sonorities 2021 The News Magazine of the University of Illinois School of Music Connected by Music Dear Friends of the School of Music,

Published for the alumni and friends of the ast year was my first as director of the school and as a member School of Music at the University of Illinois at of the faculty. It was a year full of surprises. Most of these Urbana-Champaign. surprises were wonderful, as I was introduced to tremendously The School of Music is a unit of the College of Lcreative students and faculty, attended world-class performances Fine + Applied Arts and has been an accredited on campus, and got to meet many of you for the first time. institutional member of the National Association Nothing, however, could have prepared any of us for the of Schools of Music since 1933. changes we had to make beginning in March 2020 with the onset of COVID-19. Kevin Hamilton, Dean of the College of Fine + These involved switching our spring and summer programs to an online format Applied Arts with very little notice and preparing for a fall semester in which some of our activi- Jeffrey Sposato, Director of the School of Music ties took place on campus and some stayed online. While I certainly would never Michael Siletti (PhD ’18), Editor have wished for a year with so many challenges, I have been deeply impressed by Design and layout by Studio 2D the determination, dedication, and generosity of our students, faculty, alumni, and On the cover: Members of the Varsity Men’s Glee friends. Everyone’s commitment to music-making, learning, and community has Club (dir. Barrington Coleman), Wind Symphony remained as strong as ever. (dir. Stephen Peterson), and Women’s Glee While the school reopened in August as planned, some activities could not be Club (dir. Andrea Solya). Photograph of Music recreated in the current environment. With the postponement of the football season, Building by Michael Siletti. Technical assistance the beloved Marching Illini moved primarily online. Likewise, public concerts were by Frank Horger and Graham Duncan. not possible. These missing activities have reminded me how important they are to the school, to our alumni, and to the community, and we are all eager to see their Share your good news! quick return. Submit online at In addition to providing for the immediate needs of our students, we have developed music.illinois.edu/sonorities some exciting curricular enhancements. One of my top priorities for the School of Music, which I mentioned in the last issue of Sonorities (well before the COVID-19 pandemic struck), was to ensure that music students have multiple career options after graduation. With performances cancelled due to the pandemic, this kind of Contents training is more important than ever. With this in mind, the school’s new music CAMPUS NEWS ...... 3 entrepreneurship certificate program launched this fall. We have also hired a new CELEBRATING GIVING...... 6 music technology professor, Lamont Holden, who is a 2004 Illinois graduate and who is offering courses that will help expand students’ range of skills. PUBLIC ENGAGEMENT: “A DIFFERENT KIND OF YEAR”...... 8 As the country turned its attention to combatting racism this summer, the School of Music and the College of Fine and Applied Arts were no exceptions. I am delighted REMEMBERING BRUNO NETTL AND NICHOLAS TEMPERLEY...... 10 that piano professor Rochelle Sennet has been named as the college’s new associate dean for diversity, equity, and inclusion. A special committee made up of faculty MAKING MUSIC IN THE TIME OF COVID-19...... 15 from across the school has also been formed to review the school’s undergraduate music curriculum to ensure that it does not create unnecessary barriers to recruiting FACULTY NEWS...... 19 and retaining a diverse student body. Finally, School of Music students, led by the ALUMNI NEWS...... 26 school’s Student Advisory Board, have taken the lead in creating new programming STUDENT NEWS...... 37 to address racism. IN MEMORIAM...... 39 It is a hard time in the music world right now, with concerts cancelled and classes being taught online, and with people physically separated from friends and family. GIVING...... 40 But our students, our alumni, and our friends keep us strong. I am inspired by the fact that 2020 marks the 125th anniversary of the School of Music, which was founded in 1895. Our long and distinguished history makes me confident that we have great things in store for the future! I hope in reading this issue of Sonorities, you will be as inspired as I have been by what we are accomplishing. And if you have questions about what you can do to help the school, please stay in touch. I am at [email protected], and I would love to hear from you. Thank you! Sincerely, Jeffrey Sposato Professor and Director campus news

More than 100 students attended the 2019 SoM Open House

School of Music Continues Strong Enrollment Growth

For the second year in a row, the School of Music recruited exploring different regions and high schools in the state and an incoming freshman class of more than 100 students. We participating in college fairs and conferences geared toward have experienced an upward trend in undergraduate student underrepresented students. This past year, we hosted our third enrollment since 2017. The school continues to work toward annual Community of Scholars event to help recruit under- the goal of rebalancing the undergraduate and graduate popu- represented graduate students. Funded by the SoM, Graduate lations to a 70%/30% split, respectively. We have also worked College, and College of Fine and Applied Arts, this program diligently to recruit a more diverse population of students at included an all-expenses paid trip to campus for talented both the undergraduate and graduate levels. In the past five graduate applicants. The participants engaged in discussions years, the school has increased the percentage of underrepre- about race relations in the arts, a tour of the Krannert Center sented undergraduate students by over 4% and the percent- for the Performing Arts, and interviews/auditions. age of underrepresented graduate students by 2%. During —Angela Tammen (MM ’08, DMA ’14), the 2019–2020 admissions cycle, the faculty and admissions admissions director staff sought new avenues to attract diverse students, including

Nathan Gunn Invested as Swanlund Chair

On Jan. 27, 2020, university administrators and members of the SoM community assembled in the Spurlock Museum auditorium to witness the formal investiture of Professor of Voice Nathan Gunn as a Swanlund Endowed Chair. Made pos- sible through a gift from alumna and longtime UIUC supporter Maybelle Leland Swanlund, who died in 1993, the endowed chair recognizes faculty members who have made exceptional contributions to their field. Among the most distinguished honors bestowed upon faculty at the university, the endowed chair provides a salary stipend and financial support for the recipient’s research. “My plans for the research stipend has been and always will be to educate myself and therefore my students in techniques and skills necessary to be a performer in 2020 and beyond,” said Gunn. “It is truly a big honor.”

2021 3 campus news

Musicologists Awarded Prestigious Fellowships

Associate Professor of Musicology Christina Bashford was awarded a $60,000 fellowship from the National Endowment for the Humanities. Created in 1965, the NEH is widely considered one of the most prestigious and competitive sources of support for research and learning in history, philosophy, literature, and other areas of the humanities. Chancellor Robert J. Jones congratulated Bashford on her accomplishment, noting “Her selection recognizes her outstanding scholarship in her field, and we’re proud of have her among our faculty.”In addition, Bashford was one of only 10 faculty members from across campus to be named an associate with the Center for Advanced Study for the 2020–21 academic year. She will use both the fellowship and associateship to work on Courtesy of Carlos Carrillo her book project Forgotten Voices, Hidden Pleasures: Carlos Carrillo (L) and George Crumb, July 2019 Violin Culture in Britain, 1870–1930, in which she explores the extensive yet largely forgotten grassroots culture that formed around the making, collecting, School of Music Celebrates George and playing of the violin in late Victorian Britain. Crumb’s 90th Birthday Assistant Professor of Musicology Makoto Harris Takao was one of only seven faculty members from Last year we celebrated the 90th birthday of a towering figure in Ameri- across campus to be awarded an Illinois Humani- can music. This celebration was especially significant for the SoM, as ties Research Institute Fellowship for the 2020–21 George Crumb is among our most distinguished alumni. Leaving his academic year. Takao will use the release time and beloved West Virginia for the first extended period of time, Urbana- research funds from the fellowship to work on his Champaign became his new home while pursuing a master’s degree project Of Mission and Music: Japanese Christianity in composition. After completing his studies at Illinois, Crumb enjoyed and Its Reflection in Early Modern Europe. a remarkable career composing iconic works like Black Angels, Vox Balaenae and Ancient Voices of Children, and received the Pulitzer Prize in 1968 for Echoes of Time and the River. He taught for many years at the University of Pennsylvania, where I had the great fortune of studying with him. In July 2019, I visited him and recorded an interview, part of which was used as a welcome message for the concert at Krannert presented in his honor. When I asked him about his time at Illinois, he fondly recalled the many well-known visitors to the SoM in the 1950s. To my surprise, one of the most significant components of his SoM education was taking viola lessons, as he felt that many great compos- Christina Bashford Makoto Harris Takao ers had done so and perhaps there was something to learn there. On his birthday, Oct. 24, 2019, a group of faculty and students presented a concert of his music. Although he could not be there in person, I know that he would have taken great pride in this collabora- tion and the fantastic music-making that night. —Carlos Carrillo, associate professor of composition-theory

4 sonorities Music Faculty Receive Distinguished Professorships

Ollie Watts Davis and Andrew Megill have been appointed the Suzanne and William Allen Distinguished Professors of Music. The distinguished professorships form the legacy of a generous estate gift procured by former SoM director Don V. Moses in 1996. The endow- ment became available in 2018, after the passing of Suzanne Allen. The widow of renowned Ollie Watts Davis Andrew Megill Los Angeles-based architect William Allen, Suzanne was passionate about music and, despite having no previous connection to UIUC, decided to support the SoM because of its strong reputation. Courtesy of William T. Sturtevant T. William Courtesy of The appointments are the result of an extensive confidential review process that Suzanne Allen, in Normandy, France, 2004 confirmed the widely recognized excellence of both faculty members.

School of Music Intensifies Inclusivity, Anti-Racism Efforts

As the country continues to grapple with the killings of Ahmaud Arbery, George Floyd, Breonna Taylor, and other Black Ameri- cans, the School of Music is working with its BIPOC (Black, Indigenous, and People of Color) students, faculty, and staff to foster a more equitable and inclusive culture. On June 11, Director Jeffrey Sposato and Dean of the College of Fine and Applied Arts Kevin Hamilton participated in a virtual town hall organized by the school’s Student Advisory Board. The event, “Say Their Names: Addressing Racism as the School of Music Student Body,” was open to Black students, their student Rochelle Sennet Jeananne Nichols Adam Kruse allies, and several faculty members and administrators whom the board had invited to participate. The meeting allowed said TFUMC Chair and Associate Professor of Music Educa- participants to hear the lived experiences of Black students tion Jeananne Nichols. Other activities this summer included and discuss steps the school is taking to challenge systemic two optional workshops for students that examined racism racism and foster a more inclusive culture, such as improving and music, one of which was taught by Assistant Professor of anti-racism training for faculty and staff and combating the Music Education Adam Kruse. Eurocentrism of the music curriculum. In addition, Associate Professor of Piano Rochelle Sennet was To this end, Sposato charged the newly formed Task Force recently selected to serve as the inaugural associate dean for on the Undergraduate Music Core (TFUMC) to review the diversity, equity, and inclusion in the College of Fine and curriculum. The goal of this review is to ensure that the cur- Applied Arts. In this role, Sennet will work with the Office of riculum does not create unnecessary barriers to recruiting and the Vice Chancellor for Diversity, Equity, and Inclusion to ensure retaining a diverse student body, and that it includes music that the college is following the latest and best research-based from a broader range of composers and styles than those of the practices in fostering an open, just, and welcoming community traditional classical canon. Comprised of 26 faculty members for learning and working. “I believe in transparency, account- from all areas of the SoM, the TFUMC has hosted listening ses- ability, as well as listening to and engaging with faculty, staff, sions, solicited input from students, and formed focus groups and students regarding the destructive habits of institutional in an effort to “make recommendations for changes that foster racism, prejudice, hate, bigotry, campus microaggressions, as an open, sustaining learning environment for BIPOC students,” well as colorblind rhetoric,” said Sennet. 2021 5 celebrating giving By David Allen (BM ’92, MM ’94, BME ’96), director of advancement

While We’re Marching Along Life’s Pathway…

A couple of anonymous donors who regularly enjoyed Illinois plans to support the Marching Illini as well as the I-Fund in the football games, especially for the Marching Illini’s halftime Department of Intercollegiate Athletics and a scholarship in the performances, left a generous financial gift to the University of College of ACES. Their loyalty to Illinois manifested itself in other Illinois upon their recent deaths. The gift to the Marching Illini ways. According to family, their gardens and cars were always was more than $400,000, which Director orange and blue. One of the donors was Barry Houser plans to invest in the future “A gift like this not only a church organist and pianist who held of the program. “On behalf of the entire takes some of the worry a deep love and appreciation for music, Marching Illini, I want to say how grate- and was aware of the positive impact of ful we are! A gift like this not only takes out of planning and philanthropy on music groups like the some of the worry out of planning and maintaining such an Marching Illini. Over many years, that maintaining such an important program love and appreciation for music spread but can transform our future work in a very important program but can throughout this family, including siblings, positive way. I only wish we could had nieces and nephews, and is very strong met these incredibly generous people so transform our future work today. We are grateful that this gift will we could personally say thank you in true in a very positive way.” have a positive impact on students and Illini spirit,” said Houser about this gift. —Marching Illini Director staff of the Marching Illini for many years. A family member shared that the donors Barry Houser Have you considered a planned gift in were very private people who lived in support of Music at Illinois? If you have, a small Illinois town. “They were very humble and would we can help in the coordination of your plans. Please contact never want others to feel uncomfortable by knowing about me, Director of Advancement David Allen, at allend@illinois. their financial assets.” Eventually, the couple decided to make edu or 217-333-6453.

Two New Nine-foot Grand Pianos for Smith Memorial Hall

In the same building that Thomas J. Smith generously donated to the university in 1914, we are fortunate to have two new donated Steinway D pianos. The pianos were provided by Carol Berthold (LAS ’64) and the Uhlenhop family in memory of former Illinois Music Advancement Council Executive Commit- tee member Virginia (Ginny) L-R: Ginny Uhlenhop (BME ’59), Evangelia (Pagones) Uhlenhop (BME ’59). These Niqula (BME ’16), and Bert Zhang (BA ’16) pianos are now on the stages Professor Timothy Ehlen and Carol of Smith Recital Hall and the Smith lecture room 25. Professors Timothy Ehlen and Berthold (LAS '64) at the Steinway factory in Astoria, NY Chip Stephens selected these wonderful pianos from the Steinway factory in Astoria, NY, last fall.

6 sonorities Music Opportunities and Innovations!

In addition to the SoM’s pressing need for annual fund donations unique concerts and presentations, travel expenses for recog- and scholarships, we have realized the ongoing need to have nized and award-winning music ensembles, and opportunities funds available for unique opportunities and innovations as to engage and interact with our alumni and friends. This is they arise. Every year, faculty and students develop outstanding not a complete list, but projects like these share the common ideas for projects for which we can seldom afford the financial result of providing our students and faculty financial support cost. This need is about $25,000 annually. To provide these to capitalize on unique opportunities and innovative ideas. funds consistently, SoM Director Jeffrey Sposato has worked New IMAC Executive Committee member Shirley Soo was with the Illinois Music Advancement Council (IMAC) Execu- instrumental in establishing our new fund with a generous first tive Committee to establish the new Music Opportunity and donation. Shirley and those who will utilize its support hope Innovation Fund. Examples of uses for this new fund include that others will join in contributing to the new fund. international exchange experiences for students and faculty,

A Generous Gift from Adorama

The New York-based Adorama Camera, Inc. recently shared a generous gift with the SoM. We are grateful for 50 new Shure- brand digital microphones that our students will be able to use for recording and remote lessons and classes. Adorama also donated 50 digital keyboards. We are grateful for this timely support as so many of our students are unable to access the usual resources that our Music Building and other facilities typi- cally provide. We extend our warmest appreciation to Shirley Soo, Matthew Gorman, Chris Dunne, and especially Adorama for donating this important equipment.

