The Many Faceted Choral Program from the Dean

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sonoritiesWINTER 2015 The News Magazine of the University of Illinois School of Music

the many faceted choral program from the dean

Excellence in core disciplines and musical forms; rising interdisciplinary collaborations; growing integration of technology with teaching, performance, and composition; and the development of innovative curricula portend an exciting future for our School of Music. As the school celebrates the 55th anniversary of the Published for alumni and friends of the DMA in Choral Conducting, it heralds a new era under School of Music at the University of Illinois at Larry Kanfer Urbana-Champaign. Professor Andrew Megill’s leadership as director of choral activities. Our new Lyric Theatre @ Illinois program builds on the The School of Music is a unit of the College of school’s established strength in opera and broadens training to include sung Fine + Applied Arts at the University of Illinois at theatre, delivering integrated instruction in singing, acting, and movement. Urbana-Champaign and has been an accredited institutional member of the National Association of Operatic star and Illinois alumnus, Professor Nathan Gunn, directs Lyric Schools of Music since 1933. Theatre with the help of an outstanding team of faculty, including new colleagues Sarah Wigley Johnson and Michael Tilley. The school’s rekindled Jeffrey Magee, Director Joyce Griggs, Associate Director for scholarship and teaching in music education continues with the addition Academic Affairs of Assistant Professor Adam Kruse, a scholar of race, gender, and hip-hop David Allen, Associate Director for Development musicianship. James Gortner, Assistant Director for Operations Work at the intersection of music and technology is an emerging strength. J. Michael Holmes, Enrollment Management Director Assistant Professor Erin Gee’s work is featured in the iPad game Blek. Stephen Burian, Interim Director for Professor Heinrich Taube is commercializing his music theory teaching Outreach and Public Engagement tool, Harmonia, with the help of a grant from the Illinois Proof of Concept Ruth Stoltzfus, Coordinator, Music Events program, a partnership of the Office of Technology Management and the Managing Editor: Ruth Stoltzfus College of Fine + Applied Arts. Harmonia is the first app created at Illinois Associate Editor: Emily Wuchner to appear in Apple’s iTunes store for computer applications. Professor Research Assistant: Lauren Coleman Stephen Taylor, whose compositions explore the intersection of music and

Contributing Writers: Reid Alexander, Chester science, is winner of a 2014 Guggenheim Fellowship. Alwes, Janet Barrett, Louis Bergonzi, Christina To help advance excellence in the work of the school, the campus and Bashford, Ollie Watts Davis, John Dee, Joyce college are investing more than $1.7 million to refurbish practice rooms Griggs, Dawn Harris, William Heiles, Kirsten Keller, and introduce new technology and lighting in classrooms. This project is in Gayle Magee, Laurie Matheson, Ellen McDowell, Bruno Nettl, Augusta Read Thomas, Emily Wuchner addition to the ongoing major renovations of Smith Memorial Hall. As always, the support of our alumni is critical to the success of our School Design and Layout by Studio 2D of Music students and faculty. Thank you!

Front Cover: From top: Madigral Performance (the University of Illinois Archives); Women’s Glee Club Edward Feser (courtesy of Andrea Solya); Black Chorus (courtesy Professor and Dean of Ollie Watts Davis); Andrew Megill and Chamber College of Fine + Applied Arts Singers (photo by Emily Wuchner).

UI School of Music on the Internet: www.music.illinois.edu

Share your good news! Send photos and submissions to: Sonorities, UI School of Music 1114 W. Nevada, Urbana, IL 61801 or [email protected] by August 31, 2015 from the director

The School of Music is in dynamic transition—one Winter 2015 that demands driving forward with a clear rearview of past excellence. In this issue you’ll read about four new campus news faculty members and a key staff member who have joined 2014 Allerton Music Barn Festival . . . . . 2 Black Chorus Hosts Sacred Music our ranks, bringing unique professional and academic Symposium ...... 3 experiences and exciting new perspectives as they help us Spring 2015 Ensemble Performances . . . . 3 build on our traditional strengths. The choral program School of Music Embraces, Engages with provides our cover article, from its illustrious roots in Technology...... 4 Harold Decker’s pioneering efforts in the 1950s to its continuation under Students Explore Degree Possibilities in the energetic vision of newcomer Andrew Megill. Professor Emeritus Chester Entrepreneurship Contest...... 6 Taylor Receives Prestigious Guggenheim Alwes, who wrote the story, expertly bridges the Decker and Megill eras—and Fellowship...... 7 knows more about the program than anyone. This issue also brings you up- University, School of Music Plan Events to-date on technological innovations within the school and a new approach to Commemorate WWI...... 8 to sung theater, which we’ve dubbed Lyric Theatre @ Illinois, led by a trio updates of faculty members with extensive experience in that arena: Nathan Gunn, Development Update...... 9 Jerold Siena, and Julie Gunn. Admissions Update...... 10 The UIUC campus and College of Fine + Applied Arts have committed Outreach Update...... 11 significant funds for aesthetic, safety, and technological upgrades to the FEATURES Music Building, and we look forward to Phase 2 of the Smith Memorial Illini in Ireland...... 12 Hall renovation in 2017 as that hallowed hall approaches its centenary. Finding Your Voice in the Cosmos. . . . . 14 A Lifetime of Learning: Bruno Nettl . . . . 17 Last May, the Recital Hall again hosted the School’s annual convocation, graced by the inspiring keynote address, published here, by distinguished Cover A View from the Bridge: Reflections composer Augusta Read Thomas. Two other major (and Pulitzer Prize- on the University of Illinois Choral winning) composers enjoyed extended residencies in 2013–14: Gunther Program...... 19 Schuller and William Bolcom. New Choral Director Andrew Megill . . . . 23 As we move forward, we must also acknowledge the past. We recently said Choral Ambassadors...... 26 goodbye to Austin McDowell, who entered the School of Music as a fresh- faculty news...... 29 man in 1938 and retired as its director a half century later, having served emeriti news...... 39 for decades as a beloved clarinet professor. His wife Ellen wrote the touch- alumni news...... 40 ing eulogy. We lost several other crucial members of the School of Music student news...... 45 community as well, and they are likewise commemorated. Nothing in the School so well embodies the merger of past, present, in memoriam...... 48 and future as our Smith Music Legacy Project, launched a year ago. It has Giving...... 52 become a magnet for generous friends of the School, who have increased our scholarship funds while commemorating friends, mentors, and loved ones with plaques to be installed on Recital Hall seat-backs and on studio and practice-room doors. We are grateful for gifts received through the Smith Legacy Project—and for many others, on which the School of Music depends increasingly in its quest to sustain more than a century of excellence.

Jeffrey Magee Professor and Director, School of Music

winter 2015 1 campus news

2014 Allerton Music Barn Festival

For the eighth consecutive year eager listeners flocked to Mon- ticello, IL where they enjoyed the sonorous sounds of School of Music artists resonate through the rafters of the idyllic Allerton Music Barn . The four-day festival treated listeners to music of all styles and showcased different programs within the SoM . Opening night featured the Jupiter Quartet, the SoM’s quartet-in-residence, with guests . Ending the program as a sextet, the ensemble included the two student winners of the second annual Guest Artist Award, Kim Uwate (viola) and Seugwon Chung (cello), in a performance of the Brahms Sextet No . 2 in G Major, op . 36 . The Quartet also played Dvorˇák’s String Quartet in F Major, op . 96 (“American”) and a set of American spirituals arranged by Stephen Taylor, professor of composition and theory, which featured Ollie Watts Davis,

professor of voice . Magee Jeffrey Photo by On Friday night, the UI jazz faculty took the stage to celebrate The UI jazz faculty played hits by Art Blakey and the Jazz the 60th anniversary of Art Blakey and the Jazz Messengers . Messengers. Led by Chip McNeill, the band played tribute to the powerful drumming of Blakey and 1950s hard bop style through selections from Jazz Messengers recordings . Megill . In reviving this tradition, the Allerton Bach Choir and Two near sell-out crowds enjoyed the concert version of Cy soloists sang “O Ewiges Feuer, O Ursprung der Liebe,” BWV On the Twentieth Century Coleman’s musical , which featured 34 (for Pentecost) and “Herr, gehe nicht ins Gericht,” BWV School of Music students, alumni, and faculty (including Yvonne 105 (for Trinity) . Redman, Ricardo Herrera, and Dawn Harris) under the stage Check the School of Music website during Summer 2015 direction of Stephen Fiol . to find information on the next Allerton Music Barn Festival . The festival concluded with a Sunday morning Bach cantata performance led by new Director of Choral Activities, Andrew —Emily Wuchner, associate editor

2014 Fall Convocation Illinois Wind Symphony to perform at CBDNA The School of Music held its second The Illinois Wind Symphony, Linda R. Moorhouse, annual convocation in the Smith conductor, was invited to perform at the 2015 bien- Recital Hall on Aug 24 . New students nial national conference of the College Band Direc- attended the event, which introduced tors National Association (CBDNA) in Nashville, TN them to faculty members and orga- at the end of March . The last time the Wind Symphony nizations within the SoM . Building performed at this conference was in 1991 .The Illinois

on last year’s theme of entrepreneur- Kimpton photo courtesy of Jeff Wind Symphony will cap off the conference with an 8 ship, Jeff Kimpton, president of Interlochen Center for pm concert on Sunday, March 28 at the Schermerhorn the Arts, delivered a speech entitled “The New Normal Symphony Center . in Arts Leadership ”.

2 sonorities

Black Chorus Hosts Sacred Music Symposium Spring 2015 Ensemble Performances The Black Sacred Music Symposium, presented by the University of Illinois Black Chorus, was founded by Professor of Voice Feb 6 UI Symphony Orchestra Ollie Watts Davis in 1991 . This four-day, biennial conference Feb 11 Illinois Modern Ensemble is dedicated to the study of Black Sacred Music traditions . Feb 24 UI Wind Orchestra The Twelfth Black Sacred Music Symposium will be held Feb 26 UI Wind Symphony Feb .19–22, 2015 . Professor of Piano Rochelle Sennett and the Feb 27 UI Chamber Orchestra Jupiter String Quartet will join Davis and the Black Chorus Feb 26, 27, 28, Mar 1 Lyric Theatre @ Illinois: for the Symposium Concert at 7:30 p .m . on Sunday, Feb . 22, The Merry Widow 2015 in the Krannert Center for the Performing Arts Great Hall . Mar 4 UI Philharmonia The conference provides participants with methods necessary Mar 7 Illinois Modern Ensemble to expand both their performance of the music and understanding Mar 10 Hindsley Symphonic Band of its message . Participants learn from a distinguished faculty Mar 12 UI Chamber Singers of musicians and perform with them in the classroom and in Mar 15 Concerto Urbano concert . Seminar topics range from the history and develop- Mar 20 UI Wind Symphony ment of African-American sacred music traditions, including Apr 2 UI Wind Orchestra congregational singing, folk and concert spirituals, metered Apr 9 UI Symphony Orchestra with and improvised hymns, anthems, and traditional gospel expres- Oratorio Society, UI Chamber sions, to choral decorum, choral conducting, and vocal and Singers, Women’s Glee Club, and instrumental techniques . Varsity Men’s Glee Club Additionally, participants attend musical rehearsals and Apr 11 Women’s Glee join the artist faculty in a closing concert of repertoire learned Apr 11 Black Chorus during the Symposium weekend . The artist-faculty have included Apr 12 Trombone Choir Illinois alums the Rev . K. Edward Copeland (BALAS ’84) and Willie T. Summerville (MS ’67), conductor Walter Owens, Dove Apr 18 Varsity Men’s Glee Club Award winner V . Michael McKay, and gospel music legend A . Apr 19 Illinois Modern Ensemble Jeffrey LaValley . Apr 19 UI Steel Band In creating the curriculum for this conference, Davis envi- Apr 21 Ui Percussion Ensemble sioned an intensive training forum for university students and Apr 23, 24, 25, 26 Lyric Theatre @ Illinois: a continuing education opportunity for members of the com- Into the Woods munity . The ensuing 11 Symposia have attracted participants Apr 28 UI Campus & University Bands from across the nation and have been recognized as viable Apr 28 Jazz Combo I experiences in the teacher certification process . Apr 29 Jazz Trombone Ensemble For more information, contact Davis at [email protected] Apr 29 UI Hindsley Symphonic Band and and visit the School of Music website for updates . British Brass Band —Ollie Watts Davis, professor of voice Apr 30 UI Wind Orchestra and director of Black Chorus Apr 30 Jazz Saxophone and Guitar Ensembles May 1 Concert Jazz Band Opera Enthusiast Retires May 1 UI Philharmonia May 2 Jazz Band IV The indefatigable Phyllis Cline, May 2 Jazz Band II here shown with the late Jerry May 3 Jazz Band III Hadley, has been the driving May 3 Jazz Vocal Ensemble and Combos force of Illinois Opera Theatre May 5 Latin Jazz Band Enthusiasts since its founding in May 5 UI Wind Symphony 1990 . This season will be her last after 25 years of avid support . May 6 Jazz Combo II photo from the School of Music archives photo from the School May 6 UI Symphony Orchestra

winter 2015 3 campus news

School of Music Embraces, Engages with Technology

Emily Wuchner, associate editor and to determine when it is useful to in digitally producing music . A semi- employ such items in the classroom . He independent arm of the Experimental With the foundation of the Experimental hopes that students will use the tools they Music Studios, CMP was spearheaded Music Studios by Lejaren Hiller in 1958, learn in this class when lesson planning by composition-theory professors includ- the University of Illinois School of Music or creating new ideas for instruction or ing Sever Tipei and Professor Emeritus quickly gained an international reputation assessment . James Beauchamp who used funding for its cultivation of electronic music . As While Kruse is interested in introducing from the National Education Association technology constantly evolves, faculty and students to new classroom technologies, grant research board . This semester, at students at the SoM are finding unique Gayle Magee, associate professor of musi- least 30 users will visit the CMP to learn and innovative ways to embrace and cology, explored technology through an about technology and generate their own engage with 21st-century technology: online music appreciation class . compositions . From developing online courses to learning Last summer, Magee’s class investigated In the CMP studio, users create and how to create electro-acoustic music to the connections between the classical manipulate music digitally by either applying music to electronic games . Here music tradition and film music . Students producing sounds from scratch, analyz- is a snapshot of their recent activities . explored history, terminology, and canonic ing preexisting sounds, or editing and Connecting to the Classroom compositions, tools they then applied to printing scores . Tipei emphasizes the film music . The premise is that through importance of the CMP as both a research This year, new Music Education faculty studying Western music, students can and teaching facility, allowing students to member Adam Kruse will teach a graduate listen to, understand, and analyze film work with professors to create programs, and an undergraduate class on the different scores in a new way . publish articles, and present at interna- ways students can use new technologies Through an initiative from the College tional conferences . in the classroom . Kruse’s expertise in this of Fine and Applied Arts, faculty members “The uniqueness of CMP is that it is also subject stems from years of hands-on from within the College designed online a research unit . It is not totally teaching,” experience teaching in elementary through courses available to UI students . Magee’s Tipei said . “We do research and create high school music classrooms and from class brought together 52 students from new software that is then used in the his dissertation work on hip hop . their homes in the US, Central America, classroom and by student composers . Most In Fall 2014, Kruse taught a gradu- Korea, India, and China . other labs use off-the-shelf technology . ate class where he challenged students “Our goal is to deliver an interactive, You go [to] the store or the internet and to critically assess the advantages and challenging, and rewarding online experi- download things . We do create things ”. disadvantages of using technology in ence for the students that may differ in To celebrate the 30th anniversary, Tipei the classroom . Students surveyed recent delivery from in person or hybrid class- organized two concerts during the Spring publications in music education tech- rooms, but still provides a valuable edu- 2014 semester, showcasing electro-acous- nology, critiqued these viewpoints, and cational experience for all involved,” tic music—most of which was created in determined their own stance . Magee said . the CMP . The compositions span different “These technologies change so quickly The class consisted of weekly assign- phases of the studio and to include alumni and often without critique . If we just use ments, bi-weekly quizzes, and a final as well as current students . whatever comes out next without thinking group project studying a movie or game Continuing the School of Music’s rich about it, we might not understand what that uses music from the Renaissance to music technology tradition was partially the new possibilities are with technol- the present . Magee will offer the class in the impetus behind developing the new ogy,” Kruse said . Spring 2015 . Music Technology option for the Bachelor Students in the undergraduate class, of Arts degree . Stephen Taylor, professor taught in Spring 2015, will learn how to Composing with Computers and chair of composition-theory, said operate samplers, turntables, drum pads, students will complete classes in music For 30 years the Computer Music Project and controllers that manipulate sound, has served faculty and students interested technology and computer programming,

4 sonorities giving them the tools to pursue careers in for computer applications . After receiving music business, audio production, multi- money through the UI’s I-Start profes- media and gaming, music software and sional assistance program, Harmonia is hardware creation, and music education . a corporation in Delaware . Framed stock Melody Chua, a junior double majoring shares hang in Taube’s office as evidence . in flute performance and music technology, “When they see a program that they is one of the nine students pursuing the think is interesting and potentially commer- path . She selected the music technology cially viable, then they’ll give the person option to explore the ways electronics seed money to get it up and running,” impact performers, performance situa- Taube said . tions, and audiences . I-Start granted Taube’s program the most “I am always looking for new ways to funding possible—at 90 percent—and express a musical thought,” Chua said . he’s used the support to also cover legal “I decided to pursue a degree in Music fees and grant writing . Currently, Taube Technology because I knew it would is meeting with members of corpora- give me a whole new palette of expres- tions to learn how to commercialize the sive tools . It is incredible what you can application, how to market it, and how to do when you learn how to effectively interact in the market . Along with three manipulate electronics ”. student employees (who are working for commented on the music in their reviews stock—not cash) he is refining the Harmo- of the game, describing Gee’s voice as Reaching the World nia software . He recently finished putting humorous, lovely, and unique . Blek has together a National Science Foundation Erin Gee, assistant professor of compo- won countless awards and is available grant . If he receives the funding, he will sition-theory, knew her music would be for iPhone, iPad, and iPod touch . try to run a validation test in Fall 2015 . used in a computer game . She knew the Creating video game music was not premise of the game and what the design a project Gee had ever considered . Yet looked like, but she had no idea where hearing her voice while playing, Blek her voice would appear . After playing has introduced a new perspective on SoM Receives $1.425M the game and losing one of the rounds, the unique, innovative ways music and for Upgrades rather than feeling disappointment, all technology can pair . Gee could do was laugh . She finally Rick Taube, associate professor of com- The School of Music received found her voice . position-theory, is interested in expanding $1 .425 million from the College Portions of Gee’s Yamaguchi Mouth this pairing to see how technology can of Fine and Applied Arts and the piece were used in the game Blek, created enhance music theory classes . In the campus for a much needed tech- by Denis and Davor Mikan and released in current, somewhat archaic system, stu- nology update . Chad Wahls, SoM December 2013 . Gee’s music focuses on dents carry a heavy textbook to class and facilities manager, said the funds will dissecting the human voice and exploring turn in paper assignments only to receive be used to purchase new projection the many sounds it can create—including them a week later when the teacher has and audio equipment in all of the murmurs, whispers, clicks, and pops . moved on from the topic . Taube’s idea— classrooms as well as a new pro- “At one point (Davor) was listening Harmonia—turns an old textbook into a jection system, sound system, and to it as he was developing the game and multimedia experience which integrates lighting in the Music Auditorium . thought ‘oh, wow, this is actually perfect ’. audio and video into the text and, impor- Additionally, classrooms will now So I think it was just a little bit of a moment tantly, includes computer analytics . With have whiteboards and a new coat of of serendipity that he just happened to Harmonia, students receive instant feed- paint . The three lab spaces—CAMIL, throw on that CD while he was develop- back on the assignments they complete EMS, and CMP—will also receive ing the game,” Gee said . and can do countless practice problems upgraded technology . SoM Director The premise is simple . Using your to better understand difficult concepts . Jeffrey Magee said the upgrades finger, draw a line that will hit all of the Though this concept took root in Taube’s will begin in Summer 2015 and dots on the screen, avoiding the black mind nearly 20 years ago, advances in will take two years to complete . holes . But as the levels progress, dots are technology and lack of funding opportuni- added and the game becomes increasingly ties delayed its development . Two years complicated . If the line hits the black ago Taube’s app was the first created at dots, Gee’s voice sounds . Gamers have the UI to appear in Apple’s iTunes store

winter 2015 5 campus news faculty and staff awards Students Explore Degree Possibilities in National Level Debra Richtmeyer, North Ameri- Entrepreneurship Contest can Saxophone Alliance Hon- orary Lifetime Member Award Last fall, the School of Music issued a challenge to its students: create a collaborative Stephen Taylor, Guggenheim project to explore different and innovative ways to use a music degree . Five groups Fellowship accepted the challenge, which ultimately awarded them financial backing to realize Campus Level their ventures, ranging from commissioning new repertoire to developing software Ollie Watts Davis, Campus Award to performance opportunities . for Excellence in Under Entrepreneurship is a recurring theme in the School of Music, through its spon- graduate Teaching sorship of guest speakers working in the arts and its partnership with the College Ann Yeung, Campus Award for of Business in developing the Illinois Music Entrepreneurship (IMusE) competition . Excellence in Graduate and Much of the impetus behind this initiative comes from a survey conducted by the Professional Teaching University of Illinois School of Music alumni . Of those polled, the majority reported Louis Bergonzi, Larine Y . Cowan they would undoubtedly pursue their music degree again; however, they felt that “Make a Difference” Award for strengthening entrepreneurial and business skills would better equip them to use LGBT Advocacy their degree . The IMusE competition encouraged students to collaborate with fellow students, College Level other academic disciplines, or even outside organizations in developing their project . Jonathan Keeble, Fine and To strengthen their proposals, group members attended a workshop sponsored by the Applied Arts Award for Excel- SoM and College of Business, where they gained helpful tips and gave a 15-minute lence in Service presentation on their ideas . They also had the opportunity to work with the Chicago- Ruth Stoltzfus, Fine and Applied based chamber group, the Fifth House Ensemble . Arts Academic Profes- “The Fifth House members have extensive experience in reviewing grant pro- sional Award for Excellence posals and writing grant proposals, so we felt that our students would benefit from (2012–13) their outside perspectives and experiences,” Associate Director of the SoM Joyce Katherine Syer, Fine and Applied Griggs said . Arts Award for Excellence in The SoM received five proposals, totaling approximately 30 participants . Griggs Teaching said the five-person evaluation committee was impressed with the creativity and rather than select one winner, they split the allotted $5,000 among all groups . After participating in the workshop and the competition, 2014 IMusE Winners many more students are thinking entrepreneurially and now have some of the tools to realize their degree in different ways, Clark Gibson’s Old Style Jazz Sextet used the funding Griggs said . Now, music students may apply for a 10-week to record a CD . program grainting them a certificate in business through the Ashley Shank and the Flute New Music Consortium used College of Business . the money to help commission a piece by Pulitzer Said Griggs: “Many students came to the workshop that Prize-winning composer Zhou Long . was co-sponsored by the College of Business and the School Denise LaGrassa performed her jazz theatre work The of Music, and even though not all of them submitted propos- Blues Ain’t a Color in Chicago . als, we were able to introduce students to new topics, such as Paul Lyons developed the LogiKey system to help make marketing and some of the business principals and theories alternative music concepts more accessible and usable . that are in fact relevant even to our performing and academic Ann McLaughlin’s multi-media work Scheherazade students that they had never thought of before ”. incorporated artwork with a solo harp arrangement of Scheherazade . —Emily Wuchner, associate editor

6 sonorities Taylor Receives Prestigious Guggenheim Fellowship

This past summer, Professor of Composi- what have you . So I thought the next tion-Theory Stephen Taylor paired business logical step would be to actually convert with pleasure when he took his family data into music in some way . Instead of on a two-week-long trip to Yellowstone writing just a piece about DNA, actually National Park . In addition to admiring really do it,” Taylor said . Old Faithful, searching for bison and This is the third time Taylor has applied bears, and enjoying the beauty of nature, for the Guggenheim and to prepare, he Taylor found time to do a little research participated in several grant writing work- on extremophiles—tiny bacteria that live shops on campus that helped him develop in boiling water, including the hot springs a solid proposal . A panel of fellow com- around the park . No, Taylor has not traded posers and former Guggenheim winners his compositional career for a lab coat appointed by the Guggenheim Foundation and beakers . Rather, he’s exploring ways reviewed Taylor’s accomplishments and science and music can merge . project proposal . His application was “Almost all of these proteins have to research and write his ideas . With the forwarded to the second round, where incredible stories that they tell, so it’s a Guggenheim and a sabbatical, Taylor will he sent in a selection of his compositions . way of combining a programmatic idea for take calendar year 2015 off from teaching The John Simon Guggenheim Fellow- a piece while also deriving the structure to absorb DNA and Sonification studies ship was established in 1925 by former of the piece and harmonies and rhythm and to compose a continuum of program- US Senator Simon Guggenheim and his from the actual data,” Taylor said . matic pieces . Eventually, he would like to wife Olga in memory of their son . In 2014, In April 2014 Taylor received a pres- develop a plug-in for a computer program out of the nearly 3,000 applicants, 177 tigious Guggenheim Fellowship, which that allows you to “hear” the DNA as it is projects were chosen; five recipients were allows him time and funding to pursue projected on the computer screen . from the University of Illinois . his research interests . Taylor has long “I’ve been writing pieces that are —Emily Wuchner, associate editor been interested in trying to convert DNA inspired by various aspects of nature, into music, but has lacked the resources waterfalls or quarks or space travel or

