THE MANY FACES of JONATHAN MILLER from the Dean Mind Over Music PEYTON HOGE PEYTON This Fall Brought Many Activities and Giate Chamber Music; and Collegiate Voice

Quarternote Blair VANDERBILT UNIVERSITY Volume 25, Number 2, Winter 2001 Published by the Blair School of Music

THE MANY FACES OF JONATHAN MILLER from the dean mind over music PEYTON HOGE PEYTON This fall brought many activities and giate chamber music; and collegiate voice. I achievements to the Blair School of know that you join me in extending our Blair’s Music Cognition class crosses disciplinary boundaries Music at Vanderbilt University. congratulations to the teachers of these As you will read in this issue, the distin- impressive students. They include Blair fac- to answer age-old questions and ask new ones guished theatre and opera director ulty members Elizabeth Cormier, Cornelia BY BONNIE ARANT ERTELT Jonathan Miller visited this fall as the Heard, Karen Ann Krieger, Craig Nies, and Harvie Branscomb Distinguished Univer- Jonathan Retzlaff. Further information on sity Visiting Scholar. During his three these competition winners will be found in Larry Borden, associate professor of cognition in the process. Their teaching Borden insists this emphasis can make weeks at Vanderbilt, Dr. Miller worked the next issue of the QUARTER NOTE. trombone and principal trombonist with goals follow Aaron Copland’s 1958 exhor- students better players and teachers. with students and faculty members in each Finally, let me call your attention to the the Nashville Symphony, has been ask- tation to listen to music at different levels; “We’re still teaching private music lessons of his many areas of expertise: neurology, article in this issue on the Blair School’s ing “why” ever since the days he played Bronowski’s celebration of the similarities the way we did 300 years ago with a psychology, philosophy, opera, and theatre. class in music cognition. This is an emerg- in an orchestra in Xalapa, Veracruz. “I as well as the differences in the arts and master teacher in a room with a student His presence enriched both our curriculum ing and important field of interdisciplinary would ask my musician colleagues, why the sciences; and their own determination saying ‘this is right, this is wrong.’ But Dean Wait and the lives of the many students and fac- endeavor, and the Blair School is proud of does that trumpet solo in the Leonora to view music from the perspectives of how can we help these students become ulty members who worked with him. the leading role that Professor Lawrence Overture, which is played offstage, sound different disciplines, including physics, better players with a deeper understand- Quarternote In addition to enjoying the presence of Borden has taken in this area of research so out of tune, given that the trumpeter cognitive science, child development, eth- ing of what they’re doing both technically Blair this distinguished guest, the Blair School’s and pedagogy. VANDERBILT UNIVERSITY sounded in tune when playing on stage?” nomusicology, and music theory. and cognitively?” he asks. “In the last 300 own students and faculty members continue I look forward to communicating with Borden thinks the answer has to do with years, we’ve learned a lot about thinking, Cover photo cutline: Jonathan to build a solid record of their own achieve- you again in the spring. Meanwhile, please Miller, the Harvie Branscomb frequency selective filtering (from creating, and learning, and how to opti- Distinguished University visiting ments. As I write this, we have just learned know of my best personal wishes for the physics), together with culturally based mize all of these functions. Scholar and acclaimed director, that Blair students won the following com- New Year. learning (from psychology). But But we haven’t been author, and neurologist, was in petitions at this year’s meeting of the Ten- residence at Vanderbilt from most of Borden’s col- using that knowledge October 16 through November 3. nessee Music Teachers Association: leagues didn’t have a to train better musi- While here, Miller worked with elementary, junior high, and high school the Vanderbilt Opera Theatre. clue. “Most musicians cians and teachers.” The Blair School cosponsored composition; collegiate piano; junior high, Mark Wait, Dean are busy about the In an effort to do his residency. high school, and collegiate strings; colle- business of playing that and in response to See stories p. 8. Photos by Anne Rayner music,” says Bor- the Provost’s initiative den, “and not about to establish interdiscipli- The BLAIR QUARTER NOTE, the newsletter of the Blair School of Unique Recording Console Given to Blair cognition or think- nary courses, Borden Music, is published three times a ing about these and Rieser were year in cooperation with the ‘why?’ questions.” funded to buy equip- Office of Alumni Publications for During the summer of 2000, the Blair School Blair School hopes also to make it available alumni, current students, and of Music received a unique gift–a custom- to the larger music community. Borden and John ment and pay for other friends of the School. built, portable recording console. This incred- The Blair School and Vanderbilt Univer- Rieser, professor of research assistance The BLAIR QUARTER NOTE, ible piece of equipment came our way from sity are especially grateful to Richard Zim- psychology at Peabody to get the course Vol. 25, No. 2, Winter 2001 Provo, Utah, due to the encouragement merman of NightPro, who was a close friend College, have been started. A second grant © 2001 by Vanderbilt University. All rights reserved. offered to the donors by Denny Purcell of of John Mosely. He has worked long and exploring for the past two of $50,000 allowed the Georgetown Masters and Donna Hilley of hard to make this gift a reality for the Blair years in their Music and pair to buy a Kyma Sys- Editor, Bonnie Arant Ertelt Sony Music Publishing. School. We are indebted to him for his Cognition class questions tem made by the Sym- Blair Liaison, Debra Creasman The console was custom-built by systems enthusiasm, guidance and patience. A very such as: What do arts and bolic Sound Corporation, Designer, Christian Holihan Executive Director, Alumni Communi- designer John Mosely to record classical special thanks also is due Denny Purcell, sciences have in common? and with the completion cations, Anthony J. Spence music. It will be placed behind the stage in who has offered his time, advice, expertise, Does the same music sound of the Phase I construc- the new performance hall when Phase II is and hand-holding talents. Together with beautiful the world over? tion, to set up a ‘quiet Precollege, adult, and undergraduate alumni are completed in fall 2001. Mosely, who died in Garth Fundis, of Sound Emporium, he deci- Why are some people more room’ filled with Sonex encouraged to send their a plane crash in 1995, served as vice presi- phered the technical capabilities of the con- musical than others? What material that allows test- professional or personal news to: dent of operations at Night Technologies sole. Paul Worley, of Paul Worley is musical intelligence? Are ing and recording in a The BLAIR QUARTER NOTE 2400 Blakemore Avenue International. The formal appraisal describes Productions, also played an important role there ways we can learn the space that filters out all Nashville, TN 37212-3499 the console as a “multi-functional portable in getting the console to Blair. We are fortu- skills of music faster? Do chil- extant sound. Or by e-mail to: studio to do multi-track digital recording, nate indeed to receive this unique console. dren experience music the same way “The Kyma System is invaluable as [email protected] Ideas about what people celebrate and mourn any form of television recording, or film Look for more news about it once it is in its adults do? Is music a language? Can per- a teaching and research tool,” says differ from culture to culture, and this finds Visit us on the Web at recording capable of eight-channel sur- home after completion of Phase II. fect pitch be learned? How does music Rieser. “It lets us do things in class its way into any culture’s music. Also, asso- www.vanderbilt.edu/Blair/ round-sound mixing. The quality of compo- evoke emotions? What universal elements that, without the equipment, would be nents and attention to detail is second to –VIRGINIA PAYNE, ciations upon hearing music mean that one Vanderbilt University is committed to exist in music across cultures? Because