“Pave the Path for Your Illinois Journey”

Home , Abravanel Hall, Ben Johnston (composer), Black conductors, David Shire, Donald Nally, James Dixon (conductor)

2020 sonorities The News Magazine of the University of Illinois School of Music

“Pave the path for your Illinois journey” A Look Inside the Completed Smith Hall Renovations Dear Friends of the School of Music, Published for the alumni and friends of the School of Music at the University of Illinois at he 2019/20 academic year is my first as director of the school Urbana-Champaign. and as a member of the faculty, and in my short tenure, I’ve The School of Music is a unit of the College of been repeatedly astonished by the depth and breadth of the Fine + Applied Arts and has been an accredited world-class music programs that have been built here. From institutional member of the National Association T of Schools of Music since 1933. our Lyric Theatre program to our symphony orchestra, from the Kevin Hamilton, Dean of the College of Fine + Black Chorus to the Experimental Music Studios, from the award-winning research Applied Arts being conducted in musicology and music education to the spirited performances Jeffrey Sposato, Director of the School of Music of the Marching Illini, the students and faculty at Illinois are second to none. It’s a true honor and privilege to join them! Michael Siletti, Editor Illinois graduates play leading roles in hundreds of orchestras, choruses, bands, Jessica Buford, Copy Editor K–12 schools, and colleges and universities. The School of Music is first and foremost Design and layout by Studio 2D a resource for the state of Illinois, but our students and faculty come from around Cover photograph by Michael Siletti the world, and the impact of our alumni and faculty is global as well. Our graduates Additional editorial direction by Jeffrey Magee have performed on the stage of the Metropolitan Opera, at the Newport Jazz Festival, in Carnegie Hall, and in other renowned venues and with leading companies far too numerous to mention. Complementing our wonderful people, facilities like the Krannert Center and Smith Memorial Hall (a registered national landmark) are true Share your good news! gems that enable our students to perform in breathtaking venues and bring some of Submit online at the finest musical programming in the world to the region. music.illinois.edu/sonorities I have especially enjoyed meeting alumni in my short time here and view them as true partners in spreading the word about what makes music at Illinois special, as well as providers of the philanthropic resources that will ensure that today’s students have the same rigorous education they did. Every time an Illini performs on a stage, presents cutting-edge research at a conference, teaches music to a high school student, Contents or excels in the arts-administration or entertainment fields, that person serves as an CAMPUS NEWS ...... 1 ambassador for the great education they received at the School of Music. My faculty colleagues and I have many ideas that we want to implement this year, CELEBRATING GIVING...... 5 but I have one message that I hope you’ll help me deliver to parents and students PUBLIC ENGAGEMENT: “ENGAGING wondering if a music career is right for them: U of I is a place where bright, motivated THE WORLD”...... 7 music students can have it all. They can get the benefits of being at a world-class “REVISITING THE HEARTLAND”. . . .9 research institution that provides its students with a top-tier liberal arts education, “ILLINOIS JOURNEY”...... 10 and they can simultaneously receive immersive, conservatory-style professional MEET THE NEW DIRECTOR. . . . . 13 training. What this mix means is that students who come to Illinois will be prepared SMITH RENOVATIONS...... 15 for a variety of career options after graduation. In my first year as director, I want to expand these pathways and make them clearer, so that all of our students feel FACULTY NEWS...... 18 confident that great things await those who hold a degree from the School of Music! ALUMNI NEWS...... 27 If you have questions about what you can do as an alum to help bolster the school, STUDENT NEWS...... 38 please don’t hesitate to reach out. I’m at [email protected]. Thank you IN MEMORIAM...... 40 again for being part of the School of Music community. I look forward to partnering with you as we continue our exciting journey! GIVING...... 44 Sincerely, Jeffrey Sposato, PhD Professor and Director campus news

New High Reached in Undergraduate Admissions

This fall, the School of Music welcomed its largest freshman class of students since 2013. Interest in SoM programs has been steadily increasing in the past four years due to targeted recruitment efforts by the SoM faculty and music admissions and public engagement offices as well as the development of new degree programs. Undergraduate applications were at a record high for the second year in row, due in part to the addition of the new bach- Over 100 students attended the annual SoM Open House in elor of musical arts degree in Lyric Theatre and the bachelor September. of science degree in Computer Science + Music. Applicants came from 30 states and eight countries, and the school saw and diverse student population, with the desire to continue to a record high number of Latinx applications. Going forward, support and increase the undergraduate student body. the school is working to develop initiatives to attract a strong —Angela Tammen, admissions and public engagement director

School Launches BS in Computer Science + Music

This year, the SoM welcomed the inaugural freshmen class pursuing the BS in Taube (left) and Smaragdis computer science and music (CS+Music). One of the few of its kind in the country, CS+Music Khroma Quartet Wins Silver at is a new cross-disciplinary program that prepares students to join and lead a vibrant workforce centered around the Fischoff creation and distribution of entertainment media through constantly evolving technological platforms. Devised by The Khroma Saxophone Quartet was awarded the silver medal Professor Heinrich Taube (Composition-Theory) and Paris in the Senior Winds/Brass Division at the 46th Fischoff National Smaragdis (Computer Science/Electrical & Computer Engi- Chamber Music Competition on May 12, 2019. Hosted on the neering), the curriculum has already attracted much interest, campus of the University of Notre Dame, the Fischoff bills itself including among out-of-state and international students. as “the largest chamber music competition in the nation and its Given the inherent links between music and mathematics, longest consecutively running competition.” Founded at Illinois the School of Music’s rich history of fostering experimentation in Fall 2018 and coached by Professor Debra Richtmeyer, with technology, and the increasingly dynamic role of data the group consisted of DMA candidate Wilson Poffenberger and computing in music, Taube called the creation of the (tenor), and MM students Scott Augustine (alto), Michael Chapa degree program “a no-brainer” and envisions the university (baritone), and Anne Kunkle (soprano). being “the premiere place on Earth” to pursue such studies.

2020 1 campus news

Music Professors Win Funding for Ambitious Projects

Music professors were included among the 14 projects selected to receive funding from the Presidential Initiative to Celebrate the Impact of the Arts and the Humanities, a nearly $2 million effort to bolster arts and humanities projects across the Uni- versity of Illinois system. Adam Kruse, Malaika McKee, William Patterson, and Tiffani Saunders were awarded $150,000 that will aid them in the creation of the Hip-Hop Xpress, an internet-enabled school bus to be equipped as a multi-user music The Canadian Brass participated with Peterson (third from production and right), composer Dana Wilson (second from left), and current recording studio. SoM faculty and former Canadian Brass members Ronald Using music, Romm (right) and Bernard Scully (fourth from right), in the dance, visual arts, April concert. and technology, the bus will travel to Wind Symphony Celebrates 150 communities across Years of Illinois Bands the state, teach- (L–R) Kruse, Sharon Irish, Joe Bolton, ing youth about Under the direction of Stephen Peterson, the Illinois Wind McKee, Patterson African-American Symphony commemorated Illinois Bands’ sesquicenten- history, hip-hop, DJing, sound engineering, and music production. nial with several high-profile concerts and commissions. Michael Silvers was awarded $50,000 for his project “Hearing Following a blind audition process, the Wind Symphony the Ocean, Seeing the Rain: Water, the Arts, and the Future of was selected to perform at the 40th national conference of Human life on Earth.” In this multi-year initiative, visual and the College Band Directors National Association in Tempe, performing artists, as well as scholars, will examine the role AZ. With an anticipated crowd of over 1,000, the February of the arts in understanding water in human life across the 21 primetime concert was moved at the last minute to a globe. The project will reach students and the general public larger venue, Arizona State University’s iconic Gammage through the development of two interdisciplinary courses on Auditorium. In addition to a performance of Joel Love’s water, concert performances, and interactive artistic activities. Solace with featured soloist Debra Richtmeyer, the concert Funding will also support an edited volume, radio documentary included world-premiere performances of Steven Bryant’s series, and multi-disciplinary student research on water. Pendulum and Stephen Taylor’s Always Coming Home, all of which were commissioned in part or in whole by Illinois Bands. In April, the Wind Symphony joined the world- Low Voices to Resound in Carnegie Hall renowned Canadian Brass in the premiere performance of Quintessence, a new work On March 24, 2020, low-voiced members of the Chamber Singers, Oratorio composed for the two ensembles by Dana Society, and Varsity Men’s Glee Club will take part in a historic performance Wilson. With additional support from the in Carnegie Hall’s renowned Stern Auditorium. Making his final Carnegie Hall Krannert Center for the Performing Arts, appearance as music director of the Orchestre symphonique de Montréal, the Canadian Brass also presented master which travels south of the border as part of Carnegie Hall’s International Fes- classes during their Urbana residency. tival of Orchestras series, conductor Kent Nagano will lead the chorus in a performance of Shostakovich’s Symphony no. 13 (Babi Yar).

2 sonorities Moorhouse Rises to President of American Bandmasters Association

Linda R. Moorhouse, associate director of the School of Music, has become president of the American Bandmasters Associa- tion. Formed in 1929 with the goal of honoring and promoting concert band music, the ABA is an elite group that only the most distinguished band leaders are invited to join. While Moorhouse follows in the footsteps of A. A. Harding, Mark Hindsley, Harry Begian, and other Illinois Bands greats to Lyric become president of the ABA, she becomes only the second Theatre woman in the organization’s 90-year history to hold the position. Associate Director of Bands and ABA member Elizabeth Graduates Peterson called the news “extremely exciting” and noted that First “Moorhouse earned this position due to her experience, lead- Degree ership, organizational skills, musicianship, and national and international reputation as a talented conductor and teacher.” Recipient

In May 2019, Colleen Bruton became the first recipient of a BMA in Lyric Theatre. A new program, Lyric Theatre @ Illinois (LTI) embraces a broad continuum of opera and musical theatre to reflect the artistic demands of the 21st-century musical stage, on which performers must exhibit the highest standards of singing, acting, and movement. When asked what drew her to LTI, Bruton noted, “They had everything I was interested in: classical training, musical theatre training, dance classes, acting classes, main stage productions, and Moorhouse is welcomed as president at the ABA’s 2019 a town full of performance opportunities. It honestly seemed convention in Loveland, CO too good to be true.” With plans to pursue a theatre career in Chicago and eventually in New York, Bruton notes, “I am leaving this university able to not only perform a song well, but to understand the musical aspects of it and read/learn Ollie Watts Davis the music quickly—an extremely valuable and marketable skill in the musical theatre world today.” According to Sarah Named Provost Fellow Wigley, clinical assistant professor of voice and resident director of Lyric Theatre, Bruton is the first but will not be Professor Ollie Watts Davis was named a the last to graduate with a degree in LTI: “I firmly believe Provost Fellow for academic year 2019- that in the near future, music educators, conductors, voice 20. In this role, she will work with Vice teachers, accompanist/coaches, drama instructors, and Provost for Undergraduate Education Kevin students everywhere will be aware of what our program Pitts to develop a campus-wide student has to offer and quickly be vying for a position in one of success initiative improving retention, our select freshmen classes.” graduation rates, and reducing time-to-degree. Seeking “to utilize and expand ties within the Urbana-Champaign community,” Davis will also engage the Council of Undergraduate Deans, Student Affairs, the Campus Center for Advising and Academic services, as well as faculty and advisors from across campus.

2020 3 Silvers Wins Barrett Invested Prestigious Carnegie as Zimmerman Fellowship Chair

Associate Professor of Musicology On February 3, 2019, university Michael Silvers was one of only 32 administrators and members of scholars to be awarded a prestigious 2019 the SoM community assembled in Andrew Carnegie Fellowship. One of the Music Building Auditorium to the most generous initiatives of its kind, the Andrew Carnegie witness the formal investiture of Fellows Program aims to support high-caliber scholarship and Professor Janet Revell Barrett as the Marilyn Pflederer Zimmer- research that applies new perspectives from the humanities man Endowed Chair in Music. The ceremony featured guest and social sciences to today’s most pressing issues. Silvers speakers Mark Robin Campbell (MS ’86, EdD ’91), of SUNY will use his fellowship to work on a new book, Timber and Potsdam’s Crane School of Music, and Associate Professor Timbre: From Brazil’s Atlantic Forest to the Concert Hall. Emerita Eve Harwood, both of whom discussed Zimmerman’s Arguing that environmental decline has affected systems life and legacy as a pioneering researcher and supporter of of musical aesthetics, the book will examine the making of music education at the university. Before her death in 1995, violin bows for Western art music and fiddles for traditional Zimmerman earned two degrees (MS ’55, EdD ’63) from the music in Brazil. During his fellowship, Silvers will spend time School of Music, where she also taught 1959–64, 1968–71, in the US and Brazil to research traditional Brazilian fiddles and 1987–93. Barrett, whose research interests including the and brazilwood logging and conservation, and to interview reconceptualization of the music curriculum, interdisciplinary musicians, luthiers, loggers, and environmentalists. approaches involving music, and music teacher education, then took to the podium to express gratitude and acknowledge Zimmerman’s “remarkable life of inquiry and mentorship.”

International Conference Honors Kellman

The 2019 Medieval and Renaissance Music Conference in Basel, Switzerland, paid tribute to both the five-volume Census-Catalogue of 2019 Rolland Workshop participants Manuscript Sources of Polyphonic Music String Research Project to 1400–1550 (1979– 1988) and to Professor Celebrate 50th Anniversary Emeritus of Musicol- ogy Herbert Kellman, In 1937, Paul Rolland stated, “the teacher must find an co-editor with Charles approach of teaching in which the difficulties of their instru- Hamm of the first ment are overcome to ensure the students’ technical abilities Kellman (middle) with conference volume and editor and musical gifts are realized.” Thirty years later, the U of I participants (L-R) Magnus Williamson, of the subsequent Jessie Ann Owens, Margaret Bent, and String Research Project (1966–70) tested and proved Rolland’s four volumes. The Pawel Gancarczyk hypothesis and curriculum of movement training to free the catalogue, describing student’s playing from excessive tension within an organized some 1,650 manuscripts and supported by a major NEH grant plan of string and music instruction. The international acclaim and the university’s Research Board, was the first of its kind, in 1970 for the films and teaching materials from the research and the first project of the school’s Musicological Archives for project and their continued use attest to Rolland’s endur- Renaissance Manuscript Studies, founded in 1968 by Hamm ing pedagogical influence. In 2020, the Paul Rolland String and Kellman with several colleagues. In celebration of the 40th Pedagogy Workshop (July 12–18) and UI School of Music will anniversary of the publication of volume 1, 14 scholars from observe this important anniversary with celebratory events. seven countries gave talks recognizing Kellman’s “visionary” —Michael Fanelli (BM ‘68, EdD 2001) work and on the past and future of manuscript studies. 4 sonorities celebrating giving By David Allen (BM ’92, MM ’94, BME ’96), associate director of advancement for music

What Goes Around Comes Around— Memories of Music at Illinois

On a recent walk to the Harding Band Building from the Music discovering through Building, I came upon a group of ISYM campers standing for ISYM. Quickly their group photo on the stairs of Smith Memorial Hall. When bringing my mind close enough, I could see that the group was our Illinois Summer back to the present, Youth Music Double Reed program. I thought, “I wish Bunny Professor John Dee could be here to see this.” Bernice From (’72, ’77), known by shouted to the her closest friends as Bunny, passed away in January. Last year, group, “OK every- she donated both of her bassoons to the School of Music and one, say, ‘Hello, was delighted to see pictures from Professor Timothy McGovern Mr. Allen!’” The Left side (front to back): ISYM Instructors of ISYM participants playing the contrabassoon. During the group energetically Lisa Larsen, Emily Kuhn, Timothy 150-year celebration of Illinois Bands, shouted out their McGovern; Right side (front to back): “Gratitude is Bunny traveled from Arlington, VA, last warm greeting— ISYM Instructors Aaron Wilbert, David summer to play both instruments one last what a wonderful Coons, John Dee not only the time in the Harding Band Building and group of students and teachers. greatest of in the Great Hall of the Krannert Center. When the photographer was finished, Professor Dee intro- As I watched the photographer do his duced me to one of the camp instructors. I remembered Lisa virtues, but job, I began to think about my Illinois Larsen (’91) from her time as a student at Illinois. We caught up the parent classmates. My thoughts were influenced a bit as Professors Dee and McGovern proudly shared how the by the group of oboe and bassoon players ISYM week was going. We are lucky to have former students of all others.” in front of me. I remembered Aaron Hilbun like Lisa on campus on a plentiful basis. It is an incredible —Cicero (’95), who passed away just a few months opportunity for all involved to have the chance to work with ago. Aaron has been on my mind a lot our outstanding faculty members. recently as I am working with his While contemplating my own mother to establish a new scholar- gratitude and memories of my time ship in his memory. He and I used to at Illinois, I thought of Thomas Smith. walk this path before and after band Over a hundred years ago, his gift to rehearsals. We walked much faster fund Smith Memorial Hall, in honor on our way to Harding to make sure of his wife Tina, gave us a place to we were on time. Few things seemed host wonderful musical experiences. scarier than the notion of showing Many recall recitals, master classes, up late for band rehearsal. Next, I and graduations in this magnificent thought of Aaron and Bernice and old building. Among others, I wish their own experiences on the steps of Thomas, Bunny, and Aaron could Smith Hall. Indeed, they spent influ- have been with me on that walk. ential years here, enjoying the same I think they would be very proud. SoM that these young campers were Donors Christie Schuetz and Marjorie Perrino with the winners of the Daniel J. Perrino and Warren H. Schuetz Scholarships, Kirsten Hedegaard and Anne Johnson. (L-R) Hedegaard, Schuetz, Perrino, Johnson

2020 5 Music at Illinois Initiative

New this year, we are making spaces in the Music Building available for naming as a way of thanking our donors for their gifts. If you or someone you know would like to name a classroom, practice room, or other space, please let us know. Donations of $1,000 or more to the Music at Illinois Initiative or the School of Music Annual Fund will qualify to name a space. You can learn more about this and other initiatives in support of Music at Illinois at music.illinois.edu/giving.

Jazz Greats Remembered and Celebrated Through New Endowments

The School of Music is proud to celebrate the jazz legacy of the late Donnie Heitler (1936–2018) as well as Gregg (1939–2018) and Jeff Helgesen. Thank you to Tamara Mitchell for establishing the Gregg and Jeff Helgesen Fellowship in Jazz. And thank you to Glen (BME ’76) and Krista Strauss for starting the Donnie Heitler Jazz Scholarship. SoM jazz students

will undoubdetdy benefit from for smilepolitely.com Micah McCoy these generous gifts. Donnie Heitler entertaining at Minneci’s Ristorante, Champaign, 2015 Marne Helgesen

Gregg (right) and Jeff Helgesen performing with Medicare 7, 8, or 9 outside the Illini Union, 1980

Giving increased by over $500,000 this year. Thank you to our donors and friends for supporting Music at Illinois!

6 sonorities public engagement Engaging the World By Stephen Burian, public engagement assistant director

True to our charter as a land-grant institution, the U of I The Illinois School of Music continues to engage the world outside of Urbana-Champaign in diverse and significant ways. Summer Four of our summer professional programs alone attracted Piano participants from more than 10 countries and more than Institute 20 states. In its third year on campus, The Paul Rolland String attracted a Pedagogy Workshop drew double the attendance of previous near-record years. Highlights included the piloting of a new certifica- tion program for string teachers in Paul Rolland String number of Pedagogy, intersections with the Paul Rolland Day Camp attendees— and ISYM, and guest artist Endre Granat, Hollywood Sym- phony concertmaster who appears in the films produced more than An ISYM rock band by Paul Rolland during his landmark research in the 1970s. twice the performs at Canopy The Illinois Choral Conducting Symposium was blessed to have Joseph Flum- usual Club merfelt as a guest faculty member for several years, and all are saddened by his passing. This summer, Pearl Shangkuan (Calvin College, MI) and Maurice number. Boyer (Concordia University Chicago), two of Flummerfelt’s former students, served as guest faculty with Professor Andrew Megill for a symposium that was both bittersweet and life affirming. Megill also hosted the third Illinois Bach Academy (IBA). This year, IBA took a deep look at the cantatas of J. S. Bach associated with the Reforma- tion. Of course, the performance included Ein feste Burg ist unser Gott, BWV 80, complete with baroque orchestra. For Professor Andrew 2020, the IBA will mount the monumental St. Megill and participants in Matthew Passion. the Illinois Choral The Illinois Summer Piano Institute attracted a Conducting David Deveau near-record number of attendees—more than twice the usual number. Faculty Symposium (MIT) gives a included Professor Timothy Ehlen and Professor Emeritus Ian Hobson, as well master class at as guest faculty David Deveau (MIT) and Boaz Sharon (Boston University). the Summer Piano Institute Sinfonia da Camera once again partnered to provide the backdrop for three SPI Concerto Competition winners and two faculty concerto performances.

