sonoritiesWINTER 2017 The News Magazine of the University of Illinois School of Music Lyric Theatre Moves into the Future campus news Published for the alumni and friends of the School of Music at the University of Illinois at Urbana-Champaign. The School of Music is a unit of the College of From the Director Fine + Applied Arts and has been an accredited institutional member of the National Association of his magazine remains a vital way for Schools of Music since 1933. us to stay in touch with nearly 10,000 Edward Feser, Dean of the College of Fine + alumni and friends of the Univer- Applied Arts sity of Illinois School of Music. In it, Jeffrey Magee Kathleen Harleman, Acting Dean T Professor and you’ll find compelling stories that tend Director Jeffrey Magee, Director of the School of Music to be overshadowed by our state budget Emily Wuchner, Editor impasse. And yet, while we have been Aaron Godwin, Contributing Writer deeply affected by budget reductions, Michael Siletti, Copy Editor this issue vividly shows that we’re not Design and Layout by Studio 2D just surviving but thriving. Our opera program—now newly dubbed Lyric Theatre—exemplifies our ability Cover Photo by Darrell Hoemann Photography to thrive in challenging times. The term Lyric Theatre captures the varieties of sung Front Cover: Members of the Lyric Theatre @ theater our students will confront in the wider world. In this issue you will learn Illinois program perform in Cole Porter’s musical Kiss Me Kate during Spring 2016. about the program and its unique focus on cultivating the singing actor for the 21st- century stage—told from the point of view of a student who has had a role, onstage UI School of Music on the Internet: www.music.illinois.edu or off, in every production. We also include a feature on a lesser known but no less robust component of Share your good news! Send photos and submissions to: School activity: improvisation. Here we emphasize that improvisation is not, and [email protected] should not, be confined to the jazz program. In fact, it is a vital aspect of contem- porary musicianship. Schools of Music and their curricula are built on the authority of western musical notation, which represents a significant though relatively small slice of the global variety of musical idioms and practices. What happens when students must perform without the aid of notation, or with minimal visual aids? Several of our faculty members weigh in, giving us a glimpse of how improvisation Contents informs their work. You’ll also meet new faculty members in two other core areas of the School: CAMPUS NEWS ...... 2 Donna Gallo and Eli Fieldsteel. Gallo joins the music education division, another CELEBRATING GIVING...... 7 area that has been entirely rebuilt in the past three years and launched the new year with a renovated curriculum. Fieldsteel joins the composition-theory division and LYRIC THEATRE MOVES INTO THE FUTURE...... 9 will serve as the director of the Experimental Music Studios, the pioneering hub of new music founded in 1958 and led by Scott Wyatt for the past 41 years. IMPROVISE ILLINOIS ...... 14 I want take this opportunity to thank Emily Wuchner, who has served as co-editor FACULTY NEWS...... 18 then sole editor of this magazine’s past five issues while finishing her PhD in musi- ALUMNI NEWS...... 25 cology. Emily—now Dr. Wuchner—recently began a full-time appointment as Thesis STUDENT NEWS...... 33 Coordinator in the Graduate College, so this is her last Sonorities issue. Emily has IN MEMORIAM...... 35 been an efficient, diplomatic, and trusted collaborator and we’ll miss her in this role. As for me, I look forward to returning full time to the faculty next year after five GIVING...... 39 years as the School’s director. Serving as director has been a rewarding adventure, and while we’ve accomplished much, there is more to be done. Please join me in working to ensure that our important work continues as we take the School to ever greater heights.

SoM Renovations Complete

When students began classes in Fall 2015, the sounds of saws, drills, and hammers accompanied performances in studios and in practice rooms and teachers lecturing in classrooms. Now, after nearly a year of construction, the cosmetic, life-safety, and technological renovations in the Music Building are complete—and the changes have improved the look and function of the facility. The building had been virtually untouched since its construction in 1972, and crews began work on the project during Summer 2015. The most significant changes Jeffrey Magee Jeffrey include revamping the south lobby with signage, tables, and chairs; creating a Scott Wyatt and Steve Everett just before reception area near the north lobby (pictured below); renovating the Music Building processing at the School of Music’s 2016 Auditorium; upgrading the technology in the auditorium, classrooms, and computer Convocation, where Everett, introduced labs; and upgrading safety elements (especially sprinklers, fire alarms, and fire doors). by his former teacher Wyatt, delivered the The cost of the renovations was about $3 million and was funded by the College keynote address. of Fine + Applied Arts and the University. —Emily Wuchner, editor Colwell’s Music Education Tests Collection

While on faculty at the University of Illinois, Richard Colwell, professor emeri- tus of music education, began studying musical aptitude and achievement tests to better understand the competence of high school students. His vast collec- tion of tests—which fills at least six file cabinets—is being inventoried, cataloged, and relocated from the Music Education Annex to the Oak Street Library Facility. Colwell reflects on his work in an essay, published on the new School of Music Website: music.illinois.edu/. School of Music Archives of Music School Emily Wuchner School of Music Archives of Music School Emily Wuchner

winter 2017 3 campus news

Faculty Earn National Recognition

Professor Gabriel Solis (Musicology) was one of five UIUC faculty members to receive a National Endowment for the Humanities (NEH) Fellowship. The grant will enable Solis to continue work on his book, The Black Pacific: Music, Race, and Indigeneity in Australia and Papua New Guinea, which, Solis explains, “considers the ongoing history of musical alliances and affiliations between indigenous artists and activists in Australia and Papua New Guinea, and their counterparts in the African Diaspora.”

Associate Professor Linda Moorhouse (Bands) was elected to the National Bands Association (NBA) Academy of Winds and Percussion Arts (AWAPA) award during the NBA General Membership meeting at the 2015 Midwest Clinic. This award, presented in 2016, was established for the purpose of recognizing those individuals Martin Allegra Courtesy of who have made truly significant and outstanding contribu- The newly formed chamber choral ensemble, ecco. tions to furthering the excellence of bands and of band music. The silver AWAPA figure is designed to be the Oscar New Chamber Choir “Echoes” of the band world. Music from the Past Assistant Professor Carlos Carrillo (Composition- The School of Music’s newly-formed chamber choir—ecco— Theory) was one of 10 composers to receive is comprised primarily of graduate students and faculty at the a 2015–2016 Copland House Residency Award, School of Music, and is led by Director of Choral Activities allowing him the opportunity to work for six Andrew Megill. The group’s name is a pun on the Latin word for weeks at Aaron Copland’s home in Cortlandt “behold” and the English word “echo.” The ensemble focuses Manor, NY. There, Carrillo focused on com- on Renaissance music, though it also performs Baroque and pleting his opera, which is based on a well-known Puerto twentieth-century works. This past season, ecco performed Rican play, La pasión según Antígona Pérez. This is Carrillo’s Josquin and Schütz motets, a cycle of Monteverdi madrigals, second time at Copland House as in 1998 he was one of and Hindemith’s Six Chansons. In January 2017, the group the first recipients of the award. will sing an Evensong featuring works by Tallis and Byrd at —Compiled by Emily Wuchner, editor Emmanuel Memorial Episcopal Church. The opportunity to make high-level music with colleagues is very important to the singers. Mark Dirksen, of Buzard Pipe Organ Builders, said “joining the group has been both musically and personally fulfilling,” and Andrea Solya, clinical assistant professor, said, “when we sit down to sing, we all leave our lives behind and serve the music itself...It is rather magical.” —Allegra Martin, graduate student in choral conducting

4 sonorities unforgettable moment. and selfiesoncewelefttheperformancearea,creating atruly energy andexcitement—thebanderuptedinhighfives, hugs, amazing time.OurperformanceinHerald Squarewas fullof ing andsupportingtheUniversity ofIllinoiswhile having an and trulyshow what theorganization isallabout—represent- Christmas,” theMarching Illiniwas ableto“meetthecrowd” University of Illinois songs and our parade tune, “An American at theendofparade! The parade flew by! Betweenfamiliar Illini occupiedoneoftheprimespots:infrontSantaClaus enormous balloons,floats,andentertainment. The Marching for our dress rehearsal. Soon it was time to line up with the we tiredlybutexcitedlyreportedtotheemptyHerald Square wake-up callonthemorningofparade was 2:30a.m.and food, andfitinafinalrehearsalbeforethebigparade. Our the opportunitytoexplorecity, seemusicals,eatdelicious time inNew York City, membersoftheMarching Illinihad our shortbutexcitingroutineforHerald Square.Duringour City aswellheightenedfocusinrehearsalswelearned preparation forthemulti-million-personcrowd inNew York season included an increased number of performances in amazing fouryears. The “March toMacy’s” during the2015 and our trip to New York was truly the cherry on top of an opportunity toserve asadrummajorfortheMarching Illini ing. Duringmy juniorandsenioryears, Ihad theincredible ensemble duringeach performance,rehearsal,andgather stantly amazedby thepassion anddrive demonstrated by the Throughout my fouryears intheMarching Illini, Iwas con- intheMacy’smember participating Thanksgiving Day Parade. Foundation HopeCharitable Dolores band to an outstanding 2015 BobHopeBandScholarship Award, given by theBoband gogy, was adrummajorfortheMarchingIlliniandreceived the Craig, inmusiceducation andpianopeda- anundergraduate By Rose Craig at the 2015 Thanksgiving parade The Marching Illini make their Herald Square debut toThe March Macy’s -

Courtesy of Barry Houser Illini on YouTube!Illini out theMarching it again), check (or want towatch MI’s performance If you missedthe Rose Craig (right and below) winter 2017 5

Courtesy of Rose Craig Courtesy of Rose Craig campus news

Gibson Releases Recording, Gives Back to SoM

As a child, Clark Gibson (DMA ’15) loved Inspired by Gibson’s enthusiasm, UI listening to Charlie Parker recordings. alums and SoM supporters Mike and It was Bird’s virtuosity and finesse that Pamela Van Blaricum generously funded inspired Gibson to pick up the saxophone. the CD’s production. The entire album was It seemed only natural, then, that he would recorded in one day in the Music Audito- gravitate toward Parker when choosing a rium and features the musical talents of UI dissertation topic. students, faculty, and alumni. The album Gibson’s dissertation focuses on a was released and distributed internation- unique collection of live and studio record- ally through Blujazz Records. Gibson ings Parker commissioned and performed pledged to give all proceeds earned from with a group of strings between 1949 and the recording—which so far amounts to 1952. But upon contacting a publishing more than $700—back to the School company to acquire the arrangements, of Music. The CD has been favorably Clark Gibson Gibson learned of another, lesser-known reviewed in DownBeat and several other Clark Gibson’s album, Bird With Strings: set of arrangements by writers including national jazz publications. The Lost Arrangements Gerry Mulligan, Mercer Ellington, George “Projects like this are right in line with Russell, and Jimmy Carroll. Though they the mission of a Division 1 research insti- and production to the artwork and liner were written for Parker around 1950, most tution and I was very fortunate to have notes (which were created by UI alum were never performed. Gibson acquired attended the U of I under such great Peter Kenagy) are a true testament to the sheet music and quickly began making leadership that facilitated the creation of the creative minds that are a part of the plans to perform and record the tunes. this project,” Gibson said. “The quality University of Illinois family. I am grateful of this entire project, from the music to be a part of that family.” —Emily Wuchner, editor

LGBTQ Studies & Music Education III Symposium

In May, the School of Music hosted the LGBTQ Studies & Music Education III symposium. This symposium was the third in a series and showcased scholars from the UK and North America who are examining how LGBTQ issues operate within music education in terms of research, curriculum, teacher preparation, and the musical lives and careers of LGBTQ music students and teachers. Among the studies shared were inquiries into the perspectives and experiences of transgender musicians and music educators, music ensembles within the LGBTQ community, masculinity and choral singing, and homophobia in schools and student mental health. A special issue of the

Bulletin of the Council of Research in Music Education will Louis Bergonzi feature select papers from this conference. Chris Cayari (MME ’09, PhD ’16) pictured third from left, presented an auto-ethnographic, arts-based research study, —Louis Bergonzi, Daniel J. Perrino chair in music education, “Finding Voice Through Repertoire Sung By LGBTQ Characters professor of conducting and music education Depicted in Musical Theater.”

6 sonorities celebrating giving

A Million-Dollar Year! Thanks to the generous support of our alumni and donors, the School of Music received $1,083,882 in new gifts for the 2016 David Allen fiscal year. This is up from $676,167 in 2015 and $481,281 Associate Director of Development in 2014. It is exciting to note that our donations came from graduates throughout the University of Illinois as well as those from our community of ensembles and other music programs.

A Special Legacy Many seats and studios in historic Smith Memorial Hall feature and the Pips, Diana Ross, Barbara Streisand, and Dionne the names of our generous donors or those they have chosen Warwick. The lyrics to one of his most famous songs, “The to honor. Each of these donations supports the Smith Music Greatest Love of All,” are featured on the new door plate in Legacy Scholarship Project, which provides critical scholarship Smith Memorial Hall. funds to our music students. Seats and practice or faculty studios are still available for University Celebrates Sesquicentennial naming opportunities. Contact David Allen at 217-333-6453 In celebration of the University of Illinois’s 2017 Sesquicenten- or [email protected] for more information or to have a Smith nial, the School of Music is commissioning a piece for choir Music Legacy Scholarship Project packet sent to you. and band. Richard Powers, professor emeritus of English at the College of Business graduate Alan Lev (’82) recently sup- University of Illinois, will compile the text based on writings ported the Smith Music Legacy Scholarship Project by naming by distinguished, award-winning Illinois alumni. Esteemed our group piano studio to honor the memory of his uncle choral conductor and composer Dominick DiOrio, who is a Michael Masser, who graduated from the University of Illinois faculty member at Indiana University, will write the music. College of LAS in 1963. During his career, Masser composed The premiere is scheduled to be performed in Urbana during and produced some of America’s most popular music; his body the spring of 2018. Thanks to generous financial support from of works is too vast to include here. Many of his greatest hits Lynd Corley (BM ’59, MME ’61), our student ensembles will were performed by famous artists, including George Benson, have the opportunity to perform this important new work in Natalie Cole, Neil Diamond, Whitney Houston, Gladys Knight Chicago and New York City.

student and donor spotlight

With the Susan Starrett Scholarship, I have been able to follow many of my aspirations as a student and performer. Some of the highlights of my first year as a violin performance major include studying with my professor and meeting so many new people and talented musicians. As well as this, I have thoroughly enjoyed my time as a part of the University ensembles and chamber ensembles. One of my favorite memories so far was my final concert in the UISO last year when we performed the oratorio August 4, 1964 by Steven Stucky. —Daniel Ostrow, undergraduate in violin performance Louis Bergonzi

winter 2017 7 celebrating giving

Bringing the World to Champaign-Urbana The Center for World Music Prepares for an Exciting Season

The Robert E. Brown Center for World Music has recently established itself as a leading presenter of international music and performance spanning folkloric traditions to contemporary, cross-cultural world music projects on the UI campus. With a generous financial gift from Bruno and Wanda Nettl in 2014, and additional support from campus grants and partner pro- grams, the Center offered and co-sponsored 25 engagements in 2015–16. Concerts for campus and community members, along with workshops and classroom engagements for both university and K–12 students, drew nearly 3,000 attendees total. The 2015–16 academic year featured a return visit by the Tuvan ensemble Alash, and first-time appearances by the Georgian choir Anchiskhati, taiko artist Kenny Endo, and the Taiwanese music and dance group A Moving Sound. The Center co-sponsored the West African Drum and Dance Festival— Midwest Mandeng 2015, the Indian dance and percussion ensemble Pradhanica, a Japanese Tsugaru-jamisen performance featuring Sato Michiyoshi, and separate koto performances by Anne Prescott and graduate students Hilary Brady Morris and Finkelman Jason Jessica Hajek. These projects could not have been possible Kenny Endo, taiko artist without the support of the Russian, East European, and Eurasian Center, the Center for Advanced Study/MillerComm 2016, the Spurlock Museum, the Center for East Asian and Pacific Studies, Japan House, and the Asian American Cultural Center. In Fall 2016, the Center welcomes Gregory Beyer and his chamber berimbau ensemble Projeto Arcomusical, which is presented with support from the Lorado Taft Lectureship on Art funding. A four-week gamelan residency will take place at Martin Luther King, Jr. Elementary School, made possible by an Urbana Arts Grant. With the goal of continuing a high level of the Center’s programming, the Bruno Nettl World Cultures Performance Fund is being established in Fall 2016. If you would like to support the Center’s programming, please contact David Allen, Courtesy of Jon Hollis Courtesy of Jon associate director of development for the School of Music at Graduate student Putu Hiranmayena participates in the [email protected] or by phone at 217-333-6453. gamelan ensemble concert. —Jason Finkelman, program coordinator for the Robert E. Brown Center for World Music and director of global arts performance initiatives at KCPA

8 sonorities 2015: The Merry Widow Darrell Hoemann Photography Lyric Theatre Moves into the Future By embracing opera and musical theater, exploring collaborations and new music, and practicing a new curriculum, the Lyric Theatre @ Illinois program is preparing students to move into the future

By Aaron Godwin, graduate student in vocal performance and literature ince my arrival in Champaign-Urbana in 2014, I have assumed the role of an over-zealous security guard, an Italian migrant worker, an aging notary, a philandering Frenchman, a storybook hero with a soft spot for Sbarn animals, a Shakespearean war hero in New Orleans, and a high school student who gets his big break when he appears as Princess Leia in his school play. The best part is that I don’t do any of it alone. All of this is part of the adventure that is Lyric Theatre @ Illinois (LTI).

Who We Are LTI is a comprehensive program embracing a broad continuum of opera and musical theatre to reflect the artistic demands of the 21st-century musical stage, on which performers must exhibit the highest standards of singing, acting, and movement. With many top-tier opera companies and

winter 2017 9 Darrell Hoemann Photography 2015: Into the Woods Darrell Hoemann Photography 2014: L’elisir d’amore

orchestras programming selections from the American musical theatre canon alongside standard operatic repertoire, and with the introduction of live streaming operas in high definition to cinemas across the globe, LTI recognizes the necessity of holistic training to properly prepare its students to enter into the professional singing industry. In order to accomplish this Darrell Hoemann Photography seemingly tall order, LTI not only continues to draw on the rich traditions Margaret Blackburn (right) as Rapunzel in and resources of the School of Music, but also explores new avenues for Into the Woods. teaching and learning through its commitment to staging high caliber, entertaining mainstage productions, developing new works, soliciting the involvement of industry professionals, and developing a new curriculum. As is appropriate in an educational setting, the most important aspect of this story is the response to the new LTI venture by its most critical element: the students. “What I love most about LTI is the emphasis it has placed on integration into our education,” Margaret Blackburn (BM ’16) said. “In the last two years, I’ve become so much more confident in performing on stage because I feel I really have the tools to give a compelling performance. Through my experience and training in acting both as Rapunzel in Into the Woods and as Tytania in Midsummer, as well as working in a master class with Isabel Leonard, the education that LTI has provided for me in acting and dance as well as vocal performance has been priceless.”

What We Do Perhaps most exciting about my experiences with LTI is the long list of notable people I have had the chance to either observe or work with directly.

