Fall 2019

FanfareDepartment of Music & Dance College of Humanities & Fine Arts T IS WITH a great deal of pleasure and an even greater sense of responsibility that I send out my first letter as chair of the Department of Music and Dance at the University of Massachusetts Amherst. I I am completely aware of the tremendous charge that I am assuming, and am quite humbled by it. I am equally aware of the remarkably high standards set by my predecessors. The development of our department, starting with Philip Bezanson in the late 1960s through Charles Bestor in the ’70s, continuing in a direct line through Jeff Cox and Roberta Marvin, has been an extraordinary one. I consider myself lucky to have been able to learn from the chairs with whom I have worked, and I am grateful to have had such outstanding mentors to follow. I am also grateful to my music and dance department colleagues for their show of support and trust in recommending me for my new role. I hope to live up to their belief in me and will do my best to continue and enrich a supportive and creative learning environment. As we all know, the Department of Music and Dance is a vibrant and exciting place to study and to teach. There is an extraordinary amount of scholarship, pedagogy, and performance taking place here, literally on a daily basis. One of the goals of my tenure will be to continue to explore meaningful ways for our students and faculty to share their work not only with one another, but with the university and the larger community as well. I am particularly interested in expanding our reach to underserved communities in places like Greenfield, Holyoke, and Springfield, and also improving our recruitment efforts to make the department more diverse. Finally, I pledge to our alumni to maintain the high academic and musical standards that we have worked so hard to attain, to expand FESTIVAL & SYMPOSIUM and enrich our offerings, and to maintain and grow our regional and national reputation. —Salvatore Macchia FROM THE CHAIR FROM

CONTACT THE DEPARTMENT OF MUSIC & DANCE Looking Back To Bach | APRIL 17-19, 2015 FEATURING: ST. JOHN PASSION, APR. 18 AT GRACE EPISCOPAL CHURCH Bach Again! SYMPOSIUM EVENTS APR. 17-18 AT UMASS. MORE AT umass.edu/music/BachFestivalSchedule2015 ON THE COVER: Students perform at January’s Visit us BACH FESTIVAL & SYMPOSIUM As in the past, a variety of musical and academic events were held REFLECT/RESPOND Concert online! prior to the main Festival & Symposium weekend. These included (photo: Derek Fowles) RETURNS TO CAMPUS “Bach in the Subways” performances in late March, part of the annual international observance of Bach’s birthday. Amanda Stenroos brought umass.edu/music HE BANNER HANGING over downtown Amherst heralded the students, alumni, and volunteers together for informal concerts in news—the Bach Festival & Symposium was indeed returning to Amherst’s coffeehouses and bookstores as part of the town-sponsored TUMass in grand fashion. “Jamherst” events. Soon afterward, lectures by Professor of Art History FANFARE 2019 umass.edu/dance The university’s Department of Music and Dance is uniquely suited to Nicola Courtright, chair of Architectural Studies at Amherst College, and host this biennial celebration of all things Bach, thanks in large part to its Professor Joseph Levine, chair of the UMass Philosophy Department, Editors: Matt Longhi, Patricia Sullivan, Eric Roth internationally renowned roster of scholars and musicians. It’s that rare served as preludes for further academic discussions to come. combination that draws people from all over the world, including fans The Festival & Symposium weekend opened on April 12 with a free Designer: Jack Cavacco like Pradeep Gothoskar, an astrophysicist who made the 12,000-mile trek concert by faculty pianist Gilles Vonsattel in Bezanson Recital Hall. Photo credits: Eric Berlin, Sarah Berman, STAY IN TOUCH! from his home in Pune, India, to attend this year’s events. Vonsattel treated a packed house to tour-de-force performances of Derek Fowles, Joseph Kushick, Anthony In planning the 2019 Bach Festival & Symposium, the department had Bach’s Preludes in C Major and C Minor from The Well-Tempered Clavier Lee, Paula Lobo, Claire McAdams, Marjorie To join our email list, or to send alumni news items, the daunting task of topping the two previous iterations in 2015 and 2017, and Three Counterpoints from Art of Fugue, plus works by Mendelssohn, Melnick, Mayank Mishra, Sarah Pettinella, email to [email protected] which featured groundbreaking scholarly presentations and notable per- Beethoven, and Shostakovich. Afterward, Professor Emeritus Ernest Bill Sitler, Elizabeth Solaka, John Solem Follow us on Facebook and (now) Instagram— formances that earned accolades from the New York Times and others. May led a panel discussion, titled “Intercultural and Multidisciplinary @umassmusicdance Festival organizers Elizabeth Chang, William Hite, and Tony Thornton, Perspectives on Bach’s St. Matthew Passion,” which provided a schol- along with Amanda Stenroos ’15MM, included a few new twists this arly backdrop for the festival’s spotlight work. The panel, which was Check out the calendar: umass.edu/music/events year by adding an Alumni Cantata concert and moving the site of the live-streamed on Facebook, included symposium presenters Lydia Goehr, Music: 413-545-2227 • Dance: 413-545-6064 centerpiece performance (Bach’s massive St. Matthew Passion) from the Ruth HaCohen, and Yo Tomita, along with Thomas Cressy of Cornell familiar but limited confines of Amherst’s Grace Church to the Fine Arts University, Michael Marissen of Swarthmore College, and Andrea Moore Thanks to Jack Cavacco for 20+ years of wonderful work in designing Center Concert Hall. of Smith College. Fanfare magazine, and congratulations on your retirement! 2 / F A N F A R E F A N F A R E / 3 Bach Festival Alumni Cantata Orchestra performers

The next morning, the focus shifted to the day-long scholarly sympo- sium, ambitiously titled “Bach in the Imaginary Museum and Bach Re- Imagined: Contemporary Perspectives on Performing and Re-Creating Bach.” Organized by Associate Professor Erinn E. Knyt and Ernest May, the event explored how Bach’s music had been re-imagined since its revival by Mendelssohn almost two centuries ago. Lydia Goehr, professor of philosophy at Columbia University, delivered a keynote address titled “The Work of Music: Situating Bach in a Public Culture of Blasphemy, De- votion, and Resurrection.” An expert in German aesthetic theory, Goehr is a recipient of Mellon, Getty, and Guggenheim Fellowships, and author of The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. The symposium also included scholarly presentations by an inter- national roster of music theorists and historians, including Ernest May, Owen Belcher, Erinn E. Knyt, and Emiliano Ricciardi from UMass; Maureen Carr, Penn State University; Ellen Exner ’00, New England Conservatory; Ruth HaCohen, Hebrew University of Jerusalem; Karolina Kolinek-Siechowicz, University of Warsaw and University of California Davis; Peter Kupfer, Southern Methodist University; John Lutterman, University of Alaska–Anchorage; Yo Tomita, Queen’s University, Belfast; and independent researcher Tekla Babyak. Following the day’s academic explorations, the focus shifted to the Fine Arts Center Concert Hall for a moving and powerful rendition of Bach’s St. Matthew Passion, widely viewed as one of the greatest mas- terpieces of Western music. The performance was led by Andrew Megill, conductor of the Montreal Symphony Orchestra Chorus and the Carmel Bach Festival Chorale. The Festival Chorus, which was divided into two parts as Bach envisioned, was expertly prepared by chorus master Tony Thornton, and included the UMass Chamber Choir, the Illuminati Vocal Arts Ensemble, and the Hampshire Young People’s Chorus led by K.C. Conlan. The Festival Orchestra was also split into two, and featured numerous UMass students and alumni led by faculty members Elizabeth Chang as concertmaster, violist Kathryn Lockwood, oboist Fredric T. Cohen, bassist Salvatore Macchia, and bassoonist Rémy Taghavi. Symposium presenters Voice faculty William Hite (Evangelist) anchored a stellar roster of vocal soloists, which included Paul Max Tipton (Christus), fellow faculty mem- ber Jamie-Rose Guarrine (soprano), and guests Krista River (mezzo- soprano), Robert Stahley (tenor), and John Salvi (baritone). The result was a sweeping triumph, one that won’t soon be forgotten by the roughly 900 concertgoers. On Sunday, the festival concluded with two free performances of Bach cantatas—the ever-popular Coffee Cantata at Amherst Coffee, and a special Alumni Cantata Concert that afternoon led by Jeffrey Grossman, continuo/director. Performers included Maki Matsui ’13MM, soprano; Liana Gineitis ’15, mezzo-soprano; Eric Christopher Perry ’12MM, tenor; Elijah Blaisdell, bass (guest); Madeleine Jansen ’13MM, violin; Amanda Stenroos ’15MM, violin; Jonathan Livioco ’17MM, viola; Wayne Smith ’12MM, cello; David Casali ’12, bass; Catalina Arrubla ’89MM, oboe; Helen Cowles ’92MM, oboe; Rémy Taghavi, bassoon (faculty); Steve Felix ’12, trumpet. In total, the 2019 Bach Festival & Symposium served as a vivid reminder of the famous declaration by Johannes Brahms: “Study Bach. There you will find everything.”

