SCORE Magazine 2013 - Frost School of Music

Post Ofce Box 248165
Coral Gables, Florida 33124-7610

UNIVERSITY COMMUNICATIONS 12-243
Nonproft
Organization
U.S. Postage
P A I D
Permit No. 438
Miami, FL
The Frost School of Music broke ground on its new Patricia Louise Frost Music Studios,
the first of three new buildings slated for the music campus during Momentum2:
The Breakthrough Campaign for the University of Miami.
Setting
the Tone
INSIDE:
Body Tune-Up
Media Writing Remix
Studios Break Ground
Frost MusicReach gives
at-risk kids the chance
to nd lifelong harmony
through music.
Un i v e r s i t y o f Mi a mi S p r i n g 2 0 1 3
FROST SCHOOL OF MUSIC
score
{ 2 } SCORE MAGAZINE Spri ng 2013
contents
Spring 2013
Frost School of Music
Frost School of Music Dean
Shelton G. Berg
Associate Dean, Administration
Raul Murciano
Interim Associate Dean, Graduate Studies
Shannon de lEtoile
Assistant Dean, Undergraduate Studies
Kenneth J. Moses
Associate Dean, Advancement
Holly Freyre
Director, Admissions and Recruitment
Karen Kerr
Director, Business Affairs
Denise Eutsey
Director, Marketing and Communications
Julia D. Berg
University Communications
Vice President for Communications
Jacqueline R. Menendez, A.B. 83
Assistant Vice President for
Communications and Marketing
Todd Ellenberg
Editorial Director
Meredith Camel, M.F.A. 12
Director of Creative Services
Scott Fricker
Art Director
Lisa Kuehnle
Senior Graphic Designer
Sau Ping Choi
Production Supervisor
Angie Villanueva, A.B. 12
Editorial Contributors
Julia Berg, Kimberly Engelhardt,
Allison Gagliardi, Dorothy Hindman,
David Menconi, Lisa Sedelnik, M.A. 00
Score magazine is published once a
year by the Frost School of Music and
University of Miami Division of University
Communications. Score magazine is
distributed free of charge to alumni,
faculty, staff, and friends of the
Frost School. Reproduction in whole or
in part without written permission
is prohibited. Postmaster and others, please
send change of address notification to
Score magazine, Frost School of Music,
P.O. Box 248165, Coral Gables, Florida
33124; telephone 305-284-2241.
Contributions of articles, photographs,
and artwork are welcome; however,
Score magazine accepts no responsibility
for unsolicited items.
The comments and opinions expressed in
this magazine do not necessarily
reflect those of the University of Miami
or the staff of Score magazine.
Copyright 2013, University of Miami.
An Equal Opportunity/Affirmative
Action Employer.
www.music.miami.edu
20 Instrumental Outreach
Trough Frost MusicReach, Frost School students share music,
mentorship, and a sense of accomplishment with children in
underserved communities.
26 Body Tune-Up
Music Engineering Technology researchers are designing,
building, and testing technologies that help the human body
function at its best.
32 Media Writing Remix
Learn what it takes for a composer to tap into the complex
but rewarding realm of TV, lm, and gaming.
F E AT U R E S
D E PA RT ME NT S
32
26
D E PA RT ME NT S
2 FROST NEWS
Studios complex groundbreaking * Band of the
Hour gets Despicable gig * Frost Chorale sings
backup for Juanes * Audio Engineering job report
* Thought-leader meetings held * Dean Bergs
Grammy nomination * HMI Orchestra featured on
PBS * Audio Engineering Society winners *
Entanglements opera premieres, and much more!
12 GUEST ARTISTS
Leon Fleisher * Douglas Cuomo * Dave Liebman
* Jason Moran * George Benson * The Cleveland
Orchestra * Steve Miller * Charles Lazarus *
Helen Donath
18 STUDENT STARS
Students describe their approach to interna-
tional music competitions * The origins of
acoustic Americana trio Avocado Estate
38 FACULTY UPDATES
New faculty * Retiring faculty *
Announcements and accomplishments
49 FACULTY PROFILE
The Pulse of Whats Possible
50 CLASS NOTES
Alumni tell us why theyre proud to be a Frost
musician. Plus Fulbright recipient Justin
Pressman and conductors Cristian M acelaru
and Zoe Zeniodi.
We are a community of musicians. Frost faculty and students hear me say that phrase regularly, as do prospective students,
advisors, and donors.
With excellent musical performance at our collective core, we have a strong bond across program areas. For example, music
business majors at other universities generally are not required to pass the same music audition as performance majors, while at
Frost they must. All principals, regardless of department major, actively participate and perform in Experiential Music Curriculum
skills ensembles, plus an array of large ensembles ranging from the Frost Symphony
Orchestra to the American Music Ensemble. They ALL perform, compose, improvise, and
participate in the rich music-making and recording that makes the Frost School unique.
This high-quality performance filter, combined with high academic achievement, has
catapulted the Frost School to the top echelon of music schools worldwide. Having a
core of great musicianship also informs our decision-making as we plan our future in
areas such as online education, facilities planning, and curricular updates.
At the Frost School, our alumni accomplishments link our stellar past to our promising
future. Alumni are working at the top of their respective fields and enjoy career
longevity rooted in the depth of musicianship we have always fostered. Andrew Scheps,
B.M. 89, for example, won a 2012 Album of the Year Grammy Award as engineer for
the album 21 by Adele. Jason Sutter, M.M. 95, is the drummer for Marilyn Manson
and currently on a world tour, Michael Babcock, B.M. 96, is a supervising film sound
designer and re-recording mixer based at Warner Brothers Studios, and Kier Lehman,
B.M. 03, is vice president of Music Creative at Sony Pictures Entertainment. Read about
these great alums and many others in this issue of Score, beginning on page 32.
As I write this deans message, I just learned that one of our D.M.A. percussion students,
Pedro Fernandez, won an audition with Houston Ballet Orchestra. As our students
continue to win top orchestra spots, music competitions, and coveted jobs in the
industry, I know that the inspiring training and breadth of experiences at the Phillip and
Patricia Frost School of Music have played a key role.
Please continue to refer the best and the brightest young musicians to apply to the Phillip and Patricia Frost School of Music, and
be sure to spread the word about the successes of your fellow alumni.
I invite you to visit our growing campus and look forward to learning more about your professional accomplishments as proud
members of the Frost musical community.
Warmly,
Shelton G. Berg
Dean, Frost School of Music
Patricia L. Frost Professor of Music
Message from the Dean
M
IC
H
A
E
L
M
A
R
K
O
Frost News
{ 2 } SCORE MAGAZINE Spri ng 2013 Spri ng 2013 SCORE MAGAZINE { 3 }
artistic depth of Frost School student-musicians, the
ones who will benet most from the new building.
Freshman pianist Anita Pari and the Frost Symphony
Orchestra performed the lively third movement of
the Saint-Sans Piano Concerto No. 3 with doctoral
candidate Andres Jaime conducting, soprano Rebecca
Henriques sang Te Jewel Song from Faust to rousing
applause, and two student-led small groups performed
bluegrass and jazz selections. Guests included Phillip
and Patricia Frost, UM Board of Trustees Chair Leonard
Abess, President Donna E. Shalala, Provost Tomas J.
LeBlanc, Dean Berg, and an enthusiastic crowd of more
than 300 trustees, faculty, students, and friends.
When completed, the Patricia Louise Frost Music
Studios, which is just one component in the Frost
Schools ambitious expansion plans, will help the school
continue to lure top student-musicians as well as attract
new faculty, said Dean Berg. Te schools original
practice rooms in the Foster Building had become anti-
quated, and more than half of them were not being
used as practice space at allbut for teaching. Of
Fosters 90 existing studios, only 35 are in use as practice
rooms, leaving more than 700 music students to vie for
precious space.
On top of that, Berg explained, we created the
Experiential Music Curriculum thats based around
chamber music and learning in small ensembles rather
than sitting in lecture demonstrations. Te practice
rooms in Foster arent large enough for chamber music
rehearsals. But the new teaching studios that our faculty
will move into are large enough and have high enough
Patricia Louise Frost,
center, celebrates the
groundbreaking of her
named building with UM
mascot Sebastian the
Ibis, Frost Dean Shelly
Berg, UM Trustee Phillip
Frost, President Donna
E. Shalala, UM Board of
Trustees Chair Leonard
Abess, and Provost
Thomas J. LeBlanc.
Frost Band of the
Hour, top photo,
leads crowd to
the construction
site, and student
Rebecca Henriques,
bottom, sings during
groundbreaking
ceremonies for
Patricia Louise Frost
Music Studios.
Frost Music Studios Complex
Celebrates Groundbreaking
THE FEBRUARY 8 GROUNDBREAKING
celebration for the Patricia Louise Frost Music Studios
began with the ultimate energy boosta brilliant,
heart-pounding fanfare written for the occasion by Frost
School Dean Shelly Berg and performed by the Frost
Brass Ensemble. On a fast track for completion by fall
2014, the Patricia Louise Frost Music Studios complex
is made possible by the generosity of longtime UM
philanthropists Patricia Louise Frost and Phillip Frost,
a University of Miami trustee.
Te fanfare segued to an uplifting musical program
at Maurice Gusman Concert Hall that showcased the
n Modulated electrochromic glazing on windows reduces glare and heat
n Sensors automatically control light and heat transmission in each room;
an override switch allows users to control light in their individual spaces
n Titanium dioxide added to the concrete removes air pollutants at a rate
equivalent to planting 320 trees
n Air-conditioning uses active-chilled-beam units, significantly reducing
energy use compared with a conventional all-air system
n Rooftop cisterns that gather rainwater reduce building water use by 50%,
while rooftop solar panels reduce electricity use by 16%
Architect: Yann Weymouth and HOK Architects Builder: Skanska
ceilings that we can have virtually our whole school in
chamber music rehearsals and adequate space to accom-
modate this new learning paradigm.
Te new building, which is part of UMs $1.6 billion
Momentum2 campaign, is designed to be an energy-
ecient LEED Platinum-certied structure that houses
82 chamber music and teaching studios, 48 large music
studios, and 32 medium-sized studios with superior
acoustics and state-of-the-art recording capabilities.
Te February 8 ceremony included remarks from
Dean Berg, President Shalala, and Patricia and Phillip
Frost, as well as a slide show of building renderings
presented by Yann Weymouth, senior vice president and
design principal of HOK Architects.
Students and professors have been sitting in these
classrooms that have needed, since the 70s, an updat-
ing, said Patricia Louise Frost. Well, were doing more
than updatingand Im proud to have my name on your
educational building.
Te festivities concluded with UM mascot Sebastian
the Ibis and 125 members of the Frost Band of the Hour
leading guests outdoors to the construction site. At the
outdoor shovel ceremony, the Frost Percussion Ensemble
entertained the crowd with improvisations on David
Langs Te So-Called Laws of Nature performed on a
backhoe and other found construction objects. Te Frost
Flute Ensemble with Associate Professor Trudy Kane
and faculty tuba artist Sam Pilaan, B.M. 72, delivered
a thrilling performance of Tiger Rag, arranged by
Pilaan. Te Frost Band of the Hour concluded the spe-
cial event with the UM ght song and other favorites.
Te Patricia Louise Frost Music Studios is the rst of
three new buildings slated for the music campus. Practice
room and studio naming opportunities begin at $10,000
and may be paid via a ve-year pledge during the current
Momentum2 capital campaign. For more information,
please contact Associate Dean for Development Holly
Freyre at hfreyre@miami.edu or Director of Develop-
ment Lynne Gibson at lgibson@miami.edu.
On October 16, 2013 the Frost School of Music will
celebrate the tenth anniversary of its generous naming
gift from Phillip and Patricia Louise Frost. Te Frosts
are well known throughout the community for their
generous support of education and the arts.
Key Green Features
AS THE FALL SEMESTER was getting
under way last August, Dean Shelly Berg
received a call from blockbuster music pro-
ducer Pharrell Williams, requesting that the
Frost Band of the Hour record his opening
theme to an upcoming animated motion
picture, Despicable Me 2. Berg coordinated the details
quickly with Associate Director of Bands Tomas Keck,
and the two announced the recording opportunity to the
band at its traditional First Rehearsal, with President
Donna E. Shalala in attendance.
Frost Band of the Hour Records Theme for Despicable Me 2
Faculty member Stephen Guerra Jr. orch-
estrated the theme, and the recording took
place in Gusman Concert Hall on October 15,
during the bands busy fall marching schedule.
Scheduled for release in July 2013, Despic-
able Me 2 is a sequel to Despicable Me, a
computer-animated 3D comedy lm released in 2010
from Universal Pictures and Illumination Entertainment.
Te lm stars the voice of Steve Carell as Gru, a super-
villain. Te lm earned positive reviews and grossed over
$543 million worldwide against a budget of $69 million.
P
H
O
T
O
S
B
Y
V
E
R
S
A
T
IL
E
L
IG
H
T
S
T
U
D
IO
S
V
E
R
S
A
T
IL
E
L
IG
H
T
S
T
U
D
IO
S
Spri ng 2012 SCORE MAGAZINE { 5 }
Frost News
BRAINWAVES WERE REVVING UP last summer
when the CEO of Sony/Columbia Records Group, the
founders of IMG Artists, Pandora, and RoyaltyShare,
and executives from other major music labels, production
companies, and symphonies got together at the behest of
Dean Shelly Berg to brainstorm about how to prepare
aspiring musical artists and researchers for todays pro-
fessional landscape.
Every ve years the Frost School of Musics executive
committee and faculty department chairs develop a new
strategic plan for the future. Te Frost School is embark-
ing on its next strategic planning phase now, with the
goal of unveiling the new plan in 2014. In preparation,
Dean Berg convened this summer series of thought-
leader meetings in New York, Nashville, Los Angeles,
and San Francisco to gain input about the skills students
will need as they enter and mature in the profession.
Te meetings identied several key themes, which
Dean Berg presented to Frost School faculty during
a retreat in September. Topics include high-quality
online education oerings, intensive multimedia courses,
stronger internships and mentorship opportunities,
exible class schedule models, entrepreneurship and
executive/postgraduate training, new audience develop-
ment approaches, and programs that support alumni
throughout the lifecycle of their careers.
THOUGHT LEADERS WHOS WHO
New York: Steve Barnett (Universals Capitol Label
Group), Miles Braett (Sony), Adam Glick (Te Floating
University), Charles Hamlen (IMG Artists), Bob Kohn
(RoyaltyShare), Will Lee, 71 (bass/vocal recording art-
ist,), Pat Metheny,
73 (guitar record-
ing artist), J.J. Rosen
(Indaba), Larry Rosen
( JazzRoots, GRP
co-founder), Jerey C.
Walker (Quincy Jones
Consortium)
Nashville: Reed
Arvin, M.M. 82
(producer), Steve
Bogard (Nashville Songwriters Association), Pat Collins
(SESAC), Rod Essig (CAA/Creative Artists Agency),
Bob Ezrin (producer), Kerry ONeal (ONeal Hagaman
Management), Alan Valentine (Nashville Symphony),
Jim Van Hook (Brentwood Records), and Lari White,
B.M. 88 (vocal recording artist), plus Frost School faculty
Rey Sanchez, B.M. 80, M.M. 82, and Chris Boardman.
Los Angeles: Mauricio Abaroa (Tiger Management),
Marty Albertson (Guitar Center co-founder), Laura
Connolly (Los Angeles Philharmonic/Hollywood Bowl),
Gregg Field (Concord), Doug Frank (Mind Trust),
Wing Mayer (MC Squared), Joel McNeely, B.M. 82
(composer), Andrew Surmani (Alfred Music Publish-
ing), and Steve Tellez (Innovative Artists).
San Francisco: Robert Cohn (Octel founder), Bob
Fisher (Te Gap), Peter Gotcher (Pandora, DigiDesign
founder), Nan Keeton (San Francisco Symphony),
Randall Kline (SF Jazz), Joshua Robison (producer),
Michael Tilson Tomas (San Francisco Symphony/
New World Symphony).
Left to right,
thought leaders
Adam Glick, Pat
Metheny, Dean
Shelly Berg, and
Will Lee gather at
Sony BMG Music
Entertainments New
York headquarters
for a strategy
session.
Thought-Leader Meetings Tap
Industrys Top Brains
WHEN COLOMBIAN SUPERSTAR Juanes took
home his second Grammy on February 10, 2013 for his
MTV Unplugged project in the Latin Album of the Year
category, students from the Frost Chorale
also made historythey were featured with
Juanes on the albums rendition of Odio
Por Amor (Hate Into Love), recorded live
at the New World Center in Miami Beach.
MTV contacted me a year ago Decem-
ber and asked if we wanted to record with
Juanes in a performance at the New World
Center, saysKaren Kennedy, director of
choral studies at the Frost School. Frost
Chorale and MTV togethera rst!
Juanes is an idol to many of our students,
and we were honored to be part of this project.
John Guarente, a D.M.A. candidate in choral
conducting who was appointed the liaison with MTV,
gathered the requisite number of singers for the proj-
ect. Te group had one night of rehearsal on January31,
2012, with the live video and audio recording taking
place the following day.
One of the most popular Spanish-language music
artists in the world, Juanes is an advocate of peace and
social change through music. His rallying message, Its
time to change hate into love, repeats throughout Odio
Por Amor.
Te live album was released on Universal Music
Latino on May 29, 2012. It debuted at number one on
the Billboard Top Latin Albums and also won the 2012
Latin Grammy for Album of the Year, his third Latin
Grammy honor in the top category.
Frost Chorale Featured on Grammy-Winning
Juanes: MTV Unplugged
Latin pop music
sensation Juanes
and the Frost
Chorale deliver
a heartfelt
performance on the
stars Grammy-
winning album,
recorded live in
Miami.
E
ach year, members of the University of Miami Board of
Trustees and alumni graciously volunteer to serve on
visiting committees for every school and college at the U. They
meet with each respective dean to advise on strategic planning
and new initiatives. Advisors to the Frost School of Music are
Phillip Frost, Patricia Frost, Peggy Hollander, Bruce Hornsby,
B.M. 77, Judi Prokop Newman, B.B.A. 63, Andr Raphel Smith,
B.M. 84, Larry Rosen, Roe Stamps, Ronald Stone, B.B.A. 73,
and David Weaver.
Frost School Expands Its Advisory Committee
CONTINUING THE UPWARD trajectory of the
Frost Schools Music Engineering Technology Program,
100 percent of its graduates from the Class of 2011
are employed in their eld at such prominent rms as
Bose, Izotope, and Peavey. Many
were tapped for audio engineering
internships before being recruited
for full-time positions. Te program
typically yields a 90-to-100 percent
placement rate within the rst year
of graduation.
Krithika Rajagopal, M.S. 11,
who rst joined Audio Precision
as a technical support engineer, is now a systems test
engineer at Audience, Inc. Chris Danner, M.S. 11, is a
junior product manager in audio technology licensing at
Izotope, Inc., and Matt Montag, M.S. 11, is a software
100 Percent of Audio Engineering Grads Employed in High Tech
engineer at Spotify. Mississippi-based Peavey Electronics
hired Scott Dickey, B.S. 11, as an embedded software
engineer, Miami-based Covernova Technology selected
Derrick Walker, B.S. 11, for a mobile software developer
position, and Bose Corporation hired Matthew Payne,
B.S. 11, as a product technical support specialist. Oth-
ers from the Class of 11 are making their mark on the
audio industry through careers ranging from recording
engineer to software designer.
Since its inception in 1974, the Music Engineering
Technology program at the Frost School of Music has
placed graduates with the most prestigious recording
studios and audio manufacturing companies. Te pro-
gram has pioneered education in music and technology,
setting the standard by which the National Association
of Schools of Music (NASM) accredits other such pro-
grams around the United States.
Last year the committee decided to
expand the visiting committee to include
more advisors from a cross section of the
music profession. New advisors include Steve
Barnett, Emilio Estefan, Alan Ett, 75, Bob Ezrin,
Adam Glick, Peter Gotcher, Wing Mayer, 03, Joel McNeely,
B.M. 82, Elizabeth Sobel, and Jeff Walker. The newly expanded
committee met in Miami for a two-day retreat in February to
discuss strategies for the future.
Frost News
THE 29TH SEASON OF Festival Miami continued
its tradition of excellence with a stellar lineup, reecting
the values of the Frost School of Music with dynamic
programming and a commitment to education and
outreach. Between October 2 and November 4, 2012,
concertgoers experienced 20 concerts and three master
classes that fell under the themes of Great Performances,
Creative American Music, Jazz and Beyond, and Music
of the Americas.
Opening night featured musical legend Leon Fleisher
as he conducted the Frost Symphony Orchestra through
a sweeping program that encompassed the music of
Beethoven and Rachmanino. Tis sold-out concert was
followed by a two-night tribute to composer and bandoneo-
nist stor Piazzolla. Te rst night began with a captivating
lecture by Fernando Gonzalez, who is a 2013 Grammy
nominee for his album notes on a Piazzolla album.
Piazzollas tangos were performed by faculty and student
artists and Argentinian bandoneonist extraordinaire JP
Jofre. Audience members enjoyed the rst night of classical
Piazzolla so much that they lined up during intermission
to buy tickets for the next night featuring the Frost Studio
Jazz Band and JP Jofre in a jazz homage to Piazzolla.
Beyond Piazzolla, the Frost Wind Ensemble pre-
miered Point Blank by fast-rising composer Paul Dooley,
and Svet Stoyanov dazzled audience members with
Pulitzer-Prize-winning composer Jennifer Higdons
Percussion Concerto. Saxophonist Dave Liebman
performed with the Frost Concert Jazz Band, talented
student composers showcased their works in the Emerging
Composers concert and the Songwriters Showcase, and
Frosts own Santiago Rodriguez performed a thrilling
solo recital.
Other notable artists who performed during the
festival include soprano Ana Maria Martinez, Brazilian
jazz masters Trio da Paz, Latin sen-
sation Carlos Oliva y Los Sobrinos
del Juez, and Broadway stars Valerie
Perri, B.F.A. 76, and Michael
Maguire. Students raved about
Jason Moran & Te Bandwagons
inspiring performance and master
class, and the Frost Chamber Players
paid tribute to the storied career of
retiring bassoon professor Luciano
Magnanini with a concert aection-
ately titled Luciano & Friends. Frost
faculty composers had several works
premiered by the Greater Miami Youth Symphony and
the South Florida Youth Symphony, and Roseanna
Vitro performed with the Frost Jazz Vocal Ensemble 1.
Trough the generous support of its corporate sponsors,
Festival Miami invited Mays Conservatory of the Arts
and other schools to popular concerts.
Te nal weekend of Festival Miami brought down
the house! Jon Secada, B.M. 83, M.M. 86, performed
a unique cabaret-style show that left audience members
wanting more, and the Henry Mancini Institute Orchestra
performed at the Arsht Center in a tribute to Nat King
Cole with jazz legends George Benson and Freddy Cole.
Closing night featured an exhilarating rendition of Carl
Ors Carmina Burana, presented with the Master Cho-
rale of South Florida, the Florida Singing Sons Boychoir,
the Frost Chorale, and the Frost Symphony Orchestra.
Frost Director of Events Marianne Mijares organized
Festival Miami, with programming input from Frost
faculty and Dean Shelly Berg. Director of Music Opera-
tions William Dillon and Director of Recording Services
Paul Grith supervised event production and recording.
For more information about Festival Miami, please visit
www.festivalmiami.com.
Alumni vocalists
Valerie Perri, left
with Dean Shelly
Berg, and Jon
Secada relish
their return to
the Gusman stage
during Festival
Miami.
Piazzolla, Brazilian Jazz,
Broadway Stars, and More
FROST SCHOOL OF MUSIC students were once
again well represented in DownBeat magazines 36th
Annual Student Music Awards, with 11 awards bestowed
on ensembles, soloists, arrangers, composers,
and engineers.
Undergraduate outstanding
performance group awards went
to the Frost Schools Fusion/
Funk Ensemble and Latin Funk
Ensemble, both directed by Steve
Rucker. Graduate winner awards
went to vocal jazz ensemble
Extensions, directed by Lisanne
Lyons; Frost Recording Ensem-
ble, directed by Gary Lindsay;
and Henry Mancini Institute Orchestra, directed by
Scott Flavin.
Tenor saxophonist Alex Weitz received the under-
graduate college outstanding performance award in the
jazz soloist category, while drummer Johnathan Hulett
was declared the undergraduate college winner in the
blues/pop/rock soloist category (Gary Keller and Steve
Rucker, faculty mentors).
Composer Gene Knic earned the undergraduate
college outstanding performance award for his original
DownBeat Announces Student Award Winners
composition/orchestrated work Music for String Quartet
and Jazz Quintet (Chuck Bergeron, faculty mentor).
Two of Gary Lindsays graduate arranging students earned
outstanding performance awards in the jazz arrangement
category:
Jeremy Fox
for So Many
Stars and
Javier Nero for Little Sunower. Last but not least,
Seth Hochberg was the undergraduate college winner in
the Engineered Live Recording category (Paul Grith,
faculty mentor).
Congratulations to all DownBeat student award
winners!
D.M.A. candidate
Jeremy Fox, left,
and sophomore
composer Gene
Kinific, right,
earn top student
arranging and
composition honors
from DownBeat.
S
tudents and faculty of the Frost Schools Department of
Studio Music and Jazz were well represented both as
performers and clinicians at the fourth annual conference of
the Jazz Education Network (JEN), held in January at the
Hyatt Peachtree Hotel in Atlanta, Georgia.
The Frost Jazz Vocal 1 Ensemble (JV1), under the direction
of Larry Lapin, performed in an evening concert on Friday, Jan-
uary 4. The audience was filled with jazz students and educators
who traveled across the globe to attend the conference. Lapin is
retiring in May 2013.
The Frost Concert Jazz Band was selected to close the confer-
ence on Saturday night, performing with NEA Jazz Master and
saxophonist Dave Liebman, who was featured at the Frost School
of Music in October during Festival Miami. Dante Luciani conducted
the concert, which showcased high-powered originals by Liebman.
Frost faculty guitarist John Hart was also on the program.
Frost Students and Faculty Perform and Present at JEN
Dean Shelly
Berg and jazz faculty
Larry Lapin and Daniel
Strange presented
educational workshops,
and graduate teaching
assistant Kelly Garner
gave a studio recording
techniques clinic for
jazz vocal ensembles.
The Jazz Education Network is dedicated to building the jazz
arts community by advancing education, promoting perfor-
mance, and developing new audiences. JEN was founded in
2008 in Chicago and now has over 1,500 members. Its annual
conference serves teachers, students, artists, performing arts
presenters, music industry partners, and music enthusiasts.
Larry Lapin
conducts JV1 at the
JEN conference in
Atlanta.
V
E
R
S
A
T
IL
E
L
IG
H
T
S
T
U
D
IO
S
G
A
R
Y
L
IN
D
S
A
Y
P
H
O
T
O
S
B
Y
V
E
R
S
A
T
IL
E
L
IG
H
T
S
T
U
D
IO
S
Frost News
{ 8 } SCORE MAGAZINE Spri ng 2013 Spri ng 2013 SCORE MAGAZINE { 9 } { 8 } SCORE MAGAZINE Spri ng 2013
Dean Shelly Berg
and lyricist
Lorraine Feather
collaborate
frequently on witty
and pithy musical
projects.
As a busy dean at one of the nations top music
schools, Bergs favorite time to arrange and compose is
during his 6 a.m. jog.
By the time Ive nished a three- or ve-mile run, the
arrangement has percolated to the point where I can sing
and play my ideas into a recording app on my iPhone be-
fore heading to the oce, says Berg, whose multitasking
mind continues to develop the arrangement while driving
to work or walking across campus. I rarely compose at
the piano or at the computer. I prefer to sit at a table with
a score pad and pencil and write what I hear in my head.
Bergs most recent project has been arranging,
conducting, and co-producing multi-Grammy-winning
superstar Gloria Estefans upcoming new album, Te
Standards, which will be released in the fall (Sony In-
ternational). Estefan met Berg at a University of Miami
function two years ago, when the two performed an
impromptu piano-vocal rendition of Good Morning
Heartache. His arrangements, created especially for
Estefan, include more than a dozen classics from the
Great American Songbook plus several international
favorites and feature Bergs jazz trio (piano, bass, drums),
as well as guitar and lush orchestrations.
Te Standards was recorded in December at the fabled
Hit Factory Criteria Studios with a Miami-based studio
orchestra. A number of Frost faculty members partici-
pated in the weeklong session.
AN ACTIVE PERFORMER, arranger, and producer,
Dean Shelly Berg was nominated for a 2013 Grammy
Award for Best Arrangement Accompanying a Vocal-
ist for his arrangement of Out Tere on the Lorraine
Feather CD Tales of the Unusual ( Jazzed Records).
Berg and Feather co-wrote the song, which was inspired
by the television show Te X-Files. Pop-jazz vocalist
Esperanza Spaulding won the category.
While Berg has appeared on many Grammy-winning
projects, such as Arturo Sandovals A Time for Love and
Dear Diz (Concord), this was his rst personal nomina-
tion. He attended the 55th Annual Grammy Awards
ceremony on February 10 with friends and family.
THE FROST SCHOOL OF MUSIC has commis-
sioned Los Angeles-based lm and television composer
Joel McNeely, B.M. 82, to compose a new concert march
under the auspices of the Abraham Frost
Commission Series, an endowment estab-
lished in 1989 by Phillip and Patricia Frost
to commission new works by notable com-
posers in memory of Phillip Frosts father.
McNeelys new march, which will
premiere at the 30th annual Festival Miami
in October, will make a nod to such great
Hollywood lm composers as John Williams and Elmer
Bernstein while reecting his own style. Abraham Frost
reportedly loved Sousa marches and dramatic march
themes by lm composers, and this commission is in the
same spirit. In addition to the schools naming gift, the
Frosts established two other music endowments at UM
in 1989: the Anna Frost Music Scholarship in memory
of Phillip Frosts mother and the Patricia L. Frost Profes-
sorship in Music, held by the music dean.
McNeely is an Emmy Award-winning composer,
producer, and conductor with more than 100 motion
picture and television credits. He has worked with some
of Hollywoods most inuential producers and directors,
including James Cameron, John Lasseter, and George
Lucas, and he recently produced and arranged a big band
and orchestra album of standards for Family Guy creator
Seth MacFarlane for Universal Republic Records. (See
page 34 for an interview with McNeely.)
McNeely has created all of the scores and themes
for Disneys Tinker Bell lms as well as music for the
entire franchise, which includes theme parks, ice shows,
and video games. In addition to several other Disney
titles, his lm credits include Ghosts of the Abyss (20th
Century Fox), Uptown Girls (MGM), Virus (Universal),
Te Avengers (Warner Bros.), Air Force One (Columbia
Tri-Star), Wild America (Morgan Creek) and Terminal
Velocity (Touchstone). Television credits include Seth
MacFarlanes American Dad, James Camerons Dark
Angel (Fox), Sally Hemmings: An American Scandal
(CBS mini-series), Bualo Soldiers (CBS), and Te
Young Indiana Jones Chronicles (ABC).
Alumnus Joel McNeely Receives Abraham Frost Commission
W
hether you live in Miami or Michigan or even Mozam-
bique, all you need to watch a Frost School student
recital or ensemble concert in real time is an Internet connec-
tion. These performances in Gusman Concert Hall and Clarke
Recital Hall are now streamed live via enhanced capabilities at
www.music.miami.edu/concerts.
Under the supervision of Paul Griffith, director of recording
services, in collaboration with the Richter Library and the IT Web
Design and Development Group, the live streaming functionality
was upgraded with embedded Flash technology, eliminating the
need to download a media player before viewing. The stream-
ing link activates a half hour before concert start time and is
accessed from the Events tab on the Frost homepage. You can
also view it on your smart phone through the Events listing on
the free UMiamiMobile app.
The live streaming enhancements are among several
significant improvements the Frost School made to its website
in the past year, including sites for Arts Presenting and Live
Entertainment Management Program (APLive), Choir, Frost
Band of the Hour, Stamps Distinguished Programs, and the
Frost Strings Program. It is currently revamping its Giving and
Graduate Studies sites. UMs Information Technology Web Design
and Development Group, app developer Jorge Molina, and Frost
Schools director of communications Julia Berg spearheaded the
Web improvements, with help from communications coordinators
Kimberly Engelhardt and Allison Gagliardi.
Frost Website Expanded, Live Streaming Improved
Dean Berg Earns Grammy
Nomination
THE FROST SCHOOLS MUSIC Terapy Program
was awarded a $20,000 grant from Te Grammy Foun-
dation to study how infants rst begin to
move in response to music and rhythm. Te
results could unveil new predictors for early
developmental decits in children.
Shannon de lEtoile, music therapy profes-
sor and newly appointed associate dean of
graduate studies, is partnering with music
engineering associate professor Colby Leider
to explore the ability of infants ages 6 to 9
months to entrain spontaneous movement
with external, rhythmic auditory cues. While most adults
can coordinate movements easily with rhythmic cues (i.e.,
Grammy Foundation Funds Study on Infant Response to Music
stepping or clapping to an auditory beat), little informa-
tion exists about the development of such skills early
in life. Te study, which employs advanced
motion-sensing technology, will increase
understanding about perceptual and motor
development and may help improve thera-
peutic interventions for decits in attention,
speech, and extremity movement.
Te award is one of 18 recently presented
by Te Grammy Foundations grant program
to a variety of research projects. Te grant pro-
gram is generously funded by Te Recording
Academy and to date has awarded close to $5.8 million to
more than 300 projects.
Frost News
{ 10 } SCORE MAGAZINE Spri ng 2013 Spri ng 2013 SCORE MAGAZINE { 11 } Spri ng 2013 SCORE MAGAZINE { 11 }
STUDENTS IN THE FROST Schools Henry
Mancini Institute Orchestra were lmed on January 11,
2013 for the PBS television special Jazz and the Phil-
harmonic. Tis unprecedented musical event explored
the intersection of jazz and classical music and featured
a distinguished roster of musicians, as well as rising
stars. Expansive new
arrangements were
created for the event
by Frost D.M.A.
candidates Jeremy
Fox, M.M. 01, Rafael
de Lima Piccolotto
M.M. 12, and Stephen
Guerra Jr., who is
also a lecturer and
the managing director of the Henry Mancini Institute,
assisting artistic director Terence Blanchard.
Presented by Jazz Roots: A Larry Rosen Series in
the John S. and James L. Knight Concert Hall at the
Adrienne Arsht Center for Performing Arts, the historic
concert marked the rst time the Arsht Center, Frost
School, and National YoungArts Foundation partnered
in an integrated program. Te concert was also one of
the special events during YoungArts Week 2013, which
draws the nations top young artists in the visual, literary,
and performing arts to Miamis best cultural venues.
Jazz and the Philharmonic was directed by Larry
Rosen and hosted by Tony Award nominee and 1986
YoungArts alumnus for modern dance Desmond
Richardson. It showcased superstar musicians Bobby
McFerrin, Chick Corea, Dave Grusin, Terence Blanchard,
Mark OConnor, Shelly Berg, Eric Owens, and Elizabeth
Roe, plus the Frost School of Musics Henry Mancini
Institute Orchestra performing themes by the worlds
greatest composersincluding Bach, Debussy, Copland,
and Mancini, as well as Corea, Grusin, and Blanchard
in a mix of orchestral stylings and jazz improvisations.
Te explosive grand nale featured the famous fanfare
from Richard Strausss Also Sprach Zarathustra, which
was used as the main theme in the 1968 lm 2001: A
Space Odyssey.
Te Jazz Roots series originated at the Arsht Center
in Miami and is now presented at major performing arts
centers in ve U.S. cities. Jazz Roots also features an
in-depth partnership with Miami-Dade County Public
Schools that has brought some 4,200 high school music
students to the center for a complimentary behind-the-
scenes experience, including a workshop with a local jazz
expert and entry to the evenings performance.
D.M.A. candidate
Rafael de Lima
Piccolotto,
left, receives a
compliment on his
new arrangement
from pianist Chick
Corea during a PBS
recording break.
PBS Films Frost Students during
YoungArts Week
THE FROST OPERA Teaters 2012-2013 season
concluded in April with the premiere of Entanglements,
a new opera by Frost faculty member Charles Norman
Mason, B.M. 77, that examines the evolution of personal,
family, and work relationships and explores universal feel-
ings of love, jealously, anger, depression, and joy. Tere are
ve scenes that occur simultaneously; audience members
choose the order in which they experience the scenes. Due
to the physical space needed for the production, it was
staged in ve dierent galleries throughout the University
of Miamis Lowe Art Museum.
Since scenes are occurring simultaneously, a 90-
minute performance is actually four hours of music,
Mason says. If the scenes were presented sequentially,
it would be a Wagnerian-length opera.
Mason often composes works that have a parallel with
architecture or a physical space, or those that aect the
ow of people through time and space. He calls this area
of interest music for porous architecture. Mason also
describes his composition style as hyper-connectivism.
Te word connective refers to the idea of disparate
parts working together towards a common goal, Mason
explains. Te term hyper refers on one hand to the edge
where great things happen and on the other hand to the
point where at any moment, all could fall into disarray,
the border right before chaos.
Mason authored
the libretto and
composed the music
for Entanglements in a
single summer, after
receiving a UM 2012
Provost Research
Grant to complete the
project. At the same
time, he also composed
a youth symphony and
a work for the chamber ensemble Pulse that premiered
in Rome in October 2012. He is presently working on a
commission for the Ritz String Quartet and a piece for
ute and string orchestra for the North/South New Mu-
sic Ensemble to be premiered in New York in June 2013.
Mason has received many awards for his compositions,
including the American Composers Orchestra Playing it
Unsafe prize, the 2005 Rome Prize (Prix du Rome), the
Premi Internacional de Composici Musical Ciutat de
Tarragona Orchestra Music prize, and a National Endow-
ment of the Arts Individual Artist Award. His music is
published by Living Artist Publishing and is available
on ten CD recordings. He was named the Frost Distin-
guished Alumnus in 2009 and recently joined the Frost
faculty as associate professor and chair of composition.
Audiences Get Entangled in Masons Opera
Associate
Professors Alan
Johnson, left,
and Charles
Mason fine-tune
the adventurous
operatic pastiche,
Entanglements,
before its premiere
at UM Lowe Art
Museum.
FMEA honors
retired faculty
Nicholas DeCarbo
and Joyce Jordan-
DeCarbo.
A FROST SCHOOL OF MUSIC student and an
alumnus from the Music Engineering Technology pro-
gram claimed two of the nine Audio Engineering Society
Foundation Awards for 2012.
Don Puluse, president of the AES, announced Frost
School graduate student Ross Penniman as recipient of
the prestigious John Eargle Award, given annually to a stu-
Music Engineering Student and Alumnus Claim Two
AES Foundation Awards
dent who excels in technology and music. Frost alumnus
Jamie Tagg, B.M. 04, received one of seven prestigious
international scholarships. Tagg is presently earning his
Ph.D. in sound recording at McGill University.
Te AES Educational Foundation was established in
1984 to encourage talented students to enter the profes-
sion of audio engineering.
F
ormer Frost School of Music faculty Nicholas DeCarbo
and Joyce Jordan-DeCarbo were inducted into the Florida
Music Educators Association (FMEA) Hall of Fame in January
2013 at the organizations annual education conference.
The couple retired in May 2011 after 29 years of service and
teaching at the Frost School. DeCarbo served as associate dean