Marching Illini to make Herald Square Debut 2015 DoCha Festival The Marching Illini was one of the 10 bands chosen to DoCha, Downtown Champaign’s chamber music festival, perform in the Macy’s Thanksgiving Day Parade on Nov . will hold its annual concert series April 10–12 at the 26 . Selected out of more than 175 bands, the Illini will Orpheum Theatre in downtown Champaign . Under the make their first appearance in the 90-year-old parade, leadership of School of Music Professors Stefan Milenkov- which attracts approximately 3 .5 million live spectators ich, Dmitry Kouzov, and Gabriel Solis, the organization and 50 million TV viewers . “The tradition and pageantry strives to engage the public with chamber music through of the Macy’s Thanksgiving Day Parade coincide with free concerts and education outreach activities . For more our own program’s history as the first college (band) information on DoCha and the upcoming season, visit program in the country,” said Barry Houser, director of www.DoCha.org . the Marching Illini and Illinois athletic bands . “We hope to share the tradition, loyalty, pride, and excellence that is associated with Illinois and Macy’s with the entire country in 2015 ”. Ben Moore

winter 2015 7 photo courtesy of Barry Houser campus news

University, School of Music Plan Events to Commemorate WWI

In early May, 1915, Lt . Col . John McCrae, and war posters; and silent film view- a medical officer in the British-Canadian ings with live musical accompani- armed forces, wrote the iconic poem “In ment . A coordinated event at the Flanders Fields” on the battlefield at Ypres . Krannert Center for the Performing It was published in the British periodical Arts on Tuesday, March 10 will Punch on Dec . 8, 1915, and appeared showcase the world-renowned at a crucial cultural moment—one that Kronos Quartet in a performance seemed to be witnessing the death of of a new multimedia work com- the long nineteenth century amidst the memorating the centennial of the birth pangs of modernism . The poem outbreak of World War I, Beyond became a touchstone for the First World Zero: 1914–1918 . War, particularly after the official entry Funded by the College of of the United States into the conflict, Fine and Applied Arts, the and it would be set to music by dozens Center for Advanced Studies, of composers including Charles Ives and the School of Music, and other John Philip Sousa . campus sources, “1915: Music, The musical settings of McCrae’s poem Memory, and the Great War” serve as a starting point for a two-day event will bring together an interdisciplinary Image 2012-1209096-026a.tif from at UIUC on March 10–11, 2015, organized group of national and international speak- the James Edward Myers Sheet Music by Associate Professor Christina Bashford, ers . Between the two interconnected con- Collection, series 2: military music, box Associate Professor Gayle Magee, and ferences at the University of York and UIUC 16, folder 1, item 37 “In Flanders Fields The Poppies Grow” (New York, NY, G. Professor Emeritus William Brooks . An in late February and early March, Brooks Schirmer, 1918). interdisciplinary collaboration with the and Magee will present a session based University of York (UK), “1915: Music, on the conference theme at the annual Memory, and the Great War” considers meeting of the Society for American Music on the war’s influence on John Philip British, French, Canadian, and American in Sacramento, along with symposium Sousa, the activities of Albert Austin responses to the conflict through the lens participant Associate Professor Patrick Harding and the Illinois Bands during of musical performances, compositions, Warfield (University of Maryland) . As the Great War, and other topics . Details publications, and recordings . such, the project will promote scholarly can be found at archives.library.illinois. Two thematic paper sessions will exchange amidst a series of closely related edu/sousa/american-music-month/ . For examine creative reactions to the conflict, creative activities and cultural events more campus-wide events commemo- through contemporary musical composi- locally, nationally, and internationally . rating the First World War, please visit tion and public performance, and through Several other events on the UIUC thegreatwar.illinois.edu/events.html . the impact and legacy of the War on campus will mark the centennial of the recorded sound media and film . In addi- First World War . Beginning last May, —Christina Bashford, associate professor tion, the event will feature recitals of “In the Sousa Archives and the Center for of musicology, and Gayle Magee, associate professor of musicology Flanders Fields” and other World War I American Music have hosted several music; exhibits of sheet music, recordings, World War I-themed exhibits, focusing

8 sonorities updates

Barry Houser and Development Update the MI instructional If you are interested in donating staff use a scissor- to the School of Music or learning lift, which can be more about the opportunities above, David Allen very dangerous please contact David Allen at 217- Associate Director of Development on windy Illinois 333-6453 or [email protected]. days and creates an ongoing logistical challenge . Several memory of Ginny’s former piano professor, Smith Hall Update designs are under consideration, each Sherman Schoonmaker . They also gave incorporating the iconic “Block-I” into As of September 2014, the Smith Music generously to Lyric Theatre @ Illinois in the design . Legacy Scholarship Project has garnered support of Nathan and Julie Gunn and Additionally, Illinois Bands is required $161,500 in cash gifts and pledges from Jerold Siena . to pay for the maintenance and future donors whose gifts have named six studios Michael VanBlaricum (PhD ’76) and replacement costs of the turf practice and several Recital Hall seats . We are Pam VanBlaricum (PhD ’77) recently field . Your gifts to support this project are off to a great start and are very excited donated a generous gift to support travel necessary for the MI to maintain this facil- about how our new scholarship fund will and guest artist activities for our Jazz ity . If you would like to make a donation help future music students at UIUC . If program . This gift is intended to inspire towards the MI rehearsal facility, please you are interested in contributing to the others to support this area and acknowl- consider donating to the Band Loyalty Smith Music Legacy, honorary naming edge the work of Professors Chip McNeill Fund, and specify the practice field project . opportunities are available at many levels . and Jim Pugh . Special Gifts New Practice Field for the Marching Illini! Virginia “Ginny” (BME ’59) and Paul The World’s Largest Uhlenhop (JD ’61) have been sponsors of All-Steinway School? Last semester, in cooperation with Campus the School of Music’s Advocates for Young Recreation, the Marching Illini began using Faculty and administrators at the School of Artists (AYA) program since it began . The a new all-weather turf practice field . Rather Music have discussed for many years the SoM appreciates their ongoing support, than practicing on muddy, inconsistent advantages and possibility of becoming an as do the students who receive financial surfaces, now the MI can practice into All-Steinway School . Due to their popular- support from AYA . This year Ginny and the early evening due to the installed continued on next page Paul dedicated a Smith Hall Studio in lighting, and the turf is permanently lined for their use . We are incredibly grateful to Campus Recreation and Student Housing who have helped make this improve- ment possible . With a new, permanent place for rehearsals finally comes the possibility to build a permanent Jim Pugh and Mike VanBlaricum backstage instructional tower . Ginny Uhlenhop with AYA recipients Evangelia “Lia” Pagones at the Forum in Inglewood, CA, following a (music education) and Bert Zhang (music composition) Steely Dan concert in which Pugh played. Currently, Director winter 2015 9 updates

showcasing our potential of welcoming even more quali- Admissions Update violin faculty and fied students into our violin program . You program by offering can find more information about our violin $3,000 minimum scholarship at the following link: music. J. Michael Holmes guaranteed scholar- illinois.edu/pages/violin-scholarship . Enrollment Management Director ships to freshman Finally, I would be remiss not to Clinical Assistant Professor of Music violin applicants acknowledge the steadfast and extraor- who audition and dinary work of my colleagues on the are accepted into Music Admissions team: Angela Tammen The Music Admissions Team is focused either the Bachelor of Music Education or and Rebekka Kaupat . on the plethora of recruitment events and the Bachelor of Music degree programs . For more information on the applica- activities already planned on our campus This is the first time (to our knowledge) tion/audition process, please see: www. and around the United States . We con- that we have ever offered a guaranteed music.illinois.edu/prospective-students . tinue to tell students about all of the great scholarship and we are excited about the things that the University of Illinois School of Music has to offer and also about the new offerings within the School of Music . The University of Illinois Application Deadlines Perhaps the biggest change we have seen March 1: Transfer Application Deadline is the addition of the Music Technology February 15: Summers-Only MME Application Deadline option within the existing Bachelor of Arts (B .A .) in Music degree . We are also

Development Update, continued

ity and reputation for being excellent a lasting legacy for many generations are already Steinways . Unfortunately, musical instruments, Steinway pianos of musicians at Illinois ”. many of these are older and the cost are used in 98 percent of all concert Pianos are used in almost every to repair them is significantly more halls in the world, and each piano is instructional and performance space than the maintenance cost on newer handmade in Queens, NY . on campus . Professor of Voice Nathan instruments . Former Associate Professor and Gunn feels that “there’s a great buzz As a result, it will cost $8 million Interim Director Edward Rath had urged on campus about being a Steinway dollars in donations to transform to an the purchase of Steinway pianos during school—everyone who hears about All-Steinway School and an additional his tenure at Illinois . “Improving the this idea is excited and eager for it $2 million to endow the program for level of consistency and quality of our to happen!” Jeffrey Magee, professor the future . According to Steinway repre- pianos would definitely help provide and director of the School of Music sentative Susan Lutz, “if the University our students with the high quality agrees that “from music history class of Illinois School of Music is successful experiences that they deserve,” Rath to performances in the Great Hall, no in its effort, it will become the largest said . Piano faculty member and world- other musical instrument sees as much All-Steinway School in the world ”. In an renowned soloist Ian Hobson feels that use or demands such consistency as effort to start this initiative, Anne Ehrlich, “an endeavor like this sends a signal to our pianos ”. Urbana resident and long-time friend our faculty, students, and constituents Many pianos at the School of Music of the School of Music, has pledged that we are totally committed to excel- are in need of replacement or are beyond $20,000 towards the purchase of a new lence in the arts . This gift would ensure repair . Our current inventory includes Steinway piano . more than 220 pianos, of which 88

10 sonorities even an orchestra Professor of Composition-Theory, Erik Outreach Update playing baroque Lund . instruments spent Our goals for 2015 focus on increasing an intense two the number and quality of connections Stephen Burian weeks in Smith among faculty, students, and Illinois resi- Interim Director of Outreach and Memorial Hall in dents . The School of Music already brings Public Engagement preparation for a no fewer than 12,000 school-age students full production of to campus each year, but we are looking Lully’s Armide . Le at ways to reach schools and students Last year was very busy for Outreach Chateau de la Voix, led by Barrington throughout Illinois that we haven’t con- and Public Engagement in the School of Coleman, associate professor of voice, nected with in recent years . Music . In addition to the many regular and Cynthia Haymon-Coleman, assistant To this end, we are pleased to announce programs we host, we have added several professor of voice, featured guest faculty the establishment of the Illinois Summer exciting new opportunities . from three other units on campus and Youth Music Scholarship and Support Two former American String Teacher three other universities across the country . Fund . This fund will bring more students Association presidents (Bob Phillips and Summer 2014, was a great year for Illi- to campus from schools and communities Louis Bergonzi, Daniel J . Perrino Chair in nois Summer Youth Music . After a search that are underrepresented in our current music education and professor of conduct- that was national in scope, we welcomed programs . ing and music education) joined forces Bill Miller from to lead the inaugural Illinois String and Downers Grove Orchestra Workshop . String educators North High School, from around the country came to Urbana as our new Head during ISYM for this hands-on interactive Counselor . We also workshop to hone their string pedagogy welcomed another skills . terrific group of While ISYM took a week off to observe summer Master of the July 4 holiday, the Canadian Brass Music Education came to campus for a three-day residency students into the we called “Brass Act ”. For this event, the counselor corps . current members of the Canadian Brass The pre-college (including Bernhard Scully, assistant pro- violin, viola, and fessor of horn) were joined by former CB cello programs member Ron Romm, professor of trumpet, joined forces to give Photo Credit: Scott Christenson in both performances and teaching . High- students a string lights included a very special performance quartet experience, with the Champaign-Urbana Civic Wind with coaching by Band under the direction of Interim Direc- Associate Profes- tor of Bands Linda Moorhouse in the sor of viola Rudolf beautifully restored Virginia Theater . Haken, Assistant Normally things quiet down in the Professor of cello School of Music after ISYM closes for the Dmitry Kouzov, summer, but not this year . The Summer and the Jupiter Piano Institute returned with Swanlund Quartet . Other Professor of Piano Ian Hobson, joined highlights of ISYM by Boaz Sharon from Boston University included a Musical for an intense week of lessons, master Theatre master

classes, and recitals for advanced pia- class by Natalie Photo Credit: Scott Christenson nists . Additionally, more than 40 singers, Weiss and a new The School of Music hosted the Illinois Summer Youth Music pianists, vocal coaches, instructors, and elective exploring program this past summer, attracting a number of young improvisation with musicians from throughout the region.

winter 2015 11 Illini in Ireland

Kirsten Keller, (senior in Journalism), participated in the Marching Illini’s trip to Ireland from March 13–18 and detailed the exciting opportunities and the hardships

that the group experienced. Photo courtesy Kirsten Keller Kirsten courtesy Photo Melissa Deneufbourg and Kirsten Keller

Hundreds of thousands of revelers crammed around barriers that separated the performers from the spectators. Green-clad youth hung off elevated statues, claiming the best views of what lay before them. Green, white and orange-painted faces smiled as they soaked up the festivity of the day. And in front of them marched the 280 member-strong Marching Illini in the 2014 Dublin St. Patrick’s Day Parade. But the road to get to that point was long and winding. Less than a week before the Marching Illini was to fly out to Ireland, Aer Lingus, an Irish airline, announced that it would go on strike on March 13 and 14, the former of which was the band’s On our first full day in Ireland, we eagerly loaded the buses for departure date. Thus, a mad rush commenced to reschedule what the Cliffs of Moher. The green, rocky cliffs extend hundreds of was supposed to be three flights into 35 separate flights. meters above the Atlantic Ocean, making for breathtaking views As few as three students were on some flights, while others had that were enhanced by those daring enough to creep to the edge of seven-hour layovers in Paris. Some didn’t arrive until Saturday the cliffs. The sea-salt wind blew life into our Illinois weather-worn evening, a day after the rest of the band. faces and we were reminded what lush, green grass looks like But, one way or another, the whole band was eventually when it’s not covered by mounds of snow. reunited in Limerick, Ireland.

12 sonorities Post-parade adrenaline rushed through all of us as we finished the parade route and excitedly started to talk among ourselves, our tongues tripping up our thoughts as we struggled to put our emotions into words of what we had just experienced. Luckily, we had another outlet for this leftover energy: the Guinness Storehouse. A short bus ride took us to the sprawling brewery, which produces Guinness supplied to the entire world. Still in uniform, we were ushered in the back entrance. The Storehouse is a cylindrical, multi-level open area, and different Photos courtesy Illinois Bands Illinois courtesy Photos sections of the band took their spots on different levels. We looked down to the main level to see the drum majors and Professor Houser conducting, and soon the first note of Revised The day we eagerly anticipated soon arrived—St. Patrick’s Day Entrance rang throughout the building—the note that we strive in Dublin. This was Marching Illini’s seventh appearance in the to perfect during the football season and the sound that defines Dublin parade, but the first time in six years. the Marching Illini. Immediately, tourists stopped what they were The two-mile route felt much shorter as we marched, played, doing and smiled with wonder at this huge, sonorous band. and took in the sights of Dublin. The previous day, we had casually perused these streets, touring St. Patrick’s Cathedral, stopping to taste Irish cuisine, and browsing Grafton Street, a shopping area where many street artists and musicians entertained passers-by. On St. Patrick’s Day, those streets had been turned into a stage on which the performers couldn’t believe their luck to be a part of one of the largest and most renowned parades in the world. Phones and cameras were thrust in our faces as we marched by, playing “Illinois March” and Bruno Mars’ “Runaway Baby.” The crowd had not tired of the music, even though other bands had come before us, including Louisiana State University and an eclectic band from Germany. As the band broke out of attention to greet and high five members of the crowd, we were met with compliments about our energy and enthusiasm—two things that members of the Marching Illini certainly do not lack.

Our final night in Ireland commenced with a hearty dinner, which many followed by returning to the city to experience nightlife in Dublin on St. Patrick’s Day—even though they had to be back at the hotel at 3:30 a.m. to catch buses back to the airport. While the trip may have been short, it was packed with memories that we will carry with us for years. Music is a common language that people across the world can share and enjoy together. For this reason and others, we were presented with the opportunity to share our love of music with the people of Dublin on its most well-known day of the year. And based on the smiles we brought all those spectators—those hailing from Ireland, the United States, or wherever in the world—I think we were successful.

winter 2015 13 commencement speech Finding Your Voice in the Cosmos

Augusta Read Thomas, professor of composition at the University I always try to make big decisions with my heart and of Chicago, prolific composer, educator, and Pulitzer Prize in to embrace what I love, and what I love is music. Music Music finalist, delivered the Spring 2014 Commencement address. is my entire life. For over a third of a century composing has been the focus of my life. raduates: I offer hearty congratulations! It takes Robert Frost said: “To be a poet is a condition, not courage to have attended a world-class University a profession.” Pearl S. Buck said: “By some strange, such as the University of Illinois with its stellar School unknown, inward urgency [the artist] is not really alive Gof Music, where the standards are extraordinary unless he [or she] is creating.” I identify with this “strange, and the culture is absolutely committed to excellence. unknown, inward urgency.” Composing music makes me What a privilege to have been members of this distinc- feel alive. Being a composer is my condition, not solely tive, empowering, and transformative culture. Amazing my profession. Likewise, each of us has been chosen by environments of this kind thrive thanks to exceptional music. I am sure that many of you would say that being leaders, mentors, teachers, colleagues, and friends. a musician is your condition not your profession. We that have been so fortunate. We must give back. A sense of wonder and modesty binds us to our art What are the obligations of our good fortune? And and to one another. As custodians of the musical arts, what are the obligations of our training in music? Mary it is exactly this sense of amazement and wonder that Oliver, beloved poet, said: “the soul exists and is built unlocked our creative impulses and set us on a path entirely out of attentiveness.” Our of imaginative discovery. Our talent music wells up from that same “atten- compels us to create and re-create tive soul,” which is the source of our Pearl S. Buck said: “By some our music as a gift to be cultivated, intellectual, ethical, and spiritual strange, unknown, inward nurtured, cherished, and shared values. On the largest level, if our generously. attentive souls embrace a cosmic and urgency [the artist] is not Growing up the 10th of 10 children holistic perspective, then... really alive unless he [or she] (and a twin, at that), I remember lying With great humility today, we underneath our piano and listening to ponder our place in the biosphere, is creating.” someone playing with the resonance from our immediate ecosystem to sounding all around me. Sometimes the cosmic one, knowing we are only a tiny speck in that piano was played by my mother, who supported the dynamic and holistic connection of all the planet’s our family by teaching kindergarten for over 30 years. I ecosystems. We’re all seated together today, fastened loved to play the piano as a child (and still love playing in, on a gigantic ball whirling around the sun, nestled it now)! I spent my childhood making up short songs. in a galaxy, hurtling through the depths of space and I then played trumpet for 14 years, and was embraced time. If this fact does not put our lives in perspective, and enchanted by the sound of an orchestra. nothing will! I learned to write music by writing music and by I will return later to this celestial vantage point and working with superb, collaborative musicians. Several to the topic of giving back, but this cosmic timescale creative, passionate, and generous teachers taught me makes one thing very clear to me: life is short! Thus, I that in life, there is no core curriculum. The paths are feel strongly that for every second of it we should trust infinite and the results uncertain. Thus, I create works our instincts, trust our passions, trust our empathy, and whose destination and discovery is unpredictable, like trust our love. messages in bottles.

14 sonorities One great available and shortens our collective composition attention-spans, you may need to

teacher, Alan Thomas Reed Augusta Courtesy of become more creative to make a deep, Stout, taught Pro- Commencement speaker Augusta Read Thomas joins Stephen lasting connection with your audience. fessor Stephen Taylor, professor of composition-theory, and recent composition- Use the skills that you have learned theory graduates. L-R: Jason Mitchell (DMA ’14), Augusta Read Taylor and me to Thomas, Bernard Rands, Stephen Taylor, Juri Seo (DMA ’13, MM to create your own rules and to reach “always trust your ’07), Andrew Burnson (DMA ’14, MM ’09), Halim Beere (DMA out to others in a meaningful way. intuition because ’14, MM ’10) All of us want to reveal the wonder what you’ll discover will be yourself.” We can Google of music. We delight in organizing sonorities and striving many things, but we can’t Google to find what’s in our for clarity—even within complex musical structures— heart—the passion that lifts us skyward. Creating a life seeking to find a graceful relationship between concept that reflects your values and satisfies your soul is a rare and craft. Such a life search is at once extremely humbling achievement and it is not easy, but you can do it. A life and invigorating, especially because music’s eternal quality oriented toward discovery is infinitely rewarding. is its capacity for change, transformation, and renewal. In 1998, a Chicago Symphony Orchestra patron wrote The musics of J.S. Bach, Mahler, Debussy, Ella Fitzger- to me to say: “Do you really like the music you write?” I ald, Charlie Parker, David Rakowski, George Benjamin, spent days drafting a nuanced and polite reply. In the end, and so on, are all completely different yet they are all my husband and fellow composer, Bernard Rands, told magnificent. Remarkable works from one period of me rather to send a postcard with one word on it: “YES!” time do not negate remarkable works from different Pierre Boulez told me (and by extension, many other times. Old music needs new music, new music needs old composers) never to apologize for my music. I try hard music, and all music needs vital musicians to interpret not let the opinions of others drown out my own inner it and bring it to life. The past and the present coexist voice and intuition, not to be trapped by other people’s in a state of mutual dependency, thus, whether we are dogma. I tell my composition students to go out on a performers, composers, ethnomusicologists, historians, limb and be willing to fail, and that it is okay to make or educators, we have an abundance to celebrate today. glorious and amazing mistakes. I would rather that they Music changes and it always will. reach for something ambitious that later needs revision, The accomplishments of our predecessors keep us or is even thrown away, then play it safe, writing derivative, focused and humble and they inspire us with confidence dull, impersonal, generic music. I believe every musician to think creatively. We should never take for granted living should strive to keep their curiosity ferocious, seeking in a nation where freedom of expression is protected. truth with ravenous desire and to stay true to what is in One principal aim of art is to explore the tension their hearts. between the enduring and the ephemeral. Thus, musi- Plutarch who wrote of Roman lives once articulated: cians of every era uniquely define their music and imbue “What we achieve inwardly will change outer reality.” their time with wonder. Each day that you’re inwardly moving toward your dreams You musicians take that leap of faith to illuminate your without compromising who you are, you’re winning. particular moment in humanity’s ongoing creative and Be creative as often as you like because you can never musical searching, and celebrate the variety of artists who exhaust your creative capacities. make irreplaceable contributions to the evolving culture The rules for composers and musicians getting their of our society. But how can each of you share the wonder works seen and heard are constantly evolving. In the of music in this day and age when there is a tendency age of YouTube, which simultaneously makes everything toward crass commercialism, mediocrity, and at times a

winter 2015 15 mind-numbing barrage of loud, inarticulate sound? We when our efforts deeply touch another’s soul, we each must seek excellent music and we must emphasize and possess an insatiable urge to communicate hope. be ambassadors for the fact that music’s healthy survival David McCullough, Jr. wrote: “The great and curious depends on a willingness of nations, universities, scholars, truth of the human experience is that selflessness is the composers, performers, patrons, and audience members best thing you can do for yourself.” Reaching out and to take a leap of faith and believe that the search for helping people will bring you more satisfaction than truth in the arts is consequential and valuable. anything else you have ever done. Kindness is a choice. Albert Einstein said: “Imagination is more important Instead of standing back and doing nothing, find happi- than knowledge.” Over these years, I have learned that ness in this interdependent world by using your talents to there are three things musicians and composers need: help bring basic human essentials and dignity to those First, exquisite and fertile imaginations; second, technique in need. I do not have the answer, but I know we should and a strong toolbox of specialized skills; and third, a be asking the questions about how we can be of service, super, tireless work ethic. If we were to add a fourth, and tangibly so. Our preparation for the “real world” I suppose it would be a sense of being tuned-into this rests not in the answers we’ve learned, but rather in the world, this life, this cosmos. questions we’ve learned how to ask ourselves. Ralph Waldo Emerson once wrote: “What we would In closing, you are alive during one of the finest points do if the stars came out only one night every thousand in mankind’s history. We know more about our origins, years? No one would sleep that night. Everyone would be planet, and universe, than ever before. Life took over ecstatic, delirious, made rapturous by the glory of God.” 4 billion years to evolve into you and you now stand to Instead, the stars come out every night, have about 80-or-more years to enjoy and we stare at our computers! We it. Catch happiness. Life is short. Don’t should consider practicing not only You have the imagina- waste time. our instruments, our daily performing tion to see yourself doing I once heard and now pass on this routines, composing music, studying thought: Throughout all of history, music, but perhaps also a computer something truly excep- there is not one single person, not detox? Shakespeare, Mozart, Rodin, Hubble, Thinking of Emerson’s night sky tional—So go do it! Einstein, veterans, our great-grand- filled with billions of stars reminds mothers, who would not give up me of what I mentioned earlier regarding the cosmic everything that they ever achieved in their lifetimes to perspective and our place in the world, which bring me stand here today in your place and be alive now. You back to the questions: What are the obligations of our have the imagination to see yourself doing something good fortune? How can we give back? truly exceptional—So go do it! We understand clearly that today’s celebration must Believe in noble possibilities and then make them a be about looking forward to ways we can help with global reality. Be passionate. You will build a body of recordings, problems, including poverty, lack of clean water, medi- concerts, work, but you will also build a body of affec- cine, shelter, or warmth, hunger, and surges of violence, tion with the people you have helped who have helped human trafficking, kidnapping, wrongful incarceration, you. These people are the core of everything that you human rights abuses. We realize that today we need have accomplished and will accomplish. Embrace intel- all of our hands to help others. I wish dearly that we ligence, hard work, honesty, character, loyalty to family could fix these and other problems through our music and friends, and above all, love and faith to pursue and making. Our imagination enables us to empathize with attain your artistic dreams. other humans whose experiences we have never shared. Thank you all for the privilege of sharing my visions Through music, we try to build bridges of understanding and encouragements about music and art with the new between creeds, cultures, and ethnicities, rich and poor, generation of musicians and those who inspire them. educated and neglected—all of whom have their own Hug your family and friends, high five your mentors, and rich musical traditions. Though we never know exactly never go far from music. Good luck and congratulations!