Darrell Hoemann Photography From watching Bill Burden, Isabel Leonard, and Renée Fleming give master Aaron Godwin as Jack in Into the Woods. classes to my colleagues, to working directly with conductors Eric Weimer (Lyric Opera of Chicago), Raphael Schluesselberg (Theater an der Wien), and Claire Levacher (Paris Conservatory), and directors Jessi D. Hill and Christopher Gillett, my time here has been full of learning not just from

10 sonorities 2016: Kiss Me Kate Darrell Hoemann Photography Darrell Hoemann Photography 2015: Béatrice et Bénédict

the world-class faculty of the School of Music, but also directly from working industry professionals. This aspect of LTI is one that is not easily outdone. What makes LTI truly unique is the commitment Julie Gunn, director of lyric theatre studies, and Nathan Gunn, general director, have for providing a high level of education to LTI students. Yet another consummate aspect of LTI is its commitment to being a leader in the development of new works. In just two years, LTI has been host to three world-premiere workshops, each more exciting than the last. In Spring 2016, we hosted Gene Scheer and “What I love most about Billy Van Horn for a workshop of their LTI is the emphasis it has piece in development, Polly Peachum, culminating in a semi-staged perfor- placed on integration into mance for the community. This past Darrell Hoemann Photography our education.” season, LTI presented Jeremy Gill’s 2016: A Midsummer Night’s Dream —margaret blackburn (bm ’16) miniature and powerful opera Letters from Quebec to Providence in the Rain. The Illinois Modern Ensemble and American Opera Projects collaborated with LTI on this 20-minute drama about jealousy, insanity, murder, and revenge in the orchestral world premiere of this new work. On a more epic scale, Lyric Theatre welcomed industry professionals from as far away as Karachi, Pakistan, for the workshop of Bhutto, Mohammed Hanif and Mohammed Fairouz’s opera about the grandest of Pakistani families. Nathan Gunn sings the role of Zulfikar Bhutto both here at Illinois and at the world premiere in Pittsburgh in 2018. An inimitable feature of LTI is the opportunity to

partner with major companies such as Pittsburgh Opera and Beth Morrison Natalie Fiol Projects, along with the partnership of the School of Music and the Kran- Students participated in a master class nert Center for the Performing Arts, to be at the forefront of new works with opera superstar, Renée Flemming for the modern lyric stage. One of the many industry professionals we have hosted in the last two years included Christopher Gillet. Chris has made an international career

winter 2017 11 Poppea performing Flute in Britten’s A Midsummer Night’s Dream. He joined us for our production of the same opera in November 10–13, 2016 his first time in the director’s chair. He recalls, “I think Madeline Sayet, director Music by Claudio Monteverdi it’s a great credit to Lyric Theatre that they helped me Libretto by Giovanni Francesco Busenello enormously to grow in my new role [as director] while giving me the tools to help my cast grow too. The facilities Love and obsession. Deception and decadence. And an unre- at the Krannert Center are second to none, the musical, lenting quest for power, whatever the cost. Imagine if today design, production and technical team eager, professional all roads led to Rome, where the goddesses of Virtue, Wealth, and, best of all, good-humored. I was struck by the strong and Love fight for power. Seductively rich imagery coupled sense of camaraderie and mutual respect and support with Monteverdi’s ravishing score lure the audience into this within the students, of the intent of everyone to do their glamorous world of greed, lust, betrayal, and beauty. very best for the show as much as for themselves.” And though I may be biased, I am inclined to agree. Viva Verdi! Of course I would be remiss if I did not pause to February 23–26, 2017 acknowledge the faculty, staff, and students of both the Donald Schleicher, conductor Level 21 program and Krannert Center for their priceless Kyle A. Thomas, director contributions in infrastructure, design, management, UI Symphony Orchestra and the UI Oratorio Society and marketing to LTI.

When Giuseppe Verdi died in 1901, Italy wept as one nation. Almost a quarter of a million people took to the streets, marching What Comes Next to “Va, Pensiero” from Nabucco—better known as the Chorus To round out these exciting opportunities, the LTI faculty of Hebrew Slaves—sung by a massed choir under the baton of has been diligently developing a new curriculum for celebrated maestro Arturo Toscanini. Lyric Theatre @ Illinois continues its celebration of Italy with a tribute to Verdi, with students to pursue within the School of Music and, as of robust choruses, soaring solo voices, and thrilling orchestration the end of the Spring 2016 term, it has been approved to express victory and defeat, love and longing, joy and despair. by the SoM faculty and will be reviewed by the University for approval. The new degree, a Bachelor of Musical Arts The Light in the Piazza in Lyric Theatre Studies, will build upon the existing excellence in vocal and performance instruction through April 27–30, 2017 a curriculum that emphasizes creativity, flexibility, and ​Dawn Harris, director Julie Jordan Gunn and Michael Tilley, musical directors wellness. This degree is designed for the student who Book by Craig Lucas intends to pursue a performance career in sung theatre Music by Adam Guettel and will provide them coursework in music, theatre, and Based on the novella by Elizabeth Spencer dance, administered by the School of Music, and housed within the walls of the world class Krannert Center and 1950s Tuscany provides the setting for this Tony Award-winning all its collaborative possibilities. Through this program, story of love and hope, fears and expectations. Well-heeled LTI continues its commitment to operatic repertoire Margaret Johnson is touring the Italian countryside with her through instruction in languages, vocal health, and daughter, Clara, a beautiful, surprisingly childish young woman. rigorous musical training, a new investment in musical In a chance encounter charged with coincidence and fate, an theatre through storytelling, acting, and dance, and a intense romance is sparked between Clara and Fabrizio Nacca- fostering of creativity among the realm of new works relli, a handsome Florentine. As The Light in the Piazza unfolds, through instruction in composition and design. Overall, Margaret is forced to reconsider not only Clara’s future, but the new curriculum is immersive, dynamic, multifaceted, her own dreams as well. The rich and romantic musical score by Adam Guettel—who happens to be the son of composer and forward-thinking. Mary Rodgers and the grandson of Broadway legend Richard Led by a faculty comprised of intelligent and accom- Rodgers—creates moments of simple magic as “The story wraps plished individuals, LTI is poised to provide the very best in itself around your heart” (Chicago Sun-Times). education to the next generation of leaders in opera and musical theatre. Sarah Wigley Johnson, clinical assistant professor, sees LTI as the definition of progression. “We

12 sonorities

are fostering dynamic, diversified performers, musicians, and artists and that is an incredibly exciting thing to be a part of,” Wigley Johnson said. “My goal for each student is to feel empowered by fusing high-level musicianship Events and technical prowess with imagination and inspired exploration.” Johnson began teaching at the SoM in Fall 2014 along with her team teacher, Clinical Assistant Professor Michael Tilley. Together they teach the Lyric Calendar Theatre Studio course, a practicum emphasizing diversi- Stay connected with all School of Music fied training through a varied repertoire each semester. concerts and events! Visit our new website Tilley sees LTI as a unique program, exemplified by the at www.music.illinois.edu/ for an up-to- new, option-rich curriculum, which is designed to nurture date list of recitals, ensemble concerts, performers through their individual responses to text, lectures, and Lyric Theatre productions. situations, and obstacles. “Breaking training down to the basic elements encourages students to be accountable for the choices they make, on and off stage, holding the promise of stage artistry that is both secure and unpredict- able, creating a “We are fostering dynamic, living stage where diversified performers, transformation is the new normal,” musicians, and artists and Tilley said. that is an incredibly exciting A new program thing to be a part of.” and curriculum often presents —Sarah Wigley Johnson challenges, espe- cially in a strained economy and in a state without an operating budget. Thankfully, in part to the insightful and passionate leadership of Julie and Nathan Gunn, the support of the School of Music administration, Elizabeth Hoard Students participated in a master class with renowned singer, and through contributions from our supporters, LTI is Isabel Leonard. flourishing and thus plans for a bright future are being devised, beginning with the matriculation of the first class in Fall 2018. “Thankfully, talent is not confined by socio-economic status,” Julie Gunn said. “We are excited and hopeful about creating a diverse program of students and hope that Illini alumni will consider supporting these students who exhibit immense talent but come from financially restrictive backgrounds.” The UI School of Music has always been at the fore- front of innovation in music education. In keeping

with the rich traditions of our School, LTI is poised to Beth Morrison Projects become the leader of education in opera and musical 2016: Bhutto theatre performance studies, a standard by which other programs across the nation will seek to replicate. And somehow someone thought I should have the chance to be a part of it. Lucky me!

winter 2017 13 ORGAN/HARPSICHORD: Improvise Illinois Charlotte Mattax Moersch, From gibberish professor Not unlike the jazz pianist, language dialogues to who improvises from a jazz chord chart, today’s harp- serious disciplines, the sichordists and organists impact of improvisation improvise accompaniments to a figured bass. In the on performance and Baroque and early Classi-

cal periods, composers used Courtesy of Charlotte Mattax Moersch education is important numbers and symbols to indicate chord tones above a bass to students and faculty line. In the basso continuo course offered by the organ/ harpsichord division, students learn to decipher these at UI figures, and then practice how to go from simple chords above the bass to improvising melodies and adding orna- ments to their realizations. They then apply these skills Compiled by Emily Wuchner, editor to chamber music performance in Concerto Urbano, UI’s period instrument group, learning about different styles of accompaniment in repertoire ranging from he UI School of Music is home to a variety of 17th-century Baroque opera to the music of J. S. Bach. seemingly disparate ensembles and programs. But one characteristic they share in some way is JAZZ: Tparticipating in the art of improvisation through Chip McNeill, performance or scholarship. Whether it be through professor navigating a jazz chart, realizing figured bass, acting At UI, I was brought in spe- cifically to begin degrees out a recitative in gibberish, participating in a call- at the BM, MM, and DMA and-response dialogue, or critically thinking about levels in jazz performance. the role improvisation plays in performance and Obviously, jazz improvisa- tion is at the core of these interpretation—students across the SoM are chal- degree programs and our lenged to explore their creativity and intellect when curriculum at the BM, MM, Courtesy of Chip McNeill and DMA levels. Starting in the audition process and tapping into this ever-present skill. Faculty members continuing into the applied lessons, jazz ensembles, and throughout the SoM were contacted to provide actual jazz improvisation courses (at the undergraduate and graduate levels), improvisation plays a key role in insight into the role that improvisation plays in their understanding the historical perspective of jazz from past teaching and creative activities. What follows is a to present and the direction jazz will take in the future. glimpse of how instructors incorporate improvisa- The process of improvising is a hands-on activity done in addition to the historical research and repertoire tion into the daily life of the SoM. knowledge and understanding. Most of the improvisa- tion courses we offer are repertoire-based and focus on the American songbook repertoire as a starting point for listening and beginning to have a deeper understanding

14 sonorities of what is meant and involved in improvisation. This as jazz by Chip McNeill, music improvisation in dance repertoire includes vocal and instrumental and their classes by John Toenjes (Dance Dept.), and a demonstra- interactions with regard to the history of jazz. Also, jazz tion of the Sal-Mar instrument, an improvising machine improvisation as it relates to theater, dance, and music invented by former professor Salvatore Martirano. The forms is very important to our students and to the future conference included concerts of Persian and Arabic of jazz improvisation as a viable economic stream. Applied music. The papers of the conference were published in lessons in our program are heavily infused with improvis- a book, Musical Improvisation: Art, Education and Society, ing along with instrumental or vocal training. Again, most edited by Solis and myself. applied improvising is repertoire-based and attempts to use repertoire (recordings and transcriptions) to analyze how the pantheon of jazz improvisers have approached COMPOSITION-THEORY: certain repertoire, styles, etc. Erik Lund, PIANO PEDAGOGY: professor Christos Tsitsaros, professor COLAB is an interdisciplin- ary, collaborative workshop Improvisation has played a key role in modern Ameri- of musicians and dancers, can music education, particularly in the area of piano fusing improvisation and pedagogy. Pioneer 20th-century piano educators, such composition, co-taught as Raymond Burrows, Frances Clark, and Robert Pace by myself (composition- stressed the importance of incorporating improvisational theory, performance) and activities as a means of learning and reinforcing new Kirstie Simson (dance). We concepts, and achieving “total musicianship.” Their

began offering COLAB in Courtesy of Erik Lund ideas stemmed from developmental learning theories Fall 2010 and have contin- Students participate in a and language acquisition. Piano pedagogy and other ued for the past six years, COLAB performance interrelated courses, such as advanced piano skills and with about 15 participants each semester. The workshop jazz improvisation, have traditionally explored the full offers a unique format where analogies between the dis- range of benefits reaped from improvisational skills in ciplines are creatively explored. Some students come to teaching young students and adults in private and group COLAB with considerable background in improvisation, settings. The ability to improvise is also at the base of a but for many it is all very new. It has proven to be an eye/ comprehensive and flexible musical background that ear opening experience for all, with many students elect- will eventually support the modern college student’s ing to return for repeat sessions. COLAB has presented future professional career. site-specific concerts at venues including the Krannert Art Museum, Temple Buell Hall, MTD bus station, Lincoln Square Mall, Champaign Library, Champaign-Urbana MUSICOLOGY: Independent Media Center, and local restaurants. Par- ticipants go on to include improvisation and interdisci- Bruno Nettl, professor emeritus plinary collaboration in their performance careers, and The School of Music, with support from many campus some have moved on to teaching positions where they units, hosted a major conference on improvisation in April are sharing the practice with their own students. 2004. The organizing committee was William Kinderman, Gabriel Solis, and myself. About half of the conference WORLD MUSIC: was devoted to scholarly research papers on improvisa- tion in many of the world’s cultures, largely by visiting Jason Finkelman, director, global scholars (including well-known alumni A. J. Racy, Stephen arts performance initiatives Slawek, Christopher Waterman, and Stephen Blum), Improvisation is central to my practice of developing distinguished visitors including pianist Robert Levin and cross-cultural ensembles that collectively draw upon music education scholar Patricia Shehan Campbell, plus ambient electronics, avant jazz, progressive rock, and local faculty. There were also workshops on such subjects winter 2017 15 folkloric music of the world. My interest in this area led to an opportunity to invite percussionist Adam Rudolph, on behalf of the Robert E. Brown Center for World Music, to present Go: Organic Orchestra, his system of techniques and compositional strategies for conducted improvisation. Rudolph introduced his concepts on cyclical rhythm, note matrices, and hand gestures, all of which were applied in a residency-concluding per- formance by an eclectic chamber ensemble featuring student, faculty, and community musicians of varying levels and disciplines. While completely opposite of freely improvising collectively in a group, this rewarding expe- rience with directive improvisation indicated that both

practices provide new musical sonorities by combining Tilley Courtesy of Michael unique instrumentation, along with the personalities and Lyric Theatre students participate in an improvisation game. backgrounds of the participating musicians.

repeatedly experience the greatest joy for any educator: PERCUSSION: watching students uncover personal resources they had Ricardo Flores, associate professor no idea even existed. One of my favorite memories from the past year was a particular scene, in which a student I use improvisation in my teaching and performance on had been given a character who was fanatically devoted a regular basis. As a percussionist, I perform on drum set to her dog. As the other characters tried to distract her and Latin percussion as well as other types of percussion and pursue their own dramatic agendas she finally took instruments with various musical groups playing myriad center stage and delivered an emphatic mini-aria about styles from classical and jazz to tango, Cuban, Brazilian, her dog which revealed a free vocal and physical power free improvisation and everything in between. These which electrified the room, surprising all of us, and ensembles include not only other instrumentalists but especially herself. Such experiences are vital to the real in some circumstances, dancers and vocalists, as well. work of sung theatre. By finding their authentic voice, The ability to improvise makes a percussionist and any performers allow the audience to connect with and see musician much more versatile and marketable in today’s themselves reflected in the story taking place on the competitive music scene. This is why students in the stage, hopefully leaving the performance with a deeper percussion studio are encouraged to learn to use this connection to our common humanity. important skill when studying privately with me on drum set and Latin percussion. Solo improvisation is also uti- lized in the UI Steel Band/World Percussion Ensemble. JAZZ: Larry Gray, associate professor LYRIC THEATRE: It could perhaps be said that there are two kinds of Michael Tilley, clinical assistant musicians—interpreters and improvisers—but I like to think that most all of us are some combination thereof. professor The improviser actually probably needs at least as much We allow our students in Lyric studio many opportuni- dedicated, regular preparation as the interpreter. As a ties to discover their creativity in free play. From somatic performer, virtually everything I do is informed by impro- exploration and pantomime, to the creation of gibberish visation, and much of it is literally improvised, although language dialogues (complete with gibberish interpret- there are also situations with little if any, other, than in ers!), to solo arias based on a line of text, to improvised nuance. In teaching, my task is how and when to inte- mini-operas based on a scenario or set of characters, we grate improvisation since there is so much core musical

16 sonorities and technical training students need. In the improvising inspire the principal soloist with short vocal commen- musician’s game, the ear is the primary player, and this tary, direct a series of repetitions and modulations, and includes all the core elements of music, such as melody, in performance, bridge all gaps in the performance rhythm, and harmony, but it also includes an intuitive, space by inviting the audience to join the chorus as vital organic kind of understanding of style, along with a contributors to the musical experience. deeper kind of hearing that is impossible to either explain or analyze outside its natural context in practice. So, for MUSICOLOGY: me in teaching, improvisation needs to be a consistent part of the process from the first lessons with a student. Gabriel Solis, professor It’s not something to be put off until the fourth semester I have been an improvising musician since I was young, or such. By then, so to speak, it’s too late. (Of course, playing both jazz and early music—indeed, as an under- it’s never too late!) graduate I spent days playing recorder, which I pursued largely because I liked the sense of creative challenge BLACK CHORUS: from working out ornamentation in notated chamber music; and I spent nights at blues and jazz jam sessions, Ollie Watts Davis, professor which gave me the compelling experience of improvising The task of inspiring and performing beautiful music is solos with a rhythm section. I have written about musical a privilege that allows me to share my lived and learned improvisation, presented at major international confer- experience. I use every resource to connect with aspir- ences on it in Canada and Japan, and teach a course on ing young artists and appreciative audiences including improvisation for graduate students. My most recent the rich tradition of improvisation. I utilize this “in the publication is an article titled “From Jazz Pedagogy to moment” teaching and performance tool to activate the Improvisation Pedagogy: Solving the Problem of Genre in learning and performance space by heightening the Beginning Improvisation Training.” My experience with atmosphere with great expectation and anticipation. In students is that there is often a sense that improvisation the studio and on stage, I create a musical conversation training is for specialists, and amounts to the cultivation for the moment in response to the perceived needs of of genre-specific proficiencies. That’s fair—improvised the student(s) and audience. As conductor of the music musics are serious disciplines and playing one of them of Black Americans, I preserve the essence of the original well requires intensive work. But there are so many lessons creative process and promote integrity and authenticity that grow from making new music in the moment (“in in performance. To that end, an observer will witness the act of performance,” as Bruno Nettl says) that it me teach “by ear” using the practice of communal call seems critical to incorporate the process into students’ and response, engage a “co-singer” to “co-sign” and education regardless of their particular specialization. I think the easiest way to get a student to really under- stand how harmony works is to get them to improvise melodies over simple chord progressions. To get them to hear counterpoint, play lines over a ground bass. To get them to play sympathetically with an accompanist or chamber ensemble, improvise simple parts together with clear guidelines. I’m a believer, for sure. As much as I have a deep respect for the discipline of interpretive performance, in the era of critical design thinking and “maker culture” in which we live, I think it’s a shame for students to finish a college degree without learning to design and make their own music, too. Courtesy of Ollie Watts Davis Watts Courtesy of Ollie Ollie Watts Davis leads the Black Chorus in concert.

winter 2017 17 faculty news new faculty faculty updates

Eli Fieldsteel (Composition-Theory) was appointed assistant pro- Chester Alwes (Emeritus, fessor and will serve as the new director of the Experimental Music Choral Music and Music Studios. He earned a BA from Brown University, a MM from the Education) published the University of North Texas, and a DMA from the University of Texas second volume of his at Austin. He recently served as assistant professor of music theory History of Western Choral and composition at Ball State University, where he taught courses Music (Oxford University in composition, computer music, acoustics, and human-computer interface Press), which culminates 12 years of work. design. Fieldsteel was the recipient of the 2014 James E. Croft Grant for Young Janet Revell Barrett (Music and Emerging Wind Band Composers, first prize in the 2012 ASCAP/SEAMUS Education) published chap- Student Commission Competition, and has received awards and recognition from ters in the Oxford Hand- organizations including the Bandmasters Academic Society of Japan and the Frank book of Social Justice in Ticheli Competition. His music has been performed nationally and internationally Music Education (Oxford, by ensembles such as the Dallas Wind Symphony, the University of North Texas 2015) and Teaching General Symphony Orchestra, the Kawagoe Sohwa Wind Ensemble of Tokyo, and the Music: Approaches, Issues, and Viewpoints University of North Carolina at Chapel Hill Wind Ensemble. His music is pub- (Oxford, 2015). She addressed 30 years lished by Lovebird Music, and has been recorded on the SEAMUS and Aerocade of research issues in the Bulletin of the Music record labels. Council for Research in Music Education Donna J. Gallo (Music Education) was appointed assistant profes- as a keynote for the CIC Music Education sor. She completed her PhD in music education at Northwestern conference, “Back to the Future: Music University, earned a MME from Silver Lake College, and a BME Education Scholarship in the 21st Century” from Indiana University. She completed two years of coursework at Northwestern University. In March, she at the Zoltán Kodály Pedagogical Institute of Music in Kesckemét, presented a research study, “An ecological Hungary where she was awarded the International Kodály Society view of music teachers’ curricular agency” Scholarship. Most recently, she served as an assistant professor of music educa- with graduate student Tim Caskin at the tion at Westminster Choir College where she taught undergraduate and graduate NAfME Music Research and Teacher Edu- courses and coordinated the summer Kodály Certification program. Prior to joining cation conference in Atlanta, as well as the faculty at Westminster, Gallo served as adjunct faculty at Northwestern Uni- a session on mixed methods research. versity and Silver Lake College, where she taught graduate research methods, She is collaborating with the Wisconsin and she taught Kodály Level III at DePaul University. Her public school career Comprehensive Musicianship through includes eight years of K–6 general/choral music in Fairfax County, VA and in Performance committee on curricular, Simsbury, CT. instructional, and assessment initiatives for the professional development of music Richard Deja and Steven Wilson (Musicology) teachers. She also continues her work as were appointed visiting lecturers in musicology for editor of the Bulletin. the 2016–17 academic year. They will teach a variety of classes, including undergraduate courses for music Christina Bashford (Musi- majors and non-majors, and graduate-level seminars. cology) was appointed Deja completed his PhD in musicology from UIUC associate director for gradu- in 2016 and has previously served as a visiting assistant professor at Earlham ate studies in the School of College (IN) and authored and instructed an online course for Rutgers Arts Online. Music in August 2015, and He conducted doctoral fieldwork under the auspices of a Fulbright-Hays Doctoral has also been made a visit- Dissertation Research Abroad fellowship and studied the Zulu language in South ing research fellow at the University of Africa with a Fulbright-Hays Group Project Abroad fellowship. Wilson graduated Huddersfield (UK). Spring 2016 saw the with his PhD in musicology from UIUC in 2014. He has previously served as publication of her co-edited volume of visiting professor at Mount Mercy University (IA) and Cornell College (IA). He essays The Idea of Art Music in a Com- has presented his research at the Midwest Chapter of the American Musicological mercial World, 1800–1930 (Boydell Press), Society conferences. to which she also contributed a chapter.

