Music at the University of Colorado: a Brief History

Home , Choir, Dave Grusin, Debussy quadrangle, Folsom Field, Horatio Parker, Hungarian Quartet

Music at the A Brief History University of Colorado Thomas L. Riis University Administrators Mark Kennedy President, The University of Colorado Philip P. DiStefano Chancellor, CU Boulder Russell Moore Provost and Executive Vice-Chancellor for Academic Aﬀ airs, CU Boulder Robert Shay Dean, College of Music, CU Boulder

Graphic Designer Mark Schroder, Purple Sage Design Printer Robin Powers, OneTouchPoint

Preface ...... v

1. Music in the Early Years, 1882-1919 ...... 1

2. Building a College: The Work of Frank Chace and Rowland Dunham, 1920-1951 ...... 15

3. Warner Imig Grows the College in a Home of Its Own, 1951-1978 ...... 37

4. New Programs under New Leaders: Robert Fink and Daniel Sher, 1978-2013 ...... 59

5. The Future of Music—A Century in the Making ...... 75

Notes ...... 83

Bibliography ...... 91

About the Author ...... 92

Photo Credits ...... 92

Appendix ...... 94

Preface

t seems appropriate, as the fi ftieth anniversary of the establishment of the American Music Research Center (AMRC) in 2017* has just passed and the I centenary of the College of Music at the University of Colorado Boulder in 2020 is at hand, that we look back at the state of musical aff airs in the town when the university was founded. Chapters 1 and 2, published as separate articles in 2014 and 2015, now somewhat revised, are heavily indebted to Grant James Klausman’s unpublished PhD thesis, “A History of the University of Colorado College of Music, 1877-1951,” submitted to the Graduate School of the University of Colorado and approved in 1967, as well as the fi rst of two monumental historical volumes by William E. “Bud” Davis, entitled Glory Colorado!, which covers university events from 1858 to 1963. (The second volume published in 2007 brings this account to 2000.) These opening chapters take us from the early days of the University (when the entire institution was housed within a single building), before any formal music department existed, up through the end of Rowland Dunham’s tenure as leader of the College of Music in 1951. In 1920 President George Norlin, with the support of the board of regents and spurred by the activities of music director Frank Chace, formally announced the creation of a “College of Music,” with the promise of increased enrollments and an expanded curriculum, which followed in short order. Chapter 3 commences with the long and productive deanship of Warner Imig, Dunham’s immediate successor, a fi gure who

* Sister Mary Dominic Ray, the original founder of the AMRC, achieved offi cial recognition for the center from her home institution, Dominican College, San Rafael, California in 1967. In 1989, as she neared retirement, the AMRC was moved to Colorado. xiivi Music at the University of Colorado since the mid-1930s had become familiar to students, colleagues and Boulder townspeople alike through his ebullient choral conducting and robust baritone voice—as both a singer and public announcer. Chapter 4 describes the transition in leadership across the university as a whole and attempts to place the College of Music and the University of Colorado into the larger picture of American academic culture in the fi nal quarter of the twentieth century and the beginning of the twenty- fi rst. The fi nal pages summarize recent developments. These chapters, without attempting to be exhaustive, introduce a cast of infl uential characters and draw attention to several signifi cant landmarks, noting their relationship to the wider context of music-making in American institutions of higher education over the last century. The University of Colorado College is both typical and distinctive in its position among schools of music across the country. Its growth in the heart of the West, nestled in the foothills of the Rocky Mountains, claims our attention for many reasons that I hope will become clear as this story is told. The entire book has come about with the ready assistance of many individuals, whose sage advice and remarkable memories have made the compilation of it a pleasure. Thank you, Dean and Ellen Boal, Chris and Margot Brauchli, Barbara Brenton, Eileen Cline, Marty Coffi n Evans, Charles Eakin, Bill Elliott, Robert Fink, Robert Fleisher, James Gentry, Caryl Kassoy, David Korevaar, Amanda Lopez, Rick Masters, Daniel Sher, Julianne Steinhauer. Thanks are also due to many faculty friends and co-workers at the University of Colorado Boulder who provided both information and copious technical assistance: James Austin, Jessie Bauters, Joan Braun, Steve Bruns, Carlo Caballero, Andrew Cooperstock, Alejandro Cremaschi, John Davis, Andrew Garland, Gregory Gentry, Sabrina Green, John Gunther, Eric Harbeson, Peggy Hinton, Mike Johnston, David Korevaar, Don McKinney, Martina Miranda, Mutsumi Moteki, Jeremy Reger, Matthew Roeder, Brenda Romero, Daniel Silver, Elizabeth Swanson. Susan Thomas, current director of the AMRC, and her assistant Eric Hansen have been with this project every step of the way. Hansen’s contribution to this volume has been absolutely crucial; I deeply appreciate his commitment to the work. Mona Lambrecht, curator of the collections at the CU Heritage Center, and David Hays, Greg Robl, Walker Sampson, and Jennifer Sanchez at the Special Collections, Archives, and Preservation division of the University of Colorado Libraries, have rapidly responded to my every request. Wendy Hall and her staff at Boulder’s Carnegie Library for Local History gave indispensable aid on too many occasions to count. Important research tasks were made at the beginning of this study by my students, now CU graduates, Abigail Bernales and Jessica Erbe. Other friends near and far have smoothed the process by improving my computer skills and assisting in proofreading. I am especially grateful to James and Mary Magee. Mark Schroder and A Brief History xiiivii

Robin Powers have brought an elegant professional touch to the book’s production. Dean Robert Shay graciously provided the ﬁ nancial resources to bring this product to completion.

1 Music in the Early Years, 18821919

he mining settlement of Boulder was organized as a town in 1859. A rough- and-ready creekside encampment, it sprang up and rapidly increased in T size with the report of the discovery of gold in the nearby foothills. As the short-lived “gold rush” subsided and the likelihood of quick riches faded, many new residents who found the region along the Boulder Creek to their liking—and the nearby Arapahos unthreatening—turned to farming, ranching and raising families. The fi rst school building erected in Colorado was reportedly located in the town of Boulder, thus boosting its early reputation as a frontier town that nevertheless placed high value on learning. On October 31, 1861, the fi rst territorial legislature of Colorado chose Boulder, over seven other towns that sought the prize, as the site for the future University of Colorado. Of course, assigning the university to Boulder was not the same as providing the resources needed to actually build a school, and the University would not open for business offi cially for another sixteen years, the year after Colorado achieved statehood in 1876. Until 1884, the entire college—all classrooms, a chapel, the residence of the President Joseph Sewall and his family, and housing for the building’s caretaker and wife— were located in a single solitary building, now known as Old Main. In the words of Jane Sewall, the president’s daughter, her family’s fi rst impression of the University was of . . . a huge brick building topped by a cupola, rising in the distance. It loomed before us gaunt and alone in the pitiless clear light. No tree nor shrub nor any human habitation was in sight. Vast expanses of rock and sagebrush were its only surroundings.1 2 Music at the University of Colorado

Old Main, circa 1876-77

During the fi rst years of the university the instruction on off er was devoted chiefl y to preparing the few dozen admitted students to become teachers to supply public elementary and secondary schools. Informal musical activities took place among residents of Old Main, and the prospects for more music were increased with the acquisition of a square piano for the chapel in December 1882; student singing was promptly added to daily services. Formal instruction in music commenced a few months later when the board of regents allowed a “musical department” to be created. This modest eff ort was short lived—the fi rst instructor R. L. Kent apparently failed to please—and curricular designs articulated by teachers and planners at the time faded from the record after three years.2 Music teachers came and went, their services for private lessons paid directly by the students, but instructors were not treated as salaried employees. The still small and struggling campus boasted only seven bachelor of arts graduates in June 1886. Faced with fi nancial challenges and ebbing support from the board of regents, President Sewall submitted his resignation that same month but remained at his post until a successor could be moved into place. The coming of Horace M. Hale, a former regent and public school superintendent, as the second president in May 1887, signaled the beginning of a more prosperous A Brief History 3 and enterprising era for the University, including activities associated with music. Hale’s arrival also underlined the position of the University as linked to the growth of precollege education in the Front Range. In 1888, Boulder was blessed with the arrival of a singular musician whose skills as a scholar and administrator would help to lay the foundation for what would become the College of Music. Charles Hubert Farnsworth was born in Turkey in 1859, the son of Christian missionaries. As a boy he was educated at his parents’ home and for one year in the preparatory department of Robert College, in Constantinople. At fi fteen he traveled for a summer across Europe before returning to the United States for what turned out to be a rather short stint—less than a full year—at Newtonville High School, outside of Worcester, Massachusetts, before giving up school to work in a dry goods store in Boston.3 Farnsworth suff ered what seem to have been migraine headaches and severe eyestrain from an early age, and it appears that persistent pain, rather than a lack of scholarly application, was the root cause for his leaving school. Farnsworth’s doctor prescribed a long ocean voyage as the best way to ameliorate the headaches, and so, at the age of seventeen, he signed on as a watchman traveling aboard a vessel bound for Cape Horn, the lower tip of South America. He returned to land eight months later, refreshed but not completely cured—home in Massachusetts and determined to fi nd “a defi nite occupation.”4 Having had some elementary keyboard lessons as a boy, he reapplied himself to the study of music and took lessons with a local teacher, Benjamin Dwight Allen (whose daughter he would later marry), with the idea of following in his instructor’s professional footsteps. By no means a narrow-minded fellow, he enjoyed reading and discussing poetry and classical literature, and later showed an interest in modern science as well. He read widely, consciously pursuing a regime of self-cultivation, and ultimately obtained a breadth of knowledge that would serve him well as he developed as a teacher. Over the next eight years, between 1880 and 1887, he assumed the role of itinerant piano teacher and was hired to play the organ at services in the Salem Street Church, Worcester, Massachusetts. Klausman’s dissertation summarizes Farnsworth’s story once he is en route to the West. Increasing discouragement caused by his headaches and visual problems prompted [Farnsworth] to set off for Boulder, Colorado, in 1887 to visit a cousin, with the hope that a change of climate and altitude might bring him relief. Not long after his arrival there Farnsworth found himself in demand as a piano teacher and was soon providing instruction in comfortable homes as well as in miners’ cabins, where the piano stood on a wooden platform raised from the earthen fl oor. During the summer spent in the East he went to a piano factory and learned to tune the instruments, putting his newly learned skill to use immediately upon his return to Boulder. 4 Music at the University of Colorado

Farnsworth’s work in the University apparently began in October, 1888 . . . and consisted primarily of conducting singing classes. At the close of that ﬁ rst year’s employment the Board of Regents authorized the President to hire Farnsworth as Teacher of Music for the academic year, 188990 [Minutes of the Board of Regents, May 27, 1889]. That the student body was appreciative of instruction in music was indicated by the University Portfolio [the student newspaper]: “We are pleased to learn that Professor Farnsworth is to be with us another year and that he will continue to give instructions in vocal music.”

Farnsworth’s appearance in the University Catalog for 188990 was the ﬁ rst mention of a teacher of music since 1886. The description of the work oﬀ ered in music that year was simply: “Classes in sight singing are formed; and after training in part music, a chorus will be organized for the study of classical music.”

It appears, then, that Farnsworth provided instruction in those areas where there was a demonstrated need for his services. Unlike the earlier abortive attempts to establish a “conservatory,” the curriculum under Farnsworth evolved from the students’ musical wants, where were clearly made known in the early 1890s.5

Despite the hiring of Farnsworth, the university administration was reluctant to revive a fullﬂ edged music department or curriculum. But in the fall of 1891 an eloquent statement on the subject appeared in the student news magazine:

When we consider the subject of music, does it not seem strange, and even a mistake that music is not introduced into our college curriculum and credited on the required college course? Surely two or three courses in music are just as necessary and valuable as in any of the regular sciences.

If we compare music with biology, botany, chemistry, astronomy or physics we fail to discern wherein any one of these sciences is superior in its power of training and developing the faculties. In truth, it seems that he who spends two hours a day in dissecting a bug, beetle, crawﬁ sh, angle worm or other harmless insect, or gazes into the starry ﬁ rmament for hours in quest of a roaming planet, or laboriously hunts out the analysis of a plant from a complex table, or imagines the curves of transmitted sounds, or spends hours in drawing exact angles or microscopic sections, surely he would have gained no more by having learned the manipulation of the scissors, microscope or telescope than as though he should spend some of these hours practicing upon some musical instrument. For in music many of the A Brief History 5

faculties are trained at the same time. The senses of touch, hearing, and seeing as well as thinking in regard to execution are all successfully trained to act in perfect harmony and unison. He learns accuracy, precision, time, movement, melody, rhythm, etc. in a very eff ectual manner. By no other science could the body and mind be kept under closer surveillance than in the study of music. Nor is the study confi ned exclusively to fi nger manipulation; there is much to be learned, much brain work for a real musician. We do not think that a student should be granted six or seven courses in music any more than in any of the other sciences, but indeed, two or three courses are just as necessary to a student’s curriculum of study in order to possess a full rounded and complete education as any other study now in the catalogue. And from what study can there be more enjoyment in after life, or what study will be remembered longer?

We maintain it must ﬁ nally be recognized as to importance, so why not permit it now to be credited as college work?6

Suffi cient interest in adding more music classes at the college led to the formal recognition of three creditbearing courses in the 189293 catalogue; “Harmony” and “Acoustics” were off ered in the fi rst semester and “Critical Analysis” in the second. All were taught by Farnsworth. According to the catalogue, “The aim of the course in music is to prepare students for the appreciation of music. . . . Supplementary to the above work, but not recognized as counting for a degree, there will be opportunity given for the study of singing at sight. . . . Those who show suffi cient ability in singing will be admitted to the Glee Club, which meets once a week for the study of a higher grade of music, giving a number of concerts during the winter.”7

The lack of course credit for concert performances or applied study of any kind is consistent with practices across the country at the time. Music was admitted to the university as a timehonored intellectual pursuit, rather than as a practical skill. Music classes were oﬀ ered within the regular arts and sciences program for undergraduates, not as part of a separate school or college. The description’s stress on “a higher grade of music” for Glee Club participants is telling. Judging by the sort of songs found in typical college songbooks of the day, the authorities were undoubtedly anxious for students to curb their enthusiasm in public such that recreational activities accompanied by music not get out of control. Owing to the immense and growing national popularity of banjo and mandolin clubs whose ranks generally included singers, student bands associated with intercollegiate sports, and informal singing among student societies of all kinds, music was rapidly becoming a major part of college life—whether or not it was included in formal studies. Communal singing on school grounds, or any other such practice that sought university sanction, had 6 Music at the University of Colorado

Top photo: The University Chapel, circa 1890; bottom photo: The Glee and Mandolin Clubs, 1899 A Brief History 7 to conform to proper social standards lest the students or the University suff er in public esteem. As he would reveal in interviews during his retirement, refl ecting back on a lifetime of leadership in teacher education, Farnsworth was keen even in this early period to apply systematic principles and practical techniques. He played examples at the piano and illustrated his historical lectures with lantern slides. As he explained to his biographer Charles W. Hughes, for harmony classes, “Simple hymn tunes were hectographed [duplicated in multiple copies], and analyzed so as to show the spelling of chords, their frequency, and the note which was doubled. Then the student made simple analyses himself and fi nally attempted four-part writing, at length composing a hymn tune.”8 Farnsworth’s inclination to proceed carefully, step-by-step, endeared him to his students who would themselves become future teachers. His gift for giving clear instruction undoubtedly recommended him to his peers and his superiors as well. Klausman continues, “Farnsworth’s work was not confi ned solely to teaching in the University. He also taught music appreciation in the Preparatory School, which by 1895 was supported largely by the City of Boulder. Of considerably more interest, however, was Farnsworth’s work in the Boulder public schools, as it demonstrates the methodology of the period.”9 As Hughes again relates, Up to this time Professor Farnsworth had never been in a graded American school, if we except his few months of student days in the Newtonville High School, nor had he witnessed music teaching in the schools. . . . Mr. Farnsworth visited [the classes taught by Wilberforce Whiteman (the father of Paul Whiteman) in West Denver schools] following him from room to room. Then, fortifi ed by these observations [of Whiteman’s use of the Tonic Sol-Fa singing method] and provided with the newly published charts of the American Book Company he began the practical work in the Boulder Public Schools which had such tangible results as a performance by the eighth grade of “The Heavens are Telling,” [by Josef Haydn].10

Seeing what Whiteman had accomplished in Denver apparently inspired Farnsworth and other supportive Boulder citizens, including the University’s third president, James Baker, in 1895 to found an organization called the Society for the Advancement of Music. Its chief purpose was to superintend a school of practical music, both instrumental and vocal, which would serve the citizens of Boulder and whomever among the university students chose to take advantage of it. Farnsworth became its Musical Director, and taught music theory, music history, and organ. Four other instructors, all Denver residents, were brought in to teach piano, solfège, singing and voice culture. All were paid on commission. Private lessons, classes, and choral 8 Music at the University of Colorado singing instruction were supplemented by a program of special lectures “given by the University faculty and knowledgeable townspeople on subjects [ranging from] Oriental and Greek Music, Indian and Folk Music, Catholic Church Music, The Madrigal, The Oratorio [to] Protestant Church Music and Opera.”11 Since the Boulder Public Schools provided the rooms needed to conduct lessons, the Colorado School of Music was run at no expense to the University. At the end of its fi rst year, thirtythree students were enrolled, and the venture was deemed a success. The next three years saw enrollment grow to nearly eighty, accompanied by a move to larger quarters, a building that later became University Hill Elementary School.12 The establishment of the Colorado School of Music heightened local interest in music and encouraged more vigorous concert activity. The Boulder Choral Union, a festival chorus of townspeople and University students, was formed in 1893 and became the principal performing organization of the School of Music in 1895. On December 19 of that year the Choral Union presented a concert in the Boulder Methodist Church. The featured work was Oratorio de Noël, op. 12 (1863), by SaintSaëns, with soloists brought in from Denver. In addition the chorus sang “Achieved is the Glorious Work,” from Haydn’s The Creation, three choruses from Rubinstein’s Tower of Babel, and “Matona Lovely Lady,” by Lassus.13 The Colorado School of Music and its allied organizations—the Choral Union and a twelvepiece orchestra dubbed the Philharmonic Club, with extras hired from Denver—over the subsequent four years (18961899) performed three substantial oratorios (Handel’s Messiah, Mendelssohn’s Elijah, and Haydn’s Creation), the three most popular Gilbert and Sullivan operettas (H.M.S. Pinafore, The Mikado and The Pirates of Penzance), and instrumental works such as Schubert’s “Unfi nished” Symphony, Haydn’s “Surprise” Symphony, and Beethoven’s First Symphony, in arrangements suited to smaller ensembles. Along with a string of smaller recitals featuring vocal numbers and piano solos, these events encouraged a growing taste for concert music in the community at large; the School’s Commencement Concert each year during the late 1890s was regularly noted in university publications.14 An attempt to establish an allstudent band at the University in 1891 was apparently shortlived, since all mention of the group or any similar organization disappeared from campus publications for a decade. But the Glee Club cited in Farnsworth’s curriculum most defi nitely did catch on—in a form that encouraged highspirited behavior rather than concert formality. Glee Clubs, commonly numbering twelve to eighteen men, were organized in the fall of each year. As each term progressed the club gradually A Brief History 9

pared in size to the number which would perform in the spring. In 1893 the Glee Club was composed of two men on each of the four parts. Included in the spring tour was the Banjo Club of one banjorine, one banjo, two guitars, and a cello; a Mandolin Club of two mandolins, two guitars, one violin, a cello, and an ocarina; and as a special feature, an ocarina quartet. Of course, many of the men were versatile, performing in two or more of the groups. A social high point of each school year was the clubs’ triumphal return from their tour to sing the fi nal “home” concert. It was generally held in a hall or theatre in Boulder, as the chapel of Old Main would not nearly accommodate the throngs which attended the concert. In 1894, for instance, the home concert was held in Feeny’s Hall on March 3 with an admission fee of thirtyfi ve cents per person. Following the concert the clubs were given a reception by Prof. and Mrs. Farnsworth in their home.15 Providing light and amusing entertainment suited to a broad audience, the University Glee Club crisscrossed Colorado in annual spring tours—the fi rst took place in 1892—which continued for more than thirty years. That these were blatant ploys to advertise the University to prospective students and potential supporters was never denied. The tours were primarily selfsupporting, with costs covered by the sale of concert tickets in each town along the route supplemented by donations and publicity provided by generous alumni. The presiding genius over most of this activity, both institutional and extracurricular, was Charles Farnsworth. Unsurprisingly his achievements began to attract attention beyond Colorado’s boundaries.

