SPRING 2007

T h e Ne w s M a g a z i n e o f t h e Un i v e r s i t y o f I l l i n o i s S c h o o l o f Mu s i c

Brown, Orange, and Blue

Gamelan is Back at Illinois!

Crossover Artists
Poker Games and
Liberation Classes
Jeffery S. Kimpton:
Educator for a Lifetime
Choice
 From the Interim Dean

sonorities
Spring 2007
It is a pleasure for me to introduce this new edition of
sonorities, the news magazine for the School of Music at
the University of Illinois at Urbana-Champaign.

Published for alumni and friends of the After ten years as the chief academic officer of the Col-
School of Music at the University of Illinois
at Urbana-Champaign. lege of Fine and Applied Arts, Dean Kathleen F. Conlin
The School of Music is a unit of the College recently stepped down to take up duties as the Barnard Hewitt Professor of
of Fine and Applied Arts at the University of
Theatre and Director in Residence in the Department of Theatre here at the
Illinois at Urbana-Champaign and has been an
accredited institutional member of the National University of Illinois. All of us in the College owe her a debt of gratitude, and
Association of Schools of Music since 1933.
the School of Music in particular has greatly benefited from her support of
Karl Kramer, director such initiatives as the revitalized and expanded jazz program, the residency of
Edward Rath, associate director
the Pacifica Quartet, and the recruitment of world-class artists and scholars to
Marlah Bonner-McDuffie, associate director,
development teach our students. Indeed, it has been a daunting task for me personally as I
David Atwater, assistant director, business
fill in for her in the dean’s office while a national search is conducted to name
Joyce Griggs, assistant director, enrollment
management and public engagement her successor.
David Allen, coordinator, outreach and public
engagement
Michael Cameron, coordinator, graduate studies
As I have taken up her duties this year, I have found that one of the most
Daniel Hassler, coordinator, enrollment management
and student services enjoyable tasks is keeping in touch with the outstanding students, faculty, and
Suzanne Hassler, coordinator, alumni relations
and development alumni of the School of Music. Last spring, for example, the University of
Ruth Stoltzfus, coordinator, music events Illinois Wind Symphony gave a glorious concert at renowned Carnegie Hall in
New York City. Our Pacifica Quartet garnered numerous honors, rave reviews,
Suzanne Hassler, editor
Amy Fuller, alumni news editor and the prestigious Avery Fisher Career Grant. Music alumnus Nathan Gunn
Anne Mischakoff Heiles, features writer
won the inaugural Beverly Sills Prize of the Metropolitan Opera, while music
Antoinette Pomata, student news editor
John Wagstaff, book news and reviews editor scholars around the world praised Professor William Kinderman’s reconstruc-
tion of Beethoven’s incomplete Trio in F minor.
Contributing Writers: Carolyn Backus, Amy Fuller,
J. Richard Hackman, Suzanne Hassler, Melissa Mitchell,
Robert Morgan, Antoinette Pomata, and Edward Rath
These accomplishments and dozens of others are described in the following
Special thanks to Christina Bashford, Bruno Nettl, pages. Please take a moment to review all the exciting news from the School.
Ed Rath, and John Wagstaff.

Graphic Design: Bonadies Creative Inc.

Cover Photos: Chris Brown Photography
Robert Graves
UI School of Music on the Internet:
www.music.uiuc.edu Interim Dean, College of Fine and Applied Arts
 in this issue
From the Director

For those of you out there who play the lottery, try this lucky number on for size: “10KR5045.” After
four years of curriculum development, the addition of six new full-time faculty, and extensive space
renovation to Smith Hall, the Illinois Board of Higher Education officially approved our degrees in
jazz studies and assigned us a major code within the state system. It’s too bad, though, that long-
time faculty member and jazz pioneer John Garvey died before it was official. John left this earth on
July 18, 2006. We had a wonderful and moving memorial service for him in Smith Hall on October
Spring 2007
15 that was attended by family, friends, and former students from around the U.S. Donations in CAMPUS NEWS
John’s memory may be made to the John Garvey Scholarship Fund through the University of Illinois
Foundation office. 2 Wind Symphony in NYC
We embark on another adventure in the history of the School of Music as a center for world music
is in the process of being established this year. Inspired and enabled by a huge gift from Robert E.
3 IQ: New Quartet on Campus
Brown, our own legacy of leadership in the fields of ethnomusicology and music education, and the 3 Fisher Grant for Pacifica
generous long-term support of the Provost, the faculty will begin to shape the center to foster commu-
nity, university, national, and international programs in the performance, teaching, and research of
4 Garvey Memorial Celebration
the world’s diverse musical traditions.
The Allerton Music Barn, decked out with a new roof, baking soda-washed walls and floors (50 COVER STORY
years of pigeon guano had to be removed), and a new theatrical and architectural lighting system,
was host to its first public concert on July 1, 2006, with a performance by jazz legend Slide Hamp- 8 Brown, Orange, and Blue:
Gamelan is back at Illinois!
ton and accompanied by our faculty. We’ll be doing some chamber orchestra concerts there in the
spring and fall of 2007, with an eye toward establishing an ongoing eclectic summer music series
and a Labor Day weekend festival. I also want to thank alum Glenn Strauss for his generous gift to
support future activities at the Barn. F E AT U R E S
This issue of sonorities contains the 2005 commencement address to graduates by J. Richard
Hackman, professor of social and organizational psychology at Harvard University. Many of you will 12 Crossover Artists
recognize his name as one of the world’s leading experts on group and organizational behavior.
Born and bred here in Illinois, he received his master’s and doctorate in social psychology from the
20 Poker Games and
Liberation Classes
University of Illinois, and then taught at Yale for twenty years. A brief career misstep found him
teaching at the University of Michigan from which he quickly recovered and returned to Yale. In 38 Jeffery S. Kimpton:
Educator for a Lifetime
1986, he moved to his present position at Harvard. His 1991 ground-breaking comparative study of
musicians in 78 symphony orchestras in the U.S. and Europe examined the effects of gender compo-
sition and national gender culture on individual motivation and job satisfaction, the quality of rela- 43 Choice
tionships between musicians, and the basic functioning of the orchestras. He has consulted to a
variety of arts organizations, including the London Symphony and Orpheus Chamber Orchestra, on
issues having to do with work design, leadership, and ensemble dynamics and performance. Most D E PA RT M E N T S
importantly, though, Richard is a fellow brass player and very fine trombonist. It could be said that
Richard has the best of both possible worlds—an Illinois education and a job at Harvard.
5 Development Update
On campus at the end of October was the internationally acclaimed writer/director Tony Palmer. 24 Band Notes
Mr. Palmer’s vast filmography ranges from early works with The Beatles, Cream, Jimi Hendrix and
Frank Zappa to the famous portraits of Walton, Britten, Stravinsky, 25 Admissions Activities
Maria Callas, and Menuhin. After the usual lectures and proper
panel discussions, we all let our hair down for a midnight showing
27 New Appointments
of Tony’s tour de force All My Loving, the definitive anti-war film of 30 Faculty News
1968, starring The Beatles, Zappa, and Hendrix.
I hope many of you had a chance to hear the Concert Jazz
37 Book News & Reviews
Band at the International Association of Jazz Education Confer- 47 Student News
ence in New York last January, the Wind Symphony’s sterling per-
formance at Carnegie Hall in February, or the Symphony 50 Alumni Notes
Orchestra’s moving performance in Orchestra Hall in Chicago this
past November with Don Schleicher conducting and Ian Hobson
51 Alumni News
performing the Brahms Second Piano Concerto and Shostakovich’s
12th Symphony. The School is hoppin’!
58 Partners in Tempo

Karl Kramer
Director, School of Music
 C a mpus News

Illinois Wind Symphony Dazzles in Carnegie Hall Debut

Melissa Mitchell, UI News Bureau, Arts Editor

When the 62 members

of the Illinois Wind
Symphony and its con-
ductor, James Keene,
took the stage of the
Isaac Stern Auditorium
in New York City’s
Carnegie Hall on Feb-
ruary 17, 2006, the
abundance of Illini pride circulating
through the historic venue was palpable.
“We walked out on stage, and in the
hall, people were already cheering… and
we hadn’t even played a note,” said tuba
player Chris Combest, a music graduate
student from Berea, Kentucky.
“The applause before they had struck
a note… that was incredible,” said Peter
Griffin, assistant director of UI bands.
“Some of the students were a little nervous,
but ‘excited’ was much more like it. They
knew the music cold… it was a matter of program of symphonic- slowly made
getting out and sharing it.” band classics and con- his way out
That opening affirmation from the temporary through the
audience—which included UI President B. wind-ensemble music, hall’s crowded
Joseph White, Urbana-Champaign campus including New York lobby. “It does-
Chancellor Richard Herman, and even Illi- premieres of works by n’t get any bet-
nois alumnus and academy award-win- Scott Boerma, David ter than this,”
ning film director Ang Lee—was just the Gillingham, and Shafer Mahoney. Near Herman said. “We managed to showcase
confidence booster band members needed the end of the program, Illini Fantasy—a our excellence and had people in from all
to shake off any pre-con- medley of tunes that over [the country], including alumni from as
cert jitters and convert that includes Illinois Loyalty— far away as Arizona and Florida. It’s been
energy into unbridled musi- brought the house to its a great week for Illinois.”
cal virtuosity. feet. “To see all the univer-
From that moment on, sity dignitaries stand up
Above: Professor James F. Keene leads the UI Wind
Keene, the highly polished and start clapping, that was Symphony in an historic performance at Carnegie Hall
band, and faculty guest kind of cool,” said Chris commemorating the 75th Anniversary of the UI
artists Elliott Chasanov, Barnum, a euphonium College of Fine and Applied Arts.

s Michael Ewald, Ricardo Flores, Kazimierz player from Roselle, Illinois. Left: Academy Award-winning film director Ang Lee
o Machala, William Moersch, Mark Moore, One of those VIPs in attendance, (B.F.A. ’80) and his wife, Dr. Jane Huey-Chai Lin
n and Ronald Romm, were in command. The Chancellor Richard Herman, was beaming (Ph.D. ’86), join President and Mrs. Joseph White for
o the celebration at Carnegie Hall.
r performers presented what came across to immediately following the concert, as he
i their audience as a flawless and balanced Photo credits: Chris Lee
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IQ: Sharp New Quartet at Illinois incorporating both faculty and student
ensembles for two weeks of rigorous stu-
dio classes and performances. Concerts
In the two years since their formation in Summer 2006 took IQ on a two-week were given to enthusiastic audiences in
2004, the Illinois Woodwind Quartet, or teaching and performance tour of South Burgos, Lerma, Peñarănda, and Aranda,
“IQ” as it is better known on campus, has Korea, including a week of intensive all in the Castilla y León region of north
become highly recognized for its excel- teaching at Yon-Sei University in Seoul. central Spain.
lence, and accomplished more than many Each of the woodwind faculty members In addition, IQ performed a concert of
professional ensembles taught large group master classes, indi- world premiere pieces at the International
do in years of dedi- vidual les- Clarinet Conference held this year in
cated service. sons, and Atlanta. The group is currently recording
In Spring 2005, ensemble and commissioning more new works for
the quartet—com- coachings woodwind quartet, and is also heavily
posed of UI School of to very tal- involved with teaching secondary school
Music woodwind fac- ented and students and youth orchestras in and
ulty Jonathan hard-work- around the Chicagoland area.
Keeble (flute), J. ing students. The quartet continues into the new
David Harris (clar- A cross-coun- year with other invitations, internationally
inet), John Dee try journey and nationally, while also representing the
(oboe), and Timo- on the new University of Illinois proudly within the
thy McGovern KTX high- local community. A recent concert and dis-
(bassoon)— speed bullet cussion at the new Alice Campbell Alumni
embarked on a train took the Center to a full house of Alumni Associa-
very successful ensemble from tion members left everyone in the audience
Southeast concert northern Seoul with the knowledge that the School of
tour that included to southern Music is strong and vital.
a standing-room- Buson, where We thank the Illinois Woodwind Quar-
only crowd at the well the IQ gave a tet for the outstanding ways in which it rep-
known Music at Saint Paul’s concert series concert in com- resents the University of Illinois. May it
in Delray Beach, Florida, and a perform- memoration of the 60th anniversary of continue to bring outstanding music and
ance at the renowned Bethesda by the Dong-A University. instruction to people throughout the world
Sea, near the Breakers in Palm Beach. Summer 2006 also found the quartet for many years to come!
performing and teaching in Burgos, Spain,
through a UI School of Music initiative

Pacifica Quartet Wins Avery Fisher

Career Grant
The Pacifica Quartet, the faculty quartet in residence in
the School of Music, received a 2006 Avery Fisher Career
Grant of $15,000 from the Avery Fisher Artist Program.
The program was established through a gift by Fisher to
New York City’s Lincoln Center for the Performing Arts in
1974. The career grants are awarded to provide profes- S
sional assistance and recognition to talented young instru- p
mentalists and chamber ensembles. Pacifica members r
i
Sibbi Bernhardsson, Simin Ganatra, Masumi Per n
Rostad, and Brandon Vamos intend to use the grant to g
support performances of Beethoven string quartets in
2
Champaign-Urbana and Chicago, and a recording of the 0
complete string quartets of Elliot Carter. 0
7
3
 Campus News

John Garvey Memorial Celebration Held on Campus formance by the current UI Jazz Band
Robert Morgan (D.M.A. ‘74), Houston, Texas (Chip McNeill, director), featuring both cur-
rent literature and staples from the Garvey
era (Corner Pocket, Lunceford Touch, Old
On October 15, 2006, David Garvey of San Francisco; former col- Beelzebub Blues, etc.). Several alumni sat
approximately 200 for- leagues Bruno Nettl (School of Music) and in, and special featured soloists were the
mer students, col- Ralph Fisher (founding director of the UI three inaugural recipients of UI’s John Gar-
leagues, friends, and Center for Russian and East European Stud- vey Scholarship in Jazz Studies: pianists
family of John Garvey ies); and former student Bill Overton. Leigh Meador and Lara Driscoll, and saxo-
gathered on campus to Music was presented by the UI Gradu- phonist Phil Doyle. An adjoining room fea-
attend “The World ate String Quartet and an tured a continuous
According to Garv…A Celebration of the eight-piece Russian folk video of vintage Gar-
Life and Music of John C. Garvey.” Profes- ensemble, featuring vocal- vey-led jazz concerts
sor Garvey (1921–2006) was a member ist Lennart Bäckström and and Professor Garvey’s
of the UI School of Music faculty from past members of Garvey’s 1991 retirement party.
1948 until his retirement in 1991. Initially Russian Folk Orchestra. The evening concluded
professor of viola and member of the Father George Johnson, with the premiere per-
Walden Quartet, he also conducted the UI Deborah’s husband and a formance of Goodbye
Chamber Orchestra and later founded the Russian Orthodox priest, John (solo piano), com-
renowned UI jazz program and Russian also led the gathering in posed for the occasion
Folk Orchestra. He died on July 18 in Sil- singing the traditional by Jim Knapp and per-
ver Spring, Maryland, where he had Memory Eternal, which formed by Bill French.
moved in 2000 to be near his daughter, concluded Garvey’s funeral Prior to the Smith
Deborah. service in Maryland last Hall service, UI’s Spur-
Divided into two segments, the cele- July. The Smith segment lock Museum was open
bration began with a “formal” service in closed with a solo viola for a private viewing of
Smith Recital Hall. Remarks and reminis- performance of Over the the “Barong Ket,” an
cences were offered by Marlah Bonner- Rainbow by Asli Gültekin, enormous authentic Bali-
McDuffie, representing the School of Music; a member of the Graduate nese costume (so large
Photo courtesy of News-Gazette
Garvey’s children: Deborah Jane Garvey String Quartet. it must be worn by four adults), donated to
Johnson of Silver Spring, Maryland; Attendees then walked to Levis Faculty the Spurlock by Professor Garvey. Balinese
Deirdre Ann Garvey of Solon, Ohio; Frank Center for an informal reception. With a music and culture had become yet another
relaxed atmosphere, the Levis emphasis of Garvey’s interests during the latter years
was on music, with a lengthy spirited per- of his life.
Throughout the evening, several com-
mon descriptors emerged from the many
remarks offered about John Garvey:
“bright”—“eclectic”—“gregarious”—“sense
of humor”—“dedicated”—“eccentric”—
“integrity.” Bill Overton noted that Garvey
was “a world traveler, fearless adventurer
and inspiring teacher to whom we owe so
much. Because of John Garvey, we all
found our passion.” Bruno Nettl stated that
“John’s life in music was a kind of pilgrim-
s age with many way stations.” And Jim
o
n Garvey Memorial Celebration from left to right: McNeely wrote, “John rehearsing a Jim
o Alumni members of John Garvey’s Russian Folk
Knapp chart still represents the gold stan-
r Orchestra.
i Music alum Bill Overton (M.S. ‘78) doing an dard for me.”
t imitation of Professor Garvey.
i Featured vocalist for the Memorial Celebration,
e Lennart Bäckström.
s
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 Deve lo p ment Up d a te
Marlah Bonner-McDuffie, Associate Director of Development

A 2-DVD set of “The World According

to Garv” is in preparation. For more infor- Continuing the Tradition of Excellence
mation, or to be notified when the set is
available, please contact Deborah Jane It has truly been Others simply feel strongly about positively
Garvey Johnson by e-mail, another exciting year influencing the lives of future generations
deborahgj@aol.com, or by phone, (301) for the School of of music educators and performers.
572-5738. Music. We continue to Our continued success as one of the top
The evening’s planning committee con- build on the strength music schools in the country is made possi-
sisted of Deborah Jane Garvey Johnson, and reputation of our ble by the support of alumni and friends
Bob Morgan, and Sue and Bruce Wood,
esteemed faculty and who care deeply about the future of the
with support provided by the UI School of
talented students, and School and its talented students and faculty.
Music, Spurlock Museum, Karl Kramer,
Douglas J. Brewer, Suzanne Hassler, Chip are proud of our longtime reputation as one Gifts of every size, when combined with the
McNeill, and Simin Ganatra. of the strongest professional music schools contributions of your fellow alumni, have a
in the country. We continue to attract the tremendous impact, and allow us to provide
best and brightest students to the School, the very best professional training and
For those who wish to consider a memo- and our faculty is committed to providing resources for our talented students.
rial contribution in honor of John Garvey, them with the rigorous training necessary to There are a number of ways to give to the
the following funds have been estab- excel in their discipline. School of Music. While our top priority
lished through the University of Illinois: continues to be endowed gifts, such as pro-
In my third year as associate director of
John Garvey Scholarship in Jazz Studies development for the School of Music, the fessorships, fellowships, and chairs (see
Payments via check should be made payable most rewarding part of my job continues to “Wish List,” page 8), we welcome the
to: University of Illinois Foundation (memo line: be the opportunity to connect with so many opportunity to discuss your philanthropic
School of Music/Garvey Scholarship)
of our talented alumni and friends across the interests and how they might intersect with
Mail to: country. I am inspired by the countless sto- some of the School’s current funding priori-
Marlah Bonner-McDuffie ries of how the School played a critical role ties. While outright gifts provide crucial
University of Illinois School of Music in their personal and professional develop- support for the School, planned or deferred
1114 W. Nevada Street, Rm. 3068
ment. Regardless of whether they are work- gifts provide significant support for our
Urbana, Illinois 61801
(217) 244-4119. ing as professional musicians, performers, future funding needs.
music educators, or in non-music related One of the most common types of
Via internet: College of Fine Arts website:
careers, our alumni look back on their expe- deferred giving arrangements is a bequest,
www.faa.uiuc.edu/support_faa/gift.html
riences here as being extremely valuable. which is made through a provision in a will
Enter gift amount next to “School of Music” or living trust. By listing the School of
We are tremendously grateful to those
and indicate John Garvey Jazz Scholarship
under “Comments” (p. 2). who have made the decision to become a Music as a beneficiary in your will or trust,
part of the future of the School through you provide significant support for future
Kasura Collection of Russian Music
UI Music Library
their generous financial contributions. generations. Making a bequest is often the
Checks payable to UI Library/Office of Devel-
What continues to strike me most about best option for alumni and friends who wish
opment and Public Affairs (memo line: Kasura alums that who choose to contribute finan- to create a legacy at the School of Music.
Collection) cially is not that they choose to give to the Bequests may be earmarked for a specific
School of Music, but why they choose to area, and named in your honor or in honor
Mail to:
give. Many of our alums who give back of a loved one.
University of Illinois Library
were recipients of awards and/or scholar- Other types of planned and deferred giv- S
1408 W. Gregory Drive, Rm. 227
p
Urbana, Illinois 61801 ships during their undergraduate or gradu- ing options include life income trusts, life r
(217) 333-5682 ate careers. They realize that without those insurance, and charitable lead trusts. Most i
critical resources, they might not have been planned and deferred giving arrangements n
can provide significant tax advantages while g
able to continue their studies in music or
have successful professional musical careers. 2
continued
0
0
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 Development Update

continued from page 7

allowing the donor to make a meaningful

WISH LIST
The importance of private gifts to the scholars and performers. Renowned fac-
investment in the future of the School. School of Music increases every year. ulty attract the most talented students and
The State of Illinois provides basic oper- the brightest minds to study at the Univer-
As with all major financial decisions, we
ating revenue for the University of Illinois; sity of Illinois. As artists and scholars,
urge you to consult with your financial plan-
however, support from the State accounts they contribute, as well to the world of
ner as you consider a deferred or planned gift
for less than 18 percent of the total research, creativity, and virtuosity that is
to the School of Music. Our planned giving
budget. Thus gifts from alumni and one of the Universitys principal missions.
advisors, available through the University of friends help to provide the margin of This is vital to the continued success of
Illinois Foundation office, are happy to work excellence which distinguishes the UI the School of Music.
closely with you and your planner in deter- School of Music.
mining the most appropriate giving arrange- Fellowships: the continued excellence of
ment for you. We look forward to a very bright future the School of Music depends in part on
We welcome the opportunity to partner for the School of Music, and we continue attracting the most talented graduate stu-
with our alumni and friends in the future to evaluate new opportunities and pro- dents from across the nation and around
success of the School of Music. When you grams that will help to ensure our posi- the world. For us to remain competitive
support the School, you support the dreams tion as one of the leading music schools among the leading schools in the coun-
and professional aspirations of our talented in America today. In order for us to try, we must be prepared to assist the
students, and give our faculty the critical reach our goals and to provide the best exceptional students we serve.
resources to help make our students’ goals a education possible for our students, we
reality. I invite you to join other alumni and must have the resources in place. Building Infrastructure and Equipment:
friends who are passionate about continuing maintaining the facilities and equipment
our tradition of excellence by considering a The following items represent the current for our faculty and students takes consid-
needs and wishes of the School of Music erable resources, and to be competitive
gift to the University of Illinois School of
in order of impact: with our peer institutions, we must con-
Music.
tinue to have outstanding practice facili-
Chairs and Professorships: endowed ties and performance venues. There are
For additional information on making a gift
chairs and professorships serve as effec- numerous opportunities, ranging from stu-
to the School of Music, please call (217) tive tools with which to recruit and retain
244-4119, or e-mail marlahb@uiuc.edu

2007 ALUMNI RELATIONS & DEVELOPMENT EVENTS

Illinois Music Educators Association Society for American Music and Lorado Taft Lecture
Friday, January 26, 2007 Music Library Association Wednesday, March 14, 2007
Père Marquette Hotel Friday, March 2, 2007 “Contemporary Music in Indonesia:
501 Main Street, Peoria, IL Hilton Pittsburgh & Towers Between Local Traditions, National
6:00–8:00 p.m. Reception, Cheminee Room 600 Commonwealth Place, Pittsburgh Obligations, and International Influences”
10:30-11:00 a.m. UI Conference Break Professor Dieter Mack
21st Century Piano Competition Concert Musikhochschule Lübeck, Germany
Tuesday, February 27, 2007 2007 ACDA National Convention 4:00 p.m. Music Building Auditorium
Krannert Center for the Performing Arts Friday, March 9, 2007
s 7:30 p.m. Recital, Foellinger Great Hall Miami Marriott Biscayne Bay 20th Annual Awards Luncheon
o
n 9:15 p.m. Reception, Krannert Room 1633 N. Bayshore Drive Friday, April 27, 2007
o 5:30-6:30 p.m. Reception, Terrace North Illini Union
r
i 12:00–1:45 p.m. Room 314
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 New Gif ts

The School of Music is pleased to announce the establishment of three new endowments:
dio recording equipment to renovating
Smith Memorial Hall, to the Allerton Park Roger R. Cunningham Fellowship Fund
Music Barn. The School of Music thanks donor and alum Roger Cunningham of Peoria, Illinois, for
numerous contributions to the School over the past two decades and, in particular, for his
Opera Sponsorship: the School of Music commitment to endowing a graduate fellowship through the recent establishment of the
produces two full-length operas each Roger R. Cunningham Fellowship Fund. Roger established the gift jointly with his wife Shirley
year. An opera production takes consid- E. Cunningham in September 2006. The fund will benefit graduate students in the School
erable time, effort and money. Current of Music at the University of Illinois at Urbana-Champaign through a provision in a bequest.
productions can cost in excess of The completed fellowship will provide tuition and fees for eligible graduate students selected
$60,000. While ticket sales cover about by the Dean of the College of Fine and Applied Arts.
half the cost of each production, addi- After receiving his master’s degree in music education in 1967, Mr. Cunningham taught
tional support will assure both student
music in Peoria for 8 years, later joining RLI, a specialty insurance company based in Peoria.
performers and audience members of
He has maintained connections to music throughout his career and remembers in particular
operatic experiences comparable to pro-
former U. of I. music professors John Garvey and Charles Leonhard. A trombone player
ductions found in major cities, while
while at Illinois, Roger now plays the recorder.
keeping ticket prices reasonable. There
are several specific giving opportunities
available for opera sponsorship each Glen Strauss and Krista Tesreau Allerton Music Festival Fund
season. In May 2006, Glen Strauss and Krista Tesreau of Santa Monica, California, pledged to con-
tribute $50,000 over 5 years to the University of Illinois Foundation in support of the Col-
We hope you will consider making a gift lege of Fine and Applied Arts. Their pledge, which was received in full this fall, will allow the
to the School of Music. If you are inter- School of Music to support an annual music festival at Allerton Park—a formal garden estate
ested in funding projects such as these or in Monticello, Illinois, which was given to the University of Illinois at Urbana-Champaign
would like to explore other opportunities, by the late Robert Allerton in 1946. Specifically, the Glen Strauss and Krista Tesreau Allerton
please contact Marlah Bonner-McDuffie, Music Festival Fund has been and will continue to be used to renovate the Allerton Park Per-
associate director of development, (217) formance Barn and surrounding facilities related to the Allerton Music Festival and School
244-4119. of Music performances at the barn site.
Glen Strauss received a B.S. in Music Education in 1976 from the U. of I. and a J.D. from
the University of Southern California in 1979. He is the managing director for First Union
Securities in Los Angeles, California. His wife, Krista Tesreau, is a successful television actress.
Glen and Krista are both accomplished concert pianists.
After renovation at the new Allerton Park performance venue is complete, it will serve as
a three-season hall with program offerings in the late spring, summer and early fall. The goal
of the Allerton Music Festival is to create a nationally recognized music festival that will bring
School of Music Convocation prestige to the University of Illinois, provide new and traditional music for Midwestern audi-
Sunday, May 13, 2007 ences, and serve as a selective training school for exemplary students.
UI Smith Memorial Hall
5:30–6:45 p.m. Recital Hall
David A. Trotter Endowment Fund
David and Deborah Trotter of Wheaton, Illinois, have provided a $20,000 gift for the bene-
For more information, check our Alumni Events
fit of the University of Illinois Marching Illini. The gift, made through a provision in a
web page, as dates approach:
bequest, will be added to the David A. Trotter Endowment Fund established in 2003, and will
www.music.uiuc.edu/aboutAlumni_events.php S
provide instruments and equipment for the Marching Illini. p
Mr. Trotter (B.S. ’81), a sousaphone player in the M. I. in all his four years at U. of I. r
while majoring in Business Administration, is currently a Lieutenant for the Village of Villa i
Park Fire Department. He and his wife Deborah, a registered nurse at the Ambulatory Sur- n
g
gery Center in Lombard, are thrilled to be able to provide this gift to benefit future genera-
tions of Marching Illini at the University. 2
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 Cover Story

Gamel
I Ketut Gede Asnawa, International Council
Visiting Professor of Musicology

BROWN, ORANGE, AND BLUE

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Charles Capwell
Associate Professor and Chair of Musicology

hile a graduate student in musicology at Harvard, I had make a communal meal, usually Indian, and then settle down for an
the opportunity to hear the great south Indian vocalist evening of splendid music in an intimate atmosphere. This inspired
M.S. Subbulakshmi perform at the Kresge Auditorium of us all to work hard at acquiring some basic practical experience of the
Massachusetts Institute of Technology (MIT) in September, 1966. musics we were learning to appreciate with the very best
My acquaintance with the music of India had begun a few years examples presented to us live each week. I played in the
before with a few LPs in the library of The Rock, a summer camp gamelan (a kind of Indonesian musical ensemble featur-
in the Berkshires where I was a counselor and where the direc- ing a variety of instruments such as metallophones, xylo-
tor/owner, Bob Williams, was interested in Indian philoso- phones, drums, and gongs, and possibly bamboo flutes,
phy and culture. Subbulakshmi’s performance was my first bowed and plucked strings, and vocalists), took south Indian
chance to hear Indian music live, and I was stunned by it. I drum lessons, and tried a bit of both Karnatak and Hindustani
decided to follow her on the next leg of her tour vocal music with musicians of a caliber that was awe
to Wesleyan University in Middletown, Con- inspiring.
necticut, knowing I couldn’t repeat my first The intellectual atmosphere was equally stimulating
experience but wanting to come as close to it because teachers like Brown and McAllester, as well as

an
as I could once again. other ethnomusicologists then on the faculty like
That was when I first met Robert E. Brown, Genichi Tsuge and Fumio Koizumi, were engaging and
the ethnomusicologist who had been hired by interactive with the students, many of whom went on to
Wesleyan University a few years earlier. I had productive musical and academic careers.
already met his colleague, David McAllester, an The philosophy behind this extraordinary musical com-
anthropologist famous for his work on music of the munity grew out of Brown’s own revelatory experience with
Navajo, when he visited the Berkshire camp to tell a family of south Indian musicians headed by the renowned
us all something about his research and to attend dancer Balasaraswati (UI MillerComm Professor in 1980)
a production of Aristophanes’ The Birds put on whom he met in the late 1950s while doing research for his
by the campers—including his son and dissertation at UCLA under Mantle Hood, one of the
daughter—under the direction of my college founding fathers of American ethnomusicology. Bob wrote
buddy, Alfred Turco (now Professor of English about the mrdangam, the drum used for classical music in
at Wesleyan), and with my incidental music. south India, and he studied with Bala’s brother,
During my visit to Wesleyan, I broached the idea of Ranganathan, who was later my own teacher at Wesleyan.
laying the foundation for a study of Indian music with Bob Another person who fell under the sway of Bala about the
Brown, and so I became a visiting student the following year same time was Louise Scripps, who with her husband Samuel,
with the encouragement of my advisor, Professor John Ward, founded the American Society for Eastern Arts in 1963, with
and the generous financial support of Harvard and Wesleyan. Brown as executive director, in order to bring Balasarawati
For the next year and a half, I resided in Middletown, Con- and her musicians to California to teach along with the
necticut immersed in a world that was little short of an equally important instrumentalist from north India, Ustad
amazing fantasy made real by the audaciously creative Bob Ali Akbar Khan. This collaboration reached an unsustainable
Brown. A kind of international artists’ colony, Wesleyan, but glorious peak in 1974 when 45 artists from around the
at that time, played host to some remarkable musicians world were sponsored to be residents in Berkeley, California, to
from north and south India, Japan, Indonesia, and Africa. Bob’s teach and give performances.
home on the outskirts of town, “The Farm,” became the site of regu- Brown left Wesleyan University for the California Institute of the
lar “curry concerts” every Friday night when all would pitch in to help Arts in 1970 and thereafter joined the faculty of San Diego State Uni-
versity in 1979 and remained there until his retirement in 1992. All
the while, and after his retirement, too, he continued his extra aca- S
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 demic activities as an organizer of possibilities for well known for his recordings, many on the None-
world-class musicians to teach and perform in the such label, of music from Indonesia. Many of these
U.S. and for Americans to experience music abroad recordings, among the first of their kind to be
in countries like Indonesia and Turkey. widely distributed and commercially available in
In 1994, when I made my first field trip to the United States, inspired a generation of musi-
Indonesia, I visited Brown at the establishment he cians to study and perform Indonesian gamelan
had created near the famous cultural tourism town music. Among other interesting facts about Brown
of Ubud in the hills of Bali. Over the years he had is that he recommended to Carl Sagan the music for
gradually built up a site as a place where people Murmurs of Earth, a recording pressed in solid gold
interested in Indonesian culture and music could Robert E. Brown is the ethnomusicologist credited with that was attached to Voyager and taken into outer
coining the phrase “world music.”
come to study with local musicians and with others space in the late 1970s. In a May 9, 1977 letter to
he sometimes brought from places like India and Turkey during a sum- Sagan, Brown wrote of his recommendations:
mer program. This visit re-established the connection I had formed
with him as a visiting student at Wesleyan, after years of only occasional “. . . A lively mridangam solo from India, in a tala of five beats,
played by Palghat Mani Iyer, who may well be the world’s best
contact at meetings of the Society for Ethnomusicology.
drummer; a representative piece of electronic music (hard to
In 2000, I brought a group of 13 students from the U of I for a study decide upon); a Balinese gamelan piece (my choice would be the
tour at Brown’s place in Bali. The students had studied Balinese musi- ancient Gamelan Selundeng, recorded on Boîte a Musique LD
cal performance at Illinois with a Balinese teacher, I Ketut Gede 096M); a piece of Renaissance vocal polyphony by Des Pres,
Asnawa, during the semester preceding the trip and continued their Dufay or Ockeghem, bristling with contrapuntal devices; a Chi-
studies with him in Bali that summer. The program concluded with a nese ch’in solo; a West African dance piece with drum ensemble
concert by the students in our teacher’s neighborhood sodality in the and voices; a Mozart aria; a Bulgarian folk song in diaphonic
style; Melanesian panpipes, to relate to the Bach and
capital city, Den Pasar.
shakuhachi; and a symphony of Beethoven’s, probably the
(Asnawa and his wife, eighth. This could conceivably produce more insight into
Putu Oka Mardiani, human nature than an extraterrestrial intelligence might be pre-
have returned to the pared to handle!”
Urbana-Champaign
campus during the In January 2004, Andrew Granade, then a graduate student in musi-
2006-07 academic year cology here at the U of I who was writing a dissertation on the com-
to teach a new series of poser Harry Partch, went to San Diego State to interview Prof. Danlee
performance classes Mitchell about his long involvement with Partch. Mitchell’s connection
that inaugurated the with Partch began when Mitchell was a student at UI, and Partch was
re-establishment of on the faculty here. (Thomas McGeary, another of U of I’s PhDs, has
gamelan at Illinois published a catalog of Partch’s works and an anthology of his writings.)
with an enthusiastically Knowing of my connection with Bob Brown, Mitchell suggested to
Left to right: Charles Capwell, Purna Das Baul, Robert E. Brown,
Andew Toth, in Calcutta (1969). received program of Granade that he talk with me about the possibility of establishing a for-
several styles of Bali- mal locale for the study of world music at the U of I to help carry on
nese music and dance on December 5, 2006.) the kind of work he had done for so long. I suggested to Illinois School
Bruno Nettl, professor emeritus of ethnomusicology at the Univer- of Music’s Director Karl Kramer in late 2004, just before he was to leave
sity of Illinois School of Music, noted, “Bob’s interest was in teaching for a conference in San Diego, that he meet with Brown in California.
and performing the music of India and other non-Western music as
opposed to research and writing. He started doing research in south Robert E. Brown’s bequest will benefit the School‘s distinguished programs in
the Division of Musicology, and educate all who wish to cross cultural boundaries
India when many American scholars were going to south India, but he to experience and understand more of the world’s music and its people.
was in the first group. Eventually, he became more interested in Indone-
sia, but he never gave up his interest in India.”
Besides coining the term “world music,” Brown is

