s o n o r i t i e ss o n o r i t i e sThe News Magazine of the University of Illinois School of Music

W I N T E R 2 0 0 3

Renowned BeethovenScholar and Pianist JoinsFaculty

The Christmas Gift of a Lifetime

Mouthpiece BuzzersHave a Leader in Ronald Romm

New Faculty

Two Hundred Fifty-Two

An American in York

Alumni News

Partners in Tempo

C a m p u s N e w s

Much has been written about the promise of this

new century, and much has already occurred

within our world to make us question anew our

goals, our priorities, and indeed, our very identity.

Assaulting our senses and shaking us to the core,

the devastation that occurred on our own shores

has created moments of misery and memory in

each of our souls—but also, in our studios,

rehearsal rooms, and performance stages. On this campus—and on

those all across the nation—colleagues turned to artists to provide

emotional strength, to create a structure for grief, to nurture the glim-

mer of hope, but most importantly, to sustain our deeply experienced

humanity. Our performances were not trivial, but whether experienced

as performers or as audience, they had become essential.

That recognition that the arts are essential to our individual identity

and to the lives of our community releases for us—as if for the first

time—the realization that we are indeed vitally communal. Acknowl-

edging that the making of our performances requires community and

partnership, then by analogy, the advancing of our art requires collabo-

ration, give and take, and sensitivity to the whole.

Much has changed in the world’s economic picture due, in some

part, to the events of last year. And with that has come yet another

reduction of available financial resources.We talk glibly, but painfully, of

“cuts” and “rescissions” and rush headlong into the protective cover of

a defensive posture. But I say with conviction that these are precisely

the wrong language and the wrong strategy to invoke.We, in this

superbly inclusive College of Fine and Applied Arts, are positioned to

move forward vibrantly as we think and talk of the larger pool of intel-

lectual, creative, and programmatic resources available within the entire

college, the campus, and the profession.We partner within our schools

and departments, and between them.We initiate new relationships with

scientists and humanists.We assume leadership on cross-campus initia-

tives.We welcome working professionals into the academy.We free our-

selves from petty concerns of status and power, and generate energy to

create new artistic forms or to breathe new life into classic repertoire.

In essence, we create and re-envision not only the forms, but also how

to make them and how to advance them.

The School of Music is facing a turning point in its history, and your

partners in the College and beyond eagerly join in the planning and the

creation of that vision in making the superb “performances” that are the

core of music’s history, education, and theory.

Kathleen F. ConlinDean, College of Fine and Applied Arts

Winter 2003

Published for alumni and friends of theSchool of Music at the University of Illinois at Urbana-Champaign

The School of Music is a unit of the Collegeof Fine and Applied Arts at the Universityof Illinois at Urbana-Champaign and hasbeen an accredited institutional member ofthe National Association of Schools ofMusic since 1933.

Karl Kramer, directorEdward Rath, associate directorDavid Atwater, assistant director, businessSarah Green, assistant director, development

Joyce Rend, visiting coordinator of admissions

Jerry Tessin, editorAnne Mischakoff Heiles, staff writerJanet Manning, alumni news writerPrecisionGraphics.com, design

UI School of Music on the Internet:http://www.music.uiuc.edu

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Welcome to our winter issue of sonorities. I had the honor of assuming thedirectorship of the School of Music on August 15, 2002, following a longline of distinguished leaders since the school’s founding in 1895. In my

short time in Urbana-Champaign, I have met a hugely talented faculty and stu-dent body with whom I am eager to make beautiful music.

Let me tell you a bit about myself. I grew up in Hatboro, Pennsylvania, a smalltown outside of Philadelphia; George Washington slept there one night in 1777.Drawn to the warm, firm, and sonorous sound, I began playing the tuba in thefifth grade.

My high school years were largely uneventful, except for a very large fish Icaught in the Nockamixon Creek in 1973. My undergraduate years were spentat Temple University in Philadelphia. As a member of the Temple MarchingBand, I was present in Veterans Stadium at one of the most resounding defeatsin college football history when Tony Dorset and the University of PittsburghPanthers defeated the fighting Owls 72-3 in 1976. In the middle of the fourthquarter, members of the Pitt Band actually came over to our side to solicit ourhelp in playing their fight song, as they were simply worn out from the after-noon’s scoring activities. Upon graduation from Temple, I accepted a positionas associate band director at Randolph High School in New Jersey and spenttwo years there teaching and conducting.

At the urging of Robert Nagel, the founder of the New York Brass Quintet,whom I met while attending the Chautauqua Music Festival, I began graduatework at the Yale School of Music in 1981 and was the assistant band directorin charge of the Yale “Precision” Marching Band. My most memorable half-timeshow with the band was the Parents Day tribute to Oedipus in October of1982. While studying at Yale, I auditioned for and won the positions of princi-pal tuba with the New Haven Symphony Orchestra and the Connecticut GrandOpera. When not counting rests on the stage of Woolsey Hall with the sympho-ny or in the pit of the Palace Theater with the opera, I was touring, performing,and recording with Brass Ring, a chamber ensemble that I forged with four col-leagues from the Yale School of Music. I have been fortunate with Brass Ring toplay concerts throughout the United States and Europe, record three CDs, andcommission some of America’s finest composers, including Christopher Rouse,Jacob Druckman, Ned Rorem, David Del Tredici, and Joseph Schwantner.

I began my career in academe as associate professor and chair of the musicdepartment at the University of Bridgeport in Connecticut. Most recently I wasdean of the Conservatory of Music at Purchase College, State University ofNew York.

During all of this living, performing, teaching, traveling,and administrating, I have been blessed with the compan-ionship of my wife of 25 years, Jean, and our two chil-dren, Sara, an oboist living in Boston, and Kristen, asynchronized swimmer attending the University of Alaba-ma at Birmingham.

I look forward to a long and fruitful tenure as directorof this great school of music and hope to begin to meet allof you, our alumni and friends, as I travel around the stateand country representing the University of Illinois.