During the fall of 1899 Farnsworth took a semester’s leave of absence from the University, his fi rst since joining the institution eleven years before. He spent the period of nearly fi ve months in the East visiting many universities including Yale, Harvard, Columbia, Pennsylvania, Oberlin and others, returning to Boulder the fi nal week of January, 1900. . . . In May of 1900 Farnsworth announced that he had received notification from Dr. James E. Russell, Dean of the Teachers College, Columbia University, that the position as head of the music department of that institution was available if Farnsworth wished to accept it. He did, of course, and submitted his resignation to the Board of Regents shortly thereafter. In Farnsworth’s twelve years with the University local music was raised from a position of frivolity to the status of true art. Farnsworth’s 10 Music at the University of Colorado

appearance in Boulder in 1887 was most opportune from the standpoint of the University as well as from his own. He was the right person for the work that needed to be done, although the University has never since appointed to the music faculty a person with the questionable qualiﬁ cations Farnsworth brought with him. His formal schooling at the time of his appointment could hardly have been considered the equivalent of a high school education, yet he demonstrated knowledge and ability which easily surpassed the requirements for a diploma or degree.

His interests extended far beyond the music classes in the chapel and the massed performances in local churches. Farnsworth was not merely the University music teacher, but was a member of the faculty who involved himself in many phases of university life. He was, for many years, an oﬃ cer in the University Scientiﬁ c Society, an organization composed principally of faculty members who lectured weekly on varied subjects, but usually those having to do with biology, chemistry or physics. A sampling of Farnsworth’s lectures to the group include: “The Rational Element in Music,” “The Nature and Musical Use of Rhythm,” and “Partials and Key Perception.”

As was mentioned earlier Farnsworth married the daughter of his former piano teacher. From her arrival in Boulder Charlotte Joy Farnsworth occupied the dual role of faculty wife and university student. She had attended Wellesley prior to her marriage and enrolled at the University of Colorado as a special student (one not assigned a particular class) in the 18901891 academic year. She was later elected a member of Phi Beta Kappa and received the bachelor of philosophy degree in 1897.

Less than a year before his departure from Boulder, Farnsworth indicated in an article written for a nationallycirculated magazine [entitled simply Music] what he considered to be his principal task at the University and in the community.

“We have said that the musical problem is to awaken appreciation that shall grow into a suﬃ cient desire…. What can a musician do better for the community he lives in than to encourage concerted work, especially of musical instruments, and to turn some of the energy that runs so freely towards Liszt rhapsodies into channels where more genuine musical feelings can ﬂ ow?”16

Farnsworth felt that ensemble music, even with limited instrumentation, should be emphasized more than solo music, because in the former A Brief History 11

there is less personal element, a greater variety and sensuousness of tone color, and a heightened eﬀ ect of climax. Whether he was correct or in error may be a moot point, but in carrying out his convictions Farnsworth ﬁ rmly established a music department for the University of Colorado.17

Farnsworth’s move to New York could not have come at a better time for him. Among his colleagues at Columbia Teachers College was John Dewey, among the most infl uential of American estheticians, philosophers and teachers of the twentieth century. Farnsworth’s catholic interests and fascination with scientifi c principles applied to musical creation and appreciation fi t handinglove with Dewey’s understanding of art as lived experience. Farnsworth’s personal formation as an autodidact and his practical teaching experience validated Dewey’s fundamental belief in the necessity for the active engagement of individuals in their own learning process. Both men shared a curiosity and enthusiasm for passionate education and explored wider questions surrounding human psychology. Soon after his arrival at Columbia, Farnsworth developed one of the earliest bachelor’s degree programs in music education in the country. The fundamental concepts informing his curricular plan for elementary school music instruction, showing many marks of Deweyesque pragmatism, are explained in his book Education through Music (New York, 1909). Farnsworth was elected to the presidency of the Music Teachers National Association in 1913, was awarded an honorary doctorate from Oberlin College in 1922, and remained at the forefront of American music education well into retirement in 1924, always informed by a receptivity to novel instructional ideas for young pupils. He compiled and published a book of folk songs with eminent English folklorist Cecil Sharp, and he explored the experimental ideas of musical rhythms as expressed through body movement articulated by Emile JaquesDalcroze as eurhythmics. Early on, he recognized the power of radio to spread the gospel of classical music through his work with the National Broadcasting Company’s Music Appreciation Hour, a series of programs that ran from 1928 to 1942.18

While Farnsworth’s departure from Boulder delayed the institutionalization of music at the University of Colorado—where such activities continued to take place within a modestly organized “music department” rather than a college—student musical organizations grew and ﬂ ourished as instructors came and went. The arrival, in 1905, of George M. Chadwick of Chicago (no relation to the contemporary Massachusetts composer George W. Chadwick) promised to lend a degree of stability, as he was hired to take “charge of the musical classes at the University and the training of the Glee Club.” Chadwick was introduced to the community as “a musician of wide experience,” and was touted as “having studied under eminent musicians in this 12 Music at the University of Colorado

The Ladies’ Glee Club, with Director Robert W. Stevens, 1905 country and in Europe.” His performance career had been extensive and he had held the post of organist at Cornell University for six years.19 Although well qualifi ed as a player of the fi rst rank and a teacher of diverse musical skills, Chadwick proved something of a disappointment as an administrator during his tenure. On his watch a chapel choir was formed, the Choral Society was expanded, the men’s Glee Club continued its annual tours, and a separate glee club for the women students emerged, at least for a short period in 1905. Chadwick organized annual programs for commencement, performed duo recitals with his wife, a violinist, frequently performed in public on many occasions, and continued to teach most courses in a curriculum which emphasized music theory (harmony and counterpoint, canon and fugue, composition and orchestration). But the curriculum varied hardly at all over the ensuing fi fteen years even while campus buildings sprang up and the student population multiplied. “Music was fi rst off ered in the Graduate School in 1909-10.”20 A series of summer courses was added to enhance the Music Education program beginning in 1914; over several summers these were taught by young “assistants” in music, by Chadwick himself, in 1917 by the eminent guest instructor, Karl W. Gherkins, Professor of Public School Music at Oberlin College, and in 1918 and 1919 by John Ross Frampton, Professor at the Iowa State Teachers College.21 A Brief History 13

Within a year of groundbreaking for the Macky Auditorium in 1909, Chadwick was charged by the Regents to look into obtaining a pipe organ that would be suitable to the new venue. In 1912, however, all planning came to a halt, when despite initial enthusiasm legal wrangling over Andrew Macky’s estate temporarily stopped the source of fi nancing; erection of building was indefi nitely postponed. Although widely respected for his talent and eff orts, Chadwick was compensated at a far lower salary than his fellow professors, presumably because the regents assumed (correctly) that he drew extra money directly from students to whom he gave private music lessons (often in university buildings) and thus deserved a lower state stipend. His annual salary in 1911 was set at $1400, $400 lower than the minimum amount for all other faculty at the rank of Professor, whose pay scale ranged from $1800 to $2800 that year.22 Unfortunately for Chadwick, as the University grew in size and enthusiasm for music, neither the funds nor the administrative leadership was available to meet the department’s increasing space requirements. A colleague of Chadwick, writing in the Colorado Alumnus in 1918, bemoaned, “We need a music building. The band practices in the top of the tower; there is no suitable room to sing in; the old chapel is now a theatre too small for voice work, and the auditorium is too large. We need a students’ orchestra, we need a permanent chorus of mixed voices. We need a musical library. . . . [To] see the score of a standard work such as Beethoven’s Fifth Symphony, I have to go to Denver or borrow from some friend.”23 Chadwick requested and was granted a leave of absence for the academic year 1919-1920. In October 1919, the Board of Regents voted to request his permanent resignation. Chadwick’s dismissal had neither musical nor ethical causes, but fundamentally practical ones. Neither a fund raiser nor a program builder by nature, Chadwick severely lacked for entrepreneurial spirit. While no one denied his scholarship or musicianship, the post-war boom would not come soon enough to keep George Chadwick in Boulder. It would remain for his successor, Dr. Frank W. Chace, to bring the music program back from the brink of dissolution and to establish a fullfl edged performancebased curriculum leading to a bachelor of music degree. The designation “College of Music” was bestowed on Chace’s department by the Board of Regents in 1920, the fi rst year of George Norlin’s presidency. Chace would also see to the design and acquisition of a grand pipe organ for the fi nallyopened Macky Auditorium in May 1923. It would also fall to Chace to lead his College’s faculty into a building for their exclusive use in 1925. 14 Music at the University of Colorado

Marching Band of 1909 in uniforms resembling the then fashionable garb of “The March King,” John Philip Sousa.

The Golden Buﬀ alo Marching Band of today on the gridiron at halftime. Building the College: The Work of 2 Chace and Dunham, 1920-1951

rank Wilbur Chace began his work as acting professor of music and director of the music department of the University of Colorado in the autumn of F 1919, following on the dismissal of George Chadwick. At approximately the same moment, the regents of the University accepted the resignation of President Livingston Farrand, who had spent the previous semester on leave. After receiving a unanimous petition from the faculty, the regents rapidly installed acting president George Norlin, a respected professor of Greek, as President in his own right.”1 The near simultaneous arrival of Chace and Norlin was purely coincidental but both proved to have a beneﬁ cent impact on the growth of musical studies and programs at the University.

As Grant James Klausman reports in his dissertation devoted to the history of the College of Music:

The zeal with which Chace began his work in the fall of 1919 provided sharp contrast to the indiﬀ erence which had prevailed in the music department during the years immediately preceding. He held auditions for the glee club and by the end of October had chosen sixteen men for the group from the ﬁ fty-one who had tried out. There had been no men’s glee club the previous year. . . . A Women’s Glee Club of thirty-four was established that same month and began having regular rehearsals in the chapel of Old Main in November. In addition to the organization of the glee clubs, Chace sought to establish a Choral Union of townspeople and students for the performance of major choral works. 16 Music at the University of Colorado

Frank Chace at the Macky Auditorium organ

Chace himself performed frequent organ recitals in local churches during his ﬁ rst year and made a suﬃ ciently strong impression in his various roles to be appointed Professor of Music (no longer “acting”) on April 13, 1920.2 Klausman again observes:

Certainly the most important musical event in Chace’s ﬁ rst year at the University was the concert of the Choral Union held at Macky Auditorium in May. The chorus consisted of eightysix singers and a featured tenor soloist, V. S. Keiser, from Denver. The orchestra was composed of twenty six members, eleven of whom were also brought from Denver. A matinee performance was given for Boulder school children on Wednesday, May 26, followed by the evening concert for the adults. The entire program was under Chace’s direction.3

Including a Slavonic Dance by Dvořák and the fi rst movement of Schubert’s Unfi nished Symphony by the orchestra alone, a handful of shorter choral selections, and the A Brief History 17 cantata Hiawatha’s Wedding Feast (1898) by the then fashionable British composer Samuel ColeridgeTaylor, Chace had produced an ambitious and apparently successful event, perhaps recalling for some listeners similar programs mounted by Charles Farnsworth in the 1890s. It is evident in this period that the university was beginning to gain a stronger sense of itself as a multipronged institution serving a wide variety of needs and constituencies. About 1920, the College of Liberal Arts was renamed the College of Arts and Sciences. Between 1919 and 1927, a number of quasiindependent branches were formally recognized, including the College of Education, the School of Business Administration, and the College of Music, as well the new departments of Journalism, Fine Arts, and Physical Education.4 The fi rst report of a “College of Music” in the offi cial record appears in Dean Fred Hellems’ biennial report of 1918-1920, couched in what can only be termed qualifi ed (though optimistic) language, a style characteristic of this long-term university administrator. With the permanent appointment of Chace a done deal, he declared, “There could seem to be no doubt that the success of the College is assured from the time of its opening, but it is too early to speak of actual results.” The new college was nominally launched as an independent entity; the Dean of the College of Arts and Sciences would continue to serve ex offi cio as “a voting member of the College of Music” for some years to come, although there seems to be no evidence of extensive involvement by the larger unit in the new college’s day-to-day aff airs.5 The new designation for the department, now College of Music, was approved by the Board of Regents in July, 1921, and with it the presumption that a full four- year curriculum leading to a bachelor of music degree was on off er, the details of which had been announced without fanfare the previous summer. The goal of the program was clear; classes aimed to prepare musicians for professional careers— as teachers, composers, or those who wished to “devote themselves to musical criticism and literature.” Although the statements provide a rationale for teaching musical knowledge as an important aspect of the students’ general culture, this thrust is neither emphasized in print nor refl ected in the practical curriculum. Prescribed courses for applied music, music theory, counterpoint, composition, “music appreciation,” and history of music were spelled out in the regents’ minutes; these were to be supplemented by liberal arts classes in English language and literature, foreign languages, and psychology. All music majors were required to sing in the Choral Union or play in the orchestra. Performers could concentrate in piano, violin, voice, or organ. Chace was authorized to hire seven additional instructors to cover these applied areas and promptly did so. The new teachers all lived in Boulder or Denver, and were either related by marriage to faculty in other departments or 18 Music at the University of Colorado held simultaneous jobs in other fi elds. All were compensated solely for the private lessons they taught; no one in the college, except Chace, was paid a salary.6 Aurelia Ferris Chace, wife of the director, was appointed as an “Assistant in Voice” within the next year and also assumed the duties and title, “Assistant to the Director and College of Music Secretary.”7

The College of Music had a single classroom, known as the Senate Room, located on the second ﬂ oor of the west wing of the Macky Auditorium Building [now a conference room adjacent to the Center for the American West]. In that room all the advanced music classes were taught by Chace, while his wife taught some of the Freshman and Sophomore courses. In addition to being the classroom, the Senate Room was also the scene of all recitals, except those for organ, which were held in local churches until the installation of the organ in Macky Auditorium. Macky also contained a few practice rooms. Private lessons were usually conducted in the homes of the teachers.8

The curriculum as it was established in 1919-20 went essentially unchanged until 1927, although a Special Music Certifi cate for supervisors of music in public schools was added in 1924, and summer courses unrelated to the bachelor of music degree for the benefi t of public school teachers were regularly off ered during the summer quarter in this same period. Summer courses were frequently taught by experienced visiting instructors.9

After years of discussion and delay, the decision to acquire a large pipe organ for the Macky Auditorium fi nally moved forward, urged on by Chace. The selection, fi nancing, and purchase were accomplished between April, 1921 and February, 1922. The instrument consisted of four manuals plus pedalboard, used seven thousand pipes, organized in seven divisions, with 115 stops; it was constructed and installed by the Austin Organ Company of Hartford, Connecticut, over the following fi fteen months, “until at last on Saturday evening, May 19, 1923, Dr. Chace played the Inaugural Organ Recital in Macky.”10

The program was chosen carefully to demonstrate the instrument’s range and versatility and, as was customary at the time, included orchestral transcriptions (preludes to the ﬁ rst and third acts of Wagner’s Lohengrin, Finlandia of Sibelius, and Liszt’s Les Preludes), arrangements of popular folk songs (“Londonderry Air,” “Annie Laurie,” and “Old Folks at Home” [listed as “Suwanee River”] by Stephen Foster), and impressive show pieces originally written for organ, the Toccata and Fugue in D Minor of J. S. Bach, and Charles-Marie Widor’s Toccata from his Fifth Symphony. A Brief History 19

Chace expressed his complete satisfaction with the new instrument to the Colorado Alumnus just prior to his public recital: I consider the organ installed in Macky Auditorium as the fi nest instrument I have ever heard in this country, Canada or abroad. Its beauty of tone is unsurpassed and we have every tone color, ranging from the softest to the most powerful. . . . The instrument is a joy to play upon, as it responds instantaneously to whatever is required. . . .11 Chace had been urging the authorities to build up the college’s stock of instruments since the start of his tenure. He felt a “grand piano . . . of the best make, which is undoubtedly a Steinway,” should be purchased as soon as possible, foreseeing that such would be required for both student and guest recitals, as well as several practice pianos, “which can be rented to students for practice.”12 Unfortunately, it seems that his recommendations went mostly unheeded. Although he had managed to bring about the acquisition of a keyboard for use in the Senate Room, in his last report to the regents, submitted after his departure in 1926, he declared that “there is [still] no piano in Macky fi t for any pianist to play on.”13 The College’s enrollment statistics were fi nally broken out from those of the College of Arts and Sciences in 1923, so it is possible to better track the details surrounding the growth of music programs by mid-decade; the number of enrolled students rose from about three dozen to four dozen between 1923 and 1926, and “[in] 1924 Miss Hazel Bennett received the Bachelor of Music degree, the fi rst awarded by the University.”14 Adequate space in which to teach the increasing number of music students was also addressed by the university leaders as were requests for more funds. College budgets (whose lines included salaries, books, equipment, and supplies) increased gradually and were reported on a two-year cycle. “[B]iennial reports indicated a continual rise in expenses [from] $3,409.53 [in 1918-20]. . . to $7,940.35 in the two-year period ending September 30, 1926.”15 Chace’s request for improved housing met with favorable response from the Regents, as they announced in 1924 that the building vacated by the Medical School would be remodeled and turned over to the College of Music. The building that was to house the College . . . for the next thirty years, from 1925 to 1955, had already served the University for forty years.16 Fortunately, the building intended as music’s new home was subjected to a complete renovation (at a cost of $11,000) which, when fi nished, provided space for “fi ve teaching studios, two offi ces, a large classroom on the second fl oor . . . a recital hall capable of seating 120,” and a broadcasting studio for the university radio station 20 Music at the University of Colorado

The “new” Music Buiding, 1925

KFAJ. This “new” building was formally opened on April 25, 1925.17 Large Choral Union and orchestra performances continued to take place in the Macky Auditorium or in local churches, as is still often the case nowadays. Chace seems to have understood how to attract an audience for these performances; the Silver and Gold reviews note several large houses to hear such works as Handel’s Messiah, Gounod’s St. Cecilia Mass, Rossini’s Stabat Mater, and Mendelssohn’s Elijah, all repertoire staples, under Chace’s leadership.18 Originally built in 1884 as the fi rst home of CU’s Medical School, this structure was remodeled in 1925 to become the fi rst campus building dedicated solely to the College of Music. The growth enjoyed by the College of Music was not an isolated phenomenon but was shared by many other university divisions and departments. The Twenties, fi lled with post-war optimism and prosperity, but also saddled with the national prohibition of the sale and distribution of alcoholic beverages (the Volstead Act came into eff ect on January 17, 1920), achieved a well earned reputation for its “roaring” good times; Coloradans, most especially university students, would not be left out of the rambunctious doings.19 And music played a big part in this revelry, although generally not under university auspices. A Brief History 21

All sorts of musical entertainments, including many legitimate and sober ones, took place with students eager to be involved. Professor Francis Wolle, of the English Literature department, nurtured students interested in operettas as well as serious drama.20 Under Wolle’s direction and sponsored by the Boosters Club, university students mounted an original musical comedy entitled “Now and Then,” and performed it for their fellow students in Boulder and subsequently for the combined graduating classes of Denver high schools at the Denver Municipal Auditorium in May, 1920.21 The provision of music for any number of other extracurricular activities has gone unrecorded, but one impressive example related to the Denver staging of “Now and Then” can perhaps stand in for many others. Bud Davis’s history again supplies the details. Some 4,000 people attended the function. The high school students and their parents composed the bulk of the crowd, but students of the University and alumni attended in large numbers. Two special trains were run from Boulder, each crowded to capacity. After the play the crowd adjourned to the dance fl oor at the other end of the building, where aided by the Municipal Organ and Ralph Wray’s orchestra, they danced the rest of the evening. The dance closed at 12 o’clock, and the Boulderites returned on the special trains. Ralph Wray, whose orchestra played at this function, was to receive numerous awards and recognition for his musical compositions while in the University. . . .22 The bespectacled swing band leader who would go on to become an international musical sensation in the 1940s—an icon for the Jazz Age gone to war— Alton Glenn Miller (1904-1944), was certainly the most famous popular musician to have come through the University of Colorado during the decade. In 1923 young Glenn graduated from high school in the small town of Fort Morgan, Colorado, as his passion for playing the trombone grew to overrule all others. His decision to move to Boulder, only twenty miles to the west of Denver, with both towns providing a plethora of musical opportunities, must have seemed like a natural next step. For about two years (1924-26), Miller lived near the campus, joined a fraternity, spent time in a few classes, and took advantage of frequent social occasions to develop his musical skills playing in dance bands. His experiences in the College of Music were apparently unmemorable—hardly a surprising turn of events given the College’s dedication to high-minded genres and to teacher preparation. Although not graduating himself, Miller found his future wife in Boulder native Helen Burger, who earned her bachelor’s degree in 1927 and married Glenn in 1928. Another musical organization, not connected directly to the University but benefi tting students with off ers of discounted tickets to its programs, was the Artist Series, 22 Music at the University of Colorado

initiated for the 1921-22 academic year. Among the luminaries who performed in the ﬁ rst season were pianist Arthur Rubenstein and violinist Fritz Kreisler. Although the Artist Series frequently faced financial difficulties and undersubscribed concerts, it managed to present an impressive array of national and international talent to the campus for nearly a decade; after a brief hiatus in the early thirties, it has continued to the present.23

