Fuller Resume 2012

Total Page:16

File Type:pdf, Size:1020Kb

Fuller Resume 2012 CRAIG L. FULLER - TUBIST 5201 Cass St. Omaha, NE 68132 Phone (402) 556-3253 [email protected] EDUCATIONAL BACKGROUND Indiana University, Bachelor of Music, Performance 1978 Indiana University, Performer's Certificate 1977 Yale Summer School of Music and Art, Fellowship Recipient 1980 Berkshire Music Center-Tanglewood, Fellowship Recipient 1977 Aspen Music Festival 1982 PROFESSIONAL EXPERIENCE Omaha Symphony Orchestra, Principal Tubist 1978-present Lincoln Symphony, Principal Tubist 1987-2002 Omaha Symphony Chamber Orchestra 1978-present Chicago Symphony Orchestra, extra tuba, 1998 Peninsula Music Festival, Dorr County, WI 2008 PRINCIPAL TEACHERS Harvey G. Phillips, Indiana University 1974-1978 Ronald Bishop, Cleveland Orchestra 1975-1982 Gene Pokorny, Chicago Symphony MAJOR SOLO PERFORMANCES Omaha Symphony Chamber Orch. Subscription Concert, Ewazen Concerto 2011 United States Army Band “Pershing’s Own” Band “Copernicus” Concerto Grosso by Juri Filas for Brass Quintet and Band with the UNL Faculty Brass Quintet January, 2011 Prague Castle Police Band “Copernicus” Concerto Grosso by Juri Filas for Brass Quintet and Band with the UNL Faculty Brass Quintet April, 2010 United States Army Orchestra “Pershings Own” Tuba Concerto “The Rocks by Kenton Bales January 2002 Omaha Symphony, Family Concert Series, Largo al Factotum, Rossini, Nov. 1997 Omaha Symphony Chamber Orch., Subscription Concert , Tuba Concerto, “The Rocks” by Kenton Bales, World Premiere, November, 1997 Omaha Symphony, Pops Series Concert, Largo al Factotum, Rossini, Oct. 1996 Omaha Symphony Chamber Orch., Winter Tour 1991 (five performances) Vaughan Williams "Concerto for Bass Tuba and Orchestra" Omaha Symphony, Subscription Series Concert, John Williams "Tuba Concerto" February 1989 Nebraska Chamber Orchestra, Series Concert November 1986, Vaughan Williams "Concerto for Bass Tuba and Orchestra" Omaha Symphony Chamber Orchestra, Series Concert, November 1984, Vaughan Williams "Concerto for Bass Tuba and Orchestra" TEACHING EXPERIENCE University of Nebraska - Lincoln, Senior Lecturer of Music, 1989-present University of Nebraska at Omaha, Adjunct Instructor 1978-1989 SPECIAL AWARDS "Outstanding Young Omahan" Omaha Jaycees 1985 Finalist-T.U.B.A. Solo Competition, Los Angeles 1977 PROFESSIONAL ORGANIZATIONS Tubists Universal Brotherhood Assoc. Regional Coordinator, Commissions Committee, Chairman 1997-present American Symphony Orchestra League, Conductor Continuum Committee, 1996- 1997, musician representative. Nebraska Music Educators Assoc. PUBLICATIONS Contributor and chapter coordinator for “Tuba Source Book”, published by Indiana University Press COMMUNITY ACTIVITIES Joslyn Castle Historic Landscape Preservation Committee 1991-2000, Volunteer Coordinator Landmarks, Inc., Board of Directors 1986-1992, President 1988-1989, Grants Chairman, 1986-1988, Treasurer 1987-1988 Orchard Hill Neighborhood Assoc. - President 1983-1987, Vice-President 1982-1983 Old-Omaha Mid-Towne - founding member 1983 Leadership Omaha - Arts Panelist 1982 Omaha Symphony Orchestra Facilities Committee. 1998-present Investment Committee 1997-present Budget Committee 1991-1995 Music Director Search Comm. Orchestra Representative 1983, 1992, 2005 Acting Personnel Manager-Operations Assistant, Summer 1989 Marketing Committee 1987-1991 Omaha Players Committee 1980-1983; Vice chair. 1982-1983, 1987-1988 Chairman 2008-2010 Artistic Advisory Committee 1980-1991, Chairman 1982-1984, 1988-1991 Chief Negotiator, Collective Bargaining 1987 ARTS MANAGEMENT EXPERIENCE Omaha Area Youth Orchestra, General Manager 1983-1988 PROFESSIONAL REFERENCES Gene Pokorny, Principal Tuba, Chicago Symphony Victor Yampolski, former Music Director, Omaha Symphony (847) 491-4755 Gary L. Good, former President and CEO, Omaha Symphony Steven W. Erickson, Former Principal Trumpet, Omaha Symphony .