of very difficult or impossible to illustrate DIRECTOR OF DEVELOPMENT piece of music may evoke entirely different principles of equal opportunity and none.” Both Blair students and faculty will these questions and many, many others without an expert knowledge of affirmative action. emotions in one person than in another. make use of the console’s capabilities. The like them, they are learning a great deal physics. For instance, in class we can Printed on recycled paper about the relatively new field of music ILLUSTRATIONS BY DREW WHITE record a voice or instrument and imme- 2 3 STEVE HALIN STEVE diately show the frequency spectogram ture, to musical universals and other The research seminar picks up of what was played.” Even better, the elements that may or may not be com- where the introductory course ends— Blair Faculty and Kyma system lets Rieser and Borden mon across cultures.” focusing in detail on the nitty-gritty of change the sound frequencies and play A recent class found the students research methods to answer new ques- Graduates Form Core the changed sounds back in class. “It’s looking at questions related to perfect tions and involving undergraduate and of Symphony at a great way to ‘hear’ the physics of pitch and human memory, and as with graduate students in research. “Creating sound in action. We can hear how all the topics tackled, questions beget music and cognition as a teaching and Carnegie Hall Debut much of an instrument’s tone color is in more questions. Are people with per- research strength at Vanderbilt is a real- the upper overtones, and how much of fect pitch auditory learners? Why is it istic vision,” says Rieser. “With Blair The Blair School of Music was well the salient information that we pick up easier to recall the color red than the joining forces with psychologists at both represented during the Nashville Sym- is in the lower frequencies.” pitch of C-flat? How does learning to Peabody and Arts and Science, and phony’s Carnegie Hall debut on Sep- “It’s hard to attach abstract concepts play an instrument differ from learning with the new Learning Sciences Insti- tember 25. Eighteen faculty, the from physics and perception psychol- lyrics, melody, or pitch variations? tute, our joint efforts in music and cog- majority of whom are principals for ogy without the listening experience,” “I’ve always been driven by the nition are a first, but decent-sized, step their sections, toured the east coast with says Borden. “With this system, how- ‘why’ questions,” says Borden, “and it toward bringing an emphasis on the the orchestra, which also includes grad- ever, you can hear the difference in sec- has tremendously enriched my life. arts into the broader University-wide uates of the school’s precollege and col- onds. Anything of that kind that we’d John is really fond of hearing me make study of cognition.” legiate programs. One current Blair like to show a student, we can con- some assertion and then say, ‘Now, B.Mus. student also made the trip. Sara Members of the Nashville Symphony rehearse on Monday afternoon at Carnegie Hall prior to struct if it’s not already in the machine. why might that be?’ which usually sets Schultz, a senior from Shepherd, Mon- their debut later in the evening. They received glowing reviews from both the Wall Street Jour- It also means that we can go any direc- us off on something completely off the tana, was a member of the second violin nal and the New York Times. Blair student Sara Schultz is third from left on the last row. tion in research that we can imagine, subject, and maybe that is the best part section. (Read more about her experi- because we can build a specific stimu- of our relationship. I’ve learned so Perfect pitch is actually a misnomer. Pitch is ence below.) “The room felt like a true The Wheels on the Bus physically smaller than she is to play on lus of any type in order to ask the ques- much by asking why and realizing I continuous and most people have the ability place of business, where one must per- Go Round and Round stage in Troy! It is as though the tions we’re trying to get answered.” don’t know.” to identify a note within a couple of half form,” said Schultz, “and my job, as Traveling on the bus was tedious, smaller you are, the bigger your voice Some of the questions they ask do Their intent with this course and tones either up or down. Those with bona fide part of the orchestra, was to play with though the scenery changed often, will sound. Let me explain. I like hear- not require such sophisticated equip- the new music cognition research perfect pitch, however, have it somehow accuracy and excitement.” brightening beautifully as we drove ing a large orchestra that sounds like ment. One class looks at the musicol- seminar is to have music and cognition encoded into their brains. Within the general The Symphony did just that accord- through Pennsylvania. To kill time on 20 people playing unrealistically full ogy of happy and sad music. “We call it become a research and teaching population, only 1 in 10,000 people are able ing to New York Times music critic Allan the ride, I studied jazz, music theory, sounds, with the violin section sound- our weddings and funerals class,” says strength at Vanderbilt. to listen to any pitch and correctly name it. Kozinn, who called the performance “a and macaque monkeys. To entertain ing like one (very loud) person. At the Borden. “I gather music from all cul- knockout” and hailed the group as play- myself I wrote postcards to my hall in Troy, it was so easy to hear what tures that would be related to either ing “with the energy of an ensemble out boyfriend and studied the people was going on inside the orchestra that weddings or funerals, but we don’t tell to impress.” The program featured around me. Meals were sometimes a fitting in with everyone was not diffi- the students which is which. We let works by Ives, Strauss, Beethoven and challenge. Few meals were provided, cult. A beautiful, unified sound them guess just by listening.” award-winning fiddler and former Blair though small bags of peanuts and resulted, and it was present in every- “The first time we did it, I thought, faculty member Mark O’Connor, who raisins were offered at the beginning of thing we played. no sweat, I’ll pick out the funerals and served as guest artist with violinist the tour. I thought I could subsist on so will the students,” says Rieser. “But Nadja Salerno-Sonnenberg. power bars alone, so I packed plenty of The Big Gig we were completely wrong. We mostly them. Instead, I became quite hungry. Playing Carnegie Hall was pretty neat. didn’t have a clue.” In Albany, New York, an Indian The hall itself looked surprisingly small “And why would that be?” continues restaurant became popular with the Reflections on a Journey to me, and I found that I was not Borden. “Why do we think we could Symphony musicians. Starving, I went scared to play on stage. I had seen the pick it out so easily? In the West, by BY SARA SCHULTZ to the buffet one afternoon to get a place at home on my TV so many times process of enculturation we know what meal. One meal. It was enough to keep As a substitute violinist with the that the night of the concert I felt as if I is happy and sad and how that is me going for a couple of days. Nashville Symphony on their recent were playing inside a television set reflected in music, but in other cul- east coast tour, I traveled a long way. instead of on a stage. The audience tures, they celebrate completely differ- We were headed to Carnegie Hall, and wore familiar, friendly faces. The room ent aspects of weddings and funerals Conquering Troy indeed, we got there; but the whole felt like a true place of business where than we might. So, in that class we look We conquered Troy on this trip. Troy is point was the journey and not necessar- one must perform, and my job, as part at how music is tied to emotion, to cul- just outside of Albany. Just inside of ily the destination. I had a wonderful Troy is a music hall called the Troy of the orchestra, was to play with accu- time with all the people of the Nashville Savings Bank Music Hall which could racy and excitement. It was our job to Symphony—the musicians, staff, and fit in a one-windowed dollhouse and entertain the audience. I am beginning families who went along. I wish I could which has the acoustics of a very cozy to have that same sense of my “job” repay them for taking me on tour. church. A person should really be now wherever I go to play.

