Spring 2010 B la i r makingmusic joyful auralskillsfoundation the as for Blair’sMarianne Language Different A V a n d er P b logerteaches i l page 3 page t Uni t v er s

ity ------, they count and and count they , eniors Alyssa Weinberg, Matt explor- are Hart Ben and Clark Plo Marianne in septuplets ing Rhythmic Training Rhythmic “Ta! Ta! Ta-ta-ta-ta!” the student “It’s important to count while several after and nod, students The “I’ll respond faster and stop think exclaims. Ploger Bravo!” it. “That’s The hour quickly draws to a close “We have to practice the imagina S clap together, examining rhythm in a in rhythm examining together, clap way. basic clap lightly while the all intones, trio thighs. their on hands their ping “Counting says. Ploger ‘ta,’” sounding different in processed are speaking and brain.” the of parts of these exercises, Ploger decides to work on atonal melody and harmo ny. She asks the students to identify tetrachords as she plays them on the piano. The students listen intently, and it’s many more hits than misses as they differentiate between Ionian Dorianchords.and point. one at says Alyssa ing,” com few a with concludes Ploger and ments about memoryand andlanguage imagina cooking, referencing tion, psychology. possibilities all imagining always tion, to keep from falling into a groove,” Ploger sums up. “The greatest stuff goes into the brain and sticks there. As artists, we have to really develop patterns the see can we so memory our remember.” and ger’s advanced ear training and sight Star Robert to Referring class. singing er’s A Learning aural skills is the foundation for making joyful music to Learn Different By Angela Fox Angela By Language

John Russell . - Quarter Note know, we have made have we know, Quarter Note Quarter Mark Wait, Dean Wait, Mark Chair Dean’s Ingram Rivers Martha n October, the faculty of theSchool Blair of Music approved the firstmajor revision of our core curriculum It is really more accurate to say that the the that say to accurate more really is It Over the past four years, the planning I for music majors since the inception of the the of inception the since majors music for collegiate program in 1986. This marks a evolu School’s Blair the in milestone major maturation. continuing and tion curriculum was overhauled rather than revised. When the planning committee that developed the consider new curriculumto them was asked I 2005, in organized not merely what changes we might make to the existing be courses, know—and but to rather need whatwill students today’s what words, other In 2030. do—in to able when need they will knowledge and skills they are at the point in their careers that now? right are faculty, the we, these discussed faculty the and committee The planning committee finally decided upon new curricula and approaches in three three in approaches and curricula new upon decided finally committee planning The The skills that Marianne and her associates, Joshua McGuire and David Williams, teach teach Williams, David and McGuire Joshua associates, her and Marianne that skills The Thanks to Marianne and our other dedicated faculty members, the Blair School is

From the Dean the From questions carefully and thoughtfully. For many of us, meeting the needs of the future meant that we had to distill the most essential features of what we had learned of the past. This can be (and often was) a wrenching exercise, for we were sometimes forced On years. many for us of part been had that repertoire or concepts on backs our turn to the other hand, it was bracing and exciting to learn of global developments and new horizons that have changed the world we inhabit and to develop ways of sharing that students. our with ensembles/ and history music skills), (aural musicianship and theory music areas: vital chamber music. You will read of these changes in future issues of the Meanwhile, this issue describes the new approach we are taking in musicianship under under musicianship in taking are we approach new the describes issue this Meanwhile, the faculty in the dynamic leadership of its new director, Marianne Ploger, who joined 2008. fall professional and study music continued to essential and far-reaching are students our to success. These outstanding faculty members have brought success. and a thrilling methods her vitality with attention to theirnational captured already has Marianne classes. the of readers As trajectory. exciting its maintaining marks majors music for curriculum core new the and years, recent in progress dramatic pride. great take can friends and students faculty, our which in one advance, further a Dean Mark Wait Daniel Dubois Daniel