One of the larger ongoing musical organization on campus during the 1920s was the University Band, with membership numbers running as high as sixty in 1924, the year perhaps Captain Glenn Miller not incidentally coinciding with the building of the football stadium. A few sporadic attempts to organize bands on campus around the turn of the century had met with mixed success. But in 1909 a more or less permanent group of about two dozen players came together. Comprised of both teachers and students, sustained by a succession of directors, it represented the university in holiday parades and civic celebrations along the Front Range, served to enhance the community’s esprit de corps and, in the words of William “Bud” Davis, “added splendor and gaiety to any occasion.”24 Its visibility in the early decades was more tied to such activities, as well as autumn bonﬁ res and football games, than to the College of Music directly. But in the 1929-30 academic year, Horace Jones, professor of violin and conductor of the orchestra, assumed the directorship of the band from its previous conductor, A.T. Henry, Jr. Jones promptly expanded the band’s rehearsal schedule into the spring term, and added what was to become a popular annual series of programs.25 By 1930, the band had grown to nearly 80 instrumentalists.26 In 1933 the Silver and Gold announced the formation of an Intercollegiate Band, an aggregation of the dozen or so strongest players from ﬁ ve other colleges along the Front Range. Combined with CU’s best bandsmen, this group performed annually over several seasons.27 It would remain for Hugh McMillen, who joined the faculty in 1936, to bring the University’s marching band to national attention.28 A Brief History 23

The University Band in 1927 in front of Macky Auditorium

The students and the faculty of the College of Music in the 1920s were a small but sociable cohort. Frank and Aurelia Chace frequently hosted informal gatherings in their home and “arranged dinner parties and receptions in Boulder and Denver for the . . . students. The director and his wife went out of their way to promote camaraderie and a spirit of cooperation among the young musicians.”29 In the autumn of 1926, however, for reasons that remain unclear but were most likely related to strains on his health and his marriage, Frank Chace abruptly submitted his resignation and departed from Boulder forthwith. “With classes to begin in a matter of days, the search for Chace’s successor was conducted rapidly. Within weeks Horace Whitehouse was appointed Director of the College of Music at a salary of $2500 and took up his duties that same month.”30

Whitehouse was a graduate of the New England Conservatory, an associate in the American Guild of Organists, and had already served as dean or director in three college music programs in Michigan, Ohio, and Indiana. In short, he was exceptionally qualifi ed to assume the headship at the University of Colorado. But his tenure in Boulder amounted to only a one-year interim, when he was off ered the position of Assistant to the Dean of the College of Music at Northwestern University, in Evanston, Illinois, in the spring of 1927. A search for his replacement once again commenced 24 Music at the University of Colorado without delay; twenty-fi ve applications were received by mid-June, testifying to the growing reputation of the College under Chace’s guidance. The chosen candidate, Rowland W. Dunham, was hired with Whitehouse’s enthusiastic endorsement. His statement, reported to the Silver and Gold, was wholly supportive:

Mr. Dunham is one of the leading organists in the profession, and is well and favorably known throughout the country. From my personal acquaintance with him I am certain he will be a distinct addition to the musical forces of the state, and Boulder especially. He is a splendid man and will be well liked as he has been liked at places where he has held positions. Colorado and Boulder are fortunate to have him.31

In fact, Whitehouse and Dunham had known each from their days together as students in Boston. Whitehouse encouraged his classmate to apply for the position and assured him that there was indeed a future at the post, explaining that he, Whitehouse, was only vacating it because of Northwestern’s irresistable oﬀ er. Prior to his arrival in Boulder, Dunham had taught at Hope College, outside of Grand Rapids, Michigan, and at Ohio Wesleyan University.32

Dunham’s appointment, following his nomination, was not a foregone conclusion, but it struck no one as being out of the ordinary. His qualiﬁ cations closely align with those of his immediate predecessors in Boulder as well as peers at other institutions similar to the University of Colorado. The times called for musical leaders in American higher education who embodied a distinct set of qualiﬁ cations, values, and personal attributes, all of which Dunham possessed to the highest degree.

This general proﬁ le, although never stated baldly as a checklist of requirements, consisted of several self-evident elements: (1) early training as an organist and church musician—which presupposed a candidate’s socialization within a genteel Protestant context accomplished in the course of acquiring fundamental musical skills, both vocal and instrumental; (2) an earned degree at a reputable eastern conservatory or college—the indispensable qualiﬁ cation if one were to lead an institution granting similar degrees; (3) a period of study abroad, preferably in Leipzig, Paris, or London, to help polish one’s training through exposure to the highest contemporary standards of Western culture; and (4) a reputation as performer (and sometimes composer) established along with teaching credentials achieved prior to arrival at a major post— to ensure that the talented young musician had achieved a degree of maturity, poise in public settings, and institutional leadership experience.33 That the director should be a man rather than a woman was also taken for granted despite a preponderance of women actually enrolled in music programs generally and at Colorado’s College of Music in particular. A Brief History 25

Dunham’s early schooling at Boston University and New England Conservatory, his post-graduate Parisian training with the renowned Charles- Marie Widor (on organ)34 and André Bloch (in composition), his status within the American Guild of Organists—he was serving as associate editor of its institutional journal at the time of his appointment—and his earlier college teaching experience guaranteed that he would be a contender for the job at Colorado.

Dunham also brought a keen adminstrative eye and an opti- Rowland W. Dunham mistic spirit to his new job. He would have observed fi rst hand the many new buildings going up on campus, the fi rst fruits of the famous plan off ered by architect Charles Klauder in 1920, and he could dream of greater things to come. Unfortunately, the year of his arrival, which marked the fi ftieth anniversary of the university’s opening in 1877, also saw the suspension of a state sponsored mill-levy that had underwritten the cost for much campus construction up to that time.35 Henceforth, building expenses had to be raised by means of separate bond issues, loans from the university’s general fund, private donations (as had happened with the Macky Auditorium), and increases in student tuition.36

Prior to Dunham’s arrival, the business practices and fi nancial organization of the College of Music had become distinctly antiquated, resembling the independent loose-limbed style of traditional conservatories. At the beginning of term, students who signed up for private lessons paid their tuition directly to the College rather than the University. The director gathered the money in one place, then divided it among the unsalaried instructors according to their respective teaching loads with everyone receiving his or her stipend once a quarter, that is, every three months. Dunham moved to reform this system by cooperating with the central university fi nancial offi ce, which would receive all student fees, distribute a fair allotment to the College of Music, and with which Dunham could pay the faculty on a monthly basis as well as meet other costs incidental to running the school. 26 Music at the University of Colorado

Given the ﬁ nancial stringencies and the temper of the times, it is hardly surprising that few innovations in curriculum were introduced during the 1930s, although a gradual expansion of degree programs also took place and served to increase enrollment. Dunham aimed to stabilize the operation of his college by instituting prudent budgetary ideas and assembling a group of department heads with whom he could work closely. Although the task of long-range planning was not yet considered a standard requirement for deans, Dunham pushed steadily to make the College of Music both more eﬃ cient and more productive—and of course more visible on the campus as a whole. Several gains were achieved, especially with respect to classroom equipment, the acquisition of a dozen practice room pianos, a classroom phonograph, and modern sound recordings to go with it. Palpable pride is evident in the dean’s 1930 report to the Board of Regents about these technological additions.

A modern Victrola serves a useful purpose in the classroom. Many of the old wornout records have been replaced, more than two hundred dollars having been spent for this purpose recently. Our record library includes most of the classical and modern masterpieces. The recital hall is equipped with a radio phonograph in one ﬁ ne cabinet, the gift of the Majestic Radio Company.37

Musical students, whether majors or not, continued to contribute substantially to the campus scene. After a hiatus in the glee clubs’ touring schedule in the mid1920s, choral music found new support among Greek letter organizations and clubs at the end of the decade. The University Songfest was started by Alexander Grant in 1929, which came to involve dozens of avid singers every spring.38 Also in that year, Professor of English Francis Wolle, a long time supporter of student theatricals, organized a club to produce original operettas, with Wolle as the principal author. Dean Dunham himself composed the music for Wolle’s 1932 eﬀ ort “Being Bold-er” thus initiating what would become a tradition of inter-departmental collaboration among creative arts faculty members in Boulder that would later include Cecil Eﬃ nger, Jean Berger, and Robert Fink on the musical side of things.39

Dunham’s salaried faculty hires included George Williston, Dunham’s former student at Ohio Wesleyan, charged to lead the piano department, and Horace Jones, a prize winning violinist trained at London’s Royal Academy of Music, who came to Colorado from a position at Texas State College for Women to supervise the strings. Alexander Grant, who was originally appointed at the behest of President Norlin (impressed as he was by Grant’s singing at a Denver concert in 1926), was promoted to lead the glee clubs and supervise voice instruction. Dunham himself headed up the department of organ and music theory. This team of four leaders would remain in place until Williston’s resignation in 1933, when Mark Wessel was hired as his replacement. The four salaried employees taught classes as well as private lessons. “Jones A Brief History 27

Program cover for “Being Bold-er / A Flatiron Frolic,” 1932.

Page 1 of the song manuscript of “CoEducation” by Francis Wolle and Rowland Dunham for their collegiate musical comedy “Being Bold-er,” 1932. 28 Music at the University of Colorado

taught orchestration, Grant music theory, Dunham theory, Williston and later Wessel taught composition. Classes in public school music were taught by Mrs. [Florence Hepp] Peterson, Ms. [Carmel] La Torra and Ms. [Mary Frances] Gregg.”40 Dunham also served as organist at the Boulder Baptist Church until 1930, by which time administrative duties at the College of Music demanded his full attention. If Glenn Miller was the most famous University of Colorado Alexander Grant student of the 1920s in the realm of popular music, then without a doubt the most successful classical artist to have been trained in Boulder during that decade was coloratura soprano Josephine Louise Antoine (1908-1971). Raised in Boulder, she studied with Alexander Grant and graduated with a bachelor of arts degree in 1929. The same year, she won the Atwater Kent prize, which enabled her to continue vocal training at the Curtis Institute of Music in Philadelphia and then, from 1931 to 1934, at the Juilliard School of Music with Marcella Sembrich. In 1935 she was signed with the Metropolitan Opera; the University of Colorado awarded Antoine its fi rst honorary master of music degree at spring commencement that same year.41 Her Met debut on January 4, 1936 in the role of Philine in Mignon by Ambroise Thomas was received warmly.42 During her twelve seasons with the Metropolitan Opera (1936-48), Antoine also appeared frequently on recital, on radio programs, and in other opera companies across the country. In 1947, she turned to teaching at a series of American universities and conservatories, including a year as “guest artist” at Colorado, fi nally ending up at the Eastman School of Music, Rochester, New York (1957-59, 1966-71). She died of heart failure in Jamestown, New York, October 30, 1971. Distinguished national and international artists regularly performed on the campus as the stringencies of the Great Depression ebbed somewhat in the mid- 1930s: Russian pianist Josef Lhévinne (a conservatory classmate of both Rachmaninoff and Scriabin) performed on campus in 1935, returned in 1936, and again in 1940 to receive an honorary doctorate, at which he played selections from Chopin and Debussy in lieu of making the customary acceptance speech. Tenor Roland Hayes A Brief History 29 was hosted in 1936 by the Associated Students of the University of Colorado as part of an attempt to revive the Artist Series. Colorado- New York- and Berlin-trained violinist and pianist, Louis Persinger was featured in 1937 as was the prominent Australian pianist-composer Percy Grainger. Others who graced the Macky Auditorium stage before the war included Serge Prokofi ev, the Trapp Family Singers, and violinist Ruggiero Ricci. Dunham’s conscientious stewardship led to steady growth as he entered his second decade of service. Graduate level courses and masters degree programs were added in 1933- 34. Student enrollments increased. In 1937 the Program from Josephine Antoine’s fi rst recital bachelor of music degree program with an emphasis in public school music—one of the three concentrations allowed at the time (the others being performance and composition)—was placed on a formal separate track, so that students who were preparing to teach could earn a bachelor of music education degree, an emphasis which for most years attracted more students than the performing option. A master of music education degree was being off ered through the Graduate School by 1940. When the number of music majors approached 100 that year, Dunham was granted the title of “dean,” in keeping with a long-standing agreement he had made with President Norlin that his title would be upgraded in parallel with increased numbers.43 Public music celebrations such as Band Day, which was instituted as an annual autumn celebration by director Hugh McMillen, brought heightened awareness 30 Music at the University of Colorado

of the faculty’s ability to attract avid student musicians and alums to campus. In 1938, it was reported that “nearly a thousand ‘enthusiastic’ bandsmen attended” this event.44

With more students came the need for the hiring of more affiliated faculty who continued to be paid on commision. By 1940, the college’s teaching roster consisted of fi fteen Russian piano virtuoso Josef Lhévinne, a frequent guest members, nine full-time and six artist at CU and recipient of an honorary degree from the University in 1940 adjuncts. The same year Dean Dunham submitted a new plan for faculty compensation that more closely resembled the scheme in use across the wider campus, in which salaries were paid to all full-time employees (an eff ort spurred in other departments by the new president, Robert L. Stearns). Dunham also attempted to balance faculty teaching loads more fairly among the staff , and regularized (and lowered) the hourly rates charged separately for private lessons. As part of the dean’s overall scheme for raising standards and visibility, in 1941 he formally petititioned the National Association of Schools of Music for admission to this national accrediting body. NASM examiners visited the campus in November, and the College of Music was duly admitted to the organization in early 1942.45

Well before the end of the decade, Dunham had anticipated the need for more space to adequately serve his growing college, noting its “future . . . inevitable needs.” In 1936 he reported to the Board of Regents:

At present this College is confronted with a condition which will soon ﬁ nd us in need of either an addition to our present quarters or another building. Practice rooms are occupied constantly from 7 A.M. until 8 P.M. The classroom is inadequate for some classes, necessitating the use of the Recital Hall. The faculty is carrying a maximum teaching load. Student recitals attract audiences which ﬁ nd from 40 to 60 standing in the corriodor at each such occasion. . . .46

Yet owing to the usual budgetary constraints, little change ensued over the next four year, and Dunham’s report for 1940 conveys a more urgent tone.

Our totally inadequate building presents an increasing diﬃ culty. For 15 faculty members we have 6 studios which must be shared and scheduled carefully. A Brief History 31

. . The one class room seats 25 comfortably but is obliged to take care of classes of 40 on many occasions . . . Ten practice studios and two practice organs are going 14 hours each day. Obviously it is physically impossible to ﬁ nd hours for some 160 students taking Applied Music. By renting practice facilities in private homes and because many student reside in Boulder we are managing to secure makeshift arrangements. Band director Hugh McMillen on the podium

In light of this space squeeze, the dean was more than happy to support a student petition on behalf of the College to the university administration that was circulated on campus in spring 1940.

Because of the impossible conditions in the present Music building, lacking as it does suffi cient practice facilities, limiting our preparation to about one half; sound proofi ng, making effi cient study impossible; class rooms large enough to accommodate the larger groups; studios to provide enough room for the Faculty;

We, the students of the College of Music and of the University, taking courses in music, request that serious consideration be given to some method of improving suitable quarters for this work either by adding to the present building or, preferably, providing an adequate soundproofed new one.47

President Stearns agreed to meet with the students who presented the petition, assured them that action would be taken once funds became available, and forwarded their concerns on to the Board of Regents, urging the members to “give the needs of the Music School careful consideration when future building needs were being considered.”48

United States entry into the Second World War, unsurprisingly, saw decreased enrollment in the College of Music (from a high of 142 students in 194142 to 110 in 32 Music at the University of Colorado

1942-43), but the dip proved temporary with the numbers returning to and quickly exceeding the pre-war high by 1946. From the mid-1920s to the present day, the number of music students enrolled in the College of Music has consistently come in at approximately two percent of the total undergraduate population on campus.49 In the late 1930s the College added several key faculty positions whose occupants would go on to shape the future curriculum and overall program much in the same manner that Grant, Williston, Jones, and Dunham himself had so strongly led the way in 1928. This new generation included two of Boulder High School’s music teachers, Hugh McMillen and Warner Imig. McMillen relieved Horace Jones as band director in 1936, and Imig was hired in the fall of 1937 at ﬁ rst as a part-time voice instructor; he later went on to build the choral program and succeed Dunham as dean. Mark Wessel, following years of study in Vienna and graduating from Northwestern University, was hired to head the piano faculty in 1934. Lawrence Hart, a graduate of the College of Music, was added in 1938, although both he and pianist Sherman Storr, also a CU alumnus, departed the university to perform military service during the war. Storr and Wessel, who toured as a duo, would return but then move to California to new positions in 1947.50

Sherman Storr Advertising ﬂ yer for Mark Wessel master class A Brief History 33

As the war came to an end, the College and the University as a whole enjoyed another signifi cant growth spurt, adding both students and faculty. But increased size, along with the gradual addition of new programs and courses, continued to place pressure on facilities and highlighted the need to raise scholarship money to assist talented but needy students. Some funds were forthcoming for this purpose, as well as for equipment and instruments, beginning in 1942. “By 1943 the women’s band was an offi cial musical organization of the University and was larger than the men’s band.”51 In 194546, a twoyear certifi cate program was added to the curriculum specifi cally to address the need for more trained music teachers in the public schools.52

Everett Jay Hilty was appointed Instructor in Organ and Theory in June 1940. A bachelor’s degree graduate of the University of Michigan in 1934, he earned his Master of Music degree at CU in 1939. Hilty had headed the Organ Department at the Denver College of Music from 1935 to 1937 and taught privately during that the decade. Howard Waltz, an Indiana native who had taken degrees at DePauw University (1937) and the University of Wisconsin (1939), studied piano with Robert Casadesus, and served in the United States Army, was appointed in 1943. He was the only wartime hire who would remain in Boulder for a considerable period after 1945.53

The postwar concert schedule for the College community had become suﬃ ciently robust that Dean Dunham began to publish an annual program booklet under one cover to preserve the history of the Artist Series together with major campus concerts by the resident faculty, ensemble performances, and student recitals of both seniors and graduate students of the college. The 194546 season of the Artist Series featured mezzosoprano Blanche Thebom in November, violinist Isaac Stern and pianist Robert Casadesus in March, and the Minneapolis Symphony Orchestra, under the direction of Dimitri Mitropoulous in April. The Roth String Quartet oﬀ ered a three-concert series the following summer. The subsequent season included seven programs on the winter and spring schedule, including bass-baritone Paul Robeson, and again concluded with a visit from Mitropoulous and the MSO. This amount of Artist Series programming remained constant over the next decades.

