SPRING 2007

The News Magazine of the University of Illinois School of Music

Brown, Orange, and Blue Gamelan is Back at Illinois!

Crossover Artists Poker Games and Liberation Classes Jeffery S. Kimpton: Educator for a Lifetime Choice From the Interim Dean

It is a pleasure for me to introduce this new edition of sonorities sonorities , the news magazine for the School of Music at Spring 2007 the University of Illinois at Urbana-Champaign.

Published for alumni and friends of the After ten years as the chief academic officer of the Col - School of Music at the University of Illinois at Urbana-Champaign. lege of Fine and Applied Arts, Dean Kathleen F. Conlin

The School of Music is a unit of the College recently stepped down to take up duties as the Barnard Hewitt Professor of of Fine and Applied Arts at the University of Theatre and Director in Residence in the Department of Theatre here at the Illinois at Urbana-Champaign and has been an accredited institutional member of the National University of Illinois. All of us in the College owe her a debt of gratitude, and Association of Schools of Music since 1933. the School of Music in particular has greatly benefited from her support of Karl Kramer, director such initiatives as the revitalized and expanded jazz program, the residency of Edward Rath, associate director the Pacifica Quartet, and the recruitment of world-class artists and scholars to Marlah Bonner-McDuffie, associate director, development teach our students. Indeed, it has been a daunting task for me personally as I David Atwater, assistant director, business fill in for her in the dean’s office while a national search is conducted to name Joyce Griggs, assistant director, enrollment management and public engagement her successor. David Allen, coordinator, outreach and public engagement Michael Cameron, coordinator, graduate studies As I have taken up her duties this year, I have found that one of the most Daniel Hassler, coordinator, enrollment management and student services enjoyable tasks is keeping in touch with the outstanding students, faculty, and Suzanne Hassler, coordinator, alumni relations and development alumni of the School of Music. Last spring, for example, the University of Ruth Stoltzfus, coordinator, music events Illinois Wind Symphony gave a glorious concert at renowned Carnegie Hall in New York City. Our Pacifica Quartet garnered numerous honors, rave reviews, Suzanne Hassler, editor Amy Fuller, alumni news editor and the prestigious Avery Fisher Career Grant. Music alumnus Nathan Gunn Anne Mischakoff Heiles, features writer won the inaugural Beverly Sills Prize of the Metropolitan Opera, while music Antoinette Pomata, student news editor John Wagstaff, book news and reviews editor scholars around the world praised Professor William Kinderman’s reconstruc - tion of Beethoven’s incomplete Trio in F minor . Contributing Writers: Carolyn Backus, Amy Fuller, J. Richard Hackman, Suzanne Hassler, Melissa Mitchell, Robert Morgan, Antoinette Pomata, and Edward Rath These accomplishments and dozens of others are described in the following Special thanks to Christina Bashford, Bruno Nettl, pages. Please take a moment to review all the exciting news from the School. Ed Rath, and John Wagstaff.

Graphic Design: Bonadies Creative Inc. Cover Photos: Chris Brown Photography Robert Graves UI School of Music on the Internet: www.music.uiuc.edu Interim Dean, College of Fine and Applied Arts i n t h i

From the Director s i s s u e For those of you out there who play the lottery, try this lucky number on for size: “10KR5045.” After four years of curriculum development, the addition of six new full-time faculty, and extensive space renovation to Smith Hall, the Illinois Board of Higher Education officially approved our degrees in jazz studies and assigned us a major code within the state system. It’s too bad, though, that long- Spring 200 7 time faculty member and jazz pioneer John Garvey died before it was official. John left this earth on July 18, 2006. We had a wonderful and moving memorial service for him in Smith Hall on October 15 that was attended by family, friends, and former students from around the U.S. Donations in CAMPUS NEWS John’s memory may be made to the John Garvey Scholarship Fund through the University of Illinois 2 Wind Symphony in NYC Foundation office. We embark on another adventure in the history of the School of Music as a center for world music 3 IQ: New Quartet on Campus is in the process of being established this year. Inspired and enabled by a huge gift from Robert E. Brown, our own legacy of leadership in the fields of ethnomusicology and music education, and the 3 Fisher Grant for Pacifica generous long-term support of the Provost, the faculty will begin to shape the center to foster commu - 4 Garvey Memorial Celebration nity, university, national, and international programs in the performance, teaching, and research of the world’s diverse musical traditions.

The Allerton Music Barn, decked out with a new roof, baking soda-washed walls and floors (50 COVER STORY years of pigeon guano had to be removed), and a new theatrical and architectural lighting system, was host to its first public concert on July 1, 2006, with a performance by jazz legend Slide Hamp - 8 Brown, Orange, and Blue: ton and accompanied by our faculty. We’ll be doing some chamber orchestra concerts there in the Gamelan is back at Illinois! spring and fall of 2007, with an eye toward establishing an ongoing eclectic summer music series and a Labor Day weekend festival. I also want to thank alum Glenn Strauss for his generous gift to support future activities at the Barn. FEATURES This issue of sonorities contains the 2005 commencement address to graduates by J. Richard 12 Crossover Artists Hackman, professor of social and organizational psychology at Harvard University. Many of you will recognize his name as one of the world’s leading experts on group and organizational behavior. 20 Poker Games and Born and bred here in Illinois, he received his master’s and doctorate in social psychology from the Liberation Classes University of Illinois, and then taught at Yale for twenty years. A brief career misstep found him teaching at the University of Michigan from which he quickly recovered and returned to Yale. In 38 Jeffery S. Kimpton: 1986, he moved to his present position at Harvard. His 1991 ground-breaking comparative study of Educator for a Lifetime musicians in 78 symphony orchestras in the U.S. and Europe examined the effects of gender compo - 43 Choice sition and national gender culture on individual motivation and job satisfaction, the quality of rela - tionships between musicians, and the basic functioning of the orchestras. He has consulted to a variety of arts organizations, including the London Symphony and Orpheus Chamber Orchestra, on issues having to do with work design, leadership, and ensemble dynamics and performance. Most DEPARTMENTS importantly, though, Richard is a fellow brass player and very fine trombonist. It could be said that 5 Development Update Richard has the best of both possible worlds—an Illinois education and a job at Harvard. On campus at the end of October was the internationally acclaimed writer/director Tony Palmer. 24 Band Notes Mr. Palmer’s vast filmography ranges from early works with The Beatles, Cream, Jimi Hendrix and 25 Admissions Activities Frank Zappa to the famous portraits of Walton, Britten, Stravinsky, Maria Callas, and Menuhin. After the usual lectures and proper 27 New Appointments panel discussions, we all let our hair down for a midnight showing of Tony’s tour de force All My Loving , the definitive anti-war film of 30 Faculty News 1968, starring The Beatles, Zappa, and Hendrix. 37 Book News & Reviews I hope many of you had a chance to hear the Concert Jazz Band at the International Association of Jazz Education Confer - 47 Student News ence in New York last January, the Wind Symphony’s sterling per - formance at Carnegie Hall in February, or the Symphony 50 Alumni Notes Orchestra’s moving performance in Orchestra Hall in Chicago this 51 Alumni News past November with Don Schleicher conducting and Ian Hobson performing the Brahms Second Piano Concerto and Shostakovich’s 58 Partners in Tempo 12th Symphony . The School is hoppin’!

Karl Kramer Director, School of Music Campus News

Illinois Wind Symphony Dazzles in Carnegie Hall Debut Melissa Mitchell, UI News Bureau, Arts Editor

When the 62 members of the Illinois Wind Symphony and its con - ductor, James Keene, took the stage of the Isaac Stern Auditorium in New York City’s Carnegie Hall on Feb - ruary 17, 2006, the abundance of Illini pride circulating through the historic venue was palpable. “We walked out on stage , and in the hall , people were already cheering… and we hadn’t even played a note,” said tuba player Chris Combest, a music graduate student from Berea, Kentucky. “The applause before they had struck a note… that was incredible,” said Peter Griffin, assistant director of UI bands. “Some of the students were a little nervous, but ‘excited’ was much more like it. They knew the music cold… it was a matter of program of symphonic- slowly made getting out and sharing it.” band classics and con - his way out That opening affirmation from the temporary through the audience—which included UI President B. wind-ensemble music, hall’s crowded Joseph White, Urbana-Champaign campus including New York lobby. “It does - Chancellor Richard Herman, and even Illi - premieres of works by n’t get any bet - nois alumnus and academy award-win - Scott Boerma, David ter than this,” ning film director Ang Lee—was just the Gillingham, and Shafer Mahoney. Near Herman said. “We managed to showcase confidence booster band members needed the end of the program, Illini Fantasy —a our excellence and had people in from all to shake off any pre-con - medley of tunes that over [the country], including alumni from as cert jitters and convert that includes Illinois Loyalty — far away as Arizona and Florida. It’s been energy into unbridled musi - brought the house to its a great week for Illinois.” cal virtuosity. feet. “To see all the univer - From that moment on, sity dignitaries stand up Above: Professor James F. Keene leads the UI Wind Keene, the highly polished and start clapping, that was Symphony in an historic performance at Carnegie Hall band, and faculty guest kind of cool,” said Chris commemorating the 75th Anniversary of the UI artists Elliott Chasanov, Barnum, a euphonium College of Fine and Applied Arts. Michael Ewald, Ricardo Flores, Kazimierz s player from Roselle, Illinois. Left: Academy Award-winning film director Ang Lee o Machala, William Moersch, Mark Moore, n One of those VIPs in attendance, (B.F.A. ’80) and his wife, Dr. Jane Huey-Chai Lin o and Ronald Romm, were in command. The Chancellor Richard Herman, was beaming (Ph.D. ’86), join President and Mrs. Joseph White for r performers presented what came across to immediately following the concert, as he the celebration at Carnegie Hall. i t their audience as a flawless and balanced Photo credits: Chris Lee i e s 2 incorporating both faculty and student IQ: Sharp New Quartet at Illinois ensembles for two weeks of rigorous stu - dio classes and performances. Concerts In the two years since their formation in Summer 2006 took IQ on a two-week were given to enthusiastic audiences in 2004, the Illinois Woodwind Quartet, or teaching and performance tour of South Burgos, Lerma, Peñar a˘nda, and Aranda, “IQ” as it is better known on campus, has Korea, including a week of intensive all in the Castilla y León region of north become highly recognized for its excel - teaching at Yon-Sei University in Seoul. central Spain. lence, and accomplished more than many Each of the woodwind faculty members In addition, IQ performed a concert of professional ensembles taught large group master classes, indi - world premiere pieces at the International do in years of dedi - vidual les - Clarinet Conference held this year in cated service. sons, and Atlanta. The group is currently recording In Spring 2005, ensemble and commissioning more new works for the quartet—com - coachings woodwind quartet, and is also heavily posed of UI School of to very tal - involved with teaching secondary school Music woodwind fac - ented and students and youth orchestras in and ulty Jonathan hard-work - around the Chicagoland area. Keeble (flute), J. ing students. The quartet continues into the new David Harris (clar - A cross-coun - year with other invitations, internationally inet), John Dee try journey and nationally, while also representing the (oboe), and Timo - on the new University of Illinois proudly within the thy McGovern KTX high- local community. A recent concert and dis - (bassoon)— speed bullet cussion at the new Alice Campbell Alumni embarked on a train took the Center to a full house of Alumni Associa - very successful ensemble from tion members left everyone in the audience Southeast concert northern Seoul with the knowledge that the School of tour that included to southern Music is strong and vital. a standing-room- Buson, where We thank the Illinois Woodwind Quar - only crowd at the well the IQ gave a tet for the outstanding ways in which it rep - known Music at Saint Paul’s concert series concert in com - resents the University of Illinois. May it in Delray Beach, Florida, and a perform - memoration of the 60 th anniversary of continue to bring outstanding music and ance at the renowned Bethesda by the Dong-A University. instruction to people throughout the world Sea, near the Breakers in Palm Beach. Summer 2006 also found the quartet for many years to come! performing and teaching in Burgos, Spain, through a UI School of Music initiative

Pacifica Quartet Wins Avery Fisher Career Grant The Pacifica Quartet , the faculty quartet in residence in the School of Music, received a 2006 Avery Fisher Career Grant of $15,000 from the Avery Fisher Artist Program. The program was established through a gift by Fisher to New York City’s Lincoln Center for the Performing Arts in 1974. The career grants are awarded to provide profes - S sional assistance and recognition to talented young instru - p r mentalists and chamber ensembles. Pacifica members i Sibbi Bernhardsson , Simin Ganatra , Masumi Per n Rostad , and Brandon Vamos intend to use the grant to g support performances of Beethoven string quartets in 2 Champaign-Urbana and Chicago, and a recording of the 0 complete string quartets of Elliot Carter. 0 7 3 Campus News

John Garvey Memorial Celebration Held on Campus formance by the current UI Jazz Band Robert Morgan (D.M.A. ‘74), Houston, Texas (Chip McNeill, director), featuring both cur - rent literature and staples from the Garvey era ( Corner Pocket , Lunceford Touch , Old On October 15, 2006, David Garvey of San Francisco; former col - Beelzebub Blues , etc.). Several alumni sat approximately 200 for - leagues Bruno Nettl (School of Music) and in, and special featured soloists were the mer students, col - Ralph Fisher (founding director of the UI three inaugural recipients of UI’s John Gar - leagues, friends, and Center for Russian and East European Stud - vey Scholarship in Jazz Studies: pianists family of John Garvey ies); and former student Bill Overton. Leigh Meador and Lara Driscoll, and saxo - gathered on campus to Music was presented by the UI Gradu - phonist Phil Doyle. An adjoining room fea - attend “The World ate String Quartet and an tured a continuous According to Garv…A Celebration of the eight-piece Russian folk video of vintage Gar - Life and Music of John C. Garvey.” Profes - ensemble, featuring vocal - vey-led jazz concerts sor Garvey (1921–2006) was a member ist Lennart Bäckström and and Professor Garvey’s of the UI School of Music faculty from past members of Garvey’s 1991 retirement party. 1948 until his retirement in 1991. Initially Russian Folk Orchestra. The evening concluded professor of viola and member of the Father George Johnson, with the premiere per - Walden Quartet, he also conducted the UI Deborah’s husband and a formance of Goodbye Chamber Orchestra and later founded the Russian Orthodox priest, John (solo piano), com - renowned UI jazz program and Russian also led the gathering in posed for the occasion Folk Orchestra. He died on July 18 in Sil - singing the traditional by Jim Knapp and per - ver Spring, Maryland, where he had Memory Eternal , which formed by Bill French. moved in 2000 to be near his daughter, concluded Garvey’s funeral Prior to the Smith Deborah. service in Maryland last Hall service, UI’s Spur - Divided into two segments, the cele - July. The Smith segment lock Museum was open bration began with a “formal” service in closed with a solo viola for a private viewing of Smith Recital Hall. Remarks and reminis - performance of Over the the “Barong Ket,” an cences were offered by Marlah Bonner- Rainbow by Asli Gültekin, enormous authentic Bali - McDuffie, representing the School of Music; a member of the Graduate Photo courtesy of News-Gazette nese costume (so large Garvey’s children: Deborah Jane Garvey String Quartet. it must be worn by four adults), donated to Johnson of Silver Spring, Maryland; Attendees then walked to Levis Faculty the Spurlock by Professor Garvey. Balinese Deirdre Ann Garvey of Solon, Ohio; Frank Center for an informal reception. With a music and culture had become yet another relaxed atmosphere, the Levis emphasis of Garvey’s interests during the latter years was on music, with a lengthy spirited per - of his life. Throughout the evening, several com - mon descriptors emerged from the many remarks offered about John Garvey: “bright”—“eclectic”—“gregarious”—“sense of humor”—“dedicated”—“eccentric”— “integrity.” Bill Overton noted that Garvey was “a world traveler, fearless adventurer and inspiring teacher to whom we owe so much. Because of John Garvey, we all found our passion.” Bruno Nettl stated that “John’s life in music was a kind of pilgrim - s o age with many way stations.” And Jim n Garvey Memorial Celebration from left to right: McNeely wrote, “John rehearsing a Jim o Alumni members of John Garvey’s Russian Folk Knapp chart still represents the gold stan - r Orchestra. i dard for me.” t Music alum Bill Overton (M.S. ‘78) doing an i imitation of Professor Garvey. e Featured vocalist for the Memorial Celebration, s Lennart Bäckström. 4 Development Update

Marlah Bonner-McDuffie, Associate Director of Development

A 2-DVD set of “The World According to Garv” is in preparation. For more infor - Continuing the Tradition of Excellence mation, or to be notified when the set is available, please contact Deborah Jane It has truly been Others simply feel strongly about positively Garvey Johnson by e-mail, another exciting year influencing the lives of future generations [email protected], or by phone, (301) for the School of of music educators and performers. 572-5738. Music. We continue to Our continued success as one of the top The evening’s planning committee con - build on the strength music schools in the country is made possi - sisted of Deborah Jane Garvey Johnson, and reputation of our ble by the support of alumni and friends Bob Morgan, and Sue and Bruce Wood, esteemed faculty and who care deeply about the future of the with support provided by the UI School of talented students, and School and its talented students and faculty. Music, Spurlock Museum, Karl Kramer, Douglas J. Brewer, Suzanne Hassler, Chip are proud of our longtime reputation as one Gifts of every size, when combined with the McNeill, and Simin Ganatra. of the strongest professional music schools contributions of your fellow alumni, have a in the country. We continue to attract the tremendous impact, and allow us to provide best and brightest students to the School, the very best professional training and For those who wish to consider a memo - and our faculty is committed to providing resources for our talented students. rial contribution in honor of John Garvey, them with the rigorous training necessary to There are a number of ways to give to the the following funds have been estab - excel in their discipline. School of Music. While our top priority lished through the University of Illinois: In my third year as associate director of continues to be endowed gifts, such as pro - John Garvey Scholarship in Jazz Studies development for the School of Music, the fessorships, fellowships, and chairs (see Payments via check should be made payable most rewarding part of my job continues to “Wish List,” page 8), we welcome the to: University of Illinois Foundation (memo line: be the opportunity to connect with so many opportunity to discuss your philanthropic School of Music/Garvey Scholarship) of our talented alumni and friends across the interests and how they might intersect with Mail to: country. I am inspired by the countless sto - some of the School’s current funding priori - Marlah Bonner-McDuffie ries of how the School played a critical role ties. While outright gifts provide crucial University of Illinois School of Music in their personal and professional develop - support for the School, planned or deferred 1114 W. Nevada Street, Rm. 3068 ment. Regardless of whether they are work - gifts provide significant support for our Urbana, Illinois 61801 (217) 244-4119. ing as professional musicians, performers, future funding needs. music educators, or in non-music related One of the most common types of Via internet: College of Fine Arts website: careers, our alumni look back on their expe - deferred giving arrangements is a bequest, www.faa.uiuc.edu/support_faa/gift.html riences here as being extremely valuable. which is made through a provision in a will Enter gift amount next to “School of Music” We are tremendously grateful to those or living trust. By listing the School of and indicate John Garvey Jazz Scholarship under “Comments” (p. 2). who have made the decision to become a Music as a beneficiary in your will or trust, part of the future of the School through you provide significant support for future Kasura Collection of Russian Music their generous financial contributions. generations. Making a bequest is often the UI Music Library best option for alumni and friends who wish Checks payable to UI Library/Office of Devel - What continues to strike me most about opment and Public Affairs (memo line: Kasura alums that who choose to contribute finan - to create a legacy at the School of Music. Collection) cially is not that they choose to give to the Bequests may be earmarked for a specific School of Music, but why they choose to area, and named in your honor or in honor Mail to: give. Many of our alums who give back of a loved one. University of Illinois Library S 1408 W. Gregory Drive, Rm. 227 were recipients of awards and/or scholar - Other types of planned and deferred giv - p Urbana, Illinois 61801 ships during their undergraduate or gradu - ing options include life income trusts, life r (217) 333-5682 ate careers. They realize that without those insurance, and charitable lead trusts. Most i critical resources, they might not have been planned and deferred giving arrangements n g able to continue their studies in music or can provide significant tax advantages while have successful professional musical careers. 2 continued 0 0 7 5 Development Update

continued from page 7 WISH LIST allowing the donor to make a meaningful The importance of private gifts to the scholars and performers. Renowned fac - investment in the future of the School. School of Music increases every year. ulty attract the most talented students and As with all major financial decisions, we The State of Illinois provides basic oper - the brightest minds to study at the Univer - ating revenue for the University of Illinois; sity of Illinois. As artists and scholars, urge you to consult with your financial plan - however, support from the State accounts they contribute, as well to the world of ner as you consider a deferred or planned gift for less than 18 percent of the total research, creativity, and virtuosity that is to the School of Music. Our planned giving budget. Thus gifts from alumni and one of the Universitys principal missions. advisors, available through the University of friends help to provide the margin of This is vital to the continued success of Illinois Foundation office, are happy to work excellence which distinguishes the UI the School of Music. closely with you and your planner in deter - School of Music. mining the most appropriate giving arrange - Fellowships: the continued excellence of ment for you. We look forward to a very bright future the School of Music depends in part on We welcome the opportunity to partner for the School of Music, and we continue attracting the most talented graduate stu - with our alumni and friends in the future to evaluate new opportunities and pro - dents from across the nation and around success of the School of Music. When you grams that will help to ensure our posi - the world. For us to remain competitive support the School, you support the dreams tion as one of the leading music schools among the leading schools in the coun - and professional aspirations of our talented in America today. In order for us to try, we must be prepared to assist the students, and give our faculty the critical reach our goals and to provide the best exceptional students we serve. resources to help make our students’ goals a education possible for our students, we reality. I invite you to join other alumni and must have the resources in place. Building Infrastructure and Equipment: friends who are passionate about continuing maintaining the facilities and equipment our tradition of excellence by considering a The following items represent the current for our faculty and students takes consid - gift to the University of Illinois School of needs and wishes of the School of Music erable resources, and to be competitive in order of impact: with our peer institutions, we must con - Music. tinue to have outstanding practice facili - Chairs and Professorships: endowed ties and performance venues. There are For additional information on making a gift chairs and professorships serve as effec - numerous opportunities, ranging from stu - to the School of Music, please call (217) tive tools with which to recruit and retain 244-4119, or e-mail [email protected]

2007 ALUMNI RELATIONS & DEVELOPMENT EVENTS

Illinois Music Educators Association Society for American Music and Lorado Taft Lecture Friday, January 26, 2007 Music Library Association Wednesday, March 14, 2007 Père Marquette Hotel Friday, March 2, 2007 “Contemporary Music in Indonesia: 501 Main Street, Peoria, IL Hilton Pittsburgh & Towers Between Local Traditions, National 6:00–8:00 p.m. Reception, Cheminee Room 600 Commonwealth Place, Pittsburgh Obligations, and International Influences” 10:30-11:00 a.m. UI Conference Break Professor Dieter Mack 21st Century Piano Competition Concert Musikhochschule Lübeck, Germany Tuesday, February 27, 2007 2007 ACDA National Convention 4:00 p.m. Music Building Auditorium Krannert Center for the Performing Arts Friday, March 9, 2007 s o 7:30 p.m. Recital, Foellinger Great Hall Miami Marriott Biscayne Bay 20th Annual Awards Luncheon n 9:15 p.m. Reception, Krannert Room 1633 N. Bayshore Drive Friday, April 27, 2007 o r 5:30-6:30 p.m. Reception, Terrace North Illini Union i 12:00–1:45 p.m. Room 314 t i e s 6 New Gifts

The School of Music is pleased to announce the establishment of three new endowments: dio recording equipment to renovating Smith Memorial Hall, to the Allerton Park Roger R. Cunningham Fellowship Fund Music Barn. The School of Music thanks donor and alum Roger Cunningham of Peoria, Illinois, for numerous contributions to the School over the past two decades and, in particular, for his Opera Sponsorship: the School of Music commitment to endowing a graduate fellowship through the recent establishment of the produces two full-length operas each Roger R. Cunningham Fellowship Fund . Roger established the gift jointly with his wife Shirley year. An opera production takes consid - E. Cunningham in September 2006. The fund will benefit graduate students in the School erable time, effort and money. Current of Music at the University of Illinois at Urbana-Champaign through a provision in a bequest. productions can cost in excess of The completed fellowship will provide tuition and fees for eligible graduate students selected $60,000. While ticket sales cover about by the Dean of the College of Fine and Applied Arts. half the cost of each production, addi - After receiving his master’s degree in music education in 1967, Mr. Cunningham taught tional support will assure both student music in Peoria for 8 years, later joining RLI, a specialty insurance company based in Peoria. performers and audience members of He has maintained connections to music throughout his career and remembers in particular operatic experiences comparable to pro - former U. of I. music professors John Garvey and Charles Leonhard. A trombone player ductions found in major cities, while while at Illinois, Roger now plays the recorder. keeping ticket prices reasonable. There are several specific giving opportunities available for opera sponsorship each Glen Strauss and Krista Tesreau Allerton Music Festival Fund season. In May 2006, Glen Strauss and Krista Tesreau of Santa Monica, California, pledged to con - tribute $50,000 over 5 years to the University of Illinois Foundation in support of the Col - We hope you will consider making a gift lege of Fine and Applied Arts. Their pledge, which was received in full this fall, will allow the to the School of Music. If you are inter - School of Music to support an annual music festival at Allerton Park—a formal garden estate ested in funding projects such as these or in Monticello, Illinois, which was given to the University of Illinois at Urbana-Champaign would like to explore other opportunities, by the late Robert Allerton in 1946. Specifically, the Glen Strauss and Krista Tesreau Allerton please contact Marlah Bonner-McDuffie, Music Festival Fund has been and will continue to be used to renovate the Allerton Park Per - associate director of development, (217) formance Barn and surrounding facilities related to the Allerton Music Festival and School 244-4119. of Music performances at the barn site. Glen Strauss received a B.S. in Music Education in 1976 from the U. of I. and a J.D. from the University of Southern California in 1979. He is the managing director for First Union Securities in Los Angeles, California. His wife, Krista Tesreau, is a successful television actress. Glen and Krista are both accomplished concert pianists. After renovation at the new Allerton Park performance venue is complete, it will serve as a three-season hall with program offerings in the late spring, summer and early fall. The goal of the Allerton Music Festival is to create a nationally recognized music festival that will bring School of Music Convocation prestige to the University of Illinois, provide new and traditional music for Midwestern audi - Sunday, May 13, 2007 ences, and serve as a selective training school for exemplary students. UI Smith Memorial Hall 5:30–6:45 p.m. Recital Hall David A. Trotter Endowment Fund David and Deborah Trotter of Wheaton, Illinois, have provided a $20,000 gift for the bene - For more information, check our Alumni Events fit of the University of Illinois Marching Illini. The gift, made through a provision in a web page, as dates approach: www.music.uiuc.edu/aboutAlumni_events.php bequest, will be added to the David A. Trotter Endowment Fund established in 2003, and will S provide instruments and equipment for the Marching Illini. p Mr. Trotter (B.S. ’81), a sousaphone player in the M. I. in all his four years at U. of I. r while majoring in Business Administration, is currently a Lieutenant for the Village of Villa i n Park Fire Department. He and his wife Deborah, a registered nurse at the Ambulatory Sur - g gery Center in Lombard, are thrilled to be able to provide this gift to benefit future genera - 2 tions of Marching Illini at the University. 0 0 7 7 Cover Story

I Ketut Gede Asnawa, International Council Visiting Professor of Musicology

BROWN, ORANGE , AND BLUE s o n o r i t i e s G8 amel Charles Capwell Associate Professor and Chair of Musicology

hile a graduate student in musicology at Harvard, I had make a communal meal, usually Indian, and then settle down for an the opportunity to hear the great south Indian vocalist evening of splendid music in an intimate atmosphere. This inspired M.S. Subbulakshmi perform at the Kresge Auditorium of us all to work hard at acquiring some basic practical experience of the WMassachusetts Institute of Technology (MIT) in September, 1966. musics we were learning to appreciate with the very best My acquaintance with the music of India had begun a few years examples presented to us live each week. I played in the before with a few LPs in the library of The Rock, a summer camp gamelan (a kind of Indonesian musical ensemble featur - in the Berkshires where I was a counselor and where the direc - ing a variety of instruments such as metallophones, xylo - tor/owner, Bob Williams, was interested in Indian philoso - phones, drums, and gongs, and possibly bamboo flutes, phy and culture. Subbulakshmi’s performance was my first bowed and plucked strings, and vocalists), took south Indian chance to hear Indian music live, and I was stunned by it. I drum lessons, and tried a bit of both Karnatak and Hindustani decided to follow her on the next leg of her tour vocal music with musicians of a caliber that was awe to Wesleyan University in Middletown, Con - inspiring. necticut, knowing I couldn’t repeat my first The intellectual atmosphere was equally stimulating experience but wanting to come as close to it because teachers like Brown and McAllester, as well as as I could once again. other ethnomusicologists then on the faculty like That was when I first met Robert E. Brown, Genichi Tsuge and Fumio Koizumi, were engaging and the ethnomusicologist who had been hired by interactive with the students, many of whom went on to Wesleyan University a few years earlier. I had productive musical and academic careers. already met his colleague, David McAllester, an The philosophy behind this extraordinary musical com - anthropologist famous for his work on music of the munity grew out of Brown’s own revelatory experience with Navajo, when he visited the Berkshire camp to tell a family of south Indian musicians headed by the renowned us all something about his research and to attend dancer Balasaraswati (UI MillerComm Professor in 1980) a production of Aristophanes’ The Birds put on whom he met in the late 1950s while doing research for his by the campers—including his son and dissertation at UCLA under Mantle Hood, one of the daughter—under the direction of my college founding fathers of American ethnomusicology. Bob wrote buddy, Alfred Turco (now Professor of English about the mrdangam , the drum used for classical music in at Wesleyan), and with my incidental music. south India, and he studied with Bala’s brother, During my visit to Wesleyan, I broached the idea of Ranganathan, who was later my own teacher at Wesleyan. laying the foundation for a study of Indian music with Bob Another person who fell under the sway of Bala about the Brown, and so I became a visiting student the following year same time was Louise Scripps, who with her husband Samuel, with the encouragement of my advisor, Professor John Ward, founded the American Society for Eastern Arts in 1963, with and the generous financial support of Harvard and Wesleyan. Brown as executive director, in order to bring Balasarawati For the next year and a half, I resided in Middletown, Con - and her musicians to California to teach along with the necticut immersed in a world that was little short of an equally important instrumentalist from north India, Ustad amazing fantasy made real by the audaciously creative Bob Ali Akbar Khan. This collaboration reached an unsustainable Brown. A kind of international artists’ colony, Wesleyan, but glorious peak in 1974 when 45 artists from around the at that time, played host to some remarkable musicians world were sponsored to be residents in Berkeley, California, to from north and south India, Japan, Indonesia, and Africa. Bob’s teach and give performances. home on the outskirts of town, “The Farm,” became the site of regu - Brown left Wesleyan University for the California Institute of the lar “curry concerts” every Friday night when all would pitch in to help Arts in 1970 and thereafter joined the faculty of San Diego State Uni - versity in 1979 and remained there until his retirement in 1992. All the while, and after his retirement, too, he continued his extra aca - S p Continued r i n g 2 0 0 IS BACK AT ILLINOIS! 7 an 9 demic activities as an organizer of possibilities for well known for his recordings, many on the None - world-class musicians to teach and perform in the such label, of music from Indonesia. Many of these U.S. and for Americans to experience music abroad recordings, among the first of their kind to be in countries like Indonesia and Turkey. widely distributed and commercially available in In 1994, when I made my first field trip to the United States, inspired a generation of musi - Indonesia, I visited Brown at the establishment he cians to study and perform Indonesian gamelan had created near the famous cultural tourism town music. Among other interesting facts about Brown of Ubud in the hills of Bali. Over the years he had is that he recommended to Carl Sagan the music for gradually built up a site as a place where people Murmurs of Earth , a recording pressed in solid gold interested in Indonesian culture and music could Robert E. Brown is the ethnomusicologist credited with that was attached to Voyager and taken into outer coining the phrase “world music.” come to study with local musicians and with others space in the late 1970s. In a May 9, 1977 letter to he sometimes brought from places like India and Turkey during a sum - Sagan, Brown wrote of his recommendations: mer program. This visit re-established the connection I had formed with him as a visiting student at Wesleyan, after years of only occasional “. . . A lively mridangam solo from India, in a tala of five beats, played by Palghat Mani Iyer, who may well be the world’s best contact at meetings of the Society for Ethnomusicology. drummer; a representative piece of electronic music (hard to In 2000, I brought a group of 13 students from the U of I for a study decide upon); a Balinese gamelan piece (my choice would be the tour at Brown’s place in Bali. The students had studied Balinese musi - ancient Gamelan Selundeng, recorded on Boîte a Musique LD cal performance at Illinois with a Balinese teacher, I Ketut Gede 096M); a piece of Renaissance vocal polyphony by Des Pres, Asnawa, during the semester preceding the trip and continued their Dufay or Ockeghem, bristling with contrapuntal devices; a Chi - studies with him in Bali that summer. The program concluded with a nese ch’in solo; a West African dance piece with drum ensemble concert by the students in our teacher’s neighborhood sodality in the and voices; a Mozart aria; a Bulgarian folk song in diaphonic style; Melanesian panpipes, to relate to the Bach and capital city, Den Pasar. shakuhachi; and a symphony of Beethoven’s, probably the (Asnawa and his wife, eighth. This could conceivably produce more insight into Putu Oka Mardiani, human nature than an extraterrestrial intelligence might be pre - have returned to the pared to handle!” Urbana-Champaign campus during the In January 2004, Andrew Granade, then a graduate student in musi - 2006-07 academic year cology here at the U of I who was writing a dissertation on the com - to teach a new series of poser Harry Partch, went to San Diego State to interview Prof. Danlee performance classes Mitchell about his long involvement with Partch. Mitchell’s connection that inaugurated the with Partch began when Mitchell was a student at UI, and Partch was re-establishment of on the faculty here. (Thomas McGeary, another of U of I’s PhDs, has gamelan at Illinois published a catalog of Partch’s works and an anthology of his writings.) with an enthusiastically Knowing of my connection with Bob Brown, Mitchell suggested to Left to right: Charles Capwell, Purna Das Baul, Robert E. Brown, Andew Toth, in Calcutta (1969). received program of Granade that he talk with me about the possibility of establishing a for - several styles of Bali - mal locale for the study of world music at the U of I to help carry on nese music and dance on December 5, 2006.) the kind of work he had done for so long. I suggested to Illinois School Bruno Nettl, professor emeritus of ethnomusicology at the Univer - of Music’s Director Karl Kramer in late 2004, just before he was to leave sity of Illinois School of Music, noted, “Bob’s interest was in teaching for a conference in San Diego, that he meet with Brown in California. and performing the music of India and other non-Western music as opposed to research and writing. He started doing research in south Robert E. Brown’s bequest will benefit the School‘s distinguished programs in the Division of Musicology, and educate all who wish to cross cultural boundaries India when many American scholars were going to south India, but he to experience and understand more of the world’s music and its people. was in the first group. Eventually, he became more interested in Indone - sia, but he never gave up his interest in India.” Besides coining the term “world music,” Brown is

s o n o r i t i e s 10 Director Kramer found Brown to be magnetic and full of interesting ideas about opportunities for the study of world music at Illinois. “After an hour of talking to him, I was ready to drink the Kool-Aid,” Kramer said. “It was like, tell me what to do, and I’ll do it. I developed a friend - ship with him, but more importantly I was able to communicate to him that the University was ready, willing, and able to support his legacy and do what he wanted to do.” Thus, it came about that Brown visited Illi - nois in April of 2005 and began discussions with Director Kramer and then College of Fine and Applied Arts dean Kathleen Conlin. Sadly, after returning from his annual program in Indonesia that summer, Brown was diagnosed with pancreatic cancer. This gave par - ticular urgency to his desire to ensure continuity for his legacy, and so he arranged that after his death the instruments he had here in the States, his library, and his magnificent collection of Balinese paintings would come to a newly established institute for the study of world music which might carry his name. Thus, with the support of then U of I Interim Provost Jesse Delia, discussions began. A goal Brown hoped Illinois could help achieve was to have univer - sity music students trained in world music so that they could pass on their knowledge to public school students, with the hope of building cross-cultural understanding. As Director Kramer notes, “One of the things that Illinois does better than anyone in the country is to train music teachers in band, orchestra and choir— Why not a music education program in world music? That’s not really going on anywhere. Why shouldn’t we do that? We want to start a program that synthesizes music education and ethnomusicology.” Bob Brown’s gift of his instruments, library and Indonesian art—one of the most significant given to the School of Music—enables the School to do that. Besides string, wind, and percussion instruments from various coun - tries, the collection features three game - lan orchestras from Indonesia. Unlike a symphony orchestra, which refers to the musicians, a gamelan orchestra refers to the set of precisely tuned instruments themselves. The other belongings that Brown left to the School of Music include a Javanese shadow puppet theater with 2,000 puppets; Balinese paintings, includ - ing a large set by noted artist Dewa Ketut King; Indian temple wood carvings; a high- quality Chinese opium bed from Java; and pre- World War II Burmese lacquer boxes. The list goes on. Meanwhile, the U of I Music Library is unpacking 400 cartons of items from Brown’s An extensive collection of multina - library: 1,000 reel-to-reel recordings, 2,000 tional musical instruments, music S long-playing records, 1,400 cassette tapes, 2,000 samples, and works of art from p the late ethnomusicologist Robert r compact discs, 400 videotapes, 2,700 books and E. Brown was given to the Urbana campus in anticipation of i numerous music charts in Sanskrit of Indian a new institute for the study of n ragas, and other Indian music. world music. g Left and on cover: 2 Ayu Putu Niastarika performs a 0 Welcome Dance. 0 Continued on page 49 7