16 sonorities A Lifetime of Learning: Bruno Nettl

In May 2014, Professor Emeritus Bruno Nettl delivered the This has always been ethnomusicology’s point of depar- annual Charles Homer Haskins Prize Lecture of the American ture. We appreciate, but also disagree with, Henry Wad- Council of Learned Societies (ACLS), in Philadelphia for an sworth Longfellow when he wrote, “music is the universal audience of about 150. The Haskins Prize, established in language of mankind.” Music is a cultural universal, yes, 1982, is awarded to a nominee of one of the 71 constituent but it is comprised of a lot of distinct musics or “musical member societies of the ACLS. The lecture is always titled “A languages.” But in recent years I’ve come to believe that Lifetime of Learning,” and the speakers are asked to reflect on the matter is more complicated, for music may not at all their experiences as scholars. Previous Haskins lecturers include be “one” thing. Indeed, not all of the world’s societies anthropologist Clifford Geertz, historians John Hope Franklin recognize music as a category of thought, or actually and Carl Schorske, and art historian Linda Nochlin. Nettl is have a word for “music.” only the second representing music, after This may be related to the origins of Milton Babbitt. music. Incidentally, different peoples Nettl’s lecture, directed to humanists Music is a cultural universal, also have varying ideas about the and social scientists, and illustrated with origins of music. For some it existed recordings, was divided into two sections. yes, but it is comprised of a lot before there were humans, or before The first outlines his career, beginning of distinct musics or “musical language; in others, culture already with his education in which he spoke languages.” But in recent existed and music was brought in briefly about his parents, his teachers in order to satisfy a particular need. his higher education, and the consultants years I’ve come to believe that When I was a student, we learned in his field research. He then outlined the matter is more compli- five theories: music originated from some of his research projects, including his emotional speech, or from the need ethnographic work on Blackfoot Indian cated, for music may not at to communicate over long distances, musical culture, his study of improvisa- all be “one” thing. or to work efficiently, or as facilitating tion in Persian classical music, and his finding a mate, or for communicating development of urban ethnomusicology with the supernatural. It would have and analysis of the impact of Western musical culture on the had to be one of these. None seemed to satisfy, and after classical musics of Iran and South India. He tried to show the about 1950, ethnomusicologists essentially abandoned relationship between his own work and the course of development the topic. In 1998, however, at a conference about the of ethnomusicology in general. origins of music attended mainly by psychologists, animal- The second half of the lecture concerned several ways in which communication scientists, linguists, students of prenatal he found it necessary—in a career of 60 years—to change his humans, biological anthropologists, I learned a great orientation, making what he describes as U-turns. Following deal, but found myself always in a minority, suggesting is an excerpt of the lecture (slightly condensed by the author) that when these scientists compared bird-song and whale addressing his U-turn relating to the concept and origins of music. sounds to music, their point of departure was their experience of Western music, its sound and its conception. y second U-turn involved two related issues: the They did not take account of the fact that we don’t really concept of music and the origins of music. One have an interculturally valid definition of music. of the forefathers of ethnomusicology, the British Interestingly, these scientists—they are increasingly the Mmathematician Alexander Ellis, wrote in 1885, that people who are carrying the ball in the origins debate— all musics were equally natural and thus equally “musics.” argued about different sources of music rather like their

winter 2015 17 nineteenth-century predecessors. Each thought that music had one source: a biological adaptation helping in mating; or, a way of facilitating cooperation and bonding; or, as a way of communicating with gods; or expressing sorrow and despair; or, as a way for mothers to bond with children prenatally and in infancy; or, as a way for a band or a tribe to frighten enemies. Each of these activities represented some kind of sound-production of which most societies today partake. But does it necessarily make sense to believe that all of these phenomena began with one function or genre—finding a mate, or protecting one’s kin, for example—from which the others were derived, became subdivisions? That’s what we used to take for granted. I would now—making that U-turn—propose that each of these kinds of sound that eventually became art developed independently and separately, each perhaps as a Courtesy of Bruno Nettl biological adaptation, and that many cultures came to Dr. Pauline Yu, president of the American Council of Learned Societies, and Bruno Nettl use all of them, but without necessarily regarding them as the same kind of thing. Only in certain cultures were they eventually considered to belong together. And so I A video of Bruno Nettl’s lecture is available at www.acls.org think that this theory of multiple origins of music now and has been published as a pamphlet in the series “Occasional comes closest to making sense to me. Papers of the ACLS.”

School Institutes Lyric Theatre@Illinois, Welcomes New Faculty

Last year, the School of Music launched a to mounting three fully staged produc- new program that aims to prepare students tions a year, students also participate in Upcoming Performances for careers on the 21st century musical workshops and create studio scenes . The Die Lustige Witwe (The Merry stage . Dubbed Lyric Theatre @ Illinois, the program is led by Nathan Gunn, general Widow) by Franz Lehar: Feb . program touches on the broad continuum director, Jerold Siena, artistic administrator, 26–March 1 of opera and musical theater . In addition and Julie Jordan Gunn, director of Lyric Into the Woods by Stephen Sond- heim: April 23–26 Jerold Siena coaches student Lindsay Dasenbrock in a scene from Theatre studies . The Lyric Theatre program Donizetti’s L’elisir also welcomes new faculty members d’amore, performed Sarah Wigley Johnson, voice, and Michael during the fall Tilley, accompanist and coach . Guest semester. artists slated to appear in the inaugural season include conductor Eric Weimer of the Lyric Opera of Chicago, Austrian conductor Raphael Schluesselberg, and

Photo Credit: Stephen Burian New York stage director Jessi D . Hill .

18 sonorities A View from the Bridge Reflections on the University of Illinois Choral Program

With apologies to playwright Arthur Miller, we have borrowed his title because this article’s author represents a unique bridge between the legacy of Harold Decker and the new era of Andrew Megill.

by Chester Alwes, professor emeritus of choral music and music education am certain that among the reasons I was asked to write this history of the choral program at Illinois are the facts that I am a proud alumnus of the Choral DMA program and that I served 29 years on the choral faculty of Ithe University of Illinois School of Music. Less well known is my path to Illinois. In 1973, I interrupted a PhD program in musicology with Gerhard Herz at the University of Louisville to accept a teaching position at the College of Wooster. Going in, I knew that I had a limit of four years as an instructor there unless I finished the doctorate. Well, life intervened as is so often the case; while my wife and I had two wonderful children and I learned to teach, I didn’t finish the doctorate. So after three years of successful teaching, the Dean informed me that since I had not progressed to the completion of my degree, I would not be retained. That was and remains the most devastating moment of my professional life! The silver lining (at this point far from visible) was that leaving Wooster brought me to Illinois, not as a choral conducting DMA but as an aspiring musicology PhD student. Fortunately (or unfortunately), the first person I met at Illinois was musicology professor Alex Ringer, who, unbeknownst to me, had the reputation of being a highly intimidating persona. He convinced me that I didn’t have the right stuff to pursue the PhD. I happened to be staying with a former Wooster Chorus member, Erie Mills, who suggested I talk to Harold Decker. I proceeded to do so and the rest is, as the saying goes, history. What no one knows is that when I first came to interview at Illinois (in December 1976) I had no earthly idea who Harold Decker was. Nor had I ever heard of the American Choral Directors Association (ACDA). Suffice it to say that

winter 2015 19 the tragedy of having to leave Wooster became the great boon of studying with Decker and, better still, working to keep his vision for the DMA choral program alive.

Though choral music existed on the Illinois campus from 1895 to the present day, its halcyon days began with the arrival of Harold Decker from Wichita, KS in 1957. His arrival at Illinois happened to coincide with a number of other events in creating the perfect environment for the Summer Band and Choir Concert on Quad, 1916 development of the choral DMA at Illinois. Beginning Found in RS: 39/2/20, MUS 10 - 1894, 1916–69 Copyright of this image is held by the University of Illinois . in the late 1940s, Howard Hanson, the noted American composer and influential figure in the National Association of Schools of Music (NASM), spearheaded the push to create graduate degrees in performance areas. Suddenly, doctoral programs that had not previously existed became essential to the career development of many musicians. Decker’s arrival at Illinois also marked the beginning of the space race when Russia launched Sputnik I; among American educational institutions, a panic ensued over the per- ceived deficiencies of the US not only in science and math education, but in academic programs in general. That same year, the Music Educa- Ben Franklin Madrigal Performance, December 1976 tors National Conference (MENC), with the backing Found in RS 39/2/20, MUS-10 Madrigals of the Ford Foundation, instituted the Contemporary Copyright of this image is held by the University of Illinois . Music Project, the purpose of which was to encourage the creation and performance of new music across America. I myself was a beneficiary of this program. As a middle school chorister, I had been fortunate enough to sing music written specifically for our school choir by one such composer, Nelson Keyes, a Ford Foundation composer-in-residence in Louisville, KY. The synergy of these various events was pivotal to UI’s joining the vanguard of institutions to offer advanced academic training in choral music. Indeed, it was the opportunity to build such a program from the ground up that helped lure Decker away from Wichita Univer- Ladies’ Glee Club, 1897 Found in RS 39/2/20, Women’s Glee Club sity (now Wichita State). In this undertaking, he was This image is in the public domain . wise enough to enlist the aid of the musicology faculty (most notably Scott Goldthwaite, Charles Hamm, and

20 sonorities Alex Ringer) as co-architects of the choral DMA. He As early as 1952, leading universities and conservato- also had the support of the voice division, especially ries began planning to offer such a program, but Illinois Bruce Foote, who had sung for Decker in Wichita and became the first public university to offer a DMA in choral advocated strongly for his appointment. The final and conducting. The Board of Trustees formally approved perhaps most important event was an initiative that led the choral DMA in 1958, followed two years later by to the creation of the American Choral Directors Asso- codifying the specific degree requirements. Decker was ciation. Harold Decker was one of 34 respondents to a well placed to lead this new venture given his strong ties letter proposing such an organization (others included to Olaf Christiansen (the Choral Conductor at Oberlin Robert Shaw, Weston Noble, Charles Hirt, and Olaf College Conservatory) and his extensive experience Christiansen). As a result, Decker quickly became not on the national level as a clinician and guest conduc- only a charter member of this new professional organiza- tor. Another significant factor in the rise of the Illinois tion, but also gained the national stature and contacts DMA program in choral music was the emergence of that would prove so important in placing the graduates Charles Leonhard as a leader of graduate programs in of the new DMA program at Illinois. music education. Leonhard, who came to Illinois from Teacher’s College at Columbia in 1951, was an advocate of aesthetic education (the brain child of Suzanne Langer). His advocacy provided a philosophical basis for the unique direction that Decker’s new choral program would take. Despite their contentious relationship, both men believed that the score as musical object needed to be understood within larger historical and aesthetic Robert Shaw, October 7, 1960 Harold Decker, circa 1969 contexts. For Decker’s program, this Found in RS 39/2/20, MUS 10 Masters Class Found in RS 39/2/20, MUS-10 Oratorio Society, 1953–1969 meant taking a thorough, historically- Copyright of this image is held by the University of Illinois . Copyright of this image is held by the University of Illinois . grounded understanding of the score as its foundational principle rather than a degree focused solely on choral technique and sound. What separated Illinois from many subsequent programs was the heavy emphasis on the student’s knowledge of historical performance practice and context as the necessary grounding for any contemporary performance. Indeed, when I arrived as a DMA student in 1977, I remarked to Bill Olson that I found it somewhat strange that there was no course specifically called “Choral Conducting”! I later realized that the ability to conduct was taken as a given; considering the genesis of Men’s Glee Club at airport, August 1958 Found in RS 39/2/20, MUS-10 Men’s Glee Club, 1924–1972 the program, it was a reasonable expectation that the Copyright of this image is held by the University of Illinois . conductors who applied and came to the UI had already been practicing their art. winter 2015 21 The core of the program was four semesters of study in the needs and expectations of the Concert Choir’s the performance techniques of each of the major histori- primarily undergraduate population. The increase in cal eras—Renaissance, Baroque, Classic-Romantic, and the number of ensembles and the opportunity for the Contemporary (i.e. 20th-century)—as well as an extensive DMA students to serve as conductors of these groups exploration of choral music’s development. In retrospect, provided yet another impetus for the program’s growth this focus was ideally suited to the early enrollees in the for the remainder of Decker’s tenure (1981). At the program, all of whom were already accomplished con- program’s zenith, there were typically five new students ductors of collegiate choirs. Such luminaries as Kenneth (either MM or DMA) each year. The number of choirs Jennings (DMA ’66), Ralph Woodward (DMA ’64), Joseph available for participation on a regular basis was 10, not Flummerfelt (DMA ’71), Edwin Fissinger (DMA ’65), including the ad hoc ensembles associated with each and Jameson Marvin (DMA ’71) already knew how to Glee Club or the various choirs that were available for conduct. What they needed to progress in their field was student degree recitals. precisely the kind of historical understanding of reper- Another basis of the strength of Decker’s DMA was tory that Illinois provided, in terms of both the course the presence of three full-time faculty members from work and in the completion of a dissertation that was the mid-60s onward; William Olson joined the faculty seen as the culmination of the degree. Another fact lost in 1968 and James G. Smith taught choral literature and to time is that the majority of these first DMA students conducted the Chamber Choir in the 1970s. Following were only in residence at Illinois for a year (on sabbati- Smith’s departure to the Eastman School in 1977, Leonard cal), completing the rest of their degree requirements Rumery took on the teaching of choral literature (I was in the summers. One of the principal critics of Howard in his first classes) and conducted the Concert Choir. Hanson’s proposed push for the DMA, Paul Henry Despite Decker’s charisma and leadership, his lack of a Lang, voiced the fear that by obtaining such a degree, doctorate meant that dissertation advising fell to a group less talented and experienced performers would gain an of musicologists and composition-theory faculty, all of edge over performers who had spent the careers honing whom became strong supporters of the DMA program their craft as performers and teachers. The early history and contributed mightily to the success of its stated goals. of UI’s program indicated that immersing experienced After Decker’s retirement in 1981, the DMA program choral conductors in an intense academic regimen obvi- struggled to retain the reputation it earned under his ated Lang’s trepidations. And the roster of enrollees at leadership. I joined the faculty in the Fall 1982 along Illinois and the positions they earned after completing with Decker’s presumptive heir, Louis Halsey; although the DMA here lent strong support to this conclusion. Louis was one of the more charming and literate choral Beyond devising and implementing the DMA choral musicians I have ever know, his tenure was short-lived program at Illinois, Harold Decker must receive credit because he lacked an academic, pedagogical background. for a considerable expansion of choral singing on the The arrival of Don V Moses in 1986 breathed new life UIUC campus. The ensembles already extant under into the program, largely because of his charismatic Decker’s predecessor, Paul Young, remained in place conducting and reputation as a conducting pedagogue. but grew in stature and numbers. Of these, the Concert He attracted a host of excellent students, a group that Choir was the pre-eminent ensemble, while the University includes Carmen Acevedo, Bob Demaree Jr. (DMA ’96), Chorus was the largest. Indeed, the latter grew so large Debra Cairns (DMA ’93), Linda Farquharson (DMA that it was divided into two ensembles, which were largely ’96), Jon Hurty (DMA ’94), Donald Nally (DMA ’95), given to DMA students to conduct. Early in his tenure, Pamela Elrod (DMA ’01), and many others. This fine Decker, created a Madrigal ensemble drawn from the array of alumni continued the prominent role that such membership of the Concert Choir; this group became distinctive UI choral DMAs as Kristina Boerger (DMA the plum TA assignment for DMA students. In 1968, ’00, MM ’92, BS ’89), David Brunner (DMA ’89), René in response to the success of the new DMA program, Clausen (DMA ’99, MM ’77), and André Thomas (DMA Decker initiated the Graduate Chorale, whose mission ’83) have played and continue to play as leaders in was to allow performance of a diverse repertory that, the American choral music. Moses’s emergence as the while appropriate to the graduate students, exceeded continued on page 25 22 sonorities Capturing the Human Experience University Welcomes Megill as Director of Choral Activities

Emily Wuchner, associate editor o Andrew Megill, music encapsulates the human experience. This experience began in Megill’s childhood when he and his family gathered around the piano to sing hymns and barbershop quartets. Growing up, TMegill spent his youth overseas living in Sierra Leone and Bangkok, Thailand, where his parents were medical missionaries, his father special- izing in tropical medicine. In these regions music, instruments, and scores were virtually inaccessible, so choral singing was emphasized. “Choral music is one of “I think it drew me to ensemble music-making because it was a familial the ways in which human activity and it was something that we beings can find this sort of did that sort of defined who we were as a unit,” Megill said. “So I think paradoxical and miracu- I’ve always been drawn to the idea lous connection between of ensemble music-making as a thing complete individuality and that bonds people together and draws people together, makes us aware of complete connecting.” our common humanity.” Megill’s childhood experiences helped define who he is as a teacher and a musician, shaped his future musical experiences, and developed his ideas regarding the purpose and meaning of music. As the new direc- Jeffrey Magee Jeffrey Charlotte Mattax Moersch and Andrew tor of choral activities and professor of conducting at Megill after the Allerton Music Barn the University of Illinois, Megill will use these ideas to Festival in 2014. Mattax Moersch taught continue preserving our illustrious past but also reviving Megill harpsichord while he was a student aspects to propel the program into the future. at Rutgers. Though his early training is in singing, Megill didn’t always see himself performing or conducting professional choruses. When his family moved back to the US, Megill began playing viola and piano but continued to sing. He originally planned to study viola in college, but he constantly found himself gravitating back to choral music. Upon graduation, Megill knew he wanted to be a conductor, but the University of New Mexico did not offer such a degree. Instead, he pursued composition. “I knew that I wasn’t particularly gifted as a composer, but it seemed to me that of all the degrees available as an undergraduate, the one that would teach me the most about how music worked. Learning about it from

winter 2015 23 inside out, and I thought it might be the closest thing concerts but will have several opportunities to perform to conducting and I’m very happy with that decision,” as a large group. For instance, in April 2015, Megill will Megill said. lead all choirs and an orchestra in a concert that includes Upon graduation, he moved to the East Coast where he part of Mozart’s Requiem, Vaughan Williams’s Dona nobis earned his Master’s Degree at Westminster Choir College pacem, and Bach’s Dona nobis pacem from the B minor in Princeton, NJ, which is regarded as an important mass. The centerpiece of the concert is Of War by Pulit- center for choral singing. Approximately 600 students zer Prize-winning composer Louis Spratlan, which was attend the college and all participate in choirs daily. As a commissioned for Megill’s appointment here and written student Megill had the opportunity to work with illustri- for Chamber Singers, Oratorio Society, and orchestra. ous conductors including Robert Shaw and UI alumnus As far as choosing repertoire, Megill’s taste is rather Joseph Flummerfelt. eclectic so audiences can expect fairly diverse concerts Soon after graduation, he became adjunct assistant often with new and unfamiliar repertoire. He also strives professor at Westminster before beginning his DMA to unite various musical styles under an overarching at Rutgers. In 1996 he became associate professor of theme. For example, the theme of the first fall Chamber conducting and held the position until Spring 2014. Singers concert was the four seasons, so Megill selected During that period, his professional career blossomed music by Brahms, Debussy, Delius, and several madrigals beyond campus, too, as he enjoyed preparing choruses with texts that correspond to this topic. for the likes of major conductors and orchestras such Another aspect of Megill’s new position is developing as the Cleveland Orchestra, Dresden Philharmonic, a vision of what the choral division can be. This involves Montreal Symphony, National Symphony, and New York latching onto UI’s history but also finding areas, such Philharmonic and leading full ensembles at the Carmel as outreach engagements, in which to breathe new life. Bach Festival and the Montreal Symphony, where he’ll Megill wants to start by reconnecting to three constituency make his debut in December 2014. Just before arriving groups that are naturally a part of the School of Music: on campus in the fall, he served as Chorusmaster for Illinois public schools, the University as a whole, and Montreal Symphony, preparing an ensemble of 1,500 alumni. Already, he has agreed to conduct the Illinois singers to perform Carmina Burana for an audience of All-State Honors Choir and would like to plan workshops 40,000. for high school students. Though many non-music majors In total, Megill spent 27 years on the Westminster audition for choral ensembles at the start of the semester, campus, which made the decision to leave the place Megill would like to increase the numbers and reach out where he grew up musically very difficult. With his to students who might not consider themselves singers. previous position Megill said he felt as if he were going “Choral music has a unique opportunity to reach the through the motions: he knew what problems would amateurs,” Megill said. “Everyone whether they have arise and how to fix them. But accepting the position at studied the violin or bassoon or not, all secretly sing in the University of Illinois presented him with a number the shower. There is a way in which people can be artists of new challenges and opportunities to grow. without years of private lessons or training.” “The UI gave me a chance to have a different balance To Megill, it is also crucial to connect to the UI’s long for that and to come to a place where I felt challenged. and illustrious list of alumni who continue to have a great I’m incredibly excited about the potential for continuing influence on the choral music world. Megill hopes to the extraordinary legacy of choral music here, but it also bring alumni in to do residencies or even Skype sessions does seem to me to be a risk,” Megill said. “When you with students. can’t take risks, you stop growing, so this opportunity “Just to connect to that alumni base seems to me to be seemed like a chance where I could do something really the right thing to do on every level,” Megill said. “It will important or fail spectacularly.” make my students and me learn more because we will be In his new position as Director of Choral Activities, connected to these people who have such extraordinary Megill is responsible for directing two choirs (Chamber life experiences. It will help the world remember how Singers and Oratorio Society) and overseeing the other deep the experience can be here at the University of directors and choirs. The choirs will prepare for individual Illinois and bring in great students.” 24 sonorities In addition to engaging the School of Music’s past connecting,” Megill said. “It seems to me that music, and with the present by alumni involvement, Megill also especially choral music, can teach us what it means to be looks forward to imparting his own life experiences and alive. What it means to be human. To be intuitive and theories into the choral legacy here. During his time expressive and curious. To search for those things that at Westminster, he developed a philosophy about what are both beyond us and within us that are some of the makes music beautiful, a notion he only really tested in spiritual musical things that we all, I think, at the core New Jersey. Now, he can use the University of Illinois to long for and find different ways to retrieve.” reexamine and refine his ideas, and to grow. For Megill, that “search” resonates back to a childhood “Choral music is one of the ways in which human filled with music-making, and forward to the music he is beings can find this sort of paradoxical and miraculous excited to be making at the University of Illinois. connection between complete individuality and complete

A View from the Bridge, continued from page 22 consensus choice to take over as Director of the School These problems are not unique to Illinois or to the of Music in 1988 was an unfortunate turn of events for choral division; the end of the era of Charles Leonhard the choral program, even though he recruited the best and Richard Colwell prompted a similar decline in the of his former students at Iowa—Ann Howard Jones graduate programs in music education. In recent years, (BME ’77) and Fred Stoltzfus (1991–2012)—to lead the number of talented non-major singers has also the program forward in his stead. They presided over a declined. These issues present a formidable challenge choral program that was rapidly changing in character, to our new Director of Choral Activities, Andrew Megill. a development spurred by the veritable explosion of But hopes are high that he will be able to resuscitate DMA programs at American universities. The temptation the DMA program and expand participation in choral to use the Decker legacy as a model turned out to be ensembles. This task, though challenging, is not impos- irresistible and probably delayed necessary changes in sible and it will take time and generous financial support the program to make it more compatible with the new to occur. The prospect of directing a University choral generation of students. Most of the DMA applicants had program of such magnitude singlehandedly is more gone straight through school and lacked the requisite than any single person can possibly accomplish, and he teaching experience and knowledge of repertory that is ably assisted by such talented conductors as Barrington had been the key to the success of Illinois’s DMA. Coleman, Ollie Watts Davis, and Andrea Solya. Bridget Ultimately, there was an internal debate as to whether Sweet complements their work with her energetic efforts or not the UI should relax its historically high standards in Choral Music Education. It is for that very reason to respond to the changing student population and that when Megill asked me to join his team and teach increased competition. In the end, the DMA program choral literature to the graduate students, my response assumed the same format and requirements as the pro- was an immediate and enthusiastic “YES!” I am greatly grams that came into existence much later and were impressed by Megill’s professional credentials and musical geared to the new reality of what potential students accomplishments; even more heartening is the ability he regarded as optimal. The new millennium has ushered has already demonstrated to attract new DMA students in severe financial cutbacks that have led to a gradual to Illinois who possess precisely those qualifications that reduction in the number of teaching assistantships and, made the program successful in the first place. Person- as a consequence, the number of choirs and singers to ally, I am excited and enthusiastic about the future and sing in them. Both of these losses have severely impacted I urge my colleagues and friends around the state and the incentive for graduate students to choose Illinois across the country to rally to support this renewal of over other programs. choral music-making at our Alma Mater.

winter 2015 25 Choral Ambassadors UI Choruses share music with the community, region, and world

—Emily Wuchner, associate editor works, gospel, jazz, barbershop, and country. The VMGC o best understand the rich tradition of choral music regularly performs on campus and frequently tours with at the University of Illinois, one need not look further historical highlights being a performance at the Chicago than the diversity and quality of our choirs. Some World’s Fair (1933), Ed Sullivan’s Toast of the Town Tensembles are old, some are just beginning. But their (1955), an invitation by the US State Department to objectives are the same: making beautiful music and perform at the World’s Fair in Brussels, Belgium (1958), working as ambassadors for the campus, community, four other European tours and countless appearances and the University. Below are short descriptions of each throughout the US. Most recently, under the leadership group and its activities. of Barrington Coleman, associate professor of voice, the group visited the East Coast with performances at the Intercollegiate Men’s Choral Conference and in New York City. The acapella breakout group, The Other Guys, formed in 1968 and performs at more than 100 venues throughout the US yearly.

