LEDGER LINES SCHOOL of MUSIC and DANCE

UO dancers perform Ghost String, choreography by Walter Kennedy, original music by Jeffrey Stolet. Photo by Jack Liu.

NEWSLETTER for ALUMNI & FRIENDS February, 2006 Vol. XVIII, No. 1 LEDGER LINES UO High School is the biannual newsletter of the University of School of Music and Dance. Letters, photos, Summer Music Camps and contributions from alumni, friends, and faculty are always welcome. JULY 9–15: th Address correspondence to: 59 Annual Concert Band Camp LEDGER LINES School of Music and Dance 1225 JULY 16–22: Eugene OR 97403-1225 Marching Band Camp EDITOR: Scott Barkhurst [email protected] (Drum Major, Section Leader,

CONTRIBUTORS: George Evano, Paul Colorguard, Percussion) Omundson, Jennifer Squires, DeNel Stoltz. JULY 23–28: PROOFREADERS: Laura Littlejohn, Carol Roth Jazz Improvisation Camp

COVER PHOTO: The Dance Department provided two dramatic numbers in the FOR BROCHURE OR MORE INFORMATION, CONTACT: School of Music and Dance’s “Collage Concert” at the Hult Center on Nov. 13. Sarah Turley Summer Camp Coordinator 1225 University of Oregon SCHOOL OF MUSIC STAFF Eugene OR 97403-1225

DEAN: Brad Foley Phone: (541) 346-2138 [email protected] E-mail: [email protected] ASSOCIATE DEANS: Ann Tedards–Graduate Studies [email protected] Jeffrey Williams–Undergraduate Studies SCHOOL OF MUSIC & DANCE ADVANCEMENT COUNCIL [email protected] CHAIR: Mira Frohnmayer, ’60, Sue Keene, ’72, UO Foundation Trustee; DEVELOPMENT STAFF: Pacific Lutheran University emeritus Eugene, OR DeNel Stoltz, director voice professor; Yachats, OR Mary Ann Orchid Hanson, arts patron; [email protected] VICE-CHAIR: Zarah Dupree, Sherman- Dana Clark, assistant Eugene, OR Clay/Moe’s Pianos; Portland, OR [email protected] Mia Hall Savage, ’72, ’73, Pacific Youth PAST CHAIR: David Hilton, Choirs; Portland, OR DANCE DEPARTMENT: Merrill Lynch & Company, Inc.; Jenifer Craig, chair Eugene, OR Lynn Sjolund, retired choral director [email protected] and music educator; Medford, OR Marcia Baldwin, emeritus voice MAIN OFFICE: professor, Eastman; Yachats, OR John Tachouet, ’64, retired owner, The Equity Group; Portland and Phone: (541) 346-3761 Judy Clinton, architectural designer; Bend, OR Fax: (541) 346-0723 Bend, OR Web: music.uoregon.edu John Wells, violinist; Springfield, OR Roberta Hall, ’60, ’81, Umpqua Symphony Association; Roseburg, OR

Niles Hanson, Northwest Stamp, Rosen Products Sunvisor; Eugene, OR 1

the English Concert. Both ensembles FROM THE TOP presented outstanding programs to large audiences in Beall Hall. We Brad Foley, Dean look forward to the Pacifica Quartet, the Imani Winds, and the Debussy s we enter the first weeks of Quartet during winter term. Our A 2006, I continue to be amazed students also had the chance to and delighted by the quality of our experience pianist Emily White; students and faculty in music and the saxophone-piano duo of Otis dance and the commitment they and Haruko Murphy; cellist Ronald have for our art forms. Throughout Leonard; dancers Gabe Masson and the fall 2005 term, we presented Linda K. Johnson; and pianist Wil- a number of distinguished guest liam Chapman Nyaho. Each of these performers who enriched the educa- artists—and those to come—bring a tional opportunities available to our wealth of new ideas and repertoire students and the greater community. to the campus to provide excellent learning experiences. Performers and Guest Artists Our Collage Concert on Novem- Under the auspices of our Robert ber 13, “The Spirit of Oregon: Music M. Trotter Visiting Professorship, we Takes Flight,” was a wonderful experienced the enthusiasm, energy, success for our school. Nearly 700 ning committee has met throughout musicianship, and teaching skills people attended the program in the fall with our architects (BOORA) of Samuel Pilafian, tubist extraordi- Silva Hall at the Hult Center for the and design team. (See pages 2–3 naire, former member of the Empire Performing Arts, where many of our for project details and schematics.) Brass, and professor of tuba and jazz performing groups had the opportu- Even though the School of Music studies at Arizona State University. nity to perform in this space for the has now achieved its initial $10 Throughout his residency, he taught first time. The ensemble directors million dollar goal for Campaign and coached students, presented hope to build upon the experience Oregon: Transforming Lives, we now brass and jazz master classes, met in future years. need to focus our energies on sur- with CMENC, met with several area passing our goal by several million public school teachers and their New Faculty more dollars in order to complete all students, gave a class on breathing, Many new faculty and staff the necessary renovations to existing and performed in two concerts. Sam members have joined our School facilities as planned in 2003. returns to Eugene for a second resi- (see pages 7-8). Meanwhile, we are Next, we need funding to equip dency the week of Feb. 12-19 with conducting a number of national the new facilities with adequate on-campus presentations scheduled searches that will greatly impact pianos, percussion, and technology. for February 16 in Beall Hall. our school for years to come. We are All totaled, these additional items Our second Trotter Visiting presently searching for new assistant will require $3 to 4 million ad- Professor for the year will be Dr. Mi- professors in the areas of bands ditional dollars (see details on pages chael Tenzer, Professor of Ethnomu- and instrumental music education, 4–5). We are positive that our goals sicology, Theory and Composition at dance, horn, piano, and trumpet. can be reached and appreciate the the University of British Columbia Two of these searches are to replace support of all our alumni, friends, in Vancouver, B.C. and noted as long-time faculty members and and donors for helping us come so one of the world’s leading experts recent retirees George Recker and far since my arrival in 2002 … with on the music and culture of Bali. Victor Steinhardt. We appreciate ground-breaking slated for late sum- Tenzer will join us weekly through- their many years of service and mer or early fall 2006. out spring term, working with our willingness to phase their retire- Best wishes to all of you in 2006. Balinese gamelan ensemble, team ments over the past two years until I encourage and invite you to come teaching a theory seminar titled replaced next fall. to our programs either on campus “Periodicity in Music,” and making or wherever we might be to see and a number of special presentations, Building Update hear how we are transforming the including one for the Center for Throughout much of the UO School of Music and Dance. Asian and Pacific Studies. past several months, my energies This fall the 38th season of continue to be consumed with the the UO Chamber Music series planning and fundraising associated presented the Mozart Piano Quartet with our music building addition and Violinist Andrew Manze with and renovation. The building plan- 2

feature the first floor being built par- WHAT’S NEW tially into the hillside parallel to the Pioneer Cemetery behind our cur- rent building, with a “green earth” Music Building Completes rooftop. This first floor will connect at the same elevation as the existing first floor spaces and will contain Schematic Design Phase one new 90-seat classroom—a new Fundraising continues in order to cover $2 million home for Music Education—that will have capabilities to be a perfor- for renovation components of the project mance venue in addition to serving