4 5 Our dream house happenings

Blair faculty move into the completed CRENSHAW DAVID George Crumb’s musical scores are as excit- ing to look at as they are to hear, as Blair Phase I addition and breathe student Sheara Fernandez discovers.

There’s no mistaking a music school. tiny faculty studios, People hurry, rushing from class to and piano faculty and rehearsal to performance. Musical others offered their notes emanate through windows, walls, students the use of and doors as if the building is saturated their teaching studios with sound. Students with large instru- for late-night prac- ments nearly knock each other down tice. We managed to George Crumb, Annenberg Professor of the Humanities emeri- passing in stairwells and halls. pull rabbits from hats tus at the University of Pennsylvania and Pulitzer Prize winning That’s the way it has always been at every summer when composer, joins the Blair School in the spring for a second turn as Blair. Until now. There’s no less rush- the studio assignment BMI Composer-in-Residence. Crumb’s work has the distinction of ing around than before, but with the committee met to fig- being the most frequently performed and recorded by any contem- completion of the Phase I addition, fac- ure out where new The keyboard harmony studio, with all its attendant electronics, porary composer. His music will be featured as part of the Blair

ulty and students now have an addi- people were going to now has room for keyboards, computers, printers, and students, BILL DENISON Concert Series on Friday, February 9. tional 40,000 square feet in which to teach in the fall. plus room to walk the aisles. REBECCA COONEY FOR COONEY REBECCA stretch out, sing, study, play, and not There’s hardly a nook William Westney, professor of piano and Browning automatically bump into each other in or cranny in the old building that was hooked up to computers and printers. Artist-in-Residence at Texas Tech University, brings his the process. not busy day and night, six and seven “I almost have enough space to dance innovative Un-Master Class© to Blair, February 25-26. Blair’s first home on 18th Avenue days a week.” the polka in here!” says Krieger. “I In demand as an international lecturer and private con- THE NYTIMES South consisted of a remodeled house After a year of construction to put have really died and gone to heaven.” sultant on issues such as practice psychology, performance- and garage with no soundproofing and into reality the architectural design of Gregory Barz, assistant professor of related injuries, and learning and creativity, he has insufficient space. The original building David Baird and Baird Dixon of Street musicology (ethnomusicology) has presented his interdisciplinary ideas at professional meet- on Blair’s current site, built in 1980 Dixon Rick Architects, Blair faculty office space large enough to house ings from London to Taiwan and to musicians and students with 36,000 square feet, was a welcome and staff moved into the three-story some of the African drums used in the throughout the United States and abroad. His focus on relief to the overcrowding at the origi- Phase I building in July. Immediately, new drumming ensemble at Blair. “I vitality in performance and dissolving boundaries real or nal location. The soundproofing they had room to breathe. The com- have enough space in here to sit down perceived between the performer and audience helps classi- allowed students and faculty to work bined space from the older building with students and work out problems. cal instrumentalists learn to be expressive as well as techni- on pieces without feeling as though the and the new addition gives Blair a total It’s wonderful.” cally perfect. instrumentalist or vocalist next door of 64 teaching studios, 46 practice Of course, Phase I is only half the All Un-Master Classes© presented by Westney will be was literally in the same room. rooms, 5 classrooms, 3 computer labs, a project. When Phase II is completed free and open to the public. But almost from the outset, the restored parents’ waiting area, a psy- and opened Fall 2001, there will be two building seemed to shrink. “Even cho-acoustic music cognition lab (see rehearsal halls, one for orchestra and before the degree program began in related article, p. 3), a faculty lounge one for choral groups that will serve The Guarneri Trio Prague make their Nashville 1986, we were teaching more and more with a kitchen area, a student lounge double duty as a lecture hall. The debut at Blair on February 27 at 8 PM in Turner Recital precollege and adult students and Van- with a terrace overlooking an interior crowning glory will be the 620-seat Hall. The trio unites three internationally known soloists, derbilt students who wanted to take courtyard, and 3 rooms for student concert hall with raked seating allow- each of whom brings a rich expertise of performance within music for credit,” says Jane Kirchner, organizations. There are 264 instru- ing for good views from every level and the Czech chamber music tradition. associate professor of flute and associ- ment lockers and wide stairwells, eleva- adjustable acoustics to create optimum Since its creation in 1986, the Guarneri Trio has been ate dean. “In 1980, our course enroll- tors and halls to accommodate conditions for orchestral, choral, or among the most distinguished ensembles of modern cham- ment was 800, in 1990 it was 1,381, instruments. New techniques in sound- opera performances. Phase II will add ber music. They have toured extensively in Europe and and this year, it’s 2,775. Our faculty has proofing, using floating walls and ceil- another 55,000 square feet for a total of Canada, including the International Music Festival of grown from 41 in 1980 to 98 this year, ings, rubber gaskets and sand-filled 131,000 square feet. Lucerne, the Carinthian Summer Festival in Austria, The including 43 full-time. We kept adding concrete blocks lessen the amount of “The whole project has been one of Dvorák Festival in Prague, the Schleswig-Holstein Music new faculty and new staff and new stu- sound carried from each studio and the most fun—and difficult—of my Festival, and the Victoria Festival in Canada. Cenek Pavlik dents, but no new space.” practice room. life,” says Kirchner. “And I have a win- plays the Zimbalist-Heifetz violin from Guarneri del Gesù, Instead, the building began to be Larger studios and offices are now dow on the Phase II work from my and Marek Jerie plays a cello made by Andrea Guarneri in cannibalized in the 1980s says Kirch- the rule. Karen Ann Krieger, assistant new studio. I’m watching it become a 1684. Pianist Ivan Klansky rounds out the trio. They will ner. “The coat-check area became an professor of piano, who teaches key- dominant presence along Blakemore present a masterclass at Blair on Monday, February 26, at office, faculty began to share studios, board harmony classes, has a teaching Avenue. It’s wonderful, really our 7 PM. Tuesday’s concert is a benefit for the Linden Corner administrative offices were carved out lab that has doubled in size, giving dream house.” School, which specializes in Waldorf educational methods. of the main office area, many of the ample room to walk without turning PHOTO COURTESY OF THE GUARNERI TRIO PRAGUE —BONNIE ARANT ERTELT Tickets for the concert may be purchased through the practice rooms began second lives as sideways between the digital keyboards Blair Office. 