Quarternote Blair VANDERBILT UNIVERSITY Volume 24, Number 3, Spring 2000 Published by the Blair School of Music

Blair on the Row page 8 from the dean PEYTON HOGE his issue of the QUARTER NOTE fea- this issue, we have added a class in song- tures the growing role the Blair writing. The Blair School is committed to tSchool plays in the thriving music sharing these and other courses with all collaborative concerto industry in Nashville. Many of you those who are interested in the diverse are already familiar with Jim Foglesong’s and vital musical scene in our society. popular class The Business of Music, Soon after you receive this issue, the Eberle to Premier Kurek’s Violin Concerto with Nashville Symphony which has attracted many Vanderbilt stu- new instructional wing just to the west of dents and area citizens over the years. our current building will be completed, You may not know, however, that many and we expect to move into our new stu- Associate Professor Michael Kurek, chair of the compo- DIANE ALANCRAIG Blair faculty members have been active dios, classrooms, and practice rooms dur- sition/theory department and precollege violinist as studio musicians on recordings of some ing the summer. These new quarters will Kathryn Eberle have collaborated on his new work enti- of the industry’s most acclaimed artists. greatly enhance the learning environment tled Concerto for Violin and Orchestra to be premiered (I remember being startled—and delight- for all our students, from preschool chil- by Eberle with the Nashville Symphony as part of the ed—a few years ago when, channel-surf- dren through adults. The next issue will Symphony’s Horizons Series. The concert will take place ing on our television set at home, I saw include a progress report and photos, and Sunday, April 16, at 7 PM in Nashville’s War Memorial Bobby Taylor in a Reba McEntire music I look forward to sharing this exciting Auditorium. Dean Wait video.) While the Blair School continues news with you. Eberle, a student of Cornelia Heard, associate profes- to feature classical music as the heart of Please know of my gratitude for your its precollegiate and collegiate programs, continuing interest in the Blair School of sor of violin, has won many prizes over the last few Quarternote we have expanded our offerings in sever- Music at Vanderbilt University, and of years. She formerly won the Symphony’s student con- Blair certo competition and recently was one of 20 violinists VANDERBILT UNIVERSITY al areas. From past issues of the QUAR- my best wishes for a pleasant and pro- TER NOTE you already know of our ductive spring and summer. chosen from over 120 applicants worldwide to compete On the cover: Bobby Taylor, associate pro- fessor of oboe, began his career as a faculty classes and lessons in fiddling, dulcimer, in the Johannsen International Competition in Washing- member at Blair in 1969, the same year he and mandolin. Recently, as you will see in ton, DC, in March. The QUARTER NOTE will feature a became principal oboist for the Nashville Symphony and began playing recording conversation with the young virtuoso in the summer sessions for the music industry in Nashville. issue. His first experience playing a session was in the old Quadraphonic Sound Studio, just a “This kind of collaboration illustrates the kind of fam- few blocks from Vanderbilt, where he ily atmosphere we have here at Blair and the integrated played oboe in the bathroom of the old house-turned-studio. Here, he plays in the nature of our program,” says Kurek, who composed the kitchen—The Sound Kitchen, that is, in piece for Eberle after hearing her play. Franklin, Tennessee. See story p. 8. Photo by Peyton Hoge Also on the program, Kenneth Schermerhorn, adjunct professor of music, will conduct the Symphony The BLAIR QUARTER NOTE, the newsletter of the Blair School of Music, is published Spring Faculty Recitals in Strauss’s elegy for string orchestra, Metamorphosen, and three times a year in cooperation with the Haydn’s Symphony no. 101, The Clock. Office of Alumni Publications for alumni, current students, and other friends of the School. and Ensemble Concerts Editor, Bonnie Arant Ertelt Blair Liaison, Debra Creasman Designer, Keith Wood APRIL 13, 15 MAY 1 Director of Alumni Publications, Vanderbilt Opera Theater Nashville Youth Symphony E. Gordon Gee Named Chancellor Anthony J. Spence

Gayle Shay, director Carol Nies, conductor PEYTON HOGE Precollege, adult, and undergraduate Steve and Judy Turner Recital Hall Nashville Youth Repertory Orchestra E. Gordon Gee, president of Brown Vanderbilt University,” said Board of alumni are encouraged to send their University, has been named seventh Trust and KeyBoard Chairman professional or personal news to: 8 PM, free Sally McFadden, conductor Suzuki Reading Orchestra and Chancellor of Vanderbilt University, Martha R. Ingram. “He embodies the The BLAIR QUARTER NOTE APRIL 18 Suzuki Youth Strings effective August 1. values that are so important for a great 2400 Blakemore Avenue His unanimous election at a special university and for this University in Nashville, TN 37212-3499 Vanderbilt Symphonic Celeste Halbrook Tuten, director Choir Concert Langford Auditorium February 7 meeting of the Vanderbilt particular: excellence in scholarship, a Or by e-mail to: Board of Trust came after a nine- passionate concern for every individ- [email protected] Jane Warren, director 7:30 PM, free Cathedral of the Incarnation month national search that began last ual, a commitment to partnership with Visit us on the Web at 2001 West End Avenue April, when Chancellor Joe B. Wyatt the community and the courage to www.vanderbilt.edu/Blair/ announced his intention to retire in make difficult decisions. Equally 7 PM, free Vanderbilt University is committed to principles July after 18 years as Vanderbilt’s important, Gordon has a great passion of equal opportunity and affirmative action. chief executive. for our educational mission, and a

Printed on recycled paper “Gordon Gee is the ideal leader for keen sense of Vanderbilt’s traditions.”

