WINTER 2005

sonoritiesThe News Magazine of the University of Illinois School of Music

CRME Bulletin Revamped Boardman: Hall of Famer Zimmerman Foundation Funds Music Education Lessons from Native American Music Alumni Profile Viktor Krauss: Far from Enough Alumni Profile IanIan DingDing andand Detroit’sDetroit’s StrikingStriking New Beat A Tale of Two Chips Two longtime band mates reconnect to enliven UI’s Jazz program Campus News

From the Dean

The School of Music is vibrant with change and new direc- tions on multiple fronts which the College of Fine and Applied Arts is proud to support. From its major professional faculty ensembles such as the Sinfonia da Camera, the world renowned Pacifica Quartet, and the Illinois Brass Quintet to the student orchestras, ensembles, and choruses to the innovative scholarship of the sonorities musicologists so aptly illustrated by Bruno Nettl’s conference on improvisation—the Winter 2005 School is responding to the new realities impacting scholarship and practice in the twenty-first century. I join in welcoming the new faculty and staff who are committed Published for alumni and friends of the to preserving the legacy of the School of Music on the one hand while shaping its School of Music at the University of Illinois at Urbana-Champaign future with a sense of urgency, a commitment to excellence and a recognition of our responsibility to speak to a new generation of students. The School of Music is a unit of the College of Fine and Applied Arts at the University We have managed to move the School forward in these exciting ways in spite of the of Illinois at Urbana-Champaign and has been an accredited institutional member of stunning challenges of the state’s dwindling financial support for higher education. It the National Association of Schools of has been especially hard in the arts because we do not have access to federally funded Music since 1933. research dollars or to significant amounts of private support to bolster us in times of reduced state appropriations. Nevertheless, because of the compelling vision of the Karl Kramer, director School as articulated by its director and faculty, we have made progress. An entrepre- Edward Rath, associate director neurial spirit and a team effort involving a variety of campus partners and key donors David Atwater, assistant director, business have coalesced to refocus our programs including development of a jazz program, the Joyce Rend, assistant director, enrollment management and public engagement residency of the Pacifica Quartet, exciting leadership of the opera program and the Marlah Bonner-McDuffie, associate director, new music ensemble, and strategic hires in music education headlined by the recruit- development ment of an internationally renowned scholar for the Zimmerman endowed chair. Janet Manning, coordinator, alumni relations and development Janet Manning, Bruno Nettl, editors The support of our alumni and friends is critical at this time in the School’s history. Anne Mischakoff Heiles, staff writer Your contributions to the annual fund—no matter the amount—aggregate into PrecisionGraphics.com, design immediate support for School programs. Larger gifts secure the excellence of faculty hires and new curricular initiatives. We thank you in advance for your generosity— Cover photo by Chris Brown whether you are a first time donor or if you have a history of sustained support. You

UI School of Music on the Internet: can also help us in recruiting the best undergraduates and graduates in the field to http://www.music.uiuc.edu study at Illinois. Come to see us, meet the faculty, and direct those wonderful students to our programs. We think you will like what you see and you will partner with us in a genuine way to secure the legacy and advance the future of this magnificent School of Music.

I look forward to seeing you—at the annual tailgate, at a concert, at the opera... wherever we gather to celebrate music at Illinois.

Kathleen F. Conlin Dean, College of Fine and Applied Arts in this issue

From the Director

The Transition Continues…

This fall, the School of Music welcomed ten new full-time faculty. Combined with last year’s hires, more than 20% of the faculty (15 members) is new, having a profound positive effect on the School. I remind my faculty often that not a single student decides to matriculate at the UI School of Music because Karl Kramer is the director*; they come because of the unique talent, energy, and expertise of each individual faculty member. After all, when the computers are shut off for the night and our amazing library closes, we’re still a medieval apprenticeship—one on one. I should mention several performance highlights scheduled for this year, beginning with a combined performance of the Marching Illini and Florida A&M’s Marching 100 (whose two directors, by the way, are UI alums) at the first game of the season in Memorial Stadium…what a hoot! In October, the UI Symphony Orchestra opened its season with Mahler’s Symphony No. 5, Winter 2005 and the New Music Ensemble, now firmly woven into the fabric of the ensemble program, wel- CAMPUS NEWS comed its new music director and conductor, Eduardo Diazmuñoz. November 6-7 marked the CRME Bulletin Revamped sesquicentennial commemoration of John Philip Sousa’s birth, which was celebrated by a week- 2 end-long symposium spearheaded by Jim Keene and the Wind Symphony. In February, we wel- 3 Sousa Celebrated come back alum and Grammy-winning artist Jerry Hadley to star in our spring semester International Impovistaion production of Candide. You’ll probably remember that Jerry won his first Grammy Award for his 3 recording of Candide with June Anderson and Bernstein himself conducting. Jerry will be with us Conference for a full month of rehearsals during which time he will be giving master classes, coachings, and 2004 Summer Jazzfest voice lessons. Call and get your tickets now; this is an excellent reason to come back to campus, 4 to reconnect and see this rarely staged gem of American opera/musical theater. 4 Eunice Boardman—Hall of Administratively, we have completely reorganized and restructured our admissions and out- Famer reach operations into one integrated division of enrollment management and public engage- Admissions and Outreach ment. The result is a lean, mean recruiting machine, if you will, to facilitate our national and 5 international recruiting efforts and to serve our state-wide constituencies for both degree-granting collegiate programs as well as our pre-college summer programs and workshops. Two new staff members, David Allen and Lynwood Jones, join this operation headed by Joyce Rend. COVER STORY The University is still grappling with the issue of what to do about Chief Illiniwek, and, 6 A Tale of Two Chips quite frankly, I’m not sure there is an agreeable solution in sight. The dilemma is to keep him and continue to deal with claims of insensitivity or to retire him with honor. My solution, which, by the way, no one embraced, was to cast the chief as the Commendatore in our fall production FEATURES of Don Giovanni. As the story goes, he would be “retired” in the first act, with honor, of course Giving: (I mean how much more honorable can you get than a Mozart opera?), and then make a brief 11 appearance in the finale leading Giovanni to his “final” resting place. Metaphors abound with- Zimmerman Foundation in all that pageantry, and, to top it off, we would do it four times! Funds Music Education My own life is still in transition from New England to the Midwest…I have let my subscrip- 26 Musicology: Lessons from tion lapse to Yankee Magazine, I have requested that L.L. Bean take me off their mailing list Native American Music (I’m now getting into REI), and I’m just beginning to trade my baseball frustration from the Red Sox to the Cubs, although my childhood love of the Phillies still continues to be first in my con- Student Awards sciousness. And a tidbit in the irony department…while living in New Haven, Jean and I owned 28 a house in the city limits which, for some bizarre reason known only to an 18th century survey- 32 Alumni Profile: or, included an acre and a half of ground. My John Deere tractor came in handy when it was Viktor Krauss time to mow the grass. When we moved to Champaign, in the heart of the nation’s farm coun- Alumni Profile: Ian Ding try and only 45 minutes from the John Deere factory in Decatur, I had to sell the tractor because 46 our house here has a lawn the size of a postage stamp…go figure. Thanks to all of you who keep the checks of support coming; the state of Illinois’ budget isn’t doing the University any favors. Only you DEPARTMENTS can provide that margin of excellence that distinguishes the UI School New Faculty of Music. 16 19 Faculty News 29 Student News Karl Kramer w Director, School of Music 35 Alumni Notes i Band Notes n *well okay, my daughter, Sara, is enrolled in the D.M.A program and I might have swayed her a bit 36 t Alumni News e 37 r 50 Partners in Tempo 2 0 0 5 1 Campus News

Music Education. The most recent ODA At 40, Bulletin of the Council for awards were presented to Sheila Faye Research in Music Education (CRME) Shaw (University of Washington) and Ran- dall Everett Allsup (Teacher’s College, Gets New Look and Web Site Columbia University) in March at the Gregory DeNardo, associate professor and editor of the Bulletin MENC Convention in Minneapolis, Min- Family and friends The Bulletin is published quarterly and nesota. These awards were named in occasionally view received by nearly 1,000 individuals and honor of Marilyn Pflederer Zimmerman our fortieth birth- libraries throughout the world. It continues and the recipients received a commemora- days as creative to be recognized as one of the premier tive plaque and monetary award. outlets. Humor- scholarly journals in the music education Subscribers can anticipate greeting the ous displays of profession and one of the most frequently new cover and layout design in upcoming old photos by cited by researchers in the field. A distin- Bulletin issue number 161. We are also these pranksters guishing feature of the Bulletin is the publi- pleased to announce that a CRME web are presumably cation of diverse research studies, site will be launched in January 2005. It intended to thought-provoking invited articles by music promises to be among the most innovative chide us into believing education leaders, and reviews of exem- resources provided to the music education we are over-the-hill. Judging from the plary doctoral dissertations. However, pub- profession. Music educators and newly designed cover shown on this page, lication of the Bulletin is one of several researchers will have on-line access to this is not the case for the Bulletin of the unique services provided by the Council Tables of Content and Abstracts of all arti- Council for Research in Music Education. for Research in Music Education. cles published over the past forty-years. The new cover is one of several innova- The Council regularly compiles and dis- The site will also feature an up-to-date list tions being introduced to commemorate tributes an index of Dissertations in of Dissertations in Progress and include the fortieth anniversary of the founding of Progress (DIP) in music education. DIP is information for subscribing and publishing the Council for Research in Music Educa- intended to provide dissertators and their in the Bulletin. tion (CRME) in the School of Music, Divi- advisors with an informed sense of current Elsewhere in this issue of sonorities, sion of Music Education, at the University research activity being conducted in doc- readers will have the opportunity to learn of Illinois at Urbana-Champaign. toral- granting programs. It may also be about the significant contributions made to The inaugural issue of the Bulletin was regarded as the School of Music edited by Professor Emeritus Richard Col- a venue for by the Zimmerman well and distributed in June 1963 as a promoting Foundation. The Coun- service to music education by the School contact and cil for Research in of Music. From its inception, the primary possible col- Music Education was mission of the Bulletin remains to “critique laborations no exception. The research studies in such a manner as to among novice most noteable birth- make them meaningful to the practicing researchers. day greeting came in music educator and to disseminate, as The Out- the form of a generous widely as possible, news of major standing Dis- grant to support the research projects in progress.” Colwell ini- sertation Outstanding Disserta- tially advanced this statement of purpose Award (ODA) tion Award, Research in a correspondence with a national music was present- for Young Scholars education leader in 1964. This mission ed by CRME program that distrib- was carried out by the founding editor for the first uted over 100 com- until his retirement in 1990 and advanced time in 1982. A carefully designed nomi- plete sets of the Bulletin to music education by subsequent members of the School of nation and review process undertakes the programs in every state, the development s Music faculty who assumed the editorship. systematic task of awarding the ODA each of the CRME web site and, of course, the o n Among these are the late Marilyn Pflederer academic year. Recipients receive their Bulletin’s face-lift. CRME is happier than o Zimmerman, Eunice Boardman, John awards at the CRME Advisory Board meet- ever to be revitalized moving into the r i Grashel, Deborah Sheldon and Gregory ing held at respective national conventions future. t DeNardo. of MENC: The National Association for i e s 2 Sesquicentennial “New Directions in the Study of Improvisation” Celebration of Sousa makes Draws Distinguished Scholars Nationwide national news Bruno Nettl, professor emeritus Declared by the U.S. Sponsored by the division of musicology, the and Stephen Hill (at Northwestern); our Senate in October conference on “New Directions in the own associate dean Eve Harwood; as well 2004, November is Study of Improvisation” took place at UIUC as dance department alumnus Chris Aiken officially the “Ameri- April 1-4 and was hailed as a major suc- (now at Ursinus College). Subjects of can Music Month to cess because of its interdisciplinary, inter- papers ranged from jazz to Mozart and John Philip Sousa 1854-1932 celebrate music per- cultural, and comprehensive approach Beethoven, from musics of Indonesia, formance, education, and scholarship in highlighted by its inte- India, from the Mid- the United States” as well as to celebrate gration of papers, dle East to John John Philip Sousa's birth (November 6, lectures, workshops, Cage, and contem- 1854). Sousa the “March King” is known demonstrations, and plation of improvisa- as one of the most influential figures of concerts. The confer- tion in everyday life American music. ence—organized by to the ways different The UI celebration included a “Sound William Kinderman, societies learn and of Sousa” weekend at Allerton Estate in Bruno Nettl (chair), teach this branch of Monticello, on November 6-7 featuring and Gabriel Solis, music-making. presentations by Sousa experts on period and supported by Demonstrations of instruments, and a guided tour of the eighteen units at improvisation in var- Sousa Archives on campus. The UI March- UIUC, brought togeth- ious contexts were ing Illini performed Sousa marches at half- From left: Lawrence Gushee (UIUC), Christopher Waterman er as presenters over (UCLA), Charles Capwell (UIUC), and Richard Wolf (Harvard) offered by UIUC fac- time during Saturday’s football game thirty distinguished scholars and artists, ulty: technology (Guy Garnett), Baroque (which Illinois won!). Also being featured from institutions throughout the USA. Its keyboard music (Charlotte Mattax), accom- during the month of November is an exhib- various events were attended by over 200 paniment to dance (John Toenjes), and it of the original score of the Stars and individuals, many of them UIUC faculty jazz educa- Stripes Forever, from the Library of Con- and students. Framed by concerts of Per- tion (Chip gress, at the Krannert Art Museum on cam- sian and Arabic music (by Los Angeles McNeill). pus. According to Scott Schwartz, curator santour virtuoso Manoochehr Sadeghi and Also of the Sousa Archives at the Harding Band UIUC Ph.D. alumnus Ali Jihad Racy respective- among the Building, “it will be the first time since ly), the conference featured plenary lec- high points Sousa's death that a complete original tures by Harvard professor Ingrid Monson of the forty score and the corresponding original parts on Jazz, CUNY professor (and UIUC presenta- of the march can be viewed in the same From left: Ann Rasmussen (William and Ph.D.) Mary), Ali Jihad Racy (UCLA), and Stephen tions were place.” Slawek (Univ. of Texas) Stephen a demon- The weekend concluded with the UI Blum on the stration, by David Rosenboom, dean of Wind Symphony, under the direction of concept of music at the California Institute of the Arts James F. Keene, presenting an authentic re- improvisa- (and a UIUC alum), of the Sal-Mar Con- creation of a concert performance by the tion, and struction, developed on this campus by the legendary Sousa Band at the Krannert From left: Bruno Nettl, Patricia Campbell University of late distinguished professor Salvatore Mar- Center for the Performing Arts, with Profes- (Univ. of Washington), and Christopher Washington tirano; and a presentation of improvisation sor Keene appearing in costume as John Waterman professor in the work of Mozart by Harvard profes- Philip Sousa. Patricia Campbell on improvisation in sor Robert Levin. School of Music faculty Hopefully you saw some of the news- music education. Also among the speakers who spoke included Charles Capwell, worthy events being touted on PBS, CNN, were UIUC Ph.D. alumni Christopher Lawrence Gushee, William Kinderman, and “CBS Sunday Morning” (with video of Waterman (now dean of arts at UCLA), Bruno Nettl, Gabriel Solis, Nicholas Tem- the Marching Illini from Saturday's game). Stephen Slawek (professor at Texas-Austin), perley, Thomas Turino, and Tom R. Ward.

UI Band at Albert Memorial in London

w UI Band Tours Ireland and England i Approximately 100 current University of Illinois band members and alumni trav- n eled to Ireland and London, England during the 2004 spring break. Highlights t e included two performances in Dublin, and additional performances in Waterford r and Kilkenny, Ireland. The trip marked the fifth time that the Marching Illini has appeared overseas. The Wind Symphony also toured the British Isles in 1997. 2 0 0 5 3 Campus News Eunice Boardman Now a Hall of Famer Anne M. Heiles In April 2004 Professor Emerita Dr. Eunice temporary music as suitable for the educa- Boardman was the fifth UIUC faculty mem- tion of young children….” According to ber to be inducted into the National Associ- Harwood, Charles Leonhard—international ation for Music Education Music Educators leader of graduate music education, who Hall of Fame. That mouthful signifies the spearheaded the building of UIUC’s doctor- association’s recognition of Boardman’s al programs in music education—”used to career-long impact as a leader in music refer to her regularly as ‘the brightest mind education. MENC established its Music in general music.’” Educators Hall of Fame twenty years ago to Boardman joined the UI faculty in 1989, honor “the most highly regarded profes- helping her colleagues expand course offer- sionals in the field.” It selects no ings to include the more than three individuals every psychology of music two years for the honor, and the and computer-based association’s guidelines require instruction, among that the recipient be “at least 55 other subjects. She years of age with a record of sus- was editor for the tained…contributions to the field.” Council for Research In addition to having made out- in Music Education standing contributions to advance Journal and on the music education, a recipient must editorial board of have attained eminence, exerted the International significant influence, and accom- Journal of Education plished something of continuing & the Arts before her value to the future of the field. retirement in 1998 In her career at the University at the age of seven- of Illinois, and before that at the ty-two. Joe Grant, Second Annual UIUC University of Wisconsin, Boardman clearly chair of the music education division, Summer Jazzfest Sizzles passed the test—and she continues to do so remarked that “the span of her teaching in retirement. Boardman was chair of grad- career is quite amazing; . . .personal zeal Krakatau…. Scott Joplin…. Miles Davis/Gil uate music education at UI, a program that and energy are what characterize her both Evans… Chip McNeill….. Jon Faddis…… produced and placed hundreds of music personally and professionally.” Indonesia, Spain, America…. jazz…. rock… educators among its master’s and doctoral Music educators know Boardman pop… were all featured during the School of degree recipients. She herself was one of through her work as author or co-author of Music’s June Jazzfest at the Krannert Center those graduates, earning a doctorate at UI numerous publications—journal articles, for the Performing Arts (a fourth concert and after completing undergraduate work at these include the elementary school text- dinner were held at the University of Illinois’ Cornell College, Iowa, a master’s degree at books in the Holt Music series, The Music Allerton House Conference Center). Teachers College-Columbia, and teaching Book (1981), and Exploring Music (1971), The enthusiastic ensemble Krakatau, a in the public schools. In her letter of support the last of which one reviewer on the “book- world-famous and widely-traveled ten-piece for Boardman’s nomination, Dr. Eve Har- thoughts” website gave five stars plus the jazz ensemble from West Java, Indonesia per- wood described the impact Boardman’s rave notice: “This is a freakin’ awesome formed traditional Indonesian music energized writings and mentoring had on her “and a book!” At the university level, Boardman’s by modern feels of jazz, rock, and pop on host” of other students. She added: “The widely used textbooks include Musical June 9. The next evening brought a revival of clarity of her thinking in applying Bruner’s Growth in the Elementary School (1963, Scott Joplin’s The Red Back Book, conducted theory of learning to music education was th by Don Schleicher. Featuring renowned trum- 6 ed. 1996), and she was editor of truly impressive. Her development of the peter, Jon Faddis, the third evening concert Dimensions of Musical Thinking (1989), s ‘generative approach’ to music teaching oincluded the Miles Davis/Gil Evans collabora- and Dimensions of Musical Learning and stands as an enduring and original contri- ntion of Sketches of Spain and Porgy and Bess Teaching (2002). o bution…in this field.” She further cited rwhich were performed and conducted by Joe After a whirlwind schedule at the Uni- Boardman’s “championing of comprehen- iMuccioli. Professor Chip McNeill’s Quartet, versity, retirement took “a long time” to get t sive musicianship and her support of con- used to, Boardman says, adding that she ifeaturing Jon Faddis, concluded the perform- eances at Krannert. s Photos: Chris Brown 4 has learned to enjoy bridge and crossword puzzles, book clubs, and travel, “the usual School of Music retirement activities.” Professor Boardman also has kept active in guest residencies Admission Activities and talks in the past year, for example, appearing at Lebanon Valley College’s Mary E. Hoffman Symposium. Now living Include Outreach Too! in Rock Island, Illinois, she has also edited Joyce Rend, assistant director for enrollment management and public engagement an anthology for the Davenport-based Mis- sissippi Valley Blues Society (Up the Missis- Many new things in the area of admissions and outreach have sippi: A Journal of the Blues, a book and taken place since the last publication of the Winter 2004 issue of CD). Boardman says she got the assignment sonorities. July 1 marked the beginning of a new appointment for “by accident,” not realizing what it me within the School of Music as assistant director for enrollment entailed, but that she “learned a lot from it management and public engagement. Though the title change is and had fun.” She continues to see UI con- subtle, the new responsibilities are considerable. ductor Donald Schleicher, who is also music Before embarking on a summary of the changes implemented this summer, I director of the Quad Cities Symphony, as would like to share a review of the 2003 – 2004 admission season. First, the she helps organize the orchestra’s pro- School of Music saw a 25% increase in the number of applications. In addition, grams in the public schools. over the last several years, the selectivity factor has improved from 72% in 2001 to Over the past two decades, several 52% in 2004. With three national audition dates held in 2004, the School of other past UI music educators have been Music was able to attract a broader applicant pool. As applications continue to inducted into MENC’s Hall of Fame, includ- rise, the School of Music faculty members will continue to see higher quality appli- ing faculty members Austin Harding cants, speaking both musically and academically. The class admitted in 2004 (1988), Charles Leonhard (1994), Richard includes 66 freshmen, 13 transfer students, and 89 new graduate students. Though J. Colwell (1998), and Mary E. Hoffman the incoming undergraduate class is slightly smaller than usual, this is one of the (1998), as well as Bennett Reimer (2002), largest incoming graduate student classes the School has enrolled in several years. who received his Ed.D from UI and went on We now set our sights on applicants for Fall 2005. The School of Music con- to head the music education program at tinues to have a presence at all of the NACAC Performing and Visual Arts fairs Northwestern University. Leonhard, teacher during the month of October. In addition, members of the newly reorganized of several of the others, merits special atten- admissions and outreach team will visit high schools throughout the state of Illi- tion. He wrote Foundations and Principles nois and adjoining states in an effort to raise student and teacher awareness of of Music Education, a textbook first pub- degree and curricular opportunities at the School of Music. Similar visits will also lished in 1959 that became the standard for be made to performing arts high schools throughout the United States as we generations of graduate and undergradu- attend college fairs in metropolitan cities. ate students. He founded and chaired the As mentioned above, a dramatic change within the Council for Music Teacher Education and School of Music has taken effect by the integration of was director also of the National Arts Edu- admissions and outreach under one umbrella. Dr. cation Research Council. Kramer invited two highly qualified people to join the At the time of Charles Leonhard’s induc- enrollment management and public engagement staff: tion Dr. Boardman wrote about her col- Allen Jones David Allen, coordinator of outreach and public league (see Music XIV, no. 3, 5): “The engagement and Lynwood Jones, coordinator of enrollment management and stu- passion of his commitment to the cause of dent services. Together, we are working diligently to take advantage of recruiting music education has inspired those of us trips where we can promote outreach programs such as the Allerton Chamber who have had the privilege of studying with Symposia and Illinois Summer Youth Music. Likewise, when on-campus events such him in the graduate program at Illinois…. as ISYM are in session, we have a mini-college fair where students interested in The power of that commitment, as reflected attending the University of Illinois can pick up more information and ask questions in the creative insight of his solutions to of the admissions staff. music education problems, will continue to This is an exciting time for the School of Music, especially in the areas of out- serve as a model for many years to come.” reach and admissions. Should you have students or colleagues who are interested These words apply equally well to Eunice in learning more about any of the 20 outreach programs sponsored by the School Boardman herself, whose own work has of Music or applying to the University of Illinois, please refer them to our website: guided and inspired thousands of students w www.music.uiuc.edu. here and elsewhere. i I would be happy to discuss our recruiting and outreach activities. If you would n like to contact me, please do so by email at [email protected] or phone at t 217.244.7899. I wish you all the best for a successful and productive year. e r 2 0 0 5 5 Cover Story ATAL

TenorTWO saxophonist Charles “Chip” McNeill and pianist John “Chip” Stephens, two sparkplugs in Champaign-Urbana’s jazz scene, seem almost joined at the hip in their careers. The two have worked together under three very Anne M. Heiles McNeill, associate professor and chair of the jazz division, gives his synopsis:“Chip was in the Woody Herman band in the late 1980s when we first met. After some time he left the band; then I left the band a few months later. I got on May- CHIP 1 nard’s band,and was in Cleveland one night when Chip came (Chip McNeill) to the gig. Afterward we were hanging out, and I thought, well, this guy would be perfect for Maynard’s band. Sure enough, he came on a while later. Again, he left and then I left, both of us to start teaching. Then he got Arturo’s gig and maybe a year later I got on.Then he left, then I left….” Taking over the narrative, Stephens, UI’s newest addition to the jazz division faculty,elaborates: “Woody’s band differed from the traditional big band setup in that he used three tenor saxophones and one bari sax (as opposed to the more standard two altos, two tenors, and baritone saxophone line).” A typical big band is eight- een pieces, with 5 saxophones, 4 trom- bones,5 trumpets,and 4 rhythm section (piano, bass, guitar, and drums). Maynard Ferguson was “one of Sandoval’s idols,”Stephens says of his next boss. “Maynard could play high notes all night long. He actually gave Arturo his s trumpet one night on a gig o n in Florida. Arturo has it o displayed in a big oak r i cabinet in his house. t i Maynard got his first e s

6 Photo: Chris Brown EOF

CHIPSspecial band leaders: Woody Herman, Maynard Ferguson, and Arturo Sandoval. Each experi- ence helped pave the road to the next. And now they are again working together, enliven- ing UI’s jazz program.

gig at the age of sixteen with Stan Kenton’s orchestra, which made him an instant star. “Chip [McNeill] had a long history with Maynard. He was with the Big Bop Nouveau band when he called me in Maine—on the second night of my honeymoon—and said, CHIP 2 ‘You want a gig?’ So I asked my wife. She’s always felt that if (Chip Stephens) something is a good decision creatively and artistically—and pays good money (let’s not forget that)—hey, let’s do it. Her father’s a great jazz pianist in his seventies, though he sounds thirty years younger.” Knowing a jazz player’s life, his wife accepted what came next: “I was married for two weeks and then went on the road for a year.” Stephens says,“It was a great experience; Arturo is one of those artists who wears his heart on his sleeve.You always know how he feels.” McNeill adds, “It shows up in his playing.” Picking up the beat, Stephens continues: “It sure does. He’s a passionate man and a passionate player. It was an absolute ball playing in his band. Latin music isn’t a style indigenous to my her- itage, so I was glad to have already played in a Latin band in w i Cleveland. Arturo had a six- n piece band, much smaller. Its t rhythm section is piano, bass, e r drums, congas, and timbales. 2 Arturo played the timbales and 0 0 5 7 Cover Story

Chip Stephens, Arturo Sandoval, and Chip McNeill in Nashville, circa 1990s.

