THE UNIVERSITY OF TENNESSEE SCHOOL OF MUSIC, 2016

THE MAN The artful science of keeping 124 in perfect tune.

PAGE 10 FROM THE DIRECTOR Shiner Hits a High Note BY KATHERINE GAUL

Recent alumna Alexandria Shiner (MM, ‘16) got the chance the right things vocally, and that was so incredibly affirming to to sing for renowned opera singer Renée Fleming over the me,” said Shiner, who sang one of her favorite arias, “Dich teure summer in Chicago. Halle,” from Wagner’s Tannhäuser. Shiner came to UT in 2013 as a graduate student. Associ- During the experience, Shiner learned that Fleming faced TABLE OF CONTENTS ate Professor Marjorie Stephens, who recruited Shiner after many of the same obstacles she faces. working with her at the American Institute of Musical Studies “It was amazing to listen to her talk about the struggles that SHINER HITS A HIGH NOTE...... 3 in Graz, Austria, said she thinks Shiner has the potential to have come from this career, and that she had many similar obstacles A recent alumna’s inspiring experience with opera royalty. her own international career. in her early years,” Shiner said. “She helped solidify that I’m MIXING STYLES HELPS CREATIVITY BLOSSOM. . . . . 4 Shiner was chosen from hundreds of applicants to partici- exactly where I need to be on my journey right now.” Three professors are bringing together their composition styles pate in the National Association of Teachers of Singing (NATS) The experience is leading to more opportunities for Shiner. and students. master class, a small workshop at which Fleming mentored While participating in the NATS program in Chicago, she four chosen students; the students prepared and then per- also received the opportunity to sing for staff from the Ryan PRESENTING A TENNESSEE TOUCHSTONE...... 6 formed a concert in front of an audience that included Flem- Opera Center, the Chicago Lyric Opera’s young artist program. A new composition honors Knoxville’s past and present. ing, friends, family, and others. The program is a two- to three-year paid internship at the “I heard about the NATS opportunity through a friend, and Chicago Lyric. Participating artists receive lessons, coaching, PENTATONIX’S KAPLAN ELECTRIFIES STUDENTS.. . 8 then Professor Stephens nominated me for the master class. I and dramatic training and function as the chorus, fill small The king of a cappella helps UT students hone their skills. made a recording, crossed my fingers, and hoped for the best,” roles, and often cover leading roles on the main stage. said Shiner. “I was absolutely thrilled when I found out I had “I was able to sing for the vocal coordinator, Julia Faulkner, ALLISON LANDS FIRST JAZZ ALBUM...... 9 Lessons learned in the professional world. been selected.” twice while I was in Chicago, and she was very helpful to me. Fleming has performed with major opera companies around Both Ms. Faulkner and Ms. Fleming expressed to me that they THE PIANO MAN ...... 10 the world, received many international awards, and is con- would like to see me at the Ryan Opera Center,” said Shiner. In New York City, rain fell as Chris Cox, our director of de- Inside the world of Dan Frank, the School of Music’s resident sidered one of the greatest figures on the opera stage. Her “I will apply to the Ryan Opera Center this January in order velopment, and I made our way in a cab through the Upper piano technician. approach to mentoring and teaching was one of kindness and to join the 2018–2019 ensemble. Until then, I’m still singing, East Side. It was 4:30 p.m.—just three hours until we’d be enthusiasm, Shiner said, adding that the opera singer made applying the concepts I learned from Ms. Fleming, and waiting watching the kickoff of the Vols season opener. FOR THE LOVE OF MUSIC...... 21 her feel incredibly comfortable despite the fact that she was to see how this all unfolds,” said Shiner. Turning from First Avenue on to 81st Street, the cab Tony Monte remembers his late wife, Shirley Ford (‘60), singing in front of hundreds of voice teachers. through an endowment. stopped at a nondescript building where we were meeting “The energy was super enthusiastic and positive, and I had a with our new friend Tony Monte. We had met Tony about a blast. Ms. Fleming made me feel like I was absolutely doing ENSEMBLE DRUMS UP CREATIVE year and a half earlier to discuss creating an endowment in IDEAS FOR PERCUSSION INSTRUMENTS...... 26 the name of his late wife, Shirley Ford (’60). UT students perform at PASIC 2015, the prestigious We spent time reminiscing and reading Tony his article international percussion conference. for Noteworthy (p. 21). Soon, the clock read 9 p.m., but none of us noticed. They say time is the great thief. Not that evening. Tony, DEPARTMENTS then terminally ill, reminded us of the power of music. It had brought him and Shirley together, bonding them through- READY FOR THE WORLD...... 16 out their shared life more closely than we could imagine. As Tony got teary-eyed numerous times recounting his STUDENT NEWS ...... 18 love for Shirley, it reminded me of exactly the reason every- HONORS CONVOCATION AWARDS ...... 20 one at the School of Music does what they do: for the love of music. FACULTY NEWS...... 22 Tony, thank you, my friend. I promised to visit you before FACULTY RECORDINGS ...... 22 the holidays, but time, this time, was the great thief. You left us on November 14. Rest in peace, my friend. Thank you for ALUMNI NEWS...... 27 reminding me what’s important in my life. It’s a lesson worth remembering. On the cover: Dan Frank opens his tool kit to show us Jeffrey Pappas how he keeps the School of Music’s 124 pianos pitch- Director, School of Music perfect every day of the year. Photo by Daryl Johnson.

Find more School of Music news and events online at music.utk.edu.

NOTEWORTHY music.utk.edu 3 Mixing Styles Helps Creativity Blossom BY WHITNEY HEINS

When you hear the word “cross-pollination,” most likely the icant composition awards within the past year and have their images of bees and flowers come to mind. But clear your music performed in various locations across the South.” head and instead imagine the sounds of electronic works The end result of these collaborations is the Contemporary blended with video followed by tonal string quartets. Music Festival, organized by the three professors and Andy That’s what cross-pollination means for some students in Bliss, assistant professor of percussion. the School of Music. Or, put differently, it brings together col- The festival is a celebration of contemporary music that laborations so they “bloom.” showcases an increasing interest of the school in electronic Three School of Music composition professors are redefin- music and music for video games and film. ing the meaning of cross-pollination by initiating never seen or “What makes that festival unique and so great is that it puts heard before collaborations between UT’s young musicians. all of its acts out there without any pretense,” explained Sigler. Brendan McConville, Andrew Sigler, and Jorge Variego are “Rarely are the terms classical, jazz, rock, or other limiting blending together their distinctly different styles and genres descriptors used, and this allows the audience to come to of music in informal practice sessions to the benefit of their each performance without too many preconceived notions.” students. As Sigler puts it, “it’s all music and we embrace it.” What do we mean by distinctly different? Think traditional music meets orchestra meets computer. McConville, an associate professor, is a theorist and com- poser whose works have been commissioned, performed, televised, and recorded in the United States and Europe. Sigler, a lecturer and adjunct assistant professor of com- position, composes for chamber ensembles, orchestra, dance, theater, and film. He’s also done sound design for video games, advertising, and animation for companies like Micro- soft and Google. Students Julian Calvin (piano), Variego, a lecturer and adjunct assistant professor of music Emory Hensley (), and theory and composition, is a pioneer in the field of interactive Warren Oja () perform computer music. He’s performed around the globe. Mellits’s Tight Sweater The three are turning students’ perspectives of music on their heads by showing that composition curriculum is about more than traditional classical music. “While that remains the root of what we do, students soon realize that not only is the world of music and composition “Our work brings together a variety of majors much larger than they thought, but also that their own per- sonal experiences and backgrounds should and must play a for a high degree of improvisation. You’ll find role,” said Sigler. The result is often a traditional chamber ensemble pro- grammed alongside music for fixed electronics, live instrument students playing traditional instruments and and electronic combinations, or even a scored film trailer. “Our work brings together students from a variety of majors for a high degree of improvisation. You’ll find students electronic instruments. We had one student playing traditional instruments and electronic instruments. We had one student make a waterphone, which uses water and make a waterphone, which uses waterADAM and TAYLOR pipes to make unique sounds,” said Variego, who directs the Electroacoustic Ensemble, an outgrowth of this collaboration. Between the musical notes, you may also hear students pipes to make unique sounds.” exclaiming “I should learn that, too!” Composer Mark Mellits at his Portrait “The students are having fun and enjoying learning from Concert during —Jorge Variego each other,” said McConville. “They are also having success the Contemporary with the experience. We have had several students win signif- Music Festival.