The Black Chorus was founded in 1968 and beginning in 1969, it was co-sponsored by the Bruce D. Nesbitt African-American Cultural Center and the School of Music. Its membership primarily consists of UI students, but faculty, staff, community members, and students from

Courtesy of Travis Hamilton Travis Courtesy of Parkland College are welcome to join. The ensemble VMGC Spring 2014 East Coast Tour

Founded in 1886, the Varsity Men’s Glee Club is the oldest Registered Student Organization at the Univer- sity of Illinois. It was originally called The Apollo Club, which is thought to be an outgrowth of the Philomathean Literary Society. In 1893, the name was changed to the Varsity Men’s Glee and Mandolin Club; that same year the group embarked on its first tour off campus, visiting Danville with the Guitar Club. The group adopted its current name in the 1930’s. An all-male ensemble, membership is determined by auditions that are open campus-wide, thus attracting students from music to engineering to the sciences. “VMGC also values the importance of camaraderie within the group and the positive effect it can have on making music as a group,” said Travis Hamilton, president of the VMGC. The group performs a wide variety of repertoire including sacred Davis Watts Photo courtesy of Ollie Black Chorus in the early 1990s

26 sonorities explores the repertoire of Black Americans, including of noteworthy conductors including William Olson, once spirituals, anthems, hymns, gospel selections, jazz, soul, part of the School of Music faculty who later became blues, and R&B, in addition to performing repertoire associate dean of Fine and Applied Arts, and Joe Grant, with other campus ensembles. Under the leadership of who conducted the ensemble for 25 years. Under their Ollie Watts Davis, professor of voice and director of the leadership, the group performed in New Orleans, San Black Chorus, since 1981, the chorus has toured the US Antonio, Washington DC, and Europe. Now led by Andrea and world. Notable performances include appearances Solya, clinical assistant professor, the WGC continues to at national conferences and historic venues such as tour extensively, including to Nashville in Spring 2013 Ebenezer Baptist Church in Atlanta, Orchestra Hall in and New Orleans in January 2014. Locally they perform Chicago, and the Abraham Lincoln Presidential Library with Sinfonia da Camera and the Champaign-Urbana and Museum in Springfield. As ambassadors for the Symphony Orchestra. In January, 2015, the WGC will university, the Black Chorus has appeared in programs perform at the Illinois Music Education Association All- for the UI President, Chancellor, and Office of Diversity, State concert and on Mother’s Day Weekend, they will Equity and Access, and events commemorating national host the Voices of Women choir festival. The ensemble tragedies, such as 9/11 and Hurricane Katrina. In 2013 explores music from all Western art music periods and the ensemble spent eight days in Costa Rica where they from other cultures and is open by audition to ladies sang for La Presidenta Laura Chinchilla and gave nine campus-wide. “The University of Illinois Women’s Glee performances. In 2014, they traveled to London, where Club is a truly remarkable group of young and beauti- they were featured at the “Shaped by Beauty” conference ful women,” Solya said. “When they come to rehearsal at Heythrop College. But the mission of the ensemble on Tuesday and Thursday afternoons, through some extends beyond performance. Said Davis: “In addition wonderful music making they find a common ground to sustaining excellence in choral performance for over and recharge.” three decades, the Black Chorus serves as developmental space for students to acquire and utilize leadership skills, One of the School of Music’s newest ensembles is Voices strengthen their resolve and commitment to community Sin Nombre, organized by Christopher Macklin, assis- and service, and safely navigate socially, emotionally, tant professor of musicology, and Andrea Solya, clinical and academically through important transition years.” assistant professor. The group formed in Fall 2013 and contains a mix of faculty and students who have a strong background in choir. While this is not a requirement for membership in the ensemble, strong sight-reading and ensemble singing skills are paramount as the group mainly performs a cappella works from the Renaissance and the 20th and 21st centuries. “We enjoy programming that shows threads that reach across those time periods, and while we’re not necessarily opposed to doing things with accompaniment, the a cappella chamber sound is what we enjoy the most,” Macklin said. Shortly after its formation, the group performed for the anniversary of Photo courtesy of Andrea Solya Photo courtesy of Women’s Glee January 2014 New Orleans Tour 9/11 and later joined the Varsity Men’s Glee Club for a concert during Family Weekend. Most recently they The sister group to the VMGC, the Women’s Glee Club performed two Bach cantatas during Andrew Megill’s was founded in 1895 and will celebrate 120 years in early debut concert at the Allerton Music Barn Festival. 2015. In fact, on April 11th the group will celebrate with a performance at the Krannert Center for the Performing With Andrew Megill’s arrival as the new director of Choral Arts along with alumni members. Like the Men’s Glee, activities, a few changes have been made to the structure it was once known as the Women’s Glee and Mandolin of the UI’s choral ensembles. “One of the things I felt Club. Through the years, the group has seen a number in my audition and interview last year was that we had winter 2015 27 Emily Wuchner The Chamber Singers and Andrew Megill, 2014 this wonderful chorale but it almost felt like it was two Illinois News Bureau University Concert Choir and Chet Alwes, 1980s different choirs,” Megill said. “It had wonderfully talented musicians all the way through but from relatively sometimes is we are so rightly, in some ways, fixated on experienced to extremely experienced. So I thought quality that we forget that we can have high quality things that we could experiment with ways to serve everybody’s that are also accessible in musical ways.” education needs and artistic needs.” The ensemble once known as University Chorale has been split into two The Oratorio Society unites the University and Cham- ensembles: Chamber Singers and University Chorus. paign-Urbana residents in song. Founded in 1897, the The Chamber Singers is primarily comprised of a small goal of the ensemble was “to study classical music, and to group of advanced music majors. Directed by Megill, promote the enjoyment and appreciation of the same.” At Chamber Singers is the flagship group of the institution its start, the Oratorio Society had 60 members. Within a and explores a wide range of musical styles. In the spring year there were 100. And within three years, the ensemble Megill hopes to involve the choir in a Baroque music had explored major works by Mendelssohn, Handel, festival, exposing students to historical performance tech- and Foote. Now meeting once a week, the members of niques from experts in the field. The University Chorus, Oratorio Society perform important choral works each directed by Andrea Solya, is also a smaller ensemble of semester with ensembles including Sinfonia da Camera, students campus-wide. This ensemble has two goals: the University of Illinois Symphony Orchestra, and sampling from the Champaign- the breadth of Urbana Sym- choral repertoire phony. Some and exposing stu- of their reper- dents—especially toire includes Music Educa- Beethoven’s Sym- tion majors—to phony No. 9 in accessible works D minor, the they can teach Verdi Requiem, the to the choirs Brahms Requiem, they lead. Said Mahler’s Sym- Megill: “I think phony No. 2, and one of the things Orff’s Carmina that happens Burana. at universities Photo Credit: Illini Studio Photo Credit: Illini Studio The UI Concert Choir and Leonard Women’s Glee Club and Joe Grant, 1990s Rumery, 1981 28 sonorities faculty news —compiled by Emily Wuchner, associate editor new faculty and staff

Matthew Borek (Music Adam Kruse (Music Edu- Michael Tilley (Accom- Education) was named cation) was appointed panying/Lyric program coordinator of assistant professor of music Theatre) has been clinical experience in music education . He earned a MA appointed clinical assistant education and is charged in secondary education and professor and will accom- with overseeing all student a BS in music education pany and coach singers in advising needs while also coordinating from Ball State University . During this the Lyric Theatre program . He earned his student teaching placements for the School time, he taught secondary instrumental, BS in piano and molecular biology from of Music . He received his PhD in Cur- general music, and music technology the University of Colorado-Boulder and riculum and Instruction and his MEd in courses in southeastern Indiana for seven a MA in Collaborative Piano . Following Education Research, Measurement, and years . He earned his PhD in music educa- graduation, he became Musical Director Evaluation from Boston College . His dis- tion from Michigan State University in for Franc D’Ambrosio’s national tours and sertation research addressed the processes Spring 2014 . during his six-year tenure, he performed, music teacher preparation programs Kruse has presented academic and arranged, orchestrated, co-wrote, and underwent as they selected their curricula, practitioner clinics and workshops at produced hundreds of concerts throughout with a focus on the boundaries between numerous national, regional, and state the country . As a conductor, he has led and politics of school subjects . conferences and symposia . His writing ensembles including the Central City He earned his BM from Ithaca College and research focus on issues of musical, Opera, Opera Colorado, Emerald City and was a secondary music teacher in social, and cultural diversity in music Opera, and Boulder Opera, as well as Massachusetts before teaching music over- education and have been accepted for several benefit concerts in New York City seas at an American-curriculum school in publication in the Journal of Research and elsewhere . Morocco . There, he was selected to serve in Music Education, the Bulletin of the He has been a featured performer on an international committee devoted to Council for Research in Music Education, with the Colorado Symphony Orchestra establishing standards and benchmarks for the Journal of Music Teacher Education, the and many regional orchestras, and also American schools throughout the world . New Directions Journal, and the Michigan the Martha Graham Dance Company Upon returning to the US, he worked for Music Educator . In addition, he serves on at the Vail International Dance Festival . the Massachusetts Department of Elemen- the editorial board for the New Direc His orchestrations and arrangements—from tary and Secondary Education, first in the tions Journal . solo piano to full symphony to musical Office of Educator Licensure and then as A recipient of an Excellence in Diversity theater to rock opera—have been per- a policy analyst in the Office of Educa- Award and a Dissertation Completion formed in America, Europe, and Africa . tor Effectiveness . He helped develop the Fellowship at Michigan State University, He has also composed music for the stage State’s successful responses to the Race to Kruse also received research enhancement and a feature-length soundtrack . He plays, the Top and Teacher Incentive Fund grant awards from the university’s Graduate arranges, composes, and sometimes even programs before moving to California, School and College of Music . Kruse’s sings for the Argentine Tango groups Extasis where he worked for a small research current research interests include race and Orquesta Tipica di Natural Tango . He company and as a contractor, focusing and gender issues in music education loves working with aspiring singers, and in mostly on projects related to educator and vernacular musicianship focusing addition to offering private coachings and evaluation and certification . on hip-hop . master classes, he has taught for the last five summers in Steamboat Springs, CO . He has presented numerous educational

winter 2015 29 faculty news new faculty and staff, continued faculty news programs and performances throughout the Rocky Mountain region with Central City Opera’s Education and Community Engagement Department . Reid Alexander (Piano) completed work on the Sarah Wigley Johnson 10th edition of Keyboard faculty milestones (Voice/Lyric Theatre) was Musicianship, volume I appointed clinical assistant (Stipes Publishing), the Promotions professor and will give longest standing text of its Jonathan Keeble, promoted to voice lessons, as well as kind . With his co-authors, he premiered Professor work with the Lyric Theatre the volume at the national conference of William Moersch, promoted to program . She holds an MM in voice per- MTNA in Chicago . This past January he Professor formance from Colorado State University traveled to Taiwan to serve as one of four Stephen Taylor, promoted to and a BM in voice from the University of jurors for the prestigious Taiwan-Asia Professor Minnesota . She has served as faculty for Piano Competition, also giving a guest Charles Daval, promoted to the musical theatre department at the lecture and recital as part of the festival . Associate Professor University of Northern Colorado as well In April, he appeared on the Sunday After- Katherine Syer, promoted to as Parlando School for the Arts in Boulder, noon Artist Series at the Howard Perform- Associate Professor CO . She has twice been named a “First ing Arts Center of Andrews University in Reynold Tharp, promoted to Year Outstanding Scholar” faculty member Berrien Springs, MI, and gave a guest Associate Professor and was nominated as an “Inspiring faculty recital in Susquehanna University’s Woman” at UNC . Several of her students Stretansky Concert Hall . Additionally, he appear in national tours and regional was appointed this past year as associate Christina Bashford (Musi- Korean theatres across the nation . editor for the English version of the cology) was the invited Dalcroze Journal While residing in Minneapolis, Johnson , published in Seoul . respondent for a panel on performed professionally with regional Janet Barrett (Music Edu- music in 19th-century companies such as the Guthrie Theatre, cation) published chapters domestic spaces at the the Skylark Opera, the Mystery Cafe, the on case study and future German Studies Association Minnesota Centennial Showboat, and the directions for research in conference in Denver in October 2013 . Minnesota Opera . In 2007, she performed the Handbook of Qualita In November 2013 she delivered a paper in the Minnesota Opera’s world premiere tive Research in American at the American Musicological Society of The Grapes of Wrath by Ricky Ian Music Education (Oxford University Press), conference on music in a British intern- Gordon and contributed to the original and an article in New Directions: A Journal ment camp in Ireland during the Anglo- cast recording of the piece . Her most of Scholarship, Creativity, and Leadership Irish war (1919–21), and subsequently recent Denver credits include roles such as in Music Education . Barrett was featured gave an expanded version of the paper Aldonza in Man of La Mancha (Open Stage as the keynote speaker at the 2013 Sym- at a colloquium for the National University Theatre), Emma in Jekyll and Hyde (Inspire posium on Music Teacher Education at of Ireland (March 2104) . This year she Creative Theatre), Dolores in The Wild UNC-Greensboro, and also spoke at the also began working with a team of Party (Ignite Theatre), and Miss Scarlett College Music Society in Cambridge, researchers in musicology and computer in Clue: The Musical (Candlelight Dinner MA, and the National Association for science in the UK on the In Concert Playhouse) . Music Education conference in St . Louis . project, which has won funding from the Barrett completed her term as past chair UK-based Arts and Humanities Research of the Society for Music Teacher educa- Council’s Transforming Musicology tion and her first year as editor of the initiative . Bulletin for the Council of Research in Music Education .

30 sonorities Donna Buchanan (Musi- the Establishment” (Marian Anderson’s John Dee (Woodwinds) cology) performed with UI’s 1939 Lincoln Memorial concert) at the the Bill A . Nugent endowed Balkan Music Ensemble, Abraham Lincoln Presidential Library and professor of music perfor- “Balkanalia,” for the Museum in Springfield . She appeared as mance and professor of October 2013 campus visit soloist for the New River Community and oboe, was once again of H .E . Željko Komšic´, Technical College Presidential Inaugura- invited back to perform in chairman of the presidency of Bosnia and tion (WV), in Vaughan Williams’s Dona Korea (Busan) this summer, and also per- Herzegovina, First Lady Sabina Komšic´, Nobis Pacem with Traverse Symphony formed at NYU for the International and H .E . Jadranka Negodic´, ambassador (MI), and for the Lessons and Carols ser- Double Reed Society . Over the summer, of Bosnia and Herzegovina . In February vices at Christ Church Lake Forest (IL) . he attended the Festival of the Arts (Boca 2014 she presented an invited paper at She presented at the Black Music Sym- Raton), where he performed again with an international symposium on the kaval, posium at the University of Arkansas and Itzhak Perlman . a Balkan flute, at Istanbul Technical Uni- served as music director at UI’s recognition Timothy Ehlen (Piano) versity . During Spring 2013 she taught a of a fallen soldier Sgt . Shawna Morrison . gave solo recitals at the new graduate seminar on music and Davis completed the 2013 Leadership Cleveland Institute of postsocialism in contemporary Europe, Illinois conference and performed her Music, University of Michi- supported by a EUC Curriculum Develop- piece, “Feel the Warmth,” at the closing gan at Ann Arbor, Seoul ment Grant . She serves as book review ceremony . She led the UI Black Chorus National University, and editor for Ethnomusicology, on the execu- in a number of appearances on campus, Pohang University of Science and Tech- tive committees for the School of Music in the CU community, and throughout nology in South Korea . He taught master and Collaborative for Cultural Heritage the world . classes at Seoul National University, Management and Policy, and as musicology division chair . Elliot Chasanov (Brass) presented invited master faculty publications classes at the Paris Conser- vatory, Haute École de Musique de Lausanne (Swit- Wagner’s Visions: Poetry, Politics, and the Psyche zerland), the Royal Con- in the Operas through “Die Walküre” by Katherine servatory of Ghent (Belgium), R . Syer; University of Rochester Press, 2014 . Lemmensinstituut Leuven (Belgium), and the Brussels American School (Belgium) Bryan Gilliam, Bass professor in humanities at Duke during March and April . He also appeared University, writes: “Katherine Syer, a leading expert on as guest conductor and soloist with the Wagner staging, now presents us with an outstanding Belgian Trombone Choir, who performed book on Wagner’s literary roots in fairy tale, German several of his trombone choir arrange- Hellenism, and German patriotic Romanticism . Syer ments . His line of custom mouthpieces also brings further illumination to the phenomenon of was introduced by Schilke Music Products psychological drama in Wagner’s stage works, showing at Musikmesse Frankurt in January; the how these three-pronged roots played a role in the formation of Wagner’s dra- company is also producing a custom matic—even fantastical—proto-psychology . This excellent contribution places trombone of his design . Syer firmly among the leading Wagner scholars of her generation ”. Ollie Watts Davis (Voice) Patrick McCreless, professor of music at Yale University, writes: “Wagner’s Visions was recognized with the takes as its point of departure Wagner’s gift for creating scenes in which one Black Women Rock! Award of the characters is in an altered, dreamlike state . Weaving together aspects of at UI and led the UI Black German politics and literary culture, the development of the unconscious in Chorus in performances at nineteenth-century psychology, and her own dramatic and musical analysis, the Shaped by Beauty con- Katherine Syer brings a fresh new voice to Wagner scholarship—a voice of ference at Heythrop College in London . impressive insight and imagination ”. She recreated “The Concert That Shook

winter 2015 31 faculty news

Hanyang University, Ehwa Women’s Uni- Isabel Leonard, Stefan Milenkovich, and Orquestra Sinfônica de Piracicaba con- versity, Kook-Min University, and Dankook Nathan Gunn, and duo recitals in Virginia, ducted by Jamil Maluf . Haken’s composi- University in South Korea . He collaborated South Carolina, Indiana, and Michigan . tions were also performed in Japan, Ireland, with Nelson Lee, violin and Dmitry She and husband Nathan toured Australia Italy, and Lithuania . Kouzov, cello for a performance of the and New Zealand with Mandy Patinkin Dawn Harris (Voice) stage Beethoven Piano Trio in B-flat Major, Op . and Paul Ford . She served as the chair of directed several operas last 97 (Archduke) at the Krannert Center for the College’s strategic plan and as the season including Puccini’s the performing Arts . He gave a recital and assistant director of engagement and Suor Angelica for the Vocal master class as a conference guest artist development, and was an artist-in-resi- Seminar at Northwestern for the Arkansas State Music Teachers’ dence at Highlands Opera Studio in University and for UI Opera Association at Arkansas Tech University . Ontario . Studio . She staged the inaugural produc- Last summer, he taught and performed Nathan Gunn (Voice) was tion for the Lyric Theatre @ Illinois last at the Montecito Music Festival in Cali- named the general director March, Orpheus in the Underworld, as fornia, attended by 10 of his students . of Lyric Theatre @ Illinois . well as staged and performed the role of Erin Gee (Composition- Performance highlights Pitti-Sing in The Mikado for Sinfonia da Theory) premiered Mouth include the world premiere Camera . Most recently she co-directed piece XX with the Radio of A Harlot’s Progress in Humperdinck’s opera Hansel and Gretel Symphony Orchestra Vienna, and leading roles at the Metro- and taught a master class on “Acting for Vienna in January 2014 politan Opera, the Lyric Opera of Chicago, the Singer” for Northwestern University’s and recently performed and the Dallas Opera, recitals at the Kran- Vocal Seminar . with Molissa Fenley and Company at the nert Center with Isabel Leonard, Stefan Ricardo Herrera (Voice) David Rubinstein Atrium at Lincoln Center . Milenkovich, and Julie Gunn, and duo was a guest master teacher recitals in Virginia, South Carolina, Indiana, Larry Gray (Jazz) played in Nanjing University of and Michigan . The New York Philharmonic in extended engagements the Arts in Nanjing, China, presented Carousel with Nathan as Billy at Chicago’s Jazz Showcase where he also sang a recital Bigelow, broadcast nationally on PBS with several world-class of songs and arias . He was Presents . He and wife Julie toured Australia jazz artists, notably Benny King Balthazar in Amahl and the Night and New Zealand with Mandy Patinkin Golson, Steve Turre, Charles Visitors in Teatro Paso del Norte in Juárez, and Paul Ford . He continues as the direc- McPherson, Ira Sullivan, and Larry Coryell, Mexico . He performed with the New York tor of the American Repertoire Council with whom he continued to tour . In Festival of Song in Merkin Concert Hall at Opera Philadelphia and as the artist- November 2013 Gray presented a new in New York City for their program “Cubans in-residence at the University of Notre extended composition for jazz trio, featur- in Paris ”. With the Boise Philharmonic, Dame . ing renowned AACM musicians Edward he was the bass soloist in The Messiah Wilkerson and Avreeayl Ra . At the end Rudolf Haken (Strings) and sang at the 7th Annual ABC gala in of August, he performed in Chicago for was featured in the Novem- Weill Hall at Carnegie Hall . He was the the entire week of the 2014 Jazz Festival, ber 2013 issue of the bass soloist in Verdi’s Requiem with Sin- where he worked with legendary multi- Journal of the American fonia da Camera as well as the title role instrumentalist Ira Sullivan in conjunction Viola Society for his work in Gilbert and Sullivan’s The Mikado . This with the yearly After Fest Jam Sessions, with extended-range violas . past summer he taught and performed in featuring some of the festival’s Additionally, the April 2014 issue of The the Daniel Ferro Vocal Program in Greve headliners . Strad listed Haken’s video of Bach Suite in Chianti, Italy . III as the second most watched video on Julie Gunn (Accompany- J. Michael Holmes (Admin- the journal’s website . Haken served on ing) was named director of istration, Woodwinds) per- the faculty of the Montecito International lyric theatre studies . Per- formed with the Chicago Chamber Music Festival, the Festival Inter- formance highlights of the Symphony Orchestra under nacional de Música Erudita de Piracicaba, last year included recitals the batons of Riccardo Muti and the Michigan City Chamber Music at the Krannert Center with and Leonard Slatkin during Festival . Pianist Jasmin Arakawa premiered the 2013–14 season . He also performed Haken’s Concerto in F in July with the in two sold-out concerts with Ben Folds