Edward and Lois Rath New Piano Fellowship and Scholarship Endowments Honor Edward and Lois Rath—and Franz Liszt

The SoM is proud to announce the establishment of the Franz Liszt Piano Endowments celebrating the music and career of Franz Liszt. The endowments will support schol- arships for undergraduate and graduate students studying piano. An anonymous donor established the endowments in honor of Edward and Lois Rath for their commitment and

Nathan Mandel contribution to piano instruction and music education, and their dedication to the music of Franz Liszt. Junior oboe performance major Rebecca Palmquist with gear donated by Adorama

2021 7 public engagement 2020—A Different Kind of Year for Public Engagement By Rebekka Price (MM ’09), public engagement director & Stephen Burian, public engagement assistant director

he 2019–20 academic year started Creating off just like any other. Between wrapping up an exciting summer virtual Tfilled with ISYM, the Illinois Bach offerings Academy, Paul Rolland String Pedagogy like ISMO! Workshop, Illinois Harp Class, and our Choral Conducting Symposium; and the Paul ushering the Illinois String Academy Rolland and the Piano Laboratory Program into another year of music-making; and Webinar was preparing for special events including a learning the All-Illinois Junior Band, the String and Orchestra Clinic, Illinois Brass Day, experience The UI Symphony Percussion Symposium, Horn Day, and Clarinet Day; the Public Engagement for us, and Orchestra performs Office continued its active lineup of youth and adult programs. we are for several hundred The first-ever Illinois Brass Day, hosted by the School of Music’s brass faculty high school orchestra musicians for high school and collegiate musicians, took place on February 22, 2020. It proud that as part of the featured a variety of master classes, a group brass choir, and the opportunity our faculty annual High School for music teachers to observe the day’s activities free of charge. Orchestra Clinic Just as we were ramping up preparations for the 2020 version of ISYM, the and our state of Illinois started to see the impacts of COVID-19. Like many of you, we community had to change course and rethink our plans in a short amount of time. As we reassessed what we could offer safely and feasibly in the time we had, we were more than motivated by one aspect: our community. Musicians connect so deeply with rose to the their communities, whether it be peer musicians, audiences, or supporters. One occasion. of the greatest challenges of the pandemic has been missing this community. In an effort to revive this feeling of community and to provide students, teachers, alumni, and friends around the state of Illinois with stimulating and relevant musical learning opportunities, we created Illinois Summer Music Online (ISMO!). With almost 30 Zoom and YouTube Live sessions throughout the month of July, ISMO! offered something for everyone—all free of charge. ISMO! highlights included a discussion about leadership skills with Profes- sor Barry L. Houser, director of the Marching Illini; a workshop on musician health and wellness with Professor Bridget Sweet; composition master classes

8 sonorities with Professors Reynold Tharp and Stephen Taylor; and “Journey through Black Music: Arts. Aesthetics. Activism.,” led by Professor Ollie Watts Davis. Over 900 individuals registered for one or more sessions offered as part of Illinois Summer Music Online. Another staple Public Engagement program, the Paul Rolland String Pedagogy Workshop, offered a free 90-minute webinar in June with an impressive 780 string teachers and enthusiasts in attendance. Creating virtual offerings like ISMO! and the Paul Rolland Webinar was a learning experience for us, and we are proud that our faculty and our community more than rose to the occasion. This fall, both the Piano Laboratory Program and the Illinois String Academy will continue to offer virtual private lessons to students. Our teachers have adapted quickly to his new type of instruction and our program enrollment in both PLP and ISA are as healthy as ever. What else is on the horizon for this year? We continue to think Joanne May (BS ’75, MS ’80) demonstrates for the of new and creative ways to engage with our community. Be on the virtual audience of the Webinar in Paul Rolland String lookout for a new School of Music podcast this fall, as well as more Pedagogy virtual workshops, and the opportunity to “visit” us online. Until we can all safely come back together in person, we hope you stay healthy and well!

Professor Stephen Fairbanks moderates a Q&A during the Webinar in Paul Rolland String Pedagogy

Professor Donald Schleicher conducts the massed brass ensemble during Illinois Brass Day Professor Elliot Chasanov demonstrates during his ISMO! session “Elevate your Trombone Playing”

2021 9 Remembering

2020 marked the passing of two of the School of Music’s most distinguished faculty members: Professors Emeritus of Musicology Bruno Nettl and Nicholas Temperley.

Bruno Nettl was born March 14, 1930, in Prague, Czechoslovakia. Fleeing German-occupied Prague because of their Jewish heritage, his family moved to the US in 1939, eventually settling in Bloomington, IN. It was there, at Indiana University, that Nettl received a PhD in 1953. In 1964, he began a music professorship at UIUC, where he remained until his death. A pioneering figure in the field of ethnomusicology, Nettl produced a vast body of scholarship on subjects ranging from the music of Indigenous peoples of Montana to classical musics in Iran and India. Given the incredible breadth of his musical knowledge and scholarship, it is fitting that he was given the seemingly impossible task of authoring the entry on “Music” in The New Grove Dictionary of Music and Musicians. While his research took him all over the world, Champaign-Urbana remained his home and, at times, muse, as evidenced by his 1995 ethnography of midwestern schools of music, Heartland Excursions, which he revisited in last year’s issue of Sonorities with characteristic grace, wisdom, and humility. Nicholas Temperley was born August 7, 1932, in Beaconsfield, England. After receiving a PhD from the University of Cambridge, Temperley first came to UIUC in 1959 as a postdoctoral fellow, and then joined the SoM musicology faculty permanently in 1967. Though perhaps best known for his pathbreaking contributions to the study of nineteenth-century British music and English church music, Temperley was a prolific researcher, writer, and editor, having produced a substantial trove of scholarship on diverse topics, including Haydn’s The Creation, Berlioz’s Symphonie fantastique, and Schubert’s Lieder. A believer that musicology should work in part- nership with performance, Temperley was a skilled pianist, harpsichordist, and composer, and helped facilitate the revival and recent recording of Edward Loder’s opera Raymond and Agnes. His contributions to the SoM were equally significant: he taught many classes that were popular among students, supervised more than 50 dissertations and theses, and endowed the Nicholas Temperley Research Scholarship, which, as per his wishes, will continue to help up to two doctoral students each year defray the costs associated with conducting musicological research. But perhaps the best measure of Nettl’s and Temperley’s legacies is the lasting influence each has had on countless members of the SoM community. What follows are brief remembrances contributed by just some of their many former students and colleagues. While far from compre- hensive, these recollections offer a glimpse at Nettl’s and Temperley’s lives, accomplishments, and interests both in and out of the classroom.

10 sonorities Remembering Bruno Nettl (1930–2020)

I came to Illinois about the time that Bruno retired. Nonetheless, he continued to be a daily presence in the Music Building—dropping by our offices for conversation, offering kindly words of advice, and seeking us out for coffee. His door was always open for consultation. When I taught Introduction to Ethnomusicology, I sometimes asked him to tell me about the field’s early history. His anecdotes provided a personal dimension to our class discussions that made that history real for everyone involved. We once taught a course together on Middle Eastern music; it was remarkable to hear him talk about his experience in 1970s Iran, for me as well as our students. Bruno and I shared many interests, from eastern Europe, to Native America, to elephants, to cats, to desserts. I will miss his cheery collegiality, his supportive attendance at each and every ethnomusicology event, To learn more about Bruno Nettl’s life and career, including countless Balkanalia concerts, and will always be grateful for please see Philip V. Bohlman’s article “Bruno Nettl: his encouragement of my scholarship and work with the Russian, East A Life in Ethnomusicology” in the SEM Newsletter European, and Eurasian Center, where he, too, was a faculty affiliate. (Spring 2020). Bohlman also authored a shorter tribute that is publicly available on the Society for —Donna Buchanan, professor of musicology, UIUC Ethnomusicology’s website (Jan. 22, 2020).

Although music scholars worldwide, professional societies, and Everyone in ethnomusicology, musicology, and music education academies of arts and science at home and abroad regularly took knew Bruno Nettl as a scholar. We read his work, heard him speak at stock of Bruno Nettl’s vast output of research, not all were aware conferences, hosted him as a visiting professor, and knew his reputa- that he actively contributed writings to “underground” circuits. In tion as an exemplary advisor. I remember him also as a dear friend his underground writings he could be serious and profound, tackling of 40 years. My favorite memories from student days include Bruno’s the most pressing ethnomusicological topics. For Bruno himself, mid-morning knock on my door at coffee time, his Kliban cartoon of however, and ultimately for those of us waiting for the next missive a banjo-playing cat singing “love to eat them little mousies,” and his from our mentor, the most memorable of his underground oeuvre were fondness for the soup-and-cake lunch. I keep a copy of his “Theory also the most playful. Not least among these was his foundational of Just Desserts” in my desk as a reminder of his wit, love of parties, work of gastromusicology, “The Theory of Just Desserts,” a sweeping and talent for building community. After I left Illinois, Bruno called assessment of the music globally according to preferences for sweet weekly to check on my dissertation until it was signed, sealed, and or savory at the end of a meal as the true measure of what a music delivered, and he remained supportive throughout my 32 years at culture was. It will surprise no one who knew Bruno that, even after Colorado College. He offered a shoulder to cry on, sent publication his most unbiased analysis, sweets always won the day. opportunities my way, and helped me celebrate milestones, often with an original poem. Bruno took a grandfatherly interest in my children —Philip V. Bohlman (PhD ’84), Mary Werkman distinguished whenever he and Wanda visited our family, listening to their music, service professor, University of Chicago joining in our tea parties, and teaching them the “Dog Soup” songs, which he wrote for his granddaughter. I enjoyed the Nettls’ hospi- Bruno Nettl was the ultimate mensch, musicologically and personally tality whenever I visited Champaign; at the time of his death, I was (if those categories can be separated). He was my ultimate exemplar planning another visit for his 90th birthday. I miss Bruno sorely and of clear, jargon-free, straightforward, insightful writing. Of the stuff know my life would not have been the same without his friendship; he wrote, one might afterward say, “Yeah, of course, how obvious!” his memory is truly a blessing. But these luminous and inspired observations were so “obvious” —Victoria Lindsay Levine (PhD ’90), professor emerita of that he was usually the first one to voice them. Personally, he was ethnomusicology, Colorado College thoughtful, friendly, un-stuffy, and inclusive. Upon first meeting him in August 1972, as an incoming PhD student, he was kind enough to offer me a cigar. I was no smoker, but, not wanting to offend the In graduate school we read a great deal of Bruno’s work. How could Great Man, I puffed on it until I got violently sick. Plunging out of his one man produce so much? The main story going round at national office seeking the John, I pushed the person out of the way to whom conferences was that Bruno got up in the wee hours of the morning Bruno was trying to introduce me, A. J. Racy, now of course Dean of to write and by the time he got to the office he was done for the day, Middle East musicologists. We all became friends, though. RIP, Bruno. thus having plenty of time to meet with students (his door was always open) and chat with colleagues. My first year at Illinois, 1987, Bruno —Ted Solís (PhD ’82), professor of music, Arizona State University got me a sabbatical house a few doors down from his and my office

2021 11 was next to his. As a new assistant professor it was daunting to be in such close proximity to the great man around the clock. Determined to succeed, I got up in the dark to bicycle to the office and, following in his footsteps I thought, get my writing done early. Every morning as I passed his house all the lights were out, apparently he was not up yet, nor did he roll into the office until 8:00 or 9:00 where I rarely saw him writing. An alternative theory was that Bruno had a group of graduate students researching and writing in his basement like slaves chained to their galley oars; but I knew that his house was on a slab—no basement. Showing off my new insider knowledge at conferences, I began to debunk the mythology of Bruno’s productiv- ity, but how he created that tremendous body of work, all with two fingers, remains a mystery to this day. —Tom Turino, professor emeritus of musicology and anthropology, UIUC

Bruno shaped the course of my life. I came to the US in 1984 to study Archives of Illinois Courtesy of the University with him and was blown away by the experience. His office door Nettl with a Persian setar and Indian vina, 1966 was perpetually open and questions were always welcome. One year turned into a lifelong apprenticeship. Oddly, my favorite Bruno him altered my views on life and music. Lunch at Krannert, Friday memories are all connected with food: Green Jell-O Salad (my first happy hours, dessert party, marzipan-making and end-of-the-semester Thanksgiving, spent with the Nettl family); marzipan, which he made dinner parties at his house were more than just food and fun. These annually from scratch and shared; the “brains dinner,” convened just gatherings taught me the importance of community and being kind. once, when Wanda was out of town; his “Just Desserts” parties (with He once told me to stop feeling sorry for myself and get back to work. witty invitations as eagerly savored as the sweets); morning coffees His no-nonsense approach to life taught me the value of hard work at Espresso Royale, lunches at Bevier or Intermezzo, Happy Hours and humility and continues to inspire me. I will be forever grateful at the Levis Center or Trenos – all venues for learning, but also for for the kindness he extended to someone so different from himself creating a scholarly community. Bruno’s true gift was giving each of and for prodding me to move forward when I faltered. I am honored us, his students past and present, a place in his intellectual family. to have had him as my mentor. For that I am profoundly grateful. —Frederick Lau (DMA ’91), professor of music, —Margaret Sarkissian (PhD ’93), professor of music, Smith College Chinese University of Hong Kong

For me, the image of Bruno pushing a metal carte filled with books, Studying with Bruno after his “retirement,” I was fortunate to have him tapes, and instruments down the 4th-floor hallway is unforgettable. He as both graduate advisor and father figure. I also looked to him for was serious about his teaching and students, and what I learned from guidance as a woman training in the male-dominated health sciences. He demonstrated his commitment to women’s careers by example, leaving the office promptly at 3:30 to pick up his granddaughter so that his daughter, a soon-to-be-tenured-faculty member, could work as late as necessary. When my daughter arrived one April, he insisted she join our independent reading course. I will never forget chang- ing her on the carpet in his office because he didn’t want me to miss any of the discussion. He taught me to be professor and parent with my whole heart, to look back through the history of our field while pushing its boundaries further, and above all to support our students. —Theresa Allison (PhD ’10), professor of medicine, University of California, San Francisco

I was so fortunate to meet Bruno as a newly-hired musicology profes- sor, with a freshly-minted PhD in 2001. He was a mentor to me and in time became a true friend. I still recycle his aphorisms—“As Bruno

Jennifer Wuchner Jennifer said…”—and take his approach as a senior colleague as a model for Nettl displayed his fondness for elephants and cats on his how I might act. He was truly a mensch, and I miss him still. office door —Gabriel Solis, professor of musicology, UIUC

12 sonorities with him. A citizen committed to protecting individual liberties, ever As someone so aware of the short time that we all get to live on this aware of the costs of losing them to authoritarian impulses. A mentor earth, Bruno made use of each and every moment. His was a life to countless others, generous with his sweets, smiles, and thoughts. lived in connection, curiosity, big-heartedness, mirth. A singular A gentle patriarch who held his family close like a gardener tending mind, faithful to the end, an elephantine memory. A man shaped his flowers. He nurtured me in the field he sowed. Always tending, by his debt and loyalty to society, to his parents, to his mentors and pruning, and leaving ample space to grow. Bruno, I miss you. teachers. A pioneer and champion of ethnomusicology, the fruit of —Stefan Fiol (PhD ’08), grandson, professor of ethnomusicology, his own musicological and anthropological heritage. A writer of University of Cincinnati epic proportion, an inimitable voice that beckons readers to walk

Remembering Nicholas Temperley (1932–2020)

I first met Nicholas Temperley as a DMA student in choral conducting. The only course I took from his was History of Opera from Mozart to Present. The paper that I wrote for him on Britten’s Peter Grimes was probably the best term paper I have ever written; Nicholas clearly thought so, even urging me to consider switching from choral to musicology! During Professor Harold Decker’s sabbatical (spring 1979), I was given the task of preparing the Oratorio Society for a performance of Mahler’s 2nd. After the performance, I realized that we still had over a month remaining in the semester; so Nicholas and I collaborated on a lecture/performance of church music from the Victorian Era. Nicholas also served on my prelims and thesis com- mittees; little did I know that we were to have a much longer time to collaborate as faculty colleagues. Nicholas was a force of nature! I was astonished by the breadth and depth of the man’s publications; To learn more about Nicholas Temperley’s life and in the parlance of today’s smash musical hit Hamilton, I might well career, please see his obituary in the News Gazette have asked “why does he write like he’s running out of time?” I was (April 19, 2020) and Christina Bashford’s tribute, blessed to have the opportunity to take part in a number of G & S available on the SoM’s website (April 10, 2020). productions in Nicholas and Mary’s living room and even more fortu- nate to spend more than 20 Christmases caroling with the Temperley thought, that the one person I could have most benefited from talking family singers—a tradition that began when he arrived on campus with worked 4000 miles away! Fast forward to 2004-5, when I found in the late 1950s and extended to 2019! I was also honored to have myself joining the SoM, making the move that Nicholas had made 45 Nicholas serve a term as president of the board of the Baroque Artists years earlier, and developing a close, collegial friendship with him. of Champaign-Urbana (BACH) and to be a frequent contributing artist Whether enjoying drinks at his house, alongside those homemade on various concerts, especially those which involved pieces that he Clementi and Dussek dips (named after composers whose music championed (Pergolesi’s La serva padrona, John Gay’s Beggars Opera). Nicholas had rehabilitated), watching his determined engagement He was a constant source of advice and information, happily weigh- with puzzle books in many an airport en route to conferences, or ing in on specific ideas about repertory for a concert or ideas for a playing through neglected English violin sonatas with him, there was varied season, and, of course, a presence at every concert I did! We always much to learn, share, and appreciate. Moreover, he invari- are not likely to see his equal again. ably wanted to hear about what I was working on, and was deeply supportive of the many UIUC graduate students who have pursued —Chester L. Alwes (DMA ’82), professor emeritus of choral music British topics in recent years. and music education, UIUC —Christina Bashford, associate professor of musicology, UIUC