Photos this page: 11 Chris Brown Photography Feature

s o n o r i t i e s 12 Crossover

By Anne Mischakoff Heiles

Crossover musicians typically perform or compose in both classical and jazz or popular idioms. Given that the UI School of Music has been building its jazz division, it was natural to lure a few hires with musicianship and “chops” in both jazz and classical styles. Trombonist/composer James Pugh and double bassist Jeffrey (“Jeff”) Grubbs are masters of that versatility; Pugh adds to his jazz activities a great PUGH depth of experience in the world of commercial music, whereas Grubbs has had more experience in symphonic music. And a third new fulltime faculty member, musicol - ogist Jeffrey Magee, has the performance background, ana - lytical mind, and historical outlook to explain and explore the so-called crossover phenomenon. “You could say that I had a crossover experience in that I was classically trained, GRUBBS and came to my interest in jazz and other kinds of Ameri - can music later in my studies,” Magee notes. “Now that I’ve had that experience, however, I think of it not so much as crossing over, but as integrating my musical identity. You S hear that term crossover a lot, and it has certain connota - p r tions. It suggests that there is one or the other, and that i n most people don’t do both. And I feel, why not?” g 2 Continued 0 MAGEE 0 7 13 TRAINING era. At that time most of the major symphony orchestras in the All three faculty share a classical training to which they attribute country had at least one of his students in the trombone section.” their versatility. Magee began his undergraduate studies at Oberlin Pugh received his B.M. degree and a Performer’s Certificate from College as an English major and studied piano throughout his years the Eastman School of Music. Among his other professors were Don there. He says, “I had a standard, classical conservatory-type train - Knaub and Chuck Mangione. “Mangione, the first hire at Eastman ing. Although I studied piano at the Oberlin Conservatory, I never in the jazz area, was sort of the Chris Botti of the 70s, a pop figure intended to be a performer; I had too many other interests to con - and beautiful songwriter of memorable melodies and an excellent centrate in the way you need to be a serious performer. I gravitated flügelhorn soloist as well. Now you hear a lot of his music on eleva - toward history and, at the same time, music history. It was at Ober - tors or in grocery stores! But he was huge; he had been with Art lin where I first sat down to listen to a recording with the score in Blakey and the Jazz Messengers and was good friends with pianist hand. It seems so simple, but it was a revelation to do that even Chick Corea. He was basically the entire jazz program at Eastman though I had studied piano and played with a score. I continued the first two years I was there: he ran the big band and taught the studying, practicing piano several hours a day, but had stronger aca - improvisation classes. Then Ray Wright was hired at Eastman for demic interests than performance ones. So I did a double jazz arranging in 1970, and he brought large ensemble and degree; I got a B.A. in general history and B.M. in music writing components to the jazz department; it expanded history.” He earned an M.A. at the University of Cal - from there.” ifornia at Berkeley before getting a Ph.D. at the Appointed associate professor in both the Jazz University of Michigan. “I met my future advisor, Studies and String divisions, Jeff Grubbs came to Richard Crawford from the University of Michi - the UI School of Music in August 2006 from the gan, at Berkeley; I decided then to transfer.” Pittsburgh Symphony, where he had played as a Crawford was a major influence on Magee, as he bassist for a decade. Grubbs took an unexpected explains: “I went to grad school thinking I was going route to his career as double bassist. Growing up in to be a scholar of Beethoven and had a few courses with Cleveland, he began violin lessons as a fourth grader at Joseph Kerman, who continued to open that thinking. It’s his public elementary school. And he continued on violin interesting that Kerman was Bill Kinderman’s mentor at Berkeley, through tenth grade, putting it aside only when his family moved to and Bill continued on that path to become a major Beethoven a suburb where the high school did not yet have a string program or scholar. But I met Rich Crawford, who was teaching a jazz and orchestra. music history course; I also had a composer friend who played jazz “In my senior year the high school started a string program, and and introduced me to a lot of recordings. I thought ‘How is it that I taught some of the violinists,” Grubbs relates. “I even taught a bass I didn’t have this before? This is wide open territory for research and player: I had started electric bass at about the same age that I did vio - writing.’ So I came to jazz pretty late among jazz people, but it lin. I learned stuff I heard on radio stations and old records my par - became central to my scholarly interests.” ents had, picking off the bass lines by ear and teaching myself to Trombonist and composer-arranger James Pugh joined the fac - play. I listened to classical, rock, jazz, whatever I could find.” To ulty in 2005, but his prior commitments at Purchase College Con - teach the high school’s beginner bass student, he says, he “had to fig - servatory of Music prevented him from teaching full-time until fall ure out how it worked and how it related to what I knew on the elec - 2006. Pugh’s training was solid in both classical and jazz areas. “My tric bass.” Soon, he, too, plunged into playing the acoustic bass: “As s a freshman I played second violin in the Lakeland Community Col - o early listening, because of my mother, was mainly classical music. n But I also listened to jazz trombone players and got interested in lege Orchestra (Mentor, Ohio), which didn’t have a bass player. So I o r that, so I’ve always been on both sides of the fence. I went to school just volunteered. I was the only bassist during most of the rehearsals, i though they hired some extra players for the concerts.” t at Eastman, graduating in 1972, the tail end of Emory Remington’s i e s 14 “New York had become a jingle town by the time I moved there in the late 1970s; the music business was much healthier then. I had between 300 and 400 recording sessions a year, doing three, four, or even five jingles a day..”

Grubbs found that the bass felt more comfortable than the vio - Pugh continues: “There were bandleaders who were the instru - lin. He studied with Anthony Knight, second chair in the Cleveland mental stars like Harry James, Buddy Rich, Tommy Dorsey, whose Orchestra: “He was a fine teacher, and I got serious about the bass.” instrumental voice was the main sound of the band. There were He also attended Youngstown State University, where he studied jazz other leaders who were more the organizers and editors of the music, more seriously and received a bachelor’s degree. “My teacher at probably some of the more humane bandleaders, including Woody Youngstown was Tony Leonardi, and they had a great jazz program, Herman and Stan Kenton, Count Basie, and to some degree Glenn so I gravitated toward that.” He also began studying with Lawrence Miller. They let the band be what it was, featuring the people in the (Larry) Angell, then principal bassist of the Cleveland Orchestra. band. They lacked a certain soloist psychosis—and I say that lov - Influenced by Angell, he attended the Cleveland Institute of Music, ingly!” After four years with Herman, Pugh toured for two years where Angell taught. During the summer Grubbs attended the with Chick Corea, also making recordings such as Musicmagic , Orchestral Seminar at the Grand Teton Music Festival, studying Secret Agent , and Return to Forever—Live . with Paul Ellison, then principal bassist of the Houston Symphony. When the road trips ended, Pugh took up residence in New York He followed Ellison to the University of Southern California for fur - City. He began working immediately in the jazz and commercial ther training: “I was doing mostly classical there, but also had a scene, but found it difficult to break into the symphony world, as scholarship, which included my accompanying jazz guitar classes.” many of his colleagues at Eastman had: “I came into New York off Within a year, however, Grubbs received an offer to be Orches - of a road band; if I had come straight out of Eastman, I probably tral Fellow with the Atlanta Symphony Orchestra, through the Lin - would have gone into the classical freelancing, but having come to coln Center–based Music Assistance Fund, now known as the town from the jazz side, it took ten to fifteen years to establish my Sphinx Organization. As part of his internship he played in the credibility or acceptance in classical music.” orchestra and studied with its principal bassist, Ralph Jones, whom Nevertheless, Pugh has had stunning success as a freelance artist he considers one of his major teachers. The contrast from playing traversing comfortably the styles of jazz, rock, and classical music. in school orchestras was striking. “I felt I could do it, but it was a He has also composed dozens of jingles for companies that include lot more pressure. You had to play all the right notes, play in tune, Chrysler, MCI, Johnson & Johnson, soft drinks manufacturers, and and not play in any rests!” he jokes. “It was a different program Western Union. National Public Radio’s All Things Considered , every week, a whole lot more music than I was used to. We had Morning Edition , Weekend Edition , and Performance Today have used learned two or three programs a semester at school. Atlanta’s sched - his themes, and his scores and performances as lead trombonist ule was intense.” underlie several films (e.g., Beauty and the Beast , When Harry Met Sally , Rocky V , National Lampoon’s Vacation ). PROFESSIONAL CAREERS BEFORE UI Pugh has also been lead trombonist for more than 4,000 jingle As Pugh, Magee, and Grubbs entered the professional world, their recording sessions. “Four thousand is a conservative estimate. New career pathways diverged considerably. When Pugh graduated, he York had become a jingle town by the time I moved there in the late won a plum job in Woody Herman’s band: “Mangione was well 1970s; the music business was much healthier then. I had between known in the jazz circles. He was friends as well with the road man - 300 and 400 recording sessions a year, doing three, four, or even five ager of Woody Herman’s Band, and when he heard there was an jingles a day. Usually that meant working an hour and then having opening for a trombonist, he recommended me. That’s the way about an hour off before the next session. It made for long, boring those bands worked; they didn’t set up auditions, as orchestras do. days—not a lot of horn-on-the-face kind of playing. You might play S p They’re always on the move and don’t have the luxury of holding 30 or 60 seconds of music and then leave. We developed what we r auditions. You were hired and that was your audition; if it worked called ‘60-second chops’; we were fine as l ong as we only had to play i n out, you stayed on. In the freelancing world every time you take the for a minute. Anything longer than that, the face would collapse!” g horn out of the case, you’re in a sense auditioning.” 2 Continued 0 0 7 15 “I flew up there and had a big flight case for my bass. Then I rented a big van to get the instrument from the airport to my hotel. I went to get my bass out of the van to practice a bit before the audition. I pulled on the neck to take it out—and only the neck came out!

“Over the years, however, my playing career has certainly gone on Atlantic University), and West Palm Beach. In all, we played in both sides. I was brought in as a “jazzer” to perform and record with some ten different venues.” Dawn Upshaw, Stephanie Mills, Eileen Farrell, and Kathleen Battle, Grubbs had a remarkable audition for the Pittsburgh Symphony but I’ve subbed with the New York Philharmonic and have been Orchestra in 1995. “I flew up there and had a big flight case for my principal trombonist in a couple of big chamber orchestras: Marin bass. Then I rented a big van to get the instrument from the airport Alsop’s Concordia Chamber Orchestra and Eos Orchestra. I’ve to my hotel. I went to get my bass out of the van to practice a bit recorded with them as well as with Yo Yo Ma, the St. Luke’s Orches - before the audition. I pulled on the neck to take it out—and only tra, and the Graham Ashton Brass Ensemble.” He has also been a the neck came out! The rest of the instrument remained in the case. featured soloist on recordings with Joe Lovano, Harry Connick, Jr., The airline must have dropped it off the conveyer belt or something. Dave Matthews, Barbra Streisand, Tony Bennett, Madonna, Joe I was ready to just hang it up and go back home. But I talked to my Williams, Pink Floyd, and many more pop or jazz artists. wife, and she convinced me to borrow an instrument. Pugh premiered his Concerto for Trombone and Orchestra in May “A former roommate of mine from Aspen was a violinist in the 1992 with the Williamsport Symphony, and the same work was per - orchestra, so I called him and asked, ‘Do you know anyone I can formed by Joseph Alessi as soloist with the New York Philharmonic borrow a bass from?’ He gave me a name, and I called the player. He in 2000. Pugh recorded the concerto, a crossover work (“it begins in agreed and showed me the bass room and instrument, so that I a classical style and before too long is into groove music and then could try to get used to it. I had about an hour to try it before I had goes back and forth”), with the Colorado Symphony in 2004 along to play the first round. with two other crossover works; the CD will be released early in “My thinking was ‘What do I have to lose? I was going to go 2007 on Albany Records. In composing the concerto, he used a home anyway, so I’ll just go out there and see what happens. With computer for the first time to help with the process. “I’m a compe - that attitude and just trying to think ‘Where is F# on this instru - tent arranging pianist, so it’s an interesting process to compose sec - ment’ my mind was focused in a different way; I wasn’t nervous. I tions, play them into the computer, and let it play the piece as I sit passed to the next round, and the finals were the next weekend. I back and make judgments. It’s a difficult problem to combine stayed in Pittsburgh and on the day of the finals in front of Lorin swing/jazz style with standard orchestral performance style. I basi - Maazel, the orchestra had a double rehearsal, so I couldn’t even play cally kept the eighth notes straight and not ‘swung’ to integrate the the instrument that day.” Grubbs had seven years experience by jazz and orchestral elements. Straight eighth notes are common then, but says mildly, “They had three openings and at that time practice in both rock and classical music, and this created a common they filled only one, and that was me. So I guess I played well.” ground.” Throughout his adult years, Grubbs has also played jazz, work - Jeff Grubbs, in contrast to Pugh, went the classical route early in ing with Nat Adderly, Mose Allison, Terrence Blanchard, Kenny his professional career. After two years on fellowship in Atlanta, he Burrell, Joe Lovano, Ellis Marsalis, Diane Schur, Billy Taylor, and won an audition with the Florida Philharmonic, a regional orches - others as they toured to the places where he lived. “I was the bass tra for the tri-county area from Miami to West Palm Beach. The player they would call if a touring artist came in and wanted to hire players were homeless, in a sense, he says: “We didn’t actually have someone local for the rhythm section. Most of my career has been a hall of our own. We rehearsed in an office space that had been in orchestra, but these artists often picked up local people for their converted into a rehearsal space. In Atlanta, we had gone to the jazz ensembles.” same place for rehearsals and most of our concerts, with the audi - Grubbs is featured on at least six CDs that track his career. While s ence coming to us. In Florida we played four or five concerts a working in Florida, he was bassist for Duffy Jackson’s Swing! Swing ! o n week, but had to drive to Dade County, Fort Lauderdale (the Swing! Nicole Yarling Live at Manchester Craftsmen’s Guild with Joe o r Broward Center for the Performing Arts), Boca Raton (Florida Williams might be considered a transitional CD in Grubbs’s career; i he knew vocalist Nicole Yarling from working with her in Miami. t i e s 16 Fields of My Youth features his UI colleague Chip Stephens; perhaps expanded it chronologically and historically. I took a long time the oldest of the CDs, it dates from about a decade ago when he between writing the dissertation and the book. The book has a lot moved to Pittsburgh and Stephens was finishing his master’s degree of material from the dissertation, but I think it’s a much richer work at Cleveland State. and covers more ground chronologically than the dissertation, Alton Merrell’s You’re the Reason was recorded more recently, which was focused on one period and a handful of subjects. coming out about two years ago. Three years ago Grubbs worked “Henderson was an African-American who grew up in Georgia with Teddy Pantelas on It Makes Me Glad , renewing a friendship in a small, segregated community called Cuthbert, near Alabama. that goes back some twenty-five years to Youngstown. “We were col - He went to Atlanta University, which had a tradition of higher edu - lege roommates, but this CD just came out this year. Another CD I cation for African-Americans, then came to New York City in the played for is Boiling Point with Melton Mustafa. It’s really good, wave of black migration from the south to the urban north. He done with big band, and Melton writes everything on it.” intended to pursue graduate education, but ended up finding musi - After receiving his Ph.D. in 1992, it was natural for Jeffrey cal jobs. Henderson was in the midst of what is called the Harlem Magee to become a professor. He remained in Ann Arbor and Renaissance. He was a functional piano player who played in his worked for four years as an adjunct professor at the University of bands, but was not an outstanding jazz pianist. Henderson may not Michigan and as the executive editor of a publication based there, have been a great soloist, but also was not just a cog in his band: he the score-series Music of the United States of America . In was the leader, writing music, telling the band members how 1997, he was appointed to the faculty of Indiana Uni - to play it, and arranging the jobs.” versity. Teaching there through spring 2006, he The band sometimes used “stock” or published emphasized American music, much of it popular arrangements: “These were generic arrangements or jazz, in his courses. Magee married his wife sold to professional bands, but if you were any Gayle (a UI professor of musicology), who was a good, you didn’t play what was on the stock music editor at Indiana University Press while he arrangement. You rearranged it and added impro - was on the faculty there. At Indiana, Magee was a vised solos. The Henderson Band had individual member of the editorial boards of several important members who were known for their creative improvis - journals: American Music , Journal of Musicology , Jazz Per - ing powers. Although you can clearly see how they based spectives , and the Black Music Research Journal , and continues as co- some of their ideas on the published version, they made them dis - editor of the book series Profiles in Popular Music (Indiana tinctive, placing the ending at the beginning, switching sections, University Press). Further, he was elected secretary of the Society for putting a tenor saxophone solo here. So it’s an interesting interaction American Music, a post he continues to hold. between improvised music making and music reading.” In approaching the music he studies, Magee says, he tries to com - Henderson collaborated with Benny Goodman later in his bine musical analysis and discussion with cultural context: “When I career, and Magee explains that “Henderson’s written arrange - look back over what I’ve written, my approach has been to take a ments are extant because Goodman, who died in 1986, had previ - piece, a recording, a song, or a group of related pieces and talk about ously bequeathed them to Yale University Library.” the music in some depth and then connect it to a variety of cultural Goodman, like Henderson, was a classically trained jazzer. developments at the same time. In that sense, I’m a rather traditional Magee adds: “Part of the interest for me with Henderson was that musicologist. My dissertation was on the jazz bandleader and he was classically trained. He had no background in jazz and little S p arranger Fletcher Henderson. That grew into a book, The knowledge of it before he went to New York City right out of col - r Uncrowned King of Swing: Fletcher Henderson and Big Band Jazz lege, so he came late to it, too!” i n (Oxford University Press, 2005). Although the dissertation was g more of a musical study, it became more culturally grounded as I 2 Continued 0 0 7 17 “I also had a composer friend who played jazz and introduced me to a lot of recordings. I thought ‘How is it that I didn’t have this before? This is wide open territory for research and writing.’ So I came to jazz pretty late among jazz people, but it became central to my scholarly interests.”

CURRENT PROJECTS New York. I started seeing reviews that referred to his ‘jazz songs.’ In Along the way Magee became intrigued by how and why Jewish- the 30s there was more focus on improvising musicians, African- American musicians were identified with jazz early in the twentieth American musicians, and a recognition that some of the great century and how they intersected with African-American traditions improvisers did not enjoy the kind of commercial success and pop - of jazz. “This is an issue that emerges in pieces such as Gershwin’s ularity that songwriters had. So the story about jazz writers changed Porgy and Bess and in Benny Goodman, a Jewish-American band - to one of African-American improvisers and arrangers who had leader, having become famous nationally playing music written by made many recordings and were fairly well known, but hadn’t got - Henderson and other black arrangers. It’s an interesting merger of ten the attention the songwriters had.” African-American traditions and Jewish-American traditions.” Leaving the symphonic world for a full-time faculty position at Magee, who has an article near publication on the subject, is cur - UI has felt a bit strange to Grubbs, although he has taught part-time rently working on a book about Irving Berlin, who presents a sec - since high school. Now living in Champaign with his wife Tania, an ond striking example: “In the teens of the twentieth century, Berlin accomplished vocalist, and their three children (Zoe, ten, who plays was considered the leading figure in ragtime, and in the 1920s was violin; Olivia, eight, who has not yet decided on a career in music; considered a major jazz composer. Why was Berlin seen as and Harrison, five), Grubbs is continuing to perform as central to jazz in the 1920s when he is not even writ - principal bassist with the Sinfonia da Camera and in ten about in more recent jazz histories? I’ve found a jazz gigs with his colleagues. In October, he was also number of possible explanations: musical reasons, soloist with the UI Philharmonia. He neatly bal - the kinds of illicit behavior associated with jazz ances his twin worlds of music. “Being full-time in that he wrote about in the lyrics, the people that an academic environment is definitely a lot differ - sang it, its theatrical context, all of these shaped its ent; calling the shots is different. It’s hard to get perception as jazz. used to, in a way, because when you play in an “But, another area I get into is that in the 1920s jazz orchestra, just about everything is dictated to you! was thought to be a Jewish musical idiom. It was openly And, naturally, I miss a lot of my friends.” Life, however, discussed then that Jewish composers had taken the raw material of has a circular way of reintroducing musical friendships, and Grubbs improvising jazz musicians, of course most of them black, and cul - now finds himself on the same faculty as Chip Stephens and Glenn tivated it in a new way that reached a larger public. Irving Berlin and Wilson, men he performed with on earlier CDs. George Gershwin were leading figures, as was Al Jolson because he Jim Pugh continues to play trombone on the road when he has starred in the Jazz Singer singing Berlin’s Blue Skies as a jazz song. A time, performing with Steely Dan in late summer of 2006. “Steely whole generation of Jewish immigrants came into their own in the Dan is basically rock and roll. It has two leaders, Donald Fagen and teens and twenties and led the way in popularizing the idioms then Walter Becker, very heavily jazz-influenced and -based; if they thought of as jazz. Looking back now we see the leading jazz figures weren’t famous rock and roll song writers, they would probably be as Louis Armstrong, Duke Ellington, Henderson to some extent, lounge musicians somewhere,” Pugh laughs. “Their branch of rock Sidney Bechet, and King Oliver. Armstrong, Ellington, and Hen - and roll has such a complexity of harmonic structures—with beau - derson were widely known in the 1920s, but even they didn’t get the tiful rhythmic grooves underneath. It’s blues-based but sophisticated kind of attention that Berlin, Gershwin, and some others did.” music that somehow snuck through the cracks and became popular With initial support from the National Endowment for the with people. We played and sold out 20,000-seat sheds or amphithe - s aters this past summer, even though many of their hits dated from o Humanities, Magee is delving into Irving Berlin’s theater work for n his new book, to be published as part of the Yale Broadway Masters the 1970s.” o r Series . “Along the way I worked on the songs that Berlin wrote for In September 2006, Pugh returned briefly to New York for a trib - i ute to Urbie [Urban] Green, a trombone jazz hero of his who t the Music Box Revues, which he helped fund the building of, in i e s 18 Avant-Garde Ethnomusicologist Professor Gabriel Solis recently celebrated his eightieth birthday. “Through his Not alone in his diverse interests, Jeffrey Magee joins Gabriel recordings he taught me so much about trombone tone Solis, assistant professor of musicology at UI since 2002, and sound and what the instrument is capable of doing.” who is a specialist in African-American music. “I entered The only trombonist recipient of the National Academy graduate school thinking I would study early 20th-century of Recording Arts & Sciences Virtuoso Award, Pugh was voted Latin American nationalist music composition, with a particular interest in Villa-Lobos,” says Solis. “But having played jazz and blues the Trombone MVP for five years by his colleagues in New York. as a saxophonist for, well, almost my whole life it seems, one thing led to Among his recent CD projects have been Everything Must Go with another. I decided to do a dissertation on Thelonious Monk, and continued to Steely Dan, Looking for America with Carla Bley, and E’nJ—Just Us explore my interests in (and enthusiasm for) salsa and Brazilian music. Since then for two lead trombones, recorded with the “trombone Wunderkind I’ve come to be an ethnomusicologist (though, a very historically oriented one).” Solis of Japan,” Eijiro Nakagawa. “These are all our own compositions— has worked recently in Australia with Aboriginal musicians and dancers. half of them his and half mine—and our third CD together.” He also has written an article on Thelonious Monk (published in the Musical Most recently, Pugh has concentrated on writing for brass Quarterly ) titled “Hearing Monk: History, Memory, and the Making of a Jazz Giant,” groups. He has composed for “a fabulous Japanese group” the Samu - and another in Ethnomusicology . His book, Monk’s Music: Thelonious Monk and Jazz rai Brass. “Last week I finished a piece called Living/Breathing . And History in the Making , now under publication, is due out in September 2007. Solis I also recently collaborated on a piece for brass quartet, sitar, and studies both jazz musicians and capoeiristas in the United States. Given his twin musi - tabla, which was recorded by the Graham Ashton Brass Ensemble, a cal enthusiasms, it is no wonder that he is drawn to the capoeira genre, which he explains, is an Afro-Brazilian art that includes music, song, dance, and martial art. group I was a founding member of and still perform with.” Solis is currently immersed in writing a book that deals with Tom Waits from a Composing and arranging are hardly distinct enterprises in critical perspective of masculinity studies, offering another slant to interdisciplinary Pugh’s mind. “Even in arranging there must be composing. Com - studies within UI’s School of Music. He describes Waits as a pop music experimentalist posing, arranging, and orchestrating all overlap. If you write a piece with roots in the singer-songwriter tradition that produced Dylan and Springsteen. “He and are going to do anything more than hand out lead sheets to the brings a taste for jazz, hipster counterculture, expressionism and just plain noise to combo, you have to become an arranger and orchestrator of your the mix. I find interesting the extent to which musical experimentation is part and own music. parcel of the projection of the themes in his lyrics. Writers have addressed Waits’s “In the freelance life, players are ‘always at the beck and call’ of biography or lyrics,” Solis adds, “but there’s so much in the music that has yet to be contractors,” Pugh further explains. “Whenever someone calls, you really considered.” stop what you’re doing. I like being away from that because while it Waits’s work since the 1970s has often been theatrical, including performance is often financially rewarding, it is rarely musically rewarding. Now art pieces in the mold of Laurie Anderson. He has significant work as a film actor, and recently has composed a series of operas. It could be said that Waits is also a good I’m involved in playing, writing, and arranging music that I really example of a crossover artist: Solis says these operas include The Dark Rider , based want to be involved in. The rest of the time I’m working with young on Weber’s Der Freischtüz ; Blood Money , based on Georg Buchner’s Woyzzek ; and people. It’s really great to be around the young energy of UI students. Alice , which deals with the relationship between Lewis Carroll and Alice Lidell, the “Since 1976 everything past my road time has been based in New inspiration for Alice in Wonderland . York City, where I’ve lived,” says Pugh, “but at this point Urbana “My interest in a gender studies approach to Waits’s work grows from my view offers a welcome change.” He credits Karl Kramer who, as dean of that Waits’s work as a songwriter, musician, and actor has dealt deeply with the the Purchase College Conservatory of Music, persuaded him to begin many forms outsider masculinity has taken in the 20th century gangsters, hobos, teaching, first at Purchase College and then at UI. “I’m grateful to winos, pimps, low riders, hucksters, and the like form the central themes of his him for yanking me into the world of academe. After I got over the songs. Much pop music is ultimately about masculinity and femininity (and amorous S p initial kicking and screaming, I found that I love working with the encounters of various sorts between them), but Waits projects masculinity differently r students. I’ve had a pretty active career, and now it’s time to turn it than do his predecessors and most of his contemporaries. He encourages us to look i at masculine icons as theatrical projections, rather than as authentic identities, and I n around and hand back what I’ve picked up along the way.” I g find that intriguing.” 2 0 0 7 19 Feature Poker Games, Liberation Classes, Popular Music, and the his story begins with a regular game of poker in which a musicologist, who kept trying to teach us an incomprehensible game number of music faculty members played for a good many in which he made up rules as he went along, and which we decided T years. It was established by Charles Hamm, professor of to call “Brazilian poker.” musicology, just as I arrived in Champaign-Urbana in 1964. Charles It was a pretty low-stakes game; on a disastrous evening one had started out as a composer, became an influential scholar of Ren - might lose $8.00. The routine was set: Always dealer’s choice. We aissance music with a Princeton Ph.D., and arrived at UI in 1963, began at 7:30; then at 10:30, the host (or more frequently, the ready for the change in direction that was to make him a seminal fig - host’s wife) would put out some grub—sandwich makings with ure in the study of popular music in the USA and South Africa. In mayo—but we continued playing without break, often raising the April 1964, I had been in Urbana briefly to look for housing and bet with the mouth full, and the last round of deals began at mid - spoken to Charles of my pleasure at the prospect of coming to Illi - night. The game moved quickly; cogitating at length wasn’t nois, but I mentioned that one thing I would miss in my former favored. I gotta tell you, I don’t know how we all worked a weekly abode, Detroit, was the friendly card game in which I played with a evening of cards, usually Tuesdays, into a busy teaching-per - group of colleagues. forming-research schedule. “You play poker?” Charles said. “That’s the best news I’ve heard I learned a lot of poker in that game over several years. We all semester.” And sure enough, after I had arrived in town in August specialized in the great classics, Jacks-or-better draw poker, 7- and started my courses, I was invited to Charles’s home for the first card-high-low, and 5-card-stud. But we also played many meeting of what later became one of the longest established perma - other games with colorful names such as Twin Beds; nent floating poker games in Champaign County. Besides Charles, Hot Bottom; 32 and 23; Three- there were some notable players in that first game: the distinguished Toed Pete; composers Salvatore Martirano and Kenneth Gaburo; John Garvey, violist and jazz educator; the talented music historian and musical radical Royal MacDonald; Bruce Foote, distinguished voice teacher and well-known Chicago radio singing personality; and the organist and author Russell Miles, then already retired. True to its floating character, the game changed personnel frequently over the years, counting among its members at various times Charles Leonhard, s great leader in the field of music education; also, for a few months, o n John Cage (who needs no introduction), who was a visiting profes - o r sor here for a couple of years; and in one game Gerard Béh - i ague, later the nation’s leading Latin Americanist t i e s 20 Bruno Nettl, Professor Emeritus of Music and Anthropolgy End of Camelot Little Red; High Chicago; Low-Ball; Buy-em-Wild-if-Paired (inex - plicably abbreviated BYP); Texas Stud; Anaconda; No-peekie (for comic relief), Hambone II (we never learned what Hambone I was); and a game-cum-performance known as Wild-Shove-It. The game always ended with a five-card “cold hand” which, if you won it, could reverse a disastrous evening. Oddly though, I’ve rarely found these games under those names in handbooks of card games. But I soon realized that poker was not just a card game, but a metaphor, maybe for academic life, in which you had “to know when to hold “John Cage, when he played, donned his hallmark air of sphinx-like mystery, but actually he usually didn’t win. Once he ended up owing Royal ten dol - lars (a lot in those pre-inflation days), and wrote a check, which Royal refused to cash, framing it instead and displaying it on his living room wall.”