2020 7 Illinois Summer Youth Music continues to reinvent and revitalize with new programs and changes to old ones. With the help of major grants from the College of Fine and Applied Arts (FAA), the Meredith Foundation, and increased support flowing into the ISYM Scholarship Fund from private donors, ISYM was able to The Illinois String provide scholarship funding to attract several Academy chamber dozen new students who would otherwise not orchestra performs with the Jupiter have been able to attend. From FAA, and with Quartet the support of the SOM Inclusivity, Diversity, Equity, and Access (IDEA) Committee, $15,000 was granted in ISYM scholarships for students from underrepresented populations. Newer ISYM programs that focus on the creation of music continue to grow: composition with Stephen Taylor, An ISYM student music technology with Eli Fieldsteel, and hip-hop saxophone quartet rehearses with with Adam Kruse. Look for additional offerings in Professor Debra music technology and music production in 2020. Richtmeyer For the School of Music, public engagement is not limited to summers. The Piano Laboratory Program (PLP) Professor Guido and Illinois String Academy (ISA) continue to Sanchez-Portuguez experience growth. Over 200 students now take leads an ISYM guitar class lessons in piano and string instruments throughout the academic year. Many also take part in composition and theory classes. PLP and ISA employ over 25 instructors and other staff to provide instruction, all the while gaining valuable experience as they become the next generation of master teachers. At the Downtown Champaign Chamber Music Festival (DoCha) in April, the ISA Chamber Orchestra was featured with the Steven Gooden Jupiter String Quartet in a performance of Elgar’s Introduction and Allegro for (Merit School of Music, Chicago) solo string quartet and string orchestra. conducts the ISYM junior symphonic band

8 sonorities Revisiting the Heartland

runo Nettl’s Heartland s an ethnomusicologist, having Excursions opened a door done fieldwork among Native to questions that have Americans, in Iran and in India, I Bbecome increasingly Adecided, about 1990, to see what I central to the field of eth- might find if I tried looking at my own nomusicology in the quarter culture, that of midwestern university century since its publication. schools of music (mainly Illinois, but First, the methodology of others too), from the same perspec-

Courtesy of University of Illinois Press Courtesy of University considering musical reper- tive. As a result, in 1995, I published a tories and practices in the book, Heartland Excursions, interpretive In 1995, context of the people and and not data-heavy, in which I tried to Professor Bruno societies that produce them explain my impressions (going back to has begun to displace, even when I came in 1964), pretending to

Nettl’s book of Illinois Press Courtesy of University Heartland in historical musicology, a be an outside observer—the “ethno- Nettl, around the time Excursions: focus exclusively on musical musicologist from Mars.” I came up Heartland Excursions was first Ethnomusicological texts and the “great men” with four essays, each presenting the published Reflections on who created them. Second, school as a kind of society: 1) a society of great composers, each with Schools of Music ethnomusicological studies a distinctive personality, who are a kind of pantheon that rules us; was published by of “non-exotic” or “domes- 2) competing societies of students and teachers, artists and scholars, the University of tic” musics and cultures, such instrumentalists and vocalists, educationists and performers and lots Illinois Press in as African-American music, more; 3) a group of musics—classical, “new,” “early,” non-Western, its series Music in have established a rightful jazz, and more, who, in concentric circles, also compete, striving for American Life. To place in the field and are recognition, within the rules of the central classical traditions; 4) commemorate the gaining strength with each our repertory which, also, we tend to think of as if it were a society. 25th anniversary of its publication, passing year. Finally, the re- While he was still director of the School of Music, Jeff Magee kindly Sonorities asked examination of the canon asked me, 25 years later, whether I thought this picture had changed. Nettl and Laurie that Bruno’s book prompts For one thing, ethnomusicology has changed, and I’m not sure Matheson, is nested in a broad alliance I’d try to write a book in this way today. But to follow Dr. Magee’s director of the committed to interrogating question very briefly: 1) The society of great composers has very University of structures of inequity at the much expanded, and we hear, and sincerely respect, a much larger Illinois Press, heart of persistent patterns community of composers who have taken their places alongside the to each reflect of exclusion. We are proud “biggies.” 2) We have more groups that compete, adding jazz, non- on the book’s to have published this vision- Western, vernacular ensembles, and more, but I also feel that there is significance then ary book! among them more interaction, fusion, and cooperation. More musics and now. —Laurie Matheson, director, are regarded as “normal.” 3) Musics on the outside circles have moved University of Illinois Press towards the center, and jazz, world music, Broadway musicals, some popular genres, and more, are accepted as “normal” music. 4) That chapter about the repertory as a society? I’m going to have to work on that concept some more. But all together (remember I’m a long- time emeritus and thus an outside observer) I feel that the various components of the school—there are more of them now—continue to compete, often vigorously, but on a more level playing field, and they are also more likely to find ways of interacting. —Bruno Nettl, professor emeritus of musicology

2020 9 “Illinois Journey”

Award-winning music educators Brandon (BME ’08, MME ’19) and Sarah Catt (BME ’09, MME ’19) reflect on their time at the School of Music and, with the help of their students, deliver an inspiring message to fellow members of the class of 2019.

Whereas keynote speakers customarily impart wisdom and advice based on their many years of distinguished experience, the School of Music took a different approach for its May convocation ceremony. Brandon and Sarah Catt spoke from the distinctive perspectives of early-career alumni, whose student experiences are still very fresh in their minds. After nine years as choir director at Elk Grove High School, Sarah Catt recently became assistant professor and director of choral activities at Elmhurst College. Brandon Catt serves as fine arts department chair, student engagement coordinator, and

director of vocal music at Glenbard East High School in Lombard, Memory Lane Photography IL, where his teaching responsibilities include choral music and hip-hop production. As you will see in their adapted convocation S: Not to mention, we met each other on this campus. I was address below, they both have embraced the imperative of making walking down the first-floor hallway of the Music Building the twenty-first-century music classroom and rehearsal room an when I ran into one of my friends right outside the eleva- inclusive space, one in which musicianship, citizenship, and social tor. She was standing there talking with another undergrad responsibility are integrated with holistic excellence. whom I hadn’t met before. B: I was that undergrad, and it was love at first sight. Well, SARAH: If we were to rewind to ten years ago, we were at least for me. sitting here in this same beautiful hall, at the same dignified ceremony, as undergraduates excited and nervous about S: I think I learned his name two months later. In reality, we what would happen next. I can say with complete certainty stayed friends throughout college, until the summer after that neither of us thought that we would be here with you my senior year when our voice professor, Dawn Harris, and today, but we are so excited that we are. We have great the entire staff of the ISYM Musical Theatre camp made memories from our time on campus. I remember loading it their top priority to set us up that week. They obviously up on caffeine and scones at Espresso Royale, attending succeeded, since as you can see, we’re still together. In fact, friends’ recitals in the Memorial Room, and conducting two of our most cherished mentors on our musical journey Frank Ticheli’s There Will Be Rest on this stage during our participated in our wedding with Professor Harris singing senior conducting recital. a beautiful solo and Joe Grant conducting a choir of our friends and colleagues. BRANDON: I remember learning about life and music from Ollie Watts Davis in Black Chorus rehearsals, going to the B: In addition to these great memories, the University of Final Four with the Orange Krush, and playing with the Illinois School of Music filled us in ways that we didn’t know Marching Illini at the Rose Bowl and in Ireland. needed to be filled. Every step of the way in our career, we have found that Illinois prepared us to consider options, make thoughtful decisions, and regroup in moments of

10 sonorities Visit the School of Music’s website or YouTube channel adversity. We can confidently tell you that you have also Don’t get discouraged to watch the complete speech been given everything that you need from this incredible easily if one person place. We hope that sharing a bit of our Illinois journey and convocation will allow you to reflect on your own path moving forward. doesn’t appreciate ceremony. your music because that S: Brandon and I went back and forth for weeks about what our message would be today. We went in a million different same music could be life- directions before the obvious hit us. After teaching for 10 changing for someone else. years, we’ve realized that the source of our inspiration has —Mikaela, age 17 always been our students. So why not look to them? Your love for the craft WILL show in how B: We decided to ask our students what advice they wanted you perform and educate. to share with the next generation of professional musicians, —Yinka, age 16 educators, scholars, and leaders. We reached out to students electronically, and within a couple hours we had over 30 If you’re not having fun with the career responses. Here are just some of those pearls of wisdom. you choose, then what’s the point? We invite you to listen and consider each one. —Shay, age 15

The music that makes us cry, smile, laugh, B: We have a lot to learn from these young people. Reflect- or just get up to dance to is much more ing upon their advice made us realize that our goal today is not to enlighten you with earth-shattering new ideas; rather, powerful than music that is “perfect.” our hope is that you recognize the tools and strengths you —Simone, age 15 have within yourselves to succeed, in part thanks to your Don’t think that the only way to make time at Illinois. music is the way that you were taught. S: Trust in your experiences here at Illinois. Know that what —Bella, age 16 you walk out with today is much more than just a degree. While your musical knowledge and abilities have certainly It is your duty to bring the gift of music to grown during your time in the School of Music, we believe as many people as possible. that the non-musical insight and experiences given by this —Ambiya, age 15 school may serve you even more. They certainly have for Keep an open mind and open heart. Some us. When reflecting on our Illinois journey through two degrees, we realized how we both had become equipped kids are going to make it a struggle, but with many important tools. a challenge is always a good thing. Also, B: At Illinois, we learned the importance of human connec- remember that some kids don’t have it tion. The importance of social conscience. Of compassion. easy. If they’re having a bad day, try to help Of friendship. Of service. We learned what it is to be leaders them or just let them chill out. And never in our field who work to serve the needs of all people. These are the lessons that made our Illinois journey. yell, ever. Students can make it frustrating, S: Most of us are sitting at graduation thinking about our- but yelling at us just makes everything selves. I certainly am. What will my future hold? How will I worse. And remember to have fun with impact the world? But instead of just focusing on ourselves, your students. we encourage you to think about the relationship between —Taniyah, age 16 your music and the people around you. Some disciplines

2020 11 Memory Lane Photography are solitary by nature, but this field we have entered? It is S: Our music has helped students, families, and staff mourn not one of them. Music needs people to come to life. the loss of their siblings, parents, teachers, and friends. These were not the considerations we had when we were B: Consider a composer without a musician to awaken the sitting in this room 10 years ago. We were not thinking notes of their pen. Or a performer without an audience about the profound impact that our music would have on to inspire. A teacher without students to challenge and to the lives of those around us. be challenged by. We need other human beings to grapple with our art. Today when thinking about your future, choose B: Now consider this. Your music will do the same and so to consider more than just the impact of music on your much more. Imagine the people who you will impact with individual life; rather, imagine the power your art can yield your music. You don’t know them yet, but they are abso- in all of the lives around you. lutely waiting for you. What an incredible privilege and responsibility we all have. S: Have you considered how your music will help people deal with the struggles and successes of their lives? Over S: So what is your Illinois journey? What lessons will you take the course of our teaching, we have witnessed our students’ with you through your life and your career? Who inspired music profoundly impact their peers, families, audience you to be your best self? members, and complete strangers. We have shared our B: Remember this place, but more importantly remember music with colleagues at their weddings. Our music has the people. Pave the path for your Illinois journey. also helped our students work through some of the tough- est topics to discuss and understand, including self-harm, S: We thank you for letting us share. May your journey poverty, racism, and sexism. be full of purposeful work, inspiring relationships, and moving music. B: After recently performing with our choirs at a childcare center, a teacher approached me and shared that she saw B: Congratulations, Class of 2019! her four-year-old student, who had been in the class for a month, smile for the very first time because of our singing that day.

12 sonorities Meet the New Director A Q&A with Jeffrey Sposato

n August 16, 2019, Jeffrey Sposato became the music in Leipzig from 1750 to 1850. As with many new director of the School of Music. An accom- things worth doing, these took much longer to plished administrator, educator, scholar, and write than I anticipated. My Leipzig book took 13 Operformer, Sposato brings a wealth of experi- years from start to finish and required multiple ence to the position. Before coming to Illinois, research trips to Germany. In both cases, the he was associate director of the Moores School of research was difficult, with lots of the sources that Music at the University of Houston (UH), where were hard to find and hard to decipher, and so I he was also director of graduate studies and had look on them with a lot of pride. served as a member of the musicology faculty since 2007. Two other memorable accomplishments are on the per- He was previously head of the music program at the Uni- formance side. Establishing the first collegiate chorale at versity of Pittsburgh at Greensburg, where he founded and the University of Pittsburgh at Greensburg was immensely directed the school’s Collegiate Chorale. He received a PhD satisfying. It’s still in operation today. This was a school in musicology from Brandeis University, an MM and BM in that had very few musical opportunities, and I got to build vocal performance from New England Conservatory, and that, and most of their music program, from the ground a BA in German studies from Tufts University. His publica- up. The second is related to my Leipzig book. As I discov- tions include Leipzig After Bach: Church and Concert Life in a ered composers who had largely been forgotten, I worked German City (Oxford, 2018), The Price of Assimilation: Felix with Houston-area professional orchestras and choruses Mendelssohn and the Nineteenth-Century Anti-Semitic Tradition to do recreation concerts. But the most exciting of these (Oxford, 2006), William Thomas McKinley: A Bio-Bibliography recreations was actually a Lutheran mass that took place (Greenwood, 1995), and numerous reviews, journal articles, in Leipzig. On October 31, 2017, the city celebrated the and contributions to edited collections. Sonorities recently 500th anniversary of the start of the German Reformation, interviewed Sposato to learn more about his life, career, the date when Martin Luther presented his 95 theses in and vision for the School of Music. Wittenberg. With the help of UH composition student Eric Heumann, I reconstructed the music that was used How did you first get involved in music? What to celebrate the 300th anniversary of the Reformation in inspired you to pursue a career in music? Leipzig in 1817. Students from the Hochschule für Musik My family has been very musical for several generations. und Theater “Felix Mendelssohn Bartholdy” performed For instance, my grandmother did some voice teaching and this music on the anniversary in 2017 in the same church her brother, Moses Silverman, was a well-known cantor in as it had been performed in 1817—Leipzig’s St. Nicholas Chicago. So, I knew that a career in music was an option Church. Putting that together and being there to introduce growing up. But the person who really set me on the path the music before the mass was really thrilling to me both to pursuing a career in music was my high school choir as a musicologist and a performer. director, Robert Gottshalk. He encouraged me to join the choir and then nurtured my interest in both singing and You come to Illinois after more than a decade at conducting, to the point that he let me conduct the choir the University of Houston. What attracted you to and orchestra on several occasions, including at my high the University of Illinois and the School of Music? school graduation. I’ve known about the stellar reputation of the School of Music at Illinois for a long time. In some ways, Illinois What are some of your most memorable reminded me of the University of Houston, in that it is a experiences and proudest accomplishments of large state university that has an excellent music program your career? operating inside of a prominent research university. In Two of my proudest accomplishments are my two books other ways, Illinois is unique: it has the amazing asset of on German music: one on Felix Mendelssohn, and one on the Krannert Center, it has many more years of alumni, 2020 13 and it offers the PhD in musicology, which was attractive faculty—applied and academic alike—realize that they to me since I would get to work with those students. While can be researchers, that we are all scholar-performers. My I was at UH, I developed some ideas about how we could spouse used to work at Carnegie Mellon, and the director update music education for the twenty-first century. This of undergraduate research there used to say that research job seemed like an amazing opportunity to work with an is asking a question that no one knows the answer to. If incredible group of talented faculty and staff and with that’s the case, then a musicological book is research, but dedicated alumni—to integrate their ideas with mine to so is performing a piece—even a very familiar one—in a further strengthen what is already a world-class program. way that allows us to learn something new about it. We already do this on a regular basis, but I want to work with How has your musical training helped prepare our faculty on ways we can better showcase our research you to be an administrator? and make us an even more vibrant part of the university’s It is tough to make a living as a solo musician or a performer. research mission. For some, there won’t be enough opportunities to make Another top priority for me is increasing diversity. There ends meet; for others, life circumstances and other priori- is a lot of unconscious bias in the music profession. For ties will make it difficult to pursue performance full time. instance, if we assume that the best undergraduates come And even in the best cases, it takes time to build a career. from certain wealthy high schools and the best graduates So we need to provide students with the training necessary come from elite universities, we’re not going to have a to excel at multiple music-related careers after graduation. very diverse school, nor are we going to get the very best When I entered New England Conservatory, I intended to musicians. We will keep recruiting from these elite schools, be a vocalist. In making the shift to musicology, I saw that but we need to branch out. There are talented musicians there were other things I could do as someone interested everywhere. This is something that our alumni could help in music—I could be an educator and a researcher. And us with, because they are spread out around the country even as I completed my PhD in musicology at Brandeis, I and the world, and they know where to look. They can worked in a number of music-related fields—I was chief bring people to our attention. We need to make sure that musicologist and publicist for a record company, I worked the School of Music represents the diversity of the state of as executive director of a symphony orchestra, and so on. Illinois and the entire country. A college education is expensive, and students—and their I’m also very committed to fundraising. We have great parents—want to know that they will leave with the skills ambitions for the School of Music, and we need the help of they need in order to have a successful career. One of my all of our alumni and friends to realize them. Scholarships primary goals is to work with our faculty to figure out how are our top priority, but I would also like to create a Direc- we might train our students in such a way that those who tor’s Innovation Fund, so when faculty come forward with joined us initially to become performers will also be able to an innovative new idea, we can provide them with some seed teach or to work in some other area of the music industry money to get that off the ground. I would also like to see or arts administration, and will feel that their degrees were us get a naming gift for the School of Music. This signifies a good investment. to the world that someone successful has registered a vote I believe that by doing this, we will increase the number of of confidence in what we are doing, and it calls attention first-generation college students enrolled in our programs, to the school. As its name suggests, we had a naming gift many of whom are from underrepresented groups. My at the Moores School at UH, and the School of Music at reasoning is that if you’re a first-generation student, you Illinois is equally deserving. might gravitate to business or law or medicine, thinking that’s the only safe way to go. I want to make sure that if Other than music, what are some of your you are passionate about music, you can choose music and interests? What do you like to do in your spare be confident that you can put your degree to work after time? graduation. I like to collect minerals. It’s a fun hobby, and it’s great to see people of all ages, including lots of fascinated kids, at the What are your other goals for the School of mineral shows. I also collect CDs and vinyl records. I have Music? pretty diverse tastes—everything from the pop-punk group I’d also like to see us develop stronger ties with the U of I All Time Low to baroque composer Jan Dismas Zelenka. research enterprise. In particular, I want to help all of our 14 sonorities A Glimpse Inside Newly Renovated Smith Memorial Hall

ast year, Sonorities reported on the major renovations being undertaken at Smith Hall. With the bulk of the work now complete, we invite Lyou to step inside and discover a more efficient, secure, comfortable, environmentally friendly, and welcoming Smith Hall.

All photos by Michael Siletti except where noted

New fireproof glass doors with magnetic hold-opens have been constructed throughout the building. As an added benefit, they help segregate noise in the building.

A new plaque on the first floor acknowledges support for the renovations from student fees.

Crown molding and plaster relief panels have been placed on new walls to integrate new construction with the look and feel of the original building.