4 NOTEWORTHY music.utk.edu 5 Presenting a Tennessee Touchstone BY AMY BLAKELY AND WHITNEY HEINS

Neyland Stadium. The Sunsphere. once-in-a-lifetime experience,” said Wolfe, who produced and sang in the performance. The Smokies. School of Music Director Jeff Pappas couldn’t have agreed Last fall, East Tennessee became home to another land- more. “When Katy brought this opportunity to our school, mark. But this one couldn’t be seen on the region’s landscape. I jumped on it,” he said. “Not only for the historical signifi- Instead, it could be heard reverberating through Knoxville’s cance of the pairing of the piece with the Barber classic, but Tennessee Theatre. the opportunity for our students to premiere a work and go The landmark was the premiere of Knoxville: Summer of through the creative process with a composer and librettist.” 2015, a musical sequel to Samuel Barber’s famous Knoxville: Wolfe and Reid helped Vavrek get a true taste of East Summer of 1915. The piece was written by Oak Ridge native Tennessee through visits to iconic places like Dollywood, , a young composer and rising star, and noted a UT football game, and the Smoky Mountains. They also librettist Royce Vavrek, who wrote the lyrics for the acclaimed spent time interacting with the UT Symphony and its operas Dog Days, JFK, and O Columbia. conductor, Jim Fellenbaum. The concert, performed by UT’s symphony orchestra “We exposed Royce to a lot, and that eventually wove its with graduate soprano Maxwell Porterfield (MM ’16), was a way into his text,” Reid said. collaboration of the School of Music and the Department After Vavrek finished the lyrics, he turned them over to Reid of Theatre and featured instrumental, vocal, and spoken to compose the music. Reid used the same instrumentation word performances. as Barber, which she characterizes as soft and warm yet laced “It was a wonderful experience to build the piece with the with “existential anxiety” about the way the world is today. orchestra and students,” said Reid. “The support of the music After more than a year of working with the piece, Reid school enabled us to really develop it . . . and hear it come to finally watched (and heard) it come to life—and was surprised life. That’s really rare today.” by the audience’s response. Knoxville: Summer of 1915, composed by Barber in 1947, sets “There was a standing ovation immediately. That’s not to music excerpts from James Agee’s prose poem “Knoxville: something that happens every time,” she said. Summer 1915.” That piece—a nostalgic recollection of an idyllic “The point of writing something is that it has a life,” said summer night in Knoxville when he was five years old—later Reid, who hopes that in a hundred years someone will write became a preamble to his Pulitzer Prize–winning book A Death another iteration, and East Tennessee will have another in the Family. musical landmark. Like Agee’s piece, Knoxville: Summer of 2015 is about an adult reminiscing about family, life, and East Tennessee. It is set during the narrator’s return visit to Knoxville in 2015 to cele- brate a great-grandfather’s 100th birthday. “The piece is from the perspective of a young adult who is dealing with his generation’s rapid acceleration of change and trying to imagine what life was like in East Tennessee for his great-grandfather,” explained Reid. Reid and Vavrek came up with the idea to write the musical sequel one night over dinner. Reid then reached out to her past high school teacher, Katy Wolfe, now a voice instructor in the Department of Theatre, and the wheels were set in motion. “For our students to be part of the creative process on a Right: Students rehearse with composer Ellen Reid musical piece that could become a new classic—this was a before the premiere.

6 NOTEWORTHY music.utk.edu 7 Pentatonix’s Kaplan Electrifies Students BY WHITNEY HEINS Allison Lands

“It was like Elvis walked into the building.” That was how UT Singers Director Jaclyn Johnson First Professional described her students’ reactions when Avi Kaplan of the multi-Grammy-Award-winning recording artists Pentatonix visited campus earlier this year to host a workshop. “The students had an electric response to him,” added John- son, who also serves as interim associate director of choral Jazz Album activities. BY AMY BLAKELY | PHOTO BY CAREY J. KING Kaplan came to campus to host the first contemporary a cappella workshop at UT for high school students. He also worked with the university’s three contemporary a cappella When one of Luther Allison’s professors recommended him ensembles, the UT Singers, reVOLution, and VOLume. as the drummer at the Jazz Institute summer “Last year was the first year UT Singers, the university’s camp in Brevard, North Carolina, Allison never imagined the oldest choir, became a contemporary a cappella ensemble, doors that would open for him. which is a huge recruitment tool for us,” explained Johnson. A senior jazz student, Allison has made his professional “So we wanted to do something different for high school debut on trombonist Michael Dease’s recently released album, students to bring them to campus for something that is fun, Father Figure. vibrant, and of the time.” “My father would always tell me, ‘Always be ready because The two-day workshop, now an annual event, included a you never know when people will discover you,’” Allison said. day when Kaplan worked with UT students and a day when he Dease was performing at the camp and was impressed focused on the high school students. by Allison’s skill on the drums. It was there that Dease asked Johnson had a connection to Kaplan since they both went Allison, a junior at the time, to perform on his album. to Mt. San Antonio College, known worldwide for its strong In early October 2015, Allison drove 11 hours from Hess Hall choral and a cappella tradition, and studied under the same on UT’s campus to Brooklyn, New York, to meet with Dease choir director. When she reached out, he jumped at the and other professional and collegiate musicians performing on chance. the album. They spent the following week rehearsing, record- “Avi is big advocate for music in schools and working with ing the album, and performing shows in New York and Michi- high school students,” said Johnson, noting that every summer gan, getting little sleep and practicing throughout the night. he hosts an a cappella camp called “A Cappella Academy.” “I was having the time of my life,” Allison said. “I was Although they were singing contemporary music like Lady sleeping for an hour and a half or two hours a night, but my Gaga, Fun., and Michael Jackson, Kaplan used the traditional adrenaline was pumping the whole week, so missing sleep method of “rote” to coach the kids. wasn’t an issue.” “He would sing something and the students would echo “I knew right away that I was about to meet a special soul it back,” said Johnson. “He taught us new notes to augment full of passion and humility,” Dease said of Allison. “After our our harmonies and make them sound more complex. He also first rehearsal I was convinced of his immense talent, which is suggested ways to improve our arrangements.” somewhat hidden by his sincerity and maturity.” “Working with Avi was the experience of a lifetime,” said UT The opportunity to record with Dease allowed Allison to Singers member Hayley McGinnis. “Everything that he taught showcase his skills but also taught him a valuable lesson. us and advised us to do was so simple—it was just little things “I learned to pace myself, whether it be musically or in my that he tweaked or changed around that just made such a life in general,” said Allison. “If this is the career path I want to huge impact. It was so interesting to hear some outside per- have in the future, I have to be in shape mentally, physically, spective from someone who has had so much success in his emotionally, and professionally to keep up with the lifestyle.” career in this genre.” Allison is already a disciplined musician. He practices five Kaplan also focused on microphone technique to help the hours a day and maintains a 3.7 grade point average. He also students finesse their sound to sing more softly yet more takes to heart the advice and constructive feedback of his powerfully. professors and mentors. “He was very patient,” said Johnson, who added that Kaplan “Mentorship is something I think is imperative in bringing was also very relatable despite being part of a group that has up the next generation,” Allison said. “In order to be able to number one Billboard hits. keep tradition going, you really need your predecessors to set Johnson is working to see if “Elvis” can enter the building the tone for what you need to do in the future. Dease did an one more time in the near future. extraordinary job in taking me under his wing and introduc- ing me to other musicians. It’s both humbling and exciting—it makes me want to work that much harder because I want to live up to his expectations.” Allison has since recorded again with Dease on a forth- coming album, this time as a pianist.

