-week season ended on August 10
at the Citrus Bowl in Orlando, Florida. Ben    (Bloomington), teaching the Renaissance        at the Citrus Bowl in Orlando, Florida.
performed with the Cavaliers from Rose-        and Baroque courses for music majors.          Packer performed with the Cavaliers from
mont, Illinois.                                                                               Rosemont, Illinois.
                                               Ashmani Jha, undergraduate student in
Richard Dammers, doctoral student in           voice, sang roles of Ramiro in Die Gärtner-    Evelyn Pfeifer, doctoral student in
music education, presented a session,          in aus Liebe, the Third Lady in Die Zauber-    choral conducting and literature, is present-
titled “Supporting Student Practice via the    flöte, and Prinz Orlofsky in Die Fledermaus    ly teaching at Augustana University Col-
Web: The LaDue Elementary Band Web-            this summer with the Amadeus Oper-             lege, Camrose, Alberta, Canada.
site,” at the National Symposium for Music     nensemble, the performing wing of the
Instruction and Technology, held at Illinois   Austrian Mozart Academy.                       All of the choral/general music education
State University (Normal).                                                                    students who were seeking teaching posi-
                                               Karen Juliano, graduate student in             tions for this year were placed in jobs in
Roxann Ferguson, graduate student in           voice, is artist/instructor of voice at the    Illinois unless otherwise noted. They
voice, sang the role of Sandrina in Die        Wausau Conservatory of Music. She was          include Jenny Rose (Cooper Junior High,
Gärtnerin aus Liebe this summer with the       heard over the Wisconsin Public Broad-         Buffalo Grove), Ken Haug (Crystal Lake
Amadeus Opernensemble, the performing          casting Service on September 19, when          South High School), Jeremy Little (Luther
wing of the Austrian Mozart Academy.           she sang excerpts from Tosca, and was          High School, Milwaukee, Wisconsin), Erin
                                               heard again in December, when she sang         Carlsen (North Shore Middle School,
Christine Ford, graduate assistant in          the soprano solos in Handel’s Messiah          Northbrook), Kristin Moroni (Still Mid-
University Bands, was appointed assistant      with the Wausau Symphony.                      dle School, Naperville), Amy Kim (Jack
band director and marching band director                                                      London Middle School, Wheeling), Julie
at Eastern Illinois University (Charleston).   Alexia Kruger, graduate student in             Derges (Lake Anne Elementary School,
                                               voice, sang in the Chicago Symphony            Reston, Virginia), Annabel Baptist
Abigail Galle, undergraduate student in        Chorus last season.                            (Orchard Place Elementary School, Des
voice, participated in the University of                                                      Plaines), and James Feldpausch
Miami’s 2003 Summer Vocal Program in           Charles Lynch, graduate student in harp,       (Urbana Middle School). Heath Morber
Salzburg, Austria.                             co-authored with Ann Yeung an article          has taken a church music position and
                                               titled “Roslyn Rensch Papers and Harp Col-     Amy Olipra is going to graduate school
Desirée Hassler, graduate student in           lection at the University of Illinois at       at Indiana University.
voice, sang in the Chicago Symphony            Urbana-Champaign” (Summer, 2003,
Chorus last season                             American Harp Journal). He gave a bene-        Drew Russell, sophomore student in
                                               fit performance with organist Lyn Larsen for   music education, participated this summer
Jason Helfer presented a session, titled       the Hopeful Heart Foundation at the Sanfil-    in the Drum Corps International 2003 tour,
“Music in a Flash: Incorporating Flash         lipo family’s Victorian Palace in Barring-     ending on August 10 at the Citrus Bowl in
Technology in the Music Curriculum,” at        ton, Illinois, in June, 2003. In Fall, 2003,   Orlando, Florida. Russell performed with
the National Symposium for Music Instruc-      Lynch was appointed as adjunct harp fac-       the Glassmen from Toledo, Ohio.
tion and Technology, which was held at Illi-   ulty member at Olivet-Nazarene University
nois State University (Normal).                in Kankakee, Illinois.                         Allison Semmes, undergraduate student
                                                                                              in voice, participated in the 2003
Stacey Jocoy Houck, doctoral student                            Roxanne Moore, soph-          SongFest at Pepperdine University in Mal-
in musicology, delivered an invited lecture                     omore student in percus-      ibu, California, as an apprentice.
for the Richard Murphy Colloquium series                        sion, participated this
at Oberlin College in April, 2003, speak-                       summer in the Drum Corps      Ji-yon Shim was visiting adjunct instruc-
ing on “Christmas Songs as Royalist Propa-                      International 2003 tour,      tor of cello at Eastern Illinois University in
ganda in 17th-century England.” This                                                          2002-2003.
                                                                ending on August 10 at
summer she continued research for her dis-                                                                                                     w
                                               the Citrus Bowl in Orlando, Florida. She                                                        i
sertation in the city archives of Kendal and                                                  Rachel Whitcomb, doctoral student in
                                               performed with the Cadets of Bergen                                                             n
Stafford, and in the British Library in Lon-                                                  music education, presented a session,
                                               County (New Jersey), which won its record                                                       t
don and the Bodleian Library in Oxford.                                                       titled “Rediscovering Hyperstudio in the         e
                                               third consecutive High Percussion Award.
                                                                                              Music Classroom,” at the National Sympo-         r
Her article on the catch, a popular type of
                                                                                              sium for Music Instruction and Technology,
part-song in 17th-century England (in                                                                                                          2
                                                                                              held at Illinois State University (Normal).      0
Essays on Music and Culture in Honor of
                                                                                                                                               0
Herbert Kellman [Paris: Minerve, 2001])                                                                                                        4
                                                                                                                                               41
     Alumni Profile




     TOP BRASS
     Between them, alumni David Bilger (B.M.,‘83) and Chris Hall
     (B.M.,‘90) span the orchestral brass world, high to low and symphony
     to opera orchestra. Bilger is principal trumpet in the Philadelphia
     Orchestra; Hall, tuba in the Metropolitan Opera Orchestra.
     Anne Mischakoff Heiles

                                Bilger spent his youth in Milwaukee       experience. He would pass out lead sheets from a fake book
                                but turned to the University of Illi-     and have us write Bach-style chorales based on them—surre-
                                nois because he was drawn by its          al but educational.”
                                trumpet teacher David Hickman. “I             Wanting to marry and start a family, Bilger looked for stead-
                                came and auditioned, loved the cam-       ier work. He won a principal chair in the Dallas Symphony.
                                pus, and the rest is history. In high     “Soon after we got there our daughter arrived. Emily is now 14
                                school I had studied with a trum-         years old, Richard is 10, and Abraham is 8. I had already subbed
                                peter in the Milwaukee Symphony           in the section with the Oakland Symphony, the New York Phil-
                                who encouraged me toward Urbana           harmonic, and the Met orchestras, but playing first, playing
                                because of Hickman and the reputa-        solo parts, is different. When I began with Dallas, what was
                                tion of the School of Music at Illi-      really striking was the quiet before the first downbeat. Wow!
     nois. In the summer our brass quintet went to Banff to work          Something hits you. It took a while also to get used to playing
     with the Canadian Brass. I studied there with Ronald Romm,           the same program three or four times during a week. In school
     who is amazing: he has such a natural approach to music              or free-lancing, it’s one-and-done. In the orchestra you have to
     making and such a clear sense of how to connect with an              come to the repeated program fresh each time. Though it’s
     audience, musically and in terms of being a stage personality.       easier to play well, it’s harder to have that sense of inspiration
     Romm coached us and worked with us on how to present                 four times through the show. I’ve now been in the orchestra
     ourselves. He helped me to feel comfortable on stage.”               15 years, so it’s the fiftieth time through Pictures at an Exhi-
     (Romm is currently a music faculty member at the UI.)                bition. Bud Herseth said he played Pictures some 500 times in
        After the UI, Bilger studied at Juilliard with Mark Gould,        the Chicago Symphony. Not just recreating the same old thing
     then co-principal trumpet in the Metropolitan Opera. “As a           is a challenge. It’s a living art form, and we have to remember
     student, I looked toward being a soloist and playing chamber         that, especially with the standard repertoire.
     music, though my teachers were always telling me, ‘You                   “Part of staying fresh is playing off colleagues. There are
     should get an orchestra job.’ I was soaking up their teaching        different players in the orchestra and conductors on the podi-
     of the orchestral excerpts, but came late to the idea of play-       um each year, bringing varied attitudes toward the music. If
     ing in an orchestra full-time. I free-lanced in New York for five    the conductor gives you some freedom, you can try some-
     years, playing everything from extra in the Philharmonic and         thing a little new. The movie actor Ian McClellan said he
     Met to TV commercials and Broadway shows. I felt well pre-           played off one of the other actors, doing his line the same
     pared for that after playing in the jazz program at Illinois, then   each time. The other actor, however, never did it the same
     in a band under Ray Sasaki.” Remembering Sasaki, Bilger adds,        way because he wanted to give the director lots of choices in
     “I used to hear him play at a vegetarian restaurant called           the editing—two different philosophies of how to act. Some
s
o    Nature’s Table, on campus, on Goodwin Avenue. He played              musicians strive to play the phrase the same each time, oth-
n    with Morgan Powell, occasionally with Sal Martirano and              ers to turn the line a little differently, give it a slightly differ-
o
r    some of the more colorful characters from the faculty. It was        ent inflection. One of the great joys of being in the
i
t    really a hoot. Being in Martirano’s theory class was a great         Philadelphia Orchestra is the collective expectation about
i
e
s
42
       “It’s almost expected that you’re going to go for the phrase, no matter what.
        There’s an expectation of accuracy, but also a tolerance for freedom as part
        of the Orchestra’s tradition or history. It gives the first-chair players the
        opportunity to step out, stretch, and try new things.”
                                                                                                            – David Bilger

risk-taking. It’s almost expected that you’re going to go for the    p.m. that afternoon with Bruckner’s Seventh Symphony, and
phrase, no matter what. There’s an expectation of accuracy,          Maestro expected us to rehearse. We went in and said,“Mae-
but also a tolerance for freedom as part of the Orchestra’s tra-     stro,this is not such a good idea for us.’It just had not occurred
dition or history. It gives the first-chair players the opportu-     to him, as a pianist, that the hours of playing are not the same
nity to step out, stretch, and try new things.”                      for a brass player, even though he’s conducted for 40 or 50
   Talking about recently retired Philadelphia Orchestra             years.That has happened with other conductors as well.”
music director Wolfgang Sawallisch, Bilger notes,“His last con-         It isn’t easy to point out to world-renowned conductors
certs with us were in May, 2003, when he was about 80 years          something like wanting to take it easy on a concert day. Bil-
old and seemed to do minimal conducting. Perhaps he was              ger can do it:“You get up your nerve and knock on the door.
less a minimalist with his conducting gestures when he was           Sawallisch and I had a great relationship; I could basically tell
younger and more vigorous. He tends to show the shape but            him what was on my mind without having to put it in a soft
not get bogged down too much in the detail. Christoph                sell. I could be frank with him, and he was with me. It’s great
Eschenbach is now the music director, though Simon Rattle            to have that kind of a relationship.
will conduct a significant portion of concerts. Two themes              “Sawallisch is so good about trying to integrate the brass
will run through the subscription programs in the coming             sound into the orchestra and working with us in a way that
few years: works by Messiaen and Mahler.”                            makes us think musically. Charles Dutoit, who conducts us in
   Famed over the decades for the extraordinary sound of its         Saratoga Springs for three weeks, encourages the brass, aim-
string sections, the Philadelphia Orchestra presents a special       ing for more brilliant a sound. He programs stuff that’s vis-
challenge to its brass players. Bilger admits,“The first week I      cerally exciting, loud and big, such as Rite of Spring,
was in the orchestra, one of the string players came up to me        Zarathustra, and some Rachmaninov. He encourages people
and said, ‘I really like the way you play, but remember: It’s        to make it exciting.”
about the strings.’ In the audition process they take wind and          On the faculties of Curtis Institute and Temple University,
brass players who can blend with that string sound in their          Bilger teaches privately, coaches brass quintets, and conducts
approach. With Sawallisch, Beethoven and Brahms predomi-             brass ensembles. He limits his class, however, wanting to
nated the programming. Fortunately for the brass, he also            spend time with his growing family.
included Richard Strauss, but the classical composers leave
the trumpet sitting on the sidelines more than does later
music. There are great trumpet parts throughout the reper-
toire, however, so there’s a time to shine—and a time to revel
in the string sound. Certainly it is a different approach than       Chris Hall grew up in Wheaton, Illinois, and attended his state
with the Chicago Symphony.We’re conscious in the brass sec-                                   university for an all-around educa-
tion about working toward blend and trying to have a differ-                                  tion at affordable prices. “In my
ent balance with the strings than you might hear in Chicago                                   mind it met all my expectations. It
or New York.”                                                                                 made me well-rounded as a musi-
   Bilger comments that many conductors don’t fully under-                                    cian, not only through the private
stand the difficulties of playing a brass instrument. “They’re                                studies but also the academic cours-
not so aware of the best way to rehearse to keep chops fresh                                  es. It made my parents happy, in that
through a week or to keep the fatigue level down. It’s much                                   they didn’t have to shell out the
different than it would be for a string player. If we have a dress                            ‘doughnuts’ for the tuition that
rehearsal in the morning followed by a matinee or evening                                     some conservatories cost—and, any-
                                                                                                                                          w
concert, it’s better not to keep going over the big, high, loud                               way, I might have not been able to          i
parts in the brass. I love Sawallisch like a father, but one time    handle the pressure of Juilliard at that point.The UI was chal-      n
the principal trombonist and I were each to play a solo (mine        lenging and certainly the right school for me then. I was self-      t
                                                                                                                                          e
was the Tomasi Trumpet Concerto) with the orchestra at               critical, but the professors were always very supportive. I          r
Carnegie Hall. We had a rehearsal scheduled from 3 to 5:30           practiced ferociously, fitting practice in along with the
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     Alumni Profile
             “Chances are you’ve done the scheduled opera many, many times and need
              only to stay mindful. I have a good memory for ‘guessing’ entrances without
              counting. After you play enough long operas you get used to staying focused.”
                                                                                                                      – Chris Hall


     courses. The whole program helped me as a musician. The               weeks of concerts in the parks, three weeks of “tough pre-
     academic courses, notably the psychology and mathematics,             season preparation,” and up to four weeks of touring, leaving
     were also great for my education.”                                    most of the summer off. “Last summer, the orchestra had a
         Hall studied with Fritz Kaenzig for three years, who, he          tour in August that included Mahler’s Sixth Symphony, which
     says, “told me all the right things. I got a lot from him as a        has a tuba solo at the beginning of the fourth movement, the
     musician in learning to understand the composers’ desires; he         kind of thing you want to be in good shape for. So instead of
     was very good at teaching style. He could help young players          vacationing I practiced all summer to be ready.”
     find out what was possible, stopping them before they bit off             During the season, he is expected to play four operas
     more than they could chew, such as getting involved in too            weekly. The long hours of “having the instrument in your
     many performance commitments at once. The composition-                face” are manageable with good conditioning, experience,
     theory and history courses were great for helping me grasp            and the Met’s extra players lending days of respite.To stay in
     what was special about each composer. This insight contin-            shape, important not only for playing but also toting the
     ues to help me every day.”                                            instrument, Chris goes to a fitness center, rides a bicycle, and
         When Mickey Moore replaced Kaenzig as professor of                practices Pilates. He and his wife head a household that
     tuba at Illinois, Hall admits to suffering from a case of “seniori-   includes two boys under age five and Dana’s teenage sister, so
     tis.” Fortunately, Moore was a good psychologist. Hall remem-         there’s little danger of his leading too sedentary a life.
     bers ordering a new tuba, which was shipped to Moore and                  Staying focused for operas that last up to five hours is ini-
     arrived the day of his senior recital. Knowing that Chris             tially a hurdle, however. “There’s a big difference in the
     would want to play the unfamiliar instrument on the recital,          demands of endurance, depending on what instrument you
     Moore wisely told him nothing of its arrival until after his          play and on what work is being presented. Puccini’s La
     recital.                                                              Bohème has 111 notes in the ‘trombone basso’ part, which
         From the UI Hall went to Arizona State University for a           the Met uses tuba to play. I know; I’ve had enough time in that
     master’s degree and then returned to the Chicago area for a           opera to count them. That isn’t true when we perform
     couple of years’ experience in the Civic Orchestra. It didn’t         Prokofiev’s War and Peace, a five-hour production with a
     hurt that he was able to take occasional lessons there with           total of 50 minutes of intermissions. In that one, I’m lucky to
     retired Chicago Symphony great Arnold Jacobs, as Kaenzig              set the horn down for more than a minute or two.
     had suggested he do. Then he set out along the orchestra-                 “Chances are you’ve done the scheduled opera many,
     audition route. Each audition taught him something and rein-          many times and need only to stay mindful. I have a good
     forced a lesson Kaenzig had emphasized at UIUC: Expect the            memory for ‘guessing’ entrances without counting.After you
     unexpected.                                                           play enough long operas you get used to staying focused. It’s
         Another lesson he learned about auditioning was how               a matter of survival, like staying awake during a long car
     important it is “not to care, at the moment, what you think of        drive. You feel yourself start wanting to fall asleep, and you
     how you sound. Removing the emotional side, so that it does-          quickly roll down the windows. I remember a moment in a
     n’t interfere with the physical is a difficult mountain to            performance of a Wagner opera, when I thought to myself,
     climb,” he adds.“Preparing for an audition can only make you          ‘Gee, this music sounds so different than anything I can
     better, even though you might get sick of practicing the same         remember, yet so familiar…Oh, no! I’m supposed to be play-
     excerpts over and over again.”                                        ing!’ and grabbed my horn. But, most of the time, the tuba is
         Chris Hall began as principal tuba of the Metropolitan            already off the floor at that point.”