Studios and faculty offices have been Nathan Mandel repainted and contain new soffits that hide New covers have been placed over radiators. critical but unsightly pipes for the HVAC and fire suppression systems. 2020 15 Vestibules have been added to the main entrances of The original seats in the Recital Hall have been refurbished. The original faux- the Recital Hall to help prevent noise bleed. The doors leather backs have been replaced with cloth, which absorb more sound than now lock, helping to secure the hall, and have been hard backs. The bottoms and backs have new foam cushions, which make the partially covered with Tolex, a vinyl material often seats more comfortable. used on guitar amplifiers, for added durability and a subtle touch of musicality.

Restrooms have been completely renovated with new plumbing, fixtures, and finishes.

The Recital Hall’s floor has been regraded to create New electrical outlets on the floor of the a more consistent rake. This facilitated placement of Recital Hall make it easier for engineers to the new vestibules in the rear of the hall, brought the record performances and other events. hall up to accessibility code, and, due to the use of improved materials in the floor, enhanced the room’s acoustics.

16 sonorities While maintaining the original look of the building’s staircases, new iron and tubular steel handrails have been installed that meet building code height requirements.

A new accessibility ramp leads to the Memorial Room. The Memorial Room’s palace-size Persian Sarouk rug from ca. 1920 has been cleaned and repaired.

“Some of the most important renovations are the ones that most people do not get to see,” said Nathan Mandel, operations and properties manager for the School of Music. For example, the air handler under the Recital Hall has been treated acoustically (above left) to help alleviate mechanical noise from the motor, bearings, pulleys, and electronic drive. Additionally, the pump for the forced air heating system, which, according to Chad Wahls, facilities manager for the School of Music, “had been a great source of problems since the 1950s, when it was installed,” has been relocated to another room under the east hallway. Plumbing has been upgraded throughout the building with new pipes (above middle) that carry water for the sprinkler and radiant heat systems. Meanwhile, new sump pumps (above right) help protect the building from water damage. “The end result for a visitor,” according to Mandel, “is that it’s going to be comfortable and quiet.”

2020 17 faculty news

master’s program in Global History at the faculty at the University of Illinois at new full-time Freie Universität. Takao’s interdisciplinary Urbana-Champaign, Li taught at the Uni- research spans the study of European versity of Illinois at Springfield and Illinois faculty early music and theater, Japanese studies, College. emotions history, and religious studies. Michael Siletti (Musicology) Carlos Roberto Ramírez He has published articles with Early Music, received an MM and PhD (Musicology) is a musicolo- the Journal of Jesuit Studies, the Journal in musicology from Illinois, gist and harpsichordist of Religious History, and Contributions where he also worked as whose primary research to the History of Concepts, as well as a graduate teaching assis- area is the study of Early book chapters on the intersection of tant and served as president Modern music and culture, Catholicism and the performing arts. His of the Illinois Student Association of Music focusing on the convergence of musical current book project is entitled Of Mission Scholars. His dissertation, “Sounding the practice, organology, the history of the and Music: Japanese Christianity and Its Last Mile: Music and Capital Punishment book, and subjectivity from 1350 to 1750. Reflection in Early Modern Europe. Ramírez’s secondary research area exam- in the United States Since 1976,” is a ines representations of gender, class, and finalist for the Society of American Music’s race in Latinx musics, exploring the inter- new part-time Wiley Housewright Dissertation Award. action of structures of power and subject- He has presented his research at numer- formation in the genre of reggaeton. An faculty in 2019–20 ous conferences, including meetings of ardent advocate for the combination of the Society for American Music, the Con- ference on Illinois History, and the Midwest musical practice and scholarship, Ramírez Ashley M. Davis (Black chapter of the American Musicological performs regularly and has had the oppor- Chorus) joined the School Society. tunity to study historically informed prac- of Music as a lecturer in tice with some of the leading exponents music. Skilled and experi- in the field, such as Christopher Hogwood, enced in teaching and con- Jordi Savall, Neal Zaslaw, Annette Rich- ducting the choral music faculty updates ards, and Joyce Lindorff. He has presented of African Americans, effective student his research at a number of conferences, engagement and recruitment, and admin- Christina Bashford (Musi- including the American Musicological istrative work, Davis will serve as the cology) was elected a Society, the Symposium of the International assistant conductor of the University of Fellow of the Royal Histori- Festival of Spanish Keyboard Music, the Illinois Black Chorus. With two earned cal Society, the foremost academic society in the Royal Musical Association, Columbia degrees from Illinois, you will find Davis University, and Princeton University. He promoting the music of Black Americans UK for the study of history. completed his PhD at Cornell University and inspiring all who come her way. She also gave keynote addresses at two and was a Pre-Doctoral Diversity Fellow international conferences, one in Athens, in Music at Ithaca College. Yichen Li (Voice) is a diverse Greece (The Birth of Contemporary Europe: musician who has per- World War I, Music and the Arts; Novem- Makoto Harris Takao (Musi- formed extensively in ber 2018), the other at the University of cology), as a doctoral opera, oratorio, and Oxford (Perspectives on Historically fellow with the Australian chamber music and has Informed Practices in Music; September Research Council Centre won numerous awards as 2018). Her article “Interpreting the Role for the History of Emotions, a vocalist and piano accompanist. Li of the Violin in the Ballykinlar Internment completed a joint PhD in earned a BA in music education (piano Camp during the Anglo-Irish War of 1920- musicology and history at the University concentration) from Nanjing Normal 1921” was one of six prizewinning essays of Western Australia in 2017. From 2016 University, where he served as a teaching published in the 100th anniversary issue to 2019, Takao was based in Berlin, where assistant in several music classes. He of the journal Music & Letters in Summer he held a research fellowship at the Max received an MM in vocal performance 2019. In January, she stepped away from Planck Institute for Human Development. from Illinois State University and a DMA her role as the SoM’s director of graduate During his time in Germany, he also in vocal performance and literature at studies to begin a sabbatical of research taught as a core faculty member of the the University of Illinois under the tutelage and writing. of Ollie Watts Davis. Before joining the 18 sonorities milestones

Zack Browning (Com- Bulgaria (produced by Martin Koenig), & awards position-Theory, Emer- for which she also served as consultant. itus) had his portrait In May, she visited Sofia as one of seven Promotions album Soul Doctrine US institutional representatives participat- Charles Daval, to full Professor released on Innova, ing in a cultural exchange seminar con- Linda Moorhouse, to full Professor which was described as “World wise vened by the Bulgarian-American Fulbright Michael Silvers, to Associate contemporary classical music with a rock Commission. Throughout 2018–19, she Professor with indefinite tenure attitude” (Midwest Record). Browning’s also served as acting director of REEEC. Andrea Solya, to Teaching composition Decade of the Dragon was Associate Professor Michael Cameron (Double released on NakedEye Ensemble’s album Elizabeth Freivogel, to Clinical Bass) was a featured guest Storylines Crossing (Starkland) and it Associate Professor artist at the International received two Gold Medals from Global Meg Freivogel, to Clinical Society of Bassists conven- Music Awards (Best Ensemble Recording Associate Professor tion at Indiana University and Best Debut Album). Premiere perfor- Nelson Lee, to Clinical Associate Bloomington. He per- mances included Songs of the Double Professor formed the world premiere of Blue Neon Moon, which was commissioned by School Daniel McDonough, to Clinical Tumbleweed III by Marc Satterwhite with of Music alumni Hye Young Kim and Associate Professor pianist Evan Mitchell. He also performed Suhyoung Park with Ensemble HYE (IPAC composition professor Erik Lund’s Obsti- Awards Hall, Seoul, South Korea), and Network nate Bass, a work for unaccompanied Chad Wahls, FAA Distinguished Slammer with video at Conservatorio bass that received its world premiere in Service Award Alicante, Spain. Performances of his music March in Urbana. He was also a judge included Rock Furious (Ossessioni Festival, Retirements for ISB’s senior solo competition. Scuola di Musica Sarti, Faenza, Italy), William Kinderman Howler Back (tour of China by Encore Barrington Coleman (Vocal Erik Lund Saxophone Quartet), and Right at the Jazz, Varsity Men’s Glee Dead End (London, UK and Taipei, Taiwan). Club) completed a post- Browning continues to direct the Salvatore sabbatical journal, “An Vocal Ensemble, Coleman will be featured Martirano Memorial Composition Award, Exploration of Vocal Peda- during the 2019 season as a Krannert jazz now in its 23rd year. gogy and Career Develop- trio artist, and as a participant with Men’s ment of Male Choral Ensembles.” Glee in a March 2020 Carnegie Hall Donna Buchanan (Musicol- Completed in Spring 2018, this document performance of Shostakovich’s Symphony ogy) gave invited presenta- provides male choral program structure, no. 13. tions at the University of gender-based vocal techniques, repertoire Texas at Austin (October) Ollie Watts Davis (Voice, studies, performance practice, teaching and the University of Illinois Black Chorus) wa s methodology, and career development Center for Advanced Study appointed to the Suzanne perspectives. During 2018–19, these (January); read a paper, “The Belled Voice: and William Allen Distin- teachings were utilized through Varsity Timbral Ethnoaesthetics and Cosmological guished Professorship in Men’s Glee Club collaborations with UI Resonance in Bulgarian Women’s Singing,” Music, named a Provost World Music Society and guest artist and at the annual Society for Ethnomusicology Fellow, nominated for Virginia Tech’s 2001 alumnus Steven Hackman (conduc- conference (November); and gave three Woman of Color in the Academy Award, tor, composer) in commissioned works. lectures for the pedagogy workshop and served as soloist for the 55th Annual In addition, Coleman has applied peda- “Teaching the South Caucasus,” organized Convocation & Investiture of Laureates gogic principles to jazz composition, by the campus Russian, East European, to The Lincoln Academy of Illinois at the arranging, and performance forums, and Eurasian Center (REEEC) and American State Capitol. In addition, she served as including collaborative recitals with jazz Research Institute of the South Caucasus soloist for the Albert Lee Memorial Unveil- bassist Larry Gray, and recording co- (June). She published a book review in ing & Dedication Ceremony, opened the production and performance work with the Anthropology of East Europe Review Illinois Program for Research in the his son, jazz artist and 2016 alum Crofton and a dual-language essay in the booklet Humanities series with a performance Coleman. As a new contributor to the accompanying the 2019 Smithsonian talk on “Race Work,” and presented at jazz area in Vocal Jazz as well as Jazz Folkways release, Sound Portraits from the National Association of Teachers of 2020 19 faculty news

Singing Transatlantic Pedagogy Tour in the focus from composers to textual com- Research presentations in 2018-2019 Germany. She was the guest clinician for pilers who—perhaps responding to the included a study of music educators the Join Voices Chicago festival at North- riddle culture of the era—used “pivot” engaged in collaborative professional eastern Illinois University, led the Black words and phrases to combine passages development at the Research in Music Chorus ISYM camps, and directed the from the Davidian psalms and other sapi- Education conference at Bath Spa Uni- 14th Black Sacred Music Symposium. ential texts into new poetry. Editors like versity (UK). Gallo received a Campus Additionally, she led the Black Chorus in Susato seemingly picked up on this tech- Research Board grant (October 2018) for signature performances on and off campus, nique, indicating sources of selected this project. Other presentations include including the Legacy of Project 500 at excerpts in marginalia. Eagen-Jones’s paper “Connecting to the Current K-12 Com- Illinois celebration. considered this textual construction as munity: Music Teacher Educators as Local form of exegesis that evinces humanistic Professional Development Advocates” at John Dee (Oboe) performs readership of the Bible. Her paper explored the Mountain Lake Colloquium (VA), and at the Krannert Center for four sample motets by Orlando di Lasso, two invited presentations from Kodály the Performing Arts, as prin- Leonhard Paminger, Jacob Clemens non chapters in MN and WI. In partnership cipal oboe of Sinfonia da Papa, and Thomas Crecquillon. with Adam Kruse, Gallo was awarded a Camera, and the Cham- research grant from the American Orff- paign-Urbana Symphony, Timothy Ehlen (Piano) Schulwerk Association and matching and is regularly invited to give guest clinics released a recording, Late funds from FAA to engage music educators and performances throughout the world. Character Pieces of Brahms in collaborative professional development With his colleague Timothy McGovern, (Azica), which has received (2019-20), where local artists will facilitate Dee has established a popular series of critical acclaim. He gave teacher learning and mentor K-8 students. instructive-performance events, which numerous recitals and per- Gallo was also the invited clinician for are held annually throughout the Chica- formances in China, including at Inter- the Illinois Music Education Association goland area. Hosted by regional music national Piano Week at Beijing Normal District #2 Elementary Creative Movement directors and instructors, the events are University; China Conservatory; Wuhan ensemble. designed for oboe and bassoon students, Conservatory; Xinghai Conservatory of their parents, and area educators. His Music; and the Steinway Gallery in Guang- Larry Gray (Jazz, Double oboe reed-making companion guide, zhou. In addition to eight lecture-recitals, Bass) had a very busy year. Oboe Reed-Making from Blank to Crow, Ehlen gave 20 master classes to a total of In addition to his featured was enthusiastically received at the Inter- at least 77 students at universities and duets recital at Foellinger national Double Reed Society Annual conservatories across China, which offered Great Hall with SoM’s Bar- Conference. He was also invited to give him the rare opportunity to introduce his rington Coleman, Jon Dee, two International Double Reed Society artistic perspective to an important and Yvonne Gonzalez-Redman and Jonathan conference performances, including world rising sea of musical talent. Ehlen also Keeble, and his appearance at the Kran- premieres, and is honored to be a member performed and taught at several events nert Art Museum with his Chicago-based of the international committee to judge in the United States, including at the improvising trio Gray/Wilkerson/Ra (Ed the final round of the Gillet International Montecito International Music Festival Wilkerson and Avreeayl Ra), he maintained Oboe Competition. (CA), and the Freeport Arts Center (IL). In connections to Chicago performances Summer 2019, he gave a concerto per- with legendary trombonist Steve Turre’s Megan K. Eagen-Jones formance with Sinfonia da Camera during Quintet, in duos and trio concerts with (Musicology) presented her the Summer Piano Institute; his student guitarist John Moulder and in a new 360- research on Renaissance Yu-Jung Feng performed as a winner of degree video release by the award-winning centonate motets (poly- the concerto competition. improvising trio Wertico Cain and Gray. phonic works that set He also appeared at last year’s Chicago textual excerpts from two Donna Gallo (Music Educa- Jazz Festival with legendary pianist Barry or more sources, combined in a single tion) recently published Harris and alto saxophonist Charles opus) at the Medieval and Renaissance “Formative Assessment McPherson. He continues to hone his Music Conference in Basel, Switzerland. Practices and Children’s video skills and is very busy documenting MedRen is the largest annual scholarly Singing Accuracy: A Mixed student work at the Jazz at Illinois YouTube symposium to focus on musical works of Methods Inquiry” in the channel and Facebook page, while per- this period. Eagen-Jones’s paper turned International Journal of Music Education.

20 sonorities faculty publications forming regularly with current students Over Here, Over There: Transatlantic Conversations on in his Larry Gray Projects series. the Music of World War I, edited by William Brooks, Julie Gunn (Lyric Theatre, Christina Bashford, and Gayle Magee; University of Illinois Keyboard) made her Press, 2019. Wigmore Hall debut in Helping to fill the dearth of detailed scholarship on clas- London. She helped sical music’s response to World War I, this edited volume develop the Los Angeles examines how composition, performance, publication, and New York premieres recording, censorship, and policy shaped the Atlantic of Ellen Reid’s 2019 Pulitzer Prize-winning allies’ musical response to the war. While the book’s first opera p r i s m. Additionally, she and section offers studies of individuals, the second concentrates on communities, Nathan Gunn developed “An Evening on whether local, transnational, or on the spectrum in between. Essay topics range Broadway,” in which they performed from the sinking of the Lusitania through transformations of the entertainment classic and contemporary musical theater industry to the influenza pandemic. with distinguished colleagues, alumni, and students. “An Evening on Broadway” Thinking Outside the Voice Box: Adolescent Voice Change in Music Education also constitutes the first work of the Gunns’ by Bridget Sweet; Oxford University new production company, Shot in the Press, 2019. Dark Productions Inc. Teaching highlights In this practical teaching guide, Sweet encourages a holistic included conducting Britten’s The Rape approach to female and male adolescent voice change. of Lucretia with Lyric Theatre and the Sweet’s approach takes full consideration of the body, Illinois Modern Ensemble, and hosting brain, and auditory system; vocal anatomy and physiol- Richard Maltby and David Shire’s work- ogy in general, as well as during male and female voice shop of a commercial Broadway project, change; and the impact of hormones on the adolescent Take Flight. She is immersed in the Kran- voice, especially for female singers. Beyond the physical, it also addresses the nert Center’s 50th anniversary celebration, emotional and psychological components: ideas of resolve and perseverance serving as co-chair of the national capital that are essential to adolescent navigation of voice change; and exploration of campaign, Endow the Dream. portrayals and stereotypes in pop culture that influence how people anticipate Rudolf Haken (Viola) voice change experiences. appeared as soloist in Voices of Drought: The Politics of Music and Environ- Summer 2019 with two of ment in Northeastern Brazil by Michael B. Silvers; Uni- his own electric viola con- versity of Illinois Press, 2018. certos (Viper Concerto and Uncovering links between music and the environment, Concerto in F) at the Silvers employs an ecomusicological perspective toward Bayreuth Young Artists Festival Orchestra understanding events in Ceará, a drought-plagued state in Germany, the Shakujii International in northeastern Brazil. Centering on the production and Orchestra in Tokyo, and the Rolland Work- experience of forró music in the region, Silvers argues that shop Orchestra at UI. In Bayreuth, Haken drought affects music making and that music making in performed with folk musicians from Turk- turn affects drought. Across the concepts of vulnerability, materiality, listening, menistan, Syria, Greece, and Tunisia. nostalgia, and policy, Silvers presents six interlocking but contextually distinct Haken was featured on a broadcast of case studies that interrogate links between music and ecology in topics ranging Bavarian Television, as well as the Rockstar from the harvesting of materials for wax cylinder recordings to the cancelation Violinist podcast. Haken performed Black of state-sponsored Carnival celebrations. Sabbath with Rachel Barton Pine at the American String Teachers Association conference in Albuquerque. Haken and Julius Adams’s electric viola duo performed for #WithIllinois in New York and in Scott- sdale, AZ.

