HIXSON-LIED COLLEGE OF FINE AND PERFORMING ARTS AND AFFILIATE ORGANIZATIONS

Reports and Proposals for the Hixson-Lied Advisory Board

For Presentation and Discussion at the Spring Meeting of the Advisory Board April 22, 2005 2

Table of Contents

Introduction ...... 3

SECTION ONE: REPORTS

Reports: Programs Lied Center for Performing Arts: “Arts Across Nebraska” ...... 7

Sheldon Memorial Art Gallery and Sculpture Garden “Visiting Artists Lecture Program” ...... 10

Mary Riepma Ross Media Arts Center: “Film and Video Showcase”...... 12

Department of Art and Art History: “Visiting Artist/Scholar Program” (year 1) ...... 13

School of Music Opera Program (year 3) ...... 14

Department of Theatre Arts: “Permanent Touring Company” (year 3) ...... 15

Department of Theatre Arts: “Exchange Program with the Schepkin School of Theatre” (year 1) ...... 16

Reports: Faculty Support Faculty Research/Creative Activity Grants completed since April, 2004...... 17

Faculty Research/Creative Activity Grants Awarded – March, 2005...... 21

Faculty Research Travel Grants Completed since October, 2004 ...... 23

Faculty Research Travel Grants Awarded in February, 2005...... 27

Reports: Student Support Student Creative/Scholarly Projects Grants Awarded-February 2005 (overview)...... 28

Appendix A ...... 36

Appendix B ...... 38

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Introduction

This report marks the completion of three years of funding from the Endowment to support the College Academic Units and the College Affiliate Organizations. In this regard, it seems appropriate to present a summary and overview as to how the Endowment funding has benefited the College and the Affiliate Organizations, particularly with respect to the strategic initiatives that the College has set for itself, and the broad, core values that the University of Nebraska-Lincoln has identified for guiding its progress and future planning.

To begin with, the Chancellor, working with faculty and staff campus-wide, has identified seven, broad core values for the campus. These are

1. a commitment to an uncompromising pursuit of excellence; 2. the stimulation of research and creative work that fosters discovery, pushes frontiers, and advances society; 3. the establishment of research and creative work as the foundation for teaching and engagement; 4. the preparation of students for life through learner-centered education; 5. the engagement with academic, business and civic communities throughout the state and the world; 6. the encouragement, support and challenge to every member of the University community to make meaningful contributions to our core values; and 7. the creation of a University culture that values diversity of ideas and people.

Since the inception of the strategic planning process in the Hixson-Lied College of Fine and Performing Arts several years ago, all three of the academic units have focused, essentially, on one broad, primary purpose and mission, namely that of creating and providing arts programs and experiences for various constituencies, whether they be within the University community, the community of Lincoln, or the state of Nebraska as a whole. In this regard, we view and have fashioned our goals and priorities in all other areas, to include those of facilities, faculty and staff, enrollment targets, equipment and technology resources, or outside funding and development, as serving a support function, drawing their reason for being and importance from those arts programs and experiences we want to provide and the means by which we want to deliver them.

Our planning process has also been focused on a number of broad philosophical principles with respect to the nature of our work that we consider to be in step with the core values of the University. In this regard, we believe that our goals and priorities, and by extension, the strategic plan in which they are expressed, are inextricably aligned with those University core values in the following, broad ways:

• The fine and performing arts are at their very core creative in nature, and therefore programs in the fine and performing arts have as their central focus the engagement of individuals, alone or with others, in creative processes. Research and scholarship in the fine and performing arts are of equal importance, in that both inform and guide the artistic process with respect to philosophical principles, historical perspectives, and creative approaches for making, teaching and presenting art.

• The fine and performing arts are a means by which individuals from all of the world’s cultures give meaning to and express their innermost thoughts and feelings. In this regard, teaching in the arts must be focused on the individual learner, whether that learner is a student artist who is seeking to hone artistic talents and skills, or individuals who are seeking a means by which to experience, engage in and enjoy the arts as part of their daily existence. In either case, learning opportunities must be grounded in efforts on the 4

part of both students and faculty to strive for excellence, to ensure that the art that is studied and produced is of the highest quality, as judged by the traditions of the culture from which that art emerged.

• Given their roots in society and culture, the fine and performing arts cannot be taught in a meaningful way without serious attention to the importance of diversity, in terms of the courses and activities offered, the students served, the faculty and staff employed, the artistic programs and exhibitions presented, or the people and organizations with whom we interact beyond the campus.

• Programs and activities in the fine and performing arts have value not only with respect to the preparation of future artists and artist-teachers, but to the broader education of the wider University community and to the enhancement of the overall quality of life and health of society beyond the University as well. In this regard, a commitment to outreach and engagement, whether in terms of academic disciplines beyond our College, numerous and various constituencies in the Lincoln community or the state of Nebraska, or populations in other parts of our country or from other cultures, is essential to our mission and to any success we hope to achieve through our programs.

In designing and implementing programs and initiatives to be supported by the Hixson-Lied Endowment over the past three years, we have made every effort to be guided by the principles reflected in the College’s mission and strategic initiatives, and more recently, in the University’s core values. In this regard, all of the funding from the Endowment has been directed to initiatives that are designed to enhance and deepen our programs and activities, that showcase and reward excellence and growth in teaching and in research and creative endeavors, and that which would not otherwise be possible without the Endowment’s support. Similarly, funding in most cases has extended the work of the faculty, students and affiliate organizations well beyond the campus, to the Lincoln community and the state of Nebraska, and in some instances, nationally and to other cultures internationally. For example, over the past three years, the Endowment has provided over $84,000 in grants to support faculty creative work and scholarly activities, as well as over $49,000 to enable faculty to present and perform their work nationally and internationally. Similarly, during that same period of time, the Endowment has invested a little over $12,000 to assist students with costs associated with study abroad, as well as slightly over $9,000 to enable students to present and perform their work regionally and nationally. Most recently, through a new program designed by the students themselves, the Endowment has invested $9,017 in grants to support exceptional research and creative initiatives by undergraduate students. Regarding the process by which all of these funds have been allocated, it should be noted that all funding awards have been made based on a system of faculty or student peer review, with faculty and student committees reviewing all proposals for funding but recommending only those of the highest quality and promise.

Since Endowment funding began, we have also made every effort to use the funds to attract additional funding support, or to match funding support already received. In this regard, funding for virtually every initiative, program and activity has been pooled strategically in some form or another with funding from numerous and varied other sources. For example, over the past three years the Endowment has provided funds to the College and the College Affiliates totaling $525,357, to support a total of eighteen single or multi-year projects and initiatives in the Programs category. This funding has been matched by an additional $665,654 from all other sources, bringing the total impact of the investment in Programs to nearly $1.2 million. Similarly, over the past two years, the Endowment has provided $55,500 to support eleven Hixson-Lied Graduate Fellowships. This amount has matched University funding for graduate assistantships in the amount of $82,500, bringing the total impact of funding for the Fellowships to $138,000.

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Combining all of this funding support together, over the past three years the impact of the Hixson-Lied Endowment on the College’s efforts to achieve and reward excellence in the three areas of teaching, research and creative activity, and outreach and engagement has exceeded $1.5 million. To be sure, this support has played a significant role in helping our faculty and students strive for and achieve excellence, but it has also inspired conversations that are already taking place about ways to broaden the Endowment’s impact even further as the endowment continues to grow in the coming years. As the Advisory Board will discuss in its meeting on April 22, preliminary plans are already being formulated for a program that seeks to provide special awards to faculty who have achieved distinction in their work, as well as for a model that might be used to attract nationally and internationally renowned visiting scholars and artists to campus. It goes without saying that the College and its Affiliates are deeply grateful for the Board’s confidence in what we are capable of achieving and for the ever growing support that has been made available as a result. 6

SECTION ONE – REPORTS 7

HIXSON-LIED COLLEGE OF FINE AND PERFORMING ARTS Report on Grant for Program Enhancement Funding

Affiliate Unit: Lied Center for Performing Arts

Program Supported: Arts Across Nebraska (2004-2005): $32,700

The Lied Center for Performing Arts received $32,700 in funding from the Hixson-Lied Endowment to support Arts Across Nebraska, a program of AdventureLIED. The following is a report on the projects that were iniatiated for the Lied Center’s 2004-05 season:

River North Dance Company of Chicago September, 2004

The River North Dance Company of Chicago appeared at the Lied Center and conducted several AdventureLIED activities on campus and in Lincoln. As part of Arts Across Nebraska, the following events occurred:

• River North Dancers traveled to Beatrice to conduct a workshop with the High School dance team. These students rarely if ever have an opportunity to work with professional artists. Beatrice school officials, board members, and Arts Council members were contacted to coordinate this event.