     Opera Orchestra in 1996, moving with his wife, Dana, to New               The plus side of life in the Met are the musical highlights.
     Jersey. Joining the country’s top opera orchestra was relative-       “It’s an education just to hear all those great singers on stage,
     ly comfortable for the young player, and he discovered that           day in and day out. I learn things about breathing and phras-
s    many colleagues were in his age range.Although listed simply          ing from them all the time. James Levine is a pleasure to work
o
n    as “tuba” on programs, he actually is a principal player, and an      for. He has a sense of when not to tell us what to do. If he
o    associate or sometimes a substitute tuba player occasionally          hears a problem in our playing, he can sense when something
r
i    take over.The Met’s season is basically 32 weeks, with three          will clear up just by playing it another time and when his say-
t
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44
ing something will improve the situation. If he’s working                 it’s a section role, in the orchestra the tuba is a bridge
with the brass on balance, and asks me to play softer, I do it.           between the strings and brass, depending on the orchestra-
He has a good set of ears, and I respect his advice.                      tion. A string player friend of mine once said to me that the
    “Highlights for me at the Met usually involve Levine’s con-           two instruments in the orchestra that stick out the most
ducting, including Wagner’s Ring cycle, Berg’s Wozzeck, and               when they’re really bad are the trumpet and tuba. If they are
Strauss’s Der Rosenkavalier. Strauss’s Die Frau ohne Schat-               great, however, they can help the group to sound its best.”
ten with Christian Thielemann was another wonderful expe-                     An enthusiastic teacher at SUNY in Purchase, New York,
rience.” Some operas he looks forward to less than others.                Hall says “I love teaching; that’s my favorite thing. At times, I
Samson and Delilah, by Saint-Saëns, has some really catchy                learn more from teaching than I do from actually playing
tunes that stick in my head—maybe for five years longer than              myself.”A tuba enthusiast with an interest in the design of the
I would like.”                                                            instrument, he has even incorporated the name of one of the
     Hall sees good basic playing as the common ground for                tuba’s parts into his e-mail address. I
performing on tuba with a band, symphony, or opera orches-
tra.“If you can play short [articulations] well, and long well,
you’re OK in any ensemble, assuming you know what the
style is. If you can play Bp or Baaa, crescendo and decrescen-
do and all that nice stuff, and be in tune with the group,
you’re probably OK.The tuba plays the bass role; in the band




                                          IN SUPPORT OF THE SCHOOL OF MUSIC
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                                                                      To make a gift, please go to: www.faa.uiuc.edu/support_faa/gift.html               5M 9DH
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     Alumni Notes
     Janet Manning
     coordinator, alumni relations and development


     2003 State of Illinois Teacher of the           Morrison’s teaching style is one of leader-      ed: Wynton Marsalis named Morgan
     Year Honored at Annual Awards                   ship. He asks questions of students; he          director of the first annual “Essentially
     Luncheon                                        directs, motivates, challenges, and empow-       Ellington Band Director Academy” in
                                                     ers them. This technique encourages the          2000, which was presented in Aspen
                                                     learning experience to continue on its           under the auspices of Jazz at Lincoln Cen-
                                                     own, and students evolve into self-directed      ter; and Morgan was selected for the Presi-
                                                     teaching leaders.                                dential Scholars Teacher Award by the
                                                        As Illinois Teacher of the Year, he will      White House Commission on Presidential
                                                     share his philosophy with teachers, stu-         Scholars at a ceremony at the White
                                                     dents, administrators, and community mem-        House in 1998. The National Foundation
                                                     bers when he speaks at teacher workshops,        for Advancement in the Arts selected him
                                                     educational conferences, and civic and           as one of its two 1997 recipients of the
                                                     community meetings this year. Morrison will      Distinguished Teacher in the Arts award,
                                                     also represent Illinois at the NASA Space        the first and only jazz instructor to be so
                                                     Camp in Huntsville, Alabama, and in the          honored. In addition to teaching, his
                                                     National Teacher of the Year program,            ensembles undertook six international tours
                                                     sponsored by the Council of Chief State          between 1982 and 1993 and recorded
                                                     School Officers and Scholastics.                 nine musical albums. Also, Dr. Morgan
                                                        We extend our sincere congratulations         was selected as one of ten prominent U.S.
                                                     to Dave on this recognition of his tremen-       jazz educators in 1989 to be a special
     The School of Music recognized David L.         dous work on behalf of the music profes-         guest of the Montreux (Switzerland) Jazz
     Morrison (B.S.’73, M.S.’77) at its annual       sion and public school programs.                 Festival.
     Awards Luncheon on May 5 with a bronze                                                               Morgan continues an active career as a
     plaque for his selection as the 2003 State                                                       pianist, composer/arranger, and clinician.
     of Illinois Teacher of the Year. He was         Convocation Speaker Receives                     He serves on the board of directors of the
     selected from among 14 outstanding final-       Alumni Achievement Award                         Performing and Visual Arts High School
     ists across all disciplines. The award pro-                                 Robert Badgett       and is vice president of education of
     gram is administered by the Illinois State                                  Morgan               Young Audiences of Houston.
     Board of Education. Morrison, a resident                                    (D.M.A.’74)              Congratulations to Robert, another out-
     of Arlington Heights, is the music and                                      received the         standing School of Music alumnus, on
     band teacher at Prospect High School in                                     Alumni Achieve-      behalf of the music profession and the arts.
     Mt. Prospect.                                                               ment Award from
          Under David’s direction, the Prospect                                  the University of
     High School Bands have won numerous                                         Illinois Alumni      Jeffrey Kimpton, New President of
     awards. For example the marching band                                       Association dur-     Interlochen Center for the Arts
     has been a five-time finalist at the Bands of                               ing the afternoon                               Effective Septem-
     American National Championships; it has         commencement ceremony on May 18,                                            ber 29, 2003,
     won the Fiesta Bowl National Pageant of         2003, at the Assembly Hall, in honor of                                     Jeffrey S. Kimpton
     Bands and the Grand Championship Gov-           his career accomplishments. It is the high-                                 (B.S. ‘73, M.S.
     ernor’s traveling trophy at the University of   est honor bestowed upon alumni by the                                       ’75) became only
     Illinois marching band contest for 20 con-      University of Illinois Alumni Association.                                  the seventh presi-
     secutive years. The symphonic band has          Later that day, he delivered the address at                                 dent in the 76-
     been invited 10 times to perform in the         the School of Music Convocation. Dr. Mor-                                   year history of the
     prestigious University of Illinois Superstate   gan is director emeritus of jazz studies at                                 world-renowned
     Festival and has been a past winner of this     the High School for the Performing and                                      arts education
s    championship. The Prospect Marching             Visual Arts in Houston, Texas, where he          institution, Michigan’s Interlochen Center
o
n    Knights has performed for the president of      was on faculty from 1976-1999.                   for the Arts. Kimpton was selected for his
o    the United States on three separate occa-           Dr. Morgan’s accomplishments are             experience in the arts, his reputation for
r
i    sions.                                          many. Space does not allow all of them to        managing academic faculty, and his ability
t                                                    be listed in this issue, but a few are includ-   to articulate the importance of arts in edu-
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cation. He recognized his years at the Uni-
versity of Illinois as crucial ones to his
early development as a musician, a
                                               Have You Heard?
                                               • The Beethoven conference in May prompted an investigation into a School of Music legend. The mystery
thinker, a person, and a leader, and           of a purported lock of Ludwig van Beethoven’s hair, passed from one UI professor to the next over the
formed a solid foundation for his 30-year      decades, without verification of authenticity, is undergoing scientific and medical tests. The UI sample and a
career in leadership in music and arts edu-    certifiable lock of Beethoven’s hair were on display this spring at the Spurlock Museum of World Cultures.
cation.
                                               (from Illinois Alumni, p. 9)
    Kimpton had been since Spring, 1999,
director of the University of Minnesota’s
                                               • A newly expanded, user-friendly School of Music website is available to you at: www.music.uiuc.edu. See
School of Music, which became a national
                                               21st century technology in action with updates every day! Dr. Edward Rath describes the work behind this
leader in innovative faculty governance
                                               website elsewhere in this issue of sonorities.
and development, interdisciplinary curricu-
lum development, and community partner-
                                               • The UI Alumni Association boasts new services available in its on-line Alumni Directory at www.uiaa.org,
ships. For three years (1996-1999), he
                                               including discounts available for interstate moves! You may also update
served as director of public engagement at
                                               your personal information at www.uiaadirectory.org.
                                                                                                                                               ECEPTIONS:
the Annenberg Institute at Brown Universi-
ty, where he created and directed a com-                                                                                          2004 ALUMNI R
prehensive research project that examined
                                               • Your UI Alumni Association membership dues work                                                     tion (IMEA) Associa
                                               for you! A percentage of your dues is returned to the                                            ic Educators
the role of parent and community engage-                                                                                          Illinois Mus             , 2004
                                                                                                                                                      y 30
                                               School of Music and partially funds alumni receptions at                                Friday, Januar                         ois
ment in education reform. From 1988 to                                                                                                                       te, Peoria, Illin
                                               national conferences and conventions, the printed pro-                                   Hotel Peré Marquet
1996, he served as director of institutional
education at the Yamaha Corporation of
                                               grams for the Awards Luncheon in May, and diploma cov-                                   Cheminee Room
                                                                                                                                                        .
America, where he led efforts to develop       ers for the newest alumni, presented at the School’s                                      6:00-8:00 p.m
                                                                                                                                                                                tion (MENC)
                                               Convocation Ceremony.                                                                                           ional Conven
integrated curriculum and technology, and
                                                                                                                                      Music Ed  ucators Nat
was responsible for strategic planning,                                                                                                                   innesota
                                               • You can remain in touch with the School of Music and                                     Minneapolis, M
product research and development, publi-                                                                                                                  tba
                                               your colleagues by updating your mailing address through-                                   date and time
cations, marketing, and sales in music edu-
cation programs. He taught and admini-         out your career. Please contact the School or the UI Alumni
stered music and arts education programs       Association so that you may continue to receive sonorities.
for 15 years in public school districts in
Corinth, New York; Apple Valley, Minneso-      The Song and the Slogan Wins Regional Emmy
ta; and Wichita, Kansas; leading each to       A WILL-TV performance documentary program, “The Song and the Slogan,” won a regional Emmy Award for
regional and national acclaim.                 best music from the Mid-America Chapter of the National Academy of Television Arts and Sciences on October
    After being informed of his selection as   18, 2003, at the Hyatt Regency Hotel in St. Louis. The documentary was nominated for Emmy Awards in four
president, Kimpton stated: “We have at         categories: music, performing arts/entertainment, director, and videographer.
Interlochen a remarkable foundation of              The documentary, produced by WILL-TV’s Tim Hartin and featuring music sung by School of Music alum-
experience, excellence, talent, goodwill,      nus and tenor Jerry Hadley (M.M.’77), incorporated a musical adaptation of Carl Sandburg’s poem Prairie,
and leadership on which to build the           written by composer Daniel Steven Crafts. Segments interspersed with the music looked at Sandburg’s life. It
future. I am eager to match Interlochen’s      aired on WILL-TV in February.
history and values with the tremendous              Winning personnel, along with Hartin, for the music in the documentary were Crafts, Hadley, conductor
opportunities that will define the next 75     Paul Vermel (former School of Music faculty member), and music producer Barbara Hedlund. The orchestra
years. I am humbled and honored to be          ensemble included Professor Eric Dalheim (piano; M.M.’62), Barbara Hedlund (violoncello), former School of
asked to serve in this special place.”         Music Director James Scott (flute), graduate students Alison Robuck (oboe; M.M.’00) and Solomon Baer (clar-
    On behalf of the School of Music, we
                                               inet; D.M.A.’03), Professor Kazimierz Machala (horn), Jordan Kaye (banjo), and Professor Ricardo Flores                                        w
extend our congratulations and best wishes                                                                                                                                                    i
                                               (percussion), with David Hartman (former host of ABC’s “Good Morning America”) as reader.
to Jeff, for his years as an educator and                                                                                                                                                     n
                                                    The concert version of The Song and the Slogan received its world premiere at the Krannert Center for the
innovator on behalf of the music profession                                                                                                                                                   t
                                               Performing Arts on November 14, 2000. The concert was a benefit for the School of Music opera program.                                         e
and education in the arts.
                                               (excerpted from The News-Gazette, Champaign, Illinois, Sunday, October 26, 2003)                                                               r
For more information on the Interlochen                                                                                                                                                       2
Center for the Arts, please go to                                                                                                                                                             0
www.interlochen.org                                                                                                                                                                           0
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                                                                                                                                                                                              47
     Alumni News
     1936-1940
     James Schrodt (B.M.’38, M.M.’47,               Edwin (Ted) C. Thayer (B.M.’57,                 Ron Bishop (M.S.’60) recently presented
     M.S.’49) at age 88 still performs on trom-     M.M.’58) retired from the National Sym-         a tuba masterclass on “The Art of Orches-
     bone and attends conferences as much as        phony Orchestra in Washington, D.C., in         tral Performance” at the Manhattan (New
     possible. This spring, he attended the         August, 2003, after 31 years (28 of those       York City) School of Music. He performed
     annual life members luncheon of the Amer-      years as principal horn). He was honored        Aboriginal Voices by Neal Corwell and
     ican Federation of Musicians in Washing-       at a surprise tribute concert by 11 of his      Incon-Sequenza by Matthias Bamert. Ron
     ton, D.C. He also enjoys participating in      former students on Saturday, July 26, at        is principal tuba of the Cleveland Orches-
     a seniors’ bowling league.                     the Peace Lutheran Church in Alexandria,        tra.