2 3 happenings

Dean Wait Plays Ryman Faculty Honor Schweitzer Dean Mark Wait was the featured known, said Wait. “If Copland had much lesser composer. What’s striking Nine Blair School of Music faculty Flute and Continuo with Jane Kirch- Strayhorn, and Duke Ellington. The pianist at the opening concert of the never written anything other than is the breadth of his vision. That’s members took part in the Albert ner, associate dean and associate pro- evening closed with Steve Hyman, Ryman Auditorium’s Classical Series Appalachian Spring and the things popu- what makes him the foremost Ameri- Schweitzer Tribute Concert, Friday, fessor of flute; songs by Cole Porter M.D., a piano student of Marilyn on January 20. larly known, he would have been a can composer of the century.” January 14, at the historic Belcourt and George and Ira Gershwin per- Shields-Wiltsie, adjunct senior artist The Nashville Symphony opened Theatre in Hillsboro Village. formed by Gayle Shay, assistant pro- teacher of piano, playing Rachmani- DAVID CRENSHAW the Ryman’s “Music of the World” The concert, a fundraiser for “Sym- fessor of voice, with Melissa Rose, noff’s Prelude no. 4 in D Major and series with a tribute to composer posium 2000: World Peace Through assistant professor of piano; Enid Chopin’s Fantasie-Impromptu in C- Aaron Copland honoring the 100th Reverence for Life” to take place this Katahn, professor of piano, playing the Sharp Minor. To end the evening, anniversary of his birth. Dean Wait fall at Vanderbilt, commemorated both first movement of Beethoven’s Sonata, Shields-Wiltsie performed the first performed Copland’s jazzy Piano Con- the 125th anniversary of Schweitzer’s op. 57 (Appassionata); and David movement of Grieg’s Piano Concerto certo, first played by Copland himself birth and the 250th anniversary of Schnaufer, adjunct associate professor in A Minor with Hyman playing the in 1927 with the Boston Symphony Bach’s death. of dulcimer, and Steve Seifert, adjunct orchestral part at the second piano. under Serge Koussevitzky. Featured performers included John instructor in dulcimer, performing Details of Symposium 2000, which The Symphony, led by Kenneth Johns, associate professor and chair of Appalachian duos for lap dulcimer. will include the premiere of a specially Schermerhorn, adjunct professor of the department of guitar, playing three Katahn also accompanied Jonathan commissioned work by Michael Rose, music, performed a number of Cop- movements from Bach’s Cello Suite Retzlaff, associate professor and chair associate professor of composition, will land classics: Appalachian Spring, “Hoe- no. 1 as well as Johns’ own transcrip- of the department of voice, in a seg- be featured in an upcoming down” from the Rodeo suite, Fanfare for tion of Bach’s Sonata in C Major for ment of songs by Fats Waller, Billy issue of the QUARTER NOTE. the Common Man, and Lincoln Portrait, narrated by David Grapes, executive producing director of the Tennessee Repertory Theatre. Sigma Alpha Iota Chapter Installed The two movement Piano Concerto, The women of Blair announce the semester to showcase its members. Music. Iota Phi, originally the SAI the last Copland work that openly recent installation of the Iota Phi chap- Community service projects have chapter at Peabody College, became embraced jazz, deserves to be better ter of Sigma Alpha Iota, a professional included the Nashville Cares AIDS inactive at the time of the Peabody/ women’s organization upholding the Walk, performing for patients at nurs- Vanderbilt merger in 1979. Both Associ- highest standards in music and provid- ing homes, and a weekly faculty appre- ate Dean Jane Kirchner and Library ing encouragement and inspiration to ciation project. Fundraisers have Director Shirley Watts were members female musicians everywhere. included bake sales, a car wash, and of that group. We are thrilled to have Last spring, transfer students Donna t-shirt sales. the opportunity to resurrect this chapter Ticheli Conducts as BMI Composer-in-Residence Cottrell from the Delta Pi chapter at SAI was founded June 12, 1903 at at Vanderbilt. Frank Ticheli, associate professor of His orchestral works have been His twelve compositions for wind Austin Peay University and Kate the University of Michigan School of —Kristin Nicole Cameron

composition at the University of performed by many prominent ensemble and concert band have been Janssen from the Pi chapter at Drake JONATHAN RODGERS Southern California’s national and inter- performed widely throughout the University, started an interest group for Thornton School of Music national symphony world and have been awarded several students curious about SAI. On Decem- and formerly composer-in- orchestras. Awards prizes, including the 1989 Walter ber 4, 18 students and Faculty Advisor residence with the Pacific for his music Beeler Prize and First Prize at the Amy Jarman, adjunct assistant profes- Symphony Orchestra, was include the presti- eleventh annual “Symposium for New sor of music and assistant to the dean, Blair’s third BMI Com- gious Charles Ives Music” held in Virginia. Ticheli was were inducted into the fraternity in a poser-in-Residence for the Scholarship and recently commissioned by the students formal initiation ceremony that took year. Goddard Lieberson of Columbine High in Littleton, Col- place in the Music Rehearsal Hall. In Ticheli received his Fellowship, both orado, to write a piece of music honor- attendance were Shelby MacFarlane, bachelor’s degree in music from the American ing and commemorating those affected SAI national vice-president of extension composition from Southern Academy and Insti- by the shooting tragedy there. and fraternity development; Yvonne Methodist University and tute of Arts and Ticheli conducted the Vanderbilt Glass-May, province officer; SAI alum- earned his master’s and Letters, First Prize Symphonic Wind Ensemble in Vesuvius nae; and SAI members from the Iota doctoral degrees in compo- in the Texas while at Blair during a four-day resi- Beta chapter at Murray State Univer- Top row, left to right: Associate Dean Jane Kirchner, Brooke Willis, Kristin Cameron, Tina sition from the University Sesquicentennial dency that took place March 22 sity, the Delta Pi chapter at Austin Lobenhofer, Lauren Denney, Kiley Swicegood, Rachel Black, Anne Warner, Kate Janssen. of Michigan, where he Orchestral Compo- through 25. The program on March 25 Peay, and the Zeta Omicron chapter at Middle row: Donna Cottrell, Julie Hunter, Jessica Moore, Colette Gagnon, Kelly Randall, Hol- studied with William sition Competition, also featured his works There Will Be David Lipscomb University. land Phillips, Meredith Abbott, Yvonne Glass-May (province officer). Front row: Shelby Mac- Albright, George Wilson, and Pulitzer the Frances and William Schuman Fel- Rest, performed by the Symphonic Before becoming an SAI chapter, the Farlane (national vice-president of extension and fraternity development), Jennifer Peecher, Prize-winners Leslie Bassett and lowship, and the Ross Lee Finney Choir, and Postcard, performed by the group formed as the Blair Belles last Somerlie Aston, Amanda Martin, Adjunct Assistant Professor of Music Amy Jarman (faculty William Bolcom. Award. Vanderbilt Orchestra. March, putting on a musicale each advisor), Jennifer Roemer, Heidi-Lauren Duke. 4 5 the shape of things