8 NOTEWORTHY music.utk.edu 9 The Piano

ManBY BROOKS CLARK | PHOTOGRAPHY BY DARYL JOHNSON

Just three days into his piano technology class as a freshman at the University of Michigan, Dan Frank realized he could hear the “beat” a piano string makes when it’s out of tune.

“It’s like a sine wave,” says Frank, who now proudly calls UT home. “If you don’t hear that wavering, you’ll never be able to tune pianos.” In fact, only a tiny per- centage of people can hear it. When his professor realized Frank was one of them, he told him, “You can do this. You can be a really good tuner.”

Nowadays, as resident piano technician, Frank takes care of the School of Music’s 124 pianos.

10 NOTEWORTHY music.utk.edu 11 Above, one regulation Frank sets is the different levels of the hammers. Each hammer has to be within one sixteenth of an inch of the bar that he Once a year, Frank removes the action—that is, the keys and hammers—from each of the School of Music’s grand pianos uses. Frank teaches a survey class in and puts them on his workbench to perform seven or eight different regulations on each key. In this case, he is adjusting the piano technology each spring to five let-off of the hammer. Below right, Frank’s inventory of rail regulating punchings await placement beneath piano keys. The students. Out of the 45 students he’s green felt washers prevent the keys from “clacking” and the paper washers adjust the key height and depth. had over the years, only one could hear the “beats” well enough to be able to tune professionally.

At left, the red temperament strip dampens the adjacent strings so Frank can tune the middle one, in this case G5, also called key no. 59. Below, the dampers of the piano stop the strings from vibrating when the key or pedal is released. “It takes 500 or 600 pianos before you get good at tuning,” says Frank, who trained at the Steinway factory in Queens, New York, in 1998. “It takes an entire year to build a piano. That’s why it’s expensive. It’s still done by craftsmen.”

“Being able to hear the ‘beat’ of a string out of tune is a mixed blessing,” Frank says. “I try not to go to the concerts, because I’m listening for the pianos to be out of tune. The really good pianists don’t knock the instrument out of tune. They find the limits of the piano they are play- Steven Gross with New ing and stay within those parameters of Triad works with UT loud and soft, not forcing the piano.” student Caitlin Thomas.

12 NOTEWORTHY music.utk.edu 13 Dan Frank’s Piano Tool Kit

1

11

12 8

6

13 10

7

2 4 9 3 5

1 3 5 7 9 11 13 The tuning fork. Once a quintessen- The tuning hammer is used to turn During concert tunings, when time A hammer head extractor is used to After prolonged play, keys can If the felt is too tight and a key gets The red felt temperament strip In all, Dan Frank does 800 tial item, it’s been largely replaced by tuning pins to raise or lower the is of the essence, the single-needle remove the hammer from the shank wriggle loose and get too close to stuck, this piano key easer helps dampens an entire section of strings, tunings a year, including the electronic tuner. “I have nowhere pitch of a string. hammer voicer quickly voices to replace or reset it. one another. This front rail regulator widen the felt on either side of the allowing Frank to set the equal tem- close to perfect pitch,” says Frank. hammers while the action remains bends the front rail pins to evenly key to allow it to move freely. perament on the middle octave. a full tuning before every in the piano. space the keys. concert. “I love my work,” says Frank, who punctuates 2 4 6 8 10 12 many statements with a Key leadweights like this one This small saw is used to trim excess When a tuning pin is loose, this pin The tool with no name—Frank’s home- This 80-grit red sandpaper is Strings are tuned one at a time in harmony with warm laugh. “I’m 66. I could substitute for the weight of the glue from the hammer shanks as setter is used to hammer the precise made device measures the height of glued onto wood for filing another pitch. Unlike a regular rubber mute, a retire. I enjoy it too much to hammer during maintenance work. they are replaced. pin further into the pin block to black keys above white keys, which hammers to adjust their shape, Papp’s mute is thin enough to fit between the tighten it. should be exactly one half-inch. which affects tone. hammers on an upright piano and dampen the retire. I’m in heaven.” strings on either side of the one being tuned.