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Director Kramer found Brown to be magnetic and full of interesting
ideas about opportunities for the study of world music at Illinois. “After
an hour of talking to him, I was ready to drink the Kool-Aid,” Kramer
said. “It was like, tell me what to do, and I’ll do it. I developed a friend-
ship with him, but more importantly I was able to communicate to him
that the University was ready, willing, and able to support his legacy and
do what he wanted to do.” Thus, it came about that Brown visited Illi-
nois in April of 2005 and began discussions with Director Kramer and
then College of Fine and Applied Arts dean Kathleen Conlin.
Sadly, after returning from his annual program in Indonesia that
summer, Brown was diagnosed with pancreatic cancer. This gave par-
ticular urgency to his desire to ensure continuity for his legacy, and so
he arranged that after his death the instruments he had here in the
States, his library, and his magnificent collection of Balinese paintings
would come to a newly established institute for the study of world
music which might carry his name. Thus, with the support of then
U of I Interim Provost Jesse Delia, discussions began.
A goal Brown hoped Illinois could help achieve was to have univer-
sity music students trained in world music so that they could pass
on their knowledge to public school students, with the hope of
building cross-cultural understanding. As Director
Kramer notes, “One of the things that Illinois does
better than anyone in the country is to train
music teachers in band, orchestra and choir—
Why not a music education program in world music?
That’s not really going on anywhere. Why shouldn’t we
do that? We want to start a program that synthesizes
music education and ethnomusicology.”
Bob Brown’s gift of his instruments, library
and Indonesian art—one of the most significant
given to the School of Music—enables the
School to do that. Besides string, wind, and
percussion instruments from various coun-
tries, the collection features three game-
lan orchestras from Indonesia. Unlike a
symphony orchestra, which refers to
the musicians, a gamelan orchestra refers
to the set of precisely tuned instruments
themselves. The other belongings that
Brown left to the School of Music include
a Javanese shadow puppet theater with
2,000 puppets; Balinese paintings, includ-
ing a large set by noted artist Dewa Ketut
King; Indian temple wood carvings; a high-
quality Chinese opium bed from Java; and pre-
World War II Burmese lacquer boxes. The list
goes on. Meanwhile, the U of I Music Library is
unpacking 400 cartons of items from Brown’s
An extensive collection of multina-
library: 1,000 reel-to-reel recordings, 2,000 tional musical instruments, music
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samples, and works of art from
long-playing records, 1,400 cassette tapes, 2,000 the late ethnomusicologist Robert p
compact discs, 400 videotapes, 2,700 books and E. Brown was given to the r
numerous music charts in Sanskrit of Indian
Urbana campus in anticipation of i
a new institute for the study of
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Ayu Putu Niastarika performs a 2
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Chris Brown Photography 11
 Feature

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Crossover
By Anne Mischakoff Heiles

Crossover musicians typically perform or compose in both

classical and jazz or popular idioms. Given that the UI
School of Music has been building its jazz division, it was
natural to lure a few hires with musicianship and “chops” in
both jazz and classical styles. Trombonist/composer James
Pugh and double bassist Jeffrey (“Jeff ”) Grubbs are masters
of that versatility; Pugh adds to his jazz activities a great
P UGH
depth of experience in the world of commercial music,
whereas Grubbs has had more experience in symphonic
music. And a third new fulltime faculty member, musicol-
ogist Jeffrey Magee, has the performance background, ana-
lytical mind, and historical outlook to explain and explore
the so-called crossover phenomenon. “You could say that I
had a crossover experience in that I was classically trained,
G R UBBS and came to my interest in jazz and other kinds of Ameri-
can music later in my studies,” Magee notes. “Now that I’ve
had that experience, however, I think of it not so much as
crossing over, but as integrating my musical identity. You
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 TRAINING era. At that time most of the major symphony orchestras in the
All three faculty share a classical training to which they attribute country had at least one of his students in the trombone section.”
their versatility. Magee began his undergraduate studies at Oberlin Pugh received his B.M. degree and a Performer’s Certificate from
College as an English major and studied piano throughout his years the Eastman School of Music. Among his other professors were Don
there. He says, “I had a standard, classical conservatory-type train- Knaub and Chuck Mangione. “Mangione, the first hire at Eastman
ing. Although I studied piano at the Oberlin Conservatory, I never in the jazz area, was sort of the Chris Botti of the 70s, a pop figure
intended to be a performer; I had too many other interests to con- and beautiful songwriter of memorable melodies and an excellent
centrate in the way you need to be a serious performer. I gravitated flügelhorn soloist as well. Now you hear a lot of his music on eleva-
toward history and, at the same time, music history. It was at Ober- tors or in grocery stores! But he was huge; he had been with Art
lin where I first sat down to listen to a recording with the score in Blakey and the Jazz Messengers and was good friends with pianist
hand. It seems so simple, but it was a revelation to do that even Chick Corea. He was basically the entire jazz program at Eastman
though I had studied piano and played with a score. I continued the first two years I was there: he ran the big band and taught the
studying, practicing piano several hours a day, but had stronger aca- improvisation classes. Then Ray Wright was hired at Eastman for
demic interests than performance ones. So I did a double jazz arranging in 1970, and he brought large ensemble and
degree; I got a B.A. in general history and B.M. in music writing components to the jazz department; it expanded
history.” He earned an M.A. at the University of Cal- from there.”
ifornia at Berkeley before getting a Ph.D. at the Appointed associate professor in both the Jazz
University of Michigan. “I met my future advisor, Studies and String divisions, Jeff Grubbs came to
Richard Crawford from the University of Michi- the UI School of Music in August 2006 from the
gan, at Berkeley; I decided then to transfer.” Pittsburgh Symphony, where he had played as a
Crawford was a major influence on Magee, as he bassist for a decade. Grubbs took an unexpected
explains: “I went to grad school thinking I was going route to his career as double bassist. Growing up in
to be a scholar of Beethoven and had a few courses with Cleveland, he began violin lessons as a fourth grader at
Joseph Kerman, who continued to open that thinking. It’s his public elementary school. And he continued on violin
interesting that Kerman was Bill Kinderman’s mentor at Berkeley, through tenth grade, putting it aside only when his family moved to
and Bill continued on that path to become a major Beethoven a suburb where the high school did not yet have a string program or
scholar. But I met Rich Crawford, who was teaching a jazz and orchestra.
music history course; I also had a composer friend who played jazz “In my senior year the high school started a string program, and
and introduced me to a lot of recordings. I thought ‘How is it that I taught some of the violinists,” Grubbs relates. “I even taught a bass
I didn’t have this before? This is wide open territory for research and player: I had started electric bass at about the same age that I did vio-
writing.’ So I came to jazz pretty late among jazz people, but it lin. I learned stuff I heard on radio stations and old records my par-
became central to my scholarly interests.” ents had, picking off the bass lines by ear and teaching myself to
Trombonist and composer-arranger James Pugh joined the fac- play. I listened to classical, rock, jazz, whatever I could find.” To
ulty in 2005, but his prior commitments at Purchase College Con- teach the high school’s beginner bass student, he says, he “had to fig-
servatory of Music prevented him from teaching full-time until fall ure out how it worked and how it related to what I knew on the elec-
2006. Pugh’s training was solid in both classical and jazz areas. “My tric bass.” Soon, he, too, plunged into playing the acoustic bass: “As
s early listening, because of my mother, was mainly classical music. a freshman I played second violin in the Lakeland Community Col-
o lege Orchestra (Mentor, Ohio), which didn’t have a bass player. So I
n But I also listened to jazz trombone players and got interested in
o just volunteered. I was the only bassist during most of the rehearsals,
r that, so I’ve always been on both sides of the fence. I went to school
i at Eastman, graduating in 1972, the tail end of Emory Remington’s though they hired some extra players for the concerts.”
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 “New York had become a jingle town by the time I moved there in the late 1970s;
the music business was much healthier then. I had between 300 and 400 recording
sessions a year, doing three, four, or even five jingles a day..”

Grubbs found that the bass felt more comfortable than the vio- Pugh continues: “There were bandleaders who were the instru-
lin. He studied with Anthony Knight, second chair in the Cleveland mental stars like Harry James, Buddy Rich, Tommy Dorsey, whose
Orchestra: “He was a fine teacher, and I got serious about the bass.” instrumental voice was the main sound of the band. There were
He also attended Youngstown State University, where he studied jazz other leaders who were more the organizers and editors of the music,
more seriously and received a bachelor’s degree. “My teacher at probably some of the more humane bandleaders, including Woody
Youngstown was Tony Leonardi, and they had a great jazz program, Herman and Stan Kenton, Count Basie, and to some degree Glenn
so I gravitated toward that.” He also began studying with Lawrence Miller. They let the band be what it was, featuring the people in the
(Larry) Angell, then principal bassist of the Cleveland Orchestra. band. They lacked a certain soloist psychosis—and I say that lov-
Influenced by Angell, he attended the Cleveland Institute of Music, ingly!” After four years with Herman, Pugh toured for two years
where Angell taught. During the summer Grubbs attended the with Chick Corea, also making recordings such as Musicmagic,
Orchestral Seminar at the Grand Teton Music Festival, studying Secret Agent, and Return to Forever—Live.
with Paul Ellison, then principal bassist of the Houston Symphony. When the road trips ended, Pugh took up residence in New York
He followed Ellison to the University of Southern California for fur- City. He began working immediately in the jazz and commercial
ther training: “I was doing mostly classical there, but also had a scene, but found it difficult to break into the symphony world, as
scholarship, which included my accompanying jazz guitar classes.” many of his colleagues at Eastman had: “I came into New York off
Within a year, however, Grubbs received an offer to be Orches- of a road band; if I had come straight out of Eastman, I probably
tral Fellow with the Atlanta Symphony Orchestra, through the Lin- would have gone into the classical freelancing, but having come to
coln Center–based Music Assistance Fund, now known as the town from the jazz side, it took ten to fifteen years to establish my
Sphinx Organization. As part of his internship he played in the credibility or acceptance in classical music.”
orchestra and studied with its principal bassist, Ralph Jones, whom Nevertheless, Pugh has had stunning success as a freelance artist
he considers one of his major teachers. The contrast from playing traversing comfortably the styles of jazz, rock, and classical music.
in school orchestras was striking. “I felt I could do it, but it was a He has also composed dozens of jingles for companies that include
lot more pressure. You had to play all the right notes, play in tune, Chrysler, MCI, Johnson & Johnson, soft drinks manufacturers, and
and not play in any rests!” he jokes. “It was a different program Western Union. National Public Radio’s All Things Considered,
every week, a whole lot more music than I was used to. We had Morning Edition, Weekend Edition, and Performance Today have used
learned two or three programs a semester at school. Atlanta’s sched- his themes, and his scores and performances as lead trombonist
ule was intense.” underlie several films (e.g., Beauty and the Beast, When Harry Met
Sally, Rocky V, National Lampoon’s Vacation).
PROFESSIONAL CAREERS BEFORE UI Pugh has also been lead trombonist for more than 4,000 jingle
As Pugh, Magee, and Grubbs entered the professional world, their recording sessions. “Four thousand is a conservative estimate. New
career pathways diverged considerably. When Pugh graduated, he York had become a jingle town by the time I moved there in the late
won a plum job in Woody Herman’s band: “Mangione was well 1970s; the music business was much healthier then. I had between
known in the jazz circles. He was friends as well with the road man- 300 and 400 recording sessions a year, doing three, four, or even five
ager of Woody Herman’s Band, and when he heard there was an jingles a day. Usually that meant working an hour and then having
opening for a trombonist, he recommended me. That’s the way about an hour off before the next session. It made for long, boring
those bands worked; they didn’t set up auditions, as orchestras do. days—not a lot of horn-on-the-face kind of playing. You might play S
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They’re always on the move and don’t have the luxury of holding 30 or 60 seconds of music and then leave. We developed what we r
auditions. You were hired and that was your audition; if it worked called ‘60-second chops’; we were fine as long as we only had to play i
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horn out of the case, you’re in a sense auditioning.”
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 “I flew up there and had a big flight case for my bass. Then I rented a big van to get the
instrument from the airport to my hotel. I went to get my bass out of the van to practice a
bit before the audition. I pulled on the neck to take it out—and only the neck came out!

“Over the years, however, my playing career has certainly gone on Atlantic University), and West Palm Beach. In all, we played in
both sides. I was brought in as a “jazzer” to perform and record with some ten different venues.”
Dawn Upshaw, Stephanie Mills, Eileen Farrell, and Kathleen Battle, Grubbs had a remarkable audition for the Pittsburgh Symphony
but I’ve subbed with the New York Philharmonic and have been Orchestra in 1995. “I flew up there and had a big flight case for my
principal trombonist in a couple of big chamber orchestras: Marin bass. Then I rented a big van to get the instrument from the airport
Alsop’s Concordia Chamber Orchestra and Eos Orchestra. I’ve to my hotel. I went to get my bass out of the van to practice a bit
recorded with them as well as with Yo Yo Ma, the St. Luke’s Orches- before the audition. I pulled on the neck to take it out—and only
tra, and the Graham Ashton Brass Ensemble.” He has also been a the neck came out! The rest of the instrument remained in the case.
featured soloist on recordings with Joe Lovano, Harry Connick, Jr., The airline must have dropped it off the conveyer belt or something.
Dave Matthews, Barbra Streisand, Tony Bennett, Madonna, Joe I was ready to just hang it up and go back home. But I talked to my
Williams, Pink Floyd, and many more pop or jazz artists. wife, and she convinced me to borrow an instrument.
Pugh premiered his Concerto for Trombone and Orchestra in May “A former roommate of mine from Aspen was a violinist in the
1992 with the Williamsport Symphony, and the same work was per- orchestra, so I called him and asked, ‘Do you know anyone I can
formed by Joseph Alessi as soloist with the New York Philharmonic borrow a bass from?’ He gave me a name, and I called the player. He
in 2000. Pugh recorded the concerto, a crossover work (“it begins in agreed and showed me the bass room and instrument, so that I
a classical style and before too long is into groove music and then could try to get used to it. I had about an hour to try it before I had
goes back and forth”), with the Colorado Symphony in 2004 along to play the first round.
with two other crossover works; the CD will be released early in “My thinking was ‘What do I have to lose? I was going to go
2007 on Albany Records. In composing the concerto, he used a home anyway, so I’ll just go out there and see what happens. With
computer for the first time to help with the process. “I’m a compe- that attitude and just trying to think ‘Where is F# on this instru-
tent arranging pianist, so it’s an interesting process to compose sec- ment’ my mind was focused in a different way; I wasn’t nervous. I
tions, play them into the computer, and let it play the piece as I sit passed to the next round, and the finals were the next weekend. I
back and make judgments. It’s a difficult problem to combine stayed in Pittsburgh and on the day of the finals in front of Lorin
swing/jazz style with standard orchestral performance style. I basi- Maazel, the orchestra had a double rehearsal, so I couldn’t even play
cally kept the eighth notes straight and not ‘swung’ to integrate the the instrument that day.” Grubbs had seven years experience by
jazz and orchestral elements. Straight eighth notes are common then, but says mildly, “They had three openings and at that time
practice in both rock and classical music, and this created a common they filled only one, and that was me. So I guess I played well.”
ground.” Throughout his adult years, Grubbs has also played jazz, work-
Jeff Grubbs, in contrast to Pugh, went the classical route early in ing with Nat Adderly, Mose Allison, Terrence Blanchard, Kenny
his professional career. After two years on fellowship in Atlanta, he Burrell, Joe Lovano, Ellis Marsalis, Diane Schur, Billy Taylor, and
won an audition with the Florida Philharmonic, a regional orches- others as they toured to the places where he lived. “I was the bass
tra for the tri-county area from Miami to West Palm Beach. The player they would call if a touring artist came in and wanted to hire
players were homeless, in a sense, he says: “We didn’t actually have someone local for the rhythm section. Most of my career has been
a hall of our own. We rehearsed in an office space that had been in orchestra, but these artists often picked up local people for their
converted into a rehearsal space. In Atlanta, we had gone to the jazz ensembles.”
same place for rehearsals and most of our concerts, with the audi- Grubbs is featured on at least six CDs that track his career. While
s ence coming to us. In Florida we played four or five concerts a working in Florida, he was bassist for Duffy Jackson’s Swing! Swing!
o week, but had to drive to Dade County, Fort Lauderdale (the Swing! Nicole Yarling Live at Manchester Craftsmen’s Guild with Joe
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o Broward Center for the Performing Arts), Boca Raton (Florida Williams might be considered a transitional CD in Grubbs’s career;
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Fields of My Youth features his UI colleague Chip Stephens; perhaps expanded it chronologically and historically. I took a long time
the oldest of the CDs, it dates from about a decade ago when he between writing the dissertation and the book. The book has a lot
moved to Pittsburgh and Stephens was finishing his master’s degree of material from the dissertation, but I think it’s a much richer work
at Cleveland State. and covers more ground chronologically than the dissertation,
Alton Merrell’s You’re the Reason was recorded more recently, which was focused on one period and a handful of subjects.
coming out about two years ago. Three years ago Grubbs worked “Henderson was an African-American who grew up in Georgia
with Teddy Pantelas on It Makes Me Glad, renewing a friendship in a small, segregated community called Cuthbert, near Alabama.
that goes back some twenty-five years to Youngstown. “We were col- He went to Atlanta University, which had a tradition of higher edu-
lege roommates, but this CD just came out this year. Another CD I cation for African-Americans, then came to New York City in the
played for is Boiling Point with Melton Mustafa. It’s really good, wave of black migration from the south to the urban north. He
done with big band, and Melton writes everything on it.” intended to pursue graduate education, but ended up finding musi-
After receiving his Ph.D. in 1992, it was natural for Jeffrey cal jobs. Henderson was in the midst of what is called the Harlem
Magee to become a professor. He remained in Ann Arbor and Renaissance. He was a functional piano player who played in his
worked for four years as an adjunct professor at the University of bands, but was not an outstanding jazz pianist. Henderson may not
Michigan and as the executive editor of a publication based there, have been a great soloist, but also was not just a cog in his band: he
the score-series Music of the United States of America. In was the leader, writing music, telling the band members how
1997, he was appointed to the faculty of Indiana Uni- to play it, and arranging the jobs.”
versity. Teaching there through spring 2006, he The band sometimes used “stock” or published
emphasized American music, much of it popular arrangements: “These were generic arrangements
or jazz, in his courses. Magee married his wife sold to professional bands, but if you were any
Gayle (a UI professor of musicology), who was a good, you didn’t play what was on the stock
music editor at Indiana University Press while he arrangement. You rearranged it and added impro-
was on the faculty there. At Indiana, Magee was a vised solos. The Henderson Band had individual
member of the editorial boards of several important members who were known for their creative improvis-
journals: American Music, Journal of Musicology, Jazz Per- ing powers. Although you can clearly see how they based
spectives, and the Black Music Research Journal, and continues as co- some of their ideas on the published version, they made them dis-
editor of the book series Profiles in Popular Music (Indiana tinctive, placing the ending at the beginning, switching sections,
University Press). Further, he was elected secretary of the Society for putting a tenor saxophone solo here. So it’s an interesting interaction
American Music, a post he continues to hold. between improvised music making and music reading.”
In approaching the music he studies, Magee says, he tries to com- Henderson collaborated with Benny Goodman later in his
bine musical analysis and discussion with cultural context: “When I career, and Magee explains that “Henderson’s written arrange-
look back over what I’ve written, my approach has been to take a ments are extant because Goodman, who died in 1986, had previ-
piece, a recording, a song, or a group of related pieces and talk about ously bequeathed them to Yale University Library.”
the music in some depth and then connect it to a variety of cultural Goodman, like Henderson, was a classically trained jazzer.
developments at the same time. In that sense, I’m a rather traditional Magee adds: “Part of the interest for me with Henderson was that
musicologist. My dissertation was on the jazz bandleader and he was classically trained. He had no background in jazz and little S
p
arranger Fletcher Henderson. That grew into a book, The knowledge of it before he went to New York City right out of col- r
Uncrowned King of Swing: Fletcher Henderson and Big Band Jazz lege, so he came late to it, too!” i
n
(Oxford University Press, 2005). Although the dissertation was g
more of a musical study, it became more culturally grounded as I
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 “I also had a composer friend who played jazz and introduced me to a lot of recordings. I thought
‘How is it that I didn’t have this before? This is wide open territory for research and writing.’
So I came to jazz pretty late among jazz people, but it became central to my scholarly interests.”

CURRENT PROJECTS New York. I started seeing reviews that referred to his ‘jazz songs.’ In
Along the way Magee became intrigued by how and why Jewish- the 30s there was more focus on improvising musicians, African-
American musicians were identified with jazz early in the twentieth American musicians, and a recognition that some of the great
century and how they intersected with African-American traditions improvisers did not enjoy the kind of commercial success and pop-
of jazz. “This is an issue that emerges in pieces such as Gershwin’s ularity that songwriters had. So the story about jazz writers changed
Porgy and Bess and in Benny Goodman, a Jewish-American band- to one of African-American improvisers and arrangers who had
leader, having become famous nationally playing music written by made many recordings and were fairly well known, but hadn’t got-
Henderson and other black arrangers. It’s an interesting merger of ten the attention the songwriters had.”
African-American traditions and Jewish-American traditions.” Leaving the symphonic world for a full-time faculty position at
Magee, who has an article near publication on the subject, is cur- UI has felt a bit strange to Grubbs, although he has taught part-time
rently working on a book about Irving Berlin, who presents a sec- since high school. Now living in Champaign with his wife Tania, an
ond striking example: “In the teens of the twentieth century, Berlin accomplished vocalist, and their three children (Zoe, ten, who plays
was considered the leading figure in ragtime, and in the 1920s was violin; Olivia, eight, who has not yet decided on a career in music;
considered a major jazz composer. Why was Berlin seen as and Harrison, five), Grubbs is continuing to perform as
central to jazz in the 1920s when he is not even writ- principal bassist with the Sinfonia da Camera and in
ten about in more recent jazz histories? I’ve found a jazz gigs with his colleagues. In October, he was also
number of possible explanations: musical reasons, soloist with the UI Philharmonia. He neatly bal-
the kinds of illicit behavior associated with jazz ances his twin worlds of music. “Being full-time in
that he wrote about in the lyrics, the people that an academic environment is definitely a lot differ-
sang it, its theatrical context, all of these shaped its ent; calling the shots is different. It’s hard to get
perception as jazz. used to, in a way, because when you play in an
“But, another area I get into is that in the 1920s jazz orchestra, just about everything is dictated to you!
was thought to be a Jewish musical idiom. It was openly And, naturally, I miss a lot of my friends.” Life, however,
discussed then that Jewish composers had taken the raw material of has a circular way of reintroducing musical friendships, and Grubbs
improvising jazz musicians, of course most of them black, and cul- now finds himself on the same faculty as Chip Stephens and Glenn
tivated it in a new way that reached a larger public. Irving Berlin and Wilson, men he performed with on earlier CDs.
George Gershwin were leading figures, as was Al Jolson because he Jim Pugh continues to play trombone on the road when he has
starred in the Jazz Singer singing Berlin’s Blue Skies as a jazz song. A time, performing with Steely Dan in late summer of 2006. “Steely
whole generation of Jewish immigrants came into their own in the Dan is basically rock and roll. It has two leaders, Donald Fagen and
teens and twenties and led the way in popularizing the idioms then Walter Becker, very heavily jazz-influenced and -based; if they
thought of as jazz. Looking back now we see the leading jazz figures weren’t famous rock and roll song writers, they would probably be
as Louis Armstrong, Duke Ellington, Henderson to some extent, lounge musicians somewhere,” Pugh laughs. “Their branch of rock
Sidney Bechet, and King Oliver. Armstrong, Ellington, and Hen- and roll has such a complexity of harmonic structures—with beau-
derson were widely known in the 1920s, but even they didn’t get the tiful rhythmic grooves underneath. It’s blues-based but sophisticated
kind of attention that Berlin, Gershwin, and some others did.” music that somehow snuck through the cracks and became popular
With initial support from the National Endowment for the with people. We played and sold out 20,000-seat sheds or amphithe-
s Humanities, Magee is delving into Irving Berlin’s theater work for aters this past summer, even though many of their hits dated from
o the 1970s.”
n his new book, to be published as part of the Yale Broadway Masters
o In September 2006, Pugh returned briefly to New York for a trib-
r Series. “Along the way I worked on the songs that Berlin wrote for
i the Music Box Revues, which he helped fund the building of, in ute to Urbie [Urban] Green, a trombone jazz hero of his who
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 Avant-Garde Ethnomusicologist
Professor Gabriel Solis
recently celebrated his eightieth birthday. “Through his Not alone in his diverse interests, Jeffrey Magee joins Gabriel
recordings he taught me so much about trombone tone Solis, assistant professor of musicology at UI since 2002,
and sound and what the instrument is capable of doing.” who is a specialist in African-American music. “I entered
The only trombonist recipient of the National Academy graduate school thinking I would study early 20th-century
Latin American nationalist music composition, with a particular
of Recording Arts & Sciences Virtuoso Award, Pugh was voted
interest in Villa-Lobos,” says Solis. “But having played jazz and blues
the Trombone MVP for five years by his colleagues in New York.
as a saxophonist for, well, almost my whole life it seems, one thing led to
Among his recent CD projects have been Everything Must Go with
another. I decided to do a dissertation on Thelonious Monk, and continued to
Steely Dan, Looking for America with Carla Bley, and E’nJ—Just Us
explore my interests in (and enthusiasm for) salsa and Brazilian music. Since then
for two lead trombones, recorded with the “trombone Wunderkind I’ve come to be an ethnomusicologist (though, a very historically oriented one).” Solis
of Japan,” Eijiro Nakagawa. “These are all our own compositions— has worked recently in Australia with Aboriginal musicians and dancers.
half of them his and half mine—and our third CD together.” He also has written an article on Thelonious Monk (published in the Musical
Most recently, Pugh has concentrated on writing for brass Quarterly) titled “Hearing Monk: History, Memory, and the Making of a Jazz Giant,”
groups. He has composed for “a fabulous Japanese group” the Samu- and another in Ethnomusicology. His book, Monk’s Music: Thelonious Monk and Jazz
rai Brass. “Last week I finished a piece called Living/Breathing. And History in the Making, now under publication, is due out in September 2007. Solis
I also recently collaborated on a piece for brass quartet, sitar, and studies both jazz musicians and capoeiristas in the United States. Given his twin musi-
tabla, which was recorded by the Graham Ashton Brass Ensemble, a cal enthusiasms, it is no wonder that he is drawn to the capoeira genre, which he
explains, is an Afro-Brazilian art that includes music, song, dance, and martial art.
group I was a founding member of and still perform with.”
Solis is currently immersed in writing a book that deals with Tom Waits from a
Composing and arranging are hardly distinct enterprises in
critical perspective of masculinity studies, offering another slant to interdisciplinary
Pugh’s mind. “Even in arranging there must be composing. Com-
studies within UI’s School of Music. He describes Waits as a pop music experimentalist
posing, arranging, and orchestrating all overlap. If you write a piece with roots in the singer-songwriter tradition that produced Dylan and Springsteen. “He
and are going to do anything more than hand out lead sheets to the brings a taste for jazz, hipster counterculture, expressionism and just plain noise to
combo, you have to become an arranger and orchestrator of your the mix. I find interesting the extent to which musical experimentation is part and
own music. parcel of the projection of the themes in his lyrics. Writers have addressed Waits’s
“In the freelance life, players are ‘always at the beck and call’ of biography or lyrics,” Solis adds, “but there’s so much in the music that has yet to be
contractors,” Pugh further explains. “Whenever someone calls, you really considered.”
stop what you’re doing. I like being away from that because while it Waits’s work since the 1970s has often been theatrical, including performance
is often financially rewarding, it is rarely musically rewarding. Now art pieces in the mold of Laurie Anderson. He has significant work as a film actor, and
recently has composed a series of operas. It could be said that Waits is also a good
I’m involved in playing, writing, and arranging music that I really
example of a crossover artist: Solis says these operas include The Dark Rider, based
want to be involved in. The rest of the time I’m working with young
on Weber’s Der Freischtüz; Blood Money, based on Georg Buchner’s Woyzzek; and
people. It’s really great to be around the young energy of UI students.
Alice, which deals with the relationship between Lewis Carroll and Alice Lidell, the
“Since 1976 everything past my road time has been based in New inspiration for Alice in Wonderland.
York City, where I’ve lived,” says Pugh, “but at this point Urbana “My interest in a gender studies approach to Waits’s work grows from my view
offers a welcome change.” He credits Karl Kramer who, as dean of that Waits’s work as a songwriter, musician, and actor has dealt deeply with the
the Purchase College Conservatory of Music, persuaded him to begin many forms outsider masculinity has taken in the 20th century gangsters, hobos,
teaching, first at Purchase College and then at UI. “I’m grateful to winos, pimps, low riders, hucksters, and the like form the central themes of his
him for yanking me into the world of academe. After I got over the songs. Much pop music is ultimately about masculinity and femininity (and amorous S
encounters of various sorts between them), but Waits projects masculinity differently p
initial kicking and screaming, I found that I love working with the r
students. I’ve had a pretty active career, and now it’s time to turn it than do his predecessors and most of his contemporaries. He encourages us to look i
around and hand back what I’ve picked up along the way.” I at masculine icons as theatrical projections, rather than as authentic identities, and I n
find that intriguing.” g
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 Poker Games,
Feature

Liberation Classes,
Popular Music,
and the musicologist, who kept trying to teach us an incomprehensible game

T
his story begins with a regular game of poker in which a
number of music faculty members played for a good many in which he made up rules as he went along, and which we decided
years. It was established by Charles Hamm, professor of to call “Brazilian poker.”
musicology, just as I arrived in Champaign-Urbana in 1964. Charles It was a pretty low-stakes game; on a disastrous evening one
had started out as a composer, became an influential scholar of Ren- might lose $8.00. The routine was set: Always dealer’s choice. We
aissance music with a Princeton Ph.D., and arrived at UI in 1963, began at 7:30; then at 10:30, the host (or more frequently, the
ready for the change in direction that was to make him a seminal fig- host’s wife) would put out some grub—sandwich makings with
ure in the study of popular music in the USA and South Africa. In mayo—but we continued playing without break, often raising the
April 1964, I had been in Urbana briefly to look for housing and bet with the mouth full, and the last round of deals began at mid-
spoken to Charles of my pleasure at the prospect of coming to Illi- night. The game moved quickly; cogitating at length wasn’t
nois, but I mentioned that one thing I would miss in my former favored. I gotta tell you, I don’t know how we all worked a weekly
abode, Detroit, was the friendly card game in which I played with a evening of cards, usually Tuesdays, into a busy teaching-per-
group of colleagues. forming-research schedule.
“You play poker?” Charles said. “That’s the best news I’ve heard I learned a lot of poker in that game over several years. We
all semester.” And sure enough, after I had arrived in town in August specialized in the great classics, Jacks-or-better draw poker, 7-
and started my courses, I was invited to Charles’s home for the first card-high-low, and 5-card-stud. But we also played many
meeting of what later became one of the longest established perma- other games with colorful names such as Twin Beds;
nent floating poker games in Champaign County. Besides Charles, Hot Bottom; 32 and 23; Three-
there were some notable players in that first game: the distinguished Toed Pete;
composers Salvatore Martirano and Kenneth Gaburo; John Garvey,
violist and jazz educator; the talented music historian and musical
radical Royal MacDonald; Bruce Foote, distinguished voice teacher
and well-known Chicago radio singing personality; and the organist
and author Russell Miles, then already retired. True to its floating
character, the game changed personnel frequently over the years,
counting among its members at various times Charles Leonhard,
s great leader in the field of music education; also, for a few months,
o John Cage (who needs no introduction), who was a visiting profes-
n
o sor here for a couple of years; and in one game Gerard Béh-
r
i ague, later the nation’s leading Latin Americanist
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Bruno Nettl, Professor Emeritus of Music and Anthropolgy

End of Camelot
Little Red; High Chicago; Low-Ball; Buy-em-Wild-if-Paired (inex-
plicably abbreviated BYP); Texas Stud; Anaconda; No-peekie (for
comic relief ), Hambone II (we never learned what Hambone I
was); and a game-cum-performance known as Wild-Shove-It. The
game always ended with a five-card “cold hand” which, if you won
it, could reverse a disastrous evening. Oddly though, I’ve rarely
found these games under those names in handbooks of card
games.
But I soon realized that poker was not just a card game,
but a metaphor, maybe for academic life, in which you had
“to know when to hold
 “John Cage, when he played, donned his hallmark air of sphinx-like mystery,
but actually he usually didn’t win. Once he ended up owing Royal ten dol-
lars (a lot in those pre-inflation days), and wrote a check, which Royal
refused to cash, framing it instead and displaying it on his living room wall.”