An art studio approach utilizing the discovery of “Just as in an art studio there would be an examination of water and picking them up would create all sorts of sounds. DAVID CRENSHAW found sounds and handmade instruments instructs great paintings for the geometric shapes they contain,” I decided to use different sizes of pots to create different explains Kurek, “in the same way, music contains large students in the very basics of traditional musical pitches. wedges that move toward a climax. In discussing plays, we “The lower the pot is immersed in water,” he explains, composition and theory talk about where the dramatic climax comes. Where is it for “the higher the pitch. I also had one sound where you plug a piece like a Beethoven symphony? How close to the end up the hole in the bottom and then immerse the whole thing does it come and is there a dénouement [final outcome or reso- so that air is trapped underneath, then you release the hole BY BONNIE ARANT ERTELT lution] following it? and it bubbles up really slowly. I ended up wearing rubber hich comes first, sound or music? The answer seems “In my Introduction to Composition classes, I try to teach gloves so that I could put my thumb in the hole without cut- obvious, but in some ways, it is not unlike that old the control and flow of time and drama within music to stu- ting myself. Once I had a dozen sounds with the flower pots, wrhetorical question about the chicken and the egg. dents in an abstract way at first so that they understand the I started trying different sound sources.” importance of shape within a composition. They have to A percussionist who specializes in mallet percussion In learning to compose music, however, the answer is understand that aspect before we can deal with melody and instruments like the marimba, Seymour sees the piece as more definitive. What comes first is learning about the harmony and countermelody.” part of a larger whole. underlying shape of a composition. The way Kurek teaches shape is to encourage students to “It’s fairly slow and quiet,” he says. “Eventually I’d like to Michael Kurek, associate professor and chair of the com- write a score for any sound they find interesting in such a make a three-movement piece out of it, and this would be position/theory department, is uniquely qualified to use way that it looks like a graph or a pictogram rather than a the middle movement.” metaphors from the art world in teaching his composition musical score. These ‘found sounds’ can be anything from The exploration of new sounds is an element of contem- and theory students. His mother is an artist, and he pursued the entire class crunching carrots together to the sounds porary music. “It’s quite analogous to ways of expanding the coursework in art history during his undergraduate and made by fan blades hitting different types and quantities of palette of colors,” says Kurek. “We explore new ways to mix graduate studies in music composition. paper at different speeds. colors, but it makes us appreciate our traditional instru-