. ote N uarter , the news- , , Q ote ote ote lair N N N B he Quarter Note

T uarter uarter uarter Q Q Q BLAIR lair lair lair B B B 2 he he affirmative action. principles of equal opportunity and Vanderbilt University is committed to University Vanderbilt http://blair.vanderbilt.edu Visit us on the Web at Web us on the Visit Vanderbilt Magazine. to Vanderbilt is forwarded Any news sent by undergraduate alumni Any news sent by undergraduate professional or personal news to: alumni are encouraged to send their alumni are encouraged Pre-college, adult and undergraduate adult and undergraduate Pre-college, Cindy Steine Affairs, Director of External Virginia Payne Virginia Alumni Relations, Associate Dean for Development and Angela Fox and Cindy Thomsen and Cindy Angela Fox Joanne Lamphere Beckham, Lamphere Beckham, Joanne Contributors, Christopher Collins Designer, Donna DeVore Pritchett Donna DeVore Art Director, Bonnie Arant Ertelt Arant Bonnie Editor, All rights reserved. © 2010 by Vanderbilt University. University. Vanderbilt © 2010 by Vol. 34 No. 1, Spring 2010 1, 34 No. Vol. section and in class notes Magazine’s in both Vanderbilt Undergraduate alumni news now appears Undergraduate [email protected] Or by e-mail to: Nashville, TN 37212-3499 Nashville, T Avenue 2400 Blakemore T The John Russell John Cover photo of Marianne Ploger by Ploger photo of Marianne Cover of the School. dents and their parents and other friends Communications Communications for alumni, current stu- with Development and Alumni Relations published twice a year in cooperation letter of the Blair School of Music, is These students are studying the fun- John Russell damentals of what makes music suc- The greatest stuff goes into the brain and sticks there. ceed. Septuplets, Ionian and Dorian “ tetrachords, atonal melody—these terms may mean little to the nonmusician, but As artists, we have to really develop our memory so we those who want to play music well need to be able to hear and identify them eas- ily. Tuning the ear to hear correctly as can see the patterns and remember. music is being made is the foundation of ” —­Marianne Ploger good music-making. But musicianship or the acquisition of aural skills is also one specific sound markers that anyone can you were lucky and had been around a to be able to identify the specific elements of the most misunderstood areas of study hear inside musical intervals,” says Joshua good cook for most of your life, you were employed by composers in the creation of in music. Marianne Ploger, senior artist McGuire, senior lecturer in musician- more likely to succeed. If you were not so good music of any style or genre.” teacher of musicianship and director of ship at Blair, who studied with Ploger at lucky, the results could be unfortunate. Ploger’s approach is also used in lower- Blair’s musicianship program, is turning the Conductors Retreat at Medomak in Even if you were successful in following a level ear training and sight singing courses around the assumption that one either Washington, Maine. “A visual artist begins recipe, you would not have learned how taught by colleagues Joshua McGuire and has aural skills to master pitch, rhythm by knowing the names of the colors, but to prepare a dish of your own design. David Williams. “They have found that and intervals or one doesn’t. the typical musician begins without real- Nor would you have learned why some freshmen are very receptive to this new “In the past, a high level of musician- ly being able to identify in tempo the recipes taste so wonderful and why others approach,” Ploger says. “Students seem to ship has been associated with natural intervals in which most Western music fail so miserably.” appreciate the fact that virtually anyone talent and aptitude,” Ploger says. “As a is composed. Marianne’s methods help Ploger believes that musicianship can now learn to hear well. What a good result, a commonly held belief has been bridge this gap and allow people to be classes are moving in a direction that place to start!” that, because natural aptitude and tal- more deeply aware of what is happening more closely resembles the kitchen sci- Besides teaching upper-level musi- ent are inexplicable, uncontrollable and as they listen and perform.” ence courses now taught at major culinary cianship courses, Ploger offers annual unteachable, musicianship training has Through her decades of research, institutes. “Aspiring chefs now learn food intensive workshops each spring at Blair been largely gratuitous—easy for the gift- Ploger has observed these specific sound chemistry and how things combine to cre- for professional musicians and teachers ed and nightmarish for the less gifted. Yet markers in each of the 12 pitches and 11 ate specific effects, both in terms of taste from around the country, including Blair I have found that all musicians can learn intervals and has developed techniques to and nutrition,” Ploger says. “Similarly, faculty and graduates. to recognize and understand what they are teach others how to instantly recognize Blair’s musicianship courses train students “We have faculty members who have hearing in music, at the same speed that these features at the speed of music. they recognize and understand what they “We can now objectively articulate the John Russell hear and read in their native language.” sound factors that make up the elements Ploger’s approach signals a new direc- employed in music,” she says. “It works tion in teaching musicianship, according Marianne Ploger’s approach to teaching aural skills signals a new direction utilizing recent research on brain much the same as language. As musicians, to Dean Mark Wait. “The way Marianne neuroplasticity. we learn the vocabulary, consisting of teaches musicianship is fundamentally dif- notes, triads, seventh chords, inversions ferent from the way it has been taught at “My work parallels research findings skills in perception and trained attention of these, scales, key signatures, rhythms, Blair in the past,” Wait says. “Marianne gets of the last few years on the neuroplastic- also apply beyond music to any work that instruments, rhythmic note values, rhyth- students to respond immediately by mak- ity of the brain, its ability to continue to requires focus and both analytical and mic notation, pitch notation in various ing aural skills part of the nuts and bolts build new pathways and structures and to sensory modes.” clefs and so on. But to be fluent, it is not of their equipment that is ready to go.” learn new tricks long past what is generally In traditional sight singing classes, an enough to have a passing, halting knowl- Prior to joining the Blair faculty in considered our primary period of cogni- assignment was given, and students would edge of the elements of music. We must 2008, Ploger spent years exploring musical tive development,” she says. “It’s been practice at home, then take a test. “But be fluent in real time.” perception and communication to discover known for some time that we use very memorizing or practicing at home so you Ploger draws an interesting analogy what enables a musician to master aural little of our potential mental capacity. can take a test isn’t sight singing at all,” between her approach to musicianship skills. An accomplished composer and My goal is to show my students how to Ploger says. Instead, she works with the and the evolution of the art of cooking. pianist, Ploger founded and directed the bring more of that capacity to the process students to help them develop tools to “In the past, musicianship classes were Institute for Musical Perception and taught and work with musical sound in real time. create their own “sound imagination.” more like cooking classes in which you at the University of Michigan’s top-ranked Not only does this make them far more “Marianne’s approach differs from oth- were given recipes and told what to do When teaching upper level musicianship courses, Ploger stresses the similarities between learning sound fac- conducting program. developed and fluent as musicians, these ers in that she has managed to articulate without any real tutelage,” she says. “If tors in music and learning language skills.