                                                    Virginia, for his years in the National Sym-
                                                    phony. He also played principal horn in         Ron Fink (B.S.’60, M.S.’61), professor
                                                    the Norfolk and Richmond Symphonies             emeritus of the School of Music at the
     1941-1945                                      from 1960 to1972 and was a member of            University of North Texas (Denton), recent-
     Allen Cannon (B.S.’41, M.S.’42) retired        the Army Band in Ft. Myer, where he             ly received publication of his Musical
     in May, 2003, from the Peoria (Illinois)       played from 1958 to1961.                        Etudes for the Advanced Timpanist (Studio
     Symphony Orchestra after 58 years with                                                         4 publications).
     that ensemble. He will continue to do vol-     David Ward-Steinman (M.M.’58,
     unteer work at Methodist Hospital in Peo-      D.M.A.’61) was a faculty member of the
     ria, chamber music concerts, and volunteer     Institute at Northwestern University
     tutoring at Harrison School.                   (Evanston, Illinois), June 15-18, 2003, for
                                                                                                    1961-1965
                                                    the College Music Society-sponsored             Terry Barham (M.S.’64) received publi-
                                                    “Leadership Institute for Curricular Innova-    cation of a new book, Strategies for Teach-
                                                                                                    ing Junior High and Middle School Male
     1956-1960                                      tion and Integration in Higher Music Edu-
                                                    cation.” He was commissioned by the             Voices—Master Teachers Speak (Santa
     Emerson “Bud” Schultz (B.S.’56) par-                                                           Barbara Music) and presented a session,
                                                    Louisiana State Music Teachers Association
     ticipated in a faculty recital on May 9,                                                       “Working with Male Voices,” at the 2003
                                                    to write Flight! (for two pianos), which was
     2003, at Lewis and Clark Community Col-                                                        national convention of the American
                                                    premiered by David and Patrice Madura
     lege in Godfrey, Illinois. He and his wife,                                                    Choral Directors Association, held in New
                                                    Ward-Steinman, at the Louisiana State
     Gail, own Winds and Strings Music Shop                                                         York City in February.
                                                    Music Teachers Annual Convention in
     in Alton, where he leads the popular “You
                                                    Baton Rouge on October 11, 2002.
     Can’t Beat Experience” Jazz Band. He is                                                        Richard Shirey (M.M.’65) presented an
                                                    Another premiere work for two pianos and
     the director of the Choral Singers of                                                          organ recital at Westminster Cathedral
                                                    percussion, Millennium Dance Suite, was
     Chapel of the Cross Lutheran Church in                                                         (London, England) on Sunday, January 26,
                                                    performed by pianists David and Richard
     North St. Louis County and is a member of                                                      2003, as part of the Westminster Cathe-
                                                    Thompson, and percussionist John Flood
     the Alton Symphony Orchestra. Schultz                                                          dral Sunday Recital Series. Shirey, profes-
                                                    on September 25, 2002, at San Diego
     has played Leblanc clarinets exclusively for                                                   sor emeritus of the School of Music at the
                                                    State University. I Am the Wind (Songs of
     the past 30 years.                                                                             University of Akron (Ohio), is organist for
                                                    the Emerald Isle) was commissioned of
                                                    Ward-Steinman and premiered by the              the Akron Symphony and organist/harpsi-
                    Ardash Marderosian                                                              chordist for the Canton (Ohio) Symphony.
                                                    Camarada Chamber Music Ensemble: Ann
                    (B.M.’57) retired in 2000                                                       He has served as director of music for two
                                                    Chase, soprano; Beth Ross-Buckley, flute
                    from the Lyric Opera of                                                         prominent churches in Akron: Trinity Luther-
                                                    and alto flute; Steve Garrett, cello; Elena
                    Chicago after 40 years (37                                                      an and Westminster Presbyterian. He is
                                                    Mashkovtseva, harp, on May 19, 2002,
                    years as principal trom-                                                        presently organist/choirmaster at The Epis-
                                                    at the Timken Art Gallery (Balboa Park) in
                    bone) with its orchestra.                                                       copal Church of Our Saviour. Shirey has
                                                    San Diego.
     That same year, he retired from the Grant                                                      also performed at cathedrals in Suhl, Ger-
     Park Symphony (36 years as principal                                                           many, and Graz, Austria, and is listed in
                                                    Lynd Corley (B.S.’59, M.S.’61) retired in
s    trombone). Since 1987, he has been a                                                           American Keyboard Artists.
                                                    June from Glenview (Illinois) Public Schools.
o    brass consultant-coach for the Warsaw Phil-
n                                                   She will continue with her private studio
     harmonic and the Teatr Wielki, Warsaw
o                                                   teaching.
r    (National Opera of Poland) orchestras.
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                                                                                                  Internet Age: Leveraging the Internet for
1966-1970                                       1971-1975                                         Market Measurement and Consumer
Mary Palmer (B.S.’66, M.S.’66,                  Wayne Angerame (B.M.’71, M.M.’76)                 Insight (John Wiley & Sons). This is the first
Ed.D.’74) received the 2002 Florida Arts        joined public radio station KUAZ-FM (Uni-         book to establish the conceptual frame-
Recognition Award for outstanding initia-       versity of Arizona) as morning music host.        work for integrating market research tech-
tive, leadership, and excellence in support     He has worked as a music announcer and            niques, processes, and methods with CRM
of the arts in Florida. Given by the Florida    as music director at Washington State Uni-        analytics and enabling technology solu-
Secretary of State and endorsed by the          versity, the West Virginia Public Radio Net-      tions. Ray is president of ERP (a New York-
Florida Legislature, this award honors pin-     work, and at Northstate Public Radio in           based consultancy) and is director of
nacle achievements and contributions in         Chico, California.                                Customer Centric Analytics for NOP World
the arts. Palmer is founder of Florida’s Arts                                                     Group, as well as an adjunct professor in
for a Complete Education/the Florida            Daniel Brewbaker (B.M.’73) returned               the M.B.A. and Ph.D. programs at the
Alliance for Arts Education. Her vision has     to Elgin, Illinois, on May 18 to celebrate        School of Management, New Jersey Insti-
led to statewide long-range plans for arts      Holy Trinity Lutheran Church’s 100th              tute of Technology in Newark.
education, including the FALCON Plan,           anniversary. He was commissioned to com-
adopted by the Florida Legislature, as well     pose music to accompany Psalm 51 for the
as a statewide blueprint for arts education     celebratory service; this performance
developed by ACE/FAAE. Since 1970,              marked the world premiere of the piece.           1976-1980
Mary has been professor of music educa-         Brewbaker’s music has been performed by           Gary Anderson (D.M.A.’76), a Bing-
tion and coordinator of graduate studies in     leading conductors, orchestras, and               ham Fellow for Excellence in Teaching, is
music education at the University of Cen-       soloists throughout the world, including          director of the Transylvania University
tral Florida, Orlando. She is a senior          many in Paris, Ireland, and India. He is          Choir, which performed in concert at St.
author of the popular Music Connection          the first American composer to have a             Patrick Church, Lexington, Kentucky, in
and of the 2002 Making Music elemen-            commissioned work performed by the                Spring, 2003. The choir began a 12-day
tary music series textbooks, published by       prominent Kirov Orchestra in St. Peters-          tour of Europe on May 11, which included
Silver Burdett Ginn.                            burg, Russia.                                     concerts in Russia, Finland, Estonia, and
                                                                                                  Sweden.
Rita Littmann (M.S.’68) recently retired        Deborah Dietz (B.S.’73, M.S.’79) con-
from her duties as choir director at James      ducts a community orchestra, in which she         Patrick Beckman (B.M.’76, M.M.’76)
Hart and Millennium Schools in the Home-        also performs, in Wahroonga, Australia. It        had his composition Easter Mass per-
wood (Illinois) School District 153. She        received the Australian Community Orches-         formed on Easter Sunday, April 20, 2003,
plans to pursue her goal of teaching teach-     tra of the Year Award for 2002. She was           by the Highland Chorale at the First Pres-
ers how to develop strong choir programs.       invited by Symphony Australia to partici-         byterian Church in Freeport, Illinois. Beck-
                                                pate in its conducting seminar in July,           man served as the rehearsal pianist for
Arthur Reblitz (B.S.’68) recently               2003.                                             that ensemble. He is owner of Cannova’s
received publication of his seventh book,                                                         in Freeport.
The Golden Age of Automatic Musical             Jeffrey Kimpton (B.S.’73, M.S.’75) has
Instruments. The 448-page book includes         been named president of the Interlochen           Mary Ferer (Ph.D.’76) is assistant profes-
important historical and technical informa-     Center for the Arts. He is only the seventh       sor of music at West Virginia University.
tion, as well as hundreds of color photo-       president in the institution’s 76-year history.   She delivered a paper, “Crecquillon and
graphs. For history of instruments and          The appointment was effective September           the Cult of St. Cecilia,” at the conference
information on the book, visit                  29, 2003. Since Spring, 1999, Kimpton             “Reassessing the Art of Clemens non Papa
www.mechanicalmusicpress.com.                   had been director of the University of Min-       and Thomas Crecquillon,” which was held
                                                nesota’s School of Music. (see p.46)              at Utrecht University (the Netherlands) in
Charles Madden (M.M.’69) authored a                                                               April, 2003. In June, supported by a West
book, Fractals in Music: Introductory Math-     Eric Halfvarson (B.M.’74, M.M.’76)                Virginia University faculty grant, she did
ematics for Musical Analysis, which was         sang two roles at Covent Garden in Fall,          research in the UIUC Renaissance Archives
used as a text for the course “Math for         2002: Moser in Verdi’s I Masnadieri and           for an article she is completing for the
Music” at the University of Massachusetts       the Doctor in Berg’s Wozzeck.                     Utrecht conference proceedings.
(Dartmouth) in the Fall, 2002, term.
                                                Jim McNeely (B.M.’75), pianist, com-                              Joan-Marie
Brenda Kee (M.M.’70) is associate pro-          poser, and arranger, performed at the                             Zimmerman (M.M.’76),             w
fessor of piano and piano literature at the     Wangaratta Festival of Jazz, held in Aus-                         soprano, teaches voice at        i
University of Louisville (Kentucky). She has    tralia, November 1-4, 2002.                                       LaGuardia High School for        n
performed extensively as both soloist and                                                                         Music and Art in New York        t
                                                                                                                                                   e
chamber musician, and has been a fre-           Raymond Pettit (M.S.’75, Ed.D.’96) is                             City, as well as maintains a
                                                                                                                                                   r
quent adjudicator and clinician.                the co-author (with Robert Monster) of a          voice studio both there and in Vienna, Aus-
                                                new book, entitled Market Research in the         tria. Last year she performed in recital in      2
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     Alumni News
     Vienna and New York City with Russian          ment of Norway to those who promote                              Brian Bass (B.M.’79,
     composer/pianist Sergei Dreznin and Chi-       knowledge about Norway abroad and                                M.M.’83) was recently
     nese pianists Du Huang and Xiao Hu. In         help to maintain close ties between emi-                         appointed vice president
     Summer, 2003, she taught vocal master-         grated Norwegians and the mother coun-                           and director of marketing
     classes, focusing on bel canto and the         try. This award was presented at St.Olaf                         for Bucher, Willis, & Ratliff
     baroque, and was musical director of           College on May 8, 2002, by the Consul-                           Corporation, an Engineerng
     Sweeties, an original musical about a          General of Norway. Dr. Een, a violin stu-        News-Record Top 500 Design Firm with
     chocolate factory, both in Vienna. Zimmer-     dent of Professor Paul Rolland, did her          offices throughout the United States. He is
     man is the soprano soloist of the New          doctoral thesis with Professor Bruno Nettl       in charge of overseeing major objectives
     Vienna Chamber Ensemble, an ensemble           on the music of the Hardanger fiddle, a          on behalf of the board of directors, includ-
     that specializes in repertoire by composers    Norwegian folk instrument, and she has           ing strategic planning, market research,
     from Vienna and New York City.                 since become an authority on that instru-        image building and literature development,
                                                    ment, doing research, teaching, and con-         and marketing database implementation,
     Marvin Lamb (D.M.A.’77) has had his            certizing. Born in Minnesota and of              as well as a company-wide marketing and
     two most recent compositions published by      Norwegian descent, Een is one of the best-       business development team. Bass has co-
     Carl Fischer, Inc: Schuberlied (for oboe,      known and most respected Hardanger fid-          founded and serves on the board of The
     bassoon, and guitar) and Sacred Ground         dle players in the Norwegian community           Kansas City Brass Project. The 15-member
     (an orchestral fanfare for brass and percus-   within the United States and is recognized       ensemble regularly performs throughout
     sion). Lamb is dean of the College of Fine     as such in Norway.                               Kansas City in various ensemble formats.
     and Applied Arts and professor of music                                                         He also serves as principal trombone with
     at the University of Oklahoma.                                Mary Alice Rich-Wittrig           the Olathe Community Orchestra and the
                                                                   (B.M.’78, M.M.’81) and            Kansas City Wind Symphony, as well as
     Erie Mills (M.M.’77) and Scott Hendricks                      Bruce Wittrig (B.M.’78,           free lances with area jazz ensembles.
     sang lead roles in Intermezzo by Richard                      M.M.’81) continue to per-
     Strauss for Santa Fe Opera this past summer.                  form and compose in Dal-          Robert Campbell (M.M.’79) serves on
                                                                   las, Texas. Mary Alice            the faculty of the University of Phoenix,
     Barbara Haggh (B.M.’78, M.M.’80,               recently had her Overture (for full orches-      Northern California Campus, where he
     Ph.D.’88), associate professor, University     tra) published by Neil A. Kjos Music Com-        teaches music, humanities, and communi-
     of Maryland, last year published “Guil-        pany. Her Prelude is available through           cations. He is active as a clinician and
     laume Dufay’s ‘Missa Sancti Jacobi’: A         Fountain Park Music Publishing. Both             adjudicator, and is preparing to serve on
     Mass for His Friend, Robert Auclos” in         works were back-to-back, first place win-        his third judging panel for the Barbershop
     Gedenkschrift für Walter Pass, ed. Martin      ners of the Texas Orchestra Directors Asso-      Harmony Society’s International Contest in
     Czernin (Tutzing: Hans Schneider, 2002)        ciation composition contest. Bruce is            Montréal, Québec. Campbell directs the
     and “Motets on Flyleaves: Binding Manu-        celebrating his 20th anniversary as a mem-       award-winning “Pot o’Gold Chorus” in the
     scripts from Citeaux and Other Medieval        ber of the Dallas Symphony.                      San Francisco bay area, and is in demand
     Music in Dijon,” in Musikalische Quellen -                                                      as a vocal coach and choral arranger. In
     Quellen zur Musikgeschichte: Festschrift für                   Joel Spencer (B.S.’78)           1985, Robert received his D.M.A. degree
     Martin Stähelin zum 65. Geburtstag (Goet-                      serves as jazz percussion        from Stanford University in choral music.
     tingen: Vanderhoeck & Ruprecht, 2002).                         instructor at DePaul Universi-
     She also gave an invited lecture at the Sor-                   ty (Chicago, Illinois) and
     bonne (Université de Paris-IV, November                        holds positions in the North-
     2002): “La date et l’origine de la ‘Musica                     western University
                                                                                                     1981-1985
     disciplina’ d’Aurélien de Reomé.” In addi-     (Evanston, Illinois) School of Music as lec-     Marianne Sandborg (M.M.’81) won
     tion Haggh read three papers: “Aurelian’s      turer of jazz history, coordinator of the        first prize in the Philadelphia Cathedral Art
     Chapter Eight and the Carolingian Court”       jazz combo program, and instructor of            Song Competition in March, 2003.