• Show and Tell in Beatrice with students in grades 9-12. (1 Adult, 16 Students). This activity provided the student dance team with ideas for enhancing their show, how to practice more effectively, and how to become better show performers.

Cypress String Quartet November, 2004

The Cypress String Quartet was in residence in Nebraska for ten days in its Rural Residency Project emphasizing extending chamber music opportunities to less populated areas. This initiative was developed through collaboration between the Lied, the Cypress Quartet, the Friends of Lied, UNL School of Music, Midland Lutheran College, Omaha’s Presbyterian Church of the Cross, UNL’s Cooperative Extension Service, and the communities of Fremont, Broken Bow, Burwell, Minden and Beatrice. After residency activities and performances in Lincoln and at the Lied Center, the following Arts Across Nebraska activities occurred:

• Minden: Residency and performance at the Minden Opera House. • Fremont: Residency with high school and college students at Midland Lutheran College and performance at the Kimmel Theater. • Omaha: Performance as part of the Organ Versper Series at the Presbyterian Church of the Cross. • Beatrice: Residency and performance at the Hevelone Theater. • Broken Bow: Performance at the Baptist Church. • Burwell: Residency at Burwell High School and Senior Center. Peformance at Burwell High School.

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There were 17 total activities with 816 adults and 695 students. Residency activities included master classes for UNL, Midland and Beatrice students; lecture/demonstrations in Senior Centers and for Burwell students (including smaller surrounding schools).

The rural areas reached with this project usually do not have the chance to hear live chamber music. The population area of the Burwell area is approximately 1100 and 770 participated in the three activities. This project was well supported and appreciated. A complete schedule for the Cypress String Quartet is attached.

The Cashore Marionettes January, 2005

The Joe Cashore Marionettes were in residence at the Lied Center for one week. During this period, two performances were presented as part of the Lied Center’s newly established series on the East Campus. Mini-performances were held on two days at Clinton Elementary School (432 K-6 grade students) and McPhee Elementary School (180 4-6 grade students and 220 pre-school – 3 grade students). Arts Across Nebraska activities occurred in Fremont.

• A school performance for over 170 K-2 students in Fremont was presented at Midland Lutheran College followed by a question and answer session with college education students working with the elementary students. • A lecture/demonstration about the design and engineering of the marionettes was conducted with Midland Lutheran visual arts students. • A public performance was presented at Midland Lutheran College’s Kimmel Hall for the community of Fremont. More than 300 parents, children and college students attended.

Michael Lane Trautman March, 2005

Michael Lane Trautman performed his clown/mime/theater show on the Lied Center’s Family Series on Wednesday, March 9, and appeared on March 10 in Holdrege at the Tassel Performing Arts Center as part of Arts Across Nebraska.

Arts Across Nebraska has become a successful and growing component of the Lied Center’s AdventureLIED program reaching more communities throughout the state and touching the lives of people of all ages with the performing arts. This program will continue to expand as part of the core mission of the Lied Center. 9

Schedule for Cypress String Quartet—Arts Across Nebraska November 5-13, 2004

DATE LOCATION ACTIVITY ATTENDANCE

Nov. 4 Lied Center Post-Performance 30 adults, 5 students Nov. 5* Minden Opera Mini-performance 40 adults, 10 students House, Minden Nov. 6 The Landings Lecture/Demonstration 65 (a) Lincoln (retirement) Nov. 7* Presbyterian Church Mini-performance 115 (a), 5 (s) Of the Cross, Omaha Nov. 8* Hevelone Theater Lecture/Demonstration 2 (a), 50 (s) Beatrice Master Class 1 (a), 8 (s) Mini-performance 50 (a), 32 (s) Nov. 9* Kimmel Theater Workshop 16 (s) Midland Lutheran Performance 50 (a), 25 (s) College, Fremont Nov. 10 The Legacy Lecture/Demonstration 50 (a) Lincoln (retirement) UNL School of Master Class 8 (s) Music Nov. 11* Baptist Church Open Rehearsal 4 (a), 25 (s) Broken Bow Performance 85 (a), 35 (s) Nov. 12* Burwell High Lecture/Demonstration 30 (a), 360 (s) School Question/Answer 5 (a), 25 (s) Burwell Mini-Performance 250 (a), 100 (s) Nov. 13* Retirement Center Workshop 15 (a), 15 (s) Burwell

* Indicates Arts Across Nebraska Note: “students” (s) includes children and youth audience.

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HIXSON-LIED COLLEGE OF FINE AND PERFORMING ARTS Report on Grant for Program Enhancement Funding

Affiliate Unit: Sheldon Memorial Art Gallery and Sculpture Garden

Program Supported: Visiting Artist Lecture Program: $10,000

The following is an interim report on artist programs offered at the Sheldon Memorial Art Gallery during the current academic year with funding received from the Hixson-Lied College of Fine and Performing Arts. While ill-health or conflicts in scheduling precluded the participation of some of the artists we originally identified for this program, Hixson-Lied support has made possible an outstanding talk by sculptor Tom Otterness and a major ceramics symposium hosted in collaboration with the Department of Art and Art History at UN-L.

When chronic back pain did not allow David Ireland to travel to Lincoln for the opening of his exhibition, exhibition curator Karen Tsujimoto conducted a public walkthrough of the exhibition and trained docents. Since her travel was funded by the Nebraska Art Association, our Hixson-Lied grant allowed us to add a timely program by artist Tom Otterness, on November 9. Otterness is a well-known sculptor who received considerable press attention when his sculptures were installed along 106 blocks of Broadway this fall. Significantly, his sculpture Fallen Dreamer, an outstanding work in the Sheldon’s sculpture garden collection, is installed on the east steps of the museum. While it has attracted much positive response (in comments overheard from visitors, with school children on docent tours, and for families who have young children pose by it) since it entered the Sheldon collections in1998, more recently Museum staff have also received comments from some members of the public who equated the art work with beheadings in Iraq (which postdate the creation of the sculpture). Concerned to find a forum to encourage positive dialogue on the issues this presented, when we invited Otterness to Lincoln, he responded by suggesting he speak on “Public Art: Changing Meaning in Changing Times.” His comments to an audience of 160 people, comprised of art department and other students, Nebraska Art Association members, and others from the community, were stimulating and well received. Otterness also spoke with arts patrons at a dinner in his honor and met with four graduate sculpture students during his visit to Lincoln, extending its impact.

In January, Sheldon hosted a ceramics symposium in conjunction with the exhibition A Ceramic Continuum: Fifty Years of the Archie Bray Influence, which was developed with significant input from Gail Kendall, a member of the UN-L ceramic faculty and an artist represented in the exhibition. The symposium featured four speakers: Wayne Higby (who heads the distinguished ceramics program at Alfred University in New York State) gave the keynote address on Friday evening January 21; Josh DeWeese (director of the Archie Bray Foundation), Julia Galloway (faculty member, Rochester Institute of Technology), and Patti Warashina (professor emeritus at the University of Washington). All (with the exception of DeWeese, who was delayed in transit and replaced by Bede Clarke from the University of Missouri) participated on a panel following Higby’s address. The following day, Warashina spoke in the Sheldon Auditorium in the morning, followed by ceramic demonstrations by DeWeese and Galloway at Richards Hall. That afternoon, many symposium registrants traveled to Omaha, where they were given a tour and reception at the studio of Jun Kaneko, an internationally-renowned ceramist also represented in the exhibition. While the symposium program, which attracted 146 registrants from Nebraska, Iowa, Kansas, Missouri, and Colorado, including many students and faculty from other universities, ended on Saturday, the UN-L Clay Club contracted with several of the presenters to remain in Lincoln to offer critiques on Sunday, allowing for their resources to be augmented.