The presence of so many stellar performers on campus and the increasingly impressive credentials of the resident faculty confi rm what is evident from a close review of the curriculum at the time, namely that the performance orientation of the College of Music was strong and growing stronger—and that this emphasis was largely unquestioned. The preparation of teachers for public schools was also deemed vitally important; graduates who earned degrees in music education were consistently the most numerous in the college. The large ensembles—orchestra, concert band, and choirs—continued to play a major part in boosting student spirit and helping to ensure their engagement with major works of classical musical 34 Music at the University of Colorado literature. What nowadays is known as the Holiday Festival, consisting of a series of four or fi ve elaborate collage-format concerts in the Macky Auditorium and drawing thousands of enthusiastic listeners from Front Range communities each December, appears to have begun with Warner Imig’s initial “Festival Christmas” concert in 1945. That same year Imig’s enthusiasm for opera also led him to lay the foundations for the Colorado Opera Association (since 2016, the Eklund Opera Program). Imig again broke new ground when in 1947 he organized the fi rst Modern Choir, an ensemble of thirty carefully selected singers capable of performing almost any choral literature with due regard to stylistic and historical considerations. The concept that a fairly small group could eff ectively perform a wide range of the repertoire was new at that time, suggesting the name “Modern” Choir.54 In 1950, after twenty-four years at the helm of the College of Music, Dean Rowland Dunham felt it timely to turn over the leadership, and in December of that year he submitted his resignation eff ective on 30 June 1951; he would continue to teach in the College until 1954. Within two months of Dunham’s departure, following a search process that had begun the previous spring, Warner Imig was appointed as the Dean of the College of Music.55 The new building that Dunham imagined and described in detail as suitable for the size and needs of his college in 1940 would fi nally be completed in 1955.

A Brief History 35

Left to right: Hugh McMillen, Cecil Effi nger, Josephine Antoine, Thor Johnson, Warner Imig in Macky Auditorium, c. 1950. McMillen, Effi nger, and Imig played major roles in shaping the College of Music for over four decades. Antoine, as an outstanding graduate of the class of 1929, opera singer and touring performer, returned to campus as a “guest artist” about the time this photo was taken. Thor Johnson, one of America’s fi rst native conductors to lead a major orchestra, was the music director of the Cincinnati Symphony Orchestra from 1947-1958.

Warner Imig Grows a College 3 in a Home of Its Own, 1951-1978

ollowing the end of World War Two, demobilization of thousands of soldiers and the tuition beneﬁ ts oﬀ ered by the G. I. Bill of Rights, formally titled the F Servicemen’s Readjustment Act of 1944, marked vast changes in higher education across the country; and of course Colorado was caught up in the growth spurt.1 CU’s total pre-war enrollment, which had hovered around 4000 annually during the thirties, was boosted by the rapid return of veterans to campus to over 10,000 students for the academic year 1947-48 (not counting another 12,000 registrations for the summer term and extension courses). This major cultural and demographic shift also led to new initiatives in the College of Music.2

Signaling his desire to widen the musical horizons of his students, aided by a general upsurge in enrollment, Warner Imig formed a new choral ensemble distinct from the popular glee clubs and mass university choirs of the past, which would work to achieve a high degree of precision and polish on challenging repertory. The Modern Choir, as it was dubbed, consisted of a select group of thirty members whose goal was to perform ancient music (from as far back as Palestrina and Schütz) and newly composed concert music but also include American folk songs and popular vocal idioms in its concerts. Attempting to perform such a vast array of works within a small mixed choir was novel for its time, but Imig was determined to see it through and his singers loved him for it. While known as a stern taskmaster, he also drew unquestioned devotion, and even came to be viewed as something of a father ﬁ gure by his best pupils.3 Among the Modern Choir’s many talented alumnae were ﬁ lm composer and jazz pianist Dave Grusin (’56) and Marilyn Van Derbur Atler, Miss America of 1958. 38 Music at the University of Colorado

Leonard de Paur, composer and conductor of the famed De Paur Infantry Chorus, which made several appearances on campus in the 1940s and 1950s

Modern Choir, 1962 A Brief History 39

Many Modern Choir members were majors in disci- plines other than music. The ensemble performed annual programs and often hit the road for week-long tours during mid-term breaks from 1947 to 1974. Among the other crucial additions to the faculty under Dunham besides Imig, was band director Hugh McMillen (1913- 1992) another Midwest- erner, hired partly to relieve the very busy Horace Jones, director of all instrumental ensembles up to that time. (Jones remained as conductor of the orchestra until 1962.) In 1939 McMillen initiated what would become an annual fall event, known as Band Day, destined to Front cover for Modern Choir tour program remain a major showcase for the university for decades. Grown from an event with invitations to eighteen regional high schools in a display of marching and playing skills and a parade through downtown Boulder—and only taking a hiatus during the war years—the annual gathering regularly attracted between forty and sixty groups throughout the 1950s and ‘60s. After Band Day 1967, Boulder’s daily newspaper carried the impressive headline, “6000 Celebrate 25th Annual CU Band Day.”4 McMillen, in his public statements, letters to the press, fellow musicians, and administrators, consistently touted Band Day as a special opportunity—visiting directors and their students were promised the rare experience of participating in live music-making surrounded by a sea of fellow performers in an open and inspiring setting. Band Day undoubtedly achieved McMillen’s goal of attracting hundreds of enthusiastic and talented young players to see the town and campus. Many, as graduates of the university working in a wide variety of ﬁ elds besides music, would 40 Music at the University of Colorado

Marilyn Van Derbur (class of 1960) with Warner Imig holding a copy of Modern Choir LP recording

Dozens of high school bands from across Colorado have been featured at CU’s Band Day, an annual autumn event over several decades. A Brief History 41 recall their experiences at Band Days for years to come. It made legions of friends for CU and the College of Music. Band Day is still with us, a long- lasting legacy into the twenty-fi rst century. The narrator for the football half-time shows, who also called the play-by- play action of the games throughout the period of McMillen’s directorship, was none other than Warner Imig, his friend and collaborator over four decades. Organist Everett Jay Hilty (1910-2006) joined the CU faculty in 1940, taught private organ students, and served as church music The last years of Dunham’s director in Denver before moving to Boulder’s First Congregational leadership coincided with Church in 1943, a post he retained in tandem with his university the Robert Stearns presi- job for twenty-fi ve years.6 dency at the university, 1939-1953. Stearns’s steady administrative hand aided Dunham’s eff orts to improve and streamline doings in the College of Music. It was during this period that plans to build a new building exclusively for the college fi nally took shape, a move urged by the growth of programs and student numbers across the campus. By 1953, the date of Dunham’s fi nal retirement from teaching, enrollment of full-time students in the College of Music had reached 150; the students were taught by about thirty full-time faculty members, a signifi cant increase over twenty years and requiring more space than its aging building, which had formerly housed the medical school, could provide. Several other key professors were drawn to CU in the post-war years, men of Imig, McMillen, Hilty, and Waltz’s generation who also gave long service and materially shaped the college over subsequent decades.5 To succeed piano professors Mark Wessel and Sherman Storr—both of whom had taught for more than a decade in Boulder before departing for California—another rising star was brought in. Storm Bull (1913-2007) had achieved an impressive early record as a concert soloist, and so was hired to head the piano division of the college in 1947, a post he retained for thirty years. (He continued to teach as a “visiting professor” with emeritus status until 1983.) A native of Chicago, Bull descended from 42 Music at the University of Colorado

Pianist Howard Waltz (1913-2000) was renowned for his erudition across many periods and styles of music as well as his keyboard prowess and kindly personality. An avid bibliophile and writer, he worked to support the growth of the college’s music library (posthumously named in his honor) to enhance its academic programs. distinguished Scandinavian musicians; both of his grandfathers had been nephews of the famous Norwegian violinist Ole Bull and were ﬁ rst cousins of Edvard Grieg. Young Storm studied diligently at the feet of Bartók, Percy Grainger, Lazare Levy, and Louise Robyn, among others, and made his professional debut at the age of 15 with the Oslo Philharmonic. Ten years later, 1939, he performed the American premiere of Bela Bartók’s Piano Concerto no. 2, a work published only seven years prior.

Another longterm faculty member hired after the war, Cecil Effi nger (19141990), a mathematics graduate of Colorado College in Colorado Springs, brought a diverse menu of talents to Boulder. Composer, performer, conductor, and inventor, he had studied with famed French pedagogue Nadia Boulanger, taught composition at his alma mater, played fi rst oboe in the Denver Symphony, directed the 506th Division Army Band, and wrote music criticism for the Denver Post before joining the College of Music faculty in 1948. He would go on to invent two practical musical devices, the Tempo Watch and the Music Writer, the fi rst a silent portable metronome, the latter a music typewriter adopted by many of his composer colleagues.

All of these men possessed strong academic credentials, impressive to their supervisors naturally, but also refl ective of Dunham’s, and later Imig’s, desire to develop the college’s curriculum into a wellrounded program made to serve a A Brief History 43 broader a musical population beyond a select group of performance majors. Both deans worked to foster a mature, research-oriented musical unit housed within the state’s fl agship university. In the process they also moved the University of Colorado’s College of Music to such an impressive level that it could fairly be compared to the best state university programs and private conservatories across the country. Despite its status as the smallest among the university’s academic divisions, by the early 1950s the College Storm Bull (1913-2007), head of the College of Music, piano of Music was serving citizens division from 1947 to 1977 across the state of Colorado by presenting dozens of concerts, clinics, workshops, and public performances to a variety of audiences. Professor Everett Hilty initiated an annual summer series of organ recitals beginning in 1945. A series of guest performers along with Hilty presented a diverse musical menu over many years; in the fall of 1952 a new degree concentration in sacred music was off ered, a program which at its peak enrolled upwards of forty majors at a time. In 1956, the doctor of musical arts degree (DMA), an innovative degree program then only recently conceived, was brought to the University by Imig and approved by the board of regents; the faculty promptly sought out likely candidates to matriculate in it. This move once again placed Colorado at the cutting edge of curricular innovation in music nationwide.7 At the same time as the College was expanding its curriculum and enrollment, the city of Boulder was being transformed into an engine of economic, intellectual, and cultural growth that would emerge fully formed by the last quarter of the century. Thanks to the construction of the Boulder turnpike, a toll road (now highway 36) connecting Boulder directly to Denver in 1952 and the creation of several federal laboratories and the Rocky Flats Nuclear Plant nearby, the population of the town would nearly double between 1952 to 1962 (from 22,470 to 43,089). Boulder’s reputation as a place apart, determined to protect its natural beauty in the face 44 Music at the University of Colorado

Architectural drawings of fl oor plan and elevations of the proposed new music building, by the fi rm of Trautwein & Howard, 1955. of industrial development was reaffi rmed by city ordinances that forbade private construction above 5750 feet (the so-called “blue line”) in 1959 and citizen eff orts to preserve thousands of acres surrounding the town as undeveloped “green space” at the same time. These changes were not made without controversy, and their eff ects continue to be felt to the present.8

A Place to Call Home As William E. Davis recounts in his comprehensive history of the university, a new building dedicated solely for the use of the College of Music had been a long time in coming. Originally envisioned by Dean Dunham in 1940, it was fi nally completed in 1955, at a cost $465,000. The central quadrangle of the building, with twenty faculty studios and sixty practice rooms surrounding a 500-seat auditorium and large- group rehearsal halls, still stands as the core of the structure, at its original location southeast of the earlier building at the confl uence of South Broadway and Euclid Avenue. The main entrance on the west side off ered a picture post card view of the Flatirons.9 It was one of many new campus buildings to go up during the university’s period of expansion. A Brief History 45

Steadily increasing enrollments on Imig’s watch would require yet another major addition to the facility on its north end. The groundbreaking for this renovation took place during his fi nal year as dean in 1977 and carried a price tag of 2.3 million dollars (roughly fi ve times the cost of the 1955 building); construction was completed on schedule the following year. In 1962 enrollment in the College stood at 212 students. By 1978, spurred by the proliferation of degree programs at all levels, student numbers had grown to 500, including 350 undergraduates and 150 graduate students, and the faculty increased to forty-six.10 Student enrollment has remained stable at this level ever since as programs have multiplied. Faculty and staff numbers, including a large increase in the number of teaching assistants, have grown half again.

The Dynamic Scene in the 1960s The decade of the sixties is conventionally, but accurately, described as an era of student rebellion, campus disruptions, administrative challenges, and social activism. This congeries of activities made the decade an especially exciting time to be engaged in creative work at the College of Music.11

Professor Cecil Eﬃ nger, mathematician and inventor, as well as a composer of over eighty substantial musical compositions, summed up nicely the special vortex of scientiﬁ c and cultural activity that seemed to swirl constantly about Boulder in the early 1960s. In an interview published in the Colorado Daily (December, 1961) he declared, “There is the same kind of exuberance and elation in composing a musical score as there is in the revelation of a mathematical formula.”12

Effi nger’s astonishment at the world around him, his willingness to embrace what felt like creativity wherever it lurked, and his equation of musical discovery with the scientifi c sort is nicely captured here. It may perhaps be thought of as a riposte to the theory fashionable at the time that scientifi c and humanistic views of the world were unalterably opposed (and perhaps implying mutual ignorance on both sides of the debate). But other students and professors at the university evidently shared Effi nger’s enthusiasm to bridge these opposites.13

Music students and faculty were as caught up in the life of the times as their peers across the nation. The University of Colorado in this respect closely mirrored other large college campuses, especially the ﬂ agship universities in California, Michigan, Wisconsin, New York, and Ohio. The CU music faculty of the late 1960s and early 1970s were no less involved in contemporary issues than their peers in other ﬁ elds. A general openness to experimentation in musical technique and style was the order of the day, although many of the mundane aspects of university life, especially the day-to-day experiences for music students, remained much as they had in the past. 46 Music at the University of Colorado

New Talent from Abroad CU’s music faculty, like most coeducational public university departments in the immediate post-war period, was comprised principally of white men, nominally Protestant in religious background, native born, and trained within traditional conservatory curricula. Often these men, with a handful of women, could claim the added kudos of having studied classical music abroad. The overwhelming majority of their students were women preparing to teach; very few students of color were enrolled in any division of the university at the time, although their numbers would gradually increase. Unsurprisingly, almost all American schools and colleges of music, including Colorado’s, tended to refl ect the values and aesthetic viewpoints of comparable European institutions. Change would come soon, however, partly by way of foreign-born artists and scholars who, like many of their countrymen and women, sought opportunities for advancement in the booming renascent American economy. During the 1960s the College of Music welcomed a number of Europeans whose extraordinary credentials, varied tastes, and strong personalities combined with shifting collegiate mores and ferment across the country, to make for a dynamic creative environment in the still relatively isolated town of Boulder. These newcomers, joined by several catalytic younger faculty members, galvanized signifi cant activity on campus. The internationalization of the faculty, and to a limited extent the student body, during the post-World War II decades was hardly unique to Boulder or Colorado, but it proved momentous. Dean Imig recruited German-born composer/musicologist Jean Berger (né Artur Schlossberg) to the College of Music in 1961 to initiate a PhD program in musicology. Berger had earned his doctorate in that fi eld at Heidelberg in 1933, been driven out of Germany by the Nazis, emigrated to France, then Brazil and New York, and achieved fame as a popular teacher, pianist and coach at Middlebury College in Vermont (1948-59) and the University of Illinois (1959-61). Berger’s interest in composition, especially vocal and choral music—spurred by winning a composition contest in 1936—continued to grow during his college teaching stints. He quickly grew to love the alpine environment and the opportunity to work with students who appreciated his irreverent wit, dazzling keyboard skills, and consummate erudition. Berger also founded his own publishing company, the John Sheppard Press, in 1964, and became his own distributor. In 1968, after a falling out with the dean, he left the university, though he continued to live and compose in Denver until his death in 2002.14 Berger, resisting avant-garde techniques, composed in a serious but rigorously tonal style that put off ultra-modern experimentalists in vogue at the time. He could not have cared less about academic fashions, but his music sold well and impressed a large A Brief History 47 audience of afi cionados for its sensitive text settings and vigorous rhythmic character. Much of it remains in print. The outstanding Danish lieder singer Aksel Schiøtz, celebrated for his elegant style and shimmering tone as well as his principled refusal to sing publicly during the German occupation of his native land 1940-45, taught voice and opera in several universities following the war. He came from Toronto to Colorado in 1961 and remained until 1968. His accomplished wife Gerd, who had earned academic degrees in French and Latin at Jean Berger, 1990 the University of Copenhagen, worked in the music library.15 The Hungarian String Quartet, with members Zoltán Székely, Michael Kuttner, Dénes Koromzay, and Gabriel Magyar, fi rst appeared on a Boulder stage in August 1960, sponsored by the CU Creative Arts Program. The quartet, founded in Budapest in the 1930s and coached by Bartók himself as it prepared to premiere his Fifth String Quartet (1938), was famous throughout European music centers by 1940. Finding itself stranded in the Netherlands during the war years, the group took the opportunity of its isolation to bring their playing to an exceptionally high level. With two of its oldest members, Székely (fi rst violin) and Koromzay (viola) still collaborating with newer members in the post-war period, the quartet toured and recorded extensively. Famed for its renditions of Beethoven and Bartók, the Hungarians became the quartet-in-residence at the College from 1962 to 1968; they disbanded in 1972. (Koromzay co-founded the New Hungarian Quartet in 1972, and resided at the Oberlin [Ohio] Conservatory until 1979.) Koromzay returned to Colorado to teach and then later build yet another chamber music powerhouse, the Takács String Quartet, recruited from his native Hungary.

Colorado As a Musical Mecca Colorado’s stunning natural landscape has long been a powerful magnet for those 48 Music at the University of Colorado

Gerd and Aksel Schiøtz seeking artistic inspiration in the out-of-doors, not only among musicians such as Jean Berger, Aksel Schiøtz, and the Hungarian String Quartet, who chose to settle in for a time, but as a popular playground for Americans wherever their state of origin. The Rocky Mountain region has provided a welcome escape from both the heat and crowds of large cities and the unvarying topography of the Great Plains. A wide array of performing artists chose to tour the West in the post-war years, and one of Colorado’s foremost musical institutions, the Aspen Music Festival, owes its genesis and growth to the grandeur of her scenery, its reputation as a year-round tourist destination, and the relaxed loose-limbed western lifestyle that it comes with it.

Founded in 1949 by a Chicago businessman, Walter Paepcke and his wife Elizabeth, the Aspen Music Festival and Institute from its start hosted an impressive roster of teachers, conductors, and star performers. Although it would be many years before the College of Music would establish a formal relationship with the festival, many soloists, large ensembles, and professional chamber groups, both foreign and domestic, arrived in increasing numbers in Boulder having come through Aspen—or from similar prestigious festivals in Vail, Central City or Colorado Springs—often sponsored by the CU Artist Series (now CU Presents) or Chamber Music Series or A Brief History 49

The Hungarian String Quartet, with members Zoltán Székely, Michael Kuttner, Dénes Koromzay, and Gabriel Magyar, ﬁ rst appeared in Boulder in August 1960. having been booked through their New York agents, who were well aware of the capacity and attractiveness of the Macky Auditorium.

In total, in all seasons year-round since 1937 to the present, Boulder audiences have been treated to over ﬁ ve hundred individual programs: the likes of organist Vernon De Tar, the Juilliard String Quartet, pianist Leonard Pennario, guitarist Andrés Segovia, folk singer John Jacob Niles, the Beaux Arts Trio, baritone Paul Robeson, the Philadelphia Orchestra under Eugene Ormandy, the New York Brass Quintet, Yvonne Loriod and Olivier Messiaen (playing piano duos), preeminent Tchaikovsky competition winner Van Cliburn, Metropolitan opera stars Cesare Siepi and Richard Tucker, contralto Maureen Forrester, cellist Yo-Yo Ma, and more recently modern popular stars such as Chick Corea, the Indigo Girls, and the Soweto Gospel Choir, along with a host of other similarly distinguished performers.