DAVID CRENSHAW “We do this assignment in a playful way that engages the ments. students in the process of using interesting sounds,” says “In the Theory V classes, we study 20th-century styles Kurek. “We cover shape first, then move to rhythm, then from a theory or technical aspect rather than an historical melody and so on until the semester culminates in a final aspect. So, we talk about composers who experimented with project in which they compose any type or medium of music a wider sonic palette, composers like John Cage or Harry they want, and we have a performance.” Partch, a composer who built his own instruments to be John “Chow” Seymour, now a sophomore composition microtonal, so that they had 43 pitches to the octave instead major, chose to return to found sound to compose his final of just 12. I give the students the chance to relive these theo- project, entitled Concrète Live. The title is a play on words as ries in actual practice by building their own instruments. concrète pieces generally refer to recorded natural sounds Then they compare them with their experiences playing tra- that have been manipulated, such as rain drops slowed down ditional instruments.” on tape to resemble the sound of gongs. Seymour’s piece The students learn a number of lessons from these exer- uses natural sounds in live performance and requires three cises. “It gives them a greater appreciation of the physics of musicians. The first musican plays four flower pots sound and how very difficult it is to construct a credible Theory V student Stephanie Tepley with her handmade “banjo.” immersed in water; the second plays a ring of keys, a three- instrument,” says Kurek. “It also takes them out of their tra- hole punch, and a disconnected computer keyboard; and the ditional environment just as improvisation does. It takes Kurek stresses that these assignments are just one of third plays three pieces of thick paper by rubbing two of the them out of their safety zone and challenges them, so that many approaches utilized in the composition and theory sheets together and rolling up the third sheet to be played in when they go back to that more traditional way of playing classes. various configurations. music, they can play it with the same sense of risk and “The students also learn to compose in a traditional way, “I’ve always loved finding sounds and playing music on excitement. In a sense it takes them back to square one and but these classes are not unlike a studio art class. I teach anything I could find.” says Seymour, who once planned a levels the playing field.” hands-on exploration of one element of music at a time.” career in environmen- tal science. His work volunteering in Van- derbilt’s greenhouses served as the catalyst for his final project. “The idea came from washing flower pots in the big tub of water in the green- houses. Just the nat- Andrew Westerhaus with his handmade instrument constructed of ural motion of setting PVC pipe and other materials. them down in the 6 7 a very short distance after all DAVID CRENSHAW There are many in Nashville who The Reed Man ington—with members of the I continue customizing the reed while I think there is little in common Nashville Symphony, playing this solo, practice. The requirements for a reed are a little different for every situation. between the Blair School of Music The music emanating from the speak- among other songs, on Amy Grant’s ers lilts into an ethereal sound, as you holiday tour with contemporary Chris- If I play with the [Nashville] Sym- and Music Row, between classical might expect from a song with the title tian artists Michael W. Smith and phony at TPAC (Tennessee Perform- and country, between Blakemore “Gabriel’s Oboe.” It soars on the high Point of Grace. “Gabriel’s Oboe” is the ing Arts Center) in a huge space, I like Avenue and 16th Avenue. parts, floats above the strings, and like only instrumental on Grant’s 1999 to have a certain amount of power. On the Amy Grant tour, however, the mic Nothing could be farther from a graceful, winged creature, it lands A&M Records release, A Christmas to gently, a marvel of timing and control Remember, which was recently certified was about six inches away. My the truth. that lasts two minutes and fifteen sec- gold. requirements weren’t for power, they As those at Blair and on the Row onds. “You’re only as good a player as were for purity of tone.” can attest, a great deal of inspira- However, the physical evidence of your reed,” says Taylor, associate pro- That purity of tone has made Taylor the first-call oboe player in town for 30 tion, cooperation, and musical this song is more jarring—a pile of fessor of oboe, whose 30th anniversary used oboe reeds on Bobby Taylor’s at Blair was celebrated in recital years, and during that time, he has cross-pollination goes on between desk in his Blair studio. He spent a March 17 as part of the Blair Concert worked in just about every recording these two seemingly opposite month on the road at Christmas time— Series. “I spend about an hour on each studio in town and for every record worlds, and not just in recordings in auditoriums and arenas from reed to get it to the point where I can label. His credits include work on albums from Alabama to Steve like Appalachia Waltz by Adjunct Tupelo, Mississippi, to Seattle, Wash- take it to a rehearsal to play, and then Wariner, from Wayne Newton to Jon Associate Professor of Bass Edgar PEYTON HOGE Secada, from the Brooklyn Tabernacle Meyer, former faculty member and Choir to Reba McEntire. He’s played Country Music Association instru- on movie soundtracks like the recent animated feature Prince of Egypt and the Ed Foote, adjunct instructor of music, most recently played his custom-built, 18th-century, mentalist of the year Mark O’Con- Ken Burns documentary American Rev- French model hurdy-gurdy on the Gram Parsons tribute CD Return of the Grievous Angel. nor, and renowned cellist Yo Yo Ma. olution for public television. This collegiality exists in record- “There’s a lot of work in the Christ- oboe player, huh? That’s funny, on the approach. For 24 years he has tuned ing studios and in classrooms, in ian music field, too,” says Taylor, for flight from LA we were talking about pianos for the Blair School while also whom a recent day included teaching how an oboe would sound good on this maintaining grand pianos in many the heads of songwriters and in the at Blair, two symphony rehearsals, and record. Why don’t you go get your recording studios in town. In 1994, he headphones of musicians, and it a six-hour recording session. “They oboe?’ noticed a case in Blair’s harpsichord ends up taped and available for an publish a lot of new material, new “And that’s the first one I ever did, room labeled ‘hurdy-gurdy.’ enthusiastic audience to take Christmas songs, new musicals that for a guy named Lonnie Mack. I sat in “It had been purchased in the 1960s churches can perform. They record the the bathroom of that old house-turned- for an early music curriculum at home. music here then send out samples to studio and played my oboe into the Peabody College, so after the merger, In this issue, the QUARTER NOTE sell their arrangements. Last night we microphone. Some people were play- we ended up with it here,” says Foote. talks with four faculty—Bobby Tay- recorded for a Christian theme park ing in the kitchen and others were in “It was dilapidated, unplayable.” lor, Ed Foote, Deanna Walker, and that presents big passion plays.” the living room.” Foote first became interested in the Taylor’s entry into the recording Taylor went on to play for artists hurdy-gurdy in 1975 when his piano James Foglesong—who demon- industry was entirely accidental, but like Dolly Parton and even Elvis on technology instructor at the North Ben- strate daily that the road between somewhat predictable for a good musi- his From Elvis Presley Boulevard, Mem- net Street School in Boston mentioned Blakemore and 16th Avenue is both cian in Music City. phis, Tennessee album released in 1976, it as the earliest mechanical stringed literally and figuratively a very short “I went to observe a recording ses- a year before Presley’s death. musical instrument. First made for use sion in 1969, the year I accepted both “One thing about the recording in churches, the hurdy-gurdy’s emotive distance after all. a position with the Symphony as their industry here,” says Taylor. “They’re force, which could set listeners dancing, principal oboe player and a teaching always looking for something a little made it reviled as a folk instrument of position at Blair. I’d never seen a different.” Europe’s traveling lower class until the recording session, and Eberhard French court of the 1700s decided the Ramm, a horn player who was teach- folk arts were worthy of development. BY BONNIE ARANT ERTELT ing at Blair at the time, told me about Country Goes Its use, however, seemed to die out by it. It was in an old house at 18th and Medieval the 20th century. Grand called Quadraphonic Sound, Foote was fascinated by his discov- Bobby Taylor, associate professor of oboe, and Sam Levine, flute, play “Glory, Praise, and just two blocks from where Blair used Ed Foote, adjunct instructor of music, ery in the harpsichord room and took it Honor” at The Sound Kitchen, a recording studio in Franklin, Tennessee. In this session, to be. can demonstrate the lengths to which home to rehabilitate the instrument. Taylor and his colleagues with the Nashville String Machine recorded choral octavo demos “I was standing in the control room, the record companies here look for that “Three weeks later,” he says, “I’m in used to sell sheet music for church services. and the producers said, ‘So, you’re an different sound, different tone, different the studio with Garth Brooks. 8 9 DAVID CRENSHAW “I’ve been friends with Garth’s pro- writers. Some write melodies, others reason many others move here—to pur- “Even when you’re experienced,” ducer, Allen Reynolds, since before he lyrics, and some have never written a sue songwriting as a craft. says Walker, “the fundamentals are knew Garth,” explains Foote. “I’ve song before. They gather on Monday “I love writing and learning about important, and we all need to be tuned the pianos for Garth’s record- nights for this weekly lab where they all writing, and I have reason to believe reminded of that. Also, the thing about ings since his first record here. So, I work on one thing—finding their that if I work at it, I can really learn that writing is that you’re trying to find your was a familiar face. I dropped by with authentic voice in order to say what craft, just as I think everyone can.” authentic voice, and there’s no point the Blair hurdy-gurdy, and Allen said, they truly want to express in song. To that end, Walker began teaching when you’re not going to be doing that. ‘Let me hear it.’ When he heard it, he Walker, artist teacher of piano, is her Introduction to Songwriting course It deepens, evolves, and changes over said, ‘That’s just what we were looking known as a classical composer. Her Trio last fall with seven students enrolled. time, so wherever you are in the for yesterday.’ for Flute, Saxophone, and Piano was This spring, that number has grown to process, you keep going in that direc- “We did three takes and got the performed recently at the semi-annual nearly 20, and the challenge of teaching tion. For all of us, the important com- cuts for Fresh Horses. That was one of meeting of the World Saxophone Con- such a diverse group has grown with it. ponents of songwriting are the same. Garth’s low sellers; I think it only sold gress in Montreal. But she moved to She deals with that by concentrating on “Just the act of talking and reading four million records,” deadpans Foote. Nashville a few years ago for the same the fundamentals. and thinking about writing, no matter “But that was the start of legitimacy what level you’re at, stimulates all kinds for the hurdy-gurdy in Nashville.” of ideas and creativity. It makes the Since that time, Foote has played process of songwriting come alive. The both the Blair hurdy-gurdy, a 15th- mission of the class is to establish a safe, century, gothic-styled instrument, and fun, relaxed space for people to explore James Foglesong, former head of Dot, ABC, and the Nashville divisions of MCA and Capitol his own, which is custom-built and their creativity.” Records, teaches the Business of Music class. based on a later 18th-century French Another way the process comes alive model, on no less than eight tracks in for these students is the presence of what marks that evolution? That’s use- The former head of Dot, ABC, and the last two years. His latest work was working songwriters who make guest ful information.” the Nashville divisions of MCA and for the Gram Parsons tribute CD appearances in the class. In this way, Walker has been amazed and Capitol Records, Foglesong, adjunct Return of the Grievous Angel, produced Walker draws on perhaps Nashville’s impressed by the generosity of the professor of music business, now cele- by Emmylou Harris, on which he greatest commodity—the consummate songwriting community. brates his ninth year teaching students plays solo on “In My Hour of Dark- singer-songwriter, many of whom have “Craig Wiseman [who wrote Tim the ‘other’ side of music. ness.” won or been nominated for Grammy McGraw’s hit “Where the Green Grass “When I first submitted my pro- Foote’s arrival in Nashville in the awards through the National Academy Grows”] stayed literally until midnight posal to teach this class to students,” mid-70s coincided with a change in the of Recording Arts and Sciences or for talking to everyone until they finished Foglesong explains, “I said that it Nashville sound from guitar-based ses- Country Music Association writing asking questions. Mike Reid lectured would have been helpful if someone sions to ones in which grand pianos awards. Some of the hit songwriters and said he’d like to come back, so he from the industry had come to the were required in all serious studios. who have visited the class are Mike also held a critique session. The stu- Eastman School of Music when I was He had all the studios he could handle Reid (“I Can’t Make You Love Me” dents were so excited about bringing a a student and told us about career within six weeks of meeting legendary recorded by Bonnie Raitt), Jon Ims song that Mike Reid was going to listen options other than performing, teach- producer Harold Bradley at The (“She’s in Love with the Boy” recorded to and talk about. I was amazed at how ing, and composing. Pickin’ Parlor. by Trisha Yearwood), Jana Stanfield motivated they were. “We are in Nashville, one of the “Between the studios and working (“If I Had Only Known” recorded by “It’s like drinking from this wonder- three major music centers in the U.S. here at Blair, I’ve more or less covered Reba McEntire), and Marcus Hum- ful fountain,” exclaims Walker. “Every These students have resources avail- both sides of the piano world,” says mon (“Cowboy Take Me Away” and Monday I wake up and I’m so excited able to them here that they wouldn’t Foote. “But I’ve learned more at Blair. “Ready to Run” by the Dixie Chicks). that it’s class night! Direct contact with have in most other locations. The fact I’ve gotten better by watching the “I tell the songwriters that what I’m anyone who is living this creative life— is that only a small percentage of grad- Steinways wear out, seeing what interested in is finding out where their who genuinely lives it as these song- uates will make their livings as per- works and what doesn’t work. It’s head is in the actual process of writing. writers do—I don’t think there’s a way formers. I want them to know about been a lab for me.” I love it when they bring examples of to measure how valuable that is. The producers, songwriters, music publish- their own songs and talk in depth about energy passed around in that situation ers, managers, booking agents, and them. I want to know what the options enlivens the whole process.” how the system works. They can be Direct Contact with were in the process of writing a particu- attorneys, accountants, or marketing the Creative Life lar song, and why they settled on cer- experts and be in the music business tain specific choices over all the other Industry Insider utilizing their love for music and their The students in Deanna Walker’s Intro- possibilities. How was the path to solv- If Deanna Walker’s class focuses on know-how.” duction to Songwriting course are a ing the puzzle in this song different the creative side of songwriting in Foglesong wanted to be a singer. A mixed lot: young and old, men and from some other song? How’s your Nashville, James Foglesong’s class veteran of World War II, he attended women, college students and working writing different now than it was five relates the business side of the Eastman thanks to the GI Bill of Rights adults, experienced and inexperienced years ago? How are you evolving and music industry. to hone his talents as a tenor. After 10 11 graduating, he migrated to New York winds, he’s still involved 49 years later, to learn, so it’s a great responsibility, Dinners, Reunion, and More! City to try his hand as a recital and giving students an overview of the but they keep me thinking, too. oratorio singer or perhaps pursue a music industry from its historical “I feel so lucky to have spent my life The Blair Celebration Dinner, an We would like to thank Y.S. and If anyone has questions or sugges- career on Broadway. underpinnings to current issues such as in this business. That’s another reason evening hosted by Martha R. Ingram, Sung Chi for their hard work this year tions about performers or venues for the “I took a job at Columbia Records copyright and the impact of the Inter- I enjoy teaching. I think it’s really chairman of the Blair KeyBoard, and as chairs of the 1999-2000 Precollege precollege scholarship fundraiser or to help pay for voice lessons and rent, net. This semester 80 people are taking important for people to do something Dean and Mrs. Mark Wait, is our Parents & Adult Students Campaign. would like more information on how to not having any intention of staying on his class, many of them undergraduates they enjoy. I stress to the students that annual fete honoring friends, faculty, And many thanks as well to all who par- make gifts of time or money to Blair, there. This was in the early days of the from Peabody and the College of Arts it’s not about the money. If you work and alumni of the Blair School of ticipated! Your gifts give young people please call the Development Office at LP in 1951. Columbia had vaults filled and Science. hard at what you enjoy, the money will Music. This year’s dinner will be and adults the opportunity to cultivate 322-7650. with 78 rpm recorded product on disk “After studying the history of the follow.” Wednesday, April 5, at the Vanderbilt their musical talents PEYTON HOGE that had to be transferred to tape and business, often using industry leaders Stadium Club. Students and faculty will under the instruction of then made into 33 1/3 long-playing as guest speakers, we start with the perform, demonstrating the great range the Blair School’s distin- records. They needed a musician who creation of the song, the craft as well as of talent and versatility on hand at the guished faculty. The j j could read a score to make sure that all the business. Then, we study the roles Blair School. We also will recognize number of parents and the splices were musically correct. of the music publishers, performing In Memoriam outstanding benefactors, awarding those adult students who sup- “I made most of my money as a rights organizations, and the adminis- Anne Foster Roberts, long-time who have been Patron Society members port this program is very singer doing back-up work in studios tration of copyrights. The ensuing patron and dedicated friend of the for five, 10, and 15 years. encouraging. We look all over New York. It turned out to be classes study the operation of a record Blair School, died in December Blair’s First 10th Undergraduate forward to even more a wonderful experience. I could company, personal and concert man- after a lengthy illness. Reunion will take place, Saturday, May participation in the observe the different techniques of agement, performing, contracts, tour- She and her husband, Kenneth 27. Come celebrate 10 years of Blair coming year. engineers and producers. Later, when I ing, and the flow of money.” L. Roberts, president and execu- graduates during Reunion 2000 by had an opportunity to produce records, Interning is an option. “It is tive director of the Frist Founda- attending the Intermezzo at 4:30 PM, I enjoyed some success rather quickly. absolutely the best way to get a job in tion and president of the Frist followed by hard-hat tours of the new The time arrived when I had to make a the music business,” states Foglesong. Center for the Visual Arts, have (left): Sam and Clare Loven- building. Plans are also underway for PEYTON HOGE decision: would it be the record busi- “The last five people we hired at Capi- been actively involved with the an alumni recital. Call (615) 322-7650 thal and Judith Poindexter Blair School since before the ness or my singing career? People tol were all former interns.” if you would be interested in sharing enjoy “A Musical Evening at school’s merger with Vanderbilt laugh when I say I opted for the secu- Though he is no longer on the Row, your talents. Bring your family and the Opryland Hotel.” (top) University in 1981. In 1993 the rity of the record business.” he loves imparting what he learned in a enjoy this big day with old friends and Cornelia Heard, Jean Heard, Despite the vicissitudes of the half century of life in the music biz. couple established the Kenneth L. and Edgar Meyer make it a and Anne Foster Roberts Scholar- new. recording industry, where music execu- “It’s so rewarding to pass things on to family affair at this annual ship, a need-based scholarship Due to repeated scheduling con- tives come and go with the prevailing young people,” he says. “They’re eager event. awarded to a student pursuing the flicts, this year we will not present Bachelor of Music degree at Blair. Faux Gras, our annual event to fund Kenneth Roberts was a founding precollege scholarships. Not to worry; Block by Block member of the KeyBoard, the the Guild precollege scholarships are school’s advisory committee, and still funded, and we are considering a Work continues on the Phase I west wing addition to the Blair School, which will add served as its chairman from 1993 fundraiser later in the year. 61,000 square feet of space. Groundbreaking for Phase II will take place in April. Staff to 1997. and faculty look forward to moving into the Phase I addition later this summer. Mrs. Roberts was a 1955 grad-