4 BLAIR Quarter Note Spring 2010 5 taken Marianne’s intensives and they call them life-changing,” Wait says. “Because Blocks Away from Blair has a very good undergraduate stu- Professional Engagement dent body in the formative stages of Mitchell Korn connects musicians and community musicianship, this is a wonderful lab rofessionalism in music means dif- S teve Gr een for Marianne. Her intensives give her a ferent things to different people. national platform for her work. So Blair For some it is a musician’s ability to Music History is an ideal match for her teaching and P earn a living through music. For others it’s research. She really is a star in her field, a way of life that means keeping musical Music history relayed by current Music City artists and we are lucky to have her.” skills in top form through rehearsal and brings a personal point of view Amy Jarman, senior lecturer in voice, performance and a passionate commitment took Ploger’s intensive workshop last to the art itself. Mitchell Korn argues there’s By Joanne Lamphere Beckham May. “Many years ago, when I was a yet another element that defines a profes- student, I was taught aural skills with a sional musician. “Connecting with one’s t’s only a few blocks from Grammy-winning producer Steve worked with them. fixed set of expectations,” Jarman says. community through performance is part of the Blair School of Music to Buckingham are music industry As working artists who write, “You were given a cassette tape to play what makes a musician a professional,” IMusic Row, but they once professionals who have joined the perform, produce and record music, over and over so you could identify inter- says Korn, vice president of education and seemed light years apart. Today, Blair faculty to teach History of Cooper, Gunderman and Bucking- vals—with the assumption that every- community engagement at the Nashville Blair bridges the gap between the Rock Music, History of Country ham give students a firsthand look one would do that basically by rote. The Symphony and adjunct professor of music popular music world and the aca- Music and Music and the Fall of at what it takes to succeed in one most remarkable thing about Marianne and educational outreach at Blair. demic study of music by bringing Segregation, respectively. Their of the toughest businesses around. is that she acknowledges that individual Korn teaches a course at Blair called the talent and experience of popular students are learning about the Because of their Music Row con- musicians hear sounds differently and Music and Community that emphasizes the musicians into the classroom. lives and music of popular icons tacts, they are able to bring in other learn in different ways. She’s extremely importance of building a skill set for musi- Keyboard/accordionist Jen like Johnny Cash, Elvis Presley, artists, songwriters, musicians and interested in the cognitive process and cians to perform in various community set- Mitchell Korn Gunderman, solo artist/music Aretha Franklin and Ray Charles music business professionals to how the brain works.” tings. “Professional musicians today need journalist Peter Cooper, and from those who actually knew or share their expertise with students. Ultimately, Ploger hopes that Blair’s to know how to talk to different audiences office provides full staff technical support, musicianship courses will provide stu- and how to engage each audience from coordinates the performance schedule and dents with a strong understanding of how where they [the audience] come from,” provides training sessions for the musicians the human mind processes and interprets Korn says. “Working in diverse situations to acquaint them with the program and any musical information and how to better enhances a musician’s performance com- special requirements at certain venues. use this information to fluently commu- munication skills.” Korn believes understanding oneself, as nicate inspiring, edifying and illuminating Korn also oversees the Nashville Sym- well as one’s community, is also essential music to listeners of all types. “In music phony’s Off Stage performance initiative that to the professional life of a musician. “I there can be a disconnect between craft delivers music to diverse and often under- try to show my students at Blair that what and art,” Ploger says. “Playing a musical served communities. As part of the program matters to them personally is what the instrument is a technical craft. Expressing professional musicians, including Blair audience really wants to know,” he says. Photos by John Russell with thanks to music, by contrast, has been viewed as faculty, are invited to perform at one of the “Speaking from the first person is what an art. The alternate view is that express- Off Stage concerts at senior residence cen- engages audiences.” ing music is also a craft. It is the craft of ters, hospices and other locations. Korn’s —Angela Fox musical communication. The greatest musicians, of course, are highly skilled in both crafts.”

In the process of learning a composi- resulting in performances that, like over- “So many passionate people in music have T ina

tion, Ploger explains, musicians decode worked dough, have turned tough and had terrible experiences with musician- Wr ight at the Count r y Musi c the abstract symbolic code written on tasteless,” she says. “The trick is to decode ship training and come away feeling they the staff into meaningful expression. complicated scores in a way that brings can never really get it,” Ploger says. “Many “Unfortunately, sometimes in the pro- us to an increasingly rich and textured have expressed their feelings of anxiety cess of learning the right notes and right understanding of the music.” and frustration to me in private. My job,

rhythms, we lose our love of the com- That understanding leads to better then, is simply to help musicians to be H all of

position with endless hours of practice musical performances—and performers. joyful in making music.” F a m e an d Museu m

6 BLAIR Quarter Note John Russell keyboard/accordionist who records with Tearing down the rope before Jackie Robinson broke the color So much of the history that I talk many different artists, including Coo- Veteran producer and record executive barrier in Major League Baseball. During “ per. She has played in rock, funk and folk Steve Buckingham began teaching Music the ’40s and ’50s, thousands of teenagers bands, including the Jayhawks and Dag. and the Fall of Segregation at Blair last became fans of rhythm and blues musi- about in this class took place “I’ve always loved teaching,” she says. fall. His interest in how music helped cians thanks to radio disc jockeys like “I try to give students a sense of how the to advance the Civil Rights Movement Nashville’s John R. and Bill “Hoss” Allen, within walking distance of Blair. music is put together, while focusing on is both personal and professional. As a BA’48. Black musicians also influenced There’ve always been connections. the technological, cultural and economic student at Virginia’s Richmond College white artists like Elvis, who brought their ” changes that helped shape the sounds.” during the early ’60s, Buckingham played music to a worldwide audience. A Vassar graduate with a master’s backup guitar for a number of African Like his colleagues, Buckingham brings —Peter Cooper degree from the University of Washing- American artists, including Percy Sledge, his life experiences and music contacts ton, Gunderman joined the Blair faculty Jackie Wilson and the Drifters. to bear on his subject. During his early in 2004. “We could play with them, but we career, he played guitar on hundreds “I find that my work outside Vanderbilt couldn’t eat together or stay at the same of recordings as a studio musician. He ‘It’s all music’ “I like to tell students stories like the is working on two albums with famed continually feeds into the classroom and hotels,” he recalls about a system some served as vice president of A&R (artists Clad in red shirt, blue jeans and black one about Don Schlitz, who wrote ‘The steel guitarist Lloyd Green. He has taught boots, Peter Cooper, senior lecturer in Gambler’ while working in a Vanderbilt music history at Blair since 2007.