One especially iconic event for the university as a whole, not only the College of Music, was the appearance of the African American contralto Marian Anderson in a 1954-55 Artist Series concert in Macky Auditorium. The student yearbook, the Coloradan, took note of her presence in February 1955, commenting that only weeks before she had broken the long-standing color barrier at the Metropolitan Opera 50 Music at the University of Colorado

A varied array of more than 500 guest artists have spoken and performed on the Macky Auditorium stage since 1937. singing the role of Ulrica in Verdi’s Un ballo in maschera. Her extraordinary voice, along with her humble yet digniﬁ ed demeanor enhanced Anderson’s potency as a symbol of the struggle for racial justice. Her stature steadily increased from the time of her celebrated appearance on Easter Sunday in 1939 at the Lincoln Memorial, but which had been preceded by over a decade of concerts, mostly in Europe, during the 1930s.16

A sold-out house in Macky greeted the singer at her entrance with sustained applause before settling in to hear a program of Schubert, Handel, Saint- Saens, Dvořák, and “Negro” spirituals. Faculty member Paul Parmelee in his Boulder Camera review noted her “magnetic and musicianly qualities,” her “vitality” and “warmth,” calling her performance of Schubert’s Erlkönig “unforgettably stirring.”17 Anderson included Boulder in her ﬁ fty-one-concert farewell tour of 1965 and later returned to deliver a pair of lectures at the campus Memorial Center in March 1970, in which she spoke of “The Artist’s Responsibility to Society.”18 A Brief History 51

A Young Avant-Garde Comes to the College The company of eminent international faculty members on campus was supplemented by many American-born rising stars during the Imig era as well. West Virginia native George Crumb (b. 1929) was reared in a musical home, attended Mason College and the University of Illinois, and studied with Boris Blacher as a Fulbright Fellow in Berlin (1955-6). As he was completing a doctorate at the University of Michigan, he accepted a position to teach Marian Anderson secondary piano at the University of Colorado in 1959, where he remained on the faculty until his appointment to the University of Pennsylvania composition department in 1965—a post in which he would remain until retirement in 1997. Crumb completed his first mature compositions in Boulder, including Five Pieces for Piano (1962) and Night Music I (1963); since his move to Pennsylvania, he has returned to Colorado on several occasions pursuing professional collaborations—with baritone Patrick Mason, music scholar Steven Bruns, and Colorado Springs composer Ofer Ben Amots (Crumb’s student at Penn)—among others. His orchestral work Echoes of Time and the River (1967) was awarded a Pulitzer Prize in 1968. Crumb’s half-dozen years on the faculty in Boulder overlapped signiﬁ cantly with those of one of the most dynamic champions of contemporary music in the American concert world, David Burge (1930-2013). Involved with the premieres of a long list of innovative compositions, Burge not only taught piano and performed regularly between 1962 and 1975, but as founding director of an annual Festival of Contemporary Music, hosted a long list of guest composers. He served as music director of the Boulder Philharmonic orchestra from 1965 to 1972, and collaborated regularly with colleagues on the college faculty as well as an impressive roster of distinguished guest performers, including violist Walter Trampler, singer Cathy Berberian, and the Quarnieri String Quartet. 52 Music at the University of Colorado

Burge’s involvement in both the town of Boulder and the college further served to cement town-gown relations at a time when the population of Boulder county was increasing more rapidly than any time in its history.19 The Boulder Daily Camera published an extensive feature story about him, his wife, and son, during a sabbatical year George Crumb, soprano Jan DeGaetani, and David Burge spent in Denmark where he composed a theatrical piece entitled Twone in Sunshine.20 He was elected to the presidency of the American Society of University Composers in 1970. Honored as a University of Colorado Research Lecturer in 1972, he spoke on the topic “Allegory Upon Music’s Uncertainty in the Face of Reason.”21 In light of his productivity and national reputation, it is not surprising that he was hired away from CU by the Eastman School of Music in Rochester, New York, in 1975. Fully ten years before the arrival of Burge, the twenty-fi ve-year-old pianist David Tudor, on the verge of a stellar career, had presented yet another Boulder concert premiere of extraordinary signifi cance, when the fi rst performance of the fi rst book of John Cage’s Music of Changes—a ground-breaking work by a twentieth-century giant—took place July 5, 1951 in the Music Room of the Norlin Library.22 Cage’s Zen- inspired philosophy embraced all sounds as music; hence he deemed all sounds— whatever their source—as worthy of focused attention. Cage, as a native of California, often found refreshment in the out-of-doors, and the spirit of the West—broadly associated with the vast, open landscape of the region—seems also to accord with the sense of adventure, exploration, and possibility that pervade his works. Tudor and Cage returned to Boulder on several occasions as the latter’s celebrity status grew to international proportions during the 1960s. Charles Eakin (b. 1927) a professional player on the double bass, was hired to teach music theory and composition in 1964, the same year that he took his PhD at the University of Minnesota. Eakin would join other younger faculty, such as Wayne Scott, as an enthusiast for jazz and an avid performer of new and popular music as well as the classical canon. Eakin also represented the broader spirit of experimentation and possibility experienced by many musicians on American campuses during A Brief History 53 the late 1960s and 1970s. He was inspired by the cluster of performing talent around him and devoted to his colleagues: Burge, Paul Parmelee, Oswald Lehnert, Alan Luhring, and Howard Waltz.

Eakin’s impish sense of adventure is captured in much of his personal correspondence. Recently he recalled, “We had fun—ran a dangerous game of contemporary stuff because there were no bona fi de masterpieces and so we tested the waters of the new at every turn—bad and good, we created an excitement of the moment.” Despite personal David Tudor, c. 1950 losses, such as the death of his fi rst wife, and the inevitable changes that come with any longterm career in one place, he concluded, “It was a beautiful time [to be in Boulder].”23

He composed a considerable body of work in many media, including music for solo instruments, voice, ensembles large and small—two symphonies, three string quartets, one violin concerto—and for electronic instruments. He especially relished musical theater, wrote incidental music for several stage works, his own operas, and a quasiautobiographical theater piece in 1970 entitled Being of Sound Mind. As a jazz lover, he arranged a number of popular tunes and jazz standards for informal concerts of his own and in collaboration with his friend, Spike (né Henry) Robinson. A CU engineering graduate, Robinson was an engineer at Honeywell by day and an extraordinary tenor sax player by night, doing gigs in and around Denver. After ﬁ rst hearing Robinson’s extraordinary talent in a Boulder restaurant, Eakin resolved to create a “forum for [him] to play [regularly]—to have all to hear him—and a varied set of circumstances for him to express himself.” Eakin loved to cook for his friends and so prepared meals, hired other star players, sidemen to show oﬀ Spike’s talents, at a series of jazz parties in which in he took considerable pride.

With the likes of Spike Robinson in the town for inspiration, modern jazz was also beginning to be heard within the walls of the College, although at ﬁ rst without oﬃ cial sanction from the administration. Dave Grusin (BM ’56) was locally famous during his college years before going on to a career as a Hollywood composer.24 Singer 54 Music at the University of Colorado

Valorie Goodall (MM ’59) also recalled the College Dance Band, as the jazz ensemble was then known, as a center of considerable energy, although as Steve Christopher (BME ‘67, MME ’73), a ﬁ rst- year music major in 1963 explained, “It was still taboo then. Our rehearsals were over the noon hour and for no class credit.” Nevertheless, Christopher arrived at the college with experience under his belt, having played with friends around town for some time. “We had no organized program in high school, so we were glad to have Scotty [pianist and music theory professor Wayne Scott] to make it a real thing.”25 Jon John Cage, composer and mushroom hunter Weigandt took over leadership of the ensemble from Scott in 1968 ; and by then the band had begun to tour as far west as Salt Lake City and Reno, Nevada.26 Weigandt remained on the staﬀ as a teaching assistant charged with leading the jazz ensemble until 1972.

Milestones Reached, But Change Is in the Air By the late 1960s, the College had become an institution without peer in stature anywhere between California and the Midwest. William Davis reports in Glory Colorado! “Dean Warner Imig saw [in the decade prior to 1967] a series of crucial milestones.” Speaking to the Colorado Alumnus, Imig declared, In the last 10 to 12 years we have come to the place where we are . . . now oﬀ ering a major university program in music [comparable to similar outstanding institutions in Illinois, Iowa, and the West Coast]. We are a pretty avant-garde institution as well as traditional, simply because we have several of America’s outstanding young composers on our faculty, . . . [and] one of the heaviest concentrations in the ﬁ eld of contemporary music in the nation. A Brief History 55

Charles Eakin; Sketch of Spike Robinson by Charles Eakin

At the same time, some of our alumni have gone on to head . . . some fi ne traditional music schools.27 And Imig mostly had it right; he was not just posturing for the media. No other state fl agships within the region could boast of such an array of international visiting artists, a top caliber resident string quartet like the Hungarians, cutting edge resident faculty such as David Burge, or prominent composers like Jean Berger and Cecil Effi nger. Colorado’s band leaders, orchestral directors, and choral conductors, like Imig himself, led ensembles that rivalled the best in the nation. This must have seemed to most students, professors, administrators and alumnae at the time as a good thing for Boulder. But ironically these impressive results had begun to create a certain distance from the citizens of Colorado at large. Between 1963 and 1966, the university as a whole had experienced a turnover in leadership more complete than at any time in its history—precisely during the period when Warner Imig was most actively drawing talent to his college.28 But while the College of Music was emerging as a laboratory that fostered and conserved singers, pianists, violinists, and other orchestral instrument players (which by habit and tradition implied preference for European concert music styles), another side of the college’s mission—its stated goal to train music teachers for the public schools—was somewhat overshadowed, and the state’s growing population 56 Music at the University of Colorado

In early 1962, a CU jazz group toured nineteen foreign countries as part of the University’s People to People program. The players pictured here: Larry Curtis (Saxophone), Don Grusin (trombone), Jon Bauman (trumpet), Dave Ellinger (bass), and Jeﬀ Kingdom (drums). The players pictured here on a street in Berlin, West Germany. demanded more teachers for the next generation. Meanwhile other Colorado colleges were stepping up to the plate by adding jazz and popular music as well as classical music into their curricula. Two new branches of the University of Colorado system were established in the 1960s. Buildings that had housed the Denver extension of the main campus became the more independent University of Colorado at Denver in 1964, and a new campus dubbed the University of Colorado at Colorado Springs was founded in 1965.29 Other older institutions within the state system, the land-grant college Colorado State University in Fort Collins (known as Colorado A&M until 1935), and the University of Northern Colorado in Greeley came to the fore in those years, and all built respectable music departments. UNC had been established as the state’s teaching training college in the late nineteenth century, and so was poised to build a solid reputation as a teacher of teachers. In this it succeeded spectacularly, especially in the performing arts, most especially in music. But the ﬂ agship university was also determined not to be left behind. A Brief History 57

As Warner Imig passed his fortieth year at CU in 1977, he was regularly alluded to as the “dean of deans,” a means of noting his commanding presence among his peers, but perhaps also suggesting in a gentle way that the time for new leadership had come. Imig had served on the faculty since 1937 and as dean since 1951, having chalked up an impressive record of accomplishment. He had formed the Modern Choir in 1947, directed a string of summer Broadway musicals on campus through the 1950s, and built an annual Independence Day sing-along to such an extent that for more than three decades it attracted upwards of 40,000 people to Folsom Field every summer.30 He regularly recruited new young faculty from across the country. National recognition came to him and to the College of Music almost as almost a matter of course. Imig had conducted all-state choirs in thirty states, and been elected to lead such national professional organizations as the Music Educators’ National Conference (1965) and the National Association of Schools of Music (1970). He proudly embraced the claim that the study of music was “a living tradition” while celebrating its ancient roots in curricula dating back to the ancient Greeks.31 By the time of Warner Imig’s retirement, however, the universe of music considered worthy of study in the academy was rapidly expanding everywhere. Sympathy for new and popular musical styles—not only modern jazz, but hard rock, electronically- generated music, and a variety of non-Western and experimental traditions, spurred by the rise of the ﬁ eld of ethnomusicology—was beginning to pervade the professional landscape. Such developments alarmed some and inspired others. But all of these styles, including the most familiar ones, delivered in an array of new media formats, had arrived in force and were beginning to make themselves heard.

New Programs Under New Leaders: 4 Robert Fink and Daniel Sher, 1978-2013

he winds of change—both fi nancial and cultural—were blowing strongly across Boulder as elsewhere in the country during the late 1960s and T early 1970s. As on many college campuses, student activism in the form of marches, sit-ins, demonstrations, and protests over civil rights, the war in Vietnam, environmental issues, and various local causes, led to frequent disruptions, even vandalism, and inevitably calls for administrative action of one kind or another in response. By 1972 faculty disaff ection with President Frederick Thieme’s administration, decisions related to local fi nances, general discontent, and budget crises of the previous couple of years, led to calls for unionization. In December 1974, a signifi cant number of CU’s faculty, including a majority of College of Music professors voted by secret ballot in favor of collective bargaining. Although the tide against unionization fi nally won the day, by 1978 President Thieme was forced to resign amidst the turmoil to be succeeded by Roland Rautenstraus. The Coloradan yearbook of spring 1975 featured in prominent photographic display several young deans freshly arrived at their positions if not to the campus itself. But there were no musicians among them, because the college’s leading administrators were among the few survivors of an earlier era, chief among them Warner Imig. Through steady eff ort during his long tenure had Imig fed the growth of the College of Music by assembling a core faculty of distinguished classroom teachers and skillful performing artists in the heart of the Rocky Mountains. Despite its size as the smallest of the CU colleges, its place within the ever-growing university set against the breathtaking majesty of the state’s natural landscape successfully attracted highly talented students, passionate instructors, and increased public support for the 60 Music at the University of Colorado

programs presented on campus year-round. Having been in his post for a quarter century, Imig was the longest serving dean in the university at the time. Significant changes would only come following the 1976 national bicentennial and the Colorado statehood centennial of the same year. In October 1975, as a prelude to the anniversary year, Dave Grusin’s music for the movies Dave Grusin was presented in concert by the University Symphony Orchestra, under the baton of faculty conductor Abraham Chavez. Grusin himself and his professional jazz combo from California added luster to the occasion by collaborating onstage with Chavez and the students. Another part of the celebrations included the Golden Buff alo Band’s release of a 33 1/3 vinyl recording of three fi ght songs and ten popular musical selections. In keeping with the spirit of the national bicentennial, the University Chamber Orchestra performed Dudley Buck’s Concert Piece for Four Horns and Orchestra, a work that had been featured in the Philadelphia Centennial Exposition of 1876.1 Other timely musical events included seminars about Colonial period music by William Kearns (musicology) and Don Vollstedt (organ), a concert by the CU Handbell Ensemble (directed by Everett Jay Hilty), a lecture devoted to the folk music of Colorado, and a musical theater piece composed by Cecil Effi nger, with a libretto by CU classics professor Donald Sutherland.2 In 1978, with the dedication of a major addition to the music building, yet more festivities were called for. The new wing on the north end of the building, consisting of a dozen offi ces with both a basement and a second story above street level, encompassed the most conspicuous features—a 200-seat theater and a dedicated music library.3 As the renovated structure was now to be named in honor of the just- retired dean, a week of programs in early October 1978 involved nearly all of the college’s performing groups and faculty.

The Coming of a New Dean While applauding the achievements of Dean Imig over decades of work, the community welcomed the arrival of his successor, Robert Fink, who took the reins A Brief History 61 of the college in the autumn of 1978; Fink’s presence was greeted as a refreshing turn in what promised to be a somewhat calmer political environment on the horizon. During the administration of President Rautenstraus (1974-79), the campus traumas of the previous decade ebbed appreciably. In Fink’s interview with the Boulder Daily Camera given during his fi rst semester on campus, the new dean was diplomatic but candid. “It is my perception,” Fink declared, “that the university and the college have a history of being somewhat aloof. We don’t off er as many services out [in the] state. I’m not saying [the situation] is unique to this institution, but it’s an important factor in the university’s image to the state of Colorado.”4 In short, Fink saw that a sense Robert Fink of identifi cation with citizens outside of Boulder had been lacking during the growth spurt of the 1960s and the campus confl icts that followed. Fink cited his “top priority” to move beyond the Boulder-Denver vicinity by means of music workshops and performances, while still recognizing the constraints imposed by limited budgets and busy curricular schedules so as to address the “aloofness” he had observed. Once again the college had hired a dean who hailed from the Midwest and had enjoyed advanced training with eminent players on his instrument, the French horn: Morris Secon, at the Eastman School of Music, and Philip Farkas of the Chicago Symphony. Fink earned his doctorate in music theory at Michigan State University, had performed for a decade as the principal horn in the Kalamazoo Symphony while teaching at and later leading the department of music at Western Michigan University (1957-1978; as chair 1972-78). He had also met challenges related to labor disputes and governance during his time at Western Michigan. His experience seemed a good fi t for the college. Fink’s fi rst initiatives at the University of Colorado included the addition of three staff positions, including an associate dean for undergraduate studies, the creation of a concerts offi ce to manage all aspects of the College’s performance and publicity activities, and the transfer of control of Macky Auditorium and the Artist Series from the offi ce of the vice-chancellor of academic aff airs to the dean. His early accomplishments consisted of consolidating or streamlining existing programs, 62 Music at the University of Colorado increasing the number of non-major student participants in large musical ensembles, and systematizing day-to-day operations (for example, creating a regular schedule for piano maintenance, reducing the costs of printing concert programs, establishing an “advisory council” consisting of senior faculty to assist him in managing the college). Such apparently undramatic eff orts would go a long way in sustaining the strong program that had been built up over time. An added bonus from the point of view of the faculty and staff was Fink himself. His selfeff acing and genial personality combined with businesslike effi ciency in the job was widely appreciated.

Fink also worked to beef up the academic departments in musicology, music theory, and music education, which he recognized as essential to creating a wellbalanced graduate program with the potential to boost the number of PhD and especially DMA candidates.5 He conscientiously sought to hire a new generation of instructors and staﬀ members in order to increase the size and diversity of the music faculty and to include new specialists in world musics, jazz, and theatrical production. Recognizing the predominantly male cast of the teaching roster in 1978, he also bolstered the number of women and faculty of color. By 1993, the fraction of women on the full time teaching faculty had increased to about one third (17 out of 53) of the total. Eight faculty of color, including one administrator, had been recruited and hired, amounting to some 15 percent of the active teaching staﬀ .

Maintaining a steady hand at the helm, Fink did not seek the spotlight for himself, but seemed always to be looking out for the college’s benefi t. He continued to add to its program off erings, facilitate daytoday operations, and raise faculty salaries. At the conclusion of his fi fteen-year tenure as dean—he was still only sixty years of age when he returned to teaching—generous praise came in on all sides.

Bolstering Traditions and Building New Programs Soon after his arrival, Dean Fink saw to it that the College of Music gained administrative oversight for the Macky Auditorium, having realized how woefully its maintenance had been neglected since its original erection in 1922. Previously administered outside of the College of Music, Macky had been used by all manner of departments and by the university as a whole for a steady string of commencements, ceremonies, and presentations. But the venerable hall, which for half a century had hosted a vast array of world-class talent, had fallen to a sorry state of disrepair.

Setting out to raise $1.6 million in 1983, the funding campaign would eventually need to take in more than twice that amount to complete a long list of upgrades, including replacement of all the seats, repainting the interior, making some structural changes that reduced the number of available seats, construction of a removable orchestra pit, and the addition of dressing rooms, bathrooms, modern stage lighting and sound A Brief History 63 systems, and a refurbished lobby. Over four years of eff ort brought in funds from many sources: the city of Boulder, private foundations, alumni (the CU class of 1950 purchased two grand pianos for the stage) along with the proceeds from various benefit concerts by friends and music faculty members. The work was completed in 1985 and was hailed as a major achievement for concert goers throughout the region. Among other initiatives main tained under Fink’s leadership was the Colorado Festival of Sir John Reed, OBE, in costume as the Lord Chancellor in Iolanthe Contemporary Music—begun by David Burge in 1966—normally held each spring and featuring eminent guest composers and their works. Two Gilbert and Sullivan operettas were announced for production in summer 1980, with the student actors directed by an esteemed veteran of London’s D’Oyly Carte company, Sir John Reed. The association with Reed would continue for eight years. The Pablo Casals Trio—the title bestowed by the legendary cellist himself in 1973—consisting of violinist Oswald Lehnert, cellist Jurgen de Lemos, and pianist Paul Parmelee (later Larry Graham), resided in Boulder beginning in 1980 and would remain for twelve years, only folding when de Lemos left the faculty in 1992. Besides a plethora of regular student recitals and visiting guest performances, other faculty groups, such as the Colorado Brass Quintet and the Colorado Woodwind Quintet continued to concertize regularly during the 1980s. Seeing the advantage of maintaining a strong professional chamber music presence in Boulder, Fink also worked to aid the Takács String Quartet’s arrival in Colorado. Organized in 1977, its members included Gábor TakácsNagy, Károly Schranz, Gabor Ormai, and András Fejér. The ensemble fi rst performed at the College of Music during the fall semester 1983, having been brought in to enhance the department’s “hundredth season” of programs; they were offi cially added to the permanent faculty roster in 1986. That a founding member of the earlier Hungarian Quartets, Dénes Koromzay, had helped to facilitate the arrival of four more of his countrymen in Boulder, revealed again how the spirit of active cooperation among the dean and 64 Music at the University of Colorado

Pablo Casals Trio, being coached by Casals faculty could reinvigorate an already substantial component of the school’s history. The quartet’s graduate coaching program remains a dynamic one. The wide scope and impact of the College of Music began to be felt cumulatively by mid-decade as well. On campus, monumental performances of masterworks for combined chorus and orchestra, annual band days, guest recitals, artist residencies, all-state ensembles, teaching workshops, and scholarly colloquia regularly supplemented the growing list of student recitals and faculty performances on all manner of instruments, as did annual organ recitals by visiting church music specialists between 1966 and 1991, underwritten by a special fund dedicated to Everett Jay Hilty. The orchestral conductors who followed Horace Jones’ retirement in 1962 brought impressive credentials to the university symphony podium. Following leading violinists Andor Toth and Abraham Chavez, Giora Bernstein, founder of the Colorado Music Festival during his second year in Boulder (1976), served the College of Music for a quarter-century. Theodore Kuchar, Akira Endo, and Gary Lewis joined the conducting faculty during Daniel Sher’s tenure. Student and faculty appearances outside of Boulder also carried the reputation of the college far beyond the walls of the music building. In 1984, the wind ensemble’s tour to Japan, led by Hugh McMillen’s successor, Allan McMurray, and his colleagues, Kuniaki Hata, Wayne Bailey, and Robert Olson, brought a diverse and challenging program to hundreds of listeners in its twenty-four-day “friendship tour.” A Brief History 65

The Takács String Quartet in 1977, Károly Schranz, Gábor Takács-Nagy, András Fejér and Gábor Ormei.