DAVID CRENSHAW uate of Vanderbilt, where she was a member of Kappa Alpha Theta sorority. She worked for the Ten- Blair Children’s Chorus Summer Camp nessee Department of Welfare from 1951 to 1960 before becom- On August 1, 2, and 3, Blair School of nized faculty of the Blair Children’s dren an opportunity to enjoy the fun ing a full-time homemaker. A Music will welcome children to cam- Chorus. A celebration of their music- of making music with others and to member of Westminster Presby- pus for a three-day making will take place in explore the world of choral music. The terian Church, she served on the music camp. From 9 concert Thursday, only cost to families is a $5 registration boards of several civic organiza- AM until noon each August 4, at 7 PM in the fee per child. Each child will receive a tions. day, participating Turner Recital Hall at Blair School of Music t-shirt. Regis- Through the generous contri- children who will be the Blair School. tration began in February and will butions of family and friends, the rising to grades three Leading the event will close April 15. A total of 100 children

Anne Foster Roberts Memorial through seven will be Blair Children’s Cho- will be accepted.

has received more than $15,000. sing in choir and take rus faculty, including For more information or to part in hands-on Artistic Director Pam request applications, please call the j j music activities led by Schneller. The goal of the program administrator, Susan Kirby, the nationally recog- camp is to offer area chil- at 883-6479.