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To date, as $ 4,092 of the $ 10,000 of funding from the Hixson-Lied endowment has been spent on artist programs, we plan to allocate the remaining funds to support upcoming visits by several artists. Among them are Robert Fridge, a young video artist whose work is to be featured in an exhibition, on April 19; Eve Sussman, whose compelling video 89 Seconds at Alcazar is scheduled to be shown this summer, in July; and April Gornik, the subject of a one-person exhibition organized by the Neuberger Museum at the State University of New York, Purchase, to present a program with the opening reception on Tuesday, August 30, 2005. Additional support will be directed towards an artist panel to be offered in conjunction with Sheldon’s upcoming contemporary invitational exhibition, Singular Expressions.

As mentioned, Hixson-Lied funding has been instrumental to the ability of Sheldon to host engaging artist programs that have attracted and rewarded diverse audiences. In addition, we are very pleased that the speakers we have brought to Lincoln have had opportunities to appreciate the strength and depth of our collections (including the Sculpture Garden) and to interact with the impressive academic programs offered at the University of Nebraska-Lincoln.

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HIXSON-LIED COLLEGE OF FINE AND PERFORMING ARTS Report on Grant for Program Enhancement Funding

Affiliate Unit: Mary Riepma Ross Media Arts Center

Program Supported: Film and Video Showcase

With the assistance of funding from the Hixson Lied Endowment, the Mary Riepma Ross Media Arts Center’s Film/Video Showcase series brought ten visitors to the University of Nebraska-Lincoln campus during the past fall and spring semesters for lectures, screenings, personal appearances, and performances before sizeable and appreciative audiences. This past year’s visitors include film scholar Mary Ann Doane; documentary filmmakers Ron Mann, Richard Rowley, and Jacqueline Soohen; filmmaker Rodney Evans; filmmaker, actor, and screenwriter Peter Riegert along with author and screenwriter Gerald Shapiro; and The Alloy Orchestra featuring musicians Roger C. Miller, Ken Winokur, and Terry Donahue.

All of these visitors interacted personally with students and faculty from the University as well as many other people from throughout the Lincoln community. They attended HLCFPA Film & New Media classes and other relevant classes at the University of Nebraska-Lincoln as well as meeting with high school students in the Lincoln Public Schools’ Arts & Humanities and Information Technology Focus Programs. Together, attendance at MRRMAC for films and events related to this series totaled 1,736. In addition, this year’s Film/Video Showcase participants with met with an additional approximately 300 to 350 students in classes at UNL and LPS. Overall, MRRMAC’s Film/Video Showcase was an incredibly successful and highly diversified series this past year.

A detailed explanation of the activities and events that took place during each of the visits can be found in Appendix A.

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HIXSON-LIED COLLEGE OF FINE AND PERFORMING ARTS Report on Grant for Program Enhancement Funding

Academic Unit: Department of Art and Art History

Program Supported: Hixson-Lied Visiting Artist/Scholar Program: $15,000 ($5,000/year over three years, matching an equal amount in funding from MEDICI) – Year One.

This program was highly successful during its first year. The program of visiting artists included residencies from three acclaimed individuals: Mr. Nic Nicosia, video artist and photographer, Ms. Ellen Driscoll, Chair of the sculpture program at the Rhode Island School of Design, and Ms. Phyliss McGibbon, Professor of Art, Wellesley College. Each visit was organized in ways that facilitated interaction between the visiting artists and our faculty and students, as well as opportunities for the visiting artists to interact with members of the wider campus and Lincoln communities. Specific details of each visit follow below.

Nic Nicosia is an internationally recognized artist from Santa Fe, New Mexico. His work has been featured in all major national museums and collections including the Whitney Museum in New York. His residency on our campus took place from October 24 through October 28, 2004. During his visit, he addressed over 100 students in several art classes, individually critiqued the work all of our graduate students, and presented a public lecture. His public lecture on October 26 was attended by more than 150 people from the university and the community, including several artists and museum professionals from Omaha and Kansas City. His interactions were very productive for our students and faculty, and the artist was impressed with the quality of our program. Following his residency, Mr. Nicosia returned to Lincoln for an exhibition of his work at the Sheldon Art Gallery in March, 2005.

Professor Ellen Driscoll is the Chair of the sculpture program at the Rhode Island School of Design. She is a major national artist with numerous exhibitions. Her residency on our campus took place from February 6 through February 10, 2005. She addressed over 100 students in several art classes, individually critiqued all of our graduate students, and presented a public lecture. Her public lecture on February 8 was attended by more than 100 people from the university and the community. She was very impressed with our programs, and provided exceptional opportunities for our students to engage in professional dialogues about their work.

Ms. Phyllis McGibbon is a Professor of Art at Wellesley College in Massachusetts, where she teaches printmaking, drawing, and installation art. Her residency on our campus took place from March 22 through March 25, 2005. She addressed art classes primarily in printmaking, individually critiqued the work of some of our graduate students, and presented a public lecture on March 24. She was well received by our students and faculty and added a professional dimension to our printmaking program. 14

HIXSON-LIED COLLEGE OF FINE AND PERFORMING ARTS Report on Grant for Program Enhancement Funding

Academic Unit: School of Music

Program Supported: UNL Opera Program: $75,000 over a four year period (matched with box office revenue along with other funding from the Friends of Opera and the College) – Year Three

The Hixson-Lied grant in conjunction with other funding, made it possible for UNL Opera to mount two full productions this year. In 2004-2005, UNL Opera presented Madama Butterfly and The Gondoliers – both with very high production standards (sets, costumes, properties, lighting) – giving our students professional productions in which to develop their craft. The production set for Madama Butterfly was rented from the Utah Festival Opera while The Gondoliers set was conceived, developed, and built in- house. Attendance at these performances numbered 1604, of which 843 were students, for Madama Butterfly, and 1030, 855 of which were students, for The Gondoliers. The box office receipts exceeded expectations for the season, allowing for a slight carry over funds to mount a major outreach effort during next season.

As the Hixson-Lied money has enhanced the quality of opera at UNL, the door has been opened for additional outside funding as well. The Friends of Opera exceeded its financial commitment this year by providing funding for three guest artists (two principal singers and a conductor) for Madama Butterfly. Enthusiasm for The Gondoliers inspired one member of Friends of Opera to make a substantial ($5,000) contribution earmarked for that project.

In the area of outreach, we once again collaborated with the Lincoln Public Schools in its December production of Amahl and the Night Visitors. Four elementary schools with large populations of underserved and at-risk students were targeted to attend matinee performances of the production. The performances were attended by 338 students. Prior to their attendance, Professor Shomos visited each classroom of students introducing them to opera, Amahl, and the life lessons offered by experiencing the show. Presented at North Star and Southwest High School, the choruses consisted of select singers from the respective high schools. A $6,000 grant from the Wood Charitable Fund Inc. made possible the permanent purchase of costumes and properties so that Amahl and the Night Visitors can be remounted in future years with minimal cost.

Once again, the UNL School of Music drew far more graduate voice auditions than can be accommodated with Graduate Teaching Assistantship offers this year. Three excellent performers auditioned for the DMA program alone.

The Hixson-Lied Program Grant certainly is having an important impact on the growth of opera study and voice study in the UNL School of Music. We appreciate so much this investment by the Hixson-Lied Endowment and look forward to other important collaborations in the months and years ahead.

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HIXSON-LIED COLLEGE OF FINE AND PERFORMING ARTS Report on Grant for Program Enhancement Funding

Academic Unit Department of Theatre Arts

Program Supported: Seed funds to Establish a Permanent Touring Company - $81,000 (over a three- year period) – Year Two

In the program’s second year, significant progress was made in terms of identifying and securing venues for the tour. Graduate student Flynt Burton was in charge of organizing the tour. A three-color, tri-fold tour brochure was mailed to the directors of middle and high school Theatre programs throughout the state, and the mailing was followed up by phone calls and email contacts. This effort resulted in a commitment from six venues to host the production, which is four more than in the spring of 2004.

Voice of the Prairie is the production that will be presented to the school students. Performances will take place between May 3 and May 12, and venues will include Central High School (Omaha); Ansley High School (Ansley); Lincoln High School (Lincoln); North Star High School (Lincoln); Beatrice High School (Beatrice); and Hastings High School (Hastings). In addition to the performance, workshops will be conducted with the students in Ansley, Lincoln and Beatrice. A follow up report, giving highlights of the tour and information concerning audiences participation, will be included in the Fall 2005 report to the Board. 16

HIXSON-LIED COLLEGE OF FINE AND PERFORMING ARTS Report on Grant for Program Enhancement Funding

Academic Unit Department of Theatre Arts

Program Supported: Seed Funds to Establish am Exchange Program with the Schepkin School of Theatre in Moscow, Russia - $39,000 ($13,000 a year for three years) – Year One

In the first year of the program, several UNL faculty traveled to Moscow (Spring, 2004) to provide a short residency and to make the preliminary arrangements necessary to initiate the exchange of students. Two graduate students from the Conservatory entered our program in the fall of 2004 and remained actively involved in the program throughout their first year of study. In addition, department of Theatre Arts faculty, students and staff made the preliminary arrangements to bring the production Voice of the Prairie to Moscow at the end of April, 2005.