‘em, know when to fold ‘em,” as the song admonishes. playing it on his living room wall. An occasional player for a year Charles and I considered making participation in a was Wolf Siegfried Wagner, the master’s great-grandson, known poker game part of the audition process for musicol - mostly by his nickname Wummi, a talented stage director who ogy searches, as it would tell us how quickly a can - worked with the opera workshop under Ludwig Zirner but was didate’s mind worked, whether he or she was a sore rather a disaster at the poker table. This wasn’t strictly a musicians’ loser (or, for that matter, a never-satisfied “sore” game, though. One occasional player was Solomon Levine, a pro - winner), a quick learner, flexible, discreet, and fessor of Japanese economics and the first director of the Center for willing to undergo some risk but knowing when to Asian Studies; and another, Merl Hobson, who operated a horse- cut losses. We didn’t think the dean would approve. drawn milk delivery service in the Twin Cities, and who regularly Sal Martirano, composer of “L’s GA” and “O, O, O, O, That cleaned everyone out. Shakespeherian Rag,” was one of the most memorable characters of The poker game began in 1964 as the era of Camelot was fading the game, affecting a mafioso manner and rasping “Open” when he and turning into the Vietnam war era with the Johnson administra - dealt stud poker, and “Closed,” for draw poker. His colleague tion’s excesses. In 1967, Charles spent a year in Bologna, and the Gaburo—a daring experimentalist, one of whose later compositions next year I found myself in Iran where I tried to learn something of consisted of a series of slides of art works alternating with typed sen - the Persian classical tradition, but also came upon the fascinating tences about music—played poker in a subdued style. Garvey, who repertory of popular music performed in large lower-middle-class constantly brought new ideas to the school, was, in the late 1980s music halls in Tehran and distributed on 45-rpm disks. I brought games, the last survivor of the original group. Putting on a didactic back hundreds of these records but didn’t quite know what to do manner, he announced his dealer’s choices and his raises with the with them. It turned out, though, that poker, popular music, and voice of a lecturer. Bruce Foote liked to pretend to be the sore loser, politics were to come together in an unexpected way. disappointed and exasperated even when he did well, causing Back from Iran in August of 1969, I was eager to start teaching Charles Hamm to coin the adage, “If there’s one thing I can’t stand, again to apply my experiences, and I remember brimming with a it’s a sore winner.” Royal MacDonald was all enthusiasm, something heady feeling of optimism for myself, for musicology at Illinois, for also characterizing his music history lectures. Professor Leonhard (it the U of I, for the nation, and the world. But perspectives quickly was always “Charles” Hamm and “Charlie” Leonhard), a man with took on a gloomier cast, and I now skip to the spring of 1970, when a mind of lightning speed disguised behind a gruff demeanor, took many in the nation, especially people in higher education, were vig - an aggressive stance, throwing players off guard by rushing them and orously protesting the war and the Cambodian invasion. Then there belittling their indecision. was the massacre at Kent State, the explosion in Madison, and the It seemed to me that Charles Hamm always won. I myself started National Guard on the quad in Urbana. with a three-year losing streak and my losses to Charles over several In my memory of over forty years at Illinois, one of the high years were tantamount if not to a Guggenheim, then at least to a points is the strike of May 1970. Many students and faculty felt that small ACLS grant, and so I take some credit for supporting Charles’s they should express their strong feelings by striking, not against the many-sided research. He rarely missed one of the weekly games and, University, but against the unreasonable and even criminal actions as the founder, he provided a dignified tone of southern gracious - of the government, and so, on the Sunday before the strike was to ness, usually referring to the event as “playing cards” rather than begin, musicology faculty and graduate students met and decided using the vulgar “poker”—a word which presumably suggested a not to hold classes the next week. Of course the purpose was not just group of coarse-tongued men using spittoons and pulling handguns to do nothing, so, with the leadership of Charles Hamm, Herbert on each other. Kellman, and Alexander Ringer, we planned to cancel our classes s o John Cage, when he played, donned his hallmark air of sphinx- but to institute instead a group of lectures and presentations that we n like mystery, but actually he usually didn’t win. Once he ended up called “liberation classes.” These were to start the next morning, and o r owing Royal ten dollars (a lot in those pre-inflation days), and wrote one of my vivid memories has Herbert Kellman and me carrying a i t a check, which Royal refused to cash, framing it instead and dis - large poster to Smith Music Hall about 7:30 A.M. in order to i e s 22 “Popular music as protest against the establishment and as symbol of solidar - ity with students became a touchstone of our efforts. This music was in those days something of a taboo in both ethnomusicology and also, at least in its twentieth-century sense, in music history.”

announce the program, trying to avoid being seen to make the problems that had been brought about, or were faced by, our gov - poster seem official. I have ever since been impressed by the ability ernment, it was not a time for business as usual. I think we felt that of my colleagues to put together an interesting, educational, and— we didn’t really know what to do, but in the face of what seemed an however one would define it—a “relevant” set of lectures. Charles intolerable situation, we simply had to do something. Hamm gave a talk about music in the USSR; Alexander Ringer Popular music tied Charles Hamm and me together in another spoke on music under the Nazis; Herbert Kellman discussed “The way that year. In 1970, I was serving as president of the Society for Oppressed Individual (Wozzeck);” and Gerard Béhague described Ethnomusicology, and Charles had just then been elected president the Brazilian bossa nova as protest music. of the American Musicological Society. The little house at 1204 Popular music as protest against the establishment and as symbol Nevada Street called Hill Annex, in which the musicologists had of solidarity with students became a touchstone of our efforts. This their offices, almost creaked under this accumulation of authority, music was in those days something of a taboo in both ethnomusi - and Charles and I had occasional power lunches at the nearby Thun - cology (then concerned principally with unmixed non-Western tra - derbird Café (now Timpone’s). We had in fact maneuvered our two ditions) and also, at least in its twentieth-century sense, in music societies to meet jointly in Chapel Hill in 1971, and when it came history. I pulled out my recordings of Persian popular music, the to thinking of a joint session, Charles insisted that it be devoted to most radical of musical material generally available in Tehran, and popular music. We gave our respective program committees the talked about the way it expressed some of the values of working-class hard sell, and a session took place, but it went over badly, and we society unhappy with the rule of the Shah. A naïve view, I now went home depressed, feeling that our attempt to get popular music know, because it was this music that was first of all outlawed by the included in the purview of both music historians and ethnomusi - radical fundamentalists who took over Iran in 1979. There were cologists had been a failure. Of course, we consoled ourselves with other “liberation classes”—some conventional, suggesting how our regular card game. music could be an early warning of the dangers of autocratic gov - Actually, that session on popular music led to many others. Now ernments; others a bit outré, such as our harp instructor’s talk about popular music plays a substantial role at AMS meetings, and it “The Harp and Revolution.” It was really an amazingly exciting clearly dominates the annual conferences of the SEM. By the 1990s, week, and we were constantly on campus, teaching, arguing, and the whole question of musical taxonomy had become the subject of demonstrating. Even so, we didn’t skip the weekly poker game. much more sophisticated discourse, and most music historians knew It was about that time (actually in 1969) that Dan Perrino led the something about popular repertories and had an inter - founding of the Medicare Eight, a group of middle-aged musicians, est in their study on an intercultural basis. At that faculty, administrators, and locals, who played mainly Dixieland jazz 1971 meeting, the SEM and to some extent the AMS, at first, just to show the young folks that not everyone over thirty- perhaps without knowing it, had turned a corner. five was untrustworthy. One of the prominent members of this The tragic moment for our game, the end of our group was trombonist Morris Carter, long-time associate director of own Camelot, occurred in the fall of 1972, when the School of Music. Others well known to SOM alumni also Royal MacDonald, evidently unable to cope with played, but the membership shifted and the group eventually came problems about which we knew little, shot himself to be called “Medicare Seven, Eight, or Nine (depending on how in his backyard and died on the way to the hospi - many show up).” This is an organization that deserves its own tal. We didn’t really know why Royal took his life, but we all accounting in UI history. somehow felt guilty. For years afterwards, we veterans in the Musi - Later we sometimes asked ourselves why, against whom, and pre - cology Division felt that the atmosphere could never return to the S cisely for what purpose we had gone on strike. But surely it was to easy collegiality of the earlier days. Nevertheless, the day after the p express solidarity with the students’ antiwar movement, to show that funeral, we decided that we must lift our spirits and thus held the r i people who talked only about music could make their area of study first annual Royal MacDonald Memorial Poker Game. m n relevant to the political and social concerns of the day, and, most of g This article includes revised and expanded portions of the author’s book, Encounters in Ethnomusi - all, to declare that whatever we thought might be the solution to the cology: A Memoir (Warren, MI: Harmonie Park Press, 2002), pp. 157-160. 2 0 0 7 23 Band Notes

felt that I was part of the team. I really How do you get to Carnegie Hall? appreciated being able to share in the excitement and fruition of the work.” Plane, bus and 18 months of planning Also part of the team making it all pos - sible was Lucinda Lawrence, assistant to Melissa Mitchell, UI News Bureau, Arts Editor the director and bands librarian. Lawrence handled all the music-related details of the trip—including assembling and packing all the sheet music and helping set the stage, once on-site at Carnegie Hall. Griffin said that director of bands James Keene started the whole planning ball rolling more than a year prior by arranging the concert date with the presen - ter Choice Music Events, selecting music for the program, locking in a rate for air - fare to New York, and negotiating con - tracts with the hotel and Carnegie Hall. Further complicating the planning plot, Griffin said, was the fact that the Carnegie Hall concert was not the only gig on the band’s New York tour schedule. During the week leading up to the show, they made performance stops at four schools in the metropolitan New York area. They actually started the tour in Illinois, with a perform - When friends and fans of the university “Typing letters for Mr. Keene, the con - ance at Glenbrook North High School in came out to support their home team—the ductor; making sure checks got mailed; Northbrook. The next day, they boarded a UI Wind Symphony—during the band’s working on menu planning; communicat - plane from O’Hare International Airport to historic debut performance in New York ing with the hotel… I was responsible for New York’s LaGuardia Airport, with per - City’s Carnegie Hall on Feb. 17, 2006, making sure everything was done correctly sonal luggage and dozens of instruments most of the Illinois faithful came dressed and all parties were on the same page,” in tow. not in orange and blue, but in tuxedos and Sherman said. While most of the logistics Griffin said the vast majority of the elegant evening attire. involved—including handling group ticket band’s students own their instruments and Just before the concert, as the band’s sales and figuring out how best to move were responsible for carrying them on supporters milled around inside the famous 62 band members, a handful of staff mem - board with them. Larger pieces—including venue—with its plush, red seats and bers, dozens of instruments and cases of a drum case, 14 percussion cases and four ornate, domed ceiling trimmed with gilded music to New York and back—fell to assis - music cases—were transported as checked cherubs and lyres—their focus was likely tant band directors Peter Griffin and Ken - luggage. But the largest instruments of all— on the glamour and excitement unfolding neth Steinsultz, Sherman provided the notably a harp, bass drum, timpani, xylo - around them at that moment. But at least clerical support required to complete the phones, marimbas and chimes—were one person in the audience was taking in transactions. “Usually, Ken and Peter rented on location in New York. the spectacle from a different perspective. would start a particular project, making The students were transported by Looking down onto the main floor and con - the initial contacts, then hand off to me to bus—two buses, actually—from point to cert stage from her second-tier box seat, finish.” point in the New York area, and housed s o bands department secretary Ginny Sher - As a reward for her efforts, Sherman by host families in the communities where n man was witnessing the culmination of a was given the opportunity to accompany they played. Steinsultz also made three o r year and a half of complex planning and the band to New York. “I was so grateful trips to New York prior to the tour to work i logistics. that Mr. Keene included me,” she said. “I out logistics with the hotel and Carnegie t Hall staffs, even checking actual travel i e s 24 Admissions Activities

Joyce Griggs, Assistant Director for Enrollment Management and Public Engagement

times from one location to the next. “We wanted to make sure we had that down,” A Boom Year! Steinsultz said. This fall the School of Music enrolled its largest freshmen class with 145 With so many details to manage, Grif - students. In addition, the School enrolled 102 new graduate students. fin acknowledged that there was plenty of room for plans to unravel, but nothing With more than 1,000 applications, the admissions selectivity for the cropped up that the able team couldn’t han - School of Music has increased significantly, allowing faculty to admit dle. “If we ran into a problem, we knew students of the highest caliber. These bright, talented, interesting people who to call,” he said. And they had back- hail from across the country and from around the world. up plans in place every point along the way. “We brought an extra set of music The rise in student matriculation is evidence of the on-going recruitment and outreach and had a list of cell phone numbers for all efforts supported by the School of Music. Through events such as college fairs, Open House, of the students.” Allerton symposia, prospective student visits, and most importantly faculty contact, students Euphonium player Chris Barnum said have tangible experiences to draw upon when making a decision about attending the U of the fantastic support provided by Griffin I. Prospective students have also heard our ensembles in Carnegie Hall, at IAJE, and in and the other bands staff members was key to their successful tour and Carnegie Hall Orchestra Hall in Chicago. performance. With the recent “retooling” of Illinois Summer Youth Music, participating students are “We didn’t have to worry about any - offered an enhanced experience in the long-standing tradition of excellence provided by thing,” he said. “Ken and Peter did every - this camp. In the last two years, faculty involvement in the high school camps has increased thing. That really allowed us to concentrate on our playing. So that was great.” In turn, to almost one hundred percent. Courses in music technology, composition-theory, group Griffin said, after the long hours he and piano, and conducting are also being offered, giving serious music students an introduction other staff members devoted to planning the to topics that are critical to the study of music, but not always courses one would take in tour, being able to hear the program’s best high school. Complementing the larger high school camps are specialty camps ranging players perform—in top form—in the nation’s premier concert venue was all that from double reed and piano to flute, trombone, and saxophone. The first two sessions of mattered. camp now run consecutively so that students who wish to stay for a double dose of ISYM “The rewarding thing for me was to may do so. Please check your mailboxes or the School of Music website for 2007 applica - see and hear the UI band on the stage of tion materials! Carnegie Hall and to hear how incredibly This past year also saw changes of personnel in the Music Admissions Office. The School well and professionally they played,” he said. “And they knew they played well. of Music hired a new Admissions Secretary and a new Coordinator of Enrollment Manage - That was the reward.” ment and Student Services. Jennifer Todd joined the secretarial staff in February; Daniel Hassler joined the admissions team in mid-July. We are currently accepting new student applications and with each passing day are becoming more deluged with paperwork. It is an 100 Years of Illinois Loyalty exciting process that is ever-changing and exhilarating. The UI Symphonic Band II presented a concert of “100 As always, please invite students, friends, or colleagues to explore the School of Music. Years of Illinois Loyalty” on March 3, 2006, in the We are happy to set up individual appointments, or prospective students may contact us to Foellinger Great Hall of the Krannert Center for the Per - participate in our daily tour and informational session offered at 1:30 p.m., Monday forming Arts. The concert commemorated the 100th through Friday. It gives me great pleasure to represent you and your alma mater in such an anniversary of the first playing of “Illinois Loyalty.” important role. If I may ever be of assistance to you or someone you know, please do not S The evening included “The Overture to William Tell” by hesitate to contact me at [email protected]. p Rossini, “Light Cavalry Overture” by Suppé, and original r arrangements of Illinois songs, including “Oskee Wow i Warm regards and best wishes for a terrific year. n Wow,” “By Thy Rivers Gently Flowing,” and “Cheer Illini.” g Peter Griffin conducted and Kenneth Steinsultz, the guest 2 soloist, performed Herbert L. Clarke’s “Sounds From the 0 Hudson” on double-bell euphonium. 0 7 25 New Appointments

Dr. Edward Rath, Associate Director and Assistant Professor of Music

Ani Aznavoorian , Concert Series. This season Ms. Aznavoorian Gamelan Genta Pinara Pitu at the University Assistant Professor of performed two world premieres: Ezra Lader - of Maryland. In 1993–94, he was invited to Cello, was recently man’s Concerto no. 2 with the Colorado lead a gamelan workshop at the Université de hailed by the Los Ange - Springs Philharmonic under the baton of Montréal, along with an ensemble at the East - les Times as a “cellist Lawrence Leighton Smith; and Lera Auer - man School of Music, and Gamelan Giri who shows great sensitiv - bach’s 24 Preludes for Cello and Piano on Mekar, a private group in Woodstock (NY). In ity and great virtuosity at stage at the Hamburg Staatsoper with the 1997, he directed the Amsterdam-based all moments.” She is in Hamburg State Ballet, choreographed by John gamelan group Sandi Sari, and in the spring demand as a soloist and chamber musician Neumeier. Other engagements include an act - of 2000, led the gamelan beleganjur ensem - with several of the world’s most recognized ing role in Japan’s popular NTV mini-series ble Eka Sruti Illini at UI. In the fall of 2001, ensembles and has appeared with many of Harmonia , where she portrayed a fictional he taught the private gamelan group Sekar the world’s leading orchestras including the young cellist. She also appeared in a live tele - Jaya, affiliated with the University of Berkeley. Chicago Symphony, Boston Pops, Tokyo Phil - vised performance of the Vivaldi Double Cello He has subsequently presented gamelan harmonic, Helsinki Philharmonic, Finnish Concerto on Paula Zahn Now with Paula workshops at Florida State University and Radio Symphony, International Sejong Zahn as the second cellist. She is an avid taught the innovative gamelan style of Semara Soloists, Indianapolis Philharmonic, San Jose chamber musician and has performed in Dana as a visiting faculty member at the Uni - Symphony, The Juilliard Orchestra, Concer - chamber ensembles with Gil Shaham, Cho- versity of Missouri-Kansas City Conservatory tante di Chicago, and Edmonton Symphony. Liang Lin, Sarah Chang, Eugenia Zukerman, of Music, as well as to Genta Kasturi, a newly She has appeared as recitalist and chamber Edgar Meyer, Ruth Laredo, Nadja Salerno- formed gamelan group in Kansas City. musician throughout the United States, Italy, Sonnenberg, the Pacifica Quartet, and the France, Finland, Yugoslavia, Japan, Korea, Shanghai Quartet. She is a member of the Kari Besharse , Visiting Lecturer in Composi - Australia, Taiwan, and Canada. In 2000, Ms. renowned string ensemble International tion-Theory for the fall semester, received her Aznavoorian received the prestigious Bunka - Sejong Soloists, ensemble-in-residence at the bachelor’s degree in music composition at the mura Orchard Hall Award. Her other awards Great Mountains Music Festival in South University of Missouri at Kansas City, and her include first prizes in the Illinois Young Per - Korea. She is also a founding member of the master’s degree at The University of Texas at formers Competition (televised live on PBS Corinthian Trio with pianist Adam Neiman Austin; she is currently completing doctoral with the Chicago Symphony), Union League and performs frequently in the Jupiter Cham - studies at the University of Illinois at Urbana- Civic and Arts Foundation Music Scholarship ber Music series in New York. She proudly Champaign. Kari Besharse is a composer Competition, Chicago Cello Society National performs on a cello made by her father Peter working in both electroacoustic and acoustic Competition, Julius Stulberg Competition, and Aznavoorian in Chicago. mediums. Her works combine an avid interest American String Teachers Association Compe - in science and natural processes with various tition. She was a top prizewinner in the 1996 I Ketut Gede computer programs and electronic techniques, International Paulo Cello Competition, held in Asnawa , International and she also enjoys collaboration with other Helsinki, Finland. As a recipient of the 1995 Council Visiting Professor arts such as dance, theater, and video, bring - Level I award in the National Foundation for of Musicology, was born ing them together with technology. She the Arts Recognition and Talent Search, Ms. in Densasar, Bali, recently completed a residency at the Univer - Aznavoorian became a Presidential Scholar Indonesia, where he pre - sity of Birmingham Electroacoustic Music Stu - in the Arts and performed as soloist at the viously taught at the dios in England where she created a new Kennedy Center in Washington, DC. As a National College of the eight-channel tape piece, Firmament . first-year student at The Juilliard School, Ms. Arts (STSI) and the High School of Performing Aznavoorian won first prize in the institution’s Arts. Since the fall of 2006, he has been Teofilo (Tito) concerto competition—the youngest cellist in teaching various styles of Balinese gamelan at Carrillo , Assistant Pro - the history of the school’s cello competitions to UI, through the School’s new Center for World fessor of Jazz Trumpet, do so. With only 12 hours’ notice, Ms. Music. His compositions have been featured received his B.M. degree Aznavoorian stepped in to replace Natalie at prestigious events such as the Festival of from Northern Illinois Gutman in three performances of the Young Composers in Jakarta and the annual University. He joined the Shostakovich Cello Concerto no. 1 with the Bali Arts Festival. Recently, his talent as a Illinois faculty in spring San Jose Symphony. Other notable appear - composer and innovator in Balinese music 2006 on a part-time s ances include concerts at Carnegie Hall, was recognized in the Grove Music Online. appointment, and assumed full-time duties in o Alice Tully Hall, Ravinia, Aspen, the Dame An accomplished gamelan musician, Asnawa n fall 2006. He is a trumpeter, educator, band - o Myra Hess Memorial Concert Series, WFMT has toured Europe, the United States, and leader, composer, and arranger, and since r Live from Studio 1, and the Music in the Loft Asia, and has been invited to teach gamelan 1996 has been a fixture on the Chicago jazz i to audiences throughout North America and and Latin music scenes. The list of artists he t i Europe. From 1989 to 1991, he taught e s 26 has performed, recorded, and toured with is Joe Williams. He has also been featured on ber of The Juilliard Opera Center and sang in as varied as his skill set: Chicago heavy - recordings with Eric Allison (tenor sax), Andy several opera productions directed by Frank weights Willie Pickens, Bobby Broom, Patricia Goodrich (alto sax), Roger Humphries Corsaro and Ted Altschuler including La Cal - Barber, and Kurt Elling; big bands such as the (drums), Duffy Jackson (drums), Sean Jones isto , Così fan tutte and Weill’s Der Woody Herman Orchestra, Chicago Jazz (trumpet), Turk Mauro (tenor sax), Melton Kuhhandel . In 1999, he won First Prize Ensemble, Chicago Jazz Orchestra, and Mustafa (trumpet), Teddy Pantelas (guitar), Award in the Licia Albanese-Puccini Founda - Smithsonian Masterworks Orchestra (directed Jimmy Ponder (guitar), Lonnie Smith (organ), tion Competition in NYC and was also invited by David Baker); jazz greats such as Toshiko Joe Williams (vocalist), Nicole Yarling (vocal - to participate in Plácido Domingo’s Operalia Akiyoshi, Louis Hayes, Jon Faddis, and Vin - ist/violin), and our own Chip Stephens World Opera Contest. While at The Juilliard cent Herring; Salsa legends such as Andy (piano). For ten years, he was section bassist School, he was chosen to represent the voice Montañez, Tony Vega, and Cheo Feliciano; in the Pittsburgh Symphony Orchestra, the division for a PBS City Arts documentary on Latin jazz giants Tito Puente and Paquito appointment to which was made by maestro Juilliard entitled “Taking the Vow.” He was a D’Rivera; and pop icons Quincy Jones and Lorin Maazel. Prior to his arrival in Pittsburgh, 1999 Merola Opera Center participant in Phil Collins. Carrillo has played some of the he performed for five years as a section San Francisco and performed the title role in most prestigious venues in the world, includ - bassist in the Florida Philharmonic Orchestra. the Western Opera Theater national tour of ing Chicago’s Symphony Center, Carnegie He began his professional career with a two- Don Giovanni . During the summer of 2000, Hall, Kennedy Center, and London’s Royal year appointment in the Atlanta Symphony after participating in the premiere season of Albert Hall. His work has been heard at inter - Orchestra as a fellow of the Lincoln Center- Opera Aegean in Greece under the artistic national jazz festivals in Chicago, Telluride, based Music Assistance Fund, now known as direction of Sherrill Milnes, Mr. Herrera Montreux (Switzerland), North Sea Jazz Festi - the Sphinx Organization. received the Demodocus Award that led to his val in The Hague (Netherlands), and Pori (Fin - Carnegie Hall debut as the bass soloist in land). As an educator, he served on the Daniel Hassler , Coordinator of Enrollment Beethoven’s Symphony no. 9 in D minor . In faculties at the Chicago College of Performing Management and Student Services, was 2002, he received the Adler Fellowship with Arts at Roosevelt University, as well as North - awarded the B.A. in music education and San Francisco Opera and appeared in many western University prior to his appointment at music theory-composition at The Master’s Col - San Francisco Opera productions, including Illinois. He has also brought his talents as an lege in Santa Clarita (CA). Among Daniel’s La Traviata , Eugene Onegin , The Mother of educator and performer to Chicago’s inner- responsibilities is facilitating communication Us All , and Billy Budd . He has sung many city high schools through the Ravinia Festival’s between prospective students and the School concerts and recitals in Europe including a community outreach program, the Ravinia of Music. In addition, he organizes and over - recital of music by Paul Bowles in Palma de Jazz Mentors. Of Carrillo, the Chicago Trib - sees all application and audition procedures Mallorca (Spain); L’enfance du Christ by une states “he has acquired a reputation as a for the School. Prior to his current appoint - Berlioz in the Cathedral of Monaco, and a fluid improviser, doubly-blessed with a warm ment, he was a graduate student in Historical recital of opera arias and Mexican songs in lyric style and technique to burn.” He contin - Musicology at the University of Illinois. Greve (Italy). He made his European operatic ues to lead his own quintet in Chicago and Daniel’s musical interests lie primarily in mod - debut as Escamillo at the Oldenburgisches throughout the Midwest, as well as being an ern American music of the twentieth and Staatstheater in Germany. Recent engage - active guest soloist and clinician at various twenty-first centuries. He is currently complet - ments include Don Giovanni with Pine Moun - secondary and collegiate jazz programs. ing his thesis, examining three generations of tain Music Festival, Mozart’s Requiem and Jewish-American musical response to the Brahms’ Requiem with Marin Symphony, Car - Jeffrey (Jeff) Holocaust. He and his wife Desirée, a doc - men with El Paso Opera, Elijah with San Grubbs , Associate Pro - toral candidate in vocal performance and lit - Francisco City Chorus, The Dream of Geron - fessor of Jazz Bass, erature, live in Champaign with their two tius with Kalamazoo Symphony, Earthrise received his B.M. degree sons, Jackson and Samuel. with San Francisco Opera, Macbeth with from Youngstown State Berkeley Opera, Semele and Agrippina with University, continuing Ricardo Herrera , Chicago Opera Theater, and L’italiana in with graduate studies at Assistant Professor of Algeri with San Francisco Opera. In 2005, the Cleveland Institute of Voice, received his bach - he performed the roles of Tiresias and Le Music, and later receiving an Advanced Stud - elor’s degree from the Veilleur in Enesco’s Oedipe with Sinfonia da ies Certificate from the University of Southern University of Texas at El Camera under Ian Hobson. Among his most California. He has taught at the Brevard Paso and his master’s recent engagements were feature roles with Music School, Florida International University, degree from The Juilliard San Francisco Opera, The Celebrant in Bern - and Clark-Atlanta University, and was an School. His principal stein’s Mass as part of the 75th Anniversary adjunct faculty member at Carnegie Mellon teacher was Daniel Ferro, and he has per - Gala of the UI College of Fine and Applied University. Mr. Grubbs is the quintessential formed in master classes for Daniel Ferro, Arts, Figaro in Nozze di Figaro with Sinfonia crossover artist, excelling in both classical Sherrill Milnes, Jerome Hines, Renata Scotto, da Camera, and several recitals with New and jazz bass. Early on he demonstrated Leontyne Price, Robert Lloyd, and Thomas York Festival of Song. prowess as a jazz bassist, winning Downbeat Allen. S p magazine’s Dee Bee award during his under - A bass-baritone, Ricardo performed the r graduate days. Over the past decade, he has title role in Mozart’s Don Giovanni with the i performed in concert and on tour with numer - Aspen Music Festival under Julius Rudel in n ous jazz luminaries such as Nat Adderly, 1997, and the next year he became a mem - g Mose Allison, Kenny Burrell, Ellis Marsalis, 2 Billy Taylor, Diane Schur, Andre Previn, and 0 0 7 27 New Appointments