Clockwise from left: Robert Stern and Dorothy Ornest; Philip Bezanson; Fred Cohen; Chapel Jazz Ensemble

4 / F A N F A R E Lydia Goehr Gilles Vonsattel Andrew Megill with Jamie-Rose Guarrine F A N F A R E / 5 Dorfman’s “Picture This” OR THIS YEAR’S major dance performance, the first to take place in College dancers immersed themselves in “Choreo,” with weekly rehears- the FAC Concert Hall in almost 40 years, the UMass Amherst Dance als as well as Limón technique classes that embodied the concepts of Fprogram staged a Limón legacy concert titled Reflect/Respond. A weight, fall and reflect/rebound, as well as time and space. Addition- key reason for this decision was the desire to present a performance that ally, four members of the Limón Company were in residence at UMass, focused on one of the masterpieces of the modern dance canon—in this participating in educational and community engagement activities under case, José Limón’s seminal “A Choreographic Offering.” the direction of Assistant Professor of Dance Education Molly Christie Associate Professor of Modern Dance Paul Dennis, who performed González. with the Limón Dance Company from 1990 to 1997, commented that As a further challenge to our dancers, the UMass Dance faculty pub- Exploring the choice was rooted in the UMass dance faculty’s deep respect for the lished a request for proposals to commission a new work inspired by and foundations from which today’s contemporary dance techniques have as a reflection of “Choreo.” From the numerous submissions, the faculty Limón’s Legacy evolved, and the embodied knowledge that they provide. For example, he chose “Bessie” awardee and Guggenheim fellow David Dorfman’s com- cites “technique as a point of inquiry” as a philosophy that examines how pelling vision for a substantial new work titled “Picture This.” Dorfman is UMASS DANCE RETURNS the physical extremes inherent in these practices can unlock creative and one of the nation’s leading choreographers with previous commissions communicative power, and pave the way for psychological (some would by London’s Bedlam Dance Company, d9 Dance Collective in Seattle, and TO FAC CONCERT HALL say even spiritual) discoveries. Prince Music Theater in Philadelphia. “Picture This” is Dorfman’s sublime According to Dennis, “This idea was the very start for modern dance reflection and response to Limón, as well as a glimpse into our society, pioneers like Doris Humphrey and Martha Graham, Charles Weidman, our relationships, and how we might imagine a future beyond the now. and Hanya Holm, as well as the second generation of modern dance After many months of preparation, Reflect/Respond: A Limón Dance choreographers like José Limón, who studied and danced with the Legacy Concert took place at the FAC Concert Hall on January 25, and Humphrey-Weidman Company in the 1930s and ’40s. In developing the was by all accounts a resounding success, both artistically and in terms model for Reflect/Respond, we hoped to provide students with a deep of the audience’s heartfelt response. In addition to “A Choreographic pedagogy, one that informs their dance studies with both historical Offering” and “Picture This,” the audience was also treated to a powerful context and contemporary relevance.” performance by Spratt and Glista of Limón’s exquisite duet, “The Exiles.” As an authorized régisseur, Dennis was able to secure licensing and As to how to capitalize on that success, Dennis commented, “We are directing agreements that allowed UMass student dancers to perform “A planning future iterations of this performance model that will focus on Choreographic Offering” alongside Limón Company dancers Savannah luminaries such as Martha Graham, Paul Taylor, Katherine Dunham, and Spratt and David Glista. Throughout the fall semester, 12 UMass/Five Anna Sokolow, among others. Stay tuned!”

Limón Company dancers Savannah Spratt and David Glista performing “The Exiles”

Limón’s “A Choreographic Offering”

6 / F A N F A R E Clockwise from far left: Grace McKay, Matt Twaddle, Rashaad Greene, Brian Martin new work, The Triangle, alongside the U.S. Alumni premiere of Roy Assaf’s GIRLS. As a choreogra- pher, Rebecca has recently been commissioned by Nashville Ballet, Middle Tennessee State In the fall of 2018, Kiera Cecchini ’17BFA co- University, and New Dialect. Aston founded a local dance/artist collective, Visions, McCullough Accolades in Manchester, Conn., which is preparing its de- Erica Weiss ’18BFA pursued her dance ad- but creative project in August 2019: an evening- ministration interests in NYC after graduation, DANCE SCIENCE length event featuring dance, music, and film, working as an office manager for a ballet studio SYMPOSIUM Come