2020 21 faculty news

Ronald Hedlund (Voice, distinguished colleagues as “revelatory” Tunghai University in Taichung, and in Emeritus) continues an and “game changing.” Prior’s concerto, Taipei. These concerts featured perfor- active performing schedule, commissioned by and dedicated to Keeble, mances by UI alum Han-Jui Chen (double including annual in-school is being published this fall by Theodore bass), and Yu-Chen Wang (gu-zheng), programs featuring the Presser. Keeble performed throughout the who now live and work in Suzhou, China. Champaign-Urbana Sym- world at events in New Zealand, Hong Lund also presented lectures on his music phony Orchestra, in recital, for fundraising Kong, and across the United States. His and master classes at Tunghai University galas, area churches, and a solo appear- students continue to garner awards and and National Chiao Tung University in ance with the Topanga Symphony (CA). positions ranging from professorships, to Hsinchu. Fulbright Awards, to major Barry L. Houser (Athletic Gayle Magee (Musicology) competitions. Bands, Conducting) was was a featured speaker at recently appointed to serve Adam Kruse (Music Educa- Oberlin College and the as the national chair of the tion, Technology) had University of Wisconsin– College Band Directors written publications appear Madison, where she pre- National Association Ath- in Music Education sented her research on letic Band Committee. He currently serves Research, the International Canadian music in World War I. With as a Yamaha Master Educator and as an Journal of Music Education, colleagues William Brooks and Christina educational consultant for Ultimate Drill and the Journal of Popular Music Educa- Bashford, Magee completed an edited Book, the latest innovation in teaching tion. He also published an audio spoken- collection entitled Over Here, Over There: and sharing drill digitally. word piece in the journal New Directions: Transatlantic Conversations on the Music A Journal of Scholarship, Creativity, and of World War I (University of Illinois Press, The Jupiter String Quar- Leadership. Kruse was on a team of col- 2019). This year, she completed a certifi- tet’s new album with leagues from the School of Music and cate as a Master Online Teacher through pianist Bernadette African American Studies that received the University of Illinois Springfield, and Harvey, Alchemy, was a $150,000 grant to support The Hip-Hop continued to develop and teach new recently released on Xpress, a mobile studio for teaching DJing, online and hybrid courses. In July, Magee Marquis Classics. This beat production, recording, and engineer- completed a three-year term as editor of past year, they also enjoyed visiting per- ing skills in various school and community the award-winning journal American formances, residencies, and master classes settings. In addition to leading workshops Music. In August she began a three-year at the Bienen School of Music; Eastman and guest lecturing at universities around term as chair of the musicology area. She School of Music; Peabody Conservatory; the country, Kruse presented work at the continues to serve as Chair of the Board Virginia Arts Festival; Chamber Music HipHopEd Conference in New York; the of Directors of the Charles Ives Society, Athens; Encore Chamber Music; Bowdoin National Conference of The College Music and to publish on Ives and contemporary International Chamber Music Festival; Society in Vancouver, BC; and the Research composer William Bolcom. Bay Chamber Concerts; Cape Cod in Music Education conference in Bath, Chamber Music Festival; and the historic Jeffrey Magee (Musicology) UK. Kruse was also delighted to co-orga- Maverick Concerts in Woodstock, NY. completed seven years as nize the third ISYM Hip-Hop Camp with director of the School of Jonathan Keeble (Flute) Professor Lamont Holden. Music and assumed the was invited to perform Erik Lund’s (Composition- position of part-time associ- Richard Prior’s Concerto Theory, Emeritus) CD ate dean in the College of for Flute and Orchestra at MEMOS was released on Media while remaining professor in the the 2019 National Flute Centaur Records. The SoM. His article “Whose Turn Is It? Where Association Convention in recording includes perfor- Gypsy’s Finale Came From and Where It Salt Lake City’s Abravanel Hall. Featured mances by the Jupiter String Went” appeared in an all-Sondheim issue with principal flutists from the Metropolitan Quartet, Fidelio Piano Trio (UK), Illinois of Studies in Musical Theatre, and he Opera Orchestra, the Stuttgart Philhar- Modern Ensemble, Illinois Saxophone contributed book chapters to Over Here, monic, and the Atlanta Symphony before Ensemble, as well as several fine solo and Over There: Transatlantic Conversations 1,200 flutists from all over the world, duo renderings. Lund’s music was featured on the Music of World War I and Rethink- Keeble’s performance was described by in concerts in Taiwan in May 2019 at ing American Music (both UI Press, 2019).

22 sonorities —compiled by Emily Wuchner, associate editor faculty recordings

He continued to serve as reviewer for the Alchemy by the Jupiter String Quartet and Bernadette American Council of Learned Societies Harvey; Marquis Classics, 2019 and Radcliffe Fellowship programs. For their latest offering, the Jupiter String Quartet reunited Timothy McGovern with Australian pianist Bernadette Harvey to record works (Bassoon) hosted Keith commissioned by the Arizona Friends of Chamber Music. Sweger, professor of Recorded and co-produced by Grammy Award-winning bassoon at Ball State Uni- engineer Matthew Snyder in Krannert’s Foellinger Great versity, for a recital and Hall, the album features the world-premiere recordings of Pierre Jalbert’s Piano master class. In April 2019, Quintet, Steven Stucky’s Piano Quartet, and Carl Vine’s Fantasia for piano McGovern was invited as a guest artist quintet, as well as a new recording of Jalbert’s Secret Alchemy for violin, viola, and teacher, along with John Dee and cello, and piano. In a glowing review, The High Arts commends the musicians’ Cara Chowning, at the University of Iowa, “poised, precise and elegant” playing and notes that “these are demanding Ball State University, and Butler University. pieces that don’t just rely on a handful of technically skilled players but also, They performed recitals and presented as the title of the release suggests, on imaginative musical insights.” master classes. McGovern had numerous outreach activities this year, including recitals and master classes at Midwest which also featured Butch Miles and Frank of concerts at the Krannert Art Museum Young Artists at Ravinia, The Chicago Greene; with the Steve Allee Big Band to entitled “Saturdays with Sebastian,” fea- Youth Symphony Orchestra, and three commemorate the 25th anniversary of turing Bach’s keyboard works. Double Reed Workshops in Geneva, the Jazz Kitchen; with the Triton College William Moersch (Percus- Naperville, and Lincolnshire, IL. He con- Jazz Band for the Triton College (IL) Jazz sion) has commissioned tinues to perform many concerts with the Festival; an all-star jazz performance with much of the prominent Illinois Symphony Orchestra, Illinois Tom Scott, Jon Faddis, Gregg Fields, and modern repertoire for Chamber Orchestra, C-U Symphony Gordon Goodwin at the University of marimba from composers Orchestra, and Sinfonia da Camera. Missouri–St. Louis; and his 15th year with including seven recipients McGovern continues his summer activi- the Jim Widner summer jazz camps in of the Pulitzer Prize in Music. His latest ties with the ISYM Double Reed Camp June 2019. commissions have resulted in premieres and the Madeline Island Chamber Music Seminar. His CD recording, Novelette - Charlotte Mattax Moersch of new works for marimba and tenor steel French Recital Music for Bassoon and (Harpsichord) was a fea- pan (Thom Hasenpflug); marimba and electronics (Emma O’Halloran); percus- Piano, will be released this fall on Albany tured harpsichord soloist in J.S. Bach’s harpsichord sion quartet and electronics, as well as Records. concertos for the 112th marimba, guitar, and double bass (both Charles “Chip” McNeill Festival of the Bethlehem by Alejandro Viñao). Moersch’s recording (Jazz, Saxophone) had Bach Choir & Festival Orchestra, with of Akemi Naito’s Five Waka by Saigyo, several noteworthy whom she also recorded Bach’s cantata for marimba and mixed chorus, is sched- performances as a BWV 21 and Handel’s Ode for St. Cecelia’s uled for release by Parma Recordings in soloist, including the Day for Analekta. She celebrated the October 2019. Currently, he is developing Indianapolis Jazz Fes- release of two solo harpsichord recordings and producing an online course on tival’s tribute to Freddie Hubbard with for Centaur Records—Bach’s Goldberg marimba history and literature. trumpeter Sean Jones; the University of Variations and The Bach Legacy, which Mark Moore (Tuba, Eupho- Illinois jazz faculty’s tribute to “Jazz In includes the Italian Concerto and sonatas nium) served as chair of Blue,” a Star-Spangled Salute Gala to the and polonaises of JCF, CPE, and WF Bach, the Arnold Jacobs Mock USO; the Jazz Education Network confer- funded with support from the Research Orchestral Tuba Audition ence in Reno, NV with Grammy-nomi- Board and an FAA Project Completion Competition at the Inter- nated jazz drummer Michael Waldrop, Grant. She directed the Illinois period national Tuba Euphonium along with a clinic presentation for the instrument ensemble Concerto Urbano Conference held at the University of Iowa conference; a podcast interview for socal- in several performances, including “Les in May 2019. jazz.com; a performance and clinic at goûts reunis,” a program of French and LaPorte High School’s (IN) 2019 JazzFest, Italian sonatas, and continued her series

2020 23 faculty news

Linda Moorhouse (Admin- Basel, Switzerland. Her commissioned Saxophone Congress at WSC XVII in istration, Bands) served as profile of musicologist Carol MacClintock Croatia. Her duties include overseeing an adjudicator for bands (1910-1989) was published in Die Musik the organization of the next two World in Oahu (HI) and in Cobb in Geschichte und Gegenwart Online in Saxophone Congresses, to be held in July County (GA); and as a con- June 2019. 2021 in Kurashiki, Japan, and in July ductor at the University of 2024, location to be determined. She was Edward Rath (Piano, Emeri- North Georgia, Colorado State University, an invited soloist and juror at the SAX-GO tus) adjudicated the Kran- in Kansas with the John Philip Sousa International Saxophone Competition nert Debut Artist Award and Honor Band, and in Kentucky with the and Festival, Nova Gorica, Slovenia. She piano division concerto Louisville Winds, an adult community was the featured soloist for the Illinois prelim competitions. He band that has been invited to perform at Wind Symphony’s performance of Joel attended the annual confer- the 2019 Midwest Clinic. She also con- Love’s Solace: A Lyric Concerto for Saxo- ence of the American Liszt Society in ducted the Champaign-Urbana Civic phone at the College Band Directors Phoenix, for which he serves as webmaster Wind Band for their annual “Ice-Cream National Association Conference in Tempe, and editor of its newsletter. and Independence” summer concert, AZ. Her book Between the Words: A which this year featured Nathan Gunn. Yvonne Gonzales Redman Saxophonist’s Guide to Practice, Perfor- She continues to serve the National Band (Voice) completed work mance and Pedagogy, is being published Association, the nation’s largest profes- on a research study explor- by Theodore Presser Co. sional organization for bands, as executive ing the effects of the music Casey Robards (Vocal secretary and journal editor, and also work environment upon Coaching, Accompanying) serves this year as president of the pres- voice instructors hearing was appointed full-time tigious American Bandmasters and voice use during studio teaching. clinical assistant professor Association. With assistance from a Strategic Research in vocal accompanying and Initiative grant from FAA she created an Bruno Nettl (Musicology, coaching at Illinois. Casey interdisciplinary study that measured Emeritus) published a conducted Mozart’s Die Zauberflöte at room acoustics, noise levels, hearing, major encyclopedia article, the Bay View Music Festival in 2019, and voice use throughout individual teach- “History of Ethnomusicol- where she is head of collaborative piano. ing periods. Results were presented at ogy,” in the SAGE Interna- As a pianist, Casey has released three the American Speech Hearing Association tional Encyclopedia of CDs in the last year, including Botanica: Convention, The Voice Foundation Annual Music and Culture, edited by Janet Sturman Music for Oboe and English Horn, with Symposium, and the International Con- (SAGE, 2019), vol. 2. His book, Theory University of Illinois alum Sara Fraker gress on Acoustics. She was invited to and Method in Ethnomusicology (1964) (MSR Classics); Chinese Fantasies, featur- present on performance anxiety at the has been published in an Indonesian ing the music of Bright Sheng and others, Florida Music Education Conference and edition, Teori dan etnomusikologi, trans- with violinist Fangye Sun (Blue Griffin will present on music hearing health at lated by Nathalian HOD Putra (Penerbit Records); and Anchored in the Lord, spiri- the Central Regional National Association Ombak, 2019). Various books of Nettl’s tuals sung by the American Negro Spiritual of Teachers Conference. A recently released have now been published in the following Intensive at the Bay View Music Festival, Toccata Classics CD (Vol. 6) features her languages: Chinese, French, Greek, Japa- directed by Everett McCorvey. In 2018–19, performing vocal works by Heinrich nese, Korean, Persian (Farsi), Portuguese, she performed recitals with Philip Alejo, Wilhelm Ernst, with Vol. 7 currently in and Spanish. Sara Fraker, Jonathan Keeble, Richard production. Her performance of Dominick Sherman, Angelique Clay, LaToya Lain, Susan Parisi (Research DiOrio’s Gathering was released on a CD Richard Todd Payne, and Henry Pleas. Scholar) carried out of music celebrating the Illinois Casey contributed a chapter to So You research in the Archivio di Sesquicentennial. Want to Sing Spirituals (Rowman & Little- Stato in Mantua, Italy, in Debra Richtmeyer (Saxo- field, 2019). September 2018, focusing phone) was one of only on music received by the eight people—and the only Gonzaga court in the 1590s. In July 2019, American—to be elected Parisi attended the 47th Medieval and to the International Saxo- Renaissance Music Conference, held in phone Committee/World 24 sonorities Guido Sanchez-Portuguez nator for a multi-year project on water Stone taught and directed the young opera (Guitar) was invited as the and the arts, funded by the U of I Presi- singers’ training program she established main guest to the Mid- dential Initiative to Celebrate the Impact in Italy in 2004. Students were from uni- America Guitar Ensemble of the Arts and the Humanities. His book, versities in Colombia, Malaysia, Singapore, Festival in Minneapolis. On Voices of Drought: The Politics of Music and the US. They received intensive lan- the closing night, and under and Environment in Northeastern Brazil, guage classes, solo and ensemble rehears- his direction, the festival’s guitar orchestra was released by the University of Illinois als, opera role coaching, voice lessons, premiered his most recent composition, Press in October 2018. He presented on and stage rehearsals. The program cul- Passages, a three-movement guitar ensem- his research at meetings of the Society minated in performances of great Italian ble piece commissioned specifically for for Ethnomusicology in November 2018 opera scenes at the core of the musical the festival. Shortly afterwards, the piece and at the Society for American Music in preparation and stage work offered during was published by Guitar Chamber Music March 2019; this past year, he also gave the course. Afterwards, Stone was in Press. presentations at Indiana University Bloom- Munich and Salzburg, where she gave a ington and, via Skype, at Harvard Uni- master class at the Austrian-American Bernhard Scully (Horn) versity, as well as on campus at Illinois. Mozart Academy. maintained a busy schedule of teaching Joel Spencer’s (Jazz, Drums) Bridget Sweet (Music Edu- and concertizing performances in Chicago cation) co-published around the globe. He included appearances at “Female vocal identity: A was named a tenured member of the the Green Mill Jazz Club phenomenology” in the acclaimed North Country Chamber Players with celebrated Chicago Journal of Research in (serving the larger upper New England saxophonist Pat Mallinger Music Education with Eliza- area), which includes the principal players and a feature weekend with internation- beth Cassidy Parker of Temple University. in the Orpheus Chamber Orchestra. He ally known jazz saxophonist David They also co-presented the study, “A mul- was invited to give master classes and Liebman. Spring 2019 included perfor- tiple case study of two inclusive choirs” perform as a soloist at Yonsei University mances with the Joan Hickey Trio at at the American Choral Director Associa- in Seoul, South Korea, and at the Isla Uncorked at the Krannert Center for the tion’s Symposium on Research in Choral Verde Bronces Festival in Córdoba, Argen- Performing Arts; with pianist John Camp- Singing in Chicago. Sweet conducted tina. He performed principal horn in bell at the Lake Geneva Grand Resort in three all-state choirs this year: Kentucky Schumann’s Konzerstück with both the WI; and with the Chicago Jazz Orchestra Junior High SATB, Virginia Middle School University of Illinois Symphony Orchestra Quintet at Winters Jazz Club, Chicago. SATB, and Maine High School SSAA. She and Colorado State University Orchestras. Throughout the past year, the Joel Spencer presented research in IL, KY, AL, and FL, Bernhard was on faculty once again as Quartet recording Jazz Hit has received and was a featured presenter at the 2019 artistic director of the Kendall Betts Horn increasing notoriety on the international Minnesota ACDA Summer Dialogue at Camp, successfully overseeing the 25th playlist for the show Real Jazz, featured St. Olaf College. She gave several virtual season of the international festival. He on Sirius Satellite Radio. During Summer presentations and choral clinics and con- was invited to serve on the jury of the 2019, Spencer was featured as a guest ducted the 2019 ISYM Junior Chorus. 2019 Jeju International Brass Festival in artist in the 40th anniversary concert With her Illinois music education col- South Korea, and as the featured artist at celebration of the Chicago Jazz Orchestra leagues, she presented sessions on critical the 2019 Chilean Brass Festival. at Chicago’s Studebaker Theatre. In addi- service learning and social justice at the tion, Spencer has been chosen as the College Music Society National Confer- Michael Silvers (Musicol- feature cover story in the December 2019 ence in Vancouver, BC, and the Illinois ogy) received a 2019 issue of Chicago Jazz Magazine. Music Education Association annual Andrew Carnegie Fellow- conference. ship, the so-called “Brainy Sylvia Stone (Voice) was Award,” which recognizes the recipient of a national Stephen Taylor’s (Compo- “high-caliber scholarship award during the 55th sition-Theory) music has in the social sciences and humanities.” Edizione della Mostra been performed widely He was also awarded research grants from Nazionale del Tartufo around the US in the past the National Endowment for the Humani- Bianco Pregiato, in year, including in Los ties and Fulbright. He is the lead coordi- Sant’Angelo in Vado, Italy. In June–July, Angeles, New York, Boston,

2020 25 faculty news

Tempe, Santa Cruz, Chicago, and Talla- Reynold Tharp’s (Compo- Christos Tsitsaros (Piano hassee (for his cello concerto Sunset in sition-Theory) piano piece Pedagogy) was judge for All Directions, composed for UI faculty Littoral was one of ten the Chopin Foundation of cellist Dmitry Kouzov); Through Shadow pieces selected for “The the United States Northwest was premiered in March 2019 by Nathan Keyboard in the 21st Council National Piano Zgonc (principal trombone of the Atlanta Century: An International Competition, which took Symphony) in Mexico City. Inspiral for Conference for Composers” at Hong Kong place in Seattle in February 2019. He contrabassoon and electronics, based on Baptist University in April 2019. In May, also gave a master class devoted to his gravity-wave data from colliding black his piece San Francisco Night for large piano music for the Bloomington-Normal holes, was premiered August 2019 in chamber ensemble was performed by the Music Teachers Association. In March, South Korea. Recent recordings of his New Jersey Symphony Orchestra Chamber he was awarded a Beckman-designated music include albums by pianists Matthew Players, conducted by Steven Mackey on UI Research Board creative research award. McCright and Gloria Cheng; performance a concert at Princeton University that also Paul Vermel (Orchestra, Emeritus) who artist/cabaret singer Meow Meow included featured a world premiere by Juri Seo retired from the School of Music in 1994, three of Taylor’s arrangements on her (DMA 2013). In January 2019 he was is enjoying life in southern Maine. At age 2019 CD Hotel Amour. Finally, local PBS appointed director of graduate studies for 95, he teaches only occasionally, and is station WILL featured his work in a short the SoM. mentoring a gifted conductor in RI. video documentary, “ClassicalBTS.” Sever Tipei (Composition- Ann Yeung (Harp) gave a Nicholas Temperley (Musi- Theory) has continued to presentation “Recalling cology, Emeritus) received develop DISSCO, original Agency and Innovation” the Midwest Victorian software for composition on iconoclastic feminist Studies Association’s Life- and sound design, with the harpist-virtuoso-composer time Achievement Award help of undergraduate Henriette Renie at the 2019 in April at its annual NCSA SPIN, UIUC Research Initiative American Harp Society’s Summer Institute, meeting in Fort Worth, TX. This marked and CS students that he mentored. Results held at the University of North Carolina the 2018 issue of Retrospect Opera’s were presented collectively at conferences School of the Arts, supported in part by recording of Edward Loder’s Raymond and symposia in Florence, Italy, and Istan- an Arnold O. Beckman Research Award. and Agnes (1855) under the baton of bul, Turkey. At the same time, DISSCO She was also featured as a panelist on Richard Bonynge, an opera first revived was enhanced through a collaboration “Competition Preparation” at the institute. by Temperley at the Arts Theatre, Cam- with the San Diego Supercomputer Center In AZ, she was a featured clinician for bridge, in 1966. In February appeared through XSEDE (Extreme Science and the Mesa Public Schools Harp Program, The Whole Book of Psalms: Collected Engineering Discovery Environment), the largest in the US, and gave a presenta- into Metre by Thomas Sternhold, John sponsored by National Science Founda- tion on Parish Alvars at the University of Hopkins, and Others, edited by Beth tion. Tipei’s new compositions, 8 and 1/2, Arizona Fred Fox School of Music in Quitslund and Nicholas Temperley (Renais- for fixed media, and Ghioc, for baritone November 2018. She was the featured sance English Text Society), the first-ever saxophone and fixed media, were per- artist for the 2018 Chicago Harp Day critical edition of the chief collection of formed, respectively, at “Meridiane” fes- hosted by Lyon & Healy Harps. Her article metrical psalms and tunes from the English tival, Bucharest, Romania, and also at the on Jacques Ibert’s Entr’acte was published Reformation. He also reviewed Andrew North American Saxophone Alliance, in the Spring 2019 World Harp Congress Gant’s book O Sing unto the Lord, John Cincinnati; the International Computer Review. She directed the premiere of Julia Goulden’s Michael Costa: England’s First Music Conference/New York Electronic Kay Jamieson’s bug portraits at the 17th Conductor, and a CD of Michael Balfe’s Music Festival; and KCPA. More DISSCO Illinois Summer Harp Class this past June. opera Satanella; he also wrote liner notes compositions were presented at the Elec- for Charlotte Mattax Moersch’s CDs of troacoustic Barn Dance, Jacksonville, FL; the Goldberg Variations and harpsichord the Workshop on Computer Music and music of J. S. Bach’s sons. Audio Technology, Taiwan; Diffrazioni, Florence, Italy; Ball State University (IN); the Society for Electro-acoustic Music in the United States, Boston; and Sound and Music Computing, Malaga, Spain. 26 sonorities alumni news