Voice of the Prairie opened on campus on March 31, 2005 and played for eight performances on the Howell stage. The cast included Ja’nelle Taylor (acting graduate student), Andrew Beck (acting graduate student), and Jordan Warren (senior undergraduate performance major). Designers included Stori Lauritzen (scenic design graduate student), Mike Legate (sound design and Hixson-Lied Graduate Fellow), Cate Wieck (costume design and Hixson-Lied Graduate Fellow), and Erik Vose (technical director and lighting design graduate student).

Faculty Mentors included Guowen Fang, Scenic Design; Janice Stauffer, Costume Design; Ed Stauffer, Lighting Design, and Heath Lane, Technical Direction. Stage managers included Kevin Kirsner (freshman general studies major), Charisa Ramsey (junior theatre performance major), and Production Stage Manager & Tour Organizer Brad Buffum. The production was directed by faculty member Virginia Smith, with fight choreography by Interim Chair Harris Smith, and dialect coaching by faculty members Stan Brown and Tammy Meneghini-Stalker.

Following the close of the production, plans were made to bring the production to Moscow. The company will leave on April 20th and return home on April 28th and while in Moscow, they will be guests of the International Podium Festival, a festival of work from theatre training programs around the world. The group will perform Voice of the Prairie on April 26th at the Shchepkin School.

The team that will be touring consists of Ja’Nelle Taylor, Andrew Beck, Jordan Warren, Erik Vose, Pat Clark Brad Buffum, and Virginia Smith. Voice of the Prairie was selected as the featured production for a number of reasons. First, and most importantly, the show takes place in the Great Plains Region. It is also highly theatrical with three characters playing over a dozen characters, sometimes changing character on stage in full view of the audience. It also showcases the more extensive use of sound technology, which is characteristic of contemporary American production values.

A special feature of the trip involves Pat Clark (senior film and Film and New Media major) traveling with the company to document our experience on film, so as to make it possible for areas of the Theatre Arts Department to have a chance to experience this exchange. The plan is to show a portion of this film at the 61st Annual UNL Temple Awards Celebration April 30th. A report of the exchange experience will be included in the Fall, 2005 report to the Board.

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HIXSON-LIED COLLEGE OF FINE AND PERFORMING ARTS Reports on Funding for Faculty Research/Creative Activity Support

Proposal Supported: The creation of an initial annual fund in the amount of $40,000 to provide partial support for faculty research and creative projects. The report that follows is in two parts: a) projects funded for 2004-2005 that have been completed since the April, 2004 board meeting, and b) new grants recently funded for 2005-2006.

a) Projects Completed since April, 2004

Department of Art and Art History

Karen Kunc: Solo Exhibition Preparation Amount funded: $3,200

As a result of the funding provided by this grant, I have finished six new prints and have a number of new works in progress for my upcoming solo exhibition in October, 2005, at the Contemporary Print Center, Davidson Galleries, in Seattle. My grant funds were used to obtain new studio tools of fifteen hand rollers in a variety of sizes from 6" wide x 2" diameter, to 10" wide x 2" diameter, used to apply printing ink to the surface of my carved woodblocks.

I also presented a solo exhibition in May, 2004, at the Society of Northern Alberta Print-Artists Gallery, in Edmonton, Alberta, Canada, which included my most recent prints to date. In addition, this coming May, 2005, I will exhibit a selection of my recent prints in New York atthe Caraccio Studio, and my artist books at the Center for Book Arts, where I am featured as the Sally R. Bishop Master Faculty Fellow, presenting a lecture and a workshop, May 6 - 8.

I have continued to work in color woodcut, which challenges my ideas, abilities and energies. Yet, during this grant period I have also begun to work with color etching as well, and have augmented my own studio with facilities to etch large copper plates. My revitalized research goal is to combine the woodcut and the etchings into integrated mixed media prints of a large scale, and in a long exaggerated format, i.e.14"x78", with dramatic color, new textures, and bold images.

I intend to present this new body of work as a series that can be traditionally presented, but also I plan to make a "stack" of folded -up prints, in which front and back are viewed, the works are layered together, and "read - through". The Japanese papers I am using enable the ink to saturate and reveal layered images, as the sheets become translucent. I have become free of some of my own established conventions - of highly structured compositions, specific viewing orientations, isolated in pristine frames, viewed at a distance. Iintend for a different experience - a "reading" of the prints, as literally they will be paged through, handled, and alternative interactions and layers will occur. This interactive orchestration will be set into motion by the challenge of presentation, the exaggerated formats and the shaping of the papers.

As an outgrowth of my work, I have also been able to participate in two invited residencies, namely, for one week at Flying Horse Press, University of Central Florida, Orlando, this past January, and for several weeks at Anderson Ranch Art Center, Snowmass Village, Colorado, this past February - March). These residencies have been very fruitful with new work and enhanced with assistants and support. Therefore, a new body of work is emerging that is very exciting and different, and will stimulate considerable critical response.

As an outcome of the work support by this grant, I presented a demonstration at the international 18 conference of the Southern Graphics Council in Washington DC, March 30-April 2, 2005, as an invited presenter. I showed my new work along with a print in process. The curator of prints of the Library of Congress, Katherine Bleed, has contacted me to arrange for a meeting and presentation of my portfolio, with discussion about acquisitions to the collection.

I also am continuing to work towards my solo show at the Davidson Gallery, and have already met with the director during a trip to Seattle in January, 2005, when I visited for the opening of the "Mirror of the Wood" exhibition at the Nordic Heritage Museum. I was able to discuss my new ideas and unusual presentations, which she encouraged and supported.

My goal with this grant was to trigger and re-focus my creative research following my intense concentration of time to plan and implement the Mid America Print Council Conference "Printmaking Relevance/Resonance" held in October, 2004. I am so pleased to report that I have regained some of my momentum and most of my creative confidence, which I felt had been lost. I am tremendously excited about this new work and eager to address the unknowns that wait in my studio. These new printmaking rollers will enable new work in the future, and are lifetime tools. My thanks to the Hixson Lied Advisory Board for providing me with this opportunity.

Peter Pinnell: Digital Camera Equipment Amount funded: $2,000

The primary goal in my original proposal for this grant was to be able to use digital technology in ways that would assist me significantly with my work. In this regard, the camera is everything I could have hoped for. I’ve been able to improve the quality of my images substantially, since I can view them on the computer immediately after viewing and make adjustments as necessary. In the past, I wouldn’t be able to view new images until after they were developed, at the end of the following day at the earliest. If those slides weren’t good, then I would first have to decide if the problem was with some aspect of my own picture taking or the result of sloppy chemistry by the developer. Once I’d finished troubleshooting the problems, then I was still back at square one, photographing everything again. By contrast, I can now put an image on the computer immediately after taking it, blow it up as large as I wish, and easily see if it needs adjusting. In a single evening, I can produce better images than I could in a week with a conventional 35 mm slide camera. Not surprisingly, I took no slides at all in the second half of 2004, doing all my professional photography in digital format. I’ve emailed digital images, large and small, on many occasions. I’ve used this camera to illustrate one article for Clay Times, for the show announcements for both my solo exhibitions this year, and for a number of group show announcements.

Besides taking images of my own work, I’ve also used the camera to document the work of my UCARE students, and to help my graduate students with both the production and documentation of their work. As an example, one of my graduate students, Sarah MacMillan, is producing large-scale tile wall murals. Mounting these on a wall for exhibition is a major undertaking, since it involves first laying them out on the floor in front of the wall, then painstakingly transferring them onto the wall. The last time she set up a major piece (in conjunction with the Archie Bray Symposium at the Sheldon Art Gallery), I suggested a different process. After she laid the mural out on the ground, I digitally photographed it from the top of a tall ladder. We then used a digital projector to superimpose the image, full size, onto the wall where the mural was to be mounted. Instead of having to measure the position of each tile, she simply had to put the real tile on top of its digital projection, making installation easier, faster, and more accurate.