     (Capital Chapter of the American Musico-       drum. He recently finished the drum tracks
     logical Society, January, 2003); “Johannes     for a soon-to-be released motion picture         John Leister (B.M.’82) is the fine and
     Ciconia’s ‘Nova Musica’” (Conference on        entitled “Unconditional Love” (United            performing arts chair of the Madison Public
     Renaissance Music, Lisbon, Portugal, May,      Artists). Spencer travels often to colleges in   Schools in New Jersey. He performs regu-
     2003); and “Magnus Liber: Maius                the Midwest to present drumset clinics           larly as percussionist with the Orchestra of
     Munus,” (International Conference on           paired with guest artist appearances.            St. Luke’s, the New Jersey Pops, and sever-
     Medieval & Renaissance Music, Jena, Ger-                                                        al chamber orchestras. John is currently
     many, August, 2003).                                                                            enrolled in the doctoral program in educa-
s                                                                                                    tional administration at Rutgers University.
o
n    Andrea Een (D.M.A.‘78), who is associ-
o
r    ate professor of music at St. Olaf College
i    (Minnesota), received the St. Olaf’s Medal,
t    an award given by the King and govern-
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               Elizabeth Nuss (B.S.’82;          tion, Sid Meier’s Pirates, F-19 Stealth Fight-
               M.S.’89) served as guest          er, F-117A Stealth Fighter, and Sid Meier’s
                                                                                                  1986-1990
               conductor/clinician for the       Colonization. Jeff also has written the musi-    Ron Hughes (B.S.’86, M.S.’88) is
               Illinois Music Educators          cal scores for over 30 computer games, as        adjunct professor of percussion at Barry
               Association District 3 all-area   well as a host of concert pieces which have      University in Miami Shores, Florida;
               jazz ensemble for 2002-03.        received performances worldwide.                 adjunct professor at Indian River Commu-
                                                                                                  nity College in Ft. Pierce; and percussion
                 David Bilger (B.M.’83)          Daniel Adams (D.M.A.’85) recently                director at Olympic Heights High School
                 was trumpet soloist with the    received the ASCAP Standard Award for            in Boca Raton and Stoneman Douglas
                 Philadelphia Orchestra in a     2003-04. His composition Quandary (for           High School in Coral Springs, all located
                 series of three subscription    violin and guitar) has been released on the      in Florida.
                 concerts, with Wolfgang         CD Untaming the Fury, recorded by Duo
                 Sawallisch conducting           46 (Matt Gould, guitar; Beth Ilana Schnei-       Charyl Kneevers Zehfus (M.M.’86),
Haydn’s Trumpet Concerto in E-flat in Feb-       der, violin) and distributed by Summit           poet, composer, and musician, created
ruary, 2003. He also performed this con-         Records. On April 6, 2003, Adams’s com-          and produced a May 3, 2002 concert,
certo and Jolivet’s Concertino in January        position for viola sextet was performed by       “PoetSongs: A Wisconsin Year in Poetry
with the Richmond Virginia Symphony. Bil-        the Pennsylvania State University Viola          and Song” (available on CD). The concert
ger premiered Allen Krantz’s Under One           Ensemble, under the direction of Timothy         was presented at the John Michael Kohler
Roof (trio for trumpet, violin, and piano) in    Deighton. On February 28, Adams pre-             Arts Center in Sheboygan, Wisconsin, as
December, 2002; the work was commis-             sented a paper, titled “The Drum Set as a        part of the Center’s concert series 2002
sioned by the Philadelphia Museum of Art         Solo Multiple Percussion Performance             LIVE! that highlighted dance, music, and
to celebrate its 125th anniversary. He has       Medium,” at the South Central Chapter            theatre from artists whose roots are in the
been principal trumpet of the Philadelphia       meeting of the College Music Society, held       upper Midwest. Her composition Fanfare:
Orchestra since 1995, and is on the facul-       at Baylor University (Waco, Texas).              Spirit by the Lake (for brass and percus-
ties of Temple University and the Curtis         Adams’s composition As a Fever, Longing          sion) was premiered in 2003 for the She-
Institute of Music.                              Still (for soprano voice and B-flat clarinet)    boygan sesquicentennial.
                                                 was premiered February 14, 2003, as
Roxanne Stevenson (M.S.’83) is assis-            part of the Region VI Conference of the          Jacqueline Bobak (M.M.’87,
tant professor of music education and            Society of Composers, held at Henderson          D.M.A.’92) was on the voice faculty of
director of the Concert, Community, and          State University in Arkadelphia, Arkansas.       Lake Placid Institute’s Summer Program in
Jazz Bands at Chicago State University.          It has been accepted for publication by          2003. Bobak was recently promoted to
She performs as saxophonist with “Singsa-        Dorn Music. Adams received two pre-              associate professor at California Institute
tion,” a weekly gospel show that airs inter-     mieres in November and December of               of the Arts, where she is coordinator of
nationally. Roxanne is a panelist/reviewer       2002: Birds Sing in Other Places (for viola      vocal studies.
for the Illinois Arts Council, and has been      sextet) by the University of Oklahoma (Nor-
an adjudicator at numerous festivals and         man) Viola Ensemble, under the direction         Elizabeth Hinkle-Turner (M.M.’88,
competitions, such as the Chicago Public         of Matthew Dane, and Khromas Diabolus            D.M.A.’91) recently received the premiere
Schools’ Music Festival and the NAACP            (for trombone solo and percussion ensem-         of her work Finish Line (for trumpet, organ,
ACT-SO Competitions.                             ble) by the University of South Florida          tape, and video) by the duo Ventus Musi-
                                                 (Tampa) Percussion Ensemble, under the           cus in California. The commissioned work
Jeff Briggs (D.M.A.’84), in recognition of       director of Robert McCormick, with Tom           was also performed at the 2003 Interna-
his entrepreneurial spirit and outstanding       Brantley, trombone solo, and at the Univer-      tional Trumpet Guild Conference, held at
leadership skills, was named the winner of       sity of South Florida Festival of Winds.         Texas Christian University (Fort Worth),
Maryland’s 2003 Ernst and Young Software                                                          and at the MidAmerican Center for Con-
Entrepreneur of the Year Award. The              Charles ‘Chip’ Staley (M.S.’85) has              temporary Music at Bowling Green (Ohio)
announcement was made at a gala event            led the Neuqua Valley (Naperville, Illinois)     State University in July, where Hinkle-Turner
on June 19, 2003, at the Hyatt Regency           High School music program to achieve-            also presented a paper, “Hear Me Now:
(Baltimore), where more than 675 people          ments that include two Grammy Signature          the Implication and Significance of the
honored Briggs, along with the award win-        School Gold Awards in 2001 and 2003.             Female Composer’s Voice as Sound
ners in the business services, financial serv-   The Grammy Signature Award honors pub-           Source in Her Electro-acoustic Music” at
ices, community services, technology,            lic high school music programs that pro-         the Feminist Theory and Music Confer-
turnaround, and manufacturing categories.        mote and preserve music education. It is         ence. In Fall, 2003, her article, titled        w
He is the founder (1996), president, and         one of seven schools receiving this honor.       “Women and Music Technology: Pioneers,          i
chief executive officer of Firaxis Games. His    Staley heads the NVHS fine arts depart-          Precedents, and Issues in the United            n
                                                                                                  States,” was published in the journal           t
collaborative relationship with legendary        ment and teaches wind ensemble, cham-                                                            e
game designer Sid Meier produced such            ber ensembles, and percussion.                   Organised Sound (Cambridge University           r
classics as the mega-hit Sid Meier’s Civiliza-                                                    Press). Her book Crossing the Line:
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     Alumni News
     Women Composers and Music Technolo-            to coincide with the Museum’s Fall exhibit,    Terri Ellis (M.S.’90) was the guest per-
     gy, vol. 1—United States” is forthcoming       “Treasures of a Lost Art: Italian Manuscript   former with the Monroe (Wisconsin) High
     in 2004 from Ashgate Press, London.            Painting of the Middle Ages and Renais-        School Concert Band on March 18, 2003,
                                                    sance.” Her work as founding director of       when she performed Concertino for Flute
     Lillian Long (M.M.’88), associate profes-      AMASONG: Champaign-Urbana’s Premier            by Cecile Chaminade and conducted a
     sor of music, became chair of the music        Lesbian/Feminist Chorus, is the subject of     masterclass for the MHS students. Terri
     department at Alderson-Broaddus College        a documentary by Joy Rosenstein, “In           teaches general music and high school
     in 2002. Alderson-Broaddus, where she          Whose Honor?” The film was commis-             instrumental music in the Darlington (Wis-
     has taught voice and opera workshop            sioned by the Independent Television Ser-      consin) Community Schools and serves as
     since 1986, is a small, liberal arts college   vice and WILL-TV. Having opened in Italy,      flute instructor at the University of Wiscon-
     affiliated with the American Baptist Con-      the film received its United States premiere   sin-Platteville, where she performs with the
     vention.                                       in June, 2003, at San Francisco’s 27th         Roundtree Ensemble and the Symphonic
                                                    Annual Lesbian and Gay Film Festival,          Band. She also performs with area musi-
     Scott Walz (B.S.’88) is the new associate      going on to showings in several United         cians in Quintessential Winds.
     pastor at Riverside Community Church in        States cities and in Australia. “The Ama-
     Machesney Park, Illinois. He received his      song Chorus: Singing Out” will be broad-
     Master of Divinity degree from Pacific         cast nationally on the PBS series
     Lutheran Theological Seminary in Berkeley,     Independent Lens in 2004.
                                                                                                   1991-1995
     California.                                                                                   Michael Sitton (D.M.A.’91), pianist and
                                                    Scott Carrell (M.M.’89) teaches piano,         composer, was promoted in 2002 to pro-
     A. Scott Wood (B.S.’88, M.M.’89)               music theory, and composition at Harding       fessor and chair of the Department of
     began his inaugural season as conductor-       University in Arkansas. He was the per-        Music at Hollins University in Roanoke, Vir-
     in-residence at the American University in     former on the April 10, 2003, Bank of Yel-     ginia, where he has taught since 1991.
     Washington, D.C., in the Fall, 2002, and       lville Concert Series at Arkansas State        Sitton was named winner in a national
     was guest conductor for Eldbroke Opera’s       University (Mountain Home). He has also        competition for composition of an anthem
     production of La Traviata. Scott also serves   appeared with the Austin Symphony              to celebrate the 10th anniversary of Can-
     as music director for the Washington Con-      Orchestra and Plainview Symphony               tate, the Children’s Choir of Central Vir-
     servatory Orchestra and the National           Orchestra.                                     ginia; the work was premiered in early
     Cathedral School Orchestra. He is assistant                                                   2003. For this and other composition
     conductor of the Fairfax Symphony Orches-      Sherrie Jones (D.M.A.’89) returned to          work, he was awarded his ninth ASCAP
     tra, which he recently conducted as part of    UI for an invited guest recital of “Degener-   composer’s award. Also, he was the com-
     the Shenandoah Valley Music Festival.          ate Music: Piano Music Banned by the           missioned composer for the 2002 national
                                                    Nazis,” held in Smith Memorial Hall in         conference of the Association of Anglican
     Kristina Boerger (B.S.’89, M.M.’92,            Fall, 2002. Her recording of piano music       Musicians. During December, 2002, three
     D.M.A.’00), artistic director of the Manhat-   by Schulhoff was released last year.           of his compositions were published by Par-
     tan chamber vocal ensemble Cerddorion,                                                        aclete Press and Selah Press. Two of his
     presented a collaboration with choreogra-      Janet Watkins (M.S.’89) retired in Sum-        works were performed by the Washington
     pher Christopher Caines in June, 2003.         mer, 2003, after 22 years as director of       Men’s Camarata on the American Music
     The work, titled Songs of the Sea, was cre-    choral music at Mahomet-Seymour (Illinois)     Festival series, as well as at other venues
     ated to the music of Aulis Sallinen and per-   High School. Under her direction, the high     in the Washington, D.C., region during
     formed by 12 singers and eight dancers at      school choral program grew from one            December, 2002.
     the Merce Cunningham Studios. Boerger’s        choir of 30 voices into a program that
     work as a soprano can be heard on two          involves 200 students, a number that rep-      Lea Talley (B.S.’91) teaches Kindermusik
     recording projects released this Fall. Her     resents nearly 25 percent of the school        at the Collierville (Tennessee) Community
     sextet, Western Wind, was commissioned         population. Her choral groups have per-        Center. The youngsters range in age from
     by Public Radio International to create a      formed across the United States at various     18 months (or less) to three-and-one-half
     one-hour program of Christmas music from       music festivals and have represented the       years old. She has done graduate work
     a variety of ethnicities and spanning sever-   State of Illinois at the D-Day Normandy        specializing in Orff at the University of
     al centuries. Entitled “Holiday Light:         Liberation Bicentennial Celebration in         Memphis (Tennessee).
     Singing Angels, Silver Bells,” the program     Washington, D.C. The ensemble has also
     will be heard on public radio stations         performed in two 10-day tours of Austria       Richard Zielinski (D.M.A.’91), music
     nationwide and is commercially available.      and Germany. In July, 2002, Janet was          and artistic director for The Master
     In April, Boerger was invited to join a        presented the prestigious Harold Decker        Chorale of Tampa Bay (Florida), was
s                                                                                                  recently appointed artistic director and
o    recording project of Early Music New           Choral Award, a statewide award given
n    York, directed by Frederick Renz. The          by the Illinois Chapter of the American        chief conductor for In Terra Pax (an inter-
o                                                                                                  national choral academy) and the Interna-
r    release of Music of Medieval Love, pro-        Choral Directors Association (ACDA).
i    duced by Ex Cathedra Records and the                                                          tional Festival of Choral Song, both
t    Metropolitan Museum of Art, is scheduled                                                      located in Miedzyzdroje, Poland, and
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Chor Akademicki Politechniki Szczecin-           Stephanie Novacek (M.M.’95) recently            on March 5 with the composer in atten-
skiej-Szczecin Technical University Choir,       sang the title role in Charpentier’s Médée      dance. In June and July, he sang in the
one of Poland’s premier choral ensembles,        with Opera Atelier in Toronto (Canada).         production of Il Trovatore with the San
founded 50 years ago by the late Jan Szy-                                                        Francisco Opera. Meers will sing the role
rocki. Zielinski also serves as director of      Christine Steyer (B.M.’95, M.M.’96)             of the Novice in Billy Budd, opposite
choral activities at the University of South     presented a May, 2003, voice recital at         Nathan Gunn (B.M.’94) for the San
Florida (Tampa).                                 Kresge Recital Hall of Ford Center for the      Francisco Opera in September, 2004.
                                                 Fine Arts at Knox College (Galesburg, Illi-     Saundra and Harold are both members of
R. Todd Payne (M.M.’93, D.M.A.’01)               nois), her undergraduate alma mater. Stey-      the San Francisco Opera.
has accepted a teaching position at South-       er is a singer with the Lyric Opera of
west Missouri State University (Springfield).    Chicago.                                        Erica Keithley (M.M.’97, M.M.’98) has
                                                                                                 been appointed visiting assistant professor
David Duke (M.M.’94, D.M.A.’01)                                                                  of piano pedagogy at Georgia State Uni-
began the fall semester in his new position                                                      versity in Atlanta. She is currently A.B.D. in
as assistant professor of voice on the faculty
                                                 1996-2000                                       piano pedagogy at the University of Okla-
of Methodist College in Fayetteville, North                     Katherine (Kathy)                homa in Norman.
Carolina. He previously taught voice and                        Kozak (M.M.’96) joined
opera at Eastern New Mexico University.                         the music staff of the Santa     Keith Pedersen (D.M.A.’97) is in his
                                                                Fe Opera in Summer, 2002.        sixth year as the choral director at Point
Nathan Gunn (B.M.’94) will sing the                             She serves as rehearsal          Loma Nazarene University in San Diego,
title role in the new production of Billy                       pianist and coach.               California. He directs a chamber choir,
Budd for the San Francisco Opera in                                                              vocal jazz ensemble, and choral union.
2004. Gunn appeared as Marcello in Puc-          Donald Nally (D.M.A.’95) began his              He also serves as director of choral min-
cini’s La Bohème with the Glyndebourne           new position as chorus master for the           istries at La Jolla Presbyterian Church and
Opera (United Kingdom) in Summer,                Welsh National Opera in August. He will         is active locally and in the state, directing
2003. He sang the role of Guglielmo in           continue as chorus master for the Opera         honor choirs, a citywide summer sing, and
Mozart’s Cosí fan tutte with the Opera           Company of Philadelphia and as choir            clinics for schools and churches.