trumpet, so the front line was just saxophone and trumpet. It in those days,” he sums it up. “Sure, travel is hard on you, was very exposed,and there was a lot more room for improv- being away from family and all that you know and love. But isation with the smaller group. playing music on that high a level every night made it worth- “I had some wonderful times with him—and some heated while. And I’ve always loved playing with Chip; we shared moments,which you would expect with anyone who’s under the stage so many times in our careers together. That’s the kind of pressure he had.” Sandoval’s nerves were frayed always been a joy.” over small and big issues,“variables” Stephens calls them. He Both Chips were in Sandoval’s band when it recorded the fretted over getting to the gig on time, how he might per- Grammy-winning Hot House album.Chip McNeill “wrote the sonally feel about a band member, a missed flight, a club not chart on the title cut and was arranger for several of the paying him the deposit, and songs (Mambop and Cuban more. Stephens is quick to American Medley),”Stephens point out that Sandoval was points out. “Chip’s a great hardly alone in reacting writer.” McNeill’s three songs strongly to pressure.While he were nominated for individ- was in Woody Herman’s band, ual Grammy awards, but it Stephens saw the same strong was the record as a whole reactions to stress in Frank that won. Tiberi, the band’s leader after There were no rehearsals Herman’s death: “There were for their performances, a com- nights when Frank had so mon practice where budgets much on his mind that it was are limited and studio time so

hard for him to be himself. Photo: Chris Brown costly. Stephens says they McNeill rehearsing with the UIUC Jazz Ensemble. But he and Arturo were pro- recorded the rhythm section s o fessionals, and this wasn’t communicated to the audience.” players in Miami’s Criteria Sound, a “beautiful studio” and n o Stephens stayed with Arturo Sandoval almost three years, popular venue, which, McNeill notes, was built by Max r touring the world more than once, from Hong Kong to Aus- Immerman, inventor of the Ampex multitrack tape machine. i t tralia and everywhere in Europe.“Lots of frequent flyer miles “Basically, we got to the studio, read through it a couple of i e s 8 “When you see that your instructors can stand “When I was a student, the professors I up and reproduce what they’re talking about, respected most were those who played and that’s the quickest, most powerful lesson.” those who had a history of playing.” —Chip McNeill —Chip Stephens

times, and recorded it,” says Stephens. And he shares that hood after his broth- knowledge with his students: with so little rehearsal time er started calling available in professional situations, he says,“they must devel- him Chip. Around op the ability to read. Not being able to sight-read is like an the UI Music Build- author not knowing the alphabet.There was a period in jazz ing, the two are history when you could get away with not being able to sight- sometimes referred read, but that isn’t true today.” to as the “Chipsters.” According to McNeill, the horns were recorded in San- Trombone great Paul doval’s home, a small section that used overdubbing to create McKee once jokingly a big band Latin sound. The section included Sandoval and suggested to profes-

one other trumpet player, two trombone players (one han- Photo: Chris Brown sor Dana Hall that McNeill with trombonist Jim Pugh rehearsing for the 2003 dled three parts, and Joe Barati did the bass trombone), UIUC Summer Jazz Festival. he, too, change his McNeill and Ed Callé as saxophonists. name to Chip. And At these two sessions the musicians started with charts there’s jazz bassist Chip Jackson, McNeill points out. but improvised much of the recording.“Arturo is a keyboard Stephens has a full teaching load, including a carefully player,and he had put together a demo on a synthesizer,with sequenced series of jazz improvisation and theory courses as overdubbing of the tracks, and he gave that to us.A lot of it well as applied jazz piano, and he coaches a jazz combo. ended up drastically different than what he had originally Spread over four semesters for undergraduates and two for shared. You get in there and hear someone playing, and say graduates, the new improvisation courses begin gently, with ‘Oh, that was cool, let’s do that,’”Stephens reminisces.“It was the Blues “because that’s primarily how we all learn to play. a great experience.” The form is accessible, and students are able to succeed and The two Chips also participated in For Love or Country, even excel at it fairly quickly. We go on to more contempo- a sound track accompanying an HBO movie about Sandoval; rary tunes, like Giant Steps or Moment’s Notice, modal con- that work won an Emmy Award. Stephens remembers receiv- cepts, all the way up to free jazz. Some people say ‘I’d like to ing one day’s notice to get from Cleveland to Los Angeles to play Misty free,’or maybe ‘I want to play Satin Doll free,’but play in the band for that’s a contradiction. Free playing is no defined parameters, that movie. no changes, no tune, no chord structures. Satin Doll has a Stephens and his melody and harmonic form.” He likes to refer to theory as wife, Carol, moved to jazz’s “math,” including common chord progressions and Urbana in August. structures and the chord-scale relationships. McNeill chips in They have two young that those also are part of the jazz keyboard studies. In addi- sons, Colson (“Cole”) tion to the applied jazz piano that Stephens and Joan Hickey and Clayton (“Clay”), teach to jazz majors, the jazz division also offers class jazz so the family shares its piano for other music students (horn players, classical initials of CS. He says pianists, etc.). his mother enjoyed Unlike the early days of jazz at UI, when John Garvey the TV show “My began the UI Jazz Band in the 1960s, the jazz division now w Three Sons” so much comprises five faculty members:McNeill,Stephens,drummer- i that she nicknamed composer-ethnomusicologist Dana Hall, pianist Joan Hickey, n t him after the charac- Photo: Carol Ann Stephens and saxophonist Ron Bridgewater. McNeill: “Really, our goal Stephens relaxing at the Steinway in his studio. e ter Chip (officially has been to revitalize the jazz program. The Jazz Band was r short for Cortland). McNeill received his nickname in child- John Garvey’s ‘baby,’ but he didn’t have a full program. But 2 0 0 5 9 Cover Story

even then, it’s important to remember, UI turned out some Armstrong, Miles Davis, Art Tatum (“he was so sophisticated amazing jazz players, including tenor saxophonist Joe Ferrell harmonically,not to mention a technical wizard”),and pianist (who was originally a flute major here), alto saxophonist Bill Evans (“an absolutely beautiful player”). Evans, Chick Howie Smith (now directing the jazz program at Cleveland Corea, Keith Jarrett, and Brad Meldau (a younger player) all State University), composer and arranger Jim McNeely (now are fine jazz artists with a classical music background, a major jazz pianist and composer in New York City), and sax- Stephens adds. “A lot of younger jazz musicians have ophonist-composer Kim Richmond (now in Los Angeles). embraced the Western classical tradition because there are so McNeill waxes enthusiastic: “In the late 1980s and 90s many things you need now to succeed. It’s not just about Tom Birkner and Tom Wirtel started a small program with a playing the blues. Playing in tune and having the ability to few courses. But now we have a major in jazz studies, offi- read music is vital in today’s music world. “A lot of students ask, ‘Can you make a living in music?’ Professor Stephens points out: “I’m more con- vinced than ever that if all your basic musical skills are in place—if you’ve got a good sound, can play in tune, and can read, if (as a reed player) you can double, and if you can play with other people,you can do really well in this business. I’ve got dozens and dozens of friends who are doing it.” Typically people don’t hire someone unless they know the playing and the person, Stephens warns. “Especially with road bands, where you’re working and living with people, it means being able to play in certain contexts and getting along with others. The tape or CD is just preliminary.” Both men perform in the Urbana area as they have Photo: Carol Ann Stephens Stephens in his Smith Hall studio with student Toby Curtright. time. Late this summer they played at the Iron Post, a club in town.“It’s cool to be a part of a faculty that’s out cially called jazz and improvisational music. In two years there doing it,“ Stephens says.“To cut to the chase, that vali- we’ve gone from zero to about forty students, all the way dates our existence. When I was a student, the professors I from bachelor’s and master’s degrees to a doctor of musical respected most were those who played and those who had a arts in jazz. It’s been a lot of work and a lot of fun, too. We history of playing.” McNeill concurs:“The crux of it is your already have our rhythm section, with Chip Stephens and ability to play.When you see that your instructors can stand Dana Hall.We’re working on getting a jazz bass teacher next, up and reproduce what they’re talking about,that’s the quick- and eventually we’ll have a guitar and jazz brass person.When est, most powerful lesson.” I came to Urbana, one of the first things I noticed was the Chip 1:“You learn how to play by playing.” rich tradition of jazz in the area clubs, with an amazing num- Chip 2:“That’s right.There’s no substitute for experience. ber of true jazz players, improvising being their primary The act of going out there physically and playing with all source of music,”enthuses McNeill. kinds of bands on the road forces you to deal with all sorts of Stephens,who began his career after getting degrees at the musical situations and players. In reality, that’s what our stu- University of Akron and Cleveland State University in classi- dents are going to be doing.” cal piano, says classical studies are terrific background for McNeill sums it all up:“This high school students to bring to their jazz studies. He is our way of giving back to emphasizes also the importance of “getting a teacher who the students what we’ve understands the jazz idiom, a really good teacher who can learned in our playing experi- point you in the right direction,noting deficiencies but also ence. It’s all about them.” s building on strengths. Many young musicians don’t under- o stand the importance of listening to music and getting the n GET HERE SOONER o sound in their mind’s ear; it really is an aural tradition.” The University of Illinois Concert Jazz r Band’s debut CD! Featuring The Long i Although he says young people should listen to “everybody,” Road To Nowhere, In This Moment, t Maybe You Don’t, Nothing Doing, he suggests starting out with some “marquee players”: Louis The Forrest, Greenpiece, Just Friends, i and Get Here Sooner. Available in e the School of Music Jazz Division s (217-333-9703), and at Champaign- Urbana bookstores. 10 New Gifts The School of Music is pleased to announce several new endowment gifts. Through the generosity of our donors, the School of Music will continue to attract outstanding students to study at the University of Illinois.

Master of Music Education at Indiana Uni- The Zimmerman Foundation’s $1.65 versity; and earned his L.T.C.L., F.T.C.L., and Ph.D. at the University of Sydney. His million gift to the School of Music endows research interests include psychological aspects of musical behavior, performance Chair and Fellowship in Music Education skill, composition, improvisation, instrumen- tal pedagogy, motivation and self-regula- Edward Rath, associate director Marilyn paid practicing music teachers the tion, giftedness and talent in music, and respect of writing a thorough review of the music education curriculum development. The School of Music received its first active literature, including all the relevant cita- He is current president of the International endowed chair this past year through the tions, in language a working teacher could Society for Music Education, former nation- generosity of the Vernon K. and Marilyn understand and use as a basis for design- al president of the Australian Society for Pflederer Zimmerman Foundation. ing his or her own curriculum.” Music Education, a member of the Aus- Marilyn Zimmerman, a world-renowned In speaking about Dr. Zimmerman, tralian Music and Psychology Seminar, author and teacher, received both master’s Dean Harwood told a group of music edu- and of the Advisory Panel for the Call- and doctoral degrees from the University away International Resource Centre for of Illinois. She later was a member of the Music Education at the University of West- School of Music faculty at various times in ern Australia. He has also served as a a career that also included faculty appoint- teacher education advisor for the Aus- ments at Case Western Reserve, Indiana, tralian Music Examinations Board. McPher- Northwestern, Ohio State, and Temple uni- son is editor of Research Studies in Music versities. Her husband, Vernon, was known Education and a member of the editorial throughout the world for his leadership in boards of the Bulletin of the Council for the field of international accounting, and Research in Music Education, Psychology he served as Dean of the UIUC College of of Music, Music Education Research, Commerce and Business Administration for British Journal of Music Education, Interna- 15 years. Marilyn died in 1995, and tional Journal of Education and the Arts, Vernon in 1998. Research and Issues in Music Education, Marilyn Zimmerman made her mark in Journal of Research in Music Education, the world of music education through her and Asia-Pacific Journal for Arts Education. research concerning the relationship of He is also a member of the International children’s musical activities and the role Society for Music Education Research perception plays in musical-cognitive devel- Commission. In 2003 and 2004 he opment, and seeking to learn how this worked as the professor of creative arts at might influence and improve instruction in cators that “‘Gentility’ is the best descrip- the Hong Kong Institute of Education. Dr. the music classroom. “Her studies were tion I can find for the quality Marilyn McPherson will be joining the School of pioneering and remain as a standard ref- brought to scholarly life. In the first issue of Music faculty in January 2005, at the com- erence for anyone investigating children’s the Bulletin that she edited, Marilyn said, pletion of his association with the HKIE. musical cognition,” said FAA associate ‘civility is not inconsistent with intellectual The School of Music is most grateful to dean Eve Harwood, herself a colleague integrity.’ She was unfailingly courteous the Zimmerman Foundation and Mrs. and close personal friend of Marilyn’s. and genuinely championed the research of Joyce Zimmerman for the tremendous faith Furthermore, Dr. Zimmerman was a fre- her colleagues and students.” they have placed in the School. We look quent speaker at national and international Last year, a faculty search committee forward to fulfilling the responsibilities of conferences, a prolific writer, and editor of undertook the daunting task of identifying st the Bulletin of the Council on Research in someone of world renown who could this trust as we enter the 21 century in a w i Music Education. “She authored a pam- assume duties as the first Zimmerman Pro- position of strength, greatly enhanced by this gift, in the field of music education. n phlet for the MENC called, Musical Char- fessor of Music Education. The person t acteristics of Children,” said Harwood. “It appointed to hold the Zimmerman chair is e Dr. Gary McPherson. Dr. McPherson Materials used for this column were found in earlier was a landmark in that it was written for articles by Melissa Merli of the Champaign-Urbana r practicing music teachers, explaining how earned his Diploma in Music Education at News Gazette and Melissa Mitchell of the UIUC Inside 2 children conceptually organize music. the New South Wales Conservatorium; the Illinois, and a presentation made by Dr. Eve Harwood. 0 0 5 11 New Gifts

Janet Manning Helen Sanford Morgan attended the University Chamber Orchestra and the coordinator of alumni relations and development Sacred Heart Dominican College in Hous- Harry Partch Ensemble, taught viola and ton. In her career with Southwestern Bell chamber music, and founded the Russian Telephone Company, she attained the posi- Folk Orchestra. Among his most notable tion of senior manager for the state of accomplishments was the founding, in the Texas before retiring in 1991. Robert and 1960s, of the Jazz Band which won Helen very much appreciate that the South- major competitions, including the Colle- western Bell Foundation has matched all of giate Jazz Festival in 1964, 1967-1968, their contributions to establish the John and 1969. Under the auspices of the Department of State, the Jazz Band toured “Though I did not attend the University of widely, including performances in Europe Illinois, it seems very familiar to me because and Russia. In addition to viola and vio- Bob [Morgan] speaks of it so often. I very lin, Professor Garvey studied South Indian much enjoyed the weekend we spent on UI’s singing, balalaika and domra (in beautiful campus (May, 2003) when Bob Moscow), Catalan music (in Barcelona), received the Alumni Achievement Award. and Balinese gamelan music. He has had He is extraordinarily proud of this recogni- many hobbies, including collecting Bali- John Garvey Scholarship tion, and we have both enjoyed sharing the nese woodcarvings and paintings, Turkish in Jazz Studies experience with friends and family in Hous- rugs, Indonesian ikat weavings, and Russian folk instruments. Robert and Helen Morgan of Houston, ton and elsewhere. I met John Garvey only have established a jazz scholarship in once, at an IAJE conference, and regret that honor of John Garvey, former School of I do not know him better. I know that Bob Music professor. Robert Morgan graduat- considers him to be one of the primal men- Jill McAllister ed with Bachelor of Music and Master of Award Music degrees from the University of tors of his life and career, and is very pleased North Texas, and received a Doctor of to be involved in this scholarship project. For The Jill McAllister Award Musical Arts degree in composition from my part, I am very pleased that my former was established in memo- the University of Illinois at Urbana-Cham- employer, SBC, has matched our personal ry of Jill McAllister (1948- paign in 1974. He played trumpet and contributions 100% to make this scholarship 2003) by her husband, Stuart Levy, research programmer in the trombone in UNT’s One O’clock Lab possible.” National Center for Supercomputing Band, and piano in the Illinois Jazz Band. — Helen Morgan After graduating from the UI, Morgan Applications at the University of Illinois. was director of the jazz program at Sam Garvey Scholarship in Jazz Studies. Helen The award recognizes outstanding stu- Houston State University (Huntsville, now concentrates on various volunteer dents in the division of musicology who Texas), and director of jazz studies at activities, principally in support of Hospice demonstrate an interest in opera from a Houston’s High School for the Performing at the Texas Medical Center, and on activi- musicological perspective. Jill received a and Visual Arts (HSPVA) where he was on ties related to fine art photography, which Bachelor of Arts, cum laude, in art history the faculty from 1976 to 1999. Under his she collects. Robert continues an active from Indiana University in 1973, and direction, the HSPVA jazz program career as a pianist, composer/arranger, attended graduate school at the University became internationally known as a model and clinician. He serves on the Board of of Minnesota, where she won a year-long for the successful training of young musi- Directors of HSPVA. NEH fellowship in museum practice, work- cians. The jazz scholarship will recognize an ing also at the Minneapolis Institute of Throughout his distinguished career, Dr. outstanding student pursuing jazz studies Arts. At the University of Minnesota Com- Morgan has been the recipient of numer- and will be awarded during the 2004-05 puter Center, and later at Cray Research, ous awards and honors including the fol- academic year. she worked for fifteen years in computing, lowing: Membership on the Jazz Music moving from operator to teacher to pro- Advisory Panel, National Endowment for grammer/analyst. At the University of Illi- the Arts (1986-1988); University of North Professor Emeritus nois from 1997 to 2000, Jill earned Texas, “Teacher of the Year” (1987); John Garvey Bachelor of Arts degrees in French and Down Beat Magazine, “Achievement Professor Emeritus John Latin. She pursued graduate studies in Award for Jazz Education” (1996); Garvey (b. 1921), was a musicology at UIUC until her death in National Foundation for Advancement in member of the music facul- 2003. Jill’s interests included textile arts, ty from 1948 to 1991. As song, theater, early music, and opera, s the Arts, “1997 NFAA Distinguished o Teachers in the Arts”; “Presidential Schol- violist of the Walden especially French opera. n String Quartet for many years, he toured o ars Teacher Recognition Award” by the r White House Commission on Presidential Germany, Austria, and England. Garvey i Scholars; and the University of Illinois was chairman of the Illinois Contemporary t Arts Festival for several years, conducted i “Alumni Achievement Award” in 2003. e s 12 James Russell Vaky Merit cializing in strategic marketing, strategic While earning her M.B.A. and working Scholarship in Music planning, special event production and full-time at Novartis, Marlah began consult- management, and public relations. Repre- James Russell Vaky—musi- ing for arts and cultural organizations, sentative clients of marik & associates cian, artist, poet—estab- artists, and authors. Her consulting work include arts and cultural organizations, lished the James Russell began as small projects for local artists, independent filmmakers, artists, and Vaky Merit Scholarship in start-up arts organizations, and authors authors. With over 13 years of progressive Music in 2004. The schol- and steadily grew into developing and responsibilities in marketing, media man- arship supports under- implementing strategic business plans, mar- agement, development, and public rela- graduate students who are keting, and donor relations strategies for a tions in both corporate and non-profit enrolled as piano, organ, cello, or harp diverse range of clients in both the corpo- organizations, Marlah’s professional expe- majors and is to be rotated among the rate and non-profit sectors. Although she rience covers a diverse range of strategic specified instrumental disciplines each initially did not have intentions of leaving management applications, and prior to year. Mr. Vaky has enjoyed a long career, the security of a large corporation, she relocating to Urbana, she worked with from coast to coast, as a teacher and realized that consulting provided a unique organizations in the New York, Philadel- accomplished pianist and organist. His opportunity to build a career that com- phia, and Boston areas. career path was launched in 1919 when bined her passion for the arts with her Marlah earned a Bachelor of Science he began piano lessons at the age of academic and professional experiences in in marketing and international business eight. It wasn’t until eighty years later that business. from Penn State University. The love of fine he learned his first teacher, Alethea Foster, Marlah is excited about her new role as and performance arts led her to supple- was the daughter of Mr. and Mrs. C. W. associate director of development for the ment her business education with courses Foster, music instructors at the University of School of Music. She looks forward to con- in music, theater, and art. While at Penn Illinois for the academic year, 1894-95 necting with some of the world’s finest State, Marlah received an academic schol- (one year before the School of Music was scholars, performers, and composers. She arship for study at the University of Nice, officially established). Mr. Foster had is extremely enthusiastic about the College France. Although she studied business and served as director during that year. Vaky of Fine and Applied Arts perfect mix of economics at the University of Nice, this entered the School of Music in 1929 and extremely talented and accomplished facul- life-changing experience strengthened her played under John Philip Sousa in 1931. ty, seasoned and dedicated staff, and, of appreciation of the arts, as well as provid- He later enrolled in the College of Liberal course, the best development team at the ed an opportunity to learn another lan- Arts and Sciences where he received a University of Illinois. guage. In addition, this experience fueled Bachelor of Arts in English and German in Marlah feels strongly that the School of her passion for international travel—since 1933. He continued to perform profession- Music at UIUC is truly one of the best pro- ally while studying painting at the Corco- then, she’s traveled to Greece, Denmark, grams in the country, and is committed to ran School of Art in Washington, D.C., Holland, Italy, Germany, Puerto Rico, and ensuring that its programs and facilities and at the Otis Art Institute in Los Angeles St. Lucia. She hopes to get to India and continue to thrive. She is delighted to be where he taught English at the Page Mili- Africa within the next few years. joining the FAA development team at a tary Academy. His first book of poetry was Upon graduating from Penn State, Mar- time of revolutionary growth and opportu- published in 1973 and his fourth when he lah gained invaluable professional experi- nity for the School of Music. She is looking was almost ninety. Mr. Vaky currently lives ences working in marketing and sales for forward to providing a unique perspective at The Inman Plaza in Champaign. large organizations in the corporate sector to fundraising, as well as building on the including Estee Lauder, Bristol Myers, Aet- many successes of the School of Music’s naUSHealthcare, and Novartis Pharmaceu- development efforts. One of her many ticals. While at Novartis, Marlah earned Marlah Bonner-McDuffie, goals is to develop strategies which will her MBA from Temple University in New Associate Director of consistently engage younger potential Philadelphia in marketing and media man- donors, as well as create innovative Development agement. Upon completion of her pro- A native of Philadel- approaches to stewardship for existing gram, she received the Fox School of phia, Pennsylvania, donors. Business and Management’s “Dean’s Cer- Marlah Bonner- Marlah lives in Urbana with her hus- tificate of Excellence,” which is awarded McDuffie relocated band, Erik McDuffie, an assistant professor to M.B.A. candidates for academic excel- to Champaign- in the Gender and Women’s Studies lence in their program of study. In addi- Urbana in August Department and the African-American tion, she was inducted into the Beta 2004. Prior to her Studies and Research Program. They have Gamma Sigma honor society, the highest appointment to asso- a six-month-old daughter, Amaya-Soledad. w ciate director of national recognition a student in business i development in the School of Music, Mar- can receive in an undergraduate or mas- n t lah was founder and marketing director of ter’s program. Moreover, Marlah has taken courses in the Non-Profit Management Cer- e marik & associates, a consulting firm spe- r tificate program at the University of Penn- sylvania. 2 0 0 5 13 New Gifts

Alumni Organize Those in attendance at the August meet- through a generous gift from UI alumnus, ing included: John Burley (M.S.’70, Calvin D. Filson (B.S.’43, business admin- the Charles Leonhard Ed.D.’79), director of instrumental music, istration) of Boulder City, Nevada. Legacy Project Scottsdale Community College, AZ; Linda Filson played the drum as a member of Gerber (Ed.D.’75), retired professor of the Marching Illini in the early 1940s. Professor Emeritus music, Western Connecticut State Universi- When he returned in 2002 to play in the Charles Leonhard ty; Jon Gilliland (M.S.’77, Ed.D.’91), K-12 Alumni Band—his first visit to campus in was one of the fine arts coordinator, Appleton Area 39 years—he found “his” drum in barely most influential edu- Schools, WI; Joe Grant (M.M.’71, playable condition. “The 80-year-old cators in American Advanced Certificate ’72, Ed.D.’83), cowhide drumheads were as brittle as music history. Dur- chair, music education division, School of parchment,” noted Filson. According to ing his 35 years Music, University of Illinois; Roger Reich- professor emeritus Gary Smith, interim (1951-1986) as muth (M.S.’66, Ed.D.’77), retired assistant director of the Marching Illini, the venera- professor of music dean, College of Fine Arts and Humani- ble relic had been retired in the 1960s. at the University of Illinois, he initiated the ties, Murray State University, KY. “We drug it out at Homecoming for old doctoral program in music education, guid- time’s sake,” added Smith. ed more than 200 doctoral dissertations, Cal Filson contacted the University of and served as chairman of the graduate Illinois Foundation and the Alumni Associa- committee on music education. Dr. Leon- Alum Revives Giant tion and offered to personally pay for the hard also was director of research for the Bass Drum overhaul of the drum. He played it as a National Arts Education Research Center. An 80-year-old tradition was revived at the member of the Alumni Band during the Fri- He was known for the book, Foundations 2004 Homecoming football game on Sat- day night Homecoming Parade and during and Principles of Music Education, which urday, October 30, when the Alumni Band the band’s pre-game and halftime perform- he co-authored with alum Robert House took the field for its pre-game performance ances at the Illinois vs. Iowa football game (Ed.D.’54). His awards are many, includ- alongside the Marching Illini. The Alumni on Saturday. ing the “Distinguished Alumnus Award” Band’s drum-line included the giant bass Attending the unveiling of the restored from Teachers College-Columbia University, drum that first debuted with the football drum at Friday’s band rehearsal was Cal and “Distinguished Alumni Fellow” from band in the days of Red Grange and Bob and his wife Edna, and daughters Leah the School of Music at the University of Zuppke. The 1920s-era drum, which meas- Richard and Dana Stauffer. Oklahoma. Leonhard was inducted into the ures more than five feet in diameter, was music education Hall of Fame in 1994. recently restored to its original condition Charles Leonard died January 31, 2002. In accordance with Professor Leonhard’s wishes, there was no public memorial fol- lowing his death. After several months of discussion among a large number of Dr. Leonard’s former graduate students, a committee of eight alums met on August 21, under the leadership of Peter Tiboris (Ed.D.’80), to formulate plans to celebrate and remember the legacy of Dr. Leonhard’s teaching, scholarship, and career. The committee will work with the School of Music to establish a permanent means to celebrate Leonhard’s work; ideas toward that end are in process. If you are a music educa- tion alum from any era and are interested in working on this project, please contact Dr. Peter Tiboris at 212-239-0205; 973- 746-1162, or e-mail him at [email protected]. The Charles Leonhard Legacy Project s provides the opportunity for all interested o n persons to contribute and assure that Dr. o Leonhard’s impact upon the profession will Elisabeth Spotts, Marilyn Borbas, and Cal Flison r i endure. Additional information on this proj- t ect may be found at: i www.charlesleonhardlegacy.com. e s 14 Renaissance Archives Gift to Assist in Research WISH LIST The Renaissance Archives (Herbert Kell- man, director) recently received a gift from George Unger (B.S.'86, mechanical engi- The importance of private gifts to the • Advocates for Young Artists: twenty- neering), of Los Angeles. It will help defray School of Music increases every year. five outstanding undergraduate stu- the travel expenses of young pre- and post- The state of Illinois provides basic dents have participated in the AYA doctoral musicologists in the United States operating revenue for the University program since its inception in 1999. and abroad who wish to carry out of Illinois; however, support from the Donors make a four-year commitment research in the Archives. state accounts for less than 24 per- to support one student during his/her Last year, eight scholars from Europe and the United States traveled to campus cent of the total budget.Thus gifts tenure and are invited to various for research in the Archives, while many from alumni and friends help to pro- events featuring AYA scholarship others, from universities throughout the vide the margin of excellence which recipients. world, carried out research by correspon- distinguishes the UI School of Music. dence. The Archives continue to be an • Building Infrastructure and Equip- active partner in collaborative Renaissance We look forward to a very bright ment: maintaining the facilities and projects headquartered in Germany, Bel- future for the School of Music, and equipment for our faculty and stu- gium, Holland, France, and the United we continue to evaluate new oppor- dents takes considerable resources, Kingdom. tunities and programs that will help and to be competitive with our peer to ensure our position as one of the institutions, we must continue to Benefit Dinner to Feature leading music schools in America have outstanding practice facilities today. In order for us to reach our and performing venues.There are Rising Opera Star goals and to provide the best educa- numerous opportunities, ranging The Advisory Board of tion possible for our students, we from studio recording equipment to the School of Music must have the resources in place. will host a dinner renovating Smith Memorial Hall. fundraiser on Sunday, September 18, 2005, The following items represent the • Opera Sponsorship: the School of at the French restau- current needs and wishes of the Music produces two full-length rant, Le Titi de Paris, School of Music in order of impact: operas each year.An opera produc- in Arlington Heights, tion takes considerable time, effort Illinois. Special entertainment will be pro- • Chairs and Professorships: endowed and money. Current productions can vided by rising opera star, baritone chairs and professorships serve as cost in excess of $60,000.While tick- Nathan Gunn (B.M.’94), and his wife, effective tools with which to recruit et sales cover about half the cost of accompanist Julie Jordan Gunn (M.M.’92, and retain scholars and performers. each production, additional support D.M.A.’01). Proceeds will provide a fel- Renowned faculty attract the most tal- lowship in the School of Music. will assure both student performers If you are interested in attending, ented students and the brightest and audience members of operatic please contact Janet Manning at 217-333- minds to study at the University of experiences comparable to produc- 6452 or e-mail her at [email protected], Illinois. As artists and scholars, they tions found in major cities, while to receive an invitation. Seating is limited. contribute to the world of research, keeping ticket prices reasonable. creativity, and virtuosity that is one of the University’s principal missions. We hope you will consider making a “My three years in the School of Music, from This is vital to the continued success major gift to the School of Music. If 1973-1976, were incredible. During this time of the School of Music. you are interested in funding projects such as these or would like to my principal teachers/mentors were Robert • Fellowships: the continued excel- explore other opportunities, please lence of the School of Music depends Gray, Dan Perantoni, Harry Begian, and Ben contact Marlah Bonner-McDuffie, in part on attracting the most talent- associate director of development, at w Johnston, among many. I am heartened to ed graduate students from across the 217-244-4119. i nation and around the world. For us n read that so many good things continue to t to remain competitive among the e happen at the UI. Keep it up!” leading schools in the country, we r must be prepared to assist the excep- —Charles Isaacson (M.M.’74, D.M.A.’81) 2 tional students we serve. 0 0 5 15 Campus News New Faculty