Recommended publications
  • Concert Features Violinist Anne Akiko Meyers Performing Adam Schoenberg’S Orchard in Fog Associate Conductor Sameer Patel Makes Jacobs Masterworks Debut
    FOR IMMEDIATE RELEASE January 12, 2018 MEDIA CONTACT Carrie Jones MeadsDurket 619‐688‐5248 [email protected] San Diego Symphony Hosts World Premiere February 10 and 11; Concert Features Violinist Anne Akiko Meyers Performing Adam Schoenberg’s Orchard in Fog Associate Conductor Sameer Patel Makes Jacobs Masterworks Debut San Diego, Calif. – The San Diego Symphony will present the world premiere of Adam Schoenberg’s Orchard in Fog for Violin and Orchestra during the Jacobs Masterworks concert Preludes and Premiere. Adam Schoenberg, who was inspired in part by a photograph by Massachusetts graphic artist Adam Laipson, wrote this piece specifically for violinist Anne Akiko Meyers, who will perform the work. San Diego Symphony Associate Conductor Sameer Patel will make his Jacobs Masterworks debut conducting the San Diego Symphony Orchestra in two performances Saturday, February 10, 2018, at 8 p.m. and Sunday, February 11 at 2 p.m. “We are delighted to present this world premiere,” said Martha Gilmer, San Diego Symphony CEO. “Two years ago we performed Adam’s lovely work, Finding Rothko, so it is our great pleasure not only to present his new piece, but to have Anne Akiko Meyers, for whom it was commissioned, perform it with us.” Anne Akiko Meyers is one of the most in demand violinists in the world. Regularly appearing as guest soloist with the world’s top orchestras, she presents groundbreaking recitals and is a best‐selling recording artist with 35 albums. Ms. Meyers is known for her passionate performances, purity of sound, deeply poetic interpretations, innovative programming and commitment to commissioning significant new works from young composers.
    [Show full text]
  • Made in America (2004) Dreamscape – Concerto for Oboe and Orchestra (2014)
    TSO 2019–20 SEASON MADE IN AMERICA (2004) DREAMSCAPE – CONCERTO JOAN TOWER (1938 - ) FOR OBOE AND ORCHESTRA (2014) rammy award-winning ALYSSA MORRIS (1984 - ) composer, pianist, and conductor, whom the New rofessor of oboe and music Yorker heralded as “one of theory at Kansas State University, Gthe most successful woman composers Alyssa Morris composed this of all time,” Joan Tower spent nine work on a commission by years of her childhood in Bolivia. Upon PWilliam and Lois Johnson. The four PROGRAM NOTES returning to the United States, she was movements represent four different struck by the freedoms, advantages, dreams: and privileges that we so often take for • Falling Asleep and Chase — This granted. America the Beautiful came to dream is a familiar one that is mind as she composed this work. Its self-explanatory. tune runs throughout this piece as it • What? — This strange dream is competes with Tower’s idea of what is By Pam Davis By Pam depicted with abnormalities mixed inside that tune. The familiar rhythm of into a “normal” waltz. long-short-short and the rising motive is • Innuendo — A love scene. varied with unfamiliar elements including • Nightmare and Awakening — an extended opposing downward Beginning with the “dreamer’s tension by nasal muted trumpets and motive” heard in the first movement, oboes. The rest of the work takes off on the dreamer struggles to awaken those fragments. The climactic agenda but falls deeper asleep as a night- of the piece grows while juxtaposed with extended soft segments. Accord- mare commences. The tension is ing to Tower, the unsettling tension that relieved when the orchestra stops is evident in Made in America uncon- and the oboe states a cadenza that sciously ended up representing the awakens the dreamer with a return struggle of keeping America beautiful.