of administration and taught undergraduate and graduate courses
in instrumental methods as a professor in the Department of
Music Education and Music Therapy. Jordan-DeCarbo served as
professor and chair of the Department of Music Education and
Music Therapy. She taught graduate courses in general music
education, pedagogy, and early childhood music education and
supervised a teacher-training program.
We are delighted to see that Nick and Joyce have been
honored with this recognition, says Don Coffman, professor and
chair of the Department of Music Education and
Music Therapy. Their steadfast dedication to
music education is an inspiration to us all.
The duo are the second and third Frost faculty
members inducted into the FMEA Hall of Fame. Lee
Doc Kjelson, former professor and chair of the
Choral Studies Department, was inducted in 1990.
Hall of Fame members are nominated and elected
directly by the FMEA Executive Board for outstanding contributions
over an extended period of time to music education.
Nick and Joyce are the very example of the attributes and
careers that would lead to the Hall of Fame, says Frost School
Dean Shelly Berg. I am so excited and pleased for both of them.
DeCarbo and Jordan both received the Phillip Frost Award for
Excellence in Teaching and Scholarship while at the Frost School.
DeCarbo and Jordan Inducted into FMEA Hall of Fame
V
E
R
S
A
T
IL
E
L
IG
H
T
S
T
U
D
IO
S
D
A
N
IE
L
A
Z
O
U
L
A
Y
Guest Artists
O
n April 8, 2013 the Frost School
of Music welcomed 2011 Distin-
guished Alumnus Douglas Cuomo, B.M.
83, to the Gusman stage for a lecture
and live concert of a variety of his works
performed by Frost students, including
music recently composed by Cuomo for
a new opera, Doubt, commissioned by
the Minnesota Opera and featuring a
libretto by playwright John Patrick
Shanley based on his 2005 play and
2008 film. The opera premiered in
January 2013. Cuomo was featured in the
Spring 2012 issue of Score (page 55).
The Frost School of Music will
welcome its 2013 Distinguished Alumna
Elizabeth Caballero, B.M. 99, as guest
artist at the 30th Annual Festival Miami
in October 2013. Soprano Caballero
will perform operatic favorites. Check
www.festivalmiami.com for concert
information.
Frost School Welcomes Distinguished Alumni
Leon Fleisher Motivates
Musical Mastery
RENOWNED PIANIST and conductor Leon Fleish-
er was honored as a 2012 Stamps Distinguished Visitor
at the Frost School of Music. He participated in a Q&A
session with Research Professor Frank Cooper on Octo-
ber 2, speaking modestly about his approaches to music
and to teachingand learning new works. He described a
colorful history that includes studying
with legendary pianist Artur Schna-
bel, recording with George Szell, and
struggling with focal hand dystonia
(a neurological problem that immobilized two ngers
of his right hand). He has since returned to performing
and maintains a busy international conducting schedule,
including a role as guest conductor of the Frost Sym-
phony Orchestra on October 4 for the opening night of
Festival Miami.
During his visit, Fleisher also took the time to coach
D.M.A. candidate Anastasiya Naplekova, winner of the
Rudolf Firkusny International Piano Competition, on
Beethovens Piano Concerto No. 4. In its review of the
Festival Miami concert, South Florida
Classical Review lauded the synergy of
talents that Fleisher and Naplekova
exhibited together.
Naplekovas digital dexterity sur-
mounted Beethovens pianistic hurdles
with aplomb, the review states. Her
light touch and
softly pointed phrasing
brought a dreamy,
almost Chopinesque
aura to the score, par-
ticularly eective in the
pianos serene response
to the erce orchestral
interjections of the
Adagio. When she reached the large-scale cadenza of the
rst movement, Naplekova cut loose, unleashing powerful
pianistic thunder strokes. Te audience agreed, conclud-
ing the concert with a rousing standing ovation.
Stamps
Distinguished
Visitor Leon
Fleisher conducts,
coaches, and
inspires students
during his mini-
residency at Frost.
AWARD-WINNING JAZZ saxophonist Dave
Liebman brought his high-intensity zeal for jazz to Frost,
rst at a burning concert with the Frost Concert Jazz
Band on October 9, then in a highly informative Q&A
session the following day on a wide range of topics.
Liebman is a NEA Jazz Master and a rst-place winner
in the DownBeat Readers Poll (2011) and DownBeat
Critics Poll (2011, 2012).
Dave Liebman talked about the many aspects of
being both professionally prepared and being a creative
force, and he also shared his history of rst gigs with
Elvin Jones and Miles Davis, recalls jazz saxophone
lecturer Gary Keller, M.M. 80. He then invited me
to play a duo tunewith me on tenor sax and him
playing drums!
On October 23, Stamps Distinguished Visitor
Jason Moran presented an engaging master class and
Q&A focusing on new, multifaceted career opportuni-
ties for jazz and studio professionals. Moran, a pianist
and triple-crown winner in DownBeats 59th Annual
Critics Poll (jazz artist, jazz album, and pianist of the
year), is the new musical advisor for jazz at the Kennedy
Center and a 2010 MacArthur Fellow. As a composer
and bandleader, he mines a variety of musical styles to
create adventurous jazz performances, blending classical,
blues, and jazz techniques with the musical inuences of
his generation, including funk, hip-hop, and rock. Rolling
Stone described him as the most provocative thinker in
current jazz.
His band, Jason Moran & Te Bandwagon, per-
formed a concert the following evening that featured
Morans unique brand of jazz and his virtuosity on the
piano. He brought the house down with his version of
Sheik of Araby, said Keller.
Te group even amplied and played along with an
abandoned electric typewriter they found in a corner of a
Gusman Hall dressing room. Its erratic drum-like pulse
was funky and fun!
Other guest artists in the Department of Studio Mu-
sic and Jazz this year include Carl Allen, Dave Holland,
and JP Jofre.
Two Generations of Jazz Greats Leave No Stone Unturned
Saxophonist
Dave Liebman,
left, and pianist
Jason Moran,
right, inspire
Frost students
with virtuosity
and passion for
performance.
A LEADING PEDAGOGUE in the eld of music
education, Peter Webster ( John Beattie Professor of
Music Education and Technology at the Bienen School
of Music, Northwestern University in Evanston, Illinois)
presented a compelling
lecture on the future of
music education in April
as part of the 2013 Stamps
Distinguished Visitors
Series. He oered insight
on the future of music
education and inspired
current and future educa-
tors to continue the
pursuit of excellence in their teachings through the
exploration of fresh and innovative methods. Area pro-
fessional music educators attended, along with students
and faculty from the Frost Schools Department of
Music Education and Music Terapy.
Charting a New Course for
Music Teaching and Learning
Dean Shelly Berg
commends alumnus
Douglas Cuomo on
his many career
accomplishments.
Guest Artists
Recording celebrity
George Benson,
center, poses with
Frost students
after a recording
session for his
CD, Inspiration: A
Tribute to Nat King
Cole (Concord).
J
E
N
N
Y
A
B
R
E
U
George Benson Records with Henry Mancini
Institute Orchestra
FORTY-TWO MEMBERS of the Frost
Schools genre-blending Henry Mancini
Institute Orchestra were featured front and
center at a concert and recording session
with jazz guitarist/vocalist George Benson,
who performed a tribute to Nat King Cole
on November 2 at the Adrienne Arsht Cen-
ter, along with Nats brother, Freddy Cole.
Te concert was in collaboration with Larry
Rosens Jazz Roots series, the Arsht Center,
and Festival Miami.
Te weekend following the concert,
Benson and the HMI Orchestra recorded a new album
featuring the same selections at the Hit Factory/Cri-
teria Studios in North Miami. Te sessions were top-
paying gigs for the students, who gained valuable studio
experience in the process. HMI Managing Director
Stephen Guerra Jr. coordinated the session details for
students, and Bensons musical director Randy Waldman
conducted. Te HMI Orchestra will receive credit on
the album, which will be released this year by Concord
Music Group.
In an email to Dean Shelly Berg following the ses-
sion, John Burk, executive vice president and head of
A&R for Concord, wrote, I think youll be really pleased
and very proud when you hear the recordings. Te kids
and everyone involved in the institute were just fantastic
and an absolute joy to work with.
SERONA ELTON, M.M. 95, associate professor
and director of the Music Business and Entertainment
Industries (MBEI) program at Frost, hosted a steady
stream of visiting industry mavens during 2012-2013
Friday Forums who shared their
expertise, discussed new trends and
challenges in the music profession,
and scouted for new interns and
young business talent from our
student ranks. Speakers included
Juanjo Duran (YouTube), Erik Velez
(WPOW Power 96), Sergio Miniski
(Zumba Fitness), Jose Tillan (formerly of MTV network
Tr3s), Sebastian Mourra, B.M. 08 (Universal Music
Group), Randy Acker (attorney and formerly of Island/
Def Jam Music Group), Andy Lykens (Imagem Music),
Bobby Owsinski (author and producer), Ed McCardell
(VP of Business Aairs for MySpace Music), Gabriel
Abaroa (president/CEO of the Latin Recording Acad-
Music Business Forums Draw Industry Experts
emy/Grammys), Todd Brabec (author and attorney),
and Oski Gonzalez (DJ and owner of Te Rock Inc./
Status QuO Shows).
In addition, Elton and the MBEI program hosted
three guest speakers for students enrolled in the presti-
gious new Master of Music/Juris Doctor joint program
at UM: Marc Stollman (Stollman Law, P.A), Hector
Almaguer, B.M. 87, J.D. 99 (VP, general counsel at
Viacom International Media Networks), and Angie
Martinez (vice president, business aairs, EMI Music
Latin America).
Most recently, Elton invited Steve Barnett, chairman
and CEO of Capitol Music Group, to speak at Southeast
Sound: Te Southeast Regional Music Industry Stu-
dent Conference on February 23. Te conference was
produced by the Frost School chapter of the Music and
Entertainment Industry Student Association (MEISA)
and hosted more than 150 students from ten schools
throughout Florida and Georgia.
Capitols CEO Steve
Barnett speaks to
MEISA students.
The Cleveland Orchestra Expands
Residency at Frost
THE CLEVELAND ORCHESTRA returned to the
Frost School of Music on January 28 for an expanded
annual residency, with a scope of activities that provided
students with invaluable access and exposure to one of
the countrys major orchestras over three days.
In addition to presenting a series of orchestra reper-
toire master classes for ute, clarinet, brass, strings, and
timpani, principal musicians from Te Cleveland Or-
chestra shared the stage with Frost
School musicians in a side-by-side
Echoes of Fantastique workshop
featuring readings of new works by
Frost student composers that were
inspired by Berliozs Symphony
fantastique.
For this experience, 52 students
selected by the Department of
Instrumental Performance faculty
joined players from Te Cleveland
Orchestra in an afternoon rehearsal
led by Te Cleveland Orchestras
assistant conductor, James Feddeck.
Te ve Frost School undergraduate and graduate
students who won the Department of Music Teory and
Compositions Echoes of Fantastique competition last year
had the rare opportunity to receive invaluable coaching
from Feddeck and Frost composition faculty, as well as
hear their works rehearsed by a stellar orchestral ensemble
in UM Gusman Concert Hall later that evening. Te win-
ning works are Daniel Chois Scaena Ager, Peter Learns
Mosaique, David Mendozas Awakening, Matthew Taylors
Tree Glorious Days, and Richard Yatess Imagined Music.
More than 500 guests attended the workshop perfor-
mance, which was free and open to the public.
I could not have been prouder of our students
both the performers, who really stepped it up, and our
composers, who produced works that exhibited an
astounding range of creativity and imagination, as well
as craft at an absolutely professional level, says Associate
Professor Lansing McLoskey. It should be pointed out
that the scores and parts were categorically professional
(publisher ready), and almost no time was spent at the
rehearsal on such matters as deciphering notes or ques-
tioning and xing errors in the score or parts. Tat alone
says a great deal about our students, andif I do say so
myselfthe type of training we provide them.
A ten-year project that began in 2007, Te Cleveland
Orchestra Residency serves the Miami-Dade community
through an annual series of subscription concerts from
November through March at the Adrienne Arsht Center
for the Performing Arts and conducts residencies at the
University of Miami Frost School of Music and Te
New World Symphony.
Competition-winning
Frost student
composers attend
a side-by-side
rehearsal of their
works, performed
by members of The
Cleveland Orchestra
and Frost Symphony
Orchestra.
Contemporary Classical
Composers Receive Accolades
The Department
of Music Theory
and Composition
also hosted a
steady stream of
guest speakers
this year including
Chinary Ung, left,
Juraj Kjos, Orlando
Garcia, Jose
Serebrier, Caren
Levine, Marsha
Chusmir Shapiro,
Harold Meltzer,
Jorge Villavicencio
Grossmann and
Ken Ueno.
D
irector of Bands Gary
Green and the Frost
Wind Ensemble brought sizzling
energy to Festival Miami this
year as they premiered Percus-
sion Concerto by powerhouse
contemporary classical com-
poser Jennifer Higdon, featuring assistant professor and
percussion program director Svet Stoyanov as soloist, and
the fiery Point Blank by fast-rising contemporary composer
Paul Dooley. The ensemble also performed Hindemiths
Symphony in B-Flat. Higdon and Dooley did a special forum
presentation for composition students while on campus.
Larry Budmen of the South Florida Classical Review
praised both the concert and Stoyanov for virtuosity and
brilliance: Often playing at lightning pace, Stoyanov
coaxed sounds both tinkling and raucous from the large
percussion battery.
T
H
E
C
L
E
V
E
L
A
N
D
O
R
C
H
E
S
T
R
A
Rock icon Steve
Miller performs
and records with
the Frost Concert
Jazz Band.
Charles Lazarus,
center, banters
with Craig Morris,
left, and Dean
Shelly Berg, before
performing with
the Frost Faculty
Brass Quintet.
Guest Artists
publishing, licensing, and other essentials.
Miller reected fondly at his lecture that he grew up
in a musical family in Dallas, Texas. He formed his rst
band at age 12, playing frat parties and the like. Legend-
ary guitarist Les Paul was a family friend who taught
Miller about multi-track recording when the concept was
in its infancy. But it was Les Pauls stage presence during
live performance that really made an impression.
Les Paul always had fun on stage, Miller recalled,
and he always shared his stage.
When the Steve Miller Band was formed in the
early 1970s, they played 250 cities per year in venues he
described as psychedelic dungeons with mirror balls.
While his tours dont stretch out that long these days,
the road is still his life. From Miami he was heading to
New Zealand and Australia for a nine-show tour.
Even though Miller was signed to Capitol Records
early in his musical career in 1967, he was not an over-
night success. It wasnt until his seventh album, Te Joker,
was released in 1973 that he ended up with a No. 1 radio
hit. When Fly Like an Eagle was released three years
later, it sold 9 million units
Miller explained that the song Fly Like an Eagle
took a while to gel.I recorded it three times before I was
happy with it. Twenty-ve years after it was rst released,
the U.S. Post Oce licensed it for an advertising cam-
paign; they oered him $50,000 at rst. Miller personally
negotiated the deal and was ultimately paid $11 million;
he retained 100 percent artistic control and approval rights
throughout the process. His advice to songwriters, which
he acknowledged is challenging at the start of a career, is to
keep artistic control, and own everything forever.
Other Miller advice: Be true to yourself. In his early
20s, he spent 18 months holed up alone,just writing, writ-
ing, writing, writing, writing, piecing things together, nish-
ing ideas. I wanted to be a good musician, not a celebrity.
After the lecture, Miller headed for a rehearsal with
the Frost Concert Jazz Band, working up big band ar-
rangements to some of Millers songs, created by Frost
students, lecturer Stephen Guerra Jr., and Dean Shelly
Berg. Miller and the Frost Concert Jazz Band premiered
the arrangements the following night at a concert in the
Fieldhouse at the UM BankUnited Center.
AT AGE 69, SONGWRITER-guitarist Steve Miller
is still touring and performing at major venues and
festivals. At a free mid-afternoon lecture in Gusman
Concert Hall this February as part of the 2013 Stamps
Family Charitable Foundation
Distinguished Visitors Series,
he was relaxed and upbeat as he
spoke about his life as a so-called
classic rock artist.
You need to prepare for
success, and have a plan for when
you are successful, he extolled.
When you co-write a song, get
the songwriters agreement done
right after you nish it. Discuss
the percentage split right away;
dont wait. Be fair. Be ethical.
Miller also advised Frost
School students to keep good
records, describing how he keeps
a le box for every song he has written and tracks every
transaction and contract diligently. He was pleased to
learn from Rey Sanchez, B.M. 80, M.M. 82, chair of the
Department of Music Media and Industry, that all under-
graduates at Frost are required to take a year of music
business classes to help them understand contracts,
Steve Miller, A Life in Song
A
merican soprano Helen
Donath offered her vast
expertise on classical performance
practice last February to students
in the Department of Vocal
Performance in a series of master
classes on opera and Mozart style
that were both informative and
inspiring. Donath has performed all over the world, including at the Vienna
State Opera, Metropolitan Opera, Salzburg Festival, Covent Garden, La
Scala, Barcelona, Paris, Florence, Tokyo, Berlin, and Munich.
Soprano Helen Donath Coaches
Mozart and More
CELEBRATED TRUMPETER and composer
Charles Lazarus was invited as a Stamps Distinguished
Visitor at the Frost School of Music for his eclectic
music career. He is currently a member of the Minnesota
Orchestra, and his solo work is admired for its distinc-
tive blend of lounge/exotica and funk-red jazz.
On February 8 he presented a nely tuned master
class called Cross Training for Brass. He performed the
previous night with the Frost Faculty Brass Quintet in
a concert that also debuted the freshman Stamps Brass
Quintet. A unique and generous scholarship gift from
the Stamps Family Charitable Foundation allows a select
group of exceptional young artists at the Frost School
of Music to grow artistically through the course of their
studies, both as individuals and together as a chamber
ensemble. Tis year, the Stamps Family Charitable Foun-
dation sponsored ve students to participate in a brass
quintet: Lasse Bjerknaes-Jacobsen (trumpet), Samuel
Exline (trumpet), Christopher Palowitch (trombone),
Joshua Schwartz (horn), and Aidan Zimmerman (tuba).
Lazarus made his Carnegie Hall solo debut with the
New York String Orchestra at the age of 19 while still a
student at Te Juilliard School in New York. Since that
time, he has performed with notable groups such as the
New York Trumpet Ensemble, Te New York Big Brass,
Te London Brass, and the Montral Symphony. He has
been a soloist with the Minnesota Orchestra, North Caro-
lina Symphony, Oregon Symphony, Florida Orchestra,
Les Violins du Roy, and the Bach Society, among others.
He has been a member of the Dallas Brass, Meridian Arts
Ensemble, and Canadian Brass.
Lazarus has performed his own compositions at the
Montral and Ottawa international jazz festivals live on
Radio Canada, for music videos that have aired nation-
ally on Canadian television, and as an opening act for
Tony Bennett. He has recorded for television and IMAX
lm scores, as well as major symphony orchestras and
numerous classical, pop, and jazz ensembles.
Lazarus Visit Is a Boon for Brass Program
Trudy Kane, center,
and the Frost Flute
Ensemble pose
with composers
Thomas Sleeper,
Dennis Kam, and
Ervin Monroe
on the left, plus
composer Dorothy
Hindman, faculty
Sam Pilafian, and
D.M.A. conducting
candidate Andre
Jaime on the right.
MASTER CLASS ARTISTS graced the ute studio
of Associate Professor Trudy Kane this year, including
Mary Karen Clardy, professor of ute at University of
North Texas; Susan Hoeppner, on the faculty of the
Glenn Gould School in Toronto, Canada; and Ricardo
Morales, principal clarinet of Te Philadelphia Orches-
tra, who gave a master class to both utes and clarinets.
Te Frost Flute Ensemble played a concert in
November with four world premieresthree by Frost
faculty Tomas Sleeper, Dorothy Hindman, and Sam
Pilaan, B.M. 72, and a new work by Ervin Monroe;
they also performed a 1979 piece by Professor Dennis
Kam. All the premieres were written for the Frost
Flute Ensemble. Te concert was repeated in January
at the Florida Flute Convention. In addition, Pilaans
arrangement of Tiger Rag was performed at the
Patricia Louise Frost Music Studios groundbreaking
ceremony in February, featuring the ute ensemble and
Pilaan on tuba. Pilaans arrangement will be expanded
and premiered at the National Flute Convention in New
Orleans in August and programmed with the above-
mentioned works. All of the composers will appear at the
convention in a panel discussion about writing for ute
ensemble, moderated by Kane.
Flutes Flying High at Frost
V
E
R
S
A
T
IL
E
L
IG
H
T
S
T
U
D
IO
S
E
D
F
R
E
E
D
M
A
N
V
E
R
S
A
T
IL
E
L
IG
H
T
S
T
U
D
IO
S
E
D
F
R
E
E
D
M
A
N
Student Stars
WHETHER YOURE A POP vocalist vying to be
the next American Idol or a classical pianist aiming to
win the Van Cliburn International Piano Competition,
having your musical artistry judged by a panel of experts
is not for the faint of heart. Like sports
greats whose talent and drive propel them
to the apex of their game, stellar musicians
enjoy great elation when they are in the
zone. Score caught up with several Frost
School students who entered competi-
tions in the past year to nd out what they
learned from the experience.
D.M.A. candidate in keyboard perfor-
mance Asiya Korepanova of Russia won the
gold medal in the Wideman International
Piano Competition in Shreveport, Louisiana, in December
2012. One of seven nalists from schools such as Eastman
and Julliard out of 46 competitors from 16 countries,
Korepanova performed Prokoevs Concerto No. 2 in
G minor, Op. 16.
Her win, the William Peyton Shehee and Virginia
Kilpatrick Shehee Award, included a cash prize and the
opportunity to perform nationally at numerous venues
next year. Born near Tchaikovskys birthplace, Korepanova
has been playing the piano since the age of 4.
I am very happy and extremely grateful for my
school, the Frost School of Music, which gives me
wonderful facilities to study and to work, she says, and
especially I am grateful for my professor, the incredible
Santiago Rodriguez.
Angelo Versace, M.M. 10, a D.M.A. candidate in
jazz piano, was named the 2012 winner of the nationally
recognized Phillips Jazz Piano Competition in Pensa-
cola, Florida, last April. Te competition awards cash
prizes to participants age 17 to 35 who are enrolled in
U.S. colleges or universities. Versace plays in a variety
of professional jazz, gospel, funk, and R&B groups;
performs in the Frost Schools Henry Mancini Institute
Orchestra; and is on the faculty of Superior Academy of
Music in Kendall, Florida.
In jazz piano competitions, you have to record well
just to make it as a nalist, Versace explains. Ten, once
youve made it to the later rounds, you have to rise to
the occasion and play your best. Tis is all while hearing
other killer pianists go before and after you. I had to
learn how to focus and concentrate, putting everything
else besides the music out of my mind.
With only a 20-minute performance slot, Versace
knew he had to keep the selections varied and brief.
He performed three: an original, Double Take (minor
blues, up tempo); an arrangement of Up Jumped Spring
(medium tempo, waltz); and an arrangement of Just
You, Just Me (medium-slow swing).
His advice to those considering entering a competi-
tion is, Prepare repertoire that highlights your strengths
and allows you to have fun. So many competitive pianists
play to the judges, doing research about them and the
other competitors in order to gain an upper hand. In my
experience, the best musical performances occur when
musicians surrender their selsh ambitions in order to
serve the music, and in my opinion, music should always
come from this place of honesty.
On the classical string competition path, masters
student Cecilia Huerta was invited to perform at the 2012
Carlos Prieto International Cello Competition held in
Morelia, Mexico, last summer. Tere were 17 participants
from China, Korea, France, Canada, the United States,
Russia, and Venezuela, ranging in age from 16 to 30. While
Huerta didnt make it past the rst round, she oers strong
advice for others contemplating entering competitions.
I performed Duports Etude No. 12 and Cortezs
violondrina/golonchello and was particularly happy with
my interpretation of Cortez. Even though part of me
Pianists Asiya
Korepanova, left,
cellist Cecilia
Huerta, center,
and Angelo
Versace, right,
test their mettle in
international music
competitions.
Competition Winners
in the Spotlight
B
orn with a congenital heart disease called aortic stenosis,
James Schlender as a youth was advised to avoid strenu-
ous competitive sports. So he put his energy into playing the
fiddle, and by age 13 the Montana native had won two National
Old Time Fiddle Championships. He describes the competition
process as high stress but remembers fondly the experiences
he had jamming with friends and well-known artists among the
late-night crowd.
Now a sophomore violinist and fiddler at the Frost School,
Schlender has placed among the Top Ten Fiddlers each time he
has entered the prestigious Grand Master Fiddle Championship
in Nashville, Tennessee, held during the International Bluegrass
Music Associations weeklong awards show and festival.
This competition is known for being one of the best and
hardest, Schlender explains. I was competing against adults
exclusively in this contest, so that was a difficulty.
Schlender also trained early in classical and jazz styles. He was
concertmaster of the Montana All-State Orchestra and performed
throughout high school in a swing-style band called the String
Jumpers. Now he is focusing his attention on new classical and
jazz explorations with violin professor Glenn Basham. He has also
had lessons with saxophone improv guru Gary Keller and Grammy-
winning artist-in-residence and
violinist/composer Mark OConnor.
Schlender is not lacking
performance opportunities in
Miami. He currently performs
in Brian Lynchs Experiential
Music Ensemble, several classical
chamber ensembles, and the Frost Symphony Orchestra. Last year
he played in the schools Funk Fusion II and Django Reinhardt
Ensembles and the Anglo-American Bluegrass and Folk Ensemble.
He is a member of three groups outside of schoola violin/guitar
jazz duo, a ten-piece band, and a progressive acoustic Americana
trio called Avocado Estate with masters student Joy Adams (cello/
fiddle/vocals) and Geoff Saunders (banjo/bass/vocals).
Schlender and Adams met at an impromptu jam session during
the first orchestra rehearsal break of the school year. Adams is
originally from Spokane, Washington, and came to Frost after
graduating from the Eastman School of Music; Saunders also came
to Frost for graduate studies in jazz bass after attending Eastman.
Avocado Estate plays a broad range of traditional and original
tunes, but in the fiddle/cello/bass formation, the group specializes
in playing Mark OConnor compositions and arrangements.
Fiddling with Greatness
Avocado Estate
performs an
outdoor concert
at the UM Gifford
Arboretum.
Pictured left to
right are Joy
Adams, cello,
James Schlender,
violin, and Geoff
Saunders, bass.
was heartbroken that night of the rst round, I realized I
had another opportunity to learn from the competition.
Most participants who did not advance took a very bitter
attitude and paid a lot of money to rebook their airplane
tickets to leave the next day.
Starting the next day, Huerta went to every work-
shop, concert, and master class. She made contacts with
judges and got valuable feedback. Some of the words the
judges used to describe her performance were powerful,
rey,passionate,so much to say, and volcanic. Tey
also explained to her
their opinion of the
dierence in playing
a recital or concert
versus playing in a
competition.
Tey suggested
in the future that
I focus more on
playing in a safe
manner, Huerta
says. Te Frost faculty advised me of this beforehand as
far as technical aspects, such as following the markings in
the part, playing cleanly and precisely, especially with in-
tonation. When you perform at a high-level competition,
they look for any excuse to cut you, so a technical slipup
is the easiest to detect.
Te judges also elaborated in terms of style. For
instance, there was some debate that her performance of
the Duport Etude was too romantic with her choice of
trills, vibrato, and expression.
If I had not had the courage to stay, I would not
have learned this, Huerta says. I feel now that when I
enter another competition in the future, I will be even
more prepared with this knowledge.
Huerta returned to Miami with new vigor and focus.
She is overwhelmed by the amount of personal time
Frost faculty gave her during her preparation, especially
cellist Ross Harbaugh. He alone gave me 18 hours
worth of lessons in his spare time, meeting almost every
day, including his birthday. Tis just does not happen at
other schools.
D
A
N
IE
L
A
Z
O
U
L
A
Y
D
A
N
IE
L
A
Z
O
U
L
A
Y
C
A
S
S
A
N
D
R
A
E
IS
E
N
R
E
IC
H
SIX-YEAR-OLD AMAD NELSON DUTIFULLY CLAPS TO THE RHYTHM
of an American bluegrass ddle tune, paying close attention to
the deliberate changes in tempo. Te lively song, Boil Em Cabbage
Down, is deftly played on the violin by the college-aged instructor,
whose tapping foot acts as a veritable metronome.
Minutes later, Jaron Jackson, age 6, sits upright at the edge of
his chair, feet planted rmly on the oor, his eyes xed on the
instructor. His eagerness to learn about musicand string
instruments like the violin in particularare palpable.
Although reluctant at rst, for 7-year-old Khyairee Jackson its
the creative lesson about the violins four strings and the notes they
representG, D, A, and Ethat piques her interest.
Frost MusicReach programs are making a pivotal impression
on underserved and disadvantaged youth by
enriching their lives with music.
B y L i s a S e d e l n i k , M . A . 0 0
P h o t o s b y G r e g C l a r k
Tariq Roberts learns to play the cello
through a bi-weekly Frost MusicReach
after-school program, offered free
through the Barnyard Community Center
in Coconut Grove, Florida.
raduate and under-
graduate students
from the Frost
School provide a
variety of enriching musical experi-
ences through well-organized com-
munity outreach music programs
that target underserved and/or
disadvantaged areas of Miami-
Dade County, including the West
Grove, North Miami, Overtown,
Goulds, and South Miami. Under
the umbrella name of Frost Music-
Reach, these free music education
programsfunded through grants,
strategic partnerships, and private
donationsdemonstrate the
schools philosophical and pro-
active commitment to serving a
variety of constituencies, especially
at-risk youth.
In addition to teaching music,
much of what we do here is to
mentor these childrento teach
them whats right and whats
wrong, how to share, and how
to speak to one another. I think
thats something really important
to instill and reinforce in these
kids, says Cassandra Eisenreich,
M.M. 09, D.M.A. 12, the outreach
and program coordinator at the
Frost School.
Tere are strings on the violin,
and these strings have names, sort
of like how we have names, explains
Zach Piper, a graduate string
performance major at the University
of Miami Frost School of Music and
a student mentor in one of the Frost
Schools many community outreach
initiatives. So lets call the G string
George. Everyone say, Hey George.
[Te ve students respond Hey
George! in unison.] Ten lets
call the D string Derek. Wheres
our pal Derek?
By assigning actual names to the
violins strings and incorporating
other fun, interactive games, such
as having the children perform a
variation of the wave to promote
proper playing posture, these kinder-
garten and rst-grade students are
thoroughly engaged and eager
to learn more.
Eisenreich, a talented utist,
oversees all of the Frost MusicReach
activities and assists graduate
students with lesson planning as
well as how to best structure the
music class they oversee. Graduate
students serve as mentors, teach-
ers, and role models to the students
associated with the various outreach
initiatives. Whats more, these
experiences provide them with the
chance to develop and enhance their
music-teaching skills in authentic,
real-world situations.
In this particular venue, located
at the Lewis Arts Studio in Coconut
Grove, students from a community
center known as Te Barnyard (a
program of Coconut Grove Cares)
are escorted to the neighboring art
facility to attend string music classes
twice a week. I am so happy to have
this music program here, you cant
imagine, says Te Barnyards direc-
tor Sylvia Jordan.
A total of 20 kids, ranging in age
from kindergarten to fourth grade,
began in the fall with rhythm and
singing activities in a large group
setting. Tey now receive hands-on
instruction on either the violin or
cello in a small group setting, which
creates an ideal learning environment.
Ive been teaching the students
here all year, but this is the rst
semester we are using actual string
instruments, which has been great,
says Piper, who leads eight music
classes each week with the help of
Emily Jones, another Frost Music-
Reach mentor. I started playing
violin because we had a [music]
program in my public school
growing up, so if it wasnt for that,
I would never have learned how
to play an instrument, and these
kids might otherwise not have
[learned] either.
Te Frost School oers two
music outreach classes in Coconut
Grove. Students from Te Barnyard
as well as nearby Elizabeth Virrick
Park Community Center attend
classes regularly. Known formally
as the Harmony Project-Coconut
Grove, these classes are oered in
partnership with Miami-Dade
District 7, Miami-Dade Parks, and
the Music Education Department
at the Frost School of Music.
I cant tell you how much I love
these kids because you see what an
impact these classes make, adds
Eisenreich. By providing these pro-
grams, were keeping them here, in a
structured learning environment as
opposed to them being somewhere
else that wouldnt be so great for
their future.
s part of the Overtown
Music Project, the Frost
School also oers gen-
eral music classes after
school to children in kindergarten
through fourth grade at Frederick
Douglass Elementary. Trough a
partnership with ASPIRA, middle
school youth from charter schools
Eugenio Maria De Hostos Youth
Leadership Charter School (EMH)
and Raul Arnaldo Martinez Charter
School (RAM) receive weekly music
instruction. Te Frost School also
partners with the Guitars Over Guns
Organization (GOGO), a nonprot
started by Chad Bernstein, B.M. 06,
M.M. 09, D.M.A. 12, that provides
mentoring to at-risk youth through
music education and performance.
Band members of the local Latin
funk/fusion band Suenalo! provide
some of the music instruction for
this program.
Tis push to provide such a
broad spectrum of meaningful
community outreach opportunities
can be attributed to the vision and
leadership of Dean Shelly Berg, who
Program
coordinator
Cassandra
Eisenreich, above
left, encourages
Amad Nelson in a
beginning clapping
activity. Top right,
graduate students
Zach Piper and
Emily Jones provide
hands-on coaching.
Khyairee Jackson,
left, and Lili Garcia,
below, concentrate
intently during a
Frost MusicReach
class.
arrived at the University of Miami in
April 2007 to head the Frost School
after a successful 16-year tenure at
the University of Southern Califor-
nia (USC).
While at USC, Berg, who was
the McCoy/Sample Professor of
Jazz Studies at USC Tornton
School of Music and chair of the
schools jazz department, was in-
strumental in adopting some of the
surrounding neighborhood schools
and implementing a variety of music
programs there, including jazz
bands and jazz choirs, with the
help of USC faculty and students.
Tese types of innovative music
programs are known to have a
transformative eect on the students
involved in terms of increased self-
respect, self-reliance, and pride of
accomplishment.
Tere is research that clearly
shows that for young, underserved,
or at-risk kids, being involved in
a music program where they are
actively making music makes them
far more likely to stay in school and
graduate, Berg explains. It also
helps them get along with others,
concentrate, and follow directions
all of those things that might be
missing from their lives. And music
is also about beauty; it puts us in
touch with beauty and the reasons
we are supposed to love human be-
ings and love mankind.
Here in Miami-Dade County,
the Frost School provides targeted
outreach programs by catering
its oerings to the community it
serves. For instance, in Overtown,
a community that embraces its rich
jazz tradition, the school oers a
jazz band program, while in North
Miami, it oversees a Latin band
project. String orchestras and classi-
cal music projects take place in other
parts of town. Eective one-on-two
mentoring also is available through
the Frost MusicReach Mentorship
Program, a partnership with Arts
for Learning and the Greater Miami
Youth Symphony. Musically inclined
at-risk students are paired with and
adopted by the best and brightest
freshmen from the Frost School.
For four years, these Frost mentors
provide weekly music lessons,
assist with schoolwork, and provide
life guidance.
usic has an amaz-
ing unifying force.
When you are
playing music
together or even just listening to
music together, youre unied in
a way that is very important, says
Berg. So you can imagine how
intensively we help these kids stay
in school and what kind of a bond is
created when they are receiving such
individualized attention.
Te Frost MusicReach experi-
ence is already making a positive
impact on Jayden Hendrix, age 8,
who attends the Harmony Project
in Coconut Grove after school
through his connection to Te
Barnyard. I really like music and
learning how to play itthe cello is
the best instrument in the world!
he says, grinning. I have great music
teachers too.
And since public school funding
for arts and music education contin-
ues to dwindle at an alarming rate,
Hendrix might never have been
exposed to such a rich music educa-
tion program, let alone have the
opportunity to study instrumental
music in a small group setting, if it
werent for these outreach eorts.
If theres anything that the
world needs right now, its music,
and I mean that in all seriousness.
It really helps us be together and
understand each other, and the
world is sorely missing that, adds
Berg. So our role in bringing music
to people who wouldnt otherwise
get it is vital.
FROST MUSICREACH PROGRAMS AND PROJECTS
West Lab String Program
westlab.dadeschools.net
Harmony Project - Overtown
overtownmusicproject.org
Harmony Project - Coconut Grove
coconutgrovecares.org
Harmony Project - South Miami
ludlam.dadeschools.net
Harmony Project - Mays Conservatory
apmays.dadeschools.net
Frost MusicReach/HMI Outbound
in the Schools
music.miami.edu
Frost MusicReach GMYS
Mentoring Program
Arts for Learning:
a4lmiami.org
Greater Miami Youth Symphony:
gmys.org
Aspira RAM and EMH Charter Schools
fl.aspira.org/ Corporate/ Charter_Schools.htm
Guitars Over Guns Organization
guitarsoverguns.org
Frost MusicReach Sunday Sounds
at Fairchild Garden
fairchildgarden.org
Frost MusicReach at Festival Miami
festivalmiami.com
Ress Family Hospital Performance Project
facebook.com/ressproject
Frost MusicReach in the Arboretum
www.bio.miami.edu/arboretum
D.M.A. candidate
Angelo Versace,
center, enjoys
sharing the piano
with students
in the Overtown
Music Project.
Below: D.M.A.
candidate Mathew
Shefcik plays the
trumpet for a music
outreach session at
Frederick Douglass
Elementary School.
Now in his fourth
year as a Frost
MusicReach mentor,
undergraduate
music education
major Najjah
Thompson inspires
young children at
an outreach class
in Overtown.
Songs and sounds that can help amputees walk better, safer, stronger? Frost School researchers
are blending music, engineering, and medical disciplines to make sure theres an app for that.
B y Me r e d i t h C a m e l , M . F . A . 1 2
BODY
TUNE
-
UP
C