John J. Dee, Bill Eduardo gist, and he specializes in soul music and A. Nugent Professor Diazmuñoz, black popular culture in America. Professor in Music Perform- Assistant Professor Hall’s work draws from studies found in ance and Professor of Opera and Con- anthropology, sociology, black studies, cul- of Oboe, was prin- ductor of the New tural theory, religion, and history. It both cipal oboe of major Music Ensemble, challenges and adds to existing philoso- orchestras in Florida served as conductor phy concerning music and its role in the from 1981 to 2004 of the Metropolitan lives of folk, particularly black folks. His and professor of oboe studies at the Harid Philharmonic Orchestra (which he found- scholarly concentrations include the study Conservatory of Music from its inception ed), and the Carlos Chavez Symphony of ethnicity, identity, and temporality in through 2004. Mr. Dee was also professor Orchestra. Diazmuñoz also served as musics of the world; the study of popular of oboe at the University of Miami from music director and conductor of the Baja musics of the world, particularly in the 1986-1998, and he has served as princi- California Orchestra in Tijuana, which is East; ethnic and popular musics of North pal oboe of the Chicago Chamber Orches- dedicated to the performance of contempo- and West Africa; and issues of cross cultur- tra and Civic Orchestra of Chicago. He rary orchestral literature. Diazmuñoz alism, colonialism, representation, and has recorded on numerous major profes- received a Presidential Appointment to appropriation. Dana has performed on six sional record labels and has performed conduct all official youth orchestras and continents in extensive concert, club, and and recorded with such conductors as choirs in Mexico. He was twice nominated international festivals. In addition to lead- Guilini, Levine, Abbado, and Solti while for the “Best Classical Album” in the Latin ing his own ensembles, and his member- playing with the Chicago Symphony Grammy Awards, the only Mexican con- ship in the Terell Stafford Quintet and the Orchestra and as principal oboe of the ductor to have been nominated twice for Chicago Jazz Ensemble, Dana Hall is an Ravinia Festival Orchestra. He has also this prestigious prize. In the United States, in-demand drummer, composer, and performed with the Atlanta Symphony his work with the San Diego Opera has arranger for such artists as Branford Orchestra, Hong Kong Philharmonic, Lyric become well known, and he has devel- Marsalis, Joshua Redman, the Woody Her- Opera of Chicago, among many others, oped a high profile and outstanding repu- man Orchestra, Horace Silver, Ray was guest soloist with I Solisti Aquilani tation in Miami and other cities where he Charles, Benny Golson, Bobby Hutcher- String Orchestra in Italy, and assisted the has conducted and/or taught. He brings son, Curtis Fuller, Joe Lovano, Jackie Yamaha Corporation in the development of together his substantial training from the McLean, Jimmy Heath, Lester Bowie, their professional model oboe. He has per- “old school,” under the mentorship of Leon Michael Brecker, Betty Carter, Maria formed and taught at numerous major sum- Barzin and Leonard Bernstein, with an Schneider, Joe Henderson, and the presti- mer festivals and institutes. He has affinity for today’s pre-professional singers gious Grammy-nominated Carnegie Hall received the “Outstanding Teacher Award” and their musical and technical needs in Jazz Band under the musical and artistic from the National Endowment for the Arts both traditional and contemporary musical direction of trumpeter Jon Faddis. and is a frequent guest of National Public theatre. He will be conducting four per- Radio’s Performance Today. Mr. Dee was formances of Candide in the Tryon Festival Cynthia Haymon- president of Chamber Music Management Theatre at Krannert Center Thursday, Feb- Coleman, Assistant for 18 years. His former students are ruary 24 through Sunday, February 27, Professor of Voice, oboists in major orchestras here and 2005. earned her Bachelor abroad. He will be presenting a faculty of Music degree at recital in Krannert Center on Saturday, Dana Hall, Northwestern Uni- February 26, 2005. Assistant Professor versity. She made of Jazz Studies, her debut in 1985 received his degrees in the title role of Thea Musgrave’s Harriet, from William Pater- A Woman called Moses, in the world-pre- s son College and miere performance for the Virginia Opera. o n DePaul University, Since then, her engagements have includ- o and currently is ed Micaela in Carmen with the San Fran- r completing his Ph.D. in ethnomusicology at cisco Opera, Susanna in Le nozze di i t the University of Chicago. He is a jazz Figaro, and Liù in Turandot with the Seattle i drummer, composer, and ethnomusicolo- e s 16 Opera. In 1986 she made her European Ives. Her articles have appeared in jour- Joseph debut as Bess in Trevor Nunn’s production nals such as the Journal of the American Manfredo, of Porgy and Bess at Glyndebourne, with Musicological Society, 19th Century Assistant Professor Sir Simon Rattle. Professor Haymon-Cole- Music, and Musical Quarterly. Her book, of Music Education, man also created the role of Coretta King Charles Ives: A Guide to Research, was earned his Bachelor in the musical King, opposite Simon Estes published by Routledge in 2002, and her of Music Education in London. In concert, Professor Haymon research has been cited by the Atlantic and Master of Arts has appeared with the Israel Philharmonic Monthly, The New York Times, and the in conducting at under Kurt Masur, the London Symphony New Yorker. Professor Magee’s work has Eastern Illinois University, and his Ed.D. in Orchestra under both Myung Whun Chung been supported by grants from the Nation- music education from the University of Illi- and Michael Tilson Thomas, the Cleveland al Endowment for the Humanities, Sinfonia nois. Prior to his appointment at Illinois, Dr. Orchestra under Isaiah Jackson, and the Foundation for Research in American Manfredo served as music coordinator for Boston Symphony Orchestra for the world Music, Whiting Foundation, and Mellon the Urbana (IL) School District. In addition, premiere of Ned Rorem’s Swords and Foundation. She will be joining the faculty he conducted various bands, including the Plowshares. Professor Haymon performed in January 2005. Urbana Concert Band, which was named in the world premieres of Portraits by Honor Band for Class 2A at the 2004 Illi- Richard Danielpour, with YoYo Ma and Keeril Makan, nois SuperState Concert Band Festival. Dr. Emmanuel Ax, and John Williams’ first Assistant Professor Manfredo also served as director of bands song cycle, Seven for Luck. Professor Hay- of Composition- and professor of music at Eastern Illinois mon’s first solo recording, Where the Theory. After initial University. At EIU, he conducted the Sym- Music Comes From: American Songs, on studies in violin and phonic Wind Ensemble and Eastern Sym- Decca’s Argo Label, features art songs by oboe, Keeril went phony Orchestra, and he taught American composers. She also portrays on to receive undergraduate and graduate courses in Bess on the EMI recording of Porgy and degrees in composi- conducting and instrumental music meth- Bess with Sir Simon Rattle, which won a tion and religion at Oberlin College and ods. He has published in various journals 1990 Grammy Award. She has sung the Conservatory in Ohio. He is completing and was co-author of the marching band role of Leila in Les Pêcheurs de Perles for his Ph.D. in composition at the University drill design software, Quick Step Design. the Portland Opera, Eileen in Bernstein’s of California (Berkeley), where he studied Manfredo has been an active adjudicator, Wonderful Town, and Poppea in Pierre computer music at the Center for New clinician, and guest conductor, including Audi’s production at the Brooklyn Acade- Music and Audio Technology (CNMAT). In several All-State Bands. At UIUC he teach- my of Music. More recently, she has per- addition to his studies in the U.S., Keeril es courses in undergraduate conducting formed Liù for the Portland Opera, Verdi’s spent a year in Helsinki, Finland at the and instrumental music methods. He also Te Deum, Mendelssohn’s Elijah, with James Sibelius Academy on a Fulbright grant. assists with the supervision of student Conlon and the Cincinnati Symphony, and Having been awarded the George Ladd teachers. His research is focused in the Philip Glass’ Symphony No. 5, with Carl Prix de Paris from the University of Califor- area of curriculum and instruction, and his St. Clair and the Indianapolis Symphony. nia, he also lived for two years in Paris, dissertation won the MENC Annual Out- France, where he studied with Philippe standing Dissertation Prize. Gayle Sherwood Leroux. Keeril has received numerous com- Magee, Assistant missions from ensembles such as the Kro- Gary Professor of Musicol- nos Quartet, Bang On A Can All-Stars, McPherson, ogy, received her Paul Dresher Electroacoustic Band, Left Marilyn Pflederer Bachelor of Music Coast Chamber Ensemble, and Del Sol Zimmerman Profes- String Quartet. He has also received major sor of Music Educa- degree from w McMaster University, awards and commissions from the Ameri- tion, earned his i and her Ph.D. from can Academy of Arts and Letters, ASCAP, Diploma in Music n Yale University. Gayle Sherwood Magee’s Fromm Music Foundation at Harvard, Education at the t scholarship focuses on American music of Gerbode Foundation in San Francisco, New South Wales Conservatorium; the e r the 19th and 20th centuries. Her disserta- Meet the Composer, and Carnegie Hall. Master of Music Education at Indiana Uni- tion at Yale was on the composer Charles versity; and the L.T.C.L., F.T.C.L., and Ph.D. 2 0 0 5 17 New Faculty

at the University of Sydney. His research performed on the Grammy Award-winning appointed vocal music coach at Tangle- interests include psychological aspects of CD by Arturo Sandoval, Hot House, as wood, a position he has held ever since. musical behavior, performance skill, com- well as the Emmy Award-winning sound His concert schedule has taken him to 30 position, improvisation, instrumental peda- track to For Love or Country, about the life states, Canada, Latin America, Europe, gogy, motivation and self-regulation, of Sandoval. Stephens has performed and Asia, and to the major concert stages giftedness and talent in music, and music extensively around the world and frequent- of America. He has performed with numer- education curriculum development. He is ly appears as a guest artist and clinician ous world-renowned artists, performed and president of the International Society for throughout the United States and Europe. taught at numerous summer festivals and Music Education, former national president institutes, and for four years was co-direc- of the Australian Society for Music Educa- tor of Hear America First, a New York con- tion, a member of Australian Music and cert series devoted to the performance of Psychology Seminar, and a member of the FULL TIME VISITING FACULTY American music. He has recorded cham- Advisory Panel for the Callaway Interna- ber music and songs on many major pro- tional Resource Centre for Music Education fessional recording labels, and his at the University of Western Australia. He Linda Antas, Visiting Assistant Professor publications include translations of opera has also served as a teacher education of Composition-Theory, earned her doctor- libretti and song texts, as well as super- advisor for the Australian Music Examina- ate in composition and electronic music titles for numerous operatic productions. tions Board. Gary is Editor of Research from the University of Washington in Studies in Music Education and on the edi- 2002, where she served on the staff of the torial boards of the Bulletin of the Council Center for Advanced Research Technology Paul Smith, Visiting Lecturer in Voice, for Research in Music Education, Psycholo- in the Arts and Humanities. She has taught earned his Bachelor of Music degree and gy of Music, Music Education Research, computer music, theory and ear-training, his Master of Music degree from Roosevelt British Journal of Music Education, Interna- and the flute. Her compositions have been University, and is currently working on his tional Journal of Education and the Arts, programmed and broadcast throughout the D.M.A. at the University of Illinois. After Research and Issues in Music Education, U.S. and Europe, and are recorded on the his German debut as Belmonte, Mr. Smith Journal of Research in Music Education, Media Cafe, TauKay, and Centaur labels. made his home for 12 years in various and Asia-Pacific Journal for Arts Education. A Fulbright Fellow for studies in Spain, Dr. European cities. His career has brought He is also a member of the International Antas has also been recognized in interna- him to more than 25 operatic venues Society for Music Education Research tional competitions and with commissions including the Deutsches National Theater Commission. He will be joining us in Janu- from numerous artists and agencies. She (Weimar), Deutsches Oper am Rhein ary 2005. has worked with choreographers, theatre (Düsseldorf), the Prague State Opera, The- directors, filmmakers, and other composer- atre des Arts Opera de Normandie, and John “Chip” improvisors. She has been a visiting artist the Cairo Opera. Spanning Italian, French, Stephens, Assis- at the Center for Digital Arts and Experi- German, Russian, and English his operatic tant Professor of mental Media since 2002. Antas was repertoire includes such important roles as Jazz Studies, recently awarded residencies by the Romeo, Duca, Faust, Almaviva, Pinkerton, earned his Bachelor Atlantic Center for the Arts, Djerassi, and Lenski, Belmonte, Feffando, and Tamino. of Music degree at Yaddo. Comfortable on the musical stage as well, the University of he performed Piangi in both the London Akron, and his Mas- Dennis Helmrich, Visiting Associate Pro- and Hamburg productions of Andrew ter of Music at Cleveland State University. fessor of Accompanying, earned his Lloyd Webber’s The Phantom of the His teaching credits include Youngstown degrees from Yale University and did doc- Opera. His appreciation for concert music State University and Cleveland State Uni- toral studies at Boston University. During has manifested itself in his repertoire of versity. As a jazz pianist at the University his years at Yale, Helmrich received prizes over 40 religious works and many song of Illinois at Urbana-Champaign, Chip from the Lacewood and Ditson Founda- recitals. He has taught at Blackburn Col- maintains a very diverse teaching and per- tions and the National Endowment for the lege, Prairie State College and The Stella forming career at both the national and Arts. At the age of twenty-four he joined Musical Academy in Hamburg. international levels. A partial list of per- the music faculty of Antioch College, and forming and recording credits include subsequently served on the faculties of the Maynard Ferguson, Arturo Sandoval, The State University of New York campuses at Woody Herman Orchestra, Ingrid Jensen, Albany and Purchase, the Jewish Theologi- Steve Kirby, Teresa Carroll, Keith Oxman, cal Seminary, Manhattan School of Music, s o Red Holloway, Bobby Shew, Roseanna The Juilliard School, and New York Univer- n Vitro, Ralph Lalama, Bill Kirchner, Randy sity. In 1969 he was invited to go to Tan- o r Johnston, Jerry Brown, John Fedchock, glewood to aid in productions under Erich i Kenny Burrell, and Joe Lovano. Chip has Leinsdorf and Michael Tilson Thomas, and t in the following year Helmrich was i e s 18 Faculty News

Reid Alexander as Poet and Composer” at the Hawaii consortium in Spring 2004 and premiered (piano pedagogy) was International Conference on Arts and a new work for wind band, Divertimetal the featured clinician Humanities in January 2004. by Scott McAllister (Baylor University). for the annual piano Caneva was a member of a panel discus- festival held at the Zack Browning sion, “Graduate Conducting Auditions: University of Utah (Salt (composition-theory) How Will You Be Seen by the Committee?” Lake City). With co- had his composition at the Indiana Music Educator’s Conven- authors James Lyke, Back Speed Double tion and a presenter at the first National Tony Caramia, and Geoffrey Haydon, he Circuit (2003) pre- Collegiate Marching Band Symposium at premiered the eighth edition of Keyboard miered by the Bang Ohio State University. He adjudicated Musicianship, Volume 2, at the March On A Can All-Stars at band contests and festivals in California, MTNA Kansas City Convention. Ten vol- Emory University Colorado, Illinois, Tennessee (Vanderbilt umes of Celebrate Composers (Frederick (Atlanta, Georgia), on February 21, University) and Missouri (University of Harris) were released in 2004, focusing 2004, and performed at the MASS Missouri). Caneva is co-author of The on the solo piano music of Bach, Handel, MOCHA Festival on July 17. Browning’s Complete Marching Band Resource Manu- Beethoven, Mozart, Haydn, Chopin, Network Slammer (1998) was performed al, published by the University of Pennsyl- Grieg, Schumann, Heller, and Debussy. by the Crash Ensemble in Dublin on Janu- vania Press. The second edition of the These volumes are distinctive through the ary 22 and in Amsterdam at the Septem- book was released in Fall 2003. As direc- particular combination of compositions ber 2004 Gaudeamus Music Week. Three tor of the Marching Illini, Caneva conduct- selected, and extensive scholarly perform- of Browning’s compositions were per- ed current members and alumni of the UI ance notes. They were compiled by formed at the Bonk Festival of New Music Bands during a spring tour of Ireland and Samuel Holland, Marc Widner, and Reid in Tampa, Florida, March 18-20, where he England. The band performed in Dublin, Alexander. Alexander completes his 25th conducted the University of South Florida Waterford and Kilkenny. In addition, the year of teaching at Illinois in 2004. Trumpet Ensemble in a performance of Marching Illini recorded a new compact Breakpoint Screamer. Recent commissions disc entitled Here Come the Illini which Chester Alwes include the: PRISM Saxophone Quartet for was released in Summer 2004. Caneva (choral) is under con- their 20th Anniversary Concert at Sympho- remains active as a guest speaker at civic tract to write a book ny Space, NYC, on November 14; Con- and alumni events and most recently for Oxford University fluence Trio for the premiere at the March appeared as the featured guest speaker at Press, tentatively titled, 2005 Bonk Festival; joint commission from the Cincinnati Illini Alumni Club picnic. A Historical Survey of the NeoPhonia Ensemble (Georgia State Caneva has been on sabbatical leave dur- Western Choral Music. University); and the NeXT Ensemble ing the fall semester of 2004. It will present the fruits (Cincinnati Conservatory) for performances of his teaching at Illinois and accomplish in February 2005. Elliot Chasanov what no other book has done—give a (trombone) will be on usable survey of the development of choral Tom Caneva (bands) sabbatical in Spring music in Europe and the West from the served as a guest con- 2005. He plans to per- Middle Ages through the 20th century. On ductor and clinician form invited solo July 16, 2004, Alwes received the with bands from Cali- recitals and present “Harold Decker Award” from the Illinois fornia, Colorado, Indi- master classes at the State Chapter of the American Choral ana, Illinois, and Paris Conservatory, the Directors Association. This award, named Missouri. This included Warsaw Academy, and in Katowice, w for Alwes’s teacher and former Illinois fac- conducting the Indiana London, and other European cities. He i ulty member Harold Decker, recognizes his All-State Band and the SICA Conference also will conduct research in Scotland at n t contributions to choral music in Illinois over Honor Band in Orland Park, Illinois. As the University of Edinburgh in preparation e 20 years. Alwes presented a paper enti- conductor of the UI Symphonic Band I, the for work on a trombone text devoted to r tled, “Words and Music: Benjamin Britten ensemble was part of a commissioning embouchure development. Chasanov has 2 0 0 5 19 Faculty News

been performing as a regular extra and University of Illinois piano students for Campbell, of the new Cultural Computing substitute trombonist with the Milwaukee performances, study, and immersion in Program at the Siebel Center for Computer Symphony Orchestra since Fall 2003. In Viennese culture. Science. Complementing his work with cul- November 2004 he performed the solo tural computing and computer science, bass trumpet calls from Wagner’s Ring Michael Ewald Garnett will also be co-director of the cycle with the MSO, Andreas Delphs con- (trumpet) has been cross-campus art and technology initiative, ducting. invited to participate called the Seedbed Initiative for Transdo- in a Chamber Music main Creativity (www.seedbed- Ollie Watts Davis Festival with the Rekenze initiative.uiuc.edu). This initiative fosters (voice) is a contribut- Brass in Lichtenburg, highly interdisciplinary work on campus ing author for William Germany for Summer and in the world outside the campus. The Warfield: Creating 2005 as an ensemble Cultural Computing Program at the Siebel Home for Students at coach/consultant and master clinician. Dr. Center is a direct outgrowth of Guy’s work Illinois—No Bound- Ewald was soloist in concert with the on the Seedbed last year. aries, University of Champaign-Urbana Symphony in October Illinois Vignettes, UI 2004. He was also trumpet soloist and cli- Joe Grant (music Press, 2004. She performed in recital at nician at Iron County Youth Camp, Iron education) served as the Clay Center for the Performing Arts Mountain, Michigan in Summer 2004. He guest conductor for the and Sciences in Charleston, West Virginia; appeared in solo recital at California State Cairo (Egypt) Choral Zonta International Conference; Freeport University-Northridge, and in public per- Society in performances Community Concert Association’s 72nd formance in Thousand Oaks, California, in of Schubert’s Mass in Year; National Society of Arts and Letters Fall 2003. G, and motets by 60th Anniversary National Convention on Bruckner and Stanford. May 19; a Songfest at Pepperdine Univer- Ricardo Flores The performances took place at the Ameri- sity (Malibu, California); and Artist Faculty (percussion) has can University of Cairo and at All Saints for Songfest’s Young Artist Program at been active as a Cathedral, Zamalek. The UI Women’s Glee Icicle Creek Chamber Music Festival teacher and per- Club was invited to perform at the state (Leavenworth, Washington). Davis gave a former around the conference of the American Choral Direc- lecture/presentation at Zion-Benton High world. He present- tors Association on October 22, at North- School on Negro Spirituals and was guest ed numerous ern Illinois University. conductor for the Sangamon Valley Honors concerts and Choir Festival. workshops at the Peter Griffin (bands) Sixth International directed the Illinois Timothy Ehlen Percussion Forum British Brass Band in a (piano) continues per- in Zagan, Poland, from August 19-28, featured guest perform- forming solo and 2004. This year he will be presenting mas- ance at the Chicago- chamber recitals in ter classes and performances at numerous land Invitational national and interna- universities, including Hartt School of Concert Band Festival tional venues, includ- Music, West Chester University, Florida in Arlington Heights, ing Bösendorfer Hall State University and the University of Flori- Illinois, in April 2004. In March, Griffin in Vienna, the Idyllwild da. He has been invited to return to Zagan served as an adjudicator of the Virginia Arts Academy in Los Angeles, and the in the summer of 2005. He has also been Band and Orchestra Director’s Association Plymouth Chamber Music Festival (Massa- invited to present master classes and per- District IV Concert Band Festival, and as chusetts), during 2003-2004. A highlight formances at the Eastman School of Music clinician for Dennis-Yarmouth Regional was a concerto performance at the Ameri- and at the Cross Drumming Festival in High School in South Yarmouth, Massachu- can Liszt Society Conference at the Kran- Warsaw, Poland. setts. During February, he was guest con- nert Center for the Performing Arts, with ductor/clinician of the 2004 All-South Ian Hobson conducting. A recording fea- Guy Garnett (composition-theory) has Honor Band held at the University of turing important solo works of Beethoven, received a half-time appointment in the Southern Mississippi. He served as guest Schumann and Beethoven/Liszt will be department of computer science for this conductor/clinician of the Sixth Annual s released during the current season on the academic year. As part of that appoint- North Shore Honor Band in Highland o n Azica label. During Summer 2004, profes- ment, he is teaching a course for music Park, and at the Big Northern Conference o sor Ehlen was in residence at the r and computer science students called Honor Band in Burlington (both in Illinois), i Bösendorfer International Piano Academy “Computing Arts.” He also will be co-man- in January 2004. t in Vienna, Austria, offering opportunities to ager, with computer science professor Roy i e s 20 Dennis Helmrich new projects include invited papers on Herbert Kellman (accompanying) has Florentine monody and 18th-century com- (director of the Renais- had a full concert and posers in Dresden, and a book on the the- sance Archives and recital schedule for the ories of Joseph Riepel. professor emeritus of 2004 year which musicology) gave an includes: A Lieder- Jonathan Keeble’s invited lecture on late abend with tenor (flute) first solo CD, Burgundian music Christoph Pregardien icarus, featuring clas- manuscripts in April in Alice Tully Hall on the “Mostly Mozart sic and newly com- 2004 in the colloquium series at the Uni- Series” (August 26, 2004); a concert in posed works for flute, versity of Kansas (Lawrence). In May, Kell- San Francisco with violinist Tai Murray and was released on man participated in a symposium of violist Amadi Hummings (October 2); a Albany Records in July authors of a book to appear in conjunction recital with soprano Kathleen Battle in 2004. Included in his with the exhibition, “Renaissance Women Santa Fe (October 9); a Liederabend with touring this year was a two-week Chamber of Distinction: Margaret of York and Mar- mezzo-soprano Mary Ann Hart, chairper- Music America funded trip with the Prairie garet of Austria,” in Mechelen, Belgium, in son of the voice department at Indiana Winds to Alaska. The Prairie Winds was 2005. Kellman is contributing a study of University, in St. Louis (October 17); a also a featured ensemble at Chamber the political contexts of the two duchesses’ recital with tenor Jerold Siena at the Kran- Music America’s Residency Institute, per- musical patronage. Also this summer, Kell- nert Center (October 23), and a concert of forming concerts, outreach, and sitting on man continued research on the composer the works of composer Gerald Cohen at panels during the convention, as well as Josquin des Prez in archives in Belgium Sinai Temple in Champaign, Illinois performing throughout the country. Keeble and France. His article “Openings: The (November 13, 2004). At this time, he is performed and taught at The Madeline Alamire Manuscripts After Five Hundred scheduled for a recital with flutist Gary Island Music Camp, the Birch Creek Music Years,” based on his keynote address at Schocker in Washington, D.C. on Center, and was recently appointed princi- the International Alamire Conference in April 16, 2005. pal flute of the Sinfonia da Camera at the Leuven in 1999, was published this year UI. After publishing an article on ornamen- in the Alamire Foundation Yearbook, Vol. Joan Hickey (jazz tation in Leonardo Vinci’s music in Flute 5. Earlier in 2004 he participated in “Illu- piano and piano ped- Talk magazine, Keeble’s current projects minating the Renaissance,” a conference agogy) performed at include a solo CD of newly composed on northern manuscript illumination at the the Chicago Jazz Festi- music, and another recording with the Getty Museum in Los Angeles. val 2004 on Septem- Prairie Winds. ber 5 with her quartet. The quartet performed James Keene music from a CD that (bands) will serve as is soon to be released. guest conductor of the VanderCook College John Hill (musicology) Concert Band during is author of Baroque the 2004 Midwest Music, a 600-page Clinic in Chicago. In book accompanied by August, Keene was cli- William Kinderman and Katherine the Anthology of nician, keynote speaker, and guest conduc- Syer (musicology) are collaborating on Baroque Music, con- tor of the Singapore Ministry of several projects related to the operas of sisting of 130 newly Education’s Fourth Band Convention and Richard Wagner. During Summer 2005, created scores aug- guest conductor of the Singapore Armed they will resume their seminar “Wagner at mented by a web supplement containing Forces Central Band. He was appointed to Bayreuth: Music, Drama, Politics” at the 45 additional works. The book belongs to the Board of Directors of the Goldman University of Bayreuth in conjunction with A Norton Introduction to Music History, the Memorial Band in New York City, also in the Wagner Festival. Kinderman and Syer series that replaces Norton’s venerable vol- August, where he had served as guest con- also presented lectures on Wagner at the umes by Reese, Bukofzer, Einstein, and ductor in June 2004. Keene was clinician University of California (Davis) in January w Austin. Barbara Hanning (CCNY) writes, and conducting mentor for the National 2004, and at the Festival Richard Wagner i “Baroque Music is astonishingly thorough Band Association Biennial Convention and His World Festival in Jackson and Hat- n and brilliantly insightful.” Bruce Gustafson (B.O.A.) Summer Symposium in June. Dur- tiesburg, Mississippi in April 2004. A t (Franklin & Marshall) adds, “[Baroque ing the month of May, he was guest con- e major publication related to this work is r Music] is a monumental achievement and ductor of Texas A&M University Symphonic their co-edited book, A Companion to it is destined to become a classic.” Hill’s Band Concert tour with performances in 2 0 Belfast and Dublin, as well as in London. 0 5 21 Faculty News