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In short, this camera has already become an indispensable tool for me, and for the Department of Art & Art History.

Sarah MacMillan’s tile mural, Red Earthenware Teapot,

January, 2005 Pete Pinnell, Fall, 2004

School of Music

Diane Barger: Virtuosic Operatic Fantasies for Clarinet Amount Funded: $2,800

The $2,800 Hixson-Lied Faculty Research grant enabled me to purchase the following equipment for my on-going research project: a PowerBook G4 laptop Macintosh computer (to aid in use of the MIDI and future PowerPoint presentations), the Sibelius 3 musical notation software program (used to edit the music onto the computer and allow me to easily distribute the final editions to the music publisher), and a MIDI keyboard that allows me to more easily import the music onto the computer. The equipment was purchased during last summer. I have nearly completed one of the works on my list of pieces to re-edit and will continue my work on this project during this coming summer when my schedule permits more concentrated focus.

I also wish to report that soon after my receipt of the grant, I performed one of the Bellini operatic fantasies at the annual Clarinetfest of the International Clarinet Association (which took place in Maryland last July), where I was able to inform the audience of my research project and goals to re-edit this music. I received numerous inquiries as to when this would be completed, so I was encouraged by the great interest in my research. I know that this project will continue to reap rewards and interest in the clarinet community. I also continue to pursue the idea of recording much of this music with one of my UNL piano colleagues in the near future. In addition, I plan to market my editions of these works by taking some of these works “on the road” and performing them in concert at universities and other venues around the country.

Although not directly related to my research grant topic on operatic fantasies, I wanted the Board to know that I have benefited from this grant in numerous ways, in addition to the specific research goals I have set forth. In this regard, the use of the laptop computer purchased through this grant has been a wonderful teaching tool in the classroom this past year. It has enabled me to utilize PowerPoint presentations in my class, “Clarinet Literature and Pedagogy,” and has provided me with a resource for making many slide presentations to use during my lectures for this class. The computer has been a wonderful teaching tool in my efforts to provide more informative and effective lectures for the students. 20

Department of Theatre Arts

William Grange: Comedy Under the Kaisers Amount Funded: $3,800

In May and June of 2004 I worked at the University of Cologne at their Theatre History Collection and Museum in Porz Wahn, located about twenty miles from the city center. This archive is the second largest theatre collection in the German -speaking world, second only to that of the University of Vienna. It is an abundant resource for theatre historians, and there I was able to locate scores of documents required for the purpose of writing Comedy Under the Kaisers. Cologne has the widest selection of theatre ephemera (programs, production photographs, lighting plots, scene designs) I have ever encountered, enabling me to piece together the records of various important productions which have to date remained undocumented. In Berlin, I worked at the Police Censorship Archive in Reineckendorf, a suburb of Berlin. There I was able to read numerous legal briefs concerning police judgements on the censorship of certain plays, appeals filed by lawyers of producers, and the remarks of the playwrights in question.

In January of this year I completed additional specific research in Vienna and Berlin, though I was also able to work briefly at the Deutsches Theater of Prague (on the way from Vienna to Berlin), where a number of important German-language premieres took place during the Wilhelmine era. The Theatre Museum in Vienna, as I noted above, is indeed extensive and provided me with substantial material required for completing the Comedy book. In Berlin, I continued work in Reineckendorf and also at the archives of the Academy of the Arts on Robert Koch Square, located in the city’s center.

As an outgrowth of the research supported by this grant, I have in the meantime been offered a contract for a 300-page reference work titled Historical Dictionary of the German Theatre; work on this volume has slowed somewhat the pace of work on the Comedy book, but much of what I am able to contribute in the Dictionary has come from inquiries made under the auspices of the Hixson-Lied grant. I am a firm believer in allowing research to take scholars where it leads them, so in my case this grant will lead to the completion of two books rather than just one. In addition, the research supported by this grant has resulted in the publication this past fall of two scholarly articles, one in Text and Performance, a refereed scholarly journal published at Ohio State University, and the other in Theatre Annual, a refereed scholarly journal published at the College of William and Mary), and a scholarly paper, which I was invited to present this past October in Vancouver, B.C. at the international conference of the Modernist Studies Association.

I wish to express my gratitude to members of the Hixson-Lied Advisory Board for their continued support of my work.

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b) Newly Funded Faculty Grants Projects for 2005-2006

The College Executive Committee met on February 25 to consider proposals for Hixson-Lied Faculty Grant funding. Nine proposals were reviewed and five were recommended to the College Administrative Council for funding in the amount of $23,150. A full listing of the projects that were funded and the amounts awarded follow below.

Dana Fritz $5000 Department of Art & Art History Garden Views and Beyond the Garden

This project represents the culmination of a series of integrated research projects that Professor Fritz has been working on for the past three years, and for which she has been successful in receiving ongoing funding support from a variety of sources. The work has been focused on a study of formal garden traditions in the eastern and western hemisphere through the use of photography. The funding provided by this grant will enable her to return to Japan to complete the photographic work that has to be done. She intends to incorporate the results of her work into here teaching in the interdisciplinary Visual Literacy program, and to also produce both a published book of the photographs with essays written by leaders in the fields of photography and landscape architecture and an internationally traveling museum exhibition of the photographs themselves.

Michael Hoff $5000 Department of Art & Art History Rough Cilicia Archeological Survey Project – Phase 2

Since 1997, Professor Hoff has been involved in the Rough Cilicia Archeological Survey Project, which is a multi-disciplinary and cross-disciplinary investigation exploring the rich antiquity of a large coastal and mountainous region of the southern coast of Turkey. This project has involved a number of our students in Art History, one of whom (Anna Drozda) has received Hixson-Lied funding to assist her with her travel and research in Turkey. The funding provided by this grant, in conjunction with other funding he is receiving from a variety of sources, will enable Professor Hoff to launch a new phase of his work, which will involve the excavation and eventual reconstruction of an ancient temple that was discovered recently on the sight. In addition to the value of this work to Professor Hoff himself, this project continues to afford our Art History students with opportunities to engage in research as undergraduates, which is a priority for our College and for the University in general.

Aaron Holz $5000 Department of Art & Art History Hybrids, Coupling and Portraiture

This is Professor Holz’s first major research project since coming to the College last fall as a new member of the faculty. The funding provided by this grant will support travel and materials required to make paintings scheduled for exhibition in New York and Copenhagen in the late spring and fall of 2005. The inclusion of his work in these exhibitions provides him with an opportunity to develop an international audience for his research and creative activity as a painter.

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Brenda Wristen $5000 School of Music Musical Activity in Small Handed Pianists

Professor Wristen’s research is focused on the study of music related injuries that are experienced by pianists. In this particular phase of her work, she is looking at injuries pianists with small hands, who often sustain their injuries in working on a conventional sized piano keyboard. In order to do this, she must construct a piano keyboard that is slightly smaller in size than conventional one. Funding provided by this grant will match a $20,000 grant she recently received from the UNL Research Council for that purpose. She envisions that her work will lead to further research designed to identify and treat injuries sustained by pianists with small hands.

Gretchen Foley $3150 School of Music Computer Program for 12-Tone Analysis Research

Professor Foley’s project focuses on her research into the musical compositions of George Perle, who uses a unique system of non-tonal composition in his works. Non-tonal music lends itself particularly well to mathematical models, and Professor Foley is seeking to utilize a computer program as one means of analyzing Perle’s music. The funds provided will allow her to work collaboratively with a computer programmer to design a software program that will be suitable for what she intends to accomplish. In addition to this specific project, Professor Foley envisions the new software program to have applications for a wide array of non-tonal music of the 20th Century.

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HIXSON-LIED COLLEGE OF FINE AND PERFORMING ARTS Reports on Funding for Faculty Research Travel Support

Proposal Supported: The creation of an initial annual fund in the amount of $40,000 to provide partial support for faculty travel associated with invitations to perform, make presentations, or present exhibitions related to their research and/or creative activities at significant regional, national, or international venues and professional meetings.