14 NOTEWORTHY music.utk.edu 15

READY FOR THE WORLD CONTRIBUTORS TO THE SCHOOL OF MUSIC A440 Shop Robert E. and Virginia Acker Peter Austin and Ellen H. Acly La Pioggia, Naturally Global Music Explorations John Martin Adams III BY BRENDAN MCCONVILLE, ASSOCIATE PROFESSOR OF MUSIC THEORY/COMPOSITION BY WHITNEY HEINS Fay Swadley Adams George A. Adams Carol Varnadore Aebersold Lamar and Honey B. Alexander This year, I was honored to be selected as a Core Fulbright US The students were very formal and respectful, and asked excel- If one wants to travel around the world, they Carolyn C. Allison Scholar to conduct research and teach in Italy. My research lent questions. I plan to keep in touch with my colleague and only need to step inside the halls of the School Phyllis Anderson component was dedicated to creating a musical setting of host composer, Fabio Cellini, and we hope to collaborate on of Music. Travis Leon Anderson Abruzzese poet Gabriele D’Annuzio’s “La Pioggia nel Pineto” other projects soon. Two new groups, the Middle East Ensemble Amanda Danielle Andrews (The Rain in the Pine Forest). “La Pioggia” is world renowned Listen to McConville’s work at . and the Balinese Gamelan, are breaking new tiny.utk.edu/Pioggia Bruce and Shirley B. Avery for breaking traditions regarding syntax, thereby generating ground at the school by taking students to far- Don and Alberta Bachman aural sensations from the words and phrases themselves. flung places—musically and culturally. A. J. and Mary Kaelin Baker Devices such as repetition, onomatopoeia, and simile make the Les Gay’s Balinese Gamelan, the first in the Wesley H. and Melissa Baldwin poem naturally musical in the Italian language. My goal was to state, has introduced students and community Virginia G. Barber merge the sound effects in the poetry with the natural sounds members to the Indonesian ensemble com- Charles F. and Sheila Barnett of birds, insects, animals, and seaside rainstorms found in the monly played at formal occasions and in tradi- William R. and Eleanor Barron precise locations that inspired D’Annunzio’s text. tional ceremonies. Loneka Wilkinson Battiste In March and April, I recorded hundreds of sounds and have The students get to experience playing an Janet G. Bechtel many recording stories from the project. I once got lost in a assortment of percussive instruments uncom- John L. and Beverly J. Bell remote area of the national park of Abruzzo in a massive rain- mon in the United States, such as jublags, jego- Judith Bible storm. It was my fault. I had a tendency to chase rain systems. gans, and gangsas, as well as learn a different Carley E. Bilbrey III and Another time I tracked interesting sounds along a path high way of thinking about music. Milla Drumright Bilbrey up a mountainside, and rested at the top near an abandoned “The melodies and harmonies of the gamelan Shelley L. Binder old refuge. As I began to descend, I heard many squealing and are very different than what we see in Western Joel S. Birdwell scurrying wild boars (cinghiali) on my path below. My record- cultures,” explained Gay, associate professor of Andrew Michael Bliss ing gear and headphones were quite good so I picked up the musicology. “In the West, music has a beginning, Claudine and Helmut K. Boehme sounds from a distance. I had to wait out the boars! middle, and end. But in the gamelan, it’s cyclical Kenneth A. Bohannon The completed piece is in four movements titled according with a different sense of temporality and musi- Johnnie L. Boling Jr. to the opening text of each part of the poem: Taci (“be quiet”), cal richness.” Mark E. and Anita Boling Odi? (“can you hear?”), Ascolta (“listen”), and Piove (“it’s rain- The students also learn about culture—a crit- Edmund L. and Susan M. Bolt ing”). It is written for soprano, tenor, piano, and fixed electron- ical educational component—says Lillie Gordon, Bonny Kay Elementary School ics. The electronics include the canvas of sounds behind the lecturer and director of UT’s Middle East Ensem- Beverly R. and John S. Bradley performers that support and accompany all of the foreground ble. As she puts it, in learning about music, we Catherine E. Braunstein activity. Each movement includes 40 to 60 tracks of sounds, learn about people. Beth A. and Jake Breazeale some lasting for seconds, some for minutes. “The Middle East so often gets dehumanized,” Robert J. and Martha W. Breazeale Some recorded sounds were left natural behind the per- said Gordon, who studied in Egypt. “The media Brickey-McCloud formers while others were heavily manipulated by computer. focuses on violence and political unrest there. But Elementary School For example, in the third movement when the soprano sings our students are playing songs that portray real Joseph W. Brill “la rana, canta nell’ombra più fonda, chi sa dove, chi sa dove!” human emotions with which we can all identify.” Leonard Brinkman Jr. and Doris J. Brinkman (“the frog, sings from the deepest shadows, who knows where, Also composed of students and community Keith R. Brown who knows where!”) the music intensifies while an Abruzzese members, the Middle East Ensemble focuses Jill Brown frog sings in the background. However, when I captured the on playing music from across the Arab world as David E. Brunell frog sounds I had two problems: I didn’t like the pitches it was well as Turkey, Iran, Greece, and Armenia. Virginia C. and Frederick L. Buffum singing and I didn’t want all of the high-pitched bat sounds The experience has exposed the musicians Kevin D. and behind the frog. So I edited out the bats and used pitch cor- to a new way of expressing emotion using Natalia Cortez Burdette rection software to ensure my frog sang in the key I wanted. In scales not common in Western music, and Audrey Rose Burross fact, the frog harmonized the soprano. instruments like the ‘ud (short-necked lute), nay James and Karen Bush The piece was premiered at the Villa Paris in Roseto degli (end-blown, reed ), and darabukka (gob- Mary Hellen Byers Abruzzi. My performers and I are now working on a commer- let-shaped drum), which they had never seen Victor Caccese cial recording of “La Pioggia” with an Italian label, and we are before, let alone played. Tina and Christopher S. Callicutt planning future performances of the work. Both professors hope their students’ expe- Angelyn Gettelfinger Campbell The teaching component of my Fulbright experience was riences make them more aware not only of Suzanne R. Carriere invaluable. At my host institution, the Conservatorio di Musica different types of music but also their own William Y. Carroll Jr. Luisa D’Annunzio, I worked with a great group of young assumptions. Patricia S. Carter composers, introducing them to a variety of compositional “I see this as educational tool as well as an Willene Rush Chalmers methods and approaches that I have studied and acquired artistic venture,” said Gordon. Hanshu Chang over the years. They were particularly interested in new music Mike and Dawn Channell from American composers. They understood little English so I Church Street United lectured in Italian, the first time I have taught in Italian. Right: Performances by the Balinese Methodist Church Gamelan (upper two images) and Middle Dale R. Clark East Ensemble (lower two images) in the Sandra G. Powell Recital Hall. Kevin James Class