18 sonorities —compiled by Emily Wuchner, associate editor milestones and awards

She was part of the panel presentation Zack Browning (Compo- Faculty Promotions “Johnnies, Tommies, and Sammies: Music sition-Theory) was guest Linda Moorhouse to associate and Transnational Identities” at the 2015 composer at Mondi Sonori professor (with tenure) American Musicological Society confer- Festival (Trento, Italy) and Donald Schleicher to professor ence in Louisville, along with Gayle lectured at Broward College Rochelle Sennet to associate Magee, William Brooks (MM ’71, DMA (FL), Emory University (GA), professor ’76), Justin Vickers (BM ’96, DMA ’11), Florida Atlantic University, West Chester and Laurie Matheson (DMA ’98); the University (PA), UI Department of Agri- Staff Promotions panel was repeated at the Newberry culture and Biological Engineering, and Jancie Philippus to public Library, Chicago (May 2016). She also Mathematics, Science & Technology Edu- engagement coordinator read a paper at the Music in Ireland: 1916 cation (MSTE). Silent Crackdown, com- Retirements and Beyond conference in Dublin (April missioned by Pin-Hua Chen (DMA ’16) Guy Garnett 2016). was premiered at North American Saxo- Cynthia Haymon-Coleman phone Alliance (Texas Tech University) Louis Bergonzi (Music and then the Singapore Saxophone Sym- Awards Education) offered clinics posium. Decade of the Dragon was pre- Jonathan Keeble, Campus Award at 12 schools in Illinois, miered and recorded by NakedEye for Excellence in Undergradu- and others in California, Ensemble for Starkland Records and A/B ate Teaching Iowa, and Seoul, South Duo recorded Sol Moon Rocker for Aero- Gabriel Solis, College of Fine and Korea where he conducted cade Music. Additional performances Applied Arts Faculty Award for the Korean International Music Educators were in Beijing, The Hague, Seoul, Audio- Excellence in Research National Honor Festival Orchestra. He graft Festival (Oxford, UK), Royal Northern Lori Melchi, assistant to the was also guest conductor of the Indiana College of Music Chamber Music Festival director, College of Fine and High School All-State, and the Iowa Middle (Manchester, UK), Ball State University Applied Arts Distinguished School All State Orchestra, among others. New Music Festival (IN), Bravo! Festival Staff Award Alfred Music will publish his arrangement (Vail, CO), Brevard Music Festival, Inter- of Brahms’s Academic Festival Overture lochen Music Festival, Lake George Music for middle school string/symphonic orches- Festival, and the University of Tennessee tra. As a researcher, he co-authored, Contemporary Music Festival. Browning socialist Soundstage,” appeared in the “Demographics of Tenure-Stream Music continues to direct the Salvatore Martirano Anthropology of East Europe Review during Faculty in Canadian Post-Secondary Insti- Memorial Composition Award. the fall. In June, she conducted field tutions” for Canadian Journal of Music. research in Sofia, Bulgaria, where she His chapter, “Gender and sexual diversity Donna Buchanan (Musi- also participated in “Beyond the Borders,” challenges (for) socially just music educa- cology) delivered presenta- the 10th Joint Meeting of Bulgarian and tion” appeared in The Oxford Handbook tions at the 2015 Society North American Scholars, as a member of Social Justice and Music Education. for Ethnomusicology of the North American delegation. In With Bridget Sweet, he presented their meeting, an international January, Buchanan was awarded an Illinois work on teaching adolescent voice change conference on the “Heri- International faculty research travel grant by including the perspectives of pop/rock tage of Death” at Stockholm University, to conduct research in Bulgaria’s Armenian transgender singers and songwriters at and an international conference on Mace- diaspora communities. three conferences: IL Music Education donian studies in Chicago. She also gave Conference, International Society for Music an invited colloquium address at the Elliot Chasanov (Brass) Education (Glasgow), and at LGBTQ University of Chicago and a pre-concert served on the international Studies & Music Education III. lecture on Bartók’s ethnomusicological jury of the Concours de activities in conjunction with the Jupiter Trombone held at the Mon- Quartet’s performance of the composer’s treal Conservatory in string quartets. Her article “Beyond Nation? Quebec, Canada in April A Thrice-Told Tale from Bulgaria’s Post- 2016. The Elliot Chasanov Brass Series,

winter 2017 19 faculty news

containing arrangements by Chasanov and the first act of Bhutto (Mohammed include appearances as the featured guest and published by Metropolis Music in Fairouz). Other highlights included serving artist at the Raleigh Area Flute Association Belgium, is now available through US as the music director of two new operas with harpist Ann Yeung, and the Upper sheet music retailers. His works are also (The Brothers Grimm and The Bremen Midwest Flute Association, and in master published by Cherry Classics of Vancouver, Town Musicians) this summer in Halibur- classes at locales including the University British Columbia. Chasanov has been ton, Ontario, new collaborations with of Michigan, Northwestern University, invited to serve as an educational con- the Solera Quartet (University of Notre Seoul National University, and Yonsei sultant to EK Blessing Brass Instruments Dame), recitals with her principal col- University. With colleagues from the Uni- and a design consultant to Greenhoe laborator, Nathan Gunn, and concerts versity of Illinois Wind Division, he con- Trombones, now being manufactured by with him and Mandy Patinkin this summer. certized and taught throughout the greater Schilke Music in Chicago. Seoul, South Korea metropolitan area. Ricardo Herrera (Voice) Ollie Watts Davis (Voice) was invited as guest soloist Herbert Kellman (Emeri- presented I’m a Stranger for the White House His- tus, Musicology) gave the Here Myself, in conjunction torical Association’s confer- keynote address, “Artifacts with the exhibit “With Firm- ence “Italy in the White and Sounds: Towards an ness in the Right: Lincoln House: A Conversation on Understanding of the and the Jews” at the Historical Perspectives.” He premiered Alamire Manuscripts,” at Abraham Lincoln Presidential Museum. The Letter by Robert Chumbley with Sin- the International Conference Petrus She appeared as guest conductor and fonia da Camera at the Krannert Center. Alamire: New Perspectives on Polyphony artist with John Hersey High School at He was the bass soloist in Handel’s Messiah held in Antwerp, Belgium in August 2015. Carnegie Hall (NY). She gave a recital at with Sinfonia, as well as in Schubert’s He also chaired a conference session and Gordon College (MA) and is featured on Mass in E-flat. He performed fundraising read a paper on “Philippe Bouton and the film The Caged Bird: The Life and concerts to benefit the St. Patrick’s Youth the Chigi Codex.” In April 2016, he was Music of Florence B. Price, supported by Orchestra and Promise Healthcare in invited to attend celebrations of the 25th the Arkansas Humanities Council, Depart- Champaign-Urbana. He was a guest soloist anniversary of the establishment of the ment of Arkansas Heritage, and University in the memorial concert honoring Maestro Alamire Foundation at the University of of Arkansas. She is featured on the West Daniel Ferro at the Juilliard School. In Leuven (Belgium), where he was honored Virginia Public Broadcasting’s series April 2016, he sang Beethoven’s Ninth for his fundamental work on Renaissance “Inside Appalachia: 4 Women’s Journey Symphony with the El Paso Symphony music manuscripts of the Low Countries, to the Top,” and was the 2016 recipient Orchestra (TX) and in Summer 2016, he and named Senior Research Fellow of of the Charles E. Walton Award from the directed Mozart’s Don Giovanni with the the Foundation. In January and May 2016, Vivian G. Harsh Society of Chicago. She Franco-American Vocal Academy in Sal- he received musicologists from the Uni- led Black Chorus in performances in zburg, Austria. versity of Leuven for collaborative research campus and in the televised 36th Annual in the UIUC School of Music’s Renaissance Jonathan Keeble (Wood- State of Wisconsin Tribute & Ceremony Archives. winds) became the School honoring Dr. Martin Luther King, Jr. of Music’s second faculty William Kinderman’s Julie Gunn (Lyric Theatre member to be awarded the (Musicology) activities and Accompanying) helped Campus Award for Excel- ranged across disciplines with the formation of a new lence in Undergraduate and national boundaries. degree and major—the Teaching. He continued as artist faculty His book Beethoven BMA in Lyric Theatre at Aria International, and at Madeline appeared in Chinese trans- Studies—which aims to Island Chamber Music performing and lation. During Fall 2015, he co-taught a provide undergraduate students an excit- teaching alongside musicians from the CAS seminar on “The Weimar Republic: ing blend of courses from different per- Juilliard School, St. Louis Symphony, and Music, Literature, Politics”; his study forming disciplines. She oversaw three the Cleveland Institute, in addition to “Exploring the ‘Temple of Initiation’ on world premieres, as a co-producer or as adjudicating at the Seattle Area Music Thomas Mann’s Magic Mountain: Wag- a conductor: Variations on a Summer’s Festival. In August, he was one of two nerian Affinities and ‘Politically Suspect’ Day (Harold Meltzer), Letters from Quebec featured master class clinicians at the Music” appears in Monatshefte, a journal to Providence in the Rain (Jeremy Gill), National Flute Association Convention of Germanic studies. Kinderman co-edited in Washington, DC. Other activities the volume Beethoven and the Congress 20 sonorities faculty publications of Vienna; and his article “Schubert and the Legacy of Beethoven” appeared in Rethinking Schubert in 2016. Recent A History of Western Choral Music, Volume II by Chester lectures included “Kurtág’s Kafka” in Alwes; Oxford University Press, 2016. Budapest and “‘Feeling New Strength’: The second and final volume of Chester Alwes’s survey Beethoven’s Quartet Op. 132 and the of the historical development of choral music begins Ninth Symphony” in Munich. His piano with the transition from the Classical to Romantic eras, composition “Bee[t]h[ov]e[n]” was looking particularly at the oratorio, part song, dramatic recorded by Susanne Kessel. Kinderman music, and the choral symphony. Alwes also examines is advising the Wien-Museum on expan- various approaches and philosophies of twentieth-century sion of their Beethoven Museum at Hei- choral music, including modernism, minimalism, and ligenstadt, and he is a featured lecturer neo-classicism, and considers the role nationalism played in creative works. and performer at the First Vienna Humani- Much of the discussion throughout the book is contextualized by considering ties Festival. the political, religious, philosophical, and technological trends of the time. Adam Kruse (Music Edu- The Idea of Art Music in a Commercial World, 1800- cation) published an article 1930, edited by Christina Bashford and Roberta Monte- on issues of appropriateness morra Marvin; Boydell Press, 2016. related to hip-hop and music education in the The essays in Christina Bashford’s new edited collection Music Educators Journal as pursue the links between art, money, culture, and commerce well as an article on the potential applica- to better understand how art and commercial agendas tion of fundamental hip-hop principles intersected during the nineteenth and early twentieth in music classrooms in General Music centuries. Bashford contributed the introduction and a Today. Previously accepted articles also chapter titled “Art, Commerce and Artisanship: Violin came out in print, including publications Culture in Britain, c. 1880–1920” and musicology alumna in the International Journal of Music Edu- Catherine Hennessy Wolter (PhD ’16) contributed a chapter titled “‘What The cation and Update: Applications of Piano(la) Means to the Home’: Advertising of Conventional and Player Pianos Research in Music Education. In addition in the Saturday Evening Post and Ladies’ Home Journal, 1914–17.” to an active schedule of workshops and Growing Musicians: Teaching Music in Middle School guest lectures on hip-hop and music edu- and Beyond by Bridget Sweet; Oxford University Press, cation, Kruse also gave the keynote pre- 2015. sentation for the Beckman Institute’s Postdoctoral Research Symposium and Bridget Sweet’s newest book explores different ways presented at the International Society for teachers can interact with adolescents through music Music Education’s World Conference. classes, and the important role such classes play in Other engagements include the national the development of students between childhood and conferences of The College Music Society, adulthood. Acknowledging that every music student is the Association for Technology in Music unique, Sweet explains that educators must honor this Instruction, and the Technology Institute individuality while also creating a structured but flexible for Music Education; the Symposium on atmosphere and harboring a safe classroom environment. This book draws Music Teacher Education; the LGBTQ on the experiences of music educators throughout the country and is meant Studies & Music Education III Symposium; for instructors in all settings, including choral, instrumental, classroom, and and the Illinois Music Education private instruction. Conference.

Erik Lund (Composition- in November 2015. He presented a lecture bass was premiered and recorded in China. Theory) visited China as a on his music, three of his compositions Lund is currently composing a new work guest composer and per- were performed, and he performed with for string quartet, to be premiered by the former at Soochow Uni- a local improvisation ensemble. His recent Jupiter String Quartet. versity in Suzhou, China work, Bridges, for gu-zheng and double

