The King’s Heralds

Music at Walla Walla College

Early Advent Music And Ellen White

Winter/Spring 2007 President’s Message hand or at the piano and assisted by us have not been moved by the message the Andrews University Symphony in his enduring hymn We Have this Orchestra under the direction of Dr. Hope? His passing in February of this Claudio Gonzales, and Marc Elysee, year deepens our longing for the Lord’s Assistant Director, gave us magnificent soon return. beauty in concertos for the violin, cello, There is more in this issue that is clarinet, and the piano by composers so special and of great interest. Early Henri Wieniawski, Edward Elgar, hymns sung by members as the Seventh- Carl Maria von Weber, Ludwig van day Adventist Church developed in Beethoven, and Johannes Brahms. These the Northeast and spread to the West were young people from Bolivia, Japan, catch our interest and attention. It is South Korea, Romania, and Tennessee, fascinating to know which hymns were all students from around the world who sung in the early days of our church’s had come to continue the development history, in the 19th Century, and then, as th Elsie Landon Buck of their musical talent. The results of the years went by, into the 20 century. their achievements were evident in the In these pages of NOTES, we also How often does one sit in the audience brilliant performance we had just heard. learn more of our musical history in where a musical concert has just taken I am continually amazed and the continuing series on music at our place, totally captured by the immense deeply grateful to students and teachers Adventist colleges and universities, and beauty of what has been performed, alike who pursue challenges and reach the story of how the King’s Heralds hesitant to leave—indeed, spellbound? heights of accomplishment that are truly started and evolved to today’s group. Only a few days ago, in the Howard significant and outstanding. And as we And we continue to keep in touch with Performing Arts Center on the campus consider great men and women of the the work of young artists, professors, of Andrews University, this happened recent and distant past in our church church musicians and other aspects of to many of us. Five young artists had who have given all of us so much to music in all areas of our worldwide just performed with the orchestra with treasure and remember, we think of church. such depth of interpretation, skill with Wayne Hooper, one our musical giants May God be with all who with their their instruments, and sensitivity for in the past century. We remember his dedication to quality in music give of each passage of the music that we were legacy as a singer in the King’s Heralds, their best for Him and for our church. transported by the transcendent beauty his guidance at an important time for of what we had heard. that group, and the inspiration he It was at an afternoon concert provided through his hymn Elsie L. Buck that these five young people, each arrangements, work with the church performing with their instrument in hymnal, and his compositions. Who of CONTENTS President’s Message 2 Music in Turkey 20 The King’s Heralds 3 News 22 An Unutterable Sense of Glory 6 Personal Notes 23 Music at Walla Walla College 8 Photo Gallery 26 Melvin K. West 19

IAMA LOGO IAMA’s logo, created in a few seconds with the quick movements of a writer’s quill, is a cluster of notes from Beethoven’s sketchings for his Ninth Symphony.

 The King’s Heralds: Don Scroggs, tenor; Russell Hospedales, baritone; Joel Borg, lead; and Jeff Perles, bass The King’s Heralds Eighty years ago three brothers and a friend joined voices to form a quartet to sing gospel music at what is now Southwestern Adventist University, naming themselves The Lone Star Four. Within a decade they were hired by young evangelist H.M.S. Richards to assist in a radio broadcast called Tabernacle of the Air. A year later the program was renamed The Voice of Prophecy, and the quartet became The King’s Heralds. After the program became a national broadcast, Richards and the quartet became a popular part of Adventist identity, one that continued throughout the 1950s and 1960s. In 1982, the quartet left the program and became the Heralds. They are now again known as The King’s Heralds.

ittle did the three Prophecy radio broadcast as The be replaced by Wayne Hooper. Turner Crane brothers, Waldo, King’s Heralds, part of what would would continue as a member until 1947. Wesley, and Louis, grow to be one of the most successful and friend Ray Turner national and international religious here would be a number Lrealize what they were starting when, broadcasts of the 20th century. of changes in personnel as college students in Texas, they By the time of the program’s first T all through the 1940s, made those initial attempts at harmony national broadcast in January 1942, some brought about by an attempt by in 1928 and named themselves The four weeks after the attack on Pearl church leaders in Washington, D.C., Lone Star Four. Within a decade Harbor, Waldo and Louis Crane had left who, responding to pressure from they were singing on The Voice of the quartet. A year later, Wesley left, to trained musicians who wanted a more

 sophisticated level of music in the them to travel over 12,000 miles a Jim Teel, in the summer of 1982. Teel broadcast, hired George Greer to work summer. It was a grueling schedule with and the quartet immediately formed with the quartet. When both Richards long drives over the road, last minute an independent ministry called The and the quartet resisted Greer’s efforts, arrivals when delays occurred along the Heralds’ Ministries. The quartet, now church leaders in Washington released way, constant performing, and extended named The Heralds, began to function three members of the quartet in early visiting after the meetings. on its own, inviting Teel to assist as a 1947 and made an attempt to replace Seamount was the first to leave keyboard artist and arranger. Richards. the Hooper quartet, to be replaced Finally, in the middle hey began of that year, the situation performing became untenable and T extensively in Greer left, to be replaced the U.S. and internationally by Lon Metcalfe. Again, on Christian television and there were clashes and, in in concerts at churches of 1949, Metcalfe also left. many denominations. They also visited hospitals and ooper, prisons on a regular basis. who had It was not an easy H been one transition. Jerry Patton, of the three released in one of the quartet 1947, had just completed members who had already a music degree at Union been with the King’s College. He was invited Heralds for 15 years, to return to the VOP and The 1949-1961 King’s Heralds quartet with Voice of Profecy speakers E.R. would continue with the agreed to do so with the Walde and H.M.S. Richards. Left to right: Jerry Dill, E.R. Walde, new group for another Bob Seamount, Wayne Hooper, H.M.S. Richards and Bob Edwards understanding that he 22 years, a record length could form a new quartet and have with John Thurber in 1961. The of service for any quartet member control over what it sang. following year Hooper and Dill left, in its eighty years of existence. He Hooper brought back Bob replaced by Jack Veazey, baritone, later talked about the challenges Seamount, who had also been released and Jim McClintock, bass. These new they encountered as they established in 1947, to sing second tenor, retained members, along with Edwards, would themselves as an independent entity. Bob Edwards as first tenor, moved Jerry sing together as a highly regarded It was an experience that tested his Dill from baritone to bass, and placed group for the next five years. faith and, in the end, made him grow himself as baritone. The new quartet, stronger spiritually. Jim Ayars, another with its unique blend of voices, would y the end of their time quartet member who sang during the sing together for the next 12 years. together in the late 1960s, transition, would also observe that Their choices in music, along with Bradio audiences were those first few years were challenging recent breakthroughs in sound recording dwindling as more people tuned in as they sought to establish a ministry and reproduction would define The to television. By the beginning of the that broadened to include other King’s Herald sound for millions of 1980s, radio evangelism was relying on venues outside the Adventist circle of listeners. The advent of records and short two-, five-, or 15-minute programs churches and institutions. stereo enabled the quartet to release that focused more on the message and In it first seven years, the quartet quality records that Adventists and VOP less on music. Also, during those years, expanded its repertoire to include a mix listeners eagerly purchased. musical tastes of the radio audience of contemporary favorites, traditional were changing to a preference for more hymns, and spirituals. They also always hrough the years, the contemporary music. included something for the children. quartet traveled literally These changes as well as the The group began to win Angel Awards T thousands of miles, salaries and travel expense associated for the excellence of their recordings, particularly during the camp meeting with a music group, led to the release plus one for their 15-minute radio season, when it was not unusual for of the quartet and its accompanist, broadcast, Sounds of Praise. The  program, created for use by local n 2003, they reclaimed favorite with audiences of all ages and pastors, was written and produced by The King’s Heralds name social strata. Teel. I when the VOP failed to The tradition in blend, harmony, renew its copyright in a timely way. It and balance in the quartet’s a cappella n 1985, they traveled to was a controversial move, yet one that singing style, a distinctive sound since China as part of a cultural prevailed in spite of a challenge from 1949, has been enjoyed by millions I exchange program with the VOP. in the United States and over 50 the U.S., the first Christian group to The Heralds, now again the King’s countries, including the islands of the do so. Since 2003, they have traveled Heralds, have continued to receive Caribbean, all of Latin America, the annually to Africa to present both Angel Awards for their work. Over the South Pacific, Australia, Asia, and music and evangelistic sermons under years, the quartet has earned a total Africa. They have sung for heads of the auspices of Global Evangelism. of twenty-three Silver Angel Awards state, governors, ambassadors and As an independent ministry, they for “Excellence in Media,” including other dignitaries, as well as for those have had numerous opportunities to six for “Best Male Vocal Group,” and in the humblest walks of life. perform for other Christian groups, fourteen for “Best Album.” The group As they celebrate their 80th year including the Christian Booksellers received a “Gold” Angel Award in of ministry and look to the future, they Association, the National Association 1992 for being the oldest continuous are anxious to continue and build on of Religious Broadcasters, the Gospel Quartet in America. the rich heritage in Christian witness Protestant Health and Welfare Today the King’s Heralds they have inherited from past members Association, the Greater Pittsburgh maintain an active concert schedule of the quartet. Charismatic Conference and the doing five-week tours and performing Dan Shultz Baptist World Alliance. They also 40 weekends a year. In a typical year continue to perform for meetings they give 175 concerts. Sources scheduled by the Adventist church. The quartet appears regularly ncluding the Heralds Robert E. Edwards, H.M.S. Richards, on “Praise the Lord” on the Trinity years, twenty-nine men 1998, Review and Herald Association. King’s Heralds Website Broadcasting Network and on “It Is have sung in the quartet I Interviews/conversations: Wayne Hooper, Written.” Additionally, they have since its founding 80 years ago. They 10, 14 February 2005; Jim Teel, and continued to sing for patients and their have recorded over 100 albums in Jim Ayars, February 2005. Jerry Patton, families in hospitals and witness to thirty different languages in a variety February 2005, 3 April 2007. inmates with their prison ministry. of musical styles, making them a

Singers in the King’s Heralds and The Heralds Biographies for the following quartet members and accompanists/arrangers can be found at www.iamaonline.com

Elwyn Ardourel Jerry Dill Don Scroggs Al Avilla Robert Edwards Bob Seamount Jim Ayars Ben Glanzer Vernon Stewart Joel Borg Wayne Hooper Calvin Taylor Brad Braley Russell Hopesdales Jim Teel George Casebeer Jim McClintock John Thurber Louis Crane Joe Melashanko Beth Thurston Waldo Crane Jerry Patton Ray Turner Wesley Crane Jeff Pearles Jack Veazey