he Schematic Design phase T of the $15.2 million addition and renovation project for the newly named MarAbel B. Frohnmayer Mu- sic Building has just completed, and the Design Development phase will continue into April 2006. The Build- ing Planning Committee, chaired by Dean Foley and made up of faculty and staff, has been actively involved with the project since last summer when the design team was selected. The design team includes BOORA Architects, acousticians from Kirkegaard Associates, Lango BY BOORA DRAWINGS CONCEPTUAL Hansen Landscape Architects, and PAE Consulting Engineers. The two groups worked through- out fall term and the beginning of winter term to complete the schematics for the project with input from the entire faculty and staff of the school. The process included a rethinking of the project regarding Architects’ conceptual drawing of one of the two new structures; this one the priorities for space needs. encloses the historic courtyard behind the music building. (Also see B in “During this phase, compared drawing on next page.) Note the south side of Beall Concert Hall at the left. to the conceptual design process, spaces were laid out with the inten- mance wing. The cornerstone will a wide range of classes. It also will tion of how they will specifically be be a new, large (3,000 square foot) house two 40-seat classrooms, and utilized,” explained Dean Foley. “In instrumental rehearsal hall, which all three will be equipped with state- the end, numerous adjustments were will appropriately accommodate the of-the-art technology to aid us in made to the prior Concept Design entire symphony, with capabilities improving the quality of instruction that was completed in 2003, and it for being a small performance venue available to our students. The first has resulted in a superior building as well. It also will feature: a smaller story will also include a hearth or plan.” jazz rehearsal space; two percussion lounge area that will serve as a gath- teaching studios; six new practice ering place overlooking the newly Two New Additions Totaling rooms and three faculty offices dedi- landscaped courtyard, which will be 29,000 Square Feet cated to the jazz and percussion pro- easily accessible. Also slated for this Two significant additions will grams; a new recording studio; and level are nine new practice rooms be made to the existing facilities, a long overdue and much-needed and office and teaching space for the adding half again as much space freight elevator. Community Music Institute. as the current building houses. The second addition will be to The two upper floors will One addition will be positioned on the east of the current facilities and face north and south, providing a the northeast corner of the current will enclose the existing courtyard. new face toward 18th Avenue that building, tying into the 1978 perfor- This three-story structure will will enhance visibility from that 3 direction. These floors will house External Improvements: New quality of teaching, learning, and approximately 28 new faculty teach- Ramps and Gateway on 18th Avenue music making that our school and ing studios, which will be sound External site improvements will university can be proud of for years isolated and designed as state-of-the- include two new ADA accessibility to come.” art teaching and learning spaces. ramps: one to replace the existing The new construction will result ramp to the north of the Beall Hall Timeline: Groundbreaking Fall in nearly double the number of prac- lobby, and a new one to enter the 2006; Completion Spring 2008 tice rooms available to our student student lounge farther to the south, Once design development is body (from 30 to 51); and a new total which will become the new primary completed in April, the architects of 55 faculty teaching studios, elim- entrance for the building’s academic will work until early October prepar- minating the need to use as studios wings. Additionally, a new service ing all of the necessary construction what once were practice rooms, road will pass behind the east side documents. The design development storage closets, and in some cases, addition, parallel to the Pioneer phase becomes extremely detailed as rest rooms. Cemetery; a new campus gateway decisions about such things as wall structure will be constructed with and floor surfaces, interior design The Budget: $2 Million to Be prominent signage, including a elements including color schemes, Raised for Renovation marquee, along 18th Avenue in lighting fixtures, furnishings, and Throughout the course of the conjunction with a drop-off site for the like will be made. The planning schematic design process, the plan- patrons; and the inner courtyard committee will continue to meet ning committee and design team will be redesigned to make it acces- with the design team during this pe- struggled with the budget for the sible and usable throughout the year riod to finalize plans and ensure that project. Operating with a budget set as a central gathering area and place we remain on budget for the project. to achieve legislative bonding that of beauty. Projections for site preparation and was approved in 2001, it is clear that “The Building Planning Com- hosting an official groundbreaking since that time severe inflationary mittee and design team have worked ceremony are slated for late summer problems have occurred. While this hard to meet a plethora of necessary or early fall of 2006. Following the matter was revealed in the 2003 regulations and still keep within the completion of construction docu- concept design study and an infla- state approved budget,” said Dean ments, the project will be sent out tionary cushion was built into the Foley. “In the end, the new and for bids and the major construction plan at that time, it simply was not renovated facilities will enhance the efforts will begin early in 2007 with enough for the unforeseen aftermath anticipated completion date for the of the numerous hurricane-related new construction in spring 2008. ◆ catastrophic events of this past fall. Thus, the planning com- mittee decided to focus on Birds-eye view of the building all of the 29,000 two new additions new square feet of building to the music build- and is optimistic about ing. (A) houses a phasing in the renovation new large rehearsal of significant portions of space as well as the existing building as areas for jazz and private dollars are raised percussion studies. for this purpose. (B) contains class- Fundraising is already rooms, faculty underway for the nearly $2 studios, a lounge million additional needed area, and to enable renovation of additional several existing spaces, practice rooms. including current rehearsal spaces in the performance wing, the entire 1920s por- tion of the building, and To view the limited renovation in the schematic plans 1950s wing. in more detail, visit the school’s website at http://music.uoregon.edu Piano and Equipment Needs for the New Building: Two Recent Gifts Kick Off the Initiative

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endowed Tom and Carol Williams DEVELOPMENT Fund for Undergraduate Education in 1995, which provides annual funding for innovative ideas in Piano and Instrument Needs teaching university-wide. “Music has been an important for the New Music Building aspect of my life since my piano and violin lessons during childhood. Two recent gifts kick off the initiative Now I’m mostly a listener,” says Carol. “And I am pleased for the By DeNel Stoltz idly depreciating. opportunity to help provide instru- Director of Development Recent generous gifts from Carol ments for the developing musicians and Tom Williams and the Swigert at Oregon. The new practice facili- or more than a century, the Foundation will enable the purchase ties and new instruments will excite F school has been an outstanding of the first two pianos for the piano the music students, I am sure. And source of performers, educators, and and instrument initiative, which I’m thrilled to be a part of that.” composers. Some of the school’s Swigert Foundation board pianos are nearly that old. Of member George Spencer the school’s 107 pianos, 25 date of Portland, Oregon, was to pre-World War II. instrumental in aiding with While fundraising continues the Swigert Foundation grant. for nearly $2 million in inflation He served as a UO Founda- that will enable renovation of tion trustee from 1986–1998 the existing building in the and continues to be an avid expansion project, a significant advocate for the University of need as a result of the project is Oregon. equipping the new, state-of-the- art facilities with new pianos for The Piano Program nearly 30 teaching studios, prac- Five piano faculty teach tice rooms, and performance nearly 100 students each year. spaces, as well as upgrading the Currently, both pianos in one existing piano and instrument professor’s studio are more than inventory. Roughly $1 million is 80 years old. One professor has needed for pianos and $250,000 two pianos each nearly 30 years for additional instruments. old, and another professor’s A piano analysis conducted in Tom and Carol Williams gave one of pianos are 25 years old and 80 years June 2005 by Sherman-Clay/Moe’s the first gifts to the piano initiative, old. All of these pianos have been Pianos based in Portland, Oregon, to purchase a new Steinway Model repeatedly rebuilt and restored to revealed that nearly half of the “B” grand piano. the point that they are in need of full replacement. These pianos, is one of four fundraising goals for played more than 25 hours per week “The new practice the school as part of the university’s by faculty and students, are simply facilities and new $600 million Campaign Oregon. The worn out. two new Steinway Model B grand instruments will excite pianos will replace two pianos— Piano and Instrument Initiative the music students, I am both more than 80 years old—used The goal of the School of Music sure. And I’m thrilled by the school’s piano performance and Dance is to purchase new to be a part of that.” professors for teaching piano perfor- pianos for teaching studios, practice mance majors, as well as for honing rooms, and concert use. —Carol Williams their own performance skills. Based upon their handcrafted Carol and Tom are formerly from quality, longevity, and beautiful School of Music and Dance’s pianos Eugene and now split their time sound, a Steinway piano is a highly are years past their useful life, and between Seattle and Florida. Carol desirable performance piano; ac- have reached the optimal point of has been a UO Foundation trustee cording to Steinway & Sons compa- selling or trading them in toward since 2001 and Tom was a trustee ny, 98% of all professional concert purchase of new pianos based upon from 1989–99. Both are avid Duck pianists in the world perform on their current value—which is rap- supporters. They established the Steinways, all of which are less than 5