winter 2017 21 faculty news

Gayle Magee (Musicology) chordist at the American Guild of Organists University Press. Moersch’s latest com- completed three articles Southwest Convention, and at the spring missions have resulted in new works for and three book chapters concert of Seicento, the Boulder-based solo marimba by Marc Mellits and Baljinder on contemporary film Baroque ensemble. At the University of Sekhon, and for percussion ensemble by music and Canadian songs Illinois, she directed her period instrument Alejandro Viñao. His upcoming projects from the First World War. group Concerto Urbano in The Muses include recording Luciano Berio’s Naturale In 2016, she presented her research at Delight, with Baroque dances choreo- with Rudolf Haken and concerto appear- conferences in Chicago, Toronto, and graphed by UI Professor Philip ances with Sinfonia da Camera and the Leeds. With colleagues William Brooks Johnston. Champaign-Urbana Symphony (MM ’71, DMA ’76) and Christina Bash- Orchestra. Timothy McGovern ford, and alumni Laurie Matheson (DMA (Woodwinds) began the Mark Moore (Brass) ’98) and Justin Vickers (BM ’96, DMA 2015–16 school year with attended the International ’11), she contributed to an extensive a week-long trip to Seoul, Tuba Euphonium Confer- research presentation/performance on Korea with the UI faculty ence held in Knoxville, TN. the music of World War I at the AMS quintet. This trip included He served as one of the National Convention in Louisville (Novem- concerts, master classes, and private judges for the Arnold Jacobs ber 2015), and at the Newberry Library lessons at the major universities in Seoul. Orchestral Competition. in Chicago (May 2016). Magee serves as He performed as principal bassoon with the PI and Project Director for the NEH- Bruno Nettl (Emeritus, the Chicago Festival Orchestra at the funded publication series Music in the Musicology) gave two Chicago Allstate Arena on in 2016. Solo- United States of America (MUSA), and invited lectures: “Revisiting ists included Renée Fleming and Andrea as editor for the journal American Music. Unanswered Questions: Bocelli. The Prairie Winds Woodwind Reflections on 65 Years of (Musicol- Quintet presented a master class and Jeffrey Magee Studying Ethnomusicology,” ogy, Administration) spoke performance at Northwestern University the keynote lecture for the meeting of the at the President’s Forum at in April 2016. Other activities included Society for Ethnomusicology’s Southern the national meeting of the performing as principal bassoon of the Plains Chapter at the University of North College Music Society in Illinois Symphony Orchestra, adjudicat- Texas in April 2016; and “Writing the Indianapolis, moderated a ing, conducting woodwind sectionals at Meat-and-Potatoes Book: Musical Eth- panel discussion of issues facing music Ravinia for youth orchestras, teaching at nography” at the conference Narrative schools at the National Association of two ISYM sessions, and teaching and Soundings, at the University of Illinois in Schools of Music in St. Louis, gave a performing at the Madeline Island Music May 2016. Among his publications of the keynote address at a musical theater con- Camp on Madeline Island, WI. He per- last year are two articles, “What Are the ference at the University of Sheffield, formed Dana Wilson’s “Avatar” bassoon Great Discoveries of Your Field? Informal England, delivered an invited paper at concerto with the UI Wind Symphony Comments on the Contributions of Eth- Arizona State University’s inaugural musi- and the Weber Bassoon Concerto with nomusicology” in Musikološki Zbornik cology colloquium, and served as an the UI Philharmonia. (Ljubljana); and a contribution to the external evaluator of UCLA’s proposal to William Moersch (Percus- symposium “Reflections on Two Classic create the new Herb Alpert School of sion) has commissioned Works on their Fiftieth Anniversary.” Nettl’s Music. much of the now-standard book Encounters in Ethnomusicology: a Charlotte Mattax Moersch repertoire for marimba over Memoir (published in 2002) was published (Organ/Harpsichord) per- the past thirty-six years, in Chinese (translated by Boyu Zhang) formed solo harpsichord from composers including by the Central Conservatory of Music recitals in Dallas, as well seven recipients of the Pulitzer Prize in Press, Beijing. as chamber and orchestral Music. In recognition of this contribution, Susan Parisi (Research concerts on organ and harp- he was invited to author the chapter Scholar in Musicology) sichord for the 109th season of the Bach “Marimba Revolution: Mallet Instruments, participated in the Interna- Choir of Bethlehem, PA, where she also Repertoire, and Technique in the Twenty- tional Conference Petrus performed Bach harpsichord concerti first Century” for The Cambridge Com- Alamire: New Perspectives with the Paul Taylor Dance Company of panion to Percussion, edited by Russell on Polyphony in Antwerp, New York. She was the featured harpsi- Hartenberger and published by Cambridge 22 sonorities Belgium at the end of August 2015 and Philharmonic, and the Puellae Orantes Winter 2016. His interactive soundscape the Annual Meeting of the American Girls Choir of Poland. The newly-released installation, “Dry Signals: Soundscapes Musicological Society in Louisville in Canadian Brass CD, Perfect Landing, in Ceará¡, Brazil,” appeared at SEM Sound- November. She returned to Belgium in dominated the Billboard Charts. He trav- ing Board, a sound exhibit hosted at a April 2016 and carried out research in elled with the UIUC Faculty Wind Quintet gallery in Austin (TX), in conjunction with the Royal Library on papal protocol that to Seoul, South Korea to participate in the Society for Ethnomusicology national considers processions and liturgical ser- the ISCM Festival. He was on faculty at meeting. He was nominated co-chair of vices in the north Italian city of Mantua the Kendall Betts Horn Camp, and per- the Ecomusicology Special Interest Group in the early seventeenth century. formed as a soloist at numerous venues of the SEM. In Spring 2016, he presented across the US, including the Champaign- a paper on Brazilian castrato Paulo Abel Debra Richtmeyer (Wood- Urbana Symphony in Schumann’s “Konzer- do Nascimento at the Unit for Criticism winds) performed the stucke.” He was elected vice president Faculty Fellows Symposium. He is a 2015 American premiere of and artistic director of Cormont Music ACLS Faculty Fellow and a 2015–17 Junior Indian Hedgehog for saxo- and the Kendall Betts Horn Camp in Fellow of the Unit for Criticism and Inter- phone and electronics by Ogontz, NH. pretive Theory. Stephen Andrew Taylor at the North American Saxophone Alliance Rochelle Sennet (Piano) Gabriel Solis (Musicology) Biennial National Conference held in was an invited lecturer- was the recipient of a fel- Lubbock, TX in March 2016. She was a recitalist at the 2015 lowship from the National featured guest artist for recitals and master College Music Society Endowment for the Human- classes at the University of Georgia in National Conference in ities in Spring 2016. On September 2015; “Saxophone Day Atlanta” Indianapolis, where she the fellowship, which runs in Atlanta, GA in September 2015; Georgia presented “The Piano Sonatas of James until August 2017, he will be writing his State University in September 2015; “Kent Lee III: Trends in African American Clas- third book, The Black Pacific, which is State Saxophone Day” at Kent State Uni- sical Music.” In April 2016, she was the based on the past 10 years of research in versity (OH) in November 2015; and the featured piano soloist for the premiere of Australia and Papua New Guinea. “Rocky Mountain Saxophone Summit” James Lee III’s Concerto for Piano and Joel Spencer (Jazz) at Colorado State University in March Winds, which took place at the Murphy performed with jazz 2016. She served as principal saxophonist Fine Arts Center on the campus of Morgan pianist Lee Musiker at with the Champaign-Urbana Symphony State University (MD). She also performed the Jazz Showcase in Orchestra and principal saxophonist with a solo and chamber recital with violinist Chicago, the Jim Pugh Peninsula Festival Orchestra (WI). Igor Kalnin at Glinka State Conservatory Quintet featuring jazz saxophonist Tim in Nizhny Novgorod, Russia in 2016, Bernhard Scully Ries, and jazz saxophonist Charles where she gave the Russian premiere of (Woodwinds) per- McPherson with pianist Chip Stephens the solo piece Four Dances for Boris by formed in more than and bassist Larry Gray. Engagements of American composer Jeffrey Mumford. 100 events with the note also included a performance with During the summer, she was an invited Canadian Brass, the SSG Trio (Chip Stephens and Larry solo and collaborative pianist at the Yachats including in Germany, Austria, Switzer- Gray) for the UI School of Music recep- Music Festival in Oregon. land, Italy, Poland, Latvia, and Turkey, as tion at the 2016 IMEA Conference and a well as throughout North America. High- Michael Silvers’s (Musi- feature performance with the Joan Hickey lights included being guest artists at the cology) article “Birdsong Trio at the First Night Music Festival in Oregon Bach Festival, Schleswig-Holstein and a Song about a Bird: Evanston, IL. Spencer conducted master Music Festival, Menuhin Festival, Dolimiti Popular Music and the class presentations on “Jazz Drumming Festival Brass, Texas Music Educators Mediation of Traditional Coordination and Vocabulary” for the UI Association, World International Band Ecological Knowledge in Percussion Division, served as an jazz Convention, Conn-Selmer Institute, Northeastern Brazil,” published in Eth- ensemble coach at Illinois Summer Youth Oregon Bach Festival, Festival of Sound, nomusicology in Fall 2015, was awarded Music, and appeared as a Guest Clinician and the NAMM Convention. The Canadian an honorable mention for the IPRH Prize at the New Trier HS Jazz Festival in Win- Brass were featured soloists in front of for Research in the Humanities and his netka, IL. During Summer 2016, he took ensembles including the New York Phil- review of a Portuguese music encyclopedia part in a recording session dedicated to harmonic, Hawaii Symphony, Hamilton was published in Ethnomusicology in the late Frank Sinatra Jr., under the direc- winter 2017 23 faculty news

tion of Chicago jazz saxophonist and for Choral Music (Denton, TX). Her article two-day seminar centered on his peda- arranger Mike Smith and featured vocalist “Choral Journal and the adolescent female gogical ideas and original piano works. Kurt Elling. changing voice” appeared in Choral Scott Wyatt (Emeritus, Journal. She conducted the 2016 Piedmont Sylvia Stone’s (Voice) vocal Composition-Theory) fully Invitational Children’s Choir Festival program Scuola Italia retired from the UI School (Raleigh, NC). Summer Program for Young of Music at the end of May Opera Singers is in its 13th Sever Tipei (Composition- 2016. He remains a con- year. This vocal arts program Theory) was appointed sultant to the Experimental provides vocal training and NCSA faculty affiliate and Music Studios. During this past academic coaching of Italian operatic repertoire granted computer time on year, he designed and taught the new with an international faculty, including Innovative Systems Labora- audio recording techniques course and a specialist for singing Italian recitatives tory to work on a Computer designed/installed a new recording control and a daily intensive Italian language Music project involving graph theory, room in support of this new course. His course. Students from Spain, Colombia, complex dynamic systems, and informa- compositions were performed at the Uni- Nigeria, and the US participated in the tion theory. He also received computer versity of South Carolina, the University program held at Castello Brancaleoni in access and an Extreme Science and Engi- of Chicago, the University of Toronto, Piobbico, Teatro Zuccari Sant’ Angelo neering Discovery Environment (XSEDE) and at Georgia Southern University during and Peglio Museo. In July, she presented grant, providing technical and programing the 2016 Society for Electroacoustic Music a large master class of 13 singers at the assistance, from the San Diego Super- in the United States (SEAMUS) BRG Salzburg, Austria during the Salzburg computer Center to work on the same conference. Festspiele. project. Tipei delivered a talk titled “Com- Ann Yeung (Harp) is imme- position as an Evolving Entity” at the Bridget Sweet (Music diate past president of the workshop on Computer Music and Acous- Education) published the American Harp Society, tic Technology. His music, produced with book Growing Musicians: Inc., having overseen a software developed at the Computer Music Teaching Music in Middle transformative restructuring Project (DISSCO), was performed in Spain, School and Beyond including modernizing Taiwan, Romania, and in the US at the (Oxford, 2016). She co- election procedures, journal production, University of Mary Washington (VA), presented research at the International bylaw revisions, budget processes, regional Digital Art and Music Festival, Lexington, Society for Music Education World Con- alignments, and the organization’s mission KY, and UIUC. He demonstrated DISSCO ference (Glasgow, UK): “Perceptions of statement. As the Aletheia Duo with flutist at George Mason University (VA) and identity as a female vocal musician” and Jonathan Keeble, she gave the world American University (DC). During the “Adolescent voice change: Enriching the premiere of Richard Prior’s Call of the spring semester, Tipei conducted a UIUC conversation with transgender perspec- Sirens at the USA International Harp Com- Research Initiative Project devoted to tives” (with Louis Bergonzi). This paper petition. She was an invited panelist and DISSCO. was also presented at the third Symposium performer at the 2016 AHS National Con- on LGBT Studies and Music Education, Christos Tsitsaros (Piano ference and featured on the Tribute Concert where she additionally co-presented Pedagogy) was commis- to the renowned musician-pedagogue “Where Are They Now?: A Follow-Up sioned by the Music Teach- Susann McDonald with other distinguished Inquiry With a Gay and a Lesbian Former ers National Association to colleagues. In June, she conducted the Preservice Music Teacher.” She presented write a trio for oboe, B-flat world premiere of Julia Kay Jamieson’s “Understanding singing experiences of clarinet, and piano. He Kitties! for multiple harps with improvisa- adolescent female choristers: Implications completed his piece Fantasy in July 2016. tion, commissioned for the Illinois Summer for the choral music education curriculum” In April 2016, he gave master classes, Harp Class. Other activities included at the Music Research and Teacher Educa- lecture presentations, and performed his master classes at the University of Michi- tion National Conference (Atlanta, GA) own works for the Indianapolis Piano gan and Michigan State University, 2015 and “The adolescent female changing Teachers Association in conjunction with Greater Chicago AHS Auditions and Evalu- voice” at the MS/JH National Conference the University of Indianapolis during a ations, and hosting two interactive resi- dencies for students as part of the Aletheia Duo Entrepreneurship Series.

24 sonorities alumni news

1950–59 Dorothy (BM ’62, MM ’66), as the Monon- Dale Cockrell (BM gahela Trio. ’71, MM ’73, PhD ’78) Barbara Ann Garvey is a professor emeritus Jackson’s (BM ’50) desktop Jon Washburn (BME ’65) completed his of musicology at publishing company, spe- 45th season as artistic and executive direc- Vanderbilt University cializing in music by his- tor (also founder and conductor) of the and was appointed as a research associate toric women composers, Canadian professional choir: Vancouver at the University of the Free State (South is in its 35th year and Chamber Choir. In this time, the ensemble Africa). recently added its 100th title. Recent titles has commissioned and premiered more include piano music by Florence Price, than 300 new works and recorded 36 David Frank (BS ’77) was the sole orga- the first black woman to have a symphony CDs, with a special emphasis on con- nizer and principal clarinet for World performed by a major American orchestra temporary Canadian composers. He is Doctors Orchestra performances in June (Chicago Symphony, 1933). an active composer, arranger, and editor, 2015 at Benaroya Hall (Seattle), and the and publishes in two eponymous choral Chan Centre (Vancouver). He also per- series with G. Schirmer and Walton Music. 1960–1969 formed with the World Doctors Orchestra in Bangkok, Thailand in February 2016, as Gerald D. Buckler (MS ’63) has been 1970–1979 principal clarinet for Rimsky-Korsakov’s retired from Illinois Schools for 23 years Scheherazade. and lives in Pontiac, IL, where he con- Thompson Brandt (MS ’79) wrote a full- Eric F. Halfvarson (BMUS ’74, MM ’76) tinues to sing and play the piano as a length musical tribute The Influence of sang in Verdi’s Il Grande Inquisitor, in July, volunteer at OSF Saint James Hospital Don R. Marcouiller (Bookstand Publica- in San Lorenzo de el Escorial. and his church. tions). Marcouiller served as director of the marching band and assistant director Kimm Hollis (MM ’75) J Lynd Corley (BM ’59, MME ’61) was of bands at the University of Wisconsin retired after 41 years of named a Music Teachers National Associa- before accepting the position of director of service at Hanover College tion Foundation Fellow for distinguished bands at Drake University (IA), where he (IN) and is professor of service to the music teaching profession led his ensembles to national prominence music and artist-in-resi- and awarded membership in the MTNA from 1956 to1987. dence emeritus. He is co- Legacy Society for making a commit- author of the Indiana State School Music ment to the future of MTNA through a Thornton Cline (MS ‘77) published Association’s “Required Piano Solo List planned gift. his seventh book, The Amazing Magical Musical Plants, which was co-authored Manual.”. He has been named a “Distin- Jon R. Haddon (BME ’67) spent nearly with bestselling children’s writer Crystal guished Hoosier” by former Indiana gov- 40 years as an ordained rabbi and cantor, Bowman. His book The Amazing Incred- ernor Mitch Daniels. He was piano and has recently taken up the violin. He ible Shrinking Piano was nominated on the concerto soloist 14 times with the Hanover now plays in a children’s orchestra with first ballot for a Grammy Award in 2015 for College-Madison Area Orchestra. children the age of his grandchildren, but Best Children’s Album (spoken word) and James Ketch (MME ’76) has begun his loves the experience. his book The Amazing Incredible Shrinking 40th year as professor of music (trumpet) Bill Skidmore (BM ’63, MM ’66) retired Violin was an Amazon bestselling book in and director of jazz studies at the Uni- as professor emeritus from West Virginia 2015. He has had been nominated twice versity of North Carolina at Chapel Hill. University after 51 years of teaching and in a row for Songwriter of the Year by the He serves as associate director of Swing performing. He previously taught at the Tennessee Songwriters Association for his Central Jazz for the Savannah Music Festi- University of Maryland, and played four hit song “Love is The Reason,” recorded val and is on the faculty at the Aebersold seasons with the Baltimore Symphony by Engelbert Humperdinck and Gloria Summer Jazz Workshop. He has recorded Orchestra. During his career, he sat in Gaynor. He has had more than 800 of three CDs for Summit Records. with the National Symphony Orchestra his original songs published and over 150 John Kula (MM ’71) is the for its first concerts at the John F. Kennedy of them recorded by major and indepen- music minister and organist Center, performed chamber music and dent recording artists. His most recent at Divine Word Chapel in solo recitals in the eastern United States, song, “Catch a Snowflake,” recorded by Techny, IL. He conducts and continues to perform with his wife, Nashville artist Matt Newton, has been the Glenview Senior Chorus a worldwide holiday hit.

winter 2017 25 alumni news and the Highland Park Senior Chorus. He Mike Venn (BME ’77, PhD ’90) had two Phil Bohlman (PhD ’84) serves as the has published more than 40 piano chamber original jazz compositions performed: Ludwig Rosenberger Distinguished Service music arrangements online and performs icky, sticky MUD! was performed by the Professor at the University of Chicago. He with the Gold Coast Trio. Sheboygan South High School jazz band received a 2016 Grammy Award nomina- under the direction of Wade Heinen, and tion (Best Classical Compendium) for the Lisa J. Lehmberg (BM ’78, MME ’80) is Inna Mood was performed by the Gen- double album When Dreams Fall Apart co-author of the new book Music for Life: erations Jazz Band under the direction (Cedille Records), recorded by the New Music Participation and Quality of Life of of Jeff Schieble. Budapest Orpheum Society, for which he is Senior Citizens (Oxford University Press). the Artistic Director. He also received the She is associate professor/coordinator 2015 Bruno Nettl Prize from the Society of music education and is an innovative 1980–1989 for Ethnomusicology for the edited volume teaching fellow at the University of Mas- Daniel Adams (DMA ’85) The Cambridge History of World Music. sachusetts Amherst. wrote three compositions Jeffery L. Briggs (DMA ’84) had a world Dean Loy (BS ’70, MS ’71) plays trumpet that premiered in the begin- premiere of a new orchestral piece (Two in the orchestra of First Free Evangelical ning of 2016. Vertices for Poems of Hyam Plutzik) in Miami’s New Church of Rockford, in the Kishwaukee woodwind ensemble World Symphony Center in July 2016. Valley Concert Band during the school received its premiere in A reporter from the Palm Beach ArtsPa- year, in the Rockford Concert Band during January as the featured commissioned per wrote: “Briggs’s music is beautifully the summer, and teaches wind instrument work on the Effortless Clarinet/Saxophone crafted, colorfully orchestrated and highly lessons at a local music store. Ensemble Recital hosted by Richard Nun- emaker Studios at the University of St. atmospheric ... it sounds something like Bill Overton (BS ’77, MS La Thomas (TX). Refractive Variants for alto a 21st-century update of Debussy’s ’78) spent 20 years in New Mer flute and guitar received its premiere in ...” The Pathetique from Briggs’s (New) York playing with musicians March at the Guitar and its Friends Music Beethoven Quartets was played at the including Vince Giordano’s Festival at Otterbein University (OH). Martha’s Vineyard Chamber Music Festival Nighthawks, Doc Refractive Variants was performed by the by the award-winning Amernet Quartet Cheatham, Mickey Roker, in August 2016. EOS DUO and Adams gave a lecture Mel Torme, and Margaret Whiting while about the piece to the Otterbein composi- (BM, ’86) teaching at William Paterson University James Crowley tion students. Tim Justus performed the was commissioned by the (NJ), the Brooklyn Conservatory of Music, premiere of Coalescence Two for trumpet guitar/contrabass duo Dez the Aebersold Summer Jazz Clinics, as solo in the March 17 concert of the College Cordas to compose “Pil- well as in public schools. After moving Music Society South Central Chapter grimage,” which serves as to Libertyville, IL in 1998, he was band Conference held at Midwestern State the title track on their latest director at Oak Grove School for 17 years University (TX). Summit Records CD. The Museum of while performing with the Chicago Jazz Modern Art recently presented the New Orchestra, McCoy Tyner, Ahmad Jamal, Elizabeth C. Axford (BA ’82) published York premiere of his “Circle in the Round,” Kurt Elling, at Ravinia with Michael Fein- Music Apps for Musicians and Music performed by the New Juilliard Ensemble. stein, Bernadette Peters, Tony Bennett and Teachers (2015), her fifth music refer- His wind ensemble fanfare “Silver Sound- Lady Gaga, Seth MacFarlane, “Too Hot ence book with Rowman & Littlefield ings” was commissioned by and premiered to Handel,” and many others as well as Publishers since 1997. The book includes at the University of Wisconsin-Parkside, leading his own groups at Andy’s Jazz a companion website and daily blog. where he was recently promoted to pro- Club, 27 Live and the Jazz Showcase. His She continues to teach piano, voice, and fessor of music. first recording as a leader, The Sun Will music theory through her private studio Shine, was released last year. in Del Mar, CA, as well as produce music Victoria Covington (MM ’71, EdD ’81), teaching materials through her publishing is professor emerita of piano at Baldwin Michael Pettersen (BA ’74) is the co- company, Piano Press. Axford has placed Wallace University (OH). She published author of a newly published biography many recorded tracks in TV, film, and new her memoir, From Where I Sit. She resides Rhythm Is My Beat: Jazz Guitar Great media projects since 2007. Since 2011, in Greenville, SC, where she mentors Freddie Green and the Count Basie Sound. she has facilitated art and music classes piano students, and audits history and for the University of Phoenix online. religion classes.