 An Unutterable Sense of Glory Stanley D. Hickerson

ome years ago, a visitor to refined tastes that Himes acknowledged. animated singing of the new Second- advent hymns, accompanied by the Ellen White’s last residence, James kept powerful memories of those Spirit of the living God, sent such Elmshaven, asked, Did Sister times. Advent singing certainly inspired him. An experience from 1842 riveted thrills through the camp, that many White ever sing? Indeed 4 S itself in his mind: were shouting aloud for joy. she did! In fact music was an integral part of the early Adventist experience. In October, 1842, an Advent camp- ut singing was not reserved Adventism’s music took shape in the meeting was held in Exeter, Me., just for public meetings. John tension between the old singing-schools which I attended. The meeting was Loughborough remembered, of the Revolutionary War period and large, tents numerous, preaching B as a young man, hearing Ellen the “better music” movement of Lowell clear and powerful, and the singing of White going about her common Mason and his cohorts. Second-Advent melodies possessed a power such as I never before wit- household tasks singing.5 Ernest Lloyd In his preface to the 1843 nessed in sacred songs.2 remembered her singing as she took Millennial Harp, Joshua V. Himes her morning carriage rides in the fresh addressed this tension: After relating the story of a meeting air during her later years.6 he commenced in Litchfield Plains We are aware of the difficulty of suit- As she led out in family worship, by singing You will see your Lord a- ing the taste of all classes in musical both morning and evening, she would coming, White made these comments: and devotional compositions; the read a chapter from the Bible, sing a few greatest possible diversity for this The reader certainly cannot see poetic verses of a hymn, kneel for prayer, then purpose, which is consistent with the merit in the repetition of these simple sing for one-half hour.7 Such worship nature of the work in which we are lines. And if he has never heard the engaged, must therefore be allowed. experiences were not limited to the sweet melody to which they were at- conveniences of home. She along with Some of our hymns, which might be tached, he will be at a loss to see how objected to by the more grave and her “family” of workers would sing even one voice could employ them so as to 8 intellectual, and to which we ourselves hold nearly a thousand persons in al- while on public transportation. have never felt any great partiality, most breathless silence. But it is a fact have been the means of reaching, for that there was in those days a power in llen had heard the angels sing, good, the hearts of those who, prob- what was called Advent singing, such and those experiences became her ably, would not otherwise have been as was felt in no other. It seemed to Ebenchmark for singing here. One affected; and, as our object, like that of me that not a hand or foot moved in all warm summer evening, while attending the Apostle, is to save men, we should the crowd before me till I had finished prayer meeting at the Rural Health not hesitate to use all means lawful, all the words of this lengthy melody. that may promise to “save some.” 1 Retreat, now St. Helena Hospital Many wept, and the state of feeling and Center for Health, she made an was most favorable for the introduction Himes, who lived in a prosperous interesting comment. The congregation of the grave subject for the evening.3 seaport city, only thinly veiled his stood and began to sing a hymn she had personal preferences, but generously The lively singing didn’t always selected. They sang listlessly and the made room for those with less refined produce “breathless silence.” Joseph hymn dragged on monotonously. Ellen tastes. Bates, in his autobiography remembered White held up her hand and ordered all James White, on the other hand, was one early Advent camp meeting: to stop and then observed: raised in a rural environment and was On Sunday, it was judged that there I have heard the angels sing. They do personally involved in the older singing- were ten thousand people in the not sing as you are singing tonight. school genre of music. The spirited camp. The clear, weighty and solemn They sing with reverence, with mean- singing he experienced and in which preaching of the second coming of ing. Their hearts are in their expres- he led out, probably reflected the less Christ, and the fervent prayers and sions of song. Now, let us try again  and see if we can put our hearts into I was surrounded by a bright cloud, and keep His commandments and the singing of this song.9 white as snow, the edges of which were are faithful to the end will enjoy this tinged with a deep pink. The softest, glory and ever be in the presence of The congregation began again, sweetest music was filling the air, and I Jesus and sing with the holy angels.”12 and sang with expression and feeling. recognized the music as the singing of Indeed, poor singing was painful to the the angels. Then a Voice spoke to me, experience of one who had heard the Stanley Hickerson is pastor of the saying: “Fear not; I am your Saviour. Stevensville, Michigan, SDA church. He angels sing. In 1882 she shared this Holy angels are all about you.” also serves as an adjunct professor in personal frustration, observing, “Then this is heaven,” I said, “and the Department of Religion and Biblical now I can be at rest. I shall have no Languages at Andrews University. We should endeavor in our songs of more messages to bear, no more mis- A member of the board of Adventist praise to approach as nearly as pos- representations to endure. Everything Heritage Ministries, Hickerson serves sible to the harmony of the heavenly as its historical consultant. He has been choirs. I have often been pained to hear researching Adventist music and architecture untrained voices, pitched to the highest John Loughborough since 1966. key, literally shrieking the sacred remembered, as a young man, He began his ministry in 1974, following completion of a B.A. at Pacific Union College words of some hymn of praise. hearing Ellen White going about her How inappropriate those sharp, and then served in both the Northern and rasping voices for the solemn, common household tasks singing. Ernest Southern California Conferences. He completed an M.Div. at AU in 1977. joyous worship of God. Lloyd remembered her singing as she I long to stop my ears, or took her morning carriage rides For additional stories of early Advent music, flee from the place, and I rejoice see Nix, James R., Early Advent Singing, 10 in the fresh air during when the painful exercise is ended. her later years. Hagerstown, MD: Review and Herald Publishing Association, 1994. will be easy now, and I shall enjoy he sense of glory must have been 1 peace and rest. Oh, what inexpressible Himes, Joshua V., Millennial Harp, (Boston: especially powerful on those Published at 14 Devonshire Street, 1843), p. 2. peace fills my soul! Is this indeed heav- occasions when Ellen heard the 2 White, James, Life Incidents, (Battle Creek, T en? Am I one of God’s little children? angels sing. Late in her life she had the Michigan: Steam Press of the Seventh-day Adventist and shall I always have this peace?” Publishing Association, 1868), p. 72, 73. following experience one night: The Voice replied: “Your work is 3 Ibid, p. 94, 95. I was suffering with rheumatism in not yet done.”11 4 Bates, Joseph, The Autobiography of Elder Joseph my left side and could get no rest Bates, (Battle Creek, Michigan: Steam Press of the Seventh-day Adventist Publishing Association, because of the pain. I turned from s a teenager, Ellen experienced, 1868), p. 265 side to side, trying to find ease from 5 in a vision, the glory of singing Spicer, William A. “The Spirit of Prophecy in the the suffering. There was a pain in my Advent Movement No. 1.” Review and Herald, Vol., heart that portended no good for me. Awith the angels. She described No. 1 115 (6 January 1938): 6. At last I fell asleep. it this way: 6 Lloyd, Ernest, “Did She Ever Sing?,” Review and About half past nine I attempted to Herald, Vol. 136, No. 32 (6 August 1959): 32. Then I was pointed to the glory of 7 turn myself, and as I did so, I became White, Arthur L., The Lonely Years, (Hagerstown, heaven, to the treasure laid up for MD: Review and Herald Publishing Association, aware that my body was entirely free the faithful. Everything was lovely 1984), pp. 378. from pain. As I turned from side to and glorious. The angels would sing 8 White, Arthur L., The Progressive Years, side, and moved my hands, I experi- a lovely song, then they would cease (Hagerstown, (MD: Review and Herald Publishing enced an extraordinary freedom and singing and take their crowns from Association, 1986), pp. 292, 293. lightness that I cannot describe. The their heads and cast them glittering at 9 White, Arthur L., The Lonely Years, (Hagerstown, room was filled with light, a most beau- the feet of the lovely Jesus, and with MD: Review and Herald Publishing Association, tiful, soft, azure light, and I seemed to 1984), p. 384. As told to the author by A. P. Guyton, melodious voices cry, “Glory, Allelu- a Longtime painter at the Sanitarium, who was be in the arms of heavenly beings. ia!” I joined with them in their songs present. This peculiar light I have expe- of praise and honor to the Lamb, 10 White, Ellen G., “The Schools of the Prophets,” rienced in the past in times of special and every time I opened my mouth Signs of the Times, Vol. 8, No. 24, (22 June 1882). blessing, but this time it was more to praise Him, I felt an unutterable 11 White, Ellen G., Testimonies for the Church Vol. 9, distinct, more impressive, and I felt sense of the glory that surrounded me. (Mountain View, California: Pacific Press Publishing such peace, peace so full and abundant Association, 1948), pp. 65, 66 It was a far more, an exceeding and 12 no words can express it. I raised myself White, Ellen G., Early Writings, (Washington, eternal weight of glory. Said the an- D. C.: Review and Herald Publishing Association, into a sitting posture, and I saw that gel, “The little remnant who love God 1938). p. 66.  Music at Walla Walla College Walla Walla College, second Adventist college to be started on the West Coast, from the beginning carried the name it has retained until now. Although most of its students were initially elementary and high school students, by the turn of the century it was offering four-year courses which would be equivalent to today’s junior college programs. One of the first of the Adventist colleges to offer a fully accredited four-year college program, it now offers both undergraduate and graduate degrees. It will officially become known as Walla Walla University this fall.

hen Walla Walla of its founding there were only three day Adventists when they were College opened its public four-year high schools in the visiting in San Francisco in 1868. doors on December 7, state and one in each of the adjoining Upon returning to Walla Walla, W 1892, just three years states of Idaho and Oregon.1 they led out in efforts to share their after Washington officially become religion and, in 1874, organized a state, it was one of fewer than a rom the opening of school on that the first Adventist church in the half-dozen colleges in the region. Fcold December day, when 101 Northwest.2 Its location in the southeast corner students and six teachers gathered in of the state, three miles from Walla an unheated chapel, music teacher ood, with her musical Walla, frontier capital of the state, was Caroline Wood was present, leading Wbackground and identity as a controversial, with some wanting to the singing with a clear soprano voice. founder of the church in the region, locate the college in Milton, Oregon, Wood, who had come to the region in was a natural choice to teach music ten miles away, or in Spokane, 1859 at the age of 19 with her family at the new college. She taught Washington. in a caravan of oxen- and cow-driven voice, piano, and reed organ for two However, once the location wagons, had become known as the years, before leaving because of her had been decided by the General “Jenny Lind of the West,” because of husband’s ongoing medical problems. Conference in 1891, believers in her remarkable voice and its extended Carrie Hill, a graduate from the Northwest united to construct a range. Although she had nine children a music conservatory in Kansas, commanding four-story brick structure and her husband was in ill health, she followed Wood. She organized the with a bell tower that could be seen sang frequently, and in her lifetime first choirs and in her four years at the from Walla Walla. Like many of the sang for two U.S. presidents when college created a diploma course in colleges in the Northwest, it offered they visited the Northwest. Sacred Music. In 1898, at the end of courses for elementary, high school, Raised as Seventh-day Baptists, her last year, seven students graduated and college students, since at the time she and her husband became Seventh- from that program.3 Caroline (Carrie) Maxson Wood When Carrie Wood arrived in the Walla Walla attended meetings by John Loughborough and Valley in 1859, her family brought with them joined the church. a melodian, thought to be the first musical By the time Walla Walla College opened instrument in the region. Shortly after their in 1892, Wood was 52. During its construction arrival, her father ordered a Hallet Davis piano she and her family spent their first nights from Boston, which was shipped by boat down sleeping in the construction workers’ shed. the coasts of North and South America, up to When the first day of school began, Wood’s Portland, and then inland by river. twelve- and ten-year old daughters, Grace and Within a year of its arrival, however, the Edith, were among the 101 students present. piano had to be sold to finance a trip to San Ten years later, Grace would become the music Francisco, where it was hoped Wood’s husband teacher and the most influential person in the could regain his health. While there, they music program for the next two decades.