32 sonorities The Musical Experience: Rethinking Music Teach- ing and Learning, edited by Janet R . Barrett, University and the St . Louis Symphony Orchestra of Illinois, and Peter R . Webster, University of Southern With Debra Richtmeyer, he co-hosted California; Oxford University Press, 2014 . the 2014 North American Saxophone Alliance Biennial Conference at UIUC Music education is challenged to meet the needs of on March 20–23 . In 2013, Holmes founded contemporary students, teachers, and communities in the Obsidian Quartet with fellow Uni- the context of rapidly shifting societal forces . The book’s versity of Illinois alums Heidi Radtke 17 chapters examine these avenues of change from the Siberz (BM/BA ’05, MS ’06, MM ’10), perspective of philosophical inquiry; the rapidly evolv- Henning Schroder (DMA ’11), and Joyce ing landscape for music listening; cultural dimensions of Griggs (BME ’98, DMA ’12) (www. pedagogy, repertoire, and student diversity; creativity in the music curriculum, obsidianquartet.com) . with particular focus on composition and improvisation; new dimensions of leadership, recasting the role of the conductor in ensemble settings; and Barry Houser (Bands) avenues for curricular imagination in music teacher preparation at the university took the Marching Illini to level . Readers are encouraged to weigh the potential of curricular reforms in perform in the 2014 Official counterpoint to longstanding traditions . Donald Hodges, professor of music St . Patrick’s Day Parade and education and director of the Music Research Institute at the University of in the Guinness Factory in North-Carolina at Greensboro, notes the comprehensive scope of the topics Ireland . Additionally, the and issues addressed, observing that the book “provides fresh insights into Marching Illini was chosen out of over important topics ”. 175 applications as one of 10 bands to perform in the 2015 Macy’s Thanksgiving Vocal Grace, recorded by Ollie Watts Davis and the Day Parade . Houser served as one of the Black Chorus; OnWarD Music, 2013 . directors of the Macy’s Great American Marching Band and was one of the mass Ollie Watts Davis with the University of Illinois Black band directors for the Chick-fil-A Bowl Chorus released the album Vocal Grace, a collection of six in December–January 2013–14 . He is spirituals arranged in both choral and solo settings . Most the new president and director of the songs employ the Black Chorus with soprano solos sung Smith Walbridge Clinics and served as by Davis . Some selections include “Let us Break Bread Together,” “This Little the North Central division chair for the Light of Mine,” and “We are Climbing Jacob’s Ladder ”. Davis also arranged National Band Association, as well as the many of the settings . marching band session coordinator for the North Central CBDNA hosted by Ball Ludwig van Beethoven: Complete Piano Sonatas, State University . He wrote two chapters Vols . VI (2013) and VII (2014), Azica Records . for the “Teaching Music through Perfor- In Fall 2013 and Winter 2014, Timothy Ehlen completed the mance in Band” series and was a guest final volumes of his Beethoven piano sonatas collection . clinician and conductor for multiple honor Financed by a UI College of Fine Arts Creative Research bands and festivals throughout Illinois . Grant and recorded at Krannert Center for the Performing Jonathan Keeble (Wood- Arts, Volume VI includes Sonatas 9, 10, 11, and 15, while Volume VII includes winds) was honored for Sonatas 12, 18, 22, and 28 . According to Annie Lin of Clavier Companion, distinguished leadership as “armed with a superb set of interpretive skills, Ehlen fully demonstrates his the president, vice-presi- understanding and projection of Beethoven’s structures . . . . Ehlen, who also dent, and immediate past wrote the program notes, is an exceptional pianist, his technical prowess con- president of the National sistently serving Beethoven’s vision . This is a remarkably satisfying recording .” Flute Association (NFA) . Concert appearances as the Aletheia Duo with Ann Yeung took the duo to venues in Australia and Brazil, where Keeble delivered master classes at the University of Rio de Janeiro . The Aletheia Duo served as Opening Night gala artists at the NFA’s annual

winter 2015 33 faculty news

convention, where Keeble delivered a tival in Vancouver . In March 2014, Drew president of the Charles Ives Society (www. keynote speech at the Lifetime Achieve- Whiting (DMA ’13) premiered his com- charlesives.org), a non-profit organization ment Award banquet, and was one of the position as we forgive those, for alto supported by the American Academy of NFA’s featured master class clinicians . In saxophone and piano, at the North Ameri- Arts and Letters that sponsors editions, addition to being the featured artist at the can Saxophone Alliance National Confer- performances, and recordings of the com- Richmond Flute Fest, while serving as an ence, held at the University of Illinois . poser’s works . artist-in-residence at Aria International, The New York-based ensemble mise-en Charlotte Mattax Moersch he worked alongside colleagues from commissioned and premiered Lund’s (Organ/Harpsichord) Juilliard, Curtis, and the New England Dead Innocence, for chamber ensemble, recorded the solo harpsi- Conservatory . With the Prairie Winds and in May 2013, and in October 2013, the chord pieces of the 17th- Timothy McGovern, he was in residence Illinois Modern Ensemble performed and century composer at the Madeline Island Music Camp . recorded the work . Jean-Henry d’Anglebert, William Kinderman (Musi- Timothy McGovern under contract with Centaur and with cology), recently named a (Woodwinds) and John Dee funding from an FAA Creative Arts Award Steinway artist, was active participated in numerous and a Research Board grant . Highlights as both author and pianist outreach activities with the of her performance season included con- in international settings . Chicago Youth Symphony certs with the Boulder Bach Festival in His book Wagner’s ‘Parsifal’ Orchestra, the Elgin Youth its 33rd season and the Bethlehem Bach (Oxford) was praised in Choice as “excel- Symphony Orchestra, Midwest Young Festival, now in its 107th season . Perfor- lent throughout, written in a clear, engag- Artists, and the Naperville Central High mances at Krannert Center for the Per- ing style ”. He published many essays on School Solo and Ensemble Contest . forming Arts included Handel’s opera, Mozart, Beethoven, Brahms, and Wagner McGovern gave the second performance Acis and Galatea, which she directed and edited an issue of the Journal of Musi ever of James Stephenson’s Concerto for from the keyboard with her period instru- cological Research on “New Beethoven Bassoon in May with the University of ment group, Concerto Urbano . This is the Research ”. An edition of Beethoven’s Illinois Wind Symphony at the Krannert sixth Baroque opera she has directed at “Eroica” Sketchbook appeared in his Center for the Performing Arts . He again the UI . Beethoven Sketchbook Series . As both taught at the Madeline Island (WI) Music William Moersch (Percus- lecturer and pianist, he presented an Camp and at the ISYM Double Reed sion) and the UI Percussion invited keynote speech and performance Camp . His summer concluded with a Ensemble were featured at the Humboldt Award Winners’ Forum featured recital performance at the Inter- artists with saxophonist in Bonn, Germany, and gave a week-long national Double Reed Society Conference Doug O’Connor at the residency through the Distinguished Inter- at New York University with Dee . At the North American Saxophone national Visitors Program of Queen’s conference, McGovern performed the Alliance Conference in March . In April, University in Kingston, Ontario . Kinder- world premiere of the James Stephenson’s Moersch and the ensemble presented the man performed and lectured on Sonata for Bassoon with Cara Chowning, world premiere of the complete version Beethoven’s concertos and chamber music pianist . This fall McGovern will begin his of Alejandro Vinao’s Water . Other works works in Switzerland, Germany, and North 22nd year as principal bassoon of the recently commissioned by Moersch America . In August of 2014 at the Santa Illinois Symphony Orchestra . include James Wood’s Secret Dialogues Fe Chamber Music Festival, he presented Gayle Magee (Musicology) for solo marimba and Anders Koppel’s a pair of lectures and a recital featuring was recently appointed by Mechanical Ballet for keyboard quartet . Beethoven’s last piano sonata and the the American Musicologi- Diabelli Variations . cal Society as co-editor-in- Erik Lund’s (Composition- chief of the series Music of Theory) composition, Shen the United States of America gyin for Chinese gu-zheng (MUSA), which is funded by the National and computer-processed Endowment for the Humanities . Addition- sounds which was com- ally, Magee and Christina Bashford Mark Moore (Brass) performed a solo missioned by Yu-Chen received campus funding to host an inter- recital at the International Tuba Euphonium Wang and premiered during the May national symposium on music in the First Conference in Bloomington, IN in May 2014 Chinese Contemporary Music Fes- World War . She continues to serve as 2014 . Pictured with him after the recital 34 sonorities Mouthpieces, composed and recorded by Erin Gee; col legno, 2013 . are Fritz Kaenzig, University of Michigan (former UI professor), John Heath (retired Erin Gee’s first CD release is a collection of six Mouth- band director, Batavia, IL), Dean Leff pieces recorded with three Viennese contemporary music (retired band director, Elgin, IL), Moore, ensembles: the ORF Vienna Radio Symphony Orchestra, and Dan Perantoni, Indiana University PHACE, and Klangforum Wien . Gee’s unique compo- (former UI professor) . Perantoni, Kaenzig, sitional technique explores the sounds and capabilities of the human voice . and Moore represent 46 years teaching Most tracks on this album call for an ensemble with Gee’s solo voice, while tuba and euphonium at Illinois . Perantoni, Mouthpiece I is for Gee alone . Heath, Leff, and Moore attended the first “Music that uses the mouth as an instrument has evolved apace over the International Tuba Conference at Indiana past century and Erin Gee clearly has a contribution to make—her ‘Mouth- in 1973 . piece’ series a little redolent of the ‘Vox’ sequence that Trevor Wishart created during the 1980s, while being a singular statement in its own right,” Richard Linda R. Moor- Whitehouse from Gramophone writes . house (Bands) represented the United States on an Shostakovich Cello Concertos, recorded by Dmitry international adjudication Kouzov; Delos, 2013 . Sean Hickey Concerto, recorded panel for Singapore’s by Dmitry Kouzov; Delos, 2013 . National Youth Music Fes- tival in April . This past year, she served In 2013 Dmitry Kouzov released two albums of concertos, as the keynote speaker for Sigma Alpha both recorded with Vladimir Lande and the St . Petersburg Iota’s State Day, edited and published State Symphony Orchestra . The first album, of Schosta- four journals for the National Band Asso- kovich’s two cello concertos, has been Kouzov’s lifelong ciation, and in March was elected to the dream to record . Said David Gutman in his Gramophone American Bandmasters Association Board review: “The project must stand or fall by its soloist and of Directors . Conducting engagements fortunately Dmitry Kouzov … has the requisite technique in 2013–14 include the Pacific Northwest and weight of tone as well as distinctive ideas about how Music Festival, the Alabama All-State Red the music should go ”. Band, the North American Saxophone Kouzov’s second recording is of the Hickey Cello Con- Alliance Biennial Conference, the inau- certo, which he commissioned in 2007 . Don Clark from gural concert of the Champaign-Urbana “I Care if You Listen” writes: “Kouzov is in complete command of the virtuoso Civic Wind Band, and the DeKalb County passages—fleet, nimble and with fine intonation throughout the registers . His and District 50 Senior High Honor Bands deep yet clear tone lets the cello sing in the more lyrically dramatic section, in Illinois . In addition, the Illinois Wind evoking a rich tenor voice at its peak . A thoughtful, well done recording of an Symphony, under her direction, was accessible and most interesting work ”. selected to perform at the national conference of the College Band Directors Pièces de clavecin recorded by Charlotte Mattax Moersch; National Association in Nashville . Centaur, 2014 . Yvonne Redman (Voice) Charlotte Mattax Moersch released her recording of was invited to join the inau- Armand Louis Couperin’s Pièces de clavecin in early gural season of the Lyric 2014 . Couperin, whose life straddles the Baroque and Theatre in Piobbico, Italy . Classical periods, wrote the Pièces de clavecin in 1751 . This three-week summer This work contains 28 pieces and is separated into two program for young singers suites—one in G and the other in Bb . The American Record Guide chose this explores American musical theatre rep- recording over others in this repertoire: “Charlotte Mattax Moersch is a sensitive ertoire and art song . Locally, she performed and very imaginative player . Her [playing] had just the right lilt…nobility… Summers Journey by Eric Ewazen with pomp…and circumstance ” . Of the other recordings of this repertoire, the Elliot Chasanov, trombone, and Nocturnes reviewer stated: “I’d choose [this CD] hands down ” . by Arnold Cooke with Bernhard Scully, horn . In March she sang in Sinfonia da Camera’s production of The Mikado.

winter 2015 35 faculty news

Michael Silvers (Musicol- Ronald Romm (Brass) and Horn Camp in Littleton (NH), on faculty ogy) presented his research his wife, pianist Avis Romm, at the Rafael Mendez Brass Institute, and at the Society for Ethnomu- presented concerts and was a featured performer at the North sicology Annual Meeting, master classes at the Con- Country Chamber Players at the White the Brazilian Studies Con- servatories of Nevers, Mountain Music Festival (NH) . He gave gress, and the UIUC Center Imphy, Lyon, and Dijon in solo recitals across North America and for Latin American and Caribbean Studies France and with the Monaco Brass in he performed as a guest principal horn Lecture Series . His review of The Accor Monte Carlo during February 2014 . While with Les Violons du Roy of Quebec City . dion in the Americas: Klezmer, Polka, there, Romm received the prestigious He completed a recording project pro- Tango, Zydeco, and More!, edited by Medallion of Dijon to acknowledge his duced by Gunther Schuller while the Helena Simonett, and Marion Jacob- exceptional participation in the furthering composer was in residence at UI as a son’s Squeeze This! A Cultural History of of the Arts and Culture of the region . In George A . Miller Visiting Artist . the Accordion in America appeared in March, Romm participated as soloist with Andrea Solya (Clinical the Yearbook for Traditional Music . He the Atlantic Brass Band, clinician, and Assistant Professor) led the contributed a chapter on Brazilian fife adjudicator at the National Trumpet Com- UI Women’s Glee Club on and drum music to Agrupamentos da petition (Messiah College, PA) . In April, a tour to Louisiana, where Música Tradicional do Cariri Cea he presented master classes and solo they performed at Louisiana rense, edited by Carmen Coopat and performances in Brescia, Valle Daosta, State University in Baton Márcio Mattos, and liner notes to the Messina (Sicily), and Torino, Italy, where Rouge, at the Immaculate Conception CD Música do Povo Cariri . He conducted he also conducted and directed the brass Church in New Orleans, and participated summer research in a music archive in and percussion in the orchestra of the in a Sunday Mass at St . Mary’s Assump- Brazil . Teatro Regio di Torino In. May, Romm tion Church . During the spring semester, performed as soloist/clinician with the Debra Richtmeyer’s while preparing a modern edition of an Evanston Township High School Band . (Woodwinds) Honorary early Baroque motet cycle, she taught Lifetime Member award Gabriel Solis (Musicology) choral literature for graduate students at from the North American was named runner-up for the University of Szeged in Hungary, was Saxophone Alliance is the the Society for Ethnomusi- invited to give a lecture on modern choral highest honor given by the cology’s Jaap Kunst Prize literature in Kecskemet, and conducted organization . Richtmeyer and Michael for his article on music and on two choral recitals . Holmes co-hosted the North American Indigenous modernity in Joel Spencer (Jazz) served Saxophone Alliance Biennial National Papua New Guinea, published in the as director and featured Conference held at the University of Illi- Canadian Journal MUSICultures . He spoke performer with the UI nois in March 2014 . She performed the at conferences in the US and UK, and Concert Jazz Band at the Glazunov Saxophone Concerto on the conducted research for his current project . 2013 Allerton Music Barn opening evening’s concert with the UI Bernhard Scully (Wood- Festival concert “Swing, Symphony Orchestra conducted by Donald winds) rejoined the Cana- Swing, Swing,” a tribute to the 75th Anni- Schleicher, and Jun Nagao’s Paganini Lost dian Brass and performed versary of Benny Goodman’s historic with Holmes and pianist Casey Dierlam throughout North America, appearance at Carnegie Hall . In addition, on the closing evening concert . Richtmeyer including at the Oregon Spencer was featured as a guest artist at performed with the Peninsula Festival Bach Festival, the Conn- the Elgin Community College Jazz Festival Orchestra in August 2014, conducted by Selmer Institute, the Orford Festival of with jazz trumpeter Randy Brecker and Victor Yampolski . Quebec, and the Forest Festival of Ontario . the Jazz Educator’s Network Conference Scully gave master classes and completed in Dallas with the UI Jazz Faculty and two recording projects during a residency Concert Jazz Band under the direction of at the University of Toronto . In March he Chip McNeill . He also performed with performed and toured internationally with the John Campbell Trio at the 2014 Chicago the San Francisco Symphony . This summer, he was the solo coach at the Kendall Betts

36 sonorities Tango Compás, Stefan Milenkovich & Marko Hatlak; Klopotec, 2014 . Jazz Festival in Millennium Park . He was featured as a guest performer and accom- Compás—meaning “beat” in Spanish—forms the impetus panist at the 2014 North American Saxo- behind Stefan Milenkovich’s latest album release . Recorded ˇ phone Alliance Conference at the with accordionist Marko Hatlak, pianist Marko Crncˇec, University of Illinois . and bassist Luka Herman Gaiser, the quartet explores the intricate rhythms of the tango genre . Sampling from composers such as Astor Sylvia Stone (Voice) spent Piazzolla, Francisco Canaro, and Juan Carlos Caceres, the ensemble even the summer in Italy and creates its own unique arrangements . Austria . Her program for young opera singers in Thelonious Monk Quartet with John Coltrane at Sant’Angelo in Vado, Italy, Carnegie Hall by Gabriel Solis; Oxford University was in its 11th season and Press, 2014 . attracted singers from throughout the US and Colombia . Students performed opera In his latest book, Gabriel Solis investigates and ana- highlights in historic venues in the region lyzes the 1957 Carnegie Hall benefit concert hosted by of Le Marche, sang in master classes Thelonious Monk and John Coltrane . Considered one presented by international singers and of the most important meetings in modern jazz, the stage directors, and participated in an recording of this concert was misplaced until a Library Italian language course offered by Scuola of Congress employee accidentally stumbled upon it in Italia . In Salzburg, she taught mostly 2005 . Soon after, it was released by Blue Note records . American and Canadian students, who Solis’s multifaceted approach touches on the historical, cultural, and analytical studied German and prepared roles for significance of the recording, while also using the near 50-year delay between four performances each of of Die Zauber performance and recording release to position jazz as both a tradition and a flöte, Der Schauspieldirektor, and Bastien form of contemporary culture . His in-depth musical analyses touch on each et Bastienne . Additionally, they presented composition, but go beyond to understand how Monk’s sound impacted three Liederabende in the Mirabellschloss Coltrane’s development as a performer . “A gracefully written, accessible, and area, across the river from the profoundly musical study that celebrates the relationship of two jazz giants . Festspielhaus . Solis’s imaginative approaches to composition and improvisation show why scholars compare the discovery of this recording to the unearthing of a new Bridget Sweet (Music Mt . Everest,” writes Jeffrey Taylor, director, H Wiley Hitchcock Institute for Education) published the Studies in American Music . chapter “Qualitative Choral Music Research” in The A Mythical Triptych by Christos Tsitsaros; Hal Leonard, Oxford Handbook of Quali 2014 . tative Research in American Music Education . With four colleagues, Christos Tsitsaros published a set of three preludes, com- she published the article “Becoming Music missioned by Hal Leonard for the Educational Piano Teacher Educators: Learning From and Library . Inspired by mythology and his cultural heritage, With Each Other in a Professional Devel- Tsitsaros’s A Mythical Triptych for piano solo includes opment Community” in the International movements titled “Water Nymphs,” “Dance Mystique,” Journal of Music Education: Research, and “Dionysian Rites ”. Tsitsaros has greatly added to and co-presented two research studies, repertoire for young and beginning pianists through his “Stories of early-career music teacher compositions published by Hal Leonard . educators: Developing identities and searching for balance” and “Virtual collaborative research: Navigating time, space, and interaction” at the NAfME Music Research and Teacher Education National Conference . She was invited to present “Demystifying the Adolescent

winter 2015 37 faculty news

Choral Student” at the Missouri Music program, a matching award program tar- Music and Audio Technology (Taiwan), Educators Conference . She was also the geted to University of Illinois researchers and at STUDIO 300 Digital Art and Music invited choral clinician for the IMEA Dis- that have a strong potential for technology Festival (Transylvania University) . Eight trict 3 Junior Mixed Chorus, IMEA District commercialization through new company channel versions were presented at the 2 Junior Treble Chorus, and the Sangamon formation, and was funded at the highest New York City Electro-acoustic Music Valley Honors Chorus . She joined the level (90 percent) . In April ‘14 the company Festival and INTIME Symposium, and editorial board for New Directions: A was incorporated as Illiac Software, Inc . Coventry University (UK), where he also Journal of Scholarship, Creativity and with the domain name illiacsoftware. delivered a paper . “Caged Voyagers” was Leadership in Music Education . com . included in concerts at the University of Michigan and locally . Tipei also gave Katherine Syer (Musicol- Reynold Tharp (Compo- invited talks at Rice University and at the ogy) delivered papers at sition-Theory) gave invited Music Technology department of Hud- conferences in Leeds, Bar- guest lectures on his recent dersfield University (UK) . celona, London, Evanston, music at UC Riverside, Illi- and Melbourne, as well as nois State University, and Christos Tsitsaros (Piano an invited presentation for UC Davis during Spring Pedagogy) was the com- the docents at Opera Theatre St . Louis . 2014 . His new Piano Trio was commis- poser-in-residence for the In April, Syer delivered lectures and par- sioned and premiered by the Earplay 2014 University of Texas ticipated as a juror in the student Musi- ensemble in San Francisco in May . The in El Paso piano competi- cology Competition “Contemporary Financial Times commented, “Of the eve- tion, where he gave master Priorities in Musicological Research,” ning’s two premieres, the more memorable classes, adjudicated, and performed at held at the Tbilisi Conservatoire in Georgia . was Reynold Tharp’s Piano Trio, which the final artist recital . Her book Wagner’s Visions: Poetry, Politics, may, all by itself, restore the primacy of Ann Yeung (Harp) was and the Psyche in the Operas through melody to the chamber music format . elected president of the ‘Die Walküre’ has been freshly published The composer may evoke influences from American Harp Society, Inc . by the University of Rochester Press in the past in this richly harmonised opus, (AHS) . She was honored the Eastman Series in Music . The Royal but he speaks in his own voice . There’s by the World Harp Con- Opera House in London and Chicago a quasi-narrative here, a sense of nostalgia gress in Sydney, Australia, Lyric Opera have recently commis- you can sense in pianist Karen Rosenak’s for her outstanding service and dedication sioned Syer to write feature essays for short scales which sustain the tension in for the past 12 years as editor of the World their new productions of Tristan und all the rhapsodising material and in cellist Harp Congress Review . She was one of Isolde and Tannhäuser, respectively . Thalia Moore’s rapturous attacks . It was five Fellows selected to represent the impossible to imagine a better introduc- Rick Taube’s (Composition- University of Illinois at Urbana-Champaign tion . Chamber trios in quest of fresh rep- Theory) theory software in the Committee on Institutional Coop- ertoire should take note ”. project Harmonia was eration 2013–2014 Academic Leadership accepted into the National Sever Tipei (Composition- Program . As the Aletheia Duo with Jona- Science Foundation’s Inno- Theory) performed his “HB than Keeble, she performed at international vation Corps (I-CORP) with G&E”, for solo piano festivals in Australia and Brazil, gave three program this past fall . Subsequent to this and computer-generated world premieres of commissioned works, program, which included rigorous market sounds at the CEMIcircles was featured on the Opening Gala Con- validation and the formation of a business festival at the University of certs of the Lyon & Healy Harps 150th canvas, the project received a $15,000 North Texas . His composition “figer,” for Birthday Festival and the National Flute Proof of Concept grant funded by UI’s computer-generated sounds was performed Convention in Chicago, and was a featured Office of Technology Management and at the International Society for Music harp master class clinician and performer FAA . It has since been accepted into the Information Retrieval conference in Curi- at the AHS National Conference in New Research Park’s highly competitive I-Start tiba, Brazil, the Workshop on Computer Orleans this past summer .

38 sonorities emeriti news —compiled by Emily Wuchner, associate editor

Zack Browning (Composi- Antonio, TX; as well as San Benito, LaJoya, the History of Music Scholarship” in The tion/Theory) received three Midland, and Leander TX . In March, Keene Cambridge History of World Music, edited world premieres of com- was conductor of the Bayou City Adult by School of Music alumnus Philip positions written in 2013 . Band Festival in Houston, TX, conducting Bohlman (PhD ’84, MM ’80) . In September They include Sol Moon an ensemble representing community 2014, Nettl delivered the John Blacking Rocker (A/B Duo, Eastman bands from five states . In April, he served Memorial Lecture at the annual meeting School of Music), Vibrations of Hope as conductor-in-residence at Rutgers Uni- of the European Seminar in Ethnomusicol- (pianists Kristie Born and Rose Grace, versity, working with students, area direc- ogy, in Prague . Unable to attend in person, Stetson University), and Unafraid (sax tors and conducting three concerts on he delivered a lecture titled “On Bridges trio, North American Saxophone Alliance) . the Rutgers campus . and Islands in the History of Ethnomusi- Browning also had performances in Taipei, cology” via Skype . Also via Skype, he Bruno Nettl (Musicology) Taiwan; Torino, Italy; and Atlanta, Chicago, gave an invited paper on North American gave lectures at the Uni- Columbus, New York, Oberlin, and Indian polyphony at the Seventh Inter- versity of Cincinnati and Orlando in the US . Invited lectures national Symposium on Traditional Kenyon College, and deliv- included the University of Chicago, Colum- Polyphony at Tbilisi, Georgia . ered the Charles Homer bia College Chicago, Elmhurst College, Haskins lecture for the Nicholas Temperley (Musi- Valparaiso University, and the University America Council of Learned Societies in cology) was named a fellow of Illinois at Chicago . His String Quartet Philadelphia . His recent publications by The Hymn Society in was selected for the November 2013 issue include a paper, “Contemplating the the United States and of the music education magazine Music Concept of Improvisation and its History Canada (The HSUSC) at its Alive! Browning continues to direct the in Scholarship” in MTO: A Journal of the annual conference in Salvatore Martirano Memorial Composi- Society for Music Theory, and a lengthy Bexley, Ohio . This is the highest honor tion Award which had a record of 353 essay, “On World Music as a Concept in given by the organization . compositions submitted for the 2014 competition, and the UI-Seoul National University Faculty Composers Exchange . James F. Keene (Bands) emeritus publication was named International Outstanding Bandmaster for 2013 by Phi Beta Mu Martinu˚: Early Orchestral Works Vol. I, recorded by International Bandmasters Ian Hobson; Toccata Classics, 2013 . Honorary Society, awarded at the Midwest International Band and Professor Emeritus and Swanlund Professor of Piano Ian Orchestra Clinic in Chicago . At Midwest, Hobson released an album of early orchestral works by the he also served as guest conductor of the Czech composer, Bohuslav Martinu˚ . Hobson conducted Lockport Township H .S . Band (Brian Covey, the Sinfonia Varsovia, a Polish ensemble once headed by BME ’01, director) . He also conducted Yehudi Menuhin and later, Krzystof Penderecki . The five honor bands and orchestras in Texas, tracks on the album capture a broad stylistic range and show his exploration California, Ohio, Alabama, New Jersey, of folk styles and inspiration drawn from Debussy, Dvorˇák, and Smetana . Colorado, and Florida . He made numer- “The performances are very good indeed . Ian Hobson is a reliable and enthu- ous adjudication appearances throughout siastic guide to this unknown repertoire, and the Sinfonia Varsovia plays with the Midwest and Texas . He gave workshops its usual expertise . The orchestra’s wind and string soloists are all top-notch, for the public school districts of Clark and the engineering is warm and well-balanced . This is going to be a series County, NV; Mason, OH; NISD of San eminently worth following, one which promises many wonderful discoveries,” writes David Hurwitz, ClassicsToday .com .

winter 2015 39 emeriti news alumni news —compiled by Lauren Coleman, research assistant