As a UK graduate student in the mid-1980s researching the then much-neglected topic of Victorian chamber music, I quickly became I was both a student of Nicholas and his research assistant. He taught acquainted with the rigorous and insightful scholarship of Nicholas me that it is okay to be wrong. Early in his career he quoted Erik Rout- Temperley, including his landmark PhD dissertation (1959) on instru- ley’s conclusion that the hymn tune VENI EMMANUEL (“O come, mental music in nineteenth-century England. How frustrating, I often O come, Emmanuel”) was not from the late Middle Ages, but was 2021 13 composed in the nineteenth century by Thomas Helmore, musical editor of the Hymnal Noted (1851–56). Only a few months later Mary Berry, who was to become a noted scholar of medieval music, proved him wrong by discovering a source from the fifteenth century. Decades later, with some trepidation I asked him about that. He gave an embarrassed laugh, then said, “There are some things one would rather forget. But that’s how scholarship works. You do the best you can, then you let it go.” —Joseph Herl (PhD ’00), professor of music, Concordia University, Nebraska Courtesy of Sylvie Khan Nicholas Temperley was an immeasurably important figure in my L-R: Temperley, Carl Manns, and Joseph Herl, celebrating the development as a scholar and as a person. His dry wit and practicality completion of the Hymn Tune Index, 1996 in everyday interactions was particularly British and allowed us as students to easily ignore the enormity of his scholarly output. In class project even up to March 19, 2020, when I was in Aldeburgh, UK. he seamlessly united a passion for musicality through his skillful key- He knew that would be my first such editorial experience; how I had board performance with an analytic mind that probed to the center of hoped he would be there to mentor me through to its publication. the musical structure—explaining the intrinsic relationships between In the last 12 years I worked with quite closely on a number of form and context. As a means of allowing me to better experience occasions, performing Loder and Wesley lecture-recitals for/with him the genre of catches for my dissertation work, he offered his home as around the US and for audiences who adored him in NABMSA. He’d a space in which we could have a catch club, replete with port and slide copies of Victorian songs to me, “just because”; sent me CDs of stilton cheese. These moments float in my memory as bright spots of Raymond and Agnes in the mail knowing I’d appreciate it; recommend musical conviviality meshed with Nicholas’s lightly-worn scholarly repertoire for recitals he just thought I should sing; he’d encourage directive: experience music, perform it, tear it apart and put it back the recording of CDs for which he thought my voice was right. I got together, but always love it. to enjoy a great deal of time at his home working on music, taking breaks for sandwich lunches lovingly prepared by his wife, Mary. —Stacey Jocoy (PhD ’05), associate professor of musicology, Rehearsals, while lighthearted, were focused; his insights always Texas Tech University on-point; he would patiently wait for the vocal colors he’d asked for until I got it right. Then he would stop and point at me, smiling and Nicholas Temperley was a profoundly enormous presence whom I’ve looking above his glasses: “Yes! That’s the one.” Poignantly for me, it known since I was an undergraduate; a professor I long admired from was beyond humbling and affirming to be awarded the 2014 Nicholas afar. During my doctoral studies, he sometimes greeted my queries Temperley Prize for Excellence in a Dissertation for my 2011 Tippett- with amusement, telling me self-deprecatingly that just because he was Britten-Pears dissertation at UIUC. British didn’t mean he knew tuppence about Britten. Once I mentioned his “England” entry in Grove that acknowledges Britten straightaway; —Justin Vickers (BM ’96, DMA ’11), associate professor of music, glancing over his glasses, he said: “Oh yes, you saw that, did you?” Illinois State University He responded to emails generously and quickly; engaged in conver- sations and hypotheses and shared far more than one might expect. As a PhD candidate in English at UIUC, 1989–96, I was blessed to We enjoyed rich, enthusiastic email exchanges about an anthology work with Professor Temperley, as he guided me to integrate musical culture more centrally into my dissertation focused on music in the Victorian novel. After graduate school, he continued to support me. Introducing me to the Midwest Victorian Studies Association, which he helped to found, he and I presented several Victorian-song concerts; he was a friend to me at every yearly meeting. His knowledge of English hymnody inspired me to research children’s hymns for my second book, his commendations gracing the jacket-cover. He and Mary invited my family to their homes in Urbana and in London; I was grateful to visit him in Urbana last September. Professor Temperley was one of the most important musicologists of his era, through his Hymn-Tune Index and many publications, which he continued to write right up until his death. Yet he was also remarkably unpreten- tious and supportive of others, a father-figure whom I will miss dearly. The Temperley Singers in 1989, L-R: Temperley, Mike —Alisa Clapp-Itnyre (PhD English ’96), professor of English, Davis, wife Mary Sleator Temperley, daughter Lucy Indiana University East Temperley, Jean Geil, and Janet Peltz

14 sonorities Making Music Post Washington in the Time of COVID-19 Ledford for the Charles “Stretch” Confronted with unprecedented challenges, the School of Music has responded with resilience, ingenuity, and, as always, music.

pring 2020 began more or less like any other semester. campus, concerts were cancelled, and the School of Music’s On a typical day, the music facilities were awash in hallways fell uncharacteristically silent. the cacophonous yet comfortingly quotidian sounds The COVID-19 pandemic upended life in the School of Sfamiliar to countless members of the School of Music Music in ways no one had seen or could have anticipated. community: faculty teaching lessons and leading discus- But with resourcefulness, teamwork, and determination, sions; students hurriedly zippering backpacks and fastening students, faculty, and staff rose to the occasion and found instrument cases as they prepare to dash off to their next ways to continue making music, complete the spring semes- class; ensembles rehearsing for upcoming performances; ter, and position the School of Music for success in the and patrons eagerly filing into the Krannert Center for the 2020–21 academic year and beyond. Performing Arts and Smith Memorial Hall before concerts. But as COVID-19, the disease caused by the novel coro- Finishing a Spring Semester Like No Other navirus, was spreading at an alarmingly fast rate across the world, it soon became evident that the spring semester In his March 11 communication, President Killeen informed would not end exactly as it had started. On March 11, as the university community that classes were to “immediately students were preparing for Spring Break, President Tim begin migrating to online or alternate delivery mecha- Killeen announced new policies adopted by the University nisms.” With less than two weeks before instruction was set of Illinois System designed to stem the tide of the virus and to resume after Spring Break, faculty across the university protect the health and welfare of the university community. had to quickly adapt roughly 5,000 courses to the new In the days that followed, students were advised to leave circumstances. 2021 15 Doing so proved especially challenging for the School of Music, where most students partake in lessons, ensembles, and other activities that tradi- tionally involve close physical proximity among the participants. With the Music Building, Smith Memorial Hall, and all other university buildings strictly off-limits for the duration of the semester, music students traded classrooms, studios, and concert halls for their apartments or childhood homes, where they took classes and lessons over Zoom, conversed through online discussion boards, and recorded recitals with their phones. To ensure that the transition to remote learn- ing would be as seamless as possible, the School of Music sought to equip students with the tools The UI Chamber Singers find a way to safely practice necessary to continue their education. For instance, the school loaned in the age of COVID-19. Led by Professor Andrew microphones and digital pianos to students so that they could continue Megill, the ensemble rehearses outdoors at the to practice and perform from the safety of their homes. Krannert Center for the Performing Arts, distanced, wearing special masks designed for singing. Meanwhile, ensembles devised ways of performing together vir- UI Public Affairs/Fred Zwicky tually. While Zoom and other videoconferencing apps have proven useful for conducting lectures, seminars, and other classes involv- ing basic spoken communication among students and instructors, Groups such as the Women’s the latency present in such systems makes it difficult to coordinate remote performances of music necessitating precise rhythmic align- Glee Club, Varsity Men’s Glee ment among the parts. Circumventing this obstacle, groups such as Club, Wind Symphony, and the Women’s Glee Club, Varsity Men’s Glee Club, Wind Symphony, and Gamelan Ensemble invited members to perform and record Gamelan Ensemble invited their parts separately while listening to a click track or metronome. members to perform and The individual parts were then mixed together to create cohesive performances, some of which were uploaded to social media and record their parts separately the School of Music’s YouTube channel, where they have attracted while listening to a click track thousands of views from across the world. or metronome. The individual The School of Music’s traditional convocation ceremony also required a new approach. Instead of assembling in Smith Recital Hall parts were then mixed together to the resonant sounds of Professor Dana Robinson’s organ playing, to create cohesive performances, the class of 2020 celebrated their achievements virtually. “This year was exceptionally challenging in so many ways. And let’s be honest, some of which were uploaded to it was scary as well,” said Director Jeffrey Sposato in remarks deliv- social media and the School of ered at the outset of the virtual convocation ceremony. “Normally I would say congratulations, you deserve it. But this year, everyone Music’s YouTube channel, where really deserves it.” they have attracted thousands of views from across the world. Safely Resuming In-Person Activities, Looking Ahead In accordance with state and university guidelines, the School of Music moved forward with its plan to offer both virtual and in-person learning in fall 2020. Armed with lessons learned from the spring

16 sonorities semester, and the latest scientific and educational research about best practices, faculty and staff worked to prepare the school, both physically and academically, in a way that would keep everyone safe while still meeting the educational and musical needs of students and the community. During the summer, when the music facilities were still largely devoid of people, essential staff, including Facilities Manager Chad Wahls and Operations and Properties Manager Nathan Mandel, made numerous changes to spaces and equipment with the safety and well-being of the School of Music community in mind. Classrooms, stages, and performance halls were reorganized to allow for physical distancing; sanitizing wipe dispensers were built and placed in practice room corridors and common spaces; computers equipped with Zoom Q2n cameras were installed in all large classrooms to allow in-person classes and performances to be livestreamed; individual practice rooms were rekeyed and assigned to groups of no more than four students to limit the sharing of spaces and equipment; HEPA filters were installed in rooms used for aerosol-producing activities, such as voice, wind, and brass lessons; and hundreds of wayfinding, room capacity, and room schedule signs were placed throughout the facili- ties. The school also benefited from the generosity of many: Yamaha loaned additional euphoniums, horns, and saxophones for student check-out; Adorama Camera donated much-needed microphones and keyboards; and many alumni, parents, and friends provided philanthropic support for emergency purchases. With classrooms and other spaces reconfigured to facilitate physical distancing, large ensembles, including choirs, bands, and orchestras, have had to adapt. While some rehearsals have moved outdoors, others take place in the largest indoor spaces available, such as the Great Hall, Orchestra Rehearsal Room, and Choral Rehearsal Room in the Krannert Center for the Performing Arts. For added protection, the School of Music ordered bell covers and custom-made gaiters for wind and brass players, and specially designed masks for singers that help contain aerosol droplets. In addition, many ensembles were broken up into small groups. For instance, all members of the concert bands were placed in chamber ensembles, each consisting of no more than 20 members. “As it turns out, we currently have a Common areas and hallways in the Music Building remarkable 24 ensembles rehearsing within the Bands,” said Director have been marked, mapped, and reconfigured to maintain safe distance between people. of Bands Stephen Peterson. “We are excited to be providing a dif- Michael Siletti ferent, challenging, and interesting way to continue to make music and provide a sense of musical community for our students during these challenging times.” Following the rapid pivot away from traditional in-person instruc- tion last spring, faculty throughout the School of Music continued to refine their respective approaches to online and hybrid instruction. Many faculty members used the summer to learn about and imple- ment pedagogical strategies surrounding the use of Zoom, online proctoring software, and Compass, the university’s online learning

2021 17 management system. As the newly appointed distance learning coordinator for the School of Music, Professor of Musicology Gayle Magee advised instructors to create a sense of community in their classes, such as by alternat- ing between live sessions, brief pre-recorded lectures, and guided discussion board conversations. “This experience has opened up new possibilities for what studying music at UIUC will look like in the coming years,” said Magee. “While online instruction will never replace the unique experience of performing and studying music in person, this semester has shown that we can think more broadly about how to connect with learners beyond the physical The School of Music celebrated the class of 2020 in a campus, on a national and even global scale. Despite the virtual convocation ceremony. significant challenges, it is an exciting time for the school.” With an eye and ear to the future, the pandemic has caused the School of Music to rethink the way it recruits students. This year, all pro- spective student lessons, master classes, tours, and information sessions are being conducted virtu- ally. In addition, the school was one of the first among peer institutions to permit applicants to audition virtu- ally or by submit- ting a recording. “Although virtual UIUC developed one of the most advanced COVID-19 testing recruiting is completely atypical in the music field, faculty programs in the country. Students, faculty, and staff have access and admissions staff are embracing it as an opportunity to to more than a dozen free COVID-19 walk-up testing locations across campus, including one at the Krannert Center for the reach more students—especially those who may have been Performing Arts. prevented from visiting campus due to financial or other Michael Siletti reasons,” said Admissions Director Angela Tammen. During this time of great uncertainty, it is difficult to know what challenges lie ahead. But the resourcefulness, creativity, determination, and adaptability exhibited by countless members of the Illinois Music family over the past year suggests that the School of Music is well equipped to continue its 125-year mission of enriching the world through critical thinking, engaged citizenship, and above all, music.