 hile enrollment and financial the use of brass in church were firsts in Grace Reith as director of music in Wproblems plagued the school in the five Adventist colleges at that time. 1906. Gerritson, who had come from its first ten years, the importance of Chicago without his family because music was never questioned, probably iller followed Hill as music his wife had refused to move, was because of the role it had played from Mteacher in 1898 and taught for unable to adjust to life on his own and the start of the school. four years before his health broke from the food in the cafeteria.8 He became In addition to the voice and overwork. At that time, the college, controversial when the band declared keyboard lessons that had been offered facing severe challenges and the its independence from the college in from the beginning and the formation possibility of becoming an academy, 1907. He left the following year. of choirs in the third year, a student, took several initiatives to make its Cady had served as president George W. Miller, had started a offerings more attractive, one being the of Healdsburg College, forerunner popular cornet band at the end of the establishment of a School of Music that of today’s Pacific Union College, college’s first year. Although the band offered three and five-year programs. before coming to WWC. He had been played only marches and similar types Carrie Wood’s daughter, Grace Wood impressed with the work of George of music, the college faculty viewed McNabb, a graduate of nearby Whitman B. Miller, an organist who had led the group with concern and their College Conservatory of Music and an the music program at that school, and rehearsals as a frivolous use of time.4 acclaimed singer, was hired. invited him to lead the program at This was particularly true of Ernest A. At the end of her first year, she WWC.9 Miller immediately defused Sutherland, the college’s president,5 requested a raise from $50 to $75 a the band controversy by bringing back who viewed brass instruments with month, more than the president of the George W. Miller to lead the group. In distrust and felt strongly that they and college was being paid. The board, his three years as department head, he sacred music were not compatible. not wanting to lose her, acquiesced, to built the college’s first pipe organ, with His attitude is best illustrated by the chagrin of both the president and assistance from the carpentry class.10 an incident that occurred in the spring faculty. This awkward arrangement of 1894. Miller was in his room on the continued for two more years until a race Wood Reith returned to fourth floor of the dormitory, a wing new president, Marion Cady, arrived Gthe area in 1912, a year after of the college building, on a Sabbath and adjusted salaries so that he was George B. Miller left. When asked afternoon when, for want of something making $4 more than she was. to lead the music program again, she to do, he took out his cornet and started During her second year, McNabb demanded her old salary of $75, but, playing Nearer My God to Thee. His had become aware that her husband in the end accepted $65, when the window was open and the sound could had been previously married and never board satisfied other conditions, one of be heard all over campus. divorced. She divorced him and offered which was to hire Gertrude Shaffer to Sutherland ran up the steps her resignation to the board. It responded teach keyboard and voice. The school to Miller’s room and pounded on with a unanimous vote of confidence. purchased its first grand piano, a ten- the door. When Miller opened it, She continued to lead the program foot Chickering, that autumn. Sutherland, irate and out of breath, told until the spring of 1906, when she Reith led the department for the next him, “I never want to hear you playing married a student, John Reith, who had six years, a period of unusual growth that thing again on the Sabbath!”6 graduated from WWC a year earlier. for both the school and music program. At that time, the only instrument She left with him as he continued his For three of those years, Lloyd E. Biggs, considered appropriate for church study to be a physician.7 a theology student and violinist, taught services and the playing of sacred strings. In 1913, he became the first uring Cady’s five years as music was the reed organ. Miller was person from WWC to join the Walla president, he was determined determined to change these feelings. D Walla Symphony, an organization that to improve the academic status of Shortly after this incident, he had started six years earlier. the college and established four-year presented an essay to the faculty In her final year as chair, Reith college courses. Although music was with evidence from the Bible and the was assisted by three full-time one of the first four-year programs to writings of Ellen White that challenged teachers, including Estelle Kiehnoff, be established, a B.A. music degree these views. He prevailed and, in 1895, a singer with a degree from the would not be awarded until 1916. the faculty allowed his brass quartet to University of Nebraska; Margaret Gerard Gerritson followed play for church services. The band and Holden, an accomplished organist who  had graduated from WWC in 1914 piano, which was being taught by the program for the next three years, the with a diploma and in 1916 with the Brown sisters, Vivian and Frances, and last two during a time of economic first B.A in music; and William Morey, Kathryn Foster Meeker. Most of the uncertainty for the country and school. choir director, as well as voice, and music diplomas awarded during this Within two years after his leaving theory teacher. time were in piano. in 1931, the music faculty dropped from six to two. It was a demoralizing olden became chair when Reith n 1927, Christopher Johnson, a situation that would continue until the Hleft in 1918. In her two years in Iminister in Portland, Oregon, offered school’s fortunes improved midway that position, a complete change in WWC $7,000 for the construction of through that decade. faculty happened, with experienced a music building if additional funding teachers being replaced by talented but could be obtained. The conference uth Havstad, an outstanding inexperienced persons. donated $2,000 and the students raised Rvoice teacher and choir director Blythe Owen, a precocious pianist, over $3,500 with the slogan “Money at Southern California Junior College, was hired in 1919 at age 20 and taught talks; teach yours to sing.” Another now La Sierra University, became for the next four years. Pearl Job, a $3,700 was donated to purchase 2 choir director in 1932. She quickly coloratura soprano with remarkable grand and 13 upright pianos. established a reputation as a gifted singer range and power who had studied in The new facility, a brick building and continued the a cappella choir that Europe and had been attending WWC with a 150-seat recital hall, classroom, Metcalfe had started. She served as head at the urging of her mother, had joined 5 studios, and 10 practice rooms, was of the music program during her first the church and started to teach voice the pride of the campus. Inspired by two years, until Victor Johnson returned when Holden became chair. She taught the success of this project, the students to the campus in 1934.13 for two years before marrying Titus raised another $1,000 for a nine-rank, Kurtichanov and going with him as a two-manual Reuter pipe organ, the first ohnson had been successful during missionary to Russia in 1920. real organ at WWC, for the church. It Jhis six years in Washington, D.C. Her departure, coupled with was dedicated in October 1929 with Though his primary purpose for going Holden’s unwillingness to continue a concert by former teacher Margaret there was to complete a degree in music, as chair, created a dilemma for the Holden Rippey.12 he ended up chairing the music area, department. Desperate, the college touring extensively with his glee clubs, president telegraphed Reith, who was hen Walin left the college and conducting a band and orchestra at in England with her husband preparing Win 1927, Reith again led WMC and the Review and Herald.14 for mission service to Africa, to return department during the following year. Johnson returned with a new to teach voice and calm the department. At the end of that year she requested found confidence, inspired by She consented, and then rejoined her part-time work and recommended that completion of a music degree and his husband at the end of that school year.11 Victor Johnson, a violinist and string success at WMC. He was appointed teacher who had been teaching in the chair, assumed direction of the college eith returned to teach five years program since 1921, be chair. orchestra, gave lessons, taught a Rlater, when the family returned When he unexpectedly left for number of classes, and organized an from mission service. In the years a position at Washington Missionary oratorio chorus in the community. He since her emergency one-year return, College, now Columbia Union College, also accepted an invitation to conduct college-age enrollment had increased that summer, the president, unable to the Walla Walla Symphony. more than three-fold. find a replacement for Reith, asked While the opening years of the The music program, which had been her once again to resume leadership. 1930’s had hurt enrollment and the led by choir director Gladys Manchester Although she consented, she stepped operation of the college, by the time Walin since 1923, was now firmly aside that fall when it became apparent of Johnson’s return both the local established as a collegiate program, that the choir director, Lon Metcalfe, was symphony and music department were located in a large house near the original willing and able to lead the department. rebounding from the effects of the 1892 school building. Its ensembles were Reith retired two years later. Great Depression. In the fall of 1934, popular and a third of the student body WWC had the largest enrollment of was taking music lessons. etcalfe, a well-known singer any Adventist college. Many of those lessons were in Mand choir director in the East In 1935, the college hired Stanley and Midwest, led the choirs and music 10 Walker, a young pianist and organist to Gernet was the first music teacher colleges and universities across the perform, give lessons, and teach theory. at WWC to have a doctorate in music. country. By the end of the decade, Both Johnson and Walker were added Although he left in 1945 to chair WWC had over 1300 students. faculty who, working with Havstad, the music program at Pacific Union This increase in size was Edna Smith Cubely, a pianist who had College, he would return six years later accompanied by a change in the started teaching at WWC in 1931, and and teach at WWC for eleven more atmosphere on the campus when Louis Thorpe, a part-time music teacher, years, until 1962.17 veterans refused to live under restrictions started to rebuild the department. that had been in place for years. The y the end of the 1930’s the school resulting changes would dramatically rom 1928 until 1936, Thorpe, Bhad fully recovered from the effects affect the campus and higher education Fprincipal of the academy and of the Great Depression. In that decade for the rest of the century. head of the education department, WWC had also achieved accreditation directed the college band and, when for its college offerings, one of the first wo new music teachers, Virginia needed, the college orchestra. He Adventist colleges to do so. TGene Shankel, a young violinist, was an accomplished woodwind In spite of a devastating and Harold Mitzlefelt, an experienced player and conductor who had played theological controversy in February ensemble conductor, came to the professionally in Chicago and under 1938 that cost the college a highly college in the fall of 1945. John Philip Sousa during World War respected president and several In her year at the college, Shankel I. The first teacher at WWC to have a teachers18, it had a record enrollment soloed with the Walla Walla Symphony doctoral degree, he was a charismatic when the next school year started, and premiered an oratorio she had person whose band concerts were again the largest in Adventist colleges. written. Mitzlefelt’s leadership of the highlights of campus life. ensembles resulted in a band of 75, the When Thorpe left in 1936 to n December 7, 1941, John T. largest yet, and an orchestra that grew teach at the University of Southern OHamilton, in his first year as to over 50 by the end of his second and California15, Johnson added direction voice teacher, was featured soloist last year at WWC. of the band to what was already an for a concert given by the Walla When both Shankel and John T. overload, with disastrous results. By Walla Symphony. By the time of that Hamilton left in the summer of 1946, December, he fell ill and had to give up Sunday afternoon program, news of Julian Lobsien, a violinist and teacher leadership of the local symphony and the Japanese attack on Pearl Harbor in in a nearby academy, was hired to make other adjustments in his load.16 the Hawaiian Islands earlier that day replace Shankel. Stanley Walker, who was creating fear across the country, had become chair in the fall of 1945, arry Hadley Schyde followed and panic on the West Coast. The conducted the choirs on an interim HHavstad as choir director when immediate entry by the U.S. into World basis for one year.19 she married and left in 1937. Known War II following this attack affected for his contagious smile and outgoing every aspect of life in the country. y the end of Walker’s first two personality, he had a resonant bass voice The immediate effect for WWC Byears as chair, he had presided over and had been a popular singer in New was a shift in gender balance when the a complete change in music faculty York City and on Boston area radio ratio of men to women at one point and a doubling in size of the music programs. He conducted for three years decreased to one in four. In spite of program. Thelma Johnson and Janet before leaving for graduate study. Two the decline in enrollment during the Miller, pianists, and Clarence Dortch, years later, John T. Hamilton assumed war years and a decrease in men, the an experienced choir director, were direction of the choral program. music department and its ensembles part of that two-year transition. Dortch, Sterling Gernet had also came to flourished. The school’s celebration who would do only sacred choral the campus in 1937 to teach piano, of its 50th anniversary on December 7, music, spent the last nine years of his woodwinds, and music theory. He was 1942, which coincided with the first career at WWC, where he was known known for his incessant practicing and anniversary of Pearl Harbor, was a affectionately as “Fessor of Professors.” an extended memorized repertoire that subdued chapel service. Janet Miller was hired in 1947 to included 11 concertos, the 24 preludes be the primary piano teacher, joining from Chopin’s Opus 28, and numerous he return of veterans in the fall Thelma Johnson, who had been hired a other works. Tof 1945 swelled enrollment at year earlier as she graduated, to teach