Innovative programming at home also drew in large audiences from the surrounding community. The Golden Buff alo Marching Band continued to dazzle football fans on playing fi elds at home and abroad, and the concert band and wind ensemble programs began to emphasize contemporary literature and presented impressive “collage” concerts on a regular basis. (Such programs typically ran continuously from number to number, spotlighting fi rst one then another in a series of wind and percussion players in various combinations and locations in the hall.) The choral department, led by a succession of nationally distinguished resident teachers (Berton Coffi n, Charles Byers, Walter Collins, Lynn Whitten, Lawrence Kaptein, Joan Conlon, and Gregory Gentry) throughout the tenures of three deans, hosted annual madrigal festivals and invited famous guest directors in to lead hundreds of highschool students gathered from across the state of Colorado. The opportunities for young singers to inhale the collegiate atmosphere and learn a slice of classical choral literature made for an exciting few days each year; it still regularly draws the attention of choral singers near and far. The year 2018 marked the fi ftyseventh iteration of this event.

The cultivation and performance of contemporary music continued to be a strength of the college and is reﬂ ected in its resident faculty and the arrival of composers of diverse backgrounds during the Fink administration. Argentinian Jorge Luis Gonzalez (19322016) was hired onto the composition and music theory faculty in 1981, where he joined jazzinspired writer Charles Eakin (resident in Boulder 19641992) and 66 Music at the University of Colorado

Boulder high school bands on Band Day at CU, 1980

Richard Toensing (1940-2014), who earned his doctorate at the University of Michigan and taught in Boulder between 1972 and 2005.

An another attraction on top of the already crowded concert calendar during the 1980s were occasional recitals by distinguished emeritus faculty members who, while technically retired from teaching, continued to perform ambitious public programs. Such generous devotion to the College by its former faculty marked not only their vigor but the aﬀ ection in which the College was held by its veteran artists.

Nineteeneightysix was another banner year for the college, highlighted by the reopening of a renovated Macky Auditorium. The oﬃ cial “Grand Opening and Rededication Concert” was a gala aﬀ air, including remarks by the University’s colorful president Gordon Gee, the wind ensemble’s rendering of sections of Mussorgsky’s Pictures at an Exhibition, and Ralph Vaughan Williams’s Serenade to Music, featuring the university choir, and an outstanding quartet of student soloists. The program was capped by guest pianist Youri Egorov’s performance of Beethoven’s Emperor Concerto with the university symphony.6

In another move to enhance the academic side of the College of Music, Dean Fink brought the American Music Research Center to Boulder from the west coast in 1988. The brainchild of a dynamic Dominican religious, Sister Mary Dominic Ray, the Center was chartered in California in 1967. A conservatorytrained pianist and A Brief History 67

Luis Jorge Gonzales and Richard Toensing staunch advocate of American music of all kinds, especially eighteenth-century Anglo-American theater pieces, Sister Dominic assembled scores, collected letters, and curated papers and memorabilia with gusto, for use as a teaching resource at her home institution, Dominican College, in San Rafael. But by the time of her retirement in the mid-1980s, her personal collection had grown prodigiously and needed a larger, more permanent institutional home. Fink, working closely with music librarian Karl Kroeger, musicology professor William Kearns, and dean of libraries James Williams, oﬀ ered to receive the collection from Dominican College and successfully transferred Sister Dominic’s archives to Colorado, combining them with documents, books, and relevant manuscripts already housed in various University of Colorado sites. As Fink realized, the center’s name by itself—with an obviously broad topical focus—could, at one stroke, attract performers as well as scholars both within and beyond CU, further burnishing the College’s reputation.

The AMRC, housed entirely within the music library at fi rst, gave enhanced visibility to historical research and awarded stipends for the College’s growing musicology program; the presence of the archives—with more than seventyfi ve named collections and at least a halfmillion separate songsheets—stimulated considerable research among graduate students, attracted visiting scholars, and inspired several PhD dissertations. The AMRC lent a distinctive element to the College’s profi le, since few other universities at the time could boast such a unique center. In short order, 68 Music at the University of Colorado

Kearns, who served as its fi rst director in Boulder, produced several public programs and initiated an annual journal using the materials in the new archives. He also sought potential campus partners to collaborate in the enterprise. At his retirement in 1992, Kearns was succeeded by Thomas Riis, who served as director until 2018. Also with Dean Fink’s support, the College in 1989 became one of seven regional centers of the Thesaurus Musicarum Latinarum, a nationwide project locally headed by another musicologist, mediaevalist Oliver Ellsworth, dedicated to putting ancient music theory texts, printed editions, and manuscript sources on line. The same year a director of music technology was hired, composer/saxophonist Joseph Lukasik, and a computer-assisted music laboratory (CAML) was carved out of an existing classroom. Initiatives such as the AMRC, TML, and CAML, by bolstering both academic and applied music areas, underlined the cutting edge position of the College compared to other state fl agship institutions across the country. Responding to the steady decline in the state’s fi nancial support for the University as a whole during the 1980s, Fink instituted annual fund drives and created a volunteer advisory board, which would help to solicit major donors among friends and alumni. By these means he managed to triple the college’s fi nancial endowment and thus substantially increase student scholarships and tuition waivers. In 1991, the College of Music received further distinctive recognition as one of only ten schools of music to be invited to perform at the Mozart Bicentennial celebration at Lincoln Center in New York. Individual performers and ensembles toured and represented the college in far-fl ung localities through the decade, including the World Saxophone Congress in Pesaro, Italy, and the International Choral Contest in Tolosa, Spain, in 1992.

The Sher Administration (1993-2013) Daniel P. Sher was appointed dean of the college in 1993, having previously served on the piano faculty and as dean of the School of Music at Louisiana State University. Sher’s training had been taken at distinguished institutions similar to those of his predecessors, Oberlin Conservatory, the Juilliard School of Music, and the Columbia University Teachers College.7 Like Robert Fink, Daniel Sher’s experience had been both practical and administrative; also like Fink, Sher was a newcomer to Colorado. Each would in his own way build organically on the accomplishments of previous administrations. Boulder Camera critic Wes Blomster, in an early interview with Sher, noted the new dean’s “commitment to the classics” along with a recognition of the need to acquaint students before graduation with the practical problems faced by professional musicians. Sher likewise was determined to reinvigorate outreach eff orts to the community by working closely with the long-established Artist Series (which had been founded originally as an arm of the independent non-profi t Boulder Musical Society in 1920, foundered for a decade, then revived A Brief History 69 in 1937). Understanding the relationship between audience growth, marketing, and fund- raising was key to Sher’s thinking, and in line with this priority, he insisted on hiring a director of development within the College of Music itself. Consequently, Catherine Fitterman, the first person to hold the position, was brought on board in 1993. Like all of his predecessors, Sher sought to fi nd more space for the College to do its work. Assisted by a grant of $2.1 million from the Colorado state legislature, he facilitated the construction of an addition to the east side of the music building, the new The musical program for the 1986 Macky Redication/ wing consisting of a large en- Renovation event semble rehearsal room, more practice rooms, and instrumental storage space. Other improvements made at the time included a renovated percussion studio and the addition of a “smart”— technologically enhanced—classroom. (Dean Fink had supported a plan to expand the rehearsal space for large ensembles, especially the Golden Buff alo Marching Band, but construction did not begin on this addition until 1996. Three years after Fink’s return to teaching, the new rehearsal hall was offi cially dedicated to him.) The Grusin Auditorium, the 500-seat theater in the center of the original building, was also substantially renovated, with signifi cant acoustical and lighting improvements under Dean Sher’s leadership; the adjacent multi-use space, originally devoted to choral rehearsals, was refurbished into a functional 120-seat classroom and recital hall, with new sound-proofi ng and recording capability, thus enabling its use simultaneously with the larger auditorium next door.

Exploring New Repertories in an Inclusive Community As noted in chapter 3, jazz had been an informal part of the university music scene for many years—Dave Grusin’s fellow students of the 1950s recall his and his friends’ dynamic performances in local clubs and restaurants—when the playing of jazz in college practice rooms was frowned upon. Legendary music theory professor, pianist, 70 Music at the University of Colorado

William Kearns, the ﬁ rst director of the American Music Research Center in Colorado; Cover of AMRC Journal and American music devotee Wayne Scott for years led campus groups that carried no academic credit but still attracted a steady stream of enthusiastic participants. Graduate student Jon Weigandt and a succession of other instructors shepherded bands through the 1960s and 1970s, often assisted by Scott and, after his arrival in 1964, composer/bassist Charles Eakin. Willie Hill, a Grambling College graduate of 1968, earned his master’s degree and PhD in music education at CU in 1972 and 1987 respectively. Having actively performed (as a woodwind specialist) for years in the Denver area—he helped to found the Mile High Jazz Camp in 1986—Hill was hired on to the music education faculty from 1988 to 1999 where his classes and performances steadily attracted a large number of teachers and pre-college musicians to Boulder.

College student dance bands proliferated during the 1960s and even toured abroad, but jazz was only incorporated offi cially into the regular curriculum of the College of Music with the creation of a certifi cate program, an optional part of the bachelor of music degree in 1994 under directors saxophonist Tom Myer (198894) and vibraphone player Greg Carroll (199497) and assisted by pianist Greg Dyes; in 1998, A Brief History 71 a master of music degree in jazz performance and pedagogy was approved by the faculty. In 1999, John Davis, an experienced jazz trumpeter and respected program builder at the University of Northern Colorado was hired by CU to grow the number and quality of faculty members still more, an effort sufficient to support a doctoral program in jazz studies by 2006. Following on the expansion of its teaching staff , enrollment, and student achievements—signaled by a quick succession of Downbeat magazine awards—Jack and Jean Thompson came forth with a major gift in 2013 to establish the Thompson Jazz Studies program, the first endowed program of the college. Daniel Sher Electronic instruments and computers, as media with which to compose as well as listen to and appreciate music, had been in use by individual music students and faculty members since at least the 1970s, but such projects gradually grew more ambitious in the succeeding decades. A class piano laboratory fi tted out with a dozen electric keyboards, helped instructors to integrate pedagogy with other aspects of the curriculum, especially music theory. A certifi cate in music technology, which could be earned by students in any music undergraduate major, were approved by the faculty in 2000. Violinist/ composer Andrew May directed the music technology program from 2001 to 2005. Among the new programs established during Sher’s administration was the Entrepreneurship Center for Music, the first of its kind in the nation. Opened in 1998, it currently offers a certificate for the completion of a set of practical business-related courses. The Musicians’ Wellness Program, another trend-setting initiative established in 1999, was developed by James Brody, professor of oboe and a certifi ed Alexander Technique teacher. Intended to off er a comprehensive approach to health and well-being, the MWP is aimed specifi cally at addressing music students who are experiencing diffi culties in performance owing to 72 Music at the University of Colorado

misuse, injury, anxiety, or physical tension. One of the fi rst of such programs to be created within a college of music, it now off ers a wide array of services, including private consultations with Brody and other staff members in counseling and psychiatric services, medical evaluations at the student health center, and a summer workshop for teachers, which provides lessons in Alex- ander Technique, Tai Chi, and Body Mapping. The study of world music cultures beyond the traditional conservatory repertories of the early twentieth century assumed a more Willie Hill prominent place in uni-versities across the country in the 1970s and ‘80s. An expanded list of courses in ethnic music studies under the umbrella musicology/ethnomusicology, gradually took shape at CU during the 1990s. Young ethnomusicologist Brenda Romero, who had arrived on campus in 1988, working with senior music historians Oliver Ellsworth, Deborah Hayes, William Kearns, Alan Luhring, and Gordon Sandford and percussionist John Galm added new courses on folk, traditional, and art musics outside of the classical European canon, but also sought to incorporate a group performance component for both majors and non-majors who wished to concentrate in this area. In 1998 the Balinese gamelan Genta Kençana (Holy Golden Sound) was acquired and dedicated on campus. A menu of Japanese, West African, and Mexican instrumental, dance and vocal ensembles were added to the roster in the following decade. Native experts from many countries were brought in as guest lecturers in ethnomusicology classes. Students also took their music out to the community, participating in fairs, festivals, and ceremonies in the Front Range region. At the beginning of the century two more full-time ethnomusicologists were added to faculty, Jay Keister and Kwasi Ampene. Sher’s support for these and other faculty initiatives was affi rmed in the curriculum with the creation of several new degree programs. By the end of his twenty years of service as dean, bachelor’s, master’s, and doctoral degrees in jazz piano performance and pedagogy had been approved by the faculty, as had master’s and doctoral degrees A Brief History 73 in collaborative piano, a master’s degree in music theory, and graduate professional certifi cate programs in opera, woodwind, and string quartet performance.

Dean Sher’s successful campaign to raise funds for the improvement of faculty salaries realized donations in excess of $3.5 million, enabling the College to create three new faculty fellowships, and underwrite its ﬁ rst two endowed chairs in the College in 2002, sponsored by Robert and Judy Charles and Joseph Negler. In 2003 the music library was named for the late Howard Waltz, beloved long-time member of the faculty, who through a generous bequest became a substantial ﬁ nancial benefactor to the College as well. Waltz’s personal library had once provided the core of its earliest collection; his guidance and oversight of its growth since the 1940s made the naming especially appropriate.

Culminating nearly a half-century of emphasis in musical theater and light opera, in 1994 the Lyric Theatre Program, then under the direction of Dennis Jackson, was deemed a “Program of Excellence” by the Colorado Commission on Higher Education, a sure sign that the college was making an outsized impact in the state and region. Ten years later, in 2004, the Board of Regents designated Allan McMurray, director of bands since 1978, as the fi rst “Distinguished Professor” in the history of the college. This honor again reaffi rmed the national impact and international scope of the college as a whole. McMurray actively sought to train his groups to the highest standards of performance. Like Frederick Fennell, the founding father of the modern wind ensemble at the Eastman School of Music, McMurray advocated for and commissioned new, challenging compositions, collaborated with eminent visiting artists, and conducted his groups in international showcases.8 By hearing both familiar and newly composed works performed at the highest artistic level, ever growing audiences became familiar with what amounted to a new American sound, which had coalesced during the fi nal third of the twentieth century. Like Warner Imig’s creation of the Modern Choir in an earlier generation, McMurray through his teaching, summer workshops, recordings, and guestconducting, put CU at the cutting edge of another national trend during his long tenure in Boulder.

Daniel Sher also established a vital new music program, titled Pendulum New Music. Similar to past contemporary music festivals at the college, but in this instance placing particular emphasis on new student compositions, the program was reinvigorated in 2005 by the leadership of pianist Hsingay Hsu. The use of music technology in conjunction with composition for traditional instruments and electronics received another boost with the creation in 2008 of the Boulder Laptop Orchestra (BLOrk), an electronic music ensemble open to both music majors and nonmajors. Professors John Gunther and John Drumheller, inspired by the example of the Princeton Laptop Orchestra, formed BLOrk and continue to guide its participants as they seek to 74 Music at the University of Colorado

Allan McMurray in rehearsal integrate technology with improvisation on individual laptop computers, using a variety of control devices, video game accessories, vocals, and body movements. The rising status of the College of Music within the university was fi ttingly marked by the designation of professor of voice Patrick Mason to receive the Hazel Barnes Award in 2012—the fi rst musician to obtain this prize in its twenty-year history. Endowed to celebrate the distinguished international achievements of philosophy professor Hazel Barnes, it was created to honor outstanding career-long work and is advertised as the “highest faculty recognition” awarded by the University of Colorado.” As such, although the fi nancial prize was tendered to a single individual, Mason’s achievements—widely collaborative, stylistically diverse, international in impact, and repeatedly recognized in the wider professional music world—can be justly taken as yet one more indication of the college’s right to claim a signifi cant place among its peers. The Future of Music— 5 A Century in the Making

Dean Robert Shay After an extensive two-year search, during which time professor of music education James Austin served an interim term, Robert Shay was hired to succeed Daniel Sher as the fi fth dean of the college in 2014. Shay had previously served as Director of the School of Music at the University of Missouri and Vice President for Academic Aff airs and Dean of the Conservatory of the Longy School of Music (Cambridge, Massachusetts). Like his predecessors, Shay had received his early musical training, in voice, at leading conservatories—Wheaton College and the New England Conservatory of Music. He earned doctoral and master’s degrees in musicology from the University of North Carolina. An expert in the music of seventeenth- century English composer Henry Purcell, Shay continues to publish and teach in his scholarly fi eld.

Shay arrived on campus recognizing the College’s potential for yet further growth, and he moved to establish clear priorities as he got to know the faculty. In the year of his arrival, major gifts led to the establishment of the Eklund Opera Program and the Ritter Family Classical Guitar Program. Such generous donations and bequests reﬂ ected years of cultivation as well as the consistent quality of the programs presented to the public by both faculty and students at all levels. Under Shay’s leadership in 2015, the faculty and staﬀ unanimously approved “The College of Music Advantage,” a ten-year strategic plan to lead the CU College of Music into its second century.

Under Shay’s leadership, the college continues to provide opportunities for its most diligent and talented students to excel both in Boulder and in the musical world 76 Music at the University of Colorado

beyond. Among the priorities laid out in the strategic plan are actions proposed to assist its students for their post-graduate career preparation. The fi rst CU at Carnegie Hall student showcase held at the iconic Weill Recital Hall in New York in 2016 exemplifi es the type of opportunity that adds value to a degree from the College of Music and that CU seeks to nurture. An activated Center for Entrepreneurship in Music, directed by Jeff rey Nytch since 2009, regularly creates and spreads the word about internships, collaborative off - campus projects, and music business Robert Shay start-ups, along with off ering classes on business techniques and presentational skills to supplement students’ purely musical expertise.

The music+ development campaign, with a goal to raise fi fty million dollars to expand the college’s facilities once again and to support its strategic plan, was launched in 2017. Also in 2017, the Waltz Music Library received its fi rst major facelift since the 1970s under the leadership of director Stephanie Bonjack, an action much appreciated by many students in and out of the college, since renovation provides enhanced group-study spaces that can only be reserved by students, not co-opted by faculty or staff .

Early in 2018, Dean Shay gave added impetus to the college’s aspirations for increased outreach and inclusivity— another aspect of the strategic plan— by inaugurating a Distinguished Lectureship in Music, Diversity and Inclusion. Preeminent Native American ethnomusicologist Charlotte Heth was invited to deliver the opening lecture.

Also in 2018, the University’s board of regents approved a 64,000 square-foot expansion—both up as well as out— attached to the Imig Music Building on its south side, adding refurbished Charlotte Heth A Brief History 77

Howard B. Waltz Music Library, 2017 teaching studios, administrative offi ces, classrooms, and a state-of-the-art recording studio, among other improvements. The new facility, because it will also include a much-expanded pre-concert gathering space in the foyer of Grusin Auditorium, adds a crucial and novel feature. More than merely an ornamental fl ourish, the concept behind re-orientating the building’s main entrance to face Broadway more directly, is a fundamental one. By symbolically and practically creating an ample welcoming space for the college’s many thousands of visitors each year adjacent to the university’s newly refurbished admissions offi ce and central transportation hub, the College of Music will become a prominent fi xture at the principal western gateway to campus. This seemingly simple architectural decision speaks more eloquently than words about the accessibility of and access to the University of Colorado—principles that have been more often preached about than demonstrated in the past. From this higher point of visibility, the College of Music will be well-positioned to continue providing cultural nourishment and inspiring teaching to the campus and town of Boulder well into the future.