Karl KramerDirector, School of Music

in this issue2 Renowned Beethoven

Scholar and PianistJoins Faculty

6 The Christmas Gift of a Lifetime

8 A New UndergraduateMinor in Music

9 Coordinating NewDirections for Admissions

10 Mouthpiece BuzzersHave a Leader in Ronald Romm

14 New Faculty

18 Two Hundred Fifty-Two

19 Faculty News

28 Building a Strong Foundation

29 New Gifts

30 Student News

34 An American in York

36 Alumni Notes

37 Alumni News

46 Partners In Tempofor Support of theSchool of Music

Winter 2003

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BBeeeetthhoovveenn SScchhoollaarr aanndd PPiiaanniisstt JJooiinnss FFaaccuullttyy

by Anne Mischakoff Heiles

William Kinderman, internationally respectedBeethoven scholar and pianist, joined the musi-cology faculty last year in a particularly timelyfashion: his research, culminating in a majorthree-volume work, had just been accepted forpublication by the University of Illinois Press. Atthe proof stage this fall, it will be published inearly 2003 as the first publication in the newBeethoven Sketchbook Series, edited by Kinder-man.This work, titled Artaria 195: Beethoven’sSketchbook for the Missa Solemnis and thePiano Sonata, Opus 109, presents sketch materi-al edited and transcribed together with a book-length commentary on Beethoven’s creativeprocess.The publication includes a color facsimi-le of the sketchbook known as Artaria 195(named after the publisher, Domenico Artaria,who acquired it following Beethoven’s death). Inhis commentary, based on years of work onBeethoven’s manuscripts, Kinderman identifiesmuch new musical material found in this sketch-book, dating from the early 1820s. Beethovenbound together in it many sketches he pennedfor the Missa Solemnis and the final piano sonatatrilogy, the Five Bagatelles, Opus 119, Nos. 7–11,and some brief unknown pieces (Kindermanrefers to these as “aphorisms”).

F a c u l t y F e a t u r e

In studying the sketches for theMissa Solemnis, Kinderman was ableto bring together new informationabout the chronology of its composi-tion that sheds light on Beethoven’sworking habits. He notes, “InBeethoven’s case there are substantial

sketches and drafts for works he developed through a relent-less process of self-criticism, sometimes sustained overmonths and years. Because of the large number of manu-scripts, the difficulties of reading Beethoven’s hand, and thefact that these manuscripts are widely dispersed, the first reli-able catalog of these materials was published only in the1980s. So this field of research is still fresh, and there’s muchthat can still be discovered.”

Some of Kinderman’s discoveries revise aspects ofBeethoven’s biography. Scribbled marginalia or other odd fea-tures of these sketches have yielded surprising new insights.Explaining his sustained research,Kinderman says,“I compareit to the kind of work that Egyptologists or archaeologists do,because one gives painstaking examination to cryptic, faintmarkings. Only after a long period of working with the mate-rials can you begin to uncover their secrets. But eventuallyyou can, with reasonable certainty, solve the puzzles.”Beethoven hoarded these manuscripts and left something likean intact legacy of his sketches when he died in 1827.

“Many of these manuscripts are now in Berlin. At the StateLibrary it is possible to put out on one table most of the mate-rial that you would have seen if you had been Beethoven’sguest in 1820.”

Kinderman also investigates these sketches with the eyesof a performer. He comments,“In the process one thinks innew ways about pieces that are seemingly very familiar, likethe final Piano Sonatas, Opus 109, 110, and 111. Sometimeshaving access to the way Beethoven composed earlier ver-sions, witnessing the ideas on which the pieces were origi-nally based, gives one some fresh ideas when approachingthese pieces in performance. In certain ways [studying thesketches] encourages interpretative freedom, based uponsomething that is inherent in the music.” Kinderman hasrecently recorded these last three sonatas forHyperion/Helios Records. The new CD appeared during2002, together with a reissue of his very successful earlier CDof Beethoven’s largest piano work, the Diabelli Variations.

In recent years Kinderman had been a professor at theUniversity of Victoria in British Columbia. Of his move to

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“In Beethoven’s case

there are substantial

sketches and drafts for

works he developed

through a relentless

process of self-criticism,

sometimes sustained

over months and years.”

in powerful, illuminating attacks, without ever once becom-ing harsh. Such concerts are a signal beacon for our time.”

Asked how he keeps up his piano playing along with thetime demands of research and teaching, Kindermanresponds, “I go through some periods when I do very littleplaying for an extended time, then other occasions when Imay perform quite a bit for a concentrated period. If youthink about this music quite a lot, it ultimately helps one’splaying. It helps remove excessive self-consciousness; there’slittle opportunity to worry about for whom you’re playingand under what circumstances. Naturally, performance is aphysical activity as well.There my approach may not be thebest one, but I do the best that I can.”

This fall he is indulging his twin interests in scholarshipand performance by coaching the UI Graduate String Quartetand performing with it. InApril, 2003, he will playBeethoven’s Third Piano Con-certo with the UI SymphonyOrchestra. At present he is alsobusy organizing an internation-al conference,“Beethoven andthe Creative Process,” to takeplace at the UIUC campus May2 to May 4.

Following an undergraduate degree at Dickinson College,Kinderman studied philosophy at the University of Viennaand music at Yale University and the University of California,Berkeley, where he earned his Ph.D. degree in 1980. Apartfrom his studies of Beethoven,he has written studies of Bach,Mozart, Schubert, Wagner, and other composers, as well asedited a book entitled The Second Practice of Nineteenth-Century Tonality. Already an experienced father of a son,Daniel, in the Ph.D. degree program at Cornell and a daugh-

ter, Laura, in an undergrad-uate program at theUniversity of Victoria, Kin-derman is revisiting lifewith a toddler. “Parent-hood is great,” he says,“and it’s wonderful tohave a second round. Our

little Anna is already engaging very intensely with her world!”Her parents provide her fine models of just that. •

Urbana, he explains,“It’s a major musicschool with a distin-guished musicologyprogram. It’s more inthe center of thingsthan we were inbeautiful Victoria, where we greatly enjoyed the mountains,islands, and nature but felt rather isolated.” On the Urbanacampus Kinderman has already taught popular graduate sem-inars on Beethoven, the symphony, and Wagner’s Tristan undIsolde, as well as a course for undergraduates and graduateson nineteenth-century music.“I am very gratified to find howlively and imaginative some of the students are here.There isan enthusiastic atmosphere for learning and research.”Katherine Syer, Kinderman’s wife and often a collaborator inhis research projects,brings her own research focus on operaperformance practice and on Wagner to the campus.The cou-ple has led seminars at the Bayreuth Festival for several sum-mers, providing daily classes for advanced students andprofessionals who attend the opera productions. In Summer,2002, they did research at the Wagner Archive at Wahnfried,Wagner’s former home, in preparation for forthcoming publi-cations, including a book they are co-editing entitled A Com-panion to Wagner’s Parsifal.