11 piano after Gernet had left. A year after gifted organist and teacher. A pipe organ average age of the music faculty by Johnson married Dick McCoy in 1950 for the music building, a condition for 1967 was barely over 30. and left, Gernet returned. During the his coming, was installed early that fall. Lloyd Leno, the first of several next 11 years, Florence Clarambeau, After he had assessed the faculty to be added under West, was Morris Taylor, and Richard Randolf curriculum, needs of the department, and hired in 1960. A 1948 WWC graduate, would assist in teaching piano. the condition of the 40-year old facility, he had since taught at two academies he realized that changes had to be made. and directed the band at Union College wo years after Mitzelfelt left, By the end of his first year, he had for the previous 7 years. He would TClarence Trubey was hired to worked with the faculty in drastically direct the band for 16 of his 25 years direct the band. When orchestra revising the curriculum and expectations at WWC and form a large brass choir director Lobsien left three years later, for students, acquired a new grand piano that traveled to Europe three times Melvin Johnson, a talented violinist, and harpsichord, and started lobbying under the auspices of Friendship assumed direction of the orchestra for installation of a pipe, rather than an Ambassadors. for the next four years. When both electronic organ for a campus church Leno also organized a college- Trubey and Johnson left in 1955, John that was soon to be built. sponsored music festival in 1963 that J. Hafner, who had been teaching The church was the first in a continues to the present. When he at Pacific Union College, assumed series of new buildings in the 1960’s completed a doctorate in 1970, his leadership of both ensembles. that would transform the campus. dissertation on brass playing gained Melvin W. Davis succeeded By the middle of that decade, the national recognition. Dortch as choir director in 1956. He music conservatory building had Blythe Owen, who had started immediately expanded the choir’s been demolished and a new Fine her career 42 years earlier at WWC, repertoire to include secular music and Arts facility, the first in a series of returned in 1961 to teach piano, theory, formed a select 24-member College large comprehensive music facilities and composition. In those intervening Chorale, showcasing them in programs in Adventist colleges, was being years, she had completed a Ph.D. in that delighted the campus. The group’s constructed at that site. composition at Eastman School of final performance in his first year was When completed, the building, Music and gained national recognition given four encores.20 with its 27 practice rooms, 2 as a composer. Four years later, at age classrooms, 2 rehearsal rooms, 65, she went to Andrews University, n 1959, Walker accepted an invitation 10 teaching studios and 300-seat where she taught until age 82. Ito chair the music department at auditorium, was the largest in Adventist Atlantic Union College. For 24 years, colleges. It was fully equipped with n 1963, Marvin Robertson, a 1958 he had provided a musical thread of new grand pianos, 18 new upright IWWC graduate, joined the faculty continuity on campus, serving for 14 of pianos and 2 practice pipe organs for to direct the choirs at the nearby those years as chair of the department. practice rooms, and a 3-manual 36-rank academy and grade school and oversee From his arrival in 1935 when his pipe organ in the auditorium. the college music education program. only credential was his reputation as By the end of his first 8 years, West When his choral programs flourished a good pianist and organist, Walker had presided over the installation of 5 and became too large for one person to had obtained bachelor’s and master’s pipe organs on campus, construction of direct, he requested assignment to the degrees from Northwestern University the Fine Arts center, and an expansion of elementary level because of his interest and gained recognition as a Fellow the music faculty from 5 to 8 members. in children’s choirs. in the American Guild of Organists. He had also gained accreditation for the His college music education In 1953, he had been honored with a program in the National Association of classes were exceptional. Students yearbook dedication applauding his Schools of Music and membership in Pi were disappointed when he left standards, exemplary Christian life, Kappa Lambda, national music honor after three years to chair the music and service to WWC. society, both firsts for Adventist college department at Southern Missionary music programs. College, now Southern Adventist elvin West, new music chair, University, a position he would hold Marrived on campus in the summer n those 8 years, a complete change for the next 33 years. of 1959 at the age of 29. He had already Iin music faculty occurred. With the Bruce Ashton began teaching established a reputation at AUC as a addition of several young teachers, the piano and theory during Robertson’s 12 second year at WWC, just as the Lake City and San Francisco, closed questioning and challenging attitude. new Fine Arts Center was nearing what had been a period of dramatic The inevitable clashes affected music completion. An honors graduate in change for music at the college. programs and changed the rules about piano performance from Capital Other faculty additions and music at Adventist schools.23 University, he had just completed replacements continued through the At WWC, a tradition in presenting a master’s degree in piano at the end of the decade. When Hunter and a number of stellar performers had American Conservatory of Music. He Ashton both left in 1968, Dan and Judi started in the 1950s and continued would later observe, Myers, and Vinson and Anne Bushnell through the 1970s. Singers Marion I felt at the time I was starting at were hired to teach piano and assist in Anderson and Jerome Hines, organists the top as far as the available music class instruction.22 E. Power Biggs and Virgil Fox, departments in our colleges. Walla pianists Van Cliburn and Victor Borge, Walla College was the place to be. It n 1968, Robert L. Reynolds became violinists Isaac Stern and Itsahk was very upbeat. There was a feeling Ipresident of the college. A skilled Perlman, and numerous other notables within the music faculty of lots of and progressive administrator, he played in a high profile lyceum series. horsepower under the hood.21 was a visionary who revolutionized By the mid-1970’s, however, the way the school operated. In his students started to lose interest in these hat feeling was created, in part, by nine years, he established a shared programs and challenged and stopped the fact that during Ashton’s four T governance model that empowered the fees they were being assessed to years at WWC, before he would leave faculty to participate in all decisions support the series. The lyceum program to join Robertson at SMC in 1968, five affecting the school. At that time, it shrank and then essentially ended when new teachers joined the department. was a departure from the usual mode a fire destroyed a legendary campus Harold Lickey, a tenor, who had of operation at Adventist schools, auditorium in 1978.24 successfully led choirs at three other where administrators operated with Adventist colleges and worked with minimal input from their faculty. ew music faculty hired in the West at the Faith for Today television The result was an increase in N1970s included Robert Tupper, program, became choir director in 1965. faculty morale and a greater sense of an organist to assist West, and Sandra Glenn Spring, a violinist who had ownership and pride in their school. Camp, a pianist who was hired to taught for a year at Otterbein College Although some later administrators replace a teacher who had left in 1972. in Ohio, also came to WWC in 1965, have been uncomfortable with the Gerald Ferguson, a tenor and a 1948 to direct the string program and teach arrangement, it continues today as a graduate who had started his career at music theory. Students immediately force on campus and a model adopted WWC, was also hired in 1972, when recognized and appreciated his gifts in varying ways by other Adventist William Murphy left. for teaching. He started an annual colleges and universities in the U.S. Sherrick S. Hiscock, III, a Honors Concert with his string In retrospect, the changes affected clarinetist and saxophonist who had orchestra in his second year and served by Reynolds were prescient, given played in and been a soloist with the as concertmaster for the Walla Walla what happened in the next decade. U. S. Marine Band in Washington, Symphony in his first 10 years. The 1970s were a turbulent time in D.C., was hired in 1973 to teach in the In 1965 and 1966, Jeanette the nation and on college campuses instrumental area. With his hiring, there McGhee and Robert Hunter were as traditional lines of authority were were nine full-time music teachers, the hired to assist in piano. Hunter would questioned and the challenges of largest faculty ever. During this decade, teach for two years before leaving for forging a working reality in the realm Hiscock, Leno, Lickey, Spring, and graduate study and then return to teach of civil rights gripped the country. Camp completed doctorates. from 1971 to 1977. William Murphy, Music at WWC and other In 1974, Lickey became a bass-baritone, was also hired in 1966 Adventist colleges was changed by a chair when West, who had led the to assist in the vocal choral area. generation of students that challenged department for 15 years, the longest