DANCE as well as the work of other Manchester-based and as an administrative intern for the Mark artists. During her time at UMass, Kiera found a Morris Dance Center. She is currently located in N FEBRUARY, the Department passion for filmmaking through dance-making, the Chicagoland area where she is an instructor of Music and Dance hosted Fast and and has decided to expand upon those creative at the Arthur Murray Dance Center of Oakbrook Ia dance science symposium discoveries in the Film and Television Produc- Terrace, and performs on a regular basis in the titled “Movement is our Human tion MFA program at Sacred Heart University in ballroom vernacular. Birthright,” the first in a planned Furious Fairfield, Conn., beginning fall 2019. series of regional meetings that will bring dancers and dance for Jazz After graduation, Julianne DeRouin ’18BFA Faculty scientists together to discuss traveled to Israel to train with Kibbutz Con- emerging research within the field temporary Dance Company, learn company of dance science and medicine. Program repertoire, and study ballet, contemporary, In June 2018, Tom Vacanti spent two weeks in The event was organized by Aston improvisation, and modern. Upon returning to Venice, Italy, working with performance artists McCullough, who officially joined the U.S., Julianne has performed with orga- Vest and Page (Verena Stenke and Andrea the department later in 2019, and OR A PROGRAM that has garnered numer- by UMass Amherst graduate student Brian nizations in Boston and New Hampshire such Pagnes) and Andrigo & Aliprandi (dancer Mari- featured research conducted by ous awards over the years, the hits just Martin ’19MM was selected for inclusion in as Tony William’s Urban Nutcracker, Odyssey anna Andrigo and sound artist Aldo Aliprandi). professional dancers who are Fkept on coming for UMass Amherst Jazz the JEN’s Young Composer Showcase. Martin’s Opera, Orcha Dance Theater, and Saving Grace Collaborating with other international artists, simultaneously active in dance and African-American Music Studies in 2018-19. “Lookin’ Forward” was one of only six composi- Dance Ensemble, in prominent venues including Tom created work for the performance event science and medicine. Joining The presence of the JAAMS program among tions selected from a highly competitive nation- the Shubert Theater and the Huntington Avenue “Perception of the Self” which premiered at McCullough were speakers Siob- the elite of the collegiate ranks was further al field. During the final day of the conference, Theater. In June, Julianne returned to the stage the C32 Performing Art Work Space in Mestre, han Lawless from the School of reinforced by an article in the October 2018 he and the other winning student composers for Odyssey Opera’s production of La belle Italy. Tom also presented his most recent dance Graduate Studies at SUNY Down- issue of DownBeat magazine titled “Five Gems had the honor of hearing their works performed Hélène. work, “Toccata,” at the 2018 Corps de Ballet state Medical Center, Cecilia Fon- of Jazz Education.” The piece profiled the top by the U.S. Army Jazz Ambassadors. International Conference in Florence, Italy, and tanesi from the Graduate Center, jazz programs based at universities in small- or Still more great news came in April with Brendan Drake ’09BFA presented his newest at the Jacob’s Pillow Inside/Out Stage. City University of New York, and middle-sized communities, including those at the announcement of multiple winners in the work “Community Exercises for Sanctuary Elizabeth Coker from New York UMass Amherst, Middle Tennessee State, Indi- 2019 DownBeat Student Music Awards. Grace Spaces” at Danspace Project as part of their In October, Molly Christie González led a mas- University’s Tisch School of the ana University, Oberlin College and Conserva- McKay ’19 won the award for Outstanding Draftwork Series, as well as at The Dance Com- terclass for Five College Dance students in the Arts. The presentations included tory, and University of North Colorado. Performance, Undergraduate College Vocal plex in Boston. He will premiere three new small Katherine Dunham Technique and Philosophies, such topics as dance training and In the article, New York-based composer Jazz Soloist. Professor Catherine Jensen-Hole, works in 2020 as part of the Dance Now NYC which unites elements of traditional and social performance in research, as well Jeff Schneider ’13MM commented on the McKay’s instructor, helped with recording the Festival 25th Anniversary at Joe’s Pub. dance forms with classical ballet and modern as novel applications of dance- positive impact that the JAAMS program had music for the competition, which included dance. Molly is on the board of the Institute based practices or interventions on his musical development. “I feel like I ‘found Bobby Timmons’ Moanin’ and Cole Porter’s Emily Relyea-Spivack ’15BFA lives in NYC, for Dunham Technique Certification, and was in community contexts and clini- myself’ as a musician because of the strong, It’s All Right With Me. The award for Outstand- where she has been pursuing her freelance personally certified by Ms. Dunham in 2004. cal populations. supportive community that exists within the ing Performance, Undergraduate College dance career. Emily continued her dance educa- department,” said Schneider. Following the Blues/Pop/Rock Soloist went to pianist Matt tion by attending the American Dance Festival, Leslie Frye Maietta participated in a Chore- article’s release, JAAMS director Jeffrey W. Twaddle ’19. DownBeat awarded Twaddle for the Carolyn Dorfman Company Summer Dance ographers Showcase at the Greater Hartford Holmes commented, “Our faculty past and his solos on Jeffrey Holmes’s arrangement of Festival, and the FACT/San Francisco Summer Academy of the Arts in October. Leslie was present have always made our students the Snarky Puppy’s Lingus as performed by the Dance Lab Countertechnique Intensive. She one of five renowned choreographers who stars of the program, and this article is a pres- UMass Jazz Ensemble I, as well as his take on has been a company member of Chris Ferris worked with the Academy of the Arts tigious acknowledgment of the artistic, creative, the Brecker Brothers’ classic Creature of Many & Dancers since 2017, with which she has students to present an original work and educational process that continues today.” Faces with the UMass Brecker Brothers combo. performed at NYC Center Studios, Triskelion/ at the Learning Corridor’s Theater In January, the JAAMS program received The award for Outstanding Performance, WAXworks, Dixon Place, and The Roulette of the Performing Arts. additional affirmation at the Jazz Education Graduate College Blues/Pop/Rock Group went Intermedium. Emily has also performed original Network’s 2019 National Conference in Reno, to the UMass Odd Meters Combo, consisting of works with Six Degrees Dance Company as well Nevada. Graduate student Rashaad Greene Jeff Gertler ’21PhD, saxophone; Yuval Rosen as with NYC choreographer Megan Bowen. She ’20MM was selected to receive the David Baker ’19, guitar; Charles Vadala ’19, piano; Grace is a certified Pilates instructor, teaching cur- Collegiate Scholarship, presented annually to McKay ’19, vocals; Chris Robinson ’20MM, rently at Balanced Pilates and E. by Equinox. an outstanding student who has demonstrated bass; and Rashaad Greene ’20MM, drums. talent, spirit, and commitment to the field of Coached by Professor Fumi Tomita, the group Rebecca Steinberg ’13BFA finished up her jazz studies. Greene was selected for his skill was selected for their use of unusual meters in fourth season with the New Dialect Company as a percussionist and drummer, as well as his creating arrangements of various hits, includ- under the direction of Banning Bouldin. In Feb- work in providing free music lessons to low- ing Grace McKay’s take on Chaka Khan’s Ain’t Julianne DeRouin ’18BFA Emily Relyea-Spivak’15BFA ruary 2019, the company premiered Bouldin’s income students and performing at retirement Nobody and Yuval Rosen’s interpretation of the Brendan Drake ’09BFA homes. Also at the conference, a composition Beatles’ I Will. Kiera Cecchini ’17BFA 8 / F A N F A R E F A N F A R E / 9 lotte Ouellette ’20, clarinet, were among three at the W.E.B. Du Bois Library’s Concerts in the Students collegiate award winners in Worcester Schuber- Courtyard series, and starred in a holiday video UMASS MUSIC & DANCE WELL REPRESENTED AT MMEA CONFERENCE tiad’s “Classical Idol” competition in November produced by UMass Media Relations. Tuba student Tyler Woodbury ’20 was one of 2018. The winners performed a concert in April At the Massachusetts Music Educators As- Your Color Guard: How to Build a Guard You and only 10 semi-finalists chosen from an interna- at Worcester’s Mechanics Hall. sociation All-State Conference, which took Your Students Will Love.” On Friday, March- tional field for the Leonard Falcone Euphonium/ place February 28-March 2, 2019 in Boston, the ing Band Associate Director Thom Hannum Tuba Festival and Competition, one of the most Kailimi (Shelley) Li ’18PhD has accepted a Ensembles UMass Department of Music and Dance and presented “Building a Rhythmic Vocabulary for prestigious such competitions in the world. The faculty appointment at Shanghai University Minuteman Marching Band made their presence Your Winds” and our own Jazz Ensemble I, led final rounds take place in August 2019 at the of Sport, Shanghai, China, and begins work “The UMass production…sprang to life in felt. On Thursday, Associate Professor Stephen by Jeffrey W. Holmes, performed a concert Blue Lake Fine Arts Camp in Michigan. He also there in fall 2019. Shanghai University of Sport the intimate space, with imaginative staging, Paparo, conductor of the University Chorale, of music by Coltrane, Milhaud, Joni Mitchell, won the principal tuba position for the Monteux serves 6,000 students and is affiliated with the energetic performers, and singing that was presented “Teaching Essential Singing Skills in Michael League, Thad Jones, and the award- School and Music Festival this summer, and was Shanghai Education Bureau. 99% certified fresh.” So wrote Berkshire on Choir” and Marching Band Visual Coordinator winning tune Lookin’ Forward by Brian Martin awarded the Howard Lebow Memorial Scholar- Stage’s Fred Baumgarten about the UMass Christine McHugh Sirard spoke on “Help With ’19MM. ship by the UMass Music and Dance Depart- The Rebel Sax Quartet, consisting of Jack Mel- Opera presentation of Henry Purcell’s Dido and ment. Tyler is a 2015 graduate of Chicopee lish ’20, Zoe Stinson ’21, Allison Burke ’22, Aeneas along with Maurice Ravel’s L’Enfant et Comprehensive High School, where he studied and Christopher Leslie ’20, performed at the les Sortilèges on February 2 and 3 in Bowker with UMass music alum Tony Blanksteen ’11MM. International Saxophone Symposium, hosted Auditorium. The pairing of these two fantasti- annually by the U.S. Navy Band at George cal works, written over two centuries apart, UMASS OPERA presented Henry Purcell’s Christopher Leslie ’20, saxophone, and Char- Mason University. The group also performed presented a major challenge to the student cast. Dido was one of the earliest English operas, Dido and Aeneas along with Maurice Ravel’s and is based on the famous Greek myth of a L’Enfant et les Sortilèges. doomed love affair. L’Enfant, which is described as a “lyric fantasy opera,” features a libretto by the famed French author Collette, and evokes a magical world where inanimate objects come alive (and even sing!). Both performances featured the two complete one-act operas performed in English and with orchestra. The production’s guest director was Dustin Wills, a New York City-based theater and opera director and former artistic director of the Yale Sum- mer Cabaret. The music director was Amherst College’s Mark Lane Swanson, with musical preparation by UMass voice professor Marjorie Melnick. The Wind Ensemble, led by Matthew West- gate, completed its recording project of the CD Quicksilver, which is due to be released on MSR Classics in the fall of 2019. Having already recorded Stacy Garrop’s Quicksilver: Concerto Rebel Sax Quartet for Alto Saxophone with Wind Ensemble (2018) and David Maslanka’s Concerto No. 3 for Piano, Winds and Percussion (2017), the Ensemble added the recording of David Biedenbender’s What is Written in the Leaves (2019) this past spring. All three works were commissioned by the wind studies program as part of a larger