12 13 tutti

Students Music Competition in Febru- Philip Cynn and Sam Quig- UNDERGRADUATE Atlanta working on a master the Study of Popular Music. professors of guitar at the ary and will appear as soloist gins, students of Anne Junior Betty-Ashton of sacred music degree in This spring, he will present a Conservatoire National de PRECOLLEGE with the Middle Tennessee Williams, senior artist teacher Andrews, student of Marian choral conducting. He also paper at the International Nice. He was the featured Students in the Suzuki Pro- State University Orchestra on of Suzuki cello, have both Shaffer, adjunct professor of serves as director of music at a Center for African Music and performer from the United gram played a series of holi- Monday, April 3, performing received an invitation to per- harp, is featured in a commu- church in Atlanta. Dance at the University of States. He also taught a mas- the first movement of Lalo’s form at the SAA National Michigan. He will also give a ter class. He was invited to day concerts in December. nity spotlight on Nashville Amber Good, ’97, former stu- Symphonie Espagnole. Conference in Cincinnati in plenary address to the British perform at a State Depart- Suzuki and seasonal favorites Public Television for her work dent of Jane Kirchner, asso- May. They have also been Forum for Ethnomusicology. ment function in Paris on were performed by students of Sarah Chazen, student of playing harp to patients in the ciate professor of flute, is selected to participate in the March 27 for Ambassador Carol Smith, Anne Williams, Cornelia Heard, earned the critical care unit of Vander- working on a master’s degree Cynthia Cyrus, assistant pro- Suzuki Youth Orchestra of Amy L. Bondurant of the Celeste Halbrook Tuten, grand prize in the concerto bilt’s Children’s Hospital. She in music history at the Univer- fessor of musicology, gave a the Americas 2000—an honor Organisation for Economic Sara Johnson, and Katherine division of the Middle Ten- was also featured in an article sity of Cincinnati’s College- preconcert lecture February bestowed to only ten cellists Cooperation and Develop- Mansouri at the Mall at Green nessee Young Virtuosos classi- on the Wall Street Journal’s Conservatory of Music. In the 11 for the Folger Consort in from the United States and ment and invited guests, Hills on December 4. The cal music competition interactive website. fall, she won several grants in Washington, DC, on the sub- Canada. They performed in an among them ambassadors to Suzuki Players performed at presented by the Nashville support of a six-week research ject of Machaut and the advanced master class at the Somerlie Aston, junior oboe the OECD from Ireland and Awards on February 23. His Cheekwood (December 2) Symphony. For her interpreta- trip to Oxford, England. She Remede de Fortune. She will University of Memphis with student of Bobby Taylor, India and film actress Olivia CD Short Trip Home, made in and First Baptist Church, tion of Tchaikovsky’s Violin is writing her thesis on Peggy also present a paper on “Lit- guest clinician Malissa Kraut associate professor of oboe, de Havilland. In April, he collaboration with classical Capitol Hill (December 5). Concerto in D Major, she Seeger, American folk singer eracy, Orality, and Something in January. played The Nutcracker in will be featured performer at violinist Joshua Bell and The Suzuki Reading Orches- and activist. In-Between” at the Interna- received $1000, season tickets December with the Huntsville the Snead State Community bluegrass virtuosos Mike tra and the Youth String for the symphony season, and Jena Lee and Janet Lee, stu- tional Medieval Congress in Symphony. Katy Halama, ’99, former stu- College Guitar Festival in Marshall and Sam Bush, was Orchestra presented a holiday the opportunity to perform dents of Celeste Halbrook Kalamazoo, Michigan, in dent of Jonathan Retzlaff, Alabama, a two-day event nominated for a Grammy in program at Bellevue Mall on with the Symphony. Eric Tuten, artist teacher of Suzuki May. associate professor and chair involving a recital and master the best classical crossover December 11. Thomas Garcia, student of violin, have presented their Alumni of the voice department, has class. album category. The quartet William Wiggins, assistant Book I violin recitals. On Sarah Bennett, student of PRECOLLEGE been named marketing coordi- performed “Death by Triple professor and chair of the December 2, several students Enid Katahn, professor of Cornelia Heard, associate nator for North and South Fiddle” on the show, for brass and percussion depart- (Books I-III) gave an “infor- Anthony Williams, former piano, had a busy schedule of professor of violin, won the America by Naxos of Amer- which Meyer added an ment, was first runner-up in mance” at Harding Academy. student of Peter Fyfe, adjunct recitals and master classes in Outstanding Young Artist ica, Inc., a classical recording arrangement for orchestra. the competition. professor of organ and Uni- February. She presented both award at the Murfreesboro company headquartered in Haley Peterson, student of versity organist, played an at Northwest Missouri State Pamela Schneller, senior lec- Nashville. She was promoted Katherine Mansouri, adjunct organ recital in the 1999 Caril- University, Campbellsville turer in choral music and from a position as administra- artist teacher of Suzuki violin, lon and Organ Recital Series University in Campbellsville, director of the children’s tive assistant. Mandolin Magic presented her Book I recital in at the Basilica of the National Kentucky, and at Marshall choral program and the Van-