the traditional restrictions on music. tenure in music leadership to that time, he move into the Fine Arts Center in The uneasiness earlier students had decided he wanted to teach full-time. February 1966 and the completion T felt over rules about acceptable music Three years later, West accepted a of the church organ in 1967, largest pipe in life and worship on college and position at the Kettering College organ on the West Coast north of Salt academy campuses changed to a Church as full-time minister of music. 13 West and Lickey had worked that had developed. that school year she and her husband, together in presenting numerous Although only 13 years old, the Charles, accepted positions at Sligo choral works for 12 of West’s 18 years building had been neglected, acoustic Church in Takoma Park, Maryland. at WWC. West later observed that problems had not been resolved in Ralph Coupland, a singer and working with Lickey in presenting rehearsal areas, studios, and practice conductor with over 20 years of works such as the Brahms and Durufle rooms, and audio equipment in studios, experience, became director of choral Requiems, the Creston Prophecy of classrooms and the music library activities that fall. In his three years as Isaiah, and the Poulenc Gloria had needed updating. That summer, the director he toured extensively with the been some of his most satisfying faculty worked together to bring about choir in the Northwest and Canada. experiences at WWC. numerous changes by painting rooms Stephen Zork, a singer and Lanny Collins followed West as and installing tile to reduce acoustic composer as well as conductor, organist in 1977, a position he would problems. Carpet was also installed in followed Coupland in 1989. His hold for the next 6 years. When Camp the studios and audio equipment was departure 2 years later to direct the left for a position at Andrews University replaced throughout the building. choral program at Andrews University in 1978, Leonard Richter, who was The office area was also completely was a disappointment to many. starting graduate work at New York remodeled to facilitate department Kandice Dickinson served University and studying piano with business and communication between as interim choir conductor in the Adele Marcus of The Juilliard School, faculty and students. Sixteen new following year and then on a regular became primary teacher in piano. adjunct faculty were added to assist in basis until 1995. A soprano, she was lessons. It was a good beginning for a frequent soloist and recitalist. In her n the last years of the decade, what would prove to be some of the four years at WWC, she was noted Iphilosophical differences over most enjoyable years in my career. for her musicals and a series of three teaching methodology and course Opera Gala programs. content as well as what should happen arianne Scriven came to WWC Bruce Rasmussen, a versatile in teacher-student relationships led to Mthat summer, succeeding Lickey, singer and conductor, succeeded tension and distrust within the faculty. longest serving choral director at the Dickinson and led the choirs until Preoccupation with these differences college, who had accepted a position at 2001. He presented numerous major and teachers’ weaknesses rather than the Seminary at Andrews University. choral works on campus and with the their strengths led to a crisis in shared Scriven had been an adjunct teacher Walla Walla Symphony. He was also a confidence and respect. at WWC earlier in the decade, before featured soloist with the WWS and a Deterioration in communication going to Pacific Union College, where frequent singer on campus. and support followed, which, by the she had taught full-time for the past 5 end of the decade, was apparent to years. She had completed a doctorate uring my first four years as chair music students and the rest of the before teaching at WWC and, while Dat WWC, I also directed the band campus. It was a troublesome and at PUC, was honored as an Alumna of program. I had been surprised when uncertain period for the program.25 Achievement by Andrews University. 103 had joined the band in my first In her 7 years of leadership, the year and 110 in the second. Although was invited to come to WWC as choirs performed the German Requiem the group decreased to 80 when we Imusic chair in the autumn of 1978. It by Brahms and the Verdi Requiem with moved rehearsal time to the noon was a difficult decision to make. I was the Walla Walla Symphony. In 1984, hour at the beginning of the third year, enjoying my work as chair of the Fine her groups, accompanied by the College the quality and depth of talent more Arts Department at Union College, Orchestra, presented the Faure Requiem than compensated for the decrease in and the problems in the WWC music with soloists Thomas Hampson and size. Working with an ensemble that department were common knowledge Julie Boyd, and Rutter’s Gloria. was able to play the most challenging in the circle of Adventist colleges. Scriven took I Cantori, the repertoire for concert band was a When I arrived at the college in select choir, to Romania and the rewarding experience. the summer of 1979, any concerns Soviet Union in 1982, and led them After four years of directing the I had about coming proved to be in an invitational performance for band, teaching lessons and classes, and unwarranted. The music faculty was the Washington Music Educators chairing the music program, it became committed to getting past the turmoil Conference in 1986. At the end of apparent that a change was needed if 14 my goals for the department were to be serving as an adjunct brass teacher When Gem Fitch, who had been accomplished. Joseph Brooks, who had after Leno left, was chosen to fill that the primary assistant in the piano area served as assistant conductor while a position and serve as band director. since 1975, left in 1982, three others student, and then associate conductor Manous, an accomplished French who had been assisting in that area after he had graduated in 1982 and horn performer, had completed reached over to teach the overflow joined the faculty as primary woodwind master’s and DMA degrees in horn of piano students. When two of those teacher, became band conductor. performance at the University of left in 1984, Stephanie Kambitsch, Michigan while teaching earlier at a pianist with a master’s degree in herrick Hiscock, who taught Pacific Union College. During his 13 performance was hired. Swoodwinds for nine years, years at WWC, he played numerous had left in 1982 to head the music recitals, soloed with the WWS and year earlier, a college piano merchandizing program at Elizabeth served as principal horn in that group A preparatory division, headed by City University in North Carolina. for a number of years. Debra Richter, had been established. During those years he had been Manous, a band and brass clinician A successful venture from the principal clarinet and a soloist with the and conductor who had conducted beginning, its growth and the success Walla Walla Symphony and played in numerous festival and music camp of its students quickly established her and conducted the college band and groups, provided enthusiastic leadership as a gifted and inspiring teacher. In woodwind ensembles. for the band and related ensembles until 1990, students from the prep division Brooks, like Hiscock, was a he retired in 2000. were featured in a Concerto Gala former U.S. military bandsman who Concert at the annual convention had been a clarinet and saxophone eonard Richter had been of the Washington Music Teachers soloist with the United States Lhired to teach piano the year Association hosted by WWC. Continental Army Band in Washington, before I became chair. A native of The precocious playing of D.C. While a student at WWC, he also Czechoslovakia, he was a prize- orchestra-accompanied concertos by developed proficiency on the oboe and winning pianist there before coming very young students amazed attendees. flute. to Canada in 1968. He subsequently This event led to an enthusiastically From 1983 to 1987, Brooks completed an M.Mus. at Andrews received invitational performance of directed the band, presenting refined Univeristy in 1971, taught at a Concerto Gala Concert three years performances of both challenging and Kingsway College for two years, and later at the Music Teachers National traditional works for that group. He was then completed another M.Mus. at Association Convention. a frequent recitalist and a player in and the Manhattan School of Music in In addition to the success soloist with the Walla Walla Symphony. 1977. When he accepted the position of these and other Concerto Gala at WWC in 1978, he was studying Concerts, prep division students have hree years after Brooks was hired, at New York University where he won countless awards in regional TLloyd Leno, who had made a completed a Ph.D. in 1984. competitions and performed often as significant contribution in his work Now in his 29th year, a record soloists with regional orchestras. Many with ensembles and the teaching of tenure in keyboard teaching at WWC, college piano majors have assisted in brass instruments for 25 years, left to Richter has made a distinguished the program, under the guidance of chair the music program at Antillian contribution as a performer and Richter. She continues to oversee the Union College in Puerto Rico. Leno, teacher. He has given numerous prep division as well as perform and who had a degree in Spanish and recitals and soloed with the Walla teach college classes and piano majors. was intrigued by the idea of mission Walla Symphony four times. She has soloed with the Walla Walla service, found the offer from AUC Many of his students have Symphony three times. attractive. When he left in 1986, he won numerous top prizes in had served longer than any other music regional, national, and international n 1983, when the organ position teacher since the school had started. competitions. Graduates who studied Iwas vacated, student Kraig Scott, When Brooks left the following with him are now teaching at colleges a gifted organist nearing completion year, his and Leno’s positions were and universities and have enjoyed of a performance degree at WWC, merged. Carlyle Manous, band director successful careers as recitalists and was invited to serve as organist and at the nearby academy, who had been soloists with orchestras. teacher pending completion of his 15 current program and a master’s degree. enjoyed many successful premieres, working with gifted teachers and Kenneth Rudolph, a 1971 WWC won in composer’s competitions, and students whose record of achievement graduate in organ who had completed a had had a number of commissions. was extraordinary. In those years, Ph.D. in musicology at the University These accomplishments and the many students brought honor to the of Washington a year earlier, was hired performance frequency of his published department and a number of faculty on an interim basis. music, affirmed by ASCAP, spoke to received teaching awards. When that appointment ended three the quality of his composing. years later in 1986, Scott began teaching ollowing my retirement, the at the college. In 1990 he took a graduate grade school string program that his Fdepartment began a transition that study leave to pursue doctoral work at Awife, Kathleen, a violinist, started in continues to the present. Brandon Eastman School of Music. the 1970’s developed by the late 1990s Beck, a WWC graduate who had In his absence, David Worth, a into one of the largest Suzuki-based taught at three academies and, most 1968 graduate who had studied under string programs in the Northwest, with recently, at Southern Adventist West and had since taught at Atlantic 140 students and four adult assistants. University, became director of Union College, taught for one year. Several of its students won awards in bands in the fall of 2000. Now in his Kenneth Logan, an organist who had regional competitions, soloed with local seventh year of leadership, his band studied under Warren Becker at Andrews orchestras, and, in some instances, are performances are highlights in worship University and was pursuing a doctoral pursuing careers in music. and musical life at the college. degree at the University of Michigan, Ben Gish, a cellist who had When Glenn Spring retired in then taught for two more years. assisted Spring while a student in the 2001, Maria Zlateva, a violinist and Scott returned in 1993, having 1970’s, returned in 1993 to assist in native of Bulgaria, who was working completed an M.A. in musicology the program while overseeing and on a DMA at the University of Texas and a DMA in organ performance and developing a string program at the at Austin, filled the string and theory having earned a coveted Performer’s nearby academy and giving lessons position for the next two years. Certificate. Since his return, he has and teaching at the college. Lyn Ritz, a violinist with a DMA made a distinguished contribution as In 1994, Cantabile, a select string from the University of Kentucky who a teacher and as a performer on organ orchestra, was organized and directed had been teaching for the past 8 years and harpsichord. Scott’s playing in by the Springs and Gish. Open to all at the University of Dayton, succeeded services and recitals at WWC and qualified string students in the region, her in 2003. In her four years at WWC, elsewhere is acclaimed for its finesse it performed frequently with great Ritz has proven to be a thorough and inspiring musicality. success and toured in Europe and theory teacher and an accomplished Canada in its six years. performer. She is in her second year lenn Spring retired in 2001, as concertmaster of the Walla Walla Ghaving taught for 36 years, the uring my 21 years as department Symphony. longest tenure in music since the Dchair, we instituted procedures for school had been founded. By the time running the program, published Opus, hen Rasmussen also left in 2001, of his retirement, his perspective, an attractive annual departmental WCyril Myers, who had taught at insights, and wisdom had made him an news magazine, and established two academies and was doing graduate important member of the faculty and a six fully funded named scholarship work at Michigan State University, beloved teacher. endowments. We also continued to where he was a teaching assistant, Approachable and accessible, he renovate the music facility, update directed the choirs for the next two years. possessed a gratifying sense of reality office and teaching equipment, and In 2003, John Dennison became and a depth of thought and expression purchase instruments. director of choral activities. Dennison that lent substance to his observations. The spring before I arrived, a new had served as chair of the Oakwood This was true whether he was working two-manual Dowd Harpsichord had College music program and director of with his colleagues, college age young been purchased. Twelve new pianos its choral program in the 1980’s. people, or younger persons. were added in the next two decades. More recently he had taught in the In addition to overseeing the string By the time I retired in 2000, it Los Angeles area and directed a church program, he had become the primary had been my good fortune to spend choir and the Southeast Symphony theory teacher, a composer who had over half of my career at WWC, Orchestra. In addition to directing the 16 choirs, Dennison became director of the 1 Terrie Dopp Aamodt, Bold Venture, A History of 14 The Sligonian (WMC newspaper), 14 November college orchestra in 2006. Walla Walla College, 1992, 1-5. 29; 13 & 20 March, 6 November 30; 5 March 31. 2 Dan Shultz, A Great Tradition, Music at Walla 15 Thorpe would become nationally noted for his atthew James, a versatile Walla College, 1892-1992, 1992, 14-16 This book is writings on education. See his biography at www. the primary source for most of this overview. iamaonline.com for more detail. Mmusician with a DMA in vocal 3 16 Although there are no official records of their For more on Johnson’s work with the WWS, see performance, became department chair completing this course, there is a photograph of 7 Dan Shultz, A Dream Fulfilled, One hundred Years of in 2002, following two years of interim graduates notated Church Music, 1898. Shultz, 16,20. the Walla Walla Symphony Orchestra, 2006, 38, 39. leadership by Scott and then Trina 4 Shultz, 17-19. 17 Shultz, GT, 74-77, 106, 107. 5 18 Thompson, a piano and theory teacher. The first president of the college, William Prescott, Aamodt, 96-107. simultaneously served as president of Battle Creek, 19 Shultz, GT, 83-92. James had sung in numerous opera and Union, and Walla Walla colleges while residing 20 Shultz, GT, 103-117. in Battle Creek. Sutherland served in his stead as oratorio productions and taught for 12 21 “principal” from the beginning of the school until 1895, Interview with Bruce Ashton, 13 June 1990. years at Northern State University in when he officially became president. Aamodt, 4, 26. 22 Shultz, GT, “A New Era, 1959-1970” 121-160. South Dakota. 6 From an interview by Melvin S. Hill with Miller This segment of the article is a synthesis for the most Most recently, he had been in the 1950s. The incident is described in Hill’s part of the listed chapter from GT. The chapter and the article are both based on interviews conducted an adjunct faculty member at the dissertation, A History of Music Education in Seventh-day Adventist Western Colleges (1959, by the writer from 1990 to 1992, listed in sources for University of Tennessee-Chattanooga University of Southern California). GT, 267-270. 23 and Southern Adventist University. He 7 Shultz, 21-23. Personal knowledge and experience. 24 also plays viola and taught in UTC’s 8 Gerritson actually wrote a letter to the WWC Board Shultz, GT, 186-191; The Collegian, 23 September 1971, 1 November 1973, 30 March 1978, 20 April Cadek Conservatory Suzuki program. on 6 November 1907 requesting “an expression of your opinion” and stating that “… my system has 1978. In his five years as chair, James been disagreeably upset with the present diet now 25 This brief characterization and the more extended has facilitated challenging personnel furnished.” WWC Board Minutes, same date. narrative in GT (193, 194) of the situation in the music transitions and been an articulate public 9 Hill, 41-45. program at that time are based on numerous interviews 10 and conversations with faculty of that time. spokesman for the department. He is Shultz, 25-28. 11 Shultz, 32-41 The remainder of the article is based on personal optimistic about the long-term future knowledge and experience. 12 Shultz,53; The Collegian (WWC newspaper), 24 of the program, given its rich legacy in May 1928; 26 September, 3, 10, 17 October 1929; Additional biographical information about teachers accomplishment and innovation. WWC Board Minutes, 14 May 1929. who have taught music at WWC may be found at 13 Shultz, 55,56-59, 65-72 www.iamaonline.com Dan Shultz