Kinderman’s playing and books (which includeBeethoven’s Diabelli Variations [Oxford 1987], Beethoven’sCompositional Process [Lincoln 1991], and Beethoven[Oxford 1995]) have had glowing praise internationally frompianists, Beethoven scholars, and critics (including Alfred

Brendel, Maynard Solomon,Alan Rich, and CharlesRosen). Of his August, 2001,performance in RichardWagner’s former residence(now a museum), HausWahnfried, Bayreuth’smusic critic wrote in part:“For this Beethoven styleKinderman showed himselfto be the ideal interpreter.He never trivialized, butprojected the bold charac-ter of this marvelous music,allowing it to manifest itself

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This generous gift honors Dean’s mother, Dorothy, whotaught piano lessons for 35 years. Dorothy’s love for musicbegan at an early age. She studied music in college andreceived a degree from North Central College in Naperville,Illinois.Years later, she taught piano at her home in Walnut,Illinois, and later in Dalton City. Dorothy explains how shebegan her teaching career:

“We had a lovely pipe organ at the church, and I played atthe dedication, but that was when I was just a couple ofyears out of school. And then I didn’t play it at all. A fewyears later, around 1946, a couple of ladies from the musiccommittee at the church came to me and said,‘Dorothy, theorganist is moving to Dixon, and we have to have somebody.Will you play the organ?’ I said,‘Oh, I couldn’t do it now. It’dmake me too nervous.’And so they left.Then Claude said tome,‘How do you know you can’t do it if you don’t try?’And,so I said, ‘Well, Claude, if I go and play for church, will youcome on Sunday morning instead of going fishing?’ And hesaid,‘Yes.’ So we did. And, after I started playing for churchwas when I really got into piano teaching. I think 27 of my43 pupils went to the church where I played. So theythought I must know how.”

The initial idea of this gift has a story all its own.Dean andNancy had been thinking about a gift to buy Dorothy forChristmas in the year 2000. Nancy suggested that Dean con-sider a gift to the University of Illinois at Urbana-Champaignin his parents’ honor because of their fondness for the Uni-versity. Although Claude and Dorothy did not graduate fromIllinois, they became very involved with the University whenthey moved from Walnut, Illinois, to Dalton City, a townabout 60 miles from the Urbana-Champaign campus. Theycame to campus often, especially for football and basketballgames, and they later became donors. After careful consid-eration and after working with representatives from the Uni-versity of Illinois Foundation, Dean and Nancy settled on agift to the School of Music.Why the School of Music? “Musicis such an important part of my mother’s life, and my moth-er worked so hard to provide lessons for hundreds of stu-dents,” Dean commented.

The Christmas Gift of aLifetime

Sarah Green assistant director of development

A recent gift of $1.25 million from

Dean T. and Nancy Langford will create

the Dorothy A. and Claude R. Langford

Endowed Chair in Music and the

Dorothy A. and Claude R. Langford Fel-

lowships.The Langford Chair will be

awarded to an outstanding professor in

the keyboard division. Endowed chairs

are pivotal in the life of a unit as they

provide critical funds for salary and

research to ensure that we attract and

retain the finest faculty at the Universi-

ty of Illinois. Equally valuable to the

School are the Langford Fellowships,

which will attract exceptional graduate

students to the School of Music by help-

ing to make graduate school affordable

to those who might not be able to

attend without this financial aid.

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According to Dorothy, that Christmas Eve was very special.“The gift was very much a surprise to me.The other peoplein the family knew about it,but I didn’t.Dean sat in a chair byme and said,‘Mom, I appreciated all the work you did givinglessons, all the things you bought for me that I probablywouldn’t have had if we hadn’t had extra money. We didn’thave a lot of money in those days. And we have done this inhonor of you.’ I was totally surprised.We all cried.”

Dorothy knows that this gift has special meaning to Dean,especially since he was a student in Urbana-Champaign andknows about the outstanding reputation of the School ofMusic. Dean graduated in 1962from the University of Illinois witha B.S. degree in mathematics andwas awarded an honorary Doctorof Human Letters degree fromSalem State College in 1990. Nancyholds degrees from MountHolyoke and Columbia University,and was a Harvard Fellow. Nancyenjoyed a successful career inadvertising. Dean’s career began atIBM. He later joined GTE Corpora-tion and eventually worked forOsram Sylvania, where he servedas the company’s longest-sittingpresident. Dean has also been veryinvolved with the University of Illi-nois at Urbana-Champaign in manycapacities.He has served as a mem-ber of the board of directors of theAlumni Association and also as aNational Network Volunteer. Dean is also involved doing vol-unteer work for several organizations throughout the UnitedStates, including the National Park Service.

Although Dean and Nancy did not graduate with degreesin music, they both have a great appreciation for it. As achild, Dean played the piano for a brief time, and he alsoplayed clarinet in the band and sang in the chorus. One ofhis favorite memories throughout the years is watching theMarching Illini perform at football games. “It’s one of themost thrilling things to see.” They both enjoy attending con-certs as well.

Dean and Nancy’s gift was recognized at the Universityof Illinois Foundation’s Annual Meeting, held this past Sep-tember. Dean and Dorothy were able to visit the School of

Music for the first time and had an opportunity to meet KarlKramer, director of the School of Music. Dr. Kramer com-mented,“This gift will provide a wonderful opportunity forfaculty members and students alike and is a testament to theoutstanding quality of musicianship for which Illinois isknown. The Chair and Fellowships will ensure that weremain a leader in music. We are so pleased to have theLangfords as a part of the School of Music and are thrilledto be honored in this way.”