‘em, know when to fold ‘em,” as the song admonishes. playing it on his living room wall. An occasional player for a year
Charles and I considered making participation in a was Wolf Siegfried Wagner, the master’s great-grandson, known
poker game part of the audition process for musicol- mostly by his nickname Wummi, a talented stage director who
ogy searches, as it would tell us how quickly a can- worked with the opera workshop under Ludwig Zirner but was
didate’s mind worked, whether he or she was a sore rather a disaster at the poker table. This wasn’t strictly a musicians’
loser (or, for that matter, a never-satisfied “sore” game, though. One occasional player was Solomon Levine, a pro-
winner), a quick learner, flexible, discreet, and fessor of Japanese economics and the first director of the Center for
willing to undergo some risk but knowing when to Asian Studies; and another, Merl Hobson, who operated a horse-
cut losses. We didn’t think the dean would approve. drawn milk delivery service in the Twin Cities, and who regularly
Sal Martirano, composer of “L’s GA” and “O, O, O, O, That cleaned everyone out.
Shakespeherian Rag,” was one of the most memorable characters of The poker game began in 1964 as the era of Camelot was fading
the game, affecting a mafioso manner and rasping “Open” when he and turning into the Vietnam war era with the Johnson administra-
dealt stud poker, and “Closed,” for draw poker. His colleague tion’s excesses. In 1967, Charles spent a year in Bologna, and the
Gaburo—a daring experimentalist, one of whose later compositions next year I found myself in Iran where I tried to learn something of
consisted of a series of slides of art works alternating with typed sen- the Persian classical tradition, but also came upon the fascinating
tences about music—played poker in a subdued style. Garvey, who repertory of popular music performed in large lower-middle-class
constantly brought new ideas to the school, was, in the late 1980s music halls in Tehran and distributed on 45-rpm disks. I brought
games, the last survivor of the original group. Putting on a didactic back hundreds of these records but didn’t quite know what to do
manner, he announced his dealer’s choices and his raises with the with them. It turned out, though, that poker, popular music, and
voice of a lecturer. Bruce Foote liked to pretend to be the sore loser, politics were to come together in an unexpected way.
disappointed and exasperated even when he did well, causing Back from Iran in August of 1969, I was eager to start teaching
Charles Hamm to coin the adage, “If there’s one thing I can’t stand, again to apply my experiences, and I remember brimming with a
it’s a sore winner.” Royal MacDonald was all enthusiasm, something heady feeling of optimism for myself, for musicology at Illinois, for
also characterizing his music history lectures. Professor Leonhard (it the U of I, for the nation, and the world. But perspectives quickly
was always “Charles” Hamm and “Charlie” Leonhard), a man with took on a gloomier cast, and I now skip to the spring of 1970, when
a mind of lightning speed disguised behind a gruff demeanor, took many in the nation, especially people in higher education, were vig-
an aggressive stance, throwing players off guard by rushing them and orously protesting the war and the Cambodian invasion. Then there
belittling their indecision. was the massacre at Kent State, the explosion in Madison, and the
It seemed to me that Charles Hamm always won. I myself started National Guard on the quad in Urbana.
with a three-year losing streak and my losses to Charles over several In my memory of over forty years at Illinois, one of the high
years were tantamount if not to a Guggenheim, then at least to a points is the strike of May 1970. Many students and faculty felt that
small ACLS grant, and so I take some credit for supporting Charles’s they should express their strong feelings by striking, not against the
many-sided research. He rarely missed one of the weekly games and, University, but against the unreasonable and even criminal actions
as the founder, he provided a dignified tone of southern gracious- of the government, and so, on the Sunday before the strike was to
ness, usually referring to the event as “playing cards” rather than begin, musicology faculty and graduate students met and decided
using the vulgar “poker”—a word which presumably suggested a not to hold classes the next week. Of course the purpose was not just
group of coarse-tongued men using spittoons and pulling handguns to do nothing, so, with the leadership of Charles Hamm, Herbert
on each other. Kellman, and Alexander Ringer, we planned to cancel our classes
s John Cage, when he played, donned his hallmark air of sphinx- but to institute instead a group of lectures and presentations that we
o
n like mystery, but actually he usually didn’t win. Once he ended up called “liberation classes.” These were to start the next morning, and
o owing Royal ten dollars (a lot in those pre-inflation days), and wrote one of my vivid memories has Herbert Kellman and me carrying a
r
i a check, which Royal refused to cash, framing it instead and dis- large poster to Smith Music Hall about 7:30 A.M. in order to
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 “Popular music as protest against the establishment and as symbol of solidar-
ity with students became a touchstone of our efforts. This music was in those
days something of a taboo in both ethnomusicology and also, at least in its
twentieth-century sense, in music history.”

announce the program, trying to avoid being seen to make the problems that had been brought about, or were faced by, our gov-
poster seem official. I have ever since been impressed by the ability ernment, it was not a time for business as usual. I think we felt that
of my colleagues to put together an interesting, educational, and— we didn’t really know what to do, but in the face of what seemed an
however one would define it—a “relevant” set of lectures. Charles intolerable situation, we simply had to do something.
Hamm gave a talk about music in the USSR; Alexander Ringer Popular music tied Charles Hamm and me together in another
spoke on music under the Nazis; Herbert Kellman discussed “The way that year. In 1970, I was serving as president of the Society for
Oppressed Individual (Wozzeck);” and Gerard Béhague described Ethnomusicology, and Charles had just then been elected president
the Brazilian bossa nova as protest music. of the American Musicological Society. The little house at 1204
Popular music as protest against the establishment and as symbol Nevada Street called Hill Annex, in which the musicologists had
of solidarity with students became a touchstone of our efforts. This their offices, almost creaked under this accumulation of authority,
music was in those days something of a taboo in both ethnomusi- and Charles and I had occasional power lunches at the nearby Thun-
cology (then concerned principally with unmixed non-Western tra- derbird Café (now Timpone’s). We had in fact maneuvered our two
ditions) and also, at least in its twentieth-century sense, in music societies to meet jointly in Chapel Hill in 1971, and when it came
history. I pulled out my recordings of Persian popular music, the to thinking of a joint session, Charles insisted that it be devoted to
most radical of musical material generally available in Tehran, and popular music. We gave our respective program committees the
talked about the way it expressed some of the values of working-class hard sell, and a session took place, but it went over badly, and we
society unhappy with the rule of the Shah. A naïve view, I now went home depressed, feeling that our attempt to get popular music
know, because it was this music that was first of all outlawed by the included in the purview of both music historians and ethnomusi-
radical fundamentalists who took over Iran in 1979. There were cologists had been a failure. Of course, we consoled ourselves with
other “liberation classes”—some conventional, suggesting how our regular card game.
music could be an early warning of the dangers of autocratic gov- Actually, that session on popular music led to many others. Now
ernments; others a bit outré, such as our harp instructor’s talk about popular music plays a substantial role at AMS meetings, and it
“The Harp and Revolution.” It was really an amazingly exciting clearly dominates the annual conferences of the SEM. By the 1990s,
week, and we were constantly on campus, teaching, arguing, and the whole question of musical taxonomy had become the subject of
demonstrating. Even so, we didn’t skip the weekly poker game. much more sophisticated discourse, and most music historians knew
It was about that time (actually in 1969) that Dan Perrino led the something about popular repertories and had an inter-
founding of the Medicare Eight, a group of middle-aged musicians, est in their study on an intercultural basis. At that
faculty, administrators, and locals, who played mainly Dixieland jazz 1971 meeting, the SEM and to some extent the AMS,
at first, just to show the young folks that not everyone over thirty- perhaps without knowing it, had turned a corner.
five was untrustworthy. One of the prominent members of this The tragic moment for our game, the end of our
group was trombonist Morris Carter, long-time associate director of own Camelot, occurred in the fall of 1972, when
the School of Music. Others well known to SOM alumni also Royal MacDonald, evidently unable to cope with
played, but the membership shifted and the group eventually came problems about which we knew little, shot himself
to be called “Medicare Seven, Eight, or Nine (depending on how in his backyard and died on the way to the hospi-
many show up).” This is an organization that deserves its own tal. We didn’t really know why Royal took his life, but we all
accounting in UI history. somehow felt guilty. For years afterwards, we veterans in the Musi-
Later we sometimes asked ourselves why, against whom, and pre- cology Division felt that the atmosphere could never return to the
cisely for what purpose we had gone on strike. But surely it was to easy collegiality of the earlier days. Nevertheless, the day after the S
p
express solidarity with the students’ antiwar movement, to show that funeral, we decided that we must lift our spirits and thus held the r
people who talked only about music could make their area of study first annual Royal MacDonald Memorial Poker Game. m i
n
relevant to the political and social concerns of the day, and, most of g
This article includes revised and expanded portions of the author’s book, Encounters in Ethnomusi-
all, to declare that whatever we thought might be the solution to the cology: A Memoir (Warren, MI: Harmonie Park Press, 2002), pp. 157-160.
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 Ba nd Notes

felt that I was part of the team. I really

How do you get to Carnegie Hall? appreciated being able to share in the
excitement and fruition of the work.”
Plane, bus and 18 months of planning Also part of the team making it all pos-
sible was Lucinda Lawrence, assistant to
Melissa Mitchell, UI News Bureau, Arts Editor
the director and bands librarian. Lawrence
handled all the music-related details of the
trip—including assembling and packing all
the sheet music and helping set the stage,
once on-site at Carnegie Hall.
Griffin said that director of bands
James Keene started the whole planning
ball rolling more than a year prior by
arranging the concert date with the presen-
ter Choice Music Events, selecting music
for the program, locking in a rate for air-
fare to New York, and negotiating con-
tracts with the hotel and Carnegie Hall.
Further complicating the planning plot,
Griffin said, was the fact that the Carnegie
Hall concert was not the only gig on the
band’s New York tour schedule. During the
week leading up to the show, they made
performance stops at four schools in the
metropolitan New York area. They actually
started the tour in Illinois, with a perform-
When friends and fans of the university “Typing letters for Mr. Keene, the con- ance at Glenbrook North High School in
came out to support their home team—the ductor; making sure checks got mailed; Northbrook. The next day, they boarded a
UI Wind Symphony—during the band’s working on menu planning; communicat- plane from O’Hare International Airport to
historic debut performance in New York ing with the hotel… I was responsible for New York’s LaGuardia Airport, with per-
City’s Carnegie Hall on Feb. 17, 2006, making sure everything was done correctly sonal luggage and dozens of instruments
most of the Illinois faithful came dressed and all parties were on the same page,” in tow.
not in orange and blue, but in tuxedos and Sherman said. While most of the logistics Griffin said the vast majority of the
elegant evening attire. involved—including handling group ticket band’s students own their instruments and
Just before the concert, as the band’s sales and figuring out how best to move were responsible for carrying them on
supporters milled around inside the famous 62 band members, a handful of staff mem- board with them. Larger pieces—including
venue—with its plush, red seats and bers, dozens of instruments and cases of a drum case, 14 percussion cases and four
ornate, domed ceiling trimmed with gilded music to New York and back—fell to assis- music cases—were transported as checked
cherubs and lyres—their focus was likely tant band directors Peter Griffin and Ken- luggage. But the largest instruments of all—
on the glamour and excitement unfolding neth Steinsultz, Sherman provided the notably a harp, bass drum, timpani, xylo-
around them at that moment. But at least clerical support required to complete the phones, marimbas and chimes—were
one person in the audience was taking in transactions. “Usually, Ken and Peter rented on location in New York.
the spectacle from a different perspective. would start a particular project, making The students were transported by
Looking down onto the main floor and con- the initial contacts, then hand off to me to bus—two buses, actually—from point to
cert stage from her second-tier box seat, finish.” point in the New York area, and housed
s bands department secretary Ginny Sher- As a reward for her efforts, Sherman by host families in the communities where
o
n man was witnessing the culmination of a was given the opportunity to accompany they played. Steinsultz also made three
o year and a half of complex planning and the band to New York. “I was so grateful trips to New York prior to the tour to work
r
i logistics. that Mr. Keene included me,” she said. “I out logistics with the hotel and Carnegie
t Hall staffs, even checking actual travel
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 Admis s io ns Act ivitie s
Joyce Griggs, Assistant Director for Enrollment Management and Public Engagement

times from one location to the next. “We

wanted to make sure we had that down,”
Steinsultz said.
A Boom Year!
This fall the School of Music enrolled its largest freshmen class with 145
With so many details to manage, Grif-
students. In addition, the School enrolled 102 new graduate students.
fin acknowledged that there was plenty of
room for plans to unravel, but nothing With more than 1,000 applications, the admissions selectivity for the
cropped up that the able team couldn’t han- School of Music has increased significantly, allowing faculty to admit
dle. “If we ran into a problem, we knew students of the highest caliber. These bright, talented, interesting people
who to call,” he said. And they had back-
hail from across the country and from around the world.
up plans in place every point along the
way. “We brought an extra set of music The rise in student matriculation is evidence of the on-going recruitment and outreach
and had a list of cell phone numbers for all efforts supported by the School of Music. Through events such as college fairs, Open House,
of the students.” Allerton symposia, prospective student visits, and most importantly faculty contact, students
Euphonium player Chris Barnum said have tangible experiences to draw upon when making a decision about attending the U of
the fantastic support provided by Griffin
and the other bands staff members was key
I. Prospective students have also heard our ensembles in Carnegie Hall, at IAJE, and in
to their successful tour and Carnegie Hall Orchestra Hall in Chicago.
performance. With the recent “retooling” of Illinois Summer Youth Music, participating students are
“We didn’t have to worry about any- offered an enhanced experience in the long-standing tradition of excellence provided by
thing,” he said. “Ken and Peter did every-
this camp. In the last two years, faculty involvement in the high school camps has increased
thing. That really allowed us to concentrate
on our playing. So that was great.” In turn, to almost one hundred percent. Courses in music technology, composition-theory, group
Griffin said, after the long hours he and piano, and conducting are also being offered, giving serious music students an introduction
other staff members devoted to planning the to topics that are critical to the study of music, but not always courses one would take in
tour, being able to hear the program’s best
high school. Complementing the larger high school camps are specialty camps ranging
players perform—in top form—in the
nation’s premier concert venue was all that from double reed and piano to flute, trombone, and saxophone. The first two sessions of
mattered. camp now run consecutively so that students who wish to stay for a double dose of ISYM
“The rewarding thing for me was to may do so. Please check your mailboxes or the School of Music website for 2007 applica-
see and hear the UI band on the stage of tion materials!
Carnegie Hall and to hear how incredibly
This past year also saw changes of personnel in the Music Admissions Office. The School
well and professionally they played,” he
said. “And they knew they played well. of Music hired a new Admissions Secretary and a new Coordinator of Enrollment Manage-
That was the reward.” ment and Student Services. Jennifer Todd joined the secretarial staff in February; Daniel
Hassler joined the admissions team in mid-July. We are currently accepting new student
applications and with each passing day are becoming more deluged with paperwork. It is an
100 Years of Illinois Loyalty
The UI Symphonic Band II presented a concert of “100
exciting process that is ever-changing and exhilarating.

Years of Illinois Loyalty” on March 3, 2006, in the

As always, please invite students, friends, or colleagues to explore the School of Music.

Foellinger Great Hall of the Krannert Center for the Per-

We are happy to set up individual appointments, or prospective students may contact us to
forming Arts. The concert commemorated the 100th participate in our daily tour and informational session offered at 1:30 p.m., Monday
anniversary of the first playing of “Illinois Loyalty.” through Friday. It gives me great pleasure to represent you and your alma mater in such an

The evening included “The Overture to William Tell” by

important role. If I may ever be of assistance to you or someone you know, please do not
S
Rossini, “Light Cavalry Overture” by Suppé, and original
hesitate to contact me at griggs@uiuc.edu. p
arrangements of Illinois songs, including “Oskee Wow
r
i
Wow,” “By Thy Rivers Gently Flowing,” and “Cheer Illini.”
Warm regards and best wishes for a terrific year. n
Peter Griffin conducted and Kenneth Steinsultz, the guest
g
soloist, performed Herbert L. Clarke’s “Sounds From the 2
Hudson” on double-bell euphonium.
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 Ne w Appointments
Dr. Edward Rath, Associate Director and Assistant Professor of Music

Ani Aznavoorian, Concert Series. This season Ms. Aznavoorian Gamelan Genta Pinara Pitu at the University
Assistant Professor of performed two world premieres: Ezra Lader- of Maryland. In 1993–94, he was invited to
Cello, was recently man’s Concerto no. 2 with the Colorado lead a gamelan workshop at the Université de
hailed by the Los Ange- Springs Philharmonic under the baton of Montréal, along with an ensemble at the East-
les Times as a “cellist Lawrence Leighton Smith; and Lera Auer- man School of Music, and Gamelan Giri
who shows great sensitiv- bach’s 24 Preludes for Cello and Piano on Mekar, a private group in Woodstock (NY). In
ity and great virtuosity at stage at the Hamburg Staatsoper with the 1997, he directed the Amsterdam-based
all moments.” She is in Hamburg State Ballet, choreographed by John gamelan group Sandi Sari, and in the spring
demand as a soloist and chamber musician Neumeier. Other engagements include an act- of 2000, led the gamelan beleganjur ensem-
with several of the world’s most recognized ing role in Japan’s popular NTV mini-series ble Eka Sruti Illini at UI. In the fall of 2001,
ensembles and has appeared with many of Harmonia, where she portrayed a fictional he taught the private gamelan group Sekar
the world’s leading orchestras including the young cellist. She also appeared in a live tele- Jaya, affiliated with the University of Berkeley.
Chicago Symphony, Boston Pops, Tokyo Phil- vised performance of the Vivaldi Double Cello He has subsequently presented gamelan
harmonic, Helsinki Philharmonic, Finnish Concerto on Paula Zahn Now with Paula workshops at Florida State University and
Radio Symphony, International Sejong Zahn as the second cellist. She is an avid taught the innovative gamelan style of Semara
Soloists, Indianapolis Philharmonic, San Jose chamber musician and has performed in Dana as a visiting faculty member at the Uni-
Symphony, The Juilliard Orchestra, Concer- chamber ensembles with Gil Shaham, Cho- versity of Missouri-Kansas City Conservatory
tante di Chicago, and Edmonton Symphony. Liang Lin, Sarah Chang, Eugenia Zukerman, of Music, as well as to Genta Kasturi, a newly
She has appeared as recitalist and chamber Edgar Meyer, Ruth Laredo, Nadja Salerno- formed gamelan group in Kansas City.
musician throughout the United States, Italy, Sonnenberg, the Pacifica Quartet, and the
France, Finland, Yugoslavia, Japan, Korea, Shanghai Quartet. She is a member of the Kari Besharse, Visiting Lecturer in Composi-
Australia, Taiwan, and Canada. In 2000, Ms. renowned string ensemble International tion-Theory for the fall semester, received her
Aznavoorian received the prestigious Bunka- Sejong Soloists, ensemble-in-residence at the bachelor’s degree in music composition at the
mura Orchard Hall Award. Her other awards Great Mountains Music Festival in South University of Missouri at Kansas City, and her
include first prizes in the Illinois Young Per- Korea. She is also a founding member of the master’s degree at The University of Texas at
formers Competition (televised live on PBS Corinthian Trio with pianist Adam Neiman Austin; she is currently completing doctoral
with the Chicago Symphony), Union League and performs frequently in the Jupiter Cham- studies at the University of Illinois at Urbana-
Civic and Arts Foundation Music Scholarship ber Music series in New York. She proudly Champaign. Kari Besharse is a composer
Competition, Chicago Cello Society National performs on a cello made by her father Peter working in both electroacoustic and acoustic
Competition, Julius Stulberg Competition, and Aznavoorian in Chicago. mediums. Her works combine an avid interest
American String Teachers Association Compe- in science and natural processes with various
tition. She was a top prizewinner in the 1996 I Ketut Gede computer programs and electronic techniques,
International Paulo Cello Competition, held in Asnawa, International and she also enjoys collaboration with other
Helsinki, Finland. As a recipient of the 1995 Council Visiting Professor arts such as dance, theater, and video, bring-
Level I award in the National Foundation for of Musicology, was born ing them together with technology. She
the Arts Recognition and Talent Search, Ms. in Densasar, Bali, recently completed a residency at the Univer-
Aznavoorian became a Presidential Scholar Indonesia, where he pre- sity of Birmingham Electroacoustic Music Stu-
in the Arts and performed as soloist at the viously taught at the dios in England where she created a new
Kennedy Center in Washington, DC. As a National College of the eight-channel tape piece, Firmament.
first-year student at The Juilliard School, Ms. Arts (STSI) and the High School of Performing
Aznavoorian won first prize in the institution’s Arts. Since the fall of 2006, he has been Teofilo (Tito)
concerto competition—the youngest cellist in teaching various styles of Balinese gamelan at Carrillo, Assistant Pro-
the history of the school’s cello competitions to UI, through the School’s new Center for World fessor of Jazz Trumpet,
do so. With only 12 hours’ notice, Ms. Music. His compositions have been featured received his B.M. degree
Aznavoorian stepped in to replace Natalie at prestigious events such as the Festival of from Northern Illinois
Gutman in three performances of the Young Composers in Jakarta and the annual University. He joined the
Shostakovich Cello Concerto no. 1 with the Bali Arts Festival. Recently, his talent as a Illinois faculty in spring
San Jose Symphony. Other notable appear- composer and innovator in Balinese music 2006 on a part-time
s ances include concerts at Carnegie Hall, was recognized in the Grove Music Online. appointment, and assumed full-time duties in
o Alice Tully Hall, Ravinia, Aspen, the Dame An accomplished gamelan musician, Asnawa fall 2006. He is a trumpeter, educator, band-
n Myra Hess Memorial Concert Series, WFMT has toured Europe, the United States, and leader, composer, and arranger, and since
o
r Live from Studio 1, and the Music in the Loft Asia, and has been invited to teach gamelan 1996 has been a fixture on the Chicago jazz
i to audiences throughout North America and and Latin music scenes. The list of artists he
t Europe. From 1989 to 1991, he taught
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has performed, recorded, and toured with is Joe Williams. He has also been featured on ber of The Juilliard Opera Center and sang in
as varied as his skill set: Chicago heavy- recordings with Eric Allison (tenor sax), Andy several opera productions directed by Frank
weights Willie Pickens, Bobby Broom, Patricia Goodrich (alto sax), Roger Humphries Corsaro and Ted Altschuler including La Cal-
Barber, and Kurt Elling; big bands such as the (drums), Duffy Jackson (drums), Sean Jones isto, Così fan tutte and Weill’s Der
Woody Herman Orchestra, Chicago Jazz (trumpet), Turk Mauro (tenor sax), Melton Kuhhandel. In 1999, he won First Prize
Ensemble, Chicago Jazz Orchestra, and Mustafa (trumpet), Teddy Pantelas (guitar), Award in the Licia Albanese-Puccini Founda-
Smithsonian Masterworks Orchestra (directed Jimmy Ponder (guitar), Lonnie Smith (organ), tion Competition in NYC and was also invited
by David Baker); jazz greats such as Toshiko Joe Williams (vocalist), Nicole Yarling (vocal- to participate in Plácido Domingo’s Operalia
Akiyoshi, Louis Hayes, Jon Faddis, and Vin- ist/violin), and our own Chip Stephens World Opera Contest. While at The Juilliard
cent Herring; Salsa legends such as Andy (piano). For ten years, he was section bassist School, he was chosen to represent the voice
Montañez, Tony Vega, and Cheo Feliciano; in the Pittsburgh Symphony Orchestra, the division for a PBS City Arts documentary on
Latin jazz giants Tito Puente and Paquito appointment to which was made by maestro Juilliard entitled “Taking the Vow.” He was a
D’Rivera; and pop icons Quincy Jones and Lorin Maazel. Prior to his arrival in Pittsburgh, 1999 Merola Opera Center participant in
Phil Collins. Carrillo has played some of the he performed for five years as a section San Francisco and performed the title role in
most prestigious venues in the world, includ- bassist in the Florida Philharmonic Orchestra. the Western Opera Theater national tour of
ing Chicago’s Symphony Center, Carnegie He began his professional career with a two- Don Giovanni. During the summer of 2000,
Hall, Kennedy Center, and London’s Royal year appointment in the Atlanta Symphony after participating in the premiere season of
Albert Hall. His work has been heard at inter- Orchestra as a fellow of the Lincoln Center- Opera Aegean in Greece under the artistic
national jazz festivals in Chicago, Telluride, based Music Assistance Fund, now known as direction of Sherrill Milnes, Mr. Herrera
Montreux (Switzerland), North Sea Jazz Festi- the Sphinx Organization. received the Demodocus Award that led to his
val in The Hague (Netherlands), and Pori (Fin- Carnegie Hall debut as the bass soloist in
land). As an educator, he served on the Daniel Hassler, Coordinator of Enrollment Beethoven’s Symphony no. 9 in D minor. In
faculties at the Chicago College of Performing Management and Student Services, was 2002, he received the Adler Fellowship with
Arts at Roosevelt University, as well as North- awarded the B.A. in music education and San Francisco Opera and appeared in many
western University prior to his appointment at music theory-composition at The Master’s Col- San Francisco Opera productions, including
Illinois. He has also brought his talents as an lege in Santa Clarita (CA). Among Daniel’s La Traviata, Eugene Onegin, The Mother of
educator and performer to Chicago’s inner- responsibilities is facilitating communication Us All, and Billy Budd. He has sung many
city high schools through the Ravinia Festival’s between prospective students and the School concerts and recitals in Europe including a
community outreach program, the Ravinia of Music. In addition, he organizes and over- recital of music by Paul Bowles in Palma de
Jazz Mentors. Of Carrillo, the Chicago Trib- sees all application and audition procedures Mallorca (Spain); L’enfance du Christ by
une states “he has acquired a reputation as a for the School. Prior to his current appoint- Berlioz in the Cathedral of Monaco, and a
fluid improviser, doubly-blessed with a warm ment, he was a graduate student in Historical recital of opera arias and Mexican songs in
lyric style and technique to burn.” He contin- Musicology at the University of Illinois. Greve (Italy). He made his European operatic
ues to lead his own quintet in Chicago and Daniel’s musical interests lie primarily in mod- debut as Escamillo at the Oldenburgisches
throughout the Midwest, as well as being an ern American music of the twentieth and Staatstheater in Germany. Recent engage-
active guest soloist and clinician at various twenty-first centuries. He is currently complet- ments include Don Giovanni with Pine Moun-
secondary and collegiate jazz programs. ing his thesis, examining three generations of tain Music Festival, Mozart’s Requiem and
Jewish-American musical response to the Brahms’ Requiem with Marin Symphony, Car-
Jeffrey (Jeff) Holocaust. He and his wife Desirée, a doc- men with El Paso Opera, Elijah with San
Grubbs, Associate Pro- toral candidate in vocal performance and lit- Francisco City Chorus, The Dream of Geron-
fessor of Jazz Bass, erature, live in Champaign with their two tius with Kalamazoo Symphony, Earthrise
received his B.M. degree sons, Jackson and Samuel. with San Francisco Opera, Macbeth with
from Youngstown State Berkeley Opera, Semele and Agrippina with
University, continuing Ricardo Herrera, Chicago Opera Theater, and L’italiana in
with graduate studies at Assistant Professor of Algeri with San Francisco Opera. In 2005,
the Cleveland Institute of Voice, received his bach- he performed the roles of Tiresias and Le
Music, and later receiving an Advanced Stud- elor’s degree from the Veilleur in Enesco’s Oedipe with Sinfonia da
ies Certificate from the University of Southern University of Texas at El Camera under Ian Hobson. Among his most
California. He has taught at the Brevard Paso and his master’s recent engagements were feature roles with
Music School, Florida International University, degree from The Juilliard San Francisco Opera, The Celebrant in Bern-
and Clark-Atlanta University, and was an School. His principal stein’s Mass as part of the 75th Anniversary
adjunct faculty member at Carnegie Mellon teacher was Daniel Ferro, and he has per- Gala of the UI College of Fine and Applied
University. Mr. Grubbs is the quintessential formed in master classes for Daniel Ferro, Arts, Figaro in Nozze di Figaro with Sinfonia
crossover artist, excelling in both classical Sherrill Milnes, Jerome Hines, Renata Scotto, da Camera, and several recitals with New
and jazz bass. Early on he demonstrated Leontyne Price, Robert Lloyd, and Thomas York Festival of Song.
prowess as a jazz bassist, winning Downbeat Allen. S
magazine’s Dee Bee award during his under- A bass-baritone, Ricardo performed the p
graduate days. Over the past decade, he has title role in Mozart’s Don Giovanni with the r
performed in concert and on tour with numer- Aspen Music Festival under Julius Rudel in
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ous jazz luminaries such as Nat Adderly, 1997, and the next year he became a mem- g
Mose Allison, Kenny Burrell, Ellis Marsalis,
Billy Taylor, Diane Schur, Andre Previn, and 2
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 New Appointments
Jeffrey Magee, Asso- for orchestra music, the 2004 Tampa Bay Symphony Orchestra, Helsinki Philharmonic,
ciate Professor of Musi- Composers’ Forum Prize for Excellence in Belgrade Philharmonic, Orchestra of Radio-
cology, received his B.A. Chamber Music Composition, and the 21st France, Bolshoi Theatre Orchestra, National
and B.M. from Oberlin Century Piano Commission Competition at the Orchestra of Belgium, Orpheus Chamber
College, an M.A. from University of Illinois. He also received second Orchestra, Aspen Chamber Symphony, Indi-
the University of Califor- prize in the 2005 ASCAP/SEAMUS Student anapolis Symphony Orchestra, Mexico State
nia at Berkeley, and the Commission Competition and has twice been Symphony, Orquestra Sinfõnica de Estado de
Ph.D. from the University named a regional winner and national finalist São Paolo in Brazil, and Melbourne and
of Michigan. Jeff teaches and writes about in the SCI/ASCAP Student Composition Com- Queensland Symphonies in Australia. He has
music in the United States, especially jazz, mission Competition. His works have received worked with renowned conductors Lorin
musical theater, and popular song. His inter- many performances throughout the United Maazel, Daniel Oren, Vladimir Fedoseyev, Lu
ests include a variety of African-American tra- States, Europe, and South America at events Jia, Lior Shambadal, and En Shao, among
ditions, issues of Jewish-American musical such as SEAMUS national conferences, SCI others. In 2002, he was proclaimed “Artist of
identity, and black-Jewish intersections. He is conferences, Florida Electro-acoustic Music the 20th Century” in Belgrade. Mr.
the author of The Uncrowned King of Swing: Festivals, North American Saxophone Milenkovich is deeply committed to interna-
Fletcher Henderson and Big Band Jazz Alliance conferences, “Confluences—Art and tional humanitarian causes. He was
(Oxford, 2005), which won an award for Technology at the Edge of the Millennium” in appointed “Child Ambassador” of the First
excellence in Historical Recorded Sound Spain, the Soundings Festival in Scotland, Children Embassy founded in Medjasi
Research from the Association for Recorded and Nuclea Musica Nueva de Montevideo in (Yugoslavia), during the war in Bosnia. In
Sound Collections. He is now writing a book Uruguay. He attended the prestigious 2006 2002, he received the “Lifting Up the World
about Irving Berlin for the Yale Broadway Minnesota Orchestra Composers’ Institute dur- With Oneness Heart” award for his humani-
Masters series through support from the ing which his piece Surreal Abundance was tarian activities—handed to him personally by
National Endowment for the Humanities “We performed in an open reading session by the the guru Sri Chinmoy. Most recently, he
the People Project.” Professor Magee has pub- Minnesota Symphony Orchestra, conducted received the 2003 “Most Humane Person”
lished articles in the Journal of the American by Osmo Vänska. Other recent performances award in Belgrade. He has also participated
Musicological Society, American Music, include the premieres of Three Pieces for in a number of gala concerts under the aus-
Black Music Research Journal, Current Musi- Piano and Unseen Origin (two pianos and pices of UNESCO in Paris, with such artists
cology, and Musical Quarterly, and a chap- two percussion), as part of the 21st Century as Plácido Domingo, Lorin Maazel, Alexis
ter, “Ragtime and Early Jazz,” in The Piano Commission Concert in February, and Weissenberg, and Yehudi Menuhin. Mr.
Cambridge History of American Music. the March premiere of Flurry (soprano saxo- Milenkovich’s 2005–06 orchestral season
Before joining the Illinois faculty, he taught at phone and electro-acoustic music), at the SEA- included appearances with the St. Petersburg
Indiana University (1997–2006), and served MUS National Conference in Eugene, State Orchestra, Saarbrücken Radio-Sym-
as executive editor of the score series Music Oregon. Upcoming performances of Drift are phony Orchestra, Berliner Symphoniker,
of the United States of America (1993–97). scheduled at the International Electro-Acoustic Orchestra of Rome and Lazio, Cedar Rapids
He has been editorial board member for Music Festival of Santiago in Chile, the Elec- Symphony Orchestra, Key West Symphony,
American Music, Journal of Musicology, Jazz tronic Music Midwest festival, and the Interna- Georgia and Rome Philharmonics, and Ljubl-
Perspectives, and the Black Music Research tional Computer Music Conference. In jana Symphony Orchestra. Other engage-
Journal, and is co-editor of the book series addition to composing, Martin has appeared ments include performances at the Seattle
Profiles in Popular Music for Indiana Univer- as a guest conductor with the University of Illi- Chamber Music Festival and Vail Music Festi-
sity Press. In addition, he is secretary of the nois New Music Ensemble and has conducted val in Colorado. An avid chamber musician,
Society for American Music. several of his own works and the works of he performs regularly in the Jupiter Chamber
colleagues. He is active as a pianist and has Music Series in New York City, and with the
Ed Martin, Visiting Assistant Professor in studied piano with William Heiles and Kevin Corinthian Piano Trio featuring pianist Adam
Composition-Theory, earned his B.M. degree Sharpe. Neiman and cellist Ani Aznavoorian. Mr.
at the University of Florida, the M.M. at The Milenkovich also appeared with Itzhak Perl-
University of Texas at Austin, and his D.M.A. Stefan Milenkovich, man at the Perlman Music Program on Shelter
at the University of Illinois at Urbana-Cham- Associate Professor of Island, Long Island, where he served on the
paign. He has studied with Scott Wyatt, Violin, is recognized violin faculty from 2000–04. Mr. Milenkovich
Stephen Taylor, Guy Garnett, Dan Welcher, internationally for both started his career at a very young age, per-
Donald Grantham, Russell Pinkston, Steven exceptional artistry and forming with his first orchestra at the age of
Montague, James Paul Sain, and Budd Udell. his life-long commitment five. At age 7, he won the grand prize at the
Originally from Bethlehem (PA), Ed Martin to humanitarianism. He Jaroslav Kocian International Violin Competi-
composes rich, colorful, and energetic instru- came to international tion. This unprecedented accomplishment
mental and electro-acoustic music arising from attention when, at age 10, he was invited to opened opportunities and invitations to per-
intricate combinations of musical lines and perform for President Ronald Reagan, at the form concerts in over 30 countries. At the age
recorded sounds. His music has been White House “Christmas Show.” This perform- of 16, Mr. Milenkovich played his 1000th
awarded first prize in the 2005 Electro- ance was followed by an invitation from the concert in Monterey, Mexico. That same year,
s
o Acoustic Miniatures International Contest, the former Soviet President Mikhail Gorbachev to he was either prizewinner or finalist in the
n 2004 Craig and Janet Swan Composer Prize perform in Belgrade (Yugoslavia). He per- International Violin Competition of Indianapo-
o formed twice before Pope John Paul II in
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i Castelgandolfo (Italy). His international
t orchestral appearances include the Berlin
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lis (USA), Queen Elisabeth Competition (Bel- is also active as a performer of new music with correlating projects. Her past business
gium), Hannover Violin Competition (Ger- and was the winner of the 2004 “21st Cen- experience includes consulting for several For-
many), Tibor Varga Competition tury Piano Commission Competition” as both tune 500 industries, as well as working with
(Switzerland), Rodolfo Lipizer Competition pianist and composer. He recently performed not-for-profit organizations in the community.
(Italy), Paganini Competition (Italy), Ludwig a concert of his music at the Krannert Center
Spohr Competition (Germany), and the for the Performing Arts. Glenn Wilson, Visiting
Yehudi Menuhin Competition (England). Mr. Lecturer in Jazz, received
Milenkovich’s discography includes four com- Reynold Tharp, Visit- his B.M.E. degree from
mercial releases on the Italian label Dynamic, ing Assistant Professor of Youngstown State Univer-
and numerous recordings for the Yugoslavian Composition-Theory, sity and his M.M. in jazz
label PGP. began his studies in com- performance from the
position and history at University of Illinois.
Daniel Oberlin College and Glenn has been a profes-
Neuenschwander, earned a Ph.D. in com- sional jazz saxophonist for over 30 years.
Visiting Lecturer in position at the University After completing his undergraduate degree in
Bands, received his B.A. of California, Berkeley, studying with Jorge 1977, he moved to New York City, where he
in Instrumental Music Liderman, Richard Felciano, and Cindy Cox. worked and recorded with the Buddy Rich
Education from the Uni- His music has been performed in the U.S. and Band, Lionel Hampton Orchestra, Toshiko
versity of Wisconsin- Europe by groups such as the Berkeley Con- Akiyoshi Jazz Orchestra, Tito Puente,
Madison and his M.M. temporary Chamber Players, Ensemble Dif- Machito, Bill Kirchner Nonet, Bob Belden
in Trombone Performance from the University fraction (Paris), the Orchestre Lyrique de Ensemble, and scores of other jazz and latin-
of Akron; his Ed.D. in Music Education is in Region Avignon-Provence, and the Nieuw jazz groups. Glenn’s first CD as leader, the
progress at the University of Illinois. Dan has Ensemble (Amsterdam). Awards for his music highly-reviewed Impasse, was issued in 1984
studied with Elliot Chasanov, Edward include Columbia University’s George Bearns by Cadence Records. In 1988, Glenn began
Zadrozny, William Richardson, and James Prize for his orchestral work Drift, BMI’s his association with Sunnyside Records with
Wheat. Prior to his current appointment, Dan William Schuman Prize, and Berkeley’s the release of Elusive. Three more CDs with
served as a graduate teaching assistant with DeLorenzo Prize. As recipient of Berkeley’s Sunnyside—Bittersweet, Blue Porpoise
the University of Illinois Bands and the Music Ladd Fellowship, he spent two years in Paris Avenue, and One Man’s Blues—as well as a
Education Department. He conducts Concert studying composition with Philippe Leroux and recording for Timeless Records, Lee’s Keys
Band I and assists with the athletic bands, orchestration with Marc-André Dalbavie and Please, followed in the next decade. He also
production of Wind Symphony recordings, was selected for the Stage d’Automne at appeared on over 25 jazz recordings as a
and coordination of Festivals and special IRCAM in 2000. He has also participated in sideman during this time. Glenn’s CDs are
events. Prior to coming to Illinois, Professor international new music festivals and work- featured in the Penguin Guide to Jazz and
Neuenschwander taught at Canfield High shops, including Centre Acanthes and The Gramophone Guide to Good Jazz, and
School and Canfield Village Middle School in IRCAM’s Academie d’Été. His orchestral work he has also received a National Endowment
Canfield, OH. Under his guidance, the Can- Cold Horizon was performed at the 2006 for the Arts grant and has been featured in
field High School Bands were selected to play Minnesota Orchestra Reading Sessions and the DownBeat Magazine Critics Poll. From
at several music conferences, including the Composer Institute. He has recently written 1991 to 2001, Glenn was an active member
Ohio Music Education Association State Con- pieces for the Berkeley Edge Festival and the of the jazz community in Virginia, Washing-
ference at Columbus in 2001. He is a mem- Irving M. Klein International String Competi- ton DC, and Baltimore and has performed
ber of MENC, IMEA, NBA, and TBA. tion in San Francisco. Current projects include numerous times at the Kennedy Center and
a commission from the San Francisco Contem- Blues Alley Jazz Club. In 1993, he recorded
David Psenicka, Visit- porary Music Players for their 2007–08 sea- with pianist Bruce Hornsby on Harbor Lights
ing Lecturer in Composi- son, a piece for Paris-based pianist Ivan Ilic, and joined Bruce’s band. With Bruce, he was
tion-Theory, earned a B.S. and a duo for flutist Jonathan Keeble and featured on VH1 Center Stage, Austin City
degree in electrical engi- harpist Ann Yeung. Professor Tharp has also Limits and Arsenio Hall, and received a gold
neering and a B.M. taught composition and theory at Northwest- record for his playing and arrangements on
degree in music composi- ern University’s School of Music, the Univer- Harbor Lights. Glenn continues to record for
tion at Ohio University, sity of California at Berkeley, and San Sunnyside Records and leads an active tour-
and a master’s in music Francisco State University. ing schedule around the world. Glenn and his
composition at the University of Illinois, where family reside in Normal (IL), where his wife,
he is working to complete a D.M.A. David’s Jennifer Todd, Secretary in the Admissions Janet, is assistant professor of acting at Illinois
recent works are acoustic and electro-acoustic Office, received a B.S. in Business Administra- State University.
pieces written using algorithmic processes tion, graduating summa cum laude. Jennifer
based on ideas from chaos theory and artifi- provides administrative support for incoming
cial intelligence. He is the author of several undergraduate, graduate, and transfer stu- S
software packages including SPORCH, a pro- dents seeking admission into the School of p
gram that derives harmonies and orchestra- Music. She processes and compiles data for r
tions of acoustic instruments based on student evaluation, assesses admissions mate-
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n
recorded sound sources, and FOMUS, a Lisp- rial, and assists faculty and admissions staff g
based music formatting program for parsing
raw musical data into readable notation. He 2
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 Fa culty News