John Wustman (Accom- 1960–1969 Point Bands, and many fine teachers . panying) received an hon- The membership also boasts eight Illi- Joe Armstrong’s (BME ’66) translation of orary doctorate from nois Bands alumni: Yassky, Chris Hall André Pirro’s 1907 book, The Aesthetic of Valparaiso University (IN) (BM ’90), Patricia Barlow (BS ‘87), Bruce Johann Sebastian Bach, was published by in May . Doctor (BME ‘76), Kevin Raschen (BME Rowman & Littlefield’s Scarecrow Press ’10, MM ‘13), Roger Widicus (BME ‘82), this past spring . This is the first time this Gene Scholtens (BM ‘71, MM ‘72), and book has been translated into English . Scott A. Wyatt (Composi- Ed Stanford (BA ‘65) . tion/Theory) continues to serve as a faculty member 1970–1979 1980–1989 of the University of Illinois Mary Tiffany Ferer (PhD ‘76), professor School of Music teaching Michael Eikleberry (BME emerita at West Virginia University, pub- composition and electro- ‘80) is now the president lished “Gombert, Thiebault, Crecquillon, acoustic music, as well as serving as of the Apollo Chorus of Canis, Payen, and the Chapel of Charles director of the University of Illinois Experi- Chicago . The Chorus, V” in Early Music . mental Music Studios . Wyatt was an which was founded just invited guest artist to IUPUI (Indiana Anne Hastings Fiedler (BM ‘77, MM after the Great Chicago Fire, University Purdue University Indianapolis) ‘79) was recently named to the Oramay is the oldest continuously operating on February 19, 2014 and at the Indiana Cluthe Eades Distinguished Professorship ensemble of its kind in Chicago . Perform- University Jacobs School of Music on in Music at the University of Evansville ing at Chicago venues such as Symphony February 20–21, 2014 where he presented (IN) . The investiture ceremony was held Center and Harris Theater in Millenium a master class and lecture to faculty and on Nov . 12, 2013 . Park, the volunteer ensemble is conducted by Music Director Stephen Alltop . students . His composition, All At Risk, Jeffrey Kurtzman (PhD ‘72), professor of for video presentation with electroacoustic musicology at Washington University, St . Barbara Haggh-Huglo (PhD ‘88), pro- music designed for 8-channel audio per- Louis, published Approaches to Monte fessor of musicology at the University formance, was played as part of the Uni- verdi: Aesthetic, Psychological, Analytical of Maryland, published “Composers versity of Illinois Computer Music 30th and Historical Studies, a collection of 12 at Church and Court in 15th-Century Anniversary Concert II, on April 8, and of his articles . Brussels” in Institutions and Patronage his composition, On a Roll, for electro- in Renaissance Music, edited by Thomas Carrie Provost (BME ’79) acoustic music designed for 8-channel Schmidt-Beste; “The Topography of Music was a featured speaker at audio performance, was performed at the Theory in Paris, 900–1450” in City, Chant, the American String Teach- Indiana University Jacobs School on April and the Typography of Early Music, edited ers Association National 27, 2014 . by Michael Scott Cuthbert, Sean Gallagher, Conference, held in Lou- and Christoph Wolff; and “Modes, Tenors, isville, KY in March 2014 . Scribes and Stems: The Hispanic Features The topic of Provost’s talk was “They’ll of Two Hispanic Manuscripts, Madrid, Be Coming Out of the Woodwork: Ideas Biblioteca Nacional, Ms . 20486, and Las for Creating a Vibrant Orchestra Culture Huelgas, Santa Maria la Real, Ms . IX,” in in your School ”. Provost has 34 years ‘Nationes,’ ‘Genteres,’ und die Musik im experience teaching strings, including Mittelalter, edited by Frank Hentschel and the past 27 years in the Wheaton-Warren- Maria Winkelmüller . She was a research ville School District 200 . fellow in medieval studies at the University Charles Yassky (BS ’72, MS ’74) and of Poitiers (France) in Spring 2014 . the Orangetown Concert Band released Heather Landes (BM ’84) was appointed a new CD, American Village, Vol. 1 . This Director of the Arizona State University 65-member ensemble consists of top School of Music . players from the New York Metropolitan area, including members of the Metropoli- Stephen Slawek (PhD ’86) performed as tan Opera Orchestra, NY Philharmonic, the featured sitar soloist with the Oakland Broadway Theater, US Marine and West East Bay Symphony in their performance

40 sonorities of Ravi Shankar’s Concerto for Sitar and ‘90) . The Crossing premiered the work in off-broadway venue, Theater Row, with Orchestra on March 28, 2014 . Slawek March 2013 . the group Musicals Tonight . is professor of ethnomusicology at the Gretchen Peters (PhD ‘94), associate Jennifer Gartley (DMA University of Texas-Austin . professor of musicology at the Univer- ‘09), Dana Hotle (BM sity of Wisconsin, Eau Claire, recently ‘98), and Adrianne 1990–1999 authored the book The Musical Sounds of Honnold (BME ’99, Medieval French Cities, Players, Patrons, Dan Aldag (MM ‘91, MM MM ’05) are three of and Politics . She also authored “Music ‘92) received Humboldt the four artistic directors of Chamber in Late Medieval Tours and Orleans: A State University’s Excel- Project St . Louis, which presented its sixth Reflection of Political Allegiance in the lence In Teaching Award season in 2013–2014 to sold-out crowds Loire Valley,” in Instruments, Ensembles, for the 2012–2013 aca- across the St . Louis region . Chamber and Repertory, 1300–1600: Essays in demic year . Aldag was Project St . Louis embraces the commu- Honour of Keith Polk . recognized for exceptional work with nicative and collaborative nature of chamber music to create interactive per- jazz ensembles, consistently high teach- Mary Ellen Poole (PhD ’94) was formances reflecting a 21st-century audi- ing scores, and high standards . Aldag appointed director of the Butler School ence and creates partnerships with both leads HSU’s Jazz Orchestra and AM Jazz of Music at the University of Texas-Austin . traditional and non-traditional venues, Band, coaches the jazz combos, and Richard Wolf (MM ’89, PhD ’97), profes- diverse artists, institutions, and the teaches trombone, euphonium, jazz, and sor of music and South Asian studies at community . popular music courses . Harvard, received the Friedrich Wilhelm Darren Garvey (BM ’03) Donnacha Dennehy’s Bessel research prize from the Alexander is the music director for (MM ’94) piece The Hunger von Humboldt Stiftung . The purpose of VTL Music and IV Lab was premiered by soprano this prize is to foster joint research by Studios in Chicago . As the Dawn Upshaw and the new German and foreign scholars . Wolf will link between these two suc- music ensemble Alarm Will work in Munich jointly with Professor cessful music companies, Sound at Sheldon Concert Frank Heidemann on a new publication Garvey functions as a producer, composer, Hall in St . Louis . Alarm Will Sound pre- titled The Bison and the Horn: Indigene and multi-instrumentalist for this ad agency sented another piece, Grá agus Bás (Love ity, Performance, and the State of India. and Death), at Carnegie Hall in April . In and studio partnership . Garvey continues to perform as comedian Sandra Bernhard’s May, Contact Contemporary Music pre- 2000–2009 miered Dennehy’s Turn as part of a portrait drummer and with his band Daniel and the Lion . DATL was on tour this past concert in Toronto . Dennehy is leaving Michael Fanelli (BM ‘68, EdD ‘01) summer with Counting Crows . his position in Trinity College Dublin this authored biographical articles on former year to join the faculty at Princeton Uni- UI violin professor and pedagogue Paul Matthew Holzner (BME versity . Previously Dennehy was a global Rolland for the The Grove Dictionary of ‘05) was hired as assistant scholar and visiting professor at American Music 2nd edition and The director of bands and assis- Princeton . New Grove Dictionary of Music and Musi tant marching band director cians Online, both published by Oxford Thomas Lloyd’s (DMA’93) at Texas State University, University Press . He is currently writing San Marcos . new choral-theater work, a book, Paul Rolland: A Creative Life in Bonhoeffer, was selected String Teaching and Pedagogical Inquiry. Courtney Huffman (BM as one of only 60 new com- ’05) was appointed to the positions out of a pool of Lauren Frankovich (BM voice faculty at Gordon 1,618 proposals to receive ’07) performed in Pirates College in Wenham, MA, a grant from New Music USA’s inaugural of Penzance and Patience where she teaches voice project grants program . The grant will with the New York Gilbert lessons and classes in vocal fund a commercial recording by the new & Sullivan Players at Sym- pedagogy, vocal literature, and diction . music choir The Crossing, conducted by phony Space in New York Huffman appeared as the soprano soloist its founding director Donald Nally (DMA City this past year . She also performed in with Boston Baroque’s New Year’s Eve Gershwin’s For Goodness Sake at the and First Day Concerts, performing Bach’s

winter 2015 41 alumni news

Wedding Cantata and Coffee Cantata, Ariadne Rediviva joins live music with spring, Lynch hosted the Mesa (AZ) Public broadcast live on PRI radio nationwide . video, narration, art, and dance and fea- Schools Harp Ensemble at Valparaiso In September, Huffman presented a faculty tures four newly commissioned works for University for a short performance and recital at Gordon College featuring works two harps . Earlier this year, the duo also master class . He also continues to coach of Richard Strauss and Lili Boulanger, as released a CD entitled Rhythms of Spain, harp sectionals for the Chicago Youth well as a semi-staged version of Libby with works by De Falla, Albenz, Granados, Symphony Orchestra . Lynch currently Larsen’s riveting song cycle Try Me, Good and Ravel . serves as secretary and webmaster for the King: The Last Words of the Wives of Greater Chicago Chapter of the American Stacey Jocoy (PhD ‘05), associate profes- Henry VIII . Harp Society . sor of musicology at Texas Tech University, Julia Kay Jamieson delivered “Macheath’s Gallows Song and Phil Pierick (BM ’09, MM ’12) received (MM ’02) was the co- the Problem of Englishness in The Beggar’s a Fulbright Study/Research Grant and will director of the Univer- Opera,” at the School of Music at UIUC spend the 2014–2015 academic year in sity of Oregon Harp in March 2013, and “‘Welcome to All Austria . There he will study contemporary Day in November the Pleasures’: The Political Motivations music performance practice with Lars where she performed harp duets and of the St . Cecilia’s Day Celebrations” Mlekusch at the Konservatorium Wien conducted the world premiere of her at the Annual Meeting of the American Privatuniversität in Vienna . After finishing composition for harp ensemble, mixo Musicological Society in Pittsburgh in his year of Fulbright study, Pierick plans friends . As principal harpist of the Cleve- November 2013 . to return to the Eastman School of Music land Chamber Symphony she performed to complete coursework for his doctorate . Sarah Long (PhD ‘08) was appointed assis- in their NeoSonic Fest in March . In June He also was a finalist in the Jean-Marie tant professor of musicology at Michigan her commissioned work, constellations, Londeix International Saxophone Com- State University in Fall 2013 . In Novem- was premiered by the Illinois Summer petition held in Bangkok, Thailand . ber she presented “The Construction of Harp Class . Jamieson guest taught, led Confraternity Devotions at the Cathedral Roberta Freund Schwartz (PhD ‘01), workshops, and performed at the High of Tournai in the Fourteenth and Fifteenth associate professor of musicology at the Cascade Harp Retreat in Suttle Lake, OR Centuries” at the Annual Meeting of the University of Kansas, recently published where she also conducted the world pre- American Musicological Society in Pitts- “The Greatest Miracle of San Blas: A miere of her new work creatures for harp burgh . She is the author of “The Sanctorale Convent as Noble Chapel in Early Modern ensemble . Jamieson was a guest teacher of Andenne: A Description and Analysis Spain,” in Treasures of the Golden Age: and performer at the Canada International of Liturgical Manuscripts for the Secular Essays in Honor of Robert M. Stevenson, Summer Harp Institute in Vancouver in Chapter of Noble Canonesses;” “The edited by Michael O’Connor and Walter July, where she performed and conducted Office for the Translation of St . Nicholas Aaron Clark . She also published “Putting several of her own works, taught, and led in Fifteenth-Century Parisian Confrater- the Blues in British Blues Rock,” in Trans improvisation workshops . She continues nity Manuscripts;” and is the editor of atlantic Roots Music: Folk, Blues, and to serve on the board of directors for the Antiphonaria: A Catalogue of Notated National Identities, edited by Jill Terry American Harp Society where she is chair Office Manuscripts Preserved in Flanders and Neil A . Wyan . of the Education and Youth Task Force . (c. 1100– c. 1800) . From 2008–2013 Long Ji Yon Shim (DMA ‘04) teaches cello and Elizabeth Jaxon (BM ’06) was a postdoctoral research fellow and chamber music at the Faculdade Canta- produced six video guides visiting instructor at Katholieke Universitet reira College in Sao Paulo, Brazil . With (in both English and French) Leuven in Belgium . the ensemble Hesperides das Americas, covering various aspects Charles Lynch (DMA ’09) is featured she recorded the CD Sons das Americas . of harp care . The videos on jazz guitarist Freddie Franken’s recent Her earlier CD Primma with Trio Puelli were commissioned by the recording of Legrand’s Summer of ’42 was recognized by Bravo magazine as French harp-maker Camac Harps . As part included on his CD Portraits of Love . He one of the 10 best productions of 2011 . of the Atlantic Harp Duo, Jaxon and Marta continues to develop college programs as Power Luce developed a new multidi- Colleen Potter Thorburn (BM ‘06) was the adjunct harp faculty at Olivet Nazarene mensional show recounting the myth of tenured as principal harp with the Eastern University (IL), at Valparaiso University Ariadne which was premiered at the World Connecticut Symphony Orchestra in New (IN) and St . Mary’s College (IN) . Last Harp Congress in Sydney, Australia . London, Connecticut this past season . She

42 sonorities also launched a new harp program for the Benjamin Charles (MM ‘11) was Johnson relocated to Madrid, Spain at Coda Mountain Academy in West Virginia appointed adjunct faculty at Florida the start of the 2014–15 academic year, this past summer . As a member of the Atlantic University . where she serves as a North American duo Apple Orange Pair (horn, harp), she language and culture assistant while Caitlin Custer (BM ’13) received a grant in 2013 from the Virginia launching her first independently led, recently accepted a position Commission for the Arts to give concerts performance-based ethnomusicology as rental librarian with ECS throughout the state as a touring artist for documentation project entitled “Project Publishing Group . The the 2014–2015 season . They also gave a Afro(–) ”. company is comprised of joint recital with Duo Mango in New York E . C . Schirmer Music Rebecca Johnson (DMA City in May . The duo released their debut Company, Galaxy Music Corporation, ’10) has been elected assis- CD, Seeds, with newly commissioned and MorningStar Music Publishers . Over tant secretary/secretary- works in November 2013 . the summer, the rental library was moved elect of the National Flute Carlos Vega (DMA ’09) is assistant pro- from the Boston area to its headquarters Association Convention fessor of applied saxophone at Florida in the St . Louis area . and will serve the organiza- A&M University and a current member tion from 2014–2016 . She also had the Brendan Doshi (BM ’12) of the Chicago Afro Latin Jazz Ensemble honor of performing at the association’s has been awarded a Ful- (CALJE) and trumpet legend Doc Sever- convention in August 2014 . bright Student Program insen’s Big Band . scholarship in World Music, Aaron Kaplan (BM, BME and will live in São Paulo, ’11; MM ’13) finished his 2010–2014 Brazil for nine months one-year appointment as the interim conductor for Daniel Beder (MM, MME ’13) is begin- where he will study music and collaborate the Quad City Youth Sym- ning his second year of teaching orchestra with local artists . phony Orchestras, as well in Purcellville, VA outside of Washington, Karen Gallant (BM ’13) is an MM can- as completed his first year as Orchestra D .C . He directs all three high school didate at the University of Texas at Austin . Director at Glenbrook North and Glen- orchestras and teaches beginning strings She was the winner of the Brass/Wind/ brook South High Schools . to sixth graders . Percussion UT Concerto Competition and Erin Brooker (BM ’14) started her MM won a position on the UT Wind Ensemble Molly Madden (BM/BME ‘11, MM ‘14) degree in harp performance at Indiana Uni- 2014 World Tour . was appointed principal harp of the Cham- paign-Urbana Symphony Orchestra in versity . During Summer 2014, she attended Stephanie Gustafson (BM ‘11) was October and was a featured soloist in the Fresh Inc Festival with her flute, harp, substitute principal harp of the Orquesta the Mozart Concerto for flute and harp and percussion trio, the Archaea Tree Filarmonica de Santiago in Chile this past with the Heartland Symphony Orchestra Ensemble, which includes UI alumni Andy year . She was appointed principal harp in September . Miller (MM’12) and Jennifer Shanahan for the Annapolis Symphony Orchestra (BM ’13) . She also accepted the head in Maryland . Scott Ninmer (BM ’11) won the position resident advisor position and worked at of staff arranger for “The President’s Own” Erin Corine Johnson (BM the Bowdoin International Music Festival United States Marine Band in Washington, ’10) was a member of the in Brunswick, Maine . DC . He also was awarded a First Music inaugural class of MM can- commission from the New York Youth Christopher Butler (MM ‘12) was didates at Berklee College Symphony . appointed lecturer in percussion at South- of Music in Valencia, Spain . ern Illinois University at Carbondale . He Upon completing the Darden Purcell (DMA ’12) was appointed is a doctoral candidate at the University Master in Contemporary Studio Perfor- assistant professor of music and director of of Kentucky where his research is primar- mance Program in July 2013, she remained jazz studies at George Mason University in ily focused on the theory of rhythm and in Valencia to continue performing as a Fairfax, VA, where she will teach jazz voice, meter in works for percussion, specifically flutist and vocalist in traditional and con- jazz history, direct the Mason Jazz Vocal in the music of Alejandro Viñao . temporary African-American, Mediter- Ensemble, and oversee the Jazz Studies ranean and Latin-American music . After program . Since relocating to Washington accepting a government-sponsored grant, D .C ., Purcell has performed at the John F .

winter 2015 43 alumni news

Kennedy Center for the Performing Arts Kelly Schmidt (BME ’13) for the harp division . She was a winner (back-up vocals for George Benson with is the new orchestra direc- of the School of Music String Division the National Symphony Orchestra), Blues tor at Lincoln Middle Concerto Competition and a finalist in Alley, Wolftrap (back-up vocals for Ben School and Liberty Middle the Krannert Debut Artist Competition . Folds with the NSO), Meyerhoff Symphony School in Edwardsville She is currently in the graduate program Center (Baltimore Symphony Orchestra), Community Unit School at the Yale School of Music . National Air and Space Museum, and District #7 . JungHwa Yoo (DMA ’14) with numerous ensembles, including Ju Ri Seo (MM ’07, DMA ’13) has joined performed at the Spoleto the American Festival Pops Orchestra the faculty at Princeton University as Music Festival USA, as a and the Metropolitan Jazz Orchestra . In assistant professor of composition . Her soloist in Arthur Honegger’s Spring 2014, Purcell appeared on News compositions were premiered in Boston Concerto da Camera . She Channel 8-DC and was a guest presenter by Dinosaur Annex and in Iceland by also played Mozart’s Flute for the US Department of State, Foreign Harpverk Duo . Seo received the Goddard Concerto K. 314 in D major with the Press Center presentation, International Lieberson Fellowship from the American Sophia Philharmonic Orchestra in Europe . Jazz Day: Showcasing America’s Music . Academy of Arts and Letters . She is currently a regular member in Civic Julie Rochus (MM ’14) Orchestra of Chicago and on the wood- Ashley Shank (DMA ’14) joined the played principal horn in wind faculty of Jalisco Youth Symphony board of directors of the Flute New Music the Champaign-Urbana Orchestra in Chicago . Consortium in 2013 . A non-profit organi- Symphony during the zation, its mission is commissioning and 2013–14 season . In Fall supporting new flute music . As grants and 2013, she was accepted as finance officer, she prepared two suc- a fellow in the Youth Orchestra of the cessful grants: one through the School of Americas Global Leaders Program . In Music’s iMusE competition and another addition to studying social entrepreneur- through the National Flute Association’s ship in music and El Sistema, Rochus Arts Venture Competition . travelled to Lima, Peru to mentor and work with young brass players, and to Jonathan Sharp (MM ‘11) was appointed New Brunswick, Canada, to observe that adjunct faculty at Morehead State province’s successful Sistema program . University . In June 2014, Rochus was a solo prize- Elizabeth Surles (MM ’10) winner at the International Women’s Brass has been appointed archi- Conference in Cincinnati . She was a vist at the Institute of Jazz member of the National Academy Orches- Studies at Rutgers Univer- tra of Canada . Rochus is currently a teach- sity’s John Cotton Dana ing artist in Moncton, NB with Sistema Wahls Photo Credit: Chad Library in Newark, NJ . New Brunswick . Workers lower the chandeliers in the Noël Wan (BM ‘14) won second prize Smith Memorial Hall Recital Hall to Gavin Ryan (MM ‘13) was appointed in the 25th Nippon Harp Competition clean and replace the light bulbs. adjunct faculty at Utah Valley University . Young Professional Division in Japan in Jackie Schiffer (BM ’11) November 2013 . She won first prize in made her New York City the 38th Carmel Music Society Instru- musical theater debut star- mental Competition in California, the ring as Sydney Chearney first harpist ever to win . She also served in The Dream Cafe . The on the jury for the 21st Chinese Music show opened on April 11 Teachers Association of North America at The Dramatist Guild Theater . International Youth Music Competition

44 sonorities student news —compiled by Lauren Coleman, research assistant

Chanah Ambuter, a gradu- petition he performed the Rachmaninoff The concert and Symposium were featured ate student in harp, gave a Concerto No. 3 with the Cincinnati Sym- in the Harvard Magazine . In July 2014, solo recital and performed phony Orchestra under William Eddins Fromm also conducted the chorus for the the world premier of her and won the Finals Audience Favorite Woodlands Foundation’s first music camp arrangement of The Lord Award . The repertoire requirements for the for adults with disabilities in Wexford, PA . of the Rings Trilogy Medley competition included at least nine minutes Joshua Haggerty, a graduate student for Harp with visual effects this past year . of music by contemporary American com- in percussion, was appointed director of Notable freelance opportunities include posers, for which Chen performed etudes percussion for the Rio Hondo ISD in Rio hospital open houses, beachside and by John Corigliano and David Rakowski . Hondo, Texas . Broadway-themed weddings, food tast- As winner of the competition Chen will ings, and private anniversary dinners . perform several recitals, including one at Allison Hamilton, an Carnegie Hall during the 2015 season . undergraduate student in , an undergraduate student in Seol Baek flute, won the Atlanta Flute flute, was selected to perform at Jasmine Pin-Hua Chen, a graduate student in Club’s Young Artist Com- Choi’s international master class in saxophone, was a semifinalist in the Jean- petition and took second Bregenz, Austria during this summer . Marie Londeix International Saxophone place in the Flute Society Competition held in Bangkok, Thailand . Sydney Campen, an under- of Kentucky’s Collegiate Artist Competi- graduate student in harp, Melody Chua, an under- tion . In addition, Hamilton took third won second place in the graduate student in flute, place at the National Society of Arts and Peoria Symphony Orchestra was first alternate in the Letters Woodwind Competition . She Concerto Competition in 2014 UISO Concerto Com- studied at the ARIA International Music November 2013 . She also petition and received an Academy this past summer . attended the Lyon and Healy 150th Birth- honorable mention in the Claire Happel, a graduate student in harp, day festival and was a soloist for the 2014 2014 Thomas J . Smith Scholarship Com- performed with her duo partner, bassist Illinois Summer Harp Class . petition . This summer, she traveled to Philip Alejo, in Tucson, AZ, Quincy, IL, Switzerland to study with flutist Matthias Pete Carney and Brian Felix, graduate Mackinac Island, MI, and in the Illinois Ziegler of the Zurich Chamber Orchestra students in music education, produced Summer Harp Class in Urbana, where and Zurich University of the Arts . She an iBook, Interactive Listening, that was they premiered Pulitzer Prize winner also performed in the Chicago Academy purchased by the Duval County Public Caroline Shaw’s work, For Claire and for the Arts New Music Festival, in addi- Schools for every middle and high school Philip, which was funded by an Ameri- tion to working part-time as a mobile student in Jacksonville, FL . The book uses can Harp Society Grant . She also taught technology reviewer . Hollywood-style graphics, and an orchestra a master class to the harp studio at the of interactive digital experiences to retool Lauren Coleman, a gradu- University of Arizona and gave a talk music appreciation . Interactive Listening ate student in flute, joined there on Alexander Technique and the was named by Apple Inc . as the #1 Editors the Kalamazoo Symphony harp . She received an Urbana Arts Grant Choice in all categories, becoming the Orchestra in the Flute III/ for workshops and performances in Fall first music education method to ever be Piccolo chair beginning in 2014 with her harp, mandolin, and guitar featured on Apples iTunes website . their 2013–2014 season . trio . As a tribute to her first teacher, she She also competed in the National Flute performed Debussy’s Danses Sacre et Christopher Cayari, a Association Piccolo Artist Competition Profane with her hometown orchestra, graduate student in music as a semifinalist, performing at the annual the Quincy Symphony Orchestra . education, has been convention in Chicago . selected as a student intern Erin Happenny, a graduate student for the 2014 College Music Allison Fromm, a graduate student in in flute, was a semifinalist in the 2014 Society National Confer- choral conducting, collaborated with the National Flute Association Piccolo Artist ence in St . Louis . Harvard University Department of Music Competition and performed at the annual and Holden Choruses to plan the “Joyful convention in Chicago . Moye Chen, a graduate student in piano, Noise and Alice Parker Residency,” a was the winner of the 58th World Piano Chen-Yu Huang, a graduate student choral concert and Harvard Symposium Competition, held from June 23 to 29 in in harp, has been appointed assistant on choral singing, the brain, and wellness . Cincinnati . In the final round of the com- professor of harp at Michigan State Uni-

winter 2015 45 student news 2013–2014 Competition Winners versity . She also joined the instructional faculty for the Blue Lake Fine Arts Camp in Michigan this past summer . Sixteenth Annual 21st Century Piano Commission Award Sean Harold (composer) Brian W. Kellum, a gradu- Tomoko Ono (piano) ate student in music education, assumed the post of Theodore Presser Undergraduate Music Award program director for the Madeline Vogler (jazz) Asheville Symphony’s El Sistema-Inspired initiative, Theodore Presser Graduate Music Award MusicWorks! He was selected from a Ashley Fu-Tsun Wang (composer) national pool of more than 40 candidates to lead the project dedicated to providing Clara Rolland Piano Award academic enrichment and musical ensem- Yunhan Xu ble instruction for low income students at Hall Fletcher Elementary School . The Krannert Center Debut Artist Award program, funded for three years by the Samuel Gingher (piano) and Alexandra Nowakowski (soprano) Leever Foundation, has provided rich musical experiences for the children University of Illinois Symphony Orchestra Concerto including performance opportunities with Competition acclaimed pianist Alexander Schwarzkopf, Soo Jung Hur (piano) Hall of Fame rock and roll star Little Hyungryoul Kim (saxophone) Anthony, and members of the Asheville Seul Lee (violin) Symphony . Alternates Denise La Grassa, a gradu- Melody Chua (flute) ate student in jazz and a Elizabeth Thompson (soprano) winner of a 2014 School of Music IMusE Entrepre- Paul Rolland Violin Award neurship Grant, performed Undergraduate: Eliana Park her original Jazz-Theater Graduate: Daniel Colbert production of The Blues Ain’t a Color in July and August at Theater Wit in Chicago . Jazz-Theater, as envisioned by La Grassa, School of Music iMuSE Grant for her Thornton Miller, a gradu- incorporates an on-stage jazz combo as multimedia harp show, Scheherazade, ate student in musicology, a backdrop to her original dialogue and that premiered in September . Current received Foreign Language songs, with improvisational moments treasurer of the American Harp Society, and Area Studies Fellow- from both La Grassa and the combo . As Inc . (AHS) Roslyn Rensch Central Illinois ships from the Russian, East part of the marketing for the show, La Harp Chapter, she is secretary of MuGS Europe, and Eurasian Grassa appeared on WGN radio’s “After (the SoM music graduate student associa- Center (REEEC) for the study of Russian Hours” with Rick Kogan in early August tion) and is a current member of the Board at the University of Illinois during the to discuss The Blues Ain’t a Color and of Directors of Illini Fighting Hunger . In academic year and at the Russian Summer her Jazz-Theater concept . Spring 2014, she received an honorable Language Institute at Indiana University Ann McLaughlin, a gradu- mention in the UI String Division concerto during the summer . He has also accepted ate student in harp and competition and taught a master class for a REEEC departmental fellowship for the Illinois Distinguished the AHS Jubal Harp Chapter in South fall semester . Over the last year, he has Fellow, was a recipient of Dakota . In Summer 2014, she stage presented his papers “Benjamin Britten a 2014–15 Urbana Envision managed a production of Andrew Lloyd and Pre-1973 Soviet Performance Rights: 365 Arts Grant and a UI Webber’s Joseph and the Amazing Tech Peter Grimes and The Prince of Pagodas nicolor Dreamcoat.