26 sonorities Michael Denham (MM ’84) has served music for Plainfield UCC Church, where “The A. Dennis Sparger Music Director for 20 years as director of music ministries she directs the adult choir, children’s choir, and Conductor Chair.” In 2013 he was at the National Presbyterian Church in Praise Band, and Chancel Concert band. awarded the Lifetime Achievement in the Washington, DC, where he leads a vibrant Arts award from the University of Missouri- Laurence Marks (MME ’86) retired from program, including the acclaimed “Music St. Louis. Sparger was recognized as one the position of director of bands at the at National” concert series. Prior to his of the 50 Outstanding Graduate Alumni University of North Carolina at Charlotte. tenure in the nation’s capital, he served of Eastern Illinois University, where he on the music faculties of Lamar University Charles Norman Mason received his MA degree. This past January, (TX), the University of Texas at Arlington, (DMA ’82) was recently the Bach Society was presented with the and the University of North Texas. awarded a provost grant to Excellence in the Arts award by the Arts compose a new opera & Education Council of Greater St. Louis, Steve Griggs (BM ’83) won the Chamber involving issues of isolation. the first chorus to receive this award. Music America/ASCAP Adventurous Pro- Among the awards he has gramming Award in the Jazz Ensemble received are the 2006 Rome Prize, a Dale category for the second time. Griggs 1990–1999 Warland Commission Prize, an American premiered two new programs of music Composers Orchestra “Playing it Unsafe” Jeff Bialeschki (BS ’94, MME ’97) con- and stories in 2015 and continued per- prize and the FETA Cellotronics audience ducted public school choirs in Stream- forming two older programs as part of his favorite prize, and was an invited guest wood, IL for nine years and led extended portfolio Songs of Unsung Seattle. Listen composer for the Visiones Sonoras 2015 performance tours to San Antonio, Nash- to Seattle was commissioned through a festival in Mexico. His music has been ville, and Washington, DC. In 2005, he 4Culture Historic Site-Specific Grant. performed throughout the world including earned his second master’s degree in Sound in Stone was commissioned through the Foro Internacional de Música Nueva, counseling and human services and in a City of Seattle, Office of Arts & Culture Quirinale in Rome, the Aspen Summer 2015, earned his national board certifica- CityArtist grant. Panama Hotel Jazz was Music Festival, and Nuova Musica Con- tion for counseling. He works as a school commissioned through a 4Culture His- sonante. His music has been featured counselor at St. Charles East High School toric Site-Specific Grant and is presented several times on Performance Today on in St. Charles, IL and also co-directs the every second Saturday of the month at the NPR. Currently Mason is chair of the high school’s spring musical, accompa- Panama Hotel with support from a National theory/composition department and pro- nies student music performances, and Park Service Japanese Confinement Sites fessor of composition at the Frost School composes choral music for school and grant and Earshot Jazz. Griggs also wrote of Music, University of Miami. He is church choirs. an article for Seattle Weekly about the 50th married to composer Dorothy Hindman. anniversary of John Coltrane’s performance Michael Edward Edgerton and recording in Seattle. Mark Mosley (BS ’78, MS ’80) and Sarah (DMA ’94) is associate pro- Good Mosley (BS ’80) both found new fessor at the Guangxi Arts (PhD ’96) article “‘Nata Kelley Harness’s careers in information technology after University (China). His à maneggi & essercizii grandi’: Archduch- teaching music for several years in the compositions have received ess Maria Magdalena and Equestrian Chicago suburbs. They also celebrated recognition from the 2016 Entertainments in Florence, 1608–1625” the first anniversary of the Windy City 5th China-ASEAN Composition Competi- was published in La liberazione di Ruggiero Winds, a community concert band in tion; Kompositionspreis, Landeshauptstadt dall’isola d’Alcina: Räume und Inszenier- Chicago which they co-founded. The Stuttgart; Composition Contest, Nether- ungen in Francesca Caccinis Ballettoper band’s 2016–2017 concert season features lands Radio Choir; 5th Dutilleux Com- (Florenz, 1625) (Chronos, 2015). She is four orchestral transcriptions by the late position Competition; 31st Festival associate professor of musicology at the Director of Bands Emeritus Mark Hindsley. Synthese Bourges; MacDowell Club; University of Minnesota. Friends and Enemies of New Music; A. Dennis Sparger (DMA ’81) recently (BS ’82, MA ’84) has been Midwest Composers Symposium; National Janet E Jones completed his 30th year as conductor chosen as a quarterfinalist for a 2017 Music Federation of Music Clubs; and the Michi- of the Bach Society of Saint Louis. A Educator Grammy Award. She currently gan State Univ-Orchestral Composition million dollar endowment campaign was teaches music in Tinley Park District #140 Contest. His music is recorded on Modern undertaken to both honor his service and and accompanies solo/ensemble students Choral Masterpieces; Raven, Le Corbeau; provide for ongoing recognition, and the for contests. She serves as the director of Alles—Außer—Gewöhnlich; Electronic Board of Directors formally designated

winter 2017 27 alumni news

Voices; and has been documented in a Laurie Matheson (DMA the 2016 Magna Cum Laude Award from film titled Stimmig—10 Vokalexkursionen. ’98) was appointed director Women Band Directors International. This He was recognized in the Marquis Who’s of the University of Illinois is a national award recognizing small Who in the World, 2015 & 2016, and is Press. Since arriving at the sized, middle school concert bands of discussed in numerous publications. He Press in 1996 she has musical excellence. The Monticello Middle is published in scholarly journals and has served as editor-in-chief, School eighth-grade band was featured two books available: The 21st-Century acquisitions editor, and marketing copy as a showcase ensemble at the ILMEA Voice (Rowman & Littlefield) and Music writer, among other roles. She continues Convention in 2015 and Jazz Ensemble in Within the Continuum (Lambert). as the music acquisitions editor, with 2012. The MMS concert bands have also recent best book awards from the Society performed several times at the University Barry Hearn (MM ’97) was appointed for American Music (for The Creolization of Illinois SuperState Band Festival. Bands principal trombonist of the Dallas Sym- of American Culture: William Sidney Mount at Monticello Middle School have also phony, replacing the legendary John and the Roots of Blackface Minstrelsy by been honored with the “Best of Day” Kitzman, who held the position since Christopher Smith) and the Society for award from IESA at organizational contest 1972. Prior to this new appointment, Ethnomusicology (for Hawaiian Music in on numerous occasions. he served as a member of the trombone Motion: Mariners, Missionaries, and Min- section of the National Symphony Orches- Kyong Mee Choi’s (DMA ’06) Rippled strels by J. Revell Carr). Matheson recently tra in Washington, DC and as a member of Pond for piano, violin, and cello was appeared as a singer and pianist in a the United States Army Band and United performed at the CCC Club Nights at the session at the American Musicological States Army Field Band. Constellation in August. Her bass flute and Society with presenters Gayle Magee, electronic piece, Freed, was performed at Jeffrey Hepker (BA ’98) has been com- Christina Bashford, William Brooks (MM the National Flute Association Convention posing music for film and television proj- ’71, DMA ’76), and Justin Vickers (BMUS in San Diego in August. ects in Los Angeles for nearly 15 years. ’96, DMA ’11). The session, “Johnies, Noteworthy credits include bonus content Tommies, and Sammies: Transnational Chris Combest (DMA ’09) accepted a music for all Harry Potter films and Mad Music Identities,” concerned music as a visiting position at Middle Tennessee State Max: Fury Road, promotional spots for lens into wartime debates of 1915 from University, where he will teach applied Inception, Thor, and Iron Man, as well as Canadian, British, and American tuba and music theory, and perform with major contributions to production music perspectives. the faculty brass quintet. Prior to this libraries in L.A. and London. appointment, Combest was principal tuba (BS ’94) has been Lezlee A. Masson with the Louisville Orchestra and held Camilla Hoitenga (Sytsma) (DMA ’97) promoted to a higher position at the Pen- teaching positions at the University of and pianist/electronics player Taavi Kerik- tagon and has continued her career as a Texas at San Antonio, Indiana University mäe enjoyed a month-long residency in military musician in the Air Force. Southeast, and Southern Illinois University the studios of CMMAS in Morelia, Mexico, (MME ’98) Carbondale. He currently plays principal launching a project of original and new Dustin Seifert was named music educator tuba with the Wintergreen Music Festival music for flute and the modular Serge of the year by the New (VA), is a board member for the Leonard synthesizer which belonged to fellow Mexico Music Educators Falcone International Euphonium-Tuba UI alumnus Michael Manion (MM '83; Association. In 2014, he Competition, and also serves as the com- 1952–2012). Apart from the music of received the distinguished petitions chair for the International Tuba- Manion, the duo presents their own version music educator alumni award for out- Euphonium Association. of Karlheinz Stockhausen’s spatialized standing service to music education from POLES, originally written for the EXPO Jennifer Conrad-Proulx (MM ’05) was the University of Akron (OH). He is the in Osaka in 1970. With other repertoire, selected as one of 14 national recipients chair of the department of music and she played festivals in Sweden, Lithu- of the Joan Frey Boytim Awards for Inde- director of bands at Eastern New Mexico anian, Aspen, Ojai, Brazil, and Paris. Her pendent Teachers through the National University. ongoing collaboration with Kaija Saariaho Association of Teachers of Singing. This included a new recording, shared residen- fellowship was offered to one voice teacher cies at universities, and featured piccolo 2000–2009 from each of the 14 NATS regions to attend and bass flute parts in the opera Only the the 2016 national conference in Chicago. Amanda (Sylvester) Allen (BME ’02, Sound Remains, staged by Peter Sellars It is designed to recognize and support MME ’06) leads the Monticello Middle in Amsterdam (March 2016). independent teachers who do not hold School Band program. Allen was awarded 28 sonorities full or part-time teaching positions in a school harp program in the country. The Choir.” Most recently, he published a college or university. MPS Harp Program included 117 harp collection of service music settings with students across eight junior high schools the Calvin Institute of Sacred Music (GIA Teun Fetz (DMA ’03), was and six high schools last year, and will be Publ.) entitled Psalms of Praise. Addition- associate professor of music expanding to a ninth junior high during ally, Rossi published several new com- and director of percussion the 2016–2017 academic year. His stu- positions with Colla Voce, including two studies at Eastern Oregon dents received numerous local and state Shakespeare settings from a commission University from 2004– accolades and performed in various school entitled Spring and Winter and his setting 2015. In Fall 2015, he ensembles, district harp ensembles, and of Christina Rossetti’s text “Love Came began teaching at San Juan College (NM), Arizona Regional and All-State festivals. Down at Christmas,” scored for SATB where he serves as director of instrumental choir, harp, and string orchestra. Colla music and assistant professor of music. Dan Masterson (DMA Voce also named Rossi as composer of He teaches several classes and conducts ’00) is beginning his second the month in September 2013. His com- orchestra, band, and jazz bands. He plays year as president of the positions are featured throughout the percussion with the San Juan Symphony Kansas Music Teachers country in choral reading sessions includ- in Durango, CO and Farmington, NM; Association. He is co-chair ing most recently his setting of “Sigh No and plays drum set with many local groups. of the music department at More Ladies,” in July 2016 at the CA-ACDA Bethany College (KS). Jennifer Gartley (DMA ’06) helped create with Jonathan Talberg’s session entitled the inaugural Great Artists Series, which Owen Rockwell (BM ’00, “Poetry and Music, Finding Our Collec- took place in Spring 2016 at Washington MM ’01) graduated with a tive Voice.” University in St. Louis. It featured some DMA in percussion perfor- Eric Somers-Urrea (BM ’11) has been of the best artists of the present time in a mance and pedagogy in touring the US as drummer and percus- recital format. She led all aspects of this 2015 from the University sionist with the band Marina City. new venture, and the series hit subscription of Southern Mississippi. In ticket sale goals six months in advance Fall 2016 he became the first-ever director Kenneth Steinsultz (DMA of its debut. of music for the department of dance at ’04) led the University of Belhaven University (MS), where he serves Evansville (IN) wind ensem- Robin Giebelhausen (BME ’00) is an as specialty instructor of music and dance. ble in a performance for assistant professor of music education In that capacity, he performs music for the College Band Directors at the University of New Mexico. She modern dance classes, manages a staff National Association, North graduated from Michigan State University of eight dance-musicians, directs the BU Central conference in Feb. 2016. While with a PhD in music education in 2015. percussion ensemble, and teaches courses. on tour, the UE Wind Ensemble performed Her dissertation focused on the compos- He also teaches applied percussion at at the Ray and Joan Kroc Salvation Army ing experiences of three female graduate Jackson State University (MS) as an adjunct Center in Quincy, IL and United Township composition majors. Her dissertation instructor and performs as section percus- High School in East Moline, IL. Steinsultz included a podcast, an alternative format sionist with the Mississippi and Meridian was an assistant band director at the document meant to allow the voices of (MS) Symphony Orchestras. He received University of Illinois from 1993–2008. the participants and their music to be a 2015–2016 Mississippi Arts Commission Since 2008, he has served as director of more fully represented. Performing Artist Fellowship and his jazz bands at UE. Karin Hendricks (PhD trio, the Vibe Doctors, released their self- Jennifer Swanson (BM ’06) is a masters- ’09) is assistant professor titled, full-length album in September level music therapist. She is currently of music education at 2015 to enthusiastic reviews. developing a private practice, notably Boston University, and has Richard Robert Rossi beginning a songwriting group for LGBTQ been named co-director of (DMA ’08) won the 2015 adolescents and working as music thera- undergraduate studies for IL-ACDA Choral Composi- pist for a unique collaboration with the the BU school of music. tion Contest with his setting Philadelphia Orchestra and Temple Uni- Charles Lynch (MM ’02, DMA ’09) com- of O Sacrum Convivium, versity to provide group music therapy at pleted his first year as Harp Specialist which is now published a Philadelphia homeless shelter. She was for the Mesa (AZ) Public Schools Harp with Santa Barbara Music Publishing in also recently elected to the position of vice Program. He directs the largest public their “Distinctive Music for the Advanced president-elect of conference planning for

winter 2017 29 alumni news the Mid-Atlantic Region of the American ing the composer himself), and over 50 Benjamin Charles (MM ’11) was Music Therapy Association. private events. appointed visiting assistant professor of percussion at Tarleton State University (TX). Daniel Teadt (BM ’98, Joshua Billingsley (MM ’16) began per- MM ’00) was awarded a forming full time with the Ringling Bros. Xiaoke Cheng (MM ’11) earned a PhD Berkman Grant from Carn- Circus, traveling 48 weeks out of the year from Florida State University and serves egie Mellon University to nationwide alongside UI alumnus, Andre on the piano faculty at the University of record Benjamin Boyle’s Acevedo (DMA ’14). the Incarnate Word (TX). complete English songs. James Blachly (MM ’13) Melody Chua (BA ’16) was one of 10 UI He completed world premiere recordings has been named the 12th students to win a 2016 Fulbright Student of Daron Hagen’s Songs Of Experience music director of the John- Award. and Kile Smith’s In This Blue Room. stown Symphony Orchestra Cristin Colvin (MM ’14) Colleen Potter Thorburn (PA). He also serves as co-founded and serves as (BM ’06) performed with music director of the Expe- vice president of a new the Philadelphia Orchestra riential Orchestra in New York City, co- opera company in Denver, as substitute second harp. artistic director of The Dream Unfinished, the Denver Opera Collec- In 2016 as the Apple and music director of Geneva Light Opera. tive. Assisting President Orange Pair (featuring Emily Elizabeth Buckley (DMA ’10) lives in Marlena Moore, she started the company Boyer, horn), she had a residency at the the Seattle area, where she teaches private to offer local, summer performance oppor- Avaloch Farm Music Institute, was part voice lessons, leads fundraising events for tunities for Denver classical singers who of the inaugural Summerfest contemporary local charities, and is raising three children. are beyond the academic stage of their music festival at the Hartt School, and Her solo album, Must the Winter Come so careers and to provide further diversity performed at the International Horn Soon? is available on iTunes & Amazon. to the cultural scene of the exponentially Symposium. growing metro area. The DOC success- Christopher Cayari (MME Joshua Zink (MM ’08) has accepted fully completed their first summer festival ’09, PhD ’16) was appointed a faculty position at Middle Tennessee with four performances, two of which assistant professor of music State University beginning in Fall 2016. included the Colorado Chamber Orchestra education at Purdue He previously served on the faculty at in a run of Handel’s Acis and Galatea. In University. Doane University (NE). An experienced addition to creating the website, social performer on stage, in concert, and in media presence, and marketing for the recitals, his performance history includes Hannah Chan-Hartley company, Colvin appeared as Damon in operatic roles with Opera New Jersey, (PhD ’14) is managing the production of Acis. Dayton Opera, Nashville Opera, Opera editor and musicologist at Jeff Dare (BME ’06, MME ’16) started work Omaha, Pine Mountain Music Festival, the Toronto Symphony at Edison Middle School in Champaign and and Opera America’s “Exploring Ameri- Orchestra, in Toronto, is collaborating with UI faculty members can Voices.” He has sung with various Canada. For the TSO’s Adam Kruse and Bridget Sweet to provide orchestras in the US. 2015/16 concert season, she developed one-on-one connections between under- and created a series of eight “visual listen- graduate music education majors and ing guides” that were published in the 2010–2016 middle school musicians. TSO’s program books, of which she is Chanah Ambuter (MM ’15) contin- editor. The listening guides were featured Melissa Davis (DMA ’13) became chair of ues to develop her harp studio, and has in the UK-based design periodical, Cre- the music department at Tyndale University recently played for clients including the ative Review, for their innovative and College and Seminary in Toronto in 2015. Detroit Institute of Art’s 2015 Gala, as the visually engaging design. The guides have That year she was also a featured guest solo harpist for the Metropolitan Detroit since garnered attention and demand artist with the Thunder Bay Symphony Chorale, the Grosse Ile Boar’s Head Festival worldwide from musicians, music educa- Orchestra (Ontario) at their holiday pops cantata (a medieval musical performed tors, and orchestras, to graphic designers concert. In Feb. 2016 she was a featured once every four years with a cast of over and innovation and design agencies. A guest artist with the Canadian Sinfonietta 600), and for multiple cantatas including second series of guides will be published in their “Songs of North America” concert. The Weaver by Ken Medema (featur- for the TSO’s 16/17 concert season.