Music Teachers at Walla Walla College . . . Biographies for the following present and former Walla Walla College music teachers can be found at www.iamaonline.com Ruth Havstad Sterling K. Gernet H. Lloyd Leno Blythe Owen Kraig S. M. Scott Almandinger Madge Gould Harold Lickey Bruce E. Rasmussen Dan Shultz J. Bruce Ashton Sonja Rennings Julian Lobsien Rosalie Rasmussen Glenn Spring Brandon Beck Gourley Kenneth Logan Grace Wood Reith Kathleen Spring Lloyd E. Biggs Hazel Graham Carlyle Manous Debra Richter Elaine Myers Taylor Carolyn Rhodes Bisel John J. Hafner Thelm Johnson McCoy Leonard Richter Morris Taylor Joseph Brooks John T. Hamilton Kathryn Foster Margaret Holden Rippey Trina Thompson Vivian Virginia Brown John Hickham Meeker Virginia-Gene Shankel Louis T. Thorpe Lanny L. Collins Matthew James Lon C. Metcalfe Rittenhouse Clarence Trubey Ralph Coupland Melvin Johnson George B. Miller Lyn Ritz Frances Brown Urner Edna Smith Cubely Victor N. Johnson George Wa Miller Marvin Robertson Gladys Manchester Walin Melvin W. Davis Estelle W. Kiehnoff Janet Miller Gertrude Shaffer Stanley E. Walker John T. Dennison Teresa Hanson Koch Harold E. Mitzelfelt Rowland Melvin K. West Clarence W. Dortch Terry Lee Koch William I. Morey Kenneth Rudolf Maria Zlateva Gerald Ferguson Bradley Krueger Cyril Myers, Jr. Henry Hadley Schyde Stephen P. Zork

17 18 Melvin K. West

el West, noted organist and church of the Pacific in Stockton, California. In alumni affairs and minister of music for musician, is one of a select group 1948, he began his undergraduate work the College View SDA Church. Beginning Mof six Adventist musicians who at Emmanuel Missionary College, now in 1982, he served as director of music at have had music buildings named after them. Andrews University. While most of his the Westminster Presbyterian Church in West, who served as Walla Walla College study was at EMC, West spent one semester Lincoln, Nebraska. music department chair for 15 of the 18 at Columbia University in New York City, years he taught at the college, launched where he studied with Claire Coci, famed n addition to his activities as an organist, the modern era for music at WWC with a organist and teacher. IWest is a gifted arranger and composer. number of initiatives. In the 1970’s, five of his many hymn In his first eight years he achieved ollowing graduation from EMC in arrangements and choral responses were accreditation for the department in the F1952 with a B.A. in organ, West was published. Other unpublished music in National Association of Schools of Music immediately hired to be organist at Faith for that time included choral music and an and gained departmental membership in Today, a television program based in NYC. instrumental work, Dyptique for Trombone the national music honor society, Pi Kappa After one year there, he accepted a position and Piano. Lambda, both firsts for SDA colleges n the 1980’s,he and universities. At Iserved on the that same time, he General Conference brought about the committee for construction of a creating a new large, truly adequate, church hymnal, fully equipped music serving as chairman and art facility and a of the subcommittee comprehensive pipe on tunes. He and organ installation. In Wayne Hooper his years at WWC, edited and arranged he was also active the music, with West in the Northwest in composing five new the American Guild hymn tunes. The of Organists and Hymnal, which was would serve a term released in 1985, as president of that includes over thirty division. arrangements and at Atlantic Union College and, in the next six hymn tunes by West, the largest contribution orn in St. Paul Minnesota, West as a years, while teaching at AUC, he completed by any one person in those areas. Bchild was totally fascinated with music, an M.Mus. at Redlands University during listening to the Walter Damrosch weekly a one-year leave of absence, was elected to e and his wife, Betty Ann (Nilsson), radio music program from age four and, at membership in Pi Kappa Lambda, became a Hretired to the Northwest in 1988 where age six, “playing” organ on the front bumper Fellow in the American Guild of Organists, he has continued to be active in church of the family car, pretending the grill was and in 1959 received a D.Mus. at Boston music. In 1996, West was honored for the pipes. He started piano lessons at ten and University. During those years he studied his work at WWC and his contribution to three years later, organ studies. organ with Leslie Spelman and George Adventist music when the college’s Fine When he was still young, his family Faxon and was active as an organist with Arts Center was named for him. moved to Lodi, California, where his mother, Episcopal, Unitarian, and Congregational Thelma, sang in the choir at Lodi Central churches. hile West’s accomplishments are SDA church and was the primary supporting Wmany and distinguished, in the minds force in it for many years. Both she and e was listed as an Outstanding of many he is best known for his gifts in West’s father, Laurence, enthusiastically HEducator of America in 1977. In that teaching and performing. Through his talents supported their son’s interest in and pursuit same year, West left WWC to become and dedication, he has ennobled, enriched, of a music career. minister of music at the Kettering, Ohio, and inspired the lives of countless students Adventist church. Four years later he went and worshipers. n his high school years, West studied to Union College, where he taught music Iorgan under Allen Bacon of the College and served as director of development and ds 19 Music in Turkey Eurydice V. Osterman

This past year, IAMA member Eurydice Osterman traveled to Turkey to attend the Fulbright-Hayes Seminar at which she learned about the people and culture of that country, especially focusing on Islam, secularism, and women. She attended lectures by scholars at Middle East Technical University in Ankara and Ege University and Dokuz Eylul University in Izmir, attended informal meetings at cultural centers, took educational tours to major cities and townships, and interacted with the people. The following article on music of that country is an excerpt from a more extended talk she has subsequently presented about that experience.