STUDENT & ENSEMBLE NEWS consortium. Jonathan Hulting-Cohen and Nadine Shank were the saxophone and piano soloists in the Garrop and Maslanka concertos. The ensemble also inaugurated a conductor-in- residence program, beginning with David Way- bright from Florida in fall 2018, and continuing with Myron Welch from Iowa in fall 2019. The UMass Amherst Symphony Orchestra, under the direction of Morihiko Nakahara, held its annual Concerto/Aria Competition on Febru- ary 26. Winners Michael Brown ’19MM (trom- bone), Christopher Leslie ’20, (saxophone), and Kristen Skovan ’19MM (oboe) performed concertos by Tomasi, Creston, and Haydn at the Wind Ensemble Tyler Woodbury ’20 orchestra’s final spring concert on April 29. Charlotte Ouillette ’20 Kailimi (Shelley) Li ’18PhD 10 / F A N F A R E F A N F A R E / 11 Tomita Releases New CD, Book PRIL WAS A remarkable month for Assistant Professor of Jazz and String Bass Fumi Tomita. A First, his newest CD, The Elephant Vanishes: Jazz Interpreta- tions of the Short Stories of Haruki Murakami, was released on OA2 Records. Murakami is an international literary star who is best known as the author of IQ84, a massive three-volume work of dystopian fantasy. Tomita had read The Elephant Vanishes years ago, and resolved to use it as the inspiration for a new work. He describes the seven short stories contained in the book as “modern blues stories,” exhibiting themes of desolation, negativity, and frustration colored with shades of dark humor. Along with saxophonist Jason Rigby, guitarist Mike Chancellor Subbaswamy, Tereza Lee, Felipe Salles Baggetta, pianist Art Hirahara, and drummer Mark Micklethwaite, Tomita reimagined Murakami’s literary themes and transformed them into rich musical landscapes. Writing for the Midwest Record, reviewer Chris Spector describes The Elephant Vanishes as “a fine change-up from a ‘bass ace.’” The Chamber Choir Celebrates 40 Years New Immigrant new CD was also featured in an article on jazz and literature by Stephanie Jones in the July issue of DownBeat magazine. At almost the same time, Tomita’s newest book, The Jazz Rhythm of Glorious Music Making Experience Section: A Manual for Band Directors, was published by Rowman & Littlefield. The book is a practical guide to improving a band’s sound OR THE 40TH consecutive year, the stirring sound of voices raised tions. In July 2017, the Chamber Choir was the chorus-in-residence at the by bolstering the foundation of the group, with chapters on each of in song filled the Amherst air thanks to the talented members of the Brescia (Italy) International Early Music Summer School & Festival. Premieres in the instruments in the rhythm section: bass, drums, piano, and guitar. FUMass Chamber Choir. The campus’s top choral ensemble celebrat- Fittingly, the 40th Anniversary events took place during Homecoming Other key topics include equipment and set up issues, performance ed its 40th anniversary in grand style this past November with a gather- Weekend, with alumni returning to campus for rehearsals, a celebra- Old Chapel practice, the rhythm section and its interrelationships, and sugges- ing of current students, alumni, supporters, and faculty past and present. tory dinner, and a performance alongside current choir members with tions for count-offs and metronome exercises that will help jazz band The group’s origins date back to the 1960s, when Richard du Bois Abercrombie and Thornton conducting. At the November 4 concert, the N THE EVENING of April 9, Associate Professor Felipe Salles’s directors at all levels. established the Chamber Singers as an offshoot of the UMass Chorale. In Chamber Choir performed works from notable performances of years multimedia production, The New Immigrant Experience, had its 1978, Professor Emeritus E. Wayne Abercrombie built on that founda- past, including Hindemith’s Six Chansons and “Haste Thee, Nymph” from Osold-out world premiere in the Old Chapel Great Hall. tion by formally establishing the Chamber Choir as a distinct entity, one Handel’s L’Allegro, which were both performed at the choir’s inaugural The new work was based in large part on video interviews with with coursework specifically designed for music majors and minors. concert in the fall of 1978, along with Thompson’s Choose Something a representative group of DREAMers—people who are protected Since then, close to 1,000 students have sung in the ensemble. Like a Star and Brahms’s Zigeunerlieder No. 5 and 6. Alumni and current by the Deferred Action for Childhood Arrivals (DACA) program. During his 29-year tenure, Wayne Abercrombie led the ensemble in choristers then joined forces for Paulus’s “The Road Home,” the spiritual Excerpts of those interviews were projected on a screen along with performances of Bach’s St. John and St. Matthew Passions, premieres of “Great Day,” and “Wie lieblich sind deine Wohnungen” from Brahms’s musical interpretations of each person’s story performed by Salles’s works by notable composers like Robert Stern, and collaborations with a A German Requiem. 18-piece Interconnections Ensemble. The premiere was preceded variety of choral and orchestral ensembles. Following Abercrombie’s retire- To help further cement the future of the UMass Amherst choral pro- by an emotional panel discussion featuring Salles, Tereza Lee (the ment in 2007, Tony Thornton has continued to expand the Chamber Choir grams, Abercrombie recently made a substantial gift to the department to original DREAMer), and UMass faculty whose research involves program through challenging repertoire, international tours, performances establish the Wayne Abercrombie Choral Conducting Gift Fund (see page immigrant rights activism. in major venues, and numerous collaborations with community organiza- 22 for information on how to contribute). “In the last few years, I felt so much despair,” says Salles with regard to the plight of immigrants like himself. In response, he chose to channel his feelings into creating a beneficial conversation and work of art about the plight of the DREAMers. “The music is my emotional reading of each one of their stories.” The result was a powerful, moving, and musically adventurous experience for all those in attendance and those who streamed the performance on- line. In his welcoming remarks, Chancellor Kumble R. Subbaswamy congratulated Salles on his achievement and for using his talents to “challenge, enlighten, and influence society.” The New Immigrant Experience was performed again two days later at the National Sawdust Theater in Brooklyn, New York. An additional condensed performance took place at New York City’s Birdland Jazz Club on June 2; the full work is being recorded for release by early 2020. Earlier in 2018, Salles’s The Lullaby Project and Other Works for Large Ensemble received overwhelmingly positive reviews. Inspired by traditional Brazilian lullabies, the CD received four stars from DownBeat magazine, and Jazz ’N’ More magazine lauded the work as (L) Abercrombie conducting in early 2000s; (R) Eleanor Lincoln ’10, Tony Thornton present ceremonial plaque to Wayne Abercrombie. “animated and multilayered. . . a magnificent work on an orchestral niveau.” Fumi Tomita 12 / F A N F A R E F A N F A R E / 13 During the winter and spring of 2019, Timothy of Schenker’s Beethoven’s Last Piano Sonatas: represents an ongoing collaboration with Italian Madrigal Conference (Colgate University, T. Anderson conducted the Massachusetts Mu- An Edition with Elucidation appeared in Music C. Victor Fung, professor of music education, N.Y.). Emiliano recently published work in A-R sic Educators Association S.E. District Junior Theory Spectrum. Jason presented a paper at University of South Florida. Editions Anthology and Renaissance Quarterly. Festival Honor Band and the Massachusetts the Annual Meeting of the Society for Music Lions Club All-State Band, and also adjudicated Theory in San Antonio, Texas, and has a chapter In July, Roberta M. Marvin completed her Marianna Ritchey’s new book, Composing Cap- the Rhode Island Music Educators Association forthcoming in Rethinking Schenkerian Theory three-year appointment as department chair ital: Classical Music in the Neoliberal Era, will be High School Concert Band festival. In April, he and Analysis, an edited volume published by and will continue her work as professor on published by the University of Chicago Press led a pep band of 25 students accompanying Oxford University Press. Last fall he co-led a our music history faculty. This past summer, in August; it discusses new unions of classical the UMass Hockey team at the NCAA Frozen workshop titled “Team and Active-Learning Roberta was appointed to the Board of Direc- music and contemporary capitalism. Marianna Four in Buffalo, N.Y., which was broadcast on Strategies from the Arts to the Sciences,” tors of the Istituto Nazionale di Studi Verdiani recently had articles published in the Journal of ESPN2. sponsored by Smith College’s Sherrerd Center in Parma, Italy, in recognition of her stature as Music History Pedagogy and the Journal of Mu- for Teaching and Learning. a leading authority on Giuseppi Verdi’s life and sicology, as well as a chapter in The Routledge In September 2018, trumpeter Eric Berlin was a legacy. She is also serving as associate general Companion to Expanding Approaches to Popular judge at the prestigious Munich ARD Interna- Jonathan Hulting-Cohen performed the Ameri- editor for a team of researchers who received Music Analysis. She also presented at the an- tional Competition, a major annual event that can premiere of Felipe Salles’s Gaudí Sketches a National Endowment for the Humanities nual meeting of the Society for American Music rewards winners with prize money and solo #2 La Pedrera with Nadine Shank at Penn State Scholarly Editions and Translation Grant for The and the University of South Carolina’s annual engagements with some of the world’s major Single Reed Summit. His Admiral Launch Duo Works of Giuseppe Verdi. Roberta was recently Luise E. Peake Colloquium Series. Marianna co- orchestras. The ARD Competition album, Launch, recorded with harpist invited to speak at an international symposium hosted the biennial Musicology and the Present rotates their featured instruments Jennifer Ellis, was released on titled “Self-Borrowing in Nineteenth-Century conference in the fall of 2018 at Smith College, each year, with prizes awarded Albany Records in December. Italian Opera” at the National University of which brought in 15 scholars from around the in trumpet, voice, piano trio Jonathan recorded a video Ireland, Maynooth. A co-edited volume of es- country, with UC Riverside professor Leonora and viola in 2018. Joining Congratulations to Eric Berlin premiere of Annika Socolof- says titled Music in World War II: Coping with Saavedra as the keynote speaker. Berlin on the judging panel and Elizabeth Chang on their sky’s Rise with pianist Wartime in Europe and the United States, will be were a number of other promotion to the rank of full Nicholas Shaneyfelt; the published by Indiana University Press. Pianist Nadine Shank went to Zagreb, Croatia,

MUSIC FACULTY prominent trumpeters professor, and to William Hite piece explores the timbres to perform in recital with Angela Space ’98 from Europe and Japan. on his promotion to associate of the alto saxophone and Emiliano Ricciardi’s Tasso in Music Project at the 18th World Saxophone Congress. She professor (with tenure)! uses the piano like a reso- received honorary sponsorship from the performed with Jonathan Hulting-Cohen and Clarinetist Romie de Guise- nating fiddle. He received Centro di Studi Tassiani of Bergamo, Italy, the Nick Suosso ’18MM at the Penn State Single Langlois performed the the 2019 Faculty Apprecia- foremost center worldwide for scholarship on Reed Summit and the 2019 North American Brahms Clarinet Quintet with tion Award from the Center for Tasso, and also from the University of Ferrara Saxophone Alliance at Carnegie Mellon Univer- the Miró Quartet last winter at the Multicultural Advancement and (Italy). Last November, Emiliano presented the sity. Nadine played recitals with University of Amelia Island Chamber Music Festival Student Success (CMASS). project at both institutions, as well as at the Central Florida saxophone professor George and the Madison-Morgan Cultural Center (Geor- prestigious University of Bologna. Other recent Weremchuk ’85 and UMass Emeritus Professor gia). In April, she joined violinist Paul Neubauer Erinn E. Knyt, associate professor of music presentations include the annual meetings of Lynn Klock at the 20th Annual UCF Sax Fest and pianist Inon Barnatan for a Mendelssohn- history, has been awarded the American the American Musicological Society and the in Orlando, Florida. As part of her fifth “Na- inspired program sponsored by the Chamber Musicological Society’s Teaching Award for Renaissance Society of America, as well as the dine and Friends” faculty concert, she invited Music Society of Lincoln Center, with concerts her article titled “Teaching Music History to in New York’s Alice Tully Hall, Grand Rapids, Graduate Students” (Journal of Music History Michigan, and Drew University in Madison, Pedagogy 6, 2016). The award was announced N.J. She performed a concerto in June at the last November at the society’s Annual Meeting Sarasota Music Festival, and has premiered in San Antonio, Texas. Teaching Award Com- In October, Ayano Kataoka celebrated her tenth two new clarinet quintets by Anna Weesner and mittee Chair Anne-Marie Reynolds from the year at UMass Amherst with a standing room only Libby Larsen, the latter being performed at the Juilliard School commented that Knyt’s article concert in Bezanson Recital Hall. In the spring, she International Clarinet Celebration and Competi- “has broad implications for the discipline and presented an Art + Math = Music performance as tion hosted by Chamber Music Northwest. underscores our society’s ongoing conversa- part of a symposium at the University Museum of tion about the centrality of teaching to our Contemporary Art. As part of her ongoing engage- Cobus du Toit is recording the complete flute mission.” Erinn also had an article published in ment with the Chamber Music Society of Lincoln oeuvre of Jacques Castérède; three CDs are the Oxford University Press Journal Music and Center, Ayano performed in the “George Crumb at scheduled for release later in 2019 and in 2020. Letters titled “From Nationalism to Transnation- 90” concerts at Alice Tully Hall and at the Library of He performed at the Australian Flute Festival alism: Ferruccio Busoni, The Liceo Musicale Congress in Washington, D.C. in April. The New York in Sydney in June and at the National Flute di Bologna, and ‘Arlecchino,’” and presented a performances, which Crumb attended, included the Association’s conventions in Orlando, Florida, paper at the New England Conservatory in April, world premiere of his Kronos Kryptos for percussion and Salt Lake City, Utah. Cobus also presented titled “Busoni and the Boston Symphony Or- quintet. In May, Ayano gave a recital at Tokyo’s Opera masterclasses at the University of Southern chestra.” Erinn will be taking on the added role City Recital Hall, marking the 10-year anniversary Alabama, the University of North Texas, and of graduate program director in the department of her first solo performance at the world-renowned Tarleton State University, and adjudicated at this coming fall. venue. The concert, titled “ConText - seeing and the James Pappoutsakis Flute Competition in feeling - Vol. 3,” featured works by Mark Applebaum, Boston in January. Lisa Lehmberg presented findings from the Mauricio Kagel, Steven Mackey, and Iannis Xenakis. study Music Participation and Quality of Life in She also led master classes at Facultad de Musica de Jason Hooper was recently appointed co-editor Senior Centers in the United States at the Sun- la UNICACH in Tuxtla Gutierrez, Mexico. Timothy T. Anderson of Theory and Practice, the journal of the Music coast Music Education Research Symposium in Jason Hooper Romie de Guise-Langlois Theory Society of New York State. His review Tampa, Florida (February 2019). This research Erinn Knyt Cobus du Toit Emiliano Ricciardi