30 sonorities Ellen Denham (DMA ’16) accepted a Nathan Giem (MM, ’16) was appointed recently completed a tour of Dutch univer- position as lecturer of music in voice concertmaster of the Hungarian Radio sities, exposing students to recent research at Georgia College and State University Orchestra, Budapest. about how music affects cognition. beginning Fall 2016. She also performed in The Ginger & Spice harp duo Molly Julia Kay Jamieson (MM The House of Blue Lights, a multi-media, O’Roark (MM ’15) and Ann McLaughlin ’02) gave a solo concert in original theatre work devised by No Exit (MM ’14, DMA ’16) premiered a 90-minute San Francisco in April fea- Performance in Indianapolis. self-titled debut show in October 2015. turing her own arrange- Brandon Eldredge (MM ’14) holds a The duo guest lectured with the Physics ments and compositions. conducting internship at the Bonn Opera Department in February 2016. Most She also gave a “Fearless House (Germany). recently the duo performed at the American Improv” workshop for harpists in the area. Harp Society, Inc. National Conference This summer, her work “Kitties!” for harp Alexis Evers (BM ’14) recently received in Atlanta, GA in July 2016. ensemble premiered at the Illinois Summer her MM degree in flute performance from Harp Class. She also gave an improvisa- the University of Oregon. She will be per- Joyce Griggs (DMA ’12) was appointed tion workshop for the group. She was a forming in her first season as third flute/ interim chief academic officer and dean co-conductor for the Youth Harp Ensemble piccolo with the Rogue Valley Symphony at the Cleveland Institute of Music in at the American Harp Society’s national Orchestra (OR) this fall, and will con- June 2016. Griggs, formerly the associate conference in Atlanta, and the concert tinue to perform as second flute/piccolo director of the UI School of Music, began included two of her compositions. She with the Eugene Concert Orchestra (OR). at CIM in August 2015 as the associ- was a featured performer and presenter This past summer, she was a Performer’s ate dean. In addition, Naxos released at the Canadian International Summer Showcase Artist for the Oregon Bach Fes- Griggs’s recordings of Percy Grainger’s Harp Institute. She gave workshops on tival Composers Symposium, as well as a Music for Saxophones in December 2015. “Storytelling With Your Harp” and “Cre- performer with the University of Oregon The recording includes solo and chamber ative Harping: Playing From a Lead Sheet.” Flute Studio at the National Flute Associa- ensemble works that Grainger orches- CISHI’s faculty concert included many tion Convention in an event featuring the trated for saxophone(s). Griggs edited of her compositions and arrangements. pedagogical works of French composer the manuscripts and the music is now She serves on the Board of Directors for Sophie Dufeutrelle. available for publication through RBC the American Harp Society and is chair Publications Inc. Gonzalo Farias (MM ’16) was appointed of the Music Education Auditions Com- as the 2016–17 Baltimore Symphony con- J. Michael Holmes (MM mittee. She is principal harpist of the ducting fellow. He also served as a 2016 ’06, DMA ’12) has been Cleveland Chamber Symphony. conducting fellow at the Cabrillo Music appointed as the head of Rebecca Johnson (DMA Festival and was an invited participant at woodwinds at Roosevelt ’10) is in her tenth year the Jarvi Academy in Estonia. University (IL), where he is teaching flute at Eastern also artist-teacher of saxo- Michael John Foster (DMA ’13) performs Illinois University. She is phone. He was also appointed director regularly and founded a consulting firm currently serving as the of marketing for the North American called The EA Group, which is dedicated secretary of the National Saxophone Alliance. During the 2015–16 to helping artists generate an audience Flute Association and was an invited season, he performed as principal saxo- for themselves and discover the entrepre- performer at its 2016 convention in San phonist multiple times with both the neurial skills required in today’s market. Diego. Chicago Symphony Orchestra and Hong Karen Gallant (BM ’13) Kong Philharmonic Orchestra. Aaron Kaplan (BM, BME completed her MM degree ’11, MM ’13) joined the Elizabeth Jaxon (BM ’16) was appointed at the University of Texas conducting faculty at the competition director of the Dutch Harp at Austin and won the 2014 Music Institute of Chicago, Festival. She joined the Harp Column UT Austin Concerto Com- where he conducts the production team, which produces a bi- petition. She is currently youth orchestra. He is assis- monthly magazine for harpists in addition director of operations at Austin Classical tant director of the Chicago Suzuki Insti- to maintaining an active news site and Guitar, an arts non-profit dedicated to tute. In Summer 2016, he participated in a music PDF shop. Performing as part of enriching the lives of others through music. the International Conducting Workshop the show “The New Mozart Effect,” she and Festival in Sofia, Bulgaria and con-

winter 2017 31 alumni news ducted the New Symphony Orchestra of artist-in-residence with the Boston City Daniel Wendelken (MM ’14) played on Bulgaria. He has been music director and Singers, and as curator of the Sumner the National Broadway Tour of Elf: The conductor for nine musical theater pro- Knight Chapel Series for the Keene Music Musical in Winter 2014 and the National ductions this season ranging from com- Festival. Broadway Tour of A Christmas Story in munity to professional theatres, and he 2015. He is the band director at Léman Nick Loafman (BME ’06, MME ’15) was finished his third year as orchestra director Manhattan Preparatory School (NY) where appointed band director at Wilton High at Glenbrook North and Glenbrook South he freelances with his band Disband, School in Wilton, CT. High Schools (IL). and continues to do recordings for video Evangelia Pagones (BME games with composers in L.A. Rachel Klug (BME ’16) received the Lex ’16) teaches 4th–8th grade and Sheila Young Music Education Award (MM ’16) placed second orchestra students at Anson Woodin upon graduation in 2016. This award is in the national music theater competition Churchville Middle School given to an outstanding undergraduate at the National Association for Teachers in Elmhurst Community music education major chosen by faculty of Singing (NATS) national conference Unit District 205. recommendation to the music educa- in Chicago. tion division, based on scholarship and Tomeka Reid (DMA ’16), a jazz cellist, Ka-Wai Yu (DMA ’11) was appointed potential teaching ability. received high praise from The New York assistant professor of music at Dixie State Times as “one of the great energies of the Chee-Kang Koh (MME ’03, EdD ’11) is University (UT), where he now teaches past year in jazz.” She appeared on two in his second year as head of Music and cello and directs the chamber music recordings in 2015. Performing Arts at the Singapore Interna- program. He is also the principal cellist tional School (Hong Kong). He served as Juri Seo (DMA ’13) is one for the Southwest Symphony Orchestra senior specialist (music) with the Singapore of the nine composers to in St. George, UT. He previously taught Education Ministry and as adjunct faculty receive a Guggenheim Fel- at Eastern Illinois University and Indiana at SIM University prior to his current lowship for the year 2016– Wesleyan University. His recent perfor- appointment. He was appointed as con- 2017. The fellowship will mances include solo appearances with ductor of the Hong Kong Wind Symphony support one year dedicated Chamber Orchestra Kremlin, Jacksonville in 2015 and was invited to guest conduct exclusively to composing, freeing her Symphony Society (IL), and St. Mary’s the Hong Kong Youth Symphonic Band from other duties. She will spend the year University Chamber Orchestra (MN). for its annual concert this year. He serves composing a piano concerto for the Princ- This past summer, he was conductor of as guest reviewer for the International eton University Orchestra and a set of the Junior Strings at the Hong Kong Youth Journal of Music Education and was a piano etudes for pianist Steven Beck. She Music Camp. nominee for the 2014 International Society is assistant professor of composition at Aaron Ziegel (PhD ’11) for Music Education Board Election. In Princeton University. serves as an assistant pro- recognition of his outstanding contribu- Bethany Stiles (DMA ’14) accepted a fessor of music history at tion to the Singapore civil service, he was tenure-track position as assistant profes- Towson University (MD) conferred the National Day Award–the sor of voice at Campbellsville University and has published a chapter Commendation Medal in 2016. (KY). She will be teaching applied voice on the compositional idiom Matthew Leese (DMA ’12) was appointed and will direct the concert chorus. of American operas from the 1910s in director of choirs at the Monadnock Elizabeth N. Sullivan (DMA ’14) was the book In Search of the Great American Waldorf High School (NH) in Fall 2016. appointed assistant professor of oboe at the Opera (Waxmann Verlag, 2016). His most He continues to perform as a core member University of North Carolina at Charlotte. recent article, on composer Arthur Nevin’s of the medieval quartet, LIBER, and Kansas service as an army camp song leader City professional choir, SPIRE. He is artistic Joseph Svendsen (MME during World War I, appeared in the director of the Monadnock Chorus, music ’12) completed his DMA journal American Music. This research director of the Chamber Singers of Keene, in choral conducting at has also been presented at the College conductor-in-residence of Voices of the Texas Tech University and Music Society’s 2016 National Confer- Bay in St. Andrews (New Brunswick), was appointed assistant ence in Santa Fe and at the Spring 2016 professor of music and meeting of the American Musicological assistant director of choral studies at the Society’s Capital Chapter in Washington, University of Nevada, Las Vegas. DC.

32 sonorities student news 2016 Competition Winners Mana Azimi, an undergraduate student in harp, participated in the American Harp Society Conference in Atlanta, perform- Eighteenth Annual 21st Century Piano ing with the honors ensemble in the opening concert and in Commission Award a master class with harpist Naoko Yoshino. Dong Ryul Lee (piano) Ryan Beauchamp, a graduate student in viola, joined the Han Ah Choi (piano) faculty at Millikin Universtiy in September 2015, where he is Hanqian Zhu (composer) an adjunct instructor for the school of music preparatory depart- Theodore Presser Undergraduate Music Award ment. In August 2016, he accepted the position of assistant Nicholas Yamamoto coordinator for chamber music at the Illinois Music Academy. He continues to maintain an active teaching schedule between Theodore Presser Graduate Music Award the Champaign-Urbana and Decatur areas. William Pearson Jingyu Cai, a graduate student in harp, performed Scottish Clara Rolland Piano Award Fantasy with the Eastman Philharmonia. Simon Tiffin Honorable Mention: John Bitoy and Rebecca Panitch Sydney Campen, an undergraduate student in harp, played with groups including Sinfonia da Krannert Center Debut Artist Award Camera, the Danville Symphony Orchestra, the Jae Eun Jenny Shin (flute) Kankakee Valley Symphony Orchestra, and the Runner-up: Jiyeon Choi (clarinet) Peoria Symphony Orchestra. She was a finalist University of Illinois Symphony Orchestra for the Anne Adams Awards and became the Competition advertising manager for the World Harp Congress Review. Alex Malaimare (violin) David Catalano, an undergraduate student in voice, took first Yujin Na (piano) place at the National Association for Teachers of Singing national Rebecca Wilson (soprano) student auditions in the Upper College/Independent Studio First Alternate: Chia-Ying Chan (piano) Men category at the NATS national conference in Chicago. Second Alternate: Han Cheol Kang (piano) Moye Chen, a graduate student in piano, placed third in Paul Rolland Violin Award the Sydney International Piano Competition, won a $20,000 Graduate Division: Mary Catherine Cox (Australian) award, and earned major European concert dates. Undergraduate Division: Eliana Park Honorable Mention: Rebin Ali Mickey Chien, a graduate student in piano, won first prize at the 2016 Kankakee concerto competition, and he was also invited to perform Rachmaninov’s Piano Concerto No. 2 with the Tania Arazi Coambs, a graduate student in Kankakee Symphony Orchestra. He won first voice, was a four-time winner of the American prize in the 2016 Bradshaw and Buono Interna- Prize Competition; winner of the Chicago Music tional Piano Competition and was invited to perform in Carnegie Theater Award, where she performed with the Hall. In addition, he completed a Taiwnaese composer project orchestra at the Chicago Symphony Orchestra recital with Pei-I Wang at Northern Illinois University, Millikin Hall; and winner of the Friedrich & Virginia University, the University of Illinois at Springfield, and Illinois Schorr Memorial Award for Art Song. Her production of Aaron Central College. He was hired as an accompanist at Bradley Copland’s The Tender Land at Indiana University of Pennsyl- University. vania won second place for opera production and third for Filippo Ciabatti, a graduate student in conducting, was opera stage direction. appointed to the faculty of Dartmouth College, where he Peng Du, a graduate student in piano, attended the Piano will serve as music director and conductor of the Dartmouth Texas International Academy and Festival, where she partici- Symphony Orchestra. pated in master classes led by Tamás Ungár, Christopher Elton, and Davide Cabassi. In July she participated in Montecito International Music Festival as a young artist and participated in master classes led by Daniel Shapiro, Thomas Lymenstull,

winter 2017 33 student news

amd Régulo Martínez-Antón. She gave performances at Hole from the Russian, East European, and Eurasian Center at UI Memorial Auditorium and Matheson Chapel. and the Title VIII Fellowship from the Arizona State University Critical Language Institute to study Russian during Summer Casey Dumford, an undergraduate student in flute, attended 2016 at the Derzhavin Institute in St. Petersburg, Russia. the Madeline Island Music Camp, Aria International Summer Camp, and was a summer intern at the National Flute Association. Elisa Moles, a graduate student in flute, received a 2016 Kate Neal Kinley Fellowship. In 2016, she received numerous awards, Mary Duplantier, an undergraduate student in harp was prin- including the San Diego Flute Guild Young Artist Competition cipal harp in the American Youth Philharmonic Orchestra which (first place), MidAtlantic Flute Society Young Artist Competition performed at the Italian Embassy last spring. She also played in (second place), MidSouth Flute Society Young Artist Competi- the AYPO chamber ensemble program and performed on the tion (third place), and National Flute Association Young Artist millennium stage at the Kennedy Center for the Performing Arts. Competition (quarterfinalist). Joshua Haggerty, a graduate student in percussion, was Molly O’Roark, a graduate student in harp, is president of appointed director of percussion studies at A&M Consolidated the American Harp Society, Inc. Roslyn Rensch Central Illinois High School Band in College Station, TX. Chapter and a founding member and president of MuGS (the Byul Nim La, a graduate student in piano, was appointed SoM graduate student association). She was a finalist in the collaborative pianist at Auburn University. Grandjany Memorial Competition. Ralph Lewis, a graduate student in composition, Chukyung Park, a graduate student in violin, premiered the first episode of Penelope’s Endless was selected to attend the 2016 Lucerne Festival Book of Magic, a radio serial opera, while an Academy held as part of the annual Lucerne artist in residence at WGXC 90.7-FM’s Wave Festival in Switzerland. Founded by Pierre Boulez, Farm in New York. His residency also featured the orchestra is currently under artistic director- an on-air electroacoustic music workshop program ship by composer Wolfgang Rihm and conductor for children called Radio Monster Party. With UI’s performer/ Matthias Pintscher. During the three weeks of residency, he coaches Standard Rep Bassoon Quartet and harpist Molly performed in orchestras, chamber concerts, and other events, O’Roark, social pressures on the moon for mixed wind quintet including a performance at the Laeiszhalle in Hamburg, Germany. premiered during the 2016 Fresh Inc Festival. Drive to the Edge, Dennis Reyes, a graduate student in composi- a series commissioned and premiered by WGXC during Spring tion, was the grand prize winner of the prestigious 2016, was presented and discussed at Yale’s Soundscapes Sound Sond’Ar-te Electric Ensemble Composition Com- Art Symposium and selected for the 2016 Radiophrenia Glasgow petition and the recipient of the highly selective Festival. President’s Research Diversity Travel Award. He Victoria Lupinek, a graduate student in flute, is one of the featured composers at the annual attended the Round Top Festival Institute in Texas Canadian University Music Society Conference and at the and the Madeline Island Music Camp for Winds National Graduate Student Music Conference in Ohio. He was during Summer 2016. invited to do a paper presentation at the University of Okla- homa’s National Student Electronic Music Event Festival and Annie Lyle Mason, a graduate student in bassoon, was interim instructor of bassoon at Eastern Illinois Conference. His compositions had performances at the United University during Spring 2016. Kingdom’s Chapter Arts Centre in Cardiff and at the Electronic Music Midwest Music Festival and Conference in Missouri. Thornton Miller, a graduate student in musicology, received the Cultures of Law in Global Contexts (CLGC) Fellowship—which Akira Robles, a graduate student in percussion, was appointed was sponsored by the University of Illinois Graduate College’s director of percussion at Ryan High School in Denton, TX. INTERSECT Initiative—for his research on Soviet intellectual Matthew Shepherd, a graduate student in conducting, serves property law. He presented his paper “‘In Lieu of Payment:’ as conductor of the University of Chicago Chamber Orchestra; Alternative Forms of Compensation for the Soviet Publication music director and conductor of the Sangamon Valley Youth of Benjamin Britten’s Music” at the CLGC 2016 Symposium. Symphony and Civic Orchestra; and music director of the Hyde He received the Foreign Language and Area Studies Fellowship Park Youth Symphony.

34 sonorities in memoriam

Michael Siletti, a graduate student in musicology, participated Robert Eugene Power in a panel discussion about music and prison at Roosevelt University in Chicago. Robert Eugene Power (MM ’12) died September 19, 2015 in Danielle Stevens, a graduate student in flute, an automobile accident in Wisconsin. won second place in the 2016 National Flute Gene was the older brother I never had. We first met at a Association Orchestral Audition Masterclass conducting workshop in 2010 before he came to Illinois, and Competition. She commissioned and performed we became fast friends. His first year here, he was my student the premiere of a new work for flute and voice teaching supervisor and the following year we were colleagues at the 2016 National Flute Association Conven- in Prof. Don Schleicher’s conducting studio, while he continued tion. The work, The Conference of Birds, was written by Evan to be the first student in the doctorate orchestral conducting Williams, from the Cincinnati Conservatory of Music. She was program. Gene had a dry and witty sense of humor that could named an associate member of the Civic Orchestra of Chicago cut through any situation. He was a fantastic musician, both for the 2016–2017 season as a woodwind player and a conduc- tor—his interpretation and performance Natalie Teodori, a graduate student in harp, served as newslet- of Haydn’s Symphony 104 for his master’s ter editor from 2015–16 for the Illinois chapter of the American degree recital is still one of my musical Harp Society, Inc. She enjoyed many performances with the highlights. Illinois Modern Ensemble, premiering several new composi- Gene loved conducting because of the tions. Her featured concert with flute duo partner Pauline Jung potential that an effective conductor can at the Illinois Summer Harp Class was favorably reviewed by have on a community and an orchestra. The News-Gazette. She was the 2015–2016 recipient of the My most treasured memories of him are Roslyn Rensch Fellowship in Harp. studying scores together, talking about Priscilla Tse, a graduate student in musicology, was awarded music, and thinking about all of the positive changes we wanted a Graduate College Dissertation Completion Fellowship, the to do. Gene had a huge influence on me personally; I sought Jill McAllister Award, and the 2015 Ruby Chao Yeh Student his opinion and council before every major decision in my Travel Award (Association for Chinese Music Research). She is professional life. Our last conversation was just a week or so currently working on her dissertation on women’s cross-dressing before his passing. I called him on a whim just to see if he liked performance in Cantonese opera in contemporary Hong Kong. his new job, returning to his hometown of Eau Claire, WI to be She presented her paper “Fanning the Flames of Stardom: Gender a high school band director. I knew that he had struggled with Dynamics of Fan-Star Relationships in Cantonese Opera” at what he wanted to do for the last year or so and I was so happy the Society for Ethnomusicology annual meeting. to hear that he felt he was doing his life’s work. The advice he always gave me was to do what made me the happiest—and Noël Wan, a graduate student in harp, gave the world premiere I’m glad that he had one more chance to do what he loved. of Thyme by Latvian composer Krists Auznieks in New Haven, CT in March 2016. She had featured performances in With —Aaron Kaplan (BM, BME ’11; MM ’13) Pluck, the Yale in New York concert series, at Carnegie Hall in April 2016. She is an Illinois Distinguished Fellow. Emily Wuchner, a graduate student in musicology, presented her paper “The Wiener Tonkunstler-Societat, Emperor Joseph Reid Alexander II, and the Moses Oratorios” at the Mozart Society of America (MSA) Conference in Fall 2016. She was appointed as student Reid Alexander, noted piano pedagogue, pianist, and esteemed representative to the MSA board and she serves as review editor advisor, passed away unexpectedly on November 18, 2015. He for the Society’s newsletter. In Fall 2016, she was hired by the was an active faculty member and chair of the piano pedagogy UI Graduate College as thesis coordinator. division at the University of Illinois. Born in New Orleans in 1949, he spent his youth in Kentucky Mitsuko Yofune, a graduate student in piano, began working and Florida. Reid did not begin studying piano until the age as a piano instructor at the Nancy Cree Keyboard Learning of 11; however, he was quickly taken by the instrument that Center (IA). became the musical passion of his life. He made his orchestral debut with the Fort Lauderdale (FL) Symphony Orchestra at the age of 16 under the baton of