Inspiring Artistry and Discovery, Together “The time has arrived when the University should do something for the encouragement and cultivation of aesthetic art. . . . We believe that the establishment of systematic and thorough music instruction will meet a 78 Music at the University of Colorado

want long felt, and will constitute a positive attraction to a large class of students, and not only enlarge the scope of culture at the University, but draw new members to her classes.”1 Thus wrote Calvin Cady, the fi rst “instructor in music” as the Ann Arbor School of Music was incorporated into the University of Michigan in 1880. Music arose in Boulder, Colorado, and its university in a manner similar to Ann Arbor’s (and in a handful of other American cities designated as the site of their state’s instructional fl agship). And its advocates spoke in grand phrases similar to Cady’s about music’s purposes and methods. But while such high-minded goals were commonly expressed, signifi cant diff erences between Ann Arbor, Michigan and Boulder, Colorado, dictated that these dreams would unfold in diff erent ways and at a diff erent pace.2

More than thirteen hundred miles to the west and with a far thinner population on the ground in the 1880s, Boulder’s adoption of a fully developed curriculum would come about a generation later than Ann Arbor’s. But once launched, the College of Music—which would remain more independent of its sister colleges on the CU campus than many—would ﬁ nally expand along lines similar to those of its eastern peers. At the same time each reﬂ ected the peculiar circumstances and personalities of its home state or region.

In no small part, Colorado’s department, and later college of music, grew in response to student interest and enthusiasm as much as to faculty or administrative fi at. Music was wafting through the air at CU Boulder from the moment students fi rst appeared on campus in 1877—Jane Sewall, the daughter of the university’s fi rst president Joseph Sewall, was reportedly an accomplished singer, and Henry Alexander Drumm, the very fi rst graduate of the University of Colorado (class of 1882) was an enthusiastic amateur poet and song-writer. It is hardly surprising that music quickly became an indispensable element in the social activities, sporting events, and ceremonial life of CU. Eager participation in glee clubs, pick-up bands and amateur theatricals, assisted by a handful of volunteer instructors (including students and non- music professors) fl ourished through the 1920s and ‘30s. But the growth of musical programs in the College of Music, curricular innovations, and the achievements of musicians in and around Boulder, especially since its formal establishment in 1920, have been substantial—much more than an entertaining side show or historical footnote. Early on, energetic teachers such as Charles Farnsworth and Frank Chace spurred prodigious activity around the campus, in what was still a distant outpost to cultural arbiters back east. These pioneers were often joined by world famous visiting performer-educators, such as Josef Lhévinne, Mischa Mischakoff , and Percy Grainger, to inspire audiences of all ages across the Front Range. Rowland Dunham and Warner Imig, as entrepreneurs par excellence, attracted faculty who A Brief History 79

Dean Boal, a native of Longmont, Colorado, Eileen Tate Cline earned bachelor’s degrees took two degrees from CU, a bachelors and at the Oberlin Conservatory in the 1950s, later a doctorate in piano performance (1953, succeeded Boal as dean at Peabody (1983- 1959). Head of the Peabody Conservatory 1995); she took her master’s degree in piano (Baltimore) from 1966-1979, he would later go performance, studying with Storm Bull in 1960. on to become director of arts and performance She remained musically active in Boulder for National Public Radio (1982-1989) and through the 1960s, and went on to earn a PhD president of the Interlochen (Michigan) Center at Indiana University in 1976. Both Boal and for the Arts (1989-1995). Cline retired to live in the greater Boulder area. over decades devoted their careers to building up the college and its students, especially those who would go on to teach the next generation. And the legacy remains strong.

During the last half-century, most all of the college’s large ensembles, many individual soloists and chamber musicians, and a host of teachers and scholars of merit have chalked up signiﬁ cant achievements. But as much as any time in the past, the college’s current performing and teaching faculty are leaders in their respective national and international professional organizations, whether as singers, instrumentalists, conductors, musicologists, educators, music theorists, or composers. Dozens of College of Music faculty have scored numerous awards, commissions, and kudos from private foundations, municipal grants, and national endowments. CU music graduates have earned positions in major symphonies, opera companies, chamber ensembles, and collegiate departments of music from coast to coast and abroad.

The students who have studied with and beneﬁ ted from this distinguished faculty— including amateur performers, townspeople, and enrolled students not majoring in 80 Music at the University of Colorado

A 1978 graduate in voice and music education from the College of Music, Pamela Z (born Pamela Brooks) has always been a curious explorer of artistic styles. “I’ve always felt that if there are boundaries in the arts, they’re easy to cross,” she has said. Now a composer, singer, DJ and performance artist—and the winner of several prestigious awards—she makes solo works combining a wide range of media, vocal techniques, stage gestures, and electronic processes. Among other things, she manipulates video and sampled concrete sounds and mixes them for presentation in dense layers and in a variety of settings—concert halls, galleries, and theater around the world.

Mary Goetze, earned her PhD in Music Education from CU Boulder in 1985, and has since become a professor emerita at Indiana University’s Jacobs School of Music and a renowned specialist in music for children’s choirs across the globe. Her publications include numerous arrangements and compositions for treble voices. Respected as a driving force for multicultural education, Goetze is widely sought as a clinician and guest conductor. A Brief History 81

Architect’s rendering of the Imig Music Building renovation plan in 2020. music—now number in the tens of thousands. Those who have earned diplomas in some area of musical study since 1924, when Hazel Bennett received her degree, top fi ve thousand.3 The cumulative accomplishment of the College of Music, its students, graduates, staff , and faculty, reached an impressive peak as it entered the second decade of the twenty-fi rst century. The College of Music has benefi ted from the wisdom, wealth, and work of many institution builders in the city and university—as well as in the world well beyond Boulder. These dynamic women and men, often on the cutting edge of national trends (sometimes having reached the peak of their careers after leaving Boulder) while familiar to historians, are perhaps less known or celebrated in Colorado than they ought to be. It is hoped that this brief history will call attention to the variety and extent of musical activities at the university for more than a hundred years now. There are still many stories to be told—stories of inspiring professors, visionary leaders, and talented students who played a part in the development of the college, which can be justly numbered among the best of its kind in the country.

Notes

Chapter 1. The Early Years, 1882-1919 1. Jane Sewall, Jane, Dear Jane, 41. 2. Klausman, “A History,” iii, 14. 3. Hughes, “Charles Farnsworth,” 3. 4. Ibid., 4. 5. Klausman, “A History,” 33-34. 6. University Portfolio 10: 1 (October, 1891), 7. 7. University Course Catalogue, 1892-93, 61. 8. Hughes, “Charles Farnsworth,” 11. 9. Klausman, “A History,” 41-42. 10. Hughes, “Charles Farnsworth,” 11. 11. Klausman, “A History,” 44. 12. Ibid.; Davis, Glory Colorado! 1: 93. 13. Silver and Gold 4:14 (December 12, 1895), n.p. 14. Klausman, “A History,” 47-48. 15. Ibid., 53. 16. Farnsworth, “Some Thoughts on the Musical Season,” 417. 17. Klausman, “A History,” 55-57. 18. Grove Dictionary of American Music, s.v. “Farnsworth, Charles Hubert.” 19. Silver and Gold 14:1 (September 14, 1905), 5. 20. Klausman, “A History,” 109. 21. Ibid., 112-13. 22. Ibid., 115-16. “By 1918 Chadwick was receiving $1500, as Professor of Music. In com- parison, F. B. R. Hellems, Professor of Latin, was paid $3200; J. R. Brackett, Literature, $3400; George Norlin, Greek, $3200; . . . every Professor heading an individual branch of study earned at least twice Chadwick’s salary, with the exception of Professor Cole, in Psychology, who received $2950.” 23. Brackett, “The Chimes of Normandy,” 43. Chapter 2. Building a College: The Work of Frank Chace and Rowland Dunham, 1920-1951 1. Klausman, “A History,” 118. 2. Ibid., 124. Chace is consistently referred to as “Doctor,” and apparently took his terminal degree from the Grand Conservatory of Music, University of the State of New York in 1905. 84 Notes

3. Ibid., An earlier Boulder Choral Union consisting of singers from both town and university had been formed by Charles Farnsworth in 1893, but it ceased to function after Farnsworth’s departure from Colorado in 1899. 4. Davis, Glory Colorado! 1: 288. 5. Ibid., 291. 6. Klausman, “A History,” 125-29. 7. Ibid. 8. Ibid., 130. Klausman also cites on interview with Mrs. Rudolph Johnson, on March 13, 1967, as his source of information. 9. In 1920 the University adopted an academic calendar based on quarters rather than semesters, a move that helped to facilitate the earning of summer credits carrying the same value as those earned during the other three seasonal terms. 10. Klausman, “A History,” 134. 11. Colorado Alumnus 13:4 (April, 1923), 11. 12. 23rd Biennial Report of the Regents (1922), 14-15. 13. 25th Biennial Report of the Regents (1926), 17. 14. The student yearbook, the Coloradoan [sic] of that year also notes Barnett’s membership in the sole professional honorary student music organization on campus, Asaph. 15. Klausman, “A History,” 139. 16. Ibid., 141. Designated as the University Hospital Building in 1884, the structure was the fourth to be erected that year and was located near the corner of the campus formed by East Euclid and Broadway and faced north. Constructed of brick, the building consisted of a twostory main section with a ground fl oor wing extending from the east wall. When opened in 1885 it provided accommodations for thirty patients and was the fi rst home of the Medical School. Ownership changed hands several times in the interval between 1893 and 1924 before the entire medical operation was moved to Denver in that year. The building continued to house a part of the College of Music until it was razed in 1961. 17. Silver and Gold 34:46 (April 17, 1925), 1; 34:48 (April 24, 1925), 1. 18. Ibid., vols. 29-33, passim. 19. Davis, Glory Colorado! 1:307-20. 20. Ibid., 285-87. 21. Ibid., 321. No script for “Now and Then” appears to have survived, but musical fragments and interpolated songs by Francis Wolle and Howard Beresford are preserved in the Francis Wolle papers. 22. Ibid. The term “orchestra” is probably best understood here as “dance band”; it likely numbered fewer than twenty people. Wray also fi gured prominently in his fraternity, Delta Tau Delta, and was appointed its fi rst national “fi eld secretary” in 1922. Details about his musical doings in Boulder are scarce. Delta Tau Delta has been inactive in Boulder since 1989. 23, Klausman, “A History,” 150. 24. Davis, Glory Colorado!, 1:199. 25. Ibid., 1:182. Notes 85

26. Ibid., 1:400. 27. Silver and Gold 42:31 (February 14, 1933), 1. 28. Davis, Glory Colorado! 1: 403. 29. Klausman, “A History,” 150. 30. Ibid., 152. 31. Silver and Gold 36:61 (June 22, 1927), 1. 32. Klausman, “A History,” 156. 33. Among the previous generation of American music administrators who fi t the profi le most closely were Fenelon B. Rice (1841-1937) at Oberlin Conservatory; Albert Stanley (1851- 1932) at the University of Michigan; and Horatio Parker (1863-1919) at Yale, to name only three highly important institution builders. 34. Charles-Marie Widor (1844-1937) was extremely infl uential, especially as an advocate of Bach’s music; his other pupils over a long career included leading lights such as Louis Vierne, Marcel Dupré, Arthur Honegger, Edgard Varèse, and Albert Schweitzer, among many others. 35. Klausman, “A History,” 157. 36. Ibid. The regents raised resident tuition by roughly thirty-six percent in the spring of 1929, a fi gure that would seem drastic were not the dollars so small by current standards— an increase from $16 to $22 a quarter; yet increasing enrollments all through the next decade (1927-1937) would also make tuition a crucially important revenue stream. By 1932, at the height of the Great Depression, the university’s state budget had been cut by a quarter-million dollars, including a ten percent reduction in staff and faculty salaries, off ered voluntarily. 37. 27th Biennial Report of the Regents (1930), 24. 38. Klausman, “A History,” 184. 39. Silver and Gold 41:35 (February 19, 1932), 1. The musical parts that would enable a reconstruction of this show can still be found in the Francis Wolle papers. The tunes and titles of many individual numbers in the musical were composed in a playful popular idiom characteristic of collegiate entertainments across the country at the time (e.g., “Colorado Eves,” “Hello, Girls,” “Co Education,” “Activity Kitty,” “The Clerk and the Bell Hops,” and “With Tenderness Tenderly Tend Her”). Wolle’s opening verse for “Co Education” is a typical comic dialogue: “[Boys] O, come let us murder a co-ed. [Girls] O nay, let us murder a man. [Boys] Tho’ cute absolutely, they’ve no head. [Girls] You had better head in where you can!” 40. Klausman, “A History,” 173. 41. The College of Music awarded is fi rst master of music degree in June 1938. The CU School of Education awarded its fi rst doctorate in music education in August 1940. 42. See archives.metoperafamily.org/archives. The Herald Tribune critic, Francis D. Perkins, quoted on this site, admired Antoine’s controlled professionalism in the performance of an ungrateful role, which nevertheless “has its vocal opportunities. . . . Miss Antoine took advantage of these in a generally laudable manner. Her voice, while not one of exceptional size, carried well, and the tone quality, suggesting a well-schooled production, was usually clear, fl uent, and unruffl ed.” Lucrezia Bori sang the title role; she and Antoine were joined on stage by Richard Crooks and Ezio Pinza. 86 Notes

43. Klausman, “A History,” 199, 257-259. A total of 71 bachelor of music degrees were awarded between 1924 and 1936; from 1937 to 1951, with the addition of the bachelor of music education track, the number of bachelor’s degrees came to 368; over the latter period 152 master of music (including master of music education) degrees were earned. 44. Davis, Glory Colorado!, 401. 45. Klausman, “A History,” 196. 46. Ibid., 190. 47. Silver and Gold 49:42 (March 29, 1940), 1. 48. Klausman, “A History,” 211. 49. Ibid., 259. 50. Ibid., 214. 51. Silver and Gold 53:22 (September 28, 1943), 1. 52. University of Colorado Bulletin 45:7 (March, 1945), 26. 53. Klausman, “A History,” 194. 54. G. J. Klausman interview with Warner Imig, April 11, 1967, cited in his history, 231. 55. Ibid., 236. Chapter 3. Warner Imig Grows the College in a Home of Its Own, 1951-1978 1. Originally conceived as an eff ort to avert the economic disruption created by a mass of newly unemployed workers entering the domestic labor force, as had happened after World War One, the G.I. Bill was passed with virtually no opposition in Congress. Its specifi c benefi ts included tuition, living expenses, stipends for books and incidental costs for four years of college. Federal payments to colleges and veterans over the following decade eventually came to $5.5 billion, spent in support of more than 2.3 million veterans. See Blodgett, Oberlin History, 141-43. 2. Davis, Glory Colorado!, 1:515. 3. Tori Peglar, “And the Music Plays On,” Coloradan (September 2004), 12-13. 4. Boulder Daily Camera, October 8, 1967, 1. 5. Of the 39 full-time and part-time faculty named in the college’s self-published program booklet for the 1952-53 academic year, only three women are noted: Mary Cook, who taught voice, Helen Lingelbach organ, and Eva Musil in music education; although from the founding of the college women’s names are found consistently among the instructors, and are especially prominent in the areas of voice and music education. 6. First Congregational Church Boulder awarded Hilty the title “Minister of Music, Emeritus” in 1968. 7. The DMA was developed at the instigation of composer Howard Hansen at the Eastman School of Music in 1952 and ratifi ed by the National Association of Schools of Music in that year. Northwestern University and the University of Michigan immediately took the degree into their curricula. In short order, CU’s College of Music followed suit. The board of regents approved the degree program in the fall of 1956; its fi rst graduates were violinist Sydney Tretick in 1957 and pianist Dean Boal in 1959. With the object of training mature performers to become superior scholars within their respective performance areas, the Notes 87

DMA sought to wed a traditional university program (which since ancient times had valued the study of music as a philosophical, aesthetic and cultural discipline) with one that more closely resembled an advanced conservatory curriculum, that is, a skill-based program of applied study and structural analysis. 8. Census data supplied by the Museum of Boulder, April 18, 2019. Besides Rocky Flats, the federal research facilities in the foothills of the Rocky Mountains include the National Center for Atmospheric Research (NCAR), National Oceanic and Atmospheric Administration (NOAA), and the Institute for Alpine and Arctic Research (INSTAAR). The construction of an International Business Machines (IBM) campus ten miles northeast of Boulder, begun in 1965, also hastened in-migration. All this building within twenty-fi ve miles from the Denver metropolitan area, which itself had risen in population to slightly under 500,000 by 1960, gradually but permanently transformed the human landscape. 9. Davis, Glory Colorado!, 1:599, 601. 10. Ibid., 685. Besides bachelor’s degrees in musical performance and music education, and the PhD, which had been approved years earlier, course work leading to master of music, master of music education, and doctor of musical arts degrees attracted ever more students during the period. 11. Controversy on campus in the late 1960s and early ‘70s arose over hot political and social topics as never before. Boulder activists engaged with local issues; in the early sixties questions of free speech within an academic setting grew, as elsewhere, to embrace national and international concerns. In particular fears stemming from the ongoing nuclear arms race manifested locally with questions surrounding the production of radioactive material at the Rocky Flats plant with a large work force in nearby Arvada. 12. Davis, Glory Colorado!, 1:685. 13. The core idea of C. P. Snow’s contemporary book The Two Cultures and the Scientifi c Revolution (1959)—that the humanistic view of the world and the scientifi c one were distinctly contrasting but perhaps irreconcilable—was very much in the air at the time. 14. Berger never had much patience with the bureaucratic stringencies of large institutions in any case, but remained active as a composer seeking performances of his music throughout the United States and abroad for decades. In 1991, the year following Germany’s reunifi cation, he returned to Leipzig for the fi rst time since the 1930s to participate in seminars, radio interviews, and discussions with his fellow choral conductors—a joyful reunion. He reconciled with the College of Music in 1998 and donated his papers, manuscripts, and correspondence to the AMRC in the same year. See Linda Giedl, “Jean Berger (1909-2002): A Biographical Chronology,” American Music Research Center Journal 18 (2010), 28-32. 15. In her native Denmark Gerd Schiøtz had been active as a writer, lecturer, art critic and radio broadcaster. She assisted her husband in writing his biography and with him raised their fi ve children; the youngest, Annette, graduated from the University of Colorado with a bachelor’s degree in English in 1963. 16. Despite international recognition of Anderson’s rare talent by 1935—when conductor Arturo Toscanini had famously described her voice as “such as one hears once in a hundred years”—in 1939, the Daughters of the American Revolution refused to provide a stage for her to perform on, thus spurring First Lady Eleanor Roosevelt to quit the organization and help provide what turned out to be the most important public concert 88 Notes

of her career—an outdoor event at the Lincoln Memorial on Easter Sunday, before a live audience of 75,000 as well as millions more over the radio. At the height of her American career in subsequent decades, Anderson would sing at two presidential inaugural ceremonies, for Dwight D. Eisenhower in 1957 and for John F. Kennedy in 1961. 17. Boulder Daily Camera, February 22, 1955. 18. Ibid., February 27, 2012; Southern, Music of Black Americans, 403-04. 19. The offi cial population of Boulder county, recorded as 74,254 inhabitants in 1960, grew nearly six percent annually in the following decade, with the 1970 census putting the count at 131,889. 20. Boulder Daily Camera, September 14, 1969, n.p. During David Burge’s sabbatical in 1968-69, another rising star, the African American composer George T. Walker, was hired to fill his position on the piano faculty. Within months of his arrival in Boulder, Walker (who had been teaching at Smith College since 1961) was awarded a pair of prestigious fellowships from the Guggenheim Foundation and ASCAP. 21. Ibid., April 13, 1972, n.p. 22. The Music Room, now the Center for British and Irish Studies, occupied much of the fi fth fl oor of the Norlin Library. Tudor fi rst performed the full work, in two books, at the Living Theater in Manhattan’s lower east side on January 1, 1952. 23. Personal correspondence from Charles Eakin to the author. 24. Robert David “Dave” Grusin entered the professional world as a jazz pianist, arranger and composer. He would go on to create more than one hundred fi lm scores and earn eight Academy Award nominations (for On Golden Pond and Heaven Can Wait) and one winner for “best original score” in 1988, The Milagro Beanfi eld War, as well as ten Grammys to date. In 2016 the University tendered him its George Norlin Award, which recognizes “alumni committed to excellence in their professional fi eld and devotion to the betterment of their society and community.” 25. Colorado Music [n.v.] 2017, 15-16. 26. Ibid. 27. Colorado Alumnus, June 1967, 2. Imig goes on to name Dean E. Boal (BME ’53, DMA ’59), who headed the Peabody Conservatory from 1966 to 1970; Jackson E. Elert (EdD ’49), dean of the Jordan College of Music at Butler University; and Usher Abell (MM ’42), dean of the music school at the University of South Dakota. Eileen Tate Cline (MM ’60 in piano performance) would later succeed Boal as the dean at Peabody Conservatory (1983-1995). 28. Davis, Glory Colorado!, 2:5. Davis notes this leadership change as including governing boards and presidents on down to deans, department chairs, and the faculty, many of whom had served as far back as George Norlin’s presidency (1919-1939). Imig headed the largest music teachers’ organization in the world, the Music Educators’ National Conference, from 1965 to 1967. 29. The University of Colorado Medical Center in Denver was also dedicated in 1965. 30. He also announced the play-by-play action for the university’s football team for thirtyfi ve years. 31. Davis, Glory Colorado!, 2:35. Notes 89