14 / F A N F A R E F A N F A R E / 15 pianist/composer Jackson Berkey, co-founder Daniel was assistant professor of music, human of Mannheim Steamroller, for a residency at development, and learning at Augsburg Univer- UMass. Berkey performed a selection of his sity in Minneapolis. piano duets with Nadine, and also gave a master After graduating from UMass Amherst, Dan- In Memoriam class and private lessons to many students who iel taught classroom and instrumental music had learned his Nocturnes. for 11 years in Longmeadow, Massachusetts. Additionally, he was chairperson and treasurer OBERT STERN, composer and distin- the MacDowell, Millay, and Stern received Rémy Taghavi won the position of principal of the Massachusetts Music Educators As- Rguished professor emeritus, died in August Yaddo Colonies, and awards commissions from the bassoon with the New Haven Symphony sociation – Western District, as well as Western 2018 at age 84. Stern was recruited to teach from ASCAP and the Premio Library of Congress Orchestra last September. District representative to the Massachusetts composition and theory at the University of Musicale Citta di Trieste McKim Fund, the Instrumental and Choral Conductors Associa- Massachusetts Amherst in 1964 by then- International Competition. Mendelssohn Club of In the summer of 2018, Gilles Vonsattel ap- tion’s executive board. department chair Philip Bezanson. Stern re- Stern’s music has been Philadelphia, the Man- peared in concert at over 15 major international Daniel has presented his research studies ceived his BA from the University of Rochester performed throughout the chester International festivals, including Spoleto USA, Music@Menlo, at national and international conferences and and his MA and PhD from the Eastman School United States as well as Cello Festival, and the Santa Fe Chamber, Chamber Music Northwest, his research and practitioner articles have been of Music. He studied with Louis Mennin, Kent in Europe, China, South U.S. Holocaust Memo- and Gijòn International Piano Festival. His solo published in peer-reviewed journals. He con- Kennan, Wayne Barlow, Bernard Rogers, Lukas America, Japan, and Israel by such promi- rial Museum. His works have been recorded on recital at Schwetzingen Festspiele took place tinues to be active as a presenter at state and Foss, and Howard Hanson. nent ensembles and artists as the Beaux Arts many labels and published by G. Schirmer, Rinal- in the Mozartsaal, where Mozart performed national music education conferences and has During his 38-year tenure with the Depart- String Quartet, Collage New Music, the Da do Music Press, and Transcontinental Music. as a child for the Prince-Elector, and was conducted several regional honors ensembles ment of Music & Dance, Stern was the recipient Capo Chamber Players, the Contemporary In February 2018, friend and colleague broadcast live on European Union radio. Gilles in Massachusetts and Vermont. Daniel studied of numerous prestigious grants, including Chamber Players at the University of Chicago, Salvatore Macchia and others honored Stern appeared with numerous orchestras such as percussion with Eduardo Leandro, Thomas those from the National Endowment for the the Eastman Musica Nova, Yehudi Wyner, Joel with a special performance, during which Stern the Santa Barbara Symphony, and the Emerson Hannum, Peter Tanner, and William Hanley, Arts, the Massachusetts Council on the Arts Smirnoff, Gilbert Kalish, Marni Nixon, Jan was lauded as a brilliant educator, composer, and Escher Quartets. He also premiered major and continues to make music as a freelance and Humanities, and the Martha Baird Rock- Opalach, Joel Krosnick, and the Gregg Smith and “the personification of sensitivity and works by leading composers such as Anthony percussionist. efeller Fund. He was awarded fellowships from Singers. respectfulness.” Cheung (University of Chicago), Georg-Friedrich Haas (Columbia University), and Huw Watkins. Aston K. McCullough is a newly appointed assistant professor of dance science and Matthew Westgate guest-conducted the Idaho Dance Science Laboratory director. Aston is Falls Symphony last October, and presented at a contemporary/improvisational dancer and the IGEB Musicology Conference in Walgassen, dance maker, and has performed in the United Germany as well as the College Band Directors States and abroad (live and on film) for artists National Association Conference. In June, Matt including conceptual experimental choreogra- guest conducted the Blue Lake Fine Arts Camp’s pher, Koosil-ja. Explorations in Teaching Music Theory Northern Winds ensemble during a month-long Aston studies human activity in relation concert tour of France, Germany, Poland, and to health across the lifespan. He programs WORKSHOPS IN MUSIC THEORY VERY THREE YEARS, Professor of Music Theory Gary S. the Netherlands. and evaluates methods for analyzing human Karpinski brings together a distinguished faculty of authors and activity and health-related signals within single PEDAGOGY, JUNE 24-28, 2019 Escholars from across the U.S. for a week-long program at UMass Music theorist Christopher White had three and multi-person movement paradigms using Amherst called “Workshops in Music Theory Pedagogy.” The event articles published in musical journals: “Feed- sensors (e.g., accelerometers, 2D/3D cameras, offers training to college-level teachers of music theory as well as back and Feedforward Models of Musical Key” EKG, and others). Aston examines associations graduate students, high school teachers, scholars, performers, and in the Society for Music Theory’s Music Theory between wellness and dance exposures both other music educators. Featured topics include ear training, rhythm Online, “Chord Context and Harmonic Function quantitatively and qualitatively. and meter, form and analysis, post-tonal theory, instructional tech- in Tonal Music” in Music Theory Spectrum (Ox- Currently, Aston is principal investigator nologies, assessment and evaluation, music and disability, and others. ford University Press), and “Meter’s Influence on a randomized clinical trial investigating the Since the program’s debut in 2007, the workshops have attracted on Theoretical and Corpus-Driven Harmonic effects of group-based dance/movement on participants from across the U.S. and the world to study alongside Grammars” in Indiana Theory Review (Indiana post-traumatic stress disorder symptoms and some of the most influential music theory pedagogues working today. University Press). heart rate variability in survivors of domestic/ This year’s faculty included experienced classroom teachers who intimate partner violence. The two-year study, made important contributions to various scholarly subfields of music to be conducted in partnership with Gibney theory: Professor Karpinski, Cynthia I. Gonzales (Texas State Univer- Dance Center in New York City, is funded in part sity), Justin London (Carleton College, Minn.), Joseph Straus (CUNY Welcome New Faculty by a NEA Research: Art Works Grant. Graduate Center), and Leigh VanHandel (Michigan State University). Aston holds numerous degrees including a Karpinski, a 26-year member of the music theory faculty, is the Daniel Albert has been appointed assistant PhD in kinesiology from Columbia University, author of the Manual for Ear Training and Sight Singing and Anthology professor of music education. He is a native of an MA in dance education from New York for Sight Singing (both published by W.W. Norton, 2017) and Aural western Massachusetts and a UMass Amherst University and a BA from Sarah Lawrence Col- Skills Acquisition (Oxford University Press, 2000). He has served as alumnus (bachelor of music degree, summa lege. Additionally, he received a professional president of the Association for Technology in Music Instruction and cum laude). He earned his MM degree in music diploma in dance studies from the Laban Dance the New England Conference of Music Theorists, and his publica- education from the University of Michigan, Conservatoire and was a postdoctoral fellow tions have appeared in such journals as Music Theory Spectrum, the and his PhD in music education from Michigan at the UMass Amherst School of Public Health Journal of Music Theory Pedagogy, Music Theory Online, and The State University. Prior to UMass Amherst, and Health Sciences. Computer and Music Educator. Marianna Ritchey Cynthia S. Gonzales, Leigh VanHandel, Gary S. Karpinski, Joseph Matthew Westgate Straus, Justin London Christopher White