Jeffrey Magee , Asso - for orchestra music, the 2004 Tampa Bay Symphony Orchestra, Helsinki Philharmonic, ciate Professor of Musi - Composers’ Forum Prize for Excellence in Belgrade Philharmonic, Orchestra of Radio- cology, received his B.A. Chamber Music Composition, and the 21st France, Bolshoi Theatre Orchestra, National and B.M. from Oberlin Century Piano Commission Competition at the Orchestra of Belgium, Orpheus Chamber College, an M.A. from University of Illinois. He also received second Orchestra, Aspen Chamber Symphony, Indi - the University of Califor - prize in the 2005 ASCAP/SEAMUS Student anapolis Symphony Orchestra, Mexico State nia at Berkeley, and the Commission Competition and has twice been Symphony, Orquestra Sinfõnica de Estado de Ph.D. from the University named a regional winner and national finalist São Paolo in Brazil, and Melbourne and of Michigan. Jeff teaches and writes about in the SCI/ASCAP Student Composition Com - Queensland Symphonies in Australia. He has music in the United States, especially jazz, mission Competition. His works have received worked with renowned conductors Lorin musical theater, and popular song. His inter - many performances throughout the United Maazel, Daniel Oren, Vladimir Fedoseyev, Lu ests include a variety of African-American tra - States, Europe, and South America at events Jia, Lior Shambadal, and En Shao, among ditions, issues of Jewish-American musical such as SEAMUS national conferences, SCI others. In 2002, he was proclaimed “Artist of identity, and black-Jewish intersections. He is conferences, Florida Electro-acoustic Music the 20th Century” in Belgrade. Mr. the author of The Uncrowned King of Swing: Festivals, North American Saxophone Milenkovich is deeply committed to interna - Fletcher Henderson and Big Band Jazz Alliance conferences, “Confluences—Art and tional humanitarian causes. He was (Oxford, 2005), which won an award for Technology at the Edge of the Millennium” in appointed “Child Ambassador” of the First excellence in Historical Recorded Sound Spain, the Soundings Festival in Scotland, Children Embassy founded in Medjasi Research from the Association for Recorded and Nuclea Musica Nueva de Montevideo in (Yugoslavia), during the war in Bosnia. In Sound Collections. He is now writing a book Uruguay. He attended the prestigious 2006 2002, he received the “Lifting Up the World about Irving Berlin for the Yale Broadway Minnesota Orchestra Composers’ Institute dur - With Oneness Heart” award for his humani - Masters series through support from the ing which his piece Surreal Abundance was tarian activities—handed to him personally by National Endowment for the Humanities “We performed in an open reading session by the the guru Sri Chinmoy. Most recently, he the People Project.” Professor Magee has pub - Minnesota Symphony Orchestra, conducted received the 2003 “Most Humane Person” lished articles in the Journal of the American by Osmo Vänska. Other recent performances award in Belgrade. He has also participated Musicological Society , American Music , include the premieres of Three Pieces for in a number of gala concerts under the aus - Black Music Research Journal , Current Musi - Piano and Unseen Origin (two pianos and pices of UNESCO in Paris, with such artists cology , and Musical Quarterly , and a chap - two percussion), as part of the 21st Century as Plácido Domingo, Lorin Maazel, Alexis ter, “Ragtime and Early Jazz,” in The Piano Commission Concert in February, and Weissenberg, and Yehudi Menuhin. Mr. Cambridge History of American Music . the March premiere of Flurry (soprano saxo - Milenkovich’s 2005–06 orchestral season Before joining the Illinois faculty, he taught at phone and electro-acoustic music), at the SEA - included appearances with the St. Petersburg Indiana University (1997–2006), and served MUS National Conference in Eugene, State Orchestra, Saarbrücken Radio-Sym - as executive editor of the score series Music Oregon. Upcoming performances of Drift are phony Orchestra, Berliner Symphoniker, of the United States of America (1993–97). scheduled at the International Electro-Acoustic Orchestra of Rome and Lazio, Cedar Rapids He has been editorial board member for Music Festival of Santiago in Chile, the Elec - Symphony Orchestra, Key West Symphony, American Music , Journal of Musicology , Jazz tronic Music Midwest festival, and the Interna - Georgia and Rome Philharmonics, and Ljubl - Perspectives , and the Black Music Research tional Computer Music Conference. In jana Symphony Orchestra. Other engage - Journal , and is co-editor of the book series addition to composing, Martin has appeared ments include performances at the Seattle Profiles in Popular Music for Indiana Univer - as a guest conductor with the University of Illi - Chamber Music Festival and Vail Music Festi - sity Press. In addition, he is secretary of the nois New Music Ensemble and has conducted val in Colorado. An avid chamber musician, Society for American Music. several of his own works and the works of he performs regularly in the Jupiter Chamber colleagues. He is active as a pianist and has Music Series in New York City, and with the Ed Martin , Visiting Assistant Professor in studied piano with William Heiles and Kevin Corinthian Piano Trio featuring pianist Adam Composition-Theory, earned his B.M. degree Sharpe. Neiman and cellist Ani Aznavoorian. Mr. at the University of Florida, the M.M. at The Milenkovich also appeared with Itzhak Perl - University of Texas at Austin, and his D.M.A. Stefan Milenkovich , man at the Perlman Music Program on Shelter at the University of Illinois at Urbana-Cham - Associate Professor of Island, Long Island, where he served on the paign. He has studied with Scott Wyatt, Violin, is recognized violin faculty from 2000–04. Mr. Milenkovich Stephen Taylor, Guy Garnett, Dan Welcher, internationally for both started his career at a very young age, per - Donald Grantham, Russell Pinkston, Steven exceptional artistry and forming with his first orchestra at the age of Montague, James Paul Sain, and Budd Udell. his life-long commitment five. At age 7, he won the grand prize at the Originally from Bethlehem (PA), Ed Martin to humanitarianism. He Jaroslav Kocian International Violin Competi - composes rich, colorful, and energetic instru - came to international tion. This unprecedented accomplishment mental and electro-acoustic music arising from attention when, at age 10, he was invited to opened opportunities and invitations to per - intricate combinations of musical lines and perform for President Ronald Reagan, at the form concerts in over 30 countries. At the age recorded sounds. His music has been White House “Christmas Show.” This perform - of 16, Mr. Milenkovich played his 1000th s awarded first prize in the 2005 Electro- ance was followed by an invitation from the concert in Monterey, Mexico. That same year, o Acoustic Miniatures International Contest, the former Soviet President Mikhail Gorbachev to he was either prizewinner or finalist in the n o 2004 Craig and Janet Swan Composer Prize perform in Belgrade (Yugoslavia). He per - International Violin Competition of Indianapo - r formed twice before Pope John Paul II in i Castelgandolfo (Italy). His international t orchestral appearances include the Berlin i e s 28 lis (USA), Queen Elisabeth Competition (Bel - is also active as a performer of new music with correlating projects. Her past business gium), Hannover Violin Competition (Ger - and was the winner of the 2004 “21st Cen - experience includes consulting for several For - many), Tibor Varga Competition tury Piano Commission Competition” as both tune 500 industries, as well as working with (Switzerland), Rodolfo Lipizer Competition pianist and composer. He recently performed not-for-profit organizations in the community. (Italy), Paganini Competition (Italy), Ludwig a concert of his music at the Krannert Center Spohr Competition (Germany), and the for the Performing Arts. Glenn Wilson , Visiting Yehudi Menuhin Competition (England). Mr. Lecturer in Jazz, received Milenkovich’s discography includes four com - Reynold Tharp , Visit - his B.M.E. degree from mercial releases on the Italian label Dynamic, ing Assistant Professor of Youngstown State Univer - and numerous recordings for the Yugoslavian Composition-Theory, sity and his M.M. in jazz label PGP. began his studies in com - performance from the position and history at University of Illinois. Daniel Oberlin College and Glenn has been a profes - Neuenschwander , earned a Ph.D. in com - sional jazz saxophonist for over 30 years. Visiting Lecturer in position at the University After completing his undergraduate degree in Bands, received his B.A. of California, Berkeley, studying with Jorge 1977, he moved to New York City, where he in Instrumental Music Liderman, Richard Felciano, and Cindy Cox. worked and recorded with the Buddy Rich Education from the Uni - His music has been performed in the U.S. and Band, Lionel Hampton Orchestra, Toshiko versity of Wisconsin- Europe by groups such as the Berkeley Con - Akiyoshi Jazz Orchestra, Tito Puente, Madison and his M.M. temporary Chamber Players, Ensemble Dif - Machito, Bill Kirchner Nonet, Bob Belden in Trombone Performance from the University fraction (Paris), the Orchestre Lyrique de Ensemble, and scores of other jazz and latin- of Akron; his Ed.D. in Music Education is in Region Avignon-Provence, and the Nieuw jazz groups. Glenn’s first CD as leader, the progress at the University of Illinois. Dan has Ensemble (Amsterdam). Awards for his music highly-reviewed Impasse , was issued in 1984 studied with Elliot Chasanov, Edward include Columbia University’s George Bearns by Cadence Records. In 1988, Glenn began Zadrozny, William Richardson, and James Prize for his orchestral work Drift , BMI’s his association with Sunnyside Records with Wheat. Prior to his current appointment, Dan William Schuman Prize, and Berkeley’s the release of Elusive . Three more CDs with served as a graduate teaching assistant with DeLorenzo Prize. As recipient of Berkeley’s Sunnyside— Bittersweet , Blue Porpoise the University of Illinois Bands and the Music Ladd Fellowship, he spent two years in Paris Avenue , and One Man’s Blues —as well as a Education Department. He conducts Concert studying composition with Philippe Leroux and recording for Timeless Records, Lee’s Keys Band I and assists with the athletic bands, orchestration with Marc-André Dalbavie and Please , followed in the next decade. He also production of Wind Symphony recordings, was selected for the Stage d’Automne at appeared on over 25 jazz recordings as a and coordination of Festivals and special IRCAM in 2000. He has also participated in sideman during this time. Glenn’s CDs are events. Prior to coming to Illinois, Professor international new music festivals and work - featured in the Penguin Guide to Jazz and Neuenschwander taught at Canfield High shops, including Centre Acanthes and The Gramophone Guide to Good Jazz , and School and Canfield Village Middle School in IRCAM’s Academie d’Été. His orchestral work he has also received a National Endowment Canfield, OH. Under his guidance, the Can - Cold Horizon was performed at the 2006 for the Arts grant and has been featured in field High School Bands were selected to play Minnesota Orchestra Reading Sessions and the DownBeat Magazine Critics Poll. From at several music conferences, including the Composer Institute. He has recently written 1991 to 2001, Glenn was an active member Ohio Music Education Association State Con - pieces for the Berkeley Edge Festival and the of the jazz community in Virginia, Washing - ference at Columbus in 2001. He is a mem - Irving M. Klein International String Competi - ton DC, and Baltimore and has performed ber of MENC, IMEA, NBA, and TBA. tion in San Francisco. Current projects include numerous times at the Kennedy Center and a commission from the San Francisco Contem - Blues Alley Jazz Club. In 1993, he recorded David Psenicka , Visit - porary Music Players for their 2007–08 sea - with pianist Bruce Hornsby on Harbor Lights ing Lecturer in Composi - son, a piece for Paris-based pianist Ivan Ilic, and joined Bruce’s band. With Bruce, he was tion-Theory, earned a B.S. and a duo for flutist Jonathan Keeble and featured on VH1 Center Stage , Austin City degree in electrical engi - harpist Ann Yeung. Professor Tharp has also Limits and Arsenio Hall , and received a gold neering and a B.M. taught composition and theory at Northwest - record for his playing and arrangements on degree in music composi - ern University’s School of Music, the Univer - Harbor Lights . Glenn continues to record for tion at Ohio University, sity of California at Berkeley, and San Sunnyside Records and leads an active tour - and a master’s in music Francisco State University. ing schedule around the world. Glenn and his composition at the University of Illinois, where family reside in Normal (IL), where his wife, he is working to complete a D.M.A. David’s Jennifer Todd , Secretary in the Admissions Janet, is assistant professor of acting at Illinois recent works are acoustic and electro-acoustic Office, received a B.S. in Business Administra - State University. pieces written using algorithmic processes tion, graduating summa cum laude. Jennifer based on ideas from chaos theory and artifi - provides administrative support for incoming cial intelligence. He is the author of several undergraduate, graduate, and transfer stu - S p software packages including SPORCH, a pro - dents seeking admission into the School of r gram that derives harmonies and orchestra - Music. She processes and compiles data for i tions of acoustic instruments based on student evaluation, assesses admissions mate - n recorded sound sources, and FOMUS, a Lisp- rial, and assists faculty and admissions staff g based music formatting program for parsing 2 raw musical data into readable notation. He 0 0 7 29 Faculty News

Christina Bashford Society of Composers, Inc. (SCI) confer - Ollie Watts Davis (musicology) gave a ence at Rice University. Browning’s music (voice) appeared as number of conference was performed in England, Canada, Italy, soprano soloist in Dvo - papers and colloquia in and Ireland, and his Network Slammer for rak’s Te Deum with the the U.S. and Europe flute and computer-generated sounds was Dayton Philharmonic during 2006. These selected by Forecast Music from 112 com - Orchestra (OH), in included a talk on the positions submitted for their New York City Mozart’s Requiem with history of the program concert series. Browning served as com - the West Virginia Sym - note at the Peabody Conservatory, Balti - poser in residence at Georgia State Univer - phony (WV), in Orff’s Carmina Burana more (March); a paper, “The Forgotten sity in Atlanta, the University of Iowa, and with Traverse Symphony Orchestra (MI), Music Man: John Ella” (the subject of her the National University of Ireland at Cork and in Carter’s Cantata of spiritual forthcoming monograph), at the Midwest during the fall semester of 2006. arrangements with the Prairie Ensemble (IL). Victorian Studies Association conference in She presented a song recital in the Atelier Detroit (April); a presentation on writing Donna Buchanan Concert Series at the American Church in concert history at the International Associa - (musicology) gave two Paris (France), and hosted “StudiO: the tion of Music Libraries/International Musi - papers in spring 2006: Ollie Watts Davis Vocal Institute 2006” for cological Society conference in “Sounding Postsocial - young singers at the Allerton Conference Gothenburg, Sweden (June); the keynote ism: Music, Memory, Center in Monticello, IL. address to the North American British and Marketing in Post- Music Studies Association meeting in 1989 Bulgaria,” at the John Dee (oboe) Colchester, VT (August; the talk was entitled international confer - joined the UI faculty in “ ‘In the pantry, or the library… upstairs in ence on “Post-Communist Nostalgia” 2004, having taught the bed-rooms’: Britain’s Hidden Chamber hosted by the University of Illinois in April, previously at the Univer - Music”); and a contribution on the English and “The Bulgarian Ethnomusicologist sity of Miami, Harid reception of Mozart’s chamber music to the Raina Katsarova’s Correspondence with Conservatory of Music Colloque Mozart in Poitiers, France Béla Bartók” at an international symposium (Boca Raton), Florida (November). She also completed an essay hosted by Bard College in commemoration International University for The Musical Voyager: Berlioz in of the composer’s 125th birthday in June. (Miami), and Florida Atlantic University for Europe , a volume edited by Katharine Ellis She read a third paper, “Postsocialist thirty years. Prior to moving to Illinois, he and David Charlton, scheduled for publica - Mythological Tales: Music, Memory, Mafia, was Principal Oboe for the Florida Orches - tion by Peter Lang in late 2006. and Marketing in Turn-of-the-Millennium Bul - tra in Tampa; the Florida Philharmonic garia,” at the annual Society for Ethnomusi - Orchestra and the Florida Grand Opera Zack Browning cology meeting in November. Her edited Orchestra in Miami; founder and president (composition-theory) volume with accompanying CD-ROM, of CMM (Chamber Music Management, attended the premiere Balkan Popular Culture and the Ottoman Inc.); and vice president of CDS Recording of his composition Ecumene: Music, Image, and Regional Studios. He has made numerous television Blockhouse for piano Political Discourse (Scarecrow Press), is appearances and radio interviews as an trio at the National Chi - forthcoming later this year. In addition to oboist and advocate of the arts, and has ang Kai Shek Cultural directing the Russian, East European, and several internationally released CD record - Center in Taipei, Tai - Eurasian Center (REEEC), she writes “The ings. Three upcoming recording projects, wan and lectured at Taipei National Uni - Director’s Corner” column for the REEEC featuring pieces composed specifically for versity of the Arts and Taipei Municipal Center News, and directs and performs him, include a CD of music for oboe, oboe University of Education. Professor Browning regularly with the “Balkanalia” ensemble. d’amore, english horn and harp, a record - s also attended performances of his works at ing for flute and oboe, and CD for oboe o the 39th Annual Festival of Contemporary and bassoon. This year, he toured with the n o Music at Indiana State University, the 26th Illinois Woodwind Quartet to Florida, South r Annual New Music and Art Festival at Korea, and Spain. Professor Dee also i t Bowling Green State University, and the serves as a consultant and has initiated sev - i e s 30 eral successful festival and concert series. Biennial convention in Salt Lake City in the District 214 Concert Band Festival in In recent seasons, his students have won April. As Research Chair of the Illinois Rolling Meadows, Illinois; the North Cen - positions with the Bangkok Philharmonic, Music Educators Association he organized tral Illinois Conference Honor Band in Eugene Symphony, Hong Kong Philhar - and will preside over the Research Poster Dixon; and the Fox Valley Music Educators monic, Kansas City Symphony, Oregon Bal - Session and Paper Reading Sessions at the Association Honor Band in West Chicago. let, Portland Opera, and Tucson Symphony. January 2007 IMEA conference, where he In July, Dr. Griffin was a guest conductor Nathan Hughes, a student of Dee’s at will also present a clinic on “Preparing for with the Quincy (IL) Park Band. He is cur - Harid Conservatory of Music, performed a Music Education Faculty Position in rently serving as Acting Director of the with the Savannah, Dallas and Seattle Sym - Higher Education.” Professor Grashel is cur - Marching Illini and will present a clinic at phony Orchestras prior to winning the Prin - rently a member of the editorial committees the Midwest International Band and cipal Oboe chair with the Metropolitan of the Journal of Historical Research in Orchestra Clinic in Chicago this December. Opera Orchestra this year. Music Education and the Bulletin of the Council for Research in Music Education . Dana Hall (jazz) led Eduardo his quintet this year in Diazmuñoz Peter J. Griffin a performance of origi - (opera/New Music (band) was recently nal music at the Ensemble) has been appointed North Cen - Chicago Jazz Festival. offered the position of tral Division Chair of He served as an Artistic and Music the National Band instructor at teaching Director of the Bogotá Association. During the academies in Sardinia, Philharmonic (Orquesta spring 2006 semester, Italy; New York; and Alberta, Canada. In Filarmónica de Bogotá) in Colombia, he presented a clinic July, he taught a group of young musicians beginning January 2007. He guest con - on historical research at the Illinois Music from Russia in a musical and cultural ducted the Champaign-Urbana Symphony’s Educators Association Convention in Peo - exchange sponsored by the National Arts Holiday Pops Concert at the Virginia The - ria. He also served as guest conductor for Foundation, and hopes to travel to Russia ater in December 2005, and the New Haven Symphony Orchestra in February 2006. In June, he was invited to close the Ronald Hedlund 2005-06 season of the renowned Xalapa (professor emeritus, voice) has retired Symphony Orchestra in Veracruz, Mexico. after 27 years of service to the UI School of Music. In May Prior to the performance, he offered a con - 2006, he was a presenter on “The Male High Mixed ference on New Music at Veracruz Univer - Voice” at the Third International Conference on the Physiol - sity. Xalapa is the third Mexican orchestra ogy and Acoustics of Singing (PAS 3) in York, England. that has invited him to conduct the closing His 2006–07 singing engagements include recital appear - program of its season, knowing that his ances at the University of Illinois President’s Mansion for presence on the podium guarantees a sell the Champaign-Urbana Symphony Guild’s “In Good Taste” out. In addition, the fourth volume of the gala on August 26, 2006, appearing with cellist Barbara Hedlund Twentieth Century Mexican Symphony and UI emeritus music faculty mem - Eric Dalheim Music collection with Maestro Diazmuñoz ber and pianist , and in a School of Music concert with Eric Dal - at the helm of the Mexico City Philharmonic heim on August 27 at Smith Music Hall performing songs of the late composer saw its international release in October Gordon Binkerd. Professor Hedlund’s orchestral engagements in 2006 included 2005, and a special book commemorating solo performances in the Mozart Requiem with the Eastern Symphony in Charleston (IL) on November 12 and with the Illinois Chamber Orchestra in his 30 th Anniversary as conductor, with Bloomington and Springfield on November 17–18. In 2007, he will appear as over 150 testimonials from celebrities, col - soloist in the Prologue to Boito’s Mefistofele with the Rockford Symphony on leagues, friends and relatives, was pub - February 17; as soloist in selected “Devil Arias” and the Prologue to Boito’s lished in June 2006. Mefistofele with the Champaign Urbana Symphony at the Krannert Center on April 7; and in a program of Opera Arias and Broadway Songs with the John Grashel (music Danville Symphony on May 12. Joining him on the program will be tenor education) presented a Justin Vickers (B.M. ’96) and soprano Kay Welch (M.M. ’99), two of his S paper, “Twenty-Seven former UI voice students originally from Danville (IL). Professor Hedlund will Years of Historical p continue to consult at outside universities, maintain a private voice studio in r Research in Music Edu - Urbana, serve as the Singing Voice Consultant for the Carle Clinic Otolaryngol - i cation: Introduction and ogy Department, and as co-editor of The Virtuoso Obbligato Aria Collection . n Article Summaries,” at His new web site at www.canto1.com includes his extensive performance his - g the MENC National tory and many wonderful production photos. 2 0 0 7 31 Faculty News

again soon to continue that rewarding Joan Hickey (piano Jonathan’s solo performances took him to encounter. Professor Hall began the year pedagogy/jazz) just venues in Iowa, New York, and Washing - performing with the Jon Faddis Jazz released a new jazz ton, and to Chicago as a featured artist for Orchestra at the annual International Asso - CD entitled Between the Chicago Flute Club. As a member of ciation of Jazz Educators Conference held the Lines on Origin the Illinois Quartet (together with University in New York, and had other performances records. The material of Illinois wind faculty John Dee, J. David in Bern, New York City, St. Louis, and Sar - includes three original Harris, and Timothy McGovern) he per - dinia, among other locales. He looks for - compositions and formed in Florida, and as a guest at Yonsei ward to upcoming clinics, master classes, arrangements of tunes ranging from classic University in Seoul, South Korea, Dong-A and performances at the Kennedy Center standards (My Funny Valentine, The Man I University in Busan, South Korea, and in in Washington D.C., Philadelphia, Belize, Love) to classic pop tunes (Black Magic various cities throughout Spain as part of Boston, Chicago, and New York. He is cur - Woman, Bridge Over Troubled Water). the Burgos Chamber Music Festival. rently completing articles on soul music and Joan performs in a trio setting, as well as Upcoming events include a release of flute a study and analysis of jazz drumming. in quartet and quintet. She is joined on the and oboe music with John Dee on the recording by UI faculty members Tito Car - Albany record label, tours to Spain and William Heiles rillo (trumpet), Dana Hall (drums), and Southeast Asia, and assumption of the Pro - (piano) presented a lec - notable Chicago musicians John Woj - gram Chairmanship for the National Flute ture-recital on book 2 ciechowski (saxophone) and Dennis Carroll Association’s 2008 Flute Convention. of J. S. Bach’s The (bass). This fall they performed at the Jazz Well-Tempered Clavier Showcase in Chicago, the Iron Post in Herbert Kellman while teaching at the Urbana, and the Jazz Forum in Smith (professor emeritus, Chautauqua Music Fes - Memorial Hall. musicology) gave a lec - tival in upstate New ture and seminar in the York in July 2006. He also gave master John W. Hill (musicol - University of Vienna’s classes and recitals at the University of ogy) presented a paper Summer 2005 Collo - Utah in Salt Lake City and at Eastern Michi - in August at the sympo - quium “Vienna’s Musi - gan University in Ypsilanti in September. sium “Passaggio in cal Treasures of the Italia,” which was part Renaissance.” He presented a paper, “Dad Dennis Helmrich of the annual Holland and Granddad Were Cops: Josquin and (keyboard) spent the Early Music Festival in Condé in a New Light,” at the International summer of 2006 in res - Utrecht, Holland. Pro - Medieval and Renaissance Conference in idency at the Tangle - fessor Hill’s presentation was entitled “Trav - Tours, France, in July 2005, and gave a wood and Yachats eling Players and Venetian Opera: Further revised version of that paper at the Interna - music festivals, and Parallels between commedia dell’arte and tional Conference “Ars Musica Septentrion - expects to do the same dramma per musica .” In November, he alis” in Douai-Cambrai, France, in in 2007. He especially presented another paper, on “Two Reflec - November 2005. Also in fall 2005, his looks forward to creating new English tions of Sixteenth-Century Italian Solo article, “Two Sixteenth-Century Palatine supertitles for Tanglewood’s 2007 produc - Singing in Luca Marenzios Villanelle ,” at Manuscripts: Answers for Oliver Strunk,” tion of Mozart’s Così fan tutte , conducted the annual national meeting of the Ameri - appeared in Remembering Oliver Strunk: by James Levine and directed by Ira Siff. In can Musicological Society in Los Angeles. Teacher and Scholar , edited by Christina addition to giving concerts at UI and else - He is currently at work on his fifth book, Huemer and Pierluigi Petrobelli (Pendragon where, he will spend a week in spring which will be devoted to the elaborate and Press). During 2005-06 he served as con - 2007 at the University of Alabama at complex theory of musical form and phrase sultant to the Department of Music, Univer - Tuscaloosa giving recitals and master structure presented in the treatises of eigh - sity of California at Santa Cruz, for the classes, and in May will record Schu - teenth-century German composer and theo - implementation of a Ph.D. program combin - mann’s Dichterliebe and Beethoven’s An rist Joseph Riepel. ing musicology and ethnomusicology. In die ferne Geliebte with tenor Stephen February 2006, he researched manuscript Cary, a UI alumnus and now professor in Jonathan Keeble illuminations in the Getty Research Library, Tuscaloosa. Professor Helmrich is currently (flute) performed with Los Angeles, for his study of the Chigi working on translations of a short story by the Prairie Winds in Codex (University of Chicago Press, forth - coming). s the German Romantic writer Ludwig Tieck, concert series in Michi - o and a book about French post-Romantic gan, Wisconsin, Geor - n o poetry by the French scholar Vincent Vivès. gia, Indiana, and at r Chicago’s Northwest - i ern University. t i e s 32 William finale, while offering an alternative interpre - of the Cleveland Orchestra, and released Kinderman (musicol - tation to Theodor Adorno’s often-cited dis - on the Albany Records label (TROY856) . ogy) had two books missive critique of the end of the work. This collection of transcriptions was also and several articles recently published by Capo Tasto Music. published this year. Erik Lund (composi - Professor Machala was an adjudicator in Mozart’s Piano Music , tion-theory) was com - the 2006 Solo and Ensemble Contest at published by Oxford missioned by the Naperville Central High School, Illinois. He University Press, was Baltimore-based duo C- and The Four Hornsmen of the Apocalypse th timed to appear in the composer’s 250 Squared to compose premiered his Elegy for Five Horns at the anniversary year. This book has been conflict resolutions , for 2006 Midwest Horn Workshop at the Uni - praised by several pianists known for their flute and cello. The versity of Wisconsin at Stevens Point. In playing of Mozart and whose endorse - work was premiered in June, he taught and performed at the 2006 ments appear on the back cover: Alfred April 2006 at Hartwick College in Kendall Betts International Horn Camp in Brendel, Emanuel Ax, Mitsuko Uchida, and Oneanta, New York, and will receive addi - Lyman, New Hampshire, and in July Garrick Ohlsson. For his edited volume The tional performances this year at Clark Uni - coached chamber ensembles and per - String Quartets of Beethoven, published by versity and in Mexico at the University of formed at the Burgos Chamber Music Festi - the University of Illinois Press, he con - Queretero. The work was composed while val in Spain. tributed the introduction to the volume and Professor Lund was in residence at the Rag - two chapters on the six op. 18 quartets dale Artists Colony during the spring of Jeffrey Magee (musi - and the last quartets, Beethoven’s very last 2006. In November, he traveled to Europe cology) will present group of works. In a recent review of this for the premiere in Dublin of his work miss - “Musical Theater of book in Beethoven Forum 13 (2006), ing intelligence by the Crash Ensemble. He War: Irving Berlin’s This William Drabkin praised Kinderman’s will present a lecture on his music at York Is the Army , 1942-45” “magisterial command of the repertory and University, England, and interview composer as one of three talks at the literature.” Two of Kinderman’s most Vinko Globokar in Paris for an upcoming a March 2007 Har - important recent articles concern article to be included in a publication cele - vard University Ameri - Beethoven’s “Unfinished Piano Trio in F brating Globokar’s 70th birthday. can History Symposium on World War II’s minor” from 1816 and Gustav Mahler’s cultural impact. Two of his articles will soon Fifth Symphony . The study of the previously Kazimierz appear in print: “ ‘Everybody Step’: Irving unknown piano trio appeared in The Jour - Berlin, Jazz, and Broadway in the 1920s,” nal of Musicological Research 25 (2006), Machala (brass) was recipient of the 2006- in the Journal of the American Musicologi - accompanied by a sound recording of the cal Society (Fall 2006), and “Kinds of reconstructed fragment of this work. Kinder - 2007 American Society of Composers, Authors Blue: Miles Davis, Afro-Modernism, and the man’s article on “ ‘Ich bin der Welt abhan - Blues” in Jazz Perspectives (Spring 2007). den gekommen’: Mahler’s Rueckert Setting and Publishers Award. and the Aesthetics of Integration in the Fifth His original work Con - Symphony ,” was published in The Musical certo for Horn, Winds Joseph Manfredo Quarterly ; it explores the musical meaning and Percussion was performed by soloist (music education) pre - of the famous Adagietto movement, often Geoffrey Winter at the 2006 International sented a clinic on excerpted from the symphony, and shows Horn Symposium in Cape Town, South “Expressive Conduct - how closely the Adagietto is linked to the Africa, and his transcriptions of Franz Schu - ing: Challenges and bert songs for horn and piano, titled Solutions for Under - Twenty One Schubert Lieder, were graduate Conducting recorded by Richard King, principal hornist Courses” at the Music

Karl Kramer (director) performed as principal tuba with the New Haven Symphony Orchestra for the 23 rd season. He attended the annual meeting of the National Association of Schools of Music in Boston, as well as the Ameri - can Musicological Society (Washington, DC), the 50 th Anniversary Meeting S of the Society for Ethnomusicology (Atlanta), and the Music Educators p National Conference (Salt Lake City). The summer of 2006 saw Dr. Kramer r literally travel around the world as he attended the International Society for i David Allen, Coordinator for Outreach and Public Engagement, Music Education conference in Kuala Lumpur, Malaysia; visited Bali, Indone - n g his wife Betty Allen, with Mrs. Jean and Dr. Karl Kramer at the sia to meet with representatives of ISI Denpesar, and inaugurate the School’s donor reception preceding the UI Symphony Orchestra’s appear - ance at Orchestra Hall in Chicago, November 19, 2006. first season of the Burgos Chamber Music Festival in Burgos, Spain. 2 0 0 7 33 Faculty News

Educators National Conference in Salt and to Emory University in Atlanta, Geor - Gary McPherson Lake City in April 2006. In addition, he gia for a two-day residency. The Prairie (music education) was a presenter at the 2006 Maryland Winds returned for their fourth summer in- released his most Music Educators Association state confer - residence at the Madeline Island Music recent edited book for ence. Manfredo also presented various Camp. In May 2006, Professor McGovern Oxford University press clinics at Bradley University, Millikin Uni - was a participant in the Bach Week Festi - in June— The Child as versity, and Ball State University. In May val at the Music Institute of Chicago in Musician: A Handbook 2006, he was on the adjudication panel Evanston, Illinois. Performances included of Musical Develop - for the Indiana State School Music Associ - the Brandenburg Concerto #1 , the Christ - ment . The 24 chapters in the book cover ation Concert Band State Finals. Music mas Oratorio , and sections from Musikalis - musical development from conception to Educators Journal published his article ches Opfer, BWV 1079. The Illinois late adolescence and celebrate the richness “Effective Time Management in Ensemble Woodwind Quartet’s 2006 activities and diversity of the many different ways in Rehearsals” in its November 2006 edition. included tours to Korea, Florida, Spain, which children can engage in and interact and a Chicago area fall tour to high with music. Dr. McPherson completed his Charlotte Mattax schools and youth orchestras. term as President of the International Soci - th (harpsichord) played ety for Music Education at the 27 ISME the inaugural concert in Chip McNeill (jazz) World Conference in Malaysia in July Smith Recital Hall of a conducted the opening 2006. His many duties during the confer - Flemish virginal by the and closing night per - ence included meetings with five different London harpsichord formances of the fourth government ministers to advocate for the builder Malcolm Rose, annual U of I Summer importance of music education and the a gift of alumnus Lloyd Jazz Festival (June 29- awarding of the ISME-Gibson International P. Farrar (M.M. ’56) in honor of his wife July 1), which featured Awards for Music Education, which he Doris Vogt Farrar (B.M. ’56). She per - the UI Studio Jazz helped to establish. formed Bach’s Harpsichord Concerto in F Orchestra and guest vocalist Lisanne Lyons minor with the Bach Festival Orchestra in on June 29, and UI Jazz Faculty with jazz William Moersch Bethlehem, PA, and appeared at Iowa trombone legend Slide Hampton at the new (percussion) presented State and Illinois State Universities with vio - Allerton Park Performance Barn on July 1. a series of recitals and linist Elizabeth Field in a program of In July and August 2006, he toured the master classes as a fea - baroque chaconnes entitled “Chaconne a U.S. with jazz trumpet legend Maynard tured solo artist for the son gout.” In spring 2007, Dr. Mattax will Ferguson, performing at major jazz clubs Patagonian Interna - perform a harpsichord recital, “Bach the in Philadelphia (Zanzibar Blue) and in New tional Percussion Festi - Teacher,” at North Texas State University as York City (The Blue Note). The tour closed val in Argentina in late part of the International Conference of the with a new recording with Maynard for June. He then co-hosted the Illinois Summer Southeastern Historical Keyboard Society which Chip served as player/arranger/co- Youth Music Advanced Percussion Camp (SEHKS), for which she is director of the producer and which, to the sadness of all, with faculty colleague Ricardo Flores. Other 2007 Harpsichord Competition. Professor turned out to be Maynard’s final CD, as he activities this year included a new CD Mattax will also be featured as harpsi - passed away unexpectedly on August 23, release of his performance of Akemi chordist and organist for the December and 2006. The band was made up of May - Naito’s Memory of the Woods , a solo May festivals of the Bach Choir of Bethle - nard’s favorite alums through the years; the marimba work which he commissioned and hem, PA. recording will be released early next year. premiered in 2000, and which is now In September 2006 in St. Louis, Chip available on Akemi Naito: Mindscape Tim McGovern (bas - played a tribute concert to “The Boss,” as (Bridge 9204). Professor Moersch contin - soon) continues his his band members affectionately knew ues to serve on the Board of Directors of orchestral playing in Maynard. It featured many of the jazz the Percussive Arts Society, and appeared the Illinois, Ravinia Fes - greats that have gone through his bands, as a featured performer at their 2006 Inter - tival, and Champaign- including such luminaries as Slide Hamp - national Convention in Austin, Texas. Urbana Symphony ton, Wayne Shorter, and Don Sebesky. Pro - Orchestras. Professors fessor McNeill will also be putting together Bruno Nettl (profes - McGovern and Dee the first UI Faculty Jazz CD, and a new CD sor emeritus, music and project with jazz drummer Stockton Hel - s instituted the first annual Double Reed anthropology) taught a o Camp at the U of I; participants included bing to be recorded in December 2006. two-day seminar on n o 15 bassoonists and 20 oboists. As a mem - improvisation at the r ber of the Prairie Winds woodwind quintet, University of Alcalá, i McGovern toured to Indiana, Michigan, Spain, and served as t i Visiting Professor of e s 34 Music at the University of Chicago during Westfield Center for Early Keyboard Stud - to the production of web-based materials to the spring quarter 2006, teaching a gradu - ies in Victoria, B.C. In July, he served on aid in the revitalization of songs and tradi - ate course on Persian music. He gave lec - the faculty of an American Guild of Organ - tional knowledge of the Angkamuthi and tures at Cornell University and the ists Pipe Organ Encounter held at the Uni - Gugu-Yimithirr people, and to facilitate University of Notre Dame, and was the versity of Oregon. youth language programs in the Aboriginal only American speaker at the World Cul - communities of Injinoo, Umagico and New tural Forum 2006 (devoted to music and Donald Schleicher Mapoon on Cape York. This work is co- religion) sponsored by the government of (orchestra) began his ordinated with the Australian National Japan at Wakayama, Japan, on November eighth season as Music Recording Project for Indigenous Music and 5, 2006. Nettl’s essay, “We’re On the Director and Conductor Dance, a major program for traditional Map: Reflections on SEM in 1955 and of the Quad City Sym - knowledge documentation and preserva - 2005,” appeared as the lead article in the phony Orchestra. Guest tion in Aboriginal communities throughout fiftieth anniversary issue of Ethnomusicol - artists include violinist Australia for which Solis is a consultant. ogy (vol. 50, no. 2). Chee Yun, pianist Ser - gio Tiempo, and the Quad City Ballet. In Kenneth Steinsultz Susan Parisi addition, the QCSO will perform a concert (band) conducted the (research scholar in version of Verdi’s La Traviata . Recent guest IMEA District 6 Junior music) continued conducting included appearances with the Band on the campus of research on Italian and UNAM Orquesta Philharmonic of Mexico SIU-Edwardsville in French festival books of City, the Daegu Symphony of South Korea, November 2005. In the seventeenth century and the Minnesota All-State. In addition, January 2006, he pre - in the Bibliothèque Mr. Schleicher appeared as a guest con - sented a solo recital on Royale, Brussels and ductor at Ithaca College, Wabonsie Valley the stage of the Foellinger Great Hall in the the Archives du Nord, Lille (France) in High School, and the Glenbard District Krannert Center for the Performing Arts, November 2005, and in the Getty Orchestra Festival. In January 2007, he assisted by Lucinda Lawrence and Sarah Research Library, Los Angeles in February will travel to Honolulu to present a series of Schwartz. Dr. Steinsultz directed the east 2006. She conducted research on clinics and master classes. In November coast tour of the University of Illinois Wind Francesco Rasi’s second opera, Elvidia 2006, he led the UI Symphony Orchestra Symphony, highlighted by a performance at rapita (1619) in the Newberry Library, on a three-day tour to the Chicago area, Carnegie Hall in New York on February Chicago in July 2006. Publication of her including a performance at Orchestra Hall. 17, 2006. He guest conducted the Subur - article, “The Brussels-Mantua Connection: ban Prairie Conference Freshman/Sopho - Vincenzo Gonzaga’s State Voyages to the Thomas Schleis (opera) was named more Honor Band at Oswego East High Low Countries in 1599 and 1608” in the recipient of a 2006 UCEA Mid-America School in February. In March, he conducted Yearbook of the Alamire Foundation is Region Award for Excellence in Teaching the Little Okaw Valley Band Festival; he also expected shortly. As series editor for Har - and Faculty Service. The award was pre - presented a clinic-recital at the Harrisburg monie Park Press, she edited five books sented at a reception on October 20 at the Illinois Public Library. In April, he was guest during the year, including Anne Mischakoff Kansas City Marriott Country Club Plaza. conductor for the Parkland College Wind Heiles’s biography of her father, Mischa Earlier this year, Professor Schleis received Ensemble concert, and in July, he guest con - Mischakoff: Journeys of a Concertmaster , the U of I Alumni Association Educator of ducted the Quincy (IL) Park Band. On published in April 2006. Parisi serves on the Year Award for 2006. He continues to November 18, 2006, Dr. Steinsultz con - the editorial board of Musica Toscana. serve as dean of the East-Central Illinois ducted the IMEA District 3 Junior Band on Chapter of the American Guild of Organ - the campus of Illinois State University. Dana Robinson ists, and as organist at St. John’s Catholic (organ) played the final Chapel in Champaign. Katherine Syer concert for the Organ (musicology) served as Historical Society’s Gabriel Solis (musi - dramaturg on two 50th Anniversary con - cology) was awarded works in spring of vention, held in the his - the Madden Fellowship 2006, Igor Stravinsky’s toric Music Hall in Troy, for the Arts, Humani - Histoire du Soldat and S New York. He was ties, and Technology, Kurt Weill’s joined by the Franciscan Chamber orches - Mahagonny Songspiel , p which allowed him to r tra in a performance of Widor’s Sinfonia do field work with produced by the UI School of Music i Sacra . In June, Professor Robinson also Angkamuthi people Opera Program. She returned to the New n played two organ demonstration recitals at from the Cape York peninsula of North York Wagner Society’s Annual Seminar in g a conference titled “J. S. Bach and Cen - Queensland, Australia. This work will lead April to lecture on the recent production 2 tral/South European Influences” held at the 0 0 7 35 Faculty News