urkey is a most unique as well as the Seven Churches Rural, Ozan, and Kurdish. Rural music country in that, while mentioned in Revelation. Anatolia, is loud dance music used primarily surrounded by breath-taking Turkey, was the birthplace of many for celebrations (weddings, births, scenes of seas and mountains, famous historic figures, including festivals, etc.) that can be heard some Tit is strategically located between two Homer, King Midas, and St. Paul. distance away. I was able to witness a continents - Europe and Asia - and Today, there are four levels of wedding celebration that included this north of Syria and Iraq. The country education (pre-elementary, elementary, type of music. is considered to be the home of the secondary, and college) and two types Dances are done by segregated earliest group of settlers who drew of post-secondary public and private groups of men and women who wall paintings, some of which depict schools (academic or technical/ often link arms and form long lines, the volcanic eruption of Hansandag. vocational). Students are required to each group inviting bystanders to The different civilizations that are complete the primary and secondary participate. Children’s songs and game said to have existed in that country levels. It is interesting to note that songs are often characterized by dance are the Paleolithic Age (cave age: music is mandatory in the curriculum. rhythms and many times performed by hunting and gathering); Chalolithic The music of modern Turkey gypsies, who are also the belly dancers Age (copper and stone), Bronze Age, can be traced back to the Ottoman of the country. The kemence (a three- Neolithic (development of town life Empire, when music education was string bowed lute) is the most popular and food production), The Assyrian implemented. Private music courses instrument used for such occasions Age (1950-1750 A.D.), the Hittite started with teachers who were sent to Ozan is the music of asiks (similar Imperial Period (1750-1200 A.D.), the the palace as slaves, and were charged to European troubadours) who, since Phrygian Age (1200-700 B.C.), and on to provide a high quality of music the tenth century, have been traveling down to the present. education for boys and girls. After the around Anatolia setting poems of folk It is most interesting to note that 17th century the girls were sent to the poets to music. Their issues centered there are several regions in Turkey that teachers’ houses for instruction. Some around equality for men and women correspond with the names of modal of the famous musicians were Kanuni and intersectarian tolerance. They scales - Dorian, Phrygian, Lydian, Nazim, Udi Fahri, and Ali Salahi Bey. accompany themselves on the sáz, a etc. Additionally, the first coins ever long-necked lute with three sets of minted came from Sardis; the Turks urkish music can be broadly strings that represent the trinity of gave the Dutch their famous tulips; divided into four categories: their faith (Allah, Muhamad, and Ali). the word “turquoise” means Turkish T1) Cultural/Folk, 2) Church, 3) and is derived from the color of the Classical, and 4) Commercial/Popular. urdish music is unique in that there Mediterranean Sea; and two of the Kis no written notation. Instead, it is seven wonders of the ancient world Cultural/Folk performed with the help of the dengbey were located in Turkey. (bard), stanbey (popular singer), Mt. Ararat, resting place of urkey’s cultural/folk music can and cironkbey (a storyteller with an Noah’s ark, is located in this country Tbe divided into three categories: exceptional memory). The themes 20 of these songs center around love, first president of the newly formed Kadim were composed in terms of Kurdish myths and legends, struggle republic of Turkey did not like these trilogy of ses-raks-saz (voice, dance, for freedom, etc. The main instruments influences in the country’s music, instrument). used are the blur and düdük, a public performances and radio and Mevlevi music constituted the fipple flute, (reeds that echo in the television broadcasts of both sacred ultimate basis for Ottoman music. mountains) and the tambur and sáz and secular music were banned from During its heyday (18th and 19th (strings used in towns of the plains). 1923 -1976. centuries), Mevlevi music reached As a result, many composers its highest development through tthe rban music is generally considered migrated to Europe in order to support of Sultans like Selim III, Uto be that which comes from have their works performed. Today, Mahamud II. Some of the well known Istanbul or Izmir and is performed however, this situation has changed Mevlevi composers are Köekç Dervi by musicians from ethnic or religious and public concerts, along with (Mustafa Dede (17th century), Dede minorities. It is a mixture of sanat radio and television broadcasts can Efendi (18th/19th centuries), and Rauf (improvised art music), fasil (gypsy- be enjoyed by the masses. In fact, Yekta (19th /20th century). flavored urban nightclub music of vocal one of the most famous secular Famous secular composers from pieces interspersed with light orchestral concerts occurs in Istanbul. The the past whose music is still popular pieces and solo improvisations), and Klâsik Icra Heyeti, is performed and today would include Abülkadir Mera-i Ottoman classical styles. broadcast live on Sunday mornings. (died 1435), Prince Dimitri Cantemir The instruments used by classical (17th/18th century), Sultan Selim III Church ensembles included the tambur, ney, and Tanburi Cemil Bey (1873-1916). rebab or kemençe, keman, kanun nlike Catholicism or (harp), ud (drum), and küdüm. Commercial/Popular UProtestantism, there is no service music in traditional Moslem worship. famous sacred music event is ntertainment is one of the lifelines It is simply a time in which to pray. A the annual Mevl‚na festival held Eof Turkish life and economy, However, the priest chants the call in Konya on December 17. These from the belly dancer to the rap artist. to prayer five times a day over compositions are called ayin and the Therefore, commercial or pop music loudspeakers attached to the minaret music is known as mutrip. This music is an essential element. Tourists are of the mosque. He chants: has been highly regarded since the serenaded by the strains of ethnic sixteenth century. The predominant and pop music that has been infused God is greater than anything. instruments used are the ney and with Western influences. It is not (four times) küdüm, although some of the other uncommon to hear American pop I bear witness that there is no God but instruments listed above might be used artists frequently played on radio and God (two times) as well. television. As a result, one can find I bear witness that Muhammad is the The Mevlevi order, which Turkish artists producing jazz, rock, messenger of God (two times) gave the name to Mevlevihane, was rap, fusion, and a myriad of other Hasten to prayer (two times) born in the 13th and 14th centuries. genres, thus narrowing the chasm that Hasten to salvation, bliss, prosperity Ataturk banned Sufi worship as a separates our cultures. (two times) religious practice. He later permitted the “service” to return as a form of onya is the birthplace of the Classical entertainment. Kfamous Mevlevi mystic poet, Jalal Composers of this religious order al-Din Muhammad Rumi (Ottoman produced great works that set their lassical music is divided into two Empire), who founded the Whirling music on top. Mevlevihanes greatly categories, sacred and secular. Dervishes at the Mevlana Monastery C contributed to the improvement of Its sonority is modal and combines of the Dervishes. Ottoman music, which was established elements from Arabic, Byzantine, The worship service, mentioned in remote areas of Anatolia, the Persian, and some non-Turkish earlier, is most impressive. At the Balkans, and Middle East states. Three composers. Because Mustafa Ataturk, beginning, there is a long instrumental anonymous works called Beste-i prelude of about ten to fifteen minutes. 21 Afterwards the priest gives a five- their robes and egress just as they and 2005; and numerous awards for her minute chant that is followed by solos entered. This essence of the dance compositions. by each instrumentalist as the service sparked a saying by Jaial al-Din Rumi: continues. Dance as if no one is watching, Sources One by one the dervishes enter Love as if you have never been dressed in long black robes that hurt, Sing as if no one hears, Work Akgün, Seçil Karal. Lecture: represent their worldly tombs. On as if there is no need of money, Secularism in Turkey. Ankara: 2006. the heads are tall, conical felt hats Live as if heaven is on earth. that signify the tombstones of their ------Ayliffe, Rosie, Dublin, Varc, and egos. The white robes with full skirts Eurydice Osterman is a professor of Gawthrop, John. Lecture: Turkey: The represent the shrouds of their egos. music at Oakwood College where she has Rough Guide, 3rd Edition. London: At the beginning of the ceremony taught since 1978. A pianist, organist, and Rough Guides, 1997. the black robes are removed, folded, composer, she, during her time at OC, served as chair for two years, conducted and placed on the floor to symbolize Bakirer, Ömür. Lecture: Cultural the choir for 14 years, and is the primary Heritage of Anatolia. Ankara: 2006. their deliverance from the cares and theory teacher. An award-winning attachments of this world. They each composer, she completed a B.Mus. and bow to the priest and to one another. M.Mus. at Andrews University and a Boztemur, Recep. Lecture: Turkish The leader begins to whirl around DMA in Composition/Theory at the Republic from Independence War to the room and the others follow. They University of Alabama. the Present: A Historical Perspective. begin to whirl in the fashion of the She has received many awards Ankara: 2006 planet rotating on its axis around the including Outstanding Teacher Award, sun (a circle within a circle). OC, 1983; Huntsville Jaycees nomination Eray, (enay. Lecture: Women’s Issues As the dancers go into a trance, as Outstanding Young Educator, 1983 in Turkey. Ankara: 2006. and 1984; Zapara Excellence in Teaching one hand is turned up to heaven to Award, 1990; Outstanding Young Women Paçaci, Mehmet. Lecture: Islam and receive the blessing and the other hand of America Award, 1993; Commendation is turned down to give the blessing. Award for Meritorious Service, OC, 1993 Islam in Turkey. Ankara: 2006. When the dance is over, they put on News IAMA BIOGRAPHY PROJECT The Adventist Musicians listing on the navigation bar as you enter the IAMA Website, www.iamaonline.com, now provides access to the biographies of over 425 musicians who are or have been associated with the SDA church. If you do not see a biography for a favorite Adventist music teacher or friend, you can help us create one for him/her by forwarding names and any information you might have about them. Possible sources for biographical data could include program notes, press releases, school paper and yearbook write-ups, obituaries, etc. And don’t be bashful. If your name is not yet listed or even if it is, we may need information, or an update, about you, too! IAMA HOTLINE Gem State Academy in Caldwell, Idaho, recently hosted its fifth As an adjunct to the website, the IAMA Hotline continues annual Cool Ringings Bells Festival. This year’s festival included th th as a service where postings of late-breaking news and more than 100 5 -8 graders who had not previously played hand bells and chimes. Ben Purvis, GSA’s music teacher, working with music vacancies are automatically forwarded to those on its GSA students, taught the students basic techniques and how to read e-mail list. If you are not yet listed, forward your name and music. Within 48 hours the students were able present a Sabbath e-mail address [email protected] afternoon concert for parents and friends. 22 Personal Notes Joanne Andersson, band director at Symphony Orchestra, of which he was assistant conductor. Canadian University College for the In 2001, Choi was invited by the Korean Conductors past 6 years, is retiring at the end Association to compete in their first Conductor’s Competition. of this semester. A 1963 graduate In that same year he was one of eight finalists to compete in in music education from Union an international conductor’s competition held in Portugal. College, Andersson taught for 10 More recently, he was a winner at an international conducting years at Ozark, Grand Ledge, and workshop in Macon, Georgia. As a result, he was invited to Georgia-Cumberland academies. A study with Yuri Temirkanov and guest conduct the St. Petersburg flutist, she completed an M.Mus. at Philharmonic (Congress) Orchestra in Russia in 2005. Andrews University in 1968. Choi has guest conducted the Phoenix and Scottsdale In 1973, she became band symphony orchstras in Arizona, the East Texas Symphony, the director at Kingsway College in Price Georges High School All-County Orchestra at Kennedy Canada. During the next five years, Center in 2001, and the Daejeon Philharmonic Orchestra in her bands received the highest ratings for four consecutive years South Korea. The performance in South Korea was sold out and in the Kiwanis Music Festival. Following her marriage to Knut enthusiastically received by both the audience and music critics. Andersson, she returned to teaching, becoming an adjunct faculty Choi was also one of two finalists for a conducting position with member at La Sierra University in 1981. After seven years at the U.S. Army Field Band at Fort Meade in 2003. LSU, during which she directed the band for two years, Andersson His major conducting teachers have included Otto-Werner- resumed full-time teaching, directing the band programs at Mueller, Tsung Yeh, and Harold Faberman. He was a fellow Eldorado Junior and Okanagan Adventist academies. She returned conductor with Faberman at the Conductor’s Institute in Hartford, to KC in 1994, where she taught until 1999. She then taught Domaine Forget Music Festival in Canada, and Zlin’s International at Fraser Valley Academy for two years and, in 2001, assumed Symphonic Workshop for Conductors in the Czech Republic. leadership of the band program at Canadian University College. Rudyard (Rudy) Joseph Eunkwan Choi is Dennis, is the assistant conductor of the Indiana new Director of Philharmonic and Owensboro Instrumental Studies Symphony orchestras in Indiana at Southwestern and Kentucky, respectively, and Adventist University. principal conductor of their youth He was previously orchestras, as well as the Evansville at Union College, Philharmonic chorus, positions he where he directed the has held since 2005. He is also an Wind Symphony and adjunct professor of music at the Chamber Orchestra, University of Southern Indiana, coached the UC where he conducts its Chamber Brass Ensemble and Woodwind Quintet, and taught conducting, Choir and teaches. Additionally, he music technology, and music education classes. A sought-after is Music Director at the Eastminster Presbyterian Church. clinician, Dennis conducts band clinics throughout the country. A Born in South Korea in 1973 to Adventist parents, Choi, who 1986 graduate of Pacific Union College, he first taught at Modesto is fluent in Korean, Portugese, English, and Spanish, is now a U.S. Academy. He subsequently taught at Mother Lode Junior, Lodi, citizen. He became interested in music watching his mother and and Auburn academies. then sister accompany choirs for the churches his father pastored. A clarinetist, Dennis has played extensively in California A piano and trumpet player and a singer, he graduated from what and the Northwest, performing as a guest artist in the 1997 Bach is now Southern Adventist University in 1996. Choi completed a Festival and Community Fine Arts Series in Sonora, California, master’s degree in orchestral conducting at Hartt School of Music and with the Columbia College Master Chorale. A 1995 at the University of Hartford in Connecticut, in 1998 and worked commercially produced album featuring him as a performer on on a DMA in choral conducting at the University of Maryland clarinet, flute, and recorder, titled Hymns and Classics, sold out. for three years. While at UM, he was a full-scholarship graduate In 2001, Dennis completed an M.Mus. in clarinet performance assistant, teaching conducting classes and serving as assistant at the University of Washington, where he studied with noted conductor of the UM chorus and chorale. clarinet historian William McColl and served as principal A partial listing of prior conducting posts includes those clarinetist in the UW Symphony Orchestra. During that time he with the Maryland Chamber Orchestra, the Asheville Symphony was a finalist in two UW Concerto Competitions. in North Carolina, and the Southern Adventist University Dennis completed a DMA in Instrumental Conducting at 23 Personal Notes UW in 2003. While finishing his doctorate in music at UW, he Will Stuivenga is currently won the prestigious Beech Memorial Conducting Scholarship. serving as Dean of the Olympia As a teacher, Dennis has directed both instrumental and Chapter of the American Guild of choral programs. He has taught privately at all levels and served Organists for the 2006-2007 year, as an adjunct performance instructor at PUC and at Columbia having served as Secretary and College in Columbia, California. He has been twice nominated Newsletter Editor for two years for Who’s Who Among American Teachers. His wife, Diem, a previously. He has held a number graduate of Union College, was a middle school special education of church music positions since teacher in the Lincoln Public Schools. completing a B.Mus., cum laude, at Walla Walla College in 1976. Bruce Kuist, band director He completed an M.A. in of the OAKBOW Concert music theory at the University Band, an elementary school of Washington in 1984 and an band supported jointly by The M.S. in library science at the University of North Texas in 1989. Oaks SDA and Bowman Hills He studied organ with Melvin West, Walter Eichinger, Robert Schools located in Ooltewah Tupper, and Judy Meyers and choral conducting with Abraham and Cleveland Tennessee, Kaplan, Joan Conlon, and Harold Lickey. Stuivenga currently is retiring at the end of this serves as Organist/Pianist for the Olympia First Baptist Church school year. During his 13 and is co-organist at the Chehalis Seventh-day Adventist Church, years of leadership, the band where he enjoys playing the 49-rank Casavant pipe organ. has traveled to Disney World Musical activities include playing in an annual series of in Orlando, Florida, where noon organ recitals during Holy Week at The United Churches for the past 8 years they in Olympia, Washington for the past 3 years. In September 2006, successfully auditioned to perform a 30-minute concert. In that Stuivenga presented a program titled Holy, Holy, Holy & Worthy same period, Kuist also served for eight years as director at the Is the Lamb, A Celebration of Revelation, Chapters 4 & 5, with annual conference-wide elementary band festival sponsored by Hymns and Organ in the 11:00 hour worship service at Chehalis the Georgia-Cumberland Conference. Seventh-day Adventist Church. In 2002, he sang a leading role, His band has been a successful venture involving grades 5 that of Ralph (Rafe) Rackstraw, in eight performances of Gilbert through 8, some home schoolers, and adults. They typically have & Sullivan’s H.M.S. Pinafore in Tillamook, Oregon. Most learned 30 to 35 compositions a year and perform frequently. The recently, he played in an Organ Music for Holy Week noon recital band played at the 2005 General Conference Session in St. Louis. series at The United Churches, Olympia. In this present year, 32 former members of the OCB are in the Stuivenga has been Statewide Database Licensing Project 75-member Collegedale Academy band. Manager for the Washington State Library since 2004. Previously he Kuist started lessons on clarinet at age 12. While attending was Computer Systems Manager for the Coastal Resource Sharing Wisconsin Academy, he decided in his junior year to pursue music Network, a consortium of libraries located on the Oregon coast. as a career, inspired by the beauty of Mozart’s Clarinet Concerto, a work he was preparing for performance under the guidance of Ellis Jim Teel is the Worship Pastor for Olson. He completed a B.Mus. at Andrews University in 1964. the Keene, Texas, SDA Church, a He began teaching at Highland Academy in Tennessee that position he accepted last summer. autumn, where he met Irene Cross, the voice, piano, and organ Prior to that, he spent eleven years teacher. Following their marriage that year, they accepted an directing worship planning and invitation to teach music at Far Eastern Academy in Singapore, music for the Marietta Adventist positions they held for the next five years. The following year he Church in Marietta, Georgia. completed his master’s degree in clarinet, with additional study There he helped transform a single in double reeds and flute, at the University of South Florida, traditional worship service into sponsored by FEA. a multi-service format including Kuist subsequently taught at Cedar Lake, Battle Creek, a variety of musical styles. His Enterprise, and Ozark academies; Canadian Union College, musical skills and breadth of prior now Canadian University College; Napa Junior Academy in music experiences, coupled with California; and Oklahoma Academy, a self-supporting Adventist his skills in writing and creating visual presentations, contributed school, before accepting his present position. For 10 years he to the success of his ministry in Marietta and in the churches he served as adjunct instructor in double reeds at nearby Southern had served earlier in Southern California. Adventist University. A multi-talented musician, Teel sings and is able to play 24 Personal Notes piano, banjo, guitar, euphonium and trombone. Even though he Liva Zaigalve, an active completed a degree in religion at Southern Adventist University member of the café-style in 1973, all of his elective hours were spent in music classes. Adventist Church in Riga Though not a music major, he worked all four years in the and accomplished player music department, accompanying choirs and voice students. of the kokle, popular folk He also directed and arranged for various groups and assisted instrument in Latvia, with almost every live campus production involving music. He won first prize in the was active as a composer, and his compositions were performed 2002 national folk music several times during those years. While at SMC, Teel became competition for young convicted that God was calling him to turn his “hobby,” music, musicians in Latvia, into a life ministry. her native country. The He completed an M.Mus. in composition at the University instrument is a 30-string of Arizona (Tucson) in 1975, While there, he wrote and arranged member of the zither family. for campus groups and local churches, and had the opportunity to Zaigalve, who is now 20, frequently performs in national join with two other music graduate students in scoring a locally- music events. The café-style church is an outreach program that produced TV documentary. uses art, drama, and music to attract young people who otherwise Teel joined the staff of Mt. Pisgah Academy in 1975 where would not be interested in conventional religious services. he taught classes in religion and algebra, gave private piano lessons and directed the academy choral program. He also served as worship and music minister for the academy church. In 1977 he auditioned for and was hired by the Voice of Prophecy where he served for five years as music arranger and Obituary keyboard player. Part of his job was producing recordings of VOP Wayne Hooper, 86, one of Adventism’s most widely artists. He subsequently produced and arranged twenty albums, th including his own solo piano release in 1979. known musicians in the last half of the 20 century, In the summer of 1982, Teel and the members of the King’s died February 28, 2007. A singer, arranger, and Heralds left the broadcast to form an independent ministry called composer, Hooper was associated with the Voice The Heralds’ Ministries. The quartet, known as The Heralds of Prophecy for 65 years. In those years he sang (it later again became The King’s Heralds) with Teel as their and served as music director, producer, and Trust keyboard artist and arranger, began performing extensively in the Services Director. His composition We Have This U.S. and internationally on Christian television and in concerts at Hope, written as the theme song for the 1962 General churches of many denominations. They also visited hospitals and Conference Session, was also used as the theme song prisons on a regular basis. for the 1966, 1975, 1995, and 2000 GC Sessions. It He worked with the quartet for seven more years. Their was included in the 1984 Church Hymnal, became concerts included a mix of contemporary favorites, traditional hymns, spirituals, and something for the children. During those part of many of the church’s songbooks, and was years, a 15-minute radio broadcast, Sounds of Praise, a program translated into numerous languages. He coordinated he wrote and produced for use by local pastors won an angel production of the 1984 Church Hymnal and a award. companion historical volume. Hooper graduated from Starting in 1989, he served as Minister of Music and Youth Union College in 1949 and completed a master’s in Pastor for the Simi Valley Adventist Church in California. He music in 1957 from Occidental College. then served as Worship Leader and Program Coordinator for A more detailed biography is available at www.iamaonline.com Celebration Center in Colton, California. In those positions, he began to include and/or feature more contemporary praise style of music, adding the direction of praise teams and bands to his previous choral experience. Adding to his skill on traditional musical instruments, Teel OGDEN MUSIC COMPANY began in the late 1980’s to familiarize himself with the new generation of electronic keyboard instruments. He became Pianos & organs at near wholesale cost, accomplished in the creation of music through MIDI sequencing, which led to musicians from all over the world contacting him for a service to Adventist churches & schools advice and assistance in creating background arrangements using 503-777-2666 www.ogdenmusic.net synthesizers and samplers. 25