    [Show full text]
  • DIRECTOR of DEVELOPMENT KANSAS CITY SYMPHONY Kansas City, Missouri
    DIRECTOR OF DEVELOPMENT KANSAS CITY SYMPHONY Kansas City, Missouri http://kCsymphony.org The Aspen Leadership Group is proud to partner with the Kansas City Symphony in the search for a Director of Development. The Director of Development is the leader of the Symphony’s Development department and a member of the Orchestra’s senior-management team. The Director is responsible for establishing, facilitating, and evaluating a highly professional, ethical, and successful fundraising program. This person mentors and manages staff and volunteers in their design and implementation of annual, capital, endowment, and planned-giving programs. Major-gifts solicitation, stewardship, Board support, and a positive public presence are important facets of this position. The Director of Development will have a passion for symphonic music and be able to share her/his enthusiasm for the role of the symphony orchestra in a vibrant community. S/he will be able to articulate with personal conviction the mission and vision of the organization. The Director will appreciate and support the collaborative culture of the Kansas City Symphony, be comfortable sharing authority and delegate work accordingly, but will not hesitate to make decisions. The successful candidate will be a broad and disciplined thinker who identifies opportunities, prioritizes tasks in a demanding work environment, and overcomes obstacles. S/he will be proactive, solution-oriented and possess a balance of creativity and pragmatism. The Symphony places a premium on relationship-based fundraising and excellent stewardship of donors. The successful candidate will be an outstanding listener, a strategic fundraiser, and possess a warm and engaging public presence. The Director will be someone donors enjoy spending time with and will be perceived as an organizational leader.
    [Show full text]
  • Curriculum Vitae Richard Antoine White, DM Education
    Curriculum Vitae Richard Antoine White, DM 8617 Lynette Court SW Associate Professor, Dept. of Music Albuquerque New Mexico 87121 College of Fine Arts (812) 219-1174 1 University of New Mexico [email protected] Albuquerque NM 87121 Education Indiana University Jacob School of Music Doctor of Music 2012 Bloomington, Indiana Tuba Performance Minors: Music Education/Music Information Technology Dissertation: If Bach Had Had A Tuba: Best Practices for Transcribing for the Tuba -Recipient of the Graduate Associate Instructor Assistantship Indiana University Jacob School of Music Master of Music 1999 Bloomington Indiana Tuba Performance/Brass Pedagogy -Recipient of Indiana School of Music Scholarship -Recipient of American Symphony Orchestral League Scholarship The Johns Hopkins University Bachelor of Music 1996 Peabody Conservatory of Music Tuba Performance Baltimore, Maryland Baltimore School for the Performing Arts Diploma/Music Performance Baltimore, Maryland -Recipient, Baltimore School for the Performing Arts Honors Scholarship Teaching History University of New Mexico Associate Professor, Tuba/Euphonium Associate Marching Band Director Full-Time Tenure Track Department of Music, August 2015- present University of New Mexico Assistant Professor, Tuba/Euphonium Assistant Marching Band Director Full-Time Tenure Track Department of Music, August 2011-2015 New Mexico School Tuba / Euphonium Instructor For the Arts Staff August 2013-Present University of New Mexico Assistant Professor, Tuba/Euphonium Three-quarter Time Tenure Track Department
    [Show full text]
  • —United We Play— Marcus Roberts and the Modern Jazz Generation Come Together with American Symphony Orchestra for a Virtual Premiere on December 9, 2020
    —UNITED WE PLAY— MARCUS ROBERTS AND THE MODERN JAZZ GENERATION COME TOGETHER WITH AMERICAN SYMPHONY ORCHESTRA FOR A VIRTUAL PREMIERE ON DECEMBER 9, 2020 All-Roberts Musical Program Features Three World Premieres Plus, ASO Offers Free Live Chamber Music Performances for Video Streaming New York, NY, October 28, 2020 — Marcus Roberts and The Modern Jazz Generation will join the American Symphony Orchestra (ASO) to offer United We Play, a short film to be available on ASO’s new streaming platform ASO Online, starting at 5 PM EST on Wednesday, December 9. The production features three world premieres of works for strings, jazz instrumentals, and piano composed by Marcus Roberts and commissioned by the ASO: America Has the Blues, Seeking Peace, and United We Play. The film also includes commentary by the composer and the ASO’s music director Leon Botstein. United We Play is inspired by the current turbulent times, and the belief that strength comes through adversity—where there is divide, there is also community. The project combines the talents of Marcus Roberts, The Modern Jazz Generation ensemble, and the ASO’s string section in a musical, visual, and narrative digital experience that speaks to the future in a positive and hopeful way. An all-Ellington symphonic performance scheduled for March 12, 2020 and featuring Roberts and members of The Modern Jazz Generation at Carnegie Hall was cancelled hours before the performance due to the pandemic shutdown in New York. The ASO will reschedule this concert in the 2021-22 season pending safety and public health requirements. Marcus Roberts is a celebrated jazz pianist, recording artist, award-winning composer, and Florida State University faculty member.