7–8 years old. None of the school’s tant is establishing endowed funds pianos fall into this age range. Only for instrument purchase and main- 14 of the music school’s 107 pianos tenance to ensure a continual high- RECENT DONORS are 9-10 years old. Of the school’s 31 quality inventory of instruments to We are grateful to the following Steinway pianos, three-quarters are recruit and retain the most talented individuals for their thoughtful 25-80 years old; none are less than musicians and faculty,” says Dean gifts to the School’s priorities: eight years old. Brad Foley. For “The Steinway each instrument —Building Initiative – Model ‘B’ grand is Of the music school’s gift, there is an • Robert ‘52 and Leona the model that all 31 Steinway pianos, endowment com- DeArmond ‘51: Additional aspiring artists and ponent, to begin most are 25 to 80 years significant gift. Their generous piano performance building the contributions will help name the majors would old; none are less than endowments. MarAbel B. Frohnmayer Music expect to learn and eight years old. “I am im- Building and the courtyard for rehearse on, there- mensely grateful Leona’s voice professor, Penny fore making it the to the Williams Vanderwicken Duprey. ultimate, useful tool for the serious as well as Swigert Foundation for • Tim and Virginia Foo: Addi- pianist’s craft,” explains Zarah Du- their recent gifts for pianos,” con- tional $50,000, making their total pree, of Sherman-Clay/Moe’s Pianos tinues Dean Foley. “The school and commitment $100,000. in Portland, Oregon, and vice-chair I also owe significant appreciation • Ford Family Foundation: of the School to C. Sheldon and Patricia Roberts Additional $20,000 matching of Music of Eugene, who stepped forward gift to help name the MarAbel B. and Dance very early, before the instrument Frohnmayer Club Room. Advancement initiative was fully formulated, to • Niles and Mary Ann Hanson: Council. purchase well over 100 instruments $25,000 to name a trumpet teach- Dupree is for the marching band, as well as ing studio in memory of Niles’ spearheading instruments for our symphony and father, Milo Eugene Hanson. the piano and several professors’ teaching studios, instrument because they saw the need.” —Scholarship Endowments— initiative for There also are a plethora of mu- • Robert ‘52 and Leona DeAr- the school. sic education and percussion instru- mond ‘51: Additional $30,000 to Zarah Dupree ment needs. Most of the percussion the Robert and Leona Anderson “Equipping the new facilities instruments—including marimbas, DeArmond Scholarship. with much-needed pianos and in- timpani and drum sets—are loaned • Henry Easley: Additional struments is critical. Equally impor- to the school from individuals, or $30,000 to the Henry and Patri- are more than thirty years old. These cia Easley Scholarship. are expensive and large instruments • Natalie Giustina Newlove Make a Gift for Pianos that most students and their families and Robin Newlove: $10,000 and Instruments are unable to afford to purchase for to the Euphemea Laraway Culp themselves. Music education majors Scholarship. Pianos: are expected to learn and become (5) Steinway “B” @ $60,000 proficient on several different instru- —Instruments— (6) Steinway “L” @ $50,000 ments; therefore music schools are • Swigert Foundation: Purchase (2) Steinway “A” @ $55,000 expected to provide these instru- of a Steinway Model “B” grand (15) Upright pianos @ $15,000 ments for the students. piano. Instruments: The impact that a significant • Carol and Tom Williams: (6) flutes, clarinets, oboes, investment in the piano and instru- Purchase of a Steinway Model saxophones, trumpets and ment inventory would have on the “B” grand piano. trombones @ $500–$1,000 each school is immense. Imagine the pos- —Dean’s Enrichment Fund— (1) Bass Flute @ $8,000 sibilities in a new, world-class facil- • Estate of Marguerite Grundig: ity—one capable of producing the $74,490 for the Dean’s highest Piano Maintenance or highest quality performances and Instrument Fund priorities; $25,000 will name a invaluable educational experiences teaching studio in the new build- For more information on making a for students—enabling them to learn ing in memory of Marguerite gift, contact DeNel Stoltz at (541) and play on quality instruments to Grundig. 346-5687 or [email protected]. prepare them for careers as profes- sional musicians or teachers. ◆ 6

the conception of the Synclavier, are UO TO HOST SEAMUS CONFERENCE recognized world leaders in their fields. All are dedicated to the use of Electro-acoustic music event runs March 30–April 1 the most advanced technology as the The Society for Electro-Acoustic performance. Many members of tools of their trade. Music in the United States (SEA- SEAMUS, like Jon Appleton (B.A. “The great creative energy MUS) will hold its 2006 National ‘61, M.M. ‘65), the guiding light in produced by the presentation of Conference in the music building of all these new works promises to the University of Oregon on March make this conference one of the 30 and April 1. most memorable,” said Jeffrey The conference will feature the Stolet, the principal organizer and presentation of approximately 100 administrator for the conference new electro-acoustic compositions (and responsible for bringing the from around the United States and event to the UO campus). Stolet is the world, in addition to the world the Knight Professor of Intermedia premiere performance of a new Syn- Music Technology at the University chronisms by Pulitzer Prize-winning of Oregon. His works, one of which composer Mario Davidovsky. has been selected for performance Founded in 1984, SEAMUS during the conference, have been is a non-profit national organiza- presented globally, and are available tion of composers, performers, on the Newport Classic, Cambria, and teachers of electro-acoustic and ICMC labels. music representing every part of the Stolet’s student composers country and virtually every musical have been tremendously successful style. Electro-acoustic music is a having their work presented at the term used to describe those musics most prestigious national and inter- which are dependent on electronic national computer music and new technology for their creation and/or media events world-wide. ◆

TROTTER PROFESSORS HAVE IMPACT ON STUDENTS, COMMUNITY Tubist Sam Pilafian returns for interests span the globe and whose finest musics, and envisioning what a second residency under the Robert dedicated achievements cover can be done to best shape our future M. Trotter Visiting Professorships, all kinds of things musicians do: world of music. Tenzer’s five years and ethnomusicologist Michael performance, composition, research, in Indonesia studying gamelan and Tenzer will be a Trotter Visiting teaching and mentoring, analyzing, a year of drumming and singing in Professor during spring term. thinking and writing about music, India give him a strong global per- Pilafian, a member of the promoting interest in the world’s spective on music. ◆ Arizona State brass faculty, was in residence early fall term, and was a big hit with not only our students, but the community as well. Pilafian gave two concerts and made several trips to schools in the local area, giving master classes and presenta- tions to young brass players. “Sam’s outreach in the community was widespread and highly effective,” said tuba professor Michael Grose. Tenzer, a music theorist and ethnomusicologist at the University of British Columbia, will work with our history, theory, and ethnomusi- cology faculty, as well as with our Tubist Sam Pilafian works with local high school and middle school stu- Balinese gamelan ensemble. dents as part of his fall term residency on campus as a Robert M. Trotter Tenzer is a musician whose Visiting Professor. Pilafian also appeared in jazz and classical recitals. 7