ould Rocky Balboa have beaten Clubber Lang if his train-
ing montage hadnt been set to Survivors Eye of the Tiger?
Maybe, but once Rocky III audiences heard those up-tempo rock ris,
they wouldnt dream of exercising without adding the track to their
Sony Walkman cassette tapes. To this day, the tune is a popular pick
for workout playlists.
Colby Leider, associate professor and director of the Music
Engineering Technology program at the Frost School of Music,
knows a lot about musical motivation. He is orchestrating a rst-of-
its-kind collaboration among musicians, biomedical engineers, and
physical therapists to create a mobile app that motivates amputees
to knock out harmful walking habits.
Te unlikely marriage of these disciplines began three years
ago, when Robert S. Gailey Jr., B.S.Ed. 82, M.S.Ed. 86, professor
in the Department of Physical Terapy at the Miller School of
Medicine, arranged for his then-teenage son, Max, to chat with
Leider about the Frost Schools Music Engineering Technology
program. While in Leiders oce, Gailey took note of a graduate
students research postera system that measures runners steps
per minute and selects songs from their iPod library that have
the same number of beats per minute. Or it could select faster-
tempo songs to encourage faster running. Like the rabbit in front
of the greyhound, explains Leider, faculty advisor for the project.
Progress in motion at the Functional Outcomes Research and Evaluation (F.O.R.E.) Center. Clockwise from top left: Christopher Bennett shows study participant
Kelly Elizabeth the functions of the iPad app that can talk to her ssur prosthetic leg; Robert Gailey Jr. guides Elizabeth in a balanced walk;
Bennett adjusts the wireless sensors that capture every nuance of Elizabeths gait; Bennett tracks Elizabeths climb up a slight ramp using the iPad.
Gailey, who holds a research
appointment at the Miami Veterans
Aairs Medical Center and is an
advisor on prosthetics to the U.S.
Department of Defense, immedi-
ately thought of the potential for
soldiers whove lost limbs in Iraq and
Afghanistan.
If were doing that with able-
bodied folks, Gailey said of the
poster, I know a whole lot of am-
putees who are already listening to
music. So if we can get their music
to talk to their prosthetics and vice
versa, the skys the limit in terms of
rehabilitation.
F

or 20 years Gailey has tted
patients with prosthetics
made by an Icelandic company called
ssur. Te UM-ssur connection
strengthened in the aftermath of
Haitis devastating 2010 earthquake,
when the company partnered with
Project Medishare co-founder and
UM physician Barth Green to bring
its products to those most in need.
Last year, ssur bestowed a research
grant to Leider and Gailey to design
and conduct a clinical trial of a new
mobile app that uses audio, visual,
social media, and haptic (vibration)
feedback to let users know if theyre
walking in a way that could cause
body fatigue, ulcers on the stump
attached to the prosthetic, or stress
on the non-amputated leg, which
greatly increases risk of double
amputation.
Its a computer, its a phone, its
a musical instrumentand by the
way, you can talk to your knee on it,
Leider says, pointing to his iPhone.
Tere are eight or so gait deviations
that Bob can gure out just by look-
ing at them because hes been doing
it for decades. But to get a computer
to recognize those automatically,
thats what Matan just gured out
how to do.
Leider is referring to Matan
Ben-Asher, a second-year masters
student in music engineering who is
among a dozen or so undergrad-
uate and graduate student research-
ers at the Universitys Functional
Outcomes Research and Evaluation
(F.O.R.E.) Center on the Coral
Gables campus. Te center, which
Gailey relocated last year from the
Miller School campus and Miami
Veterans Administration in order
to work more closely with the
Frost School, also employs Enrique
Quinonez, B.S.B.E. 10, M.S.B.E. 12.
Quinonez, a UM biomedical engi-
neering Ph.D. student, has written
a computer program that analyzes
symmetry of forces on the prosthetic
and non-prosthetic leg during vari-
ous everyday activities.
Te ssur study is one of six
research projects under way at the
F.O.R.E. Center, including a col-
laboration with the Frost Schools
Department of Music Terapy to
determine how and when infants
begin responding to music with
physical movement. Another study,
funded by a grant from the Anesthe-
sia Patient Safety Foundation, came
to the lab by way of Christopher
Bennett, B.S.E.E. 05, M.S.M.E.T.
07, Ph.D. 10, Frost School research
assistant professor, jazz pianist, and
expert on how humans respond to
auditory signals. Bennetts Ph.D. in
biomedical engineering focused on
psychoacoustics, the study of how
the brain processes soundevery-
thing from how we detect the origin
of sounds to the many emotions that
sounds evoke.
Bennett completed his postdoc
under Miller School anesthesiologist
Richard McNeer, M.D./Ph.D. 99,
exploring how the cacophony of
hospital monitoring devices aects
stress levels in both patients and
clinicians. Te Anesthesia Patient
Safety Foundation study allows
Bennett, McNeer, and now Leider to
continue that work. Tey are using a
sophisticated set of microphones to
isolate and record all sound sources
in operating rooms at Ryder Trauma
Center. Te researchers play back
the sounds for medical residents
while the residents perform tasks
on patient simulators at the Miller
Schools Center for Patient Safety.
We bring the residents to the
threshold of stress by giving them
complex tasks to perform, Bennett
says. Ten we play the alarms to
overload them. Tis is whats called
alarm fatigue.
Monitoring and analyzing alarm
fatigue is important because, as
Bennett explains, a single machine
in the operating room might be
monitoring 40 dierent things, any
of which can go slightly out of range.
Multiply that by the dozens of
machines functioning simultaneously,
and clinicians are likely to ignore,
silence, or misinterpret those alarms.
Te current standard for alarms
is terrible from a psychoacoustic
standpoint, Bennett says. One of
the coolest things about audio is that
it has so many dierent dimen-
sionsrhythm, tempo, melody,
spectrum, timbre, valence. All of
these alarms are the same in every
way except melodic sequence. A
cardiovascular problem, for exam-
ple, might be a major triad, and a
respiratory problem might also be a
major triad but just inverted. How
can you have these two alarms and
expect a clinician to know the dier-
ence? Its something musicians have
years of training in.
Bennetts expertise in psycho-
acoustics makes him an invaluable
collaborator to Leider and Gailey on
the ssur study because it requires
deploying sounds to simultaneously
convey a bevy of thingsalert
amputees when theyre doing some-
thing wrong, signal which movement
is incorrect, and reward them when
they improve their gait.
W

hen I rst started
in this eld,
amputees were basically relegated to
a wheelchair, Gailey says. At UM
weve brought rehabilitation to the
highest level; weve actually taken 50
service members with a prosthetic
back into the eld. We know we can
get them there physically, but they
want to know how theyre doing.
Gailey says the mobile app will
be like a coach or therapist they can
keep with them without having to
visit a rehab center, saving time and
insurance costs.
Its like getting a tennis or golf
lesson, Gailey continues. Youre real
smooth right after the lesson, but
if its been a month or two, you get
rusty. When patients start noticing
theyre getting tired more often, they
can run the program without taking
time away from family or work.
Designing this handheld coach
involves a lot of technical know-how,
not just about app programming
but also about the prosthetic limbs
that communicate with the app.
ssur engineers routinely visit the
F.O.R.E. Center from Reykjavik,
Iceland to help implement and ad-
just all the sensors, accelerometers,
gyroscopes, and other widgets in the
studys three product modelsthe
Justin Bieber, the Lady Gaga, and
the Britney Spears. Te pop-star
labels are ssurs way of giving UM
musician-researchers a chuckle as
they keep track of each prototype.
Te Britney Spears knee is
actually the companys Rheo Knee,
which employs sensors to continu-
ously measure the angle and weight
on the joint while a computer chip
selects the appropriate stiness for
every movement. It does this by
turning a magnetic eld on or o,
causing magnetic particles in the
joint uid to either bond together
or disperse. Its the knee worn by
study participant Kelly Elizabeth,
who, as an ER technician, a nursing
student, and a mother, spends a
lot of time on her feet. Elizabeth
lost her leg in a boating accident
in 2001 and was introduced to
Gailey and the ssur study by her
prosthetist Adam Finnieston, who
also works with Project Medishare
in Haiti.
At rst I didnt know what I
was getting myself into, she recalls.
But from the moment I put on [the
Rheo Knee], I noticed a bounce
in my step. It wasfrom what I
rememberwhat it felt like to walk
on two legs.
Elizabeth travels from her home
in Port St. Lucie, Florida, several
times a week to the F.O.R.E. Center,
where wireless sensors on her body
and oor sensors in the lab track her
movements while she listens to her
favorite songs on her iPod.
Christopher Bennett
and Matan Ben-Asher,
above, develop a
sensor that can
recognize gait
deviations. Colby
Leider, right, explains
how the joint of
ssurs Rheo
Knee automatically
adjusts its stiffness
according to the
wearers activity.
I cant go to the gym without
my iPod, Elizabeth says. Add it to a
prosthetic leg and were good to go.
Te F.O.R.E. Center team is
choosing methods of pairing music
with movement in a way that would
make the legendary behaviorist B.F.
Skinner proud.
I could play you songs from my
iTunes library that would punish
you, Leider says with a slightly dev-
ilish grin. Or I could play you songs
that would make you say, Wow, that
was like a piece of candy. We know
that when you play certain sounds,
the amygdala, which is the pleasure
center of the brain, lights up like
a re. And when you play sounds
that a person perceives as ugly, that
doesnt happen.
So, one way to encourage good
walking behaviors is through what
Leider calls a vocabulary of audi-
tory penalty and auditory reward.
Tis can be done with pleasing or
displeasing songs or sounds, or it
can be done with auditory eects
on your favorite music.
If we want to convey that you
did something good, Leider says,
we might supply an enhanced bass
response, or we might make it a little
louder. We could also cue an
auditory eect penalty, like bit
crushing. For example, we can take a
24-bit signal recorded at a really
high dynamic range and crush it.
You as a user dont need to know
anything about mixing. All you
know is that the beautiful Norah
Jones song you were just listening to
now sounds like it came through a
1950s telephone.
While music is one of the pri-
mary feedback systems in the app,
its important to include other feed-
back mechanisms because the goal
is to show users exactly what theyre
doing wrong. With eight dierent
gait variations and multiple move-
ments involved in those variations,
a vast catalog of sensory signals is
necessary. But is it possible for a
person to receive several kinds of
signals at once and understand what
they mean?
Were already doing it, Leider
says.Your phone gives you feedback
in the form of pictures, sounds, and
vibration, all happening simultane-
ously. And youre able to distinguish
what these signals all meanwhether
youre getting a text message versus
an email versus a phone call and who
its from.
M

icrochips, wires,
Britney Spears, and
other electronic parts and pieces
are scattered on the table in front
of a dry-erase board where Leider,
Bennett, and their students gather
to scrawl formulas and discuss
ideas. On the adjacent wall are two
ve-foot-tall electrostatic speakers
that Leider found in storage and
a at-panel screen connected to
Apple TV, which plays music and
picturesque images that stimulate
creative thinking. Te selections
range from Bach to Beck and from
Piazzola to Pink, depending upon
who has claimed DJ privileges at
any given moment.
Tis is the new classroom,
Leider says, getting graduates and
undergraduates together. Tere
are two models of education. Teres
the sage on the stage, and then
theres the guide by the side, which is
what this is.
Te ssur study is Leiders
second funded research project.
His rst was a National Science
Foundation study that aimed
to quantify various adjectives that
producers, recording engineers,
and artists use to describe qualities
in music. Leider, who holds a
bachelors degree in electrical
engineering, a masters in electro-
acoustic music, and a masters and
Ph.D. in music composition, sees
cross-disciplinary research as a
positive trend in education. Its also
something thats a natural t for the
University of Miami, which oers
more academic disciplines than any
other research university of compa-
rable size.
Whats happening now is really
a return to the Renaissance, Leider
says. A hundred years ago, if you
said you wanted to combine the
creation and performance of music
with psychology and medicine, they
would have said youre crazy.
Academics used to be pigeonholed
into silos, but thats not the way
knowledge works anymore.
Leider, Bennett, and Gailey
make the perfect triad for the
ssur study and other research
opportunities that are bound to
spring from it. Leider is quick to
point out that the Frost Schools
Music Engineering Technology
program was the rst music
engineering program in the United
States as well as one of the few
places in the country where you need
to be a geek and you need to be
passionate about music.
Nobody in medicine can
do what the Music Engineering
Technology folks can do, Gailey
says. What we learn can be
translated to Parkinsons disease,
people with balance issues, and
so many other areas of study. Tis
is an emerging new eld being
born right here.
Gailey, who has published
dozens of research articles,
returned wounded soldiers to
active duty, and enabled double
amputees to run like the wind
on blades of steel, calls his work
with Bennett and Leider the
most exciting project Ive ever been
involved with.
I know this is the tip of the ice-
berg, he continues, and I cant even
see how far its going to expand.
Its a computer, its a phone,
its a musical instrument
and by the way, you can talk
to your knee on it.
Prosthetics limbs, switches, sensors, and wires are not the typical tools of musicians, but at the Universitys F.O.R.E. Center they take their rightful place next to
pianos and computersall working together to bring advanced human functionality. Below, Colby Leider discusses engineering intricacies of ssurs Rheo Knee with
undergraduate music engineering students who are assisting with the research study.
Chris Boardman, the new head of the Frost School of Musics
Media Writing Program, has done a little of everything over the years. Work-
ing as composer, orchestrator, arranger, and producing and recording artist on
projects including Te Color Purple, Lilo and Stitch, Meet Joe Black, and dozens
of others, Boardman has amassed six Emmy Awards and an Oscar nomination.
And yet that kind of resume guarantees almost nothing in the new landscape
facing people trying to break into the soundtrack world, a realization that makes
Boardman perfect for the job.
Ive had about eight dierent careers in music, Boardman says. But if I
were to try and teach what I was doing 30 years ago, that career doesnt exist
anymore. It used to be that if people wanted to do lm scoring, youd teach them
how to succeed in Hollywood. If they wanted to produce, there was this other
track. But you cant predict the longevity of any particular career path anymore,
other than to know it will be constantly changing.