music history and literature, offers stu- computer lab,” Cooper says. The song “To me it all feels of a piece,” Cooper John Russell dents a unique personal and professional became a megahit for Kenny Rogers, who says. “Whether I’m on the road playing, perspective on country music from its won a Grammy for his rendition. “I talk writing about it or talking about it, it’s colonial roots to today’s multimillion- about the musicians as persons as well all music.” dollar global industry. as historical figures, what they were like I love teaching. This is a dream “So much of the history that I talk that enabled them to do these extraor- Grounded in pop music “ about in this class took place within dinary things.” In History of Rock Music, Jen Gunder- for me. Compared to the record walking distance of Blair,” Cooper says. Cooper’s guests have included coun- man, senior lecturer in music history and “There’ve always been connections.” try music stars like Vanderbilt parent literature, traces the development of rock business, it’s a walk in the park. Several well-known recording art- Kix Brooks of the duo Brooks and Dunn; and roll from the ’50s to the present. ” ists have attended Vanderbilt, includ- Dierks Bentley, BA’97; and Joe Nichols. Presenting the major artists from each —Steve Buckingham ing Dinah Shore, Rosanne Cash, Amy A multitalented Americana singer/ decade, she includes subgenres like rocka- Grant and Francis Craig, who recorded songwriter and respected music jour- billy, rhythm and blues, folk, soul, metal, Nashville’s first big-time pop hit and also nalist, Cooper has had music praised pop and alternative. Through the use of wrote Vanderbilt’s fight song, “Dyna- by many, including Kris Kristofferson. sound and video clips, Janis Joplin, Jim mite.” Many of today’s aspiring musi- Cooper began his career as a middle Morrison and the Beatles perform once vice versa,” she says. “Students tell me have called American apartheid. “At con- and repertoire) and producer for Colum- cians and songwriters ply their day jobs school teacher in South Carolina and again for a new generation of students. about new bands I haven’t heard, and certs, a rope separated the black students bia, Vanguard and Sugar Hill Records for in various medical center and university writes for the Tennessean, Esquire and A classically trained pianist who has musicians I work with often end up as from the whites. By the end of the show, a combined 21 years. departments at Vanderbilt and others Britannica, among others. He recently played at Avery Hall in New York’s Lin- guests in my classrooms.” the rope was down, and the kids were Buckingham has garnered four Gram- have done so in the past as well. released a solo album, Mission Door, and coln Center, Gunderman is also a gifted A typical day might find Gunderman dancing with each other.” mys, 27 No. 1 singles, 11 platinum and 19 teaching in the morning, working in the Buckingham became interested in put- gold albums over the years. Working with studio in the afternoon and performing ting together this course when, several artists as varied as Dolly Parton, Sinead

John Russell on stage at night. She recently produced years ago, a student innocently asked if O’Connor, and Yusuf Islam (Cat Stevens), I try to give students a sense of her first CD by Vanderbilt graduate Ben segregation was legal in those days. “It he produced top 10 singles on 11 different “ Cameron, BA’08. struck me that students won’t know about charts from country to pop to jazz. The how the music is put together, while ”Making music keeps my feet on the it if nobody talks about it,” he says. first record he produced—“I Love the ground,” Gunderman says. “A lot of aca- In the course, Buckingham explains Nightlife” by Alicia Bridges—became a focusing on the technological, cultural demics writing about pop music haven’t how swing and jazz from the ’30s and worldwide hit in 1978. experienced it in a personal, visceral way. ’40s, rock and roll and rhythm & blues in “I love teaching,” he says. “This is a and economic changes that helped I understand what it feels like to play in the ’50s, and soul music in the ’60s helped dream for me. Compared to the record front of crowds of people, and that emo- to break down barriers between the races. business, it’s a walk in the park.” shape the sounds. tional experience grounds the way I think He notes that clarinetist Benny Good- ” about music intellectually and helps me man hired Teddy Wilson, the first African connect students with ideas.” American to play in a big band, 12 years —Jen Gunderman

8 BLAIR Quarter Note Spring 2010 9 Join us for the Spring 2010 Concert Series

season of uncommon delights continues! As SPECIAL CONCERT EVENT A always, most concerts, lectures, guest artist Blair Percussion VORTEX performances, master classes and special events are Monday, April 12, 8 p.m., Ingram Hall free and open to all. Complimentary valet parking Michael Holland, director, with special guests Daniel Bernard Roumain (DBR), Tracy Silverman, is provided for many events, and free self-parking in Brad “Kali” Bowden, choreographer Kelvin Amburgey with South Garage is available for all concerts listed in the the Shards Dance Project and the Hart String Quartet. spring calendar. All events are subject to change. Please Special feature check the Web site at http://blair.vanderbilt.edu/ The 1906 French comic sci-fi film Les Invisibles! concerts-events for updated event information and a Experience early film magic when an invisibility complete calendar. potion is stolen and an alchemist turns people into dancing vegetables! Produced by Pathé Freres and directed by Gaston Velle, accompanied by VORTEX. Highlights include: Plus Silvestre Revueltas’ classic Sensemaya, music for the ritual killing of a snake, performed and reinter- Piano Faculty Concert From Stage to Stage preted by groove-master Kali, DBR, Tracy Silverman Friday, March 19, 8 p.m., Ingram Hall and VORTEX, with an amplified Hart String Quartet. Profile: Alicia Enstrom, The Blair piano faculty teams up to present a larger- BMus’09 than-life program of solo, duo-piano and four-hand Vanderbilt Orchestra n As You Like It William Shake- a cross between Riverdance and Stomp. moved to New York City in early Novem- works by Barber, Debussy and Schumann. speare wrote that “all the world’s “Barrage is an alternative fiddle group,” ber. The show is about a little boy’s jour- Wednesday, April 14, 8 p.m., Ingram Hall a stage.” That expression describes she says. “It’s choreographed with lots of ney to find snow. Blair Student Showcase Robin Fountain, conductor I Alicia Enstrom’s life perfectly. Enstrom, movement, even high kicks.” “I make an appearance on stage for a Saturday, March 27, 8 p.m., Featuring winners of the 2009 Blair Student Concerto BMus’09, has performed on the violin For three and a half years, Enstrom few numbers,” Enstrom says. “My char- Ingram Hall Competition

all over the world—from the Grand Ole Matthew traveled the world with Barrage. Along acter is a ‘person of the north’ and the Selected by audition, the student performers on this The Blair Big Band Opry in Nashville the way she shared the stage with the likes costume and makeup process take almost