46 sonorities in Leningrad’s Kirov Theatre” at the Ben- same piece was selected for the prestigious Masters, vol. 3 in October, and was per- jamin Britten at 100 conference at Illinois Acousmatic for the People: A Festival of formed at SEAMUS 2014, the New York State University, and “Benjamin Britten Acousmatic Music in Malm, Sweden . City Electroacoustic Music Festival, and and the Anglo-Soviet Cultural Exchanges Last July, his piece NYC 10001 was selected Soundiff’s Concerto di Musica Elettroa- of the Early 1960s: The Days of British as a competition finalist in the prestigious custica con Composizioni Selezionate Music Festival and the English Opera International Conference on Auditory da Call Internazionale in Barletta, Italy . Groups Tour of the Soviet Union” at the Display (ICAD) hosted by New York Uni- In addition, his quadraphonic electro- North American British Music Studies versity . His piece Fireworks has been acoustic piece Gates received its world Associations biennial conference at the accepted in the 40th International Com- premiere in Pas-es concert, On the Occa- University of Nevada-Las Vegas . puter Music Conference (ICMC) in Athens, sion of the Performance of Luigi Nono’s Greece . Omaggio a Emilio Vedova, in Venice, John Nichols III, a graduate student in Italy . composition, was awarded first prize in Brian Sullivan, a graduate student in the ASCAP/SEAMUS Student Commission music education, presented a research Kathleen Winters, a gradu- Competition as well as first prize of music poster entitled Service-Learning in Music ate student in flute placed works in the International Workshop on Teacher Education: Making Music with second in the National Flute Computer Music and Audio Technology . Incarcerated Youth at the 2013 Symposium Association’s Orchestral His recent recordings can be heard on for Music Teacher Education in Greens- Audition Competition . Electro-Miniatures Vol.2: Negative Space boro, NC and at the 2013 Committee on Selected from a pool of from SEAMUS and 100 Years of “The Art Institutional Cooperation Music Education recorded auditions from around the Of Noise” from Monochrome Vision . He Conference in Lincoln, NE . The poster dis- country, three finalists competed live at also won first prize in the Concorso inter- played findings from a qualitative study that the NFA convention in Chicago . nazionale di composizione Città di Udine explored the experiences of pre-service Catherine Hennessy Wolter, a gradu- Decima edizione for his composition music teachers who have participated in a ate student in musicology, received both Gates . His work, “The Pillar—For Percus- service-learning partnership between the a UIUC Dissertation Travel Grant as well sion and Fixed Media,” was premiered by University of Illinois and the Champaign as the Alvin A . Achenbaum Travel Grant percussionist Scott Deal at the Summer County Juvenile Detention Center . from Duke University’s Hartman Center . Institute for Contemporary Performance Priscilla Tse, a graduate student in musi- Practice on June 18 at the New England Emily Wuchner, a gradu- cology and 2013–14 IPRH-Nicholson Conservatory . ate student in musicology, Fellow, was awarded a doctoral fellowship was a recipient of the Molly O’Roark, a graduate student in from the Chiang Ching-kuo Foundation Eugene K . Wolf Travel Fund harp, won the 2014 National Anne Adams in support of her dissertation on women’s for European Research Award, a prestigious biennial competition cross-dressing performance in Cantonese through the American Musi- administered under the auspices of the opera in contemporary Hong Kong . cological Society . This fellowship was American Harp Society . Benjamin Whiting, a used to support a summer research trip Tomeka Reid, a graduate student in cello, graduate student in com- to Vienna, Austria, where she collected led a group which also featured New position, was awarded Third primary sources for her dissertation on York-based jazz guitarist Mary Halverson Prize in the 2014 Busan the Vienna Tonkünstler-Societät . at the 2014 Chicago Jazz Festival . Maru International Music YoungWoo Yoo, a graduate student in Festival Composition Com- Dennis Deovides Reyes composition, won third prize in the 2014 petition for his chamber orchestra work III, a graduate student in Vienna International Music Composi- Tempus Imperfectum, commissioned and composition, garnered tion Competition . She also received an premiered by the Illinois Modern Ensemble much attention in the honorable mention in both the Interna- in April . He was named as a finalist in Society of Electro-Acoustic tional Alliance for Women in Music’s the 2014 Van Galen Composition Prize Music in the United States 33rd Search for New Music by Women for his tuba quartet, TIFT((( ))). Whiting’s (SEAMUS) 2014 National Conference at Composers’ Libby Larsen Prize, as well as electroacoustic piece FL was released on Wesleyan University in Connecticut for in the Alvarez Chamber Orchestra “Keyed ABLAZE Records’ album Electronic his piece, Dance of Maria Makiling . The Up” Composition Competition in the UK .

winter 2015 47 in memoriam

Kent R. Conrad of Kaikhosru Shapurju Sorabji: An Histori- Edlefsen and Ethel Rowley Edlefsen . He cal Perspective and Stylistic Overview,” married Jean Josphine Harris August 29, Kent R. Conrad (1962– reflected his love and passion for music 1952 in Idaho Falls, Idaho . He is survived 2014), University of Illinois by lesser-known composers as well as his by five children and 10 grandchildren . School of Music alumnus interest in Asian music, studies, and art . Blaine was raised in Driggs, Idaho, and adjunct faculty in the While at the University of Illinois, and from an early age learned to sing Theatre Department, passed Conrad was widely recognized for his from his mother . He played saxophone unexpectedly at his home, witty and clever cabaret concerts, as well and clarinet in school bands and gradu- Friday, Sept . 5, 2014 . He was the beloved as his immense knowledge and love of ated with a Bachelor of Arts degree from son of Marian M . Conrad of Dauphin, PA musical theatre . He was music direc- Brigham Young University in 1952 . He and was born on April 20, 1962 in Har- tor for the Illinois Summer Youth Music completed his Master of Music degree risburg, PA . He was well known in the Musical Theatre Camp and many Theatre in music literature and performance on Harrisburg area for his musical talents . Department musicals and local commu- the oboe at the Eastman School of Music Conrad received his undergraduate nity theatre productions . For the Oxford in 1953 . From 1953–1961, he was an degree in classical studies at Franklin Bibliographies online, Conrad contributed instructor of music at BYU and performed and Marshall College, where he also the entry for “Musical Theatre” in the fall with the Utah Symphony Orchestra . From pursued a music minor . Following a four- of 2012 . He taught immensely popular 1959–61, he again attended the Eastman year stint in the United States Air Force musical theater courses for the Osher School of Music, earning his Doctor of as a Chinese translator, he received his Lifelong Learning Institute and served as Musical Arts in performance and pedagogy law degree from the Dickinson School the organist and pianist for the Unitarian on oboe in 1966 . of Law . He later combined his skills as a Universalist Church of Urbana . Working He became an assistant professor in Chinese linguist and background in law as a drama consultant, Conrad recently the University of Illinois School of Music to teach law for a year in China . In 2003, presented master classes in American in 1961, retiring as professor emeritus he returned to his first love, music, and Musical Theatre at universities in Shanghai in 1994 . During the summer of 1965, completed his Master’s Degree in accom- and Hohot, Mongolia . he held what is believed to have been panying at the University of Missouri- Conrad was recently appointed as an the first oboe camp in the US . His film, Columbia . While at Missouri, Conrad adjunct faculty member in the Theatre Making the American Scrape Oboe Reed, served as the accompanist for the Carnegie Department and was slated to be the made in 1969 was the first to illustrate the Hall premiere of Corps of Discovery, a musical director for its upcoming produc- art of oboe reed making . He published commissioned opera about the journey tion of Oh! What a Lovely War. He was courses of study for students learning the of Lewis and Clark . Conrad also served a friend and frequent collaborator with oboe at the beginning, intermediate, and as accompanist and assistant conductor many in the School of Music over the advanced-intermediate level for Baldwin for the Harrisburg Opera Association of past several years . He was a wonderfully Mills and was a member of the Illinois Pennsylvania . He traveled widely, playing talented musician, a devoted teacher and Woodwind Quintet . He was also a found- Mass at the Vatican and performing in a kind gentleman who was loved by all . ing member of the International Double Scotland, England, and Ireland while Reed Society . accompanying choral groups . —Dawn Harris, instructor of voice, and Since my arrival to the University of In 2013, Kent received the Doctor of Reid Alexander, professor and chair of Illinois, Blaine was always supportive and Musical Arts degree in vocal accompa- piano pedagogy encouraging to my work and our shared nying and coaching at the University of commitment to the UI Oboe Studio . He Illinois Urbana-Champaign while also Blaine Ellis Edlefsen was a loving husband, father, brother, full-time on the piano faculty at Eastern Blaine Ellis Edlefsen and friend who will be greatly missed. Illinois University teaching piano, class (1930–2013), of piano, and piano literature, and serving as Champaign, died on —John Dee, the Bill A. Nugent a staff accompanist . During his doctoral Sunday, Dec . 22, 2013 endowed professor of music studies, Conrad received the prestigious in Draper, UT, of performance & professor of oboe Nancy Kennedy Wustman Memorial Award cancer . He was born John Dee, Marlin in Vocal Accompanying . His doctoral Vavrikova (DMA August 24, 1930, in thesis, “The Music for Soprano and Piano ’04) and Blaine Soda Springs, Idaho, Edlefsen (2012) the son of Jesse Abner

48 sonorities Jonathan L. Herath Howard Karp He demonstrated these qualities with all his students, with the result that his studio Jonathan L. Herath Howard Karp (1929–2014) was full with talented, aspiring pianists . (1976–2014), BME ’06 was a member of the Uni- His generosity of time was incredible, courageously battled versity of Illinois piano and lessons often lasted well over one an aggressive heart faculty from 1962 to 1972, hour, even two . One never felt that he valve infection, com- and served at the University was watching the clock ”. pounded by previous cancer treatments, of Wisconsin, where, from Those of us who knew Howard Karp will and end-stage kidney disease . He married 1972 until his retirement in 2000, he never forget the inspiration and authority his college sweetheart, Holly Schupple played a pivotal role in the growth of the he brought to his performing and teaching . (BME ‘98) . Together, they have two young piano program . Testimonials from Karp’s Our hearts go out to his family and to all children, Theodore (4) and Ivy (1 year) . former students, colleagues, and many musicians and listeners who grieve the Jon and Holly also shared a love for music listeners poured in at the news of his loss of this beloved pianist and teacher . education . As passionate educators and death, recalling his deeply searching musicians, they taught not only the love musicianship, devotion to his students, —William Heiles, professor of piano of music, but also the idea that music can and personal generosity and modesty . be a pathway to learning responsibility Just eight weeks before his death, Albany Judith McCulloh and scholarship . Herath was the beloved Records released a six CD set of solo Judith McCulloh (1935– band director at Lakewood Elementary, performances by Karp, who was praised 2014), long-time music Carpentersville, IL . He won the Mr . Hol- by the New York Times for his extraordi- editor for the University of land’s Opus grant that supplied more than nary technique and arresting insights . Illinois Press, passed away $40,000 worth of instruments for the At the University of Illinois, Karp July 13, 2014, at age 78 . A music program at Lakewood Elementary . appeared in dozens of faculty recitals

brilliant editor, she was Yeomans Photo Credit: MaryE He believed all students should have the as both soloist and chamber musician . integral to establishing American music opportunity to participate in music, and His solo performances here included and folk culture as credible fields of schol- he assured his students that someone the “Mount Everests” of the piano rep- arly study, publishing more than 130 titles would always be their advocate . Herath ertoire from Bach to Liszt and equally in the seminal book series Music in Ameri- embodied a positive attitude, and he challenging twentieth-century works (I can Life . She played a founding and sus- strived to teach his students this same still remember his performance of the taining role in the Sonneck Society (now spirit . He would say, “We don’t have bad thorny Leon Kirchner Sonata)—often two the Society for American Music), in the days, only bad moments,” hoping to chal- of these monuments on the same program . journal American Music, the first scholarly lenge others to understand that every Playing chamber music with faculty col- journal devoted to the field, and in the moment is our chance to find good and leagues, especially violinist Paul Rolland, American Folklife Center at the Library to have a positive impact on the world he performed a wide range of repertoire, of Congress . McCulloh earned a Ph .D . around us . Herath was also an avid sports including works by UI faculty compos- in folklore at Indiana University and joined enthusiast, a die-hard Chicago sports fan, ers . Especially memorable were his duo the University of Illinois Press staff in a lifelong lover of the Fighting Illini, and recitals with his wife, Frances, a superb 1972, where she eventually became assis- a Bears season ticket holder . Through his pianist in her own right . A tradition at the tant director and executive editor for dedication, kindness, generosity, optimism, University of Wisconsin was to open the music, folklore, Appalachian studies, and strength, and perseverance, he was a fall concert season with a Karp Family other areas . She also served as director wonderful and admired role model to all Concert featuring Howard, Frances, and of development for the Press, creating he encountered . Family and friends have their son Parry, a cellist . the Henry and Edna Binkele Classical started the Herath Children’s Education Reid Alexander, chair of piano peda- Music Fund and the L . J . and Mary C . Fund . Donations may be made at www. gogy, studied with Karp as an undergradu- Skaggs Folklore Fund to support book jonathanherath.com or www.all-good- ate at UI and recalls the enthusiasm he publication . Her husband of 52 years, days.com . brought to teaching: “His smile when he Leon McCulloh, is an emeritus professor opened his studio door and his positive —Joyce Griggs, associate director of the of mathematics at UIUC . School of Music attitude were inspiring and created a McCulloh’s contributions have been wonderful atmosphere in which to learn . widely recognized . The Society for

winter 2015 49 in memoriam

American Music established the Judith Born Austin Johnston McDowell on professor emeritus of music composition, McCulloh Research Fellowship, to be Sept . 15, 1920 in Heyworth, IL, he was recalls, “His soft-spoken approach, his given annually beginning in 2016, to always “Aus .” He kept the image of himself smile, his genuine concern for all around support a short-term research residency as a small town boy, retaining the capacity him, and his sense of responsibility, was at the Smithsonian Center for Folklife and for eager learning, wonder, and immense a role model for us all . I always enjoyed Cultural Heritage . She is the first recipient gratitude . Beginning with the fourth grade our brief social moments in the School of the American Folklore Society’s Life- teacher in Bement, IL who introduced him of Music Shop where Aus would visit time Award for Service to the Field (to to the clarinet, he felt teachers and mentors with Russ Winterbottom, students, other be awarded posthumously) . In 2010 she had opened miraculous pathways for him . staff, and faculty members—as this was received the Bess Lomax Hawes National As an undergraduate at the University of the unofficial lounge in those days . We Heritage Fellowship from the National Illinois, he played first chair under A .A . commented on the problems of the world Endowment for the Arts in recognition Harding . Ever after, he sang his praise . while also laughing at the latest jokes—it of her contributions to the excellence, Returning from his stint in WWII as a was a moment of decompression from vitality, and public appreciation of the Navy pilot, flying an SB2C Helldiver off the daily responsibilities, and Aus was a folk and traditional arts . Other accolades the carrier Shangri La in the Pacific theater, big part of the regular crowd ”. include the Society for American Music he completed his Master’s degree in the He felt he had been with the School of Distinguished Service Award, the Inter- summer of 1946 . Keith Wilson accepted Music during historic years, the growth national Bluegrass Music Association an offer from Yale, and the woodwind of the woodwind division (in 1946, he Distinguished Achievement Award, the teaching position fell like a plum to Aus . In was teaching ALL woodwinds; gradually, University of Illinois Chancellor’s Aca- Room 11 at Smith, he brought gentleness, a full woodwind faculty was hired), opera demic Professional Excellence Award, and kindness, and dedication to his teaching, workshops becoming the opera division, some 20 ASCAP-Deems Taylor Awards for sharing what had enriched him musically . the birth of the Krannert Center for the outstanding books . Performing with Stravinsky, Hindemith, Performing Arts, and the construction and Enescu on their campus visits thrilled of the new Music Building . He revered —Laurie Matheson, editor-in-chief, University of Illinois Press him . On his playing with the CU Sym- Smith Memorial Hall, but any building phony . Paul Vermel commented, “ Austin where he could walk the halls and hear Austin McDowell was a superb clarinetist: sensitive, reliable, the cacophony of sounds from the practice and possessing an absolutely beautiful rooms was his world . Austin McDowell (1920– sound . When he became interim director Married in January,1947, he and his 2014) When young Austin of the School of Music, I remember his wife, Ellen, were parents to six and grand- McDowell ran up the steps strong and completely fair leadership . And parents to four . To his family, he left an of Smith Memorial Hall to he was a gentle and considerate human indelible image of sweetness, constancy, begin lessons with Keith being . I will always remember him with and love . Wilson, woodwind profes- admiration and deep affection ”. His former colleague, Ray Sasaki, pro- sor, he could not have known the signifi- Those were active years for Aus, con- fessor of trumpet at the University of Texas, cance that building would have for him certizing with the Walden String Quartet, Austin, wrote succinctly, “He was a great throughout his life . Sent there by his the woodwind quintet, being a clinician, man .” Quietly, patiently, steadily—great . Urbana High School band director, Austin Illinois Summer Youth Music, band camps Memorial contributions may be sent was already an active clarinetist, playing in Colorado and Minnesota, musical con- to: School of Music, 1114 W . Nevada, with dance bands and earning the plaudit tracting for the Assembly Hall, keeping up St . Urbana, IL 61801 from the school secretary on the back of with dance band friends and, while pro- To reach The McDowell family: his diploma, “to the future Benny gressing from instructor to director, visiting [email protected] . Goodman!” the instrument repair shop . Scott Wyatt, —Ellen McDowell

50 sonorities Marvin J. Rabin orchestras could be traced back to an through decades of teaching, research, organization or an individual who had and professional engagement, with wide- Marvin J. Rabin, (1916– been influenced by Rabin . spread impact and influence on students, 2013), earned his EdD Rabin was a humanist who worked to colleagues, and peers in the field . in music education broaden the availability and quality of Reimer’s philosophical body of work from the University of string-orchestra education so that young is represented by a prodigious number of Illinois in 1968 . He people might connect to artistic beauty publications and speeches—two dozen often spoke of the richness of his experi- and transcend limitations that they or books, more than 150 articles, and pre- ences in both the College of Education others may have assumed . Generous sentations in national and international and the School of Music, and how his with his time, expertise, and thought- venues . He published three editions of his dissertation advisor, professor emeritus ful opinions, Rabin was a consummate book, A Philosophy of Music Education, a Richard Colwell, locked him inside the musician and educator . Throughout his project that catalyzed scholarly discourse music education offices [then] on Nevada career, he kept in contact with former in what has become a burgeoning field of Street each weekday for an entire summer students and colleagues about whom philosophical inquiry in music education . so that he would complete the “damn he said, “[Over the years] I’ve seen these Countless scholars and teachers have dissertation”—a phrase his children grew people grow . And what they’ve done is to been touched and will continue to be up believing to be a single word . provide opportunities for me to continue challenged by his legacy of thought, well Professor Emeritus at the University of to be active and grow ”. born, well disseminated, and freely given . Wisconsin School of Music and Extension In 1985, Reimer established the Center Music Department, Rabin was known —Louis S. Bergonzi, Daniel J. Perrino for the Study of Education and the Music internationally as a high school youth chair in music education, professor of Experience at Northwestern in an effort to orchestra conductor, conducting teacher, conducting and music education focus research efforts in a collaborative and string pedagogue . He was founding environment of doctoral students and music director of the Wisconsin Youth Sym- Bennett Reimer faculty . I am deeply grateful that, even past phony Orchestra and the Greater Boston Bennett Reimer (1932– his official retirement, he participated in Youth Symphony Orchestras, following his 2013), the John W . Beattie weekly Center meetings wholeheartedly . leadership of the Central Kentucky Youth professor emeritus of music This allowed me the privilege of working Symphony Orchestra . His collection of education at Northwestern alongside Bennett Reimer as a colleague . scores is housed at the Wisconsin Center University, earned his EdD He exemplified qualities that burned for Music Education . from the University of Illi- brightly in his writing and interactions During his last two visits to the School nois in 1963, upon completion of his with others—a quicksilver intellect, a of Music, he worked with students in dissertation, “Common Dimensions of deep respect for diverse perspectives, a music education and orchestral conduct- Aesthetic and Religious Experience ”. He playful imagination, and above all, an ing (2008), and participated in the Paul wrote about the impact of his studies at abiding awareness of the pleasures and Rolland Centennial Celebration (2011) . Illinois as a young scholar, “[I am] con- perplexities of being human, and the When introducing him to my students, I vinced that music is a precious dimension powerful ways that music intensifies our would suggest that he was the “Moses of of the human condition—something so experience . string music education and youth orches- special, so valuable, that educating others tras in the United States,” and that their in music will be my life’s work ”. This —Janet Revell Barrett, Marilyn experiences in school, honors, or youth wellspring of enthusiasm carried him Pflederer Zimmerman endowed scholar in music education

winter 2015 51 Giving partners in tempo

Gifts in support of the School of Music (July 1, 2013–September 30, 2014)

The overall success of the School of Music depends greatly recognition program for those who give at the highest on the generosity of our alumni, friends of the School levels, is reserved for contributors whose outright or of Music, foundations and corporations. We gratefully cumulative gifts total $25,000 or more, as well as those acknowledge the generous support of the following who have made deferred gifts of $50,000 or more. individuals, corporations and foundations, who made The School of Music welcomes new contributors to gifts in support of the School of Music between July 1, the 2014–2015 honor roll. For more information about 2013, and September 1, 2014. making a gift to the School of Music, please contact Please note that members of the President’s Council David Allen in the Development office, at 217-333-6453 are designated with an asterisk (*). The President’s or [email protected]. Council, the University of Illinois Foundation’s donor

Prestissimo ($15,000 and above) Dr . Albert C . England III and Mrs . Barbara Mr . Charles T . and Mrs . Trudy L . Medhurst A . England* Dr . Michael Moore* Virginia Farmer Estate (Dec) Mr . James R . and Ms . Candace Penn Frame* Dr . Clifford M . and Mrs . Linda L . Nelson Mr . Paul M . and Mrs . Sharon L . Green* Mrs . Elizabeth W . and Dr . Edwin L . Prof . Bruno and Mrs . Wanda M . Nettl* Edward J . Krolick Estate (Dec)* Goldwasser* Mr . Thomas E . Nixon Barbara H . Noel Estate (Dec) Dr . Julie J . Gunn Dr . Jeffrey Russell and Dr . Rebecca Kliewer Mrs . Hermia G . Soo* Ms . Kathleen A . Harvey Olson* Mr . Paul B . and Mrs . Virginia L . Uhlenhop* Dr . Eve E . Harwood* Dr . George A . Pagels* Mr . Neil Winder Mr . James S . Hatch Mrs . Marjorie A . Perrino* Prof . John Wustman* Mr . Dennis Helmrich Mr . Dean A . Pollack and Ms . Lizabeth A . Mr . Reiner H . and Mrs . Lori Hinner Wilson Presto ($1,000 to $14,999) Ms . Mary C . Hoffman Mr . Ian M . Pozdol Beth L . Armsey* Mr . Robert L . and Mrs . Cynthia A . Hormell* Dr . Edward and Mrs . Lois Beck Rath* Mrs . Fern Hodge Armstrong* Dr . Albert C . Hughes Jr . and Mrs . Charlotte Donald and Gay Roberts* Mr . Louis S . Bergonzi and Mr . Robert M . E . Hughes Derin S . Rominger MD* Steck Dr . Raymond V . and Mrs . Lori L . Janevicius* Dr . Paul K . and Dr . Karen A . Mrs . Jane G . Bonaldi LTC Thomas D . Jewett Altay-Rosenberg* Dr . Alan R . and Mrs . Joyce L . Branfman* Mr . Bruce C . Johnson* Dr . Holly A . Rosencranz and Dr . Warren G . Ms . Sarah E . Chernick Buerger* Mr . Ronald B . Johnson* Lavey* Mrs . Deborah Hatch Chapin Mr . Thomas J . Keegan and Ms . Nancy L . Prof . Barak Rosenshine Mr . Brian C . Claricoates Moskowitz Mrs . Frances A . Schlanger Mrs . Lynd W . Corley* Ms . Sandra R . Leonard Mr . Richard H . and Mrs . Janet D . Mr . William Crum* Dr . Sara de Mundo Lo* Schroeder* Mr . Roger R . Cunningham* Dr . Peter J . and Mrs . Elizabeth M . March* Mr . Glendon A . and Mrs . Julie A . Schuster* Mr . Richard C . and Ms . Jennifer A . Daniels Dr . Steven E . and Mrs . Jennifer S . Mather* Mrs . Frances G . Shiplett Mrs . Lynne E . Denig Dr . Gordon W . Mathie Mr . Melvyn A . Skvarla* Mrs . Anne A . Ehrlich Mrs . Diane Emiko Matsuura Dr . Elizabeth A . Small* Mr . Donald O . Maylath* Judge Lawrence A . Smith Jr . and The Reverend Donna Hacker Smith*