    [Show full text]
  • N E W Y O R K F L U T E F a Ir 2018
    The New York Flute Club Patricia Zuber, President Deirdre McArdle, Program chair 2018 FLUTISTS WITHOUT BORDERS with guest artist Karl-Heinz Schütz Sunday, February 25, 2018 Faculty House at Columbia University New York City 8:30 am – 8:00 pm NEW YORK FLUTE FAIR BOARD OF DIRECTORS PATRICIA ZUBER, President WENDY STERN, First Vice President NANCY TOFF, Second Vice President DEIRDRE MCARDLE, Recording Secretary KATHERINE SAENGER, Membership Secretary NICOLE SCHROEDER, Treasurer NICOLE CAMACHO JUDITH MENDENHALL JULIETTA CURENTON LINDA RAPPAPORT YEVGENY FANIUK RIE SCHMIDT KAORU HINATA MALCOLM SPECTOR FRED MARCUSA DAVID WECHSLER ADVISORY BOARD JEANNE BAXTRESSER GERARDO LEVY STEFÁN RAGNAR HÖSKULDSSON MARYA MARTIN SUE ANN KAHN MICHAEL PARLOFF ROBERT LANGEVIN JAYN ROSENFELD RENÉE SIEBERT PAST PRESIDENTS Georges Barrère, 1920-1944 Eleanor Lawrence, 1979-1982 John Wummer, 1944-1947 John Solum, 1983-1986 Milton Wittgenstein, 1947-1952 Eleanor Lawrence, 1986-1989 Mildred Hunt Wummer, 1952-1955 Sue Ann Kahn, 1989-1992 Frederick Wilkins, 1955-1957 Nancy Toff, 1992-1995 Harry H. Moskovitz, 1957-1960 Rie Schmidt, 1995-1998 Paige Brook, 1960-1963 Patricia Spencer, 1998-2001 Mildred Hunt Wummer, 1963-1964 Jan Vinci, 2001-2002 Maurice S. Rosen, 1964-1967 Jayn Rosenfeld, 2002-2005 Harry H. Moskovitz, 1967-1970 David Wechsler, 2005-2008 Paige Brook, 1970-1973 Nancy Toff, 2008-2011 Eleanor Lawrence, 1973-1976 John McMurtery, 2011-2012 Harold Jones, 1976-1979 Wendy Stern, 2012-2015 FLUTE FAIR STAFF Program Chairs: Deirdre McArdle Program Co-chair: Malcolm Spector
    [Show full text]
  • Carnegie Hall Rental
    Sunday Afternoon, April 19, 2015, at 2:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A With Leon Botstein at 1:00 presents Music U. LEON BOTSTEIN, Conductor RANDALL THOMPSON Alleluia ROBERT ISAACS, Conductor HORATIO PARKER Dream-King and his Love, Op. 31 PHILLIP FARGO, Tenor GEORGE ROCHBERG Symphony No. 2 Intermission LEON KIRCHNER Music for Cello and Orchestra NICHOLAS CANELLAKIS, Cello ROBERTO SIERRA Cantares (World Premiere) Hanacpachap cussicuinin Canto Lucumí Interludio Suerte lamentosa With CORNELL UNIVERSITY CHORUS CORNELL UNIVERSITY GLEE CLUB ROBERT ISAACS, Director This afternoon’s concert Will run approXimatelY tWo hours and ten minutes including one 20-minute intermission. American Symphony Orchestra Welcomes the many organiZations Who participate in our Community Access Program, Which provides free and loW-cost tickets to underserved groups in NeW York’s five boroughs. For information on hoW you can support this program, please call (212) 868-9276. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. FROM THE Music Director Music and the University music (and an ardent critic of Wagner) by Leon Botstein Was its first occupant. He taught more than music appreciation. Horatio Parker Music has long held a particular pride taught at Yale and EdWard MacDoWell of place as a subject of formal educa- at Columbia. They too Were composers tion in the Western tradition. Part of and major figures in American musical the “quadrivium” of the seven liberal life. Although learning to plaY an instru- arts, alongside arithmetic, astronomY, ment Was looked doWn upon (Harvard and geometrY, already from medieval until recently did not give credit for times music Was part of the indispens- instruction in instruments or perfor- able training in thinking, and therefore mance), composing neW music Was not.