This report is in two parts: a) presentations that were funded in the November 15 – March 15 period and subsequently completed; and b) a preliminary overview of proposals just recently funded (February 15) for the March 15 – July 15 granting period. In these two cycles, the Hixson-Lied Research Travel committee convened to consider a total of eighteen applications from the School of Music, The Department of Theatre Arts and the Department of Art and Art History. The committee determined that thirteen of the applications were to receive support. The College Administrative Council reviewed those applications and awarded a total of $17,565.

a) Travel Completed Since October, 2004

Department of Art and Art History

Gail Kendall: Presentation at the Old Church Cultural Center, Demarest, NJ Amount funded: $350

This venue hosts the most prestigious, large-group pottery event in America. The curator for this exhibition is Karen Karnes, who started what in the field is called ‘Demarest’ thirty years ago to help raise funds for a community art center in Demarest NJ. She is an elder stateswoman in the ceramics field. She is represented by Garth Clark Gallery in New York City and her work is to be found in the permanent collections of museums all over the world. Typically twelve-hundred people come to the opening reception on Friday night, followed by several thousand more over the next two days.

Participation in this event is significant for my work as an artist in several ways. First, collectors fly in from all over the country on opening night due to the caliber of pottery on display. In addition, ceramics educators from New York City, Penn State and many other institutions in the area come to the event so in both regards this becomes a networking experience that has enabled us to showcase the Department of Art & Art History, the College, and UNL. Secondly, when I changed my artistic focus in 1990 from a “vessel-maker” of contemporary, non-utilitarian, larger scale works, to “strictly functional potter,” I knew that I would have to work hard to gain recognition as such within the field partly due to the fact that my utilitarian works are hand-built rather than thrown on the wheel. Participating in Demarest has enabled me to establish visibility within this group of artists. Demarest has also provided me with many hours of pleasure getting know a changing group of artist/potters over the past six years. I have been able to make connections that work to advance my own students in their goals, as well as to secure places for more than one of our former grads in this event and another fundraiser that Karen curates. As a result of my participation, I have also been invited to other exhibitions and events, such as the Utilitarian Clay Symposium which is held at Arrowmont School of Art and Craft in Gatlinburg, TN. Lastly, the three elder states-women who have mounted this luminous event from the beginning are amazing individuals who have become mentors for me on how to age while remaining vital and engaged in the field. They are inspirational artists and activists. 24

I anticipate several outcomes as a result of my participation. First, I have been invited to write an article that will appear in the June issue of Studio Potter, which is the closest to an academic publication of all ceramic periodicals published in this country, with the possible exception of periodicals in the field of ceramic engineering, which is not related to my work. I have also been invited to present my work at the TRAX Gallery in Berkeley, California at some future date. Second, my participation afforded me an opportunity to present a portfolio of slides and resume belonging to Kari Radasch, a recent MFA graduate from our program (2003), and as a result, Kari was invited to participate in the alternate event that Karen Karnes curates in Worcester Mass - the Pottery Exhibition and sale at the Worcester Center for the Crafts. Finally, co-Exhibitor, potter Scott Goldberg introduced me to a fellow Maine potter, Susan Dewsnap, who was interested in meeting me because of our graduate program. Susan was accepted into the program this spring and is our departmental nominee for the Hixson-Lied Fellowship.

The above list demonstrates the importance of this event in terms of my own career and the opportunities I am able to create for my former and current students. This kind of networking is ongoing and I am certain that more will evolve out my participation this past year in the Demarest show. I very much appreciate the support of the Hixson-Lied College of Fine & Performing Arts in terms of funding travel for me to participate in events like Demarest.

Peter Pinnell: Presentation at the National Conference on Education in the Ceramic Arts Amount funded: $650

My work was featured in three exhibitions that were part of the NCECA national ceramics conference. NCECA (the National Conference on Education in the Ceramic Arts) is the largest and most important ceramics conference anywhere in the world; this year over 6000 people attended. Professionals commonly attend every year, and exhibitions held during the conference are viewed by a very high percentage of my peers in the field. All three exhibitions in which I took part were sponsored by the NCECA board and Baltimore Clayworks, the local organizer of the conference.

Ceramics is an art form that is best viewed in person, both because it is inherently three dimensional (the best photograph can only convey part of the visual information in the object), and because the tactile quality of the work (an important aspect of ceramic art) can only be assessed in person. Getting my work in front of a large, national audience allows me to present it to my peers for assessment and review. The dialog (both formal and informal) that takes place during and after this kind of event is important for any artist who wishes to continue to grow and develop. As a mid-career artist who is dependent on invitations for future exhibitions, this gets my work “out there” and provides the exposure that leads to other professional opportunities. The positive exposure that results from a high profile exhibition puts the UNL ceramics program in an excellent light, and raises our general profile significantly. This makes it more likely that teachers at other undergraduate programs will recommend graduate study UNL to their own students, and easier to attract those students to apply for our program

My participation in this event led to three outcomes. First, seeing my work outside my own studio, and in the presence of work by other nationally recognized artists, provided valuable feedback that will drive my continuing development as an artist. Second, my participation will result in other professional opportunities to present my work and to write about it. And finally, my participation enables us to keep UNL Ceramics in the public eye as an institution that features active, involved, and recognized faculty artists.

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School of Music

Dr. Mark Clinton/Dr. Nicole Narboni: Performance at the Second Festival de Piano de St. Tropez Amount funded: $1,570

The Clinton/Narboni Duo appeared in recital at the second annual Festival de Piano de St. Tropez, sponsored by the Societé Tropezienne des Amis de la Musique (the St. Tropez Society of Friends of Music) and the Mayor of St. Tropez. The recital took place in the Salle de la Renaissance, located on the picturesque Place des Lices in the famous French resort town of St. Tropez. The hall seats about 350 people and was almost full. The repertoire consisted of works for piano four-hands by Mozart, Debussy, Mendelssohn and Stravinsky (the Rite of Spring arranged for piano four-hands by the composer himself). The performance received excellent coverage in the local and regional media prior to the concert, and it also garnered two extremely favorable reviews following the concert (A copy of one of these reviews can be found in Appendix B).

This performance in St. Tropez presented the Clinton/Narboni Duo with a unique combination of opportunities. First of all, it provided a chance for us to continue to build our reputation as international performing artists, appearing at an annual piano festival sponsored by the Societé Tropezienne des Amis de la Musique and the Mayor of St. Tropez. Equally as important, we had the opportunity to share with the audience in St. Tropez the infrequently performed piano four-hand arrangement of Stravinsky’s Rite of Spring. While modern concertgoers may be more familiar with the original orchestral music for the ballet, the four-hand arrangement by the composer is considered to be one of the most serious and comprehensive four-hand works of the twentieth century. This kind of programming is in keeping with our long-range research/creative activity that brings to light lesser-known works of the two-piano or piano four-hand repertoire. Finally, during our stopover in Paris (prior to the performance in St. Tropez) we had meetings with the mayor of the first district and his staff to plan a Clinton/Narboni performance sponsored by the mayor's office, which will take place at the Hôtel Harlay in Paris on June 9, 2005.

Given the success of the concert and the enthusiastic response by the audience, the director of the festival has indicated that the Clinton/Narboni Duo likely will receive an invitation to perform at the 2006 Festival de Piano de St. Tropez.

Brian Moore: Presentation at the Annual Meeting of the College Music Society Amount funded: $1,100

The Hixson-Lied funding enabled me to present my work at the annual national meeting of the College Music Society, which was held in conjunction with the Association for Technology in Music Instruction National Meeting. This conference represents higher education music educators whose area of research interest is that of the application of music technology in the teaching of music in all areas (music theory, pedagogy, education, composition, technology, and so on.), and is the premiere venue and association in higher education for those working in the area of music technology.

This presentation is an outgrowth of my continuing work and interest in the development of music compositional skills through the creative and deliberate use of technology and multi-media. The particular aspect/audience of the subjects (high school students) is also of particular importance given my position as head of the Music Education area and our outreach and engagement activities in music education. My presentation would not have been possible without the funding support provided by the Hixson-Lied Endowment 26

Outcomes of my presentation are several. First, I am presently working on further developing the software I authored and demonstrated at this conference. I am also continuing my work in the area of developing student compositional projects. Finally, I am preparing developing an article (or perhaps series of articles) to be submitted to various journals specializing in technology education and research. . Glenn Nierman: Presentation at the Biennial World Congress of the International Society for Music Education Amount funded: $3,000

This presentation was given at the biennial World Congress of the International Society of Music Education (ISME) in Tenerife, Spain. This conference is one of the premiere research and pedagogy gatherings of K-12 music educators from around the world. This year’s Congress was attended by delegates from over 70 different countries. There were approximately 1000 registrants for the conference; approximately 45 participants were in attendance at my presentation. The presentation was attended by Franz Nierman, President of the European Association for Music in Schools (EAS); Janet Barrett, North Central President of MENC—The National Association for Music Education (U.S.A.); Sam Leong, Member of the Executive Board of The Australian Society for Music Education; Giacomo Oliva, President of ISME, and other leaders in the world music education community.