MUSIC CALENDAR November 18 IAMA Annual Meeting The Grand America Hotel Salt Lake City December 18-22 Midwest International Band and Orchestra Clinic Chicago

Segue Contributors

Joanne Klaasen Andersson Retired, Band and Instrumental program, Canadian University College 2006-2007 Rudyard (Rudy) Dennis, Band and Instrumental Program, Southwestern Adventist University Elsie and Edwin Buck Bruce Kuist Retired, Oakbow Concert Band, Ooltewah and Cleveland, Tennessee Jim Teel Worship Pastor, Keene, Texas, Church Barbara Favorito Karin Thompson Chair, Music Department, Atlantic Union College Gary Fresk James Hanson Felix A. Lorenz, Jr. Joan Ogden New Members Wayne Patriquin Elaine Badiere Fort Collins, Colorado Marvin Robertson Ulrich Bauman Berrien Springs, Michigan Kenneth E. Rudolf Alma M. Blackmon Retired, Asst.Prof of Music, Aeolians director, Oakwood College Dan and Carolyn Shultz Stanley D. Hickerson Pastor, Stevensville, Michigan, SDA Church; Adjunct Professor of Bruce Toews Religion and Biblical Languages, Andrews University John Lomacang Pastor, Frankfort, Illinois Mrs Kelley Moore Allentown, Pennsylvania Photo Gallery Ruth Ann Plue Elwood, Indiana (Opposite Page) Leonard Richter Professor of Piano and Theory, Walla Walla College Sibusiso Zvandasara of Zimbabwe, Back Cover Photograph a member of the Front, left to right: Debra Richter, Kraig Scott, Lyn Ritz, John Dennison; Andrews University back, left to right: Matthew James, Brandon Beck, Leonard Richter. Journey Choir, sings I’m Free at a concert at AU in November 2004. IAMA Website http://www.iamaonline.com Photograph by The IAMA Hotline! To register: [email protected] Kenneth Logan

THE INTERNATIONAL ADVENTIST NOTES is a compilation of articles, news, and information MUSICIANS ASSOCIATION contributed in part by IAMA members. Accuracy of is a professional organization committed to facilitating submitted material is the responsibility of the contributor. communication throughout the total spectrum of Viewpoints expressed are those of the writers and not Seventh-day Adventist musicians. necessarily those of IAMA.

President Elsie Landon Buck Editor/Layout Dan Shultz Vice President Jeffry Kaatz Copy Editor Carolyn Shultz Secretary Treasurer Terri Koch Typography Matthew McVane Publications Editor Dan Shultz Logo Tom Emmerson

All inquiries and submissions for publication Photograph Credits: should be forwarded to: Cover collage: Selected photos from features in this issue, photos from A Great Tradition, IAMA Music at Walla Walla College 1892-1992, and photocopied covers of early SDA songbooks; Eric Ashley, page 28,(back cover); Ray Dabrowski, page 25; Caroline Wood Eros, WWC PO Box 476 music files, page 8; King’s Heralds website, page 3; Bruce Kuist, page 24; Kenneth Logan, College Place, WA 99324 page 27; Will Stuivenga, page 24; Jim Teel, page 24; Unknown, page 22 and 23; Voice of Prophecy, IAMA files, page 4; Walla Walla College Archives, page 19.

E-mail: [email protected] Deadlines: Website: http://www.iamaonline.com September 30, February 15

27 The Walla Walla College Music Faculty See pages 8-19 for more about the WWC music program

International Adventist Musicians Association P.O. Box 476 College Place, WA 99324