6 7 The students stand on the bare stage of Turner Recital Hall, their hands at their sides, singing the first act quintet from The Magic Flute by Mozart. The A CONVERSATION music sounds glorious, and they know it well already, but they’re not here to give a concert. They’re here to participate in an opera theatre workshop WITH JONATHAN MILLER presided over by Jonathan Miller. During his three-week residency on campus as the Harvie Miller, a Cambridge-trained neurologist, who is one of the leading stage Branscomb Distinguished University Visiting Scholar, Jonathan and opera theatre directors in the world, was in residence at Vanderbilt from Miller found time to speak with senior Heidi Lauren Duke, a October 16 to November 3 as the Harvie Branscomb Distinguished Univer- Blair voice major also specializing in theatre, about education sity Visiting Scholar. During his residency, cosponsored by the Blair School, and training for directors and singers, what to strive for in Miller worked with the Vanderbilt Opera Theatre,the Shakespeare Workshop, directing opera, and the “afterlife” of performance. and with classes in directing. He participated in “A Conversation with What is important for performers and directors to acquire Jonathan Miller”on October 17 as part of the University’s Great Performances in a liberal arts education? series and gave a Dean’s Hour lecture at the School of Medicine on “Bedside Manners:Medicine and the Public.”As the students on stage are about to find If you’re going to be any good at all at directing, you have to have sensi- out, his training as a scientist and doctor is inextricably linked to how he tivity and imagination, because that’s what it’s about.You’re dealing with directs. He constantly brings his observations of the human condition to his semantics, you’re dealing with meaning; there are no technical skills that you have to have. Singers are somewhat different in that there are vocal direction, firmly rooting his productions in reality. He has said in the past,“I’m JONATHAN skills that have to be acquired, and above all developed, and they don’t hung up on the actual.I think theatre has to be a Gesamtkunstwerk—it has to just simply happen.Voices ripen and cure. be integrated into real life. Otherwise, it’s not worth leaving neurology for.” MILLER: What Miller provides for the students is detail on which they can ground A lot of people think the same about actors, that you need to their performance.“Opera is an artificiality which brings to life reality,” says be in the studio, developing. CUTTING Miller, and from the beginning he draws attention to subtle details of human I think a beautiful voice is something that is quite useful in order to have behavior that can inform the students’performances.The young man singing a future in theatre, but otherwise, basically the best actors I have known the part of Tamino is instructed to react to Papageno’s entreaties to unlock THROUGH have come from nowhere. One of my favorite actors was a man named the padlock on his mouth with an aristocratic indifference and by singing Michael Hordern, who played Lear for me three times. He had been in THEMANYFACSOFJOTO THE REAL more loudly, as though Papageno can’t understand him,“in just the way the insurance.He had one of the most beautiful voices around,and he was an French are deaf to English when you’re asking them which way to the railway intelligent, funny, performer. You get better at it, and you get better at it station,”suggests Miller. In turn, Papageno reacts with frustration,“what does because you do more plays, not because you do more studios. Studios a fellow have to do to get help around here?” Miller coaches the students, are usually a waste of time because you’re with people who are not likely very good. Good actors you can recognize very early on.They’re destined clearly enjoying himself. for it. They get better and better. One of the great English actors is a When the three ladies-in-waiting make their entrance, Miller stops them. woman named Eileen Atkins who’s in her sixties now. She came to me “Don’t do it as though you’re musical Siamese twins,” he says.“Comic scenes All photos by Anne Rayner and she hadn’t had any academic life, but she was an actress. You either always have three or four funny things happening at once.” He works with can do it or you can’t. It’s not the same for singing. For instance, consider them to establish a hierarchy: the first young lady immediately hands off the someone like Dawn Upshaw. I think Jonathan Retzlaff said he knew early NATHANMILLERTHEdowel rod representing the flute to the second,as though she is the personal on that she had a voice that could break your heart, long before it devel- oped.But it did develop; it was trained.They have to train,they have to do lackey of the first. Meanwhile, the third lady-in-waiting notices Tamino and is things to encourage their development. instructed to make eyes at him. After Tamino is presented the flute, Miller instructs her to step up the flirting.“Do it like Mae West,”says Miller.“‘Is that a Do you feel that something gets lost in judging a “good per- flute you’re carrying or are you just glad to see me?’”The presentation of the formance” when everyone watches to see whether per- flute becomes a subtle catfight over Tamino. It’s clear the students are get- formers are good with the high notes? ting it, and Miller, who walks the aisles, watching from several angles, is Well, yes.That’s what happens when you put too much emphasis on that plainly full of glee. He sees that they’ve never thought of it in quite this way and not enough emphasis on what singing is for—it’s an expression. MANYFACESOFJONAbefore, and neither has the audience. Obviously there are certain sorts of, as it were, athletic virtuosities which If his assertion that “a workshop is a familial occasion in which you amuse delight people when they can make the high notes effortlessly. Like high one another” is true, then he succeeded famously in his work with the Van- jumpers, there’s an elegance about the way that they go to the wire. On derbilt Opera Theatre. Laughter was continually present in the scenes he the other hand,it isn’t as if the function of all the other notes is like a stair- directed from The Magic Flute and The Marriage of Figaro. But what was also case to get you to the top. Obviously it has something to do with timing, but it’s also to do with talent.There are those who delight you with their present, and of much more importance to Miller was the constant realization voices, not because they’re going to the top, but because of what they’re that these students and faculty were seeing something in a new light. doing in the things that aren’t on the top, by how elegant, graceful, and “Directing is removing the accumulated artificialities of past performances,” expressive they are. says Miller,“ideas that are encrusted and barnacled,and not necessarily true.” In showing the Blair students how to cut through to the real, Miller left, per- Should actors and singers in America go to Europe to study? haps, his most lasting mark. I think that studying here is better than anywhere. I’m always impressed —BONNIE ARANT ERTELT by the singers who come out of the various conservatories in the United States.They’re extraordinary, very well-trained.