MUSIC SCHOOL WELCOMES NEW FACULTY & STAFF

DAVID BENDER JUDY WEIGERT BOSSUAT DANA CLARK Adjunct Instructor of Trumpet Instructor of String Pedagogy and Assistant to Dir. of Development Bender received his M.M. in Director of CMI Clark received her B.S. degree trumpet performance from the Bossuat received her B.A. in mu- in molecular biology from San Fran- University of Oregon in 1990, and sic education from the State Univer- cisco State University. She assists his Bachelor of Music in trumpet sity College, Crane School of Music the Director of Development during performance, in Potsdam, New York, graduating this busy time of fundraising for the magna cum magna cum laude. She is also a 1978 new music building. She produces laude, in 1988. graduate of the Talent Education In- all of the development and dean’s He has a private stitute in Matsumoto, Japan, where office events and receptions, and trumpet studio she studied with Sinichi Suzuki. manages the donor and scholarship of 30 students Sixteen years of her teaching career stewardship programs. Clark has an in Eugene, were spent co-directing the Suzuki extensive background in fundrais- and teaches at School in Lyon, France. Bossuat is ing. Previously, she was regional Lane Commu- a frequent lecturer, conductor, and director for the American Heart nity College. He teacher at workshops in Europe, Association in Eugene. works with brass players in the Eu- Canada, and gene Junior Orchestra and the Youth throughout AMY GOESER KOLB Symphony, and has conducted mas- the U.S. An Assistant Professor of Oboe and ter classes at the UO Summer Band authorized Music Theory/Musicianship Camp. Bender performs with the teacher trainer Goeser Kolb received her Emerald City Jazz Kings, the Eugene for the Suzuki D.M.A. in oboe performance at State Symphony, the Oregon Mozart Play- Association of University of New York-Stony Brook ers, and Caliente, among others. the Americas in 1999, and a master’s degree from and the Euro- Staatliche Hochschule für Music, JOSEPH BERGER pean Suzuki Cologne, Germany, in 1991. She Instructor of Horn Association, Bossuat held similar comes to us from Wichita State Berger received his B.M. from positions in music education at the University, where she taught oboe Juilliard in 1987. He is on sabbatical University of the Pacific in Stockton, studio, repertoire, reedmaking, from the Oregon Symphony (Port- CA, and at California State Univer- chamber music, and woodwind land), where he is the associate prin- sity at Sacramento. pedagogy. During her time in Kan- cipal horn. He is adjunct faculty at sas, she was principal oboe with Reed College, and has been the fea- PATRICK CARNEY the Wichita tured clinician, recital, and master Interim Assistant Director of Symphony class director Athletic Bands Orchestra, and for numerous Carney received his Ph.D. in played with universities music education from Florida State several other and institutes. University in 2005, his M.S. in orchestras. His chamber music education from Syracuse Uni- Goeser Kolb music and solo versity in 1998, an M.A. in music has performed experience theory from FSU in 1996, and a B.A. throughout the includes the in music from FSU in 1994. He has U.S., Canada, Aspen Music been a doctoral assistant at Florida Argentina, Europe, Japan, and Festival, the State and an assistant director at Panama, and has recorded several Schleswig-Holstein Music Festival, Charleston Southern University, CDs. the Music Academy of the North- with full responsibilities for march- west, Chamber Music Northwest, ing, basketball, and concert bands, GLENN GRIFFITH Third Angle New Music Ensemble, wind ensembles, chamber winds, Adjunct Instructor of Trombone Oregon Bach Festival, Oregon Sym- and wind orchestras. He has been Griffith received his M.M. in jazz phony Orchestra, Rose City Chamber Dean of Student Life at summer studies from North Texas State Orchestra, and Arizona Opera, music camps, and has athletic band University in 1997, and a B.M. from among many others. experience at bowl games and bas- Capital University in Columbus, ketball tournaments. Ohio in 1982. Griffith has played trombone with the Eugene Sym- 8

NEW FACULTY, continued State and a B.A. in music education IDIT SHNER from Lenoir-Rhyne College; he also Instructor of Saxophone phony Orchestra, Eugene Opera studied conducting and horn at the and Jazz Studies Orchestra, Sinfonia Concertante of North Carolina School of the Arts, Shner received her Master Portland, and the Oregon Bach Fes- and expects his D.M.A. in wind of Music Education, summa cum tival Orchestra, as well as the Latin conducting from the University of laude, from the University of Central Expression Colorado within the year. Oklahoma-Edmond, and is ABD in and Caliente saxophone performance with jazz salsa bands. ALAN PHILLIPS studies emphasis at the University His Big Band Piano Technician of North Texas- experience Phillips studied horn (with Ed Denton. As includes the Kammerer) and music education at a teaching Jazz Kings, the University of Oregon from 1978 fellow at UNT, Starlighters, to 1983. He was the School of Music she taught Manhattan piano technician from 1989 to 1996, saxophone Transfer, the and is again responsible for studio, studio for both Supremes, general and concert tunings; voicing, jazz and clas- Natalie Cole Big Band, Jimmy regulation, and rebuilding; long- sical majors, Dorsey Band, and touring with the range planning and keyboard inven- and received Guy Lombardo Orchestra. tory management; and harpsichord several awards and honors. She tuning. He was tuner-technician for was the lead player in the North TIMOTHY PACK M. Steinert and Sons Steinway Deal- Texas Two O’Clock Lab Band, and Instructor of Music Theory and ers in Boston, Robert Smith Forte- has played with the Israeli Air Musicianship Piano Builder in Massachusetts, and Force Jazz Band. Shner toured with Pack received his Ph.D. in mu- has been a freelance tuner-techni- the DIVA Jazz Orchestra, played sic theory from Indiana University, cian for Lane Community College, concerts at the Kennedy Center with and his M.Mus. (with distinction) Don Lawson’s Keyboard Center in Betty Carter’s Jazz Ahead, and has from Westminster Choir College, Eugene, and several local churches recorded several CDs. Princeton, and school districts. NJ. He was SIQIN TAOLI a visiting STEPHEN RODGERS Adjunct Instructor of Piano assistant Assistant Professor of Music Theory TaoLi received her M.M. in professor in and Musicianship piano accompaniment and piano music theory Rodgers received his Ph.D. in pedagogy from the UO in 2001. She at Oklahoma music theory in 2005, as well as the teaches applied piano and a weekly City Uni- M.Phil. degree in 2001 from Yale master class, and helps supervise versity and University. He has received several GTFs who work in studio and class at Indiana prizes and fellowships, including piano. She was a GTF in the UO University. those from Yale University and the School of Music for five years, and Pack has won several awards and Andrew W. Mellon Foundation. continues to teach piano at Lane prizes, including the John Ness Rodgers has Community College and at OFAM. Beck Foundation Scholarship and been an in- Composition Award. He has several structor at both SARAH TURLEY publications in process, and has Yale University Administrative Coordinator of been active in recording, composing, and Lawrence Athletic Bands and performance (piano, tuba, organ, University, his Turley received her D.M.A. in keyboard). alma mater. clarinet performance with a minor In addition in musicology from the University of TIMOTHY PAUL to reviewing North Texas-Denton. Before joining Associate Director of Bands; movies for the UO band staff in 2004, she was Assistant Professor of Instrumental the Lawrence an assistant professor at Middle Music Education Scene and singing tenor in the Yale Georgia College. For the UO band Paul, who had been an adjunct Schola Cantorum, he has published department, she maintains sched- instructor in instrumental music academic journal articles, presented ules, arranges lodging and transpor- education at the UO School of papers at annual meetings and tation for band trips, assists with Music since 2004, holds an M.A. international colloquia, and written budget preparation, and administers in music education from Florida several commissioned compositions. the Summer Band Camps. ◆ 9