18 sonorities faculty news

Lusitania. In Jan. 2020, she took up her new faculty faculty updates new, elected two-year position as president of the North American British Music Lamont Holden Janet Revell Barrett (Music Studies Association, work that has already (Music Production) Education) was the keynote led her to coordinate and chair the soci- joins the faculty on speaker for the higher edu- ety’s biennial international conference in a full-time basis cation division of the North a synchronous, online format (July 2020). after having taught Carolina Music Educators Zack Browning (Com- popular music production courses for Association conference in position-Theory, Emer- the School of Music in previous semes- Nov. 2019. Her chapter on the profes- itus) lectured and ters. Holden is an independent music sional contributions of the Mountain Lake attended the premiere producer known as TheLetterLBeats. Colloquium, co-authored with Janet at Millikin University While honing his skills with Reason Robbins, Diane Persellin, and Sandra of his composition Moon Venus for per- Studios, he has been making and pro- Stauffer, was recently published in the cussion ensemble, which was commis- ducing music, DJing, hosting podcasts, Oxford Handbook of Preservice Music sioned by SoM alumnus Jeremy Brunk, and serving as a videographer, social Education in the United States. Two previ- director of the Millikin University Percus- media content creator, sound designer, ous handbook chapters on case study sion Ensemble. Browning’s composition teacher, and audio engineer for more and the future of qualitative research in for saxophone quartet Unrelenting Uni- than 12 years. Holden received a BA music education were republished as part verse received performances by the Com- in rhetoric from UIUC in 2004 and an of Oxford’s Approaches to Qualitative position VII Saxophone Quartet at National MA in teaching and education from Research series. During spring 2020, she Taiwan University of the Arts and by the National Louis University (IL) in 2011. completed work on a second edition of Coalescent Saxophone Quartet at both Constructing a Personal Orientation to Scott Tegge (Tuba and the NASA Conference at Arizona State Music Teaching with co-authors Mark Euphonium) has joined University and at The Green Room at Robin Campbell and Linda Thompson, the faculty as an adjunct Crosstown Arts in Memphis. His Network to be released by Routledge in 2021. lecturer of tuba and Slammer for flute and computer sounds Barrett recently completed her service as euphonium. A native of was performed by Emilio Galante at the chair of University High Laboratory School Chicago, Tegge received Conservatorio Superior de Música de Advisory Board, and continues as editor a BM from the Eastman School of Music, Zaragoza, Spain, and at the Conservatorio of the Bulletin of the Council for Research an MM from the University of Miami, di Musica “F.A. Bonporti,” Trento, Italy. in Music Education. and the professional diploma in orches- Browning’s self-portrait album Soul Doc- tral studies from Roosevelt University. Christina Bashford (Musi- trine was reviewed in Audiophile Audition An avid champion of chamber music cology) won two presti- and described as “rich musical explora- and the commissioning of new works, gious research awards, tions” and “multi-dimensional fusion.” Tegge founded the Gaudete Brass which she will hold during Browning continues to direct the Salvatore Quintet, a group dedicated to perform- the 2020–21 academic Martirano Memorial Composition Award, ing and promoting original works for year: an associateship of now in its 24th year. brass. As an equally committed educa- the University of Illinois’ Center for Donna A. Buchanan (Musi- tor, he serves on the faculties of Car- Advanced Study, and a National Endow- cology) was awarded a thage College (WI), DePaul University ment for the Humanities Fellowship. Both 2019–20 US Department (IL), Northern Illinois University, UIC, support her book project Forgotten Voices, of State Title VIII grant on and coaches chamber music for the Hidden Pleasures: Violin Culture in Britain, behalf of the Illinois Chicago Youth Symphony Orchestra. 1870-1930. In Oct. 2019, the essay volume Russian, East European, and He is a frequent speaker and guest Over Here, Over There: Transatlantic Eurasian Center (REEEC) and Slavic Refer- lecturer on creative career develop- Conversations on the Music of World War ence Service, to support their annual ment, entrepreneurship, and building I, which she co-edited with William Brooks Open and Summer Research Laboratories successful teaching studios. and Gayle Magee, was published by the with affiliated programming. After her University of Illinois Press; it includes her appointment as acting director of REEEC own essay on Frank Bridge’s Lament for concluded in Aug., she spent the academic string orchestra and the sinking of the 2021 19 faculty news retirements year working on a new book manuscript, grande. Chasanov was scheduled to travel J. David Harris (Clarinet) Audible Cosmology: Bells, Gender, and to Belgium in May 2020 for master classes William Heiles (Piano) Sociocosmic Power in Postsocialist Bul- and performances, but the trip had to be garia, under the auspices of a National postponed due to the pandemic. Mark Moore (Tuba and Euphonium) Endowment for the Humanities Fellow- Ollie Watts Davis (Voice, ship. She also conducted field research Black Chorus) served as a in Bulgaria during Feb. and March in Provost Fellow and received to be published in the Music Educators conjunction with this project. In spring many honors, including Journal. Gallo was an invited clinician 2020 she was granted a zero-time faculty appearing as the keynote for the ILMEA state conference and the appointment in the department of Slavic speaker for the televised District 5 ILMEA Junior Festival Creative languages and literatures, and in May 2020 Wisconsin statewide celebration Movement Group. She will conduct the was awarded a summer 2020 Online honoring Dr. Martin Luther King, Jr., receiv- junior high festival treble choral ensemble Course Development Grant from the Illi- ing the Dedication of Service to the Com- for District 2. In partnership with a local nois Global Institute. munity Award from Lodge #18 music educator, Gallo received a grant Tito Carrillo (Jazz, (Champaign), delivering the keynote from the Center for Innovation in Teaching Trumpet) appeared as address for the 100 Black Men of Madi- & Learning that funded local songwriters trumpet soloist around son’s Project SOAR gala, and being to work with elementary students, along the nation and Canada awarded the inaugural Strive Scholar with UIUC preservice music teachers, in in 2019 with Grammy Award from the UIUC Women’s Resources writing songs for activist purposes. Gallo award-winning jazz vocalist Kurt Elling, Center. She served as music director for served on a panel discussion about cul- including shows in Albuquerque, Phoenix, the historic Progressive Baptist Church turally responsive music teaching at the Denver, San Diego, St. Catharines (ON), of Chicago’s 100th anniversary, partici- Organization of American Kodály Educa- and Miami. He was featured with the Iron pated in the NATS Winter Workshop (NY), tors national conference. She was slated Post Jazz Orchestra at the 2020 Jazz Edu- and performed with the McHenry High to present research at conferences this cation Network Conference in New School Symphonic Band at the ILMEA spring and summer (cancelled due to Orleans. He performed twice at the 2019 conference in Peoria. She led the Black COVID) for the American Educational Chicago Jazz Festival, once with saxo- Chorus in a Journey to Chicago with Research Association, the International phonist John Wojciechowski’s Quintet, appearances at the DuSable Museum, Society for Music Education, and the and the other with pianist Ryan Cohan Progressive Baptist Church, and The Prom- Association for Popular Music and his new Originations project. The ontory, in a benefit concert for the SAFE- Education. studio recording of Originations was House, and at the First United Methodist Larry Gray (Jazz, Double released in July 2020 to critical acclaim. Church of Urbana’s 184th anniversary. Bass) had a very busy year Carrillo was awarded a UIUC Campus Timothy Ehlen (Piano) per- of performance and Research Board grant to fund his upcom- formed a memorable recital research. In Aug., he ing solo album Urbanessence, set for an as part of the Community worked again with early 2021 release. In Oct., Carrillo will Concerts Series in Freeport, renowned trombonist Steve launch an online video course for first- IL, which is a storied venue Turre along with Ron Blake for a week at time improvisors called Jazz Improvisation of the old CAMI concerts Chicago’s Jazz Showcase, along with top for Beginners I, a self-paced guided prac- (Columbia Artists Management, Inc.), NY musicians Xavier Davis and Orion tice course outlining the fundamentals having presented legendary artists for Turre. He performed again in Chicago of jazz improvisation for less-experienced generations, such as Josef Hoffman, Paul with guitarist John Moulder and joined jazz enthusiasts. Robeson, Van Cliburn, and Rudolf Firkusny. legendary Chicago and New Orleans Elliot Chasanov (Trombone) musicians Edward Petersen, Orbert Davis Donna Gallo (Music Educa- was featured soloist with and Yousef Ernie Adams for the annual tion), with Adam Kruse, the John Hersey High Prairie State College Jazz Festival. He also wrote the article “Rethink- School Band at the opening reunited with Edward Wilkerson and ing the Elementary ‘Canon’: concert of the 2020 ILMEC Avreaayl Ra in a concert/live recording Ideas, Inspirations, and in Peoria. The band’s con- of the GWR Trio at ProMusica Chicago, Innovations from Hip-Hop” ductor was UIUC alumnus Scott Casa-

20 sonorities as well as a trio concert in Chicago fea- Beethoven’s violin concerto for virtual Flute Competition in Boston, where he turing guitarist Randy Napoleon and leg- orchestra. Haken’s concerto, chamber gave classes at Boston University. Keeble’s endary drummer Jack Mouse. He continues music, and master class appearances in article, “Life Lessons: Brooks de Wetter- to contribute to the local C-U culture Japan and Uzbekistan have been resched- Smith” was published in Flutist Quarterly, with his Larry Gray projects, featuring uled for May 2021. Currently Haken is and a recording with the Kansas City top graduate students as well as many creating a virtual orchestra video of his Symphony The Planets; The Perfect Fool local appearances with various members Concerto in F for Electric Viola with the (as a section extra player) was released of SoM jazz faculty. Wheaton North High School Orchestra. on Reference Recordings. The University of Illinois Hip-Hop Col- Julie Gunn (Lyric Theatre, Adam Kruse (Music lective, founded and directed by Haken, Keyboard) produced Jason Education) earned the is now entering its fourth season as an Robert Brown’s Songs for Outstanding Early online ensemble. a New World, which show- Career Paper in Music cased what an excellent Ian Hobson (Piano, Emeri- Education from the 21st-century School of tus) performed in a American Educational Research Associa- Music can accomplish, and began a new streamed solo piano recital tion as well as the Faculty Award for fund dedicated to student excellence at co-presented by Sinfonia Excellence in Teaching from the College the Krannert Center. The departments of da Camera, Florida State of Fine and Applied Arts. He was also theatre and dance collaborated with Lyric University, and SubCulture, part of two grant-winning teams. First, Theatre and the SoM to produce Cabaret, NYC, in July 2020. Earlier this season, alongside William Patterson and Kevin unifying disparate practices, traditions, Hobson was awarded the 2020 Diapason Erickson, the Hip-Hop Xpress earned new and philosophies to celebrate the Krannert d’Or—Découverte for a new recording funds from the university’s Student Sus- Center’s 50th birthday. Sensorium Ex, a of Moritz Moszkowski’s Joan of Arc, Op. tainability Committee to add solar panels new opera by composer Paola Prestini, 19, released Oct. 2019 on the Toccata and generators to the previously existing was a meaningful chapter in Lyric Theater’s Classics label. The Diapason d’Or is con- mobile studio project. The second, with ongoing collaboration with Beth Morrison sidered one of the highest critical honors, Donna Gallo, earned funds from the Projects. Shot in the Dark Productions awarded by the French classical music American Orff-Schulwerk Association Inc., which she founded with Nathan magazine Diapason to the most outstand- and the College of Fine and Applied Arts Gunn, presented their second theatrical ing recordings of our time. Volume Two to support a professional development piece, Drytown: A Living-room Vaudeville, of the Moszkowski series is slated to be project for Champaign-Urbana music a show about the creative process. In all released this coming Sept. teachers to work in collaboration with four cases, Gunn enjoyed the integration community hip-hop artists. Kruse also Jonathan Keeble (Flute) of student work with professional artists published new research articles about performed Richard in service to the greater community. white music teachers engaging with Prior’s Concerto for hip-hop culture in Research Studies in Rudolf Haken (Viola) estab- Flute and Orchestra at Music Education and the International lished and directed online the National Flute Journal of Music Education. concert series and work- Association’s gala concert at the 2019 shops for the Bayreuth convention in Salt Lake City. Keeble was Kazimierz Machala’s (Horn, Young Artists Festival in also featured on a program titled “Mas- Emeritus) new composition Germany in Aug. 2020, terworks by Master Teachers” alongside Eclipse for Eight Horns was including the Bayreuth International colleagues members from the Eastman premiered at the 2019 Inter- Online Folk Orchestra, Bayreuth Distant School of Music, Northwestern University, national Horn Symposium Duos and Quarantine Quartets series, and the Boston Pops. With Aletheia Duo in Ghent, Belgium. The and workshops on electric strings and harpist and SoM colleague Ann Yeung, work is published by Capo Tasto Music. collaborative music video production. he toured parts of TX, MI, and IL. Summer In Aug. 2020, the International Horn Haken has also received two Beethoven festival affiliations include Aria Interna- Society designated Machala as an honor- Anniversary commissions from the Michi- tional and the Pacific Northwest Flute ary member, which recognizes living gan City Chamber Music Festival: a version and Piccolo Forum in addition to Madeline hornists who have made a major contri- of “Ode to Joy” for gospel choir and Island Chamber Music. Keeble was a bution at the international level to the art chamber ensemble, and a recording of guest judge for the Pappoutsakis Memorial of horn playing. This contribution must

2021 21 faculty news

be one that will extend beyond the indi- and performed in Concerto Urbano’s of the Pulitzer Prize in Music. His latest vidual’s lifetime and should exist in several concert of Bach harpsichord concertos. commission resulted in the premiere of areas, such as performance, teaching, In place of a European tour to Dresden, a new work for marimba and fixed audio research, or service to the IHS. Leipzig, and Prague, planned for June by Alicia Jane Turner. Moersch’s recording 2020 but put on hold due to COVID-19, of Akemi Naito’s Five Waka Poems by Gayle Magee’s (Musicology) Mattax inaugurated a harpsichord video Saigyo, for marimba and mixed chorus, volume Over Here, Over recording project titled Vernissage, about with Andrew Megill and the UI Chamber There: Transatlantic Conver­ which Professor Emeritus Alexander Singers, was released by Ravello Records sations on the Music of Murray wrote, “her playing maintains the in Oct. 2019. In Feb. 2020, Moersch was World War I, co-edited with clarity of speech, with the continuing featured as marimba soloist in Anders William Brooks and Chris- resonance, which truly adds the ‘vernis- Koppel’s Concerto No. 1 for Marimba tina Bashford, was nominated for the sage’ to the canvas.” and Orchestra with Sinfonia da Camera. American Musicological Society’s pres- Currently, he is developing and producing tigious Ruth A. Solie Award. Additionally, Charles “Chip” McNeill an online course on marimba history and Magee chaired a session on contemporary (Jazz, Saxophone) was literature. music at the 2019 AMS meeting in Boston. asked to perform his Currently, she serves as distance learning arrangements with the Uni- Linda Moorhouse (Admin- coordinator for the SoM, assisting with versity of Cincinnati Col- istration, Bands) recently the shift to remote and hybrid learning. lege-Conservatory of served as a conducting Magee continues to serve as chair of the Music’s jazz ensemble as a guest artist. clinician for the National board of directors for the Charles Ives Earlier in the year, he performed with the Band Association Young Society, and recently completed a three- ILMEA jazz reading ensemble at the Pere Conductor/Young Com- year term as editor of the journal American Marquette Hotel in Peoria. Prior to that, poser Mentor Projects with the U.S. Air Music. McNeill traveled to FL, where he per- Force Band in Washington, DC. Of par- formed at Florida A&M University, a local ticular note, the current conductor and Jeffrey Magee (Musicology) jazz club in Tallahassee, and Chipola commander of the U.S. Air Force Band, has been reappointed as College. He was also asked to help select Col. Don Schofield, is a former student associate dean in the a donated new Steinway D piano for of hers. Moorhouse also served as a guest College of Media. To mark Smith room 25. He continues to perform conductor with the University of Nevada, Stephen Sondheim’s 90th every Monday at the Iron Post through Las Vegas Wind Symphony, the Wind birthday, he gave an invited the fall semester. Orchestra of the Lisbon (Portugal) School talk at Sondheim’s alma mater, Williams of Music. both on campus and at the College (MA), to be published in a col- Janice L. Minor (Clari- Midwest Clinic in Chicago, the Louisville lection of essays. He also completed a net) was invited to (KY) Winds at the Midwest Clinic, and three-year term as reviewer for the Ameri- present a clinic titled the University of Akron (OH) Symphony can Council of Learned Societies and the “The Extended Clarinet Band. Honor Band conducting activities Radcliffe Fellowship programs. Family–FRIEND or included the UIC Honor Band, the Uni- FOE? How to EMBRACE the similarities Charlotte Mattax Moersch versity of South Florida Festival of Winds instead of FEAR the differences of the (Harpsichord) was a fea- Honor Band, the Wisconsin All-State Auxiliary Clarinets in your instrumental tured harpsichord soloist Senior Band, the Southern New England music program” at the 74th annual for the 112th season of the Honor Band (RI), and the Tri-State Honors Midwest Clinic International Band, Orches- Bethlehem Bach Festival. Band (WI). She served as a clinician for tra, and Music Conference, the world’s In March 2020, she cele- the 2020 High School Band Clinic at the largest instrumental music education brated the official release on Centaur University of Akron. As president of the conference. Records of her recording of J.S. Bach’s American Bandmasters Association, Moor- Goldberg Variations with a concert at William Moersch (Percus- house hosted the 86th annual convention Krannert Center. A second solo recording, sion) has commissioned­ of the ABA in Biloxi, MS, March 3-7, The Bach Legacy, featuring the music of much of the prominent before the COVID-19 shutdown began. Bach and his sons, also for Centaur, was modern repertoire for released in May. At Illinois, she directed marimba from composers including seven recipients 22 sonorities faculty publications

Yvonne Gonzales Redman Artful Noise: Percussion Literature in the Twentieth (Voice) presented research Century by Thomas Siwe; University of Illinois Press, on the effects of the music 2020. work environment at con- ferences around the world, In a monograph sure to be invaluable for performers, teach- including the American ers, and scholars alike, Professor Emeritus of Percussion Speech and Hearing Association, The Thomas Siwe assesses the pathbreaking percussion literature Voice Foundation, and the International that arose during the twentieth century. Accompanied by Congress on Acoustics. Her manuscript plentiful musical examples and suggestions for further “Work-Related Communicative Profile study, Siwe offers a historical overview that connects the of Voice Teachers: Effects of Classroom repertoire to musical innovations and world events. Renowned percussionist Noise on Voice and Hearing Abilities” and SoM alumna Kathleen Kastner (DMA ’89) writes, “Simply stated, this is a was accepted for publication in the pres- singular contribution detailing the history of percussion literature in the twen- tigious international voice science journal tieth century made by one of the most knowledgeable percussion educators The Journal of Voice. This summer, she who was witness to many of the composers and compositions he discusses.” presented “The Office: Voice Instructors Work Environment” at the 56th National Association of Teachers of Singing Virtual at the NASA Biennial National Confer- Guido Sanchez-Portuguez Conference. She also was invited to teach ence, her UI Graduate Saxophone Quartet (Guitar) had a productive at the Acoustic Vocal Pedagogy Workshop, won first prize at the NASA Biennial year both performing and dedicated to connecting voice science Quartet Competition, and her TA Wilson composing. In addition to to applicable voice pedagogy. This was Poffenberger­ became the first saxophonist being part of the main to be held at New England Conservatory, to win the Krannert Debut Artist lineup for the 2019 Ellnora but was moved online. She has developed competition. Guitar Festival, he took part in the Illinois premiere of George Crumb’s Ghosts of a new online format for the Vocal Peda- Casey Robards (Vocal Alhambra with the SoM’s William Moersch gogy course taught at Illinois in preparation Coaching, Accompanying) and Ricardo Herrera, and was featured for the fall and spring semesters. was selected by national as a guest performer at the Krannert Art audition to be one of four Debra Richtmeyer (Saxo- Museum’s Chamber Music Series. He was collaborative pianists in the phone) was one of two also invited by the University of Costa 2020 National Association Americans invited to be a Rica to give two online conference pre- of Teachers of Singing Intern Program. member of the jury at the sentations for guitar students and faculty Robards was guest instructor for LaToya 2019 Adolphe Sax Interna- about his music. During these confer- Lain’s course Songs of the Slave: The tional Saxophone Competi- ences, Sanchez-Portuguez presented a History of the African American Spiritual, tion in Dinant, Belgium (the most live recording of his most recent piece at the University of North Carolina at prestigious international saxophone com- for chamber ensemble with guitar titled Chapel Hill. Botanica, Robards’s new petition) and one of six instrumentalists Vestigios, which was commissioned and album with oboist and English hornist invited to be a senior juror at the 2020 premiered by the Illinois Modern Ensemble Sarah Fraker received a favorable review Fischoff National Chamber Music Com- under the direction of Carlos Carrillo. In in the American Record Guide, which petition in South Bend, IN (the largest Aug. he released an album containing noted that “Robards sports excellent touch chamber music competition in the world). his own compositions for three guitars and technique and renders complex har- She was interviewed for an internationally performed by the Erio guitar trio, of which monies with sparkling transparency.” renowned saxophone podcast, The Barry he is a founding member. Sax Show, featured in an American online Performances throughout the US include saxophone magazine, TheSaxophonist. recitals with flutist Bonita Boyd; sopranos Bernhard Scully (Horn) org, and an invited soloist and lecturer LaToya Lain, Jennifer Forni, and Angelique was a featured faculty at the North American Saxophone Alli- Clay; tenor Henry Pleas; and the 25th member at the 2019 ance (NASA) Biennial National Conference anniversary tour of the American Spiritual Chilean Brass Week, in Tempe, AZ. Under her direction, the Ensemble, led by Everett McCorvey. an adjudicator and UI Large Saxophone Ensemble performed presenter at the 2019 Jeju (South Korea) International Brass Competition, and was