Company of Philadelphia in March and             master for St. Mark’s Church in Philadel-
the role of Anthony in Sondheim’s                phia until early January, 2004, when he         Benjamin Bunsold (M.M.’98) sang the
Sweeney Todd at the Lyric Opera in Chica-        will relocate to Cardiff to take up the         role of B. F. Pinkerton in Madama Butterfly
go during the 2002-2003 season. Gunn             WNO position. Nally will prepare the cho-       in Summer, 2003, at the Brevard Music
made his debut at the Royal Opera House          rus for over 124 opera performances each        Festival.
at Covent Garden in the role of Harlekin in      year and conduct concerts of his own pro-
Strauss’s Ariadne auf Naxos in September,        gramming each season. He has recently                          Layna Chianakas
2002.                                            been the artistic director of the Choral Arts                  Haddad (M.M.’98),
                                                 Society of Philadelphia, when it was                           mezzo-soprano, will appear
Jane Jennings (M.M.’94) has resumed              awarded the Chorus America’s Margaret                          in several opera roles dur-
her singing career in the role of the Gov-       Hillis National Award for Excellence in                        ing the 2003-2004 season.
erness in The Turn of the Screw with             Choral Music in 2002. During the past                          They include: Suzuki in
Opera Omaha. She and husband, Paul,              seven summers, he has been chorus master        Madama Butterfly in October with the
became the proud parents of a baby boy,          at Gian Carlo Menotti’s Festival of Two         Opera Santa Barbara; Hansel in Hansel
Ethan Jennings, on October 16, 2002.             Worlds in Spoleto, Italy, where the chorus      and Gretel with the Sacramento Opera in
                                                 recorded the composer’s opera The Saint         November; the Mother in Amahl and the
Andrea Pryor de Manrique (B.M.’94,               of Bleecker Street (Chandos Records).           Night Visitors with the Des Moines Metro
M.M.’95) and Ingrid Gordon                       Nally is published by Paraclete Press.          Opera in December; Niklausse/Muse in
(D.M.A.’00), presented a concert of Latin                                                        Tales of Hoffmann with the Cleveland
American Works for Percussion on March           Saundra De Athos (M.M.’97) sang the             Opera in April; and Maddalena in Rigolet-
18 and August 2 in New York’s Kew Gar-           role of Emily in Edgar and Emily by Ernst       to on February 28 and March 5 with the
dens and St. Mark’s Church. The concert          Toch and Ms. Wilson in Dr. Heidegger’s          Dayton Opera. Future engagements for
was part of the Center for the Women of          Fountain of Youth in the Adler Fellow           Layna also will include Sheherazade with
New York’s “Women’s History Month Cele-          Showcase Opera in April, 2003, with the         the Vallejo Symphony and the world pre-
bration,” and included an art exhibit fea-       San Francisco Opera. In June and July she       miere of Requiem by Alva Henderson with          w
turing women artists. This project was           sang the role of Clorinda in La Cenerento-      Schola Cantorum in San Francisco. Layna          i
made possible with funds from the Decen-         la for San Francisco Opera, and in Fall,        gave her New York recital debut at Christ        n
                                                 2003, she appeared as Papagena in Die                                                            t
tralization Program, a re-grant program of                                                       and St. Stephen’s Church in October,             e
the New York State Council of the Arts,          Zauberflöte. Her husband, Harold Gray           2002.                                            r
administered by the Queens Council on            Meers, sang Evidence of Things Not Seen
                                                 (Ned Rorem Song Cycle) in San Francisco                                                          2
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     Alumni News
     Barry Hearn (M.M.’98) won the presti-            and hosted the research poster session at        keeping Bach’s choral oeuvre as the focus
     gious grand prize of the 2003 Internation-       the ACDA national convention in New              of its repertoire. Past repertoire has includ-
     al Women’s Brass Conference Solo                 York City. She is working on an edition of       ed Bach’s St. Matthew Passion, Six Motets,
     Competition-Professional Division, as well       Palestrina’s spiritual madrigals as octavos,     Magnificat, and Mass in B Minor; Han-
     as its first prize in the Trombone Solo Com-     so more choirs will perform this repertoire.     del’s Dixit Dominus; Schütz’s Musikalische
     petition in June. After studying with Elliot     Nielsen was accepted as a conducting stu-        Exequien; and romantic and contemporary
     Chasanov at Illinois, Barry received the         dent at the Oregon Bach Festival, where          motets. The 2003-04 season will include
     Performer’s Certificate from the Manhattan       she studied Bach’s Christmas Oratorio with       Bach’s Christmas Oratorio, with orchestra
     School of Music, where he studied with           Helmuth Rilling and conducted in subscrip-       and soloists Suzie LeBlanc, Daniel Taylor,
     Per Brevig. During his time at Illinois, Barry   tion performances in Summer, 2002. She           Michael Schrey, and Daniel Lichti. The
     won the International Trombone Associa-          also attended the Sixth World Choral Sym-        choir will record a CD at the end of the
     tion-Frank Smith Solo Competition and the        posium in Minneapolis.                           season. Canton conducts a women’s cho-
     Kingsville (Texas) Competition. He was the                                                        rus, Cora Ottawa, and is in demand as a
     first trombonist ever to reach the finals of     William Shomos (D.M.A.’99) is director           guest conductor, choral workshop leader,
     the Concert Artist Guild Competition in          of opera at the University of Nebraska-Lin-      and vocal coach.
     New York City. Hearn is a member of the          coln. He took The Bohemian Girl to the
     United States Army Band in Washington,           Waterford International Light Opera Festi-       Brian Cole (M.M.’00) is in his second
     D.C.                                             val in Ireland in September, 2002. It was        season as conducting assistant with the
                                                      performed in Waterford’s Theatre Royal,          Cincinnati (Ohio) Symphony Orchestra.
     Thomas Holm (D.M.A.’98), assistant               built in 1788, and won four first-place
     professor of music at Northwestern Col-          awards at the Festival.                          Alan Kiser (B.M.E.’00) accepted a high
     lege (Orange City, Iowa), will lead the 74-                                                       school teaching position at Mt. Vernon
     voice a cappella choir on a Spring, 2004,                        Mei Zhong (D.M.A.’99)            (Iowa) High School. He directs the concert
     tour to the Czech Republic, Poland, and                          was selected to present a        band, marching band, jazz band, and
     Austria. The tour will include a joint per-                      lecture-concert, “Newly          pep band, as well as the eighth grade
     formance with the Pardubice University                           Arranged Chinese Folk            band.
     Choir as well as a Sunday morning Mass                           Songs—World Premier Per-
     in Salzburg. The Northwestern College                            formance” at the CMS inter-      Laurie Spohn (B.M.E.’00, B.M.’01)
     Heritage Singers, under his direction, per-      national conference, held in Costa Rica in       sang the lead role of Rosalinda in Strauss’s
     formed Dido and Aeneas by Henry Purcell          2003, after her two papers were read at          Die Fledermaus with Opera in the Ozarks
     on January 31, 2003, in Christ Chapel on         the Hawaii International Conference on           in July, 2003.
     campus.                                          Arts and Humanities in Honolulu. She was
                                                      honored with the Master Teacher Award            Carmen Diagostine Wiest (M.M.’00)
     Donald Cabrera (M.M.’99) served on               as one of five outstanding faculty members       is the music director of the Whitewater
     the 2003 faculty of the Music Academy of         selected from across campus at Idaho             (Wisconsin) Symphony Orchestra.
     the West as assistant opera conductor. He        State University in 2002. Her book Tempo
     also has served as an assistant conductor        in the Soprano Arias of Puccini’s La
     for the New Jersey Symphony Orchestra            Bohème, Tosca, and Madama Butterfly is
     and the Pine Mountain Music Festival.            available at www.amazon.com and
                                                                                                       2001-2003
     Cabrera was awarded a Herbert von                www.mellenpress.com. Zhong joined the            Kimberly Ann Hess (D.M.A.’01) has
     Karajan Conducting Fellowship by the             Ball State University (Muncie, Indiana)          been appointed director of liturgical music
     Vienna Philharmonic and the American             School of Music faculty in Fall, 2002, and       and chapel organist at Georgetown Uni-
     Austrian Foundation for the 2002 Salzburg        is completing a textbook, along with her         versity (Washington, D.C.). She also teach-
     Festival.                                        vocal CD, a contract project from Leyerle        es music theory and organ.
                                                      Publication, New York. Her proposal to the
     Kirin Nielsen (D.M.A.’99) was honored            Diversity Associates Program at BSU              Carolyn Kuan (M.M.’01) was a semi-
     as the 2003 “Distinguished Friend of the         recently received funding.                       finalist winner in the September, 2003,
     Green Lake Festival of Music” in Ripon,                                                           Eduardo Mata International Conducting
     Wisconsin, this past summer. She also par-       Lisette Canton (D.M.A.’00) directs the           Competition and was the winner of the
     ticipated in a conducting course at East-        Carleton University Choir and teaches con-       Colorado Symphony Taki Concordia Con-
     man School of Music. In June Nielsen             ducting, music history, and aural training       ducting Fellowship. In addition, Kuan was
     took the Green Lake Festival Choir to Aus-       at Carleton University in Ottawa, Ontario,       an assistant conductor for Baltimore Opera
     tria, Hungary, and the Czech Republic on         Canada. In 2001, Canton founded (and is          and an assistant conductor at the 2003
s                                                                                                      Cabrillo Festival of Contemporary Music.
o    a two-week concert tour. She is associate        artistic director of) the critically acclaimed
n    conductor with the Festival, where she is        Ottawa Bach Choir, a professional choir of       She also won a Herbert von Karajan Con-
o                                                                                                      ducting Fellowship from the Vienna Philhar-
r    assistant to Sir David Wilcocks. Currently,      35 to 40 of the best singers in the Ottawa
i    Kirin is on the ACDA National Research           area and beyond. The choir performs              monic and the American Austrian
t    and Publications Board, and organized            music from all historical periods, while         Foundation for the 2003 Salzburg Festival.
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54
Roberta Freund Schwartz (Ph.D.’01),            in Urbana and performed on the WILL-FM           Heidi Richter (B.M.’02) sang the role of
assistant professor of music history at the    Second Sunday Concert Series in Septem-          Bastien in Bastien und Bastienne this sum-
University of Kansas, delivered a paper,       ber. She won first prize in the 12th Bienni-     mer with the Amadeus Opernensemble,
titled “New Perspectives on the Villancico     al National Solo Competition, sponsored          the performing wing of the Austrian
Negro: Servitude and Exoticism in the          by the American String Teachers Associa-         Mozart Academy.
Spanish Siglo de Oro,” at a conference on      tion and the National School Orchestra
the villancico in Valencia, held at the Uni-   Association (Senior Division for Harp),          Jenny Rose (B.M.E.’02) is teaching
versity of Kansas in April. This past sum-     which was held on the campus of Michi-           choral music education at Cooper Junior
mer she was awarded a Young Faculty            gan State University in May, 2002.               High School (Buffalo Grove, Illinois).
Grant to carry out research in Spain and
England for two projects: the first on music   Celeste Johnson (B.M.’02) was accept-            Darren Anderson (M.M.’03) spent the
in Spanish convents in the 16th and 17th       ed for the Tanglewood Festival this past         summer in the apprentice program of Glim-
centuries, the second on the reception of      summer. Celeste is currently enrolled in the     merglass Opera in New York. He entered
the blues in England in the early 20th cen-    graduate applied music program at the            the Boston Opera Institute for its two-year
tury. Schwartz is director of the Archive of   Eastman School of Music in Rochester,            program in Fall, 2003. Anderson sang the
Recorded Sound at the University of            New York.                                        tenor lead in a concert version of Verdi’s Il
Kansas.                                                                                         Vespri Siciliani with a Canadian company
                                               Jetro Meira de Oliveira (D.M.A.’02)              (Toronto) in November, 2003.
Lucas Tannous (M.M.’01) appeared as            presented part of his dissertation research
leading tenor with Opera in the Heights in     on Brazilian composer José Maurício              Chad Ballantyne (M.M.’03) was a win-
Houston, Texas, singing the roles of Alma-     Nunes Garcia at an international confer-         ner of the Metropolitan Opera Regional
viva in Il Barbiere di Siviglia and Edgardo    ence in 2002, with proceedings to be             auditions and participated this summer in
in Lucia di Lammermoor.                        released in July, 2004. He coordinates a         the Utah Opera Young Artist Program.
                                               project for the development of choral pro-
Annabel Baptist (B.M.E.’02) is a               grams in Brazilian schools K-8, working          Jessica Bayliss (B.M.’03) received a
choral/general music education teacher at      with a team of school teachers and under-        Fulbright Scholarship to study in Germany,
Orchard Place Elementary School in Des         graduate and graduate assistants.                beginning Fall, 2003. She received
Plaines, Illinois.                             Oliveira conducts three choirs at Centro         degrees in musicology and euphonium per-
                                               Universitario, Adventista de Sao Paulo,          formance.
Stevie Caufield (B.M.’02) was accepted         Brazil, and teaches undergraduate music
for the Tanglewood Festival this past sum-     history and both undergraduate and grad-         Erin Carlsen (B.M.E.’03) is a choral/
mer. Stevie is working on her master’s         uate conducting.                                 general music education teacher at North
degree at the New England Conservatory                                                          Shore Middle School in Northbrook, Illinois.
of Music.                                      William Jason Raynovich
                                               (D.M.A.’02), visiting assistant professor of     Julie Derges (B.M.E.’03), a graduate in
Brent Davis (M.M.’02) has been appren-         music theory and composition at Chicago          choral music education, is at Lake Anne
tice artist with Atlanta Opera and will be     State University, is artistic director for the   Elementary School in Reston, Virginia.
covering the role of Belcore in this sea-      MAVerick Ensemble which specializes in
son’s L’e Elisir d’Amore. This past summer     the music of living composers. Also, he          James Feldpausch (B.M.E.’03) is a
he participated in the Des Moines Opera        was artistic director/cellist of the 2003        music education choral teacher at Urbana
Young Artist Program.                          MAVerick Festival, which featured 80 dif-        (Illinois) Middle School.
                                               ferent works in eight concerts throughout
David Grandis (M.M.’02) will guest             Chicago and Urbana this summer. With UI          Denise Gill (B.M.’03) was awarded the
conduct the Nice (France) Philharmonic         School of Music Professor Kazimierz              Skalnik Prize for the Best Undergraduate
Orchestra in the Spring, 2004.                 Machala, Jason premiered Two Players by          Essay in Russian and East European Stud-
                                               this year’s featured guest composer, Christ-     ies in Spring, 2003. She also received the
Ken Haug (B.M.E.’02) is a music special-       ian Wolff. His works were performed at           2003 European Union Center Grant for
ist at Crystal Lake (Illinois) South High      June in Buffalo’s Electronic Music Midwest,      Summer Study Abroad and was awarded
School.                                        Crane New Music Festival, and the Millen-        a 2003-04 FLAS fellowship in Arabic lan-
                                               nium Music Festival (Macon, Georgia).            guage study at the Univeristy of California
Julia Kay Jamieson (M.M.’02) became            Paul Oehlers (M.M.’99, doctoral candi-           at Santa Barbara, where she has now
an adjunct instructor in harp at Illinois      date), executive director of the MAVerick        begun work on a master’s degree in ethno-       w
State University (Normal) in Fall, 2003.       Ensemble, and Raynovich are organizing           musicology.                                     i
                                               a series of three concerts at the Ukranian
                                                                                                                                                n
Jamieson’s arrangement of Michael Jack-
                                                                                                                                                t
son’s Thriller (for harp quartet) was pre-     Institute of Modern Art in Chicago.              Eric Johnson (D.M.A.’03) was named              e
miered by the Harpcore Four during the                                                          President-Elect of the Illinois ACDA. After     r
June, 2003, MAVerick New Music Festival                                                         serving in that position for two years, he
                                                                                                                                                2
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                                                                                                                                                55
     Alumni News
     will become the acting president. Johnson      giate Choir, and teaches applied voice            Kristin Moroni (B.M.E.’03) is a
     had an article, titled “Connecting the Inner   and courses in music appreciation. Kings-         choral/music education teacher at Still
     Ear to the Voice,” published in The Choral     bury had an article, entitled “Rhetoric and       Middle School in Naperville (Illinois) Dis-
     Journal (October, 2003).                       Drama in Schütz’s St. Matthew Passion,”           trict 204.
                                                    published in The Choral Journal (October,
     Wendy Jones (M.M.’03) sang the role            2003). In November, he conducted the                           Amy Olipra (B.M.E.’03,
     of Arminda in Die Gärtnerin aus Liebe this     West-Central Missouri Music Educators                          B.M.’03) is attending gradu-
     summer with the Amadeus Opernensem-            Junior High Honor Choir.                                       ate school at Indiana Uni-
     ble, the performing wing of the Austrian                                                                      versity. She was a semi-
     Mozart Academy.                                Lisa Kristina (D.M.A.’03) joined the fac-                      finalist in the student divi-
                                                    ulty of the DePaul University School of                        sion of the Bel Canto Foun-
     Amy Kim (B.M.E.’03) is at the Jack Lon-        Music in Chicago this Fall. She conducts          dation Competition in Chicago. Olipra
     don Middle School in Wheeling, Illinois,       the Concert Choir, which presents three           won the Primavera Award and the Martha
     where she teaches choral music education.      concerts per year, and coaches operas,            Montasteros Award.