history of Wagner’s Lohengrin . In July, Pro - Computer Music Project of the UI Experi - Scott Wyatt (compo - fessor Syer delivered a series of confer - mental Music Studios by Sever Tipei and sition) collaborated ence papers concerning Wagner Hans Kaper, Adjunct Professor in Composi - with author Elena Fila - production history at conferences in the tion-Theory. Two other pieces produced tova and UI Assistant UK. Two of those papers addressed the with DISSCO appear on a CD, with music Professor Valeria Sobol recent use of digital technologies on the by Zack Browning and Sever Tipei, from the Department of stage. Her article on the technological recently released on the Centaur label. Slavic Languages and dimensions of opera director Peter Kon - Literature on a recent witschny’s Tristan und Isolde appeared in Christos Tsitsaros composition titled and nature is alone : in Tristania . Another article “A Peculiar (piano pedagogy) memory of the victims of the Chernobyl Hybrid: The Structure and Chronology of edited and recorded accident on the 20th anniversary of the dis - Beethoven’s ‘Eroica’ Sketchbook (Lands - the Notebook for Anna aster . The work was performed at the berg 6)” was published in the most recent Magdalena Bach for 2006 national conference of the Society issue of Bonner Beethoven-Studien. the G. Schirmer Per - for Electro-Acoustic Music in the United formance Editions States (SEAMUS) at the University of Stephen Taylor Series. He performed Oregon (March 30- April 1, 2006), at a (composition-theory) and gave a series of workshops in Utah, special performance during the University composed a new Springfield, San Francisco, Toronto, and of Illinois Russian, East European and Eura - recorder concerto titled the Chicago area. Several of his original sia Center’s Symposium “Chernobyl, Flow for Quartet New compositions were published under the Twenty Years Later” (June 24, 2006), at a Generation and the Showcase Solos series of the Hal Leonard Swedish EAM Society Concert in Stock - New Philharmonic. It Student Piano Library. Professor Tsitsaros holm, Sweden (September 14, 2006), and was premiered in also received an invitation to present a lec - at the 2006 International Computer Music Chicago in October 2006. His piano work ture-recital at the October 2006 Interna - Conference hosted by Tulane University Seven Memorials was performed by Gloria tional Conference on Music Education at (November 9, 2006). Professor Wyatt’s Cheng at Tanglewood in July 2006, and in the Rimsky-Korsakov Saint Petersburg State recent compositions were released on the Los Angeles in September. The New York Conservatory in St. Petersburg, Russia. 5.1 DVD audio recording Radial Matrix by Times called the music “sparklingly tactile,” Capstone Recordings (CPS-8769). and the Los Angeles Times described it as Paul Vermel (profes - “impressive post-Messiaen, post-Minimal sor emeritus, orchestra), Ann Yeung (harp) is a movements.” His opera-in-progress Para - Music Director and contributing author to dises Lost , based on the science-fiction Conductor of the North - the American String story by Ursula K. Le Guin, was featured west Symphony Orches - Teacher Association’s by the New York City Opera in May tra in Mount Prospect publication A Harp in 2006, and will be workshopped exten - (IL), received the Con - the Schools: A Guide sively during the 2006-07 season by Amer - ductor of the Year for for School Ensemble ican Opera Projects in New York. In Small Orchestra from the Illinois Council of Directors and Harpists . November, UI harpist Ann Yeung per - Orchestras (ICO). He was publicly Her article on Henriette Renié’s Ballade fan - formed his composition Nebulae for harp, acknowledged for his outstanding conduct - tastique was published in the Association electronics, and live video in New Orleans. ing and work with the NSO at the ICO’s Internationale des Harpistes et Amis de la annual award ceremony on February 17, Harpe , the Nederlands Harp Bulletin, and Sever Tipei (compo si - 2006. From 1974 to 1994, while a Profes - the American Harp Journal. She premiered tion-theory) received an sor of Music at the University of Illinois, two works by Gerardo Dirié at the Ameri - appointment in the Maestro Vermel served as Music Director of can Harp Society National Conference and Center for Advanced the Champaign–Urbana Symphony and as participated on two panels. She premiered Study for fall semester Director of the UI Symphony Orchestra. He Husk by Keeril Makan with John Dee and 2006 to write a new has directed and conducted the 70-member Jonathan Keeble. Her recording with work. His composition Northwest Symphony Orchestra since the Michael Cameron of Teresa LeVelle’s Ianus , for chamber beginning of their 1994 concert season. Apparition at Timber Creek was released on ensemble and computer-generated sounds, the Innova label. She performed for the SEA - MUS National Conference, the Chicago s was performed by Sinfonia da Camera o conducted by Ian Hobson, who commis - Flute Club, and presented master classes in n Wisconsin, Minnesota, and Oregon. o sioned it. Ianus was realized using r DISSCO, a software system for composi - i tion and sound synthesis developed at the t i e s 36 Book News & Reviews

John Wagstaff, Head, UI Music Library

New “Companion” Will Help Crisp, Clear New Edition of ARSC Award for New Book Explain a Challenging Work Handel Keyboard Music on a Neglected Jazz Figure All of Wagner’s This collection of Recently-arrived UI operas from well-chosen pieces— faculty member Jef - Tannhäuser onwards some published in frey Magee’s new (with the possible Handel’s own life - book on Fletcher exception of Die time, others not— Henderson—a sub - Meistersinger ) con - gives a flavor of the ject he has worked tain elements of mys - range of Handel’s on for over a tery and symbolism, works for keyboard, decade, and to and Parsifal , the from small-scale which he devoted composer’s last dance movements to fully-developed suites, his doctoral thesis— stage work, is perhaps the most impenetra - from serious fugues to the well-known set of was awarded a Certificate of Merit in the ble and the one that requires most expla - “Harmonious Blacksmith” variations. The “Best Research in Recorded Jazz Music” nation. This new companion brings pedagogical intent of the whole “Celebrate category of the 2006 ARSC Awards for chapters by UI editors William Kinderman Composers” series is reflected here in a list - Excellence. (Lawrence Gushee’s Pioneers and Katherine Syer together with those of ing of the pieces by level of difficulty, and of Jazz , noted in the Winter 2006 issue of a number of other specialists, to contextu - by a section of notes for study and perform - Sonorities , was similarly honored.) In his alize what Wagner himself entitled not an ance, along with advice on how to play day, Henderson was well known as a opera but a Bühnenfestspiel , or “stage the ornaments that form an essential part of band leader, first in New York and later, consecration festival play.” Its three sec - these works’ performance tradition. A clear thanks to touring and the recording indus - tions contain material on the libretto, the and crisp page layout will aid the player, try, all across America. The band included music, and the work’s reception and inter - as will the helpful keyboard fingerings. jazz “names,” such as Louis Armstrong pretation, with Syer’s final chapter offering Choice of dynamics (almost always lacking and Coleman Hawkins, who are possibly a detailed overview of productions of Par - in this music) is left to the discretion of the better known today than is Henderson him - sifal from Wagner’s day to our own (per - player, though here again some useful hints self. But in addition to running his own formances in the U.S., incidentally, played are provided. UI School of Music faculty band, Henderson played a significant role an important part, especially early on). member Reid Alexander and his editorial in the 1930s swing era as an arranger: German Wagner expert Ulrike Kienzle colleagues have produced an edition of some of his arrangements were taken up examines the work’s religious aspects, enjoyable pieces that will satisfy both by Benny Goodman. This work provided identifying in it a synthesis of Christian beginners and more advanced players. him with, in effect, a second career after and Indian beliefs with the philosophy of his own band dissolved in 1934. This is a Schopenhauer that so influenced Wagner Celebrate Handel fascinating, beautifully-told story of a tal - Compiled by Reid Alexander, from the 1850s, while Kinderman includes ented and educated musician who left his Samuel Holland, and Marc Widmer a painstaking reconstruction of the frag - Frederick Harris Music mark on both jazz and swing music, con - mentary sketch material in his essay on the ISBN 0887979092 tradicting jazz and racial stereotyping to work’s genesis. The whole will help read - www.frederickharrismusic.com make a successful living in occasionally ers better understand the many facets of turbulent and financially precarious times. an artwork that is, surely, still not fully explained. The Uncrowned King of Swing: S Fletcher Henderson and Big Band Jazz p Jeffrey Magee r A Companion to Wagner’s Parsifal Oxford University Press i Edited by William Kinderman and ISBN 0195090225 n Katherine R. Syer www.oup.com g Camden House ISBN 1571132376 2 0 www.camden-house.com 0 7 37 Alumni Profile Jeffrey S. Kimpton

s o n o r i t i e s 38 FOR Educator A Lifetime By Anne M. Heiles

hen Jeffrey S. Kimpton was inaugurated in fall 2003 as tration. Nevertheless, he says, he was “the typical mid-1960s child the seventh president of the Interlochen Center for the who didn’t want to do what his father had done.” He headed off to W Arts, he outlined four “tipping points” that Inter - study pre-law at Augustana College in Rock Island. Two years later lochen should address to fill its leadership role in the arts. Drawing he transferred to UI and changed his major, earning both bachelor’s on the theoretical work of Malcolm Gladwell, who posited that tip - (B.S. ’73) and master’s (M.S. ’75) degrees in music education. “Illi - ping points pertain not only in the field of epidemiology but also in nois was one of the strongest, if not the strongest, schools in music sociological and cultural realms, Kimpton outlined his vision for education in the country, so it was natural for me to go there. I was Interlochen. The institution, having just celebrated its seventy-fifth in UI bands all those years. And,” he quips, “I could live at home; it anniversary, could expand its collaborations, he told his audience, was cheap.” “in number and richness.” Interlochen’s tipping points, he Kimpton began his career as a high school band director, teach - explained, would be the sufficiently improved and expanded collab - ing instrumental music and leading the band programs to distinc - orations among the people at Interlochen and with their neighbors tion in public schools in Corinth, New York; Apple Valley, in the Grand Traverse community, Minnesota; and Wichita, Kansas. with its nearly 90,000 alumni, and Discovering that he had a knack for with institutions in Michigan and administrative work, he also across the country and the world. assumed administrative roles in Now beginning his fourth year, those communities. When the Kimpton has already made substan - Yamaha Corporation of America tial headway in all these areas. invited him to become its director Interlochen Trustee James L. Tolley, of institutional education, he who chaired the Presidential Search accepted the position. From 1988 to Committee, noted that Kimpton is 1996 he explored the business and “smart, personable, collegial, thor - marketing side of music: “In the ough and fair, and has a keen sense mid-1980s Yamaha was dramati - of the intersection of history and opportunity for Interlochen.” He cally increasing its activities across the country in school-based is also a quick and eminently capable worker. A natural match for music education programs. I had been a consultant to them for a the presidency of the Interlochen enterprise, Kimpton has had number of years, so when they asked me to head up the program, decades of preparation through seemingly disparate experiences, which involved new program development, R & D, strategic plan - now coalesced in this position. Moreover, he is dedicated to his ning, marketing and publications for music educators across the belief that a lifetime in the arts is a life worth living. Indeed, a two country, it seemed a natural fit.” year “branding audit” of Interlochen that he led yielded a new tag At his next position, director of public engagement at the Annen - “Art Lives Here.” berg Institute of Brown University (1996-99), Kimpton further Internalizing art as a spirit within, Kimpton told the high school developed his skills in leadership, public speaking, fundraising—and graduates of the Interlochen Arts Academy in May 2006, is a natu - collaboration. “When Walter Annenberg gave $500 million to pub - ral outcome of the intensity of their experience living the arts at lic education in the mid-1990s, he made a commitment to doing Interlochen: “deep wellsprings of passion and commitment, empa - something about our public school education,” a need the nation’s thy and sympathy that are the essence of art. It is in our hearts and governors had identified in 1991 as the number-one national prior - souls that we develop our feelings about art, and the passion to pur - ity. “The Annenberg Institute at Brown was created to observe how sue that art.” He added that “the learning process you have been his money was being used. My role was to look at public engage - given here is part of a continuation of learning in and through the ment in public education: how do parents and communities and S arts for the rest of your lives.” students interact with schools? How is policy shaped? What are the p Growing up in Quincy and Champaign-Urbana, where his ways that people may engage in determining the quality of public r i father, Dale Kimpton, was head of continuing education and public education? How can the arts help build a sense of community and n service in music at the University of Illinois, Jeff Kimpton studied engagement? We studied more than 200 organizations and school g trumpet and watched his father’s success in teaching and adminis - districts in terms of how they engaged people in public education. It 2 was a fascinating job.” 0 0 All images courtesy of Interlochen Center for the Arts continued 7 39 “Herbert Kellman’s ‘Introduction to Music’ really made me think differently about the role of the arts and music in society…Kellman really pushed our notions about music and its relationship to history and the arts. The thoughts that emerged really made me stop and think. I loved it.”

Having by then conducted a significant amount of research and produced numerous publications, Kimpton moved into academia as director of the University of Minnesota’s School of Music and pro - fessor of music education (1999-2003). “It was a great honor; we did a lot of interesting things with faculty governance and develop - ment, integrating the curriculum, and building a new sense of com - munity. It had a huge impact on our developmental efforts, too. We were fortunate, and things moved quickly.”

Left and below, students at the 1st summer People at Interlochen noticed what was happening at Minnesota of the National High School Orchestra and invited Kimpton to serve as their president. “When you start out Camp in 1928. as a brand-new graduate walking across the Assembly Hall stage, you cannot know where life is going to take you,” he says. “Looking back, you can see how each step along the way gives you unique skills.” He appreciates what he calls the “eye opening experi - ences” of UI courses, and can still rattle off the names of professors and courses that especially affected him: “Aes - thetics with Harry Brody, the philosophy of music educa - tion classes, and Van Miller’s educational administration classes were important. Herbert Kellman’s ‘Introduction to Music’ really made me think differently about the role of the arts and music in society. At the time it was a required course for all music students and everyone moaned and groaned at what was considered the ‘drop-the-needle’ experience, but Kellman really pushed our notions about music and its relationship to history and the arts. The thoughts that emerged really made me stop and think. I loved it.” More than many students, Kimpton recalls, he enjoyed the basic required courses in music history. Like Kellman, Ron Byrnside stimulated Kimpton’s mind: “I found his courses fascinat - ing because he taught music history as sociological, political, and artistic relationships with the music. I took a lot of musicology courses because they were fun and enjoyable,” Kimpton says, recall - ing also George Hunter’s course in counterpoint. “I’ve taken from UI valuable lessons in asking questions and challenging others and have applied them to other experiences as well.” Nowadays, Kimpton’s life involves running a very large and com - plex organization. Located on 1,200 acres of land that founder Joseph Maddy purchased in the hill country between Lake Michi - gan and the Grand Traverse Bay, the Interlochen Center for the Arts Above, Students congregating outside the main performance building in the 1940s. comprises a multitude of endeavors. Best known among them is the Interlochen Arts Camp, founded in 1928 and home each summer s Right, Students in recording studio in 1947. o to some 2,000 campers, aged eight to eighteen, who participate in n music, dance, theatre, film, visual arts, and creative writing. Four o r hundred and fifty students attend the Interlochen Arts Academy, a i boarding high school. Interlochen’s staff and faculty also work with t i e s 40 “The College of Creative Arts is really a chance to give adults a creative voice. They’re on campus with all the kids, which is an exciting dynamic. Having the college is a natural extension of the original founding vision to become a comprehensive arts institution.”

the arts-based Interlochen Pathfinder School in Traverse City for Some parents come with their kids and want to stay a while, see pre-K through eighth graders. Interlochen operates four public radio that their kids are settled, and take classes, whether in water color, stations that reach much of the northern two-thirds of Michigan, chamber music, adult band, or photography. Sometimes they rent including 24-hour programming for both classical music and news. cottages in the area, stay at area hotels or resorts, or bring their Yet another enterprise is the Interlochen Arts Festival, begun in motor homes and camp in the state park across the highway. “We 1964, that attracts a quarter-million people annually to its art have a hotel on the campus and about 80 different cottages, mostly exhibits, concerts, lectures, films, dance, and theater productions, used by the summer faculty and guests,” said Kimpton. “The adult both student and professional. chamber music people, who arrive in late summer, stay every - About two years ago Kimpton realized one of his tipping-point where—in the hotel, the cottages, with friends, or at local camping goals when a new program for adult and professional learners was grounds.” launched. Early in his presidency, Kimpton traveled to 26 cities The Pacifica Quartet, the UI faculty string quartet, has been in res - nationwide; he says he was idence at Interlochen for eight years, spending two weeks in “stunned at the thousands the summer with high school students at the Advanced String of alumni and friends of Quartet Institute and one week in late August at the Adult Interlochen who asked, Chamber Music Post Camp. Cellist Brandon Vamos remem - ‘What have you got for us? bers his own student days at Interlochen with fondness. We want to come back and Masumi Per Rostad, the Pacifica Quartet’s violist, says, do something.’ It struck “We work intensively with 16 very talented players from all me that there was a great over the world and are always wellspring of interest. impressed by their significant Maddy’s vision in the progress in such a short time. The 1920s and 1930s was that Interlochen, located in the resort area of students work on a sequence of classi - Traverse City, Michigan, offers cottages, Interlochen would nurture an on-campus hotel, and a nearby state cal, romantic, and modern repertoire, a lifelong commitment to park for summer visitors. concluding with a week’s concentra - the arts. He even chartered tion on Beethoven’s quartets. They Interlochen with the State of Michigan as a college in the have daily coaching sessions and mas - early 1960s and had bought land, fully intending that once the ter classes with the Pacifica Quartet, in addition to private lessons.” Academy was up and running, Interlochen would form a four-year Sibbi Bernhardsson, one of the quartet’s violinists (along with college for arts. We took the name—Interlochen College of Creative Simin Ganatra), comments, “We very much enjoy being part of this Arts—from the charter, even though we’re not giving degrees. We great program. We also play one recital for the high school students, had over a thousand adults on campus this year, mostly in the sum - as well as three recitals during the adult camp week.” Rostad adds, mer, but also attending conferences and seminars during the year. “The adult camp people really love the program and after our con - I’ve long had an interest in adult continuing education, based on my certs you can always hear the pieces we performed being read dad’s work. through the night.” “We’re focusing on experiential and professional development, The Interlochen community is a special one for the Pacifica for which people can get CEUs or credits from their own universi - Quartet members, who take a particular delight in their travels ties. Down the road it might be interesting to pair up with another internationally when they run into their Interlochen family after university to grant credits, although I doubt we will ever offer concerts. “We have a warm relationship with Jeff Kimpton,” says degrees. The College of Creative Arts is really a chance to give adults Bernhardsson. “He is supportive and has a great vision for Inter - a creative voice. They’re on campus with all the kids, which is an lochen and for the arts in general. He also hosts a radio program and S exciting dynamic. Having the college is a natural extension of the has had us as guests, which was a lot of fun.” p original founding vision to become a comprehensive arts institution. Kimpton is proud as well of a second major undertaking since r i People come from all over; Traverse City is a big resort area and has becoming president: the Aaron and Helen L. [Dodge] DeRoy Cen - n also become a huge retirement area, creating a natural reservoir of ter for Film Studies. He says that the “Number 1 major requested by g participants.” students applying to the Academy was film studies, so I said, ‘Well, 2 0 0 7 41 Professor Emeritus: Lifelong Musician By Anne M. Heiles Alumni Profile: Kimpton , continued Learning and teaching are a seamless fabric in Guillermo why don’t we start it?’ Unbeknownst to us, the DeRoys, two of the Perich’s retirement years. As professor of viola from 1971 original—now deceased—donors, were huge film buffs who had a to 1990—many of those years spent as chair of the string movie theater right in their home.” Their foundation gave $4 mil - division—Perich was a significant presence in the central lion to establish the program, and Interlochen, Kimpton explains, has constructed a center that includes a dormitory attached to a film Illinois area and UI string community during the 1970s studio and theater with surround sound, a coffee shop and bistro through the early 1990s. Perich and his wife, Naomi, have area, and editing rooms. “The students’ rooms are linked by high been living in Durham, North Carolina since 1999. fiber right into the servers so that they can work directly on their When Perich took a course on Karl Jung at the Osher Lifelong Learning Insti - projects. It’s a self-contained program, though we require the film tute, part of Duke University’s Institute for Learning in Retirement, it occurred to majors to live with a roommate from another major. him that he himself might teach a course there. Never one to sit passively for “Music, of course, was our founding discipline, but there is so long, Perich has since developed six courses, one of them popular enough that much more. We have the only residential boarding school program three sections of it had to be given despite his using the institute’s largest class - in creative writing in the country; the kids win unbelievable awards for their writing.” The Academy also offers studies in theater, dance room (seating forty). His courses for adult learners have made use of his interest and the visual arts (a new $7.5 million visual arts facility is in the in Jung; for example, one titled “From Bach to Stravinsky: The Slow Movements,” initial phases of construction) plus academic courses. included allusions to not only emotional content and transcendent elements, but Kimpton points out how the complex organization offers advan - also mythological and symbolic events. Perich has also fashioned “Music and Our tages: “We are remarkably blessed to be six separate non-profit Personal Growth,” “Musical Sound: Instruments, Performers, and Listeners,” “The 501(c) 3 programs in one: the Arts Camp, Academy, Pathfinder Composer’s Intentions,” “Music of the Americas,” and “The Impact of Latin Ameri - School in Traverse City, Arts Festival, College, and Interlochen Pub - can Music.” In fall 2006, he was asked to give an “Introduction to the North Car - lic Radio (IPR). olina Symphony,” an offering that has been especially enjoyable and apt for him, It allows us powerful synergies, shared programming, thematic given his symphonic career. and interdisciplinary work that is unique. Part of my coming was to blend all these programs together to create a model of lifelong UI alumni can well remember Perich’s lively mind and his upbeat, strong arts learning and enjoyment. It can come through the many dif - personality. Retirement from the University was no invitation to idle leisure for ferent kinds of creative, educational, and cultural outlets we have. him; he met it head on by updating his résumé and developing a handsome It really fulfills the vision of lifelong arts engagement that started brochure about his skills in performing and coaching. Built on a fifty-year career, 80 years ago.” the PR piece was sizeable: Perich began his professional life as a member of the Jeff and his wife, Julie (an elementary school teacher and human Havana Philharmonic. When he immigrated to the United States in 1960, he went resources specialist), have two grown children: Meghan, a former to New York’s Local 802 of the American Federation of Musicians to apply for elementary school teacher who works for All Kinds of Minds, a non - membership. Assuming that an audition would be scheduled later, he did not bring profit educational organization in New York City, and Adam, a a viola or violin with him. When he learned that he was expected to audition sixth-grade science teacher in Minneapolis. Kimpton has been working to increase Interlochen’s visibility immediately, he solfèged Mozart’s “Violin Concerto in D Major” to the astonish - through its website, e-communications, marketing, and having the ment of the examination committee. He aced the exam and went on to become Academy’s ensembles travel nationally. He concludes that his posi - principal violist of the Baltimore (1960-67) and St. Louis (1968-71) symphonies tion as Interlochen’s president has offered him “a real opportunity to and to perform and teach at the Aspen and Chautauqua music festivals. Perich also take my long and eclectic career and weave it together. Of course I was violist of the Baltimore (1963-67), St. Louis (1968-71), Mischakoff (1963), report to a board, but after so many years in hierarchical systems, it’s and Walden (at UI; 1971-76) string quartets. Though Professor Perich continued to nice to be atop the pyramid. It’s a tough job, but it’s fun.” I play in Urbana’s local ensembles after retiring, his brochure soon helped him s References: o obtain a new position. In 1993, he and his wife moved to Brevard, North Carolina, Interview of Jeffrey Scott Kimpton by Anne M. Heiles, September 19, 2006. n Jeffrey Kimpton, “Of Pebbles and Ripples” Crescendo (June 2006). o where he taught at Brevard College for five years and founded the Brevard String Jeffrey Kimpton, “Remarks at the 44th Commencement, Interlochen Arts Academy, May 27, 2006,” r www.interlochen.org/academy/commencement_2006_speech. i Ensemble. Although Guillermo and Naomi Perich have become enthusiasts of North Jeffrey Kimpton, “Finding Our Tipping Points,” Inaugural remarks, November 8, 2003. t Carolina, they continue to visit Urbana, where one of their two daughters lives. i e s 42 CHOICE J. Richard Hackman, Professor of Social and Organizational Psychology, Harvard University

The following article was originally given as an address at the School of Music Commencement Convocation at the University of Illinois on May 15, 2005.

he scary thing about today is not that you are now going off The highly skewed labor market in your chosen profession says into the “real world.” You’ve been operating in the real a great deal about the values of our society, sad to say. You may not Tworld for almost a quarter of your expected life span—and be able to change those collective values, but you are going to have doing so with great success. Today, you receive a degree that marks to contend with them. You will have in your careers both fewer your accomplishments, and you are basking in the admiration of opportunities and lower salaries than will be enjoyed by many of your faculty, family, and friends. That’s not scary, that’s wonderful. your peers who today are getting their degrees in law or medicine What is scary is this. Up to this point in your life you have been or business. operating continuously, and almost exclusively, in growth-friendly Not to worry: The optimistic upside of this talk, the part that environments—settings that have been designed to foster your per - shares in the celebratory spirit of the day, is on its way and will be sonal learning and development. It may not always have worked, but here soon. But first let me tell you a little about what life may be like your world has been stacked decidedly in your favor. People who care if you are one of the fortunate people who is able to make a decent about you have designed tasks and living as a performer or teacher of experiences whose specific purpose music. was to help you learn and grow. Your work setting is unlikely to For many of you, that is not have much in common with the going to be the case any more. It is supportive environments you have going to be hard to find settings enjoyed thus far—and may even where you can both use what you seem as if it were intended more have learned thus far and continue to grind you down than to further to grow personally and profession - spur your growth, learning, and ally. Because I want you to suc - creativity. In my studies of profes - ceed, let me mention a few of the sional symphony and chamber obstacles awaiting you out there in orchestras, for example, I have that other part of the real world, in encountered many players who hopes that heightened awareness find it a real struggle to stay fully of them may diminish your vulnerability to them. alive musically while accommodating to the demands of life as an For one thing, as many of you already have learned, the labor ensemble player. Here is what one violinist in a major symphony market is skewed to favor employers over those who seek a career orchestra told me: “I have to be very careful to make sure that my making or teaching music. There are not many openings out there job, which is playing in this orchestra, does not get too much in the in professional jazz bands, in string quartets or brass quintets, or way of my career, which is making music.” Another, who had just even in professional symphony orchestras. When the orchestra in retired from his orchestra, put it this way in talking with my col - the city where I work has an opening for a section violinist, as many league Josephine Pichanick: “The younger people, when I first S as 200 well-qualified musicians apply for the job that only one of came, who are now in their forties? I guess they sort of…‘mellow ’ is p them can get. The situation is even worse for conductors, com - not the right word. They break down, they’re broken down by the r i posers, and those who aspire to be concertizing vocalists or instru - system. To the outsider, this may look like a glamorous job, but it’s n mentalists. And it is not much better in music education. There are not. It’s a factory job with a little bit of art thrown in.” g more jobs in schools than on the concert stage, to be sure. But music These gloomy reports are affirmed by our research findings. In a 2 is one of the first things to go when school budgets get tight. study of over 60 professional symphony orchestras in four countries, 0 0 7 43 CHOOSE TO EXPLOIT CHANCE EVENTS