Dorothy is now retired from teaching, but music stillremains an important part of her life. She enjoys listening to

music on the radio, and she likeswatching musical events on thetelevision. One thing that hasbeen very memorable for her isthat Dean and Nancy took herand Claude to hear the BostonPops every time they visitedDean and Nancy in Massachu-setts. According to Dorothy,“Thatwas a real treat!”

Although Dorothy’s hus-band, Claude, passed away severalyears ago, Dean and Dorothyboth feel that he would have

been so proud of this gift—he supported Dorothy in hermusical endeavors and lovedto hear her perform. Deanand Nancy also feel that theycould not have chosen a bet-ter Christmas present forDorothy. Dean said, “We aredelighted that my parentswill forever be associated

with the School of Music. It gives us great joy to see mymother so happy and excited about this gift. She thinksabout this gift almost every day.”

As for Dorothy,“I still can hardly believe it. I will be for-ever grateful to Dean and Nancy, and I hope the people whohave the advantage of this also will be grateful.Thank you!Thank you!” •

Above: Dorothy Langford and son Dean.Inset: Dorothy and late husband Claude Langford.

“Music is such an important part of my mother’s life, and my mother worked so hard to

provide lessons for hundreds of students.”

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C a m p u s N e w s

During the past decade, more and moreundergraduate students at the Universityof Illinois have requested that they beallowed to minor in any number of sub-jects. At one time, minors were relative-ly rare at UIUC, but with the passage oftime and the encouragement of the cam-pus administration, the number of aca-demic minors has grown.

The interest in music instruction onthe campus increases every year. Asmany as 1200 students now take ourIntroduction to World Music, which sat-

isfies the campus non-west-ern cultures requirement,during the course of anentire academic year. (Theenrollment numbers wouldbe even higher if we were to

use a larger classroom!) Substantialinterest in music theory, composition,performance, and inquiries about dou-ble degrees or double majors bring non-music majors to our building every day.

With such enthusiasm, it is no won-der that many non-music students wouldwant a minor to be available to them.About a year before the publication ofthis issue of sonorities, just the rumor ofa minor in music being available led stu-dents to call, stop by the office, and—asyou would imagine—e-mail me, askingwhen the minor would be available andwhat it would require. After thoroughdiscussion by the music faculty andappropriate approval from various com-mittees on campus, the School of Music

finally launched its music minor in Janu-ary, 2002.

The minor in music provides for anexposure to music history/literature,music theory, and performance studies(through applied lessons and ensemble).It is intended for student musicians withpreviously established, substantive musi-cal experiences—individuals who wishto expand upon already obtained musi-cal skills and related study. Accordingly,the minor is not intended as an intro-duction to music for someone with nomusical experience or talent.

Students wishing to pursue a musicminor must have demonstrable experi-ence in music performance, and/ormusic composition (as evidenced bynotated scores), and/or scholarship (asevidenced by writings on music). Suchstudents must apply for acceptance intothe program and must also audition foracceptance into the appropriate per-formance studies area and/or ensem-ble(s) just as a music major would.Theseauditions are scheduled by the Office ofEnrollment Management and StudentServices. Admission to performancestudies depends upon the availability offaculty or teaching assistants—musicmajors still get first priority for studioassignments,while admission to a partic-ular ensemble depends upon instrumen-tation and need for balance amongsections of that ensemble.

The music minor requires the suc-cessful completion of 21 semesterhours—the campus maximum for anyminor—of music courses. All three com-ponents of the minor must be represent-ed by a minimum number of semesterhours attained in each. In music history,the student must choose courses thatgenerate credit of at least five or sixsemester hours. In music theory, theminimum is six semester hours. For per-

A New UndergraduateMinor in MusicEdward Rathassociate director

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In recent years, the School of Music has dramatically increased its efforts in the areas of recruitment and student serv-ices. As the new coordinator of admissions for the School, I am delighted to share the update of our efforts last yearand to present a glimpse into the future, so that you may learn more about the exciting, new implementations for thisyear and beyond.

The audition season from last year yielded 358 undergraduate and graduate applicants who attended the eight on-campus auditions. The undergraduate Class of 2006 is comprised of approximately 105 students from 11 states andthree countries. At the graduate level, we have an incoming class of approximately 100. The School hopes to increasethe number of applicants who audition during 2002-2003 by holding eight on-campus auditions, as well as two held atnational sites in Interlochen and New York City. As we look to the future, the School of Music plans to increase the num-ber of national audition sites to include cities in the Southwest, the Southeast, and the West Coast. Offering more audi-tion locations accommodates the need of the diverse applicant pool we continue to meet at college fairs and otherrecruitment activities.

The School has made significant strides in raising its national presence through participation in a majority of theperforming and visual arts college fairs sponsored by NACAC (National Association of College Admission Counselors).The School was represented at many of those fairs during the Fall of 2001 and two this summer in North Carolina atthe Eastern Music Festival and the Brevard Music Festival. This year, school admissions personnel will attend 10 out ofthe 16 NACAC fairs, including those held in San Francisco, Los Angeles, San Diego, Chicago, Interlochen, Miami, Atlanta,New York, Washington (D.C.), and Boston. Last year, we made contact with more than 200 interested students; we hopethat number doubles this year.

In other areas of recruitment, the School of Music has expanded its self-promotion to interested applicants. TheInternet is a crucial element that allows the School to learn about students interested in the music programs at the Uni-versity of Illinois. The newly designed website will give people throughout the world instantaneous access to informa-tion regarding music at Illinois. Likewise, applicants are now able to electronically submit supplemental applications tothe School of Music. As the website is refined, it is the goal of the Office of Enrollment Management and Student Ser-vices that even more services will be available electronically, including announcements for current students and the post-ing of job openings.