Wagner’s Parsifal, which is being pub- Sherban Lupu Yerba Buena Center for the Arts in San lished by Camden House Press (Boydell & (strings) has been giv- Francisco on November 19, 2004. His Brewer), and will appear in Spring 2005. ing concerts and mas- piece, Zones d’accord, for solo cello has This book offers a comprehensive and ter classes in England, been recorded by Craig Hultgren and will detailed study of Wagner’s controversial Poland and Romania. be released on Living Artist Recordings final opera. [Another far-reaching collabo- During his visit to later this year. This piece was awarded rative project debuted in Summer 2004: Poland, the Ministry of first prize in the 2003 Hultgren Cello Biennial. Marie Eileen Kinderman was born on July Culture and Education 30; she joins sister Anna.] presented him an award in recognition of Charlotte Mattax his outstanding teaching and his creative (harpsichord and musi- William Kinderman has edited a book contribution to the development of young cology) will perform on The String Quartets of Beethoven which talents. On January 16, 2004 Ion Iliescu, solo harpsichord will be published by the UI Press in 2005. the president of Romania, conferred upon recitals in Princeton, His most recent article on Beethoven’s him the title of “Commander of the Nation- New Jersey; Los Ange- “Known and Unknown Bagatelles,” al Order of Merit and Service” in recogni- les, California; Bethle- appeared in Musik und Biographie in tion of his worldwide musical and cultural hem, Pennsylvania; 2004. He performed a piano recital in activities. and Houston, Texas in Spring 2005. She France in September 2004; others in has proposed to present a lecture-recital, Nebraska and at UIUC will be in early Kaz Machala (horn) “J.S. Bach and the Lautenwerk,” at the 2005. In December he is giving a course performed his Concer- International Conclave of the Southeastern on Wagner’s Parsifal at the Aula de Musi- to for Horn, Winds Historical Keyboard Society at Stetson ca near Madrid, Spain, and in January and Percussion with University in Deland, Florida, March 3-5, 2005, he will present a lecture-recital on the American Wind 2005. Her review of Robert Zappulla’s Beethoven at the International Conference Symphony in book, Figured Bass Accompaniment in on Invention and Imagination at the University Ravenswood, West France, appeared in the Fall 2004 issue of of the Arts in Berlin, Germany. Virginia and judged a the Journal of the Society for Seventeenth- solo horn competition at the International Century Music. Erik Lund (composi- Horn Symposium in Valencia, Spain, both tion-theory) is complet- in July 2004. In May the American Horn Timothy McGovern ing a new work for the Quartet performed Machala’s original (bassoon) was on the Marshall University work Intuitions for Horn Quartet at the faculty at The Madeline New Music Ensemble, Zurich Musik Hochschule, Switzerland. Island Music Camp on which was presented Machala’s two transcriptions for horn and Lake Superior in Sum- in October 2004 on a piano, Orientale and Andaluza (works of mer 2004, where he concert of his music Enrique Granados), were performed at the performed, coached, while he was in residence. Lund’s composi- 2004 International Horn Symposium in presented master class- tion aftermath, for solo piano, received Valencia, Spain. Machala received the es, and workshops. Students (ages 16-26) performances at the Western Illinois 2004-05 American Society of Composers, were from major schools of music includ- University New Music Festival, San Jose Authors and Publishers Award. ing UIUC, Eastman, Indiana, and DePaul. State University, Noe Valley and San Fran- In April 2004, Arthur Weisberg (bassoon cisco, Washington University in St. Louis, Keeril Makan’s professor at Indiana University), interna- and at the University of Illinois Krannert (composition-theory) tionally acclaimed soloist, teacher, conduc- Center for the Performing Arts. His Raccon- Target, a new work for tor, composer, and author), presented a tini, for chamber trio, was performed by soprano and chamber master class for the bassoon studio in the Maverick Ensemble in Chicago, and ensemble, was com- which three students performed. McGovern descent, debris, debrief, for amplified dou- missioned by Carnegie continues with the Prairie Winds on con- ble bass solo, was performed as part of Hall and premiered on cert series performances, clinics, children’s the Hear and Now 2003 Festival at UIUC, October 10, 2004 at concerts, summer music festivals, and mas- for which Lund was also the festival coordi- the Weill Recital Hall. Target will be fea- ter classes in Wisconsin, Iowa, Illinois, nator. tured in an NPR mini-documentary to be Michigan, New Hampshire, and South s aired in the months following the premiere. Carolina. Prairie Winds was in residence o n The Del Sol String Quartet will premiere at the October 2003 Chamber Music o r Makan’s new work for percussion and America Conference at Roosevelt Universi- i string quartet, commissioned by the Ger- ty (Chicago), where they presented a con- t bode and Hewlett Foundations, at the cert and seminar in chamber music i e s 22 coaching. In October 2003, McGovern Berlin, in January; on music ownership Integration” was published in TRIAD: The hosted guest artist, Barry Stees (assistant and control in Native American cultures in Ohio Music Educators Journal, and “Trans- principal bassoon, Cleveland Orchestra), Melbourne, in July; on the voice and gen- forming Music Teaching via Technology: who presented master classes at UIUC. der identification in Weimar, Germany, in The Role of Professional Development” was McGovern performed Mozart’s Concerto September; and on revolutions in twentieth- published in the Journal of Research in for Bassoon with the Illinois Chamber century world music in Kyoto, Japan, in Music Education. In June, Reese offered a Orchestra in October 2003. November. He gave a short course on one-week teacher in-service workshop in anthropology of music at the University of Libertyville, Illinois called, “Technology for Charles (Chip) Alcala (Spain) in February 2004, and the General Music Classroom.” McNeill (jazz) per- delivered the opening paper at the UIUC formed in concerts and conference, “New Directions in the Study Dana Robinson workshops with The of Musical Improvisation” (of which he (organ) traveled to Woody Herman Orches- was the principal coordinator), in April. A Germany in June to tra in Hillsdale, Michigan second, thoroughly revised and enlarged play a recital on the on September 10-11, edition of his book, The Study of Ethno- Arp Schnitger organ in 2004. McNeill’s new CD, musicology, first published in 1983, will Cappel. The organ, Radio Improved, was promoted during his quar- be released by the University of Illinois from 1680, survives tet’s performance at the Roanoke (Virginia) Jazz Press in 2005. unaltered, and is wide- Festival. The quartet consists of himself on saxo- ly considered the best preserved of the phone, world-renowned jazz drummer Joel Susan Parisi (UIUC research scholar) master builder’s works. Dana also served Spencer (B.S.’78) on drums, one of the jazz undertook research in Fall 2003 at the on the faculty of an American Guild of TAs and jazz doctoral candidate, Toby Curtright Getty Library in Los Angeles for a project Organists “Pipe Organ Encounter,” a on bass, and another jazz TA, doctoral candi- on music in Mantua celebrating the Gon- week-long clinic for high school students, date Sean Parsons, on piano. zaga-Habsburg wedding of 1622. The vol- held in August at Pacific Lutheran University. ume Music Observed: Studies in Memory William Moersch of William C. Holmes, which she co-edited Ronald Romm (trum- (percussion) presented with Colleen Reardon and includes Parisi’s pet) and his wife, Avis a master class at the article on a Francesco Rasi opera, was Fedge Romm (pianist), Curtis Institute of Music recently published (Harmonie Park Press, toured throughout and co-hosted the 2004). In Spring 2004, she completed Ohio, Illinois, and Illinois Music Educa- another article on the 1599 Gonzaga Indiana in 2004 with tors All-State Percus- state voyage to the Low Countries in which their concert/stage sion Symposium with Monteverdi participated, to appear in the production of “A Trum- UI percussion division colleague Ricardo Selected Proceedings of the Seventeenth peter’s Dream.” During the June 2004 Flores in March 2004. Moersch participat- International Musicological Society Con- International Trumpet Guild in Denver, ed as a featured artist in the 6th Interna- gress, Leuven (Alamire Foundation Year- Romm participated in an educational tional Days of Percussion in Ribarroja del book, in press). Parisi has been appointed panel discussion hosted by Ronald Modell, Túria, in Valencia, Spain; co-hosted the series editor of Monographs in Musicolo- and created a duo concert performance Illinois Summer Youth Music Advanced Per- gy/Studies in Music, for Harmonie Park with former Canadian Brass colleague, cussion Camp in Urbana (with Ricardo Press. Fred Mills. The Romm/Mills duo was Flores); performed with the American Sym- accompanied by the Denver Brass. Avis phony Orchestra at the Bard Music Festival Sam Reese (music and Romm appeared at Festival Epsival, in New York for “Shostakovich and His education) presented a sponsored by the Epsilon Brass in Limoges, World”; and served as a juror for the Inter- session at the Associa- France which was recorded for French national Marimba Competition 2004 in tion for Technology in Radio (RTF). Romm served as soloist with Belgium. Music Instruction the United States Air Force Europe Band National Conference under the direction of Maj. Scott Guidry, Bruno Nettl (musicol- in San Francisco in and performed as a member of the Festival ogy and ethnomusic- November. The session Epsival Brass-Percussion Ensemble under w ology) presented was entitled “Video Conferencing for the the direction of Frederick Mills in a concert i invited or keynote Rest of Us,” and was made with professor entitled, “An Hour Around Fred Mills.” He n addresses at several William Bauer, Case Western Reserve was trumpet clinician at the ISYM Band t conferences on four e University. He had two articles published Camp in Summer 2004. r continents in 2004: on in professional journals in 2004— the concept of music in 2 “Perspectives for Planning for Technology 0 0 5 23 Faculty News

Peter Schaffer in Salzburg, Siena also gave a recital at Sylvia was on the voice faculty of AAMA (violin) visited the the Carolino Augusteum and produced in Salzburg, Austria. Several performances Hochschule for Musik in and directed an evening of opera scenes. (with orchestra) of Le Nozze di Figaro (in Berlin, Germany, in German) and Die Lustige Witwe were per- March. He was asked to Ken Steinsultz formed on Kapitelplatz. She also adjudi- sit in on some juries and (bands) was conductor cated the Schloss Leopoldskron talk to the violin students. of the IMEA District II Competition for Singers in Salzburg. He also was invited to the state school for Junior Band on artists in Berlin, where he presented a lec- November 20, 2004 Stephen Taylor ture and discussed the future of violin at Augustana College (composition-theory) teaching in the United States. While there, in Rock Island, Illinois. has several premieres Schaffer was honored as the outstanding On November 13, he scheduled for the com- teacher, voted on by some of his former served as conductor of the IMEA District IV ing year, including students; he will be listed in Who’s Who Senior Band at Western Illinois University Transfiguration, a Among America’s Teachers. (Macomb). twenty-minute work for four singers with Donald Schleicher (orchestra) is begin- Fred Stoltzfus orchestra, which opened the Quad City ning his sixth season as music director and (choral) has received a Symphony Orchestra’s 90th season in conductor of the Quad City Symphony grant from the UIUC October. Later that month, his half-hour Orchestra. The 2004-05 season marks the Research Board to sup- piano work, Seven Memorials, was pre- 90th anniversary season of the QCSO. port travel and miered by Gloria Cheng in Los Angeles. Highlights of the upcoming season include research on Taylor’s award-winning quartet, Quark Beethoven’s Symphony No. 9, two world Beethoven’s Missa Shadows, will be performed in April 2005 premiers (including one by UI composer Solemnis in 2004-05. by the Composers Inc. Ensemble in San Stephen Taylor), guest pianist Horacio He will study the extant sketches that have Francisco. Other new works include The Gutierrez, oboist Robert Atherholt, and been catalogued in Berlin, Paris, Bonn, Floating World for the Libertyville (Illinois) guest conductor Catherine Comet. Schle- and Vienna and focus his research on the High School Orchestra, to be premiered at icher’s ongoing initiative of bringing “great genesis of the “Agnus Dei/Dona Nobis The Midwest Clinic in Chicago in Decem- concertmasters from leading orchestras” as Pacem” movement from the Missa. He will ber; choral settings of Ursula K. Le Guin’s guest soloists continues with Philadelphia then publish his work in the form of a fac- poetry; and Nebulae for harp, video and Orchestra concertmaster, David Kim. simile, transcription, and commentary on live electronics, written for UIUC harp pro- Robert Chen, Glenn Dicterow, and William the sketches from Grasnick 5, a sketch col- fessor Ann Yeung. Preucil have recently been part of the lection catalogued in the Berlin Deutsche series. In addition to the six pairs of classi- Staatsbibliothek. Christos Tsitsaros cal concerts, the QCSO performs three (piano pedagogy) pops programs, chamber music concerts, Sylvia Stone (voice) received publication of and numerous education programs. was artistic director of his new piano collec- Il Corso Estivo Per Gio- tion, Songs Without Jerold Siena (voice) vani Cantanti Lirici Words, by Hal is a 2004 recipient of and taught voice at Leonard Corporation the “Excellence in Scuola Italia, Urbania, in August 2004. His Teaching Award” from Italy (in the province of previous book, Poetic Moments, was suc- the College of Fine Marché, near Pesaro), cessfully presented in 50 workshops and Applied Arts. He from June 6 to July 3, 2004. Twenty-five nationwide. Between July and September also received Honor- young singers, eleven of whom were stu- 2004, Tsitsaros gave workshops on piano able Mention for the dents of UIUC, received an intensive Ital- technique in Boise and Twin Falls (Idaho), University-wide Award for Excellence in ian language course, voice lessons, St. Louis, San Marcos, and Champaign. Graduate and Professional Teaching. In coaching, opera scenes, and movement He was also an invited artist and clinician March 2004, Siena appeared at the Festi- class with an international faculty. The at the Hal Leonard “Piano Day Spas,” in val Casals de Puerto as Pong in Puccini’s singers presented four successful concerts Denver, Milwaukee, and Los Angeles. s Turandot. He returned to Salzburg, Austria o in and around Urbania; they included n this summer where he continued his studio arias, ensembles, and opera scenes pre- o r teaching and master class activities. While pared with two casts by the stage director i and coaches. From July 13-August 16, t i e s 24 Scott Wyatt (composi- to give lessons and master classes to pro- tion-theory), as part of FACULTY RETIREMENTS fessional singers along with other profes- his research with the sional possibilities in St. Louis and New Eric Dalheim development and appli- Orleans. (excerpt from The News-Gazette, Champaign-Urbana) cation of positional (M.M.’62) professor three-dimensional audio and chair of accompa- imaging, composed an nying (2002-04), “ electro-acoustic work, served on the School IN MEMORIAM Gordon Ware Binkerd Emeritus Faculty On a Roll, which demonstrates this applica- of Music faculty from May 22, 1916-September 5, 2003 tion for surround sound audio format. On a 1959-2004. He taught Roll was selected for performance at the the principles of Gordon Binkerd came to the University of Illi- 2004 National Conference of the Society accompanying and advanced accompany- nois in 1949 along with a handful of faculty for Electro-Acoustic Music in the United ing, coached voice majors, and taught a who were charged with the task of leading a States (March 25-27, 2004), and was graduate course in vocal literature. In the regional music [school] to a level of influence selected by SEAMUS national conference early ’70s, he helped establish the school’s and stature beyond the borders of Illinois. These individuals had the musical expertise to participants to appear on volume 14, Music vocal coaching and accompanying degree develop innovative programs that attracted from SEAMUS compact disc recording series program, one of the earliest such university the brightest and best students from through- to be released in 2005. Several of Wyatt’s programs in the country. His most notable out the country. Their vision during the 1950s compositions, along with works by com- appearances include concerts with: UI pro- fessor of saxophone Debra Richtmeyer, in and 60s made Illinois one of the premier posers James Dashow and Richard Karpen, Schools of Music. Gordon Binkerd was were released this year on DVD Audio by Yorkshire, England and in Paris; former UI professor of oboe Nancy Ambrose King, among the first professors at Illinois to be Capstone Recordings. Scott will appear as appointed to the University’s prestigious Cen- in her first-prize winning performance in guest composer at Illinois Wesleyan Universi- ter for Advanced Study. He helped develop the Third International Oboe Competition ty and Iowa State University in Spring 2005. the New Music Festival and attracted some in New York; and as a participant in the He remains project director of the Music of our finest young composers. His exclusive locally produced 2002 PBS television doc- from SEAMUS compact disc recording series contract with Boosey and Hawkes, one of the by the SEAMUS Board of Directors. umentary, The Song and the Slogan, which leading publishing houses in the world, won a regional Emmy Award. Eric will added to the influence and prestige of the Ann Yeung (harp) continue to perform in UI faculty recitals University of Illinois during its quest to was elected second and nationally with tenor Jerry Hadley become a major player. (M.M.’77). Dalheim and his wife, Bar- vice-president of the — David Saladino, Ph.D. (M.S.’71) American Harp Soci- bara, will remain in Champaign, Illinois. (excerpt from The News-Gazette, Champaign-Urbana) ety and was a guest of Harold A. Decker Emeritus Faculty honor at the Sixth USA May 13, 1914-June 16, 2003 International Harp Nicholas Harold Decker presided over the choral divi- Competition this sum- Di Virgilio, professor of voice and opera, sion for 33 years, turning it into one of the mer. Her tribute to Jane B. Weidensaul premier choral institutions in the country. He joined the faculty was published in the spring/summer jour- created the first D.M.A. especially designed to in1976, retiring in nal of the Association Internationale des equip choral musicians for work at the most 2004. A graduate of Harpistes et Amis de la Harpe in France. advanced level. In his tenure at Illinois, the the Eastman School of This past year, she was a presenter at the D.M.A. program became the benchmark 2004 American String Teachers Associa- Music, Di Virgilio against which all succeeding programs were tion with NSOA National String Forum & began his career directing the Mobile measured. Harold played a pivotal role in the Festival in Dallas, performed for the Ameri- Opera Company production of The Marriage creation of the American Choral Directors can Harp Society chapters of Philadelphia of Figaro in the late 1960s. Since then, he Association, an organization he saw grow and Knoxville, and gave a master class at has directed all over the world and nearly from its 58 charter members to a current mem- the Curtis Institute of Music in October every opera in the repertoire. In 1977, bership of over 20,000, of which he served 2004. In November 2004, she performed Di Virgilio produced, directed, and sang in as president for many years. At the 1997 at the International Computer Music Con- Tosca. As the head of the UI Opera Coor- national convention in San Diego, he was dinating Committee, he helped choose awarded the organization’s most prestigious w ference in Miami and gave a recital and i master class in the south of France. operas that lend themselves to the talents award—the “Robert Shaw Award” in recogni- n of students. Nic was responsible for imple- tion of his many contributions to the choral art. t menting the Youth Opera Preparation and His legacy lives on in his students, in the com- e Education Program (YOPE) which promot- mitment to excellence of performance and r ed opera in the public schools—elemen- character that he instilled in all of us. 2 — Chet Alwes (D.M.A.’82)0 tary to high school. He plans to continue 0 5 25 Musicology

LESSONS FROM NATIVE AMERICAN Bruno Nettl, professor MUSIC emeritus of musicology Many of us who began working I first heard a recording of Native Amer- them in dreams, often taught by animals ican music when I was nineteen,at Indi- who were their guardian spirits. And I in ethnomusicology in the late ana University, in a class of Dr. George wondered: didn’t these complicated 1940s started our studies by Herzog’s, who told me that to go into song forms have to be produced by learning something about Native ethnomusicology, I’d first have to learn composers who worked hard while American music. It was a kind to transcribe this music—which of they were awake? Or was it really the course lived in oral tradition—into nota- guardian spirits? I learned that the of music that sounded to us tion, and he gave me a wire recording world’s societies have different ways of about as different from what we (the most advanced technique we had conceiving of how music is created. were used to as we could imag- in 1949) with which, repeating each In 1951, I met my first Native Ameri- phrase many times, I managed to get a can teacher, an Arapaho with the curi- ine; and also, it was easier to two-minute song down on paper in two ous name of Bill Shakespear (the name undertake a summer’s field work or three hours. But how to write down given by a whimsical teacher at the Indi- on a Native American reserva- the (to me) strange singing style, the an school in Carlisle,Pennsylvania),who slightly but consistently fluctuating visited the Bloomington campus for a tion than in Africa or Asia. It’s intervals, the note-value relationships summer. Bill, about fifty, a gentle man an interest I’ve maintained, and that didn’t fit into our system of notes who took an avuncular interest in my now, looking back at the 55 and dots? This first lesson I’m laying on education, sang for my primitive tape you here was an introduction to the recorder all of the songs he knew. But years since my first encounter immense variety of musics in the world, the question came up: what’s a song? with this—to me—very exotic and I think it’s this variety that initially Most didn’t have words, and there was- sounding singing and percussion, turned many ethnomusicologists on to n’t a good way to identify them. Once, I realize that Native American their field, and that they can share with after he had sung one song, I asked him the world of musicians. I also had to to sing it again to see whether it would music has taught me a lot about analyze the forms of these songs and be different, and it was totally different, the music of the whole world, was amazed at their sophistication. but he insisted that it had been the and gave me things to wonder Then I learned that many Native Ameri- same, “only a little different in tone.” cans conceived of songs as coming to Another time, he sang two songs that about. Let me share with you sounded identical, but insisted they some lessons. were not the same, maybe just “a bit similar.” But then he would sometimes say such things as “I got this song from my grandfather.” I began to learn that the world’s cultures differ as much in s o their conception of what music is as n o they do in their musical sounds and r styles. i t i e s Image courtesy Northwestern University Library, Edward S. Curtis’s ‘The North American Indian’: the Photographic Images, 2001. 26 http://memory.loc.gov/ammem/award98/ienhtml/curthome.html Third lesson: Years later,beginning in song couldn’t be divided or changed,but now a professor at Arizona State), the 1960s, I had the good fortune of some songs could be given or sold. I got Robert Witmer (M.M.’72, now at York doing some fieldwork (sporadically the feeling that the Blackfoot thought of University in Toronto), Victoria Levine over several years), on the Blackfeet songs as objects, like drums, rattles, blan- (Ph.D.’90, at Colorado College) and Indian Reservation in Montana, in beau- kets, or headdresses. If two men learned Christopher Scales (Ph.D.’04, at William tiful country just east of Glacier (dreamed) what might sound to us like & Mary College). National Park. The Blackfoot nation the same song, these would be two dif- My fifth lesson, though, concerns a maintained a vigorous culture in which ferent songs, because they were the relationship between the Blackfeet they combined being modern Ameri- products of two acts of creation. reservation and our campus in C-U. cans with trying hard to preserve and But my second example moves us to When I came to the University of Illi- revive older traditions. I got to hear recent times. Modern American Indian nois, over forty years ago, I learned some songs that people usually sang at musical life revolves around pow-wows, about Chief Illiniwek and saw the private ceremonies, and I attended the gatherings, and celebrations at which dance, and I thought to myself,well, that grand pow-wow, and if I were to bring Native American identity is represented doesn’t look like any Native American back the one main lesson from my vari- mainly by singing and dancing. Small dancing I’ve seen,but there’s lots of vari- ous activities, it would be this. Music— pow-wows may have a dozen dancers, ety there, so who knows? And I let it go their own music—is just enormously one singing group (known as “Drum”) at that, feeling that the Chief didn’t real- important to the Blackfoot. Of course with some five to eight singers; or even ly have much to do with real Native they also listen to (and play), country just one singer. The large pow-wow of Americans anyway; it sure wasn’t any- music and jazz and classical music; they the Blackfoot has as many as 25 drums, thing that I could use in my courses. have a high school band and church taking turns, and hundreds of costumed Then, as I got more experience in field- choirs. But what they call “Indian dancers moving around a circle, with work, I came to realize that American music” may be the most important maybe a thousand spectators—natives, Indians were willing to share a lot, emblem of their ethnic identity. tourists, hobbyist dancers. In a lot of though not all, of their culture with oth- Two illustrations (the first, from the ways, the Blackfoot people were acting ers, but it was important to them that “old days”): Calvin Boy, one of my prin- pretty much like their white neighbors. they should have the right to decide cipal informants, or teachers, once said They even presented a color guard of how they would be represented. My to me,“the right way to do something is U.S. military veterans, they flew the stars teachers,for example,wanted to be sure to sing the right song with it.”Then he and stripes; they had come in pickup that I got right the things they were try- corrected himself: “the right Blackfoot trucks, and (except for the dancers) ing to explain; and they weren’t always way to do something is to sing the right dressed in T-shirts and farmer’s caps. But optimistic. Two years ago, in Browning, song with it.”What did he mean? obvi- the music, the singing and drumming, I asked a couple of people whether they ously, people weren’t constantly was totally Indian, there wasn’t, for four had heard of our “Chief” controversy. singing. Some of the older authors who days, even a moment of rock or blues, They had heard, but weren’t sure what recount life about 1900, talk about hear- hymns or patriotic songs, no national it was all about. Except for one man, ing a lot of singing all the time.But sure- anthem for the flag, or Taps for memori- who couldn’t help wondering why a ly Blackfoot homemakers didn’t sing als. It seemed to me that it was through bunch of people, mostly White, some “ironing songs”and auto mechanics did- this insistence on Indian music that they also African American and Asian Ameri- n’t sing “tune-up songs.” But Calvin— were asserting their Indianness or Black- can, would want to be symbolized by a and others—had the idea that what footness.That’s a lesson, my fourth, that man in a Native American costume, in a made Blackfoot culture unique was this would apply to many Native American dance inspired by what he thought concept of a world of supernatural peoples. Native American dances were like, to power, symbolized by songs (and I’ve visited the Blackfeet reservation music in which a marching band tried dances and ceremonial acts that went some eight or ten times, often rather unsuccessfully to give an impression of with them), that paralleled the everyday briefly, and there’s lots I learned and Native music. He couldn’t understand world. Here’s how I interpret this: songs lots more I haven’t learned. I’ve had the how this spectacle could conceivably and dances connected the natural privilege of teaching courses on Ameri- honor any Native Americans he knew, w world to its analogue, the supernatural can Indian music at UIUC regularly and surely he didn’t see why this i world. You learned songs in dreams since the 1960s,and also to advise some would make all those non-Natives feel n from your guardian spirits who sang graduate students who have gone on to good about themselves. I guess I don’t t e them to you once, and now, too, people distinguished research and teaching in either. r say they learn songs in one hearing. A this field: Richard Haefer (Ph.D. 1981, 2 0 0 5 27 2004 SCHOOL OF MUSIC AWARD, SCHOLARSHIP, AND FELLOWSHIP RECIPIENTS

KATE NEAL KINLEY MEMORIAL FELLOWSHIP: WARREN H. SCHUETZ MEMORIAL AWARD: Waejane Chen, Sara Kramer Catharine Casey GERALDINE B. COOKE SCHOLARSHIP: Laura-Lee Johnson, Greg Spero, Nicholas Stefanic BRAVO!DUANE A. BRANIGAN AWARD: JUDY RIEMENSCHNEIDER MARDEROSIAN MEMORIAL MUSIC Kimberly Davis, Audrey Good, Stacey Krueger SCHOLARSHIP: GERALDINE B. COOKE OPERA SCHOLARSHIP: Lisa DeAngelis Thomas Forde THEODORE PRESSER UNDERGRADUATE MUSIC AWARD: Courtney Huffman ALEXIS P. YOUNG MEMORIAL MUSIC EDUCATION AWARD: GERALDINE B. COOKE FELLOWSHIP: Nicholas Stefanic Brett Boutwell THEODORE PRESSER GRADUATE MUSIC AWARD: Kerry Heimann JOHN AND ELVIA SUTER AND KARL MONTAGUE HAKES AWARD: CAROLYN MITCHELL DAVY MEMORIAL AWARD: Andrew Wallace Alicia Zeilenga BILL A. NUGENT FELLOWSHIP IN MUSIC: Sara Kramer MARILYN PFLEDERER ZIMMERMAN UNDERGRADUATE JAMES RUSSELL VAKY MERIT SCHOLARSHIP IN MUSIC: SCHOLARSHIP IN MUSIC EDUCATION: Fu-Ju Song SWANSON FAMILY PERCUSSION FELLOWSHIP: Catharine Casey, Suzanne Hermany Darin Kamstra ANDREW G. DE GRADO PIANO AWARD: MARILYN PFLEDERER ZIMMERMAN FELLOWSHIP IN DOCTORAL Laura Theby NICHOLAS TEMPERLEY AWARD FOR EXCELLENCE IN A STUDIES IN MUSIC EDUCATION: DISSERTATION IN MUSICOLOGY: Rebecca Kellermeyer, Rachel Whitcomb CLARA ROLLAND CHARITABLE TRUST SCHOLARSHIP: Roberta Freund Schwartz Kris Becker NANCY KENNEDY WUSTMAN MEMORIAL AWARD IN VOCAL JOHN D. AND FERN HODGE ARMSTRONG AWARD FOR ACCOMPANYING: PAUL ROLLAND MEMORIAL STRING AWARD: OUTSTANDING UNDERGRADUATE PERFORMANCE: James Ivey Cristina Lixandru, Ari Vilhjalmsson Adelaide Muir ELIZABETH MEIER FRAUENHOFFER MEMORIAL SCHOLARSHIP: EDGARD VARÈSE PERCUSSION AWARD: RUNNERS-UP FOR THE JOHN D. AND FERN HODGE ARMSTRONG Leslie Damaso Christopher Cree AWARD FOR OUTSTANDING UNDERGRADUATE PERFORMANCE: David Husser, Katherine Cameron ANN SCOTT MAHER MASON VOCAL MUSIC SCHOLARSHIP: UI SYMPHONY ORCHESTRA STUDENT COMPOSITION AWARD: Mary Wuestenfeld David Farrell OUTSTANDING GRADUATING SENIOR IN CHORAL MUSIC EDUCATION: GOLDEN LYRE FOUNDATION AWARD: CHIP DAVIS/MANNHEIM STEAMROLLER ORCHESTRA AWARD: Joshua Spear Leah Myszkowski Rose Wollman

OUTSTANDING GRADUATING SENIOR IN ELEMENTARY GENERAL CHARLES F. AND HELEN W. LOEB VOICE SCHOLARSHIP: LYNN HORTON BASSOON SCHOLARSHIP: MUSIC EDUCATION: Ashmani Jha, Adelaide Muir Hannah Rutzen Seredy Masar DOROTHY E. BOWEN VOICE SCHOLARSHIP: THOMAS J. SMITH SCHOLARSHIP: OUTSTANDING GRADUATING SENIOR IN INSTRUMENTAL MUSIC Allison Holmes Raquel Adorno, Kimberly Davis, Lisa DeAngelis, EDUCATION: Kristen Richards, Allison Semmes, Catherine Starks Nicholas Stefanic ELIZABETH MEIER FRAUENHOFFER MEMORIAL AWARD IN MUSIC: Raquel Adorno VERNA K. TOWNSEND AWARD: ROBERT E. GRAY TROMBONE AWARD: Kelsey Fletcher-Broucek, Claire Happel, Adelaide Muir, James Siders GRACE ELIZABETH WILSON MEMORIAL AWARD FOR EXCELLENCE Xin Tian IN SINGING: EDWARD J. KROLICK STRING AWARD: Adelaide Muir DIVISION ACHIEVEMENT AWARDS: Phillip Hales Brass: Lucas Alberts, Eric Robins SARA DE MUNDO LO AWARD: Composition-Theory: Wes Alexander DANIEL J. PERRINO SCHOOL OF MUSIC SCHOLARSHIP: Lissette Jimenez Jazz: Andrew Fredrickson Abby Burgett Music Education: Christopher Brown, Patrick Hayes, s JOSEPH W. SCHLANGER MEMORIAL OPERA SCHOLARSHIP: Robert Krueger, Brianne Shadensack, Julie Simms o ROBERT E. THOMAS AWARD: James Ivey Musicology: Timothy Duis n Queena Chi Percussion: Sam Schmetterer o r ILLINOIS OPERA THEATRE ENTHUSIASTS AWARD FOR EXCELLENCE: Piano: Andrea Hui i GUY M. DUKER INSTRUMENTAL MUSIC EDUCATION AWARD: Chad Ballantyne, Courtney Huffman Piano Pedagogy: Jonathan Schildt t Christopher Barnum String Division: Charles Macko, Sarah Shreder i JILL MCALLISTER AWARD: Voice: Marc Day, Allison Semmes, Caroline Stuart, e Erik Horak-Hult s Stacey Tavor Woodwind: Joanna Martin, Stephanie Silosky 28 Student News