Jutta Allmendinger, Erin Lehman, and I asked players about many musicians we studied. They score higher on internal motivation aspects of their work experiences.* Two of the questions are germane than any other group we have studied: an average of 6.2 on our 7- to today’s topic: players’ overall satisfaction with their jobs, and their point scale. Making great music remains an extremely powerful satisfaction with opportunities for personal and musical growth. We motivator for these players despite all the career and organizational compared their responses to those of people in twelve other occupa - obstacles they have to surmount. tions. For general satisfaction, orchestra players ranked seventh of That is good news, and there’s more. There are lots of positive the thirteen. And for satisfaction with growth opportunities, they models out there, people in all corners of the musical world who did ranked ninth—just below federal prison guards (although I hasten not get ground down, who are having genuinely fulfilling careers in to add that we studied a very innovative prison) and just above oper - music. Let me briefly tell you about four different people. They ating room nurses and professional hockey players. Although we have very different career trajectories, but each of them offers a les - have not studied those who teach music in public schools, my col - son to us all. The people are Doug Yeo, bass trombonist in the leagues in music education tell me that work there can be just as Boston Symphony Orchestra; Shasa Dobrow, a professional bas - wearing. soonist now teaching at Fordham University; Colin Fisher, a profes - Because I don’t want you (or me) to come away from this cele - sional jazz trumpet player who also is a doctoral student at Harvard bratory occasion depressed, let us now explore some strategies for University; and Karl Kramer, the director of your own school and navigating through the world into which you are stepping today. For the person who invited me to give this talk—on the condition that starters, you have something going for you that many people who I say something nice about him. also are graduating today do not: the music itself. In Monteverdi’s These musicians’ stories may prompt you to consider some non - opera L’Orfeo , the character La Musica sings in the prologue: “I am traditional ways of managing your career, strategies that can help music, and with sweet melodies, make peaceful every restless heart; you work around or even transcend the obstacles that the labor mar - and now, with noble anger, now with love, I can inflame the coldest ket and organizational life are sure to put in your way. All of these minds.” Music packs a powerful emotional punch, to be sure. And strategies, as you will see, have mainly to do with the choices you will it also can sustain a person through tough times. make as you live your professional life in that other real world. In the study that generated the unhappy news about player satis - faction we also assessed players’ “internal motivation.” Here are Strategy 1: Choose to exploit chance events. When Karl was three of the questions we asked. How would you answer them as you studying tuba at the Yale School of Music, brass faculty Robert reflect on your experience as a student in the School of Music? Use Nagel and John Swallow distributed students more-or-less randomly a 1 to 7 scale, where 1 means “strongly disagree” and 7 means into a variety of ensembles. Karl wound up in a newly formed stu - “strongly agree.” dent brass quintet. The quintet clicked and evolved into the Brass 1. I feel a real sense of personal satisfaction when I do well. Ring, a superb ensemble that focused mainly on music written specifically for brass. The quintet prospered for well over a decade, 2. I feel bad and unhappy when I perform poorly. and left a legacy of both recordings and young brass players who 3. My own feelings are not much affected one way or the other by were inspired by its work. how well I do in my work. Karl was responsible for coordinating much of the quintet’s If you gave a high number to the first two questions, and a low work, and in carrying out those duties he discovered that he had number to the third one, you have high internal motivation. You considerable skill as an entrepreneur and administrator. So when the don’t need grades or praise or other external props to sustain your - headship of the music program at the New World School of the Arts self. You are motivated because your own feelings provide a pat on became available, Karl chose to give it a try. And that led to the the back when you do well and a slap on the wrist when you do deanship at the SUNY campus at Purchase, and now to his leader - poorly. I’m betting that you scored high, because the best schools ship role in your own school. Meanwhile, he continues to play in the are set up to rely much more on internal motivation than on rules New Haven Symphony, to do his solo work, and to teach. What s o and grades to motivate students. The same is true for the orchestra started with a chance event in music school has become a lovely n amalgam of performance, administration, and education. o r *The findings from the cross-national study of symphony orchestras referred to in this article are Psychologist David Campbell once wrote a book on careers i reported in detail in the article “Life and Work in Symphony Orchestras,” by Jutta Allmendinger, titled, “If you don’t know where you’re going, you’ll probably end up t J Richard Hackman, and Erin V. Lehman ( The Musical Quarterly , 1996, vol. 80, pp. 194 –219). i e s 44 CHOOSE TO PERSIST EVEN WHEN—NAY, ESPECIALLY WHEN—YOU HIT MAJOR OBSTACLES

somewhere else.” I offer the following addendum: “. . . and some - reintroduction of the serpent, an almost-forgotten early brass instru - where else may be a better place to be.” So don’t try to manage your ment, to the musical world. And he worked with Yamaha to find career. Let coincidences, accidents, and chance encounters happen. ways to further improve the technical design of trombones. Those Notice them. And then exploit them for all they are worth. are but a few of the elements that Doug stitched together in con - structing a career that allows him to continuously grow and serve Strategy 2: Choose to persist even when—nay, especially others—personally, professionally, and spiritually. when—you hit major obstacles. After receiving his bachelor’s degree in music at Wheaton College, Doug Yeo moved to New York Strategy 3: Choose to venture down career paths that others City where, he reports, the phone did not ring. So he took a job as rarely take. One does not find many professional musicians in orga - a secretary, enrolled in a NYU master’s program and, along the way, nizational psychology doctoral programs, but that is where Shasa landed a few trombone gigs—a Broadway show here, a recording Dobow and Colin Fisher have been spending most of their time session there, whatever turned up. Eventually he concluded that lately. magic was not going to happen in the city and he took a job as high Shasa began her musical career at age 2, beating on her mother’s school band director in Edison, New Jersey. There was a big band drums (Mom was a professional percussionist). Then came the vio - room there, he says, where he could practice his excerpts. lin, and then the saxophone. Then her high school band director The practice paid off: Doug auditioned for a trombone position announced that he needed someone who could handle two reeds, with the Baltimore Symphony and got the job. Sensing that his for - not just one. So she wound up playing first chair bassoon with a fin - tunes finally had turned, he shortly thereafter auditioned for his gering chart open on her lap. From there, it was off to Interlochen dream job—bass trombone in the Boston Symphony Orchestra. He and then to the Tanglewood Institute and then to the conservatory won the audition, but he did not get the job. Music director Seiji at Rice University. She was close to launching herself onto the audi - Ozawa wanted to hear more from Doug so he invited him to play tion circuit and, she hoped, into a job in a professional symphony with the orchestra at Tanglewood, on a European tour, and for two orchestra. But she noticed that she was thinking nearly as much weeks in Symphony Hall. Then another round of auditions: Doug about the nature of musical careers as about her preparations for one versus four other seasoned bass trombonists. of her own. Eventually, Shasa decided to try an alternative path: she The unthinkable happened: Doug missed (his word is “slaugh - took a position as a research assistant in organizational behavior at tered”) a high b in one of the excerpts. But Ozawa hired him any - Harvard, and the next year entered the school’s doctoral program in way. (Doug later asked BSO second trombonist Norman Bolter how that field. Ozawa, the perfectionist, could have overlooked his huge mistake. Shasa wanted to study the “calling” that many talented young “It was easy,” Bolter said. “All five of you missed that same note!”) musicians feel for music as a profession. Which students develop a Doug was now bass trombone in one of the greatest orchestras in the compelling sense that they are called to a musical career, when does world. He was set for life. that happen, and what distinguishes those who eventually follow Or was he? The realities of orchestra life for a lower brass player their calling from those who do not? Shasa headed back to Inter - gradually began to show themselves: sitting in the back of the band lochen and Tanglewood to find out. She collected data about calling counting measure after measure of rest and then, when you finally from literally hundreds of students there, and then followed them do get to play, fielding complaints from the violas about your assault for over four years. She eventually wrote a wonderful dissertation on on their ears. It was a wonderful position but, in some ways, a rou - the topic while simultaneously playing in the Rhode Island Sym - tine and regimented work life. The very success Doug had sought phony and subbing in both the Boston Symphony Orchestra and was itself showing signs of becoming another obstacle. the Boston Pops. Now she has accepted a faculty position in orga - Doug is a wonderfully multi-faceted person. He has a deeply held nizational behavior at Fordham University, where she sits in an Christian spirituality. He is avidly interested in the history of brass office just a few blocks from Lincoln Center and teaches about S music-making. And he has an intense curiosity about the technical careers and organizations. New forks in Shasa’s career path no doubt p aspects of brass instruments. Doug wove those disparate elements will present themselves as she proceeds down it, and I’m prepared for r i into a career mosaic uniquely his own. He continued to perform at even more surprises as the professional life of this remarkable young n the highest levels in his orchestral and solo work, of course. But he musician and scholar continues to unfold. g also launched a personal Christian ministry. And he sparked the 2 0 0 7 45 CHOOSE TO VENTURE DOWN CAREER PATHS THAT OTHERS RARELY TAKE

Colin discovered his talent on the trumpet at age 13, even as he Jersey that continues to live in their hearts, as evidenced by the many contended with a mouthful of braces. He enrolled at the New Eng - letters and e-mails he still receives from them. Can you, with your land Conservatory immediately after high school, where he earned a students and your musical colleagues, create settings that help them bachelor’s degree in jazz performance. While there, he won a trum - experience abundant challenge, responsibility, and autonomy—as pet position in the Either/Orchestra, a jazz ensemble that plays music was the case for a professional string quartet we studied back when at (and, it sometimes seems, just a bit beyond) the frontiers of the jazz we were doing our orchestra research? I hope so, because members repertoire. Like Doug, Colin was drawn to New York City after fin - of that quartet, in stark contrast to what we found for symphony ishing his studies, and he also found it impossible to support himself orchestra musicians, scored higher on satisfaction with growth by gigging around the city. To pay the opportunities than any other occupation rent, he took a job with Kaplan teaching “Choice is what it all comes down in our sample. kids how to improve their scores on the Choice is what it all comes down to. SAT. to. Choose to keep spurring your Choose to keep spurring your own Colin noticed an unexpected conver - own development even as you leave development even as you leave this spe - gence between his work as a jazz musi - this special, growth-friendly real cial, growth-friendly real world. Choose cian and what he did in the classroom at environments where, to prosper, you Kaplan. The ability to improvise, he world. Choose environments where, will have to keep learning rather than found, was critical to success in both set - to prosper, you will have to keep merely meet the expectations of people tings and, like Shasa, he decided to learning rather than merely meet who care more about what you can do enroll in a doctoral program to figure for them than what they can do to help out how it all works. He now has fin - the expectations of people who care you realize your full potential. And ished his second year as a doctoral stu - more about what you can do for choose to create environments for others dent in organizational psychology, and them than what they can do to help that encourage them to keep on learning he already has developed an innovative and growing—in your teaching cer - method for assessing timing and improv - you realize your full potential.” tainly, but also in your relations with isation in a wide variety of activities, your families and your professional col - ranging from jazz performance to team leadership. leagues. Do not kid yourself: active choice really is needed because, Meanwhile, the Either/Orchestra is still going strong, with a new from here on, growth will not happen automatically. You will have recording about to come out and an international tour on the books. to make it so. Colin is proceeding down a new, non-traditional path, but doing so Let me close with a cautionary word. Be extremely wary of one in a way that does not require him to set aside either his talent as an warning sign as you make choices in your life and your career. instrumentalist or his passion for music. He, like Shasa, is poised for Should you find yourself frequently saying to yourself, “I have no a career that will allow him to have his musical cake and eat good choice” as you prepare to do something that bothers you, know that meals too. you are getting into trouble. When that happens, either change the All four of the people I just described have given careful attention environment you are in, or get yourself out of it. Because if you do to choosing the settings in which they place themselves. They real - not, that other real world, the one you are venturing into today, ized, whether consciously or not, what we social psychologists know eventually will have its way with you. I hope you will do everything well—namely, that our environments shape us profoundly, and you can to keep that from happening. often in ways that we do not realize at the time. So they all sought I wish you the courage to choose often—and the wisdom to to find or create environments in which they could swim with the choose well. currents rather than try to battle their way upstream. I hope each of you also will attend carefully to the values that per - J. Richard Hackman is Edgar Pierce Professor of Social and Organizational Psychology s vade the environments you choose for yourself because, for better or o at Harvard University. He received a bachelor’s degree in mathematics from n for worse, you will be shaped by them. And I hope you will give just o MacMurray College and a doctorate in social psychology from the University of Illinois. r as much attention to the environments you create for others. Doug His most recent book is Leading Teams: Setting the Stage for Great Performances. i crafted an environment for his high school band members in New t i e s 46 Student News A SELECTION OF RECENT ACCOMPLISHMENTS

Antoinette Pomata, Alumni Relations and Development Staff

Eun-Jung Auh , a Karin Hendricks , Ph.D. student in music paper entitled “The Woodbird’s Song in soprano D.M.A. candi - education with Louis Bergonzi, was the Jun - Act III of Götterdämmerung : Recapitulatory date in vocal perform - ior String Orchestra Director at the Illinois Transformations of the Wondrous” in ance, won an Summer Youth Music camp this past sum - November at the Midwest Modern Lan - international competition mer. She will have two study and teaching guages Association Convention in th to participate in the 35 guides published in Teaching Music Chicago. During the coming summer, annual Rome Festival in through Performance in Orchestra, (GIA Joseph plans to conduct dissertation Italy last summer. In addi - Publications). In addition, video clips of her research in Munich and Berlin on Der tion to performing the role of Adina in teaching are featured in the expert teach - Rosenkavalier , and will share his Donizetti’s L’elisir d’amore and other major works with the Rome Festival Orchestra, ing strategies section of a string teacher on- Rosenkavalier paper at the International Ms. Auh studied with master artist-teachers line community website, sponsored by the Musicological Society Congress in Zürich as part of the Rome Festival’s Summer Insti - University of South Carolina and the Ameri - in July. tute. At the U of I, Ms. Auh is a student of can String Teachers Association. In March Jerold Siena. 2007, she will present a paper on student Ingrid Kammin , a graduate student in motivation at the national conference of the the voice studio of Professor Sylvia Stone, Keturah Bixby, a senior in harp perform - American String Teachers Association. was one of two winners of the 2006 Metro - ance in the studio of Ann Yeung, attended politan Opera National Council (MONC) the 2006 Brevard Summer Music Festival in Jamie Hillman began a new appoint - Central Illinois District Auditions, held Octo - North Carolina as a scholarship recipient. ment this fall as Assistant Professor of ber 7 at the Krannert Center. The winners Music at Prairie Bible College in Three were advanced to the Regional Auditions Stefan Fiol , a graduate student in musi - Hills, Alberta, where he will teach voice, in Evanston (IL), where they will compete to cology and advisee of Dr. Charles Cap - theory, and conduct the womens’ choir. win a trip to New York to participate in the well, served as a visiting lecturer at Notre Jamie is a student of Fred Stoltzfus. National Semi-Finals on the stage of the Dame University in 2005-06. In April Metropolitan Opera. 2006, he presented a paper on his Chen-Yu Huang , a master’s degree stu - research on the regional music in Uttaran - dent in the harp studio of Ann Yeung, was Natasha Kipp , a Ph.D. student in musi - chal, India at the annual meeting of the a finalist in the prestigious 2006 National cology, pursued nine months of dissertation Association for Asian Studies in San Fran - Anne Adams Award auditions, adminis - research in Baku, Azerbaijan, after receiv - cisco. tered every two years by the American ing the 2005-06 American Councils for Harp Society. She was one of thirteen final - International Education ACTR/ACCELS Elroy Friesen , a doctoral student of Fred ists selected through recorded semi-finals to Research Scholar Fellowship. Natasha’s Stotzfus in choral conducting and literature, compete in the finals, held this summer in advisor is Donna Buchanan. was appointed Director of Choral Activities San Francisco. at the University of Manitoba in Winnipeg. Sonia Lee , who is pursing a double doc - He began his work there in August 2006. Julia Jamieson , recipient of the Roslyn toral degree in musicology with John Hill Rensch Harp Fellowship, was appointed to and harpsichord with Charlotte Mattax, is Bethany Green , choral master’s student, the Principal Harp position with the Illinois the recipient of the 2006 William E. Grib - became the new head choral director of Symphony Orchestra for the 2006-2007 bons Award presented by the American Lovejoy High School in Allen, Texas. Her season. Instrument Society. In May 2006, Sonia principal advisor is Fred Stoltzfus. participated in a concert at the National S Joseph Jones , a musicology doctoral stu - Music Museum in Vermillion (SD), perform - p Gregory Hellenbrand , a Ph.D. candi - dent of Dr. William Kinderman, read his ing with Professor Mattax on the newly con - r i date in musicology, served a one-year paper “Strauss’ Compositional Process and structed 16th century-style Vogt virginal, n appointment as visiting instructor at the Uni - the Act 1 Trio of Der Rosenkavalier ” at the created for the School of Music by Mal - g versity of Wisconsin at Eau Claire. Greg is Midwest meeting of the American Musico - colm Rose of Lewes, East Sussex (UK), after 2 a student of John Hill. logical Society in Chicago. He also read a 0 0 7 47 Student News

an instrument by Joos Karest. She per - ing Successful Programs for String Educa - Kydalla E. Young , a Ph.D. student of formed in the dedication concert for the tion in Diverse Settings: My Experience” at musicology with John Hill, conducted instrument held in U of I’s Smith Recital Hall the 2007 ASTA National Conference in research in Peru on the topic of “Music in this August. Sonia also participated as a Detroit, MI. His teacher is Professor Louis Confraternities in Colonial Peru,” after continuo player and solo harpsichordist Bergonzi. receiving a 2005-06 Fulbright Fellowship. with the ensemble La Donna Musicale in the modern premiere CD recording of The Benjamin Pierre , a second year music SooHyun Yun , a Seven Psalms of David, Vol. II by Antonia education and jazz bass major, was D.M.A. student in Bembo, released in spring of 2006. awarded a grant from the Summer piano performance Research Opportunities Program (SROP), with Ian Hobson, has accepted a position as Megan McCauley , a D.M.A. candidate which is designed “to increase the number Adjunct Assistant Pro - in voice and student of Jerold Siena, was of underrepresented students who pursue fessor of Music at Mil - declared winner of the Carolina District academic careers by enhancing their likin University in preparation for graduate study through Metropolitan Opera Auditions in Novem - Decatur (IL). She currently teaches class ber 2005. Megan competed in the MET intensive research experiences with faculty piano and studio piano in the Millikin Uni - Regional Finals held in Atlanta in February mentors.” With Louis Bergonzi of the music versity School of Music Preparatory Depart - 2006. education division as his advisor, Benjamin ment. In addition, she serves as a is researching the attitudes of secondary coordinator for the U of I Piano Lab Pro - Scott Montgomery, D.M.A. student of school instrumental teachers concerning gram. She judged the final round of the Dana Robinson, gave a public recital on instructional use of world music. The study Most Wanted World Pianovision Competi - June 27, 2006 in Smith Memorial Hall in is being conducted with assistance from the tion at the World Piano Pedagogy Confer - preparation for the National Young Artists Illinois Music Educators’ Association. ence (WPPC) in Atlanta on October 25, Competition in Organ Performance (NYA - 2006, as well as the ISMTA High School Competition at Millikin University on COP). After several rounds of regional Susan Rice has accepted a one-year November 4, 2006. competition, Scott was named one of three appointment as Director of Choral Activities finalists nationwide to compete at the Amer - at Beloit College in Wisconsin. Susan is a ican Guild of Organists convention. Scott’s D.M.A candidate and student of Fred Trent Jacobs , a D.M.A. student, won the final-round performance took place on July Stoltzfus. contrabassoon position, and Katie 2 at St. Paul’s United Church of Christ in Siedel , candidate for a master’s degree in Chicago. As winner of the First Prize and Ryan Ross , Ph.D. candidate in musicol - music, won the second bassoon position in the Audience Prize, Scott gave the Win - ogy and advisee of Gayle Sherwood- Sinfonia da Camera in September 2006. ner’s Recital at St. Paul’s UCC on July 5. In Magee, won the Ralph Vaughan Williams Katie and Trent are both students of Timo - addition to a cash award, Scott received a Fellowship given by the Carthusian Trust. thy McGovern. recording contract with Pro Organo and a He traveled to the UK for six weeks in sum - two-year management contract from Karen mer 2006, to study manuscripts of Ralph Two students of William Kinderman, McFarlane Artists, among the world’s most Vaughan Williams at the British Library in Joseph Jones and Hannah Chan , prestigious agencies handling concert London and stayed at Charterhouse School have had revised versions of their research organists. in Godalming, England. essays accepted in Naturlaut , a scholarly journal devoted to Mahler. The title of Channing Paluck , a first year doctoral David Sawatzky , a D.M.A. candidate Joseph’s paper is “Envy and Misinterpreta - student in music education, had his article and student of Fred Stoltzfus, was tion: Richard Strauss and Gustav Mahler’s “Strings in the City: Building a Community appointed Assistant Professor of Music in Resistance to the Descriptive Program”; of String Players in an Urban Setting” pub - choral conducting and church music at Hannah’s paper is entitled “Balancing Artis - lished by the American String Teachers Bluffton University, Ohio, beginning fall tic Vision, Public Taste, and Economic Real - Association (ASTA) in the book Teaching in 2006. His duties will include conducting ity: Gustav Mahler’s Concert Programs for America: Strategies for a Diverse Society . the Bel Canto women’s ensemble, teaching the New York Philharmonic Orchestra Mr. Paluck’s article discussed “Strings at church music courses, and conducting the (1909-1911).” Joseph and Hannah, Ph.D. 17,” the string program at Enrico Fermi oratorio choir for the annual Bach Festival. students in musicology, participated in Dr. s o School No. 17 in Rochester, NY. Channing Kinderman’s seminar on “Gustav Mahler n Rebecca Wascoe , a D.M.A. student and and fin-de-siècle Vienna” last spring. o served as the lead teacher for Strings at 17 r from 2000-06. He will be discussing his teaching assistant in voice, won the first i prize in the Gerda Lissner Competition for t article as a member of the panel “Design - i Young Opera Singers. Rebecca is a student e s of Sylvia Stone. 48 Tony Licata and Gerald Wood were the grand winners in the student and pro - fessional divisions at the 2006 International Chicago Symphony Violinist Paul Phillips Visits SoM Women’s Brass Conference Competition. The Chicago Symphony Orchestra’s recent visit to and concert at the Krannert Cen - Both are horn students of Kazimierz ter for the Performing Arts on November 2, 2006 included more than wonderful Machala. performances of music by Brahms and Bartók. Paul Phillips, a CSO member for 26 years, met with about 100 string players at an event organized by the UI Student Chapter of ASTA, with support from Quinlan & Fabish Music. The Other Guys earned third place— The discussion covered, expectedly, Mr. Phillips’ career path, how students might after Brigham Young University and Oxford build their own careers, and insights into orchestral auditions. Over his long career, University—in the finals of the International Mr. Phillips has served on audition panels for all instrumental vacancies. Championship of Collegiate A Cappella At a pause in the discussion, however, Mr. Phillips could not resist asking Louis (ICCA) held in Lincoln Center’s Alice Tully Bergonzi, conductor of the UI Philharmonia Orchestra, about a bowing Bergonzi Hall in New York City this April. The a cap - had the first violins use in the Firebird Suite (1919), the rehearsal of which Mr. pella group presented their arrangements Phillips had just observed. “We would never do that,” Mr. Phillips chided his friend. of “Tonight, Tonight,” “The Beatles Medley” “But Stravinsky indicated that bowing and, in relation to the 2nd violins, it makes enough sense,” replied Bergonzi. (arr. Bill Prokopow), and “Hallelujah I Love For the next few minutes, the students Her So” (arr. Bill Prokopow), and were a observed the professional workings and crowd favorite, eliciting a momentous decorum that are important to the process standing ovation from the sold-out theatre that gets a score from composition to con - audience. In the Midwest Region quarterfi - cert performance. Bergonzi’s students chuck - nal and semifinal competition, Bill led as their teacher and Mr. Phillips went Prokopow received Outstanding Arrange - back and forth; the conducting majors in ment awards for “Hallelujah I Love Her So” attendance took notes and engaged in the and “The Beatles Medley.” debate; and, most importantly, a rewarding experience was had by all.

GAMELAN BACK AT ILLINOIS! Continued from page 9

The University of Illinois and the Col - strations of various musics from around the lege of Fine and Applied Arts are currently world—in fact, faculty and students have in negotiations for the formal establishment already done such gigs in the past, but with of an outstanding center or institute for the the help of new resources, these activities can study of world music on the Urbana-Cham - surely increase. Other outreach opportuni - paign campus with hopes of finalizing the ties envisioned include making available arrangements very soon, including a search such things as a community gamelan class for a director. Aside from its importance to and occasions when local musicians could students throughout the School of Music, present performances on campus. The U of I Concert Jazz Band was such a center would have a great impact on With Brown’s bequest, Illinois has the invited to perform for the International the larger student community, as many of potential to become the world’s leading Association of Jazz Educators (IAJE) confer - the students participating in the perform - institution for instruction, performance, and ence in New York City in January 2006. ance classes for dance or music do come research on world music. An institute for the The band, directed by Chip McNeill, per - from a variety of majors. There would be no study of world music would complement formed with new Jazz Faculty trombonist need for students wanting to learn Balinese other units of the University and help our Jim Pugh and two UI alums, pianist Jim gamelan, for example, to feel intimidated by music graduates develop skills, knowledge, McNeely (B.M. ‘75) and percussionist the skill of their classmates since everyone and understanding which will enable them Joel Spencer (B.S. ‘78). The Concert will start at the same level. This gives stu - to respond creatively to the musical, cul - dents without prior musical training a tural, and educational challenges of the 21st Jazz Band and guests performed music chance to experience not only a new culture century. All in all, an institute of this type from their new CD Get Here Sooner , avail - S but to acquire a new competence. promises to be the catalyst for developing an able through the jazz division of the School p Another activity this center could foster even more complex and fulfilling panoply of r of Music. is serving as a liaison with the local commu - musical experience and opportunity for stu - i nity by sending out students and teachers to dents at the University of Illinois and for n Congratulations to our many talented g students and teachers on these recent schools where they can give lecture-demon - members of its surrounding community. 2 achievements! Some material included in this article was provided by 0 Melissa Merli of The News Gazette . 0 7 49 Alumni Notes

spent in there! The afternoon concert in Farrars Commemorate Golden Anniversary Smith Recital Hall, featuring compositions of some of our former teachers—Gordon with Gift of Music Binkerd, Thomas Fredrickson, and Robert Kelly—was a grand occasion and the dedi - Carolyn Backus (B.M. ’57, D.M.A. ’73), Professor Emeritus of Vocal Studies, cation of the fine virginal was truly signifi - Baylor University, Waco, Texas cant. I had a brief moment to say hello to It was a very special moment Over twenty years Patti Binkerd. Oh, the many memories of in time, completely unex - had passed since I had working with Gordon Binkerd! I still have a pected. A phone call came been on campus and I recording of his Sun Singer as performed out of the blue in April—“Is knew many changes had by the University of Illinois Symphony that you, Lloyd?” It had been taken place; however, Orchestra. I remember that he asked me at least 40 years since I had Smith Music Hall looked what I thought of it after a concert perform - seen him. He had come to the same. The first ance. Being put on the spot like that, I said New York, to attend a musi - evening in Urbana, we that the work ended in C Major. I think he cological conference in the senior citizens—me, thought I was 1960s, while I was a mem - Joyce Adler Luettich funny (besides ber of the New York Pro (B.M. ’57), Richard being an Musica Antiqua. Doris had Luettich (B.S. ’57), unknowing not been able to come with Richard Vook (Ph.D. freshman). So him, so I tried to show him the sights of the ’57), Lloyd Farrar (M.M. ’56 ), Doris many memories city, including that wonderful, inexpensive Vogt Farrar (B.M. ’56 ), her sisters of George ride on the Staten Island Ferry. But since Claire Vogt Wally (B.S. ’55), Annabel Hunter surfaced—I remember his showing that time, I had lost contact with my friends. Vogt Allen (M.A. ’63), and other family me some vocal works of Luigi Dallapiccola Career and other responsibilities had members galore—gathered at the Steak ‘n and some of the songs of Charles Ives—in claimed us. So it was wonderful to visit by Shake for dinner. We all had such fond addition to all the memories of reading telephone with Lloyd and Doris on that memories of eating there, although the one through the madrigals of Monteverdi and April afternoon—I in near campus no longer exists. We were, enlisting the aid of musicology professor my office at Baylor dare I say it, a trifle loud and boisterous, Dragan Plamenac to help me with the texts and they in Ten - and we presented a real challenge to our of some songs I was singing with the Col - nessee. poor waiter. Afterwards, back at the motel, legium Musicum. When Lloyd told The visit back to campus really was me of their plans to a return to Memory Lane. When Doris, return to campus at Lloyd, and I were undergraduates, so the end of August to celebrate their Golden much exciting music was being written Wedding Anniversary and at the same time and performed. We had a fabulous expe - to pay tribute to their former teachers and rience with our supportive and dedicated mentors, I knew that I had to be part of that teachers. Their influence remains with us celebration. I had sung at their wedding to this day! fifty years ago. Lloyd told me that there were seven of us, plus bride and groom, Clockwise from top who were still living. Later he informed me Lloyd Farrar entreats Karl Kramer, director of the School of Music to “cherish and protect” the Vogt virginal “till death do us part.” of the special surprise for Doris—he had we quieted down and passed around pic - commissioned Malcolm Rose of Lewes, East tures and albums from that wedding. We Marlah Bonner-McDuffie, Associate Director for Development, thanks donors Mrs. Doris V. and Dr. Lloyd P. Farrar. Sussex in Great Britain, to create a replica looked so young! s of a 16th-century virginal in Doris’s honor, The next day, Sunday, the celebration Emeriti professors Ronald Hedlund (baritone) and Eric Dalheim o (piano) perform songs of Illinois composer Gordon Binkerd. n and also to honor Professor George Hunter. began in earnest with a mini concert featur - o There was to be a dedicatory concert on ing music by composer Julia Deskins Professor Charlotte Mattax performs at the dedication concert on r the Vogt virginal created by Malcolm Rose of East Sussex (UK). i Sunday, August 27, 2006. Vook (M.M. ’56), and a luncheon in the t former library—the hours all of us had Photos: Cheryl Munn-Watley i e s 50 Alumni News

Amy Fuller, Alumni Relations and Development Staff

1960-1969 Hall, although choirs she has directed have Anne Mischakoff Heiles Glen Danielson performed at Carnegie twice before, in (D.M.A. ’78) 1996 and 2000. published a book about (M.S.’63) retired from her father, Mischa Mis - the Seattle Symphony chakoff: Journeys of a after 38 years as Oboe Concertmaster , with and English Horn Harmonie Park Press in player and from the May 2006. She has Seattle Opera after 35 lectured on her father and her book at a years service. Over the meeting of the Illinois Council of Orches - course of his career, Danielson made more tras, the Chautauqua Music Festival in than 100 recordings with the two orches - upstate New York, and at Eastern Michigan tras on the Naxos, Delos, and RCA Victor Jeannette “Jj” Ebelhar leads her choir through rehearsal for the concert at Carnegie Hall. Photo: Andy Telli University. Her sequel book, America’s labels under conductor Gerard Schwarz, Concertmasters , is in press with the same with international artists such as Ray “I am very thankful for my education, publisher and expected to be in print in Charles, Placido Domingo, Renee Fleming, training, and many enriching oppor - 2007. Henri Mancini, Birgit Nilsson, Luciano tunities at the University of Illinois, Pavarotti, the Smothers Brothers, and Joan all of which contributed to my being Daniel Neuman (B.A. ’65, Ph.D. ’74), Sutherland. During the 1965 and 1966 an outstanding music educator.” seasons, he was a member of the Chicago currently executive vice chancellor and Lyric Opera Orchestra. Prior to attending Jeannette “Jj” Ebelhar, M.S. ‘74 provost at UCLA, has been chosen as direc - Illinois, he was a member of the Milwaukee tor of the New Center for Arts and Culture Symphony. Glen reports that he is enjoying to be located in Boston. The center, which has mounted several exhibitions, hopes to retirement in Seattle, jogging, traveling, Sheila Johnson open its own building in the next four or playing with area bands, sleeping (until he (B.M.E. ’70), alumna of five years and has raised more than $20 is done!), and cleaning up the “detritus of the UI music education million toward an eventual goal of more a long career.” He would like to acknowl - program, cofounder of than $80 million. An ethnomusicologist, edge Professor Blaine Edlefsen, his princi - media giant Black Neuman specializes in the music of India. pal instrumental teacher while at Illinois. Entertainment Television (BET), and Chief Execu - In 2002, prior to his position as executive tive Officer of Salaman - vice chancellor, he was dean of the UCLA’s 1970-1979 der Inn and Spa resort, received the School of the Arts and Architecture. Before that, he taught at Dartmouth College and Alumni of the Year Award from the Univer - Jeannette “Jj” the University of Washington, where he sity of Illinois Alumni Club of Greater Ebelhar (M.S. ’74), was director of the School of Music. Neu - Washington, D.C. Johnson began her choral director and man was also a developer of the World career as a violinist and music teacher, but Fine Arts Department Music Navigator, a computerized atlas of made her mark with BET in 1980, making chair at Pope John Paul world music. Last spring, Neuman pub - her the nation’s first black female billion - II High School in Hen - lished Bards, Ballads and Boundries: An aire—even before Oprah Winfrey. Ms. dersonville, Tennessee, Enthnographic Atlas of Music Traditions in Johnson recently established the Salaman - conducted an all-female West Rajasthan . choir of students from JPII High School and der Inn & Spa resort, food market, and sta - bles in Middleburg, Virginia. She is a St. Cecilia Academy, alumni from both Michael Pettersen dedicated philanthropist, donating gener - schools, and friends in a concert in (B.A. ’74) has achieved ously to the arts. S Carnegie Hall on June 25, 2006. The con - much success with his p cert featured several professional soloists, a choral arrangement of r professional orchestra, and a semi-profes - “Down in the Valley to i sional women’s choir from Tucson, Arizona, Pray,” published in n under the Ebelhar’s direction. This was her 2005 by Walton Music g first opportunity to conduct at Carnegie 2 0 0 7 51 Alumni News