winter 2017 35 in memoriam

Emerson Buckley. Reid studied piano with He was author and co-author of numer- Gerald Snyder, a student of Arthur Loesser, ous publications in the field of piano and Stanley Fletcher, a well-known Artur pedagogy. His research in the area of Schnabel student. Other prominent artists scholarship offerings in community music such as Mieczyslaw Horszowski, Ruth schools was a significant contribution to Slenczynska, and Kenneth Drake served the field of community arts education. as coaches. His widely used publications include Following his graduation from high the bibliographic resource on solo piano school in Pompano Beach, FL, Reid literature, Piano Repertoire Guide: Inter- attended UIUC. Little did he know when mediate and Advanced Literature (Stipes, he first came to the campus what an 2011) which is presently being translated Reid Alexander important part of his life the institution into Korean for future release by Sekwang would become. He completed a Bachelor of Music (1971) Music Publishing in Seoul. Other landmark publications include and Masters of Music (1973) in piano performance. During the 10th edition of Keyboard Musicianship (Stipes) and the highly his graduate studies, he met fellow graduate student Jo Ellen regarded 27-volume Celebrate Composer Series (Frederick Harris). DeVilbiss, who became his future wife and life-long musical Dr. Alexander possessed a sense of adventure, curiosity partner. He served on the faculty at Eastern Illinois University and willingness to think outside the box. Interested in explor- (1973–74). He and his wife, Jo Ellen, accepted positions at ing new paths, early in his career at UIUC he co-developed Lawrence University (WI), where he served on the piano faculty software programs for a new product capable of connecting from 1974–79. computers to acoustic pianos. In 2002, along with his wife, The fall of 1979 marked his return to UIUC as assistant profes- he performed a piano-duo recital/master class at Indiana Uni- sor in the piano pedagogy division. Reid was a strong supporter versity at Purdue and Indianapolis (IUPUI) on the Internet-2 in of the University, serving the campus beyond his faculty teaching an experimental use of real-time, streamed video that marked responsibilities as a member of numerous departmental and the first time anyone engaged this type of performance in an college committees and the University Senate. This interest in online audience at three remote sites. academic organization led him to pursue a degree in educa- Dr. Alexander was passionate about sharing his music and tional leadership at Peabody College of Vanderbilt University, teaching with people of all ages. During the early years on the receiving an EDD in 1997. UI faculty, the undergraduate pedagogy program degree was Beyond the realm of his pianistic career, Dr. Alexander was established. He was an active member of organizations such an avid fan of the Fighting Illini. As an undergraduate he was as MTNA and the National Conference on Piano Pedagogy, member of the Block I and later became a season ticket holder whose mission is to promote and support excellence in teaching for 36 years, supporting the team both on and off campus. He piano. UIUC honored Professor Alexander as a faculty recipient also served a term on the advisory board of the Big Ten Network. of a campus award for teaching excellence, recognizing his An active performer throughout his life, he was internationally teaching versatility with pianists of all ages. In 1990, he was known as an accomplished pianist in both solo and collaborative recognized as a Friend of the Arts by Sigma Alpha Iota. arenas. A finalist in the first Gina Bachauer International Piano During his 36 years at UIUC, Dr. Alexander was an inspiring Competition, his credits included recitals, presentations, and teacher and mentor to hundreds of students. Professor Alexander master classes in over 40 states and Canadian provinces and also served as advisor to dozens of doctoral candidates. Reid in several countries abroad. He and Jo Ellen also performed was known for his quiet, gentle nature, his great generosity, duo-piano programs throughout the country. In March 2015, and deep love of his family. they were honored to perform at the esteemed Orange County —Jo Ellen DeVilbiss, Erik and Marc Alexander Performing Arts Center with Reid’s brother, John Alexander, choral conductor of the Pacific Chorale. He greatly enjoyed his travels to Korea and Taiwan, where he presented guest lectures, recitals, and master classes, and Debra L. (Hanie) Marsch served as keynote speaker and featured artist for the prestigious Korean Association of Piano Pedagogy. In January 2014, Dr. Debra L. (Hanie) Marsch, unexpectedly passed away Novem- Alexander served as a jury member for the Taiwan-Asia Inter- ber 15, 2015 at Greenville (IL) Regional Hospital following national Piano Competition. Most recently, in April 2015, he complications from a recent surgery. performed at the renowned IBK Chamber Hall at Seoul Arts Marsch was born in Fayetteville, NC and raised in Georgia Center in South Korea. and Missouri. In 1984, she graduated from Evangel College 36 sonorities (MO) with a bachelor’s degree in music education. It was at largest and best music schools), and the National Association Evangel that she met her future husband, Danny Jay Marsch, of Music Executives at State Universities (NAMESU), to which whom she married in 1983. one state university music school in each state belonged, and She began her master’s studies at the Kansas City Conservatory he thought that these organizations were crucial to the devel- of Music, but earned a MM in voice performance and another opment of music at universities. At UIUC, Bays participated in in opera from Temple University in 1995. From 1994–1996, she the musical life of the School of Music, even if the music was was an adjunct professor at Valley Forge Christian College (PA). not to his specific taste. Upon graduation from Temple University, she toured Germany Upon being appointed Dean of the College of Fine and and Austria performing gospel, classical music, and opera. In Applied Arts, Robert Graves remembers Bays’s support and 1996, she became an associate professor of Music at Greenville advice: “Bob Bays was a generous mentor to me when I started College (IL). In 2015, she was awarded a DMA from UIUC, out in academia. His help was sorely needed because, in a where she was a student of mine. clear lapse of administrative judgment, the dean had asked Debra’s life focused on her much-loved family, her devotion me to be head of the theater department while I was still an to music, and sharing her vast knowledge and vocal skills with assistant professor. As the senior executive officer in the college, her students. She is survived by her husband and twins Danielle Bob kindly started having lunch with me where, without ever Jordan Marsch and Derek Nathaniel Marsch. telling me what to do, he would gently hint at more productive She was a member of the National Association of Teachers courses of action than I had planned. I benefited greatly from of Singing. She and her family were members of the Greenville his wisdom, but what I recall most fondly were his interesting Free Methodist Church and for many years graciously shared tales of great musicians he had known and the wickedly funny her voice as a testimony of God’s grace in churches around stories he could tell of less talented ones.” the country. From 1979 to 1982 Bays served as president of the NASM, the A life extinguished far too soon, Debra will be greatly missed national accrediting agency for academic music programs. He by all who had the fortune to share time with her. Heaven’s was active throughout his career as a consultant to colleges choir just gained another soprano. and universities, and to the departments of education of various states. He also served as a member of the Academic Music —Sylvia Stone, professor of voice Panel of the International Communication Agency of the US State Department and as a consultant to the Bureau of Higher Education of the US Office of Education. He was active for Robert E. Bays many years as a conductor and hornist, serving as principal hornist with the Wichita and Nashville Symphony Orchestras. Robert E. Bays, former director of the School He is predeceased by his wife, Cleis Armour and is survived of Music, died on October 6, 2015. by his daughters Deborah Lynn Bays and Rebecca Ann Bays, Bays earned degrees from Emporia State son-in-law Douglas Gies, and granddaughter Emma Claire Gies. University (KS); Teachers College, Columbia —Emily Wuchner, editor University; and George Peabody College, which is now part of Vanderbilt Univer- sity. After serving in the US Navy during WWII, he spent his career as a professional musician and Frances Crawford university professor and administrator, first at George Peabody College, then at the University of Texas at Austin, and finally Frances Crawford, professor emeritus of voice, passed away at UIUC, where he served as director of the School of Music on February 19, 2016. from 1974 until his retirement in 1986. Born in Mobile, AL, she earned degrees in music educa- Bruno Nettl, professor emeritus of musicology, knew Bays tion and vocal performance from the University of Montevallo prior to their paths crossing at UIUC and recalls Bays as being a (AL) and Florida State University. She frequently performed conscientious administrator who kept regular office hours and in operas, oratorios, and recitals throughout her career. After was accessible to faculty on short notice. Bays took his role as teaching at Berea College (KY) she accepted a position at the an administrator very seriously, and was especially interested in University of Illinois in 1967, which she held for 33 years the organization of music schools. He participated in a number before retiring in 2000. of organizations, including the National Association of Schools Crawford’s colleagues vividly recall her passion for music. of Music (NASM), the Seven Springs group (a handful of the John Wustman, professor emeritus of accompanying, writes:

winter 2017 37 in memoriam

“The School of Music faculty and the University have lost a graphs of memorable campus musical celebrities including Igor great, vital, and inspirational spirit in the passing of Frances and Soulima Stravinsky and George Enescu, and a collection Crawford. Frances’s love of music, singing, teaching, and the of rare opera autographs. A memorial reception took place in School of Music were of the greatest and she gave freely from March at the California Center for the Arts in Escondido, and her spirit to inspire her many students and the spirit of the he was interred in Fond du Lac, WI on June 25. school. To have heard her sing the arias from Handel’s glori- —Edward Rath, associate director emeritus ous Messiah was an unalloyed joy to all who heard her deliver those emotions of joy, comfort and conviction. Unselfishly, she inspired countless students with the love to sing to the hearts and souls of other people. She sang always from her Marilyn Adelman heart and I believe she was able to give that ability to many of her students.” Marilyn Adelman was the receptionist for the School of Music Professor Emeritus of Voice Ronald Hedlund recalls working for more than 20 years, and receive us she did. For students, with Crawford while they were on faculty at UIUC: “Frances faculty, and guests alike, she was likely the first person you was a good, supportive colleague and a fine teacher. She truly would meet when you entered the Music Building—and also cared about each one of her students. She had a beautiful voice the last person you would forget. Marilyn was good-natured, and I enjoyed performing with her on a number of occasions.” funny, generous, quirky, and genuine. As a receptionist, Marilyn told people where to go, in every sense. She brought her —Emily Wuchner, editor unique brand of humor, opinion, and lots of love to work with her every day. She found her place into my extended family, as she did for so many others over the years. My three sons, Robert Zarbock now all grown, remember fondly their visits to school, where seeing Marilyn was the key ingredient, and source of candy, of Robert Zarbock died February 21, course. Even long after her retirement, she and her wonderful 2016. Born in Maryland in 1931, husband Frank remained regulars at our faculty parties. Marilyn Bob grew up in Chicago and was family, and we miss her dearly. frequently visited the UI campus —Erik Lund, professor of composition-theory as a violinist in his high school orchestra. He graduated from the School of Music in 1953. As a student, he was in charge of Robert Commanday recording many recitals in Smith Rath Edward by Provided Memorial Hall, a talent that served Robert Zarbock and opera Robert Commanday died September 3, 2015, in Oakland, singer, Mary Costa him well in his professional life CA. He was born in Yonkers, NY in 1922 and studied music at in New York City. He also actively participated on the staff of Harvard and the Juilliard School. He began his teaching career ISYM. He particularly loved opera, but he was at home discuss- at Ithaca College (1947–48) and UIUC, where he served as ing repertoire for almost any performer, and he knew or was assistant professor of music in 1948–50. He earned his mas- well acquainted with some of the greatest names in classical ter’s degree in musicology at UC Berkeley, and continued to music. When he retired to California, he continued to be active perform and lead ensembles, serving as the chorus director for in opera circles, lecturing frequently for the San Diego Opera the Oakland Symphony from 1961–1965. and other southern California groups. I first met him at the He was best known as a fiery music and dance critic for the School of Music Reunion in 1994, and we soon became good San Francisco Chronicle—a post he held for nearly 30 years friends. I always tried to visit him when I was in California, before becoming the founding editor of the website journal, and hosted him in Champaign many times. He was a generous San Francisco Classical Voice. benefactor of UI, especially the School of Music and the Music He is survived by his wife Mary, son David (who conducts and Performing Arts Library. In addition to financial gifts, he the Heartland Festival Orchestra in Peoria), daughter Michal, donated numerous scores and recordings, photographs, auto- and stepchildren Tom and Anne Stevens. —Emily Wuchner, editor

38 sonorities Giving Gifts in support of the School of Music (July 1, 2015–July 31, 2016)

The overall success of the School of Music depends greatly recognition program for those who give at the highest on the generosity of our alumni, friends of the School levels, is reserved for contributors whose outright or of Music, foundations and corporations. We gratefully cumulative gifts total $25,000 or more, as well as those acknowledge the generous support of the following who have made deferred gifts of $50,000 or more. individuals, corporations and foundations, who made The School of Music welcomes new contributors to gifts in support of the School of Music between July 1, the 2016-2017 honor roll. For more information about 2015, and July 31, 2016. making a gift to the School of Music, please contact Please note that members of the President’s Council David Allen in the Development office, at 217-333-6453 are designated with an asterisk (*). The President’s or [email protected]. Council, the University of Illinois Foundation’s donor

$25,000 & above Lori & Reiner Hinner Jenny & Richard Harvey Gary & Beverly Smith Thomas Jewett Kathleen Harvey Jennifer Sochacki & James Anonymous Ronald Johnson* Eve Harwood & Mark Netter* Ponder* Alan & Karyn Lev* Nancy & Edward Karrels Dennis Helmrich & Gerard Hecht Barbara Steinhaus Carol Livingstone & Daniel Raymond & Lori Janevicius* Margaret Stillwell* $10,000–$24,999 Grayson* John Johnson & Patricia Anne & G. G. Taubeneck* Jennifer & Steven Mather* Coyne-Johnson* Joy Crane Thornton-Walter & John Anonymous Stephen & Anne McClary* Nancy Johnson Walter* Karen Altay-Rosenberg & Paul Lynda Marchiori McKibben & Richard & Judith Kaplan* Jon Toman Rosenberg* Claude McKibben* Thomas Keegan & Nancy Amy & John Tuttle Carol Berthold* Marjorie Perrino * Moskowitz Jeanine Wagner Nancy Desmond* Daniel Sherbo & Thomas Nixon Suzanne & Daniel Larson William & Karen Winget Rex & Alice Martin* Kathryn Sobeski* Sandra Leonard John Wustman* Richard Anderson & Jana Mason* Glen & Krista Strauss* Howard Loveless Scott & Marian Wyatt Michael & Nancy Tokarz* Eloise & Boyd Mackus Ginny & Paul Uhlenhop* $1,000–$2,499 Kenneth & Diane Matsuura $500–$999 Tracy McCabe & Fabien Wecker* $5,000–$9,999 David & Betty Allen Trudy & Charles Medhurst* Kenneth Andersen & Mary Chester Alwes & Marlys George Meyer Klaaren Andersen* Bryan & Valerie Bagg Scarbrough William Miller & Christine Piatek Larry Ashley Joyce & Alan Branfman* Linda Allen Anderson* Miller Sharon & Theodore Barczak Michael & Stephanie Chu Sarah & Chip Buerger* Mark Moore & Linda Hamman Mildred Barnett* Barbara & Albert England* Cindy Capek & Edward Harvey* Moore Patrick Bitterman* Peter & Elizabeth March* Nicholas & Mary Carrera Ruth Moore Craig & Nancy Branigan Timothy McGregor Joseph & Joan Ceo J. Michael & Barbara Jane Moore* The Chamberlin Family Andrew Megill Paul Christensen Bruno & Wanda Nettl* Brian Claricoates David Myrow & Susan Marsha Clinard & Charles Boast* Rebecca & Jeffrey Olson* Peter Daley Bundy-Myrow Eleanor & William Crum* Suzanne & George Pagels* Jay Decker Charles & Ann Ross* Shirley & Roger Cunningham* Dean Pollack & Lizabeth Wilson Julie & Jeffrey Dreebin Frances Schlanger* John Davidson III & Shirley Elizabeth Raiman Sara Emme David & Nancy Schwartz* Schaeffer* Edward Rath & Lois Beck Rath* Lauren & James Emme Michael VanBlaricum & Pamela Lynne & Paul Denig Patricia Robb & William Alberth Julie & Michael Fresina Calvetti VanBlaricum* Gloria Fenner* James & Mary Robbins Judy & John George Linda & Roger Fornell* Jeffrey & Marianne Sandborg Jennifer & James Gettel $2,500–$4,999 Andrew & Barbara Goldberg Margaret Simmons Clark Gibson Linda & Charles Gullakson Willodean Simon* Thomas & Marjorie Goettsche Lynd Corley* William & Nancy Hammitt Lawrence Smith Jr. & Donna Edwin & Elizabeth Goldwasser* David & Mary Dungan Sheryl & Donald Harkins Smith* Judith & Nicholas Good Deb & Bill Harrison

*Members of the President’s Council winter 2017 39 Mary & Richard Haines Angie & John Dimit Eric Hammelman Delbert Disselhorst planned giving Thomas Hawley LeRoy & Marilyn Duncan John Heath* Ann Einhorn* Henry Helenek Mark Elledge Harvey & Sandra Hermann James Farmer Jr. & Helen Farmer* Creating a Legacy Robert & Jane Hindsley Marita & Cleve Fenley of Excellence Robert & Cynthia Hormell* Judith Feutz Charlotte & Albert Hughes Roxanne & John Frey* Donors who remember the School Bruce Johnson* Stanley Friedman Jeffrey & Julie Kimpton Joe & Rebecca Grant of Music in their estate plans provide David & Jennifer Knickel Nancy Gwinn critical funding to establish schol- John Koenig Michelle & John Hackett arships, awards, fellowships, and David & Linda Kranz Mary Hart Edgar Madsen & Melva Gage* Philip Highfill other student and faculty support. Christopher Manakas Alice & Jesse Hopkins The School of Music would like to Kristy Mardis & Joseph Hanley Samuel Huber Beth Maynard & Mark Dirksen R. B. & Sandra Huston recognize the following alumni and Virginia & John Mead Janice Impey friends who have chosen to remember Craig & Margaret Milkint* Barbara Jackson the School through a bequest, chari- William Mirola & James LeGrand Kathryn & Alan Janicek William Moersch & Charlotte Mattax-Moersch Stephen Jones & Kimberly Slomka-Jones table trust, pledge, or other planned Lois & Joseph Morrow Cynthia Jose & Henry Magnuski* gift vehicle: George & Carolynne Morvis* Marie Larsen Clifford & Linda Nelson Jupian Leung Steven & Laurie Oreskovich Carl & Laura Luckadoo Linda Allen Anderson* William Pananos* Jeffrey & Gayle Magee Anonymous (x2) Stephen & Esther Portnoy* Yvonne Simpson-Matz & Charles Matz Alan & Joyce Baltz* Gay & Donald Roberts* Kathleen Merner & Robert Gray Norman & Mary Jane Beasley* William & Martha Miller* Debra Sarvela Patrick Bitterman* Edwin & Carol Scharlau* LeRae Jon Mitchell Paul & Susan Schlesinger* Jeffrey & Barbara Modlin Stephen Blum* Patricia & Thomas Schrickel* Mark Mosley & Sarah Good David Bruns* Richard & Janet Schroeder* Richard Murphy Lynd Corley* Christie Schuetz* Steven Ng Stanford Collins Julie & Glendon Schuster* Valerie & Thomas Oakley Roger & Shirley Cunningham* Patricia & Dennis Schwarzentraub* Marion O’Leary Janice & Jeffrey Sibley Dannie Otto & Barbara Shenk* Richard Clark & Andrea Durison-Clark* Ned Siegel* Verlin & Rebecca Richardson Michael & Stephanie Chu Stephen Spontak Joann & Luzern Richter Edna Filson Angela & Evan Tammen Jeffrey Rohrer & Hannah Kim-Rohrer James Frame & Candace Penn Frame* Sue & Charles Taylor Rebecca & David Rubin Preston & Cathy Gale Nicholas & Mary Temperley* Benjamin & Amanda Shanbaum Kathe & John Thompson Karen Smith John Heath* Kimberly & Jeffrey Wahl Michelle & William Stanley Donald Houpt & JoAnn Unsell Houpt* James & Marilyn Yerkey James & Patricia Swan Larry Houtz* Eric Tamura & Amy Li Raymond & Lori Janevicius* Mark Taylor $250–$499 Bruce Johnson* Regina Taylor Carolyn & Richard Anderson Susan & Scott Tilley Dean Langford* Jennifer & Timothy Anderson Dora Tsang & Herbert Tsang Randall Lindstrom* & Justin Emery Claretha Anthony Wayne & Virginia Weber* Michael & Barbara McDonnell* Jan Aramini & Michael Pettersen L. A. & Melanie Williams Andrew Megill Erwin & Linda Arends* Nicole Williams Sharon Michalove* Anton Armstrong Chad & Amy Williams David & Martha Atwater Susan Williams George & Tamara Mitchell* Susan & Wayne Bekiares Daniel & Arundhati Neuman* Richard & Susan Biagi $100–$249 William Scott Jeffrey & Tara Blair Marc Sims Maria & Alan Blair Christopher & Cherilyn Abramson Robert Sperlik* Jane Bonaldi* Olga & Daniel Adams Cynthia & Clark Breeze William & Donna Alberth Craig Sutter* Anna & Joseph Catalano Barbara Allen David & Deborah Trotter* Mary Claeys & Marvin Lamb Donetta & Eddie Allen Sharon West* Karen Clausius & Douglas Fitzgerald Carl & Nadja Altstetter* Richard Cogdal* John & Carol Andersen Names marked with an (*) indicate members Philip & Louise Corlew Sharon & David Anderson of the President’s Council Douglas & Laura Coster Glenn & Joan Anderson Kersy & Delna Dastur Susan & Donald Armstrong*