Finally, the School of Music has added to its recruitment materials and revised one of its most effective on-campusevents. The first is a recently created color brochure designed to provide students and parents with more details aboutensemble opportunities and admission procedures. The latter is the redesigned format of the School of Music OpenHouse. This event will incorporate new goals and performing opportunities of which prospective students may partake.Unlike past years, the School will hold two Open House events. The first event, which took place on October 28, wasspecifically designed for juniors and seniors in high school who are interested in majoring in music. Prospective studentshad the opportunity to perform for the faculty in masterclasses, as well as participate in open rehearsals with the topperforming ensembles. A similar event is scheduled for March 3, 2003.

It is truly a pleasure to recount the latest developments of the School of Music recruitment activities. As the yearprogresses, I invite you to contact me should you have any suggestions or if you would like to meet with me on cam-pus or during a recruitment trip. Best wishes for the months ahead.

Joyce Rendvisiting coordinator of admissionse-mail: rend@uiuc.eduphone: 217/244-9879

(editor’s note: Joyce Griggs Rend received her B.M.E. degree in 1999 from the University of Illinois at Urbana-Champaign and her M.M. degree in May, 2002, from the University of North Texas.)

coordinatingn e w d i r e c t i o n s f o r a d m i s s i o n s

Joyce Rend visit ing coordinator of admissions

formance studies, the minimum is foursemester hours (with a minimum of twosemesters of lessons).The remaining fiveto six hours may be selected from any ofthe areas and may include up to threesemester hours of a conducted ensem-ble. It is even possible to take topicsoffered as part of a special seminar, aslong as approval is obtained in advance.Thus, there is some flexibility built intothe program.

But there is one extra requirementthat really puts some “teeth” into theminor: at least six semester hours mustbe derived from upper-level courses.This means that the non-music majormust meet the prerequisites for and suc-cessfully complete two advanced music-major courses. Most often, this will beachieved by taking three music historycourses: Introduction to Art Music: Inter-national Perspectives,and two semestersof History of Music, both of which satis-fy the campus humanities requirementsfor many students. We have already hadtwo students, however, petition foradmission to the minor who haveattained upper-level status in perform-ance,and it is just a matter of time beforewe encounter a “theory-minded”studentwho will opt to take Counterpoint andForm as his or her advanced musiccourses!

Through careful management of theminor, the School expects to have 25 stu-dents in the program in any given year. Itis too early to tell whether or not therequirements are too demanding. Inter-est in the program grows, if e-mailinquiries are any indication.

The music minor: just one moreexample of how the School of Musicreaches out to the campus community—and it is much appreciated! •

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MOUTHPIECE BUZZERS HAVE

A LEADER IN RONALD ROMM

by Anne Mischakoff Heiles

Ronald Romm isn’t one to rest on his laurels. Last

year he was the B.A. Nugent Visiting Professor of

Music Performance; this fall he officially joined the

School of Music’s faculty as professor of trumpet.Yet

by 7:30 a.m. Romm begins his teaching day with

some 40 trumpet students, warming up in the Audi-

torium of the Music Building, the only room there

large enough to hold the burgeoning trumpet studio.

Dubbing trumpeters the “Mouthpiece Buzzers,”

Romm leads them in an early call to a full day’s musi-

cal activity. “If you start your day with an exercise

program, breathing and stretching, the whole day is

easier,” he says. “I studied with James Stamp, who

devised a system of warm-ups and flexibility routines

based upon mouthpiece buzzing. As a scholarship

student, if there was need for a trumpet player at

USC, I was ‘it.’ My family had a dance band known as

The Romm-Antics, so I also played dance jobs on

weekends, and often a pair of church services on

Sunday morning. I would roll into lessons with Jimmy

Stamp Monday mornings with my lips swollen.

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“The Stamp method of basicsthrough buzzing brought me back toplaying shape. The buzzing routine atthe UI is a daily return to those basics,which keep me going. Buzzing themouthpiece enables us to musicallyexpress ourselves on a brass instrument(not just the trumpet). It establishes andthen reinforces good breathing, clarifiesthe tone, trains the ears, helps extendthe range, and increases endurance.Wedon’t call the buzzing material ‘exercis-es’ because it’s scale-based, and any-thing that is scale-based relates tomusic. Bach’s music is scale-based. Webuzz motifs, items of musical import,playing these little scale patterns asmusically as possible so they become

more beautiful each time. We’re rein-forcing in a natural way every bit ofinnate musicality. These routines,whichStamp taught, lead up to the material inthe Jimmy Stamp book, actually com-piled and published by Jean PierreMathez.”

Together with colleague ProfessorMichael Ewald,Romm has been shakingup the traditions of studio teaching atthe University of Illinois.“The way stu-dio now works is that everybody gets tostudy with me, with Michael, and withone another in teams.” Ewald andRomm group their students together inone large trumpet studio, coordinatedby teaching assistants, and devise small-er teams of three to five students. Play-ers at a like level of playing or withsimilar interests or goals become a teamthat learns together. They supplementprivate lessons with various kinds ofgroup work, meeting unsupervised

twice weekly. “The beautiful thingabout the team concept,”Romm says,“isthat everyone becomes empowered toachieve what they want to do in music.Working with a team there are no barri-ers, as long as you treat everybody withrespect, and everyone learns.They playfor us as a team: duets, trios, quartets, orsolos. We determine together whatrepertoire they’ll play. The compositionstudents among the trumpet class mightcompose a fanfare or arrange a four-voice fugue from the Art of Fugue.Weencourage them to find repertoire andthen, as the next step, to find venues inwhich to play: fraternity or sororityhouses, shopping malls, dorms—to takeit out and see what happens. For a per-

former that’s natural training; you needit all the time. For teacher preparation,there’s no better proving ground, too,than finding out how you’re communi-cating.”

This open stu-dio “can reducestress as well asimprove stan-dards,” he adds.“When studentsplay in front ofeach other aswell as their pro-fessors, they learn that every note theyplay is a ‘performance note.’“ Compar-ing this pedagogical approach to an ath-letic model, Romm elaborates on howplayers learn from it about performancepsychology and the positive aspects ofcompetition. Just as athletes studyvideotapes of their competitor teams,

for example, young musicians learnfrom listening to and discussing CDs offine players. Ewald and Romm bring inexperts from related fields, such as the-ater coaches and a teacher of AlexanderTechnique, to enrich studio classes.