8 9 What about after school? Should they go to Europe to gain other experience?

Well, you have to get employed and there isn’t enough work here. And often some of the most talented people I know have come out of the American conservatories, done a bit of regional work, then gone to Germany. Mostly Germany,sometimes Italy.There are lots of American orchestral players work- ing in Italian opera houses, but on the whole, most of the Americans I know work in Switzerland or Germany. They’re very good indeed, and they have a good time.They spend eight years there, and then they very often don’t have any career here in this country at all. Some of the best, most interesting per- formers don’t get recognized here because America is so stuck in its own continent, unaware of what goes on in Europe. The Met often fails to pick people up until they’re really big stars.

Why is it that you’ve mostly picked classics to direct instead of contemporary work?

It’s been by accident really, not by design. There are a lot of masterpieces lying around that have been tested and tried, and there are only rarely inter- esting new works. You’ve got this vast body of good brands on the super- market shelf already.

Have you ever dabbled in playwriting or writing libretto or anything like that?

ATHTHEMANYFACESNo. My writing is invariably confined to books. I don’t write plays.

It just would seem that after so much work in the field, you would have a pulse on what would make a good script or libretto. intended. The greater the distance between the period of composition and the subsequent performance, the more complicated the artifacts that are bound to be introduced. All works were contemporary at one time and the Well, I do.This morning I came up with hundreds and hundreds of lines in the play we were working on in workshop. I’m writing all the time, I’m writing idea of a revival was sort of inconceivable.You had a flood of new operas all subtext all the time, but I’m not very good at writing text! That’s what direc- the time.People would never interview someone and say “What’s it like to do tion is, writing subtext. OFJONATHAMILLERnew operas?”What do you mean new operas? They’re all new. “Jonathan Miller’s Theatre of Subtext”. . . hmmm. . .Well, it’s fascinating With supertitles, there’s a profound association between the act of reading to watch you direct Chekhov and Mozart. It’s definitely true and the act of listening. There are actually two parts of the brain being that you touch on things that seem obvious when you bring them used, so it’s very artificial to read supertitles, and it’s sometimes regrettable, up, but we just didn’t see them before. but it’s also unavoidable. What we have to put up with all the time when you’re dealing with works that have entered their “afterlife” is they are no longer what they were. We’re seeing a hybrid object, which is a mixture It’s when people say that that I know it’s worth doing.They are analogous to of things—and it’s a restoration sometimes,or it involves repairs,mutilations, scientific discoveries.You see deeply and you see previously undisclosed sim- bits that have been dropped out. The work undergoes a constant transfor- ilarities,and if the other performers sitting around laugh at what you get into, THEMANYFACESOFJmation. We can’t retrieve the past. However, we can recover it, go through you know you’ve done something important. I come up with things that the rubbish and reuse it for our own purposes. most of my colleagues don’t come up with, but if you’re attentive to what I do, you’ll learn how to make things really lively.The only thing I’m interested Will you do much more opera? in on the opera stage and the theatrical stage is liveliness and verisimilitude.

In opera, it seems we’ve created this new art form that is dif- It would be silly to cut myself off from it and never do it again,but it may well ferent from what the composer was trying to do—it’s an art happen by default. If I don’t do it, if I start doing significantly less, you simply form where you don’t know what the people are saying, and the get significantly less noticeable and then you don’t get asked so much language somehow is given to you in different ways. because your visibility has lessened. I can’t ask people to let me do it. I’ve never gone to someone and said would you let me do this, that and the other. I’ve always had to wait for invitations. I have no self-doubts about Well, it is. It has already undergone very strange transformations merely by what I can do, but I have great self-doubts about my place in the world. So, being from a different culture. It’s what I call in my book the “afterlife” of I’ve never been able to bring myself to say,“These are my conditions.” I have works of art. And an additional complication is the presence of the sub- or no conditions other than make sure it’s a nice hotel where I’m going to stay. supertitle.Then there is the translation into the language of the audience, for instance, where all the Italian operas of Mozart in Vienna are played in Ger- I always hope that people who attend my rehearsals come out of them man. Well, that in itself is a tremendous departure from what the composer