Bastian Clevé 25 years to realize his OREGON BACH FESTIVAL dream, a cinematic interpretation of Bach’s Mass in B Minor. His film, The Sound of Eternity, receives Transformations, Explorations its American Premiere on July 9 in a full-stage projection with live to Highlight 2006 Festival chorus and orchestra conducted by . Clevé’s Eternity econceptions of two Bach piano concertos and a symphony in consists of 27 short films to follow classics, explorations of six two concerts. the mass’s movements, each com- differentR versions of the liturgical Rilling leads a performance of plete unto itself, with imagery of mass, and a celebration of Mozart’s Mozart’s Coronation Mass as part alpine glaciers and peaceful valleys, birthday are the musical “Transfor- of the afternoon Discovery Series of pulsating modern cities, and ancient mations” that highlight the Oregon lecture-concerts. The Requiem, an- architecture. Thematically, the seg- Bach Festival, June 30-July 16, 2006 other of Levin’s Mozart restorations, ments are connected by the endless in Eugene. Helmuth Rilling of Stutt- is the Festival finale. pilgrimage of mankind in search of gart, Germany, returns perfection, spirituality, and for his 37th season as meaning. founding artistic direc- The next night, Rill- tor. ing leads a conventional, The University of community-oriented per- Oregon’s cultural trea- formance of Bach’s Mass in sure opens with a new B Minor in Eugene’s First completion of the Mo- Baptist Church. zart Mass in C Minor, the With the Bach and first of four concerts that Mozart masses, and Beet- pay tribute to the Vien- hoven’s Mass in C Major nese giant on his 250th and Haydn’s Creation anniversary year. Mass as highlights of other The Mass was one concerts, the Festival gives of only a few major patrons the opportunity to works left unfinished explore different moods, at Mozart’s death, and settings, styles, and forms is usually performed in of the central liturgical text. its fragmentary form of 35 minutes. Filmmaker Bastian Clevé uses both Other performances and artists: A completion by musicologist and traditional and contemporary imag- • Six “Intimate Evenings” of performer Robert Levin on a com- es to illlustrate Bach’s music in The chamber music concerts, includ- mission from Carnegie Hall was Sound of Eternity, a film interpreta- ing a piano recital by Levin, the given its world premiere with Rill- tion of the Mass in B Minor set for Bach’s Circle baroque ensemble, ing conducting in January of 2005. It this year’s Oregon Bach Festival. the Russian classical virtuosos Trio was met with a standing ovation and Voronezh, and the Szymanowski the praise of critic Allan Kozinn of Quartet from Poland. The New York Times, who called it The Festival also will reveal • A showcase performance “a glorious, fully Mozartean vision.” two updates of great Bach works. by the high school singers of the New York jazzman Uri Caine brings Festival’s Youth Choral Academy, a nine-piece ensemble to the Hult conducted by Anton Armstrong of The Festival will feature Center for his re-imagining of St. Olaf College. Bach’s Goldberg Variations. Caine • More than a dozen free events Robert Levin’s new uses Bach’s set of thirty variations including family concerts, lectures, completion of Mozart’s on a theme for a departure point, and meet-the-artist sessions. In Mass in C Minor. interspersing some of the original all, the Festival presents nearly 50 Bach variations, performed on con- events in its 17 days, anticipating a ventional instruments, with arrange- worldwide audience of more than The music of Mozart flows freely ments and original compositions for 30,000. Tickets go on sale March through the Festival, with pianist/ horns, strings, gospel choir, and a 21. For more information, go to conductor soloing disc-spinning DJ. oregonbachfestival.com or call (800) and conducting three of Mozart’s It took German filmmaker 457-1486. ◆ 10

September they played organ duo dency as a Robert M. Trotter Visiting FACULTY concerts in Richmond and Charlot- Professor. Grose also hosted inter- tesville, Virginia. They performed national euphonium artist Adam Nancy Andrew was a featured guest a combination organ duo and solo Frey in a November master class, artist at a weekend symposium in recital at Pacific Lutheran University and hosted Chicago area freelance Switzerland in early November in October. tubist Charles Schuchat in a master titled “Flöte Aktuell,” sponsored by class and at the annual OcTUBAfest The New Flute Generation, a Swiss Charles Dowd was principal timpa- concert. flute society (see www.newflute- nist with the Oregon Bach Festival, generation.ch). Andrew presented a Oregon Coast Music Festival, Robert Kyr’s Violin Concerto Trilogy lecture on flutist Marcel Moyse, gave Cascade Music Festival, and con- was released by New Albion Re- a master class, and performed on the tinues with the Eugene Symphony. cords (NA 126) in a recording by the gala recital. She then repeated the He played multiple percussion in Third Angle New Music Ensemble presentation and master class at the Stravinsky’s Histoire du Soldat with (Portland), with Kyr conducting; it Zurich Conservatory the following Oregon Festival of American Music also features the UO’s Pacific Rim week. She also visited Sir James Gal- and conducted the West Coast Gamelan. Kyr recently completed way (see photo below) at his home premiere of Vespertine Formations a commission for Chanticleer, the in Lucerne, Switzerland, and was for Four Marimbas by Christopher Grammy Award-winning group; it is interviewed and photographed for Deane in Silva Hall. He performed titled Eternity’s Sunrise, and is a set- a new feature on his website titled jazz vibraphone at Piramidal Grafica ting of several texts by the mystical “Conversations with.” http://www. in Guanajuato, Mexico, in December, poet William Blake. thegalwaynetwork.com/interviews/ and participated in the Percussive intervue.htm Arts Society International Conven- Steve Larson was selected as a Fel- tion in November. low of the Mannes Institute for Ad- Barbara Baird, with organist Julia vanced Studies in Music Theory. He Brown, presented an Organ Duo Mike Grose performed the James gave a presentation for the Seattle Recital in July at Beall Concert Barnes Tuba Concerto with the Port- Chamber Music Festival’s Educate Hall, as a part of the Oregon Bach land Festival Orchestra, conducted Your Ear Lecture Series, titled “May Festival. Later in July they traveled by Lajos Balgh, in August. He the Force Be With You—How ‘Musi- to Sao Paulo, Brazil, where they hosted Enrique “Hank” Feldman, cal Forces’ Can Deepen Musical Ex- played two organ duo recitals and noted jazz tubist from Arizona, in perience.” Supported by a UO Sum- taught two master classes as a part an October master class, and hosted mer Research Award, Larson worked of an international organ festival. In Sam Pilafian in an eight-day resi- on his book, Musical Forces: Motion, Metaphor, and Meaning in Music. At the national meeting of the College Music Society in Quebec last fall, Larson chaired a session devoted to Theory Classroom Strategies and participated in mock interviews to help younger academics seeking college teaching positions. At the national meeting of the Society for Music Theory in Boston, he chaired a meeting of the Music Cognition Group. During a residency at the New England Conservatory, Larson gave a lecture-demonstration, “Mu- sical Forces, Rhythm, and Expres- sive Meaning in Chopin’s Nocturne in D-flat Major (Opus 27/2),” and gave a lecture-performance with Keith Waters titled “Conversations with Monk and Evans,” which in- volved their two-piano performance of Bill Evans’ overdub recording of Flute professor Nancy Andrew was invited to famed flutist James Galway’s Thelonious Monk’s Blue Monk—a Jeffrey Stolet 60th birthday celebration last summer. transcription created by Larson, 11