16 NOTEWORTHY music.utk.edu 17 STUDENT NEWS Karen J. Cobb Mark A. and Melony J. Colquitt Community Foundation Michelle Barren’s (MM) brass quintet “Fanfare and Jasmeen Pantleay (BM) served as East Tennessee for the Fox Valley Promenade” was chosen for performance at the president for Tennessee C-NAfME and was the Mary Costa VolOpera Celebrates Inaugural Year Women Composers Festival of Hartford. co-winner of the 2016 Tennessee State C-NAfME Christopher Cox Member of the Year. She also was the recipient of Betsey Beeler Creekmore Marya Barry (MM) sang the role of Bradamante in a 2016 UT Chancellor’s Extraordinary Professional Susan Creswell and Thomas A. Cervone Handel’s Alcina with the Oberlin in Italy program Promise Award. Katherine Crews this summer. VolOpera began with a thirst for knowledge and opportunity. Reid R. and Olga Crumpton “Synaptic Connections” by Paul Royse (BM) won Created last year, the student organization provides a way Mary F. Cushman Brandon Bell (MM) sang the roles of Bottom the first place for the state of Tennessee at the Music Janan H. and Susan M. Dakak for undergraduates in UT’s opera program to network with Weaver in Britten’s A Midsummer Night’s Dream Teachers National Association Composition Con- each other and learn more about the business of opera— John Edwin and and Toots in the world premiere of Falling Angel by test in October. Martha B. Davidson everything from resume building to stagecraft. J. Mark Scearce for the Janiec Opera Company at Music seniors Rachel Brown and Ryan Colbert, along with Harry Preston Davis the Brevard Music Center. Ryan Stennes (BM) was awarded a fellowship to Sarah M. Davis faculty members Lorraine DiSimone and Cecily Nall, were the the prestigious composition program in the Alba driving forces in forming VolOpera. Susanna V. and Anthony M. Deaton Hannah Brown (BM), soprano, sang the role of Music Festival. Stennes was the only undergrad- William R. and “Last fall, VolOpera covered a bevy of subjects with Mabel in the Tennessee Valley Players’ June 2016 uate accepted to the program. His choral work Jane Warwick Dempster several workshops,” Colbert said. The group hosted programs production of Gilbert and Sullivan’s The Pirates “When I Am Dead My Dearest” was a winner of the Lucinda and Harold Denton on major Mozart operas (Don Giovanni, The Marriage of Figaro, of Penzance, following her success as Cosette in 2016 Missouri Composers Project Competition and Adrienne Diiulio Cosi fan tutte, and The Magic Flute) and the German Fach TVP’s 2015 production of Les Misérables. a semifinalist for the International Maurice Ravel Lorraine DiSimone system (a method of classifying opera singers by the range, award in the choral category. Cathleen Dodge weight, and color of their voices). Mezzo-soprano Allison Deady (MM) was awarded Lew W. Dougherty Jr. and In the spring, VolOpera focused on its opera scenes Mary Jo Dougherty the prestigious Verdi Prize at the National Orpheus Peter Naughton (MM) performed his solo Eileen Marie Downey program, which gives members the chance to stage Vocal Competition in March. She also performed at composition at the McCormick individual scenes from various operas using simple props Michael W. Driskill and the Chautauqua Music Festival in New York. Marimba Festival in Tampa, Florida. He also Elizabeth B. Ford and homemade costumes. received an assistantship to attend the University E. Ely and Phyllis N. Driver “We hit the ground running with musical coaching and Siobhan Drury (MM) was the recipient of a 2016 of Iowa to begin working on his DMA in percussion Sue Isaac Dubois staging rehearsals for eight scenes from various operas, UT Chancellor’s Extraordinary Professional Promise performance. Lisa Easter and Craig Dunn including Cosi fan tutte, The Rake’s Progress, and Hansel and Award. East Tennessee Foundation Gretel,” Colbert explained. Makoto Winkler (MM) was selected as an Also last spring, VolOpera participants had the opportunity H. Wallace Edwards Jr. Skye Van Duuren (MM) received a UT Thomas apprentice artist for the Glimmerglass Opera. to audition for Knoxville’s Rossini Festival. Lynn W. England Fellowship and $10,000 for 2016–17 for his Webb C. Eskew Jr. and “Maestro Brian Salesky of Knoxville Opera graciously proposal “Purest Harmony: A Practical Process Jeanne T. Eskew allowed us a time slot, and we had the opportunity to perform for Creating Music in Just Intonation.” Estate of Mary Ann Little a concert version—music only, without props and costumes— Mary F. Eure of our scenes program for festival goers,” Colbert said. Seth Felker (MM) presented the poster “Non Music Stephen Edward Eure This year, Colbert and junior Kate Smith are Majors’ Reasons for Joining and Continuing Their Walter R. and Alice R. Farkas co-leading VolOpera. Participation in the University of Tennessee Pride R. Kent and Susan A. Farris “For this year, we have workshops about resume building, of the Southland Marching Band” during the 2016 Joe C. Freeman Jr. auditioning, stage presence, the Fach system, and summer Tennessee Music Education Association Confer- John F. Fellers programs. The scenes program will happen again in April, ence in Nashville. Pat Felts and we’ll be doing selections from Benjamin Britten’s Albert Colleen T. Ferron Herring, Mozart’s Don Giovanni and The Magic Flute, Georges Nat Gallagher (BM) performed a solo marimba Fidelity Charitable Gift Fund Bizet’s Carmen, and others,” Colbert explained. work at the McCormick Marimba Festival in Joseph A. and Ruth Fielden Tampa, Florida. UT students fared well this spring Thomas F. Fine and Patricia Maffeo Special thanks to Ryan Colbert for her contributions to First Christian Church this article. at the biennial NATS Artist Award Emory Hensley (MM) gave the premiere of a Melody J. Fitzsimmons Competition, which was hosted vibraphone solo composed by UT professor Cindy Flores Jorge Variego. by the School of Music as part Daniel Lee Frank of the National Association Nancy Frank Claire Hoppen (BM) was chosen to participate of Teachers of Singing Annual Joel W. and Sandra M. Garber in the summer program Si Parla Si Canta in Regional Competition. Ledyard Gardner Jr. Urbania, Italy. Susan Morrison Boatman Garland In the Advanced Women category, Stephen P. and Mary Ann Geoffrey Katlyn Householder (BM) performed with the Red Lindsey Fuson finished first, Kacie Tara Ghorashi River Lyric Opera. Kenton was second, and Maxwell Charles P. Giambrone Porterfield placed third. Brent Karen G. and Roger L. Gilbert Mia Pafumi (MM) appeared with Eve Queler and Charles W. Goan Above (left to right): Taylor Stone, Jack Francis, Hetherington won the Advanced the Opera Orchestra of New York in Donizetti’s Pa- Mitchell and Margy Goldman Ellen Sudarshan, Lee Brandt, and Rachel Brown in Men category, and in the Second risina d’Este at the Rose Theater at Lincoln Center. Francis D. and Christina Graffeo The Rake’s Progress. Year College Division, Meghan Cathy H. Graves Below (left to right): Rachel Brown, Haley Retterer, Mayes finished second. Caaj A. and Yellie Greebe Katlyn Householder, Ashlee King, and Kate Smith in Suzanne Smith Greene The Ballad of Baby Doe. Alan C. Guy

18 NOTEWORTHY music.utk.edu 19 2016 HONORS CONVOCATION AWARDS John C. and Dorothy Metzger Habel Virginia Hagens For the Love of Music Melvyn L. and Edith C. Halbert CELEBRATION OF EXCELLENCE SIGMA ALPHA IOTA SCHOLASTIC AWARD: William T. Hall COMPETITION Alicia Faggioli BY BROOKS CLARK Kenneth Hamilton and Part of the college-wide Exhibition for Presented to an active senior member of the Lynda Newton Undergraduate Research and Creative Gamma Rho chapter of SAI who holds the Sharon Wotring Hammat LCSW Achievement (EURēCA). highest grade point average. and Giles R. Hammat