Christina Bashford Society of Composers, Inc. (SCI) confer- Ollie Watts Davis
(musicology) gave a ence at Rice University. Browning’s music (voice) appeared as
number of conference was performed in England, Canada, Italy, soprano soloist in Dvo-
papers and colloquia in and Ireland, and his Network Slammer for rak’s Te Deum with the
the U.S. and Europe flute and computer-generated sounds was Dayton Philharmonic
during 2006. These selected by Forecast Music from 112 com- Orchestra (OH), in
included a talk on the positions submitted for their New York City Mozart’s Requiem with
history of the program concert series. Browning served as com- the West Virginia Sym-
note at the Peabody Conservatory, Balti- poser in residence at Georgia State Univer- phony (WV), in Orff’s Carmina Burana
more (March); a paper, “The Forgotten sity in Atlanta, the University of Iowa, and with Traverse Symphony Orchestra (MI),
Music Man: John Ella” (the subject of her the National University of Ireland at Cork and in Carter’s Cantata of spiritual
forthcoming monograph), at the Midwest during the fall semester of 2006. arrangements with the Prairie Ensemble (IL).
Victorian Studies Association conference in She presented a song recital in the Atelier
Detroit (April); a presentation on writing Donna Buchanan Concert Series at the American Church in
concert history at the International Associa- (musicology) gave two Paris (France), and hosted “StudiO: the
tion of Music Libraries/International Musi- papers in spring 2006: Ollie Watts Davis Vocal Institute 2006” for
cological Society conference in “Sounding Postsocial- young singers at the Allerton Conference
Gothenburg, Sweden (June); the keynote ism: Music, Memory, Center in Monticello, IL.
address to the North American British and Marketing in Post-
Music Studies Association meeting in 1989 Bulgaria,” at the John Dee (oboe)
Colchester, VT (August; the talk was entitled international confer- joined the UI faculty in
“ ‘In the pantry, or the library… upstairs in ence on “Post-Communist Nostalgia” 2004, having taught
the bed-rooms’: Britain’s Hidden Chamber hosted by the University of Illinois in April, previously at the Univer-
Music”); and a contribution on the English and “The Bulgarian Ethnomusicologist sity of Miami, Harid
reception of Mozart’s chamber music to the Raina Katsarova’s Correspondence with Conservatory of Music
Colloque Mozart in Poitiers, France Béla Bartók” at an international symposium (Boca Raton), Florida
(November). She also completed an essay hosted by Bard College in commemoration International University
for The Musical Voyager: Berlioz in of the composer’s 125th birthday in June. (Miami), and Florida Atlantic University for
Europe, a volume edited by Katharine Ellis She read a third paper, “Postsocialist thirty years. Prior to moving to Illinois, he
and David Charlton, scheduled for publica- Mythological Tales: Music, Memory, Mafia, was Principal Oboe for the Florida Orches-
tion by Peter Lang in late 2006. and Marketing in Turn-of-the-Millennium Bul- tra in Tampa; the Florida Philharmonic
garia,” at the annual Society for Ethnomusi- Orchestra and the Florida Grand Opera
Zack Browning cology meeting in November. Her edited Orchestra in Miami; founder and president
(composition-theory) volume with accompanying CD-ROM, of CMM (Chamber Music Management,
attended the premiere Balkan Popular Culture and the Ottoman Inc.); and vice president of CDS Recording
of his composition Ecumene: Music, Image, and Regional Studios. He has made numerous television
Blockhouse for piano Political Discourse (Scarecrow Press), is appearances and radio interviews as an
trio at the National Chi- forthcoming later this year. In addition to oboist and advocate of the arts, and has
ang Kai Shek Cultural directing the Russian, East European, and several internationally released CD record-
Center in Taipei, Tai- Eurasian Center (REEEC), she writes “The ings. Three upcoming recording projects,
wan and lectured at Taipei National Uni- Director’s Corner” column for the REEEC featuring pieces composed specifically for
versity of the Arts and Taipei Municipal Center News, and directs and performs him, include a CD of music for oboe, oboe
University of Education. Professor Browning regularly with the “Balkanalia” ensemble. d’amore, english horn and harp, a record-
also attended performances of his works at ing for flute and oboe, and CD for oboe
s
o the 39th Annual Festival of Contemporary and bassoon. This year, he toured with the
n Music at Indiana State University, the 26th Illinois Woodwind Quartet to Florida, South
o
r Annual New Music and Art Festival at Korea, and Spain. Professor Dee also
i Bowling Green State University, and the serves as a consultant and has initiated sev-
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eral successful festival and concert series. Biennial convention in Salt Lake City in the District 214 Concert Band Festival in
In recent seasons, his students have won April. As Research Chair of the Illinois Rolling Meadows, Illinois; the North Cen-
positions with the Bangkok Philharmonic, Music Educators Association he organized tral Illinois Conference Honor Band in
Eugene Symphony, Hong Kong Philhar- and will preside over the Research Poster Dixon; and the Fox Valley Music Educators
monic, Kansas City Symphony, Oregon Bal- Session and Paper Reading Sessions at the Association Honor Band in West Chicago.
let, Portland Opera, and Tucson Symphony. January 2007 IMEA conference, where he In July, Dr. Griffin was a guest conductor
Nathan Hughes, a student of Dee’s at will also present a clinic on “Preparing for with the Quincy (IL) Park Band. He is cur-
Harid Conservatory of Music, performed a Music Education Faculty Position in rently serving as Acting Director of the
with the Savannah, Dallas and Seattle Sym- Higher Education.” Professor Grashel is cur- Marching Illini and will present a clinic at
phony Orchestras prior to winning the Prin- rently a member of the editorial committees the Midwest International Band and
cipal Oboe chair with the Metropolitan of the Journal of Historical Research in Orchestra Clinic in Chicago this December.
Opera Orchestra this year. Music Education and the Bulletin of the
Council for Research in Music Education. Dana Hall (jazz) led
Eduardo his quintet this year in
Diazmuñoz Peter J. Griffin a performance of origi-
(opera/New Music (band) was recently nal music at the
Ensemble) has been appointed North Cen- Chicago Jazz Festival.
offered the position of tral Division Chair of He served as an
Artistic and Music the National Band instructor at teaching
Director of the Bogotá Association. During the academies in Sardinia,
Philharmonic (Orquesta spring 2006 semester, Italy; New York; and Alberta, Canada. In
Filarmónica de Bogotá) in Colombia, he presented a clinic July, he taught a group of young musicians
beginning January 2007. He guest con- on historical research at the Illinois Music from Russia in a musical and cultural
ducted the Champaign-Urbana Symphony’s Educators Association Convention in Peo- exchange sponsored by the National Arts
Holiday Pops Concert at the Virginia The- ria. He also served as guest conductor for Foundation, and hopes to travel to Russia
ater in December 2005, and the New
Haven Symphony Orchestra in February
2006. In June, he was invited to close the
2005-06 season of the renowned Xalapa Ronald Hedlund (professor emeritus, voice) has retired
Symphony Orchestra in Veracruz, Mexico. after 27 years of service to the UI School of Music. In May
Prior to the performance, he offered a con- 2006, he was a presenter on “The Male High Mixed
ference on New Music at Veracruz Univer- Voice” at the Third International Conference on the Physiol-
sity. Xalapa is the third Mexican orchestra ogy and Acoustics of Singing (PAS 3) in York, England.
that has invited him to conduct the closing His 2006–07 singing engagements include recital appear-
program of its season, knowing that his ances at the University of Illinois President’s Mansion for
presence on the podium guarantees a sell the Champaign-Urbana Symphony Guild’s “In Good Taste”
out. In addition, the fourth volume of the gala on August 26, 2006, appearing with cellist
Twentieth Century Mexican Symphony Barbara Hedlund and UI emeritus music faculty mem-
Music collection with Maestro Diazmuñoz ber and pianist Eric Dalheim, and in a School of Music concert with Eric Dal-
at the helm of the Mexico City Philharmonic heim on August 27 at Smith Music Hall performing songs of the late composer
saw its international release in October Gordon Binkerd. Professor Hedlund’s orchestral engagements in 2006 included
2005, and a special book commemorating solo performances in the Mozart Requiem with the Eastern Symphony in
his 30th Anniversary as conductor, with Charleston (IL) on November 12 and with the Illinois Chamber Orchestra in
Bloomington and Springfield on November 17–18. In 2007, he will appear as
over 150 testimonials from celebrities, col-
soloist in the Prologue to Boito’s Mefistofele with the Rockford Symphony on
leagues, friends and relatives, was pub-
February 17; as soloist in selected “Devil Arias” and the Prologue to Boito’s
lished in June 2006.
Mefistofele with the Champaign Urbana Symphony at the Krannert Center on
April 7; and in a program of Opera Arias and Broadway Songs with the
John Grashel (music Danville Symphony on May 12. Joining him on the program will be tenor
education) presented a Justin Vickers (B.M. ’96) and soprano Kay Welch (M.M. ’99), two of his
paper, “Twenty-Seven former UI voice students originally from Danville (IL). Professor Hedlund will S
Years of Historical p
continue to consult at outside universities, maintain a private voice studio in
Research in Music Edu- r
Urbana, serve as the Singing Voice Consultant for the Carle Clinic Otolaryngol- i
cation: Introduction and ogy Department, and as co-editor of The Virtuoso Obbligato Aria Collection. n
Article Summaries,” at His new web site at www.canto1.com includes his extensive performance his- g
the MENC National tory and many wonderful production photos. 2
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 Faculty News
again soon to continue that rewarding Joan Hickey (piano Jonathan’s solo performances took him to
encounter. Professor Hall began the year pedagogy/jazz) just venues in Iowa, New York, and Washing-
performing with the Jon Faddis Jazz released a new jazz ton, and to Chicago as a featured artist for
Orchestra at the annual International Asso- CD entitled Between the Chicago Flute Club. As a member of
ciation of Jazz Educators Conference held the Lines on Origin the Illinois Quartet (together with University
in New York, and had other performances records. The material of Illinois wind faculty John Dee, J. David
in Bern, New York City, St. Louis, and Sar- includes three original Harris, and Timothy McGovern) he per-
dinia, among other locales. He looks for- compositions and formed in Florida, and as a guest at Yonsei
ward to upcoming clinics, master classes, arrangements of tunes ranging from classic University in Seoul, South Korea, Dong-A
and performances at the Kennedy Center standards (My Funny Valentine, The Man I University in Busan, South Korea, and in
in Washington D.C., Philadelphia, Belize, Love) to classic pop tunes (Black Magic various cities throughout Spain as part of
Boston, Chicago, and New York. He is cur- Woman, Bridge Over Troubled Water). the Burgos Chamber Music Festival.
rently completing articles on soul music and Joan performs in a trio setting, as well as Upcoming events include a release of flute
a study and analysis of jazz drumming. in quartet and quintet. She is joined on the and oboe music with John Dee on the
recording by UI faculty members Tito Car- Albany record label, tours to Spain and
William Heiles rillo (trumpet), Dana Hall (drums), and Southeast Asia, and assumption of the Pro-
(piano) presented a lec- notable Chicago musicians John Woj- gram Chairmanship for the National Flute
ture-recital on book 2 ciechowski (saxophone) and Dennis Carroll Association’s 2008 Flute Convention.
of J. S. Bach’s The (bass). This fall they performed at the Jazz
Well-Tempered Clavier Showcase in Chicago, the Iron Post in Herbert Kellman
while teaching at the Urbana, and the Jazz Forum in Smith (professor emeritus,
Chautauqua Music Fes- Memorial Hall. musicology) gave a lec-
tival in upstate New ture and seminar in the
York in July 2006. He also gave master John W. Hill (musicol- University of Vienna’s
classes and recitals at the University of ogy) presented a paper Summer 2005 Collo-
Utah in Salt Lake City and at Eastern Michi- in August at the sympo- quium “Vienna’s Musi-
gan University in Ypsilanti in September. sium “Passaggio in cal Treasures of the
Italia,” which was part Renaissance.” He presented a paper, “Dad
Dennis Helmrich of the annual Holland and Granddad Were Cops: Josquin and
(keyboard) spent the Early Music Festival in Condé in a New Light,” at the International
summer of 2006 in res- Utrecht, Holland. Pro- Medieval and Renaissance Conference in
idency at the Tangle- fessor Hill’s presentation was entitled “Trav- Tours, France, in July 2005, and gave a
wood and Yachats eling Players and Venetian Opera: Further revised version of that paper at the Interna-
music festivals, and Parallels between commedia dell’arte and tional Conference “Ars Musica Septentrion-
expects to do the same dramma per musica.” In November, he alis” in Douai-Cambrai, France, in
in 2007. He especially presented another paper, on “Two Reflec- November 2005. Also in fall 2005, his
looks forward to creating new English tions of Sixteenth-Century Italian Solo article, “Two Sixteenth-Century Palatine
supertitles for Tanglewood’s 2007 produc- Singing in Luca Marenzios Villanelle,” at Manuscripts: Answers for Oliver Strunk,”
tion of Mozart’s Così fan tutte, conducted the annual national meeting of the Ameri- appeared in Remembering Oliver Strunk:
by James Levine and directed by Ira Siff. In can Musicological Society in Los Angeles. Teacher and Scholar, edited by Christina
addition to giving concerts at UI and else- He is currently at work on his fifth book, Huemer and Pierluigi Petrobelli (Pendragon
where, he will spend a week in spring which will be devoted to the elaborate and Press). During 2005-06 he served as con-
2007 at the University of Alabama at complex theory of musical form and phrase sultant to the Department of Music, Univer-
Tuscaloosa giving recitals and master structure presented in the treatises of eigh- sity of California at Santa Cruz, for the
classes, and in May will record Schu- teenth-century German composer and theo- implementation of a Ph.D. program combin-
mann’s Dichterliebe and Beethoven’s An rist Joseph Riepel. ing musicology and ethnomusicology. In
die ferne Geliebte with tenor Stephen February 2006, he researched manuscript
Cary, a UI alumnus and now professor in Jonathan Keeble illuminations in the Getty Research Library,
Tuscaloosa. Professor Helmrich is currently (flute) performed with Los Angeles, for his study of the Chigi
working on translations of a short story by the Prairie Winds in Codex (University of Chicago Press, forth-
the German Romantic writer Ludwig Tieck, concert series in Michi- coming).
s
o and a book about French post-Romantic gan, Wisconsin, Geor-
n poetry by the French scholar Vincent Vivès. gia, Indiana, and at
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r Chicago’s Northwest-
i ern University.
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 William finale, while offering an alternative interpre- of the Cleveland Orchestra, and released
Kinderman (musicol- tation to Theodor Adorno’s often-cited dis- on the Albany Records label (TROY856).
ogy) had two books missive critique of the end of the work. This collection of transcriptions was also
and several articles recently published by Capo Tasto Music.
published this year. Erik Lund (composi- Professor Machala was an adjudicator in
Mozart’s Piano Music, tion-theory) was com- the 2006 Solo and Ensemble Contest at
published by Oxford missioned by the Naperville Central High School, Illinois. He
University Press, was Baltimore-based duo C- and The Four Hornsmen of the Apocalypse
timed to appear in the composer’s 250th Squared to compose premiered his Elegy for Five Horns at the
anniversary year. This book has been conflict resolutions, for 2006 Midwest Horn Workshop at the Uni-
praised by several pianists known for their flute and cello. The versity of Wisconsin at Stevens Point. In
playing of Mozart and whose endorse- work was premiered in June, he taught and performed at the 2006
ments appear on the back cover: Alfred April 2006 at Hartwick College in Kendall Betts International Horn Camp in
Brendel, Emanuel Ax, Mitsuko Uchida, and Oneanta, New York, and will receive addi- Lyman, New Hampshire, and in July
Garrick Ohlsson. For his edited volume The tional performances this year at Clark Uni- coached chamber ensembles and per-
String Quartets of Beethoven, published by versity and in Mexico at the University of formed at the Burgos Chamber Music Festi-
the University of Illinois Press, he con- Queretero. The work was composed while val in Spain.
tributed the introduction to the volume and Professor Lund was in residence at the Rag-
two chapters on the six op. 18 quartets dale Artists Colony during the spring of Jeffrey Magee (musi-
and the last quartets, Beethoven’s very last 2006. In November, he traveled to Europe cology) will present
group of works. In a recent review of this for the premiere in Dublin of his work miss- “Musical Theater of
book in Beethoven Forum 13 (2006), ing intelligence by the Crash Ensemble. He War: Irving Berlin’s This
William Drabkin praised Kinderman’s will present a lecture on his music at York Is the Army, 1942-45”
“magisterial command of the repertory and University, England, and interview composer as one of three talks at
the literature.” Two of Kinderman’s most Vinko Globokar in Paris for an upcoming a March 2007 Har-
important recent articles concern article to be included in a publication cele- vard University Ameri-
Beethoven’s “Unfinished Piano Trio in F brating Globokar’s 70th birthday. can History Symposium on World War II’s
minor” from 1816 and Gustav Mahler’s cultural impact. Two of his articles will soon
Fifth Symphony. The study of the previously appear in print: “ ‘Everybody Step’: Irving
unknown piano trio appeared in The Jour- Kazimierz
Machala (brass) was Berlin, Jazz, and Broadway in the 1920s,”
nal of Musicological Research 25 (2006), in the Journal of the American Musicologi-
accompanied by a sound recording of the recipient of the 2006-
2007 American Society cal Society (Fall 2006), and “Kinds of
reconstructed fragment of this work. Kinder- Blue: Miles Davis, Afro-Modernism, and the
man’s article on “ ‘Ich bin der Welt abhan- of Composers, Authors
and Publishers Award. Blues” in Jazz Perspectives (Spring 2007).
den gekommen’: Mahler’s Rueckert Setting
and the Aesthetics of Integration in the Fifth His original work Con-
Symphony,” was published in The Musical certo for Horn, Winds Joseph Manfredo
Quarterly; it explores the musical meaning and Percussion was performed by soloist (music education) pre-
of the famous Adagietto movement, often Geoffrey Winter at the 2006 International sented a clinic on
excerpted from the symphony, and shows Horn Symposium in Cape Town, South “Expressive Conduct-
how closely the Adagietto is linked to the Africa, and his transcriptions of Franz Schu- ing: Challenges and
bert songs for horn and piano, titled Solutions for Under-
Twenty One Schubert Lieder, were graduate Conducting
recorded by Richard King, principal hornist Courses” at the Music

Karl Kramer (director) performed as principal tuba with the New Haven
Symphony Orchestra for the 23rd season. He attended the annual meeting of
the National Association of Schools of Music in Boston, as well as the Ameri-
can Musicological Society (Washington, DC), the 50th Anniversary Meeting
of the Society for Ethnomusicology (Atlanta), and the Music Educators S
p
National Conference (Salt Lake City). The summer of 2006 saw Dr. Kramer r
literally travel around the world as he attended the International Society for i
David Allen, Coordinator for Outreach and Public Engagement, Music Education conference in Kuala Lumpur, Malaysia; visited Bali, Indone- n
his wife Betty Allen, with Mrs. Jean and Dr. Karl Kramer at the
sia to meet with representatives of ISI Denpesar, and inaugurate the School’s g
donor reception preceding the UI Symphony Orchestra’s appear-
ance at Orchestra Hall in Chicago, November 19, 2006. first season of the Burgos Chamber Music Festival in Burgos, Spain. 2
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 Faculty News
Educators National Conference in Salt and to Emory University in Atlanta, Geor- Gary McPherson
Lake City in April 2006. In addition, he gia for a two-day residency. The Prairie (music education)
was a presenter at the 2006 Maryland Winds returned for their fourth summer in- released his most
Music Educators Association state confer- residence at the Madeline Island Music recent edited book for
ence. Manfredo also presented various Camp. In May 2006, Professor McGovern Oxford University press
clinics at Bradley University, Millikin Uni- was a participant in the Bach Week Festi- in June—The Child as
versity, and Ball State University. In May val at the Music Institute of Chicago in Musician: A Handbook
2006, he was on the adjudication panel Evanston, Illinois. Performances included of Musical Develop-
for the Indiana State School Music Associ- the Brandenburg Concerto #1, the Christ- ment. The 24 chapters in the book cover
ation Concert Band State Finals. Music mas Oratorio, and sections from Musikalis- musical development from conception to
Educators Journal published his article ches Opfer, BWV 1079. The Illinois late adolescence and celebrate the richness
“Effective Time Management in Ensemble Woodwind Quartet’s 2006 activities and diversity of the many different ways in
Rehearsals” in its November 2006 edition. included tours to Korea, Florida, Spain, which children can engage in and interact
and a Chicago area fall tour to high with music. Dr. McPherson completed his
Charlotte Mattax schools and youth orchestras. term as President of the International Soci-
(harpsichord) played ety for Music Education at the 27th ISME
the inaugural concert in Chip McNeill (jazz) World Conference in Malaysia in July
Smith Recital Hall of a conducted the opening 2006. His many duties during the confer-
Flemish virginal by the and closing night per- ence included meetings with five different
London harpsichord formances of the fourth government ministers to advocate for the
builder Malcolm Rose, annual U of I Summer importance of music education and the
a gift of alumnus Lloyd Jazz Festival (June 29- awarding of the ISME-Gibson International
P. Farrar (M.M. ’56) in honor of his wife July 1), which featured Awards for Music Education, which he
Doris Vogt Farrar (B.M. ’56). She per- the UI Studio Jazz helped to establish.
formed Bach’s Harpsichord Concerto in F Orchestra and guest vocalist Lisanne Lyons
minor with the Bach Festival Orchestra in on June 29, and UI Jazz Faculty with jazz William Moersch
Bethlehem, PA, and appeared at Iowa trombone legend Slide Hampton at the new (percussion) presented
State and Illinois State Universities with vio- Allerton Park Performance Barn on July 1. a series of recitals and
linist Elizabeth Field in a program of In July and August 2006, he toured the master classes as a fea-
baroque chaconnes entitled “Chaconne a U.S. with jazz trumpet legend Maynard tured solo artist for the
son gout.” In spring 2007, Dr. Mattax will Ferguson, performing at major jazz clubs Patagonian Interna-
perform a harpsichord recital, “Bach the in Philadelphia (Zanzibar Blue) and in New tional Percussion Festi-
Teacher,” at North Texas State University as York City (The Blue Note). The tour closed val in Argentina in late
part of the International Conference of the with a new recording with Maynard for June. He then co-hosted the Illinois Summer
Southeastern Historical Keyboard Society which Chip served as player/arranger/co- Youth Music Advanced Percussion Camp
(SEHKS), for which she is director of the producer and which, to the sadness of all, with faculty colleague Ricardo Flores. Other
2007 Harpsichord Competition. Professor turned out to be Maynard’s final CD, as he activities this year included a new CD
Mattax will also be featured as harpsi- passed away unexpectedly on August 23, release of his performance of Akemi
chordist and organist for the December and 2006. The band was made up of May- Naito’s Memory of the Woods, a solo
May festivals of the Bach Choir of Bethle- nard’s favorite alums through the years; the marimba work which he commissioned and
hem, PA. recording will be released early next year. premiered in 2000, and which is now
In September 2006 in St. Louis, Chip available on Akemi Naito: Mindscape
Tim McGovern (bas- played a tribute concert to “The Boss,” as (Bridge 9204). Professor Moersch contin-
soon) continues his his band members affectionately knew ues to serve on the Board of Directors of
orchestral playing in Maynard. It featured many of the jazz the Percussive Arts Society, and appeared
the Illinois, Ravinia Fes- greats that have gone through his bands, as a featured performer at their 2006 Inter-
tival, and Champaign- including such luminaries as Slide Hamp- national Convention in Austin, Texas.
Urbana Symphony ton, Wayne Shorter, and Don Sebesky. Pro-
Orchestras. Professors fessor McNeill will also be putting together Bruno Nettl (profes-
McGovern and Dee the first UI Faculty Jazz CD, and a new CD sor emeritus, music and
instituted the first annual Double Reed project with jazz drummer Stockton Hel- anthropology) taught a
s bing to be recorded in December 2006.
o Camp at the U of I; participants included two-day seminar on
n 15 bassoonists and 20 oboists. As a mem- improvisation at the
o
r ber of the Prairie Winds woodwind quintet, University of Alcalá,
i McGovern toured to Indiana, Michigan, Spain, and served as
t Visiting Professor of
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Music at the University of Chicago during Westfield Center for Early Keyboard Stud- to the production of web-based materials to
the spring quarter 2006, teaching a gradu- ies in Victoria, B.C. In July, he served on aid in the revitalization of songs and tradi-
ate course on Persian music. He gave lec- the faculty of an American Guild of Organ- tional knowledge of the Angkamuthi and
tures at Cornell University and the ists Pipe Organ Encounter held at the Uni- Gugu-Yimithirr people, and to facilitate
University of Notre Dame, and was the versity of Oregon. youth language programs in the Aboriginal
only American speaker at the World Cul- communities of Injinoo, Umagico and New
tural Forum 2006 (devoted to music and Donald Schleicher Mapoon on Cape York. This work is co-
religion) sponsored by the government of (orchestra) began his ordinated with the Australian National
Japan at Wakayama, Japan, on November eighth season as Music Recording Project for Indigenous Music and
5, 2006. Nettl’s essay, “We’re On the Director and Conductor Dance, a major program for traditional
Map: Reflections on SEM in 1955 and of the Quad City Sym- knowledge documentation and preserva-
2005,” appeared as the lead article in the phony Orchestra. Guest tion in Aboriginal communities throughout
fiftieth anniversary issue of Ethnomusicol- artists include violinist Australia for which Solis is a consultant.
ogy (vol. 50, no. 2). Chee Yun, pianist Ser-
gio Tiempo, and the Quad City Ballet. In Kenneth Steinsultz
Susan Parisi addition, the QCSO will perform a concert (band) conducted the
(research scholar in version of Verdi’s La Traviata. Recent guest IMEA District 6 Junior
music) continued conducting included appearances with the Band on the campus of
research on Italian and UNAM Orquesta Philharmonic of Mexico SIU-Edwardsville in
French festival books of City, the Daegu Symphony of South Korea, November 2005. In
the seventeenth century and the Minnesota All-State. In addition, January 2006, he pre-
in the Bibliothèque Mr. Schleicher appeared as a guest con- sented a solo recital on
Royale, Brussels and ductor at Ithaca College, Wabonsie Valley the stage of the Foellinger Great Hall in the
the Archives du Nord, Lille (France) in High School, and the Glenbard District Krannert Center for the Performing Arts,
November 2005, and in the Getty Orchestra Festival. In January 2007, he assisted by Lucinda Lawrence and Sarah
Research Library, Los Angeles in February will travel to Honolulu to present a series of Schwartz. Dr. Steinsultz directed the east
2006. She conducted research on clinics and master classes. In November coast tour of the University of Illinois Wind
Francesco Rasi’s second opera, Elvidia 2006, he led the UI Symphony Orchestra Symphony, highlighted by a performance at
rapita (1619) in the Newberry Library, on a three-day tour to the Chicago area, Carnegie Hall in New York on February
Chicago in July 2006. Publication of her including a performance at Orchestra Hall. 17, 2006. He guest conducted the Subur-
article, “The Brussels-Mantua Connection: ban Prairie Conference Freshman/Sopho-
Vincenzo Gonzaga’s State Voyages to the Thomas Schleis (opera) was named more Honor Band at Oswego East High
Low Countries in 1599 and 1608” in the recipient of a 2006 UCEA Mid-America School in February. In March, he conducted
Yearbook of the Alamire Foundation is Region Award for Excellence in Teaching the Little Okaw Valley Band Festival; he also
expected shortly. As series editor for Har- and Faculty Service. The award was pre- presented a clinic-recital at the Harrisburg
monie Park Press, she edited five books sented at a reception on October 20 at the Illinois Public Library. In April, he was guest
during the year, including Anne Mischakoff Kansas City Marriott Country Club Plaza. conductor for the Parkland College Wind
Heiles’s biography of her father, Mischa Earlier this year, Professor Schleis received Ensemble concert, and in July, he guest con-
Mischakoff: Journeys of a Concertmaster, the U of I Alumni Association Educator of ducted the Quincy (IL) Park Band. On
published in April 2006. Parisi serves on the Year Award for 2006. He continues to November 18, 2006, Dr. Steinsultz con-
the editorial board of Musica Toscana. serve as dean of the East-Central Illinois ducted the IMEA District 3 Junior Band on
Chapter of the American Guild of Organ- the campus of Illinois State University.
Dana Robinson ists, and as organist at St. John’s Catholic
(organ) played the final Chapel in Champaign. Katherine Syer
concert for the Organ (musicology) served as
Historical Society’s Gabriel Solis (musi- dramaturg on two
50th Anniversary con- cology) was awarded works in spring of
vention, held in the his- the Madden Fellowship 2006, Igor Stravinsky’s
toric Music Hall in Troy, for the Arts, Humani- Histoire du Soldat and
New York. He was ties, and Technology, Kurt Weill’s S
joined by the Franciscan Chamber orches- Mahagonny Songspiel, p
which allowed him to
tra in a performance of Widor’s Sinfonia produced by the UI School of Music r
do field work with i
Sacra. In June, Professor Robinson also Angkamuthi people Opera Program. She returned to the New n
played two organ demonstration recitals at from the Cape York peninsula of North York Wagner Society’s Annual Seminar in g
a conference titled “J. S. Bach and Cen- Queensland, Australia. This work will lead April to lecture on the recent production
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 Faculty News
history of Wagner’s Lohengrin. In July, Pro- Computer Music Project of the UI Experi- Scott Wyatt (compo-
fessor Syer delivered a series of confer- mental Music Studios by Sever Tipei and sition) collaborated
ence papers concerning Wagner Hans Kaper, Adjunct Professor in Composi- with author Elena Fila-
production history at conferences in the tion-Theory. Two other pieces produced tova and UI Assistant
UK. Two of those papers addressed the with DISSCO appear on a CD, with music Professor Valeria Sobol
recent use of digital technologies on the by Zack Browning and Sever Tipei, from the Department of
stage. Her article on the technological recently released on the Centaur label. Slavic Languages and
dimensions of opera director Peter Kon- Literature on a recent
witschny’s Tristan und Isolde appeared in Christos Tsitsaros composition titled and nature is alone: in
Tristania. Another article “A Peculiar (piano pedagogy) memory of the victims of the Chernobyl
Hybrid: The Structure and Chronology of edited and recorded accident on the 20th anniversary of the dis-
Beethoven’s ‘Eroica’ Sketchbook (Lands- the Notebook for Anna aster. The work was performed at the
berg 6)” was published in the most recent Magdalena Bach for 2006 national conference of the Society