to be heard was rung by a survivor, KYR CREATES WORK FOR NAGASAKI Masahito Hirose, Chairman of the Nagasaki Survivors Association. The score of a symphony symphony that Kyr arranged for a The emotional arc of the sym- composed by Robert Kyr, professor cappella chorus. The seven-minute phony is the transformational jour- of composition and theory, was pre- work, titled “Living Peace,” was ney of Nagasaki itself: from the hor- sented on August 10 at ceremonies performed by a chorus of Japanese rors of nuclear devastation, through in Nagasaki, Japan marking the 60th and American singers. utter grief, to an awakening that has anniversary of the dropping of the At the beginning of “Living brought an enduring commitment atomic bomb. Peace,” the Japanese and American to peace. The first movement,“Light The work, Ah Nagasaki: Ashes choral groups are physically sepa- into Ashes,” features witness ac- into Light, is Kyr’s tenth symphony rated on stage. The two ensembles counts of the hibakusha that reveal and was commissioned by the first sing in alternation so that one the depths of their suffering. Nagasaki Peace The second movement, “La- Museum. The ment,” is a primal expression of grief Robert Kyr during rehearsal musical forces that includes choral chanting, as with Japanese singers of the symphony well as a haunting elegy sung by the are: four vocal alto soloist and children’s choruses. soloists (SATB); The final movement, “Ashes into a boy and a girl Light,” is a vow for peace: “Light soprano; a chanter; into ashes/Ashes into light ... Now mixed chorus; and every day: Living peace ...” It is children’s chorus; a musical expression of Nagasaki’s and orchestra with invitation to all people to join in a percussion sec- active peace-making so that it may tion that includes remain the last place on earth to suf- Japanese taiko fer the horror of nuclear holocaust. drums as well as JENNIFER BY PHOTO BRINKMAN Over the next several years the Western instruments. The text of the hears a “call-and-response” between project will bring together Japanese symphony was written by the com- Japanese and English. Gradually, the and American musicians to perform poser and renowned Japanese writer, musical phrases overlap as the sing- the entire symphony in both coun- Kazuaki Tanahashi. ers move slowly toward each other, tries. “Every aspect of the work is The presentation ceremony on while ringing bells symbolize their intercultural,” remarked Kyr. “It is August 10 was broadcast live on hope for peace. As the singing fin- intended to be a journey of recon- Japanese television and featured ishes, the bell sounds fade away; in ciliation for the listeners, as well as the premiere of an excerpt from the the August performance, the last bell the musicians.” ◆

FACULTY, continued American Musicological Society. He recently appeared as tenor soloist The volume will be on Folk Songs with the Seattle Medieval Women’s Waters, and UO doctoral student of the U.S.—a selection of 100 of the Choir, and was heard with the Jef- Keith Salley. most popular songs as captured in ferson Baroque Orchestra in a rare recordings from the 1920s through performance of the Stabat Mater of In a summer devoted to writing, the 1940s, transcribed and edited Luigi Boccherini under the direction Anne Dhu McLucas finished por- from those recordings. of School of Music professor Marc tions of her upcoming book on Oral Vanscheeuwijck. Mentzel traveled Tradition in American Music, as Eric Mentzel performed with the twice to The Netherlands to teach well as two substantive essays for medieval music ensemble, Sequen- workshops and master classes on other publications: an examination tia. They presented their most re- medieval music at the Royal Con- of the only example of published cently recorded program, Lost Songs servatory in The Hague, where he secular music in 17th-century of a Rhineland Harper (available serves as guest professor. Scotland (Forbes’ Cantus, songs, from Sony/BMG) at the University of and fancies) for a book on 17th- Chicago, the University of California Phyllis M. Paul organized and ad- century Scotland, and a substantive at Berkeley, the RheinVokal Festival, ministered the annual University of proposal accepted for the prestigious the Fränkische Sommer in Germany, Oregon Orff Schulwerk Level I Sum- MUSA series (Music in the United and on concert series in New York, mer Teacher Training Workshop, States of America) published by the Vancouver, Victoria, and Columbus. Continued next page 12 held in August. Participants in- cluded elementary music specialists GRADUATE TEACHING FELLOW NEWS from five western states. She also presented a lecture, “Music and Pre- With the support of the School of Tim Clarke, a D.M.A. student in School-Aged Students with Special Music and Dance Graduate Travel trumpet performance, recently Needs,” in the College of Education. Fund, Dance GTFs Lowry Champion completed 46 minutes of original and Amanda Herman presented music for the forthcoming Family Harry Price presented a paper, “An Interactive Workshop to Build DVD African Safari, produced by “Effect of Keyboard Ownership on Consensus on Methods of Measure- Stone Canyon Productions and Kids- Keyboard Performance in a Music ment for Total Turn-out in Dancers” LoveAnimals.com. The soundtrack Fundamentals Course” at the Fifth at the 15th annual International draws from African folk and popular Asia Pacific Symposium on Music Association of Dance Medicine and music, European orchestral music, Education Research last July. With Science conference in Stockholm minimalist music, and a wide range E.C. Chang, he published “Conduc- along with faculty member Steven of electronic music. Due to the tor and Ensemble Performance Chatfield. The workshop explored relatively little narration, the score Expressivity, and State Festival different methods of measurement is included with the compelling Ratings,” in the Journal of Research useful in the assessment of total video footage as a featured element in Music Education. Price gave a turn-out in dancers and initiated a of the DVD. African Safari contains one-day seminar, in Spanish, at Uni- dialogue regarding standardization more than an hour of quality footage versidad Centro de Altos Estudios of measurement methods and report- of the great game parks in Kenya, en Ciencias Exactas in Buenos Aires, ing formats. showing more than 50 species of Argentina. The participants were animals. Bonus features include a first and second cohorts of the new behind-the-scenes visit to Wildlife and only master’s in music educa- Milagro Vargas was a soloist in Safari in Winston, Oregon. Because tion in Argentina. He also gave the Handel’s Messiah with the Honololu the mission of KidsLoveAnimals. keynote address, “International Re- Symphony last April, her sixth com is to celebrate the beauty of all search in Music Education,” at the appearance with the orchestra. the animals on our planet, a portion Fifth Latin American Conference on She sang the title role of Astor of the DVD sales will be donated to Music Education in Santiago, Chile. Piazzolla’s Maria de Buenos Aires at organizations that promote educa- the 2005 Aspen Music Festival. She tion and the protection of animals Marian Smith gave a keynote speech performed Paul Schonfield’s Camp and their habitats around the world. at the “Sound Moves” meeting in Songs for baritone and mezzo-so- The African Safari DVD is available London (co-sponsored by Princeton prano and Stephen Jaffee’s Homage on Amazon.com. University and Roehampton Univer- to the Breath for mezzo-soprano and sity) in November. The speech was ten instruments with The 20th Cen- Paul Cummings, a D.M.A. candidate called “Counts and Beats: Moments tury Consort in Washington, D.C., in music education, has accepted in the Dialogue between Music and and then recorded the Jaffee work a tenure-track position as assistant Dance.” Smith also wrote a set of for Bridge Records. professor of music at Humboldt program notes recently for La Scala State University in Arcata, Califor- on the ballet Giselle. Sean Wagoner was commissioned nia. He will conduct the university’s by Danh Pham and the Leslie Symphonic Band, supervise student Bassoonist Steve Vacchi performed Middle School music program teachers, and teach wind literature 30 times since late August, includ- to compose a new work for wind and the full sequence of music edu- ing work with the Cascade Music ensemble; the commissioned work, cation courses. Festival, the Oregon Mozart Players, Ke`anae, received its premiere at the Eugene Opera, and Eugene Ballet. Oregon Music Educator’s State Con- Helena Kopchick attended the 2005 He also played 11 concerts with the ference in January, 2006. Wagoner Aspen Music Festival and School Colorado Symphony Orchestra (Den- was interviewed by KWVA radio on a contrabassoon fellowship. This ver) under the direction of Jeffrey to discuss the Eugene Symphony’s season she joined the Eugene Opera Kahane and Marin Alsop. Vacchi performance of Holst’s The Planets. Orchestra as second bassoon. premiered Mike Van Bebber’s Three He also performed with the Cascade Miniatures for Bassoon and Piano Music Festival Orchestra, and con- Nolan Stolz, theory / jazz GTF, was at the College Music Society’s North tinues as principal timpanist with commissioned by the Las Vegas American Conference in Québec the Oregon Mozart Players, principal Academy of International Studies, City, Canada, and soloed in two percussionist with the Eugene Op- Performing and Visual Arts, a concerts with the Oregon Mozart era, and as a member of the Eugene Grammy-winning high school, to Players in Vivaldi’s Concerto in C. Symphony Orchestra. ◆ write a piece for their jazz ensemble. 13 Distinguished Alumni Named for 2006 Terry Kuhn and Diane Markham to be honored in June ceremonies