Take it from these expertscomposing music
for TV, film, and video games requires both moxie
and maximum versatility.
Chris Boardman,
assistant professor
of professional
practice, takes
media writing and
sound design to new
levels at Frost.
By Da v i d Me n c o n i
Media
Writing
Remix
Frosts Media Writing Program steers musicians to-
ward dramatic underscore, composing music that will be
part of a multimedia packagelm, television, commer-
cials, trailers, computer games. Versatility is important
because the music can be everything from dubstep to
orchestral, Boardman says. And that versatility has to
apply to outlook as well.
Its a focus on the parallels between creatively solving
entrepreneurial problems and writing music, Boardman
says. Tose take very similar mindsets. So we teach spe-
cic skills on networking, because youre only as strong
as the network you have access to. But we also teach how
to attack a problem you dont understand and have never
encountered. Its teaching a mindset in addition to skills
because no one knows what the future will bring.
Pursuing a career in lm music has always taken a lot
of moxie, even for someone seemingly born to do it. Joel
McNeely, B.M. 82, grew up the son of a television pro-
ducer, who gave him a 12th birthday present of sitting
in on a recording session with soundtrack legend Elmer
Bernstein. As soon as Bernstein red up the orchestra, I
was snake bit, McNeely says.
McNeely has since carved out an impressive career
with recent credits including string arrangements for the
upcoming Goo Goo Dolls album, the soundtrack to a
show at Disneyland Paris, and the opening sequence of
the Academy Awards telecast. Back in the mid-1980s,
however, McNeely was scrambling to get a foothold. So he
assembled a demo tape of his music to solicit work, paying
each musician who played on it $25 and a lottery ticket.
None of the lottery tickets hit, but they still paid o.
Tey were taking a gamble on a young kid, McNeely
says. In the 27 years since, almost all those people have
done a lot of work for me. So it worked out.
Networking has also paid o for McNeely over the
years. Scoring George Lucass 1994 lm Radioland Murders
put McNeely on the radar of Seth McFarlane, who en-
listed McNeely to handle the soundtrack for the animated
Fox sitcom American Dad! and produce his Grammy-
nominated 2011 album Music Is Better than Words.
Cartoon scores remain one of McNeelys specialties.
Animation is good because you can really write for
orchestra, McNeely says.Animation scores tend to be
complex and challenging music, which I really enjoy. Its
also great to hear from kids and parents. I got a letter from
a 4-year-old who wants to be a composer, and I heard
from a mother whod been driving around with the Tinker
Bell movie I scored on endless loop: Usually Id want to
climb through the speaker and kill someone after a while,
but I love this music and it doesnt get old. Its nice to
realize how it gets out there and into peoples lives.
John Dickson, M.M. 88, can relate about both
networking and the challenge of animation soundtracks.
Nowadays, Dickson is best known for his soundtrack
work (including the main theme) on six seasons of the
series Burn Notice. But getting to that point took some
misadventures, including one of his very rst jobs after
moving to Hollywood two decades ago.
Soon after his arrival, Dickson met a woman in a bar
in Toluca Lake, and they got to talking about an odd ani-
mated movie she was working on, director Ralph Bakshis
Cool World. She told Dickson they were having problems
coming up with a particular kind of music Bakshi wanted,
a sort of industrial-house dance music with the feel of old
Warner Brothers cartoon soundtracks.
Of course, thats insane, Dickson says, laughing
now. But when she asked if I had anything like that, I
said, Yeah, sure. And I had nothing, and no idea how to
do it. So I spent the next few days putting odd things
down on tape with this metallic, frenetic sort of indus-
trial sound. Te director told me, Kid, I like you, youre
weird, and gave me a three-minute scene to do. But he
was so paranoid that he wouldnt let me actually have it.
I had to come to his oce, watch the scene on a VCR,
and take notes with a stopwatch. When I got into the
studio, they couldnt believe it and were bringing in sta
to gawk: Look at what this guys doing, that is CRAZY!
And yeah, it was. But I have 16 or 18 little cues squirted
throughout the lm. It was a good experience to see
how nutty the process can be. Even in a bar somewhere,
you never know. You might be talking to somebody who
knows somebody who works for somebody.
J
ust about everyone who works in this business has
at least one story about a project calling for some-
thing impossible, usually on short notice. Christy Crowl,
B.M. 92, M.M. 95, had one of her most memorable
such experiences some years back when she got a call on
Tanksgiving to write a live full-orchestra arrangement
for a show featuring Charlotte Church, Julie Andrews,
and Christopher Plummerby Friday.
Crazy deadlines are a given, but that was a crazy
turnaround, Crowl says. Tey were all, Youre lucky to
have this opportunity, because the money wasnt much.
Still, I did it and Im glad because a lot of this business is
knowing you can for the next time.
Crowl has recorded with Neil Young, toured with
Mannheim Steamroller, and done music for a long list
of movies and shows, including Te Simpsons, How I
Met Your Mother, Horton Hears a Who, and King Kong.
Working with directors to give them the sound they
want can be challenging, given the descriptions that come
in: Something with a 60s vibe but we wanna go retro-
funk with a country feel. But Crowl has grown adept at
guring out what is needed.
Its a wandering process, if you will, she says.Bring-
ing them through the wilderness to get to specics.
What might prove to be Crowls most enduring
legacy is ProMusicDB, an archive similar to the Internet
Movie Database that aims to give credit where credit is
due. Te project is still in the works, but Crowl hopes
to launch it this year. Among other things, a denitive
source for music credits might make it easier for musi-
cians to get the work they deserve.
Everyone I know who makes a living at music does
everything, Crowl says.Tats kind of the newmodel, thanks
to what technology has brought to the music business. You
have to be agile and technically oriented as well as a solid and
disciplined musician. Ive been able to expand in a lot of dier-
ent directions, which has led to the career I have. Its about
wearing a lot of dierent hats. Im not just a composer, Im a
singer, player, arranger, orchestrator. All of it. You learn that
theres no path except for the one you make yourself.
Its a focus on the parallels between creatively
solving entrepreneurial problems and writing
music. Tose take very similar mindsets.
Tech-savvy Christy
Crowl moves from
studio to stage
with ease.
In-demand film
composer Joel
McNeely, at the
podium, cues a full
orchestra during a
recording session.
Tose looking to break into the soundtrack world
will need to assemble a state-of-the-art home studio and
keep it up to date, a process Dickson calls chasing the
technical dragon. It will also involve a lot of work on
a speculative basis, hoping for a payo lateror even
working for free for a long time.
Kier Lehman, B.M. 03, does some composition,
most recently co-writing the theme song for a political
talk show on BET called Dont Sleep! But his main job as
vice president of lm music for Sony is music supervisor,
overseeing soundtracks for movies, including last years
big-screen version of 21 Jump Street. He got started by
working as an unpaid intern for a year.
Teres so much competition and relatively few jobs,
Lehman says.Start out trying to connect with people doing
the job you want. Do your research about them, their job,
what it entails. Understand copyrights, labels, how publish-
ers work. So if you get that opportunity, come prepared.
Part of coming prepared also involved being adapt-
able and cognizant of the fact that big-screen lms arent
necessarily the be-all-end-all of soundtracks. Tere are
a lot of other niches out there. For example, Jamie
Christopherson, 00, started out working in sound
eects, and hes done a fair amount of movie scores. But
his bread and butter are computer game soundtracks.
Christopherson has done music for several dozen
games over the past decade, going back to 2003 with
Disneys Toon Town Online, in styles ranging from
amped-up surf to lush orchestrations. His latest game,
Metal Gear Rising, called for 13 songs in a style of heavy-
metal electronica, written and produced in such a way
that they seamlessly accompany dierent scenarios and
events within the game.
Each one is like a puzzle piece, but it has to t
immediately and smoothly four dierent ways, says
Christopherson. Its tricky. A lot of game music is
interactive. You code it so theres a section thats like verse
one without the vocals, which you keep on a loop until
the intensity of the action ramps up. Ten you go to the
chorus, also without vocals, which come in eventually.
So you stretch a song into something you can listen to
without getting bored for 10 or 15 minutes.
Jerey MacDonald, 00, has the opposite challenge in
that he has to get to the point in a hurry. MacDonalds
niche is scoring trailers and commercials for movies,
shows, and games with a production company whose
name hints at his aesthetic: Louder Productions Music.
So when youre getting pummeled by trailers for World
War Z, Call of Duty, or Te Bourne Legacy, thats his
handiwork.
We have a brand, a signature sound thats big with
a lot of distortion, he says. Some in the trailer business
would describe it as hybrid rock-orchestral cues. If I had
to come up with a name, maybe electronied, distortied
rock. Tink Arnold Schwarzenegger in Terminator 2
with the leather jacket, growling Harley, boots, shades,
shotgun. Dark and loud and fun.
One bonus is that the work allows MacDonald to
reconnect with some of his favorite icons from his youth:
Mission Impossible, Te A-Team, Star Trek. Te work is
cool; getting paid to do it is even cooler.
I really hope Ill get to do the next Star Wars, too,
he says. Id also like to score the right heist lm, some-
thing like Oceans Eleven. But mostly, I just hope I get to
keep doing what Im doing. I love the work so much, its
so fun and I get to work with great, ridiculously talented
and creative people. Im super lucky.
Just about everyone working in media writing echoes
that sentiment. Te best realize that they have to keep
the relationship between music and business in proper
perspective.
You dont want to forget you can write music for
yourself rather than twiddle your thumbs waiting on
another lm, says Dickson. Just because youre not
working on a project doesnt mean you have nothing
to do. Write songs, build a library, work on your piano
scales. Teres never an excuse to just sit by the phone.
I
ts a tremendously uncertain time for everyone in
music and arts, with the old revenue models based
on television networks and movie studios deteriorating
and the online world exploding in a Wild West frenzy.
Dickson likens it to standing on the edge of a cli, where
the bottom is unseen. Still, opportunities beckon.
Im bullish on the future because the need for
human beings to connect has never been stronger, says
Boardman. Were so fragmented and disassociated, and
art is a means to connect on a human basis with other
individuals. So the value and importance of artists
within smaller communities will rise. Not in a pop-star
way of one to many. It will be more like one to one, or
many to many.
ENTREPRENEURSHIP
ACCORDING TO ETT
You hear a lot of doom and gloom about
the music business, but not from Alan
Ett, 75, who recently joined the Frost
School of Musics advisory board. Ett
runs AECG, a group of five companies
that does everything from composing and
producing soundtracks to licensing music
from its libraries for movies, shows, and
commercials.
Twenty years from now, this period will be remem-
bered as a seminal moment when everything changed,
Ett declares. The opportunities are huge right now
because people are consuming more music in more ways
than ever before. Im ecstatic about where we are. When
there were three TV networks, people talked about the
500-channel universe that was coming. Excuse me, its
5,000 channels, and they all need music. So while the
price per unit may be going down, the opportunities for
quantity are off the charts.
Of course, the other side of that equation is that there
are more entities trying to provide that music than ever
before. When Ett started his music-library business in the
1990s, it was a niche with a handful of companies. But as
CD sales began plummeting in the 2000s, licensing music
for film and television emerged as one of the industrys
last reliable revenue sources.
Before, if you wanted a piece of mariachi music,
youd call me and wed have it, Ett says. Now they can
call every label in Mexico, too.
Other things have complicated soundtracks, too,
especially with commercials. It used to be standard
operating procedure to recreate popular songs or artists
with sound-alike recordings, or to record new music in the
style of well-known stars. After a series of court rulings
involving Tom Waits, the Black Keys, and others, however,
thats no longer allowed.
We need to prepare students to be entrepreneurs
and be savvy, he says. I sure didnt know anything about
contracts, record deals, distribution or music licensing
when I got out of school. But its never been easy to make
a living in music. Look at Chuck Berry, Howlin Wolf,
and Bo Diddley. There was no Internet then, and it was
still tough.
John Dickson takes
a break in his home
recording studio,
where he composes
for television shows
and more.
Frost School
advisory board
member Alan Ett
is optimistic about
musics future.
Everyone I know who makes a living at music
does everything. Tats kind of the new model.
Faculty Updates
Chris Boardman, assistant professor of professional
practice in the Department of Music Teory and Com-
position, is director of the Media Writing and Produc-
tion Program and teaches Film Scoring and Advanced
Music Editing. With a storied career of unsurpassed
versatility in the lm, television, and recording indus-
tries, Boardman has worked consistently in the top
echelon of the entertainment industry. In addition to
the Academy Award nomination he received for Te
Color Purple, Boardman has won six Emmy Awards,
THE FROST SCHOOL OF MUSICS NEWEST FULL-TIME FACULTY BEGAN IN AUGUST 2012. WITH EXPERI-
ENCES RANGING FROM MEDIA WRITING TO MUSIC ENGINEERING TECHNOLOGY AND COMPOSITION
TO CHORAL MUSIC EDUCATION, THESE OUTSTANDING MUSICAL LEADERS ADD CRITICAL MASS IN AN
ARRAY OF KEY MUSICAL DISCIPLINES AND ARE PROPELLING THE SCHOOL TOWARD NEW LEVELS OF
ACHIEVEMENT AND EXCELLENCE.
Christopher L. Bennett, B.S.E.E. 05, M.S. 07,
Ph.D. 10, research assistant professor in the Music En-
gineering Technology program, teaches psychoacoustics
and works with faculty and students on a new interdisci-
plinary project investigating the impact of auditory bio-
feedback on rehabilitation (see page 26) in collaboration
wih the UM Department of Physical Terapy. Bennett
earned a Ph.D. in biomedical engineering with a concen-
tration in hearing science, an M.S. in music engineering
technology, and a B.S.E.E. in audio engineering, all
from the University of Miami. During his postdoctoral
13 Emmy nominations, ASCAP and BMI awards, and
multiple platinum records for his work with such artists
as Quincy Jones, David Foster, Steven Spielberg, Barbra
Streisand, and Josh Groban. His diverse credits include
composing the score for Mel Gibsons Payback, arranging
for Meet Joe Black, orchestrating Chaplin: Te Musical
for Broadway, and releasing recordings as a solo artist.
Boardman is the founder of a social media consulting
business and at the forefront of the fast-moving online
media space.
research at UMs Miller School of Medicine, he investi-
gated audible medical alarms utilizing psychoacoustics
and human factors in simulated clinical settings to
improve patient outcomes. Bennett is a founding partner
of Oygo Sound, LLC, an audio development consultancy
group, and a member of the Audio Engineering Society
and the American Association for the Advancement of
Science. His articles have been published in Anesthesia &
Analgesia, Journal of the Acoustical Society of America, and
Journal of the Audio Engineering Society.
Welcoming New
Frost School Faculty
Bryn Hughes, assistant professor of professional
practice in the Department of Music Teory and Com-
position, teaches freshman and sophomore music theory
in the new Frost Experiential Music Curriculum as well
as graduate-level classes in music theory. He earned his
Ph.D. in music theory at Florida State University and
holds bachelors and masters degrees from the Univer-
sity of Western Ontario. His research interests include
music cognition, popular music analysis, atonal voice
leading, and the music of Alfred Schnittke. His disser-
Corin Overland, assistant professor of professional
practice in Choral Music Education, teaches choral con-
ducting, choral literature, and secondary choral methods.
Overland received a Ph.D. in music education from
Temple University, M.M. in choral conducting from
University of Missouri-Kansas City, and a B.A. in music
education from Gustavus Adolphus College in Minne-
sota. A popular guest conductor and clinician, Overland
taught choral music at the secondary level for 14 years in
Minnesota, Maryland, and Missouri, and holds multi-
Dorothy Hindman, B.M. 88, D.M.A. 94, assistant
professor of composition, is a recipient of the Almquist
Choral Composition Award, Nancy Van de Vate Inter-
national Composition Prize for Opera, and International
Society of Bassists Solo Composition Competition.
Critics have described her music as intense, gripping,
and frenetic,sonorous and armative, and music of
terric romantic gesture. Recent commissions include
Prothalamia for Empire City Mens Chorus, Te Road
to Damascus for the Caraval Quartet, Nine Churches for
tation involved an investigation of harmonic expectation
in twelve-bar blues progressions. Hughes has presented
research on atonal music analysis, popular music, and
music cognition at numerous regional and national con-
ferences, including the South Central Society for Music
Teory, Music Teory Southeast, the Music Teory
Society of the Mid-Atlantic, Music Teory Midwest, the
Society for Music Teory, the Society for Music Percep-
tion and Cognition, and the International Conference for
Music Perception and Cognition.
ple teaching certications in choral, instrumental and
general music. Prior to his doctoral work, he served as
director of Choral Music at Punahou Academy in Hono-
lulu, Hawaii. Overlands research interests include the
history of music education organizations, integrated-arts
school reform models, and the eects of musical training
on physical coordination and timing. He has presented
research nationally and internationally and is published
in the Journal of Research in Historical Music Education
and the Music Educators Journal.
the Corona Guitar Kvartet and Lithuanian Sinfonia, and
Tapping the Furnace for Evelyn Glennie, Stuart Gerber,
and Scott Deal. Hindman was awarded a Seaside Escape
to Create Residency in 2009; she also was a visiting artist
at the American Academy in Rome and a resident com-
poser at the Visby International Centre for Composers
in Sweden during 2005. A native of Miami and graduate
of the Frost School of Music, she writes for Te Miami
Herald and South Florida Classical Review and hosts a
weekly radio show on WVUM.
John Hart, visiting lecturer in jazz guitar, is one of
the most prolic and versatile guitarists on todays
music scene. He has headlined at jazz festivals such as
Montreux, Edinburgh, and Vancouver; released eight
CDs as bandleader on major labels; appeared on over
100 CDs as a sideman; and worked with organist Jack
McDu for 16 years. Hart has performed with the
Maria Schneider Orchestra for the past 20 years. Te
John Hart Quartet, formed in 1992 with Chris Potter,
toured extensively for seven years, was featured on NPRs
JazzSet, and recorded for Concord. Hart has also worked
with Jimmy Smith, James Moody, Jon Hendricks, Brian
Blade, Larry Goldings, Lizz Wright, and Hilary Kole.
He is featured on soundtracks including HBOs Sex in
the City and on A Prairie Home Companion with Garrison
Keillor and the band Pink Martini (2011, 2010).
Faculty Updates
{ 40 } SCORE MAGAZINE Spri ng 2012 { 40 } SCORE MAGAZINE Spri ng 2011
Robynne Redmon, mezzo-soprano and visiting pro-
fessor of vocal performance, will join the Frost Schools
full-time faculty as assistant professor in August 2013.
Critics have hailed her glorious singing, intense acting,
excellent phrasing, ardent tone, splendid shading, and
solid coloratura and excellent artistic sense (Das Opernglas)
and praised her exactitude of pitch, luxuriance of tone,
abundant animal spirit, and unerring dramatic intel-
ligence (Newsday). Redmon has performed leading
roles with major opera houses, including Te Metro-
politan Opera (Maddalena in Rigoletto, Marina in Boris
Kevin Short, bass-baritone and visiting professor, will
join the faculty in August 2013 as assistant professor
of vocal performance. His wide range of repertoire has
won him roles at the Metropolitan Opera, Lyric Opera
of Chicago, Houston Grand Opera, Los Angeles Opera,
and Opra-Comique in Paris. Short has performed as
Leporello in Don Giovanni, Mephistopheles in Faust,
Escamillo in Carmen, Nick Shadow in Te Rakes Prog-
ress, Figaro and Count Almaviva in Le Nozze di Figaro,
and Porgy in Porgy and Bess. He has appeared in concert
Godunov, Suzuki in Madama Buttery and Fenena in
Nabucco), Lyric Opera of Chicago, San Francisco Opera,
Teatro alla Scala, Berlin State Opera, Opera de Mar-
seilles, Minnesota Opera, and Montreal Opera. A re-
spected interpreter of modern music and creator of new
roles, Redmon performed in world premieres of Madame
Mao for Santa Fe Opera, and Harvey Milk and Esther
for New York City Opera. Equally at home in recital and
concert, she has appeared and recorded with symphonies
worldwide.
with Boston Symphony Orchestra, Te Philadelphia
Orchestra, San Francisco Symphony, Te Cleveland Or-
chestra, and others. Short sang with the Winter Olym-
pics Festival Orchestra in Nagano, Japan, during opening
ceremonies. He received his training at Morgan State
University, Curtis Institute of Music, and Juilliard School
of Music Opera Center. Te recipient of numerous
awards and grants, Short was a competition prizewinner
in Metropolitan Opera National Council Auditions and
the Opera America Competition.