States (SEAMUS) at the University of

issue of Bonner Beethoven-Studien. the G. Schirmer Per- for Electro-Acoustic Music in the United
formance Editions
Stephen Taylor Series. He performed Oregon (March 30- April 1, 2006), at a
(composition-theory) and gave a series of workshops in Utah, special performance during the University
composed a new Springfield, San Francisco, Toronto, and of Illinois Russian, East European and Eura-
recorder concerto titled the Chicago area. Several of his original sia Center’s Symposium “Chernobyl,
Flow for Quartet New compositions were published under the Twenty Years Later” (June 24, 2006), at a
Generation and the Showcase Solos series of the Hal Leonard Swedish EAM Society Concert in Stock-
New Philharmonic. It Student Piano Library. Professor Tsitsaros holm, Sweden (September 14, 2006), and
was premiered in also received an invitation to present a lec- at the 2006 International Computer Music
Chicago in October 2006. His piano work ture-recital at the October 2006 Interna- Conference hosted by Tulane University
Seven Memorials was performed by Gloria tional Conference on Music Education at (November 9, 2006). Professor Wyatt’s
Cheng at Tanglewood in July 2006, and in the Rimsky-Korsakov Saint Petersburg State recent compositions were released on the
Los Angeles in September. The New York Conservatory in St. Petersburg, Russia. 5.1 DVD audio recording Radial Matrix by
Times called the music “sparklingly tactile,” Capstone Recordings (CPS-8769).
and the Los Angeles Times described it as Paul Vermel (profes-
“impressive post-Messiaen, post-Minimal sor emeritus, orchestra), Ann Yeung (harp) is a
movements.” His opera-in-progress Para- Music Director and contributing author to
dises Lost, based on the science-fiction Conductor of the North- the American String
story by Ursula K. Le Guin, was featured west Symphony Orches- Teacher Association’s
by the New York City Opera in May tra in Mount Prospect publication A Harp in
2006, and will be workshopped exten- (IL), received the Con- the Schools: A Guide
sively during the 2006-07 season by Amer- ductor of the Year for for School Ensemble
ican Opera Projects in New York. In Small Orchestra from the Illinois Council of Directors and Harpists.
November, UI harpist Ann Yeung per- Orchestras (ICO). He was publicly Her article on Henriette Renié’s Ballade fan-
formed his composition Nebulae for harp, acknowledged for his outstanding conduct- tastique was published in the Association
electronics, and live video in New Orleans. ing and work with the NSO at the ICO’s Internationale des Harpistes et Amis de la
annual award ceremony on February 17, Harpe, the Nederlands Harp Bulletin, and
Sever Tipei (composi- 2006. From 1974 to 1994, while a Profes- the American Harp Journal. She premiered
tion-theory) received an sor of Music at the University of Illinois, two works by Gerardo Dirié at the Ameri-
appointment in the Maestro Vermel served as Music Director of can Harp Society National Conference and
Center for Advanced the Champaign–Urbana Symphony and as participated on two panels. She premiered
Study for fall semester Director of the UI Symphony Orchestra. He Husk by Keeril Makan with John Dee and
2006 to write a new has directed and conducted the 70-member Jonathan Keeble. Her recording with
work. His composition Northwest Symphony Orchestra since the Michael Cameron of Teresa LeVelle’s
Ianus, for chamber beginning of their 1994 concert season. Apparition at Timber Creek was released on
ensemble and computer-generated sounds, the Innova label. She performed for the SEA-
was performed by Sinfonia da Camera MUS National Conference, the Chicago
s Flute Club, and presented master classes in
o conducted by Ian Hobson, who commis-
n sioned it. Ianus was realized using Wisconsin, Minnesota, and Oregon.
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i tion and sound synthesis developed at the
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Bo ok News & Reviews
John Wagstaff, Head, UI Music Library

New “Companion” Will Help Crisp, Clear New Edition of ARSC Award for New Book
Explain a Challenging Work Handel Keyboard Music on a Neglected Jazz Figure
All of Wagner’s This collection of Recently-arrived UI
operas from well-chosen pieces— faculty member Jef-
Tannhäuser onwards some published in frey Magee’s new
(with the possible Handel’s own life- book on Fletcher
exception of Die time, others not— Henderson—a sub-
Meistersinger) con- gives a flavor of the ject he has worked
tain elements of mys- range of Handel’s on for over a
tery and symbolism, works for keyboard, decade, and to
and Parsifal, the from small-scale which he devoted
composer’s last dance movements to fully-developed suites, his doctoral thesis—
stage work, is perhaps the most impenetra- from serious fugues to the well-known set of was awarded a Certificate of Merit in the
ble and the one that requires most expla- “Harmonious Blacksmith” variations. The “Best Research in Recorded Jazz Music”
nation. This new companion brings pedagogical intent of the whole “Celebrate category of the 2006 ARSC Awards for
chapters by UI editors William Kinderman Composers” series is reflected here in a list- Excellence. (Lawrence Gushee’s Pioneers
and Katherine Syer together with those of ing of the pieces by level of difficulty, and of Jazz, noted in the Winter 2006 issue of
a number of other specialists, to contextu- by a section of notes for study and perform- Sonorities, was similarly honored.) In his
alize what Wagner himself entitled not an ance, along with advice on how to play day, Henderson was well known as a
opera but a Bühnenfestspiel, or “stage the ornaments that form an essential part of band leader, first in New York and later,
consecration festival play.” Its three sec- these works’ performance tradition. A clear thanks to touring and the recording indus-
tions contain material on the libretto, the and crisp page layout will aid the player, try, all across America. The band included
music, and the work’s reception and inter- as will the helpful keyboard fingerings. jazz “names,” such as Louis Armstrong
pretation, with Syer’s final chapter offering Choice of dynamics (almost always lacking and Coleman Hawkins, who are possibly
a detailed overview of productions of Par- in this music) is left to the discretion of the better known today than is Henderson him-
sifal from Wagner’s day to our own (per- player, though here again some useful hints self. But in addition to running his own
formances in the U.S., incidentally, played are provided. UI School of Music faculty band, Henderson played a significant role
an important part, especially early on). member Reid Alexander and his editorial in the 1930s swing era as an arranger:
German Wagner expert Ulrike Kienzle colleagues have produced an edition of some of his arrangements were taken up
examines the work’s religious aspects, enjoyable pieces that will satisfy both by Benny Goodman. This work provided
identifying in it a synthesis of Christian beginners and more advanced players. him with, in effect, a second career after
and Indian beliefs with the philosophy of his own band dissolved in 1934. This is a
Schopenhauer that so influenced Wagner Celebrate Handel fascinating, beautifully-told story of a tal-
Compiled by Reid Alexander,
from the 1850s, while Kinderman includes ented and educated musician who left his
Samuel Holland, and Marc Widmer
a painstaking reconstruction of the frag- Frederick Harris Music mark on both jazz and swing music, con-
mentary sketch material in his essay on the ISBN 0887979092 tradicting jazz and racial stereotyping to
work’s genesis. The whole will help read- www.frederickharrismusic.com make a successful living in occasionally
ers better understand the many facets of turbulent and financially precarious times.
an artwork that is, surely, still not fully
explained. The Uncrowned King of Swing: S
Fletcher Henderson and Big Band Jazz p
A Companion to Wagner’s Parsifal
Jeffrey Magee r
Oxford University Press i
Edited by William Kinderman and
ISBN 0195090225 n
Katherine R. Syer
www.oup.com g
Camden House
ISBN 1571132376 2
www.camden-house.com 0
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 Alumni Profile

Jeffrey S. Kimpton

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Educator Lifetime
By Anne M. Heiles
FOR
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W
hen Jeffrey S. Kimpton was inaugurated in fall 2003 as tration. Nevertheless, he says, he was “the typical mid-1960s child
the seventh president of the Interlochen Center for the who didn’t want to do what his father had done.” He headed off to
Arts, he outlined four “tipping points” that Inter- study pre-law at Augustana College in Rock Island. Two years later
lochen should address to fill its leadership role in the arts. Drawing he transferred to UI and changed his major, earning both bachelor’s
on the theoretical work of Malcolm Gladwell, who posited that tip- (B.S. ’73) and master’s (M.S. ’75) degrees in music education. “Illi-
ping points pertain not only in the field of epidemiology but also in nois was one of the strongest, if not the strongest, schools in music
sociological and cultural realms, Kimpton outlined his vision for education in the country, so it was natural for me to go there. I was
Interlochen. The institution, having just celebrated its seventy-fifth in UI bands all those years. And,” he quips, “I could live at home; it
anniversary, could expand its collaborations, he told his audience, was cheap.”
“in number and richness.” Interlochen’s tipping points, he Kimpton began his career as a high school band director, teach-
explained, would be the sufficiently improved and expanded collab- ing instrumental music and leading the band programs to distinc-
orations among the people at Interlochen and with their neighbors tion in public schools in Corinth, New York; Apple Valley,
in the Grand Traverse community, Minnesota; and Wichita, Kansas.
with its nearly 90,000 alumni, and Discovering that he had a knack for
with institutions in Michigan and administrative work, he also
across the country and the world. assumed administrative roles in
Now beginning his fourth year, those communities. When the
Kimpton has already made substan- Yamaha Corporation of America
tial headway in all these areas. invited him to become its director
Interlochen Trustee James L. Tolley, of institutional education, he
who chaired the Presidential Search accepted the position. From 1988 to
Committee, noted that Kimpton is 1996 he explored the business and
“smart, personable, collegial, thor- marketing side of music: “In the
ough and fair, and has a keen sense mid-1980s Yamaha was dramati-
of the intersection of history and opportunity for Interlochen.” He cally increasing its activities across the country in school-based
is also a quick and eminently capable worker. A natural match for music education programs. I had been a consultant to them for a
the presidency of the Interlochen enterprise, Kimpton has had number of years, so when they asked me to head up the program,
decades of preparation through seemingly disparate experiences, which involved new program development, R & D, strategic plan-
now coalesced in this position. Moreover, he is dedicated to his ning, marketing and publications for music educators across the
belief that a lifetime in the arts is a life worth living. Indeed, a two country, it seemed a natural fit.”
year “branding audit” of Interlochen that he led yielded a new tag At his next position, director of public engagement at the Annen-
“Art Lives Here.” berg Institute of Brown University (1996-99), Kimpton further
Internalizing art as a spirit within, Kimpton told the high school developed his skills in leadership, public speaking, fundraising—and
graduates of the Interlochen Arts Academy in May 2006, is a natu- collaboration. “When Walter Annenberg gave $500 million to pub-
ral outcome of the intensity of their experience living the arts at lic education in the mid-1990s, he made a commitment to doing
Interlochen: “deep wellsprings of passion and commitment, empa- something about our public school education,” a need the nation’s
thy and sympathy that are the essence of art. It is in our hearts and governors had identified in 1991 as the number-one national prior-
souls that we develop our feelings about art, and the passion to pur- ity. “The Annenberg Institute at Brown was created to observe how
sue that art.” He added that “the learning process you have been his money was being used. My role was to look at public engage-
given here is part of a continuation of learning in and through the ment in public education: how do parents and communities and
S
arts for the rest of your lives.” students interact with schools? How is policy shaped? What are the p
Growing up in Quincy and Champaign-Urbana, where his ways that people may engage in determining the quality of public r
father, Dale Kimpton, was head of continuing education and public education? How can the arts help build a sense of community and i
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service in music at the University of Illinois, Jeff Kimpton studied engagement? We studied more than 200 organizations and school g
trumpet and watched his father’s success in teaching and adminis- districts in terms of how they engaged people in public education. It
2
was a fascinating job.” 0
All images courtesy of Interlochen Center for the Arts
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 “Herbert Kellman’s ‘Introduction to Music’ really made me think differently about the role of the arts
and music in society…Kellman really pushed our notions about music and its relationship to history
and the arts. The thoughts that emerged really made me stop and think. I loved it.”

Having by then conducted a significant amount of research and

produced numerous publications, Kimpton moved into academia as
director of the University of Minnesota’s School of Music and pro-
fessor of music education (1999-2003). “It was a great honor; we
did a lot of interesting things with faculty governance and develop-
ment, integrating the curriculum, and building a new sense of com-
munity. It had a huge impact on our developmental efforts, too. We
were fortunate, and things moved quickly.”
Left and below, students at the 1st summer People at Interlochen noticed what was happening at Minnesota
of the National High School Orchestra
Camp in 1928.
and invited Kimpton to serve as their president. “When you start out
as a brand-new graduate walking across the Assembly Hall stage, you
cannot know where life is going to take you,” he says.
“Looking back, you can see how each step along the way
gives you unique skills.”
He appreciates what he calls the “eye opening experi-
ences” of UI courses, and can still rattle off the names of
professors and courses that especially affected him: “Aes-
thetics with Harry Brody, the philosophy of music educa-
tion classes, and Van Miller’s educational administration
classes were important. Herbert Kellman’s ‘Introduction
to Music’ really made me think differently about the role
of the arts and music in society. At the time it was a required course
for all music students and everyone moaned and groaned at what
was considered the ‘drop-the-needle’ experience, but Kellman really
pushed our notions about music and its relationship to history and
the arts. The thoughts that emerged really made me stop and think.
I loved it.” More than many students, Kimpton recalls, he enjoyed
the basic required courses in music history. Like Kellman, Ron
Byrnside stimulated Kimpton’s mind: “I found his courses fascinat-
ing because he taught music history as sociological, political, and
artistic relationships with the music. I took a lot of musicology
courses because they were fun and enjoyable,” Kimpton says, recall-
ing also George Hunter’s course in counterpoint. “I’ve taken from
UI valuable lessons in asking questions and challenging others and
have applied them to other experiences as well.”
Nowadays, Kimpton’s life involves running a very large and com-
plex organization. Located on 1,200 acres of land that founder
Joseph Maddy purchased in the hill country between Lake Michi-
gan and the Grand Traverse Bay, the Interlochen Center for the Arts
Above, Students congregating outside the
main performance building in the 1940s. comprises a multitude of endeavors. Best known among them is the
Right, Students in recording studio in 1947.
Interlochen Arts Camp, founded in 1928 and home each summer
s to some 2,000 campers, aged eight to eighteen, who participate in
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n music, dance, theatre, film, visual arts, and creative writing. Four
o hundred and fifty students attend the Interlochen Arts Academy, a
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i boarding high school. Interlochen’s staff and faculty also work with
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 “The College of Creative Arts is really a chance to give adults a creative voice. They’re on campus with
all the kids, which is an exciting dynamic. Having the college is a natural extension of the original
founding vision to become a comprehensive arts institution.”

the arts-based Interlochen Pathfinder School in Traverse City for Some parents come with their kids and want to stay a while, see
pre-K through eighth graders. Interlochen operates four public radio that their kids are settled, and take classes, whether in water color,
stations that reach much of the northern two-thirds of Michigan, chamber music, adult band, or photography. Sometimes they rent
including 24-hour programming for both classical music and news. cottages in the area, stay at area hotels or resorts, or bring their
Yet another enterprise is the Interlochen Arts Festival, begun in motor homes and camp in the state park across the highway. “We
1964, that attracts a quarter-million people annually to its art have a hotel on the campus and about 80 different cottages, mostly
exhibits, concerts, lectures, films, dance, and theater productions, used by the summer faculty and guests,” said Kimpton. “The adult
both student and professional. chamber music people, who arrive in late summer, stay every-
About two years ago Kimpton realized one of his tipping-point where—in the hotel, the cottages, with friends, or at local camping
goals when a new program for adult and professional learners was grounds.”
launched. Early in his presidency, Kimpton traveled to 26 cities The Pacifica Quartet, the UI faculty string quartet, has been in res-
nationwide; he says he was idence at Interlochen for eight years, spending two weeks in
“stunned at the thousands the summer with high school students at the Advanced String
of alumni and friends of Quartet Institute and one week in late August at the Adult
Interlochen who asked, Chamber Music Post Camp. Cellist Brandon Vamos remem-
‘What have you got for us? bers his own student days at Interlochen with fondness.
We want to come back and Masumi Per Rostad, the Pacifica Quartet’s violist, says,
do something.’ It struck “We work intensively with 16 very talented players from all
me that there was a great over the world and are always
wellspring of interest. impressed by their significant
Maddy’s vision in the progress in such a short time. The
1920s and 1930s was that Interlochen, located in the resort area of students work on a sequence of classi-
Traverse City, Michigan, offers cottages,
Interlochen would nurture an on-campus hotel, and a nearby state cal, romantic, and modern repertoire,
a lifelong commitment to park for summer visitors. concluding with a week’s concentra-
the arts. He even chartered tion on Beethoven’s quartets. They
Interlochen with the State of Michigan as a college in the have daily coaching sessions and mas-
early 1960s and had bought land, fully intending that once the ter classes with the Pacifica Quartet, in addition to private lessons.”
Academy was up and running, Interlochen would form a four-year Sibbi Bernhardsson, one of the quartet’s violinists (along with
college for arts. We took the name—Interlochen College of Creative Simin Ganatra), comments, “We very much enjoy being part of this
Arts—from the charter, even though we’re not giving degrees. We great program. We also play one recital for the high school students,
had over a thousand adults on campus this year, mostly in the sum- as well as three recitals during the adult camp week.” Rostad adds,
mer, but also attending conferences and seminars during the year. “The adult camp people really love the program and after our con-
I’ve long had an interest in adult continuing education, based on my certs you can always hear the pieces we performed being read
dad’s work. through the night.”
“We’re focusing on experiential and professional development, The Interlochen community is a special one for the Pacifica
for which people can get CEUs or credits from their own universi- Quartet members, who take a particular delight in their travels
ties. Down the road it might be interesting to pair up with another internationally when they run into their Interlochen family after
university to grant credits, although I doubt we will ever offer concerts. “We have a warm relationship with Jeff Kimpton,” says
degrees. The College of Creative Arts is really a chance to give adults Bernhardsson. “He is supportive and has a great vision for Inter-
a creative voice. They’re on campus with all the kids, which is an lochen and for the arts in general. He also hosts a radio program and
S
exciting dynamic. Having the college is a natural extension of the has had us as guests, which was a lot of fun.” p
original founding vision to become a comprehensive arts institution. Kimpton is proud as well of a second major undertaking since r
People come from all over; Traverse City is a big resort area and has becoming president: the Aaron and Helen L. [Dodge] DeRoy Cen- i
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also become a huge retirement area, creating a natural reservoir of ter for Film Studies. He says that the “Number 1 major requested by g
participants.” students applying to the Academy was film studies, so I said, ‘Well,
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 Professor Emeritus: Lifelong Musician
By Anne M. Heiles
Alumni Profile: Kimpton, continued
Learning and teaching are a seamless fabric in Guillermo why don’t we start it?’ Unbeknownst to us, the DeRoys, two of the
Perich’s retirement years. As professor of viola from 1971 original—now deceased—donors, were huge film buffs who had a
to 1990—many of those years spent as chair of the string movie theater right in their home.” Their foundation gave $4 mil-
division—Perich was a significant presence in the central
lion to establish the program, and Interlochen, Kimpton explains,
has constructed a center that includes a dormitory attached to a film
Illinois area and UI string community during the 1970s
studio and theater with surround sound, a coffee shop and bistro
through the early 1990s. Perich and his wife, Naomi, have
area, and editing rooms. “The students’ rooms are linked by high
been living in Durham, North Carolina since 1999. fiber right into the servers so that they can work directly on their
When Perich took a course on Karl Jung at the Osher Lifelong Learning Insti- projects. It’s a self-contained program, though we require the film
tute, part of Duke University’s Institute for Learning in Retirement, it occurred to majors to live with a roommate from another major.
him that he himself might teach a course there. Never one to sit passively for “Music, of course, was our founding discipline, but there is so
long, Perich has since developed six courses, one of them popular enough that much more. We have the only residential boarding school program
three sections of it had to be given despite his using the institute’s largest class- in creative writing in the country; the kids win unbelievable awards
for their writing.” The Academy also offers studies in theater, dance
room (seating forty). His courses for adult learners have made use of his interest
and the visual arts (a new $7.5 million visual arts facility is in the
in Jung; for example, one titled “From Bach to Stravinsky: The Slow Movements,”
initial phases of construction) plus academic courses.
included allusions to not only emotional content and transcendent elements, but
Kimpton points out how the complex organization offers advan-
also mythological and symbolic events. Perich has also fashioned “Music and Our tages: “We are remarkably blessed to be six separate non-profit
Personal Growth,” “Musical Sound: Instruments, Performers, and Listeners,” “The 501(c) 3 programs in one: the Arts Camp, Academy, Pathfinder
Composer’s Intentions,” “Music of the Americas,” and “The Impact of Latin Ameri- School in Traverse City, Arts Festival, College, and Interlochen Pub-
can Music.” In fall 2006, he was asked to give an “Introduction to the North Car- lic Radio (IPR).
olina Symphony,” an offering that has been especially enjoyable and apt for him, It allows us powerful synergies, shared programming, thematic
given his symphonic career. and interdisciplinary work that is unique. Part of my coming was
to blend all these programs together to create a model of lifelong
UI alumni can well remember Perich’s lively mind and his upbeat, strong
arts learning and enjoyment. It can come through the many dif-
personality. Retirement from the University was no invitation to idle leisure for
ferent kinds of creative, educational, and cultural outlets we have.
him; he met it head on by updating his résumé and developing a handsome
It really fulfills the vision of lifelong arts engagement that started
brochure about his skills in performing and coaching. Built on a fifty-year career, 80 years ago.”
the PR piece was sizeable: Perich began his professional life as a member of the Jeff and his wife, Julie (an elementary school teacher and human
Havana Philharmonic. When he immigrated to the United States in 1960, he went resources specialist), have two grown children: Meghan, a former
to New York’s Local 802 of the American Federation of Musicians to apply for elementary school teacher who works for All Kinds of Minds, a non-
membership. Assuming that an audition would be scheduled later, he did not bring profit educational organization in New York City, and Adam, a
a viola or violin with him. When he learned that he was expected to audition
sixth-grade science teacher in Minneapolis.
Kimpton has been working to increase Interlochen’s visibility
immediately, he solfèged Mozart’s “Violin Concerto in D Major” to the astonish-
through its website, e-communications, marketing, and having the
ment of the examination committee. He aced the exam and went on to become
Academy’s ensembles travel nationally. He concludes that his posi-
principal violist of the Baltimore (1960-67) and St. Louis (1968-71) symphonies tion as Interlochen’s president has offered him “a real opportunity to
and to perform and teach at the Aspen and Chautauqua music festivals. Perich also take my long and eclectic career and weave it together. Of course I
was violist of the Baltimore (1963-67), St. Louis (1968-71), Mischakoff (1963), report to a board, but after so many years in hierarchical systems, it’s
and Walden (at UI; 1971-76) string quartets. Though Professor Perich continued to nice to be atop the pyramid. It’s a tough job, but it’s fun.” I
play in Urbana’s local ensembles after retiring, his brochure soon helped him
References:
s
o obtain a new position. In 1993, he and his wife moved to Brevard, North Carolina, Interview of Jeffrey Scott Kimpton by Anne M. Heiles, September 19, 2006.
Jeffrey Kimpton, “Of Pebbles and Ripples” Crescendo (June 2006).
n where he taught at Brevard College for five years and founded the Brevard String Jeffrey Kimpton, “Remarks at the 44th Commencement, Interlochen Arts Academy, May 27, 2006,”
o www.interlochen.org/academy/commencement_2006_speech.
r Ensemble. Although Guillermo and Naomi Perich have become enthusiasts of North Jeffrey Kimpton, “Finding Our Tipping Points,” Inaugural remarks, November 8, 2003.
i
t Carolina, they continue to visit Urbana, where one of their two daughters lives.
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 CHOICE
J. Richard Hackman, Professor of Social and Organizational Psychology, Harvard University

The following article was originally given as an address at the School of Music Commencement Convocation at the University of Illinois on May 15, 2005.