DAVID CRENSHAW September. Shrine of the Immaculate Andrea Henderson Molina, University in Huntington, derbilt concert choir, will be Molly Robertson, student of Conception, Washington, DC. ’91, former student of Enid West Virginia. Joining her at guest conductor of the Jane Kirchner, associate dean He is active in the Dillard Katahn, professor of piano, Marshall University was Rutherford County Elemen- University Humanities Cul- recently gave birth to a son. Edward Foote, adjunct tary Mass Choral Festival on and associate professor of Peter Fyfe, adjunct professor tural Exchange with the coun- She and her husband, Moises instructor of music. The two April 28, leading over 200 flute, was the woodwinds win- of organ and University try of Belize in Central Molina, teach at Western Illi- demonstrated well-tempered children in a day of rehearsals ner of the Nashville Sym- organist, assisted by Marian America. nois University in Macomb, tuning of the piano. In and performance. phony/Curb Records Young Shaffer, adjunct professor of Illinois. March, she played a recital Musicians Classical Competi- Annie Wolaver, former stu- harp, played an organ recital Marian Shaffer, adjunct pro- for NAMTA with Christian tion, Concerto Division, held dent of Cornelia Heard, at Saint Matthew’s Episcopal fessor of harp, performed Teal, professor of violin. in November at Belmont Uni- moved to Connecticut last Church, Covington, Ten- Tiento per Pablo by Bernard versity. She also was a finalist summer, and recently was Faculty nessee, in November in Melanie Lowe, assistant pro- Andres as soloist with the in the Middle Tennessee chosen as alternate winner in recognition of the 50th fessor of music history and Kingsport Symphony Gregory Barz, assistant pro- Young Virtuosos classical the Juilliard Precollege Con- anniversary of the installation literature, read “Colliding Orchestra in February. Also fessor of musiciology (ethno- music competition, presented certo Competition. She per- of the church’s organ. Feminisms: Britney Spears, in February, she performed musicology), was elected On February 4, Butch Baldassari, adjunct associate professor by the Symphony. formed Bruch’s Scottish ‘Tweens,’ and the Politics of for the Friends of Music con- secretary of the governing John Johns, associate pro- of mandolin, and his Nashville Mandolin Ensemble colleagues Violinist Shannon Thomas, Phantasy. Annie is seated third Reception” at Smith College cert series at Calvary Episco- council for the Society for fessor and chair of the guitar Gene Ford on guitar (above right), and John Hedgecoth on student of Cornelia Heard, chair in the first violin section in February. She now holds a pal Church in Memphis with Ethnomusicology. He pre- department, was invited to mandocello, presented a varied program of works not normally was chosen to participate in of the Juilliard Preparatory secondary appointment to the the Shaffer Harp Trio, com- sented papers in the fall based perform in Paris and Nice, associated with the mandolin, an instrument that is a mainstay the New York String Seminar Orchestra. program in American and prised of Shaffer and her on his recent field research in France, this spring. On of bluegrass and country bands. Ranging from melodies origi- at Carnegie Hall in December. Southern Studies at Vander- daughters Julia (18) and East Africa (see previous March 26, he performed at nally written by the legendary Irish harpist O’Carolan to She won second prize in Feb- UNDERGRADUATE bilt. Mimi (15). issue) at the annual meetings the Nice Guitar Festival at jazzy, big band tunes by Hoagie Carmichael and Duke Elling- ruary at the La Grange Sym- Paul Gamber, ’98, former stu- of the Society for Ethnomusi- the invitation of the Kautalus Edgar Meyer, adjunct associ- Carol Smith, senior artist ton and Beatles hits from the sixties, the program also included phony competition in Georgia, dent of Sally Ahner, adjunct cology, the American Anthro- Association, sponsors of the ate professor of bass, was fea- teacher of violin and director some traditional bluegrass music by the father of bluegrass, receiving $1,000 plus a recital assistant professor of voice, is pology Association, and the Villa-Lobos Competition, and tured during the live of the Suzuki Program, was Bill Monroe. appearance. at Emory University in International Association for Ako Ito and Henri Dorigny, broadcast of the Grammy continued 14 15 Dynamic Duo DAVID CRENSHAW Violist Eva Stern and pianist Joel Schoenhals,’94, performed a con- cert featuring composers as diverse as Mozart, Milhaud, and Rebecca Clarke at the Steve and Judy Turner Recital Hall on January 16. The duo have been performing together since 1995, when they met at the Eastman School of Music. They have been featured on National Pub- lic Radio and were artists-in-resi- dence at Banff Centre for the Arts in Banff, Alberta, Canada. They per- form and teach master classes across the United States and currently live in Richmond, Virginia, where they are artist faculty duo at Longwood College.

Felix Wang, assistant profes- at Interlochen this summer. ment. Payne, who previously Tutti continued sor of cello, performed served Vanderbilt as director Joy Worland, adjunct artist Haydn’s D Major Cello Con- of the parents’ campaign and guest clinician at a Suzuki teacher of horn, presented a certo in November with the director of hospital develop- weekend workshop held in master class and a solo perfor- Oakville Chamber Orchestra ment, came on board last fall Houston, Texas, in November. mance at Northern Arizona in Toronto, Ontario, Canada. to cover for former director University in Flagstaff, Ari- Celeste Halbrook Tuten, He has been invited to join the Mary Pierce while she was on zona, in February. artist teacher of Suzuki violin, faculty of the Rocky Mountain maternity leave. Payne and Anne Williams, senior Summer Conservatory in accepted the position perma- artist teacher of Suzuki cello, Steamboat Springs, Colorado. nently in February. Pierce attended a Suzuki Workshop He has also been invited back Staff resigned her position in Janu- in Peachtree City, Georgia, in to the faculty of the University Virginia Payne joins Blair as ary following the October November. of Michigan all-state sessions the new director of develop- birth of her daughter.

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