2021 23 faculty news —compiled by Emily Wuchner, associate editor

faculty at the 2020 Isla Verde International Post jazz club with the Chip McNeill All-State SATB Choir and the ILMEA Dis- Brass Festival in Córdoba, Argentina. He Quartet and the Joan Hickey Trio. A notable trict 5 Junior Mixed Chorus. successfully created and oversaw the performance took place at Krannert Makoto Harris Takao (Musi- 2020 Online Kendall Betts Horn Camp Uncorked featuring pianist/vocalist Bar- cology) was awarded a Experience, which was offered as a gift rington Coleman and bassist Larry Gray. fellowship for 2020–2021 to the music community, reaching 1,400 Select Chicago performances included by the Humanities Research horn players from around the globe who appearances with saxophonist Mike Smith Institute for his project Of participated in the 30 individual sessions at Andy’s Jazz Club, saxophonist David Mission and Music: Japa- offered for the week of events in June. Liebman at the Green Mill Jazz Club, and nese Christianity and Its Reflection in Early He performed three weeks of outdoor, famed jazz pianist Dan Trudell at the Modern Europe. socially-distanced concerts with the North Geneva Grand Resort in WI. In addition, Country Chamber Players that were held Spencer served as a clinician at the New Stephen Taylor’s (Compo- in July and Aug. 2020. He was scheduled Trier High School and Evanston High sition-Theory) work for the to be the featured guest artist performing/ School Jazz Festivals and as a guest artist Chicago-based Grossman presenting at both the Mid-South and at the University of Wisconsin–Madison. Ensemble, Winged Helix, Southeast International Horn Society In 2019, Spencer was chosen for the cover was to be premiered March Workshops, but both were cancelled due story in the Dec. issue of Chicago Jazz 2020; instead it was given to COVID-19. Magazine; the interview examines Spen- a recording session, with a hopeful pre- cer’s career as a performer and his experi- miere to come. Other new works include Michael Silvers’s (Musicol- ence as teaching professor at the SoM. For Jen, for Illinois alum Christopher ogy) article “Attending to Most significantly, Spencer was promoted Anderson, premiered March 2020 at the the Nightingale: On a to the rank of associate professor in May North American Saxophone Alliance, and Multispecies­ Ethno­ 2020. Soon thereafter, Joel became the Kepler for orchestra, to be premiered by musicology” was published recipient of a Campus Distinguished Pro- the Quincy Symphony Orchestra. New this summer in Ethnomu- motion Award in recognition of his career arrangements for Pink Martini were sicology, the journal of the Society for accomplishments as performer and released on 2 EPs in fall 2019. A collec- Ethnomusicology. Last fall, he gave the educator. tion of visualizations with data-driven keynote address “Localizando a alegria music, based on the novel coronavirus, queer através da reflexividade” at Jornadas Bridget Sweet (Music Edu- is available at stephenandrewtaylor.net. de Etno­musicologia Nordeste at the Federal cation) published her University of Rio Grande do Norte in second book, Thinking Sever Tipei (Composition- Natal, Brazil. Silvers also presented on Outside the Voice Box: Theory) presented papers an invited round-table on the sounds of Adolescent Voice Change at the XII Generative Art the Anthropocene at the American Anthro- in Music Education (Oxford Conference in Rome, Italy, pological Association annual meeting in University Press). She was invited to and, as an invited guest, at Vancouver, BC. present research and lectures from her the International Workshop new book at Middle Tennessee State Uni- on Computer Music and Audio Technol- Gabriel Solis (Musicology) versity and at Western University (ON). ogy Conference in Taiwan. The latter was served as head of the UIUC She gave two presentations at the Texas written in collaboration with Haorong department of theatre for Music Educators Association conference, Sun, an intern he mentored from the the 2019–20 academic year one on adolescent voice change and the National Center for Supercomputing and will continue to do so other on healthy music practices. While Applications SPIN (Students Pushing Inno- for the 2020–21 year. she was unable to present in Helsinki, vation) program. His new work CAGEquad, Joel Spencer (Jazz, Drums) Finland, in person, she was invited to for fixed media, was premiered in Taiwan, began the 2019–20 school provide her session “The Adolescent where he was also the jury president for year with a feature perfor- Female Changing Voice” via video for the International Electroacoustic Music mance at the Allerton Music the International Society for Music Educa- Young Composers Award. Ghioc for saxo- Barn with the UI jazz tion Forum on Instrumental and Vocal phone and fixed media was performed faculty tribute to Charlie Teaching. Earlier in the school year, she at KCPA and other compositions were Parker. Additional campus performances conducted the Wisconsin Middle-Level selected for performance at SEAMUS included weekly appearances at the Iron (University of Virginia), ICMC (Santiago, 24 sonorities faculty recordings

Chile) and MERIDIANE (Bucharest, Metamorphosis by the Jupiter String Quartet; Marquis Romania) but the concerts were postponed Classics, 2020. due to COVID-19. Tipei continued to develop DISSCO, original software for Further cementing their position as one of the most pro- composition and sound design, with the lific and acclaimed voices in chamber music today, the help of NCSA SPIN and CS students as Jupiter String Quartet’s latest album features performances well as through a collaboration with the of Beethoven’s Op. 131 and Ligeti’s String Quartet No. San Diego Supercomputer Center via 1, Métamorphoses nocturnes. Recorded in Krannert’s Extreme Science and Engineering Dis- Foellinger Great Hall, the album was produced by eleven-time Grammy covery Environment program. Award winner Judith Sherman, and was engineered by SoM audio staff Frank Horger and Graham Duncan. In a glowing review, Rafael de Acha writes that Ioannis Tsekouras (Musicol- the group “astonishes with its magically virtuosic playing and its fastidiously ogy) presented the paper meticulous musicianship in one of the finest albums this reviewer has heard “Songs of Memory and thus far in…2020.” Landscapes of Affect: Remembering Pontic Pas- J.S. Bach: The Goldberg Variations The Bach Legacy toralism” at the 64th annual and by Charlotte meeting of the Society for Ethnomusicol- Mattax Moersch; Centaur Records, ogy in Bloomington, IN. His Greek chapter 2020. “Nostalgia, Empathy, and Post-memory: On the heels of her successful “Sat- Parakathi as a Quest for the Archetypical urdays with Sebastian” chamber Pontic Community” is expected to be music series, harpsichordist Charlotte released in 2020 by Pedio Publishing Mattax Moersch released two new albums featuring music by the Bach family. (Athens, Greece), as part of the collective While The Goldberg Variations offers a fresh rendition of the formidable classic, volume Music Communities in 21st-Cen- The Bach Legacy features J.S. Bach’s Italian Concerto as well as select sonatas tury Greece. He has been also asked to and polonaises by his sons C.P.E., J.C.F., and W.F. As evidence of her intimate contribute the chapter “Remembering familiarity with the repertoire, Mattax Moersch recorded both albums—totaling Pontic Sociality: Musical Longing as Com- more than two hours of music—in a single weekend in Krannert’s Foellinger munity Surrogation” to the collective Great Hall. In a favorable review for Early Music America, Daniel Hathaway volume Music Making Community: Fest- calls Mattax Moersch “daring,” and commends her “dramatic” and “expres- schrift for Thomas Turino (University of sive” playing on the two recordings. Illinois Press). Christos Tsitsaros’s (Piano Pedagogy) com- Understanding the Music We Perform: A Southwestern University (TX), and master position Introduction Path to Reaching Artistic Fulfillment” at classes at the Interlochen Center for the and Dance for violin Trinity Episcopal Church in Wheaton, IL. Arts and the American Harp Society Austin Chapter. With the cancellation of in-person and piano was pre- Ann Yeung (Harp) served events and travel, she has presented virtu- miered by the Irrera Brothers during a on the 2020 Dutch Harp ally, including a master class for Indiana guest recital at Smith Recital Hall in Oct. Festival World Harp Com- University’s harp studios, performances 2019. In Feb. 2020, he was invited by petition’s scouting jury, for the Association for the Art of the Harp the North Sound Federated Music Club judging in Utrecht and in Turkey, Coffee Conversations with The and the International Conservatory Studio NYC, to select finalists Harp lecture series, The Harp Channel’s of Seattle to attend a concert comprised slated to present at the 2021 Dutch Harp Meet the Harp Stars interview series, and of 40 of his piano compositions performed Festival, due to the global pandemic. This contributed to Lockdown Music 2020, a by students of Yelena Balabanova at Stage spring, she gave a presentation on Hen- collaborative recording project, bringing 7 Pianos in Kirkland, WA. During the riette Renié and master class at the Peabody together harpists from 11 countries. same month, as invited presenter for the Institute of The John Hopkins University. ISMTA Joint West Suburban Chapters, he Activities last year include an Aletheia gave a workshop on “Innovative and Duo concert with Jonathan Keeble at Integrated Ways of Approaching and

2021 25 alumni news

ago. Also, the UI Orchestra’s six-month Marilynn Kemp Seits 1940–1949 tour of Central and South America remains (BA ’64) still loves to Eleanor LaForge Crum (BS ’45), has been one of the most memorable moments from perform at age 78. In active in Sigma Alpha Iota alum groups his time as an undergraduate student. Oct. 2020, for the third for 78 years. Jane Watt, her former piano In retirement, Mike plays timpani in the year in a row, she per- teacher, would be proud that Crum, at age Knoxville Symphony Orchestra, supports a formed in a benefit 97, is still playing for vespers services at music program for disadvantaged children, concert for the Asheville Piano Forum, Givens Estates, a Methodist retirement and stays very active in the community. playing Dave Brubeck’s “In Your Own Sweet Way” in honor of what would be community in Asheville, NC. Kathleen Butkus Freer his 100th birthday this Dec. In Nov. and (BM ’67) and Kenneth Dec., she will play Christmas music at Freer (BM ’67) are cel- the Biltmore Estate in Asheville, NC, ebrating the 15th year despite the cancelation of many of her 1950–1959 of the Silverwood regular piano performances due to Lucas Drew (MS ’58), co-founder and Clarinet Choir, which COVID-19. editor of St. Francis Music Publications, they founded. It is an exciting professional Inc., celebrates its 20th anniversary in clarinet group that encompasses all the 2020. He has published more than 100 voices of a true choir. The creative group double bass transcriptions of works by performs original compositions and 1970–1979 master composers, 1750–1920. In 2015, he arrangements of well-known pieces in a was awarded the Distinguished Achieve- variety of styles from around the world. David Barford (BS ’72, ment Award by the International Society The choir consists of Eb sopranino clari- MM ’75, DMA ’80) and of Bassists, its highest honor. Drew retired nets, Bb clarinets, alto clarinet, basset Debbie Martin Barford as professor emeritus at the University of horn, bass clarinets, and contrabass clari- (BS ’76) met in Miami and principal double bass of the net. Members of the group are music chamber orchestra and Florida Philharmonic Orchestra in 2000. educators and freelance musicians in have been married for 46 years. David is principal hornist with the Symphony of Joan Vogen (BME ’50) is teaching students central NY. Visit www.silverwoodclarinet. com. Oak Park and River Forest, and also works virtually and enjoying it at almost 92 in executive systems development for years young! William Mullen (BM ’66, Trustmark Insurance. Debbie is principal MM ’67) retired after a long oboist with the S/OP&RF, and is a clinical and distinguished career analyst at Northwestern Medicine. during which he was first 1960–1969 violinist of Oklahoma City Thompson Brandt (MS ’79) had a pair of Donna Byrne (BS ’61) is a retired public Symphony (1962–65); assis- articles published on the subjects of John school teacher and currently plays violin tant concertmaster of the San Diego Sym- Philip Sousa’s legal entanglements and with the Symphony of Oak Park and River phony and Opera (1967–69); first violinist the history of the SS John Philip Sousa Forest. with the Santa Fe Opera (summers of in the spring 2020 editions of the Iowa 1968–70); assistant professor of composi- Bandmasters Association Journal and F. Michael Combs (BS ’66) retired after tion and theory at California State Uni- WASBE World magazine, respectively. In four decades as professor of percussion at versity, Fresno (1969–71); associate addition, he composed an original jazz the University of Tennessee. He was the director of the Martha Baird Rockefeller band piece in 2019 titled Sconnie Swing, first percussion professor at that school Fund for Music (1972–78); executive which echoes “On, Wisconsin!” in tribute and helped grow the percussion program’s director of the Santa Fe Concert Associa- to the 170th anniversary of the University national reputation. He received numer- tion (1983–2008); and conductor and of Wisconsin, the institution from which ous awards and recognitions during his founder of Musica de Camara Ensemble he earned his doctoral degree. Brandt tenure, but he is still most proud of the A.A. and Orchestra (1982–2008). also recently completed a postdoctoral Harding award he received over 50 years diploma in education law from Indiana University

26 sonorities Howard Buss (DMA ’77) Carole (Mitts) Eckert (BS Robert “Doc” Morgan (DMA continues to compose and ’69, MS ’70) has served as ’74) recently became only publish new music. director of music at Union the sixth high school educa- COVID-19 canceled most United Methodist Church tor to be inducted into of his 2020 concerts, but in Belleville, IL, for the past DownBeat magazine’s Jazz early in the year were pre- 40 years. Under her direc- Education Hall of Fame. mieres of his Reflections on the Last Post tion, the Sanctuary Choir completed four Now retired, he served for 23 years as for tuba and band by the U.S. Army Band European concert tours and sings a variety director of jazz studies at Houston’s Kinder “Pershing’s Own” in Feb.; and both Visita- of choral literature. She has been married High School for Performing and Visual tions from the Dark for alto sax, bass for 50 years to Jim Eckert, whom she met Arts, the school that has spawned many clarinet, and piano, and Sonic Tapestries singing in the UI Concert Choir under of the jazz world’s current notables, includ- for violin, alto sax, and piano in March Harold Decker. They have three singing ing pianists Robert Glasper and Jason at the North American Saxophone Alli- children, one of whom plays trombone Moran and saxophonist Geof Bradfield. ance 2020 Biennial Conference at Arizona professionally with the U.S. Army Blues Morgan was active in UI’s jazz program State University. Other performances early in DC. during the John Garvey era, and in 2003, in the year include Totally Tubular for he and his wife, Helen, endowed UI’s Neil M Finbloom (BS ’74) oboe/English horn and trumpet/flugelhorn John Garvey Scholarship in Jazz Studies. and his wife, Barbara, at Tampa’s Straz Center and the Trumpet Pictured: Morgan (L) and Robert Glasper, turned their attention to Festival of the Southeast at Kennesaw 2018; photo by David DeHoyos. gardening and antique col- State University (GA), Alpine Spring for lecting after 30 years as a Diane Morris (BME ’79) retired from flute and harp at Connecticut College’s band instructor in suburban Irvine Unified School District, Irvine, CA, faculty showcase, and Alien Loop de St. Louis. They received first place in the after 40 years as a music educator and Loops for horn and electronics at the 2020 St. Louis Post Dispatch Great Gar- choral director. She was awarded Orange University of Alabama. Buss is editor of dening Contest. While teaching, Neil County Vocal Music Educator of the Year Brixton Publications. He and his wife performed in several ensembles, including and was twice named Irvine Unified Fine Judy (MM ’76) reside in Lakeland, FL. the St. Louis Symphony Pops, the St. Louis Arts Teacher of the Year. Thornton Cline’s (MS ’77) Philharmonic, and The Mighty Mississippi Barb Rollins (MME ’71) is middle-grade book Mrs. P., Concert Band. in her 53rd year of teaching Your Hair’s on Fire! was John J. Kula’s (MM ’71) band. She and her husband published by INtense Pub- Allegro Pasticcio I for wind have started several musical lications in Aug. 2020. quintet was recently pub- organizations in Aiken, SC. Cline’s new adult thriller, lished and purchased by In 1974, they formed the A Novel Life, was published by Southern the Evanston Music Club Aiken Community Band, in which they Yellow Pine Publishing in Sept. Cline has and a wind quintet from both still play. They also formed the Rollins’ penned over 30 traditionally published Copenhagen. Allegro Pasticcio II will be Christian Big Band, Rollins’ Brass Ensem- fiction and non-fiction books and signed published shortly. Fallen Heroes, a short ble, The AAA Home School Band, South a major movie deal for his novel The transcription for string orchestra, was Aiken Baptist Christian School Band, and Pickup Guy. When Cline isn’t writing, he composed in honor of the workers and The Triumphant Trumpets. Barb has lined is teaching music at Welch College (TN). volunteers saving lives during the pan- up music for the Aiken National Day of Cline has been nominated multiple times demic. Lately, Kula has been accompany- Prayer for 40 years and formerly lined up for Grammy and Dove Awards and was ing a vocalist in Zoom performances of the entertainment for Aiken’s Makin’ for twice honored as Songwriter of the Year. “Songs by Heart” for senior memory care 19 years. Barb was voted Aiken’s Out- Rhea Davis (BS ’73) is a retired public residents of the northern suburbs of standing Music Teacher in 2019 and was school orchestra director and plays cello Chicago. featured as the Aiken Standard’s “Sunday with the Symphony of Oak Park and River Best” on July 5, 2020. Barb teaches 40 Forest. students each week. She and her husband, Roger, perform regularly on trumpet and trombone.