Romm says, “There is less analysisand much more fun through playing inour open studio. We hold two annualTrumpet Weekends that feature a lumi-nary from the trumpet world. It’s basi-cally a ‘hang’ for the trumpets.We warmup together, play trumpet chambermusic new or old, talk about trumpetsand brainstorm about the music busi-ness, go out for lunches, and have con-tests or whatever. Last year we featuredRoy Poper, who studied with James

Stamp and has written a companionbook to the publication by Mathez. Inthe spring we had Jim Thompson, pro-fessor of trumpet at Eastman. TrumpetWeekend culminates in a concert, and

Thompsonjoined theIllinois BrassQuintet assoloist in theHaydn Trum-pet Concertoin a specialarrangement

by Fred Mills from the Canadian Brass.This year we’ve invited both William(Bill) Vacchiano, my mentor in NewYork at Juilliard and for decades thefamed principal trumpet in the NewYork Philharmonic, and MalcolmMcDuffee, formerly of the St. LouisSymphony.”

“ THE STAMP METHOD OF BASICS THROUGH BUZZING BROUGHT ME BACK TOPLAYING SHAPE. THE BUZZING ROUTINE AT THE UI IS A DAILY RETURN TOTHOSE BASICS, WHICH KEEP ME GOING. BUZZING THE MOUTHPIECEENABLES US TO MUSICALLY EXPRESS OURSELVES ON A BRASS INSTRUMENT(NOT JUST THE TRUMPET). . .”

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Romm, familiar to trumpeters inter-nationally from his nearly three decadesas a member of the renowned CanadianBrass, coaches the UI Graduate BrassQuintet as part of his teaching respon-sibilities. “This is a very good time forbrass players here, and the UI School ofMusic is in an extremely interestingperiod of blooming. It is in an excellentposition to grow into a school of promi-nence, especially within the brass area.I will not go anywhere unless there’s apositive environment, and young play-ers here encounter the quality of alarge-city student body without havingthe negatives of big-city stresses.”

Pointing out how opportune a timeit is for young brass ensembles to begincareers, Romm contrasts it with the ini-tial struggle the Canadian Brass faced in1971 to convince concert presentersthat a brass quintet would enhancemusic series. Here he is occasionallyable to provide players with unpub-lished Canadian Brass arrangements. Headds that brass chamber music need notbe confined to the traditional quintet.“Itcan be four or six players or include var-

ious mixes: virtually anything we canimagine is possible.”

Married for 33 years to pianist AvisFedge Romm, the trumpeter left theCanadian Brass in part to have moretime for their two sons and for appear-ing in concerts with his wife. The pairvisited 35 cities last year in two-day res-idencies and is paring the scheduledown only slightly this year. They give atrumpet-piano recital, and Romm playstrumpet solos with thelocal community band. Healso presents outreachworkshops titled “Every-thing Is a Trumpet,” inwhich he improvises,blows on conch shells orflexible tubing, demon-strates mutes, and explainsthe trumpet’s structure aswell as its sonic and musical possibili-ties.His masterclasses are tailored to theparticular audience, ranging from basicposture, breathing, and articulation tostaging aspects, such as lighting andhow to talk with audiences.“My wife isa brilliant, sensitive pianist whose spe-cialty is accompanying, and she enjoyed

our travel and concerts a lot.The travelwas hard on her for the first few weeks,and then she got into the swing of it.”

Although Romm is a pilot in hisspare time (“I fly airplanes that are cer-tified, multi-inspected, and built by acompany that has lots of experiencebuilding them.”), the couple tours bycar and commercial airline. “I enjoyedthat travel immensely,” he says.“After allthose years touring with CanadianBrass, I can now revisit places and getreacquainted with people from the olddays. Since 9/11 we add a couple ofhours on the front end of the day. Oncein the airline system, however, securityis as normal as it can ever again be. I hada run of about six consecutive tripswhere I was ‘randomly’ singled out forextra examination. My trumpet cases,everything was opened.That’s fine; I’mhappy that they’re willing to inspectitems that people carry.”

Romm brings an upbeat attitude anddynamic energy to the School of Music.“As a member of the Canadian Brass, Ilearned so much about life as a musi-cian beside playing my instrument.Music is restorative in so many ways.Playing chamber music and working in

teams can enhanceour lives. I’m not justa professor; I’m a per-son who sharesthrough music. If Ihave a mission orcalling, I would say itis to empower every-body with whom Iwork—both in colle-

gial and student-teacher relationships—to do whatever it is that is necessary forthe individual to go the next step in theprofession and in life.” •

Above: Ronald Romm with wife and pianistAvis Fedge Romm

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2001 and 2002TTiimmootthhyy EEhhlleenn,assistant professorof piano, receivedthe B.M. and M.M.degrees from theUniversity of South-ern California,where he studiedwith John Perry, andthe D.M.A. degree

from the Cleveland Institute of Music,where he studied with Paul Schenly. Ehlenhas taught at the Cleveland Institute ofMusic, Kent State University, andYoungstown State University, all in Ohio.Immediately prior to his appointment at theUI, he was for two years assistant profes-sor of piano at the University of Oklahomain Norman. Dr. Ehlen has performed exten-sively in the United States and Europe as asoloist and chamber player. Ehlen per-formed in Madrid, El Escoreal, and Alcalade Henares, Spain, as a participant in thefirst government-sponsored musicalexchange between the United States andSpain. Ehlen has taught and performed atthe Rencontres Musicales en Lorraine, amusic festival in Nancy, France. He hasbeen heard frequently on NPR, in additionto numerous major classical radio stationsthroughout the nation. Dr. Ehlen served onthe international jury of the 1998 and1999 World Piano Competition in Cincin-nati. He has premiered several new worksfor piano and a major work for pianoduo. Ehlen has made several CD record-ings, including a recording of chamberworks of composer Robert Rollin. His mostrecent CD consists of chamber works onthe Crystal label. Timothy Ehlen is an Inter-national Steinway Artist.