(www.waltonmusic.com/CDsampler2005.p as part of the National Conference of the Council (NJ). John continues to perform as hp). Based on a melody likely conceived in Society of Composers, Inc. In conjunction a freelance percussionist with the Orchestra the early 1800s, Pettersen’s arrangement is with the conference, Adams served as of St. Lukes, the New Jersey Pops, and the an “homage to the uniquely American member of the composition pedagogy Jerry Vezza trio. ‘shape note’ style of singing, also known panel held at Incarnate Word University as ‘sacred harp’ singing,” to which he was in San Antonio. Daniel currently lives in Ronnie Pejril (B.M. '86) followed his introduced at concerts of Dr. Neely Bruce Houston, Texas. degree in composition at Illinois with grad - while an undergraduate at UI. Pettersen’s uate work at Princeton and has been “Down in the Valley to Pray” premiered in Vickie Covington (M.M. ’71, Ed.D. appointed the Music Instructional Technol - Chicago in 2003. In addition to compos - ’81), winner of the Medallion of Honor in ogy Center Coordinator at DePauw Univer - ing and giving choral performances with 1988—the most prestigious award pre - sity, where he also teaches music his wife, soprano Dr. Jan Marie Aramini, sented annually by the Mothers Association technology. Pettersen is active as a rhythm guitarist and of the University of Illinois to those who, by composer in the Chicago area. He founded example and service, have used their tal - Stephen Sims (B.M. ’86) teaches violin and operates a not-for-profit educational ents to enrich the lives of others—became at the Sato Center for Suzuki Studies at the Cleveland Institute of Music and at Denison website, http://freddiegreen.org, which seriously ill after eating tainted spinach that University, and is an active clinician at documents the musical style and life of has affected others across the nation. After numerous Suzuki Institutes around the coun - Count Basie’s guitarist, Freddie Green extended hospitalization, friends report try. In 2000, the Tennessee Governor’s (1911-1987). Pettersen began his website Vickie is in recovery. Send cards, letters, School for the Arts recognized Sims as one in response to popular demand for addi - and good thoughts to: Victoria Covington; of Tennessee’s outstanding musicians. A fre - tional information about Freddie Green and Tower in the Park, #307; 55 Barrett Road; quent performer, he appeared most big band rhythm after authoring a series of Berea, Ohio 44017. recently as soloist in Beethoven’s Triple articles for Downbeat Magazine. John Leister (B.M. ’82) was named Prin - Concerto with the Emporia State University cipal of the Bee Meadow Elementary Orchestra in Kansas. 1980-1989 School in Hanover Township, New Jersey. In June 2006, he was selected as the Arts Daniel Adams Educator of the Year by the Morris Arts (D.M.A. ’85), com - poser, percussionist and music educator, had three of his compo - sitions published by Anton Armstrong Receives Cherry Dorn Publications this Award for Great Teaching past summer; Augustine Shadows for oboe and piano, Ambiva - Anton Armstrong (M.S. ’80), the Harry R. and Thora lence Recalled for flute solo, and Khromas H. Tosdal Professor of Music at St. Olaf College and con - Diabolus for trombone and percussion ductor of the St. Olaf Choir, was named by Baylor Univer - ensemble. His composition Between Still - sity as this year’s recipient of the Cherry Award. At ness and Motion for piano solo was per - $200,000, the 2006 Robert Foster Cherry Award for formed in May by Felipe J. Ramirez on two Great Teaching is the most prestigious award of its type in concerts sponsored by the Texas Chapter of the nation. Armstrong was one of 86 nominations that NACUSA; at the Modern Art Museum of represented 68 colleges and universities and 46 disci - Fort Worth and at the Eisemann Center for plines. He will travel to Texas to teach at Baylor University Performing Arts in Richardson, Texas. Still - Anton Armstrong has conducted the during the 2007 spring semester and summer session. In St. Olaf Choir since 1990. ness and Motion , performed by pianist Jeri- recent seasons, Armstrong has guest conducted such mae G. Astolfi, was released on a compact noted ensembles as the Utah Symphony and Symphony Chorus, the Mormon Taber - disc entitled Melange distributed by Cap - nacle Choir and the Saint Paul Chamber Orchestra. During his tenure as conductor, stone Records. In September, Daniel had the St. Olaf Choir has recorded 11 CDs and in December 2005, the choir was fea - several of his compositions performed at tured on the PBS Christmas special, “A St. Olaf Christmas in Norway,” aired nation - the University of South Florida in Tampa, wide. Anton has collaborated in concert with Bobby McFerrin and Garrison Keillor including Demons Before Dawn for bass and is active as a guest conductor and lecturer throughout North America, Europe, s flute and percussion trio and Between for Scandinavia, Korea, Singapore, Australia, New Zealand and the Caribbean. o n flute and marimba. His composition Reso - o nant Canvas for multiple percussion solo r “This award recognizes all the wonderful family, teachers, mentors, students i was performed at the University of Texas, and singers that have touched my life.” t San Antonio, by percussionist Brad Smith i Anton Armstrong, M.S. ‘80 e s 52 Peter Tiboris (Ed.D. ’80) recently cele - miered at the Chelsea Art Museum in New Kerry Heimann (B.M. ’94, M.M ’95) is brated his 20th season as general director York City by the New York Miniaturist the accompanist for the American Boychoir, and artistic director of MidAmerica Produc - Ensemble. Bohn gave a lecture titled “Using based in Princeton, New Jersey. While on tions, one of New York’s largest classical CSound in Live Performance” at the Associ - tour last year, they performed in Urbana concert production companies. Under the ation for Technology in Music Instruction and Galesburg, Illinois. MidAmerica umbrella, Mr. Tiboris has International Conference in Quebec City, developed further undertakings, such as the Quebec. Elizabeth Hinkle-Turner (M.M. ’88, Elysium recording label, the Manhattan D.M.A. ’91) published her book Women Philharmonic Orchestra, the Elysium Cham - Donato Cabrera (M.M. ’99), former con - Composers and Music Technology in the ber Ensemble, and Just Tenors, Inc., a man - ducting student of Professor Donald Schle - United States with Ashgate Press, United agement company for singers. During the icher, was recently appointed Resident Kingdom in 2006. The text is described as past 12 months, Maestro Tiboris has con - Conductor of the San Francisco Opera. “the most definitive attempt to date to dis - ducted Orquesta Sinfónica del Estado de cuss the achievements of women as com - México; Silesian Philharmonic in Katowice Nathan Gunn (B.M. posers of experimental and avant-garde (Poland); Orchestra Sinfonica Siciliana di ’94) received the first music from the 1930s to the present day.” Palermo in Palermo and Castellana Sicilia Beverly Sills Artist An article excerpt from the work, published (Italy); Orchestra Sinfonica Citta di Gros - Award, an award in Organized Sound 8.1 , received the seto in Grosseto and Livorno (Italy); given to a U.S. citizen Pauline Alderman Award for outstanding Bohuslav Martinu Philharmonic Orchestra between the ages of 25 scholarship on women in music in the cate - in Zlin (Czech Republic) and on the Island and 40 who has sung gory of journal, article, or essay in May of Syros (Greece); and the Manhattan Phil - solo roles at the Metro - 2005. Hinkle-Turner held a joint composer harmonic in New York. In 2004, he con - politan Opera in New York. Frequently residency with the McLean Mix in March ducted the U.S. premiere of Sergey seen on opera stages throughout the world, 2006 at Muhlenberg University where she Taneyev’s opera Agamemnon at Carnegie this past season Gunn created the role of presented lectures and a recital of her Hall. In 2000, he created Opera Aegean Clive in the Met’s premiere of An American works. She presented the paper “Hear Me in Athens. Since then, Opera Aegean has Now: The Implication and Significance of Tragedy by Tobias Picker, to much acclaim. begun a summer festival on the island of the Female Composer’s Voice as Sound He will perform Papageno in Die Zauber - Syros, presenting operatic, theatrical, and Source in Her Electroacoustic Music” and flöte with the Metropolitan Opera in the fall concert events. In 2005, the festival pre - had her video piece Finish Line featured at and winter of 2006-07, Figaro in Il Barbi - sented Rossini’s Il Barbieri di Siviglia and the International Congress on Women and ere di Siviglia with the San Francisco in the summer of 2006, Mozart’s Don Gio - Music at Florida International University in Opera in fall of 2006, followed by vanni . Eleven concerts are planned for May 2006. This latter paper also Guglielmo in Così Fan Tutte with the Lyric 2007 including Mascagni’s operas Zanetto appeared as an article in the online journal Opera of Chicago beginning January and Cavalleria Rusticana . “eContact! 8.2,” a special issue on gender 2007, along with numerous recitals and and technology guest-edited by Hinkle- Peter Wood (B.S. ’89) was appointed additional opera performances. Turner. Elizabeth was recently elected vice- Assistant Professor of Trumpet at the Univer - president of the International Alliance for sity of South Alabama in Mobile, and Prin - Barry Hearn (M.M. ’98), trombonist with Women in Music. She continues to serve cipal Trumpet of the Golf Coast Symphony the U.S. Army Band in Washington, DC, on the board of the Canadian Electroa - Orchestra in Biloxi (MS). Wood serves as performed the Trombone Concerto by coustic Community and as Student Comput - CD Reviews Editor of the International newly-appointed UI Jazz Trombone Profes - ing Services Manager at the University of Trumpet Guild Journal and recently per - sor Jim Pugh on the faculty concert for the North Texas. formed the world premiere of David 2006 International Women’s Brass Confer - Durant’s Choragus Revisited for trumpet ence (IWBC) held in Normal, Illinois in Lonnie Klein (D.M.A. and electro-acoustic accompaniment at a June 2006. Barry won the principal trom - ’93), music director conference of the College Music Society in bone position with the Louisiana Philhar - and conductor of the San Juan, Puerto Rico. Wood lives with his monic Orchestra in May 2005, but Las Cruces Symphony wife and three children in Mobile. declined the position in favor of remaining Orchestra in New Mex - in the U.S. Army Band. He participated in ico, recently made the Alessi Seminar in the summer of 2005 European conducting and was a finalist for the National Sym - 1990-1999 debuts with the Milano phony second trombone position in Octo - S James Bohn (M.M. ’93, D.M.A. ’97), Classical Chamber Orchestra, the Orches - ber. Barry was the ‘93 ITA Marsteller p composer and author, recently had his tra Sinfonica Della Provinicia in Italy, and winner, the ’96 ITA Smith competition win - r composition wormwood for two toy pianos, later with the Cukurova Devlet Senfoni i ner, and a 2003 IWBC grand prize win - piano, and tape premiered at the Extensi - Orkestrasi in Turkey in a concert broadcast n ner. He studied trombone at the University ble Toy Piano Project in Worchester, MA. live on Turkish Television. After a return trip g of Texas at Arlington, the University of Illi - Two Benjamins for flute and viola, which to Turkey to conduct the Cukurova Devlet 2 he co-composed with Eric Lyon, was pre - nois, and the Manhattan School of Music. 0 0 7 53 Alumni News

Senfoni Orkestrasi, he traveled again to the Chicago area, and assists classes at View , a collection of popular solo piano Italy to conduct the Solisti di Perugia Cham - companies such as Hubbard Street Dance. music, and Spring Sonata , recorded with ber Orchestra in an outdoor concert Joshua was recently asked by Sherwood to violinist Beedarn Chao. This later recording attended by 12,000 people. Klein is provide faculty consultation for a new cur - includes Beethoven’s “Spring” Sonata , the deeply committed to education and commu - riculum task force. Sonata in A major by Franck, and the nity and, under his leadership, the Las Sonata in D major by Prokofiev. Dr. Cruces Symphony has developed a very Horacio Nuguid (D.M.A. ’94), pianist Nuguid performed Rachmaninoff’s Piano active outreach program for young and old and Artistic Director of the Rochester Cham - Concerto No. 2 with the Rochester Sym - alike. This past year, he conducted concerts ber Music Society (rochesterchambermu - phony Orchestra in November of 2005, with the Traverse Symphony Orchestra in sic.org), released his third CD, containing and gave recitals and master classes at the Michigan, the Kentucky All-State Orchestra, solo piano music by Chopin, Ravel, Rach - University of Santo Tomas and Santa the Bari Symphony in Italy, and a concert maninoff, and three Filipino composers. Scholastica College in Manila, Philippines. in Magdeburg, Germany, with the Europa Previous CD recordings include An Old In April and May of 2006, he gave solo Philharmonie.

Kathy Kozak (M.M. ’96) was recently World-wide Trombone Quartet: Continental appointed to the position of assistant cho - Trombone Quartet Performs Around the World rus master and vocal coach at the Florida Grand Opera in Miami. She served as a The Continental Trombone Quartet (CTQ) , Visiting Assistant Professor at the University consisting of Illinois alumni Doug of Miami in Florida during the 2005-06 Farwell (D.M.A. ’98), Peter Madsen (D.M.A. academic year, where she acted as Interim ’00), Mark Sheridan-Rabideau (D.M.A. ’98), Co-Director of the Opera Theater, primary and Steve Wilson (D.M.A. ’04), had back-to- coach for the Department of Vocal Perform - back banner years with recitals at IAJE in January ance, academic advisor for voice majors, 2005; a tour of the Midwest in March with per - and conductor for the opera department’s formances at the University of Nebraska at production of The Elixir of Love . This past Omaha, Hastings College, the University of Mis - summer, Kathy was an assistant conductor Continental Trombone Quartet (left to right): Dr. souri at Columbia and the Midwest Regional CMS Mark Sheridan-Rabideau (Highland Park, New for Lake George Opera’s I Pagliacci in Jersey), Dr. Pete Madsen (Omaha, Nebraska), Conference; lecture-recitals at the International upstate New York and was on the faculty Dr. Doug Farwell (Valdosta, Georgia), and Dr. CMS Conference in Madrid, Spain in June 2005; of the Intermezzo Young Artists Program in Steve Wilson (El Paso, Texas) the Second International Vernacular Congress in West Palm Beach, Florida. Puebla, Mexico in October; and the National CMS Conference in Quebec, Canada in November. The quartet finished out 2005 with a performance at the Midwest Clinic in Joshua Manchester (M.M. ’99) per - Chicago featuring guest trombonists Steve Weist and Antonio Garcia. formed with the International Contempo - In 2006, CTQ performed recitals and clinics at Valdosta State University and rary Ensemble (ICE) in March 2006, in Florida State University in January, did a recording project and recital at UC Berkely, conjunction with the Chicago Composer’s and were the featured performance group for the National CMS Conference in San Forum. His realization of a piece for three Antonio in September. percussion and tape by Ryan Ingebritsen was done in conjunction with Phillip Patti Doug Farwell (D.M.A. ’98) is an Associate Professor of Trombone and Assistant and David Schotzko. The concert at Dean of the College of the Arts at Valdosta State University in Georgia and will serve Chicago’s St. Xavier University, called this year as Interim Executive Director of the Valdosta Symphony Orchestra. “Music and the Search for Meaning”, was included in a four-part series of concerts, Pete Madsen (D.M.A. ’00), Coordinator of Jazz Studies and Assistant Professor of presentations and panel discussions investi - Trombone/Euphonium at the University of Nebraska at Omaha, directs the jazz gating the meaning of musical experience ensembles and jazz combos, coordinates UNO’s Great Plains Jazz Festival, and from four points of the musical process. teaches low brass, jazz survey, and improvisation. Joshua, a regular member of the MAVerick Ensemble of Chicago, has premiered works Mark Sheridan-Rabideau (D.M.A. ’98) of Highland Park, New Jersey, is a found - with the Cube Ensemble, improvises with ing member of the quartet and an Assistant Professor of Low Brass and Director of the the experimental group The Sherpas, and Music Business and Technologies program at Millersville University where he teaches subs in numerous orchestras in Illinois, Wis - trombone, tuba, and euphonium, as well as courses in Music Business and Popular s consin, Indiana and Iowa. In addition to o Music. n teaching at the Sherwood Music Conserva - o tory and adjudicating competitions, he r Steve Wilson (D.M.A. ’04) is an Assistant Professor of Music at the University of i works with church music for both contem - Texas at El Paso and is active with the El Paso Symphony Orchestra, the El Paso Wind t porary choirs and children, gives clinics in Symphony; and as a low brass clinician, giving solo performances, master classes, i Chicago Public Schools, performs solo in e and teaching private lessons to aspiring trombonists in Texas. s 54 recitals featuring the music of Chopin at works and standard repertoire, has been marching bands. This year he produced a Winona State University, Augsburg College heard on National Public Radio affiliates field show for the Class 2 state champi - in Minneapolis, Owatonna Art Center, across the United States. onship. Craig maintains a private brass stu - Paramount Theatre in Austin, Texas, and at dio and is assistant band director at the Mayo Clinic in Rochester. Dr.Nuguid is Matt Cameron (M.M. ’06) was chosen Washington High School, marching brass an active teacher and clinician in Min - as principal trombonist for the Cedar band instructor at Morton High School, and nesota, where he serves on the faculty of Rapids Symphony after competing for and music theory instructor at Bradley Univer - the Young Artists Piano Camp at the Univer - winning the position in August 2006. In sity. In addition, he is active as a trombon - sity of Minnesota-Duluth. His recordings are addition, Matt was appointed trombone ist and performs with the Prairie Wind available through instructor at Grinnell College, Clarke Col - Ensemble, Peoria Municipal Band, Peoria www.NuguidPianoStudio.com. lege and the Cedar Rapids Symphony Players, and Opera Illinois. He recently School. While a student at UI, Matt was a participated in the Bands of America-spon - Kelley Squires (B.S. ’96) received her student of Elliot Chasanov. sored Young Composer Mentor Project, Master of Music Education degree from the and was a finalist for the ASCAP Founda - University of Connecticut in the summer of Stevie Caufield (M.M. ’02) was tion Morton Gould Young Composer’s 2004. She currently lives in Southern Cali - appointed bassoon professor and chamber Award in 2001 and 2003. fornia and is the Choral Music Director and music coach at the University of Rhode Musical Theater Director at Rancho Cuca - Island in Kingston, Rhode Island in August Thomas Forde (B.M. ’05) was accepted monga High School. On April 24th, 2006, 2006, and plays principal bassoon in the into the 2007 Studio Artist program at her choirs premiered composer Ed United States Coast Guard Band in Con - Tulsa Opera, where he will participate in Logeski’s work Missa Americana , at necticut. productions of Carmen and The Crucible , Carnegie Hall in New York City. as well as perform in Luisa Fernanda with Kyong Mee Choi the Studio Artists. In addition, Thomas will David Thurmaier (D.M.A. ’05) has take part in a Spanish and an American (B.M. ’96) graduated accepted a position as repertoire recital series with the Tulsa from Indiana University assistant professor in Opera. He recently participated in the 2006 Apprentice Program at the Des with a Ph.D. in Music composition at Roo - Moines Metro Opera, covering the roles of Theory in May 2006. sevelt University in Sarastro ( Magic Flute ) and Father Truelove He is currently an Assis - Chicago. tant Professor of Music (The Rake’s Progress ), performing in numer - Theory at Central ous opera scenes, and singing the role of Leporello in a selection from Don Giovanni Missouri State University in Warrensburg, Brian Cole (M.M. ’00) accepted the posi - Missouri. with the Des Moines Metro Opera Orches - tion of Professor of Conducting at the Con - tra. Last summer, Thomas was a young 2000-2006 servatory of Puerto Rico. He continues to artist with the Utah Festival Opera. During maintain his post as assistant conductor of the 2006-07 season, he will return to the Kris Becker (B.M. the Cincinnati Chamber Orchestra. Moores Opera Center in Houston to per - ’04), pianist, won the form the role of Frank Maurrant in Street Rice University Shep - Brandon Correa (M.M.E. ’06), student Scene , while continuing his graduate stud - herd School of Music of Dr. Louis Bergonzi, is the new Orchestra ies at the University of Houston Moores Piano Concerto Compe - Director at the distinguished South Salem School of Music, before beginning work tition and made his High School in Salem, Oregon, where he with the Tulsa Opera in the spring. debut with the Shep - directs the school’s three string orchestras herd School Symphony and the symphonic orchestra. In addition, Ingrid Gordon Orchestra playing Beethoven’s 4th Piano Correa teaches an advanced intermediate (D.M.A. ’00) and Concerto in December 2006. Other recent string ensemble at Leslie Middle School. Alexander honors include an appearance at the For the second year in a row, South Salem Gelfand (Ph.D. Kennedy Center for the Performing Arts in High School was named a Grammy Foun - ’00) are proud to Washington DC, a professional debut as dation Signature “Gold” award-winning announce the birth an Artist Presentation Society auditions win - program. Since the inception of the OSAA of their son, Lazar ner in St. Louis, and participation in both State Music Championships in 1987, Gordon Gelfand, the Van Cliburn Piano Institute in Fort South’s music program has won 25 State on May 26, 2005 S Worth, Texas and the Cleveland Orches - Champion titles. in New York City. p r tra’s Kent/Blossom Music Festival. Kris is a Ingrid and Alexander have been living in Craig Fitzpatrick (M.M. ’03) directs the i full scholarship student of Robert Roux at Queens, New York since 2001. Alexander n the Shepherd School of Music at Rice Uni - newly established brass ensemble of the is working as a freelance writer, with g versity in Houston. His recently released Central Illinois Youth Symphony, composes recent publications appearing in Jazziz music, and designs drills for competitive 2 debut CD, Variations , featuring original magazine and The Forward . Ingrid is work - 0 ing as a freelance musician and is artistic 0 7 55 Alumni News