Although the School of Music honors its Waejane Chen, master of music candi- also was “performed” on the digital juke- talented students at the Annual Awards Lun- date in piano, won the 2003-04 Krannert box at the ICMC in Miami on November cheon in the spring, when it presents cur- Center Debut Artist Competition. Her debut 1-6, 2004. rent students with awards, scholarships, concert was Sunday, May 2 in the and fellowships, there are other student Foellinger Great Hall of the Krannert Cen- Amy Feather, doctoral candidate in achievements and competitions sponsored ter for the Performing Arts. Also in 2004, vocal performance, sang the Countess by professional organizations. Some of she was awarded the Kate Neal Kinley Ceprano role with the Boston Lyric Opera, these winners are listed below: Fellowship by the College of Fine and and the role of Gretel in Humperdinck’s Applied Arts. Hänsel und Gretel with its Outreach Pro- gram during last season. Chad Ballantyne, doctoral candidate in Stephanie Chigas, undergraduate voice choral conducting, will appear as bass student, toured in Spring 2004 with the Stefan Fiol, graduate student in musicolo- soloist in Haydn’s Creation with the Prairie Boston Lyric Opera’s Outreach Program, gy, was awarded a Fulbright grant by the Ensemble in May 2005. singing Hänsel in Humperdinck’s Hänsel Institute for International Education as well und Gretel. She received The Most Promis- as a Fulbright-Hays grant by the Depart- Kris Becker, graduating senior in piano, ing Young Singer of the Year Award from ment of Education; and in addition, a th won the piano prize in the 17 National the opera company. This summer she was grant by the Wenner-Grenn Foundation in Yamaha Young Performing Artist Competi- again invited to sing at the Glimmerglass competitions funding dissertation research. tion in April 2004. Kris participated in a Festival in upstate New York, performing He will be doing research on music in the concert featuring all of the instrumental the role of Angela in Gilbert and Sullivan’s state of Arunachal Pradesh, India during competition winners on June 21 at Illinois Patience. the current academic year. State University. He will enjoy many privi- leges as a Yamaha artist, including servic- Kyong Mee Choi, doctoral candidate in Thomas Forde, senior voice major, par- es and communication with Yamaha’s artist composition-theory, was selected to attend ticipated in the 54th season of Opera in relations department. Following the May the International Computer Music Confer- the Ozarks at Inspiration Point in Summer 2004 Commencement at which Kris ence, University of Miami, on November 2004, singing the role of Zuniga in the received his B.M. degree (Bronze Tablet), 6, 2004 following the performance of her production of Bizet’s Carmen. He was also he attended and performed in the Amalfi work, Sublimation, at the Australian Com- featured as the lead male role, John/Her- Coast Music Festival in Vietri sul Mare, puter Music Conference at Victoria Univer- messon, in the American premier of The Italy (on the Mediterranean coast) in July; sity of Wellington, New Zealand. Her House of the Sun, by the Finnish composer he remains an active solo classical per- electro-acoustic composition, Tao was per- Rautavaara. The premier was recently fea- former, accompanist, chamber musician, formed at Music 04, University of Cincin- tured in Opera News, The New York composer, music scholar, and jazz artist. nati College-Conservatory of Music on Times, The Wallstreet Journal, and by the June 18. Another of her works, Condo- Finnish National Press. Under the vocal Nathan Birkholz, doctoral candidate in lence, was performed at Zeppelin 2004 guidance of Ms. Korby Myrick, Thomas piano, was a winner of the Neale-Silva Centre de Cultura contemporània de was also named a Hobart Scholar, receiv- Young Artists Competition sponsored by Barcelona, Spain on May 22, 2004. ing a tuition waiver for his participation. Wisconsin Public Radio. As a winner, he performed in recital at the Elvehem Muse- Brad Decker, graduate student in com- Claire Happel, graduating senior with a um in Madison on March 21, 2004, position-theory, won the 21st Century B.M. degree (Bronze Tablet) in harp per- which was broadcast live across the state Piano Commission Competition in 2003 formance in May 2004, had an article, on WPR. “World Harp Congress Review Compendi- for his work, Podia. The piece was per- w formed on February 27, 2004 at the Kran- um (1984-Spring 2004),” published in the i Stevie Caufield, graduate bassoon per- nert Center for the Performing Arts. Podia Spring 2004 issue of the World Harp Con- n formance major and 2002 B.M. alumna, gress Review. She is currently a graduate t was awarded a second Tanglewood Fel- student at the Yale University School of e r lowship for the Summer 2004. Music. 2 0 0 5 29 Student News

Desiree Hassler, master of music candi- Jori Johnson and Henry Pleas, doctor- Edward Martin, doctoral composition- date in voice, sang in the Chicago Sym- al candidates in voice, performed Stravin- theory candidate, was the 2004 first-prize phony Chorus during the 2003-04 season. sky’s Pulcinella with the Prairie Ensemble in winner in the Festival of Living Music April 2004. which was sponsored by the Tampa Bay Gary Hollander, doctoral candidate in Composers’ Forum. Martin’s Dialogues, is trombone, has been appointed Fall 2004 Phillip Johnson, doctoral candidate, an 11-minute work in five movements. In sabbatical replacement for Dr. Stephen was appointed percussion instructor/assis- April, his work Metalission was performed Parsons at Illinois State University. His tant band director for Nikki Rowe High at the Florida Electro-acoustic Music Festi- duties include teaching all undergraduate School in McAllen, Texas. val. Martin’s composition, Apparitions for and graduate trombone majors and work- alto saxophone and electroacoustic accom- ing with the ISU Trombone Choir. Darin Kamstra, doctoral candidate in paniment, was performed at the North percussion, was appointed to a one-year American Saxophone Alliance National Stacey Jocoy Houck, doctoral candi- position at Mesa State College (Colorado). Conference which was held at the Univer- date in musicology, presented “Tradition as sity of North Carolina (Greensboro). Sedition: Christmas Carols in Puritan Eng- Daniel Kelly, doctoral candidate in trum- land” at the conference of the Society for pet performance, is interim professor of Jeffrey Matter, master’s candidate in Seventeenth-Century Music in La Jolla, Cal- trumpet at Indiana State University (Terre percussion, was awarded the Mark H. ifornia in April, and at the conference Bri- Haute) for the 2004-05 academic year. Hindsley Award for outstanding bands- tannia (Re-) Sounding: Music in the Arts, manship in May. Politics, and Culture of Great Britain, at Jeung-Yoon Lee, master of music candi- Oberlin College in June. She was recently date in piano pedagogy, has been accept- Patrizia Metzler, doctoral student in appointed visiting assistant professor of ed into the doctoral degree program at the choral conducting, will serve as research music at Texas Technological University University of Iowa which combines piano assistant to professor Fred Stoltzfus in a (Lubbock) for 2004-2005 performance with piano pedagogy. project funded by the UIUC Research Board for 2004-05 to explore the genesis Courtney Huffman, junior voice major, Jie-Youn Lee and Eun-Jun Yoo, doc- of the “Agnus Dei” in Beethoven’s Missa sang the leading soubrette role of Zerlina toral candidates in flute and harp, respec- Solemnis. in Mozart’s opera, Don Giovanni, in Fall tively, were winners of the 2004 National 2004. Courtney also sang the leading Flute Association’s Chamber Music Compe- Adelaide Muir, senior voice major, was soprano role of Johanna in the UI opera tition and performed at the national con- one of seven grand finalists of the Metro- production of Sweeney Todd in Spring vention in Nashville in August 2004. politan Opera National Council Auditions 2004. This year, too, she was the soprano in March 2004. She spent a week at the soloist for Bach’s Cantata No. 80 (per- Sarah Long, doctoral candidate in musi- Met in meetings and rehearsals, learning formed with chamber orchestra), and cology, is the recipient of the Newberry about the realities of opera, while she pre- soloist with the Oratorio Society’s perform- Library of Chicago’s Annette Kade Fellow- pared to sing in concert with other finalists ance of Bach’s Cantata No. 78, both ship for 2004-2005. She will spend the on March 21. In the grand finals concert, under the direction of Fred Stoltzfus. She is fall semester in residence at the Newberry Adelaide sang, Piangero La Sorte Mia a six-time recipient of the Sunriver Music Library Center for Renaissance Studies, from Giulio Cesare by Handel and Ah Je Festival Scholarship Award, including 2004. and the spring semester continuing Ris De Me Voir (Jewel Song), from research in Paris for her dissertation on the Gounod’s Faust. Her professor, Jerold Jing-I Jang, graduate candidate in harp, printing of plainchant and the usages in Siena, and her father, John Muir was a participant of the 2004 USA Inter- Paris in the early sixteenth century. (B.M.’76) were in attendance for the con- national Harp Competition cert. She was soprano soloist in Musica Charles Lynch, graduate student in da Camera’s performance of Beethoven’s harp, is adjunct faculty member at Olivet Elizabeth Jaxon, undergraduate student Choral Fantasy and appeared this fall as Nazarene University in Kankakee, Illinois. in harp, was a participant in the 2004 soloist in Carmina Burana with the Cham- USA International Harp Competition. She paign-Urbana Symphony. is also co-author of a scientific paper enti- Fernando Malvar-Ruiz, doctoral candi- date in choral conducting, accepted an tled “Physical Structure of Planetary Nebu- Jeffrey Peterson, doctoral candidate in appointment as the Litton-Lodal Music lae. II. NGC 7662,” published in the accompanying, was coordinator of the Director of the American Boy Choir in s October 2004 issue of The Astronomical pianists for Il Corso Estivo per Giovani Princeton which began in July 2004. Previ- o Journal. Cantanti Lirici in Urbania, Italy, in June. He n ously, he had been associate director of o also appeared as accompanist for the pro- the choir. r gram’s four concerts presented in Urbania i t and the vicinity. i e s 30 Student News

Eun-Jun Yoo, doctoral harp candidate, Colleen Potter, undergraduate harp stu- Ji Yon Shim, doctoral candidate in cello, presented a debut recital on October 16, dent, studied French language and litera- has been appointed co-principal cellist of 2004 at the Seoul Arts Center Recital Hall ture for six weeks at the Institute for the Springfield (Illinois) Symphony Orchestra. in South Korea. American Universities in Avignon, France in Summer 2004. She was principal Stephen Sieck, doctoral candidate in Six percussion majors spent the sum- harpist for the Sugar Creek Symphony and choral conducting, was tenor soloist in mer marching with various corps on the Song’s August production of Gounod’s Haydn’s Creation at Millikin University this 2004 Drum Corps International Tour. Romeo et Juliette in August 2004. spring and will appear in the same capaci- Drew Russell marched with the Glass- ty with the Prairie Ensemble in May 2005. men from Toledo, Ohio and Roxanne Susan Rice, doctoral choral conducting He is serving as interim conductor of the Moore marched with the Cadets of candidate, is serving as interim conductor UI Chamber Singers for 2004-05. Bergen County (New Jersey). Ben of the UI Oratorio Society for 2004-05. Collins, Ben Hall, Travis Knapp, and Joshua Spear, graduating senior, was Andrew Packer marched with the 2004 Stephen Roberts, doctoral candidate in awarded the Kappa Delta Pi Outstanding Drum Corps International World Champion trumpet performance, is interim professor Senior Award through the College of Edu- Cavaliers from Rosemont, Illinois. of trumpet at Iowa State University (Ames) cation. This award was given to the for the Fall 2004 semester. teacher education degree candidate with The UI Black Chorus performed for the highest grade point average among Illinois Arts Advocacy Day at the State Allison Semmes, undergraduate voice those who graduated in May 2004. Capitol (Springfield) on April 22, 2004. student, was an apprentice for Songfest’s Young Artist Program at Icicle Creek Tyné Steele, master’s candidate in bas- Chamber Music Festival June 27-July 10, soon performance, won the principal bas- 2004. soon position with the Quad City Symphony Orchestra in Davenport, Iowa in September 2004.

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State Please make your check payable to: UIF/School of Music w i Zip Send to: n University of Illinois Foundation t Business phone P.O. Box 3429 Champaign, IL 61826-9916 e r Email To make a gift, please go to: www.faa.uiuc.edu/support_faa/gift.html 5M 9HH 2 0 0 5 31 AlumniCampus Profile News ViktorKrauss Far From Enough, that’s the title of his recent recording, and that’s how Viktor Krauss (B.M.’91) still sees his career. It’s a career that would strike many musicians as already pretty rich in accomplishments. Composer, producer- FarFrom arranger, and bassist, the thirty-five-year-old commutes between Nashville and Los Angeles. He keeps busy making music with such greats as Lyle Lovett, Bill Frisell, Mindy Smith, John Fogerty, Mary-Chapin Carpenter, Graham Nash, and, occasionally, his sister, violinist Alison Krauss. And he looks forward to plenty more.

s o n o r i t i e s 32 “What I loved about studying with Paul Zonn,”Viktor adds, “was his encouraging attitude. I never felt there were rigid rules; he made sure that we were aware of various tech- niques, such as serial techniques or traditional notation, but also allowed the tape pieces I wanted to write.” At UI he was involved in the jazz band, including its tour to Russia. He says,“I absolutely loved my experience at UI. I did twenty-two opera productions at Krannert, mostly singing in the chorus, as well as two seasons with Medicare Dixieland Jazz Band. I learned the chord structures to come EnoughAnne M. Heiles up with bass lines that might become a tune that I could write, or to find parts that would complement everything Growing up in Champaign, Illinois, Viktor says that once he else going on.”Although he rarely uses a bow (“If someone saw the double-bass’s heft and heard its “ominous quality,”he asks me to play arco, I usually try to talk him out of it”),at the found his “truest friend in the music world.”He soon recog- UI,Viktor was writing for bowed Fender bass; he also experi- nized the bass’s integral role in any style of music. mented with using a constant loop of delay, echo techniques “Whatever hires me is the style I play in, the genre of the with voice, and serial techniques with twelve-string electric day, but I consider myself a rock guy first. Usually the stuff I guitar.He says he was “kind of out there”in his compositions, get called for is kinda’ left of center!” Consequently, he advis- adding that being introduced to so much late nineteenth and es students to “be open-minded and listen to twentieth century music in his courses as many different genres as possible.Pay atten- helped enormously with his writing tion to how the instrument itself works with- career. in a band and how the other parts connect “The Experimental Studios with Scott with it. Listen to important players, the ones Wyatt,”Viktor adds,“well—I had a wonder- doing it ‘right.’” During high school Viktor ful time in that course and became an studied with School of Music student Karen electronic gear junkie. I’m continually Koresmeyer. “She compiled music into tapes looking to find unorthodox ways to treat for me to listen to. I didn’t have many years of instruments, something I got from that formal training, but my musical interests experience. I recently used the pickup helped me as much as studying the instru- from my double-bass through four delay ment itself. For instance, I was a big fan of boxes with overdrive and wa-wa pedals bassists Ray Brown, Leland Sklar, and John for an underwater effect in a film score.” Paul Jones of Led Zepplin (he still is a big Krauss collects pedals: guitar-effect, distor- influence on me).” Krauss and his friends tion pedals, flangers and phasers, analog formed a rock band, and Viktor began writing and digital delay—”anything that can be a lit- songs for it. tle different.” At the University of Illinois he majored in music composi- Viktor’s break came when he was invited to tour and tion, with a minor in voice. He studied composition with Pro- record with Peter Rowan and the Free Mexican Air Force in fessor Salvatore Martirano, but mostly with Professor Paul 1993. He had already worked in Nashville, so breaking in,Vik- Zonn. Then chair of the theory-composition division, Zonn tor says, was largely a matter of “word of mouth and being w also played clarinet for shows and recordings in Nashville (as able to back it up by my playing once I had the gig.”In 1994 i did his oboist wife,Wilma). Eventually the Zonn children, vio- he began to record and tour with Lyle Lovett; among their n linist Andrea and bassist-cellist Brian, followed in their foot- most recent works were the 2003 releases My Baby Don’t t e steps; with Alison and Viktor Krauss that made four Tolerate (Viktor as bassist) and You Were Always There r Champaign-Urbana string players who settled in Nashville. (which he co-wrote).“I played a bunch of chordal ideas, and 2 0 0 All photos by Michael Wilson 5 33 Alumni Profile

“If there’s advice I would offer young players it is this: How you deal with people is as important as your ability. Being on time is a huge thing. Being friendly and enthusiastic, and making people feel there’s nowhere you’d rather be at the time will take you far.”

Lyle latched on to a particular one that we used. I was in the that’s pretty much it, though there may be editing or an addi- right place at the right time, and had always wanted to play tional overdub to enhance it. In Los Angles, however, many with Lovett. I contacted his manager, whom I’d already met, recordings are ‘built’: a sequenced/synthesizer track first, a and expressed my interest.The manager said,‘We’ll keep you more human element then added as the overdub.” That in mind.’I was having a scary period in 1994, not much going process agrees with him:“You can focus on each instrument on. So I called Lovett’s manager again to let him know that I in the overdub, building a track from something as small as a was still around. A couple months later he told me I had the trio and working from that standpoint on.” The only negative gig starting in ten days. That wasn’t much time to learn about in the process, he says, is losing some spontaneous interplay 80 to 100 tunes, so I scrambled. with other musicians. Even in Los Angeles Krauss worked in “I think I was chosen because the older, orchestrated process in my attitude was right and people Kevin Costner’s movie, For the thought I was capable. If there’s Love of the Game,which the Sina- advice I would offer young play- tra tune Summer Wind was done ers it is this: How you deal with with full band, including horns people is as important as your and full strings,“an amazing play- ability. Being on time is a huge back with the headphone mix.” thing. Being friendly and enthusi- With R & B singer Eric Benet,in astic, and making people feel contrast,Viktor played a tune to a there’s nowhere you’d rather be preexisting track, a drum loop, at the time will take you far.A lot more like recording a commer- of people are wonderful players cial. “Sometimes with commer- but don’t interact well, and some cials, all I have to go on is a drum people are good at being ‘political’ without backing it up in track, since many producers like to start with the bass. You their playing.You need both!” don’t want to over- or underplay,but you don’t know exactly Now that Krauss and his wife,Kristi,have a baby,he appre- what else will be added to the bass track.” ciates that Lovett offers him flexibility. “He’s graciously He and his younger sister Alison have written,recorded,and allowed me to do as much as I want to do. I’ve even worked co-produced (e.g., Moments Like This for the 1996 movie with Lovett writing some songs and (with Matt Rollings) the Twister) together. “We just did a Christmas tune that’s being score for a Robert Altman film, Dr.T and the Women.” released for this year’s holiday, Shimmy Down the Chimney. In 1995 Viktor met avant-garde guitarist Bill Frisell, anoth- We wrote it in 1988, and thought ‘Shimmy’ would work for er significant association. “He hired me based on word of this compilation. It sounds like a ’70s or ’80s R & B tune.” mouth. When I heard him,I thought,‘Wow,this is really great.’ In February 2004,Viktor’s Far From Enough placed num- We’ve done about eight records, including Good Dog, Happy ber six on the Billboard chart of Top Contemporary Jazz and Man and Nashville, and he was instrumental in making my among the top ten recordings sold by Amazon.com. Viktor record happen.” Their tours continue to the present (Novem- has described the songs as a “soundtrack without the movie,” ber 2004).“We were playing in New York at Joe’s Pub,”Viktor a kind of program music that’s “edgier than straight-edge jazz, recalls, “and the president of the record label came to the but hard to characterize as a pop record.There isn’t one pro- show.I had been telling Bill and his producer that I hoped to grammatic thread running through it, though some of the do my own record, and had played some of the stuff for titles give away an intent or image.” The CD features Krauss them.” That bit of self-promotion, he says,“ended in my get- on bass,Bill Frisell on electric guitar, Jerry Douglas on Dobro, ting to make the record—again, pretty much being in the Steve Jordan on drums,and Alison Krauss on viola and vocalises. s right place at the right time.” Viktor Krauss has his fingers crossed now,hoping that the o n Viktor explains that “a lot of pop music depends on the good record sales will pique the production company’s inter- o r musician in the moment of the session,”the ideas that emerge est in future projects. “I would love to continue doing film i then becoming the core orchestration for further recording scores.” You can check out what else is on his plate at his t i sessions.“In Nashville a group plays the recording session and website: viktorkrauss.com. e s 34 Alumni Notes

Janet Manning coordinator, alumni relations and development

on both concerts. At the Navy Memorial Tom Jewett (B.S.’65) has created an concert, they performed Karl King’s “online reunion” for members of the 1964 Melody Shop as an encore. Coincidental- Symphony Orchestra tour of South Ameri- ly, each of the trio has served as principal ca. Alumni may participate by visiting euphonium with the University of Illinois www.tomjewett.com/thetour through Wind Symphony. Also, Ken Steinsultz con- 2004. ducted Edwin Franko Goldman’s Illinois March at the WW II Memorial Concert. 2004-2005 ALUMNI RECEPTIONS

Convocation PERCUSSIVE ARTS SOCIETY 2004 Speaker Thursday, November 11, 2004 Convocation speak- Market Street Brewery & Public House er Dr. B. A. Nugent, Nashville, TN WW II Memorial president emeritus AMERICAN MUSICOLOGICAL Alumni in Quincy Park Band of the University of SOCIETY Members of the Quincy (Illinois) Park Band Illinois Foundation Friday, November 12, 2004 and former profes- participated in a tour of Washington, Palomino Restaurant & Bar sor of musicology D.C., June 25-28, 2004. The Band per- Seattle, WA formed at the recently opened WW II pictured with director Karl Kramer before the 2004 ceremony at Smith Memorial Memorial on Saturday, June 26, and at NATIONAL ASSOCIATION OF Hall on May 16. the Navy Memorial on Monday, June 28. SCHOOLS OF MUSIC (NASM) Several members of the Quincy Park Band Monday, November 22, 2004 Continental Trombone Quartet are alums of the University of Illinois Harbor House The Continental Trombone Quartet, com- San Diego, CA School of Music, including Eddie Allen prised of former graduate trombone stu- (B.S.’62, M.S.’66), Charles Brooks dents of Elliot Chasanov, was featured this THE MIDWEST CLINIC (B.S.’78), Bob Brooks (’80), Louis Mar- spring in performance at the 2004 Eastern Friday, December 17, 2004 gaglione (M.S.’65), Robert Sibbing Trombone Workshop in Washington, D.C., Chicago Hilton & Towers (Ed.D.’69), and Rich Lask (M.S.’78). and at the 2004 Northeastern CMS Con- 5:30-6:30 pm ference in Easton, Pennsylvania. The Quar- tet was formed in Fall 2003 to promote ILLINOIS MUSIC EDUCATORS ASSOCIATION the performance and composition of new Friday, January 28, 2005 trombone quartet music. The CTQ has Hotel Père Marquette already commissioned three new works for Cheminee Room its Spring 2005 performances. Members Peoria, IL of the group include: Douglas Farwell 6:00-8:00 pm (D.M.A.’98), trombone professor at Val- dosta State University (Georgia); Peter AMERICAN CHORAL Featured on the concerts was a euphonium Madsen (D.M.A.’00), trombone professor DIRECTORS ASSOCIATION trio of University of Illinois alumni: MGySgt and jazz program chair at the University Friday, February 4, 2005 of Nebraska (Omaha); Mark Rabideau Philip Franke (B.S.’83), United States Zucca Ristorante (B.M.’88, D.M.A.’98), trombone professor 801 South Figueroa Marine Band, “The President’s Own”; at Millersville University (Pennsylvania); 5:30-7:00 pm Ken Steinsultz (M.M.’91), assistant to and Steve Wilson, trombone professor at Los Angeles, CA w the director of bands at the University of the University of Texas (El Paso). Barry i Illinois; and Greg Nakamura n Hearn (M.M.’98), trombonist in the 2005 SOCIETY OF (B.M.E.’99), instrumental music teacher in t United States Army Band, will serve as ETHNOMUSICOLOGY e Fairfax County Virginia. The trio per- featured soloist. 50th Anniversary Meeting r formed Leroy Anderson’s Bugler’s Holiday November 16-20, 2005 Bruno Nettl, program chair 2 0 Philip Bohlman (M.S.’80, Ph.D.’84) 0 new president for 2005-07 5 35 Band Notes

Here Come the Illini— ALUMNI BAND REUNION new Marching February 19-20, 2005 Illini CD The Marching To celebrate the centennial of the appoint- tors A. Austin Harding, Mark Hindsley, Illini recently ment of A. Austin Harding as the first and Guy Duker. Dr. Harry Begian has released a new director of University of Illinois Bands, the been invited to serve as one of the guest compact disc, 30th anniversary of the formation of the conductors for both groups. Mr. Harding's Here Come the Alumni Band and the 20th anniversary of daughter, and the families of Mark Hinds- Illini. The CD fea- the appointment of James F. Keene as the ley, Everett Kisinger, Guy Duker, and tures traditional fourth director of bands, the Alumni Band Harry Begian have been invited as spe- University of Illinois Association and the UI Alumni Association cial guests. In addition, the Wind Sympho- favorites, as well as musical highlights are sponsoring a reunion and concert on ny will be performing some of the latest from the 2003 football season. It is avail- February 19-20, 2005. Alumni of the Uni- cutting-edge repertoire. able at the UI Band Office (217-333- versity of Illinois Wind Symphony, the 3025), and at Champaign-Urbana Symphonic, Concert and Regimental Please place this event on your calendar bookstores. Bands, and the Marching Illini are invited and plan to attend the reunion dinner at to return to campus for a weekend of the Illini Union as well as the concert in Florida A&M rehearsals, a gala Saturday evening the Great Hall of the Krannert Center for Band Directors reunion dinner and Sunday concerts by the Performing Arts—on stage as a mem- Come Home the Alumni Concert Band and the Universi- ber of the Alumni Concert Band or as a to UI ty of Illinois Wind Symphony. member of the audience. Saturday, Septem- ber 4, the Florida The Alumni Band will have the opportunity Additional details were provided in a Fall A&M University to perform traditional band music includ- 2004 mailing to all band alumni and will Marching 100 per- ing transcriptions by former Illinois direc- be posted online at www.uiaa.org. formed during half- time at the Dr. Shelby Chipman and Professor James Keene UI-Florida football game. In addition to The Illinois Legacy—new CD Other selections include recordings under the performances of the University of Illi- features rare recordings of Illinois the batons of Mark H. Hindsley (By Thy nois Marching Illini and the Florida A&M school songs Rivers Gently Flowing and Illinois Loyalty), Marching 100, the two bands joined As part of the historical anniversaries in Harry Begian (Pride of the Illini), and forces for a grand finale to the show. The 2004-05, the Alumni Band Association, an Edwin Franko Goldman’s Illinois March. Florida A&M Marching 100 staff has a affiliate of the University of Illinois Alumni Tracks recorded under the direction of strong Illinois presence. Four of their cur- Association, has commis- James F. Keene are Illini Fantasy and John rent directors have pursued graduate stud- sioned a compact disc of Philip Sousa’s University of Illinois traditional school and March. The CD also includes fight songs recorded favorites performed by the cur- under Illinois’ four leg- rent Marching Illini with conduc- endary band directors. tor Tom Caneva: Entrance #3, Included on the CD are Three-in-One, and Oskee Wow- the earliest-known Wow. The commemorative booklet recordings of Hail to highlights the rich traditions of the the Orange, Illinois Illinois bands and includes histori- s Loyalty, and Oskee Wow- cal notes about each of the selec- o n Wow made by A. Austin Harding and the tions on the disc. To place an order, Mr. Charles Bing, conductor, Florida A&M Band o 100-piece UI Band on October 31, 1925 go to: www.uiaa.org. ies at the University of Illinois: Dr. Julian r at the Victor Talking Machine Company i White (M.S.’68); Mr. Charles Bing; t following a performance of the band at Dr. Shaylor James; and Dr. Shelby i the Illinois vs. Pennsylvania football game. Chipman (M.S.’95). e s 36 Alumni News

Purdue Band Director from UIUC Saturday, September 25, the Purdue Uni- 1956-1960 1966-1970 versity All-American Marching Band per- Charles Musgrave (M.S.’57) was Michael Mamminga (B.S.’66) received formed during half-time at the UI-Purdue recently appointed music director at the 2004 “Lifetime Administrator Achieve- football game. The Purdue Band, as well Willowbrook United Methodist Church in ment Award” from the Richardson (Texas) as the Marching Illini, presented perform- Sun City, Arizona. Previously, he had Independent School District where he is ances which included a combined band served as music director for 18 years at director of fine and performing arts. The grand finale. The associate director of the the First United Methodist Church of band program has been, and continues to Purdue Band is another Illini, Mr. Chesterton, Indiana. Musgrave and his be, recognized throughout the state and William Kisinger, (B.S.’63, M.S.’67). wife, Toby, retired to Sun City in 1995. the nation for its outstanding accomplish- His father, the late Everett Kisinger, was ments in music education. Mamminga director of the Marching Illini from 1948 Lucas Drew (M.S.’58) is professor emeri- received his master of music education to1976. tus at the University of Miami, principal degree from the University of North Texas bass emeritus of the Florida Philharmonic, and a doctor of philosophy from Florida FIRST ANNUAL SCHOOL OF MUSIC and founder/artistic director emeritus of State University. He also earned an artist TAILGATE was held on Saturday, the Highlands-Cashiers Chamber Music diploma in euphonium performance from September 18, 2004, two hours before Festival after more than 40 years of teach- the Guildhall School of Music and Drama, and a diploma in brass band conducting, game time, with over 90 alums, faculty, ing and performing. He continues to serve as editor for St. Francis Music Publications arranging, and musical knowledge from and staff in attendance. It was an exciting (www.stfrancismusic.com). He and his wife the Trinity College of Music while perform- day for 60 high school bands, their direc- Judy reside in Flagler Beach, Florida. ing with the Hendon Brass Band. tors, and 4300 students performing as one during half-time at the Illinois vs. Western Jan Bach (B.M.’59, M.M.’61, Charlotte Michigan game. D.M.A.’71) was inducted into the Fox Val- M. Woods ley (Illinois) Arts Hall of Fame on April 22, (M.S.’67) is 2004, at the Walter Payton Roundhouse pictured with Complex in Aurora. Bach has composed Henry Z. for almost every type of genre—concertos Steinway at to operas, and received commissions from age 88, in throughout the country. He has been nomi- celebration of nated six times for the Pulitzer Prize. Jan is Steinway & now retired. Sons’ 150th Anniversary in 2003. In 1961-1965 April 2003, the Kennedy Center was the venue for Professor Emeritus Robert E. Gray, Allie-Jane Davis (B.S.’52), Harold Huber (B.S.’62), who retired Marjorie Olson (B.S.’58), and Beverly Williams (M.M.’52) Steinway’s Legendary Piano Tour featuring from 33 years of conducting for grade and the pianos of Horowitz and Van Cliburn. high schools in 1994, officially retired on Charlotte also received top honors as the August 5, 2004 as conductor of the 2002 piano salesperson of the year. She Kankakee (Illinois) Municipal Band. He represents Steinway & Sons at Jordan-Kitt’s plans to travel with his wife Kathy, and to Music, which has twelve locations and continue to direct the bell choir at Wesley serves 21 universities on the East Coast. United Methodist Church as well as judge w band, solo, and ensemble contests. Alexandria J. Holloway (M.S.’69), i dean of the Honors College at Miami- n Dade College, was appointed to the t e Miami-Dade County Cultural Affairs Coun- r cil in 2003. The Marching Illini dropped by to the surprise of our guests who 2 enjoyed their exuberant performance. 0 0 5 37 Alumni News