In the late 1990s I was invited to write a chapter on the topic of “Changes in Music Teacher Education” for The New Handbook of Research on Music Teaching and Learning (2002). I accepted because this project was congruent with my research and teaching interests. Further, it was an honor to be selected to represent the ideas of my profession on a significant topic in a book, the first edition of which was recognized throughout the world as a definitive publication of the profession. One of the more significant subtopics I presented was the issue of training both generalists (classroom teachers) and specialists (teachers certified to teach music in K-12 schools) to teach music in schools. This international forum provided an excellent opportunity to discuss this issue because many countries do not educate music specialists to teach in K-12 schools. Further, this venue has proven to be an excellent way in which to meet music education doctoral students interested in coming to the University of Nebraska.

I plan to submit this paper to the Music Educators Journal for publication, and I have been invited to present on this topic at the The Australian Society for Music Education (ASME) XV National Conference to be held in Melbourne, Victoria, Australia in July 2005.

Darryl White: Presentation at the annual meeting of the International Association for Jazz Education Amount funded: $1,400

The International Association for Jazz Education Conference took place in Long Beach, California. Over 5,000 teachers and students of jazz assembled for this conference came from over thirty-five countries. Approximately 125 people attended my presentation and another twenty-six expressed interest in attaining lecture notes because they were not able to attend. The presentation was well received and a significant number expressed interest in seeing the presentation published at some point, as they felt it would be of interest to them in their teaching and performing.

My presentation focused on teaching techniques that are designed to provide a method of study that could be beneficial, and most importantly useful to all students, regardless of their musical style preferences. The techniques have been structured to make the student aware of certain skills and concepts that can be 27 practical in the study and performance of both classical and jazz styles. Those of us who teach in the applied studio or teach privately do all we can to expose our students to the plethora of orchestral excerpts, solo literature, chamber music and countless method books and studies. In addition, most of us have some sort of basic routine that covers basic fundamentals such as major and minor scales, lip slurs, long tones, mouthpiece buzzing, expanded intervals, and so on. My presentation stressed the point that in many cases, much of the “standard” pedagogical practices can also be related to the jazz language. I plan to continue expanding upon this subject because it is quite apparent to me that today’s composers and music educators are expecting more well-rounded musicians to emerge from undergraduate and graduate professional music preparation programs. I also plan to publish an article on this approach in both the International Trumpet Guild Journal and the journal of the International Association for Jazz Education. In addition to having an opportunity to present my work at an international conference, this event provided me with more visibility as a performer and educator at an international scale with respect to collegiate teaching and performance.

b) Overview of Proposals Funded on February 15th

Department of Art & Art History

Professor Michael Hoff: Presentation related to his Rough Cilicia Archaeological Research Project in Turkey. Amount funded: $1,200

Professor Karen Kunc: Presentation at the Southern Graphics International Conference in Washington, DC. Amount funded: $700

Professor Peter Pinnell: Exhibition at the National Council on Education in Ceramic Arts, Baltimore, MD Amount funded: $650

School of Music

Professor Brenda Wristen: Presentation at the national meeting of the Music Teachers National Association in Seattle, WA. Amount funded: $950

Professor Pamela Starr: Presentation at the Pedagogy of the Renaissance conference at the Peabody Conservatory in Baltimore, MD. Amount funded: $475

Professor Paul Haar: Musical performance/presentation at the North American Saxophone Alliance Region 3 Conference in Des Moines, IA. Amount funded: $220

Professor Gretchen Foley: Presentation at the College Music Society International Meeting in Alcala de Hanares, Spain. Amount funded: $1,400

The Moran Woodwind Quintet: Performance/presentation at the College Music Society International Meeting in Alcala de Hanares, Spain. Amount funded: $7,000 (total, for the entire group).

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HIXSON-LIED COLLEGE OF FINE AND PERFORMING ARTS Undergraduate Creative Research Grant Program

Proposal Supported: The creation of an initial annual fund in the amount of $10,000 to provide partial support for student research and creative projects.

The College Undergraduate Student Advisory Board met on January 28 and on February 4 to consider proposals for the newly-established program to support undergraduate creative research projects. A total of thirteen proposals were submitted, and five proposals, totaling $9,017, were recommended to the Dean for funding. The Advisory Board was extremely pleased with the initial student interest in this new program, as reflected in the number and overall high quality of the submissions. A full listing of the projects that were funded and the amounts awarded follows below.

Catherine Meier - $2000 Department of Art & Art History A Time to Speak, Depicting Societal Issues Through Animated Drawings

This project is the creation of an animated film that addresses issues central to rural life and culture, such as changing socioeconomic environment, depopulating communities, loss of traditional livelihoods, loss of family land, and so on. The project began as a UCARE project in October of 2003, and between then and May of 2004, Catherine completed over 1300 drawing stages to create the animation. The funding provided by this grant will enable her to actually create the film in the form of a DVD, to record a soundtrack, and to distribute and promote the film.

Krista Robbins - $1850 Department of Art & Art History Site Specific Sculpture, Sheldon Memorial Sculpture Garden

With this project, Krista seeks to create a site-specific sculpture that will alter the viewer’s perception and physical appearance of that site. The location she has selected is a specific exterior site in the Sheldon Memorial Art Gallery’s Sculpture Garden, namely, the recessed area under the cement footbridge. The site was selected because of its lack of public attention and interaction. By creating the sculpture, Krista is striving to transform the space into a vibrant, inviting area, full of life and color. She has secured all of the appropriate permissions to work in this area.

Aaron von Seggern - $1592 Department of Art & Art History Classical Mediums

Aaron’s interest is in creating a bust out of marble, working in a traditional style, bringing back the process of the Baroque period and conceptualizing it through the technological advances of today. Funding provided by this grant will provide for the acquisition of some of the materials and tools Aaron will need to work in this medium.

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Sarah Stewart - $1875 School of Music A Young Bassoonist’s Guide to the Bassoon

Sara’s project stems from her experiences in learning the bassoon as a young student in rural Nebraska, an area in which there was a lack of local bassoonists to serve as teachers and role models. Using the funds provided by this grant, her plan is to research and put together a method book entitled A Young Bassoonist’s Guide to the Bassoon, and to then provide the book to as many western Nebraska high schools and possible, while also traveling to some of the schools that have bassoon students to provide clinics for both the band instructors and the students.

Cullen Wright - $1,700 Department of Theatre Arts – Film and New Media Program Charlie’s Game

Colin’s project involves the creation of a film, Charlie’s Game, in collaboration with students from the Film Acting School in Cologne, Germany. The story, set in East Berlin during the middle of the Cold War, evolved from a one-act play that Colin wrote in his playwriting class. Funding from this grant will provide him with support for his travel to and from Germany, as well as for the rental of some specialized equipment that would need to be secured on-site in Germany. He has also secured some funding and in- kind support for this project from his department.

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Appendix A

Noted film theorist, author and Brown University Professor Mary Ann Doane analyzed the films of Todd Haynes in lectures, titled “Pathos and Pathology: The Cinema of Todd Haynes,” co-sponsored by Doane College and the Mary Riepma Ross Media Arts Center. Doane spoke at Doane College in Crete, Nebraska on Wednesday, September 22 and at the Mary Riepma Ross Media Arts Center on Thursday, September 23. Both lectures were free and open to the public. Doane is a George Hazard Crooker Professor of Modern Culture and Media and of English at Brown University in Providence, Rhode Island. Among her former students is Todd Haynes, who wrote and directed the Academy Award nominated 2002 film Far From Heaven. Doane specializes in film theory, feminist theory, and semiotics. She has also made films, taught filmmaking, and continues to work with student filmmakers. Among Doane’s written works are The Desire to Desire: The Woman’s Film of the 1940s and Femme Fatales: Feminism, Film Theory, Psychoanalysis. Haynes is a 1985 Brown graduate. In his film Far From Heaven, Dennis Quaid and Julianne Moore play a married couple whose 1950s Connecticut life is rocked by Moore’s discovery of her husband’s homosexuality and the consolation she seeks in the friendship of their African-American gardener. Doane’s lecture also focused on Haynes’ 1995 film Safe.