annual program demonstrate their prodigious talents and H a r ney to venues in China, of Jerry Seinfeld, Blue Man Group and two hours.” dedication to their art. Thursday, April 15, 8 p.m., Ingram Hall Billy Adair, director Korea and throughout Cirque du Soleil. A desire to complete Enstrom describes the Cirque du Europe. her degree brought her back to Vanderbilt Soleil music as a mixture of world and The Blair String Quartet Vanderbilt’s spring student concert Enstrom grew up just in time to join a new performance pop music. Add those styles to her clas- Friday, April 9, 8 p.m., Ingram Hall Co-sponsored by Susan and Frank Genovese and Melissa and in Topeka, Kan., in group that Matt Combs, adjunct instruc- sical and fiddle repertoire, and it’s easy Christian Teal, Cornelia Heard, John Kochanowski, Scot Hollmann Felix Wang a musical family. tor of fiddle and director of the fiddling to see why Enstrom is at home playing The Complete 48 Preludes and Fugues: The quartet presents a program of three important Blair appealed to her program, was creating. just about anything. works, one each from the 18th, 19th and 20th centu- The Well-Tempered Clavier because of the diversi- Enstrom “The group was called the Second “When I was younger, I used to think ries: Quartet in C Major, Op.74, No.1 (1793), by Joseph Friday, April 16, 8 p.m., Ingram Hall ty of the coursework. Stringers and was comprised of bass, man- that classical music was more serious and Haydn; Quartet in E Flat Major, Op. 127 (1827), by Craig Nies, solo piano “I always had it in my head that I would dolin, guitar and three fiddles,” she says. that you could smile more playing alter- Beethoven, and Quartet No.13 in B Flat Minor, Op.138 Piano master Nies presents the sixth concert in his Bach go [to Blair] because I knew I could get “It was a great experience, and we even native styles,” she says. “But through my (1970), by Dmitri Shostakovitch. These three works performance series. The program includes Franz Liszt’s a fantastic classical education as well as got to perform at the Grand Ole Opry.” experience at Vanderbilt and at various exemplify the skill and artistry of Blair’s celebrated Sonata in B Minor and Beethoven’s brilliant Eroica learn more about fiddle and jazz,” Enstrom After graduation, Enstrom sent an jobs and festivals, my view of the clas-

chamber ensemble in a scintillating recital. Variations, Op. 35. Photo by says. “I was also very excited about the audition tape to Cirque du Soleil. A few sical versus alternative world changed. Sponsored in memory of Wilma Ward Sponsored by the Martin Foundation alternative music scene in Nashville.” months later, she was hired to perform at Now I know that whatever style you’re A lexan d e r After her junior year, Enstrom left Madison Square Garden in the troupe’s playing, you have to figure out a way to Blair to go on tour with Barrage—a per- holiday show, Wintuk. After rehearsing have fun with it.” Sr b formance group that’s been described as in Montreal, she and the rest of the cast ―—Cindy Thomsen

10 BLAIR Quarter Note devoted to her instrument. In October, “Her first priority has been the piano she was one of six finalists in the youth and music and Blair,” says Holly’s teach- The Myra Jackson Blair category of the 2009 Seattle Interna- er, Roland Schneller, Chancellor’s Pro- Honor Scholarship tional Piano Competition. Between her fessor of Piano at Blair. “She does it Awarded annually by the Blair School of time at school, her time at Blair and her because she loves it. She has an inner Music to outstanding pre-college students time practicing, there isn’t much time drive that you find in all of the most who have been recommended by their for anything else. successful students.” teachers and who plan careers in music, “I usually wake up around 6:30,” Holly recounts her schedule with a the Myra Jackson Blair Honor Scholarship Holly says. “That’s a struggle, because precision you’d expect from an engi- covers academic-year tuition for private I usually don’t go to bed until 12:30 or neer, not an artist. Like all musicians, instruction and classes in music theory, 1. It’s not that the schoolwork is all that she excels at keeping time. musicianship and music history and lit- hard, it’s just the amount of homework “I have millions of clocks,” she says, erature. Auditions adjudicated by faculty I have for each class.” explaining the key to succeeding in both committees are held each spring. Students Holly’s day at the Nashville School of academics and music. “On my com- must maintain at least a “B” average in the Arts begins at 8 a.m. She takes three puter, my phone, at home, I’m always each subject, perform in recital and attend advanced placement classes—biology, mindful of the clock. People think that at least two faculty concerts each semester. English and American history. Piano sounds uptight, but it works for me.” Students take music theory, music history and choir round out her class load. Her As a junior, Holly is also preparing and chamber music in addition to study regular class work ends at 3 p.m., but for college auditions. She is considering on their instrument. Pianists are expected her day is far from over. an impressive collection of the country’s to take an accompanying class each “On Mondays I go straight from finest schools when it comes to studying semester, and eligible instrumentalists are school to Blair, where I either have music—Indiana University at Blooming- required to audition for the Nashville Youth Orchestra program. There are currently 39 honor scholars at Blair, and each, like Holly If I do end up with a career in music, Jurca, is dedicated, talented and passion- “ ate about music. I’d love to just perform. But I’d like to an instructor who plays a large role in determining which students are award- teach as well. Maybe I can be kind of ed scholarships at the school. “I was nervous, but I played some- a touring, master class teacher. thing that I’m comfortable with,” Holly ” ­—Holly Jurca says. “Also, now I’m past the prescreen- ing process for IU. I won’t have to send in a tape, I’ll just go there to audition.” Balancing Act rehearsal with my duo partner, or I ton, Conservatory of Music at Oberlin Even though music is her main focus, practice on my own until theory class, College, the Peabody Institute of Music Holly is also thinking of studying Eng- which lasts until 5:35 p.m.,” she says. at Johns Hopkins University, the East- lish or something in the medical field. “On Tuesday I have an after-school man School of Music at the University However, it’s hard to imagine that hen she was only 5 years for her future. session for my Advanced Placement of Rochester and the Curtis Institute music won’t be her life’s work. old, Holly Jurca’s father Holly is a junior at the Nashville U.S. History class and then a perfor- of Music. “If I do end up with a career in music, Holly Jurca balances sat her at a piano for the School of the Arts, a magnet school W mance class at Blair. Wednesdays are “Connections are a major part of the I’d love to just perform,” she says. “But first time. Her feet dangled from the within Metropolitan Nashville Public high school studies free, unless I have a rehearsal, and on music world,” Holly says. “You need to I’d like to teach as well. Maybe I can bench and her tiny fingers barely Schools. Since 2006, she has also been Thursdays I have two lessons at Blair. have lessons with different teachers at be a kind of a touring, master-class and studies at Blair reached the keys, but she and the a pre-college Myra Jackson Blair Honor Then on Friday, nothing.” different schools. The thought of col- teacher.” instrument connected. A decade later, Scholar at Blair. As an honor scholar, with precision timing. Holly’s weekends are spent practic- lege auditions is pretty scary, because “She’s competing in the big leagues,