Chapter 4. New Program Under New Leaders: Robert Fink and Daniel Sher, 1978-2013 1. Davis, Glory Colorado!, 2: 383-84. 2. Silver and Gold Record, “Music School Tunes Up for the Year of Entertainment,” Special Centennial Supplement, March 1975, 3-4. Effi nger and Sutherland’s work, The Gentle Desperado, was based on the adventures of a plucky Victorian traveler Isabella Bird, who set out to explore the Rocky Mountains in 1879. It had been invited by the Centennial Commission of the University and was premiered in October 1976, but disappointed both critics and audiences. The composer, while credited with writing some attractive music, was so disheartened by the production process that he ceased composing altogether for two years. Worster, Cecil Effi nger, 149-52. 3. In 2003, the music library was named in honor of the late Howard P. Waltz, whose personal library had formed the original core of the collection. The Waltz Library received an impressive facelift in 2017. 4. Boulder Daily Camera, September 27, 1978, n. p. 5. Between 1957 and 1977, the doctor of musical arts degree was awarded to some four dozen graduates altogether. 6. Other musical organizations in Boulder, which would also benefi t from the Macky renovation, took up the celebratory mood by underlining the historic nature of events. Both the [visiting] Artist Series, noting its “50th season,” and the Boulder Philharmonic Orchestra, accenting its growth from a “voluntary civic” [read amateur] organization in 1958 to its near professional quality thirty years later, looked backwards to past achievements and anticipated a bright future in their capsule histories, which were included in the elaborate printed concert program. 7. The early director of CU’s music program, Charles Hubert Farnsworth, was hired in 1900 directly from Boulder to head the Columbia Teachers’ College music department, where he remained an infl uential leader with a national reputation. 8. The idea of a select “wind ensemble” (as distinguished from familiar concert or marching bands from earlier days) imagined as an organization capable of performing a multi- faceted repertory of works, reaching back to the Renaissance and forward to the present, by a relatively small group of experts (sans strings)—and that would come to represent a distinctive American fl avor—had been spear-headed by Fennell as director of the Eastman Wind Ensemble from 1951 to 1965. Chapter 5. The Future of Music—A Century in the Making 1. Crawford, “Music at Michigan,” 12. 2. Ibid., 11. Harvard College had named its fi rst instructor in music in 1862. Over the next twenty years, many other leading colleges and universities had followed its lead emphasizing music’s intellectual aspects as much as its practical side: Vassar (1874); Pennsylvania (1875); Syracuse (1877); Southern California (1884). “Conservatories of music,” as distinct from departments or schools associated with universities, which stressed the practical and technical elements of music-making, had also sprung up in the post-Civil War era—in Brooklyn, Boston, Cleveland, Cincinnati, Oberlin, and St. Louis. Baltimore’s Peabody Conservatory opened its doors in 1857. 90 Notes

3. In spring 2019 alone, 56 bachelor’s degrees, 43 master’s degrees, 20 doctorates, and 6 performance certiﬁ cates were awarded. Bibliography

Books and Articles A vast number of photographs, articles and cuttings from the Boulder Daily Camera newspaper as well as other manuscripts and reports relevant to the College’s history are held at the Carnegie Library for Local History, a branch of the Boulder Public Library, 1125 Pine Street.

Blodgett, Geoff rey. Oberlin History: Essays and Impressions. Kent, Ohio: The Kent State University Press, 2006. Brackett, J. Raymond. “The Chimes of Normandy.” Colorado Alumnus 8:5 (May 1918). Byers, Charles A. “Music at the University of Colorado.” Unpublished report, 1958. Crawford, Richard. “Music at Michigan: A Historical Perspective.” 100 Years of Music at Michigan, 1880-1980. Ann Arbor: The University of Michigan, 1979. Davis, William E. Glory Colorado! A History of the University of Colorado. 2 vols. Boulder: University of Colorado, 1965 and 2007. Farnsworth, Charles H. “Some Thoughts on the Musical Season in Boulder.” Music 16:4 (1989). Fink, Robert, and William Kearns. “The University of Colorado at Boulder College of Music Historical Survey.” Unpublished article, 2006. Goodykoontz, Colin B., Earl Swisher, A. Gayle Waldrop, and Elizabeth (Robin Warner. The First Congregational Church, United Church of Christ, Boulder, Colorado: A History, 1864-1989. Boulder: First Congregational Church, 1989. Hughes, Charles W. “Charles Hubert Farnsworth.” School Music 33: 163 (January-February, 1933). James, Ronald A. Our Own Generation: The Tumultuous Years, 1963-1976. Boulder: Regents of the University of Colorado, 1979. Klausman, Grant James. “A History of the University of Colorado College of Music, 1877- 1951.” PhD dissertation, University of Colorado, 1967. Sewall, Jane. Jane, Dear Child. Boulder: University of Colorado Press, 1957. Snow, C. P. The Two Cultures and the Scientifi c Revolution. London: Cambridge University Press, 1959. Southern, Eileen. The Music of Black Americans. 3rd edition. New York: Norton, 1997. Worster, Larry. Cecil Effi nger: A Colorado Composer. Lanham, Md.: Scarecrow Press, 1997. University of Colorado Publications American Music Research Center Journal (published by the College of Music), 1991-2018. Biennial Reports of the Regents of the University of Colorado, 1922, 1924, 1926, 1936 Coloradan, The University of Colorado Alumni Magazine, 1998-2004. [The] Colorado Alumnus, 1963-1997. 92 Bibliography

Colorado Daily (student newspaper), 1953-1971. Colorado Music (published annually by the College of Music) 2017. Programs of the College of Music (bound in annual volumes beginning in 1945) Silver and Gold (student newspaper), 1892-1953. Silver & Gold Record (faculty and staﬀ council publication), 1970-2009. University Course Catalogue, 1892-93. University of Colorado Bulletin, 1945. University Portfolio (student publication), 1891. Papers in the Special Collections and Archives of the Norlin [Main UCB] Library and Heritage Center Jean Berger Dave Grusin Henry Alexander Drumm Warner Imig Rowland W. Dunham Hugh McMillen Charles Eakin Glenn Miller Francis Wolle

About the Author Thomas L. Riis is the Joseph Negler professor of music emeritus at the University of Colorado Boulder, where he directed the American Music Research Center from 1992 to 2018. His book Just Before Jazz (Smithsonian Institution Press, 1989, 1995) received an ASCAP-Deems Taylor Award. He is the author of Frank Loesser (2008), published by the Yale University Press. He was a Fulbright Senior Scholar at the University of Lueneburg, now Leuphana University, Germany (2005-6) and was president of the Society for American Music (2009-11).

Photo Credits Carnegie Library for Local History, Boulder Daily Camera Collection Hugh McMillen (c. 1950), p. 31; Sherman Storr (1947), p. 32; Mark Wessel fl yer, p.33; Leonard de Paur (1947), p. 38; Marilyn Van Derbur & Warner Imig (1962), p. 40; Aksel Schiøtz and Gerd Schiøtz (1963), p. 48; Hungarian String Quartet (1960), p. 49; David Tudor (c. 1950), p. 53; Luis Gonzalez & Richard Toensing (1980), p. 67. University of Colorado Boulder, College of Music Golden Buff alo Marching Band, p. 14; Glenn Miller, p. 22; Rowland W. Dunham, p. 25; Alexander Grant, p. 28; Program of Josephine Antoine recital, p. 29; McMillen, Effi nger, Antoine, Johnson, and Imig in Macky Auditorium, p. 35; Architectural drawing of Imig Building (1955), p. 44; poster collage, Eric Hansen, p. 50; Dave Grusin, p. 60; Robert Fink, p. 61; Takacs String Quartet (1977), p. 65; Macky Auditorium rededication program, p. 69; William Kearns and AMRC Journal cover, p. 70; Daniel Sher, p. 71; Allan McMurray, p. 74; Robert Shay and Charlotte Heth, p.76; Waltz Music Library, p. 77; Imig Building renovation plan (2019-20), p. 82. University of Colorado Boulder, Heritage Center Old Main (c. 1877), p. 2; The University Chapel (c. 1890), p. 6; The Glee and Mandolin Clubs Bibliography 93

(1899), p. 6; The Ladies Glee Club (1905), p. 12; Marching Band (1909), p. 14; Frank Chace at the Macky organ (1923), p. 16; “New” music building (1925), p. 20; University Band in front of Macky Auditorium (1927), p. 23; Modern Choir, 1962, p. 38; Modern Choir tour program, p. 39; Everett Hilty with carillon keyboard, Coloradan Collection, Gregory O. Jones, p. 41.

Daily Camera Collection: Fairview High School Marching Band, Band Day (1980), p. 40; Storm Bull, p. 43: Modern Choir program (1955), p. 39; Modern Choir (1962), p. 38; Five jazzmen on a West Berlin street (1962), p. 56; Boulder High School Marching Band, Band Day (1980), p. 66;

University of Colorado Boulder, Special Collections & Archives Program and music page for “Being Bold-er,” Francis Wolle Collection, p. 27; Jean Berger, Berger Collection/AMRC, p. 47; Charles Eakin at keyboard and Spike Robinson sketch (1975), p. 55; Pablo Casals Trio, p. 64; Charles Eakin Collection/AMRC.

Open source: Josef Lhevinne, p. 30; Howard Waltz at the keyboard, p. 42; Marian Anderson, p. 51; George Crumb, Jan DeGaetani, and David Burge, p. 52; John Cage, p. 54; Sir John Reed in costume, p. 63; Willie Hill, p. 72; Dean Boal and Eileen Cline, p. 79; Pamela Z and Mary Goetze, p. 80. Appendix Directors and Deans of the College of Music* Frank W. Chace, 1920-1926 Horace Whitehouse, 1926-1927 Rowland W. Dunham, 1927-1951 Warner Imig, 1951-1978 Robert R. Fink, 1978-1993 Daniel Sher, 1993-2013 James Austin, Interim Dean, 2013-2014 Robert Shay, 2014-present * A short-lived “conservatory” of music was headed by R. L. Kent from 1883-85, after which a series of “instructors” were engaged until Frank Chace took the reins as “director” of the music department in 1920. Members of the College of Music Advisory Board, 2020 Sue Baer Jim Bailey Gil Berman Christopher Brauchli Bob Bunting Jan Burton Bob Charles Paul Eklund Bill Elliott Martha Coﬃ n Evans Jonathan Fox David Fulker Grace Gamm Lloyd Gelman Laurie Hathorn Doree Hickman Daryl James Maria Johnson Caryl Kassoy Robert Korenblat Erma Mantey Ben Nelson Joe Negler Ann Oglesby Susan Olenwine Rebecca Roser Firuzeh Saidi Stein Sture Jeannie Thompson Jack Walker Celia Waterhouse Distinguished Alumni Award Recipients, 1998-2019 1998 Donna Erisman 2010 Cindy McCaskill John Hadju Heyer 2011 David Hickman 1999 John Parsons 2012 Jack Yonce 2000 Dean Boal 2013 Joan McLean Braun 2001 Larry Wallace E. Daniel Long 2002 Willie Hill 2014 Richard Shaw 2003 Jess L. Gerardi Rebecca Shockley Wayne Scott 2016 Jon W. Finson 2004 William Lewis Dave Grusin Appendix 95

2005 Wayne Bailey 2017 Alex B. Campbell 2006 Deborah Desantis William Hobbs 2008 Pamela Z. 2018 Tia Fuller 2009 Eph Ehly Jon Kull 2019 Thomas Edward Morgan Distinguished Service Award Recipients, 1998-2019 1998 Judith Richardson Waterman 2010 Steve Taniguchi 1999 Floyd K. Becker 2011 Charles Everill Christopher Brauchli 2012 Gary Berg 2000 Rebecca Roser Karen McMurry 2001 Ralph Christoff erson 2013 Rebecca Roser 2002 Peggy Bruns 2014 Daryl James Kathy Kucsan 2015 Robert R. Fink 2003 Beth & Bill Suitts Michele & Michael Ritter 2005 Eileen Cline 2016 Don & Maria Johnson 2006 Martha Coffi n Evans 2017 Paul Eklund Thurston E. Manning 2018 Joseph Negler 2007 Jean Thompson 2019 Daniel & Boyce Reid Sher 2008 Bob Charles 2009 Martin Isepp Erma Mantey Faculty, 2019-2020 Brass and Percussion Michael Dunn, tuba and euphonium, Chair Ryan Gardner, trumpet William Stanley, trombone Michael Thornton, horn Douglas Walter, percussion and jazz Instructors: Justin Bartels, trumpet Carl Dixon, percussion Michael Tetreault, percussion Entrepreneurship Center for Music Jeff rey Nytch, Director Musicians’ Wellness Program James Brody, Director Composition Carter Pann, Chair 96 Appendix

Mike Barnett John Drumheller Jeff rey Nytch Carter Pann Michael Theodore Affi liated Faculty: Betsey Biggs, Critical Media Practices, College of Media, Communication and Information Conducting Gary Lewis, Chair Matthew Dockendorf Gregory Gentry Donald J. McKinney Matthew Roeder Brandon Steinmetz Elizabeth Swanson Jazz Studies John Gunther, saxophone, fl ute, clarinet, Chair John Davis, jazz history, administration Brad Goode, trumpet Jeff Jenkins, piano Paul McKee, trombone, arranging Tom Myer, saxophone Douglas Walter, percussion Lecturers: Bijoux Barbosa, double bass David Corbus, guitar Joshua Quinlan, saxophone Paul Romaine, drum set Piano and Keyboard Alejandro Cremaschi, piano pedagogy, Chair Andrew Cooperstock Jennifer Hayghe Robert Hill, harpsichord, Baroque music performance Suyeon Kim, collaborative piano David Korevaar HsiaoLing Lin, collaborative piano Margaret McDonald, collaborative piano Alexandra Nguyen, collaborative piano Daniel Sher Appendix 97

Music Education David Rickels, Chair James Austin Margaret Haefner Berg Matthew Dockendorf Leila Heil Martina Miranda Matthew Roeder Joel Schut Brandon Steinmetz Michelle Ewer Musicology/Ethnomusicology Carlo Caballero, Chair Jay Keister, Co-director, Japanese Traditional Music Ensembles Rebecca Maloy Austin Okigbo, Director, World Vocal Ensemble Laurie J. Sampsel Robert Shay Jeremy Smith Benjamin Teitelbaum Susan Thomas, Director, American Music Research Center Strings Erika Eckert, viola, Chair Paul Erhard, double bass David Requiro, cello Harumi Rhodes, violin [Takács String Quartet] Claude Sim, violin Nicolo Spera, guitar, Director Ritter Family Classical Guitar Program Charles Wetherbee, violin Edward Dusinberre, violin [Takács String Quartet] András Fejér, cello [Takács String Quartet] Janet Harriman, harp Károly Schranz, violin Margaret Soper Gutierrez, violin Geraldine Walther, viola [Takács String Quartet] Meta Weiss, instructor in strings, Chamber Music Coordinator Theory Keith Waters, Chair Mark Arnett 98 Appendix

Mike Barnett Steven Bruns Philip Chang Daphne Leong Yonatan Malin Karin Buer Voice and Opera Jennifer Bird, soprano, Chair Nicholas Carthy, Music Director, Eklund Opera Program Matthew Chellis, tenor Andrew Garland, baritone Leigh Holman, Director, Eklund Opera Program Mutsumi Moteki, vocal coaching Abigail Nims, mezzo-soprano Jeremy Reger, vocal coaching John Seesholtz, baritone, vocal pedagogy Woodwinds Yoshiyuki Ishikawa, bassoon, Chair Peter Cooper, oboe Christina Jennings, fl ute Tom Myer, saxophone Daniel Silver, clarinet James Brody, oboe, Director, Musicians’ Wellness Project World Music Ensembles Mami ItasakaKeister, Codirector, Japanese Traditional Music Ensemble I Made Lasamawan, Director, Balinese Gamelan Ensemble Maputo Mensah, Director, West African Highlife Ensemble Francisco (Chino) Rodriguez, Director, Mexican Mariachi Ensemble Administration and Staff Dean’s Offi ce Robert Shay, Dean, Professor of Musicology John Davis, Senior Associate Dean, Professor of Jazz Studies Elise Campbell, Travel and Guest Artist Coordinator Alexander George, Director of Strategic Initiatives & Special Assistant to the Dean Carrie Howard, Assistant Dean for Budget and Finance Mike Johnston, Finance Manager Arianne Powell, HR & Accounting Technician Katie Skayhan, Community Engagement & Social Innovation Coordinator Appendix 99

Academic Services Margaret Haefner Berg, Associate Dean for Graduate Studies Matthew Roeder, Associate Dean for Enrollment Management & Undergraduate Studies Veronica Greuel, Director, Admissions & Recruitment Felicia Hamilton, Academic Service & Admissions Assistant Victoria Ibarra, Undergraduate Staff Advisor Chris Martin, Graduate Studies Coordinator Leah Smith, Undergraduate Studies Student Services Assistant Advancement Courtney Rowe, Assistant Dean for Advancement Emily Chesnic, Senior Development Assistant Ashley Harkrader, Director of Development Madison Munn, Program Manager for Strategy & Stewardship Katie Neal, Senior Events Manager Colleen Reese, Assistant Director of Development Jeni M. Webster, Manager of Annual Giving American Music Research Center Susan Thomas, Director Eric Hansen, AMRC and Special Projects Manager Concerts and Communications Joan McLean Braun, Assistant Dean for Concerts & Communications Jessie Bauters, Associate Director of Communications Michael Casey, Box Offi ce Services Coordinator Sabrina Green, Publications Specialist Laima Haley, Director of Marketing & Public Relations Daniel Leonard, Marketing Manager Andrew Mezroth, Operations Director Rojana Savoye, House Manager Becca Vaclavik, Public Relations Manager Christin Woolley, Box Offi ce Manager Eklund Opera Program Leigh Holman, Director Christie Conover, Opera Production Assistant Ron Mueller, Technical Director Tom Robbins, Costume Designer Jeff Rusnak, Assistant Technical Director 100 Appendix

Howard B. Waltz Music Library Stephanie Bonjack, Head Katerina Allmendinger, Branch Operations Manager Linda Bagley, Music Cataloging Specialist Clara Burns, Music Copy Cataloger Ryan Seward, Outreach Specialist Macky Auditorium Rudy Betancourt, Director Matthew Arrington, Assistant Director, Patron Services Richard Barnett, Production Manager, Lighting and AV Trevor Isetts, Production Manager, Sound and Rigging Sara Krumweide, Assistant Director, Production Operations Ted Mulcahey, Senior Piano Technician Mark Mikkelsen, Piano Technician Laura Graham, Ensembles and Summer Programs Assistant Kevin Harbison, Recording Engineer, Instructor, Music Technology Peggy Hinton, Facilities and Operations Coordinator Dustin Rumsey, Media Specialist Devin Welch, Scheduling and Operations Coordinator