Carlos Abril, B.M. 93, associate
professor and
director of
Undergraduate
Music Education,
was a featured
speaker at
University of
Southern
California, where
he gave a talk on curriculum reform in
music education, and at the Social
Science SRIG of the NAfME (MENC)
National Conference, where he gave a
talk on the sociology of school band.
He also gave presentations at the
International Society for Music
Education World Conference in
Greece, College Music Society in San
Diego, and Florida MEA Conference in
Tampa. This past year he published
chapters in four books, including
Oxford Handbook of Childrens Musical
Cultures, Patriotism and Nationalism in
Music Education, and Oxford Handbook
of Music Education. Abril continues to
serve on various editorial boards
including the Journal of Research in
Music Education, Bulletin of the Council
for Research in Music Education, and
the newly established Latin American
journal Ensear Musica: Revista Pan
Americana De Investigacin.
Glenn Basham, professor of violin, was
named by the United Arts Council of
Collier County as one of six 2013 Stars
in the Arts. The award recognizes his
leadership in the arts as concertmas-
ter of the Naples Philharmonic for 20
years, as well as his concertizing in lo-
cal organizations and churches and his
teaching at the Frost School. Basham
was also proled in a feature article in
Gulfshore Life that described the role
of a concertmaster in orchestras today.
Martin Bejerano, M.M. 98, assistant
professor of jazz
piano, tours
internationally as
pianist with Roy
Haynes Quartet,
Ignacio Berroa
Trio, and the
Martin Bejerano
Trio. He recently
performed with Dave Holland, Pat
Metheny, 73, and Brian Lynch. Recent
performances include Symphony
Space, Birdland, and Dizzys Club
Coca-Cola in New York; Chicago Jazz
Festival; Vienna, Austria; Zagreb,
Croatia; and the Quito Jazz Festival. He
was featured on Roy Haynes 2012
recording Roy-alty. The Martin
Bejerano Trio released its sophomore
CD and was recently featured on NPRs
nationally syndicated show JazzSet with
Dee Dee Bridgewater.
Bergonzi String Quartet, a faculty quartet-
in-residence with Glenn Basham,
Scott Flavin, Pamela McConnell,and
Ross Harbaugh, played six concerts
in Michigan at the Pine Mountain
Music Festival in June 2012, repeating
a concert program they performed
earlier with pianist Tian Ying at the
2012 Mainly Mozart Festival in Coral
Gables. They also performed their
Gershwin and Friends program in
UM Gusman Hall in September to
celebrate their 20th anniversary and
performed at Festival Miami. This
spring the Bergonzi travelled to Buf-
falo, New York to play two concerts in
the prestigious annual Slee Beethoven
Quartet cycle. Concerts in Colorado
and Georgia round out their spring
2013 schedule.
Terence Blanchard, artistic director of
the Frost Schools
Henry Mancini
Institute,
composed the
music for a new
opera, Cham-
pion, based on
the story of
prizeghter
Emile Grifth. It will premiere June
2013 at Opera Theatre of St. Louis. His
new jazz CD, Magnetic, is scheduled
for release by Blue Note in May 2013.
Juan Chattah, assistant professor of
theory and
composition,
co-authored A
Critical Approach
to Sight Singing
and Musical Style
(Hayden
McNeil);
contributed the
chapter on music theory research to
the second edition of Sang-Hie Lees
Scholarly Research For Musicians
(McGraw Hill); and co-authored Aural
Skills in Context to be published by
Oxford University Press later this year.
Chattahs research on semiotics
applied to lm music was presented at
the International Conference on
Musical Semiotics at University of
Edinburgh. He also presented at the
Music and the Moving Image
Conference at New York University and
the National Association of Schools of
Music Conference in San Diego.
Chattah has been appointed to the
board of the prestigious Music Theory
Southeast Society. He is working
currently on three entries for the new
Music in the Social and Behavioral
Sciences: An Encyclopedia (SAGE
Reference) and composing the
soundtrack for the feature-length lm
El Empantanado, directed by Felipe
Echeverria.
Don D. Coffman, professor and chair of
the Department
of Music
Education and
Music Therapy,
delivered the
keynote address
to the Adult and
Community
Music Education
Special Research Interest Group of
NAfME: The National Association for
Community Music in St. Louis in March
2012, and he received its Outstanding
Scholarship and Service in Adult and
Community Music Award. His other
presentation appearances were at
James Madison University for the
Lifelong Learning in Music Symposium
in May and in Corfu, Greece, for the
Community Music Activity Seminar of
the International Society for Music
Education in July. He co-authored book
chapters in Community Music Today
and The Oxford Handbook of Music
Education, edited a book of conference
proceedings, and had an article
appear in the International Journal of
Community Music.
Tim Conner, trombone, recorded
Thomas Sleepers Translucence for
Trombone and Orchestra in December
2012 with the BRNO Philharmonic
Orchestra and Frost alumna Zoe
A
lan O. Johnson, B.M. 82, assistant professor of
vocal performance and program director for
the Frost Opera Theater, was awarded the 2012 Phillip
Frost Award for Excellence in Teaching and Scholarship
at a Frost School of Music faculty meeting in August.
Johnson has led numerous opera, music theater,
concert, and dance works by todays most innovative
composers, including Nicholas Brooke, Douglas
Cuomo, Tina Davidson, Anthony Davis, Philip Glass, and Michael
Torke. His work has garnered awards such as Drama Desk, Obie,
and Joseph Jefferson Award for Outstanding Music Direction. He
is the music director of the John Duffy Composers Institute at
the Virginia Arts Festival. Performances at venues across the U.S.
include American Repertory Theater, Brooklyn Academy of Music,
New York City Center, Lincoln Center, New York Shakespeare
Festival, Long Wharf Theater, and Spoleto Festival USA and Italy.
Active in New York City since 1986 as a vocal coach and pianist,
Johnson has prepared and collaborated with singers holding
international engagements. As a soloist and collaborative pianist,
he has performed at such venues as Alice Tully Hall and The
Walker Art Center. Johnson conducted the Frost Opera Theater/
Frost Symphony Orchestras winter 2013 production of Mozarts
Die Zauberflote (The Magic Flute) and premiered Charles
Masons Entanglements with Frost Opera Theater in April 2013.
Alan Johnson Receives
Phillip Frost Award for Excellence
Please visit www.music.miami.edu for additional faculty announcements throughout the upcoming year.
Zeniodi as conductor. The upcoming
CD will include this and two other
recent works by Thomas Sleeper.
Tim continues to perform as Principal
Trombone for the Opus One Orchestra
for the Miami City Ballet.
Frank Cooper delivered three lectures
for the Miami
International
Piano Festival,
four for the
Naples Philhar-
monic, and ve
for his series on
the UM campus,
A Mighty Five:
Mendelssohn, Dvorak, Mahler, Debussy
and Rachmaninoff. His interview about
the founding of the American Liszt
Society appeared in Pendragon Presss
new book, Liszt: A Chorus of Voices
Observations by Lisztians around the
World. His lecture, Music and
Emotions, was presented twice: for the
Frost Schools Music Therapy Forum
and for the South Florida Medical
Group of the American Medical
Association. Most recently, he hosted
an Evening with Leon Fleisher in
connection with the conductors guest
appearance at Festival Miami and
presented a pre-concert perspective,
The Legacy of Berliozs Symphonie
fantastique, before the combined
Cleveland Orchestra/Frost Symphony
Orchestra concert premiering new
works by student composers.
Oklahoma All State Band, Kentucky
Intercollegiate Band, and California
All State Band. He also was evaluator
for the National Concert Band Festival
and Florida Bandmasters Association
and guest conductor for Ars Flores
Orchestra, Texas Christian University
Band Camp, Interlochen Music Camp,
and in France and England.
Ross Harbaugh, cello professor at the
Frost School,
performed the
Elgar Cello
Concerto this
spring with the
Alhambra and
Broward
Symphonies and
performed eight
concerts with the Deering Estate
Chamber Ensemble, a piano quartet
with violin faculty member Scott Flavin
that also performed on the Cutting
Edge Concert Series in New York City.
Harbaugh taught and performed at the
Orfeo Music Festival in Vipiteno, Italy,
last summer and has been invited
back for his third summer this July. In
Miami he recorded an album with
Gloria Estefan and performed in
Festival Miami with the Bergonzi String
Quartet in an all-Piazzolla program. He
presented a lecture/demonstration at
the Florida Music Educators Associa-
tions Annual Conference in Tampa
entitled Relax Your Body Focus Your
Mind. As mentor of the Stamps String
Quartet, Harbaugh coached these four
outstanding undergraduates in Italy
and presented a lecture concert with
them in Miami titled the Architecture
of an Interpretation, performing
Schuberts Quintet with two cellos.
Dorothy Hindman, B.M. 88, D.M.A. 94,
assistant
professor of
composition, has
enjoyed
performances of
her work in
Atlanta, Raleigh,
Orlando, and
New York City
(Empire City Mens Chorus). Her
Mechanisms was premiered by the
Frost Flute Ensemble in November and
performed at the Florida Flute
Association conference in January. Her
Cascade, written for the Frost
Shannon de lEtoile, professor of music
therapy and
Colby Leider,
director of the
Music Engineer-
ing Technology
program, were
awarded a
$20,000 research
grant from the
Grammy Foundation of the National
Academy of Recording Arts and
Sciences (NARAS) to support a
two-year research project exploring
infant response to rhythm. As keynote
speaker for the 34th Dies Natalis
celebration at the University of the
Netherlands
Antilles, Curaao
in January 2013,
de lEtoile
presented: What
is music therapy
and the
importance of
music in the
transformation of people. In 2012 de
lEtoile was invited to be a guest
co-editor for a special issue of the
peer-reviewed clinical journal Music
Therapy Perspectives exploring music
and neuroscience.
Alberto De La Reguera was busy arrang-
ing for several ensembles in the Frost
School including the Frost Band of the
Hour, Henry Mancini Institute Orches-
tra, Frost Jazz Vocal Ensemble 1, and
Saxophone Ensemble, was performed
at the FSU New Music Ensemble in
February. She is currently completing
commissions for Ensemble FORO of
Portugal, and Mikkel Andersen,
classical guitarist of Denmark. Her
work for youth orchestra, Urban Myths,
received its Miami premiere in two
performances in October by the
Greater Miami Youth Symphony.
Hindmans rst solo CD, Tapping the
Furnace, will be released this spring
on the Innova label. She also continues
to review for South Florida Classical
Review and The Miami Herald and
hosts a weekly radio show, The Po Mo
Show, on WVUM, 90.5 FM.
Trudy Kane, associate professor of ute,
authored the
article Vibrato!
in The Flutists
Handbook, A
Pedagogy
Anthology,
Volume 2. She
was the featured
artist at the
Southeast Michigan Flute Fair in April
2012. This season she performed
several chamber music concerts at
Festival Miami and joint recitals with
guest artist Mary Karen Clardy and
pianist Santiago Rodriguez. She hosted
a series of ute master classes and will
chair a panel at the 2013 National Flute
Convention and perform with her
students on a featured concert. Kane
and her students were also included in
the Flute News section of Flute Talk
magazine.
Thomas Keck, associate director of bands
and director of the Frost Band of the
Hour, was invited by the Haitian gov-
ernment to travel to Port-au-Prince last
February to help develop a marching
band program for youths to perform
during national soccer games. The
intent is to use music for more civilized
purposes than political rallies and other
demonstrations. Keck also assumed the
role of coordinator of the Frost Honor
Band Festival, increasing the enrollment
to 220 students and now three bands.
The Frost Band of the Hour recorded
the theme song to the upcoming lm
release Despicable Me 2, and the Bas-
ketball Bands have been busy support-
ing the successful seasons for mens
and womens basketball. Externally,
the DownBeat award-winning Frost
Salsa Orchestra, which he also con-
ducts. The Frost Salsa Orchestra has
presented concerts with renowned
guest artists like Mark O Connor and
faculty Brian Lynch and Raul Murciano,
B.S.C.E. 91, M.M. 93, D.M.A. 97. De
La Reguera also has arranged for the
Hallandale Symphony Pops and is cur-
rently working with pianist Juan Pablo
Subirana, M.M. 94, for a concert with
the Oklahoma City Philharmonic featur-
ing arrangements of Latin standards.
Margaret Donaghue, professor of clarinet,
performed at the
International
Clarinet
Associations
ClarinetFest July
2013 with
MiamiClarinet, a
quartet with
three UM alums:
Dawn McConkie B.M. 96, M.M. 98,
D.M.A. 04, Michael Walsh B.M. 98,
M.M. 00, and Danielle Woolery Scalia,
D.M.A. 11. She also performed with
Pulse Chamber Music at the closing
concert of Nuovi Spazi Musicali in
Rome, Italy, in October 2012 and
premiered Cyclops by Victoria
Bond, Semi Suite by Thomas
Sleeper, and the U.S. premiere of
Pulsearrythmic by Charles Mason at
Symphony Space in New York in April.
She released a new CD, Bach
Repurposed: Solo Bach for Clarinet on
Centaur Records.
Serona Elton, M.M. 95, associate
professor of music business, was
re-elected as president of the Music
and Entertainment Industry Educa-
tors Association (MEIEA). She also
co-founded a new entity, The Selena
Brand, which manages uses of the
name and likeness of late Latin music
icon, Selena Quintanilla, and consulted
for companies including Zumba Fit-
ness and INgrooves. She continues
to serve on The Recording Academy
(Grammy) Florida Chapter Board of
Governors, and Florida Bar Entertain-
ment, Arts, and Sports Law Section
Executive Council.
Gary Green, director of bands, pre-
miered and co-commissioned a
number of new works with the Frost
Wind Ensemble. He was conductor
for the Georgia Intercollegiate Band,
Keck was published in Teaching Music
Through Performance in Band, Volume 9
and contributed a chapter to The System:
Marching Band Methods, the rst
e-textbook for marching band methods.
He presentedHenry Fillmore: The Man
of the Hour to the Florida Bandmasters
Association in July and continued his
role as a gust conductor/director for the
Smith-Walbridge Drum Major Camp in
Charleston, Illinois, and Hummingbird
Music Camp in Albuquerque, New
Mexico.
Rachel Lebon, Ph.D. 86, professor of jazz
voice and voice specialist for speech
and language disorders, was a fea-
tured performer in the 2013 Air Force
Tops in Blue Worldwide Talent Contest;
she is a prior winner. She served a
three-month stint as vocal coach in
residence and penned numerous
articles for VoiceCouncil Magazine On-
line, such as Successful Self-Accompa-
niment, Finding Your Optimal Key, The
Rigors of the Road, Moving from Studio
to Stage, Achieving Your Own Voice,
Belt Your Heart Out Without Belting You
Voice Out, and more. Lebon is listed in
Whos Who in the World 2011, Whos
Who in America 2010-2011, and Whos
Who in American Women 2011-2012.
Teresa Lesiuk, associate professor of
Music Therapy, is
presently acting
program director
of Music Therapy.
She is using her
Max Orovitz
Summer Award
in the Arts and
Humanities to
continue research conducted in
collaboration with Sylvester Compre-
hensive Cancer Center and University
of Miami Health System titled The
effect of mindfulness-based music
therapy on attention and quality-of-life
in women with breast cancer. Lesiuk
was a panelist for the Assessment
Round Table at the November 2012
American Music Therapy Association
conference in St. Charles, Illinois. In
March 2012 she presented a paper
titled Appreciating Differences in
People; The Myers-Briggs Type
Indicator and Music Therapists at the
annual conference of the Southeast
Region of the American Music Therapy
Association, Charlotte, North Carolina.
Faculty Updates
Serona Elton, M.M. 95 (music business) and Karen
Kennedy (choral studies) were awarded tenure, which
includes a promotion to the rank of associate professor.
Honored at a reception and dinner in honor of newly
tenured faculty hosted by Provost Thomas J. LeBlanc in
August at the Newman Alumni Center, Elton and Kennedy
join a prestigious group of UM faculty who are consid-
ered national or international leaders in their respective
fields. A University faculty committee vets the tenure process for each candidate; the
provost and president have final approval.
Frost Announces Newly
Tenured Music Faculty
Serona Elton Karen Kennedy
Faculty Focus
2013 MARKS SOME EXCITING new beginnings
for the Frost School of Music, including groundbreak-
ing on the Patricia Louise Frost Music Studios and the
expansion of the Stamps Music Scholars
programs. It also marks the retirement of
several legendary faculty members who
cooperatively built the Frost School into
what it is today.
Many of them began their careers here
as students. Larry Lapin, B.M. 65, M.M.
71, director of the Jazz Vocal Performance
program, was invited back to
teach in 1968.
Te enrollment was up at
UM, and they needed someone to teach,
Lapin recalls. Music Teory and Compo-
sition Chair Clifton Williams polled the
faculty, and a bunch of them came up with
my name. It was adjunct but full time right
from the get-go.
Whit Sidener, B.M. 69, M.M. 72, chair
of Studio Music and Jazz and director of
the Jazz Instrumental program, joined the
faculty in 1972, and Rene Gonzalez, B.M. 71, M.M. 73,
D.M.A. 83, program director of guitar, joined the faculty
in 1979.
Other faculty came from further reaches. Frank
Cooper arrived in 1983 from a lengthy stint at Butler
University in Indianapolis, becoming research profes-
sor of musicology in 1997. Cooper, well beloved for his
courses, recitals, and community lectures, says, I think
that I may hold the Frost School of Music record for the
number of dierent courses taught24!
Luciano Magnanini came from Italy after winning
the bassoon audition for the Miami Philharmonic and
was invited to teach at the University of Miami in 1972.
He stayed, even though the orchestra didnt, earning the
title of program director of woodwinds, which he has
held for 25 years.
Dennis Kam arrived after being a Ford Founda-
tion Composer-in-Residence for the State of Hawaii
from 1970 to 1972 and receiving his doctorate from the
career. He was my mentor and leader, my colleague
and close friend, Gonzalez says.
Gonzalez also equally values his relationships
with his students, noting that over 34 years, Ive
taught a lot of students. Tere are so many experiences
that Ive had personally with them, not only in teaching
music, but life lessons. Tose are the things that I nd
really gratifying, and that have enriched my life and
taught me things.
Frank Cooper views teaching as instilling the love for
learning about music. Deborah Schwartz-Kates, chair of
the Musicology Department, recognizes that Cooper is a
remarkable teacher and an extraordinary colleague.
His concern for the students of this school is para-
mount, Schwartz-Kates says. All of us will miss him.
To Cooper, his students are his legacy, and from them
comes his validation. Few aspects of my teaching have
mattered more to me than the gratitude expressed by my
students for what they learned.
Floyd echoes the sentiment: Tey are my greatest
pleasure and legacy, and I am especially proud to have
made them aware of the music of our time!
During their tenure, Cooper, Kam, Lapin, Magnanini,
and Sidener have all been recognized with the Phillip
Frost Award for Excellence in Teaching and Scholarship.
Te committee is made up of former recipients of
the award and colleagues. To be thought of that well by
those people is a big deal to me, says Lapin, who esti-
mates that 80 to 90 percent of his graduates are working
in music, which means hes been doing something right.
I have been so fortunate to have had the privilege to
be able to be interact with Larry and Whit as my profes-
sors, fellow performers, and colleagues, says Rachel
Lebon, a professor in Lapins program. I got to watch
and learn as they inspired countless young vocalists and
instrumentalists who are now making their mark in the
world of jazz performance and jazz education.
Weve had so many great students that Id be afraid
to mention one and then leave one out, remarks Sidener.
University of Illinois in 1974. By 1976 Kam was chair
of the Department of Music Teory and Composition,
promoting an atmosphere of aesthetic openness and
diversity that inuenced numerous
students who today have ourishing
composition careers of their own. Cur-
rent chair Charles Norman Mason says,
I dont know that any of us will ever
match Denniss ability to nurture yet
challenge students to think creatively.
Kam helped Sidener and Lapin es-
tablish the Frost Schools Studio Music
and Jazz Department in 1983.
Tere was no jazz department; the
jazz program was part of Music Teory and Composi-
tion, Kam says. I felt like they should have their own
department, not only because of their size, but because
of what they wanted to do. I didnt feel like it was right
for them to have to always check with me.
For J.B. Floyd, who arrived at the University in 1981
from positions in Texas and Illinois and served as chair
of the Keyboard Performance Department for 27 years,
these reciprocal relationships were key to developing his
own professional interests. A composer and jazz pianist,
Floyd specializes in new music. His concert at Roulette
(NYC) in 2011 featured his compositions for Yamaha
Disklavier exclusively, and he has released six CDs of his
music. For Floyd, being accepted as an unocial mem-
ber of the Depart-
ments of Studio Jazz
and Music Teory
and Composition
provided me with
years of stimulation
and satisfaction.
Collegial connec-
tions are also among
the most precious
for Gonzalez, and
the couple of years he spent touring throughout the
southeastern United States with his former teacher
Juan Mercadal as a duo are among the highpoints of his
And I dont take credit for
them. Tey were my students,
they were everybodys students,
they were their own students.
If theyve done great, the school
deserves some credit, but they were responsible for it.
Downplaying his own inuence, Sidener estimates that
Studio Music and Jazz students have received at least
200 DownBeat Awards collectively, noting that we kind
of lost track.
Among Magnaninis stellar students are the principal
bassoonist in Los Angeles, the principal bassoonist in St.
Gallen, Switzerland, and the bassoonist with Orpheus
for 25 years, also a former associate dean of Juilliard.
When I came to this University, there were only
250 students in the School of Music Magnanini recalls.
Having been here for 40 years,
in a very, very small way, maybe a
grain of sand, Ive been instrumen-
tal, with all of my colleagues, to
bring the University to where it is
today.
Te primary incentive to
retire is a Voluntary Retirement
Program from the Provosts Oce
that will expire in 2014. But most
are also planning to continue
their music careers. Lapin and Gonzalez have recording
projects they look forward to completing, and Magna-
nini intends to perform more. Kam has a Fourth String
Quartet and two more symphonies planned, and Floyd
wants to compose more. Cooper wants to smell the roses
before pushing up daisies. But Sidener has a dierent
idea. I thought I might be a rock star, but if that doesnt
work out, Ill become a deejay!
Honoring Legendary Teachers and
Musicians for Longtime Service
Dennis Kam J.B. Floyd Frank Cooper
Rene Gonzalez
Luciano Magnanini
Whit Sidener
Larry Lapin
Faculty Updates
Gary Lindsay, M.M. 79, professor of
jazz and
saxophonist,
arranger, and
conductor,
attended the Jazz
Education
Network
conference in
January 2012.
Recent performances include multiple
performances with both the Miami
Saxophone Quartet and also with the
South Florida Jazz Orchestra (with
special guest Ken Peplowski). New
commercial work includes arranging
14 titles for Verve recording artist
Natalie Cole, produced by Rudy Perez;
Lindsay was also conductor and
associate producer on the project. The
Miami Saxophone Quartet released its
fth CD, Four of a Kind.
Brian Lynch, assistant professor of jazz
trumpet,
executed two
new recording
projects in 2012:
an extensive
trumpet all-star
session with
Dave Douglas,
Sean Jones, and
many other top jazz trumpeters that is
an exploration of the music of Woody
Shaw in Latin Jazz style (Madera
Latino) and a quartet/duo project in
collaboration with pianist Emmet
Cohen, B.M. 12. Both CDs will be
released in 2013 on Lynchs own
Hollistic MusicWorks label. Notable
concerts include appearances with his
groups at the Detroit Jazz Festival, The
Rubin Museum in New York City, and
Scullers in Boston, as well as several
concerts as co-leader of the Eddie
Palmieri/Brian Lynch Jazz Quartet.
Charles Mason, B.M. 77, has composed
a number of
works this past
year, including
Radiate, a
three-movement
composition for
wind ensemble
that premiered in
April with Gary
Green conducting; Spring Step for
saxophone, violin, and piano, which
premiered in May; Pulse Arrhythmic,
which premiered by chamber ensemble
Pulse in Rome, Italy, in October; Oh What
a Beautiful City for Youth Orchestra,
premiered by the South Florida Youth
Orchestra in October; Elegy for an
Organist, a string quartet composition
for The Ritz Chamber Players that
premiered in February; a full length
opera, Entanglements, which pre-
miered in April; and Soumaya for ute
and string orchestra, to be premiered
by North/South Consonance in June. In
fall 2012 Mason became chair of the
Department of Theory and Composi-
tion at the Frost School and authored a
20-page article review of the 2011
Society of Electro-Acoustic Music of
the United States (SEAMUS) Confer-
ence for the SEAMUS journal.
Pamela McConnell, professor of viola,
established the
Frost Viola Solo
Competition,
held during the
third annual Viola
Day on March 2,
2013. She was
awarded the
Distinguished
Service Award by the Florida
American String Teachers Association
in October 2012. In June, her arrange-
ment for string quartet of Babar, the
Little Elephant by Francis Poulenc,
was premiered as part of the Pine
Mountain Music Festival in Michigan.
Lansing McLoskey, associate professor
of composition,
received
numerous
awards and
commissions in
2012-2013. His
composition
Hardwood
(winner of the
inaugural International Joint Wind
Quintet Project) was premiered in
summer 2012 at the conventions of the
International Horn Society, National
Flute Association, International
Clarinet Association, and International
Double Reed Society. It was recently
performed at the Birmingham
Chamber Music Series in England and
published by Theodore Presser. He
also had two performances of The
Madding Crowd by Spanish Brass at
international music festivals in Spain
and premieres of new works by
Cincinnati Vocal Arts Ensemble and
Chatham Baroque in Pittsburgh. His
Haute Dance was the Grand Prize
Winner of the 2012 Chatham Baroque
Composition Prize, he was a nalist for
The American Prize for Choral
Composition, and What We Do Is
Secret received honorable mention in
the Red Note Festival International
Competition for Wind Ensemble
Compositions. Upcoming performanc-
es include concerts in Chicago,
Philadelphia, the North American
Saxophone Alliance Conference, the
35th International Festival of Contem-
porary Music in Mexico City, the
Tanglewood Institute, and a world
premiere at the 2013 soundSCAPE
Festival in Italy. He was asked to be the
2014 composer-in-residence for
ensemberlino vocale in Berlin.
Lawrence Moore, M.M. 07, D.M.A. 12,
lecturer for
electronic music
composition,
served as the
music consultant
and sound
designer for the
play Dead Mans
Cell Phone by
Sarah Rhule, presented at Miami Dade
College Kendall Campus in November
2012. In December, his video piece
Fountain Talk was featured on a
continuing video jukebox at The Street:
Festival of Electronic Music, Art, and
Performance at the Harold Golan
Gallery during Art Basel Miami 2012.
Moores xed audio and video piece,
Bouquet in the Abyss, was presented
at the Electro-Acoustic Barn Dance at
the University of Mary Washington, and
his tape piece Curry Chicken and
Ramen Noodles was selected for the
SEAMUS Electro-Acoustic Miniatures
2012: Re-Caged CD release.
Sam Pilaan, B. M. 72, tuba faculty
artist, joined the
Frost School of
Music as lecturer
in fall 2012. In
addition to
teaching tuba, he
is the faculty
mentor for the
freshman Stamps
Brass Quintet.
Paul Posnak, professor of keyboard
studies,
performed solo
recitals and
conducted
master classes in
California, Ohio,
New York, New
Mexico, and
France; in duo
recitals in France (Festival St. Cere)
and in Miami with Soprano Sandra
Lopez, B.M. 96; and in chamber
concerts in Cleveland and Miami with
members of The Cleveland Orchestra
and with the Carpe Diem String
Quartet. In December he recorded an
album of his new arrangements of
twelve canciones of Ernesto Lecuona,
and three of Lecuonas solo piano
works, for Peermusic. The recording of
Posnaks 15th CD will be released in
early summer. Future concerts include
a concerto performance with The
Kremlin Chamber Orchestra, a
chamber music concert on the Mostly
Mozart Series in Coral Gables, solo
recitals at the National Gallery in
Washington, D.C., and for the U.S.
Chopin Foundation in Miami, a recital
and master class for the St. Petersburg/
Clearwater FSMTA, and duo recitals
with Sandra Lopez in the U.S. and
Puerto Rico. Posnak is the founding
artistic director of the Saint Martha-
Yamaha Concert Series, which this
season features artists such as Helen
Donat, William Bolcom and Joan
Morris, Juana Zayas, The Kremlin
Chamber Orchestra, and a special
benet concert in April with Frost
School Dean Shelly Berg and jazz
vocal greats Tierney Sutton and
Carmen Bradford.
Brian Powell, double bass, assistant
professor of
instrumental
performance
and music
education, was
interviewed and
cited several
times in the
January edition
of The Strad on issues concerning use
of online technology in string teaching.
He was invited to perform his
transcription Suite Italienne for Double
Bass and Piano at the upcoming
International Society of Bassists
Convention in June 2013 at the
Eastman School of Music in Rochester,