T
he scary thing about today is not that you are now going off The highly skewed labor market in your chosen profession says
into the “real world.” You’ve been operating in the real a great deal about the values of our society, sad to say. You may not
world for almost a quarter of your expected life span—and be able to change those collective values, but you are going to have
doing so with great success. Today, you receive a degree that marks to contend with them. You will have in your careers both fewer
your accomplishments, and you are basking in the admiration of opportunities and lower salaries than will be enjoyed by many of
your faculty, family, and friends. That’s not scary, that’s wonderful. your peers who today are getting their degrees in law or medicine
What is scary is this. Up to this point in your life you have been or business.
operating continuously, and almost exclusively, in growth-friendly Not to worry: The optimistic upside of this talk, the part that
environments—settings that have been designed to foster your per- shares in the celebratory spirit of the day, is on its way and will be
sonal learning and development. It may not always have worked, but here soon. But first let me tell you a little about what life may be like
your world has been stacked decidedly in your favor. People who care if you are one of the fortunate people who is able to make a decent
about you have designed tasks and living as a performer or teacher of
experiences whose specific purpose music.
was to help you learn and grow. Your work setting is unlikely to
For many of you, that is not have much in common with the
going to be the case any more. It is supportive environments you have
going to be hard to find settings enjoyed thus far—and may even
where you can both use what you seem as if it were intended more
have learned thus far and continue to grind you down than to further
to grow personally and profession- spur your growth, learning, and
ally. Because I want you to suc- creativity. In my studies of profes-
ceed, let me mention a few of the sional symphony and chamber
obstacles awaiting you out there in orchestras, for example, I have
that other part of the real world, in encountered many players who
hopes that heightened awareness find it a real struggle to stay fully
of them may diminish your vulnerability to them. alive musically while accommodating to the demands of life as an
For one thing, as many of you already have learned, the labor ensemble player. Here is what one violinist in a major symphony
market is skewed to favor employers over those who seek a career orchestra told me: “I have to be very careful to make sure that my
making or teaching music. There are not many openings out there job, which is playing in this orchestra, does not get too much in the
in professional jazz bands, in string quartets or brass quintets, or way of my career, which is making music.” Another, who had just
even in professional symphony orchestras. When the orchestra in retired from his orchestra, put it this way in talking with my col-
the city where I work has an opening for a section violinist, as many league Josephine Pichanick: “The younger people, when I first
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as 200 well-qualified musicians apply for the job that only one of came, who are now in their forties? I guess they sort of…‘mellow’ is p
them can get. The situation is even worse for conductors, com- not the right word. They break down, they’re broken down by the r
posers, and those who aspire to be concertizing vocalists or instru- system. To the outsider, this may look like a glamorous job, but it’s i
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mentalists. And it is not much better in music education. There are not. It’s a factory job with a little bit of art thrown in.” g
more jobs in schools than on the concert stage, to be sure. But music These gloomy reports are affirmed by our research findings. In a
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is one of the first things to go when school budgets get tight. study of over 60 professional symphony orchestras in four countries, 0
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Jutta Allmendinger, Erin Lehman, and I asked players about many musicians we studied. They score higher on internal motivation
aspects of their work experiences.* Two of the questions are germane than any other group we have studied: an average of 6.2 on our 7-
to today’s topic: players’ overall satisfaction with their jobs, and their point scale. Making great music remains an extremely powerful
satisfaction with opportunities for personal and musical growth. We motivator for these players despite all the career and organizational
compared their responses to those of people in twelve other occupa- obstacles they have to surmount.
tions. For general satisfaction, orchestra players ranked seventh of That is good news, and there’s more. There are lots of positive
the thirteen. And for satisfaction with growth opportunities, they models out there, people in all corners of the musical world who did
ranked ninth—just below federal prison guards (although I hasten not get ground down, who are having genuinely fulfilling careers in
to add that we studied a very innovative prison) and just above oper- music. Let me briefly tell you about four different people. They
ating room nurses and professional hockey players. Although we have very different career trajectories, but each of them offers a les-
have not studied those who teach music in public schools, my col- son to us all. The people are Doug Yeo, bass trombonist in the
leagues in music education tell me that work there can be just as Boston Symphony Orchestra; Shasa Dobrow, a professional bas-
wearing. soonist now teaching at Fordham University; Colin Fisher, a profes-
Because I don’t want you (or me) to come away from this cele- sional jazz trumpet player who also is a doctoral student at Harvard
bratory occasion depressed, let us now explore some strategies for University; and Karl Kramer, the director of your own school and
navigating through the world into which you are stepping today. For the person who invited me to give this talk—on the condition that
starters, you have something going for you that many people who I say something nice about him.
also are graduating today do not: the music itself. In Monteverdi’s These musicians’ stories may prompt you to consider some non-
opera L’Orfeo, the character La Musica sings in the prologue: “I am traditional ways of managing your career, strategies that can help
music, and with sweet melodies, make peaceful every restless heart; you work around or even transcend the obstacles that the labor mar-
and now, with noble anger, now with love, I can inflame the coldest ket and organizational life are sure to put in your way. All of these
minds.” Music packs a powerful emotional punch, to be sure. And strategies, as you will see, have mainly to do with the choices you will
it also can sustain a person through tough times. make as you live your professional life in that other real world.
In the study that generated the unhappy news about player satis-
faction we also assessed players’ “internal motivation.” Here are Strategy 1: Choose to exploit chance events. When Karl was
three of the questions we asked. How would you answer them as you studying tuba at the Yale School of Music, brass faculty Robert
reflect on your experience as a student in the School of Music? Use Nagel and John Swallow distributed students more-or-less randomly
a 1 to 7 scale, where 1 means “strongly disagree” and 7 means into a variety of ensembles. Karl wound up in a newly formed stu-
“strongly agree.” dent brass quintet. The quintet clicked and evolved into the Brass
1. I feel a real sense of personal satisfaction when I do well. Ring, a superb ensemble that focused mainly on music written
specifically for brass. The quintet prospered for well over a decade,
2. I feel bad and unhappy when I perform poorly.
and left a legacy of both recordings and young brass players who
3. My own feelings are not much affected one way or the other by were inspired by its work.
how well I do in my work. Karl was responsible for coordinating much of the quintet’s
If you gave a high number to the first two questions, and a low work, and in carrying out those duties he discovered that he had
number to the third one, you have high internal motivation. You considerable skill as an entrepreneur and administrator. So when the
don’t need grades or praise or other external props to sustain your- headship of the music program at the New World School of the Arts
self. You are motivated because your own feelings provide a pat on became available, Karl chose to give it a try. And that led to the
the back when you do well and a slap on the wrist when you do deanship at the SUNY campus at Purchase, and now to his leader-
poorly. I’m betting that you scored high, because the best schools ship role in your own school. Meanwhile, he continues to play in the
are set up to rely much more on internal motivation than on rules New Haven Symphony, to do his solo work, and to teach. What
s and grades to motivate students. The same is true for the orchestra started with a chance event in music school has become a lovely
o
n amalgam of performance, administration, and education.
o Psychologist David Campbell once wrote a book on careers
r *The findings from the cross-national study of symphony orchestras referred to in this article are
reported in detail in the article “Life and Work in Symphony Orchestras,” by Jutta Allmendinger,
i J Richard Hackman, and Erin V. Lehman (The Musical Quarterly, 1996, vol. 80, pp. 194–219).
titled, “If you don’t know where you’re going, you’ll probably end up
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 CHOOSE TO PER SIST EVEN WHEN—NAY, ESPECIA LLY WHEN—YOU HIT MAJOR OBSTACLES

somewhere else.” I offer the following addendum: “. . . and some- reintroduction of the serpent, an almost-forgotten early brass instru-
where else may be a better place to be.” So don’t try to manage your ment, to the musical world. And he worked with Yamaha to find
career. Let coincidences, accidents, and chance encounters happen. ways to further improve the technical design of trombones. Those
Notice them. And then exploit them for all they are worth. are but a few of the elements that Doug stitched together in con-
structing a career that allows him to continuously grow and serve
Strategy 2: Choose to persist even when—nay, especially others—personally, professionally, and spiritually.
when—you hit major obstacles. After receiving his bachelor’s
degree in music at Wheaton College, Doug Yeo moved to New York Strategy 3: Choose to venture down career paths that others
City where, he reports, the phone did not ring. So he took a job as rarely take. One does not find many professional musicians in orga-
a secretary, enrolled in a NYU master’s program and, along the way, nizational psychology doctoral programs, but that is where Shasa
landed a few trombone gigs—a Broadway show here, a recording Dobow and Colin Fisher have been spending most of their time
session there, whatever turned up. Eventually he concluded that lately.
magic was not going to happen in the city and he took a job as high Shasa began her musical career at age 2, beating on her mother’s
school band director in Edison, New Jersey. There was a big band drums (Mom was a professional percussionist). Then came the vio-
room there, he says, where he could practice his excerpts. lin, and then the saxophone. Then her high school band director
The practice paid off: Doug auditioned for a trombone position announced that he needed someone who could handle two reeds,
with the Baltimore Symphony and got the job. Sensing that his for- not just one. So she wound up playing first chair bassoon with a fin-
tunes finally had turned, he shortly thereafter auditioned for his gering chart open on her lap. From there, it was off to Interlochen
dream job—bass trombone in the Boston Symphony Orchestra. He and then to the Tanglewood Institute and then to the conservatory
won the audition, but he did not get the job. Music director Seiji at Rice University. She was close to launching herself onto the audi-
Ozawa wanted to hear more from Doug so he invited him to play tion circuit and, she hoped, into a job in a professional symphony
with the orchestra at Tanglewood, on a European tour, and for two orchestra. But she noticed that she was thinking nearly as much
weeks in Symphony Hall. Then another round of auditions: Doug about the nature of musical careers as about her preparations for one
versus four other seasoned bass trombonists. of her own. Eventually, Shasa decided to try an alternative path: she
The unthinkable happened: Doug missed (his word is “slaugh- took a position as a research assistant in organizational behavior at
tered”) a high b in one of the excerpts. But Ozawa hired him any- Harvard, and the next year entered the school’s doctoral program in
way. (Doug later asked BSO second trombonist Norman Bolter how that field.
Ozawa, the perfectionist, could have overlooked his huge mistake. Shasa wanted to study the “calling” that many talented young
“It was easy,” Bolter said. “All five of you missed that same note!”) musicians feel for music as a profession. Which students develop a
Doug was now bass trombone in one of the greatest orchestras in the compelling sense that they are called to a musical career, when does
world. He was set for life. that happen, and what distinguishes those who eventually follow
Or was he? The realities of orchestra life for a lower brass player their calling from those who do not? Shasa headed back to Inter-
gradually began to show themselves: sitting in the back of the band lochen and Tanglewood to find out. She collected data about calling
counting measure after measure of rest and then, when you finally from literally hundreds of students there, and then followed them
do get to play, fielding complaints from the violas about your assault for over four years. She eventually wrote a wonderful dissertation on
on their ears. It was a wonderful position but, in some ways, a rou- the topic while simultaneously playing in the Rhode Island Sym-
tine and regimented work life. The very success Doug had sought phony and subbing in both the Boston Symphony Orchestra and
was itself showing signs of becoming another obstacle. the Boston Pops. Now she has accepted a faculty position in orga-
Doug is a wonderfully multi-faceted person. He has a deeply held nizational behavior at Fordham University, where she sits in an
Christian spirituality. He is avidly interested in the history of brass office just a few blocks from Lincoln Center and teaches about
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music-making. And he has an intense curiosity about the technical careers and organizations. New forks in Shasa’s career path no doubt p
aspects of brass instruments. Doug wove those disparate elements will present themselves as she proceeds down it, and I’m prepared for r
into a career mosaic uniquely his own. He continued to perform at even more surprises as the professional life of this remarkable young i
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the highest levels in his orchestral and solo work, of course. But he musician and scholar continues to unfold. g
also launched a personal Christian ministry. And he sparked the
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 CHOOSE TO VENTURE DOWN CAREER PAT HS THAT OTHERS RARELY TAKE

Colin discovered his talent on the trumpet at age 13, even as he Jersey that continues to live in their hearts, as evidenced by the many
contended with a mouthful of braces. He enrolled at the New Eng- letters and e-mails he still receives from them. Can you, with your
land Conservatory immediately after high school, where he earned a students and your musical colleagues, create settings that help them
bachelor’s degree in jazz performance. While there, he won a trum- experience abundant challenge, responsibility, and autonomy—as
pet position in the Either/Orchestra, a jazz ensemble that plays music was the case for a professional string quartet we studied back when
at (and, it sometimes seems, just a bit beyond) the frontiers of the jazz we were doing our orchestra research? I hope so, because members
repertoire. Like Doug, Colin was drawn to New York City after fin- of that quartet, in stark contrast to what we found for symphony
ishing his studies, and he also found it impossible to support himself orchestra musicians, scored higher on satisfaction with growth
by gigging around the city. To pay the opportunities than any other occupation
rent, he took a job with Kaplan teaching “Choice is what it all comes down in our sample.
kids how to improve their scores on the Choice is what it all comes down to.
SAT. to. Choose to keep spurring your Choose to keep spurring your own
Colin noticed an unexpected conver- own development even as you leave development even as you leave this spe-
gence between his work as a jazz musi- this special, growth-friendly real cial, growth-friendly real world. Choose
cian and what he did in the classroom at environments where, to prosper, you
Kaplan. The ability to improvise, he world. Choose environments where, will have to keep learning rather than
found, was critical to success in both set- to prosper, you will have to keep merely meet the expectations of people
tings and, like Shasa, he decided to learning rather than merely meet who care more about what you can do
enroll in a doctoral program to figure for them than what they can do to help
out how it all works. He now has fin- the expectations of people who care you realize your full potential. And
ished his second year as a doctoral stu- more about what you can do for choose to create environments for others
dent in organizational psychology, and that encourage them to keep on learning
them than what they can do to help
he already has developed an innovative and growing—in your teaching cer-
method for assessing timing and improv- you realize your full potential.” tainly, but also in your relations with
isation in a wide variety of activities, your families and your professional col-
ranging from jazz performance to team leadership. leagues. Do not kid yourself: active choice really is needed because,
Meanwhile, the Either/Orchestra is still going strong, with a new from here on, growth will not happen automatically. You will have
recording about to come out and an international tour on the books. to make it so.
Colin is proceeding down a new, non-traditional path, but doing so Let me close with a cautionary word. Be extremely wary of one
in a way that does not require him to set aside either his talent as an warning sign as you make choices in your life and your career.
instrumentalist or his passion for music. He, like Shasa, is poised for Should you find yourself frequently saying to yourself, “I have no
a career that will allow him to have his musical cake and eat good choice” as you prepare to do something that bothers you, know that
meals too. you are getting into trouble. When that happens, either change the
All four of the people I just described have given careful attention environment you are in, or get yourself out of it. Because if you do
to choosing the settings in which they place themselves. They real- not, that other real world, the one you are venturing into today,
ized, whether consciously or not, what we social psychologists know eventually will have its way with you. I hope you will do everything
well—namely, that our environments shape us profoundly, and you can to keep that from happening.
often in ways that we do not realize at the time. So they all sought I wish you the courage to choose often—and the wisdom to
to find or create environments in which they could swim with the choose well.
currents rather than try to battle their way upstream.
I hope each of you also will attend carefully to the values that per-
J. Richard Hackman is Edgar Pierce Professor of Social and Organizational Psychology
s vade the environments you choose for yourself because, for better or
o at Harvard University. He received a bachelor’s degree in mathematics from
n for worse, you will be shaped by them. And I hope you will give just MacMurray College and a doctorate in social psychology from the University of Illinois.
o as much attention to the environments you create for others. Doug His most recent book is Leading Teams: Setting the Stage for Great Performances.
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i crafted an environment for his high school band members in New
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S tudent News A SELECTION OF RECENT ACCOMPLISHMENTS

Antoinette Pomata, Alumni Relations and Development Staff

Eun-Jung Auh, a Karin Hendricks, Ph.D. student in music paper entitled “The Woodbird’s Song in
soprano D.M.A. candi- education with Louis Bergonzi, was the Jun- Act III of Götterdämmerung: Recapitulatory
date in vocal perform- ior String Orchestra Director at the Illinois Transformations of the Wondrous” in
ance, won an Summer Youth Music camp this past sum- November at the Midwest Modern Lan-
international competition mer. She will have two study and teaching guages Association Convention in
to participate in the 35th guides published in Teaching Music Chicago. During the coming summer,
annual Rome Festival in
through Performance in Orchestra, (GIA Joseph plans to conduct dissertation
Italy last summer. In addi-
Publications). In addition, video clips of her research in Munich and Berlin on Der
tion to performing the role of Adina in
teaching are featured in the expert teach- Rosenkavalier, and will share his
Donizetti’s L’elisir d’amore and other major
works with the Rome Festival Orchestra, ing strategies section of a string teacher on- Rosenkavalier paper at the International
Ms. Auh studied with master artist-teachers line community website, sponsored by the Musicological Society Congress in Zürich
as part of the Rome Festival’s Summer Insti- University of South Carolina and the Ameri- in July.
tute. At the U of I, Ms. Auh is a student of can String Teachers Association. In March
Jerold Siena. 2007, she will present a paper on student Ingrid Kammin, a graduate student in
motivation at the national conference of the the voice studio of Professor Sylvia Stone,
Keturah Bixby, a senior in harp perform- American String Teachers Association. was one of two winners of the 2006 Metro-
ance in the studio of Ann Yeung, attended politan Opera National Council (MONC)
the 2006 Brevard Summer Music Festival in Jamie Hillman began a new appoint- Central Illinois District Auditions, held Octo-
North Carolina as a scholarship recipient. ment this fall as Assistant Professor of ber 7 at the Krannert Center. The winners
Music at Prairie Bible College in Three were advanced to the Regional Auditions
Stefan Fiol, a graduate student in musi- Hills, Alberta, where he will teach voice, in Evanston (IL), where they will compete to
cology and advisee of Dr. Charles Cap- theory, and conduct the womens’ choir. win a trip to New York to participate in the
well, served as a visiting lecturer at Notre Jamie is a student of Fred Stoltzfus. National Semi-Finals on the stage of the
Dame University in 2005-06. In April Metropolitan Opera.
2006, he presented a paper on his Chen-Yu Huang, a master’s degree stu-
research on the regional music in Uttaran- dent in the harp studio of Ann Yeung, was Natasha Kipp, a Ph.D. student in musi-
chal, India at the annual meeting of the a finalist in the prestigious 2006 National cology, pursued nine months of dissertation
Association for Asian Studies in San Fran- Anne Adams Award auditions, adminis- research in Baku, Azerbaijan, after receiv-
cisco. tered every two years by the American ing the 2005-06 American Councils for
Harp Society. She was one of thirteen final- International Education ACTR/ACCELS
Elroy Friesen, a doctoral student of Fred ists selected through recorded semi-finals to Research Scholar Fellowship. Natasha’s
Stotzfus in choral conducting and literature, compete in the finals, held this summer in advisor is Donna Buchanan.
was appointed Director of Choral Activities San Francisco.
at the University of Manitoba in Winnipeg. Sonia Lee, who is pursing a double doc-
He began his work there in August 2006. Julia Jamieson, recipient of the Roslyn toral degree in musicology with John Hill
Rensch Harp Fellowship, was appointed to and harpsichord with Charlotte Mattax, is
Bethany Green, choral master’s student, the Principal Harp position with the Illinois the recipient of the 2006 William E. Grib-
became the new head choral director of Symphony Orchestra for the 2006-2007 bons Award presented by the American
Lovejoy High School in Allen, Texas. Her season. Instrument Society. In May 2006, Sonia
principal advisor is Fred Stoltzfus. participated in a concert at the National
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Joseph Jones, a musicology doctoral stu- Music Museum in Vermillion (SD), perform- p
Gregory Hellenbrand, a Ph.D. candi- dent of Dr. William Kinderman, read his ing with Professor Mattax on the newly con- r
date in musicology, served a one-year paper “Strauss’ Compositional Process and structed 16th century-style Vogt virginal, i
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appointment as visiting instructor at the Uni- the Act 1 Trio of Der Rosenkavalier” at the created for the School of Music by Mal- g
versity of Wisconsin at Eau Claire. Greg is Midwest meeting of the American Musico- colm Rose of Lewes, East Sussex (UK), after
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a student of John Hill. logical Society in Chicago. He also read a 0
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 Student News
an instrument by Joos Karest. She per- ing Successful Programs for String Educa- Kydalla E. Young, a Ph.D. student of
formed in the dedication concert for the tion in Diverse Settings: My Experience” at musicology with John Hill, conducted
instrument held in U of I’s Smith Recital Hall the 2007 ASTA National Conference in research in Peru on the topic of “Music in
this August. Sonia also participated as a Detroit, MI. His teacher is Professor Louis Confraternities in Colonial Peru,” after
continuo player and solo harpsichordist Bergonzi. receiving a 2005-06 Fulbright Fellowship.
with the ensemble La Donna Musicale in
the modern premiere CD recording of The Benjamin Pierre, a second year music SooHyun Yun, a
Seven Psalms of David, Vol. II by Antonia education and jazz bass major, was D.M.A. student in
Bembo, released in spring of 2006. awarded a grant from the Summer piano performance
Research Opportunities Program (SROP), with Ian Hobson, has
which is designed “to increase the number accepted a position as
Megan McCauley, a D.M.A. candidate
Adjunct Assistant Pro-
in voice and student of Jerold Siena, was of underrepresented students who pursue
fessor of Music at Mil-
declared winner of the Carolina District academic careers by enhancing their
likin University in
Metropolitan Opera Auditions in Novem- preparation for graduate study through
Decatur (IL). She currently teaches class
ber 2005. Megan competed in the MET intensive research experiences with faculty piano and studio piano in the Millikin Uni-
Regional Finals held in Atlanta in February mentors.” With Louis Bergonzi of the music versity School of Music Preparatory Depart-
2006. education division as his advisor, Benjamin ment. In addition, she serves as a
is researching the attitudes of secondary coordinator for the U of I Piano Lab Pro-
Scott Montgomery, D.M.A. student of school instrumental teachers concerning gram. She judged the final round of the
Dana Robinson, gave a public recital on instructional use of world music. The study Most Wanted World Pianovision Competi-
June 27, 2006 in Smith Memorial Hall in is being conducted with assistance from the tion at the World Piano Pedagogy Confer-
preparation for the National Young Artists Illinois Music Educators’ Association. ence (WPPC) in Atlanta on October 25,
Competition in Organ Performance (NYA- 2006, as well as the ISMTA High School
Susan Rice has accepted a one-year Competition at Millikin University on
COP). After several rounds of regional
November 4, 2006.
competition, Scott was named one of three appointment as Director of Choral Activities
finalists nationwide to compete at the Amer- at Beloit College in Wisconsin. Susan is a
ican Guild of Organists convention. Scott’s D.M.A candidate and student of Fred Trent Jacobs, a D.M.A. student, won the
final-round performance took place on July Stoltzfus. contrabassoon position, and Katie
2 at St. Paul’s United Church of Christ in Siedel, candidate for a master’s degree in
Chicago. As winner of the First Prize and Ryan Ross, Ph.D. candidate in musicol- music, won the second bassoon position in
the Audience Prize, Scott gave the Win- ogy and advisee of Gayle Sherwood- Sinfonia da Camera in September 2006.
ner’s Recital at St. Paul’s UCC on July 5. In Magee, won the Ralph Vaughan Williams Katie and Trent are both students of Timo-
addition to a cash award, Scott received a Fellowship given by the Carthusian Trust. thy McGovern.
recording contract with Pro Organo and a He traveled to the UK for six weeks in sum-
two-year management contract from Karen mer 2006, to study manuscripts of Ralph Two students of William Kinderman,
McFarlane Artists, among the world’s most Vaughan Williams at the British Library in Joseph Jones and Hannah Chan,
prestigious agencies handling concert London and stayed at Charterhouse School have had revised versions of their research
organists. in Godalming, England. essays accepted in Naturlaut, a scholarly
journal devoted to Mahler. The title of
Channing Paluck, a first year doctoral David Sawatzky, a D.M.A. candidate Joseph’s paper is “Envy and Misinterpreta-
student in music education, had his article and student of Fred Stoltzfus, was tion: Richard Strauss and Gustav Mahler’s
“Strings in the City: Building a Community appointed Assistant Professor of Music in Resistance to the Descriptive Program”;
of String Players in an Urban Setting” pub- choral conducting and church music at Hannah’s paper is entitled “Balancing Artis-
lished by the American String Teachers Bluffton University, Ohio, beginning fall tic Vision, Public Taste, and Economic Real-
Association (ASTA) in the book Teaching in 2006. His duties will include conducting ity: Gustav Mahler’s Concert Programs for
America: Strategies for a Diverse Society. the Bel Canto women’s ensemble, teaching the New York Philharmonic Orchestra
Mr. Paluck’s article discussed “Strings at church music courses, and conducting the (1909-1911).” Joseph and Hannah, Ph.D.
17,” the string program at Enrico Fermi oratorio choir for the annual Bach Festival. students in musicology, participated in Dr.
s School No. 17 in Rochester, NY. Channing Kinderman’s seminar on “Gustav Mahler
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n served as the lead teacher for Strings at 17 Rebecca Wascoe, a D.M.A. student and and fin-de-siècle Vienna” last spring.
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r from 2000-06. He will be discussing his teaching assistant in voice, won the first
i article as a member of the panel “Design- prize in the Gerda Lissner Competition for
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i Young Opera Singers. Rebecca is a student
e of Sylvia Stone.
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Tony Licata and Gerald Wood were
the grand winners in the student and pro-
fessional divisions at the 2006 International Chicago Symphony Violinist Paul Phillips Visits SoM
Women’s Brass Conference Competition. The Chicago Symphony Orchestra’s recent visit to and concert at the Krannert Cen-
Both are horn students of Kazimierz ter for the Performing Arts on November 2, 2006 included more than wonderful
Machala. performances of music by Brahms and Bartók. Paul Phillips, a CSO member for 26
years, met with about 100 string players at an event organized by the UI Student
Chapter of ASTA, with support from Quinlan & Fabish Music.
The Other Guys earned third place— The discussion covered, expectedly, Mr. Phillips’ career path, how students might
after Brigham Young University and Oxford build their own careers, and insights into orchestral auditions. Over his long career,
University—in the finals of the International Mr. Phillips has served on audition panels for all instrumental vacancies.
Championship of Collegiate A Cappella At a pause in the discussion, however, Mr. Phillips could not resist asking Louis
(ICCA) held in Lincoln Center’s Alice Tully Bergonzi, conductor of the UI Philharmonia Orchestra, about a bowing Bergonzi
Hall in New York City this April. The a cap- had the first violins use in the Firebird Suite (1919), the rehearsal of which Mr.
pella group presented their arrangements Phillips had just observed. “We would never do that,” Mr. Phillips chided his friend.
of “Tonight, Tonight,” “The Beatles Medley” “But Stravinsky indicated that bowing and, in relation to the 2nd violins, it makes
enough sense,” replied Bergonzi.
(arr. Bill Prokopow), and “Hallelujah I Love
For the next few minutes, the students
Her So” (arr. Bill Prokopow), and were a
observed the professional workings and
crowd favorite, eliciting a momentous decorum that are important to the process
standing ovation from the sold-out theatre that gets a score from composition to con-
audience. In the Midwest Region quarterfi- cert performance. Bergonzi’s students chuck-
nal and semifinal competition, Bill led as their teacher and Mr. Phillips went
Prokopow received Outstanding Arrange- back and forth; the conducting majors in
ment awards for “Hallelujah I Love Her So” attendance took notes and engaged in the
and “The Beatles Medley.” debate; and, most importantly, a rewarding
experience was had by all.

GA ME LAN BACK AT I LLINOIS! Continued from page 9

The University of Illinois and the Col- strations of various musics from around the
lege of Fine and Applied Arts are currently world—in fact, faculty and students have
in negotiations for the formal establishment already done such gigs in the past, but with
of an outstanding center or institute for the the help of new resources, these activities can
study of world music on the Urbana-Cham- surely increase. Other outreach opportuni-
paign campus with hopes of finalizing the ties envisioned include making available
arrangements very soon, including a search such things as a community gamelan class
for a director. Aside from its importance to and occasions when local musicians could
students throughout the School of Music, present performances on campus.
The U of I Concert Jazz Band was such a center would have a great impact on With Brown’s bequest, Illinois has the
invited to perform for the International the larger student community, as many of potential to become the world’s leading
Association of Jazz Educators (IAJE) confer- the students participating in the perform- institution for instruction, performance, and
ence in New York City in January 2006. ance classes for dance or music do come research on world music. An institute for the
The band, directed by Chip McNeill, per- from a variety of majors. There would be no study of world music would complement
formed with new Jazz Faculty trombonist need for students wanting to learn Balinese other units of the University and help our
Jim Pugh and two UI alums, pianist Jim gamelan, for example, to feel intimidated by music graduates develop skills, knowledge,
McNeely (B.M. ‘75) and percussionist the skill of their classmates since everyone and understanding which will enable them
Joel Spencer (B.S. ‘78). The Concert will start at the same level. This gives stu- to respond creatively to the musical, cul-
dents without prior musical training a tural, and educational challenges of the 21st
Jazz Band and guests performed music
chance to experience not only a new culture century. All in all, an institute of this type
from their new CD Get Here Sooner, avail- S
but to acquire a new competence. promises to be the catalyst for developing an
able through the jazz division of the School p
Another activity this center could foster even more complex and fulfilling panoply of r
of Music.
is serving as a liaison with the local commu- musical experience and opportunity for stu- i
nity by sending out students and teachers to dents at the University of Illinois and for n
Congratulations to our many talented g
students and teachers on these recent schools where they can give lecture-demon- members of its surrounding community.
achievements! 2
Some material included in this article was provided by 0
Melissa Merli of The News Gazette. 0
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 Alumni Notes

spent in there! The afternoon concert in

Farrars Commemorate Golden Anniversary Smith Recital Hall, featuring compositions
of some of our former teachers—Gordon
with Gift of Music Binkerd, Thomas Fredrickson, and Robert
Kelly—was a grand occasion and the dedi-
Carolyn Backus (B.M. ’57, D.M.A. ’73), Professor Emeritus of Vocal Studies,
cation of the fine virginal was truly signifi-
Baylor University, Waco, Texas
cant. I had a brief moment to say hello to
It was a very special moment Over twenty years Patti Binkerd. Oh, the many memories of
in time, completely unex- had passed since I had working with Gordon Binkerd! I still have a
pected. A phone call came been on campus and I recording of his Sun Singer as performed
out of the blue in April—“Is knew many changes had by the University of Illinois Symphony
that you, Lloyd?” It had been taken place; however, Orchestra. I remember that he asked me
at least 40 years since I had Smith Music Hall looked what I thought of it after a concert perform-
seen him. He had come to the same. The first ance. Being put on the spot like that, I said
New York, to attend a musi- evening in Urbana, we that the work ended in C Major. I think he
cological conference in the senior citizens—me, thought I was
1960s, while I was a mem- Joyce Adler Luettich funny (besides
ber of the New York Pro (B.M. ’57), Richard being an
Musica Antiqua. Doris had Luettich (B.S. ’57), unknowing
not been able to come with Richard Vook (Ph.D. freshman). So
him, so I tried to show him the sights of the ’57), Lloyd Farrar (M.M. ’56 ), Doris many memories
city, including that wonderful, inexpensive Vogt Farrar (B.M. ’56 ), her sisters of George
ride on the Staten Island Ferry. But since Claire Vogt Wally (B.S. ’55), Annabel Hunter surfaced—I remember his showing
that time, I had lost contact with my friends. Vogt Allen (M.A. ’63), and other family me some vocal works of Luigi Dallapiccola
Career and other responsibilities had members galore—gathered at the Steak ‘n and some of the songs of Charles Ives—in
claimed us. So it was wonderful to visit by Shake for dinner. We all had such fond addition to all the memories of reading
telephone with Lloyd and Doris on that memories of eating there, although the one through the madrigals of Monteverdi and
April afternoon—I in near campus no longer exists. We were, enlisting the aid of musicology professor
my office at Baylor dare I say it, a trifle loud and boisterous, Dragan Plamenac to help me with the texts
and they in Ten- and we presented a real challenge to our of some songs I was singing with the Col-
nessee. poor waiter. Afterwards, back at the motel, legium Musicum.
When Lloyd told The visit back to campus really was
me of their plans to a return to Memory Lane. When Doris,
return to campus at Lloyd, and I were undergraduates, so
the end of August to celebrate their Golden much exciting music was being written
Wedding Anniversary and at the same time and performed. We had a fabulous expe-
to pay tribute to their former teachers and rience with our supportive and dedicated
mentors, I knew that I had to be part of that teachers. Their influence remains with us
celebration. I had sung at their wedding to this day!
fifty years ago. Lloyd told me that there
were seven of us, plus bride and groom, Clockwise from top
Lloyd Farrar entreats Karl Kramer, director of the School of Music
who were still living. Later he informed me to “cherish and protect” the Vogt virginal “till death do us part.”
of the special surprise for Doris—he had we quieted down and passed around pic-
Marlah Bonner-McDuffie, Associate Director for Development,
commissioned Malcolm Rose of Lewes, East tures and albums from that wedding. We
thanks donors Mrs. Doris V. and Dr. Lloyd P. Farrar.
Sussex in Great Britain, to create a replica looked so young!
s of a 16th-century virginal in Doris’s honor, The next day, Sunday, the celebration Emeriti professors Ronald Hedlund (baritone) and Eric Dalheim
o (piano) perform songs of Illinois composer Gordon Binkerd.
n and also to honor Professor George Hunter. began in earnest with a mini concert featur-
o There was to be a dedicatory concert on ing music by composer Julia Deskins Professor Charlotte Mattax performs at the dedication concert on
r Sunday, August 27, 2006. Vook (M.M.’56), and a luncheon in the
the Vogt virginal created by Malcolm Rose of East Sussex (UK).
i
t former library—the hours all of us had Photos: Cheryl Munn-Watley

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Alumni News
Amy Fuller, Alumni Relations and Development Staff

1960-1969 Hall, although choirs she has directed have

performed at Carnegie twice before, in
Anne Mischakoff
Heiles (D.M.A. ’78)
Glen Danielson
1996 and 2000. published a book about
(M.S.’63) retired from
her father, Mischa Mis-
the Seattle Symphony
chakoff: Journeys of a
after 38 years as Oboe
Concertmaster, with
and English Horn
Harmonie Park Press in
player and from the
May 2006. She has
Seattle Opera after 35
lectured on her father and her book at a
years service. Over the
meeting of the Illinois Council of Orches-
course of his career, Danielson made more
tras, the Chautauqua Music Festival in
than 100 recordings with the two orches-
upstate New York, and at Eastern Michigan
tras on the Naxos, Delos, and RCA Victor Jeannette “Jj” Ebelhar leads her choir through rehearsal for the
concert at Carnegie Hall. Photo: Andy Telli University. Her sequel book, America’s
labels under conductor Gerard Schwarz,
Concertmasters, is in press with the same
with international artists such as Ray
Charles, Placido Domingo, Renee Fleming,
“I am very thankful for my education, publisher and expected to be in print in
training, and many enriching oppor- 2007.
Henri Mancini, Birgit Nilsson, Luciano
tunities at the University of Illinois,
Pavarotti, the Smothers Brothers, and Joan
all of which contributed to my being Daniel Neuman (B.A. ’65, Ph.D. ’74),
Sutherland. During the 1965 and 1966
an outstanding music educator.” currently executive vice chancellor and
seasons, he was a member of the Chicago
Lyric Opera Orchestra. Prior to attending Jeannette “Jj” Ebelhar, M.S. ‘74 provost at UCLA, has been chosen as direc-
Illinois, he was a member of the Milwaukee tor of the New Center for Arts and Culture
Symphony. Glen reports that he is enjoying to be located in Boston. The center, which
Sheila Johnson has mounted several exhibitions, hopes to
retirement in Seattle, jogging, traveling,
(B.M.E. ’70), alumna of open its own building in the next four or
playing with area bands, sleeping (until he
the UI music education five years and has raised more than $20
is done!), and cleaning up the “detritus of
program, cofounder of million toward an eventual goal of more
a long career.” He would like to acknowl-
media giant Black than $80 million. An ethnomusicologist,
edge Professor Blaine Edlefsen, his princi-
Entertainment Television Neuman specializes in the music of India.
pal instrumental teacher while at Illinois.
(BET), and Chief Execu- In 2002, prior to his position as executive
tive Officer of Salaman- vice chancellor, he was dean of the UCLA’s
School of the Arts and Architecture. Before
1970-1979 der Inn and Spa resort, received the
that, he taught at Dartmouth College and
Jeannette “Jj” Alumni of the Year Award from the Univer-
the University of Washington, where he
Ebelhar (M.S. ’74), sity of Illinois Alumni Club of Greater
was director of the School of Music. Neu-
choral director and Washington, D.C. Johnson began her
man was also a developer of the World
Fine Arts Department career as a violinist and music teacher, but
Music Navigator, a computerized atlas of
chair at Pope John Paul made her mark with BET in 1980, making
world music. Last spring, Neuman pub-
II High School in Hen- her the nation’s first black female billion-
lished Bards, Ballads and Boundries: An
dersonville, Tennessee, aire—even before Oprah Winfrey. Ms.
Enthnographic Atlas of Music Traditions in
conducted an all-female Johnson recently established the Salaman-
West Rajasthan.
choir of students from JPII High School and der Inn & Spa resort, food market, and sta-
St. Cecilia Academy, alumni from both bles in Middleburg, Virginia. She is a
Michael Pettersen
schools, and friends in a concert in dedicated philanthropist, donating gener-
(B.A. ’74) has achieved
Carnegie Hall on June 25, 2006. The con- ously to the arts. S
much success with his
cert featured several professional soloists, a choral arrangement of
p
r
professional orchestra, and a semi-profes- “Down in the Valley to i
sional women’s choir from Tucson, Arizona, Pray,” published in n
under the Ebelhar’s direction. This was her 2005 by Walton Music g
first opportunity to conduct at Carnegie 2
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 Alumni News
(www.waltonmusic.com/CDsampler2005.p as part of the National Conference of the Council (NJ). John continues to perform as
hp). Based on a melody likely conceived in Society of Composers, Inc. In conjunction a freelance percussionist with the Orchestra
the early 1800s, Pettersen’s arrangement is with the conference, Adams served as of St. Lukes, the New Jersey Pops, and the
an “homage to the uniquely American member of the composition pedagogy Jerry Vezza trio.
‘shape note’ style of singing, also known panel held at Incarnate Word University
as ‘sacred harp’ singing,” to which he was in San Antonio. Daniel currently lives in Ronnie Pejril (B.M. '86) followed his
introduced at concerts of Dr. Neely Bruce Houston, Texas. degree in composition at Illinois with grad-
while an undergraduate at UI. Pettersen’s uate work at Princeton and has been
“Down in the Valley to Pray” premiered in Vickie Covington (M.M. ’71, Ed.D. appointed the Music Instructional Technol-
Chicago in 2003. In addition to compos- ’81), winner of the Medallion of Honor in ogy Center Coordinator at DePauw Univer-
ing and giving choral performances with 1988—the most prestigious award pre- sity, where he also teaches music
his wife, soprano Dr. Jan Marie Aramini, sented annually by the Mothers Association technology.
Pettersen is active as a rhythm guitarist and of the University of Illinois to those who, by
composer in the Chicago area. He founded example and service, have used their tal- Stephen Sims (B.M. ’86) teaches violin
and operates a not-for-profit educational ents to enrich the lives of others—became at the Sato Center for Suzuki Studies at the
seriously ill after eating tainted spinach that Cleveland Institute of Music and at Denison
website, http://freddiegreen.org, which
has affected others across the nation. After University, and is an active clinician at
documents the musical style and life of
extended hospitalization, friends report numerous Suzuki Institutes around the coun-
Count Basie’s guitarist, Freddie Green
Vickie is in recovery. Send cards, letters, try. In 2000, the Tennessee Governor’s
(1911-1987). Pettersen began his website
and good thoughts to: Victoria Covington; School for the Arts recognized Sims as one
in response to popular demand for addi-
Tower in the Park, #307; 55 Barrett Road; of Tennessee’s outstanding musicians. A fre-
tional information about Freddie Green and
Berea, Ohio 44017. quent performer, he appeared most
big band rhythm after authoring a series of
recently as soloist in Beethoven’s Triple
articles for Downbeat Magazine.
John Leister (B.M. ’82) was named Prin- Concerto with the Emporia State University
cipal of the Bee Meadow Elementary Orchestra in Kansas.