                                                    including Albert Herring and Carmen. She
     Stephen Kingsbury (D.M.A.’03) pre-             began her third season with a community           David Steinau (D.M.A.’03) completed
     sented a paper, entitled “Elements of the      chorus, Grande Prairie Singers (formerly          his first year (2002-03) as assistant profes-
     Mature Compositional Style of James            the Park Forest Singers), which will present      sor of voice at Susquehanna University in
     MacMillan as Exemplified by the Motet          three concerts and two appearances with           Selinsgrove, Pennsylvania.
     Divo Aloysio Sacrum,” at the Research          the Illinois Philharmonic Orchestra. Kristina
     Poster Session, held at the American           will prepare the chorus for a recording of        Lori Williams (M.M.’03) won the Kran-
     Choral Directors Association National          a new musical/oratorio by James Quinn,            nert Center Debut Artist competition and
     Convention in February, 2003. He has           the composer of Do Black Patent Leather           will be auditioning in New York and
     joined the faculty of Central Missouri State   Shoes Really Reflect Up?                          Europe this season.
     University in Warrensburg, where he
     directs the Chamber Chorus and the Colle-      Jeremy Little (B.M.E.’03) is a choral
                                                    music teacher at Luther High School in Mil-
                                                    waukee, Wisconsin.




                                                    Marjorie H. Blitz (B.S.’42) January 1,          Mary Lee Kurowski Keays
       IN MEMORIAM                                  1920-October 5, 2002, Indianapolis, IN          (B.S.’72), February 25, 1950-August 4,
                                                                                                    2001, Redlands, CA
       Chappelle Roeder Kuhlman
                                                    A. John McKinney (M.S.’52) Septem-
       (B.S.’31), May 21, 1909-July 24, 2003
                                                    ber 22, 1914-June 9, 2003, Columbia, IL         Lise A. Waxer (Ph.D.’97), who passed
                                                                                                    away in May, 2002, was posthumously
       Allen P. Britton (B.S.’37; A.M.’39)
                                                    John F. Greenwood (B.S.’54),                    awarded the Alan P. Merriam Prize from
       May 24, 1914-February 17, 2003,
                                                    December 16, 1931-July 27, 2003                 the Society for Ethnomusicology at its
       Hampshire, IL (also Michigan)
                                                                                                    2003 meeting in Miami. The Merriam
                                                    Julia Deskins Vook (M.M.’56)                    Prize is given for the best scholarly book
       Bernhardt M. Kuschel (B.S.’39)
                                                    August 26, 1933-July 5, 2003,                   in the field of ethnomusicology published
       June 27, 1916-May 14, 2002,
                                                    Syracuse, NY                                    in the United States in the previous year.
       Stevensville, MI
                                                                                                    Dr. Waxer’s book is titled The City of
                                                    Richard Perry (M.S.’63, Adv.Cert.               Musical Memory: Salsa, Record
       J. Robert Greenwell (B.S.’40), 1919-
                                                    ’66) January 17 1937-March 28, 2003,            Grooves, and Popular Culture in Cali,
       2003, Arizona and Chicago. IL
                                                    Long Island, NY                                 Colombia, published in 2002 by Wes-
                                                                                                    leyan University Press, Middletown, Con-
       John T. (Terry) Moore (B.M.’40,
                                                    Mary Ellen Suter (B.S.’63) May 12,              necticut. At the time of her death, she
       M.M.’41) February 18, 1916-September
                                                    1941-September 29, 2002, Northridge,            was an assistant professor of music at
       8, 2003, Seattle, WA
                                                    CA                                              Trinity College, Hartford, Connecticut.

s      Norma Schmidt (B.S.’41) February 7,
                                                    Michael Farrell (M.S.’69) June 3,
o      1919-April 30, 2003, Geneva, IL
n                                                   1940-April 1, 2002, Lake Charles, LA
o
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     The following list consists of contributions to the School of Music accumulated through
                                                                                                                           ALLEGRETTO
                                                                                                                           ($100-199)
                                                                                                                           Ms. Doreve Alde-Cridlebaugh &
                                                                                                                            Mr. Richard B. Cridlebaugh
                                                                                                                           Prof. & Mrs. Carl J. Altstetter*
     the generosity of alumni and friends.We thank them for their support of the talent, teach-                            Mr. & Mrs. Gerald E. Anderson
     ing ability, and creativity that exist within the School of Music.                                                    Mr. & Mrs. Philip M. Anderson
         The following list represents those who made gifts between July 1, 2002, and June 30,                             Dr. Anton E. Armstrong
                                                                                                                           Mr. & Mrs. Eugene E. Baethke
     2003. Please note that contributors to the Friends of the School of Music are represented                             Dr. Don R. Baker
     in italics, and members of the Presidents Council are designated with an asterisk (*).The                             Mrs. Iva Jean Bayley
     Presidents Council is reserved for those contributors who pledge a minimum of $15,000                                 Dr. Gordon A. Baym & Ms. Cathrine Blom*
                                                                                                                           Ms. Kathleen A. Bell
     lifetime giving to the University of Illinois.                                                                        Mr. & Mrs. David A. Bender
         Questions or corrections may be addressed to Janet Manning at (217) 333-6452, or by                               Mr. & Mrs. John P. Benisek
     e-mail jmanning@uiuc.edu.                                                                                             Michael D. Bennett, PhD
                                                                                                                           Mr. & Mrs. Donald H. Bergstrom
                                                                                                                           Ms. Sandra S. Bernhard
                                                                                                                           Prof. & Mrs. E. Sanford Berry
                                                                                                                           Mr. James E. Beverly
                                         Mr. & Mrs. John P. Drengenberg                Dr. & Mrs. Joe W. Grant
     PRESTISSIMO                         Dr. & Mrs. William R. Edwards                 Mr. Edward E. Gray
                                                                                                                           Ms. Kristina A. Bohman
                                                                                                                           Dr. Kenneth J. Breeding
     ($15,000 and above)                 The Honorable Ann A. Einhorn*                 Ms. Mary Ann Hart                   Mr. & Mrs. Clark A. Breeze
     Mr. Stuart Levy                     Prof. & Mrs. Marvin Frankel*                  Mr. & Mrs. Rick S. Hartman          Mr. Robert B. Breidert
     Prof. Nicholas Temperley &          Mr. Raymond P. German                         Mr. James S. Hatch                  Mr. & Mrs. Lew R. C. Bricker
      Prof. Mary S. Temperley*           Mr. & Mrs. Edwin L. Goldwasser*               Mrs. Vera A. Hays                   Mrs. Joan B. Brinegar
     Mrs. Joyce W. Zimmerman*            Mrs. Doris E. Harmon                          Ms. Karen A. Higdon                 Dr. David N. Broadbent
                                         Mr. Arthur R. Keller                          Dr. & Mrs. R. Bruce Huston          Mr. & Mrs. Joe Brown
     PRESTO                              Dr. Karl P. Kramer
                                         Mr. & Mrs. Jack H. McKenzie*
                                                                                       Dr. James H. Keays
                                                                                       Mr. David L. Kuhn
                                                                                                                           Dr. Wesley R. Burghardt &
     ($1,000-$14,999)                                                                                                       Ms. Angela M. Stramaglia
                                         Prof. & Mrs. Howard Osborn*                   Prof. Ruth Lorbe                    Prof. & Mrs. Donald L. Burkholder*
     Mr. & Mrs. John D. Armstrong*       Mr. William J. Pananos                        Mrs. Dorothy H. Martirano
     Mr. & Mrs. Ronald C. Camp                                                                                             Mr. David J. Byrd (Dec)*
                                         Mr. Anthony J. Petullo*                       Dr. Russell Mathis                  Mr. James L. Campbell
     Ms. Phyllis L. Cline                Ms. Maureen V. Reagan                         Mrs. Diane Emiko Matsuura
     Mrs. Lynd W. Corley*                                                                                                  Ms. Mary Ann Daly
                                         Mrs. Christie B. Schuetz*                     Prof. & Mrs. Charles J. McIntyre*   Dr. & Mrs. Warren J. Darcy
     Mr. Roger R. Cunningham             Dr. William R. Scott & Dr. Kathryn J. Scott   Mr. Brian T. Miller
     Mrs. Libby De Grado-Condo                                                                                             Mrs. Carol Capadona David
                                         Mr. Glen Strauss*                             Mr. William R. Miller*              Mr. Heath E. Deyo
     Robert C. Dewolf Estate (Dec)       Mr. Frederick V. Simon                        Mrs. Gerda T. Nelson
     Mr. John A. Frauenhoffer*                                                                                             Mrs. Debbi L. Dillman
                                         Mr. & Mrs. G. Gregory Taubeneck*              Mrs. Margene K. Pappas              Mr. & Mrs. Gerald R. Ditto
     Mr. & Mrs. Norman A. Goldberg*      Dr. Robert E. Thomas                          Mr. & Mrs. Joseph N. Peacock
     Dr. & Mrs. Robert E. Gray*                                                                                            Mr. & Mrs. Bruce Doctor
                                         Ms. Susan Williams                            Dr. Stephen L. Portnoy &            Mr. Robert E. Douglas
     Mrs. Virginia Summers Harroun*                                                     Dr. Esther Portnoy*
     Ms. Elaine Hlavach                                                                                                    Dr. Kenneth O. Drake
                                         ALLEGRO                                       Mr. Michael W. Pressler             Mr. & Mrs. Paul Duker
     Dr. & Mrs. Raymond V. Janevicius*                                                 Dr. & Mrs. Edward A. Rath           The Reverend Wyeth W. Duncan
     Mr. Edward J. Krolick*              ($200-$499)                                   Mr. & Mrs. Kenneth L. Reinhardt     Dr. David Eiseman
     Dr. Sara de Mundo Lo*               Prof. & Mrs. Walter L. Arnstein               Mr. & Mrs. Richard W. Reynolds*
     Dr. & Mrs. Ralph E. Mason*                                                                                            Mrs. Gail Enda
                                         Dr. David F. Atwater                          Mr. David M. Rice
     Mr. Jeffrey J. Mellander*                                                                                             Mr. Dale E. Fahnstrom
                                         Dr. Andrew N. Beagle                          Donald & Gay Roberts*
     Dr. & Mrs. L. Daniel Metz                                                                                             Ms. Dawn Fairchild
                                         Dr. Charles W. Boast & Ms. Marsha Clinard     Dr. & Mrs. Edwin A. Scharlau II*
     Mr. Keith D. Nater*                                                                                                   Prof. Emory M. Fanning Jr.
                                         Dr. & Mrs. Gary C. Borchardt                  Mr. & Mrs. A. Gene Skipworth*
     Dr. & Mrs. Carl D. Obenauf*                                                                                           Dr. Virginia Farmer
                                         Mr. James E. Bramsen                          Mr. & Mrs. Terry S. Slocum
     Mr. & Mrs. Arthur Lee Schlanger                                                                                       Ms. Esther E. Fay
                                         The Honorable Claude J. Davis &               Mr. David D. Sporny
     Mr. & Mrs. Glendon A. Schuster*                                                                                       Ms. Judith A. Feutz
                                          Mrs. Marguerite L. Davis                     Dr. & Mrs. Peter J. Starrett
     Dr. Ellen M. Simon*                                                                                                   Mrs. Michelle Walker Fine
                                         Dr. Harold A. Decker (Dec)                    Mr. Dennis M. Steele
     Mr. James Russell Vaky*                                                                                               Mrs. Elizabeth A. Foort
                                         Mr. Richard N. DeLong*                        Dr. Milton L. Stevens Jr
     Tom and Jacqueline Lord-Alge*                                                                                         Dr. Diane Foust & Mr. James N. Foust
                                         Mrs. Lynne E. Denig                           Prof. Emile J. Talbot &
     Prof. Martin Wagner*                                                                                                  Mrs. Carolyn J. Foy-Stromberg
                                         Dr. Delbert D. Disselhorst                     Dr. Elizabeth M. Talbot
     Charles A. Wert* (Dec)                                                                                                Mrs. Margaret A. Frampton*
                                         Mr. & Mrs. Fred H. Drummond                   Mr. Raymond Timpone*
     Prof. John Wustman*                                                                                                   Miss Melva F. Gage*
                                         Mr. LeRoy E. Duncan                           Dr. & Mrs. Peter Van Den Honert     Mr. Robert C. Gand
                                         Mr. & Mrs. Harold J. Eager Jr.                Mr. Earl J. Way                     Mr. & Mrs. Timothy W. Gannon
     VIVACE                              Prof. Gert Ehrlich & Ms. Anne A. Ehrlich
                                         Mr. Michael D. Fagan
                                                                                       Dr. Evelyn J. Weber*                Mr. Richard W. Garretson
s    ($500-$999)                                                                       Mr. & Mrs. Gerald G. Weichbrodt     Mr. Gerald C. Gentes
                                         Mr. Cleve W. Fenley                           Prof. David B. Weiller
o    Mr. & Mrs. Wes S. Alexander                                                                                           Mrs. Sarah Secora Gertner
n                                        Ralph T. Fisher & Ruth M. Fisher*             Mr. & Mrs. Bruce Wittrig
     Mr. & Mrs. James W. Armsey*                                                                                           Mr. Joseph Dale Goble
o                                        Mr. & Mrs. John Forde                         Mr. Robert L. Zarbock
     Dr. & Mrs. Thomas G. Bouwkamp*                                                                                        Mr. Andrew L. Goldberg
r                                        Ms. Judith K. French
i    Mr. Craig W. Branigan                                                                                                 Mr. Perry E. Goldberg
                                         Mr. Nicholas Good
t    Ms. Helen K. Browning                                                                                                 Ms. Sara K. Graffunder
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Dr. John W. Gray & Dr. Eva W. Gray             Ms. Ruth A. Moore
                                                                                         ANDANTE                                        Mr. Robert H. Brown
Mr. Michael A. Griebel                         Mrs. Phyllis Brill Munczek                                                               Mr. Ronald C. Buckles
Mr. James S. Guequierre                        Prof. & Mrs. Bruno Nettl*                 (under $100)                                   Mr. Robert J. Buckley
Ms. Delreen J. Hafenrichter                    Mr. Heinz G. Neumann                      Mr. & Mrs. Frank Acquaviva                     Ms. Anita Bullard
Mr. Richard K. Haines                          Dr. Michael John Nommensen                Dr. Daniel C. Adams                            Mr. William F. Busen
Dr. & Mrs. Albert D. Harrison                  Dr. & Mrs. Philip O. Nubel                Mrs. Isidora Albrecht*                         Dr. Bartlett R. Butler
Dr. Eve E. Harwood*                            COL John A. O’Connor & Mrs. Anna          Mr. Glenn R. Anderson                          Mrs. Linda S. Buzard
Mr. & Mrs. Ronald W. Hedlund                    O’Connor                                 Mr. Robert D. Anderson                         Mr. & Mrs. Charles M. Byte
Mrs. Virginia L. Hedrick                       Mrs. Karen D. Parrack                     Mrs. Shirley Kay Anderson*                     Dr. & Mrs. F. Kent Campbell
Mr. William M. Helmcke                         Mr. Gregory W. Pfeifer                    Mr. Erwin O. Arends                            Lisa S. Caramia
Mrs. Nathalie G. Hise                          Ms. Ruth Pinnell                          Mr. & Mrs. Randal C. Arends                    Dr. Milburn E. Carey
Ms. Gaye Ann Hofer                             Mr. & Mrs. Michael W. Preston             Mr. John D. Armstrong                          Dr. Jon O. Carlson
Dr. & Mrs. Erwin J. Hoffman                    Mr. & Mrs. Robert A. Quade                Mrs. Celia S. Arnold                           Dr. David M. Carter
Mrs. June F. Holmes                            Mrs. Karyn A. Quandt                      Ms. Pamela T. Arnstein                         Dr. & Mrs. Harry H. Carter Jr.