School of Music winners—first place: Rebecca It was a love story born in jazz and leavened by Steven R. and Rebecca P. Hancock SIGMA ALPHA IOTA: COLLEGIATE HONOR Percy, flute; second place: Paul Royse, piano; classical. Jazz piano legend Tony Judy Handley AWARD: Anna Whitley Monte looks over an third place: Jared Hopland, Kevin O’Bryan and Shirley Ruth Ford (’60) had launched her Samia and Wahid T. Hanna Presented to a collegiate member for arrangement. Brianna Stock, marimba career in New York City as a writer, producer, and Happy Hikers O’Connor outstanding musicianship, scholarship, and Senior Center program director for classical music stations. But fraternity service. Charlenne A. Harb 2015 STUDENT RESEARCH CONTEST IN MUSIC she also loved to sing jazz. She asked a friend of First place: Konstantine Vlasis for his paper Albert J. and Carmen C. Harb GERALD W. BARNES FUND FOR hers, a drummer for the balladeer Johnny Hart- “Rímur: Defining the Sound of Sigur Ros.” Hardin Valley Elementary PTA EXCELLENCE IN WOODWINDS AWARD: man, if he knew someone who could play for her. R. Leslie and Carla Lou Hargrove Second place: Megan Whiteman for her Sarah Emmons The drummer thought of his friend Tony paper “Psychologically Witched, Women of Established by the Arkansas Community Monte, a legendary pianist, arranger, and studio Linda D. and Randall F. Hartwig the French Tragedie Lyrique.” Haslam Family Foundation Inc. Foundation to reward excellence in woodwind producer who at one time had accompanied studies. Judy Garland. “Shirley called me up,” says Monte. James A. Haslam II and COLLEGE MUSIC SOCIETY SOUTHERN Natalie Leach Haslam “I saw this little blond come in and I thought, CHAPTER 2016 ANNUAL CONFERENCE PRESSER SCHOLARSHIP: Caroline Farmer John J. and Patricia A. Hattery that’s the end of me. I knew it was over. You know Finalist, student paper contest: Joseph Presented annually to a music major who is a Kenneth N. Hawkins Falconer for his paper “The Development of rising senior with a high grade point average it when it happens.” Mark A. and Judith E. Hector Stringed Instrument Education in the United and at least one third of his or her classes The first Christmas after they were married, Anna Stephens and States.” outside the field of music. The award is voted Monte wrote a 30-minute arrangement, went Allen Clark Henderson on by the faculty. into a recording studio, and made a music track Christopher Herndon MUSIC STUDY CLUB SCHOLARSHIP she could sing along to. “When she heard it,” Hillary Anne Herndon 2015–2016: Syd Warren PI KAPPA LAMBDA HONOR SOCIETY says Monte, “she flipped out. Every time she told Brandon Herrenbruck The only music organization recognized by people about it, she started crying.” Connie Hetherington STUDENT AMBASSADORS, 2015–2016: the Association of College Honor Societies. When Shirley died in 2013 after 35 wedded Stephanie Rose Hibbert Lee Brandt, Hannah Brown, Caroline Farmer, Dedicated by its founders to the fostering years, Monte wanted her to be remembered at Sheila and Christopher T. Hill Natalie Gregg, Hannah Smith, and Kate Smith of scholarly interest in the theoretical and the school she loved and to support young stu- Mark L. and Catherine C. Hill historical aspects of music and to the pursuit dents in pursuing the music education she valued Frederick William and OUTSTANDING GRADUATING SENIORS, of eminent achievement in performance, Harriet Ann Hodge 2015–2016 so much. “For her, it was a joy to learn things,” composition, music education, and research. Ann K. Holler Chosen by the faculty in their individual areas, says Monte. “She held to the ancient Greek ideal Alumna 2016 NEW MEMBERS Judith Ann and recipients must have a 3.5 GPA, show professional about learning, that the more you know the Shirley Ford Gerald E. Hollingsworth Melanie Burbules promise, and have made a significant overall better you are and the better you feel.” (’60) works Dana C. Holloway contribution to the program. Robert Clark Ford had grown up in a shotgun house off the controls William C. Hoppe Jr. and Bryan Daniels at WUOT. Julia G. Hoppe Michael Douty Knoxville’s Magnolia Avenue and graduated from Melissa Quarles, BA, music & culture; East High in 1956. At UT, she majored in music Carol Y. Horne Jasmeen Pantleay, BM, music education; Caroline Farmer history and literature, and treasured longtime Martha Ragsdale House Miriam Budayr, BM, theory/composition; Brady McNeil Professor of Music History George DeVine as Maria Nathalie and Christine Dunn, BM, piano; Hunter Smith, BM, Jacqueline Messinetti Miroslav Petrov Hristov Erin Murphy a mentor and friend. Ford played and studio music & Jazz; Douglas Temples, BM, Fred Alan and Regina Hurst Michelle Walter worked at WUOT, where she became program strings; Rachel Brown, BM, vocal performance Inskip Elementary School director after graduation. “UT made her who J. A. Fielden Co. Inc. she was,” says Tony. “She brought the nobility of Carol G. Jacobs East Tennessee to New York and she made a big Alan R. Javorcky impression.” Melissa M. Jenkins Through the Shirley R. Ford Memorial Music Christopher Allan Jerger and Endowment, Monte’s gift will provide not only Alice Schoo-Jerger scholarships but also the funds to meet the pesky Patrica A. Jobe incidentals that are a part of a performing artist’s Johnson String Instruments Inc. education. “You might have your tuition paid up,” Jodie McTeer and says Monte, speaking as one who knows, “but John Thomas Johnson you still need a bow tie, or a clean white shirt, or Judith Johnson a tuxedo, or a good haircut, and you just don’t Katie Marguerite Johnson have the cash. It might be a new instrument or Allen E. Johnson the money to travel to a unique learning opportu- Anne Curtis and James W. Johnson nity. Shirley would want the students to just keep Jeffrey H. and Sharon B. Johnson going and learn as much as they can. Joy of Music School “The whole thing is, Shirley loved music and John Richard Kaboff art. . . . For her, it was endless, and eternal, and Pawel Karolczak beautiful. I never really met anybody who loved Howard F. Kastner Jr. and Tony remembers Shirley Susan Kastner music so much.” through an endowment. Joanne L. Kennedy Ricky B. Kennedy

20 NOTEWORTHY music.utk.edu 21 FACULTY NEWS Chuckie Kirby Glorietta Klarich Jane W. and Lowry Franklin Kline Loneka Wilkinson Battiste (music education) David Brunell (piano) Cherri Knox performed in Carnegie Adams is presented the paper “‘Music Down in My Soul’: Knoxville Scottish Rite Foundation Black Musical Aesthetic and Cultural Appro- Hall’s Weill Recital Hall Knoxville Symphony Society priation in the Performance of Moses Hogan with violinist Daniel Teacher of Elisa Catherine Koehler Spirituals” during the 60th annual Conference Choo in December. This Elizabeth M. Koester of the Society for Ethnomusicology (SEM) in summer, he performed Karen S. and Robert T. Ladd the Year Austin, Texas. During the same conference, she and served as an adjudi- William M. Law Jr. and led a clinic titled “Afro Caribbean Rhythms: cator for competitions of Vickie H. Law BY AMY BLAKELY From Africa to my iPod,” for the SEM Education the Tennessee Music Teachers Association state Theresa Michaelene Lee and Jack Love Section’s conference outreach activity, “Ethno- conference in Nashville and also taught and Alexander and Roberta Limor musicology Goes to Middle School,” and was performed a solo recital at the East Tennessee When Fay Adams was in second Gregory F. Lohman grade, she told her classmates on elected co-chair-elect of the education section. State University summer piano camp in John- In the spring, she presented the findings of her son City, Tennessee. Ruth Ann Looney Career Day that she wanted to be a Sharon B. Lord piano teacher. dissertation, “‘Music Down in My Soul’: Achiev- “While this award recognizes Fay’s outstanding Floice R. Lund Last spring, Adams retired from UT ing a Sound Ideal for Moses Hogan Spirituals,” Edie Johnson (organ) teaching, it’s also about being a great person. Fay James F. Lyon III and Sandra Lyon after teaching piano for 44 years. But before she at the National Association for Music Education was a featured recital- has both of those qualities. She is humble, encour- Julia MacManus left, she added a huge honor to her resume: Adams Music Research and Teacher Education Nation- ist and clinician at the aging, and a consummate professional,” said Jeff Julia A. and James E. Malia was named Music Teacher of the Year by the Music al Conference in Atlanta, Georgia. 2015 American Guild of Pappas, director of the School of Music. “She talks Tammy L. and David E. Marks Teachers National Association. Organists Great Lakes a lot about loving her students. Let me assure you, Richard L. Mason An associate professor of piano and coordinator Andrew Bliss (percus- Region Convention in they love her right back.” Sandra L. and Lloyd J. Mathews of keyboard studies, Adams received the award at sion) paired up with Indianapolis, Indiana, When she retires, Adams plans to spend plenty Ross and Evelyn J. Mathews the MTNA national conference in April in San Anto- Atlanta’s Chamber where she played Rhe- of time with her grandsons, ages two and nine, Brenda A. Maupin nio, Texas. It’s a crowning achievement in a career Cartel ensemble to inberger’s Trio in C Minor for Organ, Violin, and and her granddaughters, ages four and seven. Her Veronica and Leon Maya that’s been a labor of love. perform Iannis Xenakis’ Cello. She also led a presentation on freeing granddaughters are already learning to play piano Duane K. and Janice “I just love my students. It doesn’t matter their concert-length work the mind and body for optimal musical perfor- McNeeley McClelland under her tutelage. level as long as they work hard,” said Adams. “I want Pleiades at the Goat mance. Her article on Arizona-based composer Brendon Paul McConville and While she’ll continue teaching private lessons, Annachiara Mariani them to love music and to want to share that love Farm Arts Center in Pamela Decker’s organ works was published in Adams said she’s also looking forward to having with their own students.” Atlanta. In the spring, he collaborated with a The Diapason last September. In January, she Colene S. and John H. McCord more time to enjoy her second passion: watching Adams began taking piano lessons at her moth- collective of the country’s foremost authori- played the dedicatory recital for the new organ Don J. and Rose A. McCullough sports. er’s urging. She grew up an only child in Johnson ties in contemporary music to perform Pierre at Trinity Episcopal Church in Mobile, Alabama. Adele M. McDonald “I love football, soccer, basketball . . . Peyton City, Tennessee, on a street where she didn’t have Boulez’s “Le Marteau sans Maitre” in Lexington, Daniel F. McGehee Manning!” she said. “I think the discipline of many playmates. Piano became her solace and joy. Kentucky. Bliss joined the Knoxville Sympho- Alexander Lapins (/euphonium) directed Douglas J. McKamey sports—the repetition of skills and practicing—is a She earned a bachelor’s degree in music from ny for a performance of ’s the UT tuba/euphonium ensemble, which per- Hubert M. Meredith III lot like teaching music.” the New England Conservatory of Music and a Mas- Pulitzer- and Grammy-winning Become Ocean formed a variety of works at the 33rd annual Paul M. and Marion T. Miles ter of Music in piano from UT. with the composer in attendance at the Big Tuba/Euphonium Workshop hosted by the Jacqueline L. Mines “I’ve performed all my life, but that’s not what Ears Festival in Knoxville. Bliss also performed Pershing’s Own United States Army Band in Fuad and Layla Mishu I love doing,” said Adams, whose subject is piano three concerts at the Big Ears Festival with the Arlington, Virginia. UT was one of only two col- Tom and Jasmin Mishu pedagogy: she teaches others how to be piano nief-norf project, including Morton Feldmans’s lege ensembles invited to perform. Lapins also M. Janice Mitchell teachers. 90-minute work for flute, piano, and percussion, coordinated the well-attended International Marissa Mitchell Her philosophy is simple: Be positive and encour- Crippled Symmetry. Tuba/Euphonium Conference held at UT in the Kenneth M. Moffett aging. Expect the most from every student. Natalie L. Haslam Music Center. Hal and Carolyn S. Moncier Keith Brown (percus- Marvelene C. Moore sion) toured with trum- Andrew Paul Morales peter Doc Severinsen Michael T. and Judy Ann Morman and the Knoxville Jazz Clark P. Morrell