2021 27 alumni news

Maria Tan (MM ’70) has been teaching spring 2017 Wyeth has also worked as piano at home and ‘Iolani School (HI) 1980–1989 an adjunct music teacher (accompanist, since 1993. An active entrepreneur, Tan Daniel Adams (DMA ’85) had two com- choral assistant) at Northwestern High has been manufacturing the kombucha positions released on recordings. Refrac- School in Hyattsville, MD. drink PepTea for local stores since 1999. tive Variants for alto flute and guitar was Beth Hoover (MS ’84) is a Leon Thurman (MS ’65, featured on the album HETH (Phasma- retired Schaumburg D54 EdD ’77) is specialist voice Music). Road Traversed and Reversed for music teacher and is educator at The Leon marimba duet was released on the album general manager of the Thurman Voice Center, his Patterns (Navona Records). Performances Symphony of Oak Park and private voice education during the first quarter of 2020 include River Forest. practice in Minneapolis. the world premiere of Sawtooth Squared Ron Hughes (BS ’86, MS ’88) received He is also founder of the VoiceCare for double reed duo at the Holtschneider his DMA in music education from Boston Network. His current project is The Edu- Performance Center in Chicago. Recursive University in Jan. He teaches percussion cation of Human Beings in the Year 2122. Dialogue for clarinet and percussion was performed at Temple University (PA). and steel drums at Dreyfoos School of the Ramona M. Wis (née Gru, Arts in West Palm Beach and St. Mark’s BS ’78) is the Mimi Rolland Margaret (Peg) Anderson (BM ’87) is a Episcopal School in Ft. Lauderdale, FL, endowed professor in the patent attorney and plays horn with the and teaches online lessons to students fine arts, professor of music, Symphony of Oak Park and River Forest. in other states. and director of choral George Caton (BME ’87) retired from John Leister (BM ’82) activities at North Central teaching in the Havana, IL, school district. has toured the United College (IL). She was the recipient of the States this year as a 2019 Harold Decker Award given “in Michael A. Dowell (BME ’74, MME ’85) drummer for the recognition of the significant contribution recently retired after 22 years of teaching Paragon Ragtime made to the lives of innumerable choral in the Rockford Public Schools and in the Orchestra. The PRO recreates concerts singers, conductors, and audiences who Sterling, IL, Public Schools, and 23 years from the late 1800s/early 1900s, including have been privileged to experience the of managing the Whiteside County Airport, silent film accompaniment. In addition, finest in choral music as presented under teaching flying and providing a charter John played for the Paul Taylor Dance her direction” and was the first woman service based in Dixon, IL. Dowell consid- Company at Lincoln Center with the president of American Choral Directors ers himself semi-retired and is looking to Orchestra of St. Luke’s. John continues Association in Illinois. She is the author pick up some flying jobs and opportunities to teach percussion at the Montclair Kim- of The Conductor as Leader: Principles to play and teach violin and viola. berley Academy (NJ) and has led work- of Leadership Applied to Life on the Wyeth W. Duncan (BME shops this year for the Ohio Music Podium, a weekly blogger for Choral Net ’85, MME ’86) serves as Educators Association and at Montclair (“The Conductor as Yogi”), and recently interim organist for the his- State University. John is a new member completed her 500-hour CYT (Certified toric Fourth Presbyterian of the Percussion Arts Society Education Yoga Teacher). Church in Bethesda, MD, Committee. where he and his wife, Catherine, are also members. Prior to Laurence L. Marks joining Fourth Church, they were members (MME ’86) retired as of Oakland Baptist Church in Alexandria, associate professor of VA, where Wyeth served as organist and music at the University music director. Wyeth and his family of North Carolina at moved to the Washington, DC area from Charlotte, completing a 40-year career Lake County, IL, in 2014 to be part of the in music education. He continues to guest launch team for a new church in southeast conduct and give clinics at home and DC, Anacostia River Church, where Wyeth abroad. served as minister of music until 2016. In addition to his church work, since

28 sonorities Janis Mercer’s (BM ’87) orthodoxchoral.org, which makes thou- Debra (Carlson) Stombres recording of Anton sands of rare choral music scores freely (BM ’81) is the executive Webern’s complete piano accessible to users throughout the world. director of the Poplar Creek music is now available on Currently numbering over 3000 works Public Library District in Centaur Records. The by 42 major Russian composers, the library Streamwood, IL. Still active recording includes The will eventually include music by other musically, she has five Kinderstück Project, a series of children’s prominent figures in the Orthodox realm. albums available on CD Baby and stream- pieces written by student and professional Since 1987, he has been head of Musica ing platforms, and published her first flute composers using Webern’s Kinderstück Russica, the premier publisher of Russian choir work with Alry last year. as a model. UIUC composition DMA choral music in the West. André J. Thomas (DMA ’83) recipients Jim McManus and Brian Belét Deborah Nemko (BM conducted the London contributed pieces to the project. ’87) is a specialist in Symphony Philharmonic Kathleen Loughran Merwin the study and perfor- and 400 singers in a (BM ’82) serves on the mance of works by program that also included Piano-a-thon committee Dutch composers the European premiere of benefitting Akron Children’s whose works and lives were suppressed his Mass. He was recently appointed Hospital’s music therapy by the Nazis. In April 2019, Nemko per- visiting professor of choral conducting program. Her feature article formed at the Library of Congress for the and guest conductor of the Yale “Piano- a-thon Pays it Forward Through Anne Frank Awards honoring Benjamin Camerata. the Power of Music” was published in Ferencz, the last surviving prosecutor of A. Scott Wood (BS ’87, the summer 2020 issue of Clavier Com- the Nuremberg trials. Nemko was also MM ’89) recently con- panion. Merwin also serves on the local artist-in-residence at York University’s ducted a film score OhioMTA board, mentors new teachers, Koschitzky Center for Jewish Studies in performance by the and maintains a private studio in Hudson, Toronto; performed in Arran, Scotland; Middleburg Film Fes- OH. Her students are regular performers and presented a concert on suppressed tival Orchestra with composer Terence at Piano-a-thon and other area festivals Dutch Jewish composers at Brooklyn Blanchard and his band, E-Collective. and events. College. Nemko is the recipient of Bridge- Blanchard is a multi-Grammy-winner and water State University’s (MA) prestigious Jon Ceander Mitchell’s (MM his soundtracks include Mo’ Better Blues, Presidential Fellowship for the 2020–21 ’72, EdD ’80) new book Malcolm X, the Oscar-nominated score academic year. Her fellowship is an exten- Now You Can Take Off Your for BlacKkKlansman, and Harriet. sion of her Fulbright to the Netherlands Clothes: Vignettes of an in 2015. The project’s focus is editing Gregory Zuber (BA ’83) is American Conductor Lost scores for publication, performing and principal percussionist with in Translation (Riverhaven recording piano compositions, and creat- the Metropolitan Opera and Books 2020) chronicles the often hilarious ing educational programs on suppressed on faculty at The Juilliard exploits, both on and off the podium, of and forgotten Dutch Jewish composers. School. He can be heard a conductor and college professor while on his recent solo marimba practicing his craft abroad. Some 39 Kim O’Reilly (MM ’87) is album Life Behind Bars, and with his wife, vignettes—many of them humorous, some a brain tumor survivor and flutist Patricia Wolf Zuber (BA ’83), on more serious—are recounted within a now specializes in music their duo album Blackbird Redux, featur- 15-chapter framework. Written for the for the left hand. She previ- ing classmate William Susman’s (BA ’82) general reader as well as musicians, the ously made a series of Amores Montuños. He has been using book covers a 35-year period and is recordings for Alfred Pub- found time due a COVID-19-induced arranged more or less chronologically. lishing to accompany books of intermedi- furlough to accomplish a backlog of proj- ate piano music. Vladimir Morosan (MM ects, including a recently posted video ’76, DMA ’84), project recording of his new arrangement of director of the Orthodox Debussy’s Prelude à l’après-midi d’un Sacred Music Reference faune, available on YouTube. Library, announced the official launch of www. 2021 29 alumni news

the US, and are published by Stipes Pub- Thomas Erdmann (DMA 1990–1999 lishing. Chioldi is a professor of piano at ’91) published his seventh Samuel Araujo (PhD ’92), professor of Northeastern State University (OK). book, How Saxophonists Understand Their Music, ethnomusicology at the Federal University Denny d’Alelio (BME ’94) a collection of interviews of Rio de Janeiro, had his lifetime con- was invited to conduct the examining how some of tributions as both scholar and instructor Washington DC Public today’s leading saxophonists interpret the acknowledged in a recent issue of Revista Schools Honors Ensemble music they play. Ed Calle, perhaps the Brasileira de Música, the oldest music in their performance of his most recorded saxophonist in the history journal in Brazil. composition D.C. Express. of the instrument, and Jared Sims, director The piece was commissioned by the Kazimir Boyle (BM ’98) of jazz studies at West Virginia University, Washington Performing Arts Society. recently recorded his large are just two of the artists detailing how Côte d’Or: chamber work Elizabeth Casey Donathan (BM ’95) is they practice, interpret, and perform their Postcards from Burgundy going into her sixth year as music teacher music. for commercial release. He at Christ the King School in Springfield, IL. worked with Golden James Janossy (BA ’99) is a public school Globe-winner Craig Armstrong to create Stephanie Duesing (BS ’90) published her orchestra director in Evanston, IL, and the music for Disney’s film The One and first book,Eyeless Mind, which is the true currently plays double bass with the Sym- Only Ivan. Last year, he scored the horror story of discovering her son Sebastian’s phony of Oak Park and River Forest. verbal visual processing and their subse- filmMercy Black, released by Netflix and Viktor Krauss (BM ’91) quent battle to get a diagnosis for him. Blumhouse/Universal. In 2018, he began plays string bass on nine teaching orchestration in Columbia College Mark Enslin (BM ’78, MM songs on the most recent Chicago’s Music Composition for the ’82, DMA ’95) continues James Taylor album, Ameri- Screen MFA program. Upcoming projects to teach a course in social can Standard. As a solution include the release of the film The Last issues theater at UIUC and for the ongoing concert Champion. Kazimir’s music was recorded co-organize the School for series at Allerton Park being cancelled by a full orchestra in New Orleans, and Designing a Society, which due to COVID-19, Krauss and his group will be released as a soundtrack album. offered a two-week online intensive was invited to host the first virtual concert Madelene Campos (BM “Desire and Design: Construct Your (broadcasted by WILL) in late June. Humanism” in July 2020. In fall 2019 ’97) has been living and Christopher Marks (MM ’96) released and winter 2020, he performed his puppet working in Miami as a soft- a recording titled Two American Organ musical on climate change and racism, ware engineer for the past Symphonies–One American Classic Organ, Reindeer Science, assisted by participants five years. She performed featuring Leo Sowerby’s Symphony in in the “Re-writing, Re-righting Cassandra” with the Lyric Opera, Mil- G. It is available on various streaming project and longtime collaborator Susan waukee Symphony, Hawaii Symphony, platforms. A companion article, “Organ Parenti, at Yankee Ridge and Wiley Elemen- and various other orchestras for almost a Sonatas and the Development of an Ameri- tary Schools in Urbana. With Jeff Glass- decade. can Musical Style,” was published in the man, he performed a scored theater work journal Keyboard Perspectives vol. XI. Martha Mitchell Cavender by Lisa Fay at Rhinofest in Chicago. A Marks is associate dean of the Hixson- (BM ’91) is a financial reprise of his 2009 spoken-word duet Lied College of Fine and Performing Arts clearance specialist with Piece for Kiwane was offered in May as at University of Nebraska–Lincoln. Northwestern Medicine and part of “Champaign-Urbana Poets Speak plays bassoon with the Justice for Aleyah” on Sounds Like Com- Andrew Morgan (MM ’91) Symphony of Oak Park and munity, an online venue of the Urbana- left San Francisco Opera, River Forest. Champaign Independent Media Center. where he was serving as Ronald Chioldi (DMA ’98) co-authored director of development, the popular group-piano textbooks Key- to assume the position of board Musicianship, Books 1 and 2, 11th executive director with edition. Both books are widely used in Hawai’i Opera Theatre. He was promoted to general director in Feb., leading all aspects of the company. 30 sonorities Donald Nally (DMA ’95) Bradley Robinson (DMA Madison International School in Mérida, and his new-music choir ’99), professor of voice at Mexico, developing and implementing The Crossing received their the University of Missis- a music program at the middle and high fourth and fifth Grammy sippi, was recently pub- school levels. Awards for Best Choral lished in the Journal of Performance 2020. Don- Singing, the professional ald’s response to the COVID-19 pandemic publication of the National Association has been a 60-part series of The Crossing of Teachers of Singing. His featured article 2000–2009 in concert, titled Rising w/ The Crossing, “The Songs of Charles Ives: A Closer look Lucas Alberts (MME ’06) accepted a new each with written reflections on the at Undiscovered Pedagogic Treasures for position as band director in the Laude process. The series gained national atten- the Collegiate Voice” includes detailed School District in St. Louis. tion and has been featured in the Los examinations of 37 songs representing a Angeles Times, New York Times, Wash- wide range of dramatic subjects and tech- David Coll (BM ’03) currently teaches at ington Post, and NPR’s Performance Today; nical demands. He offers insights regarding the San Francisco Conservatory of Music. it has been archived by The Library of the background of each song, performance His recent activities include a performance Congress as a cultural artifact as an “impor- suggestions and pedagogic uses in the by the San Francisco Contemporary Music tant part of this collection and the historical studio. This followed his release of Charles Players, a residency at the Djerassi Artists record.” The Crossing released new films Ives: A Life Portrait in Song (Albany Program, and lectures at the University of of David Lang’s protect yourself from Records). The 28 songs, along with exten- Texas at Austin and Brandeis University infection, originally about the 1918 sive notes, present literature representing (MA). Spanish Flu epidemic, and in nature, a special areas of Ives’s life events, philoso- David Collier (DMA ’04), virtual collaboration with the Warren phies, and personal traits. professor of percussion and Miller Performing Arts Center, which hosts Scott Roeder (BME ’99) associate director of the their annual residency in Big Sky, MT. recently released his first School of Music at Illinois Donald continues as director of choral solo tuba album, Five State University, has been organizations at Northwestern Muses (Mark Records). The awarded the designation University. album was awarded two of University Professor by ISU President bronze medals by the Larry Dietz. The designation of University Global Music Awards. In addition, Roeder Professor is awarded to faculty members was promoted to full frofessor at the Uni- who have achieved national recognition versity of Texas Rio Grande Valley, where for scholarly research, creative produc- he teaches a robust tuba/euphonium studio tion, or leadership in creative or scholarly that has performed throughout the US activities and have also been clearly iden- and Europe. tified by students, colleagues, or external Julie Barger Petrando (BME ’91) celebrates agencies as an outstanding teacher. Collier Ingrid Teclaw Schimnoski (BM ’91, MM 25 years of Rising Stars Camps, Inc., which is in his 38th year at ISU. In addition, he ’93) is a freelance musician and surgical she founded with Lori Baker Palmisano is principal timpanist with the Illinois ophthalmic scrub technician. She currently (‘90). Rising Stars works with approxi- Symphony, the Peoria Symphony Orches- plays violin with the Symphony of Oak mately 500 students each summer, cel- tra, and the Heartland Festival Park and River Forest. ebrating their passion for teaching and Orchestra. directing through their show choir camps. Tim Stephan (MS ’93) moved to Cozumel, Chris Combest’s (DMA ’09) Several UIUC alums have served as clini- Mexico, after a successful career as a recording of new works for cians, including Nancy Bocek, Meg high school band director and middle the tuba, Under Tennessee Carroll, Tim Heck, Kim Lorman Sirvatka, school general music teacher in MD and Skies, is set for release in Jennifer Mather, Christina Virgilio Collins, PA. After taking a year off from teach- Jan. 2021. The solo project and Erin Smith Stegall. ing, he accepted a position as director was made possible through and producer of a musical production at a Faculty Research and Creative Activities Colegio Puerto Aventuras called Brand grant at Middle Tennessee State University, New Day, written and conceived by Tim. where Combest is assistant professor of In Aug. 2019, Tim began a new position at tuba. 2021 31 alumni news