52 sonorities Ms . Kathryn J . Sobeski Mr . Craig R . and Mrs . Margaret Resce Mr . Wayne G . and Mrs . Virginia Anne Ms . Shirley A . Soo* Milkint* Skelton Weber* Mrs . Margaret P . Stillwell* Prof . William and Prof . Charlotte Mattax Mr . James T . and Mrs . Cheryl B . Wormley* Mr . G . Gregory and Mrs . Anne D . Moersch Mr . Robert L . Zarbock* Taubeneck* Ms . Erica A . Montgomery and Mr . Chris A . Robert E . Thomas Estate (Dec) Matten Allegro ($200 to $499) Mr . Joseph E . and Mrs . Lois E . Morrow Michael L . VanBlaricum PhD and Pamela Mr . David and Mrs . Betty Allen Calvetti VanBlaricum PhD* Mrs . Robbi Muir Prof . Carl J . and Mrs . Nadja H . Altstetter* Mrs . Sandra Smith Volk* Mr . Curtis A . Olson Mr . Glenn R . Anderson Mr . John H . Walter and Mrs . Joy Crane Mr . Steven R . and Mrs . Laurie D . Dr . Richard E . and Mrs . Carolyn B . Thornton-Walter* Oreskovich Anderson Dr . Mary J . Palmer Ms . Claretha Anthony Vivace ($500 to $999) Mr . William J . Pananos Dr . Anton E . Armstrong Dr . Carolyn R . Paulin and Dr . Paul Vermel Dr . J . Ralph Alexander Jr .* Dr . David F . and Mrs . Martha R . Atwater Mrs . Carol Caveglia Price Ms . Forough Minou Archer* George O . and Sandra L . Batzli* Mr . Allan H . and Mrs . Dorothy E . Romberg Mr . Erwin O . and Mrs . Linda A . Arends* Mr . Ruel Becker Ms . Susan E . Ross Mr . Bruce K . Ballard Mr . Michael G . and Mrs . Joyce A . Billing Dr . Edwin A . Scharlau II and Mrs . Carol A . Mr . Theodore J . and Mrs . Sharon M . Scharlau* Dr . Cathrine Blom and Dr . Gordon A . Barczak Baym* Dr . Paul K . and Mrs . Susan K . Schlesinger* Patrick J . Bitterman* Dr . Philip V . and Mrs . Christine W . Bohlman Mr . Thomas E . and Mrs . Patricia L . Mr . Craig W . and Mrs . Nancy E . Branigan Schrickel* Dr . Gary C . Borchardt Mr . Clark A . and Mrs . Cynthia M . Breeze Mrs . Christie B . Schuetz* Mr . Ralph D . Butler Mr . Michael P . Chu Dr . Dennis J . Schwarzentraub* Dr . Scott D . and Mrs . Kim E . Carlson Mr . Philip A . and Mrs . Lauren N . Coleman Mr . William R . and Mrs . Kathryn J . Scott Mrs . Janet K . and Mr . Jeffrey M . Carter The Honorable Ann A . Einhorn* Mr . Jeffrey A . and Mrs . Janice C . Sibley Mr . Scott J . and Mrs . Janice K . Casagrande Mr . James P . and Mrs . Lauren R . Emme Mr . Frederick V . Simon (Dec) Mr . Joseph J . and Mrs . Anna Y . Catalano Ms . Sara J . Emme Mr . Stephen J . Spontak Jr . Mr . Roger C . Clark* Mr . Cleve W . Fenley Mrs . Martha H . Stiehl Mr . Jeff Clodfelter Mr . Ronald H . Filler* Prof . Nicholas and Prof . Mary S . Temperley* Mr . Richard B . Cogdal* Mr . Roger C . and Mrs . Linda C . Fornell* Prof . Albert J . Valocchi* Mrs . Laura J . and Mr . Douglas Coster Prof . Marvin and Mrs . Matilda Frankel* Dr . Peter and Mrs . Nancy Van Den Honert Dr . Gregory Michael Cunningham and Ms . Ms . Melva F . Gage* Gaye Ann Hofer Mr . Milton and Mrs . Carol R . Vasich Mr . James J . and Mrs . Jennifer A . Gettel Mr . Eduardo Diazmunoz and Mrs . Maria Mr . Jeffrey D . and Mrs . Kimberly Ann Wahl Mr . Andrew L . Goldberg Teresa Martinez Ms . Joy S . Hamilton Mr . Robert F . and Mrs . Lisa Doak Mr . Joseph R . Hanley and Ms . Kristy L . Dr . David D . and Mrs . Mary K . Granato Mardis Dungan Dr . Barbara G . Jackson Prof . James A . Farmer Jr . and Prof . Helen S . Mrs . Maxine G . and Mr . James B . Kaler* Farmer* Mrs . Carol M . Kirk Ms . Judith A . Feutz Mr . David W . and Mrs . Jennifer L . Knickel Mrs . Margaret Anne Frampton (Dec)* Mrs . Diana E . Lenzi* Mr . Brent E . and Mrs . Mary Ann Frank Mrs . Deborah B . Lo Ms . Barbara J . Gawdzik Mrs . Martha Conn Mansfield Mrs . Barbara E . Geis Mr . Leonard G . and Mrs . Bridget G . Ms . Dorothy E . Gemberling* Marvin* Siletti Michael Mr . Nicholas Good Summer 2014: Local artists created murals Dr . Joe W . Grant Jr . and Mrs . Rebecca M . Mrs . Deborah A . and Mr . Ricky Mason for the windows in downtown Urbana. Grant Dr . June R . McKay The School of Music’s Chip McNeill (on Mr . John S . and Mrs . Virginia P . Mead the right) inspired Chris Evans, whose Dr . David M . Gross Mrs . Anna J . Merritt* work was displayed on the Urbana parking Mr . Charles E . Gullakson David and Sharron Mies garage. Mr . John W . and Mrs . Michelle S . Hackett Dr . Stephen Tipton Miles and Mrs . Kathleen Mr . Richard K . Haines Mae Killion* Mr . Eric L . Hammelman

winter 2015 53 Dr . James B . Hancock Dr . Albert D . and Mrs . Pamela G . Harrison Ms . Jenny G . and Mr . Richard D . Harvey Mr . Scott Douglas Hawbaker Ms . Heather Marie Hayes Hermanson Dr . James W . Hile and Dr . Nancy L . Whitaker Dr . Jesse E . Hopkins Jr . Mr . Donovan P . Hough Mr . Samuel M . Huber Dr . R . Bruce and Mrs . Sandra S . Huston Mrs . Ingrid Hutchings* Dr . Charles F . Isaacson Mr . Scott E . Jamison Mrs . Kathryn A . and Mr . Alan J . Janicek Mr . Rick R . and Mrs . Alice Joellenbeck Vinson M . and Linda G . Johnson Mr . John A . Katsinas* Ms . Elizabeth W . Kelley Mr . Robert G . and Mrs . Cynthia M .

Kennedy* Dee Photo Courtesy of John Mr . Jeffrey S . Kimpton Spring 2013: Professor of Oboe John Dee Mr . John W . Koenig Jr . performed with Itzhak Perlman during the Mrs . Linda S . Kranz Festival of the Arts Boca in Boca Raton, FL. Mary U . Kruse One of their last performances together Mrs . Maria Cesaria Lancaster was nearly 30 years ago. Mr . Ronald P . and Ms . Joan R . Larner Mrs . Marie E . Larsen Mr . David R . and Ms . Carol C . Larson Ms . Daeun Lee Dr . Kim R . Nickelson Mrs . R . Janice and Prof . Donald R . Sherbert Mr . David William and Mrs . Barbara R . Mr . Lee E . Nickelson Jr . and Ms . Lynda S . Ms . Peggy P . Sobolewski Lembke* Dautenhahn Dr . William J . Stanley Dr . William A . Longacre Mr . Tracy J . Nugent* Mr . Scott L . Swinderman Mr . Alan B . Lopatka Mrs . Jean and Prof . Howard Osborn* Mr . Henry I . Szujewski and Ms . Ann T . Mr . Craig R . and Mrs . Leslie Ann Lowry Ms . Kristina Pappademos McDowell Mr . Stephen J . Madden III and Mrs . Janet M . Mrs . Margene K . Pappas Emile J . (Dec) and Elizabeth M . Talbot Madden Ms . Diane E . Penny Mr . William P . Theisen and Ms . Amy A . Dr . Laurie C . Matheson Mr . Michael S . Pettersen and Dr . Jan McArthur Mr . William H . May Aramini Mr . Mark A . Timko Mr . Robert E . McIntire Mr . James R . Ponder and Ms . Jennifer A . Dr . Herbert H . and Mrs . Dora C . Tsang Mr . Cottrell R . Meadors and Ms . Barbara C . Sochacki Mrs . Susan T . Van Sickle Hunter Dr . Stephen L . and Dr . Esther Portnoy* Ms . Diane K . Walkup Ms . Irene O . Metzger Dr . William P . and Mrs . Roberta K . Potsic Dr . Larry F . Ward Mr . William R . and Mrs . Martha Mrs . Karyn A . Quandt Mr . Russell A . and Mrs . Cheryl L . Weber* Behr-Miller* Mrs . Lois M . Richter Dr . Hong Wei and Mr . Yuankun Ni Mr . LeRae Jon Mitchell Mr . Luzern A . Richter Mr . Gerald G . and Mrs . Mary Beth Mr . Jeffrey Leigh Modlin Mr . Jeffrey L . and Mrs . Joyce Kim-Rohrer Weichbrodt Ms . Ruth A . Moore Dr . Sylvia L . Ross Mrs . Ellen M . West Mr . Robert E . Morgan* Mrs . Janice F . and Melvin Rothbaum* Dr . David J . and Mrs . Christina Catanzaro Mr . Mark W . Mosley and Mrs . Sarah J . Dr . James P . Rouintree Whippo* Good Mr . Kenneth W . Rubin Mr . John E . and Mrs . Nancy J . Whitecar Mr . Craig Myers Mr . Thomas K . and Mrs . Cheryl M . Scanlan Mrs . Dorothy W . Williams* Mr . Frank H . Mynard III* Mr . Benjamin H . and Mrs . Amanda Kathryn Mr . Richard Lee Williams Dr . Daniel M . Neuman Leonard Shanbaum Mr . Rodney J . and Mrs . Susan M . Williams

54 sonorities Ms . Susan J . Williams Mr . Michael Boykins Mr . Allen H . and Mrs . Susan E . Feige Mr . Ralph S . and Mrs . Gretka Y . Wolfe Dr . Lynn Grabher Bradtke Mr . Timothy A . and Mrs . Anne Hastings Prof . Richard E . Ziegler* Peter and Judith Braunfeld Fiedler Ms . Karen E . Bretz Mr . Robert G . Fisher Allegretto ($100 to $199) Ms . Kareen G . Britt Mr . Douglas W . and Mrs . Karen Clausius Fitzgerald Dr . Daniel C . and Mrs . Olga Adams Mrs . Jennifer Williams Brown Dr . Joseph R . Flummerfelt Mr . William P . Alberth Mr . Robert E . Bulley Mrs . Anne F . Flynn* Mrs . Doreve Alde-and Mr . Richard B . Dr . L . Kathryn Bumpass Mr . David B . and Mrs . Sarah J . Fodor Cridlebaugh The Reverend Stephen S . Burgener Mr . Jorge I . Forti Dr . Barbara A . Allen Dr . Wesley R . Burghardt and Ms . Angela M . Dr . Diane Foust and Mr . James A . Nelson Mr . Eddie K . and Mrs . Donetta S . Allen Stramaglia Mrs . Roxanne C . and Mr . John D . Frey* Kenneth W . Altman MD Mr . Stanley R . Cain Prof . Stanley Friedman Mr . David G . and Mrs . Sharon M . Anderson Dr . Donald G . Caldwell Mrs . Mary M . Gaddy Ms . Dianna K . Armstrong* Mr . Michael A . Cantrell Mrs . Cheryl S . and Mr . James B . Gibson Mr . Charles C . Aschbrenner and Mr . Chris Ms . Sandra Carr T . Spencer Ms . Clara E . Castelo Ms . Renee Gladstone Ms . Susanne L . Aultz Mrs . Mary A . Champion Mr . Joseph Dale Goble* Mrs . Eileen J . Balliett Dr . Peter M .J . Chang and Ms . Jean Liu Mr . Thomas E . Goettsche Dr . David C . and Mrs . Debra S . Barford Mr . Henry E . Charles Dr . John S . and Mrs . Shirley V . Goin Mr . Robert M . Barnes Jr . and Mrs . Lisa-Ann Mrs . Lindsey P . Christiansen Mr . Allan D . Goldman Lingner Barnes Mr . Charles Cinnamon Dr . Elizabeth Goldsmith-Conley Mr . James A . Beckwith Ms . Phyllis L . Cline Mr . Perry Goldstein Dr . Robert S . and Mrs . Carol J . Behnke Ms . Kim D . Cook Mr . Gregory M . Grobarcik Dr . Michael D . and Mrs . Judith K . Bennett Dr . Gerard J . Corcoran Ms . Jane A . Groft Mr . Richard B . Biagi Miss Judith Kay Cotter Mr . Glen E . Gullakson Dr . Jonathan T . and Mrs . Sarah L . McKibben Mrs . Elaine D . and Mr . Paul T . Cottey Mr . Gordon J . and Mrs . Gloria L . Gulliford Black Mr . Paul Couzens Mr . Dave E . (Dec) and Mrs . Caryn K . Mr . Alan W . and Mrs . Maria C . Blair Mr . Robert Eugene Cowan (Dec) Habley Ms . Alesia A . Bock Dr . Grady E . Coyle Dr . Barbara Haggh-Huglo Ms . Marlah Bonner-McDuffie Mrs . Theresa K . Creighton Ms . Andrea L . Hail Mr . Joseph A . and Mrs . Jill A . Bonucci Dr . Warren J . and Mrs . Marsha K . Darcy Mr . Dale A . Hallerberg and Dr . Brenda L . Brak Mr . Michael B . Davis Mrs . Candice A . Hansen Ms . Deborah M . Day* Mrs . Shari E . and Mr . Paul R . Hansen Mrs . Susan B . DeWolf Mr . Joseph C . Hartman Prof . Harold G . and Mrs . Nancy A . Diamond* Mr . Timothy P . and Mrs . Gretchen Graepp Haskett Russell B . Dieterich MD Dr . James S . and Mrs . Susan Hatfield* Dr . Delbert D . Disselhorst Mr . John J . and Mrs . Marilyn H . Haynie Mr . Gerald R . and Mrs . Cathy L . Ditto Mrs . Caryl A . Henkel Mr . Charles E . and Mrs . M . Darlene Dixon Ms . Karen Ann Higdon Mr . Scott W . Duff Dr . Edward N . and Mrs . Ferial Hook* Ms . Marilyn M . Duginger Dr . J . Barry Howell The Reverend Wyeth W . Duncan Ms . Jane P . Hummel Mr . John G . Dunkelberger II* Mr . Philip Hummer Mr . Kristopher J . and Mrs . Cheryl M . Einsweiler Mr . David A . Iffland Dr . David Eiseman Mrs . Janice C . Impey Mr . Mark E . Elledge Mrs . Lois S . Irion Mr . John A . Jackanicz Hsin Yi Hsin Yi Lin Mr . Stephen L . and Mrs . Gail Enda Summer 2014: Students staged Lully’s Mr . Rodney L . and Mrs . Aldena L . Everhart Mrs . Laurine Jannusch Armide in Le Château de la voix summer Ms . Dawn Fairchild Mr . William A . and Mrs . Gail A . Jindrich music academy. Associate Professor Mr . Frederick D . and Mrs . Constance A . Carlyle W . and Judith M . Johnson Cynthia Haymon Coleman founded the Fairchild Dr . James R . Johnson academy this year.

winter 2015 55 Mrs . Mary L . Johnson David T . Rubin MD Dr . Richard B . Jonas Mr . Robert John and Mrs . Elda Louise Ms . Elizabeth R . Jones Ruckrigel Ms . Jean MacRae Jones Mr . Marvin A . Sackner Dr . Dennis K . M . Kam Mr . George J . Sanders Mr . Howard V . Kennedy Mr . Joseph G . Sanstrom Mr . Frederick J . Kent Mr . Paul D . and Mrs . Debra A . Sarvela Ms . Terra L . Kern Mr . Joel D . and Mrs . Sarah L . Schad Mr . R . Edward and Mrs . Barbara Kiefer Mr . Ralph S . Schlesinger Sarah Scully Sarah Mr . Herbert Schneiderman Mrs . Karen L . Kimball Summer 2014: The Canadian Brass, Mr . Cory N . Kniepp including Assistant Professor of Horn Dr . Steven E . Schopp Dr . Kent L . and Mrs . Karen A . Knoernschild Bernhard Scully and former Brass member Mr . Wallace B . and Mrs . Patricia J . Schroth Ms . Marilyn L . Kohl and Professor of Trumpet Ronald Romm Mr . John F . and Mrs . Nancy K . Schwegler participated in a Summer Brass Chamber Mr . William R . Komarek Mrs . Tobi L .S . Sellekaerts Music Workshop on the campus of UI Mr . Aaron T . and Mrs . E . Regan Shepley Mr . Michael K . Konrad titled Brass Act! Mr . William J . and Ms . Carol A . Kubitz* Mr . Michael E . Sheppard Mr . Andrew M . and Mrs . Susan M . Kunz Ms . Teresa A . Shine Mr . Grove Newhard Mower Dr . Gerald E . and Mrs . Ellen Green Mrs . Ellen and Mr . Marc Singer Kuroghlian Mr . Steve R . and Ms . Marian M . Mueller Mr . John D . and Mrs . Janet L . Skadden Mr . Richard T . Kvistad Ms . Phyllis Brill Munczek Prof . Robert M . and Mrs . Mary M . Skirvin* Mr . Boyd C . and Mrs . Heather LaFoon Mrs . Gerda T . Nelson (Dec) Mr . Ralph C . Skogh Dr . Daniel W . Laginya Mrs . Patricia S . Newman Gregory L . Skuta MD Mr . Thomas C . Lair Mr . William J . Nicholls Mr . Terry S . and Mrs . Katharine E . Slocum Dr . Marvin Lee Lamb and Mrs . Mary S . Mr . Nicholas A . Nicholson Mr . John M . and Mrs . Suzanne M . Claeys Mr . Gerald R . and Mrs . Mary Ann Norton Smentowski Prof . David A . and Mrs . Rise R . Lange* Mrs . Debra F . Novack Dr . Marilynn J . Smiley Dr . John R . Leisenring Dr . Eugene D . Novotney and Mrs . Alison Dr . William C . Smiley Terry R . Lepper DVM Hong-Novotney Mr . Donald L . Smith Mr . Mark Levit Mr . Thomas R . Oakley Mrs . Suzanne K . Smith Mr . Blake W . Linders Dr . K . Daniel and Dr . Susan G . Gilbert Mr . Jay and Mrs . Lucie Spieler O’Leary Mrs . Marilyn T . Lindholm Mr . David D . Sporny Mrs . Marjorie S . Olson The Reverend Gary D . Livesay and Mrs . Mr . M . Andrew Sprague* Prof . Susan H . Parisi and Prof . Herbert Valerie G . Vlahakis Mrs . Gail M . and Mr . Joseph Spytek Kellman Mrs . Joanne M . Lockard Mr . Brian K . and Mrs . Wendy Stabler Mrs . Karen D . Parrack Dr . Laura J . Luckadoo Mrs . Elizabeth M . Starkey and Mr . Elmer Mr . Robert F . Pattison Prof . Morgan J . Lynge Jr . and Mrs . Brenda Starkey Jr . Mr . David L . Patton Callahan Lynge* Mrs . Cecile G . and Mr . Allan L . Steinberg* Mr . Douglas L . Pinney Dr . Walter J . and Mrs . Marguerite F . Nancy E . Stutsman Ms . Katherine E . Pirkle Maguire* Mrs . Blanche J . Sudman* Mr . Kenneth R . Pletcher Dr . Robert M . and Mrs . Susan Bekermeier Dr . John N . Sumrall Jr . Makeever Dr . Michael Joseph and Mrs . Diane M . Potts Ms . Jennifer L . Hested and Mr . Joseph A . Mr . Richard S . Marsho Mrs . Janet S . and Mr . Michael W . Preston Swayne Ms . Anne S . Martel Mr . Roland H . and Mrs . Kelly A . Raffel Mr . Lawrence E . Thee Mr . Michael A . Maschek Mr . Stanley E . Ransom Dr . Darius L . Thieme Mr . Stephen A . and Mrs . Anne Bronson Ms . Phyllis Rappeport Mrs . Susan Kuriga Thorne McClary* Dr . Janice L . Razaq Mrs . Jacqueline A . Tilles Mr . Myron D . and Mrs . Nancy Ellen McLain Dr . Lou and Mrs . Sue Ann B . Reinisch Marie Griffith Tompkins* Mr . Patrick G . Meehan and Ms . Julie A . Mr . Richard W . and Mrs . Gertrude G . Mr . Robert L . and Mrs . Mary Wilkes Towner O’Connor Reynolds* Prof . H . C . and Mrs . Pola Fotitch Triandis* Mrs . Ellen M . Mettler Mr . M . John Richard Mr . Jeffrey W . Trimble John W . Meyer MD Mr . George G . Richardson Mr . David A . and Mrs . Deborah M . Trotter* Mr . Dale E . and Mrs . Rita J . Millis Dr . Selma K . Richardson* Ms . Irene A . Turner Mr . Brian S . Mitchell Mr . Robert J . and Mrs . Diana L . Rogier Dr . Gary L . Unruh Mr . Truman A . and Mrs . Susan L . Moore Mrs . Kathryn M . Romans Dr . Paul J . Vander Gheynst

56 sonorities Mr . John Austin Van Hook Dr . Michael L . and Mrs . Diane L . Venn Mr . Douglas F . Wachob Mr . James S . and Mrs . Shirley E . Waddell* Dr . John B . and Mrs . Ruth E . Weaver* Dr . Calvin E . Weber Mr . Malcolm M . Whipple Dr . Robert A . and Dr . Jacqueline H . Wiggins Mr . Mark A . and Mrs . Susan E . Wisthuff Mr . A . Scott Wood Prof . Scott Alan and Mrs . Marian Kuethe Wyatt Dr . William R . YaDeau Mr . Roger L . and Mrs . Dolores G . Yarbrough* Dr . Daniel C . and Mrs . Olga Adams

Corporations, Foundations, and Organizations Courtesy of Yvonne Redman Yvonne Courtesy of Adlai E . Stevenson High School District Summer 2014: from left to right: Maura Carr (undergraduate in #125 Music Education), Michael Foster (DMA ’13), D. Scott Ferguson American Endowment Foundation (MM ’94), Mallory Hanley (BM ’12), Yvonne Redman (professor of American International Group, Inc . voice) participated in the Program for Lyric Theatre in Italy. Atherton Grain Company, Inc . The Boeing Company BP Foundation Lockheed Martin Foundation Matching Gifts M . R . Bauer Foundation Champaign Urbana Stamp Club American International Group, Inc . Macy’s Foundation The Chicago Community Foundation The Boeing Company Mesirow Financial Chicago Community Trust BP Foundation Nokia Initiative for Charitable Employees Community Foundation of East Central Country Insurance & Financial Services Illinois The Northern Trust Company ExxonMobil Foundation Country Insurance & Financial Services Opera Illinois League Fidelity Foundation ExxonMobil Foundation Our Lady of Loretto Men’s Club GE Foundation Fidelity Charitable Gift Fund Pfizer Foundation IBM Matching Grants Program Fidelity Foundation PNC Foundation Lockheed Martin Foundation Franciscan Interprovincial Novitiate St . The Presser Foundation Macy’s Foundation Francis Friary Roe Family Trust Nokia Initiative for Charitable Employees GE Foundation Schwab Charitable Fund The Northern Trust Company Golden Lyre Foundation IL Federation of Siemens Energy & Automation, Inc . Pfizer Foundation Music Clubs Sound Enterprises PNC Foundation The Hindsley Transcriptions, Ltd . Sprague’s Kinderhook Lodge, Ltd . Siemens Energy & Automation, Inc . IBM Matching Grants Program State Farm Companies Foundation State Farm Companies Foundation Illinois Opera Theatre Enthusiasts Student Foundation of I .S .M .T .A . Symetra Financial Ireetec, Inc . Symetra Financial Tampa Bay Times Fund Johns Revocable Family Trust Tampa Bay Times Fund Wells Fargo Foundation Katsinas Restaurant LLC DBA Round Barn U S. . Charitable Gift Trust Banquet Center Vanguard Charitable Endowment Program Wells Fargo Foundation

winter 2015 57 Non-profit Org . U .S . Postage PAID Permit No . 100 Champaign, IL

1114 West Nevada Street Urbana, Illinois 61801