40 sonorities Stephanie Good & James Brenda Callahan Lynge & Morgan Hancock Lynge* William & Nancy Gossett* Janet & Stephen Madden Andrew Gregory Steven & Nancy Magee The Aletheia Duo Jane Groft Robert & Susan Makeever (Ann Yeung, harp, David Gross Dennis & Amy Malaney Jonathan Keeble, Lois & Glen Gullakson Bridget Marvin* flute), onstage as John & Margita Haberlen Maria & Jameson Marvin featured artists at the William & Candice Hansen Julia & Michael Maschek Raleigh Area Flute Pamela & Albert Harrison Bernard & Barbara Mateer Karen & Joseph Hartman Donald Maylath Association annual Timothy & Gretchen Haskett Marlah & Erik McDuffie festival, in Raleigh- Marilyn Haynie Mari McKeeth Durham, North Peter Heaney & Kim Cook Myron & Nancy McLain

Photo courtesy of Jonathan Keeble Photo courtesy of Jonathan Carolina. Sally Hermann Patrick Meehan & Julie O’Connor William & Rosemary Herrick Craig & Barbara Mengarelli Steven Hesla Larry & Ellen Mettler Clara Arnold Richard Cridlebaugh & H. D. James Hile & Nancy Whitaker John Meyer Thomas Baker Alde-Cridlebaugh Harold & Liz Hindsley* David & Sharron Mies Michael Barasch Warren & Marsha Darcy Fredric Hoffman & Roger Clark* Dale Millis & Rita Millis Debra & David Barford Lynda Dautenhahn & Lee Janet Horn & Stephen Manrose Catherine & James Mirakian Lamarr & Maria Barnes Nickelson Carolyn Horne & James Roberts Bonnie & Brian Mitchell Lisa-Ann & Robert Barnes Kenneth Davis Doris Houcek & Donald Amy Mitsuda Iva & W. H. Bayley Richard DeLong* Rockholm Gregory & Ruth Mock Gordon Baym & Cathrine Blom* Niki & John Devereux Donovan Hough Gerald Monroe Stephanie Becher John & Susan DeWolf Larry Houtz* Deborah Montgomery Kenneth & Nancy Beckmann Stephen & Marie-Elise Diamond Mildred Hugghins Susan & Truman Moore James Beckwith Irene & Russell Dieterich Barbara Haggh-Huglo Robert Morgan* Judith & Michael Bennett Cathy & Gerald Ditto Elizabeth Hunke & Stephen Ross Elizabeth Morley Sharon Berenson M. D. & Charles Dixon Kendra & David Iffland Marian & Steve Mueller Joyce & Michael Billing Lisa & Robert Doak Lois Irion Herman & Phyllis Munczek Jonathan & Sarah Black Robert Doepp Bruce & Barbara Ingersoll Ann Murray & Michael Hurtubise Walter Bliss Jill & Jeffrey Dorries John Jackanicz Craig & Sheri Myers Phillip Bloomer C. W. & Kay Douglass Alfred & Laurine Jannusch James Nelson & Diane Foust Alesia Bock Scott Duff Alice & Rick Joellenbeck Patricia Newman Mary Boggs Marilyn Duginger Janell & Gordon Johns* Yuankun Ni & Hong Wei Christine & Philip Bohlman Ronald & Darlene Dymerski Matthew Johnson William Nicholls Joseph & Jill Bonucci Harold & Ellen Eager Matthew & Allison Johnson Sylvia Niemira Peggy & Richard Bradley Ethan Edwards Bette & James Johnson Cheryl Nimz George & Kathleen Bragle Cheryl & Kristopher Einsweiler Linda & Vinson Johnson* Kenneth Nolte Karen Bretz David Eiseman Terri & Richard Jonas Jane Norlander Kareen & Thomas Britt Gail & Stephen Enda Clarence & Carol Josefson Gerald & Mary Norton Joan Brody & Timothy Sheldon Perry Ergang & Anne Pachciarek Fritz & Monica Kaenzig Alison Hong-Novotney & Eugene David Brown Robert & Katherine Evans John & Phyllis Kalivoda* Novotney Laura Bumpass Rodney & Aldena Everhart Frank Kelley Susan & K. D. O’Leary Sandra & Stephen Burgener Frederick & Constance Fairchild Herbert Kellman & Susan Parisi Marjorie Olson Marjorie & Ralph Butler Dawn Fairchild William & Carol Kem Mark & Cornelia Otnes Loretta Caldwell Anne & Timothy Fiedler Howard Kennedy Amy Owens & Frederick Blanford Sandra Carr Barbara & Robert Fisher Robert & Cynthia Kennedy* A. P. Bartinique Janet & Jeffrey Carter Robert Fleisher Terra Kern-Schaller Paulette & Robert Pahlke Scott & Janice Casagrande Joseph Flummerfelt Richard & Barbara Kiefer Margene & Peter Pappas Bernice & Fred Cash* David & Sarah Fodor Karen Kimball Margaret & Robert Pattison Joseph & Sandra Casserly* Eric & Jennifer Foss Brenda & Ronald Knight Alma & David Patton Stephen & Judith Chapleau Marvin & Matilda Frankel* Kevin & Joanna Knoepfel Craig & Gail Peine Anthony & Gertrude Chelmecki Andrew & Lisa French Christa KnustMichael Konrad Karin & Frank Pendle Hwei & Ko Cheng Beverly & Michael Friese* William & Carol Kubitz* Linda Perry Knud & Alice Christiansen Marvin & Marilyn Friman Andrew & Susan Kunz Douglas & Rebecca Pinney Cynthia & Dennis Kam Mary Gaido Joyce Laible Bonnie & Kenneth Pletcher Amy & Thomas Clark Luyan Gao Laura & Thomas Lair Michael & Sally Pope* Michelle Clark Arthur & Kathleen Gaylord David & Rise Lange* Lyle & Karyn Quandt Gregory & Susan Clemons Gregory & Janet Gecowets Joan & Ronald Larner Kelly & Roland Raffel Julie & Jeff Clodfelter Dorothy Gemberling* Mae Lee Barbara & James Ragusa Rebecca Coke Margaret & Edward Germain Susan Lee & James Lund* Alexis & Richard Rasley John & Tina Colombo* James & Cheryl Gibson Barbara Lembke* Mohamed & Janice Razaq Starla & Kenneth Copeland Carolyn & William Glass Nedra & Terry Lepper Maureen Reagan & Bruce Kenda & Gerard Corcoran Joseph Dale Goble* Jean Liu & Peter Chang Zimmerman Gary Cortright & Marlene Koncel Allan Goldman Lillian Long Sue & Lou Reinisch Grady Coyle Perry Goldstein John Richard

winter 2017 41 Wendy & George Richardson Robert Van Nuys Barbara Buddenhagen Barbara & Thomas Flanigan Robert & Lois Richter Angelija Vasich John & Julie Butler David & Suzanne Fleer Chad Rienstra & Jennifer Gartside Paul Vehlow Suzanne Cafouros Christ Forte* Kelly Ritter Diane & Michael Venn Stanley Cain Chris Forthmann & Sara Ward Faith & Bruce Roberts Joanne Vician & Jerrald Noyes Susan Cain Joan Frank Anne Robin* David Wagstaff Helen & William Call Lauren Frankovich Gretchen Rode Robert & Diane Walkup Nancy & Fernando Campos Kathleen & Kenneth Freer Jill Roellig Larry Ward Kenneth Carlborg George & Suzanne Freese Diana & Robert Rogier Heidi Weatherford Allan Carpenter & Eudell Jones Allison Fromm Gail & Peter Rolland Elizabeth Weiss Frank & Kathleen Carter Faith & James Fromme John Ross Duane Werner & Bonnie Ellen & Harry Carter Sandra & Michael Frost Sylvia Ross Johansen-Werner Michael Casey Clifford & Anita Gabor Kenneth Rubin* Deborah & Alan Wesa Nicholas Chapleau Stephen & Stephanie Gage Robert & Elda Ruckrigel James & Robin West Kathy & Carl Chapman Mary Gassmann Audra & Neal Rushforth Jacqueline & Robert Wiggins Jack & Joy Charney Thomas & Annemarie Gauger George Sanders Dorothy Williams* Judith & Thomas Cherry Wilma Geil Lisa & Joseph Sanstrom Hiroko & Robert Williams Charles & Diane Christoe Alan & Virginia George Michael & Cynthia Santay Sue & Rod Williams Melody Chua Donald Gibson Thomas & Cheryl Scanlan Barbara & Richard Williams Roger Clark & Janet Wong* Mark Gillespie Richard & Judith Schacht Sheryl & David Wingert William & Jean Clarke Karen & Charles Given Margaret & Donald Scharfenberg Mark & Susan Wisthuff Lori & Darin Cochran Hugh & Renee Gladstone Arthur & Christine Schildbach Trudy & Allen Wolf Lucinda & Dale Cockrell Marjorie & Donald Glossop Ralph Schlesinger Alan Wong Velma & Garrett Cofield Karen & Robert Gordon Herbert Schneiderman A. S. Wood Kendrick Colin Patricia Gordon Ramonde & Steven Schopp Bonita Woods Eileen Combs Steven & Nanette Grant Jeffrey & Linda Schroeder Yuan Wu David Conrad Carol & John Greenleaf* Wallace & Patricia Schroth Frank Young Curtis Cooper Gregory & Lynn Gros John & Nancy Schwegler June Zimmerman & Calvin Weber Jenna Cramer Susan & Dennis Grube Randy Sears Betty & Donald Zimmerman Constance & Jerry Crank Hans & Margaret Gunderson Teresa Shine Wilma Zonn Charles & Jeanne Craver Marlene & Charles Gustafson Patricia & Robert Shufeldt Summer Curry James & Mary Hageman Marc & Ellen Singer $1–$99 Ayesha Dastur Lazar & Marilyn Hamparzomian Janet & John Skadden Barbara & Timothy Daughters* Judith Hanson Robert & Mary Skirvin* Marsha & Larry Ackerman A. C. & Daniel Dauner Sharon & Larry Hardesty Anne & Gregory Skuta Doris & Richard Alderman John & Carol Day Teresa Hargrove Terry & Katharine Slocum Mika Allison Joan & David Deitemyer Matti & Mary Harm Sharon & William Smiley Betsye Altschul Robert & Ingrid Dekoj Judy & Richard Helm Marilynn Smiley Angie Anderson-Althaus & David Laurie & William DeMont Susan & James Hatfield* Suzanne Smith Althaus Karen & Christopher Di Santo Janet & Thomas Hawkins Cheryl Snyder & Melissa Breen Joseph Anthony Richard Dixon & Felicia Margaret & Robert Hearson Glen Sons Richard & Martha Applegate Spinelli-Dixon W. R. & Joan Hedgcock Chris Spencer & Charles Alan Arnold (DEC) Gail Schewitz-Doctor & Bruce M. K. & Charles Herbold Aschbrenner Gail & Monte Atkinson Doctor Nanette & Douglas Hill Gail & Joseph Spytek David & Linda Bailey Anne & David Dorn Nancy & A. B. Hoffman Wendy & Brian Stabler Raymond Baker Mary Dahlquist-Downs & Donald Sharon & Roger Holmes Janet Steffy Steve & June Barber Downs Anne & Paul Holz David & Karen Stein Elaine & Neale Bartee Harold & Reva Dreebin Amy & Joshua Hopkins Angela Stramaglia & Wesley Barbara Barth Frances & Scott Drone-Silvers Sharon Huff Burghardt Raymond Baum Carl Dumoulin William Hughes M. S. & James Straub Theodore & Ardith Bayler John & Edith Dwinnells Marilyn & Allen Hunter George Strombeck Susan Beal Doris Dyen & Deane Root Bruce & Ingrid Hutchings* Patti & J. D. Sulser Katherine Becker Jodi Eller Joseph & Lenore Imondi Laurence & Marlene Svab James & Sandra Beckman Terri & Barry Ellis Renee & David Jacobsen Joseph & Jennifer Swayne Timothy Bell Jason & Laurel Emmert Glen Jaross Phyllis Swickard Roderik & Linda Beukenkamp Ellen Ensel Leanne Jenner Dennis Thiel* Sara Bidner Jack & Carol Ergo Karrell Johnson Frederick & Susan Thorne Audrey Bishop Bruce & Joanne Erwin Helen & Parker Johnstone Jacqueline Tilles Geoffrey & Jacqueline Block Ann & Timothy Espel Richard & Linda Jorgensen Mark & Nancy Timko Susan Block Emilie Falc Karen & Myron Julien Robert & Mary Towner Ann & Raymond Borelli* Honglin Fan Patricia Justice* Martha & Dale Traxler* Harold & Barbara Breece Andrea & Andrew Farnham Derek Justmann Olivia & Michael Tremblay Donald & Mae Brewer Sharon Fekete Baruch & Donna Kaelter Ruth & Jeffrey Trimble Jerome & Bonnie Brillhart Sara & William Feutz Lloyd & Elizabeth Kamps Spencer Palocz & Mary Tripsas Edward & Helen Brooks* Neil Finbloom Dennis & Janet Kane David & Deborah Trotter* Eleanor & Frank Brown Ron & Linda Fink Kristi Kaplan Arthur & Mary Twardock* Jill & Bruce Brown Elyse & Brian Fischmar Krista & Christopher Karabin Zalman & Karen Usiskin Wayne Brown & Brenda Kee John & Janice Fisher* Carl & Deanna Karoub John Van Hook Donna & Gerald Buckler Janet Fitch Debra Karplus

42 sonorities Steven Katz & Michelle Miller Cheryl Newton Deidre Smith Golden Lyre Foundation IL Howard & Pamela Kaufman Ronald & Jean Ninmer Melissa & Matthew Smith Federation of Music Clubs David Kay Eric & Susan Nitzberg Marilyn & Philip Smith Gretsch Drums Laura Kelley Donald & Judith Nolen Alejandro Soejarto James and Mary Hageman Family Ana & James Kelly Paula Novak Anisha Sood Farm LLC Amalie & Jeremy Kempton Kathleen O’Connell Donald & Kathryn St. Ledger Johns Revocable Family Trust Jenina Kenessey Kevin O’Connor Richard & Karen Stachowiak M. R. Bauer Foundation Delbert Ketteman Sylvia O’Connor Jennifer & Franklin Stanhope Mary Palmer Family Foundation Nina Key Thomas O’Connor James Stanley & Melanie Montreal Choral Institute Arthur Kilma Howard & Jean Osborn* Weytkow National Philanthropic Trust Lesley & Steven Kimball Darcy & David Osterlund Elizabeth Starkey Network for Good Kay Kleeman-Tennill Michael O’Sullivan Harry Steckman Rex and Alice A. Martin Diane & David Knutson Janet & Dennis Ottmers Robert & Barbara Stiehl Foundation, Inc. William Komarek Albert & Roberta Panozzo Michael Strasser Roe Family Trust Megan & Thomas Kostal Peggy Patten & Todd Kinney* Bruce & Janet Suffern Roger and Dolores Yarbrough Nancy Kredel Jon & Andrea Peachey Ian Tan Foundation Susan & David Kuehn Ann & Lowell Peck Nancy Jo Tassos Silicon Valley Community Sara & George Kuhns Duane & Valerie Perry Richard Temple Foundation Karen & John Kula Brian & Laurie Pettit Cheryl & Ralph Temple Terry and Barbara England Eun-Joo Kwak & James Crowley Karen Pfeiffer Joan & Edwin Thayer Foundation Marc Lachance Amy & Robert Phelps John & Loretta Thomas The Bob and Delores Hope Helen Landreth* Joyce & Robert Placek Charles & Dolores Timko Charitable Foundation Jacob Lee & Cheryl Krugel-Lee Melvin Pontious Carol & Robert Tone The Chicago Community Christine & Larry Leonard Joyce & Alan Porter Katharine & Robert Tyler Foundation Ted Lindberg & Marilyn Terrill Carol & Ronald Price Carol & Milton Vasich The Erwin and Linda Arends Amornrat & John Lindsey Anthony & Anita Prochaska Maria & Donald Vasich Foundation Wen Chuen Liu Ernest Rager Valerie Vlahakis & Gary Livesay The Hindsley Transcriptions, Ltd. Linda Lojewski Zelma & Stanley Ransom Joan Vogen The Presser Foundation David & Virginia Lovett John Reynolds Maxine & James Walzer Tokarz Foundation Inc. Marta Lutz Joseph Rezits Jeffery & Kathleen Warnick Marshall & Nancy Mabie Barbara & William Rice Jannica Wetzel Matching Gifts Sara Phillips-MacAdam & Selma Richardson* Thomas & Mary Whartenby William MacAdam Nancy & David Richardson Michael White Abbott Fund Marguerite & Walter Maguire* Stephen & Patricia Rinkenberger Rachel & Michael Willens American International Group, Lanora & Martin Mann Joann & Charles Roe James Williams Inc. Constance Marigold* Susan & Marc Rohde Russell Willis Ball Corporation Rudolph & Sandra Matas Steven & Jodi Rose Amy & Brian Wills Cambia Health Foundation Megan McCauley Mary & David Rosser Michael Wilson Country Insurance & Financial Barbara & Michael McDonnell* Kathryn Rouker Pamela & Jeffrey Wilson Services Angela & Robert McMahon Daniel & Michelle Rowin Wesley Winter & Connie Deloitte Foundation Richard & Suzanne Meier Barbara & Gregory Rudolph Gritton-Winter DuPage Medical Group, Ltd. Christen Mercier Diane Russell Clark & Betty Wise Eaton Corporation Lorraine & Robert Merker Greg Sanders & Nancy King Zoe Worner ExxonMobil Foundation Kathleen & James Merwin Sanders Gina & Jonathan Wych Fidelity Foundation Sharon Michaelsen Joseph Scafe Robert & Rosalyn Wykes Gartner Group Joyanne Mills Lynne & Douglas Scafe Dolores & Roger Yarbrough* GE Foundation Kimberly & Keith Mitchell Dennis Schafer Elnora & Fred Yoakum IBM Matching Grants Program James & Kathy Mizgalski Sara & Glenn Schaft Jaqueline & Alan Zelkowitz IreeTec Incorporated Daniel & Karen Moffett Stephen & Leigh Schamp Joan & Roger Zmrhal KPMG Foundation Harriet Moir Karl & Dorothy Schoeps Lockheed Martin Foundation Robert Molison Kurt & Beverly Schroeder Corporations, Merck Partnership for Giving Albert Moore Glenda & Allan Schultz Foundations, & Northwestern Mutual Life John Morgan William Schutz & Judith Fulton Foundation, Inc. David & Nancy Morse* Daniel & Kimberly Schwartz Organizations Pfizer Foundation Frank Mueller Therese Schwerzler American Council of Learned PNC Foundation John Muir & Deborah Thomas & Carol Seery Societies PricewaterhouseCoopers Aurelius-Muir Ann Seidman Benevity Community Impact Schneider Electric/Square D. Karl Muller & Sandra Meenal Sethna Fund Foundation Wilkey-Muller Billie & Daniel Severns Chicago Illini Club State Farm Companies Foundation Suzanne & Frank Mynard* Rudolph Shackelford Community Foundation of East Tampa Bay Times Fund Aldona Naudzius Leslie Shannon Central Illinois The Boeing Company Eric & Susan Nelson David & Carolyn Simons Conducting Students of Andrew The Northern Trust Company Marcia & Randall Nelson Dominique Sinclair Megill 2015–2016 U. S. Bancorp Foundation Seth & Heather Netemeyer Nancy & James Skidmore CSX Transportation, Inc. W.W. Grainger, Inc. Corporate Carole & David Neubauer Michael & Paula Slinger Edgar County Community Giving Program Karyn & Douglas Newcomb Jacqueline Slutzky Foundation Wells Fargo Foundation Diane & Thomas Newkirk Jerrold Slutzky Flushing Pheasant Digital Video Mitchell Newman Bart Smith

winter 2017 43 Non-profit Org. U.S. Postage PAID Permit No. 100 Champaign, IL

1114 West Nevada Street Urbana, Illinois 61801