New York. He has made music
education presentations and conduct-
ing appearances nationwide, including
the Kentucky Music Educators State
Conference and the American String
Teachers Association National
Convention in Providence, Rhode
Island. He was also invited to conduct
one of the All-State Orchestras at the
All-Northwest Music Educators
Convention, held in Portland, Oregon
in February.
Steve Rucker, B.M. 79, M.M. 83, drum
set lecturer and DownBeat award-win-
ning ensemble director, performed at
the annual Naples Winter Wine Festival
on January 26. Collaborating artists for
this worthwhile cause included Monty
Powell (Keith Urbans award-winning
songwriter), Grammy-winning artist
Billy Dean, Grammy-winning jazz
singer Anna Wilson, and Nashville
songwriter Ray Barnette.
Dale Underwood, saxophone professor,
premiered
Thomas
Sleepers
Saxophone
Concerto with
The United
States Navy Band
in Washington
D.C. in January
2012, and students in his Frost
Saxophone Quartet performed at the
Navy Bands annual saxophone
symposium. Underwood served for
30 years as master chief musician in
the Navy Band, formally retiring in
1997 to pursue a solo and recording
career. Recent soloist activities
include premiering a Suite from West
Side Story for Alto Saxophone and
Wind Ensemble at the Midwest Band
and Orchestra Clinic and
appearances with the Virginia Grand
Military Band in Washington D.C., the
Virginia Symphony Orchestra, and
the Greater Miami Symphonic Band
guest conducted by Col. Arnald D.
Gabriel, U.S.A.F. Ret. Underwood
served as a clinician for the Frost
Schools 2013 Honor Band Festival
and judged the Florida Bandmasters
state solo and ensemble contests
(South and Central divisions).
Upcoming projects include
premiering a commission by David
Maslanka for saxophone, cello, and
piano and participating in a CD
project featuring South American
saxophone concerti.
Santiago Rodriguez was chairman of the
international jury
and guest artist
at the William
Kapell Interna-
tional Piano
Competition
Festival In July
2012; his
opening piano
recital, according to critics of the
Baltimore Sun and The Washington
Post set a bar high before the
competition even started. Also in
July he was appointed artistic
director at the Florida International
Piano Competition. He returned as a
guest artist for the Endless Mountain
Music Festival in Wellsboro, Pennsyl-
vania, where he gave three perfor-
mances of Rachmaninoff s 3rd Piano
Concerto and participated as a
faculty member in the festivals
internship program, along with
violinists Robert Bokor (Belgrade
Philharmonic) and Charles Rex (New
York Philharmonic). In August
Rodriguez gave a recital and a
master class at the Lancaster
International Piano Festival in
Pennsylvania, in October he returned
as a chair of the International Jury at
the San Antonio International Piano
Competition in Texas, and in
December he was invited for a
master class and to judge a competi-
tion at the Peabody Conservatory of
Music. In February 2013 Rodriguez
returned to the Celebrity Series at
the University of New Hampshire,
where he performed a reengage-
ment recital at the Johnson Theatre
featuring works by Frost colleagues
Thomas Sleeper and J.B. Floyd. This
spring he also accompanied several
faculty recitals at the Frost School of
Music. Upcoming 2013 appearances
include a performance with the
Lancaster Symphony Orchestra in
May, and a trip to Xian, China in June
to present a solo recital and conduct
a master class at the International
Music Festival.
Spri ng 2013 SCORE MAGAZINE { 49 } { 48 } SCORE MAGAZINE Spri ng 2013
Deborah Schwartz-Kates, associate
professor and
chair of the Musi-
cology Depart-
ment, authored a
book chapter on
the state of music
scholarship in
Argentina, Chile,
Paraguay, and
Uruguay that will appear in the
Handbook of Latin American Studies
an international reference source
produced at the Library of Congress.
In collaboration with Mara Estorino of
the Cuban Heritage Collection, she
coauthored the article Music
Episodes and Narratives from Cuba
and Venezuela: Primary Sources at the
University of Miami. She received a
commission from Boosey & Hawkes to
contribute the introduction to Alberto
Ginastera: Connections, a publication
in honor of the 100th anniversary of the
composers birth. Last summer, she
gave an interview in Spanish on Radio
Nacional Argentina about her recent
book on Ginastera.
Thomas Sleeper, director of orchestral
studies, received
a commission
from The United
States Navy Band
for his Symphony
No. 3 to be
premiered and
recorded in
2013. The Navy
Band under the direction of Captain
Brian O. Walden recorded Sleepers
Through a Glass Darkly and Concerto
for Alto Saxophone and Chamber
Orchestra for its new CD, Discoveries.
Sleepers Concerto for Flute and Flute
Orchestra, written for faculty artist
Trudy Kane, was premiered in
November 2013, while his Violin
Concerto No. 1, commissioned by the
Greater Miami Youth Orchestra, was
premiered by Huifang Chen, M.M. 05,
who later recorded the work with the
Brno Philharmonic Orchestra in the
Czech Republic. Sleeper was also
commissioned to write a second violin
concerto for UK violinist Hugo Ticciati
to be premiered in Europe 2013. The
Brno Philharmonic recorded his score
for the documentary lm The Silver
Mirror this year. Notable performances
of his compositions this season
included Hanas Day Out with the
Baltimore Symphony, several perfor-
mances of Concerto for Trumpet in
South America by soloist Flavio
Gabriele, and Sleepers opera The
Sisters Antipodes in Mississippi.
Svet Stoyanov, assistant professor
and percussion
program
director,
presented a
theatrical
percussion
performance at
TEDxMIA and a
lecture and a
recital at the Minnesota Day of
Percussion, both in fall 2012. He
performed on the Enchanting
Classics at Seaa concert series
occurring only during the inaugural
cruise of the Celebrity Reectionand
was the sound producer for the event.
In spring 2013 he will present a recital
with Colorado Symphonys principal
utist Brook Ferguson and will receive
two newly commissioned chamber
works by composers Paul Lansky and
Andy Akiho. Both pieces will feature
the participation of the Frost Percus-
sion Studio and will be performed in
Miami this upcoming season.
Tian Ying, associate professor of key
board perfor-
mance, joined
Bergonzi String
Quartet for
numerous
performances in
2012, including
the Mainly
Mozart Festival
at Gusman Concert Hall and at Pine
Mountain Music Festival in Michigan,
where he also gave solo recitals. Ying
gave a benet concert in March for the
Chopin Foundation as a member of its
jury in the 2005 and 2010 competi-
tions. He performed for the Rolf s
Piano Series in Pensacola, Florida, in
March and offered a master class for
Pensacola State University. In June Ying
performed, presented master classes,
and served as a jury member at Lee
University in Tennessee during its
annual International Piano Festival &
Competition. A new solo CD titled The
Sonatas was completed in December
2012 and released in February 2013.
Stephen Zdzinski, Graduate program di-
rector and associate professor of mu-
sic education, made ve presentations
at the 2012 and 2013 FMEA confer-
ences, including the clinics Involving
Special Learners in Instrumental Music
(2013), A Twelve-Step Program for
Preparing a Research Proposal (2013),
How to Apply Research to Improve
Music Teaching From A to Z (2012),
and with Ph.D. student Caroline
Dachinger, Professional Pathways Mu-
sic Education/Music Therapy Certi-
cation (2012). Along with Carlos Abril
and Don Coffman, Zdzinski presented
Visions for Music Teacher Education:
Beyond the School Day and the School
Years at the 2012 International Society
for Music Education Conference in
Thessaloniki, Greece. He also served
as the Frost School representative to
Southern Association of Colleges and
Schools Task Force for the Univer-
sity of Miami, where he evaluated
of 46 Frost SACS degree curricu-
lum reports and developed SACS
training materials for Frost faculty. He
completed work on revisions to the
M.M., the M.M. with certication, and
the Ph.D. degree programs in music
education. He has recently submitted
articles on parental involvement and
chromesthesia, now in nal review for
publication. As a top-ten performer in
last springs Walking Canes program,
Zdzinski won lunch with President
Donna E. Shalala.
The Pulse of Whats Possible
Faculty Prole
Left to right,
Marina Radiushina,
Scott Flavin, and
Margaret Donaghue
are Pulse.
group that necessitates an ongoing education process for
audiences.
In the classical eld, you really have to create your
own opportunities, says Flavin, who is also resident
conductor of the Frost Schools Henry Mancini Institute
Orchestra and a player in the Bergonzi String Quartet.
Maybe the one percent can sit back and let opportuni-
ties come to them. Te rest of us have to be out there,
communicating online as well as in the marketplace.
Tere used to be a time when those were thought of as
mutually exclusive. You had your great artistes and those
who were market-savvy, both looking askance at each
other. But they go hand in hand, now more than ever.
Getting Pulse launched has been inspiring in ways
that spill over into Flavins and Donaghues educational
mission at Frost.
We have a mandate from the school to create
a climate for students to have success, and this is a
gratifying example of whats possible, Flavin says. I tell
students theyre communicating every moment onstage,
even when theyre not playing. If body language is
nervous, passive, or tired, that communicates something
negative. We want every second to be positive, to instill
and communicate passion. Its a privilege to be up there,
so make sure every moment youre giving your best. Do
it because the music lives. Its corny to say, but its so
important to nd meaning and spirituality in everything
we do.
FROST FACULTY MEMBERS
Maggie Donaghue, a clarinetist,
and Scott Flavin, a violinist, rst
met while playing in the orchestra
for the Miami City Ballet. After
getting married and having two
sons (now 10 and 12 years old),
they decided to explore their shared
love for playing chamber music.
So they drafted pianist Marina
Radiushina, D.M.A. 10, and Pulse
Chamber Music was born.
Of course, thats a highly
unusual conguration for chamber
music, and they quickly ran up
against the fact that theres just not much in the way
of chamber repertoire for violin, clarinet, and piano.
Undeterred, they decided to see if they could inspire
some new compositions. So they used social media to
issue a call for scores in May 2012, to surprisingly vigor-
ous response.
It was amazing how far and fast that circulated,
especially on Twitter, Donaghue says. We were hoping
for a few submissions, but just about 100 came in from
all over. We got a great response and some terric music,
which was exciting.
After spending the second half of 2012 considering
the submissions, Pulse began debuting selected works
from the call for scores in February, with more scheduled
for April and later in 2013. Te trio is booked through
next season and beyond, which makes Pulse the perfect
complement to the musicians other projectseven if
some arts presenters are proving hard to win over.
Tats the biggest challenge, the presenters, because
were not typical, Donaghue says. Where money is tight
for everybody, its easier to book a more standard piano
trio or string quartet because those have a monumental
repertoire that speaks for itself. We just have to work
harder to make it as engaging as possible. Variety and
how we interact with the audience, those are both very
important.
In that sense, Flavins and Donaghues work as
teachers was the perfect primer for an unconventional
Class Notes
1950s
Charles Clark Bell, B.M. 58, is retired after
33 years of
teaching music
education at
Florida Atlantic
University. He has
written music and
produced three
record albums,
Mixed Meters for
Minors, Holidays for Minors, and Special
Kind of Songs. He and his wife reside in
Longmont, Colorado and are active in
his church music program, enjoy
camping, and play a variety of sports.
Budd E. Malchus, B.M. 59, M.M. 60, of
Tucson, Arizona, is retired from teach-
ing after 44 years. He plays clarinet in
the Arizona Symphonic Winds, Tucson
Concert Band, the Tucson Clarinet
Quartet. Malchus also plays cornet in
the Old Pueblo British Brass Band and
directs for the Desert Aires Clarinet
Choir. He volunteers to teach Kinder
Klari to young students.
1960s
Leeomia Minnis W. Kelly, B.M. 66, is owner
of Kellys Music, Kellys Records, and
Leeomia W. Kelly Publishing Company.
She is a piano instructor and compos-
er of the album For God Is Holy, has
been a church minister for 22 years,
and has composed several songs for
different organizations, including Zeta
Phi Beta Sorority and the African Meth-
odist Episcopal Church.
Larry L. Adair, B.M. 69, M.B.A. 80, is
actively playing piano and practicing
law in Pompano Beach, Florida.
1970s
Mary Anne Caruana Fleagle, B.M. 70, M.M.
74, is director of worship music and
choir director at First Presbyterian
Church in Avon Park, Florida.
Sharyn Lee Sudduth Byer, B.M. 70, is prin-
cipal ute of Capital City Symphony in
Washington, D.C., and ute instructor
at Columbia Institute of Fine Arts in
Falls Church, Virginia. She is admin-
istrator of the National Symphony
Orchestra Young Soloists Competi-
tion and conductor of the Columbia
Flute Choir, which performed at The
White House in December. Byer will
tour Spain with the International Flute
Orchestra in May 2013 and has toured
in Slovenia, Slovakia, Hungary, Czech
Republic, Russia, Baltic Countries,
Belgium, Netherlands, Poland, Greece,
Chile, China, and Croatia.
Robert Bo Crane, M.M. 71, is president
of Pandisc Music Corporation. He is
producing a new album of BR6 (a jazz
vocal ensemble in Rio de Janeiro) and
recently signed as the North American
afliate of Rotana Publishing Sarl, the
largest music company in the Middle
East. He won Broadcast Music, Inc.s ci-
tation of achievement in 2009 and Gold
and Platinum awards from the Record-
ing Industry Association of America for
his work with Lil Jon, Black Eyed Peas,
Ciara, and Flo-Rida.
Joe Donato, B.M. 71, M.M. 89, is founder
and director of The Miami Jazz Co-
operative. He was inducted into the
Sunshine Jazz Hall of Fame in 2013.
Dean W. Anderson, B.M. 72, is professor
of the percussion
department at
Berklee College
of Music. He is
enjoying his 41st
season as
percussionist
with the Boston
Pops Orchestra,
with a recent tour of Virginia, North
Carolina, South Carolina, Georgia, and
Florida. Anderson also performs with
Boston Lyric Opera and Cantata
Singers of Boston.
Anita Castiglione, B.M. 72, D.M.A. 02, is
an accompanist, coach, and adjunct
professor of music theory at Palm
Beach Atlantic University in West Palm
Beach, where she performed with the
university orchestra and vocalist Lisa
Vroman. She appeared recently at the
Lake Mohonk Arts Festival and the
St. Martha/Yamaha Concert Series in
Miami Shores, Florida. She received
her M.M. from Juilliard.
Leon Edward Dixon, B.M. 72, has been
the top sales person at AXA Advisors
South Florida Branch for the last four
years, landing him in the AXA Advisors
Hall of Fame. Dixon has worked at AXA
Advisors for 36 years.
Corinda M. Carford, B.M. 73, is a backup
singer on Bruce Springsteens latest al-
bum, Wrecking Ball. She has appeared
on multiple Springsteen albums,
including The Rising, The Promise,
and The Essential Springsteen. This
year Carford was a guest on The Daily
Show with Jon Stewart and was recently
deemed by The Hufngton Post as one
of Jon Stewarts greatest feuds.
David Drubin, B.M. 73, resides in both
Florida and Virginia and continues to
perform with major touring celebrities
and jazz performers throughout the
U.S., including Bucky Pizzarelli, Ann
Hampton Callaway, TKs Swing Blue
Revue, John Davidson, Robert Klein,
Stephanie Nakasian, and others. He
appeared in the shows 13 The Musical,
The Wonderful Wizard of Song: The Mu-
sic of Harold Arlen, and the Melodies
and Memories: The Song is You series
at Aventura Arts and Culture Center.
Cathy Ellis, B.M. 73, M.M. 84, is presi-
dent of Ellis Family Music Co., Inc./EFM
Productions. She is currently working
on the music, lyrics, and script for a
new feature lm and musical, Abraham
& Sarah. Ellis also directed and co-pro-
duced the lm. This year she released
two new albums, Born in Miami and
The Diamond. Ellis co-authored a new
book, The Advancing Jazz Pop-Rock
Guitarist, with Frost jazz faculty Donald
Coffman for The Complete Guide for
the Guitar series.
Carey D. Kleiman, B.M. 73, M.M. 75, is a
professor at Broward College and an
adjunct professor at Palm Beach State
College. He teaches music business,
clarinet, and music promotion and
marketing. He has performed and pro-
duced with Ray Charles, Frank Sinatra,
Boyz to Men, Woody Herman, Kathy
Lee Gifford, Tony Bennet, Vic Damone,
the Honolulu Symphony, and Miami
Philharmonic. In the 1980s he formed
his own music production company
and served as the musical and en-
tertainment director for the Diplomat
Hotel. Later he formed CK Entertain-
ment, which specializes in corporate
and meeting entertainment.
Dean T. Barnhard, B.M. 74, M.M. 80, is a
partner in Barnes & Thornburg LLPs
Indianapolis ofce and a member of the
rms Litigation and Intellectual Property
Departments. For the third consecutive
year, he was named in Best Lawyers in
America, a national guide that recog-
nizes top attorneys, in the area of Prod-
uct Liability LitigationDefendants.
Gayle S. Cubberley, B.M. 74, M.M. 75,
has retired from the Miami-Dade
County Public School System after 37
years of teaching instrumental music.
Cubberley will be living in the Florida
Keys and enjoying boating, swimming,
diving, and playing tennis. She will also
continue playing clarinet professionally
and traveling.
Paula Holmes Fleming, B.M. 74, double
bass, has been a member of the
Dallas Symphony since 1979. She also
teaches privately. After graduating
from UM she received her M.M. from
the University of Texas at Austin and
studied at the Academy of Music in
Vienna, Austria. Recently widowed,
she has three daughters.
Elizabeth Marshall Keith, M.M. 74, is a
violinist in the
Southeastern
Pennsylvania
Symphony
Orchestra and
Lansdowne
Symphony in
Pennsylvania.
She was the
conductor of the Delaware Valley
Young Musicians Orchestra and a
guest conductor of Lansdowne
Symphony. Keith is enjoying life as a
retired teacher. In her nal year of
teaching she was nominated for
Disney Teacher of the Year.
Andrea Green Feigenbaum, B.M. 75, is
owner and director of Andrea Green
Music, a publishing company in the
Philadelphia area specializing in
Broadway-style musicals for children.
For 30 years Green has brought
together children from Germantown
Friends School and the HMS School of
Children with Cerebral Palsy. She was
honored with a proclamation by the
City of Philadelphia in March 2013 for
bringing diverse groups of youngsters
together in tolerance-teaching musi-
cals. Green is the associate producer
of the documentary On the Other Side
of the Fence and was nominated for
the Joe Raposo Award by American
Society of Composers, Authors and
Publishers in 2012 and 2013.
Linda Degrassi Swope, M.M. 75, is writing
music for amateur folk harpists for a
project called Folk Harp and Friends
and was commissioned to write a
piece for a harp circle. She also
completed an arrangement of the
hymn Come Away to the Skies. She
is a member of the International Alli-
ance for Women in Music, a freelance
oboist, and recorder player in her
recorder consort, Winds of Time.
John Walter Augenblick, M.M. 76,
D.M.A. 79 (music education and
choral conducting), is associate
professor of music at Florida
International University.
Sally K. Albrecht, M.A. 77, M.M. 79, is
director of
School Choral
and Classroom
Publications for
Alfred Music
Publishing Co.,
Inc., a position
she has held for
23 years. She is
releasing three new larger works for
elementary performance in 2013 and
is enjoying the success of more than
ve commissioned pieces this year.
She has received the American
Society of Composers, Authors and
Publishers Special Award in the eld of
composition since 1987.
Hazan Rav Danny Marmorstein, M.A. 77, is
rabbi/cantor at
Congregation
Ahavat Olam in
Miami, Florida.
He is composer
and choir
director of the
Ahavat Olam
Chorale Society
and songwriter, vocalist, and keyboard
player for Prima Bima Band.
Sarah Neham Salz, B.M. 77, M.M. 80 is
director of the Frost School of Music
Young Musicians Camp. She is also
director of Suzuki Piano School of
South Florida, and was awarded
Suzuki teacher trainer status in 2012.
She is president of Simon Salz
Productions, Inc.
Al Hospers, B.M. 78, is founder of Clever
Sounds Recording, a full service
ProTools-based recording studio in New
Hampshire. Hospers has performed with
various local bands and artists, including
recording artist Tony Sarno and the
Black Mountain Ramblers. He placed
second at the Granite State Blues
Festival, singing and playing acoustic
guitar with his partner Michael
Milwaukee Slim Rouchleau. Hospers
plays in the pit orchestra for local
theatrical productions and regularly
plays bass and acoustic guitar.
Sam Ruttenberg, B.M. 78, designed
HingeStix
practice
drumsticks,
which are now
being produced
by Vic Firth
Company, the
largest drum-
stick maker
in the world. His daughter, Molly,
is now attending the University of
Miami, studying marketing and
international nance.
Kenneth Fuchs, B.M. 79, is enjoying the
release of his latest orchestral music,
recorded by the London Symphony
Orchestra and released by Naxos
American Classics. BBC Music
Magazine stated, Kenneth Fuchs
writes tonal orchestral music of great
imagination...On Naxoss third Fuchs
recording, everything gets ve-star
treatment. The Frost School of Music
recognized Fuchs in 2000 as distin-
guished alumnus of the year.
Steven Rivera, B.M. 79, plays percussion
in Riverhead, NewYork, with two commu-
nity bands, The Shoreham-Wading River
Community Band and the No Doubt
World Famous Monday Night Band. He is
a nancial advisor and branch manager
for Janney Montgomery Scott, LLC.
Tim Smith, B.M. 79, bass, is owner of
Groovehouse
Recording in
Nashville,
Tennessee. He
produces and
performs with
saxophonist Tim
Gordon in the
contemporary
jazz group Mr. Groove, as well as in an
eight-piece horn band called Detroit
Memphis Experience. In 2012 he
produced a debut project for Corey
Cray and country offering from
Richard Page. Smith is a member of
the executive board of Local 257 of the
American Federation of Musicians.
1980s
Eric Roberts, M.M. 80, M.B.A. 81, is a
professional guitarist, bassist, and com-
poser and owner of MusicMagic Pro-
ductions in Colorado. He released an
EP, My Brazilian Heart, and was voted
Class Notes
Best Male Jazz Artist in the 2012 Indie
Music Channel Awards. His composi-
tion Childrens Song won rst place
in the instrumental category of the
2010 Great American Song Contest.
Daniel C. Adams, M.M. 81, is an associ-
ate professor of ne arts at Texas
Southern University in Houston. The
world premiere of his trio composition
Two and One for ute, cello, and piano
was performed at the Livewire Three
Festival at the University of Maryland
in Baltimore in October 2012. Two of
his compositions were performed as
part of the Society of Composers, Inc.
Region VI Conference at West Texas
State University in Canyon, Texas.
Kathleen Leta Deutsch, B.M. 81, J.D. 86, is
a partner in the
law rm of Broad
and Cassel,
where she
specializes in
mergers and
acquisitions,
public and
private offerings
of securities, international business
transactions, and general corporate
transactions. In 2012 she was elected a
regional representative and member
of the executive committee of Lawyers
Associated Worldwide. Deutsch was
also listed in A Guide to Americas
Leading Business Lawyers, published
by USA Chambers and Partners.
Christopher D. Jacks, B.M. 81, is presi-
dent of Audio Reinforcement Technolo-
gies, Inc. More than three of his recent
written works have been released on
iTunes, including Dreadlocks of Love
by Jose OCohen and Homo Erectus
by Boner Hamilton.
Bruce Zimmerman, B.M. 81, is celebrating
his 23rd year as a lm and video
composer. He recently won his fourth
regional Emmy Award for scoring
Jonathan Birds Blue World: Season 3,
an underwater nature program airing
across the United States. Zimmermans
music is often heard on MTV, VH1,
History Channel, Discovery, and
Lifetime. The music library branch of
his company, ZimMusic, places music
cues around the globe. He claims
his greatest production is his son,
Joshua, who is a sophomore at the
Frost School of Music.
Steve Hobbs, M.M. 82, has performed
concerts and in jazz clubs in the U.S.,
Canada, and Europe and has been
a headliner at many jazz festivals
throughout the world. He has done
extensive touring as a leader or side-
man with such players as Tom Harrell,
Art Van Damme, Randy Johnston, John
Stowell, Janice Barnett, and Johnny San
Sone (Jumpin Johnny).
Dawnn J. Lewis, B.M. 82, is president
of Morning Jewel,
Inc. Recently she
co-starred in the
Disney lmLet It
Shine, played a
supporting role in
the award-win-
ning, animated
futuristic sci- lm
Strange Frame, and is the voice of the
title character in the soon-to-be released
lmDino Time! She has a recurring role
as Dr. Knapp on Days of Our Lives and
has guest-starred on CSI: Miami,
Breaking In, and Reed Between the Lines.
Lewis holds leadership positions for the
National Center for Civil and Human
Rights, SAGNational Board of Directors,
and SAG-AFTRA Singers Committee.
Tina Marie Lorusso, M.M. 83, is bandmas-
ter and music director for Celebrity
Cruises and performs as a conduc-
tor, pianist, accompanist, and singer
onboard the companys ships. She is
a recording artist with Grammy-nomi-
nated trumpeter Nate Collinsworth.
Chris Tedesco, B.M. 83, is continuing
his 26-year career as a producer
in Los Angeles. He is a professional
trumpet player, music contractor, and
composer. In October he provided
the 25-piece brass and percussion en-
semble for the arrival of the Endeavour
space shuttle to Los Angeles. His CD,
Living the Dream, peaked at No. 8 on
the Jazz Radio airplay charts. Recent
recording credits include the Green
Lantern cartoon series and Playboy
Club television show.
Rosa Vento, B.M. 83, is an adjunct
professor of voice at New York
University. She teaches private voice
and diction classes.
Steve Bailey, B.M. 84, is chair of the
bass department
at Berklee
College of
Music. He is
co-founder of
Bass Extremes, a
cutting-edge
two-bass group
on the Tone
Center label and is the author of
numerous books and videos on bass
performance. A partial list of his
extensive performance credits include
performing and/or touring with artists
such as Paquito DRivera, Dizzy
Gillespie, James Moody, Lew Tabackin,
Dave Liebman, Claudio Roditi, Michel
Camilo, The Rippingtons, David Benoit,
Kilauea, Jethro Tull, Jon Anderson,
Willie Nelson, Ray Price, Billy Joe
Shaver, Larry Carlton, Emily Remler,
Kitaro, Mel Torme, and Johnny
Witherspoon.
Jo Lynn Burks, M.M. 84, recently toured
with Laura Bell Bundy and Miranda
Lambert, playing keyboard and sing-
ing background vocals.
Ronald Fox, B.M. 84, is a music teacher
at East Islip
Public Schools in
New York and
director of
concert bands
and the award-
winning East
Islip High School
Jazz Ensemble.
Fox also serves as the Suffolk County
Music Educators Association
Instrumental Jazz co-chairman and
All-County Jazz Ensemble co-director.
He is lead trumpet with Funk
Filharmonik, New Millennium Jazz
Band, Swingtime Big Band, and
SCMEA Jazz Repertory Orchestra, and
for the New York run of The Rat Pack Is
Back from Las Vegas.
Andr Raphel Smith, B.M. 84, is the
music director of
Wheeling
Symphony
Orchestra in
West Virginia.
The Wheeling
Symphony
Orchestra has
commissioned
composer Kenneth Fuchs, B.M. 79, to
write a work to celebrate the 150th
anniversary of West Virginia statehood.
Raphel will conduct the world
premiere at a sesquicentennial
concert in June 2013. The orchestra
will also perform the work on its July
tour in cities throughout West Virginia.
Raphel appeared as guest conductor
with Oregon Symphony for an
all-Gershwin program featuring Kevin
Cole and Sylvia McNair.
Lori Peatrowsky Murphy, B.M. 85, is on
the Board of Directors at Education
through Music in New York, where she
is chair of the partnership and commu-
nity committee and a marketing and
public relations committee member.
Her album Lori Murphy Sings! will be
released in fall 2013.
Maria Schneider, 85, recently released
her newest CD, Winter Morning
Walks, with Dawn Upshaw. The Maria
Schneider Orchestra has distin-
guished itself with nine Grammy
nominations and two Grammy awards.
Her albums Concert in the Garden
and Sky Blue won Jazz Album of the
Year by the Jazz Journalists Asso-
ciation and DownBeat Critics Poll.
Schneider has received numerous
commissions and guest conducting
invites, working with more than 85
groups from more than 30 countries
spanning Europe, South America,
Australia, Asia, and North America.
Gina Kreiezmar, B.M. 86, vocalist, is an
understudy for a variety of roles in
Forbidden Broadway! Alive and Kicking
and is working on symphony gigs in
her spare time.
David Ruttenberg, B.M. 86, has been
nominated for a Grammy twice. He is
an American Federation of Musicians
engineer and a Broadcast Music, Inc.
composer. He was a voting member
of the National Academy of Recording
Arts and Sciences and is currently a
member of the Grammy Producers
and Engineers Wing and the Record
Industry Association of America. He
works at Polar Boehme Music, Inc.
Mike Abbott, 87, is a guitarist and
educator in Denver, Colorado. In
2012 he wrote The Guitar and Amp
Sourcebook, published by Harper
Collins, an evolutionary look at the
most groundbreaking guitars and
amps of the 20th century and new
millennium. Abbotts guitar work was
featured on Chie Imaizumis 2010 CD
release, A Time of New Beginnings,
with Randy Brecker, John Clayton, and
Jeff Hamilton.
Lisa Ann Arpino, B.M. 87, is music editor
at MICDI Productions, Inc. and com-
poser and songwriter at L.A. Squared
Music. She is the music editor for
many television shows and movies,
including Justied, The Lying Game,
The Americans, Left to Die, and Hid-
den Moon. She was nominated for a
Golden Reel Award for the ABC Family
movie The Twelve Dates of Christmas,