16 / F A N F A R E F A N F A R E / 17 Jazz Ensemble at the Midwest Clinic, when they egie Hall recital. She writes, “I am very grateful Richard Moriarty ’69, ’75MD, a retired physi- Alumni premiered his work Miles’ Big Band Dojo. Rick to UMass, Liz Chang, and all my teachers for cian and former chief pathologist at Sentara was also an adjudicator-clinician at the Chantilly being a big part of my musical journey.” Norfolk General Hospital in Virginia, has studied Amy Lynn Barber ’77MM is professor emerita (Virginia) H.S. Jazz Festival, hosted by Chris music composition as a second career. His new at the DePauw University (Indiana) School Reichers ’08MM. Thomas Lizotte ’86, ’90MM received the John CD was released on Toccata Classics in Febru- of Music, where she directed the percussion LaPorta Jazz Educator of the Year Award at the ary 2019, featuring his nine-movement Missa program. She has retired on Cape Cod, and Trumpeter Mike Huff ’96 recently performed 2019 Jazz Education Network (JEN) Conference. Adsum! Celebrating Women, as well as his song continues to perform in solo recitals and with Mahler’s Symphony No. 6 with the Pen- Thomas has been in public education for the cycle based on women’s poems from the Civil The Percussion Plus Project, the Xylophonia sacola (Florida) Symphony. He plays with the past 30 years, and currently teaches at Cape War era, We That Wait. Ragtime Marimba Band, and the duo Out of Pensacola and Mobile (Alabama) Symphonies Elizabeth High School in Maine. He is a member Africa. In May, she opened the Cape Cod frequently and is a tenured faculty member at of three teaching halls of fame—Massachusetts Michael Nix ’87MM performs on classical Women’s Music Festival with a performance Troy University, Alabama, and an endorsing Drum Corp, Boston Crusaders, and Maine guitar, banjo, and mandolin throughout the of Marimba Spiritual. artist for Bach Stradivarius Brass. Music Educators. In accepting his award, U.S. and Asia. Michael designed the Banjar, a Thomas singled out UMass professor emeritus modern seven string banjo combining elements Richard R. Bunbury ’01PhD was among the Leon Janikian ’75MM has retired after 28 years David Sporny as having been a major influence of the five-string banjo and classical guitar, first honored as a “Notable Alumnus” from his as an associate professor from Northeastern on his career. bringing the classic finger-style banjo of the undergraduate alma mater, Armstrong State University’s Music Department. During his late 1800s into the 21st century. He has re- University (now Georgia Southern University) tenure, he served as department chair three Jazz drummer and composer Makaya corded for the PBS series American Experience for his contributions to scholarship, teaching, times and also theater department chair on one McCraven, who studied under Bob Gullotti in and NPR’s Weekend Edition plus independent service, and performance. In March, he was occasion. Leon was the creator and long-time the UMass Jazz Program in the early 2000s, was documentaries and CD projects. He participat- organ soloist in Carson Cooman’s oratorio, Acts coordinator of the music industry major, and featured in the January 2019 issue of DownBeat ed in Seegerfest 2014, commemorating the life of the Apostles, commissioned and performed developed the program to a peak of over 400 magazine. Described in the article as a “sonic of Pete Seeger, and recently performed his own by the Harvard University Choir, Orchestra, and students. He has also worked extensively in scientist,” Makaya used melodic and rhythmic compositions at the Smithsonian Museum of

MUSIC ALUMNI MUSIC Soloist in Harvard’s Memorial Church. the music production and engineering fields segments from his band’s previous live improvi- American History. and continues to be a frequent performer as a sations to construct the tracks on his new album, Amber Chiang ’71 received Honorable Mention clarinetist. Universal Beings. He also uses hip-hop beats as Larry Picard ’79, a music education graduate in the Billboard World Song Contest for one of well as sampling and looping techniques to cre- of the Dorothy Ornest vocal studio, returned her original works in the jazz genre. She also Beth Katz ’15 graduated in May with a master’s ate his experimental, intuitive music. to the area after a 36-year sojourn in Brooklyn, performs occasionally, singing jazz standards degree in music therapy from Augsburg and her own songs, and is still teaching private University. She recently received certification piano and voice lessons to a melting pot of from the Academy of Neurologic Music Therapy students from 5 to 72 years old. and is currently an intern for MedRhythms, Jazz vocalist Kate McGarry ’85, along with her husband, gui- Inc., a neuro-rehab company. She provides tarist Keith Ganz and multi-instrumentalist Gary Versace, was Peter G. Fielding ’14PhD is associate dean in neurologic music therapy treatment to patients nominated for a Grammy Award in 2018 for her album The the School of Creative Arts at Red Deer College, who have traumatic brain injuries, strokes, and Subject Tonight is Love. The album is a diverse and heartfelt Alberta, Canada. He was appointed vice presi- neurological disorders at Spaulding tribute to love in all its forms; the title comes from a 14th- dent of the board of directors for the Red Deer Rehabilitation Hospital in Charlestown, Mass. century poem from Persian mystic Hafiz, read by Kate on the Symphony Orchestra and recently co-presented introductory track. It was her second Grammy nomination; papers at the National Conference of the College Bassist, composer, and arranger George Kaye her 2008 album If Less in More….Nothing is Everything was Music Society and the Canadian Society for ’15 has adapted and performed a reduced also nominated. the Study of Education, on the topic “Intersect- score version of the Miles Davis-Gil Evans A profile in Inside Jazz spoke of Kate as having “the soul ing Identities: Teaching and Musicing through 1958 recording of Gershwin’s Porgy and Bess. of a folk singer and the facility of a highly skilled jazz instru- Reconciliation.” He also helped the college Using a transcription done by Gunther Schuller mentalist.” She is interested in many genres of music, in- launch new bachelor of applied arts degrees in of the landmark recording, George adapted cluding Brazilian, Indian, Irish, folk, pop, and jazz standards, animation and visual effects and film, theatre, the 19-piece augmented big band score to a having re-invented songs on the current album including and live entertainment. jazz sextet. He writes, “My studies at UMass Rodgers and Hart’s My Funny Valentine, Gismonte’s Playing Palhaço, Doris Day’s version of empowered me to tackle a project of this Secret Love and Kenny Dorham’s Fair Weather, as well as composing her own songs. Luke Flood ’16 received a master’s in orches- magnitude. I am deeply grateful to Prof. Jeff Over the years, Kate has worked with notable jazz musicians Kurt Elling, Fred Hersch, John tral conducting from the University of Cincinnati Holmes, Dr. Felipe Salles and the entire Jazz Hollenbeck, and Maria Schneider, among others. She appeared on the radio programs Piano College-Conservatory of Music (CCM); he was Department.” Jazz with Marian McPartland, All Things Considered, and Jazz Set with Dee Dee Bridgewater. also a graduate assistant in musical theatre, She has taught at the Manhattan School of Music and New England Conservatory of Music. conducting mainstage theatre productions and Ruth Livioco-Tumpalan ’17MM, violinist, re- During her time at UMass Amherst in the 1980s, where she received a bachelor of music the conservatory’s Philharmonia. Upon gradu- cently competed in two competitions — Ameri- degree in jazz and African-American Music Studies, she studied with Jeffrey Holmes, Fred ation, he was appointed associate conductor can Protégé International Piano and Strings Tillis, Billy Taylor, and was especially inspired by Archie Shepp and Horace Boyer, whom she for the national tour of Lincoln Center Theatre’s Competition (1st place) and Concert Artists considered a lifelong mentor and friend until his death in 2009. production of The King and I. He is currently on International (honorable mention), the former of Kate was especially pleased to share the 2018 Grammy nomination of The Subject Tonight a national tour of Andrew Lloyd Webber’s Cats, which resulted in a solo performance at Carn- is Love with Ganz and Versace, as it was truly a collaborative effort. As Christopher Loudon playing principal keyboard. egie Weill Recital Hall, and her newly formed wrote in a glowing review in JazzTimes, “… the seamless, exquisitely crafted interplay of the string quartet also performed at Weill in June. three principals evinces mutual, intertwined respect so powerful that it surely represents love, Pennsylvania-based jazz composer Rick Hirsch She has a growing studio of 40+ students at the personal and professional, of the highest order.” Amy Lynn Barber ’77MM ’92 recently conducted the MMEA Maryland All- Lindeblad School of Music (NYC), and a number Ruth Livioco-Tumpalan ’17MM Richard R. Bunbury ’01PhD State Jazz Band and the University of Kentucky of them passed auditions for the school’s Carn- Thomas Lizotte ’86, ’90MM Leon Janikian ’75MM Michael Nix ’87MM