Holly is among the upper echelon of she takes classes at Blair in music theo- S teve By Cindy Thomsen ing and studying for upcoming tests. I’m not exactly sure what happens.” and she hasn’t even found what she can pianists her age and already making ry, music history, accompaniment and Gr een For many, a schedule this full would Last summer Holly attended the do best yet, but that will come,” Sch- connections that she believes are vital chamber music in addition to study be daunting, but Holly seems to thrive prestigious Indiana University Piano neller says. “A pianist has to try every- on the constant activity. Academy and received instruction from thing to find out who they really are.”

BLAIR Quarter Note Spring 2010 13 S teve

S t u d e n t s Gr een

Please Note: Class Notes appear only in the printed version of this publication.

Blair sends faculty, students to American Institute of Musical Studies Jonathan Retzlaff, associate Lieder recitals for the Graz public professor of voice, returned for including the Liederabend “Auf his third summer of teaching on einer Wanderung,” for which he VIVA el MAMBO! A Night of Big Band Salsa featuring Lalo Davila, Sylvia Garcia and percussionists John Santos, the faculty of the American Insti- sang the title piece by Schubert. Dann Sherrill & Marcus Finnie had audience members dancing in Ingram Hall. tute of Musical Studies (AIMS) Preston Orr, senior baritone in Graz, Austria, last July and from Henderson, Texas, par- August. Jennifer McGuire, voice/ ticipated in the Opera Studio, opera coach at the Blair School, coached by Nico de Villiers from completed her second summer at the London Conservatory. In his AIMS as a staff pianist. weeks at AIMS, he sang on mas- MacKenzie Florence, senior ter classes with soprano Gabri- soprano from Parkersburg, W.V., ele Lechner from the Viennese participated in the Opera Studio, University of Music and Dra- coached by Nico de Villiers from matic Arts and with Metropolitan the London Conservatory. In her Opera baritone Bo Skovhus. He weeks at AIMS, she was chosen was also chosen to sing with the to sing on master classes with Four Blair voice majors and pianist Jennifer McGuire accompanied Professor Retzlaff to AIMS Orchestra in their “Eine soprano Gabriele Lechner from AIMS. From left: Preston Orr, Kathryn Heaton, Jonathan Retzlaff, MacKenzie Florence, Reise nach Sevilla” concerts Victor McMillan and Jennifer McGuire. the Viennese University of Music at the Graz Stefaniensaal and & Dramatic Arts and soprano Cató Brink from University of Music and Dramatic Arts. She also Frohnleiten Hauptplatz, and he also performed in South Africa. She also sang with the AIMS orches- sang on a Viennese Operettenabend and on the “Tell Me the Truth About Love” at the Stadtmu- tra in the Berühmte Opernchöre concert at the American Spirituals Concert. seum Graz with de Villiers and friends. Graz Stefaniensaal and was a soloist on an Oper- Victor McMillan, senior baritone from Thom- Jennifer McGuire, opera/voice coach at Blair, was ettenabend at the Pfarrsaal of St. Leonhard Kirche. asville, Ga., participated in the Lieder Studio, selected as one of the accompanists for the annu- Kathryn Heaton, junior soprano from Houston, coached by Betty Bullock of Washington National al AIMS Meistersinger Competition. In addition she participated in the Opera Studio, coached by Dar- Opera, and studied German poetry with Wolfgang played several auditions for European intendants ryl Cooper from the San Francisco Conservatory Lockemann of Austria. He sang on a master (opera management) and performed on master of Music. She sang on master classes with Peter class with Metropolitan and Vienna State Opera classes for the European soprano Gabriele Lechner Brenner and Gabrielle Lechner from the Viennese baritone Bo Skovhus, and performed in several and the American soprano Barbara Bonney.

14 BLAIR Quarter Note Spring 2010 15 Jenny Man d eville

F a c u l t y A l u m n i Gregory Barz, associate professor of musicology (ethnomusicology), conduct- ed field research this summer in Rwanda related to the role of music in the geno- cide of 1994. In addition, he spent the month of July in Lugano, Switzerland, as a Franklin Fellow in Global Citizenship. In September, Barz conducted a week- long residency in Los Angeles as the 2009 World Music Scholar-in-Residence at Azusa Pacific University.