10 11 tutti DAVID CRENSHAW DAVID Students Pianist Gabriel Dixon, former University of Southern Califor- Faculty Additions and Changes student of both Elizabeth nia, Los Angeles, in conjunction Canadian fiddle champion and PRECOLLEGE Cormier, senior artist teacher of with guest composer residencies director of the fiddling program piano and Roland Schneller, by Kurek at each of the schools. The Blair Children’s Chorus, David N. Childs joined the Blair School director, Young Singers of Blair; T.G. Crystal Plohman was joined senior artist teacher of piano, She is a full scholarship student under the direction of Pamela faculty this fall as assistant professor of Engel, B. Mus. ’90, adjunct lecturer in by Irish flutist Stefan graduated in May 2000 from of Robert Lipsett at the Univer- Schneller, senior lecturer in Engstrom and renowned gui- choral studies and director, Vanderbilt music; Susan Baldwin Green, adjunct The University of Miami College sity of Southern California. choral music, hosted a three-day tarist Russ Barenberg, for a Symphonic Choir and Blair Chamber artist teacher of piano; Nathan K. Hoeft, of Music as the outstanding lau- summer camp in August for Celtic Music Celebration on Choir. A native of New Zealand, Childs B. Mus. ’00, adjunct lecturer in music; reate in classical keyboard per- Nashville community children UNDERGRADUATE recently completed work on his D.M.A. at Jeanette Jezioro, adjunct artist teacher of formance. At UM he was a October 19 in Turner Recital ages 8-11. Ninety-six children Louisiana State University. chorus and director, student of J. Robert Floyd. In Bill Brittelle, ’99, former student Hall. Others joining in the participated and presented a final Two part-time faculty are now full-time: Blair Choristers; July, Gabe performed a recital of Michael Kurek, is studying at night’s festivities included Scot- concert on August 3. Members of at the Turner Recital Hall. His the City University of New York tish guitarist Peter Cairney, the Blair Children’s Choruses Professor of Trumpet Allan Cox and Assis- Karen Voytek Mueller, adjunct artist piano rock quartet, The Gabe with Del Tredici. He spent the Irish multi-instrumentalist attended their own camp Sep- tant Professor of the Philosophy and teacher of chorus and co-director, Young Dixon Band (http://www. summer studying composition at Eamonn O’Rourke, and Pulse, tember 15-17. The Blair Chil- Analysis of Music Stan Link. Singers of Blair; Craig E. Nelson, adjunct gabedixonband.com), relocated the Aspen Music Festival. dren’s Concert Choir, also under Eleven adjunct faculty joined the Blair assistant professor of bass; a high energy Irish stepdance from Miami to New York in Schneller’s direction, presented a school this fall. They are Okyerema Sarah K. Page, B. Mus. ’95, adjunct group, featuring champion August to perform and record Zac Crockett, ’00, former stu- concert on October 14 as part of stepdancer Chanda Gibson. Gyane-Kwame Ahima, adjunct instructor lecturer in aural skills; Chandler Thomp- with Palm Pictures/Mars dent of Michael Kurek, studied the International Albert in music and co-director of the African Per- son, adjunct assistant professor of voice; Records. composition at Fontainebleau, Schweitzer Conference, Sympo- forming Ensemble; Constance N. Ely, and precollege alum Lawson White, France this summer. He is summer. He writes, “It was the should be renamed my ‘Things sium 2000. adjunct artist teacher of chorus and co- adjunct artist teacher of percussion. Kathryn Eberle, former student now living in California. most horrible, painful physical to do to make me die’ list.” of Cornelia Heard, performed experience I have ever endured, The Suzuki Reading Orchestra Associate Professor of Composi- Jordan Donley, ’98, former stu- and I didn’t even pretend to be Karen Oosterbaan, ’94, former and the Youth Strings Orches- student of Cornelia Heard, were adjunct artist teacher of Suzuki Blair alumnae Carol Fisher, ’91, tion Michael Kurek’s Concerto for dent of Marian Shaffer, adjunct competitive. I was on a mission student of Cornelia Heard, tra, under the direction of concerto competition winners at violin, gave Book 2 violin recitals and Tish Anderson Dunn, pre- Violin and Orchestra (with piano) professor of harp, was one of six to finish and survive the event joined the faculty of the Sewanee Celeste Halbrook Tuten, artist the Sewanee Summer Music in May. collegiate certificate of at the prestigious opening con- harpists featured in a concert in (which requires competitors to Music Festival this past summer. teacher of Suzuki violin, com- Festival this past July. Both achievement ’92, were also cert of the Encore School for September with the Toledo Sym- swim 2.4 miles, bike 112 miles, bined with the Nashville Youth gave recitals this year: David in attendance. UNDERGRADUATE Strings outside Cleveland, Ohio, phony. Last July she studied and run a marathon—26.2 Daniel Roumain, ’93, former Repertory Orchestra at Lang- performed works by Bach, Bar- in July for about 350 string fac- with jazz harpist Deborah Hen- miles) in less than the regula- student of Michael Kurek, ford Auditorium for their spring tok, Massanet, and Wieniawski Several students of Cornelia Evan Mack, sophomore student ulty and top string students from son-Conant in Cambridge, Mass- tion 16 hour cut-off time. made the cover of the Septem- concert in May. in May. In October, Hamilton Heard studied at various festi- of Craig Nies, associate profes- around the country. This fall, she achusetts. Nearly 15 hours after I had ber 3rd New York Times, but not performed works by Bach, Pop- vals across the United States this sor of piano, had a medley of performed the concerto at begun, I was able to cross this for music. He was shown sun- Anna Baik, student of Karen per, and Lalo. summer. Nate Ahearn attended songs from his in-progress musi- Emory University, Atlanta; Bay- Bzur Haun, ’93, finished his event off my ‘Things to do ning by the river at a Labor Ann Krieger, assistant professor the Aspen Music Festival, study- cal drama William Wallace per- lor University, Waco, Texas; and first Ironman competition this before I die’ list. Maybe it Day Picnic. of piano, won the 10th grade level Margaret Cerjan, student of ing with Naoki Tanaka. Liana formed by the Port Jervis Austin attended Musicorda and of the Tennessee Music Teachers Cornelia Heard, studied at the Middle School Band in Port Georgia Stitt,’94, former stu- studied with Andrew Jennings. Association High School Solo Sewanee Summer Music Festival. Jervis, New York, at its spring dent of Michael Kurek, has Julia Hampton,’01, Laura Edgar Meyer Wins Piano Competition in June. concert. In July, his musical ver- been touring the country as the Moye, ’03, and Misty Elfer, ’03, Spencer English and Germaine sion of the Washington Irving associate conductor of the first all returned to study at the Prestigious Avery Fisher Prize Mary Lane Bennett and Sarah Rada, both students of Celeste story Rip Van Winkle was pro- national tour of the Broadway Sewanee Music Festival. Hol- Beth Bennett, both students of Halbrook Tuten, presented their duced by the Paramount Theater, Edgar Meyer, The Avery Fisher Prize is given for out- show Parade, which won a num- land Phillips, ’00, attended Carol Smith, senior artist Book I violin solo recitals during Middletown, New York. He has adjunct associate standing achievement and excellence in ber of Tony Awards in 1999 Meadowmount where she stud- teacher of violin and director of the summer. had two previous musicals pro- professor of bass, music. In existence since 1974, the awards including Best Score and Best ied with Stephen Clapp, and duced by the Paramount: Alice in the Suzuki program, were was awarded the have gone to only 16 people in 26 years. Musical. She plays the piano in selected by audition to perform Jack and Sam Quiggins and Shannon Thomas, ’04, returned Wonderland and Hansel and Gretel. Avery Fisher Previous recipients of the award include the pit orchestra and conducts solos at the Ottawa Suzuki Insti- Rachel and Joshua Vann, to the Encore School for Strings Prize, one of the Yo-Yo Ma, Murray Perahia, and Nadja the show in a pinch. tute, Ottawa, Kansas, in June. Suzuki cello students of Anne to study with Robert Lipsett. Williams, senior artist teacher Alumni most prestigious Salerno-Sonnenberg. Sarah Bennett, student of Cor- of Suzuki violin and cello, Four flute students, Kim Craw- awards given in “Edgar Meyer’s place in the musical PRECOLLEGE nelia Heard, associate professor attended the American Suzuki ford, ’01, Arielle Helmick, ’03, classical music, world is absolutely unique,” said Mark Faculty of violin, was the winner of the Institute at the University of Ali Maloof, ’03, and Stephanie Sarah Chazin, former student of Monday, October Wait, dean of the Blair School. “His per- Cornelia Heard, associate pro- High School Strings Division of Wisconsin, Stevens Point. Sam Trautwein ’04, along with their Cornelia Heard, was accepted MERI CYR 23, at New York’s spective and intellect are all-embracing, fessor of violin, and Felix Wang, the TMTA state auditions in participated in the Advanced teacher, Jane Kirchner, associ- into Dorothy DeLay’s class at Lincoln Center for the Performing Arts. and his artistry is unparalleled. He is the assistant professor of cello, par- June. This is the third consecu- Chamber Music Program, and ate professor of flute and associ- the Juilliard School, precollege He was one of two winners for this year’s perfect recipient of the Avery Fisher Prize. ticipated in the Roycroft Cham- tive year she has won this honor. both Sam and Jack presented ate dean, attended the annual division, where she is working prize, along with clarinetist David Shifrin, We are deeply proud of Edgar’s affiliation ber Music Festival near Buffalo, solo performances. convention of the National Flute on a weekly basis with Naoki director of the Chamber Music Society of with the Blair School and Vanderbilt New York, in June. They then Hamilton Berry, student of Association in Columbus, Ohio, Tanaka, one of Miss DeLay’s Lincoln Center. Each was awarded University.” joined their colleagues in the Felix Wang, assistant professor Bethany and Holly Rudge, stu- in August. Ali and Stephanie assistants. $50,000. —Beth Fox Blair String Quartet, John of cello, and David Mansouri, dents of Katherine Mansouri, each performed in a masterclass.