director of Percussia, a flute and percussion Kimberly Buchar Kelley (D.M.A. ’05) Robert Mirakian (M.M. ’04), who stud - duo performing contemporary chamber was recently hired as bassoon teacher at ied conducting with Donald Schleicher music with a global twist. Franklin and Marshall College, Messiah while at UI, was awarded an Opera Assist - College, Dickinson College, York College, antship at Indiana University. Edward Hafer (Ph.D ’06) has accepted Chestnut Hill College, Valley Forge Chris - a tenure track appointment in Music History tian College, Pennsylvania Academy of Jennifer Nelson (B.M. ’06) won the at the University of Southern Mississippi. Music, and the Maryland Conservatory of 2006 MTNA Woodwind Young Artist Com - Music. petition held this year in Austin, Texas. Adrianne L. Honnold (B.M.E. ’99, MTNA membership is comprised primarily M.M. ’05) joined the staff of McKendree Julie Knerr (M.M. ’02), a graduate in of university, college and conservatory College as a music admission counselor piano pedagogy, teaching assistant, and teachers throughout America, and the and will also teach saxophone and coach student of Reid Alexander, was offered a annual MTNA competitions are considered a saxophone quartet as an associate fac - tenure track piano pedagogy position at among the most prestigious in the country. ulty member of McKendree’s music depart - the University of Missouri at Columbia. Julie Jennifer, a flute student of Professor Jonathan ment. Until May 2003, she was a member recently completed her Ph.D. in Music Edu - Keeble, began graduate study at the Cin - of the United States Air Force Heritage of cation, with an emphasis in Piano Peda - ncinnati Conservatory of Music this fall. America Band located at Langley Air Force gogy, at the University of Oklahoma, Base, VA, where she was principal saxo - where she was the recipient of an Alumni Dewayne Pinkney (B.M. ’06) began his phonist in the concert band. Adrianne is Fellowship and a Graduate Assistantship in studies in August 2006 towards a master’s currently a substitute performer with the Piano. She maintains a private studio and degree in bassoon performance at the Saint Louis Symphony Orchestra and has teaches during the summer at Blue Lake Cleveland Institute of Music. Dewayne par - appeared with the Opera Theatre of Saint Fine Arts Camp in Twin Lake, Michigan. ticipated this past summer in the Texas Louis, the Saint Louis Philharmonic, the Illi - Music Festival. nois Symphony Orchestra, and the Prairie Carolyn Kuan (M.M. ’01) made news Wind Ensemble. last year when she was hired as the first Colleen Potter (B.M. female Assistant Conductor for the North ’06) was one of three Courtney Huffman (B.M. ’05), a 2004 Carolina Symphony in Raleigh, and again winners of the presti - Illinois Opera Theater Enthusiasts Award made history as the first woman appointed gious 2006 National winner, sang a solo concert last February Assistant Conductor for the Seattle Sym - Anne Adams Award for the Jonathan Club in Los Angeles, phony Orchestra in 2006. Ms. Kuan has Auditions, administered arranged by the Thornton Protégé Program. studied conducting with Donald Schleicher, every two years by the Courtney is currently pursuing a Master of Kurt Masur, Martin Alsop and Leonard American Harp Society. Music degree at the University of Southern Slatkin, and became the first female to be Colleen was one of thirteen finalists California in Los Angeles, where she awarded the Herbert von Karajan Conduct - selected through recorded semi-finals to recently represented the university as a ing Fellowship by the Vienna Philharmonic compete in the finals, held in San Fran - trustee in a delegation to China, perform - and the American Austrian Foundation in cisco, CA. In addition to a cash prize, win - ing at the Shanghai Conservatory of Music 2003. At the invitation of her mentor, ners received gift certificates from Lyon & Maestra Marin Alsop, she debuted with the for a state dinner and in an alumni celebra - Healy Harps. Colleen was a featured tion in Hong Kong. This past summer, Bournemouth Symphony Orchestra (UK) in soloist with the UI Enescu Ensemble in Courtney attended the Aspen Music Festival April 2004. In 2003, Carolyn was the November 2005 and was a counselor for and School. Her website can be found at recipient of the first Taki Concordia Con - the 2006 Credo Summer Music Festival in www.courtneyhuffman.com. ducting Fellowship. She has won awards Ohio this past summer. This fall she began from Women’s Philharmonic, the Kate Neal graduate study at the Yale University Elizabeth Jaxon (B.M. ’06), harpist, per - Kinley Memorial Fellowship (UI), and the School of Music. formed as soloist with the West Winchester Susan W. Rose Fund for Music. Orchestra in California in March 2006, and is currently attending the Ecole Nor - Randall A. Meder (D.M.A ’06) com - Charles Joseph Smith (M.M. ’95, male de Musique in Paris. pleted his dissertation on Krzysztof Pen - D.M.A. ’02) made his debut at the Elec - derecki’s Credo , and was appointed tronic Music Midwest conference in Kansas Daniel Kelly (M.M ’00, D.M.A ’04) has Director of Choral Activities at the Univer - City in October 2005, where his electroa - accepted the position of Assistant Professor sity of Wisconsin-Green Bay. Dr. Meder coustic composition Synth vs. Synth , was of Trumpet at the University of Southern was previously the Director of Choral Activ - presented. In November 2005, Dr. Smith performed as pianist in a chamber ensem - s Mississippi in Hattiesburg. For the past two ities and conductor of the Chamber Singers o years, Dr. Kelly was a member of the fac - and Concert Choir at North Carolina State ble program of Laurie Lee Moses’ composi - n tion From These All , conducted by J. Roz o ulty at Indiana State University in Terre University in Raleigh. r Haute, where he taught applied trumpet Woll, at Roosevelt University in Chicago. i and directed the ISU Jazz Ensemble. Smith made his second appearance at the t College Music Society Music Technology i e s 56 Conference in Normal, IL, in 2006, where Ari Vilhjalmsson (B.M. ’05) won the Tammy Walker (M.M ’97, D.M.A. ’01) he completed two original GarageBand audition for Assistant Principal Second Vio - is currently Associate Professor of Music compositions, a film and music project lin of the Iceland Symphony Orchestra and and Coordinator of the keyboard area at using GarageBand and QuickTime. Two of will travel back home to Iceland to begin Western Illinois University. She maintains his works were played this past summer on performing with the orchestra this coming an active solo and collaborative perform - Radio Free Urbana (WRFU, 104.5 FM) dur - season. Ari will return to the U.S. to attend ance schedule, and has concertized ing a guest appearance on Laura Wag - the summer Chautauqua Music Festival in throughout the continental U.S., Hawaii, ner’s show “Friction Radio.” In July 2006, upstate New York, before returning to Ice - and western Europe. Dr. Walker serves as Dr. Smith was a participant in the Interna - land to continue in his new position with the MTNA Coordinator of Collegiate Com - tional Keyboard Institute Festival at the the Iceland Symphony. petitions for the state of Illinois, and is an Mannes College of Music in New York (his active clinician and teacher. She lives in second IKIF appearance) where he per - Macomb, Illinois with her husband Chad formed in several piano master classes with and four children (Sophia, Bennett, and Magdalena Baczweska, Pedro Carbone, twin girls Lucy and Grace). Leslie Howard, Irina Morozova, Quynh Nguyen, and Jeffery Swann, and competed in the festival’s Dorothy MacKenzie Awards piano competition. In October 2006, Dr. In Memoriam Smith traveled to Mainz, Germany, to the Dr. Frank Crockett (Ed.D. ’60), violinist and educator, died June 2, 2006 Dachverband der Studierenden der Musik - at the age of 84, at his residence in Kingsport, TN. Long time resident of wissenschaft (DVSM) “Rund um Funk” Con - Atlanta, Georgia, Dr. Crockett spent a lifetime advocating music and arts ference at the University of Mainz, to education. Born in Jonesville, VA, he attended Emory and Henry College, lecture on the demise of the Chicago classi - later graduating from The Juilliard School of Music in New York City with a cal radio station WNIB (97.1 FM). degree in violin performance. He received his master’s degree from The Uni - versity of Texas at Austin, where he was involved in the formation of the renowned University of Texas String Project. After leaving Texas he moved to Marlen Vavrikova Mississippi, where he established string programs throughout the state of (D.M.A. ’04), Assistant such success in public schools that he was awarded a Danforth Grant to pur - Professor of Oboe at sue his doctorate, which he received from the University of Illinois in Music Grand Valley State Uni - Education under the guidance of Dr. Charles Leonhard. Dr. Crockett retired in versity (GVSU), has 1986 as Coordinator of Arts and Humanities for the State of Georgia’s been busy performing Department of Education and received the first Distinguished Career Award solo and chamber from the Georgia Music Department of Educator’s Association. A memorial recitals and organized service was held in Decatur, Georgia on June 7, 2006. the first GVSU Oboe Day, which hosted oboeists Nancy Ambrose King and Carlos Dr. Milburn E. Carey (B.M. & B.S. ’35, M.M. ’43) April 20, 2006 Coelho. Last November, Marlen traveled to Robert Cross (M.M. ’80) June 18, 2006 the Czech Republic as co-organizer of the Helen Forsyth Duffield (B.S. ’37) October 15, 2005 First International Oboe Festival in Ostrava, Dr. Gerald K. Grose (Ed.D. ’70) September 10, 2005 which hosted Richard Killmer from the East - Susan Forrest Harding (B.M. ’82, M.M. ’85) August 2004 man School of Music and featured Marlen in two European premieres of works by Dale F. Hopper (B.S. ’64, M.S. ’68) September 16, 2005 American composer Gregory Mertl. Marlen Gerald Lee Hutchison (B.M. ’61) November 29, 2005 has been actively researching contempo - Evelyn M. Krueger (M.S. ’55) December 20, 2005 rary Czech oboe literature and the Mora - James William Lane, Sr . (B.S. ’48) March 5, 2006. vian tradition of oboe performance, and Dr. Sanford A. Linscome (M.M. ’59) February 14, 2006. gave a lecture-recital on this topic at the International Double Reed Society Confer - Ann Scott Maher Mason (M.S. ’59) March 6, 2006 ence in Austin, Texas in 2005. Marlen has Barbara Jean McCracken (B.S. ’51, Ed.M. ’70) January 29, 2000 taught at the Ameropa International Music Milton R. Mojzis (B.S. ’55, M.S. ’58) November 22, 2005 Festival in Prague, the Janácek Conserva - Philip F. Rack (B.S. ’49) March 4, 2006. tory of Music in Ostrava, and performed S Rosalia M. Runge (M.S. ’50) November 11, 2005 with the Sarasota Opera Orchestra and the p Janácek Philharmonic Orchestra. Upcoming Shari Lynne Sprouls (B.S. ’77) January 6, 2006 r Dean Marable “Buck” Wade (B.S. ’62, M.M. ’71) December 21, 2005 i projects include solo performances with the n GVSU Symphonic Band and Chamber James E. Whiteside (B.S. ’43) March 27, 2006 g Orchestra. William D. Windhorst (B.S. ’68) February 2006 2 Dr. Ralph Woodward (D.M.A. ’64) September 6, 2005 0 0 7 57 Partners in Tempo Mr. Michael S. Pettersen Dr. Esther Portnoy* FOR SUPPORT OF THE SCHOOL OF MUSIC JULY 1, 2005–SEPTEMBER 30, 2006 Mr. John P. Rankin The following list represents contributions to the School of Music accumulated through the generosity of alumni Donald and Gay Roberts* Dr. Kevin W. Rockmann and friends between July 1, 2005 and September 30, 2006. We thank you for your support of the talent, Dr. Franz Roehmann teaching ability, and creativity that exists within the School of Music. Mr. Robert J. and Mrs. Diana L. Rogier Please note that members of the Presidents Council are designated with an asterisk (*). The Presidents Mr. Martin L. Rosenwasser Council, a donor recognition program of the University of Illinois Foundation, is reserved for those contributors Mr. Robert J. Ruckrigel Mrs. R. Janice and Prof. Donald R. Sherbert whose outright or cumulative gifts total at least $25,000. Mr. Dennis M. Steele Questions or corrections may be directed to Suzanne Hassler by e-mail, [email protected], or by telephone, Mrs. G. Jean Sutter (217) 333-6452. Mr. G. Gregory and Mrs. Anne D. Taubeneck* Prof. H. C. and Mrs. Pola Fotitch Triandis* Dr. Peter and Mrs. Nancy van den Honert Ms. Diane K. Walkup PRESTISSIMO VIVACE Dr. Philip V. Bohlman Mr. Keith L. Wilson Mr. Joe and Mrs. Kathleen Brown ($15,000 and above) ($500–$999) Dr. Ron K. and Mrs. Rebecca Kaplan Cytron ALLEGRETTO Dr. Lloyd P. and Mrs. Doris Vogt Farrar* Mr. Craig W. Branigan Mrs. Marguerite L. Davis Mr. John A. Frauenhoffer* Dr. Kathleen F. and Mr. William J. Conlin* Mr. Gerald R. and Mrs. Cathy L. Ditto ($100–$199) Mr. Dean T. and Mrs. Nancy Langford* Dr. Victoria L. Covington Mr. Fred H. and Mrs. Adele G. Drummond Ms. Doreve Alde- Cridlebaugh Mrs. Barbara Curtis McDonnell Mrs. Eleanor M. Crum Mr. E. Paul and Mrs. Suzanne Duker Mr. Robert N. Altholz Louise Taylor Spence Estate (Dec) Mrs. Elizabeth W. and Mr. Edwin L. Mrs. Ellen S. Eager Dr. Anton E. Armstrong Charles A. Wert Estate (Dec)* Goldwasser* Mrs. Kathlene F. Edwards Dr. David F. Atwater Mrs. Virginia Summers Harroun* Prof. Gert and Mrs. Anne A. Ehrlich Mrs. Virginia A. Baethke PRESTO Mr. Arthur R. Keller Mr. Michael D. Fagan Mrs. Patricia A. Baird Mr. Robert G. and Mrs. Cynthia M. Kennedy* Dr. David C. and Mrs. Debra S. Barford ($1,000–$14,999) Mr. Cleve W. Fenley Ms. Florence Kopleff Ms. Judith A. Feutz Dr. Jon W. Bauman Mr. John D. and Mrs. Fern Hodge Armstrong* Mr. Leonard G. and Mrs. Bridget G. Marvin* Dr. Diane Foust and Mr. James A. Nelson Mr. W. Herbert and Mrs. Iva Jean Bayley Dr. Alan R. Branfman* Mr. Craig R. and Mrs. Margaret Resce Mrs. Margaret A. Frampton* Dr. Gordon A. Baym and Ms. Cathrine Blom* Dr. W. Gene and Mrs. Lynd W. Corley* Milkint* Dr. Linda L. Gerber Mrs. Karen S. Bear Mr. Roger R. Cunningham Prof. William and Prof. Charlotte Mattax Mr. Andrew L. Goldberg Ms. Kathleen A. Bell Mr. Ronald J. and Mrs. Melody J. Domanico* Moersch Mr. Nicholas Good Mr. John P. and Mrs. Elaine Pohl Benisek Ralph T. and Ruth M. Fisher* Prof. Bruno and Mrs. Wanda M. Nettl* Mr. Edward E. Gray Dr. Michael D. Bennett Dr. Joe W. Grant Dr. Mary J. Palmer Mr. Patrick E. Hahn Ms. Sharon M. Berenson Dr. Robert E. and Mrs. Joan L. Gray* Mr. William J. Pananos Dr. Albert D. Harrison Mrs. Margery I. Bergstrom Mr. John R. Heath* Mr. Daniel J. and Mrs. Marjorie A. Perrino* Ms. Mary Ann Hart Prof. E. Sanford and Mrs. Elizabeth C. Berry Dr. Robert W. and Mrs. Mary Elaine House Mr. Michael W. Pressler Mr. James S. Hatch Mr. Richard B. Biagi Dr. Raymond V. and Mrs. Lori L. Janevicius* Dr. Edwin A. Scharlau II and Mrs. Carol Mrs. June F. Holmes Mr. David E. Bilger Mr. Bruce C. Johnson* Zimmer Scharlau* Dr. Jesse E. Hopkins Jr. and Mrs. Alice L. Mr. Ronald T. Bishop Mr. Edward J. Krolick* Mr. William R. and Mrs. Kathryn J. Scott Hopkins Mr. Clark A. and Mrs. Cynthia M. Breeze Dr. Steven E. and Mrs. Jennifer S. Mather* Dr. William J. Stanley Mr. Fred M. Hubbell Mr. Lew R. C. Bricker Dr. Gordon W. and Mrs. Clara H. Mathie Dr. Milton L. Stevens Jr. Ms. Jane Paul Hummel Ms. Helen K. Browning Mr. LeRae Jon Mitchell Prof. Nicholas and Prof. Mary S. Temperley* Mrs. Kathryn A. Janicek Ms. Anita Bullard Dr. Elizabeth Sandage and Dr. Robert D. Dr. Robert E. Thomas Mr. Howard V. Kennedy Dr. L. Kathryn Bumpass Mussey* Dr. Robert F. Thomas Jr. Mr. William J. and Ms. Carol A. Kubitz* Mr. Michael A. and Mrs. Gloria L. Burson* Dr. Sharon Lenz Nix Dr. Virgil Leon Thurman Mr. David D. Kullander Ms. Sandra Carr Dr. Roslyn Rensch Noah* Mr. Richard R. Tryon Jr.* Mr. David R. and Ms. Carol C. Larson Mrs. Janet K. and Mr. Jeffrey M. Carter Mr. Anthony J. Petullo* Mr. Albert Ungerer Dr. Sara de Mundo Lo* Mr. Scott J. and Mrs. Janice K. Casagrande Dr. Edward and Mrs. Lois Beck Rath* Mr. Bill and Mrs. Sandra Smith Volk* Prof. Charles J. and Mrs. Joanne J. McIntyre* Mr. Scott Chase Dr. Roger E. Reichmuth Ms. Susan J. Williams Mr. James H. McNeely Mr. Michael P. Chu Mr. Arthur Lee and Mrs. Frances A. Schlanger Mrs. Donna F. McPherson* Dr. Gary Corcoran Jr. Dr. Ellen M. Simon* ALLEGRO s Prof. Richard L. (Dec) and Mrs. Anna J. Mrs. Ruth L. Cortright Mr. Frederick V. Simon o Merritt* Dr. Warren J. and Mrs. Marsha K. Darcy n Judge Lawrence A. Smith Jr. and Rev. Donna ($200–$499) o Dr. Stephen Tipton Miles* Ms. Carol Capadona David Hacker Smith* Mr. Glen R. Anderson r Mr. William R. Miller* Ms. Deborah M. Day* i Mr. Paul B. and Mrs. Virginia L. Uhlenhop* Mr. James W. and Mrs. Beth L. Armsey* t Prof. Daniel B. Blake Ms. Ruth A. Moore Dr. Michael T. and Mrs. Joyce L. Day i Mr. Robert L. Zarbock e s 58 Mr. Richard N. DeLong* Mr. Frederick J. Kent Mrs. Katharine W. Slocum Mr. Duane C. Askew Mrs. Lynne E. Denig Mrs. Mary Anne Kesler Ms. Dorothea Fredrickson Smith* Mr. Ralph R. Athey Mrs. Susan B. DeWolf Mr. R. Edward Kiefer Mr. Philip Smith Ms. Susanne L. Aultz Mr. Bruce L. Dickerson Dr. James J. Kraatz Mrs. Janet N. Steffy Mr. Robert S. Baile Mr. Michael Dikelsky Dr. Joseph A. Labuta Mr. Wesley Q. Stelzriede Mrs. Linda D. Bailey Mrs. Debbi L. Dillman Mrs. Joyce M. Laible Mr. D. Grier Stephenson Jr. Ms. Marolyn G. Banner Mr. Bruce and Dr. Gail Schewitz- Doctor Mrs. Irene E. Lamkin Dr. Virginia K. Stitt Mr. Daniel P. Barach Mr. C. William Douglass Mr. Dale A. Lammi Ms. Angela M. Stramaglia Mrs. June H. Barber Dr. Kenneth O. Drake Ms. Sandra L. Lane Mr. Mark S. Stryker and Mrs. Candace E. Mr. Gary N. Barrow Jr. and Mrs. Meghan E. The Reverend Wyeth W. Duncan Mrs. Barbara A. Lanham Stuart Barrow Mr. John G. Dunkelberger II Mrs. Wanda L. Larson Nancy E. Stutsman Dr. Neale K. Bartee Mr. Stephen F. and Mrs. Christine M. Dr. Peter J. LaRue Dr. Gary R. Sudano Mr. John E. Bauser Eggerding Ms. Dana L. LaSalle Mr. Willie T. and Mrs. Valerian Summerville Mrs. Nancy H. Beckmann Mrs. Carolyn K. Eigel Dr. Janet V. Leonard Ms. Terri M. Svec Mr. James D. and Mrs. Joy Lynn Beebe The Honorable Ann A. Einhorn* Ms. Ruth Lorbe Prof. Earl R. and Mrs. Janice E. Swanson* Mr. Wayne E. and Mrs. Susan E. Bekiares Dr. David Eiseman Mrs. Pauline Lorig- Brownstein Mr. Peter A. Takacs Mr. David A. and Mrs. Gail C. Bender Mr. Dale E. Fahnstrom Dr. Jerry L. Loyet Mr. Thomas C. Temple* Mrs. Phyllis A. Bergagna Ms. Dawn Fairchild Mr. David W. Madden Mrs. Susan Kuriga Thorne Ms. Sandra S. Bernhard Mr. Frederick D. Fairchild Prof. W. G. and Mrs. Constance Y. Marigold Dr. Russell L. Tiede Ms. Evelyn Blackman Prof. Emory M. Fanning Jr. Mr. J. Michael Martin* Mrs. Jacqueline A. Tilles Dr. Shirley M. Blankenship Dr. Virginia Farmer Dr. Bruce C. Mather Mr. Robert C. and Mrs. Carol S. Timblin Mr. Robert O. Blissard* Dr. Linda J. Farquharson Mrs. Diane Emiko Matsuura Mrs. Christina M. Tomasic Mrs. Jacqueline K. Block Mr. Scott D. Feldhausen Mrs. Carolyn R. May Mr. Michael A. and Mrs. Olivia L. Tremblay Mr. James D. and Mrs. Robin M. Blucker Dr. Mark L. Fonder Mr. Richard D. McKee II Dr. Max R. and Mrs. Sue C. Tromblee Mr. Benjamin J. Blumberg Mrs. Roxanne C. and Mr. John D. Frey* Mrs. Linda K. McLane Dr. Michio and Mrs. Sharon Tiebout Tsutsui Dr. Charles W. Boast and Ms. Marsha Clinard Mr. Robert Lee Fritz Mr. Dennis R. McMillan Mr. John A. Van Hook Ms. Marlah Bonner- McDuffie Mrs. Mary Margaret Gaddy Mr. Charles T. and Mrs. Trudy R. Medhurst Mrs. Diana Martin Wade Dr. Dalvin L. and Mrs. Jean A. Boone Miss Melva F. Gage* Dr. Maria P. Merkelo Mr. James R. Waechter Dr. Samuel L. Bradshaw Jr. Ms. Dorothy E. Gemberling Mr. C. J. and Mrs. Alice Hove Merrill Ms. Michelle T. Walker Mrs. Kathleen E. Bragle Mrs. Jennifer A. Gettel Mrs. Sharron P. Mies Mr. Earl J. Way Dr. Peter G. and Mrs. Judith M. Braunfeld Mr. Carroll E. and Mrs. Wanda E. Green Ms. Erie A. Mills Dr. Evelyn J. Weber* Mr. Jerome B. Brillhart Mr. Richard K. Haines Mr. Dennis G. and Mrs. Nancy L. Mulvany Dr. Hong Wei and Mr. Yuankun Ni Ms. Kareen G. Britt Mr. Jack W. Hammel Mrs. Phyllis Brill Munczek Mr. Gerald G. and Mrs. Mary Beth Weichbrodt Dr. David N. Broadbent Dr. Richard D. Hanson Mrs. Gerda T. Nelson Mr. Daniel Wiesbrock Mr. C. Wayne Brodkorb Dr. Eve E. Harwood* Mr. Heinz G. Neumann Dr. Jacqueline H. Wiggins Dr. Frank W. Brown Dr. Robert H. Hearson Mr. William J. Nicholls Mr. Richard L. Williams Mr. Robert H. Brown Mr. David L. and Mrs. Michele C. Hecht Dr. Philip O. and Mrs. Jennifer L. Nubel Mr. Bruce Wittrig and Ms. Mary Alice Rich Dr. Gilbert A. Brungardt Mr. Morris L. Hecker Jr. and Mrs. Martha Z. COL John A. O’Connor Mr. R. Bruce and Dr. Susanne G. Wood Mrs. Gina H. Buhr Hecker* Mrs. Jean and Prof. Howard Osborn* Dr. Marsha Cook and Mr. Roger E. Mrs. Paula K. Bunn Mrs. Virginia L. Hedrick Mrs. Margene K. Pappas Woodbury* Mrs. Linda S. Buzard* Dr. Gregg S. and Dr. Marlene A. Helgesen Dr. Karin A. Pendle Mr. Scott A. and Mrs. Marian K. Wyatt Mrs. Luana M. Byte Ms. Sharon B. Hermann Mr. Gregory W. Pfeifer Dr. William A. Call Mr. Darren S. Hicks Dr. Joe N. Prince ANDANTE Ms. Loree W. Capper Ms. Karen A. Higdon Mr. Robert A. and Mrs. Linda M. Quade ($10–$99) Dr. Milburn E. Carey (Dec) Mr. Philip H. Highfill III Dr. W. Donald Rankin Dr. Jon O. Carlson Dr. Daniel C. Adams Ms. Gaye Ann Hofer and Dr. Gregory M. Mr. Stanley E. and Mrs. Zelma Ransom Mrs. Sara B. Carriere Dr. Theodore L. Agnew Cunningham Ms. Phyllis Rappeport Mr. David L. Carroll Mr. Richard A. Alderman Mr. Orland W. Holmes Mrs. Alexis G. Rasley Dr. Harry H. Carter Jr. Mrs. Elizabeth Z. Allan Dr. Albert C. Hughes Jr. Dr. Wallace J. Rave Dr. Philip S. Cary Dr. Paul F. Almjeld Mr. Robert H. Huss Dr. Sam Reese Mrs. Mary M. Cash Mr. Glenn R. Anderson Mrs. Lois S. Irion Mr. Kenneth L. and Mrs. Kathy J. Reinhardt Ms. Clara E. Castelo Ms. Tammy J. Anderson Dr. Barbara G. Jackson Mrs. Lois H. Richter Dr. Joseph S. Ceo Ms. Dianna K. Armstrong S Mrs. Jean H. Jamison Mrs. Janice F. and Prof. Melvin Rothbaum* Ms. Yoline W. Chandler p Dr. Kerchal F. Armstrong Mr. William T. Jastrow Mr. Kenneth W. Rubin Dr. Carl E. Chapman r Dr. Alison E. Arnold Mr. Lansing K. Johansen Dr. Kathreen A. Ryan Mrs. Mary L. Chapman i Ms. Pamela T. Arnstein n Mr. Carlyle W. and Mrs. Judith M. Johnson Dr. Steven E. Schopp Ms. Judy L. Chastain Prof. Walter L. and Mrs. Charlotte C. Arnstein g Mrs. Mary L. Johnson Mr. Ralph E. Shank Mrs. Amy L. Childress Mr. Charles C. Aschbrenner Mrs. Doris D. Jones Dr. J. Taylor and Dr. Jo Ann M. Sims Mrs. S. Martha Chiligiris 2 0 0 7 59 Ms. Joanne A. Chorpening Mrs. Robin K. Fossum* Mr. Robert D. Huffington Mr. Jeffrey E. Lindberg Mr. Paul S. Christensen Dr. Gregory C. Fox Mr. Ronald F. Hughes Jr. Prof. Robert P. Link* Mrs. Lindsey Christiansen Mrs. Dee Fraccaro- Murphy Mr. William H. Hughes Jr. Dr. Thomas Lloyd Ms. Mary Susan Claeys Prof. Marvin and Mrs. Matilda Frankel* Mr. Allen E. Hunter Mrs. Susan A. Lobdell* Mrs. Jean A. Clarke Mr. Larry L. Franklin Mr. John M. and Mrs. Kathryn E. Hunter Mrs. Marta A. Lutz Ms. Phyllis L. Cline Dr. L. Thomas Fredrickson Mrs. Ingrid Hutchings* Dr. Linda S. Mack Mr. Jeff and Mrs. Julie A. Clodfelter Dr. Frederick J. Freeman Mrs. Janice C. Impey Mr. Boyd A. Mackus Dr. Dale Cockrell Mr. George V. and Mrs. Bernice H. Freeman* Dr. Charles F. Isaacson Dr. David M. Main* Mr. Garrett Rigney Cofield Prof. Stanley and Mrs. Frances Friedman Dr. David C. Jacobsen Mrs. Guileen P. Manuel Mr. Morris and Mrs. Aleta Collier Mr. Kenneth R. Fuhr Mrs. Judith J. James Dr. Don A. and Mrs. Jean C. Marshall Mr. James T. Conder Ms. Judith Kaye Fulton Mr. Timothy D. James Dr. Marilyn M. Marshall Mr. Curtis O. Cooper Mrs. Edwina T. Gabcik Mrs. Laurine Jannusch Mr. Richard S. Marsho Mrs. Rebecca T. Courington Dr. Stephen L. and Mrs. Stephanie R. Gage Mr. James S. Javore Ms. Anne S. Martel Dr. Steven M. Cox Mr. Robert C. Gand Mr. Robert A. Jewsbury Mrs. Marian S. Martin Ms. Mina M. Coy Mrs. Charlene W. Gates Mr. Aaron L. Johnson Dr. Jameson N. Marvin Mrs. Arlene J. Crawford Dr. James T. Gates Mr. Apostle Johnson Mrs. Ann K. Mason Ms. Diane R. and Mr. Bruce Daugherty Mrs. Marian B. Gebhardt Dr. David Lee Johnson Ms. Lezlee A. Masson Dr. Daniel J. Dauner Mr. Jon T. Geheber Mr. Vinson M. and Mrs. Linda G. Johnson Mr. Rudolph R. Matas Mrs. Claire B. Davis Dr. David A. Gerig Mrs. Helen K. and Mr. Parker N. Johnstone Mrs. Nancy V. Matchett Ms. Katharine L. De Boer Mrs. Cheryl S. Gibson Mr. John E. and Mrs. Patricia L. Jordan Ms. Elise R. Matusek Ms. Nancy Dehmlow Mrs. Karen L. Given Mr. Richard E. Jorgensen Mr. Lutz L. Mayer Mr. David A. Deitemyer Ms. Renee Gladstone Mrs. Donna L. Kaelter Ms. Mary E. Mayhew Mr. William E. DeMont Mr. Tom Goettsche Ms. Karen Kaiser Dr. David McChesney Dr. Christopher Di Santo Mr. Stanley L. Gorbatkin Prof. Marianne E. Kalinke Mr. Austin J. and Mrs. Ellen A. McDowell Mr. Kenneth G. Dodds Mr. Daniel A. Gosling Mrs. Elizabeth A. Kamps Ms. Mary S. McElroy Mrs. Oscar H. Dodson* Mrs. Stephenie R. Graham Mrs. Nanci L. Karlin Mr. Douglas R. and Mrs. JoAnn S. McIntosh Mr. Allen C. Drake Mrs. Nanette R. Grant Dr. Byron F. Kauffman Mrs. Mary Corry McIntosh Mrs. Jean E. Drendel Dr. Susan Keith Gray Mrs. Martha H. Kearney Mr. Myron D. and Mrs. Nancy F. McLain Mr. Howard S. Ducoff Ms. Denise D. Green Dr. William K. Kearns Mr. William J. and Mrs. Brenda B. McNeiland Mrs. Barbara M. and Mr. Christopher Duffy Mr. David J. Greenfield Dr. Brenda E. Kee Mr. Jon E. and Mrs. Rita D. Melin Ms. Marilyn M. Duginger Dr. Ernest N. and Mrs. Lois E. Gullerud* Dr. Robert P. Keener Dr. Mardia Melroy Mr. John G. Duker Mrs. Margaret S. Gunderson Mrs. Patricia C. Keim William S. Miller and Christine Miller The Reverend Raymond N. Dunlap Mrs. Marilyn J. Hall Mr. Jeremy Niles Kempton Mrs. Eleanor L. Milnes Ms. Pamela J. Dunleavy Mr. Mark and Mrs. Deborah A. Hamby Ms. Rosalyn S. Kesan Mr. James E. Mirakian Mrs. Edith A. Dwinnells Ms. Judith G. Hanson Mr. James E. and Mrs. Susan M. Ketch Mr. Keith A. Mitchell Mr. Dwight E. Dyer Mrs. Sharon L. Hardesty Mr. George M. and Mrs. Patricia D. Kichinko Mrs. Kathy C. Mizgalski Mr. Austin A. R. Dyson Ms. Teresa E. Hargrove Mrs. Elizabeth E. and Mr. Larry J. Kirkpatrick Mrs. Harriet A. Moir Mrs. Elizabeth F. Easley* Dr. Larry D. Harper Mr. Michael J. Knauf Mr. Milton R. Mojzis (Dec) Mrs. Jeannette J. Ebelhar Dr. Ruthann Harrison Dr. David W. Knutson Mr. Maurice E. Monhardt Mrs. Jean M. Edwards Mr. Thomas W. Hawkins Ms. Rosanne J. Koehler Dr. Albert L. Moore Mrs. Cheryl M. Einsweiler Mr. Craig D. Hay Mrs. Mayola C. Kolbe Dr. Robert and Ms. Helen Morgan* Dr. Barry L. Ellis Mr. Jason P. Healey Mrs. Kathleen A. Krepel Mr. David L. and Mrs. Judy K. Morrison Mrs. Ellen R. Elrick Mrs. Helen E. Healy Mr. David L. Kuehn Mrs. Nancy F. and Dr. David W. Morse* Mr. Paul R. Emmons Mr. W. Robert Hedgcock Dr. Gerald E. and Mrs. Ellen Green Kuroghlian Mr. Theodore F. Mueller Mr. William A. Erdman Ms. Margarita L. Heisserer Dr. Marvin L. Lamb Dr. Walter L. and Ms. Jane L. Myers* Mr. Jack W. and Mrs. Carol L. Ergo Mrs. Nona J. Heitmann Mr. F. W. and Mrs. M. C. Lancaster Ms. Joyce G. Nagel* Mrs. Joanne H. Erwin Mr. John W. Helper Mrs. Bonnie A. Larner Mr. Larry G. Neemann Mrs. Margaret B. Evans Dr. Donald M. and Mrs. Margaret F. Dr. Richard C. Larson Mrs. Louise S. Nelson Dr. Kenneth E. Fahsbender Henderson Mrs. Barbara A. Lauff Mrs. Rosemary F. Nelson Ms. Marilynn P. Farnham Mr. Harvey A. Hermann Jr. Dr. Elizabeth L. Lawrence Mrs. Kim J. Newman Ms. Esther E. Fay Mrs. Sally K. Hermann Mrs. Cynthia S. Lee Mrs. Patricia S. Newman Mrs. Sharon Fekete Mr. Steven K. Hesla Mrs. Theta Lee Mr. Steven N. Ng Mr. Neil M. Finbloom Dr. Douglas M. Hill Mr. Bradley S. Leeb Dr. Eugene D. Novotney s o Mr. Myron S. and Mrs. Marguerite T. Fink Mrs. Carol K. and Mr. Delmar L. Hillman Mrs. Florence K. Leigh Dr. Brian M. O’Connor n Mr. Ron Fink Mr. Robert W. and Mrs. Jane Hindsley Dr. John W. Leman Brian R. Oleson DDS o r Dr. Robert J. Fleisher Mrs. Marilyn L. Holt* Mr. John D. Leslie Mr. Charles E. and Mrs. Janice C. Olson* i Dr. Nancy P. and Mr. Ansley D. Fleming Dr. W. Peter Hood* Dr. Victoria L. Levine Mr. Fred W. Omer t Mr. Michael J. Fogarty Mrs. Abbie O. Hubbell Mrs. Laura H. Lilly Mr. Rick K. Orr* i e s 60 Dr. David C. Osterlund Ms. Nancy J. Sabaj Emile J. and Elizabeth M. Talbot Mr. Robert E. Yung Mr. Dennis L. Ottmers Mrs. Marilyn R. Sameh Mr. Matthew S. Talbott Dr. Joyce R. Zastrow Mrs. Carol C. Ourada Dr. Lori K. Sanders Ms. Kimberly I. Tallungan Mr. Michael R. Ziegler and Ms. Kimberley R. Ms. Patrice M. Pakiz Mrs. Jeanne D. and Mr. Ray K. Sasaki Ms. Nan E. Tate West Dr. Susan Parisi and Prof. Herbert Kellman Ms. Madeline S. Sauerbier Mr. Edwin C. Thayer Dr. D. Randall Parker Mr. David L. Saunders Dr. Darius L. Thieme MATCHING GIFTS Mrs. Karen D. Parrack Mr. Arthur G. Schildbach Mrs. Jacqueline LaRue Thomas The Allstate Foundation Mrs. Betty B. Peaslee Mr. Ralph S. Schlesinger Dr. Gerald J. Throop American International Group, Inc. Dr. Keith E. and Mrs. Bettina Pedersen Mrs. Jane W. Schoeniger Mr. David P. Thurmaier Ball Corporation Mrs. Gail Peine Dr. Karl- Heinz and Mrs. Dorothy Schoeps Dr. Donald C. and Mrs. Marilynn Ann Todd BP Foundation Mr. John H. Pennell Mr. Jeff A. Schroeder Mrs. Maryellen T. Tomassetti Caraustar Mr. Kent John Pennell Mrs. Glenda L. Schultz Marie Griffith Tompkins* Caterpillar Foundation Ms. Susan B. Peppercorn Mrs. Gail N. Seidman Mrs. Barbara B. Toney Eli Lilly and Company Foundation Mrs. Aiko K. Perry Mr. Dustin D. Seifert Mr. John W. and Mrs. Charlotte G. Trautwein First Midwest Bancorp, Inc. Dr. Linda W. Perry Mr. Robert L. Settle Dr. Tod M. Trimble GE Foundation Mrs. Susan B. Perry Mr. William C. Shaffer III Dr. L. Deane Trumble General Motors Corporation Mrs. Geraldine B. Petty Mr. Dennis A. Shaul Mr. Theodore R. and Dr. Elizabeth Hinkle- IBM Matching Grants Program Mrs. Amy L. Phelps Mrs. Kristen Shiner- McGuire Turner J. P. Morgan Chase Foundation Ms. Ruth Pinnell Mr. Dale A. and Mrs. Nancee A. Shipe Dr. A. Robert Twardock* Motorola Foundation Dr. Robert W. Placek Mrs. Faraba G. Shirley Mrs. Katharine B. Tyler Pfizer Foundation Mr. Kenneth R. Pletcher Ms. Mary L. Sigler Mr. Walter E. Urben Raytheon Company Mr. James T. Pokin Mr. Fay M. Sims (Dec)* Mrs. Emily Vaniman Telcordia Technologies Mr. Alan M. Porter Prof. James B. Sinclair* Mrs. Susanne M. Veal Texas Instruments Foundation Dr. Scott E. and Mrs. Laurel P. Preece* Mrs. Ellen Singer Ms. Joan M. Vogen Verizon Foundation Mr. Ernest W. Pressley Mrs. Patricia S. Skarr Mr. John H. Walter and Mrs. Joy Crane Wells Fargo Foundation Mr. George H. Pro Mr. Melvyn A. Skvarla Thornton-Walter* Mr. Leo H. Provost Ms. Sharen R. Slade Ms. Cheryl E. Hein Walters CORPORATE, FOUNDATIONS, Mrs. Karyn A. Quandt Dr. Stephen M. Slawek Dr. David Ward-Steinman ORGANIZATIONS Mr. Daniel B. Quick and Ms. Toni Martinazzi Mrs. Paula A. and Mr. Michael J. Slinger Mr. Arthur S. Wasik Ann and Gordon Getty Foundation Mr. Roland H. Raffel Mr. John M. Smentowski Mrs. Bernice S. Wax (Dec) Anthony Petullo Foundation, Inc. Winifred Ehler Ramstad Dr. Marilynn J. Smiley Dr. Calvin E. Weber Bay-Com Enterprises Ms. Karen Randolla Dr. William C. Smiley Miss Ruth E. Weinard Chris Brown Photography Ms. Frances S. Reedy Mrs. Beverly N. Smith Mrs. Peggy R. Weinberg Community Foundation of Champaign County Mrs. Irma M. Reiner Ms. Deidre A. Smith Mrs. Susan M. Werner Academy Memorial Scholarship Fund Mr. Joseph M. and Mrs. Roberta Rezits Mr. Phillip R. Smith Dr. Craig J. Westendorf Community Foundation of East Central Illinois Mrs. Barbara J. Rice Mrs. Vicky D. Smith Mrs. Marsha L. Wetmore The E. F. Wildermuth Foundation Mr. Joe D. and Mrs. Patricia L. Rice Mrs. Constance W. Solberg Mrs. Betty S. Whiteside Glen Anderson & Associates, LLC Mrs. Margaret G. Rice Mr. Philip J. and Mrs. Paula F. Spitz Mr. Roger M. Widicus Golden Lyre Foundation-Illinois Federation of Ms. Thelma Willett Mr. Thomas L. Rice Mrs. Gail M. Spytek Music Clubs Mrs. Beverly Ann Williams Mr. George G. Richardson Mrs. Mary Ellen Sronce Haines & Associates, Ltd. Mr. Rodney J. and Mrs. Susan M. Williams Dr. Selma K. Richardson Ms. Nancy S. Stagg Hermann Music Teaching Mr. Scott R. Williams Mrs. Lori S. Rider Dr. Harry M. Steckman Illinois Opera Theatre Enthusiasts Dr. Jeffrey S. Wilson Mrs. Patricia J. Rinkenberger The Honorable Robert J. and Mrs. Sharon W. International Foundation for Music Research Steigmann* Mr. Michael H. Wilson Dr. Robert E. and Mrs. Sharyl J. Ritschel Matt Talbott Enterprises, Inc. Dr. David B. Stein Mr. Dennis D. Windler Mrs. Betty A. Ritter Memphis Musicraft Publications Mrs. Isabelle Kole Stein Mrs. Jane R. Wineman Mr. Alexander J. Rivera M. R. Bauer Foundation Mrs. Krista J. Steller Mrs. Betty S. Wise Dr. Schuyler W. and Mrs. Linda K. Robinson Mu Phi Epsilon Urbana-Champaign Alumni Edward C. Wolf Phd Mr. Charles R. Roe COL Donald K. and Ms. Adele de Werff Chapter Stevens Ms. Trudy Fraase Wolf Mr. Scott D. Roeder The Northern Trust Company Mr. Robert J. Stiehl Mrs. Rose Marie Wood Mrs. Elizabeth P. Rogers* The Presser Foundation Dr. David K. Stigberg Mrs. Zoe R. Worner Mr. Jeffrey L. and Mrs. Joyce Kim- Rohrer Ridgewood Concert Band, Inc. Mrs. Roberta L. Stiles Prof. John Wustman* Dr. Brenda R. Root Sound Enterprises S Prof. Victor J. and Ms. Susan C. Stone* Mr. H. W. Wyld Jr. and Mrs. Jeanne-Marie Dr. Deane L. Root and Dr. Doris J. Dyen Student Foundation of I.S.M.T.A. p Barbara J. Stover Wyld r Mrs. Linda F. Rosen Urbana School District No. 116 High School Mrs. Grace Yang i Mrs. Devorah B. Ross Mr. J. David Sulser Activity Fund Dr. John N. Sumrall Jr. Ms. Joyce S. Yang n Mrs. Mary Higley Rosser WU WEI Music g Mrs. Barbara B. Rudolph MAJ Kent W. Swagler and Mrs. Patricia Mr. Roger L. and Mrs. Dolores G. Yarbrough* Mrs. Cheryl Lane Ryan Swagler Mr. Mickey W. Young 2 0 0 7 61 JULY 16 – JULY 30, 2007 Program includes: intense schedule of concerts, master classes, coachings, private lessons, sightseeing

Orientation: brass and woodwind solo performers, small and large ensembles of brass, woodwind, and mixed instrumentation including piano

Cost: $1900, includes room, board, all instructional fees, and some sightseeing

• Price reduction for early admission applicants • Generous scholarship program • Additional sightseeing and university credit available at an extra fee

FACULTY ILLINOIS BRASS QUINTET ILLINOIS WOODWIND QUARTET Michael Ewald, trumpet Jonathan Keeble, flute Ronald Romm, trumpet John Dee, oboe Kazimierz Machala, horn J. David Harris, clarinet Elliot Chasanov, trombone Timothy McGovern, bassoon Mark Moore, tuba and guest artists from various Greg Flint, horn Spanish orchestras and music schools bAvis Romm, piauno rgos CHAMBER MUSIC FESTIVAL BURGOS, ARANDA, SALAMANCA, AND MADRID, SPAIN

More information contact: [email protected] www.music.uiuc.edu/Burgos

Nonprofit Org. U.S. Postage PAID Permit No. 75 Champaign, IL 1114 West Nevada Street Urbana, Illinois 61801

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