Joy Calico, associate professor of musicology, published research on Schoenberg’s reception in postwar West Germany in the Journal of Musicology. In September she presented a paper at Vanderbilt’s African Drum and Dance Ensemble with Kwame Ahima, director a conference commemorating the 20th anniversary of the fall of the Berlin Wall oboe, had his second solo CD, Operatic at the University of Bath (UK), and in Oboe, released by Blue Griffin Records Carolyn Huebl, assistant professor of October she was an invited speaker at in September. He was soloist with violin, spent the summer teaching and another conference on the same topic at the Vanderbilt Wind Symphony last playing chamber music at the Brevard Northwestern University. She recently January; conducted master classes Music Center. joined the editorial board of the Journal and performances at Louisiana State of the American Musicological Society. University, the Interlochen Arts John Johns, associate professor of guitar, This year she is an American Council of Academy and SUNY Fredonia School of performed solo recitals in October and Learned Societies Frederick Burkhardt Music; was performer and guest panelist November at the Laura Turner Concert Fellow at the Radcliffe Institute for at the Nashville Double Reed Festival Hall at the Schermerhorn Symphony Advanced Study at Harvard University. in April and recently received a Blue Center for the Nashville Symphony’s Griffin Recording Matching Grant and OnStage Series, the Lincoln County Jen Gunderman, senior lecturer in a Vanderbilt Research Scholar Grant. Arts Council Series in Fayetteville, music history and literature, produced He, his wife, Laura, and big brother, Tenn., and at Indiana University-Purdue and played keyboards for the debut Evan, welcomed Seth Aaron Hauser on University in Columbus, Ind. solo album by Ben Cameron, BA’08, September 19. which features performances by cur- Karen Ann Krieger, associate professor rent and former members of the Dixie Connie Heard, Valere Blair Potter of piano and piano pedagogy, gave a Chicks, the Wallflowers, Guster and Professor of Violin, travelled to presentation in September to W. O. the Black Crowes. She also co-produced Wilmington, Del., last May to judge the Smith Nashville Community Music and played keyboards for the new Paul annual scholarship competition and pre- School volunteer music teachers on Burch album Still Your Man, which sented a master class at the Wilmington designing lessons to fit the individual has received favorable reviews from Music School. She performed on needs of students. It was the first the New York Times, NPR and others. chamber music concerts in Aspen last installment of the W. O. Smith Master Recent concert highlights include a summer with pianists Simon Trpceski Teacher Series being offered this year. show with the Wrights at the Ryman and Rita Sloan, as well as violinists She also gave a workshop on basics to Auditorium and a show at the Station David Perry, Naoko Tanaka and Laurie artistry to the Chattanooga Area Music Inn with country and bluegrass legends Carney, violist Stephen Wyrczynski and Teachers in October. Lloyd Green and Mike Auldridge. In cellist Andrew Schulman. She taught addition, she led post-film audience private lessons, coached chamber music Michael Kurek, associate professor of discussions at the Belcourt Theater and held a weekly public studio class composition, had his music featured in for Vanderbilt’s FLiCX program and while there. The Blair String Quartet, September concerts by the Florida State hosted documentary filmmaker Jeff of which she is a member with Chris University Orchestra in Tallahassee. Alulis (Let Them Know: The Story of Teal, John Kochanowski and Felix Various excerpts from his forthcom- Youth Brigade and BYO Records) in her Wang, performed two concerts in ing ballet Macbeth were featured in History of Rock class. Memphis in October, at the University the concert hall in October by the of Memphis and for the Memphis Vanderbilt Wind Symphony with the Jared Hauser, assistant professor of Chamber Music Society. Blair Women’s Choir and with chore-