or the third year in a row, two member of the Society for Research Dianne Markham received a F alumni from music and dance in Music Education. Bachelor of Arts in dance from the will be honored at our Commence- He co-authored three books with University of Oregon in 1971. She ment ceremonies this spring. And Gustav Wachhaus, Harvey Reid, trained with Hanya Holm, Alwin we will continue our new tradi- and Clifford Madsen, contributed Nikolais, Murray Lewis, and Phyllis tion, begun last year, to honor our chapters or articles to five books, Lamhut, and performed with the distinguished alums with a special and has published numerous articles Murray Louis Dance Company, and reception and dinner the Friday in music journals. with Nureyev and Friends. preceding Commencement. Kuhn was serving as Vice Her choreography has been per- The reception and dinner are Provost for Undergraduate Studies, formed by national and international open to music and dance alumni, Director of Continuous Improve- companies, including the London and friends of the School of Music ment, and professor of music at Kent Contemporary Dance Festival and and Dance and the University of State when he retired in 2003—the the Hungarian International Dance Oregon. (See box for details.) same year he became co-editor of Program. She joined the dance the NACDA Journal of the National faculty at North Carolina School of Terry Kuhn received his Academic Advising Association. the Arts in 1980 after touring nation- bachelor’s (‘63) and master’s (‘67) ally and internationally as a dancer, degrees in music education from and is currently the assistant dean the University of Oregon, and after of the Dance Department. Her cho- teaching band, chorus, and general reography at the School of the Arts music in Oregon schools for six includes Cowgirls, Silent Places/The years, completed doctoral studies at Looking Glass (the basis of a PBS Florida State University. He was an documentary on the choreographic assistant professor at the University process), and The Little Prince, of Maryland from 1972-77, also serv- among others. Markham is also the ing as research chair for the Mary- 2001 recipient of the UNC Board of land Music Educators Association. Governor’s Teaching in Excellence At Kent State University since Award. 1977, Dr. Kuhn taught numerous In teaching and mentoring classes, ranging from Experimental students, Markham draws on her Research in Music to The Music Terry Kuhn considerable talents as a choreogra- Business. He has been editor of the pher. As a result of her mentoring, Ohio Music Educators Association’s a number of NCSA graduates have Contributions to Music Educa- School of Music & gone on to successful careers as tion and member of the editorial Dance Distinguished dancers and choreographers. She review committee for the Journal of also has conducted master classes Research in Music Education, and a Alumni Dinner throughout the U.S., Europe, and Date: Friday, June 16, 2006 South America. ◆ GTF NEWS, continued Time: 6–7 p.m. social hour and exclusive entrance to the Stolz, himself an LVA graduate, con- museum’s exhibits; 7–9 p.m. ducted the piece on their December dinner award ceremony. concert; the Oregon Jazz Ensemble Location: Susie Pape Reception premiered the work last fall. Stolz Hall, Jordan Schnitzer Museum co-produced, played drums, and ar- of Art on the UO campus. ranged the music for Chicago-based Cost: $25 jazz singer L. Zaide’s new CD, Planet Contact: Development Office, Chill: Memoirs of a Jazz Band. The phone (541) 346-3859 or e-mail CD was released on Jan. 7 on Rebel Phi Records. Sound clips available [email protected] from the singer’s website, www. RSVP: by June 9, 2006 lzaide.com ◆ Dianne Markham 14

final concert. ALUMNI “I like the Latin America/Span- ish-type things,” he said. “Those are very exciting.” One Final Song The band marches on The Southern Oregon Concert John Drysdale (B.M. ‘53, M.M. ‘65) retires from South- Band began as the all-male Hillah ern Oregon Concert Band after 15 years as conductor Temple Shrine Band in 1909 and, under Drysdale’s direction, started including female performers in the early 1990s. The band is now “almost half-and-half” men and women, according to Drysdale. “I was interested in building a more musical organization. ... It has attracted more players and, from a 35-member band, we’re now over 60,” he said, explaining he had to ask permission to allow women to play. “Some of those folks are just like family to me.” The musicians come from 12 communities throughout Southern Oregon for the once-a-week rehears- als at Ashland Middle School and perform four or five times a year. The youngest musicians are in their PHOTO BY DENISE BY PHOTO BARATTA 20s, and the oldest are retirees in Director John Drysdale with the Southern Oregon Concert Band. their 70s and 80s. A half-century in the Valley By Jennifer Squires inclement conditions did not hold Formally trained as a violinist (Reprinted with permission from back the band. and a French horn player in the The Ashland Daily Tidings.) “The band really rose to the Navy Band, Drysdale spent 34 years occasion,” Drysdale said after the as a music educator in Klamath his might be the last clipping show, where he promised to return Falls, Redmond, and Medford. He T in the Southern Oregon Concert from time to time as a guest conduc- was an orchestra and band instruc- Band scrapbook for retiring conduc- tor and got a round of “For he’s a tor, as well as music curriculum tor John E. Drysdale. jolly good fellow.” director, in the Medford School “I told them two years ago ... Drysdale, a World War II Navy District from 1953-83. that I would plan to conduct until veteran, closed his final show with “He was the same then as he is I’m 80,” said Drysdale, who turned The Stars and Stripes Forever. Over now,” said Medford resident Jim 80 last March and thought now, the years, he has made a habit of Hawkins, 47, a former student of when he is in good health and the honoring veterans with military fa- Drysdale’s at Medford Senior High band is doing well, would be the vorites. The band also played Armed School. “He cracks his little jokes. ideal time to step down. Forces Salute at the concert and in- He doesn’t seem to forget a beat.” He directed his final Southern Drysdale graduated from the Oregon Concert Band show in the University of Oregon with a degree damp Lithia Park bandshell 15 years “Some of those folks are in music and from Southern Oregon after he first joined the band as a just like family to me.” College with a supervisors certifica- French horn player. —John Drysdale tion, and after so many years in The overcast weather and light education, plays all of the string and rain kept the crowd sparse—family brass instruments, as well as several members of the 62 musicians, a few vited all veterans and their families woodwinds. passers-by and a group of residents to stand while the song rang out. And, when he’s not playing or from one of the local retirement Drysdale likes to play songs peo- conducting, he hums tunes to him- facilities watched the annual show ple recognize and enjoy, although he self or sings tidbits of songs. ◆ from underneath umbrellas—but the picked some of his favorites for the 15

sity in September, and played gigs where he coordinates the music ALUMNI with Northwest bluesman Jimmy education program. He remembers Lloyd Rae. the frustrations associated with Matt Cooper (B.M. 1984) recently public school funding and Ballot released a CD of jazz originals for Tiffany Mills (B.A. Dance, 1991) Measure 5 as Pennsylvania legisla- sextet titled Clovis, featuring UO and her Tiffany Mills Company gave tors duel over property tax relief alumnus Tom Bergeron (D.M.A. ‘89) a gala performance titled “Mas- and school funding. He welcomes and former UO jazz guitar instructor querade” at the Swiss Institute of e-mail at [email protected] Garry Hagberg, as well as former Contemporary Art in New York City. and his music advocacy website is student and co-founder of the jazz The Oct. 29 event, which included http://groups.yahoo.com/group/NW- group Oregon, bassist Glen Moore. dance, live music, and a silent auc- PAKeepMusicInSchools Cooper performed Gershwin’s Rhap- tion, was a fundraiser to support two sody in Blue with the Grande Ronde new works for the 2006 season. Rebecca Oswald (M.M. 2001) won Symphony Orchestra. In June he top honors in the 2002 Waging Peace accompanied vocalist Peter Wordel- Christine Maddison-Mann (B.Mus. through Singing choral composi- man in the premiere of a commis- 1992) married Herve Mann on July tion competition for her piece, Let sioned work by OMTA Composer 21, 2005. The couple lives in Har- Him Return, for women’s chorus of the Year John McKinnon, at the risburg, PA. and piano. The work received its OMTA State Conference in Corvallis. premiere in April 2005 in Ontario, He also accompanied Wordelman in Allen C. “Kit” Howell (D.M.A. 1993) Canada, by the Aurora women’s cho- a faculty vocal recital featuring mu- was promoted to associate professor rus, conducted by Martha Duncan, sical portrayals of Figaro and Don in the Department of Music at Ed- and was professionally recorded Quixote at Eastern Oregon Univer- inboro University of Pennsylvania, in November 2005. Oswald was