1980-1989 School in Hanover Township, New Jersey.

In June 2006, he was selected as the Arts
Daniel Adams
Educator of the Year by the Morris Arts
(D.M.A. ’85), com-
poser, percussionist
and music educator,
had three of his compo-
sitions published by
Anton Armstrong Receives Cherry
Dorn Publications this Award for Great Teaching
past summer; Augustine
Shadows for oboe and piano, Ambiva- Anton Armstrong (M.S. ’80), the Harry R. and Thora
lence Recalled for flute solo, and Khromas H. Tosdal Professor of Music at St. Olaf College and con-
Diabolus for trombone and percussion ductor of the St. Olaf Choir, was named by Baylor Univer-
ensemble. His composition Between Still- sity as this year’s recipient of the Cherry Award. At
ness and Motion for piano solo was per- $200,000, the 2006 Robert Foster Cherry Award for
formed in May by Felipe J. Ramirez on two Great Teaching is the most prestigious award of its type in
concerts sponsored by the Texas Chapter of the nation. Armstrong was one of 86 nominations that
NACUSA; at the Modern Art Museum of represented 68 colleges and universities and 46 disci-
Fort Worth and at the Eisemann Center for plines. He will travel to Texas to teach at Baylor University
Performing Arts in Richardson, Texas. Still- Anton Armstrong has conducted the during the 2007 spring semester and summer session. In
St. Olaf Choir since 1990.
ness and Motion, performed by pianist Jeri- recent seasons, Armstrong has guest conducted such
mae G. Astolfi, was released on a compact noted ensembles as the Utah Symphony and Symphony Chorus, the Mormon Taber-
disc entitled Melange distributed by Cap- nacle Choir and the Saint Paul Chamber Orchestra. During his tenure as conductor,
stone Records. In September, Daniel had the St. Olaf Choir has recorded 11 CDs and in December 2005, the choir was fea-
several of his compositions performed at tured on the PBS Christmas special, “A St. Olaf Christmas in Norway,” aired nation-
the University of South Florida in Tampa, wide. Anton has collaborated in concert with Bobby McFerrin and Garrison Keillor
including Demons Before Dawn for bass and is active as a guest conductor and lecturer throughout North America, Europe,
s flute and percussion trio and Between for Scandinavia, Korea, Singapore, Australia, New Zealand and the Caribbean.
o flute and marimba. His composition Reso-
n
o nant Canvas for multiple percussion solo “This award recognizes all the wonderful family, teachers, mentors, students
r was performed at the University of Texas,
i and singers that have touched my life.”
t San Antonio, by percussionist Brad Smith
Anton Armstrong, M.S. ‘80
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Peter Tiboris (Ed.D. ’80) recently cele- miered at the Chelsea Art Museum in New Kerry Heimann (B.M. ’94, M.M ’95) is
brated his 20th season as general director York City by the New York Miniaturist the accompanist for the American Boychoir,
and artistic director of MidAmerica Produc- Ensemble. Bohn gave a lecture titled “Using based in Princeton, New Jersey. While on
tions, one of New York’s largest classical CSound in Live Performance” at the Associ- tour last year, they performed in Urbana
concert production companies. Under the ation for Technology in Music Instruction and Galesburg, Illinois.
MidAmerica umbrella, Mr. Tiboris has International Conference in Quebec City,
developed further undertakings, such as the Quebec. Elizabeth Hinkle-Turner (M.M. ’88,
Elysium recording label, the Manhattan D.M.A. ’91) published her book Women
Philharmonic Orchestra, the Elysium Cham- Donato Cabrera (M.M. ’99), former con- Composers and Music Technology in the
ber Ensemble, and Just Tenors, Inc., a man- ducting student of Professor Donald Schle- United States with Ashgate Press, United
agement company for singers. During the icher, was recently appointed Resident Kingdom in 2006. The text is described as
past 12 months, Maestro Tiboris has con- Conductor of the San Francisco Opera. “the most definitive attempt to date to dis-
ducted Orquesta Sinfónica del Estado de cuss the achievements of women as com-
México; Silesian Philharmonic in Katowice Nathan Gunn (B.M. posers of experimental and avant-garde
(Poland); Orchestra Sinfonica Siciliana di ’94) received the first music from the 1930s to the present day.”
Palermo in Palermo and Castellana Sicilia Beverly Sills Artist An article excerpt from the work, published
(Italy); Orchestra Sinfonica Citta di Gros- Award, an award in Organized Sound 8.1, received the
seto in Grosseto and Livorno (Italy); given to a U.S. citizen Pauline Alderman Award for outstanding
Bohuslav Martinu Philharmonic Orchestra between the ages of 25 scholarship on women in music in the cate-
in Zlin (Czech Republic) and on the Island and 40 who has sung gory of journal, article, or essay in May
of Syros (Greece); and the Manhattan Phil- solo roles at the Metro- 2005. Hinkle-Turner held a joint composer
harmonic in New York. In 2004, he con- politan Opera in New York. Frequently residency with the McLean Mix in March
ducted the U.S. premiere of Sergey seen on opera stages throughout the world, 2006 at Muhlenberg University where she
Taneyev’s opera Agamemnon at Carnegie this past season Gunn created the role of presented lectures and a recital of her
Hall. In 2000, he created Opera Aegean Clive in the Met’s premiere of An American works. She presented the paper “Hear Me
in Athens. Since then, Opera Aegean has Now: The Implication and Significance of
Tragedy by Tobias Picker, to much acclaim.
begun a summer festival on the island of the Female Composer’s Voice as Sound
He will perform Papageno in Die Zauber-
Syros, presenting operatic, theatrical, and Source in Her Electroacoustic Music” and
flöte with the Metropolitan Opera in the fall
concert events. In 2005, the festival pre- had her video piece Finish Line featured at
and winter of 2006-07, Figaro in Il Barbi-
sented Rossini’s Il Barbieri di Siviglia and the International Congress on Women and
ere di Siviglia with the San Francisco
in the summer of 2006, Mozart’s Don Gio- Music at Florida International University in
Opera in fall of 2006, followed by
vanni. Eleven concerts are planned for May 2006. This latter paper also
Guglielmo in Così Fan Tutte with the Lyric
2007 including Mascagni’s operas Zanetto appeared as an article in the online journal
Opera of Chicago beginning January
and Cavalleria Rusticana. “eContact! 8.2,” a special issue on gender
2007, along with numerous recitals and
and technology guest-edited by Hinkle-
Peter Wood (B.S. ’89) was appointed additional opera performances. Turner. Elizabeth was recently elected vice-
Assistant Professor of Trumpet at the Univer- president of the International Alliance for
sity of South Alabama in Mobile, and Prin- Barry Hearn (M.M. ’98), trombonist with Women in Music. She continues to serve
cipal Trumpet of the Golf Coast Symphony the U.S. Army Band in Washington, DC, on the board of the Canadian Electroa-
Orchestra in Biloxi (MS). Wood serves as performed the Trombone Concerto by coustic Community and as Student Comput-
CD Reviews Editor of the International newly-appointed UI Jazz Trombone Profes- ing Services Manager at the University of
Trumpet Guild Journal and recently per- sor Jim Pugh on the faculty concert for the North Texas.
formed the world premiere of David 2006 International Women’s Brass Confer-
Durant’s Choragus Revisited for trumpet ence (IWBC) held in Normal, Illinois in Lonnie Klein (D.M.A.
and electro-acoustic accompaniment at a June 2006. Barry won the principal trom- ’93), music director
conference of the College Music Society in bone position with the Louisiana Philhar- and conductor of the
San Juan, Puerto Rico. Wood lives with his monic Orchestra in May 2005, but Las Cruces Symphony
wife and three children in Mobile. declined the position in favor of remaining Orchestra in New Mex-
in the U.S. Army Band. He participated in ico, recently made
the Alessi Seminar in the summer of 2005 European conducting
1990-1999 and was a finalist for the National Sym-
debuts with the Milano
James Bohn (M.M. ’93, D.M.A. ’97), phony second trombone position in Octo- S
Classical Chamber Orchestra, the Orches-
composer and author, recently had his ber. Barry was the ‘93 ITA Marsteller
tra Sinfonica Della Provinicia in Italy, and
p
winner, the ’96 ITA Smith competition win- r
composition wormwood for two toy pianos, later with the Cukurova Devlet Senfoni
ner, and a 2003 IWBC grand prize win- i
piano, and tape premiered at the Extensi- Orkestrasi in Turkey in a concert broadcast n
ble Toy Piano Project in Worchester, MA. ner. He studied trombone at the University
live on Turkish Television. After a return trip g
Two Benjamins for flute and viola, which of Texas at Arlington, the University of Illi-
to Turkey to conduct the Cukurova Devlet 2
he co-composed with Eric Lyon, was pre- nois, and the Manhattan School of Music.
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 Alumni News
Senfoni Orkestrasi, he traveled again to the Chicago area, and assists classes at View, a collection of popular solo piano
Italy to conduct the Solisti di Perugia Cham- companies such as Hubbard Street Dance. music, and Spring Sonata, recorded with
ber Orchestra in an outdoor concert Joshua was recently asked by Sherwood to violinist Beedarn Chao. This later recording
attended by 12,000 people. Klein is provide faculty consultation for a new cur- includes Beethoven’s “Spring” Sonata, the
deeply committed to education and commu- riculum task force. Sonata in A major by Franck, and the
nity and, under his leadership, the Las Sonata in D major by Prokofiev. Dr.
Cruces Symphony has developed a very Horacio Nuguid (D.M.A. ’94), pianist Nuguid performed Rachmaninoff’s Piano
active outreach program for young and old and Artistic Director of the Rochester Cham- Concerto No. 2 with the Rochester Sym-
alike. This past year, he conducted concerts ber Music Society (rochesterchambermu- phony Orchestra in November of 2005,
with the Traverse Symphony Orchestra in sic.org), released his third CD, containing and gave recitals and master classes at the
Michigan, the Kentucky All-State Orchestra, solo piano music by Chopin, Ravel, Rach- University of Santo Tomas and Santa
the Bari Symphony in Italy, and a concert maninoff, and three Filipino composers. Scholastica College in Manila, Philippines.
in Magdeburg, Germany, with the Europa Previous CD recordings include An Old In April and May of 2006, he gave solo
Philharmonie.

Kathy Kozak (M.M. ’96) was recently World-wide Trombone Quartet: Continental
appointed to the position of assistant cho- Trombone Quartet Performs Around the World
rus master and vocal coach at the Florida
Grand Opera in Miami. She served as a The Continental Trombone Quartet (CTQ),
Visiting Assistant Professor at the University consisting of Illinois alumni Doug
of Miami in Florida during the 2005-06 Farwell (D.M.A. ’98), Peter Madsen (D.M.A.
academic year, where she acted as Interim ’00), Mark Sheridan-Rabideau (D.M.A. ’98),
Co-Director of the Opera Theater, primary and Steve Wilson (D.M.A. ’04), had back-to-
coach for the Department of Vocal Perform- back banner years with recitals at IAJE in January
ance, academic advisor for voice majors, 2005; a tour of the Midwest in March with per-
and conductor for the opera department’s formances at the University of Nebraska at
production of The Elixir of Love. This past Omaha, Hastings College, the University of Mis-
summer, Kathy was an assistant conductor Continental Trombone Quartet (left to right): Dr. souri at Columbia and the Midwest Regional CMS
Mark Sheridan-Rabideau (Highland Park, New
for Lake George Opera’s I Pagliacci in Jersey), Dr. Pete Madsen (Omaha, Nebraska),
Conference; lecture-recitals at the International
upstate New York and was on the faculty Dr. Doug Farwell (Valdosta, Georgia), and Dr. CMS Conference in Madrid, Spain in June 2005;
Steve Wilson (El Paso, Texas)
of the Intermezzo Young Artists Program in the Second International Vernacular Congress in
West Palm Beach, Florida. Puebla, Mexico in October; and the National CMS Conference in Quebec, Canada in
November. The quartet finished out 2005 with a performance at the Midwest Clinic in
Joshua Manchester (M.M. ’99) per- Chicago featuring guest trombonists Steve Weist and Antonio Garcia.
formed with the International Contempo- In 2006, CTQ performed recitals and clinics at Valdosta State University and
rary Ensemble (ICE) in March 2006, in Florida State University in January, did a recording project and recital at UC Berkely,
conjunction with the Chicago Composer’s and were the featured performance group for the National CMS Conference in San
Forum. His realization of a piece for three Antonio in September.
percussion and tape by Ryan Ingebritsen
was done in conjunction with Phillip Patti Doug Farwell (D.M.A. ’98) is an Associate Professor of Trombone and Assistant
and David Schotzko. The concert at Dean of the College of the Arts at Valdosta State University in Georgia and will serve
Chicago’s St. Xavier University, called this year as Interim Executive Director of the Valdosta Symphony Orchestra.
“Music and the Search for Meaning”, was
included in a four-part series of concerts, Pete Madsen (D.M.A. ’00), Coordinator of Jazz Studies and Assistant Professor of
presentations and panel discussions investi- Trombone/Euphonium at the University of Nebraska at Omaha, directs the jazz
gating the meaning of musical experience ensembles and jazz combos, coordinates UNO’s Great Plains Jazz Festival, and
from four points of the musical process. teaches low brass, jazz survey, and improvisation.
Joshua, a regular member of the MAVerick
Ensemble of Chicago, has premiered works Mark Sheridan-Rabideau (D.M.A. ’98) of Highland Park, New Jersey, is a found-
with the Cube Ensemble, improvises with ing member of the quartet and an Assistant Professor of Low Brass and Director of the
the experimental group The Sherpas, and Music Business and Technologies program at Millersville University where he teaches
subs in numerous orchestras in Illinois, Wis- trombone, tuba, and euphonium, as well as courses in Music Business and Popular
s consin, Indiana and Iowa. In addition to Music.
o teaching at the Sherwood Music Conserva-
n
o tory and adjudicating competitions, he Steve Wilson (D.M.A. ’04) is an Assistant Professor of Music at the University of
r works with church music for both contem- Texas at El Paso and is active with the El Paso Symphony Orchestra, the El Paso Wind
i
t porary choirs and children, gives clinics in Symphony; and as a low brass clinician, giving solo performances, master classes,
i Chicago Public Schools, performs solo in and teaching private lessons to aspiring trombonists in Texas.
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recitals featuring the music of Chopin at works and standard repertoire, has been marching bands. This year he produced a
Winona State University, Augsburg College heard on National Public Radio affiliates field show for the Class 2 state champi-
in Minneapolis, Owatonna Art Center, across the United States. onship. Craig maintains a private brass stu-
Paramount Theatre in Austin, Texas, and at dio and is assistant band director at
the Mayo Clinic in Rochester. Dr.Nuguid is Matt Cameron (M.M. ’06) was chosen Washington High School, marching brass
an active teacher and clinician in Min- as principal trombonist for the Cedar band instructor at Morton High School, and
nesota, where he serves on the faculty of Rapids Symphony after competing for and music theory instructor at Bradley Univer-
the Young Artists Piano Camp at the Univer- winning the position in August 2006. In sity. In addition, he is active as a trombon-
sity of Minnesota-Duluth. His recordings are addition, Matt was appointed trombone ist and performs with the Prairie Wind
available through instructor at Grinnell College, Clarke Col- Ensemble, Peoria Municipal Band, Peoria
www.NuguidPianoStudio.com. lege and the Cedar Rapids Symphony Players, and Opera Illinois. He recently
School. While a student at UI, Matt was a participated in the Bands of America-spon-
Kelley Squires (B.S. ’96) received her student of Elliot Chasanov. sored Young Composer Mentor Project,
Master of Music Education degree from the and was a finalist for the ASCAP Founda-
University of Connecticut in the summer of Stevie Caufield (M.M. ’02) was tion Morton Gould Young Composer’s
2004. She currently lives in Southern Cali- appointed bassoon professor and chamber Award in 2001 and 2003.
fornia and is the Choral Music Director and music coach at the University of Rhode
Musical Theater Director at Rancho Cuca- Island in Kingston, Rhode Island in August Thomas Forde (B.M. ’05) was accepted
monga High School. On April 24th, 2006, 2006, and plays principal bassoon in the into the 2007 Studio Artist program at
her choirs premiered composer Ed United States Coast Guard Band in Con- Tulsa Opera, where he will participate in
Logeski’s work Missa Americana, at necticut. productions of Carmen and The Crucible,
Carnegie Hall in New York City. as well as perform in Luisa Fernanda with
Kyong Mee Choi the Studio Artists. In addition, Thomas will
David Thurmaier (D.M.A. ’05) has take part in a Spanish and an American
(B.M. ’96) graduated accepted a position as repertoire recital series with the Tulsa
from Indiana University assistant professor in Opera. He recently participated in the
with a Ph.D. in Music 2006 Apprentice Program at the Des
composition at Roo-
Theory in May 2006. Moines Metro Opera, covering the roles of
sevelt University in
He is currently an Assis- Sarastro (Magic Flute) and Father Truelove
Chicago.
tant Professor of Music (The Rake’s Progress), performing in numer-
Theory at Central ous opera scenes, and singing the role of
Missouri State University in Warrensburg, Leporello in a selection from Don Giovanni
Brian Cole (M.M. ’00) accepted the posi- with the Des Moines Metro Opera Orches-
Missouri. tion of Professor of Conducting at the Con- tra. Last summer, Thomas was a young
servatory of Puerto Rico. He continues to
2000-2006 maintain his post as assistant conductor of
artist with the Utah Festival Opera. During
the 2006-07 season, he will return to the
Kris Becker (B.M. the Cincinnati Chamber Orchestra. Moores Opera Center in Houston to per-
’04), pianist, won the
form the role of Frank Maurrant in Street
Rice University Shep- Brandon Correa (M.M.E. ’06), student Scene, while continuing his graduate stud-
herd School of Music of Dr. Louis Bergonzi, is the new Orchestra ies at the University of Houston Moores
Piano Concerto Compe- Director at the distinguished South Salem School of Music, before beginning work
tition and made his High School in Salem, Oregon, where he with the Tulsa Opera in the spring.
debut with the Shep- directs the school’s three string orchestras
herd School Symphony and the symphonic orchestra. In addition, Ingrid Gordon
Orchestra playing Beethoven’s 4th Piano Correa teaches an advanced intermediate (D.M.A. ’00) and
Concerto in December 2006. Other recent string ensemble at Leslie Middle School. Alexander
honors include an appearance at the For the second year in a row, South Salem Gelfand (Ph.D.
Kennedy Center for the Performing Arts in High School was named a Grammy Foun- ’00) are proud to
Washington DC, a professional debut as dation Signature “Gold” award-winning announce the birth
an Artist Presentation Society auditions win- program. Since the inception of the OSAA of their son, Lazar
ner in St. Louis, and participation in both State Music Championships in 1987, Gordon Gelfand,
the Van Cliburn Piano Institute in Fort South’s music program has won 25 State on May 26, 2005 S
Worth, Texas and the Cleveland Orches- Champion titles. in New York City. p
tra’s Kent/Blossom Music Festival. Kris is a Ingrid and Alexander have been living in r
Craig Fitzpatrick (M.M. ’03) directs the i
full scholarship student of Robert Roux at Queens, New York since 2001. Alexander
newly established brass ensemble of the n
the Shepherd School of Music at Rice Uni- is working as a freelance writer, with g
versity in Houston. His recently released Central Illinois Youth Symphony, composes recent publications appearing in Jazziz
music, and designs drills for competitive 2
debut CD, Variations, featuring original magazine and The Forward. Ingrid is work- 0
ing as a freelance musician and is artistic 0
7
55
 Alumni News
director of Percussia, a flute and percussion Kimberly Buchar Kelley (D.M.A. ’05) Robert Mirakian (M.M. ’04), who stud-
duo performing contemporary chamber was recently hired as bassoon teacher at ied conducting with Donald Schleicher
music with a global twist. Franklin and Marshall College, Messiah while at UI, was awarded an Opera Assist-
College, Dickinson College, York College, antship at Indiana University.
Edward Hafer (Ph.D ’06) has accepted Chestnut Hill College, Valley Forge Chris-
a tenure track appointment in Music History tian College, Pennsylvania Academy of Jennifer Nelson (B.M. ’06) won the
at the University of Southern Mississippi. Music, and the Maryland Conservatory of 2006 MTNA Woodwind Young Artist Com-
Music. petition held this year in Austin, Texas.
Adrianne L. Honnold (B.M.E. ’99, MTNA membership is comprised primarily
M.M. ’05) joined the staff of McKendree Julie Knerr (M.M. ’02), a graduate in of university, college and conservatory
College as a music admission counselor piano pedagogy, teaching assistant, and teachers throughout America, and the
and will also teach saxophone and coach student of Reid Alexander, was offered a annual MTNA competitions are considered
a saxophone quartet as an associate fac- tenure track piano pedagogy position at among the most prestigious in the country.
ulty member of McKendree’s music depart- the University of Missouri at Columbia. Julie Jennifer, a flute student of Professor Jonathan
ment. Until May 2003, she was a member recently completed her Ph.D. in Music Edu- Keeble, began graduate study at the Cin-
of the United States Air Force Heritage of cation, with an emphasis in Piano Peda- ncinnati Conservatory of Music this fall.
America Band located at Langley Air Force gogy, at the University of Oklahoma,
Base, VA, where she was principal saxo- where she was the recipient of an Alumni Dewayne Pinkney (B.M. ’06) began his
phonist in the concert band. Adrianne is Fellowship and a Graduate Assistantship in studies in August 2006 towards a master’s
currently a substitute performer with the Piano. She maintains a private studio and degree in bassoon performance at the
Saint Louis Symphony Orchestra and has teaches during the summer at Blue Lake Cleveland Institute of Music. Dewayne par-
appeared with the Opera Theatre of Saint Fine Arts Camp in Twin Lake, Michigan. ticipated this past summer in the Texas
Louis, the Saint Louis Philharmonic, the Illi- Music Festival.
nois Symphony Orchestra, and the Prairie Carolyn Kuan (M.M. ’01) made news
Wind Ensemble. last year when she was hired as the first Colleen Potter (B.M.
female Assistant Conductor for the North ’06) was one of three
Courtney Huffman (B.M. ’05), a 2004 Carolina Symphony in Raleigh, and again winners of the presti-
Illinois Opera Theater Enthusiasts Award made history as the first woman appointed gious 2006 National
winner, sang a solo concert last February Assistant Conductor for the Seattle Sym- Anne Adams Award
for the Jonathan Club in Los Angeles, phony Orchestra in 2006. Ms. Kuan has Auditions, administered
arranged by the Thornton Protégé Program. studied conducting with Donald Schleicher, every two years by the
Courtney is currently pursuing a Master of Kurt Masur, Martin Alsop and Leonard American Harp Society.
Music degree at the University of Southern Slatkin, and became the first female to be Colleen was one of thirteen finalists
California in Los Angeles, where she awarded the Herbert von Karajan Conduct- selected through recorded semi-finals to
recently represented the university as a ing Fellowship by the Vienna Philharmonic compete in the finals, held in San Fran-
trustee in a delegation to China, perform- and the American Austrian Foundation in cisco, CA. In addition to a cash prize, win-
ing at the Shanghai Conservatory of Music 2003. At the invitation of her mentor, ners received gift certificates from Lyon &
for a state dinner and in an alumni celebra- Maestra Marin Alsop, she debuted with the
Healy Harps. Colleen was a featured
tion in Hong Kong. This past summer, Bournemouth Symphony Orchestra (UK) in
soloist with the UI Enescu Ensemble in
Courtney attended the Aspen Music Festival April 2004. In 2003, Carolyn was the
November 2005 and was a counselor for
and School. Her website can be found at recipient of the first Taki Concordia Con-
the 2006 Credo Summer Music Festival in
www.courtneyhuffman.com. ducting Fellowship. She has won awards
Ohio this past summer. This fall she began
from Women’s Philharmonic, the Kate Neal
graduate study at the Yale University
Elizabeth Jaxon (B.M. ’06), harpist, per- Kinley Memorial Fellowship (UI), and the
School of Music.
formed as soloist with the West Winchester Susan W. Rose Fund for Music.
Orchestra in California in March 2006,
and is currently attending the Ecole Nor- Randall A. Meder (D.M.A ’06) com- Charles Joseph Smith (M.M. ’95,
male de Musique in Paris. pleted his dissertation on Krzysztof Pen- D.M.A. ’02) made his debut at the Elec-
derecki’s Credo, and was appointed tronic Music Midwest conference in Kansas
Daniel Kelly (M.M ’00, D.M.A ’04) has Director of Choral Activities at the Univer- City in October 2005, where his electroa-
accepted the position of Assistant Professor sity of Wisconsin-Green Bay. Dr. Meder coustic composition Synth vs. Synth, was
of Trumpet at the University of Southern was previously the Director of Choral Activ- presented. In November 2005, Dr. Smith
Mississippi in Hattiesburg. For the past two ities and conductor of the Chamber Singers performed as pianist in a chamber ensem-
s ble program of Laurie Lee Moses’ composi-
o years, Dr. Kelly was a member of the fac- and Concert Choir at North Carolina State
n ulty at Indiana State University in Terre University in Raleigh. tion From These All, conducted by J. Roz
o Woll, at Roosevelt University in Chicago.
r Haute, where he taught applied trumpet
i and directed the ISU Jazz Ensemble. Smith made his second appearance at the
t College Music Society Music Technology
i
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Conference in Normal, IL, in 2006, where Ari Vilhjalmsson (B.M. ’05) won the Tammy Walker (M.M ’97, D.M.A. ’01)
he completed two original GarageBand audition for Assistant Principal Second Vio- is currently Associate Professor of Music
compositions, a film and music project lin of the Iceland Symphony Orchestra and and Coordinator of the keyboard area at
using GarageBand and QuickTime. Two of will travel back home to Iceland to begin Western Illinois University. She maintains
his works were played this past summer on performing with the orchestra this coming an active solo and collaborative perform-
Radio Free Urbana (WRFU, 104.5 FM) dur- season. Ari will return to the U.S. to attend ance schedule, and has concertized
ing a guest appearance on Laura Wag- the summer Chautauqua Music Festival in throughout the continental U.S., Hawaii,
ner’s show “Friction Radio.” In July 2006, upstate New York, before returning to Ice- and western Europe. Dr. Walker serves as
Dr. Smith was a participant in the Interna- land to continue in his new position with the MTNA Coordinator of Collegiate Com-
tional Keyboard Institute Festival at the the Iceland Symphony. petitions for the state of Illinois, and is an
Mannes College of Music in New York (his active clinician and teacher. She lives in
second IKIF appearance) where he per- Macomb, Illinois with her husband Chad
formed in several piano master classes with and four children (Sophia, Bennett, and
Magdalena Baczweska, Pedro Carbone, twin girls Lucy and Grace).
Leslie Howard, Irina Morozova, Quynh
Nguyen, and Jeffery Swann, and competed
in the festival’s Dorothy MacKenzie Awards
piano competition. In October 2006, Dr.
Smith traveled to Mainz, Germany, to the
In Memoriam
Dr. Frank Crockett (Ed.D. ’60), violinist and educator, died June 2, 2006
Dachverband der Studierenden der Musik- at the age of 84, at his residence in Kingsport, TN. Long time resident of
wissenschaft (DVSM) “Rund um Funk” Con- Atlanta, Georgia, Dr. Crockett spent a lifetime advocating music and arts
ference at the University of Mainz, to education. Born in Jonesville, VA, he attended Emory and Henry College,
lecture on the demise of the Chicago classi- later graduating from The Juilliard School of Music in New York City with a
cal radio station WNIB (97.1 FM). degree in violin performance. He received his master’s degree from The Uni-
versity of Texas at Austin, where he was involved in the formation of the
renowned University of Texas String Project. After leaving Texas he moved to
Marlen Vavrikova
Mississippi, where he established string programs throughout the state of
(D.M.A. ’04), Assistant
such success in public schools that he was awarded a Danforth Grant to pur-
Professor of Oboe at sue his doctorate, which he received from the University of Illinois in Music
Grand Valley State Uni- Education under the guidance of Dr. Charles Leonhard. Dr. Crockett retired in
versity (GVSU), has 1986 as Coordinator of Arts and Humanities for the State of Georgia’s
been busy performing Department of Education and received the first Distinguished Career Award
solo and chamber from the Georgia Music Department of Educator’s Association. A memorial
recitals and organized service was held in Decatur, Georgia on June 7, 2006.
the first GVSU Oboe Day, which hosted
oboeists Nancy Ambrose King and Carlos Dr. Milburn E. Carey (B.M. & B.S. ’35, M.M. ’43) April 20, 2006
Coelho. Last November, Marlen traveled to Robert Cross (M.M. ’80) June 18, 2006
the Czech Republic as co-organizer of the Helen Forsyth Duffield (B.S. ’37) October 15, 2005
First International Oboe Festival in Ostrava,
Dr. Gerald K. Grose (Ed.D. ’70) September 10, 2005
which hosted Richard Killmer from the East-
Susan Forrest Harding (B.M. ’82, M.M. ’85) August 2004
man School of Music and featured Marlen
in two European premieres of works by Dale F. Hopper (B.S. ’64, M.S. ’68) September 16, 2005
American composer Gregory Mertl. Marlen Gerald Lee Hutchison (B.M. ’61) November 29, 2005
has been actively researching contempo- Evelyn M. Krueger (M.S. ’55) December 20, 2005
rary Czech oboe literature and the Mora-
James William Lane, Sr. (B.S. ’48) March 5, 2006.
vian tradition of oboe performance, and
Dr. Sanford A. Linscome (M.M. ’59) February 14, 2006.
gave a lecture-recital on this topic at the
International Double Reed Society Confer- Ann Scott Maher Mason (M.S. ’59) March 6, 2006
ence in Austin, Texas in 2005. Marlen has Barbara Jean McCracken (B.S. ’51, Ed.M. ’70) January 29, 2000
taught at the Ameropa International Music Milton R. Mojzis (B.S. ’55, M.S. ’58) November 22, 2005
Festival in Prague, the Janácek Conserva- Philip F. Rack (B.S. ’49) March 4, 2006.
tory of Music in Ostrava, and performed S
Rosalia M. Runge (M.S. ’50) November 11, 2005
with the Sarasota Opera Orchestra and the p
Janácek Philharmonic Orchestra. Upcoming Shari Lynne Sprouls (B.S. ’77) January 6, 2006 r
projects include solo performances with the Dean Marable “Buck” Wade (B.S. ’62, M.M. ’71) December 21, 2005 i
GVSU Symphonic Band and Chamber
n
James E. Whiteside (B.S. ’43) March 27, 2006 g
Orchestra. William D. Windhorst (B.S. ’68) February 2006
2
Dr. Ralph Woodward (D.M.A. ’64) September 6, 2005 0
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 Partners in Tempo
F O R S U P P O R T O F T H E S C H O O L O F M U S I C J U LY 1 , 2 0 0 5 – S E P T E M B E R 3 0 , 2 0 0 6
The following list represents contributions to the School of Music accumulated through the generosity of alumni
Mr. Michael S. Pettersen
Dr. Esther Portnoy*
Mr. John P. Rankin
Donald and Gay Roberts*
Dr. Kevin W. Rockmann
and friends between July 1, 2005 and September 30, 2006. We thank you for your support of the talent,
Dr. Franz Roehmann
teaching ability, and creativity that exists within the School of Music. Mr. Robert J. and Mrs. Diana L. Rogier
Please note that members of the Presidents Council are designated with an asterisk (*). The Presidents Mr. Martin L. Rosenwasser
Council, a donor recognition program of the University of Illinois Foundation, is reserved for those contributors Mr. Robert J. Ruckrigel
Mrs. R. Janice and Prof. Donald R. Sherbert
whose outright or cumulative gifts total at least $25,000.
Mr. Dennis M. Steele
Questions or corrections may be directed to Suzanne Hassler by e-mail, shassler@uiuc.edu, or by telephone, Mrs. G. Jean Sutter
(217) 333-6452. Mr. G. Gregory and Mrs. Anne D. Taubeneck*
Prof. H. C. and Mrs. Pola Fotitch Triandis*
Dr. Peter and Mrs. Nancy van den Honert
Ms. Diane K. Walkup
PRESTISSIMO VIVACE Dr. Philip V. Bohlman
Mr. Joe and Mrs. Kathleen Brown
Mr. Keith L. Wilson