Gail Kalver (B.S.’70) celebrated her Studies. The book, Making Music in the Thomas Crecquillon, Utrecht University, is 20th anniversary in March as executive Arab World, was published by the Cam- in press. She presented a paper at the Six- director of the Hubbard Street Dance Com- bridge University Press. Racy visited the teenth Century Studies Conference in pany in Chicago. The Dance Company is UIUC campus in April 2004, giving Toronto in October 2004. demonstrations for classes and presenting celebrating its 25th anniversary this year. a recital of Arab music in the Krannert Art Richard Lawrence Johnson (B.S. ’76, Museum. M.S. ’79), professor of music at Salisbury 1971-1975 University, appeared as guest conductor Joseph Flummerfelt (D.M.A.’71) was Jon Mitchell (M.S.’72, Ed.D.’80) is chair for the United States Naval Academy recently named Conductor of the Year by of the department of performing arts at the Chamber Music Series in Annapolis, Mary- Musical America. Retiring at the end of the University of Massachusetts (Boston). His land during 2003 as part of the Naval 2004 season, Flummerfelt had served as new CD, conducting the Bohuslav Martinu Academy’s 150th Anniversary Celebra- artistic director and principal conductor of Philharmonic Orchestra, includes tion. Featuring clarinetist and Chief Musi- Beethoven’s Piano Concerto in D, Op. 61 the Westminster Choir since 1971. He has cian Marcia Diehl, members of the USNA (Centaur Records). collaborated in the preparation of hun- Band, the National Symphony and mem- dreds of choral/orchestral performances bers of the Peabody Conservatory Sym- Deborah Dietz (B.S.’73, M.S.’79) was with many eminent conductors, including phony, the performance included chamber invited by Symphony Australia to partici- Abbado, Bernstein, Masur, Mehta, works by Bach/Lawrence, Alec Wilder, pate in their conducting seminar in July Ozawa, and Steinberg. His collaboration Saint-Säens. The evening concluded with with Samuel Barber includes the Grammy 2003. The community orchestra which she Aaron Copland’s chamber version of his Award-winning recording of the compos- conducts, received the “2002 Australian Short Symphony written in 1932. In spring er’s opera, Anthony and Cleopatra. Community Orchestra of the Year Award.” 2003, after nine years of distinguished service in arts administration Johnson Kathryn (Kay) Rives Johnson Joy Beebe (M.S.’74) retired in May stepped down as chairperson of the (B.S.’71) graduated from Duke Divinity 2004 after 40 years of teaching; 35 of School in 1993, and is now the minister of those years at Meade Park Elementary department of music at Salisbury Universi- evangelism in a 3400-member United School, in Danville, Illinois. She is organist ty. He returned to full-time teaching and is Methodist Church in Raleigh, North Caroli- at the Danville United Church of Christ and devoting his additional time to freelance na. Previously, she had served 16 years as is a private voice instructor. conducting, writing, presenting, clinics, music director in a 1500 member UMC in and performing off-campus. During the Raleigh. Neil Finbloom (B.S.’74) retired last summer of 2003 his article, “Music Per- spring from the Parkway School District in ception” was published in Thinking—the John Kuzma suburban St. Louis. After 30 years in music Focusing on Brain Research. The Journal education, he will continue to work as a (M.M.’71) performed for the Institute for the Advancement of freelance musician in the St. Louis area J. S. Bach’s Art of the Thinking is prepared through the depart- and operate his business, Schoolhouse Fugue on the newly ment of psychology at Salisbury University. restored 80/IV Antiques. Neil completed his master’s degree at the University of Miami where Reuter/Morel organ at Jerry Hadley (M.M.’77) will be in resi- he studied with John Kinyon, Alfred Reed, Montview Boulevard dence at the University of Illinois in Febru- and Frederick Fennell. Presbyterian Church in ary 2005 to perform in Leonard Denver on Friday, March 19, 2004. The Bernstein’s Candide with the Illinois Opera Bruce Moss (B.S.’75, M.S.’76) celebrat- recital was sponsored by the Denver Bach Theatre and present master classes. In th Society. John is completing his 17th year ed his 25 year as director of the December and January, he will be singing as Montview Church’s minister of music. Wheaton (Illinois) Municipal Band this in a new opera, A Wedding, by William He was formerly music director of the summer. Moss is director of bands at Bowl- Bolcom. Hadley won a 2004 Grammy American Boychoir (Princeton) and the San ing Green State University (Ohio). Award in the Best Opera Recording cate- Diego Chamber Orchestra. His own works gory for Jenufa by Leoˇs Janácˇek (with Kari- have been performed by the Chicago Sym- ta Mattila and Anya Silya; Sir Bernard phony Orchestra and many Denver groups 1976-1980 Haitink conducting the orchestra and cho- including the Colorado Symphony Orches- rus of the Royal Opera House at Covent Mary Ferer (Ph.D.’76), assistant professor tra, Denver Brass, Colorado Children’s Garden) in February 2004. It was record- of music at West Virginia University, Chorale, and Denver Gay Men’s Chorus. ed on the Virgin Classics label. He was received a faculty grant to continue s also nominated for Desire Under the Elms o research in the UIUC Renaissance Archives Ali Jihad Racy (M.M.’71, Ph.D.’77), by Edward Thomas (with Victoria Liven- n in Summer 2004 for a project on Charles V o professor of ethnomusicology at UCLA, has good and James Morris; George Manahan r and his music. Her article “Crecquillon received First Prize for the best book of conducting the London Symphony Orches- i and the Cult of St. Cecilia,” Proceedings of t 2003 in the field of Middle Eastern studies tra and Chorus), for Naxos Records. In Fall the Conference on Clemens non Papa and i from the British Society for Middle Eastern e s 38 Alumni News

2003, Jerry performed Berlioz’s Damna- Lisa Scott Marla Helmuth (B.A.’79, M.M.’86) is tion of Faust in Berlin with the Deutsche- Lehmberg associate professor in composition at the Symphoniker under the baton of Kent (B.S.’78, M.M.’80) University of Cincinnati, College-Conserva- Nagano. is a general music tory of Music, and director of the CCM specialist at River- Computer Music Center. She was a guest Howard J. Buss side Elementary composer on the June in Buffalo Festival at (D.M.A.’78) was named School in Sioux the University of Buffalo, and had two winner of the National Flute City, Iowa and was pieces performed: bugs and ice: A Ques- Association’s 2004 Newly- selected as the tion of Focus, and Inchoate Energies, per- Published Music Competition Sioux City Commu- formed by pianist Jacob Greenberg. In for his composition, Prelude nity School District’s April she coordinated a concert of all new and Dance for solo flute/piccolo, solo alto 2004 Teacher of works called Sound Collaborations at the flute, and flute ensemble. His recent CD the Year. She earned National Board Certi- Cincinnati Contemporary Arts Center, releases include Incantation for trumpet and fication in 2003 in the area of early/mid- including: Mountain Wind, with pipa percussion on Equilibrium Record’s “Old dle childhood music. Lisa and Lance soloist Ming Ke and six instruments; Smoke News EQ58,” and Pipe Dream for solo Lehmberg were selected to present a ses- (Helmuth/VanMatre) for Rick VanMatre flute on Capstone Record’s “McCormick sion entitled, “Go Global! Create a Multi- (soprano and tenor saxophones) with art- Duo: Twilight Remembered,” CPS-8721. cultural Music Company in Your work by Anna VanMatre; No. 7 for Gyil Capstone also just released “Howard J. Elementary Music Classroom,” at both the and Computer (Helmuth/Otte) for Allen Buss: Modern Times,” CPS-8735, which National MENC Biennial Conference Otte (Ghanian xylophone); and The Edge includes Overture for Percussion, Scenes (April 2004 in Minneapolis), and at the of Noise for NeXT Ensemble. Last year from the Holy Land for flute and percus- ISME World Conference in Tenerife, Spain Marla traveled in China extensively and sion, Currents for percussion quartet and (July 2004). Lisa and Lance were married got the inspiration for Mountain Wind by Modern Times for narrator, flute, and per- in January 2004. She and her husband hiking in the mountains Hua Shan, Huang cussion ensemble. Buss is founder and edi- recently co-authored the article “Science + Shan and Emei Shan. Recently, she was tor of Brixton Publications (ASCAP) and Steel Drums = Smiles” which was pub- appointed to the position of vice president Howard J. Buss Publications (BMI), which lished in the first issue of Music Education for conferences for the International Com- publish contemporary American concert International. puter Association. music. Howard lives in Lakeland, Florida with his wife, Judy (M.M.’77). Kim Cook Philip V. Bohlman (M.S.’80, Ph.D.’84) (B.M.’79) is a is the Mary Werkman Professor of the Barbara Haggh (B.M.’78, M.M.’80, cello professor in Humanities and of Music at the University Ph.D.’88), associate professor of music at the College of Arts of Chicago where he is also chair of Jew- the University of Maryland, participated in and Architecture at ish Studies. He was awarded the Berlin the Twelfth Conference of the International Penn State Univer- Prize in 2003 by the American Academy Musicological Society Study Group Cantus sity where she in Berlin for his research on music in con- Planus in Lillafured, Hungary (August received word that centration camps during the Holocaust, 2004). Her review of Craig Wright’s she had been and for his translation of Johann Gottfried recent book, The Maze and the Warrior: selected for inclusion in the biographical Herder’s writings on music and national- Symbols in Architecture, Theology, and directory Who’s Who in America, in Fall ism. Recent publications of his include: The Music, appeared in the Summer 2003 2003. The announcement coincided with Music of European Nationalism: Cultural issue of the Journal of the American the release of her recording of Dvorˇák’s Identity and Modern History (ABC-CLIO Musicological Society, and a review of a Cello Concerto by Accademia dell’Arte. 2004); Jüdische Volksmusik—Eine mitteleu- volume she edited, Essays in Music and The CD also features Max Bruch’s Kol ropäische Geistesgeschichte (Böhlau Ver- Culture in Honor of Herbert Kellman Nidrei and a premiere of Capriccio, a lag 2004), as well as the double-CD, (Minerve: Centre d’Études Supérieure de work commissioned for cello and orchestra Dancing on the Edge of a Volcano (Cedille la Renaissance), appeared in the Summer by Czech composer Zdenek Pololanik. All Records), recorded by the New Budapest 2004 issue of Renaissance Quarterly. In works were recorded with the Bohuslav Orpheium Society, a Jewish cabaret October 2003, she participated in a sym- Martinu Philharmonic in the Czech Repub- ensemble of which Bohlman is the artistic posium on editing, from “Antiquity to the lic under conductor Gerardo Edelstein, director. He continues to serve as co-editor Enlightenment,” at Ohio State University. assistant professor at Penn State. Kim has of the monograph series, “Chicago Studies established the Gardiner/Cook Cello in Ethnomusicology” (University of Chicago w Endowment at Penn State for student schol- Press), with University of Illinois Professor i n arships, guest artists, and new commis- Bruno Nettl. t sions for the cello. e r 2 0 0 5 39 Alumni News

Dream a World (based on a text by lications, Inc. He presented a paper enti- 1981-1985 Langston Hughes and written after Septem- tled, “Rhythm and Timbre as Interdepen- Paul Buyer (B.S.’81) ber 11, 2001). dent Structural Elements in Askell Masson’s received his National Compositions for Snare Drum” at the South Board Certification in Susan Shiplett Ashbaker (M.M.’84) Central chapter meeting of the College early adolescence/ continues in her position as director of Music Society (CMS), held on March 11- young adulthood music artistic and music administration at the 13 at Hendersonville State University in (orchestra) in Fall 2003. Opera Company of Philadelphia and is on Arkadelphia, Arkansas, and also served He is currently one of faculty at The Curtis Institute of Music. In on a panel entitled, “Give Three Wishes, four orchestra teachers Spring 2004, she accompanied Denyce What Would you Change About Your Role certified in the state of Graves and Carol Channing for live as a Musician/Teacher in Academe, in South Carolina, where broadcasts on the PBS affiliate WHYY in Your Community, and in American Soci- he has taught orches- Philadelphia. She also performed in con- ety?” During the New Music Festival held tra/strings in Spartanburg since 1982. cert with Nathan Gunn, Meredith Arwady, at the University of Nebraska (Kearny) in and Gordon Gietz in collaboration with March 2004, Adams, along with several Gary Dranch (D.M.A.’81) recently per- the Philadelphia Art Museum’s exhibition other guest composers, held a master class formed as soloist with the Universidade “Manet and the Sea.” In addition to judg- for student composers and participated in Luterana do Brasil (The Lutheran University ing the MET competition, she joined the a panel discussion entitled, “How and of Brazil) Chamber Orchestra in Porto Ale- panel for the Richard Tucker Foundation Why Does a Composer Write Music?” gre, Brazil. He was soloist with the auditions. Opera America recently tapped Buenos Aires Philharmonic Orchestra at Ms. Ashbaker as the first chair of their the Colon Theatre in Buenos Aires, Argenti- new Artistic Network Initiatives program. 1986-1990 na in April 2003. Gary performed the Also, she was chosen by Opera America Hindemith Clarinet Concerto with guest to moderate two panel discussions as part James Crowley conductor Arkady Leytush. of their Singer Workshop, “Building A (B.M.’86) is associate pro- Career: Strategies for Success,” and to fessor of music at the Uni- S. Bernard (Bernie) Hall (M.M.’81) participate on a panel at the National versity of Wisconsin- and Gwen McLeod Hall (M.M.’81) Convention. Parkside. He was previously received their National Board for Profes- a member of the administra- tive staff of the Lyric Opera of Chicago, sional Teaching Standards (NBPTS) certifi- Karen Kopping-Eldrenkamp and also taught at Drury University in Mis- cation in 2002. Bernie is band director (B.S.’84, M.S.’89) is a band director at souri. His music has been presented in and Gwen is choral director with the Ran- Glen Crest Middle School in Glen Ellyn, recent years by the Minnesota Orchestra, dolph County Schools (Asheboro, North Illinois. She and her husband, Dean, have 1 Eastman Wind Symphony, Civic Orchestra Carolina). Their children are Kathleen two daughters, Christine (2 /2) and Nicole (18), an oboist, and Steven (16), a percus- of Chicago, and many other ensembles. Marie (6 months). sionist. He lives in Kenosha, Wisconsin with his wife, pianist Eun-Joo Kwak, and Daniel Adams their daughter, Annabelle. Charles McAdams (M.S.’81, Ed.D.’88) (D.M.A.’85), conducted the has been named dean of the College of world premiere of his com- Ron Hughes (B.S.’86, M.S.’88) is the Arts and Sciences at Northwest Missouri position, Among Echoing band director at Olympic Heights High State University (Maryville). Previously, he Presences, on a concert pre- School in Boca Raton, Florida. He served was acting dean of the College of Arts sented by Continentes Per- as percussion director there for two years and Sciences at Central Missouri State Uni- cussion II, on June 6, 2004 at the Teatro prior and received invitations to perform at versity in Warrensburg. Making the move National in San Jose, Costa Rica. He also the National Percussion Festival, the Flori- to Maryville with McAdams is his wife conducted the world premiere of Diverti- da Music Educators Convention, and the Carol, son James, and daughter Kathryn. mento for Violin, Trumpet, and Percussion Florida Day of Percussion. by Costa Rican composer Francisco Castil- Andre Thomas (D.M.A.’83), director of lo on the same concert. Among Echoing Jeffrey Herbert (M.M.’88) recently choral activities and professor of choral Presences was also performed at the Cen- became the new organist and music direc- music education at Florida State University, tro Nacional de Politica Economica of the tor at San Marco Catholic Church (Marco leads the 156-member Tallahassee Com- Universidad Nacional Costa Rica on June Island, Florida). munity Chorus. The Chorus performed at 10. He is the author of “The Drum Set as a s o Carnegie Hall’s Isaac Stern Hall in March Solo Multiple Percussion Performance Sheryl Iott Richardson (M.M.’88) is n 2004. The program included Haydn’s Lord Medium,” an article published in the visiting instructor in piano pedagogy at o Nelson Mass, two of Thomas’ composi- r Spring 2004 issue of the Journal of the Michigan State University (East Lansing). i tions, Walk the Streets of Gold and I National Association of College Wind and She is a doctoral candidate at MSU, and t Percussion Instructors. Adams’ composi- i has been a part-time faculty member of e tion, Guadalquivir for flute, harp, and s viola, was recently accepted by Dorn Pub- 40 Alumni News

Hope College (1997-present), and Calvin conference papers include “Involuntary Michael Sitton (D.M.A.’91) is acting College (1997-1998). Her article, “Music Grimace: A Semiotic Morphology of Facial vice president for academic affairs at as Language” was published in the Gesticulation in Jazz Improvisation” given Hollins University (Roanoke, Virginia) June/July issue of American Music at the Sixth Congress of the Dutch Society where he has taught since 1991. In Spring Teacher. Sheryl is president of her local for Music Theory in Utrecht, The Nether- 2003, Sitton was elected to be chair of the Music Teachers Association, member of the lands. Recent compositions and perform- faculty at Hollins. He continues to be board of the state MTA certification com- ances include: Cry Fowl, a multimedia active as a performer and composer, with mittee, and chair of the MTNA state com- piece involving video, two-channel digital Spring 2004 piano recitals in Virginia and petitions committee. tape, and dancer, featuring choreography Michigan, chamber music performances, by Double Edge co-founder, Kora Radella. and premieres of choral works in Georgia Christine Corpus (B.S.’89, M.S.’96) This work was commissioned for, and per- and Washington. He also joined the Board was among 12 finalists for the 2005 Illi- formed at, the International Symposium of Equality Virginia, a statewide education- nois Teacher of the Year Award. The final- Revelations: Flannery O’Connor, the al and advocacy nonprofit in Summer ists were chosen from among 300 Visionary and the Vernacular, which took 2003. educators nominated through the “Those place in Milledgeville. Other recent com- Who Excel” awards program. She is the positions include: Przemsyl for baritone David Allen (B.M.’92, choral instructor at University High School saxophone and tape, written and per- M.M.’94, B.S.’96) was and at Thomas Metcalf School (Normal, formed by New York based saxophonist, appointed coordinator of Illinois). Chris also leads two madrigal Taimur Sullivan (B.M.’92); Honky outreach and public ensembles and two jazz choirs at Universi- Honkers, a piece for 12 car horns, pre- engagement at the UIUC ty High. She received National Board Cer- miered at the Arty Gras! Festival in School of Music in Fall tification in 2003. Milledgeville, and Rip, Rag, & Panic for 2004 where he also teaches “Introduction jazz septet. Ross and Kora have two sons, to Music Education” and “Introduction to Enrique “Hank” Feldman (M.S.’89, Max and Misha. Technology-Based Music Instruction.” M.M.’90) is the president and director of David was previously director of bands at educational training of the non-profit Richard Wolf (M.M.’89, Ph.D.’97) has Champaign (Illinois) Centennial High F.A.M.E. Foundation (Fostering Arts-Mind been promoted to the position of Harris K. School for five years following his appoint- Education), the director of Evolved Learn- Weston Associate Professor of Humanities ment as director of bands at Salem Com- ing, an active composer, and classical and at Harvard University (Cambridge, Massa- munity High School in Salem, Illinois. jazz performing artist. The F.A.M.E. Foun- chusetts). David established and conducted the dation now serves over 4,000 children Champaign Centennial Clarinet Choir and and families, with the integration of their the Centennial Brass Choir. While serving proven educational techniques, supported as director of the Champaign Centennial and recognized by the National Endow- 1991-1995 High School bands, he received three Cita- ment for the Arts. Thomas Erdmann (D.M.A.’91) has tions of Excellence from the National Band been named the new music director/con- Association for performances at the Univer- Ross Feller (M.M.’89, D.M.A.’94) and ductor of the Elon (North Carolina) Univer- sity of Illinois’ prestigious Superstate Con- Kora Radella make up the Double Edge sity Symphony Orchestra. He has also cert Band Festival. In 2003 the Centennial Dance and Music Company in received publication by Carl Fischer, Inc., High School Symphonic Band was select- Milledgeville, Georgia. They premiered a of his third and fourth books (editions of ed as the class AA Superstate Honor new composition titled, Address Sigmund Hering trumpet etudes). Band. He has served as guest conductor of (Un)known, at the 2004 MidSummer the Illinois Brass Symposium and the Illinois Macon Music and Arts Festival. The piece Sondra Hardy Jones (B.S.’91) is a Trombone Symposium. Since 1994 David is based on the atmosphere and life quali- music specialist at Lakeview Middle School has been a member of the teaching and ties of each place the couple has lived— (Winter Garden, Florida), where she administrative faculty of Illinois Summer narrowed down to 15. Feller accompanies directs three choirs and two sections of Youth Music Bands. He is currently serving his live clarinet music simultaneously with a handbells (beginning and advanced). She as the high school band chairperson for Illi- CD recording of his composition while was lead director of the school musical, nois Music Educators Association District 3. Kora, choreographer and dancer, per- The Pirates of Penzance this past year. forms. He is assistant professor of composi- Sondra sings with the Orlando Chorale Kurt Goebel (B.S.’92) and Ellen Tift, pop tion at the Oberlin Conservatory of Music, and was soprano soloist for the Holocaust music production team Worldwide Groove and recently received publication of book Cantata and other Bach works during the Corporation (WGC), recently completed w chapters in Postmodern Thought/ Postmod- past season. She also works part-time as production on the first in a new series of i worship CDs for Integrity Records. n ern Music (Garland Publishing), and A an instructor in the education programs at Praise t Handbook to Twentieth-Century Musical Walt Disney World. Sondra completed her Jams, Vol.1, was released in June and fea- e Sketches (Cambridge University Press), as master’s degree at Illinois State University tures 12 worship songs restructured, rehar- r well as journal articles in the Computer monized, and reinvented to appeal to the in December 2000. She and husband, Les, 2 Music Journal and Open Space. Recent are parents of Lydia (8) and Evan (7). “tween” market (ages 8-14). Artists Hillary 0 0 5 41 Alumni News

Duff, Jump 5, and Paul Okenfold served as Mark Zanter Old Age.” Nathan appears on the cover the inspiration for the production style. (M.M.’93, D.M.A.’01), of the recent issue of Opera News in his WGC was featured in Summer 2004 on a assistant professor of Billy Budd costume standing at the wheel CD for Curb Records with Todd Smith, composition and theory of the ship. artist; the CD includes four string arrange- at Marshall University ments. (Huntington, West Vir- Kerry Heimann (B.M.’94, M.M.’95), a ginia), was awarded the doctoral candidate in harpsichord and Robert Holm (M.M.’92, D.M.A.’99) is 2004 Artists Fellowship early music, at the University of Illinois, assistant professor of piano at the Universi- in Music Composition by the West Virginia was recently appointed accompanist for ty of South Alabama (Mobile), where he Commission of Culture and History. He is The American Boychoir (New Jersey) teaches private lessons, class piano, and also a recent recipient of the American under the new music director, Fernando accompanies faculty and students. Robert Composers Forum Jerome Foundation Malvar-Ruiz (UIUC doctoral candidate). is also pianist for the Mobile Symphony Composers Commissioning Grant for his Kerry toured with the choir in 2001 and in Orchestra and the Dauphin Way Baptist work, Ricerca di poesia for violin and 2003. He is co-founder of the Baroque Church. Married in 1998, he and his wife, piano. In Fall 2003, Zanter was an associ- Artists of Champaign-Urbana and has per- Kathryn, have three children—Emma, ate artist at the Atlantic Center for the Arts formed extensively with the group as Karolina, and Connor. working with composer Olly Wilson, and organist and harpsichordist. Also, Kerry was co-host of the First Annual Festival of has performed as a soloist and chamber Eric Peterson (B.S.’92) is assistant direc- West Virginia composers held at the Hunt- musician with Concerto Urbano, Sinfonia tor of bands at the University of Utah (Salt ington Museum of Art. Mark’s music is da Camera, Illinois Chamber Orchestra, Lake City). He is working on his doctor of published by MJIC Publishing, and Editions and the Prairie Ensemble. musical arts degree in conducting at Texas D’oz (Montreal). His piano solo Impromptu Tech University. Variations, will soon be issued on CD. Mary Ellen Poole (Ph.D.’94) became dean of the San Francisco Conservatory of René Rosas (M.S.’92) is a real estate Nathan Gunn Music in August 2003. She will be work- broker with Coldwell Banker Residential (B.M.’94) and his ing with another alum, Colin Murdoch Brokerage in Naperville, Illinois, and has wife, accompanist (M.M.’72), who is president of the Conser- earned the designation of GRI (Graduate, Julie Jordan vatory. Mary Ellen formerly taught at Mil- REALTOR Institute). As former director of Gunn (M.M.’92, likin University for 18 years where she bands at Naperville Central High School, D.M.A.’01), pre- also served as director of the School of he has established a “Friends of the NCHS miered at the Kran- Music from 1997 to 2003. Program,” in which he will donate 25% of nert Center for the his net commission, from a buyer or seller Performing Arts on Luke Housner (M.M.’95), vocal coach, who has identified themselves as a October 3, 2004. Selected music included prepared, directed, and performed from “Friend,” to the NCHS Band Boosters. Schumann and Schubert as well as tradi- the piano a conductor-less, fully staged tional American songs. Nathan and Julie production of Strauss’ Elektra as part of James Bohn (M.M.’93, D.M.A.’97) presented a master class at UIUC on Octo- the 2003-2004 Academy of Vocal Arts recently completed a DVD of his music and ber 26 for voice and opera students. In the opera season in March. In Fall 2004, video work entitled all fOMENgs (see fall of 2005, Nathan will sing the leading Housner collaborated with the German http://www.bohnmedia.com/store/d/ role in the world premiere of An American professor at AVA to teach a German lieder bmd001/ for details). His book, The Music Tragedy, an opera by Tobias Picker and course to resident artists. He also present- of American Composer Lejaren Hiller and Gene Scheer based on the novel by ed a master class and two recitals at the An Examination of His Early Works Involv- Theodore Dreiser. Another new role, that University of California (Davis) last Novem- ing Technology is currently in production at of Riolobo in Daniel Catán’s Florencia en ber. He and his wife Carmelita have two Edwin Mellen Press. Three of his composi- el Amazonas will be performed with the children, Simon (4) and Faustina (3). tions were presented at the Bonk Festival Seattle Opera in February 2005. Also on in Tampa, Florida in mid-March. They the calendar are Billy Budd this October in Charles Joseph Smith included: Morphological Echo, a piece for San Francisco, for the Bayerische Staatsop- (M.M.’95, D.M.A.’02) piano and tape based upon the work of er in January, and again at the Munich serves as an accompanist at Salvador Dali which will premiere at the Festival in Summer 2005. He and Julie the Chicago Center for the Salvador Dali Museum in St. Petersburg, presented a recital of American song on Performing Arts at Roosevelt Florida; Hardguy, a piece for trumpet, Saturday, March 20 at Asylum Hill Con- University. He is planning a s tape, and video; and re:sig.nation, a gregational Church in Hartford, Connecti- piano recital at St. Mark’s Church, Chica- o piece for percussion and tape. cut. Their recital debut at Alice Tully Hall at go, in November 2004, which is spon- n Lincoln Center was February 29, 2004. o sored by the National Association of r The “Art of the Song” concert was an Negro Musicians. He performed two i unusual and ambitious American program piano recitals in 2003—one at the Com- t i grouping sets of songs, named for differ- monwealth Community Church, which e ent milestones in life, from “Childhood to s 42 Alumni News featured part of his doctoral lecture-recital (Atlanta) where she coordinates the piano to represent Landestheater Coburg at the requirements, and the other at the Chicago pedagogy program and teaches applied Bayerische Theatertage in Regensburg on Music Mart. Charles has begun a career lessons to piano majors. June 22, 2004. in the compositional field with over 200 original compositions, most of them for J. Mark Baker (D.M.A.’98) is a classi- Grace Lokuszta (B.M.’98, M.M.’99) piano. Four of his works have been pub- cal music editor for the Hal Leonard Cor- has been named diector of concert and lished by Pelican Music Publishing. poration in Milwaukee where he recently artistic operations at the Santa Barbara completed joint venture projects with sever- Symphony. An established cellist, she al European publishers, including Ricordi recently served as the orchestra’s arts man- (Milan) and Durand (Paris). These publica- agement associate. 1996-2000 tions include a five-volume Anthology of Donald Cabrera (B.M.’96, M.M.’99) Italian Opera, a four-volume set of Mozart Stephanie Fall (B.M.’99) has joined recently became cover conductor for the opera arias, and choral music of Respighi, Paul C. Ellstein’s Chiropractic practice in Reno Philharmonic and guest conductor of Debussy, and Ravel. Current projects Oak Park, Illinois. She is a recent graduate the Reno Chamber Orchestra. This year, include the collected songs of Maurice of the National University of Health Sci- he will assist James Conlon, chief conduc- Ravel and choral music by Duruflé. He is a ences where she received her doctorate of tor of the Opera National de Paris, on a professional member of the Bel Canto Cho- chiropractic medicine and a bachelor of unique, multi-year project, “Recovering a rus of Milwaukee, and has sung the bari- science in human biology. She remains Musical Heritage,” which focuses on the tone solos for their performances of the active in the Chicago area in violin per- lost generations of composers killed or dis- Fauré Requiem, Haydn’s Lord Nelson formance. placed by World World II. Mass, and Mozart’s Solemn Vespers. Adrianne Honnold (B.M.E.’99) spent James W. Loeffler (M.M.’96) has Benjamin Bunsold the 2004 summer as a member of the St. received publication of four sets of varia- (M.M.’98), joined the Ft. Louis Symphony Orchestra for the new pro- tions for organ based on the hymn tunes Worth Opera Young duction of the opera, Nixon in China. She Eventide, The Ash Grove, Wie Schön Apprentice Program in Fall formerly was with the United States Air Leuchtet, and St. Columba, and are part of 2004, where he sung the Force Heritage of America Band based at a larger three volume set entitled 83 Musi- second Jew in Salomé and Langley Air Force Base at Hampton Roads, cal Gifts. They are available through Laurie in Little Women. Bunsold spent the Virginia. She has performed with Allen Darcey Press in Vernon Hills, Illinois. Loef- summer with the Utah Festival Opera Vizzutti, Jim Pugh, The New York Voices, fler is director of music ministry at Evangel- where he sang Borsa, and was the cover Arturo Sandoval, Jon Faddis, and others. ical Lutheran Church in Frederick, for the Duke in Rigoletto. During Spring Currently, she is pursuing a master of Maryland where he performs all organ 2004, Bunsold performed the role of Rin- music degree in saxophone performance duties and directs five musical ensembles. uccio in Gianni Schicchi and the Beadle in at the University of Illinois, studying with Also, Jim is a chorister with the Grammy- Sweeney Todd with the Illinois Opera The- professors Debra Richtmeyer and Chip award winning Choral Arts Society of atre program. Ben is working on his doctor McNeill. Washington, D.C. which tours extensively of musical arts degree in vocal perform- and performs regularly with Leonard ance with Professor Sylvia Stone. Laura Bischoff Renninger (M.M.’93, Slatkin and the National Symphony at the Ph.D.’99), assistant professor of music at Kennedy Center for the Performing Arts. Margaret Rose Koenn Shepherd College in West Virginia, pub- Jim resides in New Market, Maryland with (M.M.‚98) is in her fourth lished (with Roni Granot and Emanuel his wife Ann, and children, Aaron, Sam, Donchin), “Absolute Pitch and the P300 season with Landestheater and Sarah. component of the event-related potential: Coburg as a Fest-Ensemble An exploration of variables that may soloist. During the 2004-05 Julieta Mihai (M.M.’96, D.M.A.’03) has account for individual differences,” in the season, she will be cast as: been appointed assistant professor of Summer 2003 issue of Music Perception: Olympia in Les contes d’Hoffmann; music at Western Illinois University An Interdisciplinary Journal. (Macomb). She also serves as concert- Marzelline in Fidelio; Marie in Zar und Zim- mistress of the Springfield (Illinois) Sympho- merman; Mi in Das Land des Lächeins; and Brian Cole (M.M.’00) is resident conduc- ny Orchestra. Pepi Pleininger in Wiener Blut. In the com- tor of the Cincinnati Symphony Orchestra pleted 2003-04 season, she performed the and adjunct faculty member of the Cincin- Erica Keithley (M.M.’97, M.M.’98) following roles: Blonde in Die Entführung nati Conservatory of Music. w recently completed her Ph.D. in piano ped- aus dem Serail; Briefchristel in Der Vogel- i händler; Mascha in Der Zarewitsch; and n agogy at the University of Oklahoma (Nor- Ingrid Gordon (D.M.A.’00) and her t man). She is presently a visiting assistant Tilly in the German premiere of Johann chamber ensemble, Time’s Arrow, pre- e professor at Georgia State University Strauss‚ Simplicius. The production of Das miered a commissioned work by Queens r composer Charles Griffin in October Tagebuch der Anne Frank, in which Mar- 2 garet played the role of Anne, was selected 0 0 5 43 Alumni News