ment of 6000 students. Most recently, 1950–1959 1970–1979 Frey provided visionary leadership to Lucas Drew (MS ’58) has edited and pub- Howard J. Buss (DMA ’77) establish a branch nursing education lished more than 100 works for double bass continues to compose new campus in poverty-stricken Appalachia (transcriptions of master composers ca. works and serves as editor to correct severe nursing shortages for 1750–1920). Visit www.musicfordouble- of Brixton Publications the improvement of unmet community bass.org and www.stfrancismusic.com. (ASCAP) and Howard Buss workforce and healthcare needs. Publications (BMI), which Barbara Garvey Jackson’s (BM ’50) pub- Gary Fugman (BME publish music by American composers. lishing company, ClarNan Editions, was ’75), former director Recent premieres of his works include sold January 1, 2019, and is now a divi- of bands at the Uni- Ricordi d’ amore for two harps in Venice, sion of Classical Vocal Reprints. All 111 versity of Wisconsin– Italy, and Vibrant Horizons for flute and titles are kept in print. ClarNan Editions Waukesha and Buena wind ensemble in Tucson, AZ. His Totally specializes in music composed by women Vista University (IA) begins his 10th season Tubular for oboe/English horn and trumpet/ of the past—more than 40 composers as trumpet player for the Burt County flugelhorn and Bassoonisms for bassoon from the late 16th century to the early Brass Quintet, concertizing in eastern quartet were premiered at the 2019 Inter- 20th century. Jackson will continue to NE. national Double Reed Society Conference occasionally edit new works. in Tampa. In November, his Skylines for Vivian J. Deppert Gerrietts woodwind sextet will be premiered in (BA ’70), fully retired from London, England. His Reflections on the teaching and choir direct- 1960–1969 Last Post for tuba and piano won the 2019 ing, and her sister have Tuba-Euphonium Workshop’s Composi- recently joined the Heart Kareen Vallandigham Britt (BS ’64, MS ’65) tion Competition sponsored by the U.S. of Illinois Sweet Adelines retired from the Dallas Opera Orchestra Army Band “Pershing’s Own.” This work in East Peoria (in residence at Illinois this spring after 30 years playing 2nd will be the official competition piece for Central College). Lifelong learners, Ger- flute and piccolo. She was the orchestra the workshop’s 2020 event. The winning rietts and her sister are having a blast and representative to the Regional Orchestra contestant will solo the tuba/band version have discovered there is always more to Players’ Association for more than ten of the work on the Gala Concert with the learn. years, served on the Opera Board and Army Band. Ronald William Hill (BME Marketing Committees, served on two ’76) announced the release Negotiations Committees, and was Chair- Joan L. Frey (BS ’70) served of the album On Pasture’s person of the Players’ Committee. She will in progressive leadership Edge, a collection of origi- miss the Dallas Opera and the Orchestra roles for 38 years as a pro- nal vocal and piano pieces. family but it is time. Her recommendation fessional nurse, leader, The album features his song to those who aspire to become orchestra educator and member of cycle, Songs of Sac Prairie, based on the musicians is to get and stay involved! the National League for Nursing, and in elected and appointed writings of WI’s most prolific author, August Tom Jewett (BS ’65) has revised and positions on the NLN Board of Governors. Derleth. Featured performers are mezzo- moved his commemorative Symphony Frey has demonstrated distinction in trans- soprano Audrey Grieme Johnson and Orchestra Latin America Tour website to forming and advancing excellence in renowned bass-baritone William Powers, ui64solat.org. From January 31 to June 4 nursing education by providing leadership with Hill as pianist. The recording has each year, their activities for that day are and visionary thinking over 20 continuous been sponsored by the Sanfilippo Founda- highlighted on the schedule page; newly years of dedicated, articulated Board of tion and the Illinois Arts Council. Two added are broadcast recordings from the Governor service under seven NLN presi- outreach concerts featuring the album’s final concert in Lima, Peru. Still active in dential terms. She joined Galen College music took place in Illinois to bring the web accessibility consulting, Tom is an of Nursing in 2008 as Dean in Louisville, music to underserved audiences. emeritus faculty member of the California KY, after 28 continuous service years with State University, Long Beach computer Aultman Health Foundation. Since 2016, science department and LtCol, USAF(ret). she has served as academic president with oversight over four distinct campuses in as many different states, with an enroll- 2020 27 alumni news

John Kula (MME ’71), Lucinda Lawrence (BM versalist and the Last Balladeer: The Music addressing the issue of ’77, MM ’79) is a composer, of John Coltrane and Johnny Hartman” accessible, easier chamber playwright, and lyricist, and “For Sure, For Certain, Forever and music literature for devel- focusing on creative and Always: The Genius of Jimmy Webb”, are oping young string players performing efforts in being presented around Chicago (includ- and pianists, has arranged musical theatre and new ing Studio 5 in Evanston, IL) and elsewhere. and published over 40 educational old-style radio theatre. Elected to the His new album, Only Love Can Do That, chamber works for piano and strings and Board of Directors of the American Asso- was released in 2018. His new band, The developing string ensembles. The latest ciation of Community Theatre (2015-2017; Kettle Brothers, featuring Illinois alumni work is an Adagio for String Ensemble 2018-2021), she serves among many Dan Anderson and Art Davis, as well as (transcribed and adapted for strings, which reader-adjudicators for the AACT New- Don Stiernberg, performs for Alzheimer’s is suitable for concert programs and memo- PlayFest contest and on other committees. and memory care patients. rial services as a welcome departure from Other current volunteer service includes Michael Pettersen (BA ’74) the tried-and-true memorial pieces cur- Strategic Planning for AACT and chairing and his wife, Jan Marie rently in the literature). A conductor from the Historic Preservation Committee for Aramini, performed with the Music Institute of Chicago graciously National Society Daughters of the Ameri- the Bournemouth Sym- conducted its premiere at a private gath- can Revolution (DAR), Champaign Alliance phony and Chorus in Poole, ering of community orchestra Chapter. She won 3rd place in the 2019 England. There, Pietà by musicians. American Heritage Contest of the DAR English composer Richard Blackford, with her first non-musical theatre pursuit, Marvin Lamb (DMA ’77) was awarded the received its world premiere under the a one-act stage play, Back When—A Henry Zarrow Professorship in Music at direction of Gavin Carr. Nimbus Records Storied Tale, adapted from her original the University of Oklahoma for “meeting recorded Pietà over the two days follow- story for Within This Old House, musical the highest standards in scholarship & ing the premiere. The CD will be available theatre work in progress. The 2019 theme teaching.” Lamb has been at the univer- later this year. was “Honoring Our Patriots While Pre- sity since 1998, serving initially as the serving Our Family Stories.” She received Alma Colk Santosuosso (PhD ’79) retired dean of the College of Fine Arts. Since the Literature and Drama category’s award after a 33-year career as professor of music his return to the music faculty, he has at the DAR 128th Congress in Washington, history at Wilfrid Laurier University in been the head of the music composition DC (June 2019). Waterloo, ON. This year, the Institute of program, teaching music composition, Mediaeval Music, Canada published her orchestration & conducting the New Music Bruce Moss (BM ’75, MM book, Music Theory Manuscripts from Ensemble. Recent compositions include ’76) celebrated his 40th Mediaeval Normandy, the third volume in WOODCUTS for tenor saxophone & year conducting the her series concerning the study of music pre-recorded saxophones, which was acclaimed Wheaton Munic- theory in Normandy (1000-1300). Her premiered at the World Saxophone Con- ipal Band, Wheaton, IL, work was supported by grants from the gress in Croatia, and a string quartet CD which recently opened its Social Sciences and Humanities Research release, QUADRANTS 4 by the Pedroia 90th season. Council of Canada. Quartet on Navona Records. His princi- Bill Overton (BS ’77, MS pal mentor/teacher at Illinois was Paul ’78) continues to perform Martin Zonn. and record in the Chicago E. L. Lancaster (MS ’71) was presented area with the Chicago Jazz 1980–1989 a Lifetime Achievement Award at the Orchestra, the Chicago Daniel Adams (DMA ’85) National Conference on Keyboard Peda- Philharmonic, Ann Hamp- delivered a lecture on his gogy on July 26, 2019. Lancaster is Execu- ton-Callaway, Michael Feinstein, Slide composition Eulerian tive Keyboard Editor of Alfred Music and Hampton, The Temptations, “Too Hot to Circles for unaccompanied a piano faculty member at California State Handel: The Jazz-Gospel Messiah,” and alto saxophone in conjunc- University, Northridge. many others at Ravinia, the Auditorium tion its performance by Theater, the Chicago Theater, Symphony saxophonist Trevor Davis at the New Center, the Green Mill, Winter’s Jazz Club, Music on the Bayou Festival in West and many others. His shows, “The Uni- Monroe, LA, on June 6. Three of Adams’s

28 sonorities compositions were released on CDs during Le latin musicologique, and his list of years as the vocal director for Princess the first half of 2019. Recorded at Springs manuscript sources of the musical dia- Cruises. Theatre Studios by members of the McCor- grams of Plato’s Timaeus and later com- William Susman’s (BA ’82) mick Percussion Group, Solstice Introspect mentators. She serves on the editorial music appears on three for vibraphone trio was released on Sustain boards of the series Historiae and of the albums in 2019. Amores (Navona Records). Serpentine Glow for periodicals Journal of the Alamire Foun- Monutños for flute and bass flute appears on HE (Phasma-Music), dation, Musica disciplina, Plainsong & marimba is a first recording recorded by flautist Iwona Glinka at Medieval Music, and Revue belge de by UI classmates Patricia Subway Recording Studios in Athens, musicologie. and Greg Zuber (Met Opera Orchestra) Greece. Recorded by oboist Andrew Nogal Charles Norman Mason for their album Blackbird Redux. Quiet at Windy Apple Studios in River Forrest, (DMA ’82) has had several Rhythms No. 9 was recorded by Paris- IL, Congruent Verses for English horn solo premieres this past year, based pianist Vanessa Wagner (Victoires was released on Millennial Masters Vol. including Quiver and de la Musique) on Inland, an album of 9 (Ablaze Records). Quake by Splinter Reeds, contemporary piano. And, Collision Point, Michael Denham (MM ’84) A Better Place for flute a portrait album of his chamber music, has served for 23 years as choir, and That Yearning for trombone features the Rome-based ensemble Piccola director of music ministries choir. His work Swagger for amplified Accademia degli Specchi, celebrating a at the National Presbyterian bassoon, brass quintet, and 2 percussion 10-year collaboration. Scenes from his Church in Washington, DC. was performed at Tanglewood by Gabriel opera Fordlandia were performed at Fort He was recently named Beavers, Triton Brass, Mike Williams, and Worth Opera’s Frontiers. Haskalah for Distinguished Alumnus of the Year at Matt Sharrock. Mason is chair of composi- marimba and organ was performed at Beeson Divinity School of Samford tion at the Frost School of Music at the Bartok National Concert Hall in Budapest University. University of Miami. and the National Concert Hall in Taipei by Organized Rhythm featuring Joseph Darcy Drexler (MM ’85) is beginning Jon Mitchell (MS ’72, Gramley, marimba (Silk Road Ensemble) her 23rd year as director of the String EdD ’80) was the 2019 and Clive Driskill-Smith, organ. Vanessa Academy of Wisconsin and also leads the recipient of the College Wagner performed selections from his master of music in string pedagogy degree Orchestra Directors solo piano series Quiet Rhythms through- program at UW–Milwaukee. Her former Association Lifetime out France, Germany, and Switzerland. students are teaching and performing in Achievement Award. orchestras throughout the US. This past Peter Tiboris (EdD ’80) Carolyn Paulin (DMA ’89) year, she gave violin master classes and continues to be a vital pres- is happily retired in south- pedagogy workshops in Chicago and ence on the international ern Maine, where she is NYC. Drexler has given violin master music scene. In 2019, he president of the board of classes and teacher-training workshops released recordings of directors of the Portland in Brazil and China, and each summer Beethoven’s 7th and Tchai- String Quartet Society, a directs the popular SAW/UWM “Teaching kovsky’s 4th symphonies with the Pan- not-for-profit organization supporting the the Violin to Children” workshop, which European Philharmonia of Warsaw, and work of the Maine-based ensemble in attracts both domestic and international led concerts in New York’s Carnegie Hall; concert and educational outreach. She participants. Florence; Paris; Vienna; Lisbon; and Syros, also teaches classes on musical topics at Greece. His company, MidAmerica Pro- Barbara Haggh-Huglo (BM the Osher Lifelong Learning Institute at ductions, is entering its 37th season; ’78, MM ’80, PhD ’88) is the University of Southern Maine. highlights will include the first US appear- professor of musicology at Chuck Pelletier (BME ’86) ance of the Beijing Central Conservatory the University of Maryland. wrote the musical The of Music Symphony Orchestra (December In July, she delivered the Green Room, which is 13, 2019, Carnegie Hall). In 2020, he keynote address at the being produced Off-Broad- will celebrate Beethoven’s 250th birth College Music Society International Con- way in Fall 2019 at the year by conducting performances of the ference in Ghent, Belgium. She is com- American Theatre for Actors 9th symphony in Carnegie Hall, and in pleting Michel Huglo’s dictionary of in New York. Chuck has spent the last 10 Vienna, Austria on the actual birthdate medieval musical terms in four languages, 2020 29 alumni news

(December 16) at the internationally piano work from the album, was selected renowned Musikverein. He has commis- 1990–1999 by Spotify to be featured on their “Classi- sioned Eleni: A Dramatic Oratorio, based Dan Aldag (MM ’91) co- cal New Releases: Spotify Picks” editorial on Nicholas Gage’s book Eleni (composer presented with drummer playlist, which has over 430,000 followers Nestor Taylor, librettist Fergus Currie), to Matt Wilson a clinic entitled Kelley Kesterson (MME premiere at Carnegie Hall on the 200th “Getting Off The Page: ’92) joined Missouri State anniversary of Greek independence (March Moving Your Big Band University’s music educa- 25, 2021). Beyond Written Arrange- tion department as supervi- Eva Wasserman-Margolis ments” at the 2019 Jazz Educators Network sor of clinical experiences. (MM ’80) was honored for national conference in Reno, NV. Kesterson continues to be her retirement from the Timothy J. Bowlby (DMA a band clinician as well as low brass Givatayim Conservatory ’97) received the world instructor in the St. Louis area, where he (Israel) on June 7, 2019, at premiere of his composition lives with his wife of 36 years. a program organized by Laurels for unaccompanied Jim Kollias (MS ’96) is the her students. After completing her studies flautist in Danvers, MA, in director of orchestras and at the UI School of Music, Eva served as July. He is currently com- chair of the Visual & Per- principal clarinet in the Haifa Symphony. pleting research on implied cyclic con- forming Arts department at She started teaching at the Givatayim struction in Samuel Barber’s Hermit Songs, Arnold O. Beckman High Conservatory in 1985, and raised a gen- Op. 29. Tim is senior lecturer in music School in Irvine, CA. In eration of students who play in major and film studies at Lewis University (IL). April, he will be making his eighth appear- orchestras and hold teaching positions ance in Carnegie Hall with the Beckman in universities around the world. Her Michael Edward Edgeron HS Sting Orchestra. In 2018, he was students are active performers in all genres (DMA ’94) has received named the Orange County Instrumental ranging from classical to jazz, klezmer international prizes for his Music Educator of the Year and the Ameri- and rock. A specialist in tone production, compositions and his music can String Teachers Association Southern Eva has taught courses and master classes is performed around the Section Classroom Teacher of the Year by in the US, Israel, Japan, China, and many world. In June 2019, the Los Angeles Chapter of CalASTA. European countries. Her publications Michael was appointed professor of artistic include Learning the Clarinet the Artistic research at the Malmö Academy of Music, Victoria Lindsay Levine Way, Time for Tone, Thinking Tone, The Lund University (Sweden). (PhD ’90) published a co- Generation of Hope, and Ode to Odessa, Adam Gohr (BME ’98), edited collection of essays published by OR-TAV Music Publications, Dustin Helvie, and titled Music and Modernity owned by Yosef (Jeffrey) Zucker (BM ‘78). Matt Karnstedt (MME Among First Peoples of Eva’s website is www.evawassermanmar- ’18) directed the Lib- North America (with Dylan golis.com. ertyville High School Robinson, Wesleyan University Press). She also published a chapter, “The Global Scott Wood (BM ’87, MM ’89) conducted Bands, which was one of only four schools Keyboard: Music, Visual Forms, and Mari- a Tel Aviv concert of the Israel Symphony nationally to be awarded the Blue Ribbon time Trade in the Early Modern Era,” in Orchestra Rishon LeZion (the country’s Programs of Excellence award by the Picturing Commerce: Visual Forms in premier opera orchestra) in a program that National Band Association. Their Wind Motion in and from the Asian Maritime included Bernstein’s Symphonic Dances Ensemble will be performing at the NBA/ Circuits, 1550–1800 (ed. Tamara Bentley, from West Side Story. Other summer proj- CBDNA Conference in Chicago this Amsterdam University Press). ects included a concert with the Arlington upcoming February, and in a joint concert (VA) Philharmonic and an Independence with the University of Illinois Wind Sym- Ben Luginbuhl (BME ’98) Day concert in Washington National phony in KCPA on April 5. The Jazz is music department chair Cathedral. Ensemble will be performing at the Illinois and choir director at Music Education Conference this January. Normal Community High Zach Hench’s (MM ’99) most recent School in Normal, IL. A album, The End Is OK, was released in National Board Certified May. “One Foot Then The Other,” a solo Teacher, he was honored to be named as a top-ten finalist in the Illinois Teacher of 30 sonorities the Year program for the 2018–19 school Symphony for 11 seasons. He was recently of Musical Ingenuity, 1410-1510, she is year. He credits his experiences at UI as added to the faculty of the Peabody Insti- twice-featured as a soprano soloist. foundational to his success as a music tute as adjunct professor of trumpet for Chris Combest (DMA ’09) educator, and is grateful to still be con- 2019–20 and has been with Temple Uni- was recently recognized nected to the university through working versity in the same position for five years. as a faculty fellow by as a staff member for ISYM Chorus camps Robert Reinhart (BM ’98) Middle Tennessee State for over 15 years. attended the premiere of University in Murfreesboro, Donald Nally (DMA his composition Mortise where he is currently assis- ’96) won a second for prepared piano in tant professor of tuba in the School of consecutive Grammy November 2018 at Constel- Music. award for Best Choral lation in Chicago, and Lisa DeAngelis (BME ’06) Performance with his pianist Amy Williams has subsequently has devoted her training, choir, The Crossing. In the past year, they performed it in Fullerton, CA, and in skills and resources to phil- have appeared with the New York Phil- Philadelphia. In March 2019, he attended anthropic efforts in the arts. harmonic, the LA Philharmonic, the Park the premiere of his Quodlibet for soprano She is in her third season Avenue Armory, and the Haarlem Choral and soprano saxophone at the University as president of the Lyric Biennale in the Netherlands; they pre- of Michigan, performed by Nina Dante Opera of Chicago’s Young Professionals miered many new works, including those and Jeff Siegfried. He continues as coor- Board, committed to cultivating the next of Julia Wolfe, David Lang, Michael dinator of sophomore theory and aural generation of opera supporters. She holds Gordon, Gavin Bryars, and Ted Hearne. skills at Northwestern University and an ex-officio seat on Lyric’s Board of In May, he received an honorary doctorate frequently performs as a bassoonist, vocal- Directors and is an invited member of from Westminster Choir College of Rider ist, and recorderist with the a.pe.ri.od.ic multiple board committees. She is also University (NJ). He conducts and teaches ensemble and Triple Reed Trio. a supporter of the School of Music, graduate students at Northwestern Trudy Fraase Wolf (MM ’92, MS ’96) has Chicago Opera Theatre, the Collaborative University. been hired to serve as the superintendent Arts Institute of Chicago, a member of Raymond Pettit (PhD ’96) has been of the Zeeland Public School District the Chicago Symphony Orchestra’s Over- appointed the executive director of the beginning in July 2019. She continues to ture Council, and the Art Institute of Chi- master of science in business analytics serve as the school PK-12 music instructor cago’s Evening Associates, and sits on the program at the Rady School of Manage- as well. Wolf performs with the Bismarck- Board of Directors for the American Society ment at the University of California, San Mandan Symphony and the Missouri River for the Alexander Technique. Recently Diego. His responsibilities include cur- Community Band. she was a featured speaker for the Uni- riculum coordination, capstone program versity of Illinois FAA alumni event “Art advisement, corporate relations and part- of the Matter” held in Chicago and will nerships, and running an Advanced Busi- speak to incoming FAA students this fall ness Analytics Center of Excellence. He 2000–2009 on campus as part of an alumni panel. works closely at the convergence of data Kristina Boerger (BME ’89, MM ’92, DMA Brendan Finucane’s (BM/BME ’05) Chi- science and business, including extensive ’00) guest-edited and contributed two cago-based music education company collaboration with UCSD’s Supercomput- articles to October’s Choral Journal, a Chromawheel Music, a partnership with ing Center and Data Science Institute. He special-focus issue on choral communities fellow Illinois Alum Farsheed Hamidi- joined Rady in July 2018 after 25 years in and social justice. Her article “Embedded Toosi (ECE ‘06) launched its first product New York City as an advertising, media and Embodied: Learning Black South in August, the Music Explorer Kit. The and marketing science consultant and African Choral Music from the Source” was company also debuted a prototype for a executive. published in February’s issue of 21CM.org. novel instrument designed for musicians Anthony Prisk (BM ’96) In January she served as music director of learning music concepts at the Illinois has been a member of the A Path of Miracles, performed at the Page Music Education Association conference. Philadelphia Orchestra as Theater (Winona, MN) with 17 chamber second trumpet for six years singers and San Francisco’s ODC Dance. and was previously a On Pomerium’s new CD release, Musical member of the Houston Games of the Renaissance: A Century 2020 31 alumni news