12 13 Stan Link, assistant professor of Thinking, Painting, Composing Suzuki Insititute at Ithaca Col- Deanna Walker, artist teacher Trisha Johns, registrar, and the philosophy and analysis of (Music and Verse)” at their lege in New York; and at the of piano, spoke in September on Darlene Bethke, associate regis- Blair Faculty Earn Multiple NAMMY Nominations music, delivered his paper, annual conference on Star Island Hartt Suzuki Institute at the “Creating Better Melodies” as trar for the precollege and adult “Looking Through the Ear: in August. In November, Musica University of Hartford, West part of the Prairie Music Week programs, were honored in Blair faculty members garnered a number gory; Bobby Taylor, associate professor of Musical and Auditory Encodings Armelin Padova (Italy) pub- Hartford, Connecticut. She Symposium in Saskatoon, October for 20 and 15 years of of nominations in Nashville’s sixth annual oboe, was nominated in the miscellaneous of Seeing in Film” in November lished four pieces for organ—a trained Suzuki teachers in Pull- Saskatchewan, Canada. The service respectively, to the Blair Nashville Music Awards to be given in wind instrumentalist category; and Craig at the Toronto 2000 meeting of group of three pieces, Tre Pezzi man as well as at the Southwest- event was sponsored by SOCAN School and Vanderbilt January. Those nominated include Dean Nies, associate professor of piano and co- the Society for American Music. Bresciani, commissioned by the ern Ontario Suzuki Institute (Society of Composers and University. Mark Wait, Wilma Jensen, adjunct pro- chair of the keyboard department, was Antegnati Association of Brescia, held at Wilfrid Laurier Univer- Authors of Canada). fessor of organ, Leslie Norton, adjunct nominated as pianist/keyboardist of the Joe Rea Phillips, senior artist and the memorial “Benedizione.” sity, Waterloo, Ontario, Canada. assistant professor of horn, and Mary year. teacher of guitar and assistant to Kathryn Vanosdale, adjunct assistant pro- Nominees within each of the 33 cate- the dean, presented an in-service Carol Smith, senior artist Celeste Halbrook Tuten, artist Staff fessor of violin, all in the classical musi- gories are selected by groups of judges program for guitar teachers of teacher of violin and director of teacher of Suzuki violin, attended Metropolitan Nashville-David- the Suzuki program participated the Suzuki Association of the Debra Creasman, director cian of the year category. Edgar Meyer, well-versed in each category and genre son County Public Schools in in a panel discussion entitled Americas Teachers Conference in of public relations, attended adjunct associate professor of bass, was and are based on artistic, rather than August. James Satterwhite, “From Pre-Twinkle to Pre-Teen” Cincinnati, Ohio, this past May. a week-long seminar in August nominated in the bassist of the year cate- commercial, success. coordinator of guitar studies for with Daphne Hughes and Kathy called “Classical Connections” gory as well as in the instrumental album Leadership Music, which sponsors the the school system, has adopted Wood at the Suzuki Association Mark Wait, dean of the Blair at La Jolla, California. The of the year category for Short Trip Home awards, is a nonprofit organization one of Phillip’s method books for of the Americas Teachers Con- School and professor of music, event was sponsored by the with Joshua Bell, Mike Marshall and Sam founded in 1989 to facilitate communica- use in his classes. In September, ference in Cincinnati, Ohio. This was chosen to participate with Association of Performing Bush. David Schnaufer’s Delcimore was tion between members of the music com- the Lassiter and Phillips Guitar past summer she taught Suzuki 43 other community leaders in Arts Presenters. also nominated in the instrumental album munity and to establish industry decision- Duo presented a program for the students at the University of the 25th annual program of category. William Wiggins, assistant pro- makers and leaders. They created the annual meeting of the Tennessee Washington, Pullman; the Ithaca Leadership Nashville. fessor of percussion and chair of the brass Nashville Music Awards in 1994 to recog- Board of Regents in Henderson- and percussion department, was nomi- nize excellence in all types of music in and ville, Tennessee. nated in the drummer/percussionist cate- around Nashville, regardless of genre. Melissa Rose, assistant professor of piano, performed four concerts Kochanowski, associate Washington, D.C. In September, She was also seen this fall on with the Summerfest Chamber Blair Student Dies of Complications professor of viola, and Chris Katahn and Amy Dorfman, Nashville Public Television in Music Series in Kansas City. This Teal, professor of violin, for a assistant professor of piano, gave an educational series called was her seventh season as resi- From Rare Genetic Disorder dent guest artist for the series. performance at Music Mountain, the first concert in the Rotunda Music to Our Ears, performing Luther William Sink, a sopho- found Sink’s voice awe-inspiring, and many believe that he Connecticut, that was broadcast Series at the Renaissance Center with the Nashville Chamber She also collaborated with Gayle Shay, assistant professor of voice more in the Blair School of would have pursued opportunities in the music world after throughout the United States in Dickson, Tennessee. In Octo- Orchestra Trio. Music, better known as college. “He loved to sing,” said sophomore Blair student and Europe. ber, Katahn gave a recital at and director of the Vanderbilt “Luke,” died of complications Jennings (Jenni) Miller. “That was his joy.” Martin University in Pulaski, Michael Kurek, associate profes- Opera Theatre, in concerts at from a rare genetic tissue disor- Students and