L
ast year, Score reported on two Frost doctoral students
who won Fulbright Scholarships for cultural exchange and
research in Uruguay and Sweden. This year, Justin Pressman,
B.M. 12, an aspiring orchestral conductor and classical trumpet
artist, was awarded a Fulbright grant to study conducting in
Russia at the Rimsky-Korsakov Saint Petersburg State Conserva-
tory with Leonid Korchmar, principal advisor to Valery Gergiev at
the Mariinsky Theater.
Pressman works every week with Korchmar and a two-piano
ensemble on technical challenges, then rehearses and performs
with a full symphony orchestra. He was drawn to this conser-
vatory because conductors receive an extraordinary amount of
podium time, and their training is based on a technique devel-
oped by Ilya Musin that provides a comprehensive theoretical
understanding of the science of the conducting gesture.
Pressman was introduced to classical music at the age of 10, when his grand-
mother took him to see The Nutcracker. The sheer beauty and power of the full
symphonic orchestra in perfect synchronization with Tchaikovskys lush, romantic
score hypnotized me, Pressman recalls. At intermission, I ran down to gaze into
the orchestra pit. It was love at first sight.
Listening to recordings of Mussorgskys Pictures at an Exhibition and Stravinskys
Petrushka led Pressman to the trumpet, and he eventually became so enamored
with Russian culture that he completed three years of Russian language study in
high school. He then followed up with an intensive language course at the Univer-
sity of Miami. Most of his classes are taught in Russian.
Pressman, who attended more than 100 concerts within the first six months
of his internship, observes the concert-going culture of Saint Petersburg and
administration style of such institutions as the Mariinsky Theater, Mikhailovsky
Theater, and the Saint Petersburg Philharmonic. He explains how the Russian
theater system differs from that of the United States: As a repertory theater, the
Mariinsky has close to 100 opera productions that alternate throughout the season;
there are usually 20 different operas performed each month, along with numerous
ballet and symphonic concerts.
Pressman says that the Mariinsky Theaters music director, Valery Gergiev,
has direct support from President Vladimir Putin and is one of Russias greatest
musical ambassadors. The theater employs three orchestras and a huge roster of
singers, dancers, conductors, directors, and technical staff who work to fulfill what
Korchmar calls a moral obligation to the Saint Petersburg public.
Reflecting on what he will share when he returns to America, Pressman says
hes gained a deep understanding of how Russians vast history, culture, and
folklore have affected not just classical music, but all the arts. Many of the Russian
works I experience here are rarely performed in the United States; I hope through-
out my career to help revive and proliferate these under-performed masterpieces.
Fulbright Scholar Touts
Beauty of Russian Theater
Class Notes
for the Disney Channel movie Avalon
High, and for the FX series Justied.
Ron DiCesare, B.M. 87, is a musician,
recording engineer and producer who
recently produced an electro-swing
jazz album, Swingin at 90, for veteran
pianist Marty Napoleon, best known
for playing with Louis Armstrong in
the 1950s. Nate Bloom, B.M. 86, Anastasia
Barzee, 88, and Tim Hegarty, 86, also
collaborated on the project. In addition
to recording and mixing all the songs,
DiCesare can be heard on drums,
vibraphone, bongos, and Vocoder, as
well as programming and arranging.
Janet Duguay Kirsten, B.M. 87, M.B.A.
89, M.M. 92,
Ph.D. 07, served
as visiting
professor and
coordinator of
music education
at Florida
International
University during
the 2010-2011 academic year. Kirsten
has almost 20 years of experience
teaching vocal, instrumental, and
general music in the Miami-Dade
Public School System. She has taught
at Barry University and Miami Dade
College. She is licensed in several
early childhood music curriculums,
including Musikgarten, Kindermusik,
and Music Together. She plays ute
with the Sunrise Symphonic Pops and
Bravo Musicians and is a Life Member
of the National Flute Association.
Kirsten and her husband live in Miami
with their two daughters.
Michael Mike C. Robinson, B.M. 87,
M.M. 96, D.M.A
98, is an
associate
professor of
music at the
University of
Georgia in
Athens, Georgia,
where he directs
the 440-member Redcoat Marching
Band, conducts the Symphonic Band,
and teaches courses in conducting
and music education. This year
Robinson was awarded tenure and
named the undergraduate coordinator
for the music school.
Christopher H. Scherer, B.M. 87, has
been re-elected president of the
Overland Park Civic Band in Overland
Park, Kansas. He previously served
on the bands board of directors and
has played tenor saxophone and
bass in the group since 2006. Scherer
also plays baritone saxophone in the
American Legion Band of Greater
Kansas City and serves as the events
coordinator. He is the announcer for
the Midwest Winds, a Kansas City-area
wind symphony.
Brian C. Wuttke, B.M. 87, M.M. 07, Ph.D.
11, is director of music education at
George Mason University in Virginia.
Anastasia Barzee,88, has starred on
Broadway in numerous musicals and
plays, including the Tony Award-
winning production of Henry IV Parts
1 and 2 and Urinetown. She has also
appeared in Miss Saigon. Barzee cre-
ated and starred as Josephine in the
West End production of Napoleon. She
has guest-starred on numerous TV
shows, including Law & Order: SVU,
White Collar, Law & Order, and Murder
She Wrote. Among her many regional
credits are The Kennedy Centers
Sondheim Celebration production of
Merrily We Roll Along.
Barry Hartglass, B.M. 88, is an adjunct
lecturer at Hostos Community College
in New York, where he teaches media
design, audio production, and sound
design. He is a producer, composer,
arranger, engineer, and musician at
Barry Hartglass Music Composition
& Production. He plays electric bass
at Hank Lane Music and is a bass
and piano instructor at Guitar Center
Studios in Connecticut.
Katherine Ivanowski, B.M. 88, is a per-
former and educator. She sings and
plays the accordion in the Showstop-
pers Accordion Orchestra in New
Hampshire and teaches private voice,
piano, and accordion lessons.
James (Jim) Schmelzer, B.M. 88, is owner
of Big Note Mobile Instrument Repair
in the greater Atlanta, Georgia area.
He began the business in April 2011
and is now serving nearly 100 schools
with same-day, on-site repair service
of band and orchestra instruments.
Robin Whitener Wilkins, M.M. 88, cur-
rently a graduate student in neurosci-
ence at University North Carolina
Greensboro, received the award for
Outstanding Research Paper at the
International Conference on Network
Science for her work using network
science methods and functional mag-
netic resonance imaging to investigate
the effects of music on the brain. She
has presented her research at Harvard
and Yale Universities and globally.
Pete Masitti, M.M. 89, is a vocalist,
recording artist, music producer,
and composer at Audio Network
and owner of West End Record-
ing Studios in Florida and Chicago.
He serves on the Grammy Board of
Governors South Florida Chapter for
the National Academy of Recording
Arts and Sciences. He has hundreds
of broadcast credits as writer and
producer, including Dancing with the
Stars, Shameless, Reef 2, Live to Dance,
E True Hollywood, Holly Oaks, Toddlers
with Tiaras, Bridezillas, Auction Kings,
Exterminators, Hillbilly Handshin, Lot-
tery Changed My Life, My Big Redneck
Wedding, and 21 .
Andrew Scheps, B.M. 89, won a 2012
Album of the Year Grammy Award
for the album 21 by Adele at the 54th
Annual Grammy Awards on February
12, 2012 in Los Angeles. Scheps has
engineered and mixed for some of the
biggest rock bands in the world:
Metallica, Red Hot Chili Peppers,
Weezer, Audioslave, Linkin Park,
Green Day, and U2. Hes also worked
with icons such as Johnny Cash, Neil
Diamond, and Iggy Pop and indie
artists such as Manu Chao, Duke Spirit,
Cass McCombs, and Blood Red Shoes.
Chris Alden Sharp, M.M. 89, is director
of bands at Polk
State College in
Winter Haven,
Florida, where
his duties
include teaching
music arranging
and technology
and directing the
symphonic band, jazz band, and jazz
combo. Sharp has published more
than 100 works for concert bands and
various chamber ensembles. He is a
freelance arranger, orchestrator, and
commissioned composer whose past
clients include Walt Disney World,
Universal Studios, Ringling Bros. and
Barnum & Bailey Circus, and the
United States Air Force Airmen of Note.
He has received nine consecutive
American Society of Composers,
Authors and Publishers awards for
sales of published music.
Marlene Sotelo, B.M. 89, is a music
therapist, adjunct faculty at Nova
Southeastern University (NSU) who
teaches courses in autism and applied
behavior analysis, and director of
education and training at the Broward
County Satellite Ofce of the UM-NSU
Center for Autism and Related Disabili-
ties. She sings in several local bands,
performing at private parties and
corporate functions. She holds an M.S.
in diagonostic teaching from Florida
International University and a doctorate
in special education from NSU.
1990s
Francine M. Accardi Andersen, B.M. 90, is
the chief of arts education at Miami-
Dade County Department of Cultural
Affairs. She won the 2012 IMPACT
Award, presented by Parent to Parent
of Miami, which honors individuals in
the Miami-Dade community who are
dedicated to improving and promot-
ing initiatives that benet children and
adults with disabilities. A proud wife,
mother, and classically trained autist,
Andersen enjoys ber arts, photogra-
phy, creative writing, and culinary arts.
Cheong Kyle Leong Chuah, M.M. 90,
D.M.A. 94, is director of music technol-
ogy and professor of music at Los
Medanos College in Pittsburg, Califor-
nia. A composer, Chuah is also actively
engaged in local and international
real estate sales and investments and
oversees a medical practice in the San
Francisco Bay Area.
Alfred De La Rosa, 90, is busy found-
ing and directing Miami Arts Charter
School, which will open a new campus
in 2014.
Chris DeRosa, B.M. 90, released his
sixth CD,
Shadows. He was
featured in
Roland Rubys
short lm Damn
You Roland Ruby!
and has been
performing live
with Electrik
Buddha, FlyinFisch, KTQ, Nishi Rajan,
Renee Ruth, Rob Decoup, Dionysus,
Roland Ruby, Monksh, and Exotic
Robotz. He recorded drum tracks for
Renee Ruths new CD, Spirals, as well
as several tracks for Exotic Robotzs
new release at CDR Studios, produced
by J Chris Grifn. DeRosa is included
on Tom Humberts newest CD, Closer
to the Heart of God. He has recorded
sessions for the television show 30
Rock and worked with Cee Lo Green
and Michael McDonald on various
recording sessions.
James Dorgan, B.M. 90, is vice president
of business and legal affairs for Los
Angeles-based Telepictures Produc-
tions, a Warner Bros. Company that
creates original themes, underscore,
and songs for television series includ-
ing The Ellen DeGeneres Show, The
Bachelor, TMZ, Extra, Anderson, and
MTVs Americas Best Dance Crew.
After UM, Dorgan graduated from
Whittier Law School and held positions
at Famous Music and Capitol Records.
Ronald Dziubla, B.M. 90, is an in-demand
saxophonist in
the Los Angeles
area and teaches
at Musicians
Institute in
Hollywood,
where he was
named All-MI
core supervisor
in August 2012. In the past year he has
played with Duane Eddy, Waddy
Wachtel, and The Mannish Boys, as
well as The Crystal Method with
Martha Reeves. He is currently artist in
residence at Sonoma State University
under director of jazz studies Doug
Leibinger, B.M. 90, M.M. 02, D.M.A 05,
and is recording on new CDs for
Robert Cray, John Hiatt, and Beth Hart.
His latest CD as bandleader, Nasty
Habit, was released in January 2013
(Ripcat Records).
Alyse Korn, B.M. 90, is a pianist, com-
poser, and teacher. She is founder
and teacher at Suzuki Piano School of
Santa Clarita in California. She is fea-
tured on piano and keyboards on The
Light of the Sixth Sun, a new instrumen-
tal Latin-jazz CD by Waldo Valenzuela.
She teaches for the City of Santa
Clarita seasonal programs and is on
faculty at Southern California Suzuki
Chamber Music Institute at Scripps
College. Korn is community outreach
state chair for the Music Teachers
Association of California.
Michael P. Lazarus, B.M. 90, is founder
and president of Latin Pulse Music,
Inc., a vertically integrated musi-
cal services company exclusively
focused on the development, sales,
and promotion of Latin, Hispanic, and
Spanish language musical content. The
company is a media partner for the
Billboard Latin Music Conference and
Awards. This past year Lazarus has
had multiple music licensing and cata-
log placements and mastering credits.
Laura McMullen Winters, B.M. 90, is a
music teacher at All Saints Catholic
School in Jupiter, Florida. She plays
bassoon in the Palm Beach Opera Or-
chestra and is principal bassoon and
plays saxophone in the Palm Beach
Pops.
Mladen Milicevic, D.M.A. 91, is a profes-
sor at Loyola Marymount University,
where he is the chair of the recording
arts department.
Michiko Otaki, D.M.A. 91, pianist, has
performed and recorded with the
Graffe String Quartet, Kodaly Quartet,
Swiss Wind Quintet, Jose White
Quartet, and Martinu Quartet, and with
violist Roger Chase. She has per-
formed at venues including Washing-
tons National Gallery, Carnegie Halls
Weill Recital Hall, Clevelands Museum
of Art, and the Chamber Music Hall
of the Warsaw Philharmonic. She has
been featured at Festival Miami, the
Da Camera Society of Los Angeles,
the Chicago Chamber Music Society,
Princeton University, the Harvard Musi-
cal Association, and BIG Arts.
Joe Ciresi, B.M. 92, is director of adver-
tising sales at the Kimmel Center for
the Performing Arts in Philadelphia,
Pennsylvania. He also is president of
the Spring-Ford Area School Board
and has set up cultural exchange pro-
grams for students between Limerick,
Pennsylvania and Limerick, Ireland.
Corbin (Brett) Abernathy, B.M. 93, is a
faculty member
at the Walnut
Street Theatre in
Philadelphia and
an independent
teaching artist
with a private
vocal and acting
studio. He
presented a workshop at the Minuetto
Music Festival with The Continuo Arts
Foundation under the direction of
fellow Frost Music School alumna
Candace Wicke, M.M. 92. Abernathy has
recorded voice-over and industrial
work for NBC-Universal, the Food and
Drug Administration, Potomac River
Partners, and Medavante, Inc.
Jennifer Lee Ladkani Fryns, B.M. 93, is
the associate dean of liberal arts and
sciences at the College of Central
Class Notes
Florida. She is a member of the Florida
Higher Education Arts Network.
Gerhard Guter, B.M. 93, is a freelance
musician in Southern California. He is
the producer, editor, arranger, vocalist,
and trumpeter for a newly released
CD, Vocalogy: Relled. Guter is also
working on a Scott Joplin tribute album
where he is both pianist and arranger
and a series of little big band arrange-
ments for Walrus Music Publishing.
Scott Innis, B.M. 93, is celebrating 19
years with The Walt Disney Company.
He is the production team leader for
Disney Event Group in Orlando, where
he produces convention entertain-
ment at Walt Disney World. He played
in multiple seasonal Disney bands
before moving into entertainment
show development. He is a member of
the Tapestry Brass Quintet and an avid
endurance athlete. He has completed
16 marathons and the Ironman World
Championships in Hawaii.
Marko Marcinko, B.M. 93, is an adjunct
professor of jazz
studies at The
Pennsylvania
State University
and artistic
director for The
Pennsylvania
Jazz Alliance and
The Scranton
Jazz Festival. Marcinko is touring and
recording with NEA jazz master Dave
Liebman and the Organik Vibe Trio
featuring Dave Samuels. He is an
endorser for Zildjian Cymbals, Vic
Firth Sticks, Aquarian Heads, and
Yamaha Drums.
Jorge Saade-Scaff, B.M. 93, violist, is
Guayaquil cultural director from the
Ministry of Culture of Ecuador and
honorary consul of the Kingdom of
Belgium, Guayaquil, Ecuador. He is
a 2013 candidate for the doctoral
degree program at the Instituto Su-
perior de Artes ISA in Cuba. In 2012
he performed as a guest soloist with
the Qatar Philharmonic Orchestra, Vac
Symphony Orchestra, and Guayaquil
Symphony Orchestra.
Brett Simons, B.M. 93, is a bassist and
producer. He performed at the 54th
Annual Grammy Awards with The
Beach Boys and worked on their new
record, Thats Why God Made the
Radio. Simons is also a member of
Melissa Etheridges band, playing on
her latest studio album, 4th Street Feel-
ing. His band, The Stripminers, will be
releasing its third album in 2013.
Andrea R. Chaussee Johnson, M.M. 95, is
assistant
professor of
music business
and manage-
ment at Berklee
College of Music.
She recently
interviewed
Gloria Estefan at
Berklees Teachers on Teaching
Seminar and lectured on entrepre-
neurship at the March International
du Disque et de lEdition Musicale
(MIDEM) Conference in France.
Stephen K. Rivero, B.M. 95, is director
of bands at Flanagan High School
in Pembroke Pines, Florida. He was
recently awarded the Oliver Hobbs
Award for superior band performanc-
es and service to music education. Un-
der his leadership the Flanagan Wind
Orchestra has won several awards,
including the 2012 National Champion
title at the Grand National Adjudicators
Invitational. Rivero is a member of the
Florida National Guard and has been
with the Army Band for 27 years. As a
representative for the Army Bands Ad-
visory Council, he provides technical
assistance to Army Bands nationwide.
Jason Sutter, M.M. 95, is the drummer
for Marilyn Manson and currently on a
world tour. He recorded on Mansons
current Grammy-nominated record,
Born Villain. In the last year he has
been featured in multiple magazines,
including, DRUM!, Revolver, Modern
Drummer, Rhythm (United Kingdom),
and Perkusista (Poland). Sutter travelled
the world with the New York Dolls, For-
eigner, Vertical Horizon, Chris Cornell,
Smashmouth, and American Hi-Fi prior
to touring with Manson.
Michael Babcock, B.M. 96, is a supervising
lm sound
designer and
re-recording
mixer based at
Warner Brothers
Studios in
Burbank,
California. He
has recently
completed work on lms The Host,
This Is the End, and Turbo. He was on
the Academy Award-winning sound
teams of The Dark Knight and Inception
and the Academy Award-nominated
crews of Transformers, There Will Be
Blood, and War of the Worlds. His
recent work includes Thor, Dolphin
Tale, Underworld: Awakening, and The
Dark Knight Rises. Babcock played on
various lm and television scores as a
saxophonist, utist, and clarinetist.
Erik B. Christiansen, B.A. 96, released a
new book titled Channeling the Past:
Politicizing History in Postwar America.
He is assistant professor of history at
Rhode Island College.
Julio Cesar Garcia, B.M. 96, is an educa-
tor, professional musician, composer,
and doctoral student at Grand Canyon
University in Phoenix, Arizona. He is
on faculty at the University of Phoenix
and Trinidad State Junior College.
During his 17 years as an educator he
has taught many subjects and tutored
in math, Spanish, and reading. He has
self-released three CDs of original
music and was nominated as best solo/
duo pop music in 2005 and 2006 by the
Pikes Peak Arts Council. Garcia is mar-
ried and a proud father to four children.
Eric C. Hughes, M.M. 96, lives in Austin,
Texas, where he plays drums for
Americana singer-songwriter Jesse
Dayton, The Allen Oldies Band, and
many others. His playing is endorsed
by Sabian Cymbals and Humes &
Berg Manufacturing Co. Hughes has
conducted and video recorded more
than 60 oral history interviews with a
wide range of music legends for the
Percussive Arts Society (PAS) and Na-
tional Association of Music Merchants
(NAMM), and he is a member of the
PAS Drum Set Committee.
Cheri Rose Katz, B.M. 96, has extensive
opera experi-
ence. She resides
in Germany and
is known for her
roles at the
Deutsche Oper
Berlin, where she
has performed
more than 100
times. Additional appearances include
the world-premiere of Anton Coppolas
La Coupe et les lvres and roles in
Ernani, Die Walkre, Aida, Carmen,
Cavalleria Rusticana, and Don Carlo.
Katz is an international prizewinner of
various competitions, a ve-time grant
recipient from the Gerda Lissner
Foundation, and a winner of the
Altamura/Caruso International Voice
Competition.
TWO ALUMNI OF THE Instrumental Conducting
Program at Frost earned prestigious conducting appoint-
ments with major performing arts institutions
this season.
After serving as assistant conductor of Te
Philadelphia Orchestra for a year, Cristian
Mcelaru, B.M. 03, was named associate
conductor, describing the promotion as an
incredible endorsement
coming from one of the nest
orchestras in the world. Other
recent accolades include the
2012 Sir Georg Solti Emerging
Conductor Award and his Chicago
Symphony subscription debut as a
replacement for Pierre Boulez.
Mcelaru views the role of a
conductor as the facilitator for every
member of an orchestra to perform
their best, in a unied interpretation,
and at the same time being the inspiration that drives the
performance in the right direction.
Born in Romania, Mcelaru rst played the violin.
He became intrigued with conducting while studying at
the Frost School.
I felt limited as a violinist, he explains. Te vast
symphonic repertoire is of so much more interest to me
than the violin solo works. And I wanted to be the one
creating an interpretation that justies the composers
wishes, helping both musicians and audiences alike gain
insight into a specic style or work.
Mcelaru was previously a conducting fellow at
Tanglewood Music Center and Aspen Music Festival
and served as assistant conductor at Dallas Opera. He
made his Houston Grand Opera debut in 2010-11.
Zoe Zeniodi, D.M.A 10, A.D. 11, was named as-
sistant conductor for the Florida Grand Opera at the
start of the 2012-2013 season. Conducting openings at
opera companies are rare; there were 80 applicants for
this position, and 15 were invited to audition.
It was a tough and demanding audition that in-
cluded conducting, playing piano, singing all the parts,
and sight-reading
excerpts from three
dierent operas,
explains Zeniodi,
who is originally
from Greece. She is
also music direc-
tor of the Broward
Symphony Orchestra and an accomplished solo and col-
laborative pianist who enjoys premiering and performing
new works. Te transition to conducting opera was a
logical one.
Working with voices and text is something very
natural for me, something I did for years already as a
pianist, she says, describing the conductor as the closest
medium between the composer and the orchestra, and
furthermore, between the composer and the audience.
It is an almost monastic life, and it should always be
approached with utmost respect for the works of those
composers who left beautiful legacies.
Both M acelaru and Zeniodi studied conducting
with Director of Orchestral Studies Tomas Sleeper,
who reects, Cristian and Zoe are driven by a powerful
work ethic. Both came to UM as exceptionally well-
trained musicians, musically mature beyond their years.
Teir genuine internal beliefs and passions, not external
acknowledgement, is what makes their performances
honest. An audience cannot always articulate this but can
sense a deep and penetrating musical experience, which
lasts well beyond the echoes of the last note.
Alumni Spotlight
Podium Prowess Yields
Distinguished Appointments
CONDUCTORS
M
ACELARU AND
ZENIODI UNITE
THE COMPOSER
WITH BOTH
ORCHESTRA AND
AUDIENCE.
Zoe Zeniodi
Cristian M acelaru
Class Notes
Cynthia A. Kohanek, B.M. 96, teaches
general music at
Pinecrest
Elementary
School in Miami,
where she was
presented with a
Proclamation from
the Village of
Pinecrest,
designating December 13 as Cynthia
Kohanek Day for her dedication to music
education and community. She is also a
conductor for the Miami Childrens
Chorus and an adjunct professor at
Florida International University. She is
vice president of the Dade-County
Music Educators Association.
Sandra Lopez, B.M. 96, A.D. 98, is
currently on tour with Opera Eclate
throughout France as Cio-Cio San
in Madama Buttery, 2013. She has
starred in other operas, including
Opera de Fribour, La Boheme, and Don
Carlos. She is the 2010 Frost School of
Music Distinguished Alumna.
Angelo Marchese, B.M. 96, vocal per-
formance, had his debut in Madrid at
the Ateneo de Madrid and performed
in the prestigious summer program
Musica en Compostela in Santiago de
Compostela, Spain.
Sandra M. Schwartz, B.M. 96, M.M. 98,
Ph.D. 06, was promoted to associate
professor of music education with ten-
ure and is coordinator of undergradu-
ate advising at West Virginia University.
Olivia Warren McKinsey, B.M. 97, is vice
president of digital and media at The
Partnership, an advertising agency in
Atlanta, Georgia.
David Thorne Scott, M.M. 97, is an as-
sociate professor at Berklee College of
Music and director of the voice depart-
ment at Vocal Summit summer camp.
In 2012 he released his album Hopeful
Romantic. His new album, Relled,
includes the vocal jazz quintet Vocalogy
featuring Christine Helferich Guter, M.M.
97, and Gerhard Guter, B.M. 98.
Xiaojun (Ronnie) Zong, M.M. 97, is assistant
director of the
Shanghai
Philharmonic
Orchestra and
founder and
program director
of the arts
management
program at the
Central Conservatory of Music in
Beijing. He has held management
roles, including chief producer and
assistant president, for many local
artists and arts organizations in China.
Kendra Preston Leonard, M.M. 98, is an
active musicologist, with published
articles and research presentations at
the 2012 Society for American Music
Conference, 2012 South Central So-
ciety for Eighteenth-Century Studies
Conference, and the 2011 American
Shakespeare Center Blackfriars
Conference, to name a few. She was
recently appointed to the Membership
and Professional Development com-
mittee of the American Musicologi-
cal Society and serves as managing
editor of the Journal of Music History
Pedagogy.
Rachel Hogeboom Reynolds, B.M. 98, is
principal of the Dominion School for
Autism in Richmond, Virginia, and
executive director of CJs Thumbs Up
Foundation, which she and her hus-
band Roger Reynolds, B.M. 91, M.M. 96,
founded after experiencing the tragic
death of their 4-year-old daughter to
a brain tumor in 2010. The nonprot
provides assistance through nancial
grants and meals to families of chil-
dren with chronic and life-threatening
illnesses. In 2012 Reynolds published
a memoir, Four Seasons for Charlotte:
A parents year with pediatric cancer
(Palari Publishing). She was awarded
an Eagle Rare Award for Courage by
Richmonds Style Weekly in the Top 40
Under 40 category.
Bobb Robinson, M.M. 98, baritone, is the
director of opera
at University of
North Carolina at
Chapel Hill. He
previously taught
at Jacksonville
University and
Stetson Univer-
sity. He was a
guest artist on the Clearnote album
Liebestreu: Lieder of Johannes Brahms.
Michael B. Walsh, B.M. 98, M.M. 00, is
assistant professor of clarinet at South
Dakota State University. He recently
performed at The National Association
of CollegeWind and Percussion Instruc-
tors national conference in San Diego.
Walsh recorded Dreams Sonatina
for clarinet and piano by Brian Balmages,
M.M. 00. He was elected vice president
of the National Association of College
Wind and Percussion Instructors.
Krzysztof Dutkiewicz, B.M. 99, M.M. 01,
is currently a teacher of violin and
founder and member of The Kolberg
Quartet at the Oskar Kolberg State
Music School in Radom, Poland.
David J. Finch, B.M. 99, is a humorist,
public speaker, and author of the New
York Times best-selling memoir The
Journal of Best Practices: A Memoir of
Marriage, Asperger Syndrome, and
One Mans Quest to Be a Better Hus-
band (Scribner).
Keith A. Kramer, D.M.A. 99, is an
assistant professor at Central Con-
necticut State University. Recent
performances of his work include the
all-Kramer programs at New Yorks
Merkin Hall in 2006 and 2010. His
latest releases include albums of his
compositions as heard on Causal Dual-
ism (Navona) and Emerge (Navona).
Both albums include performances by
the Slovak National Symphony Orches-
tra and the Moravian Philharmonic
Orchestra. Upcoming releases include
audio and video versions of Beyond
Sonic Boundaries Live!, documenting
the Merkin Hall performances.
Douglas Mead, B.M. 99, D.M.A. 04, is
dean of the School of Health Sciences
at Owens State Community College in
Toledo, Ohio. Mead is the Northwest
Regional Chair for the Ohio Music
Educators Association.
2000s
Gabe Dixon, B.M. 00, is the lead singer
and keyboard player of the Gabe
Dixon band, where he performs with
Winston Harrison, B.M. 99, Jano Rix, B.M.
99, and Chandler Webber, B.M. 00. They
released their debut album, On a Roll-
ing Ball in 2002. The band is currently
touring around the U.S.
Joshua J. Desrochers, B.M. 00, is a music
educator at Goffstown High School in
New Hampshire. In 2012, he received
his M.M. in music education from the
University of Massachusetts Amherst.
Desrochers is in demand as an adju-
dicator and honor choir conductor.
He received the 2011 New Hampshire
Excellence in Education award as a
music educator of the year.
Lissette Gonzalez, B.A. 00, has served
as the weekday morning and noon
meteorologist for CBS4 news in Miami
since 2007. She has been featured
in several publications in Miami, and
her weathercast recently received a
Florida Award of Excellence from the
Society of Professional Journalists.
Gonzalez has starred as Maria in
the Off-Broadway hit 4 Guys Named
Jose and Una Mujer Named Maria in
New York and Miami, and was nomi-
nated for the prestigious Carbonell
Award. She also performed the Star
Spangled Banner and God Bless
America at the Heat, Marlins, and Dol-
phins games and at the Sony Ericsson
tennis tournament.
Brad Russell, M.M. 00, is freelancing in
New York City and playing bass for
Broadway musicals Jersey Boys, Rock
of Ages, and Memphis. He released a
solo album, Lets Hear It!, on Steve Vais
Digital Nations label and will be tour-
ing this winter with rock guitarist Gary
Hoey. He is endorsed by Warwick
Basses, La Bella strings, and Kahler
Tremolos.
Keith Daniel Washo, M.A. 00, is a song-
writer and keyboardist. He composes
new songs with San Francisco Bay-area
vocalists and publishes and sells his
music online. He recently performed at
World Youth Day in Madrid, Spain, with
recording artist Elizabeth Campisi.
Steve Aho, M.M. 01, is a self-employed
freelance
musician and a
studio and
touring musician
living in Los
Angeles. Aho
works as a drum-
mer, multi-instru-
mentalist, and
producer/arranger. Recent credits
include Jason Mraz, David Foster,
Andrea Bocelli, Steve Martin, Edie
Brickell, Paramore, Graham Nash,
Kenny Loggins, Katherine McPhee,
Stevie Nicks, Cobra Starship, Chris
Isaak, Lyle Lovett, Michelle Branch, Boz
Skaggs, Reba McEntire, and Natalie
Cole. He performed with Adele at the
Academy Awards in 2013.
Carlomagno Araya, B.M. 01, M.M. 08,
recently performed as a guest soloist
with the Costa Rican National Sympho-
ny Orchestra featuring the Araya Orta
Latin Jazz Quartet and Ernie Watts. In
the last year Araya has done session
work with Gary Burton, performed
with Randy Brecker, and produced
an album for singer Valeria Proano, B.A.
02, that included guest artists Dave
Samuels, Diego Urcola, Nestor Torres,
Ed Calle, and Federico Britos. Araya
is working on an album with the Araya
Orta Latin Jazz Quartet.
Aaron Lebos, B.M. 01, released his new
album, Aaron
Lebos Reality,
which encom-
passes a
high-energy
blend of jazz,
funk, rock, R&B,
Latin and world
music. He
performs throughout South Florida at
venues such as Tobacco Road.
Scott Opiela, B.A. 01, has composed
the scores of three independent short
lms, Planeta Desconocida, Patch, and
No Future and is the music supervisor
for the new Internet TV series Clar-
issas World. He also performs with lo-
cal bands Sigmund Floyd (a Pink Floyd
tribute band) and Predator, works as
extra in television shows (Burn Notice,
Bones, Americas Most Wanted), and
had a featured role in the Warner Bros.
lm Rock of Ages, performing as the
lead guitarist with Porcelain Black in
the Venice Beach Band. Opiela also
teaches guitar, bass, and piano pri-
vately, as well as through
TakeLessons.com.
Julia Rolwing, D.M.A, 01 is an adjunct
professor of
voice at
Montclair State
University in New