    [Show full text]
  • Keith Brown — Page 12
    WIND14029 Wycliffe Gordon Ad.qxp_Layout 1 3/13/19 9:40 AM Page 1 July 2019/ Volume 47, Number 3 / $11.00 Keith Brown — Page 12 INTERNATIONALINTERNATIONAL Wycliffe Gordon Depends on Yamaha. “I love Yamaha trombones because they play beautifully and are of the highest quality and craftsmanship. These standards have been established and maintained by Yamaha for many years.” ASSOCIATION JOURNAL THE QUARTERLY PUBLICATION OF THE ITA – Wycliffe Gordon International Jazz Trombonist, Composer and Educator INSIDE INTERNATIONAL TROMBONE ASSOCIATION JOURNAL The Quarterly Publication of the ITA News — Page 6 Volume 47, Number 3 / July 2019 The International Trombone Association is Dedicated to the Artistic Advancement of Trombone Teaching, Performance, and Literature. Contents Features Keith Brown: Renaissance Man ITA JOURNAL STAFF by Douglas Yeo .....................................................................12 Managing Editor Beethoven’s Funeral Music Diane Drexler by Andrew Glendening ..........................................................36 3834 Margaret Street, Madison, WI 53714 USA / [email protected] ITW Retrospective Associate Editor by Colleen Wheeler ......................................................... 38 Jazz – Antonio Garcia Nikolai Sergeievich Fedoseyev and the Piano Reduction Music Department, Virginia Commonwealth University, 922 Park Avenue, for Rimsky-Korsakov’s Concerto for Trombone P.O. Box 842004, Richmond, VA 23264-2004 USA / [email protected] by Timothy Hutchens ............................................................50
    [Show full text]
  • Aaron Copland Symphony No. 3
    PROGRAM NOTES by Phillip Huscher Aaron Copland Born November 14, 1900, Brooklyn, New York. Died December 2, 1990, New York City. Symphony No. 3 Cop land began his third symphony in the summer of 1944 and completed it in September of 1946. Serge Koussevitzky conducted the first performance on October 18, 1946, in Boston. The score calls for three flutes and two piccolos, three oboes and english horn, t wo clarinets, E-flat clarinet and bass clarinet, two bassoons and contrabassoon, four horns, four trumpets, three trombones and tuba, timpani, two harps, celesta, piano, strings, and a percussion battery consisting of bass drum, tam -tam, cymbals, xylophone , glockenspiel, tenor drum, wood block, snare drum, triangle, slapstick, ratchet, anvil, claves, and tubular bells. Performance time is approximately forty -two minutes. The Chicago Symphony Orchestra's first subscription concert perform ances of Copland's Third Symphony were given at Orchestra Hall November 14, 23, and 24, 1950, with Rafael Kubelík conducting. Our most recent subscription concert performances were given on June 8, 9, and 10, 2000, with William Eddins conducting. The Orche stra has performed excerpts from this symphony at the Ravinia Festival only once previously, on July 21, 1956, when the composer himself conducted the first two movements. It was left to Aaron Copland, who was born with the century just over a hundred and seven years ago, to serve as the grand statesman of American music. Of all the gifted composers who came of age in our country in the twentieth century, Copland was the one whose work seemed to capture best the essence of this land and its people—from the rural charm of Appalachian Spring to the Wild West picture -postcard scenes of Billy the Kid and Rodeo.