Sara Fraker (DMA ’09) and Joseph Herl (PhD ’00), the US borders. The ensemble has also pianist Casey Robards (BM professor of music at Con- been invited to perform at the 2020 ACDA ’98, MM ’00, DMA ’12) cordia University (NE), has Central/North Central Division Conven- have released a CD entitled received the university’s tion, and selected to premiere the ACDA Botanica (MSR Classics, 2018 award for excellence Brock Composition Commission winner. 2019). Exploring intersec- in teaching. He is in his Cor Cantiamo will also be releasing their tions between the human and botanical 19th year at Concordia, where he teaches third commercial CD, The Seven Heavens: worlds, Botanica is a musical entry point music history, music theory, liturgy, Choral Music of James Whitbourn. Johnson into current conversations around envi- hymnody, and church music. He has will also be participating in a panel pre- ronmental and social justice. The six pieces chapters forthcoming in two books: sentation at the Iowa Music Educators on the album (including five world-pre- “Worship,” in A Companion to Lutheran Conference entitled “What is our music? miere recordings) are interrelated by Orthodoxy, and “Seventeenth-Century Rethinking Music Instruction and Perfor- common themes and origins: spiritual Lutheran Hymnody,” in Perspectives on mance Paradigms.” ecology, poetic text, and resistance to the History of Hymns. He has also edited, Ben Jones (BA ’06) will injustice. Featuring music by Godron, with Peter C. Reske, the two-volume return to the stage of the Haas, Roven, Soukup and Srinivasan, the Lutheran Service Book: Companion to San Francisco Symphony program is rich with allusions to woodland the Hymns, which will be published in at Davies Symphony Hall trees and bamboo forests. Sara is assistant 2019 by Concordia Publishing House. to perform in the semi- professor of oboe at the University of Julia Kay Jamieson (MM ’02) was a panelist staged production of Ravel’s Arizona, a member of the Tucson Sym- for a Masters Series Forum, “Diverse Arts L’enfant et les sortilèges. Find more at phony, and principal oboist of the Engagements: Building Artistic Voices for www.benjonessinger.com and at @ben- Grammy-nominated ensemble True the Future” and chaired the Young Com- jonessinger on all social platforms. Concord Voices & Orchestra. poser Project for the 2019 American Harp Kiel Lauer (BM ’08) won Kerry Heimann (BM Society National Summer Institute. Her the bass trombone position ’93, MM ’95, DMA work kitties (commissioned and premiered in the Ft. Collins (CO) Sym- ’09) joined Princeton by the 2016 Illinois Summer Harp Class phony in July 2019. He also University Concerts as Harp Jam) was performed in the opening performs regularly with Operations and Patron concert of the 2019 Taiwan International orchestras throughout CO, Services Manager. He does so following Harp Festival in Taipei. NM, and WY. Kiel was a student of Pro- his 13-year tenure at the American Boy- Stacey Jocoy (PhD ’05) was pleased to fessor Elliot Chasanov at Illinois. He also choir School, accompanying the choir’s give the keynote presentation at the 2019 holds an MM from Michigan State and almost 100 annual concerts, coordinating South-Central Renaissance Conference on is currently completing his DMA at Colo- an extensive international touring and the topic of “Isabella d’Este versus Lucrezia rado, where he studies with UI alumnus recording schedule, and ultimately serving Borgia and the competitive origins of the William Stanley. as its president. Princeton University Con- Renaissance Madrigal.” certs just celebrated its 125th anniversary, Charles W. Lynch III (MM ’02, DMA ’09) hosting notable artists such as Bobby Eric A. Johnson (DMA ’02) joined the faculty of the Midwest Harp McFerrin, Joyce DiDonato, and Gustavo is founding artistic director Festival in July 2019. He also joined the Dudamel. Continuing his deep interest of Cor Cantiamo and the American Harp Society Board of Direc- in choral music and in music of the director of choral activities tors as director-at-large. Notable perfor- Baroque era, Kerry regularly collaborates at Northern Illinois Univer- mances include a solo performance for with ensembles from Princeton University sity. Under Johnson’s lead- Lyon & Healy’s Phoenix Harptacular in and Westminster Choir College (NJ). Last ership, Cor Cantiamo, a professional October 2018 and appearances with spring, he performed multiple harpsichord chamber choir, will be celebrating their several Phoenix Valley orchestras. He concertos by J. S. Bach at the Bethlehem 10th anniversary season this year and has continues to direct the Mesa Public Schools Bach Festival and the St. John Passion at recently received significant artistic rec- Harp Program in AZ, which is the largest the Spoleto Festival USA with UI professor ognition, including a NEA Art Works grant public-school harp program in the country Charlotte Mattax Moersch and fellow for a commissioning project with Libby with over 240 students across 16 second- alum Sherezade Panthaki, respectively. Larsen. The commissioned material will ary schools. He is also faculty associate focus on immigrant families separated at in harp at Arizona State University. 32 sonorities Kenneth Martin (BME ’02) composed Kenneth Steinsultz (DMA Audra Ziegel (MM ’08) a new work for unaccompanied SATB ’04) was appointed depart- presented a lecture at the chorus entitled The beauty of a star, in ment chair for the music Philadelphia Flute Fair in celebration of the 10th anniversary season department at the Univer- March 2019 entitled “Stage of the San Diego chamber chorus Sacra/ sity of Evansville (IN). Stein- Presence and Effective Strat- Profana. The work featured words by San sultz continues to serve as egies for Incorporating Diego poet and musician, Libby Weber. director of bands and professor of eupho- Body Movement.” Audra also served at The world premiere of The beauty of a star nium, trombone, and tuba. the co-principal flutist of the 2019 Inter- took place at the Sacra/Profana Season national Festival of Conductors, Compos- Daniel Teadt (BM ’98, MM X opening concert in November 2018 ers, and Collaborators (IFC3). Other recent ’00) released a new album, under the direction of Juan Carlos Acosta. credits include performing as a featured In This Blue Room: Songs soloist on the Flute Society of Washington Steven Riley (BME ’08) was named direc- of Kile Smith (Naxos). In member’s recital and as a substitute musi- tor of athletic bands at Arkansas State September, he presented a cian with the Delaware Symphony. The University. Ted Talk in which he highlight of 2019 was performing at the explored the authenticity of sound. Daniel Adam Rusek (BME ’07) has National Flute Association convention in will also serve as the official TedX accepted the position of Salt Lake City on the “Wonder Women: Youngstown voice coach for the 2019-20 fine arts coordinator for Celebrating Our Strength Through Music” season. His work as a master voice and Joliet School District 86 program, where she performed the Sonata performance coach include the Classical after serving the last 11 for Flute and Piano by Lita Grier. Upcom- Singer Convention 2019, Skidmore College years in Peotone CUSD ing engagements include appearing as a (NY), and Carnegie Mellon University’s 207-U as the band director at Peotone guest soloist on the Towson University Swartz Center for Entrepreneurship and High School and Peotone Intermediate (MD) chamber music series and master Tepper School of Business executive edu- School. This will be his thirteenth year in classes at Franklin and Marshall University cation program. His musical accomplish- education and first in administration. (PA) and the University of Delaware. ments include a world premiere of Zvony Audra is adjunct faculty at St. Vincent Charles Joseph Smith (MM Nagy’s Dialogues With Silences, based Pallotti High School Arts Academy and ’95, DMA ’02) made his on the poetry of Thomas Merton. The Music Space in Towson, MD. debut performance at the Colleen Potter Thorburn Chicago Cultural Center, Joshua Zink (MM ’08) has (BM ’06) performed as harp and debut as a guest on been appointed assistant soloist for Heitor Villa- CRIS Radio, both in April professor of music–voice, Lobos’s Harp Concerto with 2017. He played in two recent recitals at at Carson-Newman Uni- the Virginia Common- the U of I in 2017 and 2018 with the help versity (TN). His teaching wealth University Sym- of UIUC Autism Speaks. He also recorded duties include applied phony in Richmond. Her performance, 10 original music numbers of his new voice, director of opera theatre, music described as “masterful” by Classical Guitar album, War of the Martian Ghosts, with director of musical theatre, vocal peda- Magazine, was part of the opening concert help from recording engineer Glenn gogy, lyric diction, and he conducts the of “Experiencing Villa-Lobos,” a three-day Curran, in 2017-18, leading to the major Women Singers. Directed by Carroll international festival hosted by VCU that record release at The Hideout Chicago Freeman he recently performed the role featured globally-recognized scholars in Feb. 2018 to great success, and was of Gideon in Adamo’s Little Women at and performers of Villa-Lobos’s music. featured in Downbeat Magazine, Chicago Harrower Opera, where he also co- Colleen teaches harp, music theory, and Reader, The News-Gazette, and the video directed the Young Artist Program scenes aural skills courses at VCU, where she series BTS Classical, also in 2018. In performances. He has recently performed has served on the music faculty since 2019, Charles performed a full piano Schubert’s Winterreise, and Tom Cipullo’s 2015. recital at the Mount Prospect Music Library, America 1968. His performances include and was interviewed by both NBC5 and operatic roles with Opera New Jersey, ABC7 TV stations. Dayton Opera, Nashville Opera, Opera Omaha, Pine Mountain Music Festival, and Opera America’s series “Exploring

2020 33 alumni news

American Voices.” The Hixon-Lied and cabaret, school openings, grand openings, Hannah Brauer (BME ’13) Tomek Fellowship funded his doctoral banquets honoring Dearborn Heights recently returned to the work at the University of Nebraska-Lincoln. mayors, the Women in Defense: Michigan Urbana campus for her new An advocate for new works, his published Chapter, and Young Artists Gala. She has position as assistant director scholarly activity investigates and advances also returned to play with the ensembles of advancement for stew- new music in America with Cipullo’s and accompany the choirs of Faith Com- ardship and donor relations America 1968. munity Presbyterian Church, Boars Head at the University Library. Dramatic Christmas Cycle, West Bloom- Erin Brooker-Miller field Carol Sing, Grosse Pointe Woods (BM ’14) was awarded Presbyterian Church, and Troy High School tenure with the Des 2010–2019 Orchestra. She has also formed a duo Moines Symphony as with local violinist Jo Mckean and has Molly Abrams (MM ’19) principal harpist. She collaborated in several small chamber recently moved back to ME was a featured soloist with the ensemble events, including performances of a piano/ and is now teaching high performing the Mozart Flute and Harp voice duet she transcribed for harp, and school chorus in Presque Concerto in October 2018 and in the a harp/organ duet. Chanah’s private harp Isle. chamber series, Spotlight at the Temple, studio also offered a Christmas holiday in May 2019. In 2019, she successfully recital to the residents of Sunrise Senior organized the 11th USA International Living Community and an in-house spring Theresa A. Allison (PhD Harp Competition as executive director. recital. ’10), professor of medicine Under her direction, the 10th (2016) and at the University of Cali- Chadley Ballantyne (MM 11th (2019) competitions have received fornia, San Francisco, Divi- ’03, DMA ’15) presented the highest praise in the organization’s sion of Geriatrics, has been his work on acoustic voice history. awarded a five-year grant pedagogy at workshops, Andrew Buchanan (DMA ’15) recently from the National Institute on Aging at conferences, guest lectures the National Institutes of Health. “The won the position of principal timpani with and master classes. At the Potential for Music to Improve Quality the Puerto Rico Symphony Orchestra. 2019 American Choral Directors Associa- of Life in Dementia Caregiving Relation- tion conference in Kansas City, MO, he Sydney Campen (BM ’18) is a passionate ships” will be one of the first longitudinal was a co-presenter with Karen Brunssen performer and advocate for the arts. Sydney studies of the role of music in Alzheimer’s for their session, “The Evolving Singing is currently pursuing her master’s in harp Disease and related dementias. The study Voice: Adolescence.” He presented “Fun performance at the Peabody Institute of combines ethnographic approaches to with Vocal Tract Resonances” at the VASTA/ the Johns Hopkins University. Sydney the study of music and relationships with PAVA 2018 Joint Conference in Seattle. recently earned a position in the New health sciences standardized testing to Chadley is a co-instructor with Kenneth World Symphony’s 2019–20 substitute examine the impact of music in daily life Bozeman (Lawrence University, WI) and pool. for people living at home with dementia. Ian Howell (New England Conservatory Liliana Carrizo (PhD ’18) The findings will be used to develop an of Music) at NEC’s Acoustic Vocal Peda- in-home, music-based intervention to has been named a post- gogy Workshop. The 2019 AVP workshop help keep people with dementia out of doctoral fellow with the included participants from across the US, Mahindra Humanities nursing homes. Canada, UK, Sweden, Japan, Hong Kong, Center at Harvard Univer- and Singapore. Chadley also gave master Chanah Ambuter (MM ’15), sity for the 2019-20 aca- classes at Illinois Wesleyan University, based in southeast MI, has demic year. continued to perform pro- Augustana College (IL), and a guest lecture fessionally and to enlarge on acoustic vocal pedagogy at North- Sharon Cho (BME ’14) sang background her harp studio. In addition western University. Ballantyne is in his vocals on Keb’ Mo’ and Taj Mahal’s album to weddings and private second year at Stetson University (FL), TajMo, which won the 2018 Grammy performances, she has played for special where he is assistant professor of music, Award for Best Contemporary Blues Album events, including community Christmas voice. of the Year as well as Best Blues Album in the 2018 DownBeat International Critics Poll. Cho received a Grammy Certificate for her role. 34 sonorities Joo Yon Chung (Artist poster titled “The Intersection of Avant- you can hear her performing throughout Diploma ’19) won 3rd Garde Music and Liturgical Jazz in the the country with leading orchestras, includ- place in the orchestral audi- 1960s” at the tenth-annual Jazz Education ing American Bach Soloists and Portland tion and master class com- Network Conference in 2019. Cordoba Baroque Orchestra. petition at the National also received a Jazz Education Network Eduardo Herrera (PhD ’13), Flute Association’s conven- JAZZ2U grant in 2019. His new EP titled assistant professor at tion in Summer 2019. J&J will be released this fall. Rutgers University, recently Cristin Colvin (MM Ellen Denham (DMA ’16) published Experimentalisms ’14) stage-directed and accepted a position as pro- in Practice: Music Perspec- performed the title role fessional assistant professor tives from Latin America, of Anne Guzzo’s of music at Texas A&M co-edited with Ana Alonso Minutti and chamber opera Locust University–Corpus Christi, Alejandro Madrid (Oxford University in its September 2018 premiere in Jackson, where she serves as director Press, 2018). His most recent article on WY, traveled with the production team of opera and teaches voice. Productions soccer chants, masculinity, and violence to mount the show in Agadir, Morocco directed include the world premiere of appears in Ethnomusicology (62.3, 2018). in March 2019, returned for a Laramie her original libretto, Pinstripe Harry’s His work on Latin American avant-garde performance in October, and is planning Tearoom Cabaret, using jazz-age musical music has been recently featured in the 2020 performances. The opera has been theatre selections. She also presented her Journal of the Society for American Music the subject of a WY-PBS special as well research on opera and improvisation as (12.2, 2018) and American Music (35.1, as a forthcoming documentary. In July part of the Artist Series at the Texoma 2017). 2019, Cristin also appeared in Denver regional conference of the National Asso- Katie Beisel Hollenbach Immersive Opera’s all-female, modern ciation of Teachers of Singing, and is (PhD ’18) accepted the retelling of Mozart’s Don Giovanni as scheduled to present on challenges and position of assistant director titular character Giovanna. Set in 1997, solutions for the developing collegiate for admissions, recruitment, Giovanna is the owner of a successful opera program at the National Opera and community outreach women’s bar franchise who uses her busi- Association national conference. at the University of Wash- ness as a hunting ground for lovers. A Erica Charous Faulhaber ington School of Music in Seattle. Her local brewery served as the venue to (BME ’10, MME ’14) has article, “Teenage Agency and Popular allow audience members to be immersed been named curriculum Music Reception in World War II-Era in the set and to allow for interaction with specialist and department Frank Sinatra Fan Clubs” will be published the performers. chair for instrumental music in an upcoming issue of the Journal of Derick Cordoba (DMA ’17) in Park Ridge-Niles, IL Popular Music Studies. Katie presented continued in his role as the School District 64. She is entering her her research at the recent annual meeting Unit One music coordina- 10th year of teaching elementary and of the Society for Cinema and Media tor, and was named a middle school orchestra. Studies in Seattle, and will be presenting Southern Methodist Uni- at the next annual meeting of the Society Sadie Glass (MM ’13), for- versity (TX) Bridwell Visiting for American Music in Minneapolis. mally Cisler, has recently Scholar Fellow in 2019. In April 2019, been appointed assistant Christopher Holman (BM he was invited to give lectures at SMU professor of practice in horn ’14) will begin doctoral and the University of North Texas on the at the University of the study at the University of history of the first liturgical jazz service. Pacific Conservatory of Oxford (U.K.) in October Cordoba also led a special commemora- Music in Stockton, CA. In addition to her 2019. His dissertation will tive service at SMU’s Perkins School of teaching duties, she will be joining the focus on Bach organ per- Theology, performing the Liturgical Jazz faculty woodwind quintet, the Pacific Arts formance practice in France during the Service on its 60th Anniversary with a Woodwind Quintet, which is celebrating nineteenth century, and he will be devel- jazz nonet. He presented a paper, “Litur- its 50th anniversary this year. Glass was oping new methods of analyzing player gical Jazz: Jazz in Sacred Spaces,” at the also on faculty at Kendall Betts Horn organ rolls by students of Charles-Marie sixth Rhythm Changes conference in Graz, Camp as the historic horn specialist this Widor and Camille Saint-Saens. He has Austria, in 2019. Cordoba presented a past summer. Specializing in early music, also been appointed Parry-Wood Organ 2020 35 alumni news