($15,000 and above) ($500–$999)

Dr. Lloyd P. and Mrs. Doris Vogt Farrar* Mr. Craig W. Branigan
Dr. Ron K. and Mrs. Rebecca Kaplan Cytron
Mrs. Marguerite L. Davis
ALLEGRETTO
Mr. John A. Frauenhoffer* Dr. Kathleen F. and Mr. William J. Conlin* Mr. Gerald R. and Mrs. Cathy L. Ditto ($100–$199)
Mr. Dean T. and Mrs. Nancy Langford* Dr. Victoria L. Covington Mr. Fred H. and Mrs. Adele G. Drummond Ms. Doreve Alde- Cridlebaugh
Mrs. Barbara Curtis McDonnell Mrs. Eleanor M. Crum Mr. E. Paul and Mrs. Suzanne Duker Mr. Robert N. Altholz
Louise Taylor Spence Estate (Dec) Mrs. Elizabeth W. and Mr. Edwin L. Mrs. Ellen S. Eager Dr. Anton E. Armstrong
Charles A. Wert Estate (Dec)* Goldwasser* Mrs. Kathlene F. Edwards Dr. David F. Atwater
Mrs. Virginia Summers Harroun* Prof. Gert and Mrs. Anne A. Ehrlich Mrs. Virginia A. Baethke
PRESTO Mr. Arthur R. Keller
Mr. Robert G. and Mrs. Cynthia M. Kennedy*
Mr. Michael D. Fagan Mrs. Patricia A. Baird
Dr. David C. and Mrs. Debra S. Barford
Mr. Cleve W. Fenley
($1,000–$14,999) Ms. Florence Kopleff Ms. Judith A. Feutz Dr. Jon W. Bauman
Mr. John D. and Mrs. Fern Hodge Armstrong* Mr. Leonard G. and Mrs. Bridget G. Marvin* Mr. W. Herbert and Mrs. Iva Jean Bayley
Dr. Diane Foust and Mr. James A. Nelson
Dr. Alan R. Branfman* Mr. Craig R. and Mrs. Margaret Resce Dr. Gordon A. Baym and Ms. Cathrine Blom*
Mrs. Margaret A. Frampton*
Dr. W. Gene and Mrs. Lynd W. Corley* Milkint* Mrs. Karen S. Bear
Dr. Linda L. Gerber
Mr. Roger R. Cunningham Prof. William and Prof. Charlotte Mattax Ms. Kathleen A. Bell
Mr. Andrew L. Goldberg
Mr. Ronald J. and Mrs. Melody J. Domanico* Moersch Mr. John P. and Mrs. Elaine Pohl Benisek
Mr. Nicholas Good
Ralph T. and Ruth M. Fisher* Prof. Bruno and Mrs. Wanda M. Nettl* Dr. Michael D. Bennett
Mr. Edward E. Gray
Dr. Joe W. Grant Dr. Mary J. Palmer Ms. Sharon M. Berenson
Mr. Patrick E. Hahn
Dr. Robert E. and Mrs. Joan L. Gray* Mr. William J. Pananos Mrs. Margery I. Bergstrom
Dr. Albert D. Harrison
Mr. John R. Heath* Mr. Daniel J. and Mrs. Marjorie A. Perrino* Prof. E. Sanford and Mrs. Elizabeth C. Berry
Ms. Mary Ann Hart
Dr. Robert W. and Mrs. Mary Elaine House Mr. Michael W. Pressler Mr. Richard B. Biagi
Mr. James S. Hatch
Dr. Raymond V. and Mrs. Lori L. Janevicius* Dr. Edwin A. Scharlau II and Mrs. Carol Mr. David E. Bilger
Mrs. June F. Holmes
Mr. Bruce C. Johnson* Zimmer Scharlau* Mr. Ronald T. Bishop
Dr. Jesse E. Hopkins Jr. and Mrs. Alice L.
Mr. Edward J. Krolick* Mr. William R. and Mrs. Kathryn J. Scott Mr. Clark A. and Mrs. Cynthia M. Breeze
Hopkins
Dr. Steven E. and Mrs. Jennifer S. Mather* Dr. William J. Stanley Mr. Lew R. C. Bricker
Mr. Fred M. Hubbell
Dr. Gordon W. and Mrs. Clara H. Mathie Dr. Milton L. Stevens Jr. Ms. Helen K. Browning
Ms. Jane Paul Hummel
Mr. LeRae Jon Mitchell Prof. Nicholas and Prof. Mary S. Temperley* Ms. Anita Bullard
Mrs. Kathryn A. Janicek
Dr. Elizabeth Sandage and Dr. Robert D. Dr. Robert E. Thomas Dr. L. Kathryn Bumpass
Mr. Howard V. Kennedy
Mussey* Dr. Robert F. Thomas Jr. Mr. Michael A. and Mrs. Gloria L. Burson*
Mr. William J. and Ms. Carol A. Kubitz*
Dr. Sharon Lenz Nix Dr. Virgil Leon Thurman Ms. Sandra Carr
Mr. David D. Kullander
Dr. Roslyn Rensch Noah* Mr. Richard R. Tryon Jr.* Mrs. Janet K. and Mr. Jeffrey M. Carter
Mr. David R. and Ms. Carol C. Larson
Mr. Anthony J. Petullo* Mr. Albert Ungerer Mr. Scott J. and Mrs. Janice K. Casagrande
Dr. Sara de Mundo Lo*
Dr. Edward and Mrs. Lois Beck Rath* Mr. Bill and Mrs. Sandra Smith Volk* Mr. Scott Chase
Prof. Charles J. and Mrs. Joanne J. McIntyre*
Dr. Roger E. Reichmuth Ms. Susan J. Williams Mr. Michael P. Chu
Mr. James H. McNeely
Mr. Arthur Lee and Mrs. Frances A. Schlanger Dr. Gary Corcoran Jr.
Mrs. Donna F. McPherson*
s
Dr. Ellen M. Simon* ALLEGRO Prof. Richard L. (Dec) and Mrs. Anna J. Mrs. Ruth L. Cortright
o Mr. Frederick V. Simon Dr. Warren J. and Mrs. Marsha K. Darcy
($200–$499) Merritt*
n Judge Lawrence A. Smith Jr. and Rev. Donna
o Mr. Glen R. Anderson Dr. Stephen Tipton Miles* Ms. Carol Capadona David
r Hacker Smith*
Mr. James W. and Mrs. Beth L. Armsey* Mr. William R. Miller* Ms. Deborah M. Day*
i Mr. Paul B. and Mrs. Virginia L. Uhlenhop*
Prof. Daniel B. Blake Ms. Ruth A. Moore Dr. Michael T. and Mrs. Joyce L. Day
t Mr. Robert L. Zarbock
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Mr. Richard N. DeLong* Mr. Frederick J. Kent Mrs. Katharine W. Slocum Mr. Duane C. Askew
Mrs. Lynne E. Denig Mrs. Mary Anne Kesler Ms. Dorothea Fredrickson Smith* Mr. Ralph R. Athey
Mrs. Susan B. DeWolf Mr. R. Edward Kiefer Mr. Philip Smith Ms. Susanne L. Aultz
Mr. Bruce L. Dickerson Dr. James J. Kraatz Mrs. Janet N. Steffy Mr. Robert S. Baile
Mr. Michael Dikelsky Dr. Joseph A. Labuta Mr. Wesley Q. Stelzriede Mrs. Linda D. Bailey
Mrs. Debbi L. Dillman Mrs. Joyce M. Laible Mr. D. Grier Stephenson Jr. Ms. Marolyn G. Banner
Mr. Bruce and Dr. Gail Schewitz- Doctor Mrs. Irene E. Lamkin Dr. Virginia K. Stitt Mr. Daniel P. Barach
Mr. C. William Douglass Mr. Dale A. Lammi Ms. Angela M. Stramaglia Mrs. June H. Barber
Dr. Kenneth O. Drake Ms. Sandra L. Lane Mr. Mark S. Stryker and Mrs. Candace E. Mr. Gary N. Barrow Jr. and Mrs. Meghan E.
The Reverend Wyeth W. Duncan Mrs. Barbara A. Lanham Stuart Barrow
Mr. John G. Dunkelberger II Mrs. Wanda L. Larson Nancy E. Stutsman Dr. Neale K. Bartee
Mr. Stephen F. and Mrs. Christine M. Dr. Peter J. LaRue Dr. Gary R. Sudano Mr. John E. Bauser
Eggerding Ms. Dana L. LaSalle Mr. Willie T. and Mrs. Valerian Summerville Mrs. Nancy H. Beckmann
Mrs. Carolyn K. Eigel Dr. Janet V. Leonard Ms. Terri M. Svec Mr. James D. and Mrs. Joy Lynn Beebe
The Honorable Ann A. Einhorn* Ms. Ruth Lorbe Prof. Earl R. and Mrs. Janice E. Swanson* Mr. Wayne E. and Mrs. Susan E. Bekiares
Dr. David Eiseman Mrs. Pauline Lorig- Brownstein Mr. Peter A. Takacs Mr. David A. and Mrs. Gail C. Bender
Mr. Dale E. Fahnstrom Dr. Jerry L. Loyet Mr. Thomas C. Temple* Mrs. Phyllis A. Bergagna
Ms. Dawn Fairchild Mr. David W. Madden Mrs. Susan Kuriga Thorne Ms. Sandra S. Bernhard
Mr. Frederick D. Fairchild Prof. W. G. and Mrs. Constance Y. Marigold Dr. Russell L. Tiede Ms. Evelyn Blackman
Prof. Emory M. Fanning Jr. Mr. J. Michael Martin* Mrs. Jacqueline A. Tilles Dr. Shirley M. Blankenship
Dr. Virginia Farmer Dr. Bruce C. Mather Mr. Robert C. and Mrs. Carol S. Timblin Mr. Robert O. Blissard*
Dr. Linda J. Farquharson Mrs. Diane Emiko Matsuura Mrs. Christina M. Tomasic Mrs. Jacqueline K. Block
Mr. Scott D. Feldhausen Mrs. Carolyn R. May Mr. Michael A. and Mrs. Olivia L. Tremblay Mr. James D. and Mrs. Robin M. Blucker
Dr. Mark L. Fonder Mr. Richard D. McKee II Dr. Max R. and Mrs. Sue C. Tromblee Mr. Benjamin J. Blumberg
Mrs. Roxanne C. and Mr. John D. Frey* Mrs. Linda K. McLane Dr. Michio and Mrs. Sharon Tiebout Tsutsui Dr. Charles W. Boast and Ms. Marsha Clinard
Mr. Robert Lee Fritz Mr. Dennis R. McMillan Mr. John A. Van Hook Ms. Marlah Bonner- McDuffie
Mrs. Mary Margaret Gaddy Mr. Charles T. and Mrs. Trudy R. Medhurst Mrs. Diana Martin Wade Dr. Dalvin L. and Mrs. Jean A. Boone
Miss Melva F. Gage* Dr. Maria P. Merkelo Mr. James R. Waechter Dr. Samuel L. Bradshaw Jr.
Ms. Dorothy E. Gemberling Mr. C. J. and Mrs. Alice Hove Merrill Ms. Michelle T. Walker Mrs. Kathleen E. Bragle
Mrs. Jennifer A. Gettel Mrs. Sharron P. Mies Mr. Earl J. Way Dr. Peter G. and Mrs. Judith M. Braunfeld
Mr. Carroll E. and Mrs. Wanda E. Green Ms. Erie A. Mills Dr. Evelyn J. Weber* Mr. Jerome B. Brillhart
Mr. Richard K. Haines Mr. Dennis G. and Mrs. Nancy L. Mulvany Dr. Hong Wei and Mr. Yuankun Ni Ms. Kareen G. Britt
Mr. Jack W. Hammel Mrs. Phyllis Brill Munczek Mr. Gerald G. and Mrs. Mary Beth Weichbrodt Dr. David N. Broadbent
Dr. Richard D. Hanson Mrs. Gerda T. Nelson Mr. Daniel Wiesbrock Mr. C. Wayne Brodkorb
Dr. Eve E. Harwood* Mr. Heinz G. Neumann Dr. Jacqueline H. Wiggins Dr. Frank W. Brown
Dr. Robert H. Hearson Mr. William J. Nicholls Mr. Richard L. Williams Mr. Robert H. Brown
Mr. David L. and Mrs. Michele C. Hecht Dr. Philip O. and Mrs. Jennifer L. Nubel Mr. Bruce Wittrig and Ms. Mary Alice Rich Dr. Gilbert A. Brungardt
Mr. Morris L. Hecker Jr. and Mrs. Martha Z. COL John A. O’Connor Mr. R. Bruce and Dr. Susanne G. Wood Mrs. Gina H. Buhr
Hecker* Mrs. Jean and Prof. Howard Osborn* Dr. Marsha Cook and Mr. Roger E. Mrs. Paula K. Bunn
Mrs. Virginia L. Hedrick Mrs. Margene K. Pappas Woodbury* Mrs. Linda S. Buzard*
Dr. Gregg S. and Dr. Marlene A. Helgesen Dr. Karin A. Pendle Mr. Scott A. and Mrs. Marian K. Wyatt Mrs. Luana M. Byte
Ms. Sharon B. Hermann Mr. Gregory W. Pfeifer Dr. William A. Call
Mr. Darren S. Hicks Dr. Joe N. Prince ANDANTE Ms. Loree W. Capper
Ms. Karen A. Higdon Mr. Robert A. and Mrs. Linda M. Quade Dr. Milburn E. Carey (Dec)
Mr. Philip H. Highfill III ($10–$99) Dr. Jon O. Carlson
Dr. W. Donald Rankin
Ms. Gaye Ann Hofer and Dr. Gregory M. Dr. Daniel C. Adams
Mr. Stanley E. and Mrs. Zelma Ransom Mrs. Sara B. Carriere
Cunningham Dr. Theodore L. Agnew
Ms. Phyllis Rappeport Mr. David L. Carroll
Mr. Orland W. Holmes Mr. Richard A. Alderman
Mrs. Alexis G. Rasley Dr. Harry H. Carter Jr.
Dr. Albert C. Hughes Jr. Mrs. Elizabeth Z. Allan
Dr. Wallace J. Rave Dr. Philip S. Cary
Mr. Robert H. Huss Dr. Paul F. Almjeld
Dr. Sam Reese Mrs. Mary M. Cash
Mrs. Lois S. Irion Mr. Glenn R. Anderson
Mr. Kenneth L. and Mrs. Kathy J. Reinhardt Ms. Clara E. Castelo
Dr. Barbara G. Jackson Ms. Tammy J. Anderson
Mrs. Lois H. Richter Dr. Joseph S. Ceo S
Mrs. Jean H. Jamison Ms. Dianna K. Armstrong
Mrs. Janice F. and Prof. Melvin Rothbaum* Ms. Yoline W. Chandler p
Mr. William T. Jastrow Dr. Kerchal F. Armstrong
Mr. Kenneth W. Rubin Dr. Carl E. Chapman r
Mr. Lansing K. Johansen Dr. Alison E. Arnold i
Dr. Kathreen A. Ryan Mrs. Mary L. Chapman
Mr. Carlyle W. and Mrs. Judith M. Johnson Ms. Pamela T. Arnstein n
Dr. Steven E. Schopp Ms. Judy L. Chastain
Mrs. Mary L. Johnson Prof. Walter L. and Mrs. Charlotte C. Arnstein g
Mr. Ralph E. Shank Mrs. Amy L. Childress
Mrs. Doris D. Jones Mr. Charles C. Aschbrenner
Dr. J. Taylor and Dr. Jo Ann M. Sims Mrs. S. Martha Chiligiris 2
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 Ms. Joanne A. Chorpening Mrs. Robin K. Fossum* Mr. Robert D. Huffington Mr. Jeffrey E. Lindberg
Mr. Paul S. Christensen Dr. Gregory C. Fox Mr. Ronald F. Hughes Jr. Prof. Robert P. Link*
Mrs. Lindsey Christiansen Mrs. Dee Fraccaro- Murphy Mr. William H. Hughes Jr. Dr. Thomas Lloyd
Ms. Mary Susan Claeys Prof. Marvin and Mrs. Matilda Frankel* Mr. Allen E. Hunter Mrs. Susan A. Lobdell*
Mrs. Jean A. Clarke Mr. Larry L. Franklin Mr. John M. and Mrs. Kathryn E. Hunter Mrs. Marta A. Lutz
Ms. Phyllis L. Cline Dr. L. Thomas Fredrickson Mrs. Ingrid Hutchings* Dr. Linda S. Mack
Mr. Jeff and Mrs. Julie A. Clodfelter Dr. Frederick J. Freeman Mrs. Janice C. Impey Mr. Boyd A. Mackus
Dr. Dale Cockrell Mr. George V. and Mrs. Bernice H. Freeman* Dr. Charles F. Isaacson Dr. David M. Main*
Mr. Garrett Rigney Cofield Prof. Stanley and Mrs. Frances Friedman Dr. David C. Jacobsen Mrs. Guileen P. Manuel
Mr. Morris and Mrs. Aleta Collier Mr. Kenneth R. Fuhr Mrs. Judith J. James Dr. Don A. and Mrs. Jean C. Marshall
Mr. James T. Conder Ms. Judith Kaye Fulton Mr. Timothy D. James Dr. Marilyn M. Marshall
Mr. Curtis O. Cooper Mrs. Edwina T. Gabcik Mrs. Laurine Jannusch Mr. Richard S. Marsho
Mrs. Rebecca T. Courington Dr. Stephen L. and Mrs. Stephanie R. Gage Mr. James S. Javore Ms. Anne S. Martel
Dr. Steven M. Cox Mr. Robert C. Gand Mr. Robert A. Jewsbury Mrs. Marian S. Martin
Ms. Mina M. Coy Mrs. Charlene W. Gates Mr. Aaron L. Johnson Dr. Jameson N. Marvin
Mrs. Arlene J. Crawford Dr. James T. Gates Mr. Apostle Johnson Mrs. Ann K. Mason
Ms. Diane R. and Mr. Bruce Daugherty Mrs. Marian B. Gebhardt Dr. David Lee Johnson Ms. Lezlee A. Masson
Dr. Daniel J. Dauner Mr. Jon T. Geheber Mr. Vinson M. and Mrs. Linda G. Johnson Mr. Rudolph R. Matas
Mrs. Claire B. Davis Dr. David A. Gerig Mrs. Helen K. and Mr. Parker N. Johnstone Mrs. Nancy V. Matchett
Ms. Katharine L. De Boer Mrs. Cheryl S. Gibson Mr. John E. and Mrs. Patricia L. Jordan Ms. Elise R. Matusek
Ms. Nancy Dehmlow Mrs. Karen L. Given Mr. Richard E. Jorgensen Mr. Lutz L. Mayer
Mr. David A. Deitemyer Ms. Renee Gladstone Mrs. Donna L. Kaelter Ms. Mary E. Mayhew
Mr. William E. DeMont Mr. Tom Goettsche Ms. Karen Kaiser Dr. David McChesney
Dr. Christopher Di Santo Mr. Stanley L. Gorbatkin Prof. Marianne E. Kalinke Mr. Austin J. and Mrs. Ellen A. McDowell
Mr. Kenneth G. Dodds Mr. Daniel A. Gosling Mrs. Elizabeth A. Kamps Ms. Mary S. McElroy
Mrs. Oscar H. Dodson* Mrs. Stephenie R. Graham Mrs. Nanci L. Karlin Mr. Douglas R. and Mrs. JoAnn S. McIntosh
Mr. Allen C. Drake Mrs. Nanette R. Grant Dr. Byron F. Kauffman Mrs. Mary Corry McIntosh
Mrs. Jean E. Drendel Dr. Susan Keith Gray Mrs. Martha H. Kearney Mr. Myron D. and Mrs. Nancy F. McLain
Mr. Howard S. Ducoff Ms. Denise D. Green Dr. William K. Kearns Mr. William J. and Mrs. Brenda B. McNeiland
Mrs. Barbara M. and Mr. Christopher Duffy Mr. David J. Greenfield Dr. Brenda E. Kee Mr. Jon E. and Mrs. Rita D. Melin
Ms. Marilyn M. Duginger Dr. Ernest N. and Mrs. Lois E. Gullerud* Dr. Robert P. Keener Dr. Mardia Melroy
Mr. John G. Duker Mrs. Margaret S. Gunderson Mrs. Patricia C. Keim William S. Miller and Christine Miller
The Reverend Raymond N. Dunlap Mrs. Marilyn J. Hall Mr. Jeremy Niles Kempton Mrs. Eleanor L. Milnes
Ms. Pamela J. Dunleavy Mr. Mark and Mrs. Deborah A. Hamby Ms. Rosalyn S. Kesan Mr. James E. Mirakian
Mrs. Edith A. Dwinnells Ms. Judith G. Hanson Mr. James E. and Mrs. Susan M. Ketch Mr. Keith A. Mitchell
Mr. Dwight E. Dyer Mrs. Sharon L. Hardesty Mr. George M. and Mrs. Patricia D. Kichinko Mrs. Kathy C. Mizgalski
Mr. Austin A. R. Dyson Ms. Teresa E. Hargrove Mrs. Elizabeth E. and Mr. Larry J. Kirkpatrick Mrs. Harriet A. Moir
Mrs. Elizabeth F. Easley* Dr. Larry D. Harper Mr. Michael J. Knauf Mr. Milton R. Mojzis (Dec)
Mrs. Jeannette J. Ebelhar Dr. Ruthann Harrison Dr. David W. Knutson Mr. Maurice E. Monhardt
Mrs. Jean M. Edwards Mr. Thomas W. Hawkins Ms. Rosanne J. Koehler Dr. Albert L. Moore
Mrs. Cheryl M. Einsweiler Mr. Craig D. Hay Mrs. Mayola C. Kolbe Dr. Robert and Ms. Helen Morgan*
Dr. Barry L. Ellis Mr. Jason P. Healey Mrs. Kathleen A. Krepel Mr. David L. and Mrs. Judy K. Morrison
Mrs. Ellen R. Elrick Mrs. Helen E. Healy Mr. David L. Kuehn Mrs. Nancy F. and Dr. David W. Morse*
Mr. Paul R. Emmons Mr. W. Robert Hedgcock Dr. Gerald E. and Mrs. Ellen Green Kuroghlian Mr. Theodore F. Mueller
Mr. William A. Erdman Ms. Margarita L. Heisserer Dr. Marvin L. Lamb Dr. Walter L. and Ms. Jane L. Myers*
Mr. Jack W. and Mrs. Carol L. Ergo Mrs. Nona J. Heitmann Mr. F. W. and Mrs. M. C. Lancaster Ms. Joyce G. Nagel*
Mrs. Joanne H. Erwin Mr. John W. Helper Mrs. Bonnie A. Larner Mr. Larry G. Neemann
Mrs. Margaret B. Evans Dr. Donald M. and Mrs. Margaret F. Dr. Richard C. Larson Mrs. Louise S. Nelson
Dr. Kenneth E. Fahsbender Henderson Mrs. Barbara A. Lauff Mrs. Rosemary F. Nelson
Ms. Marilynn P. Farnham Mr. Harvey A. Hermann Jr. Dr. Elizabeth L. Lawrence Mrs. Kim J. Newman
Ms. Esther E. Fay Mrs. Sally K. Hermann Mrs. Cynthia S. Lee Mrs. Patricia S. Newman
Mrs. Sharon Fekete Mr. Steven K. Hesla Mrs. Theta Lee Mr. Steven N. Ng
Mr. Neil M. Finbloom Dr. Douglas M. Hill Mr. Bradley S. Leeb Dr. Eugene D. Novotney
s Mr. Myron S. and Mrs. Marguerite T. Fink Mrs. Carol K. and Mr. Delmar L. Hillman Mrs. Florence K. Leigh Dr. Brian M. O’Connor
o
n Mr. Ron Fink Mr. Robert W. and Mrs. Jane Hindsley Dr. John W. Leman Brian R. Oleson DDS
o Dr. Robert J. Fleisher Mrs. Marilyn L. Holt* Mr. John D. Leslie Mr. Charles E. and Mrs. Janice C. Olson*
r Dr. W. Peter Hood*
i Dr. Nancy P. and Mr. Ansley D. Fleming Dr. Victoria L. Levine Mr. Fred W. Omer
t Mr. Michael J. Fogarty Mrs. Abbie O. Hubbell Mrs. Laura H. Lilly Mr. Rick K. Orr*
i
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Dr. David C. Osterlund Ms. Nancy J. Sabaj Emile J. and Elizabeth M. Talbot Mr. Robert E. Yung
Mr. Dennis L. Ottmers Mrs. Marilyn R. Sameh Mr. Matthew S. Talbott Dr. Joyce R. Zastrow
Mrs. Carol C. Ourada Dr. Lori K. Sanders Ms. Kimberly I. Tallungan Mr. Michael R. Ziegler and Ms. Kimberley R.
Ms. Patrice M. Pakiz Mrs. Jeanne D. and Mr. Ray K. Sasaki Ms. Nan E. Tate West
Dr. Susan Parisi and Prof. Herbert Kellman Ms. Madeline S. Sauerbier Mr. Edwin C. Thayer
Dr. D. Randall Parker Mr. David L. Saunders Dr. Darius L. Thieme M ATC HING GIFTS
Mrs. Karen D. Parrack Mr. Arthur G. Schildbach Mrs. Jacqueline LaRue Thomas The Allstate Foundation
Mrs. Betty B. Peaslee Mr. Ralph S. Schlesinger Dr. Gerald J. Throop American International Group, Inc.
Dr. Keith E. and Mrs. Bettina Pedersen Mrs. Jane W. Schoeniger Mr. David P. Thurmaier Ball Corporation
Mrs. Gail Peine Dr. Karl- Heinz and Mrs. Dorothy Schoeps Dr. Donald C. and Mrs. Marilynn Ann Todd BP Foundation
Mr. John H. Pennell Mr. Jeff A. Schroeder Mrs. Maryellen T. Tomassetti Caraustar
Mr. Kent John Pennell Mrs. Glenda L. Schultz Marie Griffith Tompkins* Caterpillar Foundation
Ms. Susan B. Peppercorn Mrs. Gail N. Seidman Mrs. Barbara B. Toney Eli Lilly and Company Foundation
Mrs. Aiko K. Perry Mr. Dustin D. Seifert Mr. John W. and Mrs. Charlotte G. Trautwein First Midwest Bancorp, Inc.
Dr. Linda W. Perry Mr. Robert L. Settle Dr. Tod M. Trimble GE Foundation
Mrs. Susan B. Perry Mr. William C. Shaffer III Dr. L. Deane Trumble General Motors Corporation
Mrs. Geraldine B. Petty Mr. Dennis A. Shaul Mr. Theodore R. and Dr. Elizabeth Hinkle- IBM Matching Grants Program
Mrs. Amy L. Phelps Mrs. Kristen Shiner- McGuire Turner J. P. Morgan Chase Foundation
Ms. Ruth Pinnell Mr. Dale A. and Mrs. Nancee A. Shipe Dr. A. Robert Twardock* Motorola Foundation
Dr. Robert W. Placek Mrs. Faraba G. Shirley Mrs. Katharine B. Tyler Pfizer Foundation
Mr. Kenneth R. Pletcher Ms. Mary L. Sigler Mr. Walter E. Urben Raytheon Company
Mr. James T. Pokin Mr. Fay M. Sims (Dec)* Mrs. Emily Vaniman Telcordia Technologies
Mr. Alan M. Porter Prof. James B. Sinclair* Mrs. Susanne M. Veal Texas Instruments Foundation
Dr. Scott E. and Mrs. Laurel P. Preece* Mrs. Ellen Singer Ms. Joan M. Vogen Verizon Foundation
Mr. Ernest W. Pressley Mrs. Patricia S. Skarr Mr. John H. Walter and Mrs. Joy Crane Wells Fargo Foundation
Mr. George H. Pro Mr. Melvyn A. Skvarla Thornton-Walter*
Mr. Leo H. Provost Ms. Sharen R. Slade Ms. Cheryl E. Hein Walters
Dr. David Ward-Steinman
C ORPORATE, FOUNDATIONS ,
Mrs. Karyn A. Quandt
Mr. Daniel B. Quick and Ms. Toni Martinazzi
Dr. Stephen M. Slawek
Mrs. Paula A. and Mr. Michael J. Slinger Mr. Arthur S. Wasik ORGANIZATIONS
Mrs. Bernice S. Wax (Dec) Ann and Gordon Getty Foundation
Mr. Roland H. Raffel Mr. John M. Smentowski
Dr. Calvin E. Weber Anthony Petullo Foundation, Inc.
Winifred Ehler Ramstad Dr. Marilynn J. Smiley
Miss Ruth E. Weinard Bay-Com Enterprises
Ms. Karen Randolla Dr. William C. Smiley
Mrs. Peggy R. Weinberg Chris Brown Photography
Ms. Frances S. Reedy Mrs. Beverly N. Smith
Mrs. Susan M. Werner Community Foundation of Champaign County
Mrs. Irma M. Reiner Ms. Deidre A. Smith
Academy Memorial Scholarship Fund
Mr. Joseph M. and Mrs. Roberta Rezits Mr. Phillip R. Smith Dr. Craig J. Westendorf
Community Foundation of East Central Illinois
Mrs. Barbara J. Rice Mrs. Vicky D. Smith Mrs. Marsha L. Wetmore
The E. F. Wildermuth Foundation
Mr. Joe D. and Mrs. Patricia L. Rice Mrs. Constance W. Solberg Mrs. Betty S. Whiteside
Glen Anderson & Associates, LLC
Mrs. Margaret G. Rice Mr. Philip J. and Mrs. Paula F. Spitz Mr. Roger M. Widicus
Golden Lyre Foundation-Illinois Federation of
Mr. Thomas L. Rice Mrs. Gail M. Spytek Ms. Thelma Willett
Music Clubs
Mr. George G. Richardson Mrs. Mary Ellen Sronce Mrs. Beverly Ann Williams
Haines & Associates, Ltd.
Dr. Selma K. Richardson Ms. Nancy S. Stagg Mr. Rodney J. and Mrs. Susan M. Williams
Hermann Music Teaching
Mrs. Lori S. Rider Dr. Harry M. Steckman Mr. Scott R. Williams
Illinois Opera Theatre Enthusiasts
Mrs. Patricia J. Rinkenberger The Honorable Robert J. and Mrs. Sharon W. Dr. Jeffrey S. Wilson
International Foundation for Music Research
Dr. Robert E. and Mrs. Sharyl J. Ritschel Steigmann* Mr. Michael H. Wilson
Matt Talbott Enterprises, Inc.
Mrs. Betty A. Ritter Dr. David B. Stein Mr. Dennis D. Windler
Memphis Musicraft Publications
Mr. Alexander J. Rivera Mrs. Isabelle Kole Stein Mrs. Jane R. Wineman
M. R. Bauer Foundation
Dr. Schuyler W. and Mrs. Linda K. Robinson Mrs. Krista J. Steller Mrs. Betty S. Wise
Mu Phi Epsilon Urbana-Champaign Alumni
Mr. Charles R. Roe COL Donald K. and Ms. Adele de Werff Edward C. Wolf Phd
Chapter
Mr. Scott D. Roeder Stevens Ms. Trudy Fraase Wolf
The Northern Trust Company
Mrs. Elizabeth P. Rogers* Mr. Robert J. Stiehl Mrs. Rose Marie Wood
The Presser Foundation
Mr. Jeffrey L. and Mrs. Joyce Kim- Rohrer Dr. David K. Stigberg Mrs. Zoe R. Worner
Ridgewood Concert Band, Inc.
Dr. Brenda R. Root Mrs. Roberta L. Stiles Prof. John Wustman*
Sound Enterprises S
Dr. Deane L. Root and Dr. Doris J. Dyen Prof. Victor J. and Ms. Susan C. Stone* Mr. H. W. Wyld Jr. and Mrs. Jeanne-Marie p
Student Foundation of I.S.M.T.A.
Mrs. Linda F. Rosen Barbara J. Stover Wyld r
Urbana School District No. 116 High School
Mrs. Devorah B. Ross Mr. J. David Sulser Mrs. Grace Yang i
Activity Fund
Mrs. Mary Higley Rosser Dr. John N. Sumrall Jr. Ms. Joyce S. Yang n
WU WEI Music g
Mrs. Barbara B. Rudolph MAJ Kent W. Swagler and Mrs. Patricia Mr. Roger L. and Mrs. Dolores G. Yarbrough*
Mrs. Cheryl Lane Ryan Swagler Mr. Mickey W. Young 2
0
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JULY 16 – JULY 30, 2007
Program includes: intense schedule of concerts,
master classes, coachings, private lessons, sightseeing

Orientation: brass and woodwind solo performers,

small and large ensembles of brass, woodwind, and
mixed instrumentation including piano

Cost: $1900, includes room, board, all instructional

fees, and some sightseeing

• Price reduction for early admission applicants

• Generous scholarship program
• Additional sightseeing and university credit available
at an extra fee

FACULTY
ILLINOIS BRASS QUINTET ILLINOIS WOODWIND QUARTET
Michael Ewald, trumpet Jonathan Keeble, flute
Ronald Romm, trumpet John Dee, oboe
Kazimierz Machala, horn J. David Harris, clarinet
Elliot Chasanov, trombone Timothy McGovern, bassoon
Mark Moore, tuba
and guest artists from various
Greg Flint, horn Spanish orchestras and music schools
Avis Romm, piano

burgos
CHAMBER MUSIC FESTIVAL
B U R G O S , A R A N D A , S A L A M A N C A , A N D M A D R I D , S PA I N

More information contact: burgosfest@music.uiuc.edu

w w w. m u s i c . u i u c . e d u / B u r g o s

Nonprofit Org.
U.S. Postage
PA I D
Permit No. 75
1114 West Nevada Street
Champaign, IL
Urbana, Illinois 61801

A D D R E S S S E RV I C E R E Q U E S T E D