Michael Fanelli (BM ’68, EdD ’01) Quincy chapter of the Illinois State Music Cara Maurizi (MME announced that the University of Illinois Teachers Association. ’01) released her first String Research Project fiftieth anniversary solo album, Strong- David Grandis (MM ’02) received tenure exhibit at the Music and Performing Arts hold, under the name and now serves as associate professor Library has been rescheduled for the Linea Crux. Maurizi of music and director of orchestras at summer of 2021. The display documents worked on it for five years while teaching the College of William & Mary (VA). He the four-year string research project with music full time and acting in the com- continues his positions as music direc- photos and pedagogical materials com- munity. It was produced and recorded at tor of the Virginia Chamber Orchestra in plied and annotated with a monograph Perennial Sound Studio in Champaign. McLean, and director of the Williamsburg by Fanelli. Additional celebratory events It can be found on all online platforms. Youth Orchestra. Links to his published will be presented during the 2021 Paul book, The Voice of France: The Golden Tyné Rieck’s (MM ’05) pre- Rolland String Pedagogy Workshop. Age of the RTLN, and an article on French sentation “Can Music Pro- Mike Fansler (EdD ’09) and composer Max D’Ollone can be found grams Help Solve the the Wind Ensemble at on his website. Workforce Skills Gap?” was Western Illinois University part of the International David Halperin (BM ’07) together released a critically Double Reed Society’s first won an audition for the acclaimed recording on virtual symposium, July 2020, held in United States Air Force Navona Records of com- lieu of the in-person 49th annual confer- Academy Band in Colorado poser David Maslanka’s unfinished 10th ence. The lecture explored how skills Springs. He has been a symphony, The River of Time. Mike is the taught in music and the arts can enhance member of the USAF current director of bands at WIU and a non-arts programs to make students more regional bands since 2011, currently member of the prestigious American workforce ready. She is currently business stationed at Ramstein Air Base, Germany. Bandmasters Association. and IT program manager of continuing Andrew Larson (DMA ’04) education at Eastern Iowa Community Lori Fisher (MM ’09) helps is associate dean and pro- Colleges. busy creatives and entre- fessor of music at the preneurs with online visibil- Adam Schlipmann (BME Stetson University (FL) ity, assisting with intuitive ’00, MME ’08) was hired School of Music. His choirs copywriting, branding, as music instructor at Elgin have appeared five times content creation, and Community College (IL), by juried invitation in the southeastern websites. where he will develop and US. He served as president of Florida teach new courses and Sara Fraker (DMA ’09) was ACDA, and was recently awarded the R. ensembles in electronic music produc- promoted to associate pro- Wayne Hugoboom Award for Distin- tion, hip hop, and songwriting. fessor of oboe with tenure guished Service and Excellence in Choral at the University of Arizona. Music. Rachel Scott (BM ’05), a PhD candidate in historical Charles W. Lynch III (MM ’02, DMA musicology at the Univer- ’09) served on the faculty of the Midwest sity of Memphis and associ- Daniel Fry (BME ’95, MME ’03) is begin- Harp Festival for their online offerings in ate dean for information ning his tenth year as adjunct applied July 2020. He also joined the executive assets at Illinois State Uni- music faculty and accompanist at the St. committee of the American Harp Society versity, recently published “Home-Made Louis College of Pharmacy. He currently board of directors. He continues to direct from A to Z: New Documents for the Early lives in Quincy, IL, where he teaches the Mesa Public Schools Harp Program History of Handel Opera in America,“ in piano and voice privately, is an active in AZ, which is the largest public school Fontes Artis Musicae. accompanist, and is music director at harp program in the country with over 240 Union United Methodist Church, as well students across 16 secondary schools. He Julie Siarny (MM ’03) directs the Ameri- as pianist at Ellington Presbyterian Church. is also faculty associate in harp at Arizona can Wind Band in the western suburbs He also serves as vice president of the State University. of Chicago and plays flute and piccolo with the Symphony of Oak Park and River Forest.

32 sonorities Daniel Teadt (BM ’98, MM with a variety of colorful masks, at intimate Justin M. Brauer (BME ’14, ’00) recently completed events including a Lord of the Rings- MM ’16) had an active year the premiere recording of themed wedding in the clients’ in the recording studio, Benjamin Boyle’s Spirits in backyard! producing tracks for Bondage, set for release in musical theatre productions Stephanie Gustafson 2021. He was also reap- across the country. High- Amfahr (BM ’11) has pointed as an assistant professor of voice lights include a production of Stephen been appointed harp at Carnegie Mellon University (PA), where Sondheim’s Merrily We Roll Along in specialist for the Fort he serves as division chair. Miami, and a digital cabaret in NYC Bend Independent featuring the music of Diana Ross. Justin’s Nicholas Thomas (MME School District (TX). This full-time teach- arrangement of the alma mater was fea- ’04) coordinates under- ing position will allow her to work with tured in the university’s With Illinois fun- graduate and graduate the harpists enrolled in orchestras at five draising campaign impact video music teacher education middle and high schools in the district. “Recognizing Generations of Illinois at Florida A&M University, The 2020–21 season also marks her third Impact.” In the live performance world, where he was recently pro- year as co-director of the Houston Youth Justin served as music director for Parkland moted to associate professor of music Harp Ensemble. Outside of her teaching College’s production of Chicago and education. Thomas recently published duties, her Lagniappe Trio was recently accompanied a cabaret by fellow SoM two articles, including “Why Technology awarded a grant from the Mississippi Arts alum Delaney Sterling at Davenport’s is Critical to Success in Music Education Commission to record a new work, Piano Bar in Chicago. He also expanded Classrooms” in the Oct. 2019 issue of Etymology:Entomology, around which his music copying portfolio, including a Florida Music Director. an educational program will be developed new engraving of 2019 Write Out Loud for K–12 students in MS. songwriting contest-winner Joriah Kwame’s Eric Binder (DMA ’18) has “Little Miss Perfect.” Justin is currently at 2010–2020 published three books since work composing the score for the upcom- graduating in 2018. One ing feature film Marrow by Kevin T. Hobbs, Chanah Ambuter (MM ’15) of the books, 10 Snare set to film in 2021. continues to perform and Drum Etudes for Improvisa- Robert Brooks (DMA ’19) teach throughout MI for tion, was voted the third recently took a job as assis- local orchestras, choirs, best book of 2020 in the Modern Drummer tant professor of saxophone churches, retirement com- magazine readers poll. Additionally, Binder and director of jazz studies munities, corporate and released the trio album Hard Bop (Rope- at Friends University (KS). community celebrations, weddings, and adope Records), which has received global private events. With the advent of COVID- acclaim. 19 safety mandates requiring a cessation Christopher Cayari (MME James Blachly (MM ’15) of in-person collaborations, Chanah and ’09, PhD ’16) was the recently released the world her studio continued to meet virtually. keynote speaker at the 2020 premiere recording of Chanah launched a series of digital con- IL-ACDA summer retreat, Dame Ethel Smyth’s The certs named “Harp Music for the Soul.” a conductor for ILMEA Dis- Prison on the renowned These individually themed 60-minute trict I general elementary, Chandos Record Label. For concerts aired three times weekly March– and performed as part of the Trans Voices the recording, soloists Sarah Brailey and June 2020, a subseries of which was titled Cabaret-Chicago at Stage 773. Publica- Grammy Award-winner Dashon Burton “Around the World.” These concerts were tions in 2020 appeared in The Conversa- joined Blachly’s own Experiential Orches- widely shared, bringing music to the tion, Journal of Popular Music Education, tra and Chorus, with production by homes of community and corporate fami- General Music Today, and Routledge, Grammy Award-winning Blanton Alspaugh lies and even stretching internationally; Oxford, and Bloomsbury handbooks. donations subsidized students’ lessons and Soundmirror. to minimize financial distress due to COVID-19. Chanah continues to perform,

2021 33 alumni news

Sadie Cheslak (MM ’19) Caitlin Custer (BA ’13) equitable resources to communities to was a young artist at Pitts- joined the St. Louis Sym- thrive in learning and in life. burgh Festival Opera in phony Orchestra as its com- Rebecca Johnson their debut virtual Young munications manager. She (DMA ’10), assistant Artists Program. She also serves as the institution’s professor of flute at accepted a resident artist primary editor, creating and Eastern Illinois Uni- position for 2021 with Opera on the Bluff managing content for Playbill, SLSOStories. versity, was in Portland, OR, and will be singing the org, and other audience-facing media. accepted to present at the Mid-Atlantic role of Buttercup in their production of She also is the treasurer of the nonprofit Flute Convention, the Music by Women HMS Pinafore. Cheslak is also hosting a organization Midwest Artist Project Ser- Festival, the College Music Society’s Great virtual gala and fundraiser for Lyric Opera vices, which is dedicated to empowering Lakes Regional Conference, the National of the North in MN, acting as a host and artists and arts collectives through fiscal Flute Association’s Summer Series, and performer. sponsorship and professional resources. the NACWPI National Convention, all in Jiyeon Choi (DMA ’18) is Jessica C. Hajek (PhD ’17) 2020. She also has been elected vice lecturer in clarinet at the accepted a position as assis- president of the National Flute Associa- University of Virginia, and tant professor and program tion, and will serve in this capacity principal clarinet with the head of music at Our Lady 2020–2022. Charlottesville Symphony of the Lake University (TX). Hyeyeon Jung (DMA ’14) Orchestra. She previously held posi- was recently appointed tions at the University of Cincinnati, Uni- Brian Coffill (MM ’15)has assistant professor of piano versity of Dayton, and Earlham College been selected as the winner at Kunsan National Uni- (IN). of the 2019-2020 Vytautas versity (South Korea). She Marijosius Memorial Award Chen-Yu Huang (DMA has actively performed for Orchestral Program- ’14) performed at the throughout Asia, Europe, and North ming. Awarded by the Taiwan International America. Her Aug. 2020 recital at the American Prize Foundation, this national Harp Festival in Seoul Arts Center included a performance award recognizes his efforts during the summer 2019. She was of Bach’s Goldberg Variations. inaugural year of the Randolph-Macon invited to judge a few competitions, includ- Aaron Kaplan (BM & BME College (VA) Ensemble, a creative, flexible- ing the Camac Prize, American Harp ’11, MM ’13) joined the instrumentation chamber orchestra that Society national competition, and Michi- Elgin Youth Symphony he founded in fall 2018. gan Orchestra and Band Association Orchestra as conductor of competition. She has been working with Derick Cordoba (DMA ’17) the Sinfonia Orchestra in Matthew Aubin on rediscovering harp accepted the position of fall 2020. In addition to his music of French composer Fernande director of the Johnny Mann work in the theatre community, Aaron Decruck and will co-present their project Center for Commercial continues to be on the faculty at the Music at the Summer Institute of American Harp Music and assistant profes- Institute of Chicago, artistic director of Society. Chen-Yu continues to host Harp sor of music at Anderson the JAM Orchestra, and is in his eighth Day at Michigan State University annu- University (SC). Cordoba will present his year as the assistant orchestra director at ally, which will be offered virtually this research on crowdfunding as well as a Glenbrook North and Glenbrook South year because of the pandemic. poster session on Dave Brubeck’s sacred High Schools. works at the 63rd national conference of Mika Jain (BME ’13) recently Ned Kellenberger (DMA the College Music Society. His upcoming became a 2020 Leadership ’18) is the principal of Wolf- album is slated for a spring 2021 release for Educational Equity gang Violin Studio, a with an accompanying tour of the Midwest Public Leaders Fellow. The premier private music and southeastern US scheduled. He has fellowship includes Teach academy in Singapore, several performances scheduled for Tokyo, For America alumni in where he is creating a Japan, in late Oct. and is scheduled to advocacy, organizing, and policy leader- chamber music program and recently perform at Furnace Fest in Birmingham, ship roles who are collectively providing contributed a duet book to the curriculum. AL, in May 2021. 34 sonorities As a senior teacher, he trains young vio- Ben Nichols (DMA ’20) was recently hired per year, including concerts, ceremonies, linists, building on the skills and knowl- as instructor of saxophone and music recordings, and the band’s annual national edge he acquired at UIUC. theory at the University of Nebraska at tour. Additionally, he directly oversees Omaha. the band’s education and outreach JinUk Lee (DMA ’20) began initiatives. a new job as an adjunct David Phy (DMA ’11) professor at Indiana Wes- became director of Andrei Strizek (MME ’11) continues to leyan University. He is bands at Birmingham- be as active as possible in the NY musical music director and conduc- Southern College (AL), theatre scene while working as the music tor of five choral groups, where he teaches the development supervisor for Music Theatre including his church choir in the suburbs symphonic band, jazz band, pep band, International. The last year has been pro- of Chicago. He is a professional baritone and the courses The History of Jazz and ductive for Andrei as a music director, singer, represented by Lee Bauman of Blues and Fundamentals of Music. David copyist, and arranger. He recently music Leota Arts Management. was a featured soloist with the University directed cabarets at Birdland Jazz Club of Alabama at Birmingham Jazz Band with Tony, Grammy, and Emmy Award- Carlos García León (BM European tour in summer 2019 and will winner Katrina Lenk, and at Joe’s Pub ’17) recently started a job be the High School All-State Jazz Band with Pulitzer Prize-winner Michael R. as the individual giving director at the 2021 AMEA conference. Jackson. He is currently the copyist for manager of the Cincinnati a number of musicals that are in devel- Opera. After graduating Jackie Schiffer (BM ’11) opment, including an award-winning from UIUC, he went to was selected as a quarter- musical based on the life of John Lewis pursue a dual master’s program at the finalist in the 2020 Ameri- and the Freedom Riders. University of Cincinnati, where he got can Traditions Vocal his MA in arts administration and a MBA. Competition in Savannah, Elizabeth Sullivan (DMA ’14) is assistant For the past two years, he’s called Cincin- GA. professor of oboe at the University of North nati home and is ecstatic to continue Carolina at Charlotte. This fall, Sullivan Robert Sears (MM ’16, being a part of a city that is supportive of will release her debut album on Albany DMA ’20) was recently the arts. Now, he’s ecstatic to learn more Records, A Dramatic Journey: 60 Years appointed the new about opera, continue being a voice for of Thea Musgrave’s Music for Oboe. Also tenure-track assistant arts administrators of color, and as always, featured on the album are other SoM professor of trumpet at is looking for ways to share his love of alums Rebecca Johnson (flute) and Cara West Virginia University. music with others. Chowning (piano). Juri Seo (DMA ’13) was recently granted Bo Liu (DMA ’18) was hired as assistant Moria Tunison (DMA ’19) tenure at Princeton University, where she professor of voice at Shenyang Conserva- accepted a position as is an associate professor of music and tory of Music (China). adjunct instructor of clari- director of undergraduate studies. net at Illinois Wesleyan Nick Loafman (BME ’10, Jeffrey A. Spenner (BM University and is in her MME ’15) has been ’10) has been second year as adjunct appointed director of bands appointed assistant professor of clarinet at UIS. She was a at Widefield High School director of the United finalist in the 2020 International Clarinet in Colorado Springs. States Coast Guard Association Research Competition with Band, one of America’s premier military her presentation “Lefèvre’s Third Concerto Maureen Murchie (DMA bands and finest musical organizations. Viewed Through the Lens of Lefèvre’s ’10) lives in NYC and He is the first conductor in the band’s Méthode de Clarinette: An Argument for played in the pit for the nearly 100-year history to be hired from Historical and Pedagogical Performance Broadway show Tootsie, outside of the organization. As one of Practice.” Her article, “Teaching Younger which ran April 2019–Jan. two officers in charge, Chief Warrant Students During COVID” was published 2020. Officer Spenner helps manage all aspects by The Clarinet Online as part of the of the 55-member ensemble’s multifaceted Clarinet in the Time of COVID series. mission and hundreds of engagements