THE FOURTH WORLD WAR is the untold human story of men and women who resist being annihilated in the current global conflict. Shot on the frontlines of numerous struggles spanning five continents, taking viewers where the mainstream media cannot go, THE FOURTH WORLD WAR screened at the Mary Riepma Ross Media Arts Center on Wednesday, October 27. Filmmakers Richard Rowley and Jacqueline Soohen appeared at the screening, which was co-sponsored by the University of Nebraska- Lincoln Chapter of the Nebraskans for Peace and the UNL Environmental Resource Center, to discuss their work with the audiences. “[THE FOURTH WORLD WAR is] a powerful, radical cry from the front lines of the war on people,” according to Naomi Klein, author of No Logo. She continues, “This film captures the spirit of resistance: it is as beautiful and global as humanity itself.”

Calling his new movie an “Electric Kool-Aid Acid Test on Tofu”, award-winning documentary director Ron Mann (Grass, Twist) joins actor/activist Woody Harrelson as he pilots a hemp-fuelled bus on an eco- consciousness raising incursion down the beautiful Pacific Coast. GO FURTHER by award-winning documentary filmmaker Ron Mann opened at the Mary Riepma Ross Media Arts Center on Friday, October 15. GO FURTHER explores the idea that the single individual is the key to large-scale transformational change. Filmmaker Ron Mann appeared at screenings of his film on Friday and Saturday, October 22 and 23 to discuss his work with the audiences. GO FURTHER is “a message film that makes entertaining diversions out of environmental didacticism,” according to Toronto Star film critic Peter Howell. GO FURTHER is, “an agreeably goofy road movie of a documentary," writes Michael Rechtshaffen, film critic for The Hollywood Reporter. GO FURTHER follows actor Woody Harrelson as he takes a small group of friends on a bio-fuelled bus-ride down the Pacific Coast Highway with the goal of showing the people they encounter that there are viable alternatives to our habitual, environmentally destructive behaviors. Several other films by Ron Mann were also shown during his visit to our campus.

Rodney Evans' first narrative BROTHER TO BROTHER, which opened at the Mary Riepma Ross Media Arts Center on Friday, February 18, is an ambitious drama that explores artistic and personal integrity in a context straddling past and present. Filmmaker Rodney Evans appeared at a 7:30 p.m. screening on Tuesday, February 22 to discuss his work with the audience. BROTHER TO BROTHER is "An intelligent and entertaining exploration of racial and sexual politics that brings alive the Harlem Renaissance of the 1920s, and draws parallels with African-American identity crises of today," according to Megan Lehmann writing for the New York Post.

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KING OF THE CORNER, a sardonic comedy about the dangers of negotiating life without a compass, had its theatrical premiere at The Mary Riepma Media Arts Center on March 4, 2005. The film, co- written, starring, and directed by actor Peter Riegert ran through March 17. Riegert and co-writer, author, and UNL professor Gerald Shapiro, upon whose book entitled Bad Jews and Other Stories the film is based, appeared a premiere gala screening on Saturday, March 5, which was attended by a capacity audience. Riegert and Shapiro also appeared at all of the other screenings of their film on Friday, March 4 and on Saturday, March 5.

KING OF THE CORNER paints a portrait of Leo (Peter Riegert), his family and his world. His father (Eli Wallach) is dying, his daughter (Ashley Johnson) is growing up too fast, his protégé (Jake Hoffman) is after his job, his wife (Isabella Rossellini) is running out of patience, an old flame resurfaces (Beverly D’Angelo) and his judgment is becoming blurred. Leo has met the enemy and it is he, but through a twist of fate and the help of an unorthodox rabbi (Eric Bogosian), he redeems himself and gets a second chance. Shot by the imaginative cinematographer Mauricio Rubinstein (Casa De Los Babys) with music by rock’n’roll legend Al Kooper and edited with Mario Ontal’s able hand. KING OF THE CORNER is Peter Riegert’s feature film debut. In 2000, Riegert’s short film By Courier, his first directing effort ever, was nominated for an Academy Award. Award winning author of several books, Gerald Shapiro is a professor in the University of Nebraska-Lincoln Department of English where he teaches creative writing and literature and had served as chair of UNL’s Norman and Bernice Harris Center for Judaic Studies.

THE ALLOY ORCHESTRA is a three man musical ensemble, writing and performing live accompaniment to classic silent films that film critic Roger Ebert says is, “The best in the world at accompanying silent films.” Working with an outrageous assemblage of peculiar objects, they thrash and grind soulful music from unlikely sources. THE ALLOY ORCHESTRA visited Lincoln on Tuesday and Wednesday, March 22 and 23. Co-sponsored by the Mary Riepma Ross Media Arts Center and the Lied Center, ALLOY performed for Buster Keaton’s The General on Tuesday for the Lied Center and Nebraska native Harold Lloyd’s SPEEDY on Wednesday at MRRMAC. Both performances were before capacity crowds all of whom had an extraordinary experience they won’t soon forget. ALLOY premiered their newest score for Harold Lloyd's SPEEDY at the Telluride Film Festival September 2001. SPEEDY is Lloyd's last silent film and certainly one of his best and ably demonstrates why Lloyd was more popular than even Chaplain and Keaton at the end of the silent era. This fast-paced dramatic comedy, shot in the streets of New York, explores the theme of modernization, pitting the last horse drawn trolley in the city, against the evil forces of the transit monopoly. Performing at prestigious film festivals and cultural centers in the US and abroad (The Telluride Film Festival, The Louvre, Lincoln Center, etc.), ALLOY has emerged as possibly the best and best known silent film accompanists in the world. An unusual combination of found percussion and state-of-the-art electronics gives the Orchestra the ability to create any sound imaginable. Utilizing their famous “rack of junk” and electronic synthesizers, the group generates beautiful music in a spectacular variety of styles. They can conjure up an entire symphony or a simple German bar band of the 20’s. The group can make the audience think it is being contacted by radio signals from Mars or swept up in the Russian Revolution. While their unusual instrumentation attracts attention, their unique sensitivity to the films themselves makes Alloy performances so emotionally satisfying.

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Appendix B

The Crowning of the 2nd Piano Festival Review published in Le Bavar (weekly regional paper)

Three evenings of differing musical tones, but all of high level, were received with enthusiasm by music lovers—definitely promoting the Fall Piano Festival to a “do not miss” cultural event in St. Tropez.

As President of the St. Tropez Society of Friends of Music, Fernand Ansaldi could smile broadly as early as the evening of the first recital (November 11, 2004). He had won his bet—the Renaissance Theatre was full!

Vesala Pelovska was revealed as an elegant interpreter of works by Haydn, Rachmaninoff, Tchaikovsky, and Lizst. Her fine touch, her accomplished perception of nuances did not preclude her from applying all the power required for large romantic flights. With youthful kindness, Vesala Pelovska won the hearts of her audience by dedicating three encores to Fernand Ansaldi, her teachers, and Madame Vercambre, responsible for her playing for the first time in St. Tropez.

Racha Arodaky played Scarlatti sonatas, Scriabin preludes, and Beethoven’s romantic “Moonlight” Sonata with great sensibility and maturity. With her performance of the Peer Gynt Suite of Grieg, the pianist revealed a talent, the scope of which has earned her prestigious rewards.

The last evening allowed listeners to discover the four-hand duo-pianists from America, Mark Clinton and Nicole Narboni who came directly from the University of Nebraska where they teach, while at the same time pursuing a very brilliant career as concert artists throughout the USA and around the world. For some time, they had wanted to perform in St. Tropez, proof that our village can attract real artists and not just the superficial set!

Children of the New World, the duettists demonstrated the depth of their artistry in a contemporary piece—the four-hand reduction by Stravinsky himself of the score for his famous ballet, “The Rite of Spring.”

Stripped of the most attractive visual display provided by the dance (so brilliantly associated with Nijinsky’s name), the music by itself reclaimed all of the strength and pagan savagery which prompted one of the most famous scandals of the music world during its first performance in 1913.

In grandiose style, Clinton and Narboni were able to bring to life through their piano the primitive impulses of people subjected to the raging elements of a barbaric world…with, at times, a moment of calm, clear as the dewdrops on the first earthly morning. The audience was enthralled, and afterward the room shook with applause. …Annie Corsellis