faculty gathered to celebrate his life at a John Johns, associate professor Tennessee, and in November, sor of composition, was guest Meredith College, Raleigh, North of guitar, presented concerts this Katahn joined Chris Teal for a composer in July at the Encore Carolina, and at the University of der called Ehlers-Danodanlos memorial service held on September 13 at the Blair School of fall at Loyola College, Baltimore, recital in Franklin, Tennessee, at School for Strings near Cleve- North Carolina, Greensboro. Syndrome at his home in Lex- Music. The Reverend Gary White, associate University Maryland; Capitol Hill Presby- the Allied Arts Club. land, Ohio, where his lecture was ington, Kentucky, on Monday, chaplain, shared a reading as well as the benediction, and terian Church, Washington, followed by Blair precollegiate This summer Dwayen Sagen, August 21. Victims of the con- Dowdy delivered an inspirational presentation. Close friends D.C.; Interlochen Arts Academy, Assistant Professor of Piano alumna violinist Kathryn Eberle’s assistant dean of admissions and dition suffer from extreme tis- of Sink, sophomore Peabody student Erin Quinn and Miller, Michigan; Renaissance Center, Karen Ann Krieger’s newly performance of his Concerto for Vio- adjunct professor of music, was sue fragility, which can cause rupture of blood vessels. Sink shared heartfelt eulogies as they recalled the impact he made Dickson, Tennessee; and in published book, Learn from the lin and Orchestra with piano at the invited to adjudicate bands and died suddenly of a cerebral hemorrhage. on their lives. Dyersburg, Tennessee. Legends: Blues Keyboard, made its school’s gala opening concert. guest conduct band festivals in Vanderbilt’s Dean of Students Larry Dowdy joined the Members of SAE fraternity and Original Cast also debut at the summer NAMM Additional guest composer resi- Dublin, Virginia; Muscle Shoals, family and friends in attendance at Sink’s funeral on August participated in honoring Sink. In addition, Blair students Enid Katahn, professor of show in Nashville. The book dencies have been at Emory Uni- Alabama; Glenbard, Illinois; 25 in Lexington. “Luke was very special to me personally,” in the Clementine Quartet played Samuel Barber’s Adagio piano, and Edward Foote, piano includes interviews with Dr. versity and Baylor University in Omaha, Nebraska; Orlando, said Dowdy. “This loss is extremely tragic and sad. You can for Strings and senior Carmen Pastorek performed “Liebst Florida; Williamsburg, Virginia; technician and adjunct instructor John, Reese Wynans, Chuck September, and at the University tell so much about him and his character by his family. The Du Um Schönheit” by Clara Schumann, a work Sink Louisville, Kentucky; and served of music, recorded a compact Leavell and Al Kooper. She pre- of Southern California in Novem- whole place was filled with a sense of love and caring, and I loved to sing. as guest conductor of the disc featuring works by Scarlatti, sented workshops on how to ber. Kurek has been commis- think that speaks immensely about Luke’s character.” The memorial service seemed to offer a sense of closure Mozart, Haydn, Beethoven, teach blues, jazz, and rock at the sioned by Blair String Quartet Arkansas Tech University Sum- mer High School Honor Band. About 30 Vanderbilt administrators and students also to all mourning for Sink. Still, “it is a tragic loss for the Chopin, and Grieg with the TMTA convention and across violist John Kochanowski and attended the funeral. Vanderbilt community,” said Brock Williams, associate dean piano tuned using the tempera- Georgia and Texas in July and Dean Mark Wait to write a viola Sink, a student of Gayle Shay, assistant professor of of Residential and Judicial Affairs. “We all hurt when we ment authentic to each com- August. Her solo piano composi- sonata. The Vanderbilt University Carl Smith, senior lecturer of voice, was very involved on Vanderbilt’s campus, participat- lose one of our family members, and I look at Vanderbilt as poser. In July, Foote and Katahn tion, “A Saturday Swing,” pub- Wind Ensemble will premiere a music composition and theory, ing in Vucept, Reformed University Fellowship, Original a family. Luke will be greatly missed.” demonstrated well temperaments lished by Alfred, has been Kurek march this spring. lectured to the Institute on Reli- in two classes for the National selected for the National Federa- gion in an Age of Science on Cast, and Sigma Alpha Epsilon fraternity. Fellow students —Rebecca Folmar Piano Technicians Convention in tion of Music Clubs auditions. “Linear Development: Teaching,

14 15 Blair Children’s Chorus Announces Second Annual Summer Camp DAVID CRENSHAW DAVID On June 5, 6 and 7, Blair School of Music will welcome children to campus for a three-day music camp. From 9:00 AM till noon, participating children in grades 3–7 (rising) will sing in choir and participate in hands-on music activities led by the faculty of Blair Children’s Chorus. They will celebrate their music making in con- cert Thursday, June 7 at 7:00 PM in the Turner Recital Hall at Blair School. To participate, children will need a recommendation from a teacher or church choir director. The cost of the event is only $15.00 per child, and each child will receive a Blair Children’s Chorus Summer Camp t-shirt. Registration will begin in February and close April 15. A total of 100 children will be accepted, so early regis- tration is recommended. Leading the event will be Blair Children’s Chorus faculty including Pam Schneller, Artistic Director. Sum- mer Camp 2000 was a great success among singers and parents alike. For more information, or to request regis- tration/recommendation forms, please call program administrator Susan Kirby at 883-6479.

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