Chasing After The Wind Orchestra last fall. He Rose L. and Harry L. Moseley Gregory Tardy also performed with the Emerson J. and Faculty CD Recordings Knoxville Jazz Orchestra Joanne Riggins Mounger and played with recent Charlotte Musgraves (SteepleChase) Tardy combines Greg Tardy, Chasing After the Wind Grammy Award-winning vocalist Cecile McLorin Music Study Club his own new music with a handful of intriguing past compositions by Savant and bassist Christian McBride. This past Cecily Janice Nall other artists to set the scene for this stellar sextet. The album features spring, Brown, along with faculty members Mark National Christian Foundation his longtime friend and trumpeter Alex Norris as well as Sam Sadigursky, of East Tennessee Boling and Jon Hamar, performed at the Nash- flute; Bruce Barth, piano; Sean Conly, bass; and Jaimeo Brown, drums. Navarro Research and ville Jazz Workshop and the Lafayette Listening Engineering Inc. Jorge Variego, Discordia: Electroacoustic Music From the Southeast Room in Memphis, and presented a concert John M. Neal (EMPiRES) The album’s overarching theme is discord, musically depicted and master class at the University of Arkansas James Marvel (opera) directed Verdi’s La Tra- Milton H. Nelson in rhythm, space, form, and contrasting characters of sound source at Little Rock. He also taught and performed viata for New Orleans Opera and Cedar Rapids Sandra J. Nelson elements. The ninth track, “Nunca tan lejos,” is written for vibraphone and at Interlochen Center for the Arts Percussion Opera; Delinger’s Amelia Lost at the National Ruth H. and Theodore J. Newsome incorporates fixed media and video. It tells a story of distance and depar- Institute in June. Opera Center in New York City; and Wagner’s nief-norf ture by developing textures of conflict and juxtaposition. Das Rheingold for North Carolina Opera. Northern Illinois Nicholas J. and Jessica C. Northington David B. and Stephanie B. Northington

22 NOTEWORTHY music.utk.edu 23 FACULTY NEWS Northshore Elementary School James M. and Kathleen C. O’Hara Paul K. and Connie O’Landt In addition to being a 2015–2016 Core Susan and Forrest L. Orr Fulbright US Scholar, Brendan McCo- May/June 2016 Chih-Long Hu is the Jeffrey Louis and Joni Pappas nville (theory/composition) attended Joe P. Pass an international Fulbright conference in Sandra G. Powell Endowed Timothy K. Patterson Rome, exchanging research and ideas, Carole T. and Walter T. Pattison teaching, and learning about the lan- Professor in Piano W. E. Patton III and Lynn V. Patton guage and culture. In the spring, McCo- Molly Pattullo Saxophone Today Elizabeth A. and Fred N. Peebles nville and Jorge Variego gave a presen- ST One hundred and eight miles east on I-40. United States. He has performed as a concerto Elizabeth Lapsley Pendergrast tation at the Regional Conference of the That’s the distance it took to find the new soloist, recitalist, and chamber musician. His College Music Society Southern Chapter Dale J. and Rita S. Pendley Sandra G. Powell Endowed Professor of Piano. performances have been broadcast across John C. Peterson at Birmingham Southern College in Chih-Long Hu, a native of Taiwan, joined the America on NPR, televised in Taiwan and Japan, Albert and Cathy E. Petty Alabama on “Teaching with GlassCasts: Using Google Glass faculty after 10 years at East Tennessee State and released on critically acclaimed recordings. Nancy R. and Ronald E. Pevey to Teach Music Theory.” University. Music has always been his passion His goals include building a world-class piano Linda L. Phillips and even though his undergraduate degree is in civil program by “recruiting talent from everywhere Kenneth D. McFarland David Royse (music education) pre- Gregory Tardy engineering. Following his mother’s musical in the world. Music is never just about the sound Pilot Corporation sented the session “Understanding Ten- background, he received a DMA in piano perfor- or notes, it is a reflection of the culture and Lynn W. Pitts nessee’s Fine Arts Portfolio Assessment” Daniel Schnyder mance from the University of Michigan. humanity. More diversity results in more culture, Powell Foundation during the 2015 Tennessee C-NAfME Fall Hu has received honors in piano compe- which results in more richness in our music.” James J. Powell Sr. and Kick Off at Union University in Jackson, titions in Taiwan, Italy, Spain, Japan, and the Sandra G. Powell Tennessee. This spring, he presented the Presser Foundation poster “Figuring It Out: Strategies for Gene Price Improving Pre-Service Teachers’ Ensem- Charles Radanovics ble Error Detection Skills and Instructional Sequencing,” Michael R. Ragsdale during the Southern Chapter of the College Music Society Gwynn W. Ramsey Annual Conference in Birmingham, Alabama, and gave two Alicia Therese Randisi-Hooker and guest lectures at the James Madison University School of Henry C. Hooker Music in Harrisonburg, Virginia. He currently serves as chair Daren A. Redman for the College Music Society’s National Committee on Aca- Janice R. Reeves demic Careers. Bobby and Bernadette Renfro Reuning & Son Inc. (composition) music was performed at the Barbara Anne and Andrew Sigler’s Michael D. Reynolds SoundNOW Festival, the National Association of Compos- Henry Q. Rinne ers Conference, the 50th anniversary Society of Composers Albert and Jennie Ritchie Conference, and at the Universities of South Carolina, Florida, This summer, Greg Tardy (saxophone) had a cover article Rocky Hill School PTO Texas, and Tennessee. His work, “Finding the Air Up There,” in Saxophone Today magazine and was interviewed for Patricia L. Rogers was a semifinalist for the American Prize in the Chamber Cadence magazine. John T. Rose Music Composition division. He curated the UT Contem- Wanda Maria and Jan Rosinski porary Music Festival in October with colleagues Brendan Jorge Variego’s (theory/composition) piece “Walls” for nine Kevin M. and Jannet A. Ross McConville, Andy Bliss, and Jorge Variego; and the National received honorable mention in the American Prize Virginia B. and Peton L. Rowlett Association of Composers USA National Convention/SCI 2015 in Composition. In the chamber music division, “La William S. and Elisabeth Rukeyser Snapshot Conference held at UT in May. jungla” was a finalist in the 2016 SIME International Electro- acoustic Music Competition. His piece “Nunca tan lejos” for Terrance Len Schmidt Gary W. and Nancy M. Scott This summer, tenor Andrew Skoog vibraphone, computer and video is part of the CD Discordia James J. Secor III (voice) made his debut with the Colo- (2016), with music of composers from the Southeast. Variego Alan K. and Sally Sefton rado Symphony Orchestra in Carl Orff’s also presented his work at the Via Stellae Festival in Santiago Arthur G. Seymour Jr. and Carmina Burana under the baton of de Compostela, at the ISIM in Switzerland, and at the Socie- Susan T. Seymour Maestro Andrew Litton. It was Skoog’s dad de Música de Cámara de Bogotá in Colombia. Susan G. Shanks 38th performance of the work. This Donald D. Sharpe past spring, he was the recipient of the Courtney W. Shea Arkansas State University College of Andrew Lloyd Sigler Fine Arts Distinguished Alumni Award Moshe and Ilanna I. Siman-Tov