CCyynntthhiiaa HHaayymmoonn--CCoolleemmaann, assistantprofessor of voice,received her B.M.degree from North-western University.She made her debutin 1985 for the Vir-ginia Opera. Sincethen, her career has

taken her to opera houses in San Francis-co, Seattle, San Diego, and Dallas, amongothers. She made her European debut in1986 at Glyndebourne and followed thatwith performances on the Covent Gardentour of the Far East and also at the RoyalOpera House. She has also sung leadroles in major houses in Munich, Ham-burg, Brussels, and the Bastille. She sangthe role of Michaela in the Israel Philhar-monic’s production of Carmen, conductedby Zubin Mehta, and she also created therole of Coretta Scott King in the musicalKing, performing opposite Simon Estes.She has appeared in concert with theIsrael Philharmonic, under Kurt Masur; Lon-don Symphony Orchestra, under bothMyung-Whyn Chung and Michael TilsonThomas; the Cleveland Orchestra; andwith the Boston Symphony for the worldpremiere of Ned Rorem’s Swords andPlowshares. She recently made her debutin Royal Albert Hall. Her discographyincludes recordings with the London Sym-phony Orchestra, a solo recording forDecca’s Argo label, and the lead role ofBess for EMI’s Porgy and Bess, which wona 1990 Grammy Award and was record-ed from the original Glyndebourne produc-tion. Her most recent recording was asMimi in La Bohème, for Chandos Records.

WWiilllliiaamm KKiinnddeerrmmaann, professor of musicol-ogy, received hisB.A. degree inmusic and philoso-phy from DickinsonCollege, and Ph.D.degree in musicfrom the University

of California at Berkeley. He did additionalstudy at the University of California atBerkeley, University of Vienna, Hochschulefür Musik in Vienna, and Yale University.Kinderman’s research interests center oneighteenth- to early twentieth-century music,especially Mozart, Beethoven, Schubert,and Wagner. He has published five booksand more than 30 articles and chapters forscholarly publications, including the Journalof the American Musicology Society, 19thCentury Music, Journal of Musicology,Early Music, Beethoven Forum, ChopinStudies, and Archiv für Musikwissenschaft.Kinderman’s recordings of Beethoven’spiano works for Hyperion Records havereceived critical acclaim in The PenguinGuide to Compact Discs. He serves injuries of international piano competitions,and his research has been recognizedthrough awards from the Social Sciencesand Humanities Research Council of Cana-da, the Killam Foundation, and the Alexan-der von Humboldt Foundation. Kindermanhas taught at the University of Victoria andat the Hochschule der Künste, Berlin, is anassociated professor at the Aula de musicain Alcala, Spain, and serves as the editori-al chair of the journal Arietta. Each summerhe holds a seminar on Wagner’s works,together with his wife, Dr. Katherine Syer,at the Bayreuth Festival in Germany.

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PPaauull AA.. OOeehhlleerrss,visiting lecturer incomposition-theory,received his B.M.degree with Honorsin music composi-tion from the Univer-sity of the Arts,M.A. degree inmusic education

from the University of the Arts, and M.M.degree in music composition from the Uni-versity of Illinois, where he is completinghis dissertation for the D.M.A. degree inmusic composition. Oehlers completed hisbachelor’s and master’s degrees in onlyfour years time, thus becoming theyoungest master’s graduate in the one hun-dred twenty-five year history of the Univer-sity of the Arts. His works have beenperformed throughout the United States,Latin America, South America, Europe,and Asia, including a command perform-ance for former President Ronald Reaganand performances at Walt Disney World;the Berlin International Film Festival; Soci-ety for Electro-acoustic Music in the UnitedStates National Conference; InternationalComputer Music Conference; GamperNew Music Festival; College Music SocietyNational Conference; Seoul InternationalElectro-acoustic Music Festival; Institut fürNeue Musik und Musikerziehung - Darm-stadt, Germany; Kansas City Festival ofElectronic Music; Studio PANorama - SãoPaolo, Brazil; CEAIT Electro-acoustic MusicFestival; VII Annual Brazilian ElectronicMusic Festival; ShortTV.com Film Festival;Angelciti Film Festival; and WHYY-TV (PBS)Independent Images Film Festival. Oehlershas studied composition with WilliamBrooks, Zack Browning, P.Q. Phan, andScott Wyatt.

RRoonnaalldd RRoommmm,professor of trumpetand the School’s firstB.A. Nugent Profes-sor of Music Per-formance, attendedUniversity of South-ern California andreceived both theB.M. and M.M.

degrees from The Juilliard School, wherehe was a student of William Vacchiano.Romm has appeared worldwide on the

stages of almost all major concert venues,music festivals, and international music con-ferences; has performed with the world’smajor orchestras and conductors; and hasshared the stage in live performances andrecorded CDs with leading artists, includ-ing Wynton Marsalis, Arturo Sandoval, JonFaddis, and Doc Severinsen, as well asbrass performers from the Boston Sympho-ny, New York Philharmonic, PhiladelphiaOrchestra, and Berlin Philharmonic. At age18 he was already a veteran free-lancetrumpet player in Los Angeles, performingregularly with the Los Angeles PhilharmonicOrchestra and the Los Angeles Brass Quin-tet. In New York City, Romm establishedhimself as a top free-lance musician, per-forming with everything from the New YorkPhilharmonic to the Radio City Music HallSymphony Orchestra to Broadway shows.In 1971, Ronald Romm joined the newly-formed Canadian Brass. In June of 2000,he retired from the group after participatingin well over 4,000 concerts, 50 record-ings, numerous television concert specials,videos, and hundreds of masterclasses. Asan educator, Romm has contributed to thegrowth of brass performance through hun-dreds of student clinics. Romm is a YamahaArtist/Clinician.