    [Show full text]
  • William Grant Still's Afro-American
    WILLIAM GRANT STILL’S AFRO-AMERICAN SYMPHONY A CRITICAL EDITION BY CHARLES WILLIAM LATSHAW Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ David Effron, Research Director __________________________________ Arthur Fagen __________________________________ Luke Gillespie __________________________________ Stephen Pratt ii Copyright © 2014 Charles William Latshaw All scores remain Copyright © 2014 Novello & Co., Ltd. iii Dedicated to Kelley Russell Latshaw iv Table of Contents ! ! " ! ! '$ ' "! $ 9 ($ % ## * #$ "# $" .")! ) < ! #$ !" ## = $ $ "&'"* A """#$!%$ 98 " "$#!$# 98 %# 9: ".(. " 9< 0 $)$1!" 9> )$" '- %#"!$$"# 9A 9A;=#"!%$ 9A 01$ :8 9A==&# :9 9A>A & "&##$%)# " :9 9A?8 & ""$# :: *$ () " %" :; % #"$ # :> &$$$# :> !$#$ ""$$9A>A# " :? "$"&# #$9A>A# " :? ($ "#"$$/#!"# !) $9A;=# " :@ #!$# $!" &)$9A>A"&# ;8 "%'-,- )( "%'-)+'-,- # ** "&! *, # +, v List of Figures %"9." $6##$ ,#$7"$7$#55555555555555555555555555555555555555555> %":2" $6##$ , %$$ " &$ 555555555555555555555555555555555? %";.% '"%"6#! #,#$)!!"$9A;=# "55555555555555555555555555559: vi List of Musical Examples (!9. &$- ,#%"#@2A555555555555555555555555555555555555555555555555555555555555555555555555559? (!:."%## !"$#" $"#$! $9A>A# "555555555555555555555555555555555555555:=
    [Show full text]
  • Leonard Bernstein's the Age of Anxiety
    PHILIP GENTRY Leonard Bernstein’s The Age of Anxiety: A Great American Symphony during McCarthyism In 1949, shortly after Harry Truman was sworn into his first full term as president, a group of American writers, artists, scientists, and other public intellectuals organized a “Cultural and Scientific Conference for World Peace,” to be held at the Waldorf-Astoria Hotel in New York City. They were joined by a number of their counterparts in the Soviet Union, or at least as many as could procure a visa from the US State Department. Most prominent among the visitors was composer Dmitri Shostakovich, who through an interpreter delivered a lecture on the dangers of fascist influence in music handcrafted for the occasion by the Soviet govern- ment. The front-page headline in the New York Times the next morning read, “Shostakovich Bids All Artists Lead War on New ‘Fascists.’”1 The Waldorf-Astoria conference was at once the last gasp of the Popu- lar Front, and the beginning of the anticommunist movement soon to be known as McCarthyism. Henry Wallace’s communist-backed third- party bid for the presidency the previous fall had garnered 2.4 percent of the popular vote, but the geopolitical tensions undermining the Popu- lar Front coalition since the Nazi-Soviet Pact of 1939 were out in plain view a decade later. Once-communist intellectuals, like Irving Kristol and Dwight MacDonald, vigorously protested Stalinist influence on the conference, and in an ominous preview of the populist attraction of an- ticommunism, thousands of New Yorkers protested on the streets out- side.
    [Show full text]
  • William Grant Still, an American Composer
    Destination: America Activity 5 William Grant Still, an American Composer Biography William Grant Still was born in Woodville, Mississippi in 1895. He was the son of two teachers, Carrie Lena Fabro Still and William Grant Still, who was also a partner in a grocery store. Young William was only three months old when his father died. His mother then took him to Little Rock, Arkansas, where they lived with her mother. She taught high school English there for 33 years. During William’s child- hood, his mother married again, this time to a postal clerk. He bought many 78 rpm records of opera which William greatly enjoyed. The two attended a number of performances by musicians on tour. William started violin lessons at age 14 and showed great interest in music. He taught himself how to play the clarinet, saxophone, oboe, double bass, cello and viola. His maternal grandmother introduced him to African America spirituals by singing them to him. At age 16, he graduated from high school in Little Rock, Arkansas. His mother wanted him to go to medical school, so Still pursued a Bachelor of Science degree program at Wilberforce University in Ohio from 1911 to 1915. He then dropped out of school and married an ac- quaintance from Wilberforce. He became unhappy at Wilberforce, where he directed the band from 1911 to 1915, and created music arrangements because there was no music in the curriculum. He moved to Oberlin in 1917, following two years of work in Columbus where in 1914 he began playing the oboe and cello professionally at the Athletic Club.
    [Show full text]