and was the guest speaker for the college’s Convocation William A. and Joyce C. Simms of Scholars luncheon in April. Skoog has been elected for a Geoffrey Herd, Lecturer of Violin Muriel A. Simpson , Sandra G. Powell Endowed second term as president of the Tennessee Chapter of the Chih-Long Hu Scott Andrew Skoog Welcome Professor of Piano National Association of Teachers of Singing. This fall he will Kimberly Beth and Otto W. Slater , Lecturer of Piano/Piano Pedagogy begin serving as president of the UT chapter of Phi Kappa Igor G. Lipinski Jennings B. and Carol Ann Smalley New , Interim Assistant Director Phi National Honor Society. James (Fuller) Lyon IV Marshunda A. Smith of Bands Susan C. Somaini Faces Rob Sivy, Lecturer in Music Theory J. Renfro Sproul Eloise E. Spurgeon Emma B. Stallings

24 NOTEWORTHY music.utk.edu 25 ALUMNI NEWS Nancy B. Stanley-Riser and Gary A. Riser Judi D. Starliper Ensemble Drums Up Creative David Stephens Marjorie Bennett Stephens Ideas for Percussion Instruments Rachel Friedman (née Grubb, BA ’10, AC ’14) is completing her PhD in music education and Billie M. Stephens orchestral conducting at Florida State University and expects to graduate in May 2017. Her Roberta M. and John C. Stewart BY WHITNEY HEINS dissertation is titled “Youth Educational Symphonies (YES): A Franchise Business Model for Theresa A. Stone Establishing and Maintaining Youth Orchestras.” Over the summer, Friedman worked as assistant Rebecca Doyle Stout Recorders, egg shakers, ping pong paddles, and wind Bliss curated a 55-minute performance that included conductor for Kirk Trevor during his ninth season with the Missouri Symphony Orchestra. Melissa Montague Sumner instruments. excerpts from a dozen pieces covering a range of styles and Donna Swan These aren’t items most would expect to see at a percus- abilities. There were no breaks and the students performed Tad Ennen (MM ’15) was a Young Artist with the Pensacola Opera during the 2015–16 season and Gregory John Tardy sion performance. But UT Percussion Ensemble’s performance from memory. an apprentice artist with Santa Fe Opera last summer. Jerold C. Teachy and Jan H. Petri at the Percussive Arts Society International Conference “We didn’t want to drain important time by bowing and (PASIC) in San Antonio last fall was no ordinary performance. having clapping in between the pieces,” explained Bliss. “And Todd Barnhill (MM ’15) sang title roles with the Asheville Lyric Opera and Nashville Opera during The New Cleveland Group Inc. And the conference was no ordinary conference. having the students play by memory allowed them to have the 2015–16 season and was an apprentice artist with Santa Fe Opera last summer. W. E. and Kathleen M. Thiessen “Playing at PASIC is a crowning achievement for a univer- their eyes up and be more physically engaged. It also made Beth Thomas sity ensemble,” said Andy Bliss, director of percussion studies a huge impression on the audience, especially on the really Jasmeen Pantleay (BM ’16) participated in NAfME’s Hill Day with TMEA, where she learned Donald V. Thompson II Joseph L. Thompson III and at UT. “It is like the Final Four for percussion ensembles. About difficult pieces.” about the politics behind education, specifically music education. She was thrilled to meet Sena- Debra A. Thompson tor Lamar Alexander, a supporter of music education. “I’m so grateful for all of the opportunities 5,000 university students and professors and professional Bliss said the performance “couldn’t have gone any better” G. F. and Jane Tolhurst UT and NAfME have provided me over the last few years!” musicians come from all over the world for this conference.” and was “career changing” for his students. Malinda B. and David C. Torbett PASIC is the world’s largest percussion organization, and And there’s a chance more of his students will have this Maxine Towns UT was one of just four schools chosen to perform a show- experience again. Joseph B. Trahern Jr. case during the conference. Bliss and his 19 students, ranging “PASIC is such a great opportunity to showcase our John C. Trotter from freshmen to master’s level, prepared all fall for the event. students’ talents. I couldn’t be more proud of them.” Monroe E. and Sandra L. Trout They learned classics and commissioned well-known compos- Watch a recording of the live performance at Robert M. and Nancy W. Trusty ers to write new pieces. tiny.utk.edu/PASIC2015. TTU Percussion Club “Our performance had lots of styles of composition. For Michael Hilton Tunnell example, we had a highly esteemed minimalist composer Are you an alumnus with noteworthy news to share? US Bancorp Foundation write a keyboard quartet. Another composer we commis- Kristen Van Allen sioned incorporated everything you could possibly imagine, Vanguard Charitable from a recorder to an egg shaker,” said Bliss. Take a moment to send us your music-related stories and photos, along with your degree, Endowment Program instrument/area, and year of graduation. Please send updates to [email protected]. Alexander and Nancy VanHook Jorge Elias Variego Frank F. Venable Jr. and Jane H. Venable Voss Violins LLC Dwight R. Wade Jr. and Janice Buxton Wade Did you know that the School of Music relies on James B. Wager donations to support the major portion of our Walker Valley High School scholarship funds, since a great majority of our John Joseph and Gail-Marie K. Walter students require financial assistance? Through Yoriko Watanabe a donation to the school, you can assist in Brent R. Watson ensuring that the best and most ­talented Patricia W. Weaver students attend the UT School of Music. Diane D. and Larry Ketner West There are many ways to give. The School Joseph Harvey and of Music Enrichment Fund allows the Karen Harr White school to allocate money toward important William B. Wilhite initiatives as needed. Specific funds, Mary C. Willard including the UT Opera Theatre, the Jazz Jacqueline M. Wilson Program, and the UT Symphony Orchestra, Deborah D. and J. Larry Wilson among many others, provide support to Kumiko Yamanaka programs of your choice. Chang Hong Yu For more information on giving opportu- Matus Y. Zelmanovich nities, visit utk.edu/go/gv or contact Chris- Delores J. Ziegler topher Cox, director of development for the College of Arts and Sciences, by phone at 865-974-7692 or email [email protected].

Left to right, Emory Hensley, Nat Gallagher, Lawrence Montgomery, and Christian Swafford performing at PASIC

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