Scholar at Exeter College (University of Aaron Kaplan (BM/BME and the SoM. This year kicks off with a Oxford), where he will direct three choral ’11, MM ’13) and two of parade and another outstanding lineup. services per week, manage the weekly his colleagues started a new Molly O’Roark (MM ’15, organ recital series, and organize the ensemble in Chicago, the DMA ’19) was a guest choir’s annual international tour. His time JAM Orchestra, which gave teacher and composer with at Oxford follows a two-year fellowship a sold-out performance in the Connecticut Valley at the Schola Cantorum Basiliensis at the December 2018, followed by another Harp Intensive. Her new University of Applied Arts and Sciences concert in August 2019, which featured harp ensemble piece Quin- in Basel, Switzerland, supported by a SoM alum Evan Tammen, oboe. In addi- nehtukqut was commissioned in honor grant from the Frank Huntington Beebe tion to Aaron’s freelance work as a music of the 10th anniversary of the summer Fund in Boston. During that time, he has director in the theatre community, he also camp and was premiered on the final performed over 50 concerts in seven continues in his seventh year as assistant concert. O’Roark was a guest artist and countries on some of the world’s most orchestra director at Glenbrook North composer for Michigan Harp Day 2018 important historic and modern organs. and Glenbrook South High Schools. at Michigan State University. She per- Matthew Honda (BA ’14) Shan Kazmi (MME ’15) and Rachel formed a solo recital on the Salvi Delta received his MD from Maxwell (MME ‘97) presented their clinic electric lever harp and her new harp Tulane University School “Ten Takeaways from Texas” at the 2019 ensemble work Rumpelstiltskin was pre- of Medicine and is begin- Illinois Music Education Conference (IMEC) miered by the harp jam ensemble. She ning his residency in inter- in Peoria. They traveled with a group of was also a featured pop-up artist during nal medicine at Loyola band directors from across the country to the Southern Harp Festival in March 2019 University Medical Center. the Lewisville Independent School District with a program based on her doctoral (TX) in Spring 2018 to observe nationally research on Harpo Marx. Chen-Yu Huang (MM ’07, Artist Diploma acclaimed band programs and teachers ’14) presented a lecture recital, “The Maureen Reagan (BM ’91, MM ’02, DMA in the district and shared their findings Brilliance & Tragedy of 20th-Century Com- ’19) completed her dissertation, “A History in their clinic presentation. poser Fernande Breilh-Decurck,” at the of the University of Illinois British Brass 2019 American Harp Society National Nick Loafman (BME ’10, MME ’15) was Band, 1981 to the Present.” She is cur- Summer Institute. appointed editor of CMEA News, the rently the associate director for marketing quarterly publication of the Connecticut at KCPA. Meghan Jain (BME ’16) Music Educators Association. served as a clinician at the Lindy Smith (MM ’11) has joined the Illinois Music Education Molly Madden (BM/BME ’11, MM ’14) faculty of the University of Missouri– Conference in January presented a workshop on “Orchestral Kansas City as head of LaBudde Special 2019. Her presentation, Writing for the Harp” for the Music Alive Collections in University Libraries. Major “Acing edTPA: A Recent Composers Institute, presented by the collecting areas of LaBudde include music Grad’s Perspective,” was well received. Champaign-Urbana Symphony Orchestra and performing arts, women’s and gender In August 2018, Jain took on the challenge and New Music USA, in Champaign. studies, the LGBT community, popular of rebuilding the choir program at Smith culture, and Western Americana. Alex Munger (MM ’18) will join the Middle School in Troy, MI. She teaches Houston Grand Opera Studio as a pianist Delaney Sterling (BME ’18) a curricular theater arts class, and in for the 2019–20 season. joined the development Spring 2019 she will direct the school’s department at Goodman first musical in over five years. Jain hopes Jenelle Orcherton (MM ’16) celebrated Theatre in Chicago as their to expand music access to a wider demo- the fifth anniversary of the Champaign- annual fund coordinator. graphic of students at Smith through a Urbana Jazz Festival, which she started She will work with donors popular music and songwriting class. as a way to better support, develop, and who contribute up to $2,500 towards the showcase local and regional jazz talent. Goodman’s initiatives in education and The festival has grown into a four-day event new work, as well as the theater’s general complete with Jazz Brunch, jam session, operating budget. daily feature performers and collaborations with Allen Hall, Illini Swing Society, Natalie Teodori (MM ’17) performed at local libraries, high schools, CU Poets, the 2019 American Harp Society National 36 sonorities Summer Institute in a recital, “Collabora- Foellinger Great Hall, KCPA. Vickers Ka-Wai Yu (DMA ’11) tion, the Heart of Innovation.” returns to The Red House in March 2020 recently completed his to complete his first opera libretto as part fourth year as assistant pro- Elizabeth Thompson (DMA of a BPF-sponsored Creative Retreat, fessor of music at Dixie ’15) completed her first year housed on the property. State University (UT). He as a tenure-track voice is the recipient of DSU’s faculty at Illinois State Uni- J. Michael Weiss-Holmes Distinguished Faculty Service Award 2019 versity, where she teaches (MM ’06, DMA ’12) con- for his remarkable service to the university, voice and oversees the tinues as head of wood- profession, and community. Under Yu’s vocal pedagogy curriculum. In May, she winds and artist-teacher of direction, the newly formed DSU Early represented ISU at the Classical Singer saxophone at the Chicago Music Ensemble was one of the eight Music convention and exhibition in College of Performing Arts mini-grant recipients nationwide from Chicago, where she also presented a at Roosevelt University. Weiss-Holmes Early Music America. Besides directing master class. Over the summer, Thompson was recently involved with the Chicago the fourth DSU Cello Festival in September participated in the Voice Science and Symphony Orchestra’s performance of 2019, Yu will be a featured artist in the Pedagogy Workshop hosted at Montclair Mass by Leonard Bernstein, conducted Fresno Cello Festival in CA and University State University (NJ), continuing her by Marin Alsop, which was taped for a of Texas Rio Grande Valley Cello Festival research into the vocal acoustics field. national television special to be broadcast this upcoming school year. He continues The year also highlighted Thompson’s in 2020. Weiss-Holmes has been perform- to enjoy his service as president-elect of continued work as a solo singer, presenting as the principal saxophonist of the the Utah American String Teachers Asso- ing the recital program “Songs My Neigh- Chicago Symphony since 2013 and will ciation and president of the Cello Society bors Taught Me” in both be joining them for their upcoming tours of Southern Utah. He also maintains a Bloomington-Normal and Kansas City; to FL, Europe, and Carnegie Hall during busy performance schedule as member further, she served as soloist for Beethoven’s the 2019–20 season. of the Zion Trio, period-instrument ensem- 9th Symphony with the Illinois Symphony Nicholas “Niko” Yamamoto ble Cosmopolitan Baroque, and as prin- Orchestra, various chamber music per- (BM ’17) completed a mas- cipal cellist of the Southwest Symphony formances, and as a faculty performer in ter’s in music composition Orchestra. the RED NOTE New Music Festival. at Rice University (TX) this Aaron Ziegel (PhD ’11) Justin Vickers (BM ’96, spring. His thesis, “sound. was granted tenure and DMA ’11), associate profes- field,” will be performed promoted to associate pro- sor of music and artist by the Shepherd Symphony Orchestra in fessor of music history and teacher of voice at Illinois March 2020. He was Emerging Composer culture at Towson Univer- State University, just com- Fellow for Musiqa’s 2018-19 season and sity (MD). His latest article, pleted a productive full- commissioned to compose a saxophone “Representing a Christian Nation: Sacred year sabbatical researching and writing quartet for the Contemporary Arts Museum and Providential Discourses in Opera in The Aldeburgh Festival of Music and the of Houston’s exhibition, “Stonewall 50.” the United States, 1911–1917,” was pub- Arts: A History of the Britten and Pears Fixed Objects (2017), completed in the lished in the Winter 2019 issue of the Era, 1948–1986 (The Boydell Press, forth- Experimental Music Studios, was selected journal Music and Politics. He also coming for the 75th anniversary of the for the 2019 FSU Festival for New Music. appeared at the October 2019 national Aldeburgh Festival in 2022). During his He will begin the doctorate in music meeting of the College Music Society, sabbatical, Vickers performed at Britten’s composition and theory at Brandeis Uni- where he shared research about preparing home, The Red House, for its Aldeburgh versity (MA) in the fall. Upcoming projects a multimedia, collaborative recital that Festival programming, while conducting include a commission from Opera Guer- presented a historical recreation of the research in the Britten-Pears Foundation rilla, from “New Downbeat” (project of music (piano duets and both popular and (BPF) Archive. In fall 2019, Vickers has a Caroline Sackleh, BMus, 2015), and a art songs) heard at home in American Scottish-themed solo recording that will work for Ensemble Linea. www.NikoYa- music parlors during World War I. be released by US/UK Albany Records, mamoto.com featuring the world-premiere recordings of Hamish MacCunn alongside Judith Weir and Benjamin Britten, recorded in

2020 37 student news

Karen Blackall, a DMA can- Jonathan Hollis, a PhD student in musicology, has completed didate in jazz performance, three months of dissertation research in Armenia, funded by conducted the musical score fellowships from the American Research Institute in the South to Darcy James Argue’s Brooklyn Caucasus (summer 2018) and the National Association for Babylon in the Music Build- Armenian Studies (spring 2019). In October, he will begin eight ing Auditorium on February months of research in Armenia, through American Councils for 23, 2019. This event featured International Education’s Research Scholar program, funded by a cross-area ensemble of musi- the US Department of State through Title VIII. His dissertation, cians from the jazz, instrumental tentatively titled “Mugham in Armenian Music: Echoes of Con- performance, music education, and musicology areas of the flict in Exile,” concerns Armenian musicians who specialize SoM and marked the first performance of this music outside of in mugham, an improvised musical tradition of the Caucasus Argue’s own Secret Society Big Band. Argue edited a complete region, and the genre’s history and reception in Armenia within set of parts for the ensemble specifically for this performance. the context of Armenian-Azeri ethnic conflict. Blackall received the Nicholas Temperley Prize for the Study Thereza Lituma, a senior studying vocal perfor- of Musicology Award in 2018 for her dissertation, “Nostalgia, mance and choral music education, received Landscape, and the Negotiation of Identity in Contemporary the 2019 Project Inclusion Voice Fellowship Big Band Compositions of Maria Schneider and Darcy James through the Grant Park Music Festival. As part Argue.” Blackall also conducted selections from Maria Schnei- of her fellowship, she sang with the Grant Park der’s The Thompson Fields with the Jazz Repertory Orchestra Chorus and was a member of the Project Inclu- ensemble on April 25, 2019, at Krannert’s Studio Theatre. sion Vocal Trio. Thereza performed in recitals throughout Peng Du, a DMA student in piano performance Chicago for the Grant Park Music Festival’s “Night out in the and literature, was awarded a first-degree prize Parks” recitals as well as for a Dame Myra Hess Memorial at the Golden Key International Music Festival. Concert. She also had the opportunity to sing alongside the On May 24, she performed at Carnegie Hall’s Grant Park Chorus and Orchestra in their performance of Carl Weill Recital Hall. She was the first-prize winner Vine’s Choral Symphony, the world premiere of Kareem Rous- at the 2019 International Music Competition of tom’s Turn to the World: A Whitman Cantata, and Beethoven’s Paris “Grand Prize Virtuoso.” Missa solemnis. Mary Duplantier performed in “Nathan and Julie Gunn and Dai-An Liu was a winner of the 2018-19 Taiwan National Friends: An Evening on Broadway,” a Marquee Event at the Symphony Orchestra International Top Talents Music Project Krannert Center for the Performing Arts. In December 2018, Program. She was a featured participant in the 2019 Grant Park Mary also played with the University of Illinois Varsity Men’s Music Festival’s inaugural Visiting Masters master class programs. Glee Club in their annual Concert of Carols. In Spring 2019, Dani Nutting, a DMA student in flute performance, was Mary competed in the 2019 Lyon and Healy Awards Competi- awarded a Fulbright grant to conduct nine months of dissertation in Chicago and also played with the Champaign-Urbana tion research on the classical flute tradition in Bulgaria. She Symphony Orchestra. will study flute at the National Music Academy in Sofia and Claire Happel Ashe, a DMA candidate in flute conduct research with flutists and musicians throughout the performance, commissioned a new work for country, bridging classical performance and ethnomusicology. baroque triple harp by James Moore, which she In addition to close engagement with the art music commu- performed at the Princeton Sound Kitchen in nity in Sofia, Nutting will study the Bulgarian language and November 2018. She participated in the North traditional music and dance, including the Bulgarian keyless American premiere of Kapsberger’s 17th-century wooden shepherd’s flute, the kaval. oratorio I Pastori di Bettelemme as part of the Early Music Series Matthew Reeder was a finalist in the 2019 ASCAP Morton at the Byron Colby Barn and WFMT Chicago. With her duo Gould Young Composer Awards and was selected to attend the partner Philip Alejo, she recorded a new work for bass and inaugural residency for new music with Ensemble dal Niente at harp by Stephen Andrew Taylor titled Oxygen which will be DePaul University. In addition, he published a Lacanian analysis included on an album due out in 2020. of Kaija Saariaho’s first opera inRe:Search , the undergraduate journal for literary criticism at University of Illinois, and was awarded a grant by the Honors Program to research the work of Laurie Anderson. 38 sonorities student news 2018–19 competition winners

Melinda Rodriguez, an MM student in jazz performance, won the third annual Ella Fitzgerald 21st Century Piano Commission Competition Jazz Vocal Competition on April 27. Rodriguez Eric Zurbin (composer) was one of five finalists, selected from a field of Chia-Ying Chan (pianist) 50 registrants representing 16 states and seven Clara Rolland Piano Competition countries. Hosted by George Washington Uni- Elizabeth Kim versity, the finalists performed with the legendary Count Basie Kate Neal Kinley Fellowship Orchestra. Evan Clark (saxophone) Geoffrey Schmelzer, an undergraduate voice Krannert Debut Artist performance major studying with Jerold Siena, Wilson Poffenberger (saxophone) performed three opera roles at music festivals this summer. At Manhattan Opera Studio’s summer Paul Rolland Memorial String Award festival in New York City, Geoffrey sang the roles Undergraduate Division: Leah Zhao of Papageno in Mozart’s Die Zauberflöte and Graduate Division: Mary Sanderson Count Almaviva in Le nozze di Figaro. He also participated in Theodore Presser Award a gala with his operatic colleagues at Weill Recital Hall at Undergraduate Division: Thereza Lituma Carnegie Hall. Geoffrey returned to Central Illinois in late July Graduate Division: Dongryul Lee to sing the role of Schaunard in the Midwest Institute of Opera’s production of Puccini’s La Bohème. In addition, Geoffrey’s Thomas J. Smith Scholarship guitar playing can be heard on Urban Desi artist Humza’s Thereza Lituma (voice) single, “Aja,” which was released in June. Emma Olson (oboe) Noël Wan won a 2019 international Lyon & Healy Award and UISO Concerto Competition was a 2019 Yellow Barn Music Festival Artist in harp. She gave Young Whun Kim (piano) a lecture-recital, “Contemporary Chamber Music & the Inter- Jinyou Lee (violin) disciplinary Imagination,” at the 2019 American Harp Society Samantha White (flute) National Summer Institute with fellow Illinois students Daniel McCarthy, Matthew Reeder, and Zack Osinski. Aaron Wilbert, a DMA candidate studying oboe House in June 2019. Covering a range of topics pertaining to with John Dee, will join the faculty of Bradley performing and listening to jazz, the Chinese-language book University in Fall 2019. Wilbert was also an also includes many exercises and four appendices, including associate member of the Civic Orchestra of a list of select jazz classics, mini jazz theory, piano voicing, Chicago during their 2018–19 season. and sheets for Bb and Eb instruments. It also comes with audio recordings, including exercise demonstrations, play-along tracks, and tunes from Walsh and Xue. Lishan Xue, a DMA candidate in piano performance and literature studying with William DMA candidate Gabriel Piqué was awarded the second-place Heiles, has won numerous prizes prize at the 2018 Research from national and international Live! competition for his competitions and has performed presentation “The University of in prestigious venues on four Illinois Saxophone Ensemble: continents. Recent performances Exploring Old Works in a New Format.” Research Live! include recitals at Palazzo invites graduate students Albrizzi in Venice, and Capella from all disciplines to share del Mercanti in Turin, Italy, both as winner of the 2019 On their research with a general Stage International Classical Music Competition, Piano Solo. audience in a compelling three- minute presentation.