HURRICANE KATRINA BRINGS FROHNMAYER DUO TO CAMPUS Philip Frohnmayer (M.M. 1972) and his wife, Ellen, enjoy visiting Eugene and the UO campus, not only because Phil is a School of Music alumnus, but also because brother Dave is president of the University of Oregon. Phil, along with his brother, John, and sister, Mira—a 1960 music alumna and chair of the School of Music and Dance Advancement Council— were all on hand in July for the official naming of the MarAbel B. Frohnmayer Mu- sic Building, in memory of their mother, a 1932 music alumna. But Hurricane Katrina put a return trip to Eugene on their schedule much sooner than expected. Phil and Ellen are on the music faculty at Loyola University in New Orleans, where Phil is chair of the voice department at the College of Music. The brutal storm forced closure of their campus, along with the evacuation of countless students and citizens along the Gulf Coast. Although damage to the Loyola campus was not severe, the school remained closed all fall. So Phil, Ellen, and their 23-year-old daughter Anne Marie moved to Eugene for fall term, and the two voice professors— also accomplished opera singers—served as voluntary and most welcome additions to the UO voice faculty. While Ellen was here, one of her students from Loyola, Sara Litchfield, who is a native of Portland, followed her here and continued her studies with Ellen during fall term. Anne Marie is finishing a master’s degree in voice at Loyola. She took a fall term History of Opera course by professor Marian Smith. “We were so warmly received by the voice faculty at the U of O,” said Phil. “It made all the difference for us to continue to teach during our exile from New Orleans. It seemed to us a great luxury to have gifted students singing wonderful music at a time when our future was uncertain.” The family returned to New Orleans just before Christmas after living at Dave and Lynn Frohnmayer’s residence. Phil and Ellen still have their jobs at Loyola, and count themselves lucky among the spectrum of hurricane victims. And the School of Phil Frohnmayer with wife Ellen (c.), daughter Music counts itself lucky to have had them here—even for only Anne Marie (r.) and Sara Litchfield. one term. ◆ 16 commissioned by the Foundation for Universal Sacred Music to write IN MEMORIAM a choral work which was premiered ALUMNI in New York City in October 2005; OMINATIONS Elizabeth Wilson Oft (B.A. 1935) Reciprocity is 11 minutes long, is in N died in Eugene of age-related causes. 11 languages, and is on the ethic of REQUESTED She was 90. After receiving her reciprocity. Oswald also completed music degree from the University two commissioned classical guitar Alumni of the School of of Oregon, she attended Whitman pieces this past year for the Portland Music and Dance are invited College in Washington, and was a Guitar Duo, and last winter she to submit nominations for the member of Phi Beta. She worked as completed a clarinet concerto, com- annual Distinguished Alumnus a music and grade school teacher, missioned by UO grad Lisa Taylor Award. and was affiliated with her family’s (M.M. 2001). In November 2005 Dean Foley confers with an business, Wilson Music House in Oswald released her first full-length advisory committee to make the Eugene. A singer and pianist, she CD of solo piano music. Audioclips final selection, and suggestions served as a vocalist and summer can be heard, and orders placed, via for nominees are welcome. organist for the First Congregational her website, www.rebeccaoswald. Names and a brief summary Church. She also played at annual com, or on CDbaby.com. of the candidates’ background concerts with the American As- and accomplishments may be sociation of University Women, and Scott Unrein (M.M. 2004) is an ad- sent or e-mailed to Dean Brad performed regularly with a small junct faculty member at Kansas City Foley ([email protected]) at musical group. Kansas Community College, teach- the School of Music, preferably ing computer music applications before November 1. Patricia Easley (B.A. 1993) died Oct. and multimedia production. He is 24 of cancer at age 74. A resident of also continuing work on his doctor- Eugene for 19 years, she belonged to ate in composition at the University the Oregon Music Teachers Associa- of Missouri-Kansas City. In spring tion, the American Guild of Organ- of 2006 he will marry Judy Katz. ◆ ists, and the Eugene Symphony Guild. She also was active in PEO and the music program at Eugene’s First United Methodist Church. In 2005, Pat and her husband Henry HAVE WE HEARD FROM YOU LATELY? established the Henry and Patricia Easley Endowed Scholarship Fund at the School of Music and Dance 2/06 UO School of Music & Dance Alumni to help recruit and reward the WHAT’S UP? most talented music performance students. Memorial contributions NAME______Class of ______may be made to the Henry and Degree______Patricia Easley Scholarship Fund Comments______at the School of Music and Dance, ______or the American Cancer Society, or ______Hospice of Sacred Heart Hospital in ◆ ______Eugene. ______My current address: (please print) This is a change of address Address______City______State______Zip______Phone (day)______(eve)______I have more news to share! Call me for a more complete update.

You may also send your alumni news for Ledger Lines via e-mail c/o our Development and Alumni Relations Office: [email protected] Patricia Easley Oregon Marching Band at the Holiday Bowl It was a typically frenzied four days of bowl- week activities for the Oregon Marching Band as they traveled to beautiful San Diego for the Dec. 30 Holiday Bowl. The band and staff flew out of Eugene the morning of Dec. 26, and the schedule was filled with rehearsals, pep rallies, a parade, plus sight-see- ing at Sea World and the San Diego Zoo. Though the football team fell short of a victory in the final minute of the game, the OMB did its part to give the Oregon fans a colorful and enthusiastic focus.

For information on how your gifts can support the Oregon Marching Band, contact DeNel Stoltz at Sean Wagoner and OMB director Patrick Carney with the Duck (541) 346-5687 or e-mail [email protected].

ABOVE LEFT: The OMB and football team gather for a rally at the USS Nimitz aircraft carrier. ABOVE RIGHT: Battle of the Bands with Oklahoma’s marching band at the San Diego Convention Center

BELOW RIGHT: Halftime at Qualcomm Stadium

PHOTOS BY HOLLY MILLER Robert Kyr, composer COMING EVENTS Faculty Artist Series, May 2 For more information about UO School of Music programs, FACULTY & GUEST ARTISTS: Gundecha Brothers: North events, and faculty, Indian classical vocal music check our web site: Nancy Andrew, flute World Music Series, May 5 music.uoregon.edu Faculty Artist Series, Feb. 23 Charles Turley, baritone Debussy String Quartet Faculty Artist Series, May 9 The University of Oregon is an equal Chamber Music Series, Feb. 26 opportunity, affirmative action institu- UO Jazz Faculty tion committed to cultural diversity and compliance with the Americans Jasper Wood, violin Faculty Artist Series, May 22 with Disabilities Act. This publication David Riley, piano will be made available in accessible Guest Artist Recital, March 5 formats upon request. SPECIAL EVENTS: Chiayi Orchestra from Taiwan Guest Ensemble, March 8 SEAMUS Conference Elecro-acoustic music conference Louise Toppin, soprano March 30-April 1 Guest Artist Recital, April 6 UO MUSIC FEST in BEND Sean Wagoner, percussion Showcase of UO music and dance at Faculty Artist Series, April 24 the Tower Theatre in Bend, Oregon. Alumni welcome! Thursday, May 25 Fritz Gearhart, violin Faculty Artist Series, April 30

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