2003. Time’s Arrow, Time’s Cycle features In June 2003, she was one of eight invited Joy Granade (M.M.’02), soprano, is an percussion instruments and rhythmic con- to conduct in master classes with the BBC adjunct assistant professor at Millikin Uni- cepts from around the globe. The concerts Philharmonic Orchestra and the Scottish versity (Bloomington, Illinois). She per- in Jackson Heights and Astoria (Queens), Ensemble. Carolyn was named the first formed in May in Beijing, China and sang were made possible with funds from the Taki Concordia Conducting Fellow and a concert of representative American Decentralization Program, a re-grant pro- has won awards from the Women’s Phil- works in a joint recital with Chinese musi- gram of the New York State Council on the harmonic, the Kate Neal Kinley Memorial cians at Peking University, Beijing. Arts, administered by the Queens Council Fellowship, and the Susan W. Rose Fund on the Arts. for Music. David Grandis (M.M.’02) is director of the University Orchestra in Grenoble, Hilary Hart (B.M.’00) won a position Michelle Marshall (B.M.’01, M.M.’04) France. playing French horn with the United States has accepted a trumpet position in the Unit- Marine Band in Washington, D.C. in ed States Army Band in Washington, D.C. Julia Kay Jamieson (M.M.’02) is a 2003. She was a student of professor Kaz harp adjunct faculty member at Illinois Machala. Kevin O’Connor (B.M.’01) recently State University and a founding member of began graduate school in Information and “the harpcore four,” featured on the 15th Peter Madsen (D.M.A.’00) was the fea- Library Science at the University of Ten- anniversary opening concert of WILL-FM’s tured soloist with the Amazonia Jazz Band nessee (Knoxville). Second Sunday Concert series and the at the International Music Festival of Para, second summer harp class at UIUC, per- Brazil on June 3, 2004. The performance Roberta Freund Schwartz (Ph.D.’01), forming her original arrangements of pop included a variety of trombone features as assistant professor of music at the Universi- and jazz standards. performed by the “big bands”: Rose of the ty of Kansas (Lawrence), is the first recipi- Rio Grande (Duke Ellington), Tall Cotton ent of the Nicholas Temperley Award for Scott Tomlinson (B.M.’02) entered the (Count Basie), Over the Rainbow (Stan Excellence in a Dissertation in Musicology Santa Fe Opera Apprentice Singer Pro- Kenton), and Westside Story (Buddy Rich). for her study, “En Busca de Liberalidad: gram in 2004 and sang in five operas this Pete’s original composition, Well All Right, Music and Musicians in the Courts of the past July and August, as well as in the was also performed by the trombone and Spanish Nobility, 1480-1640.” Her disser- August Apprentice Showcase Scenes. He rhythm sections. While in Brazil, he also tation advisor was professor Herbert Kell- was understudy for two professional conducted three jazz trombone clinics for man. In 2003 she published reviews of singers with leading roles and was fortu- students at the Carlos Gomez Conservato- The Cambridge Companion to Jazz, The nate to have a chance to sing in Don Gio- ry of Music. Topics included jazz solo tran- New Grove Dictionary of Jazz, 2nd edi- vanni during a rehearsal. Scott will spend scriptions, chord-scale relationships, ear tion, and of Mervyn Cooke and David the fall and winter performing with the training, and jazz styles. It was the first Horn’s “Jazz and the Germans” in the Col- Austin Lyric Opera, singing in the chorus time that jazz trombone master classes had lege Music Symposium. This past summer, of Puccini’s Tosca and in a solo role in been presented at the Conservatory. Mad- supported by a faculty research grant, she Strauss’ Elektra. sen is coordinator of jazz studies and carried out research in the British Library, trombone professor at the University of London for a project on the blues in Eng- John Barnes (B.M.E.’03) is one of the Nebraska (Omaha). He and his wife Lee land in the early twentieth century. She new band directors at East St. Louis Senior have two children—Christian, 4 and also read a paper at an international con- High School this fall. Following gradua- Ashleigh, 2. ference in Gloucester. tion, he taught grade school music and choir for several months in the southern Libby Vanatta (M.M.’01) was recently Chicago suburb of Flossmoor. 2001-2005 appointed as a sabbatical replacement at Indiana State University where she teaches Carolyn Kuan (M.M.’01) became the group piano, applied piano, and aural Tania Coambs (B.M.’03), soprano, was first female to be awarded the Herbert von skills. She also coordinates the piano labo- a member of AAMA in Summer 2004 in Karajan Conducting Fellowship by the ratory at the UI School of Music. Salzburg, and sang the role of Susanna in Vienna Philharmonic and American Austri- The Marriage of Figaro. She was awarded an Foundation in 2003. Currently an assis- Jennifer Warnke (B.M.E.’01) recently a teaching assistantship at Southern Illinois tant conductor for the Baltimore Opera won a position playing French horn with University while persuing a master’s Company and the Peabody Symphony the United States Marine Band in Wash- degree in voice. Orchestra, she served as a conducting fel- ington, D.C. She was a student of profes- low at the Summer 2004 Salzburg Festi- s sor Kaz Machala. Teun Fetz (D.M.A.’03), percussion, was o val. Carolyn has conducted in concerts recently appointed to a one-year position n with the Cabrillo Festival Orchestra, Con- o Brent Davis (M.M.’02) has been at Eastern Oregon University. cordia Orchestra, Peabody Camerata and r engaged by Mobile Opera as Schaunard Concert Orchestra, and the University of i in Puccini’s La Bohème. t Illinois symphony and chamber orchestras. i e s 44 Alumni News

David Husser (B.M.’03) has been Lynwood Jones appointed to a graduate teaching assist- (B.M.E.’04), clarinet major, IN MEMORIAM antship at the University of Oklahoma was appointed coordinator of (Norman) for the 2004-05 academic year; enrollment management and R. Donnabelle Fry (B.M.’26, he will begin his master’s degree studies in student services in Fall 2004 B.S.’29) December 6, 1904 - Novem- piano pedagogy. at the UIUC School of Music. ber 3, 2003, Henry, IL He works with prospective undergraduate Wendy Jones (M.M.’03), soprano, won and graduate music students in the music Mildred Alice Arch (B.S.’32) first place in the Denver Lyric Opera Guild admissions office and assists with current October 15, 1910 - August 11, 2004, Oak Brook, IL Competition for Colorado Singers in enrollment of the School. He student taught March 2004. She was guest of the Indi- in Palatine’s District 211, where he assisted Martha H. Banner (B.S.’36) anapolis Opera Ensemble singing in the development of the District’s Honor July 13, 1914 - April 9, 2004, Michaela in Bizet’s Carmen. Band. Fisher, IL

Amy Olipra (B.M.’03, Alexia Kruger (M.M.’04) sang in the Frederick William Westphal B.M.E.’03), mezzo-soprano, Chicago Symphony Chorus during the (B.S.’37, B.M.’38) April 25, 1916 - sang two roles this summer 2003-04 season. December 23, 2003, at the Central City Festival. Walnut Ridge, AR They were the Voice of the Thomas Madeja (B.M.’04) is a graduate Mother in The Tales of Hoff- assistant at Baylor University (Waco, Texas). Mildred G. Williams (B.M.’39) mann and Gretchen in The Student Prince. December 17, 1916 - May 18, 2004, Justin White (B.M.’04) is a graduate Monmouth, IL Benjamin S. Schoening (M.M.’03) was assistant at the University of Kansas Colleen Jean Kirk (B.S.’40, hired as music department head, and (Lawrence). M.S.’46, former music education director of bands and choirs, at Northland faculty member) September 7, 1918 - Pioneer College in January 2004. He is “My most vivid memories March 5, 2004, Paxton, IL conductor of the Silver Creek (Arizona) Symphony Orchestra and director of the of my days at the UI sur- Dorothy Tauber Stone (B.S.’40) orchestra program at Northland Pioneer March, 2004, Chicago, IL College. round the Symphonic Band Betty Marie Starr McClellan Jason Swanson (B.M.E.’03) is one of under Harry Begian and my close asso- (B.S.’42) January 15, 1920 - Novem- ber 13, 2003, Orem, UT the new band directors at East St. Louis ciation with my fellow musicians. The Senior High School this fall. In Spring Patricia Jean McNees (B.S.’45) 2004 he taught at Reed-Custer High outstanding literature, the great perform- January 11, 1924 - November 25, School in Braidwood, Illinois. ances and the camaraderie with friends 2003, Paris, IL Daniel Cardwell (M.M.’04) will appear will be remembered forever.” John Charles Christian (B.M.’53, in Fall 2004 as Rodolfo in La Bohème in M.M.’56) November 31, 1931 - May Minneapolis. Neil would love to hear from old friends 22, 2004, Lakewood, OH and musicians at: [email protected] Jared Gray (M.M.’04) is teaching in the David O. Brown (B.S.’54, M.S.’55) — Neil Finbloom (B.S.’74) band department of Acadiana High January 5, 1930 - December 12, School in Lafayette, Louisiana. 2003, NY

Eric Hines (B.M.E.’04) recently was “My three years in the School of Music, William Burt Lauderdale (B.S.’58, appointed percussion instructor/assistant M.S.’59) February 16, 1936 - August band director for Los Fresnos High School from 1973-1976, were incredible. Dur- 28, 2004, Auburn, AL (Texas). ing this time my principal teachers/men- Grant H. Newman (M.S.’59, Ed.D.’66) December 8, 1931 - January tors were Robert Gray, Dan Perantoni, 30, 2004, Ankeny, IA w Harry Begian, and Ben Johnston, among i Richard Wayne Vandament n many. I am heartened to read that so (B.S.’59, M.S.’70) June 29, 1937 - t March 9, 2004, Marion, MA e many good things continue to happen at r Pamela Call-Sims (B.S.’74) 2 the UI. Keep it up!” September 29, 1952-May 15, 2004, 0 Champaign, IL 0 —Charles Isaacson (M.M.’74, D.MA.’81) 5 45 Alumni Profile

Ian Ding and Detroit’s Striking New Beat

Anne M. Heiles Ian Ding (B.M.’99) came to the Detroit Symphony Orchestra (DSO) just as its historic Orchestra Hall was about to be renovated. And so, when he stepped into his new job as assistant principal percussionist in the Detroit Symphony Orchestra in March 2003, he was appalled by the facilities. He remembers, “The back- stage area was awful; Orchestra Hall seemed to be just a stage. Coming from the facilities at the New World Symphony, which started up with a large endow- ment and blank check to buy all the percussion instru- s ments and storage it needed, it was pretty shocking. o n The musicians were changing in trailers at the side of o r the Hall, and the percussionists were basically operat- i t ing out of travel trunks—there was no real room or i storage of our own.” e s 46 Fortunately he didn’t walk away. He heard the wonderful Moreover, I joined the Chicago Youth Symphony Orchestra acoustics that made the landmark hall “an incredible space (then under Michael Morgan and Daniel Hege).Through the for symphonic music,”well worth preserving.Within months, CYSO I had the opportunity to work a bit with the Chicago renovations were completed on the historic building. Many Symphony percussionists and I got excited about possibly improvements in the lobby and reception facilities were going into music for a living. I studied privately with Jim intended to please the audience,but the DSO Orchestra Com- Ross as well. mittee had had substantial influence in the backstage area. “Freshman year I went to St. Louis University as a pre-med The players are enjoying the result of the Committee’s labor: student, but my heart wasn’t in it. I also studied with Tom “Talk about a night and day improvement! We now have Stubbs of the St. Louis Symphony, a great teacher and human dressing rooms and two rooms dedicated to percussion stor- being.”Ding found himself going to symphony concerts and age, big lockers, and a green room for musicians. Nothing becoming more intent on music studies.So he talked with his ostentatious, but it’s really comfortable.” parents about changing his direction. “They weren’t too Ding found that two of the three other percussionists, thrilled about my leaving pre-med for music, but they could principal Robert Pangborn and Sam Tundo, were see that it was something I was really excited about.We bro- congenial veterans of nearly four decades’ experi- kered a deal;they said,‘Well,as long as you ence, each with the DSO. He had to fit into a go to a place where well-established percussion section. “Before you can get a good that I had played only in sections with my peer quality, all-around edu- age group,”Ding says.“Bob and Sam have been cation besides studying incredibly nice since Day 1, welcoming me music.’” Ian’s sister was and making me comfortable. I’ve felt tremen- studying piano at the dous respect for the repertoire they’ve played University of Illinois, and how well they know it. In the first weeks where the family felt she if they weren’t happy with a particular sound was getting a good educa- or what I was doing, they definitely came tion. He says, “My sister around and told me. And I was grateful; I had a couple of good wanted to absorb as much information from friends studying in the them as possible.”Ding’s third colleague,tim- percussion division, and panist Brian Jones, has been in the DSO that’s how that all went some five years. down.I transferred to UI and His responsibilities, Ding explains, vary according to the stayed for four years. DSO’s particular setup: “An assistant’s role varies from orches- “My first three years I studied with Professor Tom Siwe,the tra to orchestra. In the DSO, when Bob, who is also assistant last with Professor Bill Moersch. Siwe was a laid-back and timpanist, moves over to assist Brian, I become acting princi- warm-hearted guy.He created an environment and set a tone pal. If Bob is not around, I do the principal tasks, like assign- that encouraged us to believe in ourselves, to feed off one ing parts to the various players and overseeing instruments. another, and to explore different kinds of music. He set the The assistant principal in the DSO has traditionally been the stage for us to have our hands in a wide range of things and mallet player, and that’s my specialty here. So if there’s a mal- made us excited to learn.The School of Music offered us clas- let part—xylophone,vibraphone,glockenspiel,or marimba— sical symphonic training, the contemporary component, a I’ll be playing it; if not, I’ll hover around the other thriving steel band program, and interaction with the ethno- w instruments.” musicology division—opportunities to do world music.” i A native of Arlington Heights,Illinois,Ding began studying When William Moersch joined the faculty after Siwe’s n drums in public school when he was in the fifth grade. retirement, Ding felt “ready for new experiences. It was great t e Before that he had taken piano lessons with his mother and studying with him that year, really eye-opening.” Ding bene- r studied cello.“Once I started percussion, I really enjoyed it,” fited especially from the opportunities he had to play next to 2 he recalls. “I played in the school’s bands and orchestra. him in local ensembles, where he could observe his playing 0 0 5 47 Campus News

drum. Several excerpts were by Rimsky-Korsakov, such as snare drum parts from Capriccio Espagnole; other standards were Ravel’s Bolero and Alborada del grazioso. I played lots of Stravinsky and at least a dozen composers for mallets, including Gershwin and Shostakovich. “I was number 101 in the preliminary round out of some 110 people trying out. There was a screen in all the three rounds.The first was short and systematic, ten minutes in and out, with each of us playing the same thing.The final round, which included sight-reading, was an hour long; I was in a daze when it all happened and unaware of the time that elapsed.” The ordeal yielded not just a job but also a position under a director he enjoys working for: Neeme Järvi (“He’s phe- nomenal!”), now in his final season as the DSO conductor. Without Ding’s experience in the New World Symphony, he might have found Järvi’s approach overwhelming.“He hates to rehearse, which the orchestra loves, of course, but which threw me for a loop when I was new to the DSO. I hadn’t played some of these pieces and could have used another run-through. But he’s able to communicate so much just with the baton. He’s so intuitively musical with the stick that he “There’s a big underground scene here for doesn’t spend much time talking in rehearsal.He usually ends rehearsals early and sometimes even cancels them. He’s less experimental visual art, performance art, about precision and more about making the concert experi- garage/indie rock, jazz, hip-hop, electronic ence spontaneous—keeping the players at edge. There’s music—all sorts of somewhat intersecting great communication between him and the orchestra. Itzhak art forms. If done right, experimental new Perlman also conducts, but the pieces he programs usually don’t involve much percussion.” music would fit in nicely.” Still in his mid-twenties and in a major orchestra whose minimum starting salary is now about tenfold what it was and ask questions about it. “The division has evolved still when Pangborn and Tundo began with the DSO, Ding sup- more in the past five years since I was there,” he adds.“Bill plements his symphony activities with his own percussion ratcheted up the level of intensity; he’s a demanding teacher, agenda.He plays hand drums in two Detroit-area world music but not in a dictatorial way. He also gives positive reinforce- groups: “One is an ensemble specializing in Indian music,and ment, and he is building on the UI tradition in his own way.” one of its members has been teaching me the mridangam, Ding earned a master’s degree at Juilliard, studying with the South Indian drum.The other is an experimental world Gregory Zuber, the principal percussionist of the Metropoli- music–improvisation group.” tan Opera.“He’s a UI graduate who also studied with Siwe.We Ding also teaches privately and in master classes, and he shared a lot of UI stories.”From there, in 2001, he won a posi- coaches youth orchestra players. His collection of percussion tion in the New World Symphony in Miami: “It was total instruments is growing useful for a home studio. Although he immersion in an orchestra, playing with the same section enjoys yoga, running, reading, and movies, music is stage-cen- every day, giving concerts every week,”Ding reports.“It was ter to him. a big switch from school, where you might rehearse [only] a Hardly any new music is performed in Detroit, a situation month or two before a performance.” Ding intends to remedy. “There’s a big underground scene The New World experience was invaluable in preparing here for experimental visual art, performance art, for his DSO audition, for which Ding prepared more than garage/indie rock, jazz, hip-hop, electronic music—all sorts of sixty excerpts.“Although there were a lot of mallet excerpts somewhat intersecting art forms. If done right, experimental s o on it, there also was just as much for snare drum,” he says. new music would fit in nicely.”Motor City-USA is about to be n “There were lots of xylophone, snare drum, glockenspiel, and lubricated by some interesting, “off-kilter” contemporary o r vibraphone excerpts, plus a marimba solo (they specified a music. And to judge from Ding’s career success so far,Detroit i Bach violin piece).There also were excerpts on what we call can soon expect a lively, new musical intersection. t i ‘accessory instruments,’like tambourine, crash cymbals, bass e s 48 Campus News Name Date SHARE YOUR Maiden name (if appropriate) Home address City State Zip GOOD NEWS! Home phone Home email Web site address Share your achievements, honors, publications, record- Business name ings, performances, and competitions with your fellow Business address City State Zip alums. Please send an e-mail to Janet Manning Business phone Business email ([email protected]) or, if you do not have access to Year graduation Degree/major e-mail, use the convenient form at the right to provide Your news your alma mater with updates for the next issue of sonorities—specific dates, years, and titles. If you plan a trip to campus, you are invited to stop Your quote on your education at Illinois by the School for a visit. Please contact Janet Manning, (Use separate sheet of paper for additional news copy) coordinator, alumni relations and development, to Note: If you have photos to support your news items, you may send a jpeg file by e-mail only if they are of a high resolution: 6” X 9” photo at 72 dpi or 2” X 3” photo at 300 dpi. You may arrange an appointment with the director or a faculty also send pictures or this form to: Janet Manning, School of Music, University of Illinois, 1114 West Nevada, Urbana, IL 61801 by September 1, 2005. member.