Mr. Orland W. Holmes                           Ms. Karen Randolla                        Mr. Charles C. Aschbrenner                     Dr. Philip S. Cary
Dr. Jesse E. Hopkins Jr.                       Dr. W. Donald Rankin                      Mrs. Marian L. Ascoli                          Ms. Clara E. Castelo
Mr. Robert L. Hormell                          Mrs. Karen D. Ranney                      Ms. Susanne L. Aultz                           Dr. Joseph S. Ceo
Dr. & Mrs. Chester W. Houston*                 Mr. & Mrs. William J. Reagan              Mrs. Shirley T. Axel                           Mrs. Artha L. Chamberlain
Mr. Fred M. Hubbell                            Dr. & Mrs. Thomas M. Reeder               Dr. & Mrs. William P. Bahnfleth                Mrs. Jeanie W. Chandler
Ms. Jane Paul Hummel                           Mr. & Mrs. Robert J. Rogier               Mr. Robert S. Baile                            Mrs. Deborah H. Chapin
Mr. Robert H. Huss                             Mr. & Mrs. John R. Romans                 Mrs. Linda D. Bailey                           Dr. & Mrs. Carl E. Chapman
Mr. & Mrs. Frederick W. Irion                  Mr. Kenneth W. Rubin                      Mrs. Patricia A. Baird                         Mrs. Mary L. Chapman
Mrs. Jean H. Jamison                           Dr. & Mrs. Byron Ruskin*                  Mrs. Marlene K. Ballard                        Mr. Scott Chase
Mrs. Kathryn A. Janicek                        Mr. John M. Ryan & Dr. Kathreen A. Ryan   Mrs. Lisa G. Baltzer                           Mrs. Amy L. Childress
Mr. William C. Jennings                        Mr. George J. Sanders                     Mr. Michael R. Bandman                         Mrs. S. Martha Chiligiris
Mr. Lansing K. Johansen                        Dr. Philip S. Sargent                     Prof. & Mrs. Delmar K. Banner                  Ms. Joanne A. Chorpening
Mr. & Mrs. Carlyle W. Johnson                  Mr. James W. Schrodt*                     Ms. Marolyn G. Banner                          Mr. John C. Christian
Mr. & Mrs. Vinson M. Johnson                   Mr. & Mrs. John F. Schwegler              Prof. & Mrs. Thomas T. Bannister               Mrs. Jean A. Clarke
Mrs. Doris D. Jones                            Dr. Oliver Seely Jr.                      Mrs. June H. Barber                            Mr. & Mrs. John J. Clodfelter
Mr. & Mrs. John E. Jordan                      Mr. John S. Setterlund                    Dr. & Mrs. David C. Barford                    Mrs. Katherine M. Cloonen
Mr. & Mrs. Peter J. Kale                       Mr. Ralph E. Shank                        Mr. & Mrs. Gary N. Barrow Jr.                  Dr. Dale Cockrell
Prof. & Mrs. James B. Kaler                    Mr. Fay M. Sims*                          Dr. Neale K. Bartee                            Mrs. Donna A. Coffman
Dr. Dennis K. M. Kam                           Dr. William C. Smiley                     Mrs. Barbara J. Barth                          Mr. Garrett Rigney Cofield
Mr. Thomas J. Keegan                           Mr. Wesley Q. Stelzriede                  Mr. Craig M. Bartscht                          Ms. Nina M. Cole
Mrs. Cynthia M. Kennedy                        Dr. Virginia K. Stitt                     Ms. Angela M. Bates                            Mr. & Mrs. DeVerne A. Coleman
Mr. Frederick James Kent                       Mr. & Mrs. Chester Strohecker             Mrs. Mary Agnes Bates                          Mr. James T. Conder
Mr. R. Edward Kiefer                           Dr. Gary R. Sudano                        Mr. & Mrs. Burl Bauer                          Mr. Mark A. Conley
Mr. Philip W. Klickman                         Ms. Terri M. Svec                         Dr. Jon W. Bauman                              Mr. Curtis O. Cooper
Mr. James E. Kloeppel                          Prof. & Mrs. Earl R. Swanson*             Mr. John E. Bauser                             Ms. Grace C. Coorens
Mr. & Mrs. Thomas M. Koutsky                   Mr. & Mrs. Steve Therriault               Dr. Gretchen Hieronymus Beall                  Mrs. Ruth L. Cortright
Dr. & Mrs. James W. Krehbiel                   Dr. Robert F. Thomas Jr.                  Mrs. Sandra K. Beckman                         Mrs. Rebecca T. Courington
Dr. Robert S. Krueger                          Dr. Gerald J. Throop                      Mrs. Nancy H. Beckmann                         Dr. Victoria L. Covington
Mr. William J. Kubitz & Ms. Carol A. Kubitz*   Mrs. Jacqueline A. Tilles                 Mr. & Mrs. James D. Beebe                      Mr. Richard L. Cowart
Mr. William O. Kuyper                          Ms. Sara S. Trayser                       Mrs. Janet S. Beger                            Mrs. Mina M. Coy
Dr. & Mrs. Joseph A. Labuta                    Mr. & Mrs. Thomas C. Temple*              Mr. Michael T. Bekiares                        Ms. Lynn M. Coyle & Mr. Scott D. Coyle
Mr. & Mrs. Richard H. Larson                   Dr. A. Robert Twardock*                   Mr. & Mrs. Orris H. Bender                     Mr. Keith C. Craft
Dr. Peter J. LaRue                             Mrs. Susan T. Van Sickle                  Mrs. Phyllis A. Bergagna                       Ms. Betty J. Cravens
Dr. John W. Leman                              Mrs. Joan M. Vogen                        Mr. & Mrs. Jeffrey L. Berns                    Mrs. Jeanne E. Craver
Mrs. Elise K. Lidral                           Mrs. Sandra Smith Volk*                   Mr. Richard B. Biagi                           Ms. Harriet E. Crawford
Mrs. Carol L. Loyet                            Ms. Alice W. von Neumann & Prof. Albert   Mr. Dennis R. Biagioli                         Mrs. Theresa K. Creighton
Prof. & Mrs. W. G. Marigold                     Wattenberg                               Dr. Sara B. Bidner                             Mrs. Rebecca Kaplan Cytron
Ms. Jane R. Marsh                              Mr. James R. Waechter                     Mr. David E. Bilger                            Prof. Everett C. Dade
Mr. Leonard Marvin                             Mr. John H. Walter & Mrs. Joy Thornton-   Mr. Ronald T. Bishop                           Dr. Bruce F. Dalby & Ms. Lisa Allene Kerr
Mrs. Barbara A. Mateer                          Walter*                                  Ms. Evelyn Blackman                            Ms. Kelley M. Dale
Dr. & Mrs. Steven E. Mather                    Mrs. Joanne L. Wegscheid                  Mr. Robert O. Blissard                         Mr. & Mrs. Jerry L. Daniels
Dr. Gordon W. Mathie                           Miss Ruth E. Weinard                      Mrs. Jacqueline K. Block                       Dr. & Mrs. James Dapogny
Mr. Gary L. McClung*                           Mr. Daniel Wiesbrock                      Mrs. Susan E. Block                            Dr. Daniel J. Dauner
Mr. Richard D. McKee II                        Dr. Robert E. Williams                    Mr. Benjamin J. Blumberg                       Ms. Deborah M. Day*
Dr. Alexander B. McLane                        Mr. Keith L. Wilson                       Mr. John E. Bolz                               Ms. Nancy Dehmlow
Mr. & Mrs. H. Richards McLane                  Dr. & Mrs. William R. YaDeau              Mr. Alfred E. Born & Dr. Christelle E. Menth   Mr. Thomas E. DeLaet
Mr. & Mrs. Ronald D. McWilliams                Ms. Grace Yang                            Mrs. Kathleen E. Bragle                        Mr. William E. DeMont                       w
Dr. Maria P. Merkelo                           Mr. & Mrs. Roger L. Yarbrough*            Mr. John D. Bramsen                            Mr. & Mrs. Jack Derning                     i
Prof. & Mrs. Richard L. Merritt*               Mr. Albert Yuan                           Mr. David H. Brewer                            Mr. & Mrs. William J. Devenney              n
Mrs. Sharron P. Mies                           Mr. & Mrs. Raul M. Zamora                 Mrs. Ellen F. Brewer                           Mr. & Mrs. Edmund J. DeWan                  t
Prof. & Mrs. George H. Miley                                                             Dr. Robert G. Brewer                           Mrs. Susan B. DeWolf                        e
Ms. Erie A. Mills                                                                        Ms. Kareen G. Britt                            Jean N. Dodohara, EdD                       r
Mr. Danlee G. Mitchell                                                                   Mr. C. Wayne Brodkorb                          Various Donors
Mr. & Mrs. Jeffrey L. Modlin                                                             Mr. Bruce R. Brown                             Mr. C. William Douglass                     2
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     Mr. Donald W. Downs &              Mr. & Mrs. Herbert Goldhor*                    Mr. Aaron L. Johnson                        Dr. and Mrs. James T. Madeja
      Mrs. Mary Ann Dahlquist-Downs     Ms. Sarah J. Good                              Dr. David Lee Johnson                       Mrs. Helen A. Magnuski*
     Mr. Allen C. Drake                 Dr. Ingrid G. Gordon                           Mr. & Mrs. Robert R. Johnson                Dr. & Mrs. Walter J. Maguire*
     Mrs. Jean E. Drendel               Mr. Daniel A. Gosling                          Mr. Thomas W. Johnston*                     Dr. David M. Main*
     Ms. Darcy D. Drexler               Mr. Frank L. Gould Jr. & The Reverend          Mrs. Cheryl Lynn Johnson-Richt              Mr. Ian R. Malbon
     Mr. Howard S. Ducoff                Karen N. Gould                                Mrs. Ruth M. Jones                          Dr. & Mrs. Joseph Manfredo
     Mrs. Helen F. Duffield             Dr. Susan Keith Gray                           Mr. Richard E. Jorgensen                    Mrs. Guileen P. Manuel
     Ms. Marilyn M. Duginger            Ms. Denise D. Green                            Mr. & Mrs. Drasko Jovanovic                 Mr. and Mrs. Jeffrey M. Marks
     Mr. John G. Duker                  Ms. Sarah E. Green                             Mrs. Donna L. Kaelter                       Mr. Richard S. Marsho
     Mr. John Dunkelberger              Mr. John F. Greenwood (Dec)                    Ms. Karen Kaiser                            Ms. Anne S. Martel
     Rev. Raymond N. Dunlap             Dr. & Mrs. Ernest N. Gullerud*                 Mr. Robert A. Kaiser                        Mrs. Marian S. Martin
     Ms. Pamela J. Dunleavy             Ms. Donna J. Gullstrand                        Ms. Melissa J. Kallstrom                    Dr. Jameson N. Marvin
     Mr. Dwight E. Dyer                 Mrs. Margaret S. Gunderson                     Mrs. Elizabeth A. Kamps                     Mrs. Ann K. Mason
     Mr. Austin A. R. Dyson             Ms. Layna Chianakas Haddad &                   Mrs. Nanci L. Karlin                        Mrs. Nancy V. Matchett
     Mrs. Elizabeth F. Easley*           Mr. Elie Haddad                               Mr. & Mrs. Carl K. Karoub                   Mrs. Carolynne B. Mathis
     Mrs. Carole J. Eckert              Mrs. Marilyn J. Hall                           Mrs. Martha H. Kearney                      Ms. Elise R. Matusek
     Mrs. Jean M. Edwards               Mr. Mark Hamby                                 Dr. William K. Kearns                       Mrs. Eva M. Maxwell
     Mr. Stephen F. Eggerding           Mr. Julian J. Hamerski                         Dr. Robert P. Keener                        Mrs. Carolyn R. May
     Mr. Philip W. Eherenman            Mr. & Mrs. Steven E. Hancock                   Mrs. Patricia C. Keim                       Mr. Lutz L. Mayer
     Mrs. Cheryl M. Einsweiler          Ms. Judith G. Hanson                           Mr. Frederick T. Kelly                      Ms. Mary E. Mayhew
     Dr. & Mrs. Barry L. Ellis          Dr. Richard D. Hanson                          Ms. Wendy L. Kelly                          Mr. Donald O. Maylath*
     Mr. & Mrs. Douglas G. Elrick       Mr. Thomas W. Hawkins                          Mrs. Mary Anne Kesler                       Mr. Frank J. McCollough
     Mr. Michael S. Erazmus             Mrs. LuAnn E. Hayes                            Mr. John H. Kessler                         Mrs. Nalda N. McCollough
     Mr. William A. Erdman              Mr. & Mrs. Jason P. Healey                     Mr. James E. Ketch                          Mr. & Mrs. James L. McDonald
     Mr. & Mrs. Jack W. Ergo            Mr. & Mrs. G. Byron Healy                      Mrs. Nina S. Key                            Mr. & Mrs. Douglas R. McIntosh
     Mr. & Mrs. James H. Ericksen       Dr. Robert H. Hearson                          Mrs. Jan K. Khorsandian                     Mr. & Mrs. Myron D. McLain
     Sister Marion Etzel                Mr. & Mrs. David L. Hecht                      Mrs. Elizabeth E. Kirkpatrick               Ms. Anne Martin McLaughlin* (Dec)
     Dr. Kenneth E. Fahsbender          Mr. W. Robert Hedgcock                         Prof. Ann Kleimola                          Mrs. Patricia H. McNees
     Mr. Frederick D. Fairchild         Dr. William H. Heiles &                        Dr. David W. Knutson                        Mr. & Mrs. William J. McNeiland
     Mr. Andrew J. Farnham               Dr. Anne Mischakoff Heiles                    Ms. Rosanne J. Koehler                      Mrs. Donna F. McPherson*
     Dr. Linda J. Farquharson           Ms. Margarita L. Heisserer                     Mrs. Mayola C. Kolbe                        Mrs. Rita D. Melin
     Elizabeth L. Faucett*              Mrs. Nona J. Heitmann                          Ms. Lavetta J. Koresko                      Dr. Mardia Melroy
     Mr. Michael Feeney                 Mrs. Gloria S. Helfrich                        Mr. John A. Krebs                           Ms. Ida K. Mercer
     Mr. Scott D. Feldhausen            Dr. Gregg S. Helgesen                          Mrs. Kathleen A. Krepel                     Mr. C. J. Merrill
     Mr. Ron Fink                       Mr. John W. Helper                             Mr. Andrew J. Krier                         Mrs. Irene O. Metzger
     Ms. Margaret A. FioRito            Dr. & Mrs. Donald M. Henderson                 Mr. & Mrs. David L. Kuehn                   Mr. Martin E. Miller
     Dr. Don A. Fischer*                The Reverend Marion L. Hendrickson             Mr. Dru S. Kuperman                         William S. Miller & Christine P. Miller
     Mrs. Janice L. Fisher              Mr. & Mrs. Donald G. Henrickson                Mrs. Ellen Green Kuroghlian                 Mrs. Rita J. Millis
     Dr. Robert J. Fleisher             Mr. Bernard H. Henry                           Mrs. Joyce M. Laible                        Mrs. Eleanor L. Milnes
     Dr. Nancy P. Fleming               Mr. Harvey A. Hermann Jr.                      Dr. Marvin L. Lamb                          Mr. James E. Mirakian
     Mr. Larry L. Franklin              Mrs. Sally K. Hermann                          Mr. & Mrs. F. W. Lancaster                  Mr. Keith A. Mitchell
     Dr. L. Thomas Fredrickson          Ms. Sharon B. Hermann                          Ms. Sandra L. Lane                          Ms. Sylvia J. Mize
     Dr. & Mrs. Andrew N. French        Mr. Steven K. Hesla                            Mrs. Barbara A. Lanham                      Mr. Milton R. Mojzis
     Mrs. Gwynne H. French              Dr. Douglas M. Hill                            Mr. Frank A. Laraia Sr.                     Mr. Maurice E. Monhardt
     Mr. & Mrs. Donald W. Fretty        Mr. John T. Hill                               Mrs. Bonnie A. Larner                       Ms. Erica Montgomery & Mr. Chris Matten
     Mr. & Mrs. John D. Frey*           Mr. & Mrs. Delmar L. Hillman                   Mr. David R. Larson & Ms. Carol C. Larson   Mr. & Mrs. Robert Morgan
     Mr. & Mrs. Daniel E. Fridley       Mrs. Jane Bishop Hobgood                       Mr. Kenneth M. Larvenz                      Dr. & Mrs. David W. Morse*
     Prof. & Mrs. Stanley Friedman      Mrs. Mary Ellen Honnold                        Ms. Dana LaSalle                            Mr. & Mrs. Willis D. Moyer
     Mr. Thomas R. Fudge                Dr. W. Peter Hood*                             Mrs. Barbara A. Lauff                       Mrs. Brenda D. Muench
     Ms. Judith Kaye Fulton             Mr. & Mrs. Robert A. Hormell*                  Prof. & Mrs. David Lazarus*                 Mrs. Kathryn Rice Muench
     Mrs. Edwina T. Gabcik              Mr. Don Hough                                  Mrs. Theta Lee                              Mu Phi Epsilon Urbana-Champaign
     Mrs. Mary Margaret Gaddy           Dr. & Mrs. Robert W. House                     Mr. Bradley S. Leeb                          Alumni Chapter
     Dr. & Mrs. Stephen L. Gage         Ms. Alice A. Hove                              Mrs. Florence K. Leigh                      Ms. Catherine A. Murphy*
     Mrs. Charlene W. Gates             Mrs. Abbie O. Hubbell                          Dr. Larry E. Leonard                        Dr. Marilyn M. Murphy
     Mr. & Mrs. Thomas Lee Gauger       Mr. & Mrs. Robert D. Huffington                Mr. Jeffrey E. Lindberg                     Ms. Ann E. Murray
     Mr. Jeffrey J. Gaylord             Mr. Ronald F. Hughes Jr.                       Mr. John R. Lindsey                         Mr. Martin J. Murray
     Mrs. Marian B. Gebhardt            Mr. William H. Hughes Jr.                      Prof. Robert P. Link*                       Dr. Walter L. Myers & Ms. Jane L. Myers*
     Mr. Jon T. Geheber                 Mr. & Mrs. Allen E. Hunter                     Mr. Roger D. Little                         Ms. Joyce G. Nagel*
     Mrs. Jennifer A. Gettel            Mr. & Mrs. Bruce L. Hutchings*                 Dr. Thomas Lloyd                            Mr. & Mrs. Robert N. Nash
     Mrs. Cheryl S. Gibson              Mrs. Janice C. Impey                           Dr. John R. Locke                           Dr. Nina M. Nash-Robertson
     Mr. Robert A. Gilbert              Dr. & Mrs. Charles F. Isaacson                 Mr. Cary Lovett                             Mr. Larry G. Neemann
     Mr. & Mrs. Gregory L. Gilboe       Dr. Barbara G. Jackson                         Mrs. Virginia K. Lovett                     Mr. Kenneth L. Nelson
s    Mrs. Karen L. Given                Ms. Sharon R. Jacobson-Stine                   Mrs. Klara Lueschen                         Mrs. Louise S. Nelson
o    Ms. Renee Gladstone                Mr. William O. Janky                           Mr. Albert L. Lundgren                      Mrs. Rosemary F. Nelson
n    Mr. & Mrs. Herbert D. Glass        Mrs. Laurine Jannusch                          Prof. Morgan J. Lynge Jr.                   Ms. Ann K. Newman
o
r    Mr. & Mrs. Donald L. Glossop Jr.   Mr. William T. Jastrow& Dr. Julie D. Jastrow   Dr. Linda S. Mack                           Dr. & Mrs. Grant H. Newman
i    Mr. Thomas E. Goettsche            Mr. & Mrs. R. Scott Javore                     Mr. Boyd A. Mackus                          Ms. Lillian Nicholas (Dec)
t    Mr. & Mrs. Frank Goldacker         Mrs. Gwen A. Jeske                             Mr. David W. Madden                         Mr. William J. Nicholls
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Kim Nickelson, MD                          Dr. Deane L. Root & Dr. Doris J. Dyen   Mrs. Roberta L. Stiles            Ms. Trudy Fraase Wolf
Dr. Eugene D. Novotney                     Mrs. Linda F. Rosen                     Prof. & Mrs. Victor J. Stone*     Mrs. Rose Marie Wood
Mr. David A. Nowak                         Mrs. Devorah B. Ross                    Barbara J. Stover                 Dr. Marsha Cook Woodbury &
Ms. Julie A. O’Connor                      Mrs. Mary Higley Rosser                 Ms. Merry B. Stover                Mr. Roger E. Woodbury*
Mr. & Mrs. James G. O’Hare                 Prof. & Mrs. Melvin Rothbaum*           Dr. Michael C. Strasser           Dr. Benjamin W. Woodruff Jr.