2021 35 alumni news

Justin Vickers (BM ’96, Alleya Weibel (BM ’17) Drew Whiting (DMA ’13) DMA ’11) was recently performed in the orchestra released his debut album, named a 2020-2021 US for Rick Wakeman at Lon- In Lights Starkly Different Fulbright Scholar to the UK. don’s Royal Festival Hall, (Innova Recordings). The While there, he will con- as well as “A Night Under album features works for tinue writing and research The Stars,” an evening of saxophone electronics by for The Aldeburgh Festival: A History of opera with soloists Joyce El-Khoury and John Mayrose, Judith Shatin, Jeff Herriott, the Britten and Pears Era, 1948–1986 Michael Fabiano. Also with orchestra, Alexis Bacon, Nathan Edwards, as well (Boydell Press). In addition to recitals at Alleya toured to Rome to perform with as UIUC alums Ed Martin and Robin the American Cathedral in Paris, concerts Gloria Campaner. She recorded for a Heifetz. The album has already received in London, and Britten and Haydn oratorio soundtrack album in Japan, La Revue critical acclaim: Fanfare magazine at St Edmundsbury Cathedral, Vickers will Eternal, to be sold as a release and used described Whiting as “...spectacular... a work with Philip Reed on Britten’s Sketch- in live theatre productions. Alleya toured fine performer and a superb advocate for books, a collection of detailed analyses to the French Alps to perform at Rise the music he champions,” and The Saxo- of Britten’s pre- and intracompositional Festival in their closing party performance. phonist magazine noted that “Whiting materials. Vickers’s additional Fulbright She then toured as solo violinist for proves his musical and technical abilities project is a study day resulting in the Rebecca Ferguson on her UK Tour. She with this disc, [and] it can serve as a refer- edited volume Postwar Musical Recon- recently participated in the recording of ence for contemporary musical struction in the British Isles. In Feb. 2020, the soundtrack for the indie videogame performance.” Vickers performed Britten in Saint Peters- Making It Home. Jiafeng Yan’s (DMA ’19) burg, Russia. During summer 2020, Vickers J. Michael Weiss-Holmes album Fantasia was recorded five Britten song cycles, two (MM ’06, DMA ’12) con- released June 2020 by the new works by Britten’s last musical assis- tinues as head of wood- Pacific Media label, one of tant, Colin Matthews (including a new winds and artist-teacher of the most reputable classical cycle in honor of the tenor’s father, John saxophone at the Chicago music labels in China. The Vickers), and commissioned American College of Performing Arts recording includes performances of cycles. at Roosevelt University. Recently, Weiss- Schubert’s Wanderer Fantasy, Op. 15; Brad Wallace (MM ’15) Holmes joined the Chicago Symphony Beethoven’s Op. 27 sonatas; Medtner’s was recently awarded the Orchestra under the direction of Music Sonata Reminiscenza, Op.38, No. 1; and 2020 St. Louis Suburban Director Riccardo Muti, on three tours Scriabin’s Étude, Op. 2, No. 1. Yan is a Music Educators Associa- during the 2019-20 season. In Nov., Muti faculty member of the University of St. tion’s Certificate of Merit. and the CSO performed two concerts in Francis (IL). His students have won numer- This award recognizes NY’s Carnegie Hall. In Jan., the CSO and ous competitions at the regional, state, teaching excellence and significant con- Muti embarked on a tour of Europe, with national, and international levels. Active tributions to music education. Brad has stops in Germany, Austria, Luxembourg, as a competition adjudicator, he served served as the director of bands at Parkway France, and Italy. Then in Feb., the CSO on the jury of the Mid-America Chinese West High School in Chesterfield, MO, and Muti gave concerts in Naples, Miami, Music Festival, the Chandler Starr Miller since 2015. and Sarasota, FL. Beyond his engagements Scholarship Competition, the National with the CSO, Weiss-Holmes presented Federation of Music Clubs Festival (Bloom- Noël Wan (DMA ’20) joined Western a featured master class at the North Ameri- ington District), and the Chambana Music University’s (ON) Don Wright Faculty of can Saxophone Alliance National Confer- Competition. Yan currently serves as presi- Music as an assistant professor of harp. ence; held the third annual Chicago dent of the Champaign-Urbana Music In Feb. 2020, she was harp soloist in a Saxophone Day; and, hosted the 2020 Teachers Association. performance of Gustav Holst’s Choral Virtual Saxophone Institute. Hymns from the Rig Veda by Western Ka-Wai Yu (DMA ’11) com- University’s Les Choristes. In May, she pleted his fifth year as assis- performed Luciano Berio’s Sequenza II in tant professor of music at a livestream concert of Berio’s complete Dixie State University (UT). Sequenze. He recently received a Faculty Research Grant to

36 sonorities student news

research music written or arranged for the violoncello piccolo, Ryan Beauchamp, a DMA candidate in viola performance, including commissions of two new compositions for this five- joined the Suzuki strings faculty at the Bermuda School of Music string baroque cello. The annual DSU Cello Festival that he in Hamilton, Bermuda, in Sept. 2019. He was previously on directs will feature the complete cello-piano works by Beethoven. the faculty at Renaissance Arts Academy in Los Angeles, CA, Chicago-based Ovation Press recently published his transcrip- as a postgraduate teaching fellow. tions of Haydn’s Cello Concerto in D Major and Allegretto Brendon Culloton, a senior music education student, received from Beethoven’s Symphony No. 7 for cello ensemble. In the 2020 Professional Achievement Award from the National response to the pandemic, Yu co-directed St. George Chamber Association for Music Education Collegiate division. Brendon Music Live, a livestreamed chamber series of six concerts that served as UIUC’s NAfME Collegiate Chapter president during benefited the Utah Food Bank this summer. Yu recently began the 2019–20 academic year. In Jan. 2020, Brendon presented his term serving as the Utah chapter president of the American a research project at ILMEA titled “Scratching, Beat Matching, String Teachers Association. and Phrase Catching: A DJing Workshop.” Bert Zhang (BA ’16) has been working as a user Ralph Lewis, a DMA candidate in music com- experience and service designer/researcher at position, spent fall 2019 at the University of Designit for the past two-plus years. He received Huddersfield (UK) on an Honor Society of Phi a postgraduate certificate in type design from Kappa Phi grant-funded research trip to further Letterform Archive in Dec. 2020. He is grateful study the music of Aaron Cassidy for his doctoral for how his experiences with the UI Black Chorus project. Recent events include cellist Stephen have blessed his participation with the music ministry at his Marotto’s performances of Can’t Take You Anywhere at SPLICE multicultural church. He is also thankful for the late Ginny and Slate Arts and Performance, and Elisabeth Stimpert and Uhlenhop’s (BME ’59) years of financial support for his and his her clarinet studio premiering MoxTube at MOXsonic. All Score fellow students’ music education. Urbana, the music composition community engagement Zhaoyu Zhang (MM ’15, DMA ’18) received workshop he founded, continued collaborating with Champaign- Residency Prix CIME at the 2019 International Urbana residents and Urbana High School Orchestras, receiving Electroacoustic Music Competition for his com- an Urbana Arts and Culture Grant, an Urbana Arts in the Schools position Inheritance. The competition was orga- Grant, and a CMS Fund Seed Grant. In fall 2020, Lewis will nized by the International Confederation of present his paper about the music of Rebecca Saunders at the Electroacoustic Music and took place in Krakow, College Music Society’s national conference, and will be Poland, Oct. 2019, during the annual assembly of the organi- composer-in-residence with the Oberlin Arts and Sciences zation. The competition received 143 compositions from dif- Orchestra/University of Rochester Orchestras. ferent countries, and was juried by eight established David Nguyen, a DMA candidate in composition, was awarded composers. second prize in the thirteenth International Competition of Audra Ziegel (MM ’08) was an invited guest artist Electroacoustic Composition for his piece Adumbrations. at the 2020 University of Virginia Flute Forum, Sponsored by the Destellos Foundation of Argentina, the annual where she presented a lecture titled “The Fearless competition garners over 100 entries from across the world, Freelancing Flutist.” She also performed at the and is judged by an international panel. 2020 Mid-Atlantic Flute Convention. The 2020 Mid-Atlantic Convention exclusively featured music written by women and Audra was honored to perform Lita Grier’s Sonata for Flute and Piano, accompanied by husband Aaron Ziegel on piano. Audra is adjunct faculty at St. Vincent Pallotti High School Arts Academy and The Music Space in Towson, MD. Audra maintains a large studio of private students in Baltimore.

2021 37 student news 2019–20 competition winners

Kate Neal Kinley Fellowship Timothy Bostwick (voice) Dongryul Lee (composition-theory) Krannert Debut Artist Saori Kataoka (trumpet) Paul Rolland Memorial String Award Undergraduate Division: Tae Hyoung (Tim) Lee Graduate Division: Chieh-An Yu Theodore Presser Award The University of Illinois Jazz Trombone Ensemble, directed Undergraduate Division: Matthew Reeder by Professor Jim Pugh, has once again won the prestigious Graduate Division: Kathleen McGowan American Trombone Workshop’s National Jazz Trombone Thomas J. Smith Scholarship Ensemble Competition. Sponsored annually by the United Stella Childs (violin) States Army Band, the American Trombone Workshop is one Sage Degand (saxophone) of the largest events for trombone in the world and takes place Caitlin Hennessy (voice) at Brucker Hall, Fort Myer, VA. This is the fifth time they have Tien-Hui Huang (piano) been so honored (2012, 2014, 2017, 2018, 2020), and along Mallory Klostermann (clarinet) with winning the Kai Winding Jazz Trombone Ensemble Com- Elizabeth Mattern (viola) petition (2012, 2017), makes them the most decorated group Ksenia Polyarskaya (flute) of its kind in the world. UISO Concerto Competition Ga Eun Kim (violin) Wan Lin (piano) Wilson Poffenberger (alto saxophone) Honorable Mention: Junhong Jiang (piano)

The Versa Quartet, comprised of graduate students Scott Augus- tine, Michael Chapa, Wilson Poffenberger, and Jack Thorpe, won first prize in the North American Saxophone Alliance Biennial Quartet Competition, held March 4–9, 2020, at Arizona State University. The Versa Quartet was featured in the NASA Com- petition winner’s concert on March 8, in Katzin Concert Hall.

38 sonorities in memoriam

Rita Steblin

Rita Steblin, who came to our university in 1974 and received a PhD in 1981, was born April 22, 1951, in Chilliwack, BC, “She made Canada, and died September 3, 2019, in Vienna, Austria. I came to know Rita when she took four of my seminars (on an important Renaissance music, Stravinsky, and 19th-century Vienna), and she soon impressed me and my colleagues as a highly intel- contribution ligent and notably hard-working student. Later she became my to our research assistant, happily for both of us; she was undoubtedly one of the best of my many assistants over the years. I encour- understanding of music-making in aged her to dig around independently, and her research was so one of the most significant centers of effective that she came up with large quantities of information related to my work, some of which I still consult to this day. the early 19th century.” She also took courses and seminars with Nicholas Temperley, Alexander Ringer and others, and wrote her dissertation on She left us this contribution in a body of publications con- key characteristics in the eighteenth and nineteenth centuries sisting of three books and 75 articles. The three books are with Ringer, who had great respect for her abilities. She was A History of Key Characteristics in the Eighteenth and Early also an excellent pianist and harpsichordist. Nineteenth Centuries (1983 and 2002), Die Unsinngesellschaft: When Rita left campus, around 1982–83, she returned to Franz Schubert, Leopold Kupelwieser und ihr Freundeskreis Vancouver, where she had taken her undergraduate degree, and (1998), and Beethoven in the Diaries of Johann Nepomuk where, not far away, her family lived, including five younger Chotek (2013). The 75 articles are enumerated by composer siblings. In Vancouver she continued her own research, which on Wikipedia, under “Steblin,” and by their numbers give a had begun to focus on Beethoven and Schubert, but before long strong sense of the composers who had been of primary inter- went to Vienna where the primary documents were. She came est to Rita, and those to whom she devoted lesser attention. back to Vancouver around 1988–89, but Vienna’s resources She posted all of them on Academia.edu, where each can be drew her to that city again in 1991, this time permanently, to read and downloaded. Beethoven: 21; Schubert: 37; Haydn live and work there for 28 years—until her tragic sudden death, and Mozart: 2 each; Handel, Paganini, Johann Strauss, and from a brain tumor. Weber: 1 each; other subjects: 9. It may be noted that some In Vienna, which she grew to love, Rita worked as an inde- of the articles are quite short, and some—for instance, on a pendent scholar, though unfortunately, for the greater part of Beethoven portrait, on the dedicatee of Beethoven’s Für Elise, those years she earned barely enough from odd commissions on Schubert’s putative homosexuality—elicited strong, lasting to provide for her daily needs. Only in the last years, thanks to dissent, against which she argued vehemently, though politely a bequest, did her life become a little easier. But it is clear that and in graceful prose. she was totally dedicated to biographical–archival research, Over the years, my wife (Susan Parisi) and I were at intervals and so set out from the beginning to find whatever evidence in touch with Rita, and it was a pleasure to see her again in was still extant, whether in documents, scores, portraits, build- person at the celebration of my retirement in Toronto in 2000, ings, or institutions, that would shed some light on the lives and in Vienna, when I lectured there in 2005, and we could and practices of the composers who interested her, beginning spend more time with her. Not only widely knowledgeable in with Beethoven and Schubert. Her findings did indeed shed her field and impressively literate, she was a gentle, caring, light, not only on the lives of these and other composers, but and sensitive person, whom we carry in our hearts. She will also on the social and cultural settings in which their music was be very much missed by all who knew her. created. In a word, she made an important contribution to our understanding of music-making in one of the most significant —Herbert Kellman, centers of the early 19th century. professor emeritus of musicology and medieval studies

2021 39 planned giving Giving Legacy Commitments Gifts in support of the School of Music (July 1, 2019–June 30, 2020) We would like to recognize the follow- ing 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, Linda Allen Anderson at 217-333-6453 or [email protected] Alan & Joyce Baltz Mary Jane Beasley Carol Berthold $100,000+ Stephen Blum IMAC Executive Ed Karrels David Bruns & Leigh Deusinger Paul Uhlenhop Judith Chastain Committee Continues Richard Clark & Andrea Durison-Clark $25,000–$99,999 Great Work Dale & Lucinda Cockrell Alan & Joyce Baltz Our Illinois Music Advancement Council Roger & Shirley Cunningham Carol Berthold Barbara McDonnell Curtis Executive Committee has done great Michael & Susan Haney Jerry & Cathy Ditto work to help the SoM and its advance- Kikuko Hilbun ment goals. In particular, the group John Wustman James & Candace Frame has helped make connections for new John Heath donors and has co-hosted events on $10,000–$24,999 Susan Hoeksema campus, such as our SoM Open House, Anonymous Donald Houpt & JoAnn Unsell Houpt Music Partners Luncheon, and the Kran- Jenny Lynd Corley Larry Houtz nert Center Lyric Theatre Student Excel- Jo Ellen DeVilbiss Stephen Husarik lence reception and concert. IMAC EC Martha & Craig Schiele Dulce Issa members are selected from our annual Michael & Pamela VanBlaricum Raymond & Lori Janevicius list of Music Partners* and serve 2-3-year Sarah Wigley Bruce Johnson terms. Thank you to our current execu- tive committee. If you are interested in $5,000–$9,999 Allen Kleinbeck Dean Langford learning more about this group and how Nicholas Carrera Randall Lindstrom & Justin Emery you can be involved, please contact Joseph Ceo Director of Advancement David Allen James Dixon & Kathleen Lockhart Lezlee Masson or Director Jeffrey Sposato. David Dungan & Mary Granato Dungan Michael McDonnell Maureen & Christopher Durack Sharon Michalove James Frame (’73 LAS), chair Ed Harvey & Cindy Capek Kathy & Ralph Pounds Shirley Soo (’74 BMUS, ’82 MBA), vice Paul Herman & Diane Musgrave chair Willodean Simon Stephen Husarik Lynd Corley (’59 BME, ’61 MM) Albert Staub Thomas Jewett Paul Herman (’74 LAS) Craig Sutter Ronald Johnson James Lowe & Erin Lowe David & Deborah Trotter *Donors of $1,000 or more annually to E. B. Philippson & Gail Durham Sharon West the School of Music Edward & Lois Rath

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