Jersey. She
debuted the title
role of Tosca for
Abilene Opera in
March 2012 and
was a featured guest artist for Delta
Omicron International Music Frater-
nitys annual convention in Lexington,
Kentucky. Rolwing debuted as Senta in
Wagners Der Fliegende Hollnder in
September 2012 with Opera Roanoke
in Virginia. She is a member of Opera
America, National Association of
Teachers of Singing, Phi Kappa Phi,
Delta Omicron, Pi Kappa Lambda, and
The VoiceCare Network. She is a
recipient of an artist grant from the
Joyce Dutka Arts Foundation.
Megan Strawn, B.M. 01, graduated in
December 2012 with an Associate of
Science in Court and Realtime Report-
ing from Prince Institute Rocky Moun-
tains, where she was named student of
the year. She is a deposition reporter
for Coffman Reporting & Litigation
Support in Denver, Colorado, and a
professional member of the National
Court Reporters Association.
Benjamin Rosner, B.M. 02, has served
as the cantor of Congregation Beth
Shalom in Pittsburgh, Pennsylvania for
more than two years.
Andrew Synowiec, B.M. 02, M.M. 04, is
a session guitarist in Los Angeles. He
recently recorded albums for Michael
Bubl, Alejandro Sanz, and Gordon
Goodwins Big Phat Band. Synowiec
has performed with the Los Angeles
Philharmonic, Pasadena Pops, and
Glendale Pops Orchestras and has
recorded motion picture soundtracks
such as Mission Impossible IV, Crazy
Stupid Love, Trouble with the Curve, A
Good Day to Die Hard, The Internship,
and Oblivion.
Jesse Fishman, B.M. 03, is a senior
audiovisual systems designer for
Westlake Reed Leskosky, where he
designs systems for performing arts
centers in Pennsylvania, Ohio, Arizona,
Minnesota, New York, Taiwan, Beijing,
and Shanghai.
Kier Lehman, B.M. 03, is vice president
of Music Creative at Sony Pictures
Entertainment. Recent projects include
Ghost Rider 2, 21 Jump Street, The
Raid, Sparkle, Captain Phillips, and
One Direction Concert Movie. Lehman
received the Guild of Music Supervi-
sors award for best lm studio music
department.
Jennifer Rose Miller, B.M. 03, is magnet
music director for South Miami Senior
High School of the Arts and clinical
supervising teacher for interns at
the Frost School of Music. She has
performed professionally as a featured
percussion soloist with Miami Wind
Symphony, Greater Miami Symphonic
Band, and Miami Percussion En-
semble. She is currently the only high
school band director in Miami-Dade
County with national board for profes-
sional teaching standards certication.
Scott Kevin Routenberg, M.M. 03, M.M.
05, D.M.A. 08, is
assistant
professor of jazz
piano at Ball
State University
and was an
arranger for
Metropole
Orkests
Class Notes
Tweetphony event. He was commis-
sioned to write two arrangements for
Metropole Orkests Homage to Michel
Legrand concert, multiple arrange-
ments for a symphonic pops program
conducted by Michael Krajewski
featuring Tiempo Libre, and a big
band arrangement of harmonica artist
Howard Levys composition Chorinho.
Routenberg also received a 2012 Plus
Award from ASCAP.
Luis Zuiga Sa, B.M. 03, saxophone, is
teaching at Denver School of the Arts
as a resident artist, and at the Univer-
sity of Colorado as a visiting research
scholar. He recently played with the
Colorado Symphony Orchestra and
Ars Nova Singers. He received a
masters degree from the University of
California, Los Angeles in 2005 and a
doctoral degree from the University of
Colorado in 2011.
Armen Shaomian, M.M. 03, D.M.A. 08, is
assistant professor of sport and enter-
tainment management at the University
of South Carolina. He is a consultant
to Miami-Dade County Department
of Cultural Affairs and serves on the
board of the Miami Civic Music As-
sociation, which holds an annual piano
gala fundraiser to benet Frost School
of Music scholarships. He presented
research on the use of laptops in the
classroom at the Music and Entertain-
ment Industry Educators Association
conference in March 2013.
Douglas Fonseca, M.M. 04, resides in
Brazil and is a
music producer
at www.voicez.
com.br, where
he has com-
posed and
produced music
for more than
400 television
advertisements. In 2012 he received a
prize for best soundtrack for the short
lm 5 Horas Rumo Norte at the Canoa
Film Festival. He writes arrangements
for Jazz Sinfonica, a Brazilian orchestra,
and teaches arrangement at Souza
Lima/Berklee College of Music.
Sarah Elizabeth Foster, B.M. 04, recently
released Take Me for a Ride with Youth-
quake Records, a label she founded.
She is a member of American Society
of Composers, Authors and Publishers;
Women in Music; Association of Inde-
pendent Music Publishers; National
Association of Recording Arts and
Sciences; and the Grammy Organiza-
tion; and is a vopting member of the
National Association of Recording
Industry Professionals.
David Kassler, D.M.A. 04, euphonium,
performed on a guest artist recital
at the University of Brazil with pianist
Giulio Draghi, D.M.A. 05, where Kasslers
original composition for voice and
piano, Heartland Songs, also received a
world premiere performance. He per-
formed as a guest artist at a Midwest
conference of the International Tuba
Euphonium Association.
Marina Radiushina, M.M. 04, pianist,
will be on tour
in 2013 and
perform
Stravinskys Les
noces with the
Mariinsky
Theatre
Symphony
Orchestra
conducted by Valery Gergiev. She has
performed at the Great Hall of Moscow
Conservatory, the Mariinsky Theatre in
Saint Petersburg, Russia under Tugan
Sokhiev, and the Theatre des Champs-
Elysees, Paris, France.
Ryoji Yamaguchi, B.M. 04, M.M. 07,
classical guitar, has been collaborat-
ing with internationally acclaimed
shamisen player Kijiji, bandoneonist
Yukie Kawanami, Noh theater expert
Reijiro Tsumura, contest-winning ac-
cordionist Coba, and reggae guitarist
Earl Chinna Smith (from Bob Marley
& the Wailers).Yamaguchi appeared in
Festival Lent in Slovenia, the Air Jamaica
Jazz & Blues Festival in Jamaica, and the
Hatsume Festival in Florida. In 2012 he
appeared on the CD Shima and com-
posed music for the play M. Yukio.
Karyne Bury, B.M. 05, is the owner and
piano instructor of Major Scale Music
Lessons, LLC in Miami.
Mark Denis, M.M. 05, is an independent
composer in Los
Angeles. He has
composed and
licensed music
and sound
designed for Iron
Man 3, The Lone
Ranger, Zero
Dark Thirty, and
Argo theatrical advertising campaigns.
Denis is excited to be working with
fellow UM Frost graduates Veigar
Margeirisson, B.M. 97, M.M. 98, and
Randy Gist, M.M. 12, as part of Pitch
Hammer Music.
Tyler Kuebler, D.M.A. 05, is music
director for United States Air Force
Band Airmen of Note. He is an adjunct
associate professor of jazz saxophone
at Shenandoah Conservatory and
George Mason University in Fairfax,
Virginia. He released his latest album,
Compositions, with the USAF Airmen
of Note and was announced non-com-
missioned ofcer of the year for the
United States Air Force Band.
Nancy Luzko, D.M.A 05, originally from
Paraguay, is performing as a pianist
and composing music, including the
new ballet work Pas de Deux Para-
guayo, premiered this year by Ballet
Municipal of Asuncion in Paraguay,
and Madame Lynch, premiered by
the same company in 2010. Her piece
Dancers Making Dances was choreo-
graphed by Ian Poulis, dancer and
choreographer for the Kansas City
Ballet, and premiered in February.
She will perform a duo concert with
her brother and musical collaborator
Daniel Luzko at the Kimmel Center in
Philadelphia in May.
Kristi Rostad Shade, B.M. 05, is a
freelance harpist
in New York City,
principal harpist
with the Chamber
Orchestra of New
York, and on
Harp Faculty at
the Manhattan
School of Music,
Precollege Division. She is a member
of Duo Scorpio, a harp duo that aims to
expand harp duo repertoire through
commissions; a recent commission by
composer Robert Paterson, Scorpion
Tales, was premiered at the American
Harp Society Convention in New York in
July 2012. It was also included in Duo
Scorpios debut album, Scorpion Tales,
also released in 2012.
Claire Courchene, B.M. 06, is creative
partner at Stereographic Entertainment,
where she is writing and producing
cues and songs for commercials and
trailers. Courchene has toured with
Josh Groban, Rhye, and Macy Gray
and performed on television for Glee,
American Idol, and The Voice. She
recorded on the latest album for
Quadron on Polydor records.
Steve Danyew, B.M. 06, is an editor of
the music website Polyphonic.org. His
works for chamber ensembles, wind
ensembles, and choral ensembles are
found on concert programs throughout
the United States and abroad. Recent
commissions include a wind ensem-
ble consortium piece for winds and
lm, a work for the Bethel College
Concert Choir, a wind ensemble work
for Tabor College, and a work for the
Tennessee All-State Band.
Sarah Pachter Freudenberger, B.M. 06, is
cantorial associate at Congregation
Bnai Israel in Boca Raton, Florida.
She is married to Peter Freudenberger,
B.M. 08, and a proud mother of their
daughter, Aria, born June 22, 2011.
Marie-Elaine Gagnon, D.M.A. 06, is an
assistant professor of cello at the Uni-
versity of South Dakota, where she has
played in the Rawlins Piano Trio since
2009. Recent international tours have
included Taiwan and Panama. She has
won numerous music competitions in
Canada and the United States, and as
a member of the Ibis Camerata she
has performed at the White Nights
Festival in Russia and in Serbia and
Switzerland.
Joshua A. Henry, B.M. 06, is currently
playing the role of Jake in the produc-
tion of The Gershwins Porgy and Bess,
which won a 2012 Tony for Best Revival
of a Musical.
Bruce Kiesling, D.M.A. 06, is director
of the Tulare
County Sym-
phony in
California. He
conducted the
Youth Orchestra
Los Angeles at
the Hollywood
Bowl in August
2012 for an audience of 14,000 as they
accompanied Latin superstar Juanes,
featuring Kieslings own arrangements
of Juaness hit songs. Kiesling also
prepared the youth orchestra for a joint
performance and open rehearsal with
Simon Rattle for the L.A. Phils Youth
Orchestra Festival Day, May 2012. He is
as a composer for feature lms
including Desperate Acts of Magic
(Gold Cap Films, 2012) and Desires of
the Heart (DOTH Entertainment,
planned release 2013).
Kelly A. Parkes, Ph.D. 06, is an associate
professor at Virginia Tech, where she
teaches graduate level music educa-
tion class, mentors students com-
pleting internships, and supervises
interns. She won Virginia Techs 2012
University Exemplary Program Award
for effectively integrating ePortfolios to
improve student learning.
David Ragsdale, D.M.A. 06, is associate
professor of
music and
director of bands
at the University
of Alabama in
Huntsville. He
conducts the
Huntsville Youth
Orchestra and
Huntsville Chamber Winds, and has
several guest-conducting engage-
ments in the Southeast, including the
2012 Alabama All-State Band.
Cara Samantha Scherker, B.A. 06 is a
singer and songwriter. Her pop/
soul album of original music Out the
Door (EP) was released under her
stage name Cara Samantha on iTunes
in 2012. She was a contestant on
American Idol Season 12, where she
received a golden ticket from Mariah
Carey, Keith Urban, Nicki Minaj, and
Randy Jackson.
Matthew White, MM 06, D.M.A. 11, is
assistant professor of trumpet and
coordinator of jazz ensembles at
Coastal Carolina University. In 2012
he began touring and recording with
the country band, The Mavericks,
as part of their Reunion Tour. White
has been a featured soloist with the
Nashville Jazz Orchestra, South Florida
Jazz Orchestra, Gene Krupa Big Band,
and musical artists Wycliffe Gordon,
Kevin Mahogany, Lou Marini, Rihanna,
Melinda Dolittle, and Russ Taff in addi-
tion to leading his own ensemble, the
Super Villain Jazz Band.
Misha Dacic, B.M. 07, recently recorded
an album titled Liszt: Piano Music for a
Dutch record label.
Ben Geyer, B.M. 07, is a Ph.D. student
and teaching assistant in music theory
at the University of Kentucky. This
semester he is presenting his research
on swing microrhythm at two theory
conferences at Florida State University
and Indiana University. He is active as a
jazz pianist in Lexington, Kentucky.
Kimberly Gustafson, B.M. 07, is
general manager of the Amelia Island
Chamber Music Festival (AICMF).
During her three seasons there,
AICMF was listed as one of the Top 20
Events in the Southeast by the South-
east Tourism Society.
Jeanie Jihyun Kim, D.M.A 07, a pianist
and Steinway artist, is an adjunct pro-
fessor of music at Sungshin Womens
University and Cheongju National
University of Education in Korea. She is
also director of Eumsarang School of
Music in Korea.
Armando Mazariegos Monterroso, M.M. 07,
has been working as a professor at
Universidad del Valle de Guatemala, in
Guatemala City, teaching harmony and
counterpoint. In 2012 he served as
juror to many local music competitions.
Catherine A. Rand, D.M.A. 07, is director
of bands and associate professor at
the University of Southern Mississippi.
Rand is published in Volume 5 of A
Composers Insight: Thoughts, Analysis,
and Commentary on Contemporary
Masterpieces for Wind Band (Meredith
Music Resource). She recently pre-
sented at the International University
Global Theatre Experience Conference
in Austria and will present at the Sin-
gapore Drama Educators Association
Conference in May. She is a member
of the Creative Music Project for the
Cayman Islands Music Workshop and
has conducted several honor bands in
Mississippi, Alabama, and Florida.
Kristen L. Rasmussen, B.A. 07, B.S. 07,
performs
trumpet with the
Seattle Womens
Jazz Orchestra in
the solo chair
while pursuing a
Ph.D. in
atmospheric
sciences at the
University of Washington.
Gregorios Zamparas, D.M.A. 07, is as-
sistant professor of music and director
of piano studies at the University of
Tampa. He has received critical ac-
claim for his versatile career as recital-
ist, orchestra soloist, and chamber
musician in Greece, Bulgaria, former
Yugoslavia, Russia, Latin America,
South Korea, and the United States.
Nicholas DAngiolillo, B.M. 08, is the
licensing representative at Naxos of
America, Inc., a leading classical mu-
sic label. He has been a part of count-
less custom CD compilations, music
textbook accompaniments, television
commercials, and lm synchroniza-
tions, including notable Naxos synchs
in the productions Shutter Island, Mod-
ern Family, Transformers, Boardwalk
Empire, Weeds, and most recently the
Class Notes
2012 James Bond lm Skyfall.
Emma Cohen-Joppa, B.M. 08, is an
elementary school music teacher at
The International School of Panama in
Panama City, Panama.
Doug Larsen, B.M. 08, and Ben Lindell,
B.M. 08, are preparing to release
Shufe, a pop/hip hop/dance album
of all original music with VH1s Save
the Music Foundation, featuring artists
from around the world. The album is
for East Midwest Music Group, LLC,
a company Larsen and Lindell run
together. All proceeds will benet the
Save the Music Foundation.
Hayoung Lim, Ph.D. 08, recently had an
article, The effects of therapeutic
instrumental music performance on
endurance level, self-perceived fatigue
level, and self-perceived exertion of
inpatients in physical rehabilitation,
published in Journal of Music Therapy.
Nicole P. Marcus, B.M. 08, is a drummer
in the 2013 international tour of Hair,
The Musical. She is currently touring
the U.S., Canada, and Japan.
Chung Park, D.M.A. 08, is director of
orchestral activities for the Hayes
School of Music at Appalachian State
University in Boone, North Carolina.
This year he worked with the Marcus
Roberts Trio, violinist Yosuke Kawasaki,
and the Waitiki 7. Park also conducted
the Hillsborough County (Tampa,
Florida) All-County Orchestra and the
9/10 Florida All-State Orchestra.
Katrina Mena Rick, B.A. 08, recently
signed with Dyna-
mix Records to
release her debut
album of original
electronic dance
music. Rick is
casting director
for Disneys
American Idol
Experience in Hollywood Studios and a
freelance vocal coach and clinician for
students in the Orlando area. She is a
studio vocalist for Walt Disney
Entertainment and a member of
American Society of Composers,
Authors and Publishers and National
Association of Teachers of Singing.
Dave Carl Schroeder, M.M. 08, D.M.A. 11
(nicknamed Canadian Dave), is
currently an adjunct faculty member at
Carleton University in Ottawa, Ontario,
Canada. Schroeder performs regularly
with the groups The Bad Samaritans
and Little Bones.
Parker Smith, B.M. 08, has been record-
ing, writing, and touring solo and
with his band, Parker Smith and the
Bandwith, for three years. He is also a
music teacher and business manager
for Opus One Music in Atlanta, Geor-
gia, which brings music to preschool
students. He teaches private guitar
lessons at Buckhead Music in Atlanta.
Brett Thomas Takacs, B.M. 08, is an
audiovisual communications analyst at
the Board of Governors of the Federal
Reserve System and is treasurer of the
Audio Engineering Society in Wash-
ington, D.C.
Eric Thomas, D.M.A 08, is an associate
professor of music at East Texas Bap-
tist University and artistic director and
principal conductor of the Shreveport
Chamber Singers.
Vicente Chavarria, B.A. 09, M.M. 11,
is pursuing a
D.M.A. in early
music perfor-
mance and
choral conduct-
ing at USC
Thornton School
of Music, where
he is an early
music graduate teaching assistant. He
founded the early music ensemble
Flos Campi, directs the Gloria Dei
Choir, and co-directs Canticum
Novum LA. Chavarria recently
performed with Bach-Collegium San
Diego, LASchola, and more, and was
commissioned to arrange music for
the Santa Fe Desert Chorale. He is
published by Santa Barbara Music
Publishing, Inc.
Sara Cowley, B.M. 09, M.M. 12, is direc-
tor of bands at Hialeah-Miami Lakes
Senior High School, where she was
nominated Rookie Teacher of the Year.
Michael Feinberg, B.M. 09, is a faculty
member at the New York Jazz Acad-
emy. His tribute to Elvin Jones, The
Elvin Jones Project, was released on
Sunnyside Records featuring Billy Hart,
George Garzone, Tim Hagans, and
Leo Genovese. It made several best of
2012 lists, including Jazz Inside Maga-
zine and New York City Jazz Record.
Feinberg also won the 2012 Yahama
Six String Theory Guitar Competition,
which led to recording on Lee Riten-
ours latest Concord Records release,
Rhythm Sessions.
Ross Goldman, B.M. 09, is director of
instrumental music at Monsignor
Edward Pace High School in Miami
Gardens, Florida. This year he was
named Lead Teacher for the new Fine
Arts Academy program.
Sara Anne Duncan Grimes, M.M. 09, is
recently married and working as the
assistant orchestra director at Walton
High School in Georgia.
Mijal Grinberg Konigsberg, M.M. 09, is
director and owner of Rec Msica
Centro de Estudios Musicales in Roma
Norte, Mexico.
Diana Le, B.M. 09, is a neurologic music
therapy fellow at University Hospitals
Case Medical Center in Cleveland,
Ohio.
Michael Martinez, B.S. 09, is technical
director and audio engineer for DJE
Sound and Lighting in Lake Forest,
California.
Kevin Mazzarella, B.M. 09, is band direc-
tor at Carl C. Cutler Middle School in
Groton, Connecticut.
Evan Privoznik, B.M. 09, is a masters
student in music therapy and graduate
teaching assistant at the Frost School
of Music.
Tobin Sparfeld, D.M.A. 09, is vice chair of
music at Los Angeles Mission College.
He won the Young Artist Choral Com-
poser Competition of the Los Robles
Master Chorale, which premiered his
O sacrum convivium in May 2012.
William Villaverde, D.M.A. 09, is co-found-
er, program director and piano faculty
of The Superior Academy of Music
in Miami. Villaverde has performed
extensively throughout Cuba, Bolivia,
Spain, and the United States. As a
soloist he has performed with the Frost
Symphony Orchestra, South Carolina
Philharmonic, Meadows Symphony
Orchestra, Orquesta Sinfonica Iuven-
tas, and others.
2010s
Diosan Borrego, B.M. 10, is a
television editor.
He has edited a
full season of La
Chispa de Chef
Carmen for Casa
Club Network (of
MGM Latin) and
content for CNN
Latinos weekly
programing. Borrego was cast as a
singer and songwriter for a new talent
show called Onset Miami.
Tim Buchholz, D.M.A. 10, is assistant
professor of music at the University
of Wisconsin Marathon County in
Wausau, Wisconsin. Buchholz directs
two vocal jazz ensembles, including
a community vocal jazz ensemble
and classical choir, and teaches
music theory, aural skills, and vocal
technique.
Bridget Davis, B.M. 10, is a voice teacher
at Mark Murphys Music in New Jersey.
She released her debut EP, Trouble
Comes In Threes, in December 2012
with her band, Bridget Davis and the
Viking Kings. The album is available
on iTunes and the group is playing
throughout the Northeast.
Amy Kalas, M.M. 10, recently had an
article, Joint attention responses to
simple versus complex music of chil-
dren with autism spectrum disorder,
published in Journal of Music Therapy.
Geoffrey Loff, B.M. 10, M.M. 12, is the
music director
and pianist for
the Atlanta
Operas
community
outreach
program. This
summer he will
be a young artist
at Opera North in New Hampshire and
in August 2013 will begin a resident
artist stint at the Minnesota Opera. He
is working on arranging the Mozart
piano concerti for string quartet and
piano and composing a sonata for
voice, viola, and piano.
Stacie Lee Rossow, D.M.A. 10, is
associate director of choral and vocal
studies at Florida Atlantic University
in Boca Raton. Rossow was the studio
conductor for the 2011 CD Illumina-
tions by Anna (recorded in 2010 in
Dublin, Ireland).
Esneider Valencia, M.M 10, a doctoral
candidate in saxophone, recently
signed on as a Selmer Paris Artist.
Lauren Ann Denney Wright, D.M.A. 10, is
director of wind
activities at Berry
College in Rome,
Georgia. In July
she conducted
chamber music
with members of
the Berlin
Philharmonic in
France. She recently published an
article in Volume 9 of Teaching Music
through Performance for Band and has
been a guest conductor at numerous
colleges and high schools.
Zoe Zeniodi, D.M.A. 10, was named
assistant conductor for the Florida
Grand Opera in December 2012.
Previously she was music director of
the Broward Symphony Orchestra.
She was also named associate guest
conductor for the Alhambra Orchestra
in Miami. After personal invitation by
the English conductor Daniel Harding,
she attended rehearsals and concert
of the Staatskapelle Dresden in March
2010 for a Schumann week.
Fabiana Claure, D.M.A 11, is the co-
founder and executive director of The
Superior Academy of Music in Miami
and has recently performed in the U.S.,
Bolivia, Cuba, and Spain. As a solo-
ist, she has performed with the South
Carolina Philharmonic, Frost Symphony
Orchestra, College of Charleston Sym-
phony Orchestra, Orquesta Sinfonica
Iuventas, and Valencia Youth Orchestra.
Eunju Jeong, Ph.D. 11, accepted a
postdoctoral music therapy position at
Ewha Womans University, Seoul, Korea.
Jose Leonardo Leon, M.M. 11, is a
Venezuelan-American bass trombonist
in South Florida. Recent performances
include the Florida Grand Opera Zar-
zuela Series, including FGOs gala un-
der Maestro Placido Domingo; a solo
recital at the National Center for the
Arts in Mexico City; and appearances
with Sarasota Orchestra, Southwest
Florida Symphony Orchestra, Naples
Opera, Miami Symphony Orchestra,
and Bilbao Symphony (Spain). Leon
is a low brass faculty member at Saint
Andrews School of Performing Arts in
Boca Raton and brass director at the
Greater Miami Youth Symphony.
Aaron Ludwig, D.M.A 11, is a member
of the New World Symphony. He has
performed solo, chamber, and orches-
tral music throughout the United States
and Europe. As a chamber musician,
Ludwig was a founding member of
Trio Lunaire, which competed in major
competitions, including the Coleman
Chamber Music Competition in Los
Angeles and Fischoff Chamber Music
Competition. His piano trio was one of
only two American groups invited to
the ARD Munich Music Competition
in Germany and was a prizewinner at
the Music Teacher National Associa-
tion chamber music competition in
Toronto.
Brad Newman, B.M. 11, is a freelance
music teacher in Palm Beach County,
Florida. Recent health complications
prohibit him from playing clarinet,
but he has found new interests in the
health eld. He graduated from the
Florida Medical Training Institute and
holds a state certicate in EMT-
Paramedics. He is studying nursing at
Florida Atlantic University.
Eric Spiegel, B.M. 11, teaches Exploring
Music to middle school students and
music history to high school students
at George Rogers Clark Middle and
High School in Whiting, Indiana, and
is directing the school musical Little
Shop of Horrors. He also performs with
Chicago-based Peregrine Medieval
Vocal Ensemble and Boomslang a new
pop-rock a cappella vocal ensemble.
He will compete in the 2013 Harmony
Sweepstakes in May.
Alexandra Stewart, B.M. 11, moved to
Brooklyn, New York, began writing
songs, and debuted her album Waba.
Colin Trusedell, B.M. 11, is the tour
manager and bassist for the United
States Air Force Academy Bands pop/
rock ensemble, Blue Steel, recording
tours through major metropolitan areas
and organizing concerts for television.
In 2012 he was awarded the Public
Affairs New Airmen of the Year award
and the Team Peterson Air Force
Academy Band Airmen of the Year.
MyShowsLive, his booking agency in
South Florida and Central Colorado,
quadrupled in size and revenue last
year. He recorded his rst record
as band leader, and he and his wife
celebrated the birth of their rst child
in March.
Jose Joey Barreiro, B.M. 12, is working
as Tony Manero (the John Travolta
role) in Saturday Night Fever the Musi-
cal on Royal Caribbeans Liberty of the
Seas.
Chris Cicconi, D.M.A 12, was an invited
guest conductor with the Broward
Symphony for the Vaughan Williams
Scherzo ala Marcia. He is the assistant
conductor of the Ars Flores Symphony
Orchestra in Davie, Florida.
Jason Cooper, M.M. 12, J.D.12, is an
attorney with Lipscomb, Eisenberg &
Baker, PL in Miami, where he practices
intellectual property litigation with a
focus on national anti-piracy copyright
enforcement.
Carolyn Dachinger, M.M 12, is pursuing a
Class Notes
{ 64 } SCORE MAGAZINE Spri ng 2013 { 64 } SCORE MAGAZINE Spri ng 2013
In Memoriam
Victor Stern, professor of viola and chamber music at the
University of Miami from 1952 to 1984, died in Flat Rock, North
Carolina, on August 26, 2012. He was 89. Stern was also direc-
tor of the University of Miami String Quartet and founder and
conductor of the University of Miami String Orchestra. A native
New Yorker, Stern moved to Miami in 1947 and was principal
violist and personnel manager of the Miami Philharmonic
Orchestra for 25 years (a.k.a. the Greater Miami Philharmonic,
then the Florida Philharmonic) and musical director of the
International Ballet Company Orchestra for 13 years. He is
survived by his wife of 68 years, Joyce; his three children: Ben
Stern, Ruth Samad, B.S.N. 69, and Jessica Beir, B.M. 76; and
six grandchildren.
Ingus Naruns, a cellist in the Greater Miami Philharmonic
who taught at the University of Miami from 1968 to 1981,
died in Long Island on July 23, 2012 at the age of 87. Naruns
studied at the Latvian National Conservatory and the Moscow
Conservatory before becoming a Latvian World War I I refugee.
He won the Geneva International Music Competition while
living in a German Displaced Persons camp. He emigrated to
the United States in 1951 and was soon performing in Boston
and New York City. He recorded as a soloist with The London
Philharmonic Orchestra and can be heard in the theme for
the 1960s television series Bewitched and on the Bee Gees
Saturday Night Fever soundtrack. Naruns is survived by Kathryn
Ellis, his companion for 34 years, and daughters Sylvia Naruns
Parodi and Ingrid Naruns-Gil.
Rosann Sidener, B.M. 78, M.S. 87, principal of Miami Beach
Senior High School since 2007 and wife of longtime faculty
member Whit Sidener, B.M. 69, M.M. 72, lost her courageous
battle with cancer on April 15, 2013, at the age of 57.
Sidener first developed a passion for music while playing
violin in fourth grade. She later sang lead roles in school musi-
cals and at church and played piano and French horn. She
began her career as a choral music educator in Miami-Dade
Public Schools in 1977. She served as assistant principal at
Nautilus Middle School and Miami Senior High, choral director
at Palmetto High School, and principal at Booker T. Washington
High School before taking the helm at Beach High. Named the
2012 Florida Principal of the Year, she spearheaded Beach
Highs rise from a D to an A school in just four years.
This is a very sad day for the entire family of the Frost
School, says Dean Shelly Berg. Rosann was an amazing and
accomplished woman. A commemoration of her life and legacy
will be held later this spring.
In addition to her husband, Sidener is survived by her
mother, Martha Powell; sister, Carol Eaton; brothers, Samuel and
Daniel Powell; and stepson David Sidener.
Ph.D. at Frost in music education with
a music therapy emphasis. She is a
graduate teaching assistant.
Michelle Ozog, M.M. 12, J.D. 12, is work-
ing as an in-house counsel for TuneSat
in New York City.
Stephanie Riggs, B.M. 12, is a music
therapist at Miami Seasons
Hospice.
Jenna Rubaii, B.M. 12, plays the role
of The Extraordinary Girl in the U.S.
and international touring shows of
American Idiot The Musical, a punk
rock adaptation of Green Days album
American Idiot.
Trent Saunders, B.M. 12, plays the role
of St. Jimmy in the touring Broadway
show American Idiot The Musical.
He was a featured soloist at the
University of Miamis undergraduate
commencement ceremonies in May
2012. While attending Frost, he and his
brother Heath Saunders, B.M. 11, were
cast regularly in Jerry Herman Ring
Theatre productions.
Kathryn Kate Lynn Simon, Ph.D. 12,
is an assistant
professor of
music education
at Towson
University. She
was appointed
Youth and
Student Activities
Chair for the Maryland and Washing-
ton D.C. Chapter of the American
Choral Directors Association.
Laura Sutnick, M.A. 12, one of the rst
alumni from the new Arts Present-
ing & Live Entertainment Industries
program, won the title of Best DJ in The
Best of Miami 2012 for her iconic show,
Vamos a la Playa. She now works at
Wynwood Radio, a local Internet radio
station.
Evelyn Laguardia, B.M. 13, is a music
therapist at Miami Childrens Hospital.
Andy Panayides, M.M. 13, a music thera-
pist, works at Opportunities in Positive
Growth in Indiana.
Every breakthrough
is a beginning.
With its cutting-edge Experiential Music Curriculum, innovative
multimedia activities, and cross-genre performance, research,
and outreach endeavors, the University of Miami Frost School of
Music is making an extraordinary impact on higher music
education, our community, and the world of music at large.
To make a gift or learn more about Momentum2, please contact Associate Dean for Advancement Holly Freyre
at hfreyre@miami.edu or 305-284-2918.
The music industry never stays still.
Neither does the Phillip and Patricia Frost School of Music.
Among the highlights of the Universitys historic Momentum
campaign was Phillip and Patricia Frosts magnicent naming gift
to the school. Fueled by such generosity, the Frost School has
evolved into what is now widely considered the most industry-
relevant center of higher music education in the nation.
We invite all who believe in the Frost School and the
transformative power of music to contribute to the crescendo of
progress that is Momentum2: The Breakthrough Campaign for
the University of Miami. With your investment in our future,
theres no limit to the noteworthy breakthroughs well achieve.
Post Ofce Box 248165
Coral Gables, Florida 33124-7610
UNIVERSITY COMMUNICATIONS 12-243
Nonproft
Organization
U.S. Postage
P A I D
Permit No. 438
Miami, FL
The Frost School of Music broke ground on its new Patricia Louise Frost Music Studios,
the first of three new buildings slated for the music campus during Momentum2:
The Breakthrough Campaign for the University of Miami.
Setting
the Tone
INSIDE:
Body Tune-Up
Media Writing Remix
Studios Break Ground
Frost MusicReach gives
at-risk kids the chance
to nd lifelong harmony
through music.
Un i v e r s i t y o f Mi a mi S p r i n g 2 0 1 3
FROST SCHOOL OF MUSIC
score

SCORE Magazine 2013 - Frost School of Music

Uploaded by

Copyright:

Available Formats

SCORE Magazine 2013 - Frost School of Music

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

SCORE Magazine 2013 - Frost School of Music

Uploaded by

Copyright:

Available Formats

Post Ofce Box 248165

Coral Gables, Florida 33124-7610

You might also like