18 / F A N F A R E F A N F A R E / 19 GUEST ARTISTS AND SPEAKERS 2018–19

N.Y. While in NYC, Larry developed his own Mellits and John David Lamb. They are both singing/movement workshop with the personal currently band directors based out of south- Eva Amsler, flute assistance of Professor Ornest, and per- ­ ern Oregon and continue to perform in the Ballet Hispánico formed as a freelance choral singer, taking Northwest. part in performances led by Kurt Mazur, Zubin Les Ballets Trockadero de Monte Carlo Stuart Pimsler Dance & Theater Mehta, Sir Colin Davis, and others. He collected Joyce Stephansky ’90 was recently named di- Jackson Berkey, pianist/composer Markus Placci, violin songs by 20th century American composers rector of the Orff Schulwerk Teacher Education Ann Biddle, Dance Education Lab and performed them in various small venues. Program at George Mason University, where Rictor Noren, viola David Biedenbender, composer Larry now lives locally with his husband, and she also teaches Level I Orff and undergraduate Popebama: Erin Rogers, saxophones and is enjoying the many musical and theatrical op- general music methods. Joyce is a K-6 music Lena Bloch & Feathery Jazz Quartet Dennis Sullivan, percussion portunities available here. and movement educator in Fairfax County Chitrasena and Nrityagram Dance Companies Rhonda Rider, cello Public School in Virginia. She is now in her 28th (Sri Lanka, India) Gail Robertson, euphonium David Pope ’95 was in Bangkok last summer as season singing with the Choral Arts Society Christopher Cayari, music educator a faculty member of the Asia Pacific Saxophone of Washington, with a regular concert season Sandbox Percussion Reed Chamberlin, conductor Academy, and was a featured artist at the at the Kennedy Center and concerts with the Dylan Savage, pianist and music educator Ballet Hispánico Western Colorado University jazz festival. Re- National Symphony Orchestra. Claire Daly, baritone saxophone SoundMind Ensemble (Wind Quintet) cently, he presented a recital at the International Kristoffer Danielsen, trombone Loralee Swanson, trombone Society for Improvised Music in Minneapolis. In Composer John McDonnell Tierney ’67, Angeleita Floyd, flute celebration of his 20th year on faculty at James ’69MM has produced his original musical Hu- Benjamin Dean Taylor, composer Madison University, their jazz festival included manity’s Child at the New York Theater Festival Connie Frigo, saxophone Pavel Vinnitsky, clarinet an alumni big band that featured his former this summer. A former student of Philip Bezan- Eric Huebner, piano Michael Walker, horn students, including UMass alum Christopher son, John has composed more than 100 pieces Angela Jones-Reus, flute Riechers ’08MM. for various ensembles, with a focus on socially David Waybright, conductor Bayla Keyes, violin conscious works for musical theater. Human- Ying Quartet Lisa Raposa ’01MM recently served as an adju- ity’s Child is based on the experiences of young Michelle LaCourse, viola ZAWA! (Claudia Anderson and Jill Felber, dicator for the Chinese Cultural Centre Toronto women navigating evolving gender roles in the Allen Lieb, violin/Suzuki trainer flute) Loralee Swanson Piano Competition. This past winter she and her “Me Too” movement. www.humanityschild.com Limón Dance Company husband, pianist Gregory Millar (Millar Piano Duo), presented workshops on duet playing for George Weremchuk ’85 hosted the 20th An- Lucia Lin, violin Research in Music Series & Bach Series the Ontario Registered Music Teachers’ Asso- nual Saxfest at the University of Central Florida, Ron McCurdy, jazz composer & trumpeter Guest Lecturers: ciation. Lisa is the founder of Lorne Park Piano Orlando, where he is an associate professor. Carol McGonnell, clarinet Gurminder Bhogal, Wellesley College Lessons in Mississauga, Ontario. In December The event was a mini-UMass saxophone studio Frank Morelli, bassoon Jacek Blaszkiewicz, Williams College of 2017 she became a citizen of Canada. reunion, including professors Lynn Klock and Nicola Courtright, Amherst College Nadine Shank, and alumni Angela Space, Debo- Joseph Murphy, saxophone & Matthew In January, Fred Sienkiewicz ’05 completed rah Gould Tice, David Pope, Anthony Cincotta Slotkin, guitar J. Daniel Jenkins, University of South Carolina the first English-language study of the life and Wayne Tice (see photo). Patricia Nagle, flute Joseph Levine, University of Massachusetts and music of Alexander Arutiunian, entitled NW Dance Project Amherst Forefathers, Antecedents, and the Big Soviet Kayla Werlin ’90MM received the 2019 MICCA Ava Ordman, trombone Nathan Martin, University of Michigan Armenian Style of Alexander Arutiunian, to earn (Massachusetts Instrumental and Choral Larry Picard ’79 Marissa Moore, Yale University Lisa Raposa ’01MM his DMA in Trumpet Performance from Boston Conductors Association) Paul Smith Hall of University. Additionally, Fame Award. Ms. Werlin is music department Nicholas Shea, Ohio State University he presented a lecture- chair and vocal music director at Longmeadow recital on the same sub- High School. Under her direction, LHS choirs ject at the International have earned awards at state choral festivals Pavel Vinnitsky Trumpet Guild Conference as well as the 2011 American Prize for Choral in Miami, Florida, and is Performance. They have performed at state and building and maintain- regional music education conferences as well DEPARTMENTAL OUTREACH 2018–19 ing an English-language as in New York, Philadelphia, Washington, DC, resource site about the and six European countries. Vocal Jazz Ensemble composer at www. at Multibands Each year, the department presents a host of performances, clinics, and alexanderarutiunian.info. Jeanne Wilson ’80 is the solo piccoloist and other educational opportunities both on and off campus for students, flutist with the Hartford Symphony. She has teachers, and the general public. Jeff Soffer ’12 and also performed with prestigious ensembles ’14MM and Karalyn such as the New York Philharmonic and New • Multiband Pops, matinee concert for schools (October 18-19) (Aprill) Soffer ’12MM York City Ballet, and in many productions on • High School & Collegiate Choral Festival (October 20) were selected to perform Broadway. Jeanne toured Europe with the • High School Band Day (November 10) at the World Saxophone Philip Glass Ensemble, and has toured the U.S. Congress XVIII in Zagreb, several times with Andrea Bocelli. She currently • Western Massachusetts Flute Day (December 1) Croatia, in July of 2018. teaches at the Horace Mann School and the • High School Honor Band (February 9) They performed an alto Riverdale Country Day School, and lives in • High School Jazz Festival (April 6) Performers at George Weremchuk’s SaxFest (from L-R) saxophone duet recital Riverdale, N.Y. with her husband, multi-wood- • New England Saxophone Festival (March 30) Angela Space, Deborah Gould Tice, David Pope, Nadine Shank, featuring works by Marc wind instrumentalist Ed Joffe. Lynn Klock, George Weremchuk, Anthony Cincotta and Wayne Tice

F A N F A R E / 21 Every gift makes a difference to our students. Thank you for your support!

CHOLARSHIPS and prizes are awarded each $4,000 and above $100-$199 Piano Professor Nadine year, thanks to the generous donations from our Nadine E. Shank One Anonymous Gift Shank and her mother, S Richard J. Guimond Douglas W. Adler faculty, alumni, and friends. Gifts may be made to Gerri, who recently William Pullman & Tamara Alejandro Jose Alvarino turned 100. Professor help fund any of these awards except those marked Hurwitz Pullman Amada Alvarino Shank donates generously with an asterisk—recipients of this past year’s The Presser Foundation Mary L. & Jose L. Alvarino every year to maintain named scholarships are listed below. Clay & Joanna Ballantine the department’s pianos Theodore Presser Scholar Award* $1,000 to $3,999 Harden Ballantine as well as provide a E. Wayne Abercrombie & Aileen Donna Barkon scholarship in her mother’s Jonathan Schmidt ’20 Kayla Werlin Sarah R. Baybutt name for collaborative John F. Adler Howard Lebow Memorial Scholarship Albert E. Benjamin piano students. Stephen P. Driscoll Jacob Kaplan ’20 and Tyler Woodbury ’20 Susan M. & David F. Blake Lynn E. and Laura C. Klock Friends of Music Senior Award John F. & Carol A. Bobbin Anita and Stanley Liebowitz Thomas E. Brennan Erin Hussey ’19 Ann R. Maggs Patricia Brouillet Raymond P. & Rebecca H. Mark R. & Mary F. Garber Mary Jo Munroe IFTS from alumni, friends, and faculty help ensure that our Andrew T. Malloy Susan Campbell Cunningham Outstanding David Chevan Surprenant David S. Gary Jean M. Orlando Audrey J. Samara Sophomore Award Gdepartment is vibrant, competitive, and accessible. Whether Louis J. Chmura Jr. & Richard B. Trousdell Paul J. & Laurie R. Godfrey Julie A. Pampinella Paulina H. Stark Zoe Stinson ’21 supporting student scholarships, enhancing program offerings, or Gail A. Chmura Tanya J. Tupper & David I. Joan B. & Richard M. Godsey Paul E. & Diana M. Peelle Lieberman providing resources for essential instrument maintenance and facilities Judith & John W. Dickson Julie K. Goldberg Jean R. Perley Susan Campbell Cunningham Outstanding $500-$999 Marina G. Vachon improvements, our donors help make a top quality education possible. George F. Drake Julio Granda Joan F. Perry Freshman Award Peter J. Anzalone Karen Thomas Wilcox Ann F. Ducharme Hilda B. Greenbaum James Pewtherer Jonathan Decker ’22 Please be as generous as you are able and support students pursuing Stephen & Diane Conboy Ronnie Williams Kristen J. Duffy Helen L. Greene Anneca G. & Thomas E. their dreams by making a gift to a fund (listed below or at left), ensemble, Marjorie & Claude C. Curtis Alexandra B. Young Eugenie M. May Piano Award Kenneth R. Fredette Alexandra Griffin Philippakis or program area. Please visit umass.edu/music/give-music for a full list Celeste D. Devaney Gale S. Young Matthew Pham ’20 Rosemarie Pellera Gentile Lynn Hall Margaret C. & Brian E. Prindle Basil H. & Laura J. Istwany of giving options. Allen T. & Sharleen E. Goguen Katherine M. & Joseph B. Hanley Judy Pritchett Fletcher Henderson Memorial / Max Roach Paul R. Murphy Up to $99 Coleen M. & Robert J. Griffin Trevor M. Hartford Donna D. Randall Scholarship Award Pierre A. & Arlene Rouzier Nancy B. Anderson MUSIC FUNDS Power & Class Scholarship/ Mark J. Guter Louise I. Hetzler Christine R. & Matthew P. Reid Matthew Twaddle ’19 Matthew E. Stebbins Roger & Linda Anderson Recruitment Fund Wendy L. & Andrew D. Meghan E. Hood Kathryn E. Rene