w i n t e r 2 0 0 5 49 ALLEGRETTO PartnersFOR SUPPORT OF THE SCHOOL OF MUSIC in JULY 1, 2003-JUNETempo 30, 2004 ($100-$199) Mr. Robert N. Altholz The following list consists of contributions to the School of Music accumulated through Mr. & Mrs. James W. Armsey* Dr. Anton E. Armstrong the generosity of alumni and friends.We thank them for their support of the talent, teach- Prof. & Mrs. Walter L. Arnstein ing ability, and creativity that exists within the School of Music. Dr. David F. Atwater The following list represents those who made gifts between July 1, 2003 and June 30, Mrs. Virginia A. Baethke Dr. Don R. Baker 2004. Please note that members of the Presidents Council are designated with an asterisk Mrs. Iva Jean Bayley (*).The Presidents Council is reserved for those contributors who pledge a minimum of Ms. Kathleen A. Bell $15,000 lifetime giving to the University of Illinois. Mr. & Mrs. David A. Bender Mr. & Mrs. John P. Benisek Questions or corrections may be addressed to Janet Manning at (217) 333-6452, or by Michael D. Bennett, PhD e-mail: [email protected]. Ms. Sandra S. Bernhard Prof. & Mrs. E. Sanford Berry Ms. Cathrine Blom* Dr. Charles W. Boast & Ms. Marsha Clinard Dr. Gary C. Borchardt Mr. David Andrew Bruns PRESTISSIMO Charles A. Wert* (Dec) Mrs. Mary E. Fisher-Lee* Dr. Wesley R. Burghardt & Ms. Angela M. Prof. John Wustman* Mr. and Mrs. Andrew J. Foort Stramaglia ($15,000 and above) Mr. Andrew L. Goldberg Mrs. Gloria L. Burson Mr. & Mrs. Dean T. Langford* Mr. Nicholas Good Mr. James L. Campbell Vernon K. & Marilyn Pflederer Zimmerman VIVACE Dr. & Mrs. Joe W. Grant Mr. & Mrs. Gregory D. Cargill Foundation* ($500-$999) Mr. Edward E. Gray Ms. Kathleen A. Carroll Dr. & Mrs. Alan R. Branfman* Ms. Mary Ann Hart Dr. Gary Corcoran Jr. Mr. Craig W. Branigan Dr. & Mrs. James S. Hatfield Mrs. Rebecca Kaplan Cytron PRESTO Dr. Kathleen F. Conlin* Dr. James W. Hile & Dr. Nancy L. Whitaker Ms. Mary Ann Daly ($1,000-$14,999) Mr. William Crum Dr. R. Bruce Huston Ms. Carol A. David Mr. & Mrs. John D. Armstrong* Mr. & Mrs. Ronald J. Domanico* The Reverend J. Eugene Kane Mrs. Susan B. DeWolf Ms. Phyllis L. Cline Prof. & Mrs. Marvin Frankel* Mrs. Cynthia M. Kennedy* Mr. Heath Eric Deyo Dr. & Mrs. W. Gene Corley* Mr. Raymond P. German & Ms. Clara L. Littig Mr. and Mrs. Howard V. Kennedy Mrs. Debbi L. Dillman Mr. Roger R. Cunningham Mr. & Mrs. Edwin L. Goldwasser* Mr. James E. Kloeppel Mr. & Mrs. Gerald R. Ditto Mrs. Libby De Grado-Condo Mrs. Doris E. Harmon Mr. and Mrs. Thomas M. Koutsky Mr. Bruce Doctor & Dr. Gail Schewitz-Doctor Dr. William R. Edwards Mr. Arthur R. Keller Mr. David D. Kullander Dr. Kenneth O. Drake Dr. Roslyn Rensch Erbes* Ms. Florence Kopleff Mr. & Mrs. Andrew M. Kunz Mr. David P. Drengenberg Ralph T. & Ruth M. Fisher* Dr. & Mrs. B. A. Nugent* Mr. David R. Larson & Ms. Carol C. Larson Mr. & Mrs. Benjamin L. Drew Jr. Mr. John A. Frauenhoffer* Mr. William J. Pananos Dr. Russell Mathis Mr. & Mrs. Paul Duker Mr. & Mrs. Norman A. Goldberg* Mr. Anthony J. Petullo* Prof. & Mrs. Charles J. McIntyre* The Reverend Wyeth W. Duncan Dr. & Mrs. Robert E. Gray* Dr. Paul K. Schlesinger Mr. Brett G. Milan Ms. Pamela J. Dunleavy Mrs. Virginia Summers Harroun* Dr. William R. Scott & Dr. Kathryn J. Scott Mr. & Mrs. Craig R. Milkint* Mr. & Mrs. Harold J. Eager Jr. Dr. & Mrs. Raymond V. Janevicius* Dr. William J. Stanley Mr. & Mrs. Jeffrey L. Modlin Mrs. Carolyn K. Eigel Mr. & Mrs. Maurice C. Kaplan Mr. & Mrs. G. Gregory Taubeneck* Ms. Ruth Pinnell Mr. Michael S. Erazmus Mr. Edward J. Krolick* Prof. Nicholas Temperley & Prof. Mary S. Dr. Stephen L. Portnoy* & Dr. Esther Mr. & Mrs. Jack W. Ergo Dr. Sara de Mundo Lo* Temperley* Portnoy* Ms. Dawn Fairchild Ms. Jacqueline Eva Lord* Dr. Robert E. Thomas Mr. Michael W. Pressler Mr. Frederick D. Fairchild Dr. & Mrs. Ralph E. Mason* Ms. Susan Williams Dr. & Mrs. Edward Rath* Prof. Emory M. Fanning Jr. Mr. & Mrs. Josh McQueen* Mr. and Mrs. Roger L. Yarbrough* Mr. George G. Richardson Dr. Virginia Farmer Mr. Jeffrey J. Mellander* Prof. & Mrs. Melvin Rothbaum* Dr. Robert & Helen Morgan* Dr. Linda J. Farquharson ALLEGRO Dr. & Mrs. Edwin A. Scharlau II* Ms. Esther E. Fay Prof. & Mrs. Bruno Nettl* Mr. James W. Schrodt* Dr. & Mrs. Carl D. Obenauf* ($200-$499) Ms. Judith A. Feutz Mr. John S. Setterlund Mrs. Michelle Walker Fine Mr. & Mrs. Daniel J. Perrino* Dr. Kenneth E. Andersen* Mrs. Katharine W. Slocum Donald & Gay Roberts* Dr. Alison E. Arnold Mr. John Forde Mr. David D. Sporny Dr. Diane Foust Dr. Elizabeth D. Sandage & Dr. Robert D. Mr. & Mrs. Paul T. Bateman* Mr. Dennis M. Steele Mussey* Dr. Andrew N. Beagle Mrs. Margaret A. Frampton* Dr. Milton L. Stevens Jr. Prof. & Mrs. Stanley Friedman Mr. & Mrs. Arthur Lee Schlanger Mrs. Joan B. Brinegar Dr. Virginia K. Stitt Mrs. Christie B. Schuetz* Ms. Helen K. Browning Mr. & Mrs. Robert Lee Fritz Mr. Andrew W. Trieger Mrs. Mary Margaret Gaddy Mr. & Mrs. Glendon A. Schuster* Mr. & Mrs. Jeffrey M. Carter Dr. & Mrs. Peter van den Honert Dr. Ellen M. Simon* Mr. Richard N. DeLong* Miss Melva F. Gage* Mrs. Susan T. Van Sickle Ms. Dorothy E. Gemberling Mr. & Mrs. Frederick V. Simon Mrs. Lynne E. Denig Mr. & Mrs. William L. Volk* s Mr. Gary E. Smith Mr. Gerald C. Gentes o Dr. Delbert D. Disselhorst Mr. John H. Walter* & Mrs. Joy Thornton- Dr. & Mrs. Peter J. Starrett Prof. Gert Ehrlich & Ms. Anne A. Ehrlich Mrs. Jennifer A. Gettel n Walter* Mr. Mark C. Gillen o Mr. Glen Strauss* The Honorable Ann A. Einhorn* Mrs. Ellen M. West r Mr. Richard R. Tryon Jr.* Mr. Michael D. Fagan Dr. Gary P. Gilroy i Mr. & Mrs. Tien-Chiang Yang Mr. & Mrs. Richard Glazier Mr. & Mrs. Paul B. Uhlenhop* Mr. Cleve W. Fenley Mr. Robert L. Zarbock t Prof. Martin Wagner* Mr. Stanley L. Gorbatkin i e s 50 Mr. & Mrs. Jeff Grace Mr. Terry L. Mohn Dr. Robert E. Williams Mrs. Cynthia M. Breeze Mr. & Mrs. Walter C. Grace Ms. Ruth A. Moore Prof. & Mrs. Wendell S. Williams* Mrs. Ellen F. Brewer Mr. & Mrs. Michael A. Griebel Mrs. Phyllis Brill Munczek Mr. Keith L. Wilson Dr. Robert G. Brewer Ms. Delreen J. Hafenrichter Ms. Ann E. Murray Mr. Bruce Wittrig & Ms. Mary Alice Rich- Mrs. Erma S. Bridgewater Mr. George R. Halik Mrs. Gerda T. Nelson Wittrig Ms. Kareen G. Britt Mr. David Hamilton Mr. & Mrs. David W. Norris Dr. Marsha Cook Woodbury & Mr. Roger E. Dr. David N. Broadbent Mr. Jack W. Hammel Dr. & Mrs. Philip O. Nubel Woodbury* Dr. & Mrs. Frank W. Brown Dr. Albert D. Harrison Ms. Julie A. O’Connor Dr. & Mrs. William R. YaDeau Mr. & Mrs. Joe Brown Dr. Eve E. Harwood* Mr. Leif E. Olsen Jr. Mr. Robert H. Brown Mrs. LuAnn E. Hayes Mr. & Mrs. Douglas G. Olson Mrs. Gina H. Buhr Mrs. Vera A. Hays Mrs. Marjorie S. Olson ANDANTE Ms. Anita Bullard Mrs. Virginia L. Hedrick Prof. & Mrs. Howard Osborn* (under $100) Mr. William F. Busen Dr. Gregg S. Helgesen Mrs. Geraldine B. Petty Dr. Theodore L. Agnew Mrs. Linda S. Buzard Ms. Sharon B. Hermann Mr. & Mrs. Douglas L. Pinney Mr. Richard A. Alderman Mrs. Luana M. Byte Mr. Philip H. Highfill III Mr. & Mrs. Michael W. Preston Mrs. Elizabeth Z. Allan Dr. Milburn E. Carey Mr. & Mrs. Daniel M. Hilecher Mr. & Mrs. Robert A. Quade Mrs. Ellen Amberg Dr. Jon O. Carlson Mrs. Diane Mann Hires Mr. John P. Rankin Mr. Glenn R. Anderson Dr. David M. Carter Mr. Charles J. Hock Dr. W. Donald Rankin Mr. Erwin O. Arends Dr. Philip S. Cary Ms. Gaye Ann Hofer & Dr. Gregory M. Mrs. Alexis G. Rasley Ms. Dianna K. Armstrong Mr. Scott J. Casagrande Cunningham Mr. & Mrs. William J. Reagan Mr. John D. Armstrong Ms. Clara E. Castelo Mrs. June F. Holmes Dr. Roger E. Reichmuth Dr. Kerchal F. Armstrong Dr. Joseph S. Ceo Dr. Jesse E. Hopkins Jr. Mr. & Mrs. Kenneth L. Reinhardt Dr. & Mrs. Paul M. Arnold Ms. Yoline W. Chandler Mr. Alf S. Houkom Prof. & Mrs. Kenneth L. Rinehart Jr.* Ms. Pamela T. Arnstein Dr. Carl E. Chapman Dr. Jan G. Houston Mr. Kevin W. Rock Mr. Charles C. Aschbrenner Mrs. Mary L. Chapman Ms. Alice A. Hove Mr. & Mrs. Robert J. Rogier Mr. Larry Ashley Mr. Scott Chase Mr. Fred M. Hubbell Mr. John R. Romans Mr. Duane C. Askew Ms. Judy L. Chastain Dr. & Mrs. Albert C. Hughes Jr. Mr. Kenneth W. Rubin Mr. Ralph R. Athey Mr. Thomas E. Cherry Mr. Robert H. Huss Dr. John M. Ryan & Dr. Kathreen A. Ryan Ms. Susanne L. Aultz Mrs. Amy L. Childress Mr. & Mrs. Frederick W. Irion Norman S. Ryan MD Mr. Robert S. Baile Mrs. Charlotte Presler Chilton* (Dec) Mrs. Jean H. Jamison Mr. George J. Sanders Mrs. Linda D. Bailey Ms. Joanne A. Chorpening Mrs. Kathryn A. Janicek Mr. & Mrs. Kyle A. Schumacher Mrs. Patricia A. Baird Mr. John C. Christian (Dec) Mr. William C. Jennings Prof. & Mrs. Donald R. Sherbert Mrs. Marlene K. Ballard Mr. Michael P. Chu Mrs. Doris D. Jones Dr. Stephen M. Slawek Mrs. Lisa G. Baltzer Mrs. Jean A. Clarke Mrs. Patricia L. Jordan Mr. Philip Smith Mr. Michael R. Bandman The Honorable John P. Coady & Mrs. Kathy Peter Kale & Patricia Kale Mr. M. Andrew Sprague* Prof. & Mrs. Delmar K. Banner A. Coady Mr. & Mrs. James B. Kaler* Mrs. Janet N. Steffy Ms. Marolyn G. Banner Dr. Dale Cockrell Mr. Thomas J. Keegan Mr. Wesley Q. Stelzriede Mrs. Mary Jeanne Bannister Mrs. Donna A. Coffman Mr. Frederick James Kent Barbara J. Stover Mr. Daniel P. Barach Dr. Richard Scott Cohen Mr. R. Edward Kiefer Mr. & Mrs. Chester Strohecker Dr. & Mrs. David C. Barford Mr. Morris Collier Dr. & Mrs. Myung Ho Kim Mr. George E. Strombeck Mr. & Mrs. Gary N. Barrow Jr. Mr. & Mrs. James T. Conder Mr. & Mrs. David L. King Mrs. Joan M. Strouse Dr. Neale K. Bartee Mr. Mark A. Conley Mr. Philip W. Klickman Dr. Gary R. Sudano Mrs. Barbara J. Barth Mr. Curtis O. Cooper Dr. & Mrs. James W. Krehbiel Prof. & Mrs. Earl R. Swanson* Ms. Angela M. Bates Miss Judith K. Cotter Mr. & Mrs. William J. Kubitz* Emile J. Talbot & Elizabeth M. Talbot Dr. Jon W. Bauman Ms. Beverly J. Cottrell Mr. William O. Kuyper Mr. Thomas C. Temple* Mr. John E. Bauser Mrs. Rebecca T. Courington Dr. Peter J. LaRue Dr. Robert F. Thomas Jr. Jammie L. Beammish & Halei Beitler Dr. Victoria L. Covington Mrs. June C. Levy Mr. Arthur T. Tiedemann Dr. Calvert Bean Ms. Mina M. Coy Prof. Ruth Lorbe Mrs. Jacqueline A. Tilles Mrs. Sandra K. Beckman Mr. Keith C. Craft Dr. & Mrs. Jerry L. Loyet Mr. & Mrs. Robert C. Timblin Mrs. Nancy H. Beckmann Ms. Betty J. Cravens Mr. David W. Madden Mr. Mark A. Timko Mr. & Mrs. James D. Beebe Mrs. Jeanne E. Craver Mrs. Amy Dolan Malaney Mrs. Hollis C. Tomashek Dr. John R. Bell Dr. Bruce F. Dalby Prof. & Mrs. W. G. Marigold Prof. & Mrs. H. C. Triandis* Mrs. Phyllis A. Bergagna Mr. & Mrs. Jerry L. Daniels Mr. Leonard Marvin Dr. Jill L. Trinka Mrs. Margery I. Bergstrom Dr. & Mrs. James Dapogny Dr. & Mrs. Steven E. Mather Dr. A. Robert Twardock* Mr. & Mrs. Thomas E. Bertucci Dr. Daniel J. Dauner Dr. Gordon W. Mathie Mr. Wayne Van Dyke Mr. James E. Beverly Ms. Deborah M. Day* Mrs. Diane Emiko Matsuura Mr. John A. Van Hook Ms. Andra L. Bez Dr. Larry M. DeBrock Mr. Gary L. McClung* Mrs. Joan M. Vogen Mr. Richard B. Biagi Mr. Robert M. Dekoj Mr. Richard D. McKee II Ms. Elizabeth F. Von Dassow Mr. Dennis R. Biagioli Mr. William E. DeMont Mr. & Mrs. Jack H. McKenzie* Mr. James R. Waechter Mr. Andrew J. Billing Mrs. Erika DePasquali Dr. Alexander B. McLane Ms. Diane K. Walkup Mrs. Jacqueline LaRue Bills Mrs. Louise L. Derning Mr. & Mrs. H. Richards McLane Mr. Earl J. Way Mr. Ronald T. Bishop Mr. & Mrs. Edmund J. DeWan w Mr. James H. McNeely Mrs. Mary Jane Weber Ms. Evelyn Blackman Dr. Donald R. Dickerson i Mr. Kurtis J. Melin Dr. Hong Wei & Mr. Yuankun Ni Dr. Shirley M. Blankenship Dr. Christopher Di Santo n Ms. Ida K. Mercer & Mr. Glenn A. Mercer Miss Ruth E. Weinard Mr. Robert O. Blissard Mrs. Nolda J. Dohme* t Prof. & Mrs. Richard L. Merritt* Mr. Duane H. Werner Mrs. Jacqueline K. Block Mr. C. William Douglass e Mr. William R. Miller* Mr. Frederick W. Westphal (Dec) & Mrs. Mrs. Susan E. Block Mr. Donald W. Downs r Ms. Erie A. Mills Hinda C. Westphal Dr. & Mrs. Philip V. Bohlman Mrs. Jean E. Drendel Mr. Danlee G. Mitchell Mr. Daniel Wiesbrock Mr. John E. Bolz Ms. Darcy D. Drexler 2 Mrs. Kathleen E. Bragle 0 0 5 51 Mr. Howard S. Ducoff Ms. Melissa J. Guilfoyle Mrs. Nanci L. Karlin Mr. Lutz L. Mayer Mrs. Helen F. Duffield Dr. & Mrs. Ernest N. Gullerud* Mr. Stephen J. Kasak &Dr. D. Trotter Kasak Ms. Mary E. Mayhew Ms. Marilyn M. Duginger Mrs. Margaret S. Gunderson Dr. Byron F. Kauffman CAPT Lonny K. McClung, USN (RET) Mr. John G. Duker Ms. Layna Chianakas Haddad Mrs. Lois D. Kazan Mr. Frank J. McCollough Mr. John G. Dunkelberger Mrs. Marilyn J. Hall Dr. William K. Kearns Mr. James L. McDonald Rev. Raymond N. Dunlap Ms. Judith G. Hanson Dr. Brenda E. Kee Mr. & Mrs. Douglas R. McIntosh Mr. Dwight E. Dyer Ms. Morgan A. Hawker Dr. Robert P. Keener Mr. & Mrs. Myron D. McLain Mrs. Elizabeth F. Easley* Mr. & Mrs. G. Byron Healy Mrs. Patricia C. Keim Mr. & Mrs. Robert J. McMenamin Mrs. Jeannette J. Ebelhar Dr. Robert H. Hearson Mr. Frederick T. Kelly Mr. & Mrs. William J. McNeiland Mrs. Carole J. Eckert Mrs. Michele C. Hecht Mr. J. Robert Kelly Mrs. Donna F. McPherson* Mr. & Mrs. Blaine E. Edlefsen Mr. & Mrs. Morris L. Hecker Jr.* Ms. Wendy L. Kelly Mrs. Rita D. Melin Mrs. Jean M. Edwards Mr. & Mrs. W. Robert Hedgcock Mr. Jeremy Niles Kempton Dr. Mardia Melroy Mr. Stephen F. Eggerding Dr. William H. Heiles & Dr. Anne Mischakoff Mrs. Mary Anne Kesler Ms. Laura A. Mensik Mr. Philip W. Eherenman Heiles Mrs. Jan K. Khorsandian Mr. & Mrs. James K. Merwin Jr. Mrs. Cheryl M. Einsweiler Ms. Margarita L. Heisserer Mrs. Elizabeth E. Kirkpatrick Mr. Paul D. Messerall Mrs. Joanne Elam Mrs. Nona J. Heitmann Prof. Ann M. Kleimola Mrs. Irene Metzger Dr. & Mrs. Barry L. Ellis Mrs. Gloria S. Helfrich Dr. David W. Knutson Mrs. Sharron P. Mies Mrs. Ellen R. Elrick Mr. John W. Helper Ms. Rosanne J. Koehler Mr. Martin E. Miller Mr. William A. Erdman Dr. & Mrs. Donald M. Henderson Mrs. Mayola C. Kolbe William S. Miller & Christine P. Miller Mr. Earl Eugene Evans Mrs. Margaret E. Henderson Ms. Lavetta J. Koresko Mrs. Rita J. Millis Mr. Gerald A. Fabris Mrs. Margaret F. Henderson Mr. George S. Kosmach Mrs. Eleanor L. Milnes Dr. Kenneth E. Fahsbender Mr. Robert J. Henderson Mr. John A. Krebs Mr. James E. Mirakian Mrs. Sharon Fekete Mr. Steven T. Henning Ms. Rebecca D. Kriz Mr. Keith A. Mitchell Mr. Scott D. Feldhausen Mr. & Mrs. Donald G. Henrickson Mr. & Mrs. Murray P. Krugman Ms. Sylvia J. Mize Mr. Ron Fink Mr. Bernard H. Henry Mr. & Mrs. David L. Kuehn Prof. William Moersch & Prof. Charlotte Ms. Jocelyn W. Fischer Mr. & Mrs. Louis R. Henson Mrs. Ellen Green Kuroghlian Mattax Moersch Dr. Robert J. Fleisher Mrs. Retta L. Hentschel Mr. Michael E. Lagger Mrs. Harriet A. Moir Dr. Nancy P. Fleming & Mr. Ansley D. Mr. Harvey A. Hermann Jr. Mr. Gerald P. Lahti Mr. Milton R. Mojzis Fleming Mrs. Sally K. Hermann Mrs. Joyce M. Laible Mr. Maurice E. Monhardt Mr. & Mrs. Paul H. Fletcher Ms. Cynthia A. Heuer Dr. Marvin L. Lamb Mr. Albert L. Moore Prof. & Mrs. Robert M. Fossum* Mr. & Mrs. H. William Hey Mrs. Irene E. Lamkin Dr. & Mrs. David W. Morse* Mrs. Dee Fraccaro-Murphy Dr. Douglas M. Hill Mr. & Mrs. F. W. Lancaster Dr. Bruce B. Moss Mr. Larry L. Franklin Mr. & Mrs. Delmar L. Hillman Mrs. Barbara A. Lanham Mr. & Mrs. Theodore F. Mueller Mrs. Gwynne H. French Mr. & Mrs. Robert W. Hindsley Mrs. Bonnie A. Larner Mrs. Brenda D. Muench Mr. & Mrs. Donald W. Fretty Mrs. Jane Bishop Hobgood Dr. & Mrs. Richard H. Larson Mr. Martin J. Murray Mr. & Mrs. John D. Frey* Mrs. Audrey S. Hodgins* Ms. Dana LaSalle Dr. Walter L. Myers & Ms. Jane L. Myers* Mr. John A. Fry Dr. & Mrs. Erwin J. Hoffman Mrs. Barbara A. Lauff Ms. Joyce G. Nagel* Mr. Thomas R. Fudge Mrs. Mary Ellen Honnold Ms. Sunny Christiansen Lawrence Mr. Larry G. Neemann Ms. Judith Kaye Fulton Dr. & Mrs. W. Peter Hood* Mr. Bradley S. Leeb Mrs. Louise S. Nelson Mr. Richard D. Furr Mrs. Cary A. Horvath Mrs. Florence K. Leigh Mrs. Rosemary F. Nelson Mrs. Edwina T. Gabcik Mr. Don Hough Dr. John W. Leman Mrs. Patricia S. Newman Dr. & Mrs. Stephen L. Gage Mrs. Abbie O. Hubbell Dr. Larry E. Leonard Mr. Steven N. Ng Mr. Robert C. Gand Mr. Robert D. Huffington Dr. Victoria L. Levine Mr. William J. Nicholls Mr. & Mrs. Timothy W. Gannon Mr. William H. Hughes Jr. Mrs. Elise K. Lidral Kim Nickelson, MD Mrs. Charlene W. Gates Ms. Jane Paul Hummel Ms. Marjorie A. Lin Dr. Eugene D. Novotney Mr. & Mrs. Thomas Lee Gauger Mr. & Mrs. Allen E. Hunter Mr. Jeffrey E. Lindberg Mr. David A. Nowak Mr. & Mrs. G. William Geis Mr. & Mrs. John M. Hunter Prof. Robert P. Link* Dr. Brian M. O’Connor Dr. Alexander L. Gelfand & Dr. Ingrid G. Mrs. Ingrid Hutchings* Mr. Roger D. Little Mr. G. Allan O’Connor Gordon Mrs. Janice C. Impey Mrs. Rita J. Littmann Mrs. Adrienne L. Olsen Mrs. Cheryl S. Gibson Mrs. Mayda S. Irwin Dr. Thomas Lloyd Dr. & Mrs. Charles E. Olson Ms. Renee Gladstone Dr. Charles F. Isaacson Mrs. Virginia K. Lovett Dr. Lesley C. Olson Mr. & Mrs. Donald L. Glossop Jr. Dr. Barbara G. Jackson Mrs. Klara Lueschen Mrs. Kay A. Orfei Mr. & Mrs. John D. Frey* Mr. & Mrs. William L. Jackson Mr. Albert L. Lundgren Mr. Rick K. Orr* & Mr. Scott D. Larimer* Mr. Herbert Goldhor & Mrs. Ruth H. Dr. David C. Jacobsen Mrs. Helen A. Magnuski* Dr. David C. Osterlund Goldhor* (Dec) Mrs. Laurine Jannusch Dr. & Mrs. Walter J. Maguire* Mr. Thomas W. O’Toole Ms. Sarah J. Good Mr. William T. Jastrow Dr. David M. Main* Ms. Janet L. Outis Mr. Frank L. Gould Jr. & The Reverend Dr. James R. Johnson Mr. & Mrs. Robert M. Makeever Mr. & Mrs. Ronald R. Page Karen N. Gould Mr. Robert R. Johnson Dr. & Mrs. Joseph Manfredo Ms. Patrice M. Pakiz Mrs. Nanette R. Grant Mrs. Cheryl Lynn Johnson-Richt Mrs. Stevi A. Marks Mrs. Margene K. Pappas Mr. Eugene Gratovich Mr. & Mrs. Parker N. Johnstone Ms. Anne S. Martel Dr. & Mrs. D. Randall Parker Dr. Susan Keith Gray Mrs. Ruth M. Jones Mrs. Marian S. Martin Mrs. Karen D. Parrack Dr. John E. Green Mr. Richard E. Jorgensen Dr. Jameson N. Marvin Mr. & Mrs. Donald E. Peaslee s Ms. Sarah E. Green Mrs. Stanka Jovanovic Mrs. Ann K. Mason Mrs. Gail Peine o Mr. Michael R. Greene Mrs. Donna L. Kaelter Mrs. Nancy V. Matchett Mr. John H. Pennell n o Mr. Lylburn A. Greer Ms. Karen Kaiser Mrs. Carolynne B. Mathis Ms. Susan B. Peppercorn r Mr. Charles W. Gregg Prof. Marianne E. Kalinke Ms. Mary Matijevich Mrs. Aiko K. Perry i Mr. Douglas A. Griffith Dr. Dennis K. M. Kam Ms. Elise R. Matusek Dr. Linda W. Perry t Mrs. Lynn B. Gros Mrs. Elizabeth A. Kamps Mrs. Carolyn R. May Ms. Anne M. Petrie i e s 52 Mr. & Mrs. Ted Pevnick Mrs. Grace H. Sexton Mr. & Mrs. Michael A. Tremblay Mrs. Amy L. Phelps Mr. Dennis A. Shaul Dr. Tod M. Trimble MATCHING GIFTS Accenture Foundation, Inc. Dr. Thomas L. Pituk Mr. Richard W. Shellman Dr. & Mrs. Max R. Tromblee American International Group, Inc. Dr. Robert W. Placek Mrs. Kristen Shiner-McGuire Dr. L. Deane Trumble Ball Corporation Mr. Kenneth R. Pletcher Mr. & Mrs. Dale A. Shipe Mrs. Katharine B. Tyler BP Amoco Foundation Mr. & Mrs. James T. Pokin Ms. Jill Shires Mr. Walter E. Urben Caraustar Mr. Alan M. Porter Mrs. Faraba G. Shirley Dr. John D. Vanderslice Eli Lilly and Company Foundation Dr. Scott E. Preece* Dr. Blaine F. Shover Mrs. Emily Vaniman Ford Motor Company Mr. Ernest W. Pressley Dr. Scott C. Shuler Mrs. Susanne M. Veal GE Foundation Ms. Alice R. Preves Mr. Arthur A. Sievers Mrs. Linda J. Viall J. P. Morgan Chase Foundation Mr. George H. Pro Ms. Mary L. Sigler Ms. Joanne M. Vician Leo Burnett Company, Inc. Mrs. Karyn A. Quandt Mrs. Dorene E. Sikdar Ms. Alice W. von Neumann & Prof. Albert Pharmacia Retiree Matching Gifts Mr. Roland H. Raffel Mr. Fay M. Sims* Wattenberg (A Program of Pfizer Foundation) Mr. Stanley E. Ransom Mrs. Patricia S. Skarr Ms. Melody Vroman SBC Foundation Ms. Phyllis Rappeport Ms. Sharen R. Slade Mrs. Shirley Ann Wagner Science Applications International Corp. Ms. Frances S. Reedy Mr. & Mrs. Michael J. Slinger Ms. Kathleen A. Walker Telcordia Technologies Dr. & Mrs. Sam Reese Mr. & Mrs. F. William Small Jr. Mrs. Shirley A. Walker Texas Instruments Foundation Mrs. Irma Reiner Dr. Marilynn J. Smiley Mr. Harvey N. Wallace The Allstate Foundation Mr. Randall G. Reyman Ms. Deidre A. Smith Ms. Cheryl E. Hein Walters Mr. David M. Rice Mr. Phillip R. Smith Mr. Arthur S. Wasik The Northern Trust Company Mr. Joe D. Rice Dr. Linda J. Snyder Mrs. Bernice S. Wax The Procter & Gamble Fund Mrs. Margaret G. Rice Dr. & Mrs. Anthony B. Soskin* Dr. Calvin E. Weber Verizon Foundation Mr. Thomas L. Rice Mr. Robert V. Sperlik Jr. Mrs. Susan M. Werner Dr. Selma K. Richardson Mr. and Mrs. Joseph Spytek Mr. Gary R. Wheaton Mr. Kim R. Richmond Ms. Nancy S. Stagg Ms. Celeste E. Whiting CORPORATIONS, FOUNDATIONS, Mrs. Lois H. Richter Mrs. Diane H. Staub* Mr. Marvin D. Whitlock ORGANIZATIONS Mr. & Mrs. Mark A. Rinaldi Dr. Harry M. Steckman Ms. Patricia G. Whitlock Ann and Gordon Getty Foundation Mrs. Patricia J. Rinkenberger Mrs. Erin E. Stegall Mr. & Mrs. Elmer L. Wille Anthony Petullo Foundation, Inc. Mrs. Betty A. Ritter The Honorable Robert J. Steigmann* Ms. Thelma Willett Bio-Consult, Inc. Mr. & Mrs. Dean A. Ritzmann Dr. David B. Stein Mrs. Beverly Ann Williams Community Foundation of Champaign Mrs. Eulah B. Robinson Mrs. Isabelle Kole Stein Dr. Mark D. Williams County Academy Memorial Scholarship Dr. & Mrs. Schuyler W. Robinson Mr. & Mrs. Allan L. Steinberg* Mr. Richard L. Williams Fund Mr. Charles R. Roe Dr. Barbara Steinhaus-Jordan Mr. & Mrs. Rodney J. Williams Golden Lyre Foundation IL Federation of Mr. Scott D. Roeder Mrs. Krista J. Steller Dr. Sandra L. Williams Music Clubs Dr. Franz L. Roehmann Mr. Thomas C. Stewart Dr. & Mrs. Jeffrey S. Wilson Hersey Instrumental Association Mr. Donald Q. Rogers Mr. Robert J. Stiehl Mr. Michael H. Wilson Illinois Opera Theatre Enthusiasts Mrs. Elizabeth P. Rogers* Mr. Roger A. Stien Mrs. Jane R. Wineman Memphis Musicraft Publications Mr. Jeffrey L. Rohrer & Mrs. Joyce Kim- Dr. David K. Stigberg Mrs. Ann R. Winget M. R. Bauer Foundation Rohrer Mrs. Roberta L. Stiles Mrs. Betty S. Wise Mu Phi Epsilon Urbana-Champaign Alumni Dr. Brenda R. Root Mr. James R. Stith Mrs. Rita S. Wise Chapter Dr. Deane L. Root & Dr. Doris J. Dyen Prof. & Mrs. Victor J. Stone* Mrs. Kim Y. Wittel New Life Video/Bay-Com Mrs. Mary A. Rosborough Ms. Mary G. Stonecipher Edward C. Wolf, PhD Pacific Direct Mrs. Linda F. Rosen Dr. Michael C. Strasser Dr. Robert L. Wolf Precision Graphics Prof. Barak Rosenshine Mr. James R. Straub Ms. Trudy Fraase Wolf Roger and Dolores Yarbrough Foundation Mrs. Devorah B. Ross Ms. Patricia Stroh Mr. A. Scott Wood Smith Walbridge Camps, Inc. Mrs. Mary Higley Rosser Mrs. Blanche J. Sudman* Mrs. Rose Marie Wood Sound Enterprises Mrs. Nina Rubel Mr. J. David Sulser Dr. Benjamin W. Woodruff Jr. The E. F. Wildermuth Foundation Mr. & Mrs. Robert J. Ruckrigel Dr. John N. Sumrall Jr. Mrs. Zoe R. Worner The Presser Foundation Dr. & Mrs. Gregory C. Rudolph Sr. Mrs. Marianne C. Sutton Mr. William C. Worra The San Diego Foundation Mr. & Mrs. Michael E. Rugen Prof. & Mrs. Ralph R. Swarr Mr. & Mrs. Scott A. Wyatt Village Music Store Mrs. Cheryl Lane Ryan Ms. Catherine Szeto Mr. & Mrs. H. W. Wyld Jr. Westlawn Consulting Services Inc. Mrs. Marilyn R. Sameh Mr. Peter A. Takacs Prof. & Mrs. Thomas Alexander Yancey* Dr. Lori K. Sanders Mr. Matthew S. Talbott Ms. Joyce S. Yang Mr. & Mrs. Ray K. Sasaki Ms. Nan E. Tate Mr. & Mrs. Mickey W. Young Ms. Madeline S. Sauerbier Mr. Richard Wesley Temple Mr. Robert E. Yung Mr. David L. Saunders Mr. Edwin C. Thayer Dr. Joyce R. Zastrow Mr. & Mrs. James C. Saxton Mrs. Catharine A. Thieme Mrs. Sharon S. Scanlon Mrs. Ladora Thomason Miss Patricia Schaefer Dr. Gerald J. Throop Mr. Arthur G. Schildbach Mr. David P. Thurmaier Mrs. Shirley J. Schnizer Ms. Helen L. Thursh w Mrs. Jane W. Schoeniger Ms. Kelly A. Tilsy i Dr. & Mrs. Karl-Heinz Schoeps Ouida Tisdall, MD n Mr. Steven E. Schopp Mr. Russell E. Todres t Mrs. Karen Schulman-Bear Mrs. Marie Griffith Tompkins e Mrs. Glenda L. Schultz Mrs. Barbara B. Toney r Mr. & Mrs. John F. Schwegler Mr. Vincent B. Trauth Mr. & Mrs. Steven J. Seidman Mr. & Mrs. John W. Trautwein 2 0 0 5 53 Now Registering for Illinois Summer Youth Music 2005

ISYM is a comprehensive and intensive program of music

First Session June 19-25 instruction for student musicians. It is held on the campus Second Session July 3-9 of the University of Illinois at Urbana-Champaign. Thou- Third Session July 17-23 sands of students have experienced music at ISYM. Many are now performing in major symphony orchestras and For more information contact: Illinois Summer Youth Music other professional instrumental and vocal ensembles. A sig- 1114 West Nevada Street nificant number are successful teachers, engineers, scien- Urbana, IL 61801 217-244-3404 tists, lawyers, doctors, and business executives. ISYM has www.music.uiuc.edu as its objectives to develop musical skills, and to improve

the understanding and appreciation of music. The camps

are designed to challenge musicians in varying degrees of

musical skill and development. Perform and learn at ISYM

this summer! www.music.uiuc.edu

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