Her first book,Learn to Improvise Jazz, co-authored with Tom Annie Adams Walsh, chair of jazz studies at the Indiana University Jacobs School of Music, was published by Shanghai Music Publishing 2020 39 in memoriam

Michael Colgrass

Michael Colgrass, a leading American-born composer, performer, and educator, died on July 2, 2019, in Toronto, ON. Born in Brookfield, IL, in 1932, Colgrass was first inspired to pursue music after seeing drummer Ray Bauduc perform “Big Noise from Winnetka” in the 1943 film Reveille With Beverly. Colgrass used the money he earned from working as a golf caddy and setting pins in a bowling alley to gradually accumulate his first drums, which he learned to play by joining the school band and playing along with jazz recordings. Determined to be the next great drummer, he soon immersed himself in Chicago’s jazz scene, eventually performing with Joe Daley. Seeking to expand his knowledge of music, Colgrass enrolled allegiance to any one of the postwar new-music styles, Col- at the University of Illinois in 1950. Initially unmotivated by his grass forged his own artistic pathway, crafting a unique, highly studies and prone to missing his morning classes after perform- personal style that freely blended diverse influences, from jazz ing six nights a week at Katsinas Restaurant, Colgrass would to serialism. He won the 1978 Pulitzer Prize for Déjà vu, a later call his early college days “a disaster.” In an attempt to single-movement concerto for four percussionists and wind right the fledgling student, professor Paul Price urged Colgrass ensemble, commissioned and premiered by the New York to attend a percussion ensemble concert at Smith Memorial Philharmonic. In 1982, he received an Emmy Award for the PBS Hall. While Colgrass commended the musicians’ talent, he documentary Soundings: The Music of Michael Colgrass. He complained, in conversation with Price after the concert, that was also awarded two Guggenheim Fellowships, a Rockefeller “the music was terrible.” In response, Price challenged Colgrass Grant, and the 1988 Jules Léger Prize for New Chamber Music. to compose music that he would enjoy hearing. Recalling this When not composing, Colgrass lectured on personal devel- pivotal moment in his life and career, Colagrass wrote in his opment and gave workshops throughout the world on the 2010 memoir, “As the idea [to become a composer] dawned psychology and technique of performance, often with his on me, sunlight in the music school hallway seemed to grow renowned sense of humor on display. While Professor of brighter, and to this day I can see the radiance of sunbeams Percussion William Moersch was preparing for his 1984 New streaming through Smith Music Hall’s windows.” Inspired, York debut recital, he hosted one of Colgrass’s “Excellence in Colgrass soon wrote his first composition,Three Brothers, Performance” workshops and recalls the welcome influence it which was premiered at the university in 1951, received an had on his playing: “Through his fascinating presentations and endorsement from John Cage, and is still performed today. Over exercises, I realized I was too comfortable onstage from my the next several years, he studied composition with Eugene years as a New York freelance musician; I needed to recreate Weigel at Illinois, Darius Milhaud at the Aspen Festival, and a sense of stage fright and an invisible barrier at the entrance Lukas Foss at Tanglewood. to the stage. Only when I was in a ‘performance state of mind’ After graduating from Illinois with a degree in music per- could I pass through that barrier and function at the highest formance and composition in 1954, and a two-year stint level of awareness and creativity. The recital was a tremendous in Germany as timpanist with the Seventh Army Symphony success and I have used those techniques ever since.” Not Orchestra, Colgrass moved to New York. Choosing to free- content to work only with professional musicians, Colgrass lance over a scholarship offer from Julliard, he received steady also created a method of teaching children how to write music employment as a pit musician for the premiere Broadway run using graphic notation. of West Side Story. He also performed with the American Ballet He is survived by his wife of 52 years, Ulla; their son, Neal; Theater, the New York Philharmonic, several jazz ensembles, and a sister, Gloria. In a note, Ulla and Neal wrote, “Michael and participated in Columbia’s Stravinsky Conducts Stravinsky did not want any ceremonies after his death, nor did he want recording sessions. you to be sad. Instead, visit him by playing his music and feel The passion for composition that Colgrass first experienced his spirit soar.” at Illinois never left him, however. In 1967, he decided to retire his drumsticks and become a fulltime composer. Eschewing —Michael Siletti, editor

40 sonorities Ben Johnston

Ben Johnston passed away on July 21, 2019, in Deerfield, WI, at the age of 93. Johnston is best known for his research about scalar theory and microtonal compositions. He spent a large part of his professional career at the University of Illinois. After enlisting in the Navy in 1944, Ben received his BFA from the College of William & Mary in 1949 and then in 1950 married Betty Ruth Hall and attended the Cincinnati Conser- vatory of Music for a short time. A musicology professor gave Johnston a copy of the newly published Genesis of a Music by Harry Partch. This clarified what Ben had been hearing and for a short time he worked with Partch. His assignment was to tune Partch’s instruments and he and Betty performed to a completely new way of thinking about pitch and rhythm. some of Partch’s music. While in California, Ben enrolled at But for all of his students, he was a welcome beacon and shining the University of California, Berkeley, but then went to Mills example in the often-shadowy mist of academic art-making and College, where he studied with Milhaud and earned an MFA. teaching, of how to live a life of integrity, passion, and deep The early 1950s were an exciting time. He received an humanity as a composer in a world (academic, and beyond) appointment as accompanist and composer for the dance where that is both difficult to do and infrequently encountered. department at Illinois and then a faculty position in the School “In my nearly 40 years of teaching (I just retired), the unusually of Music’s composition-theory deep way that Ben inspired me as a young student composer division. He was chairman (along with, I know, many others) is something to which I’ve of the renowned Festival of “Ben’s music was never ceased to aspire. But Ben’s dedication to his art and his Contemporary Arts, bringing teaching, as well as his devotion to an ideal of a beautiful and in such guests as John Cage, always beautiful, complex musical idiom, sets a high bar that few of us can attain. Ralph Shapey, George Perle, always original, But it’s still worth a try. If I’ve communicated, through my own Milton Babbitt, and Elliott work, even a small measure of Ben’s artistic, intellectual, and Carter. Johnston sponsored always thought- spiritual flame to my students, I’d be overjoyed (and surprised). Harry Partch’s residency in the provoking, always “This is to say that even though I was only technically Ben’s Center for Advanced Studies. student for two years at the U of I, in all other ways he has Johnston’s research was pub- important.” remained my teacher ever since.” lished in Perspectives of New Neely Bruce, also Ben’s student and friend, wrote this tribute: Music and he gave frequent lectures about microtonal theory. “Ben Johnston was my teacher, my colleague, and my friend Then when his String Quartet no. 2 was paired with Cage’s for 53 years. He supported my work and opened doors for me HPSCHD on Nonesuch H-71224, listeners were able to experi- professionally. His music made an indelible impression on ence the clarity and complexity of just intonation. His String me from the first. It took the world a long time to realize what Quartet no. 4, probably his best known, was recorded by the some of us had known for decades—Ben Johnston was one Kronos Quartet; the Kepler Quartet recorded all nine quartets of the greatest composers of the second half of the twentieth under Johnston’s supervision. century. The Kepler Quartet finished recording Ben’s complete In addition to his research, Johnston had many composition quartets in 2016, when he was 90 years old. Ben was elected to students, and Larry Polansky credits Ben for helping shape his the American Academy of Arts and Letters two years later, and professional life. Polansky wrote the following: died the following year. But Ben’s music was always beautiful, “After Ben passed, his colleague and friend Heidi Von Gunden always original, always thought-provoking, always important. asked me to supply a short paragraph about Ben as a teacher. Special thanks to the great wide world of music for finally It occurred to me I could do that in one word: inspiration. catching on! Better late than never.” “Ben was a careful, responsible, and dedicated teacher. For most of his students, I think, he was an introduction and portal —Heidi Von Gunden, associate professor emerita of composition-theory

2020 41 in memoriam

Joseph Flummerfelt Joseph Ross Flummerfelt, a distinguished alumnus Flummerfelt’s Bequest of the University of Illinois School of Music, passed away on March 1, 2019, in Indianapolis, at the age of over $600,000 of 82. Flummerfelt was recognized as one of the world’s Enhances Graduate most accomplished choral conductors (both Leonard Bernstein and Riccardo Muti called him the “world’s Choral Program greatest choral conductor”). For 33 years, he served By Andrew Megill as professor of conducting and artistic director at I was blessed with the opportunity to Westminster Choir College in Princeton, NJ. With visit Joe Flummerfelt the week before he the Westminster Symphonic Choir and the New died, and at that time he shared with me York Choral Artists, of which he was founder and musical director, he his intention to make a major gift to the collaborated in hundreds of performances with the New York Philharmonic. choral program at the University of Illinois. Flummerfelt also prepared choirs for many other orchestras, including Joe remembered his time as a student in significant collaborations with the Philadelphia Orchestra, Cleveland Urbana-Champaign with fondness and Orchestra, Los Angeles Philharmonic, San Francisco Symphony, Royal gratitude, and cited the influence of Harold Concertgebouw, Vienna Philharmonic, Berlin Philharmonic, and the Leipzig Decker as a crucial part of his artistic and Gewandhaus, for conductors including Abbado, Barenboim, Bernstein, human journey. Over that weekend, Joe Boulez, Chailly, Colin Davis, also told me how proud he was of our Guilini, Maazel, Masur, Mehta, more recent successes. Since Joe retired Muti, Ozawa, Sawallisch, Flummerfelt’s choirs to Indianapolis five years ago, he attended Shaw, and Steinberg. many concerts, led rehearsals with the U have been featured in An accomplished orchestral of I Chamber Singers and master classes conductor, he made his NY 45 recordings, including for our graduate conducting students, Philharmonic debut in 1988, and contributed to our performance of several Grammy winners conducting Haydn’s Creation, Britten’s War Requiem last spring through returning in 2001 to conduct (John Adams’s On the his astute observations during our dress the world premiere of Stephen rehearsal. For the past three years, I also Transmigration of Souls, Paulus’s Voices of Light. He also had the extraordinary honor of co-teaching appeared as guest conductor Mahler 3 with Bernstein, a week-long advanced choral conducting with the New Jersey Symphony course offered each summer through the and Samuel Barber’s opera Orchestra, Orchestra of St. School of Music. Luke’s, Juilliard Symphony Antony and Cleopatra, and Orchestra, and San Antonio Singing for Pleasure, chosen and Phoenix Symphonies, and conducted more than 60 Flummerfelt also served as director of choral by the New York Times as one choral/orchestral performances activities for the Spoleto Festival USA for 37 years with the Spoleto Festival of the finest-ever recordings and for the Festival Dei Due Mondi in Spoleto Italy Orchestra. Flummerfelt was for 23 years. Through the Spoleto festivals he became of Brahms’s music. named Musical America’s a frequent collaborator and friend of composers Conductor of the Year in 2004. Gian-Carlo Menotti and Samuel Barber, who asked Flummerfelt’s choirs have been featured in 45 recordings, including Flummerfelt to conduct for his funeral. several Grammy winners (John Adams’s On the Transmigration of Souls, In addition to his work as a performer, Flummerfelt Mahler 3 with Bernstein, and Samuel Barber’s opera Antony and Cleopatra, was also a master teacher. Hundreds of his former and Singing for Pleasure, chosen by the New York Times as one of the students now occupy important choral positions finest-ever recordings of Brahms’s music. throughout the United States, including Andrew Megill, now director of choral activities at Illinois,

42 sonorities Joe’s legacy is extraordinary. He breathed profound grace into our world through his performances and teaching (his friend Leonard Bernstein once remarked that his work provided “a great measure “Joe’s legacy is of beauty to a world that needs it badly”). Becoming his student was one of the extraordinary. He greatest gifts; like hundreds of others who breathed profound studied with him, my life was irrevocably changed in ways I didn’t expect. I hoped grace into our to become a better musician because of world through his his teaching and example, but I didn’t understand how much he would change performances and me by his belief that music is a tool for the honest exploration of what it means teaching (his friend to be deeply human and fully alive. Leonard Bernstein

My colleagues and I are deeply Andrew Megill Courtesy of touched by Joe’s gift to the Illinois choral (L-R) Flummerfelt, Pierre Tang, and Andrew Megill, in once remarked that department. His bequest opens up a world Krannert's choral rehearsal room his work provided of possibilities that will enrich our graduate “a great measure of students’ lives and education. Increased it brings us into absolute and passionate presence scholarship funding, bringing outstanding with all that is here, that is natural, that is love. . . . beauty to a world guest artists and performers to Urbana- Life always says Yes and No simultaneously. Death (I that needs it badly”). Champaign, national and international implore you to believe) is the true Yea-sayer. It stands touring, commissioning new works, before eternity and says only: Yes.” Joe’s extraordinary collaborations with leading musicians, gift will allow the choral division to say “Yes” more enhancing the performance and scholarly powerfully than ever before, as we explore the many opportunities for our students—all these ways we can enhance our students’ education. For become possible through Joe’s generosity. this opportunity to continue Joe’s legacy, and the During the last weekend I spent legacy of the Illinois choral program, we are truly with Joe, he wanted each visitor to hear a grateful. passage from a letter by Rainer Maria Rilke: “Death is our friend precisely because

and Donald Nally, conductor of The Crossing and students. For the past three summers, he co-taught the professor at Northwestern University. Yannick Nezet- Illinois Choral Conducting Symposium, a week-long Seguin, artistic director of the Metropolitan Opera advanced conducting course offered by the SoM. and conductor of the Philadelphia Orchestra, cites Shortly before his death, he generously established Flummerfelt as one of the two major influences the “Joseph R Flummerfelt Graduate Choral Music on his conducting and told the NY Times that his Fund” at the University of Illinois. Memorial sessions with Flummerfelt were the only significant contributions may be sent c/o University of Illinois conducting lessons he ever had. School of Music Advancement, 1114 West Nevada In recent years, Joseph Flummerfelt was a frequent Street, Urbana, IL 61801. presence in Champaign-Urbana. He was an artist- —Andrew Megill, professor of conducting and in-residence for the choral area, leading rehearsals director of choral activities and teaching master classes for our conducting

2020 43 planned giving Giving Legacy Commitments Gifts in support of the School of Music (July 1, 2018–June 30, 2019) We would like to recognize the following alumni and friends who have chosen The overall success of all parts of the School of Music depends on the gen- to include Music at Illinois through a erosity of our alumni, friends, foundations, and corporations. We gratefully bequest or other planned gift. Donors acknowledge the generous support of the following, who made gifts in support who remember the School of Music in of the School of Music. their estate plans provide critical funding The School of Music always welcomes new contributors. For more informa- to establish student, faculty, and program tion about making a gift to the School of Music or about the Illinois Music support. Advancement Council, please contact David Allen, director of advancement, at 217-333-6453 or [email protected] Linda Allen Anderson Anonymous Joyce & Alan Baltz Mary Jane Beasley $100,000 + Carol Berthold Stephen Blum Edward Karrels Illinois Music David Bruns Judith Chastain Advancement $50,000–$99,999 Richard Clark & Andrea Durison-Clark Alan & Joyce Baltz Dale & Lucinda Cockrell Council Lynd Corley $25,000–$49,999 Roger & Shirley Cunningham Barbara Curtis Anonymous Executive Committee Jerry & Cathy Ditto Carol Berthold James & Candace Frame The School of Music thanks the follow- Joseph Ceo John Heath ing volunteer members of the Illinois Bernice From Susan Hoeksema Music Advancement Executive Com- Dale Hallerberg & Brenda Brak Donald Houpt Jr. & JoAnn Unsell Houpt mittee for their support and advocacy. John Wustman Larry Houtz Stephen Husarik Michael VanBlaricum, Chair $10,000–$24,999 James Frame, Vice Chair Ahmad & Dulce Issa Barbara E. Barnes Lynd Corley Raymond & Lori Janevicius Edgar Madsen & Melva Gage Paul Herman Bruce Johnson Marilyn Nichols Craig Milkint Allen Kleinbeck Glen & Krista Strauss Michael Konrad Jon Toman Dean Langford Virginia “Ginny” & Paul Uhlenhop Lezlee Masson Michael McDonnell Sharon Michalove In Remembrance: Virginia “Ginny” Ralph & Kathy Pounds Uhlenhop (1937–2019) Willodean Simon Albert Staub Ginny (BME ‘59, pictured in 2014 with Craig Sutter Bert Zhang, BA ‘16) loved making a difference in students’ lives and will David & Deborah Trotter be greatly missed. For many years, she Sharon West was a cherished member of the Illinois Music Advancement Council’s Executive Committee with a passion for helping to make the school a better place.

44 sonorities $5,000–$9,999 Roxanne Frey Forough Archer Andrew & Barbara Goldberg Erwin & Linda Arends Richard Clark & Andrea Durison-Clark Nicholas & Judith Good Larry Ashley David Dungan & Mary Granato Dungan Allen & Carolyn Grosboll Theodore & Sharon Barczak Maureen & Christopher Durack Charles & Linda Gullakson Lisa-Ann & Robert Barnes Daniel Feldt Eric Hammelman Mildred Barnett Ed Harvey & Cynthia Capek Nancy & William Hammitt Patrick Bitterman Thomas Jewett Kathleen Harvey Alan & Maria Blair Peter & Elizabeth March Eve Harwood & Mark Netter Joseph & Jill Bonucci Stephen & Anne McClary Reiner & Lori Hinner Craig & Nancy Branigan Andrew Megill Zachary Hoffman Elaine & Nicholas Brown Mark Neuman David & Kathryn Hoffman Anna & Joseph Catalano Thomas Nixon & Dan Sherbo Mary Hoffman Joy & Jack Charney Roberta & William Potsic Colin & Anne Holbrook David & Beth Chasco Kathryn Sobeski Raymond & Lori Janevicius Michael & Stephanie Chu Jerald Wray & Dirk Mol Kathryn & Alan Janicek Shu-Jung Chuang Bruce Johnson Roger Clark & Fredric Hoffman $2,500–$4,999 Thomas Keegan & Nancy Moskowitz Larry Cohen Nicholas Carrera Linda & David Kranz John & Niki Devereux Scott Christenson Thomas Kundmann Jerry & Cathy Ditto Eleanor Crum Diane & James Lauridsen John & Terri Dodson Deb & Bill Harrison Sandra Leonard Williams Lauren & James Emme Stephen Husarik Donald Maylath Jennifer & Eric Foss Ronald Johnson Timothy McGregor Michael Gamage Holly & Jack Jordan Sharron & David Mies Kathy & James Gamble Ellen & Gerald Kuroghlian Craig & Margaret Milkint William George & Jo Batty-George Carol Livingstone & Daniel Grayson Tamara Mitchell James & Jennifer Gettel Kathleen Lockhart & James Dixon Ruth Moore Elizabeth Goldwasser James & Erin Lowe Michael & Barbara Moore Joyce Griggs Diane & Kenneth Matsuura Walter & Jane Myers Richard & Mary Haines Claude & Lynda McKibben Jane & Roger Naeseth Joseph Hanley & Kristy Mardis Trudy & Charles Medhurst David O’Connor & Caroline West John Heath Martha Murphy Roger Ray Henry Helenek George & Suzanne Pagels G. Riemenschneider Dennis Helmrich & Gerard Hecht Marjorie Perrino Kevin & Alison Rockmann Zachary Hench & Sarah Beauchamp Tom & Diane Scharfenberg Paul & Susan Schlesinger Julie & Mark Herman Joy Thornton & John Walter Rich & Janet Schroeder James Hutchinson Russell & Cheryl Weber Therese Schwerzler Cary Izzi & Sharon Klein Meenal Sethna Gordon Johns $1,000–$2,499 Donna Smith Judith & Carlyle Johnson Michael Bagby Gary & Beverly Smith Jeffrey & Julie Kimpton Donald Bagby Case & Elaine Sprenkle David & Jennifer Knickel Bryan & Valerie Bagg Amy & Eric Tamura John Koenig Charles Boast & Marsha Clinard Kathe & John Kathe Thompson Jupian Leung Kathryn & David Bowers David & Deborah Trotter Michael & Cynthia Loui Joyce Branfman Michael & Pamela VanBlaricum Laura Luckadoo Sarah & Carl “Chip” Buerger John Weaver Morgan & Brenda Lynge Scott & Janice Casagrande Phillip Whipple Nancy & Marshall Mabie Lauren & Philip Coleman John & Nancy Whitecar Christopher Manakas Harold Collins Sarah Wigley Charles Matz & Yvonne Simpson-Matz Michelle Corlew Mark & Susan Wisthuff George Meyer Roger & Shirley Cunningham Tat-Kwan Yu Mark & Barbara Miner Lynne & Paul Denig Elizabeth Morley Morley Jo Ellen DeVilbiss Alexander $500–$999 George & Carolynne Morvis Mark Mosley & Sarah Good Mosley Carolyn & Patrick Donnelly Eduardo & Teresa Acuna Amelia Mugavero Linda & Roger Fornell Kenneth & Mary Andersen

2020 45 Angelia Mugavero Donald & Susan Armstrong Gregory & Ruth Mock Barbara Allen Clifford & Linda Nelson Melinda Baldwin & Robert Bass Anne & Tom Morel Eddie & Donetta Allen Bruno & Wanda Nettl Philip & Christine Bohlman Joseph & Lois Morrow Carl & Nadja Altstetter Steven Ng Donna & Jerome Brand Richard Murphy Eugene & Catherine Amberg Thomas & Valerie Oakley Robert & Melissa Buckley Diane & Thomas Newkirk Sharon & David Anderson Jeffrey & Rebecca Olson Eileen Chiou Nicholas & Estelle Nicholson Timothy & Jennifer Anderson Patricia Olson Susan & Gregory Clemons Kim Nickelson & Louis Sguros Ian Anderson Laurie & Steven Oreskovich Carol & Willis Colburn Gerald & Mary Norton Susan Atamian & Lee Hart Margene & Peter Pappas Laura & Douglas Coster Marion O’Leary & Elizabeth Michael & Kim Atwater Stephen & Elizabeth Peterson Ron Cytron & Betsy Kaplan Kean David & Martha Atwater Douglas & Rebecca Pinney Cytron Susan & K. O’Leary Susanne Aultz Richard Powers & Jane Kuntz Kenneth Davis Paulette & Robert Pahlke Janice Bahr & Erwin Hoffman Michael Pressler Michael Davis & Barbara Don & Elizabeth Palmer Linda & Tielke Baker Eileen & Terry Prillaman Hutchinson Larry Parsons & Sarah Carr David & Debra Barford Elizabeth Raiman Robert & Patricia Davis Robert & Margaret Pattison S. 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