AWARDS & GIFTS AWARDS Friends of Music Alexandra Utgoff Taylor Hammond, II Monica Baggio Tormey George N. Parks Memorial Award Judith A. Howard Randi S. Robinson-Snaer Wayne Abercrombie Choral UMass Band Alumni Frederick C. Tillis Jane Hanson Caralyn B. Ballou Lillian Povey ’20 Richard B. Iannitelli Justin T. Rocheleau Scholarship Fund Rosemary F. Haseltine Paul M. & Bryannyagara Q. Conducting Gift Fund Casey Amber Jones Cecilia A. & Craig A. Rose Geraldine Shank Collaborative Piano Award $200-$499 Shannon E. Heneghan-Jutras Barboza Alviani Fund for Voice C. Lynn Vendien Minuteman Jonathan A. & Anne E. Kaplan Marion T. Rosenau Andrew Metz ’19 David W. & Shiela Hodgkins Angela M. Bennett Marching Band Scholarship Nicholas K. Apostola Ann M. Keane Barbara A. Sabol Ann Elder Bestor Memorial Linda C. & Roderick J. Hossfeld Christopher P. & Fiona K. Bitteker Julian Olevsky Memorial Award in Violin Charles Aulino Jeffrey T. Kempskie Israel Saldana Scholarship Fund in Music Kathleen Keillor-Steinem Devynn Gladys Boudreau David W. Briggs Janet Klausner-Wise & Valorie & Samuel T. Scott Eric Mrugala ’19MM and Yu-Chen Yeh ’19MM Laura B. & Kenneth Broad Horace Clarence Boyer Gospel MAKE A GIFT Kenneth J. Buck Russell D. Killough-Miller Jeremy Wise Paul J. Serra Laura Klock Award in Horn Roberta E. Labarbera Magda Bunning Music Fund Galois A. Cohen Ruth Knighton Miller C. James Sheppard Sarah Perrin ’20MM Kimberly A. Levine Laurie J. & Michael P. Canavan ONLINE AT Jason Cohen Ellen M. & Jonathan P. Labarre Udani I. & Udaya I. Silva Jeffery Morgan Memorial Frank T. Lin & Yu-Chi Hsu Susan M. Carr Lynn Klock Award in Saxophone umass.edu/music/give-music Yolanda D. Daelmans-Greaves & Polly Jo Labbe Lois S. & James Smith Scholarship Richard Greaves Stephen D. Lothrop Karen Cashman Javier Torrens ’19 Theresa A. & Wayne N. LaFleur Gregory M. & Kathy Snedeker Mark C. Dirksen Kiera Cecchini Oratorio Performance Endowment BY CHECK Julia Loving Paul & Cynthia Lambert James P. Snedeker Robert M. Chiarelli Ornest Undergraduate Award payable to UMass Amherst with Deborah Dunphy & John Welch Ning Ma Ryan M. Landry Ariel M. Suzuki Piano Restoration, Acquisition and Michael J. & Loretta M. Cicio Emily DiGiusto ’19, Jessica Erving ’20, Lauren Fay fund noted in memo line; please Luke Patrick Flood Dean C. & Elizabeth A. Mancini Roger W. LaRocca, Jr. Marion F. & Gordon E. Taylor Heather K. Clark-Warner ’19, Anthony Ferreira ’19, Rachel Forbes ’19, Caroline Collaborative Pianists Fund send to Erika D. Gaynor Sharon McCartney Andria G. LaRocco Cynthia R. Thiel John J. Clayton & Sharon Dunn Lee ’19, Julia Urbank ’19 Memorial Hall Jeffrey R. Gould Daniel M. & Ellen O. Melley Phillip E. Leavitt Mitchell Jeffrey Tilghman E. Lary Grossman Arthur G. Meyer Joel R. Cohn 134 Hicks Way Nancy Lee Diane M. Vilches Philip Bezanson Graduate Voice Award DANCE FUNDS Caroline R. Collins Richard P. Harland John H. Moran Chantale Legare Monique N. Walker Jinhan He ’20MM and Shiqiu Yang ’20MM Amherst, MA 01003 Sandra L. Conley Friends of Dance Scott Hedrick Tammy C. & Scott R. Morrison Lois B. & Stephen A. Levin Warren & Eve Webster Michael V. Cortina Russell E. & Janet R. Falvey Scholarship OR PLEDGE Steven D. Hegarty Eileen Newman Elana J. Lorance Douglas G. & Elizabeth J. Weeks Richard Jones Scholarship Fund Jacques M. & Katherine B. Cote Anna Pless ’21 and make monthly, quarterly, Stephen A. Hilt Janet E. Polk Mary C. Lunt Marisa Weinstein Robert Thomas Cote Marilyn V. Patton University or annual payments. Frances E. Hoag Carol C. Pope Dorothy M. & Owen D. Maloney Erica Nicole Weiss William F. Field Alumni Scholar Award* Christina J. Cronin & Mark R. Dancers Endowment (new!) Leon C. Janikian Elizabeth H. & Wilson T. Rawlins Julia Maloof Sandra Weiss Molly Smith ’20 Estate gifts are gratefully Langevin Sally A. Johnson Rochelle E. Rice Nell E. Mancini Rebecca K. Whitmeyer MVP Dance Fund accepted. Deirdre I. Dam Eva B. Lohrer Peter L. Rothbart John M. Manning Beth S. Wilson DANCE AWARDS: Carol A. DeLuca Doris A. Marsland Philip Rouleau Amy M. Matton Elaine P. Winslow-Redmond Friends of Dance Award for Dance Advocacy Julianne Elise Derouin MINUTEMAN MARCHING BAND QUESTIONS ABOUT GIVING? Richard P. Moriarty Uri Ayn & Maryjane T. Rovner Gregory J. Mattson Meredith L. Young & John Chmura George & Linda Desmarais Hannah Lieberman ’22BFA Please contact: New York Life Foundation Dylan Savage Jodi Maxner Andrea C. & Marc D. Yusi FUNDS Alexander P. Dingle Friends of Dance Award for Dance Research Lucia Miller Marilyn V. Patton Karen E. Scanlon-Brown & Eric R. McCurdy Joanne Casey Zullig Thom Hannum Marching Kenneth P. Brown, Jr. Joseph F. DiPietro Brittany McNally ’19, Emily Small ’19, Director of Development PricewaterhouseCoopers, LLP Donna Mcmillan Band Percussion Scholarship Patricia A. Reilly Nancy T. Schoen Mark N. Dooley Angela Weigel ’19 College of Humanities and Fine Arts Kathy McSweeney All gifts received between July 1, Endowment (new!) Andrew J. Saykin Lois A. & Tom Schwab Gail E. Dorsey 413-577-4421 Syamak Moattari & Anita Malek 2018 and June 30, 2019, not in- Friends of Dance Award for Community Billy S. & Lisa Soo Peggy Schwartz Barbara N. Ehrmann Minuteman Marching Band Christopher F. Moehringer [email protected] Christine & John R. Sirard Nina Farber cluding Marching Band donations. Engagement Nikki R. Stoia Melanie A. Monsour Endowment Deborah D. Slade & Jeffrey Pierce Neil M. Fennessey Kattye Soares ’19 Michelle Taylor-Pinney Chris P. Moran Jennifer K. Stoddard Cynthia L. & Richard A. Fisette Jean-Paul & Anne-Marie Vonsattel Joy C. Mullen *Additional private gifts not permitted to these scholarships Albert & Rebecca P. Storey Neil K. Freebern Elizabeth W. Walsh Michele & Kevin M. Mullin Lorraine & Wade J. Willwerth Daniel C. Gabel Anli Wu & Matthew Okasinski Norman G. Gage

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Department of Music and Dance College of Humanities and Fine Arts 273 Fine Arts Center University of Massachusetts Amherst 151 Presidents Drive Amherst, MA 01003-9330

A105156-Music

FALL 2019 CONCERT HIGHLIGHTS

FIVE COLLEGE FACULTY CHAMBER SERIES NEW MUSIC FESTIVAL Tues, October 15 Fri-Sun, September 6, 7, 8 Schumann’s Leiderkreis with Jamie-Rose Four free Concerts, including the winning piece Guarrine plus Brahms Piano Quartet, Op. 60 from the Five College Composition Competition Thurs, November 14 See www.5cnmf.org for details Works by Poulenc, D’Rivera, Zemlinsky and a premiere by Salvatore Macchia 45TH ANNUAL MULTIBAND POPS CONCERT UMASS DANCE: METAMORPHOSE Fri, October 18 Thurs-Sat, November 7, 8, 9 Our rousing, fast-paced showcase of choral, Doug Varone’s Boats Leaving plus works by orchestral, wind, percussion, and jazz faculty Thomas Vacanti, Bronwen MacArthur, ensembles, plus the Minuteman Marching Band and Aston McCullough in response to the Leonardo Drew exhibit at the UMCA.

HOLIDAY CARD TO AMHERST Sat, December 7 Chamber Choir, Chorale, and Women’s Choir, Tony Thornton and Stephen Paparo, conductors Our combined choirs present seasonal favorites, including an audience sing-along.

24 / F A N F A R E For a full list of events, visit UMass.edu/music/events