"Keith Wilson Keith Wilson"
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 2 58 Partners in Tempo 0 0 4 1 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 email@example.com 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- firstname.lastname@example.org 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 0 4 5 Cover Story s o n o r i t i e s 6 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 0 0 4 7 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 o r Sousa slept in their home.) Sousa conducted the massed univer- i sity bands on March 20, 1930, and dubbed the UI Concert t i Band “the world’s greatest college band.” e s 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 0 0 4 9 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). t i e s 10 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 e competitors and their r pianists, as well as the 2 Cello Choir using free 0 PHOTOS: CHRIS BROWN 0 4 11 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. t i e All photos by Chris Brown s 12 w i n t e r 2 0 0 4 13 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 o n the International Medieval and Renais- o r i t i e s 14 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 0 0 4 15 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, i e s 16 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 0 0 4 17 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 i e s 18 “” 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 i e s 20 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 email@example.com. 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 0 0 4 21 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 i e s 22 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 2 0 0 4 23 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 e s 24 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 t 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 2 and the Naumburg Chamber Music Award there. Last year it out this year’s schedule. I 0 0 4 25 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 e s 26 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 w comparable with the finest ensembles from around the affinity for the rich and vibrant music of their homeland. I i n t e r 2 0 0 4 27 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 t i e s 28 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 ciation District 2 n Senior Honor Band t e and also conducted r members of the March- 2 0 0 4 29 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 o 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- i e s 30 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 e 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 2 0 0 4 31 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 t i e s 32 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 0 0 4 33 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. t i e s 34 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 2 0 0 4 35 Aswsqs£ 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 i e s 36 w£Ei 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 2 0 0 4 37 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 2 0 0 4 43 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 i e s 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 This gift is from I Mr. I Mrs. I Miss I Ms. I Mr. & Mrs. I/We have enclosed a gift of Name I $50 I $100 I $500 I $1000 I other $ for: I School of Music (32905) Maiden name (if appropriate) I Other Address I I have enclosed my employer’s matching gift form. City I I/We authorize the U of I Foundation to collect my gift of State Zip $ through the credit card checked. Phone I MasterCard I Visa I American Express I Discover Card # Business name Expiration date: Business address City Signature (required) State Please make your check payable to: UIF/School of Music w Zip Send to: i University of Illinois Foundation n Business phone P.O. Box 3429 t Champaign, IL 61826-9916 e Email r To make a gift, please go to: www.faa.uiuc.edu/support_faa/gift.html 5M 9DH 2 0 0 4 45 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- i e s 46 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 4 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. i t i e s 48 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 0 0 4 49 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- i e s 50 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: 2 0 0 4 51 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 i e s 52 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 the Arts. 0 0 4 53 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. i e s 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 0 0 4 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 r i t i e s 56 LET US Name Maiden name (if appropriate) Date KNOW... your achievements, honors, publications, recordings, Home address City Home phone Web site address State Home email Zip performances, and competitions! The School of Music Business name faculty and your fellow alums are interested in hearing Business address City State Zip from you. Please use the convenient form at the right Business phone Business email to provide your alma mater with updates for the next Year graduation Degree/major issue of sonorities. Your news If you plan a trip to campus, you are invited to stop by the School for a visit. Please contact Janet Manning, coordinator, alumni relations and development, to Your quote on your education at Illinois (Use separate sheet of paper for additional news copy) arrange an appointment with the director or a faculty Note: If you have photos to support your news items, please include them along with this form. Please send all member (firstname.lastname@example.org; 217-333-6452) materials to Janet Manning, School of Music, University of Illinois, 1114 West Nevada Street, Urbana, Illinois 61801, or email email@example.com before September 1, 2004. Partners in Tempo FOR SUPPORT OF THE SCHOOL OF MUSIC JULY 1, 2002-JUNE 30, 2003 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 firstname.lastname@example.org. 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 i e s 58 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 0 0 4 59 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 i e s 60 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 0 0 4 61 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 email@example.com 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 firstname.lastname@example.org, from whom a preliminary program will be available. Nonprofit Org. U.S. Postage PAID Permit No. 75 1114 West Nevada Street Champaign, IL Urbana, Illinois 61801 ADDRESS SERVICE REQUESTED