16 BLAIR Quarter Note Spring 2010 17 ography by the Nashville Ballet in their Helena Simonett, adjunct assistant pro- In June, Simonett was invited to the to speak on “Wind Bands in Cross- Thomas Verrier, associate professor of at Nashville Public Radio for broad- November concerts. fessor of music history and literature, Queen’s University in Belfast, Ireland, Cultural Perspective.” In July, she par- wind studies, has been asked to serve as cast. In February, she gave a solo piano presented a paper on the “Cosmology, ticipated in the weeklong Tepoztlán a pedagogical consultant for the Sistema recital on the Lunchtime Classics series Douglas Lee, professor of musicol- Narrativity, and Meaning in Mayo- Summer Institute for Transnational Nacional de Educación Musical (SiNEM) at Louisville Fine Arts Radio Station for ogy, emeritus, last May published the Yoreme Rituals” at the Society for History of the Americas in Morelos, of the Republic of Costa Rica. He has live broadcast, and in March, she gives a third volume of keyboard concertos American Music conference in Denver. Mexico. In September, she read a paper initiated several exciting partnerships piano master class and solo piano recital by C.P.E. Bach. This third volume in at the Inter-University Program for between the Blair School and the Costa at the Chattanooga High School Center a series of works for the C.P.E. Bach: Latino Research conference in Chicago Rican government’s Ministry of Culture. for Creative Arts. Complete Works project, is jointly and participated in a workshop on music These activities will include a series of sponsored by the Packard Humanities MTNA Winners and performance at the U.S.-Mexico bor- instructional seminars in San Jose and Felix Wang, associate professor of cello, Institute, Harvard University, the he following pre-college and undergraduate students won awards at the Music Teachers der entitled “Transnational Encounters.” an artist residency with SiNEM for Blair spent the summer teaching and per- International Bach-Archiv in Leipzig National Association state auditions in November at Tennessee Technological University During the summer semester, she also performance faculty. He hosted a training forming at the Brevard Music Festival and the Sächsische Akademie der in Cookeville, Tenn. Winners of the state competition move on to the division level, which spent sev- eral weeks in northwestern workshop for SiNEM instructors at the in North Carolina. Highlights included T Mexico to continue her ethnography of Blair School in January. opening the festival with the cello solo Wissenschaften zu Leipzig. In June, he includes eight states. Marie-Mitsou Akimoto won the Junior Strings division at the MTNA completed and submitted for publica- Southern Regional Competition held at Samford University in January. She will advance to the indigenous ceremonial music. An article to Rossini’s William Tell overture, per- in Spanish language has appeared in a Deanna Walker, adjunct artist teacher forming Mendelssohn’s String Quintet, tion an extended encyclopedia article MTNA National Competition. George Meyer won honorable mention in Senior Strings division on Sidney Lanier. The work was com- book published by the National Institute of piano, and songwriter Rick Beresford No. 2, Op. 87 with Cleveland Orchestra at the MTNA Southern Regional Competition. missioned by Oxford University Press of Anthropology and History, Mexico have four songs on the upcoming Concertmaster William Preucil on first for inclusion in the forthcoming second John Russell City. Sweethearts of the Rodeo CD and live violin, and serving as principal cellist edition of the New Grove Dictionary DVD, scheduled for release in February. of the Brevard Music Center Orchestra of American Music. Carl Smith, senior lecturer in composi- under Keith Lockhart. tion and music theory, who has set to Agnes Wan-Patterson, adjunct artist Carol Nies, adjunct senior artist teacher music more than 40 of Michelangelo teacher of piano, played two solo piano of conducting, served as the guest Buonarroti’s poems and letters, has been recitals in November on the “ProjectArt” S t aff conductor of the 2009 Rome Festival studying intensively the many varia- series at the University of Iowa Hospital Opera and Rome Festival Orchestra, tions in the artist’s signature in what and Clinics and at First United Methodist Holling Smith-Borne, director of the with performances in June and July. seems to be the first study ever done Church of Iowa City. In January, she Anne Potter Wilson Music Library, had a of them. His research has taken him to presented “Common Technical and paper on Blair’s digital collection of East Kathryn Plummer, professor of viola, several libraries and collections, most Physical Issues with Elementary and African recordings nominated for the was invited to participate in the Heifetz significantly to the Archivi Buonarroti Intermediate Piano Students: Causes and best of chapter award for the southeast International Music Institute peda- in Florence last summer. As perhaps the Solutions” at the Chattanooga Music chapter of the Music Library Association. gogy fellowship program. Funded by single most prominent Renaissance art- Teachers Association monthly meeting It was one of two papers selected to be the Surdna Foundation, the fellowship ist, Michelangelo was always much con- and recorded solo piano performances presented at the national meeting of the provided a two-week, all expenses-paid cerned about his professional, social and residency at the institute’s summer pro- personal status, and his signature tells gram in Wolfeboro, N.H. As one of only more than a little about each of those. six fellowship recipients worldwide, she Smith has already given several public spent two weeks in July observing les- presentations on his work, the results of sons, master classes, communication which will be published by Marco Serra- training classes and concerts. Tarantola Editore in Brescia in 2010. Undergraduate winners at the MTNA state collegiate competition in November include (from left) Caroline Jonathan Retzlaff, associate professor Hart, Ben Hart, Emily Nelson, Valerie Hsu, Shona Goldberg-Leopold, Johna Smith, Tommy Crespo, Tiffany Carol Smith, senior artist teacher of of voice, presented a recital in Monroe, Tieu, Lindsey Reymore and Amanda Tallent. violin, was a clinician and teacher trainer at the Suzuki Music Columbus Ga., sponsored by the Monroe County Junior Strings (11-14 years old) Young Artist Strings (collegiate) Music Guild. Darryl Cooper, opera Summer Institute held at Otterbein Marie-Mitsou Akimoto, violin, winner Chris Lowry, viola, winner coach at the San Francisco Conservatory College in Westerville, Ohio, last June. (Christian Teal, teacher) (Kathryn Plummer, teacher) of Music, accompanied Retzlaff. See With Maureen Riley, she was co-director Mary Grace Bender, cello, alternate Tiffany Tieu, violin, alternate sidebar on page 15 for more. of the Blair Summer String Camp for (Felix Wang, teacher) (Carolyn Huebl, teacher) Suzuki violin and cello students held Melissa Rose, associate professor of Senior Piano (15-18 years old) Johna Smith, violin, honorable mention at Blair last June. She also served as a piano, has just completed a recording/ Christina Ramsey, honorable mention (Connie Heard, teacher) clinician at the Ithaca College Suzuki arranging project with violist Monisa (Roland Schneller, teacher) Chamber Music (collegiate) Institute in New York for two weeks last Angell. Eleven Songs by Enrique Senior Strings (15-18 years old) Magnolia String Quartet (Ben Hart, Caroline July. Granados, originally for voice and piano, George Meyer, violin, winner Hart, Chris Lowry and Emily Nelson), alternate is newly arranged for viola and piano. (Carolyn Huebl, teacher) (Christian Teal, teacher) Celeste Halbrook Tuten, senior artist Roger Wiesmeyer, adjunct associate Jacob Schafer, violin, alternate Vanderbilt Woodwind Quintet (Shari Jefferson, teacher of Suzuki violin, was one of the professor of oboe, is also featured on (Christian Teal, teacher) Lindsey Reymore, Thomas Crespo, Shona accompanists for group classes at the English horn in one of the songs. The Goldberg-Leopold, Amanda Tallant) with Middle Tennessee Suzuki Association’s printed music and sound recording are Valerie Hsu, pianist, honorable mention annual fall workshop at St. Cecilia available at www.monisaangell.com. (Jared Hauser, teacher) Academy in late September.

18 BLAIR Quarter Note Spring 2010 19 Non-profit U. S. Postage PAID Vanderbilt University Nashville, TN 2201 West End Avenue Permit No. 23 Nashville, TN 37235

Pianist and conductor Fleisher visits Blair Jennife r B isho p ebruary marked an important visit by pia- piano with both hands. His story was told in the Fnist and conductor Leon Fleisher, Kennedy 2006 Oscar-nominated documentary filmTwo Center honoree and undisputed dean of Ameri- Hands after his 2004 recording of the same can musicians. Fleisher’s well-documented name. This 18-minute film was introduced by life story exemplifies both artistic genius and Mark Wait at its screening as Blair’s Music on strength of will. After building a career as one Film series offering in January. of the world’s foremost pianists in the 1950s Mr. Fleisher and his wife, pianist Katherine and early 1960s, he was stricken by a neuro- Jacobson Fleisher, performed in Ingram Hall on logical affliction known as focal dystonia, which February 6 as the Fleisher Duo—a monumental left two fingers on his right hand immobile. performance event for the entire Vanderbilt and He spent the next 30 years pursuing a dual Nashville community. As part of his Blair resi- career as conductor and teacher, while learning dency, he conducted and performed a Mozart to play the extensive repertoire for piano left piano concerto with the Vanderbilt University hand. After the discovery of new experimental Orchestra on February 7 and participated in an medical treatments, he regained some mobility open rehearsal of the Brahms Piano Quintet in his right hand and has returned to playing with the Blair String Quartet on February 9. The Fleisher Duo