Mrs. Adrienne L. Olsen                     Mrs. Nina Rubel                         Mr. James R. Straub               Mrs. Zoe R. Worner
Mr. Harley P. Olson                        Mr. Robert J. Ruckrigel                 Mrs. Blanche J. Sudman*           Mr. & Mrs. Scott A. Wyatt
Mr. Rick K. Orr & Mr. Scott D. Larimer*    Mrs. Barbara B. Rudolph                 Mr. J. David Sulser               Mr. & Mrs. Henry W. Wyld Jr.
Mr. David M. Osenga                        Mr. & Mrs. David B. Rundle              MAJ Kent W. Swagler (Ret) &       Ms. Joyce S. Yang
Dr. David C. Osterlund                     Mrs. Cheryl Lane Ryan                    Mrs. Patricia Swagler            Mr. Charles L. Yassky & Mrs. Marti Sweet
Mr. Thomas W. O’Toole                      Dr. & Mrs. Ahmed H. Sameh               Mr. & Mrs. Mark T. Swanson*       Mrs. Kathleen Young
Mr. Dennis L. Ottmers                      Dr. Lori K. Sanders                     Mrs. Millicent R. Sylvester       Mr. Mickey W. Young
Ms. Janet L. Outis                         Mr. & Mrs. Ray L. Sanders               Mr. Peter A. Takacs               Mr. Robert E. Yung
Mr. Robert R. Outis                        Mr. & Mrs. Ray K. Sasaki                Mr. Matthew S. Talbott            Dr. Joyce R. Zastrow
Mr. Ronald R. Page                         Ms. Madeline S. Sauerbier               Ms. Nan E. Tate                   Mr. & Mrs. Eugene L. Ziegler
Ms. Patrice M. Pakiz                       Mr. David L. Saunders                   Mrs. Dorothy P. Taylor            Dr. & Mrs. R. T. Zuidema
Dr. Susan Parisi & Prof. Herbert Kellman   Mr. & Mrs. James C. Saxton              Mrs. Vivian B. Terrill            Ms. Amy J. Zussman
Mr. & Mrs. Donald E. Peaslee               Ms. Marlys J. Scarbrough                Mr. Edwin C. Thayer
Mrs. Gail Peine                            Mr. Arthur G. Schildbach                Mrs. Catharine A. Thieme          MATCHING CORPORATIONS
Dr. Karin A. Pendle                        Ms. Jennifer L. Schmidt                 Mr. Darius L. Thieme
Mr. John H. Pennell                        Mrs. Shirley J. Schnizer                Mrs. Susan Kuriga Thorne          AND FOUNDATIONS
Ms. Susan B. Peppercorn                    Mrs. Jane W. Schoeniger                 Mr. David P. Thurmaier            Accenture Foundation
Mr. & Mrs. Daniel J. Perrino*              Dr. & Mrs. Karl-Heinz Schoeps           Ms. Helen L. Thursh               Bank One Foundation
Mrs. Aiko K. Perry                         Mr. Steven E. Schopp                    Mr. & Mrs. Robert C. Timblin      BP Amoco Foundation
Dr. Linda W. Perry                         Mrs. Karen Schulman-Bear                Marie G. Tompkins                 GE Foundation
Ms. Anne M. Petrie                         Mr. & Mrs. Ed Sepp                      Mrs. Barbara B. Toney             General Motors Corporation
Mrs. Geraldine B. Petty                    Mrs. Grace H. Sexton                    Mr. Vincent B. Trauth             Leo Burnett Company, Inc.
Mrs. Amy L. Phelps                         Mr. Dennis A. Shaul                     Mr. & Mrs. John W. Trautwein      Motorola Foundation
Mrs. Marian Phillippe                      Prof. & Mrs. Donald R. Sherbert         Mrs. Olivia L. Tremblay           New York Life Foundation
Dr. Robert W. Placek                       Mrs. Kristen Shiner-McGuire             Prof. & Mrs. H. C. Triandis*      Pharmacia Foundation
Mr. Kenneth R. Pletcher                    Mr. & Mrs. Dale A. Shipe                Mr. Philip K. Trimble             Raytheon Company
Mr. & Mrs. James T. Pokin                  Ms. Jill Shires                         Dr. Tod M. Trimble                SBC Foundation
Dr. Mary Ellen Poole                       Mrs. Faraba G. Shirley                  Dr. & Mrs. Max R. Tromblee        The Allstate Foundation
Mr. Alan M. Porter                         Mr. William A. Shortal                  Mr. & Mrs. Harold J. Turner Jr.   The Dow Chemical Company Foundation
Dr. & Mrs. Scott E. Preece*                Dr. Blaine F. Shover                    Mrs. Katharine B. Tyler           The Northern Trust Company
Mr. Ernest W. Pressley                     Ms. Mary L. Sigler                      Mr. Walter E. Urben               Tyco Electronics
Mrs. Valerie J. Putsey                     Dr. Ann L. Silverberg                   Mrs. Julia A. Van Dyke            Wells Fargo Foundation
Ms. Jane Treat Queller                     Mrs. Ellen Singer                       Mr. & Mrs. Wayne Van Dyke
Mr. Myron A. Rahn
Winifred Ehler Ramstad &
                                           Mrs. Patricia S. Skarr
                                           Ms. Sharen R. Slade
                                                                                   Mrs. Emily Vaniman
                                                                                   Mrs. Susanne M. Veal
                                                                                                                     CORPORATIONS AND
 A. William Ramstad                        Mr. & Mrs. Michael J. Slinger           Mr. & Mrs. Scott C. Veazey        FOUNDATIONS
Mr. Stanley E. Ransom                      Ms. Abby Sloan                          Ms. Kathleen A. Walker            Ann and Gordon Getty Foundation
Ms. Phyllis Rappeport                      Mr. & Mrs. F. William Small Jr.         Dr. & Mrs. William H. Walker      Anthony Petullo Foundation, Inc
Dr. Roger D. Ray                           Dr. Marilynn J. Smiley                  Ms. Cheryl E. Hein Walters        Champaign-Urbana Music Teachers
Mrs. Janice L. Razaq                       Mrs. Beverly N. Smith                   Dr. David Ward-Steinman             Association
Ms. Frances S. Reedy                       Ms. Deidre A. Smith                     Mr. Arthur S. Wasik               Community Foundation of Champaign
Dr. & Mrs. Sam Reese                       Ms. Dorothea Fredrickson Smith*         Mrs. Bernice S. Wax                 County
Mrs. Irma Reiner                           Mr. & Mrs. Leslie G. Smith              Dr. Calvin E. Weber               Flushing Pheasant Digital Video
Mr. & Mrs. David O. Reip                   Mr. & Mrs. Matthew O. Smith             Dr. Elizabeth A. Weber            Golden Lyre Foundation, IL Federation of
Mrs. Barbara J. Rice                       Mr. Phillip R. Smith                    Mrs. Mary Jane Weber                Music Clubs
Mr. & Mrs. Joe D. Rice                     Mrs. Rosemary B. Smith                  Dr. George W. Weimer              Haines & Associates Ltd
Mrs. Margaret G. Rice                      Mr. Timothy P. Smith                    Dr. & Mrs. Robert E. Welke        Hal Leonard Publishing Corporation
Mrs. Carolyn C. Richards                   Mrs. Elizabeth M. Spencer               Mr. Duane H. Werner               Illinois Opera Theatre Enthusiasts
Mr. Adam C. Richardson                     Mr. Robert V. Sperlik Jr.               Mrs. Mary E. Whartenby            Janet S. Beger, LCSW PC
Mr. George G. Richardson                   Mr. M. Andrew Sprague*                  Ms. Thelma Willett                Jolesch Photography
Mrs. Lois H. Richter                       Mr. & Mrs. Joseph Spytek                Mrs. Beverly Ann Williams         Memphis Musicraft Publications
Mr. Paul S. Riegel                         Ms. Nancy S. Stagg                      Mr. & Mrs. Rodney J. Williams     Metropolitan Opera National Council
Mrs. Patricia J. Rinkenberger              Mrs. Diane H. Staub*                    Dr. Sandra L. Williams            Neil A. Kjos Music Company
Dr. Robert E. Ritschel                     Dr. Harry M. Steckman                   Mr. & Mrs. Gregory L. Willis      New Life Video/Bay-Com
Dr. & Mrs. Schuyler W. Robinson            Mrs. Janet N. Steffy                    Ms. Donna Wilson                  Precision Graphics
Mr. Kevin W. Rock                          Dr. David B. Stein                      Dr. Jeffrey S. Wilson             Salvatore Martirano Foundation
                                                                                                                     Sound Enterprises                          w
Mr. Scott D. Roeder                        The Honorable Robert J. Steigmann*      Mr. Dennis D. Windler                                                        i
Dr. Franz L. Roehmann                      Mr. & Mrs. Norman G. Stein              Mrs. Jane R. Wineman              The E. F. Wildermuth Foundation
                                                                                                                     The Presser Foundation                     n
Mr. & Mrs. Donald Q. Rogers                Mrs. Krista J. Steller                  Mrs. Betty S. Wise                                                           t
Mrs. Elizabeth P. Rogers*                  COL Donald K. Stevens                   Mrs. Rita S. Wise                 Thomas G. Bouwkamp MD PA
                                                                                                                     Village Music Store                        e
Mr. Jeffrey L. Rohrer &                    Mr. Thomas C. Stewart                   Mrs. Kim Y. Wittel                                                           r
 Mrs. Joyce Kim-Rohrer                     Mr. Robert J. Stiehl                    Edward C. Wolf, PhD
Dr. Brenda R. Root                         Dr. David K. Stigberg                   Dr. Robert L. Wolf                                                           2
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THE UNIVERISTY OF ILLINOIS SCHOOL OF MUSIC PRESENTS
                                                            A conference, “New Directions in the Study of Musical Improvisation,” will be
                                                            held from April 1 to April 4, 2004, on the UIUC campus. Sponsored by the
                                                            division of musicology (with an organizing committee consisting of William
                                                            Kinderman, Bruno Nettl, and Gabriel Solis) and supported by numerous cam-
                                                            pus units, it will consist of invitational lectures and papers as well as perform-
                                                            ances and workshops, by distinguished visitors and local scholars and artists.
                                                            Its purpose is to examine recent research and practice, focusing on three
                                                            themes—improvisation and creative processes, political and social processes,


 New Directions                                             and educational processes—within which the interrelationships of historical,
                                                            global, and contemporary repertories and the methods of studying them may
                                                            be explored.



 in the Study of Musical Improvisation
                                                            Major lectures will be given by Professors Stephen Blum (CUNY Graduate
                                                            School), Patricia Campbell (University of Washington), and Ingrid Monson
                                                            (Harvard). Other visiting and local speakers will include Professors Paul Berlin-
                                                            er (Northwestern), Sabine Feisst (Arizona State), Robert Hatten (Indiana),
APRIL 1 – APRIL 4, 2004                                     Travis Jackson (University of Chicago), Natalie Kononenko (University of Vir-
                                                            ginia), John Murphy (University of North Texas), Ali Jihad Racy (UCLA), Anne
ON THE UIUC CAMPUS                                          Rasmussen (William & Mary), Keith Sawyer Stephen Slawek (University of
For more information, e-mail Bruno Nettl b-nettl@uiuc.edu   Texas-Austin), Christopher Waterman (UCLA), and a number of musicology fac-
                                                            ulty and members of other departments at the UI. In the plans also are to be
                                                            performances and lecture-demonstrations of several improvisational repertories:
                                                            Persian music (Manoochehr Sadeghi, from Los Angeles), Arabic music (Ali
                                                            Jihad Racy), dance improvisation (Chris Aiken, Ursinus College), the UI jazz
                                                            program (Professor Charles McNeill), Professor John Toenjes (on improvising
                                                            accompaniment to dance), Professor Charlotte Mattax (Baroque keyboard
                                                            improvisation), and Professor Guy Garnett (improvisation and technology).

                                                            The conference and all of its sessions will be open to all; no registration
                                                            (except for signing in) will be required. For further information, e-mail Bruno
                                                            Nettl b-nettl@uiuc.edu, from whom a preliminary program will be available.




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