SStteepphheenn TTaayylloorr,assistant professorof composition-theo-ry, attended North-western University,California Instituteof the Arts, andCornell University.His teachers haveincluded Steven

Stucky, Karel Husa, Mel Powell, AlanStout, and Bill Karlins. His music oftenexplores boundaries between art and sci-ence: Unapproachable Light, inspired byimages from the Hubble Space Telescopeand the Christian Bible, was commis-sioned and premiered by the AmericanComposers Orchestra in 1996 inCarnegie Hall. More recent works includeViriditas (for flute, viola, and harp), pre-miered by the Debussy Trio in July 2001;the chamber quartet Quark Shadows,commissioned by the Chicago Symphonyand premiered at its MusicNOW series inNovember 2001; and Unfurl (for twoharps), premiered at the July, 2002, Inter-

national Harp Congress in Geneva,Switzerland. His interactive work SevenMicroworlds (for flute, guitar, andMax/MSP) will be released on a SEA-MUS compact disc in 2003. His work haswon awards from Northwestern, Cornell,the Conservatoire Américain deFontainebleau, Debussy Trio, HowardFoundation, College Band DirectorsNational Association, New York StateFederation of Music Clubs, Illinois ArtsCouncil, American Music Center, andASCAP. Among his commissions arepieces for pianist Gloria Cheng, North-western University, Illinois State University,Syracuse Society for New Music, PinkMartini, Oregon Symphony, ChicagoSymphony, and American ComposersOrchestra. In addition to teaching compo-sition and theory, Taylor co-directs the UINew Music Ensemble.

2002 and 2003GGeeoorrggee BBrroozzaakk,visiting lecturer inmusic education,received bachelor’sand master’sdegrees in musiceducation fromOhio University,and is completingdissertation work

toward the Ed.D. degree in music educa-tion at the University of Illinois. Brozakteaches courses in instrumental music edu-cation and serves as conducting assistantfor University Bands, where he assists withthe Marching Illini and conducts UI Con-cert Band IIB. Prior to his faculty appoint-ment at UIUC, Brozak served as directorof bands at Tiffin (Ohio) Columbian HighSchool and was also director of bands atFederal-Hocking High School in Stewart,Ohio. Brozak has authored articles pub-lished in the Journal of Band Research andVisions of Research in Music Education.He has presented lectures at the IllinoisMusic Educators Association conferenceand served as percussion adjudicator forthe Ohio Music Educators AssociationMarching Band Adjudicated Events. Hehas served as staff arranger for the OhioUniversity Marching Band, a position hehas held since 1988, and has written hun-

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dreds of marching band arrangements forhigh schools throughout Ohio. He is amember of the Ohio Music EducationAssociation, College Band DirectorsNational Association, National Band Asso-ciation, Music Educators National Confer-ence, and the Writers Guild of America. In1998, Brozak was a finalist for the Ash-land Oil Teacher of the Year Award.

MMiicchhaaeell DDrreewwss, visiting lecturer in com-position-theory, received his bachelor’sdegree from Kent State University, master’sdegree from Cleveland State University,and is completing his doctorate in compo-sition at the University of Illinois. Drews isactive as a composer of both acoustic andelectronic music. His compositional workreflects a strong interest in orchestralmusic. The Cleveland Chamber Symphonyhas performed six of his pieces for fullorchestra (1995-1998). In 1999, his workMutations won the UI Chamber OrchestraCompetition. His latest orchestral work,Undercurrents (2002), was awarded alter-nate status for the 2002 MinnesotaOrchestra Reading Sessions and Compos-er Institute. His electroacoustic work Cor-ruption was featured on the 2000Electronic Music at Lewis Festival andrecorded on the UIUC Experimental MusicStudios CD, Origins. Drews’s dissertationresearch deals with the late music of Ste-fan Wolpe and its connections with lateBeethoven. The project focuses on a recur-ring phenomenon that is central to thearticulation of some of both Wolpe’s andBeethoven’s principal works.

LLiissaaGGrruueennhhaaggeenn, visiting assistant pro-fessor of music edu-cation, received herbachelor’s degree influte from the Uni-versity of Denverand her master’sdegree in both

music education and flute from the East-man School of Music, where she is com-pleting a Ph.D. degree in music education.Professor Gruenhagen teaches contempo-rary trends in music education, elementarymusic methods, and supervises studentteachers. Prior to joining the UI faculty, shewas a member of the music education fac-ulty at Nazareth College in Rochester,

New York. At Eastman, she taught coursesin elementary general music methods andmusic for special learners, and she super-vised student music teachers. She alsoserved as coordinator of the early child-hood music program and was a facultymember in the Eastman School’s Communi-ty Education Division. Gruenhagen hasbeen a music specialist in private schoolsand in public school districts, taught incommunity music schools in Boston and inWashington (D.C)., and served as directorof the Summer Music and Arts Camp atthe Levine School of Music in Arlington,Virginia. She routinely collaborates withresearchers from Project Zero, where she isa member of the faculty for the Project’sSummer Institute, and her work has beenpublished on Project Zero’s web site. Pro-fessor Gruenhagen has presented work-shops and papers at conferences of theNational Orff-Schulwerk Association andthe New York State School Music Associa-tion. In addition to her professional teach-ing activities, Gruenhagen is a flutist andfree-lance chamber musician.

CChhrriissttoopphheerr HHooppkkiinnss, visiting assistant pro-fessor of composi-tion-theory, receivedhis bachelor’sdegree in perform-ance from the Uni-versity of Nebraska,master’s degree in

composition and electronic music from theCleveland Institute of Music, and theD.M.A. degree from Cornell University.Hopkins studied composition with DennisEberhard, Donald Erb, Eugene O’Brien,and Karel Husa. Prior to joining the UIUCfaculty, Hopkins taught at Ithaca College,Syracuse University, and the University ofMinnesota. His experimental work primari-ly is in the electroacoustic domain, combin-ing innovative performance techniqueswith computer-based transformations ofmusical sound. His work in more tradition-al forms includes song cycles, chambermusic, and music for orchestra and windensemble. Hopkins’ compositions havebeen performed at major festivals inEurope, Asia, and North America, withbroadcasts over Austrian Radio, CBC,

Radio Canada, WNYC, and NPR. As aperformer, Hopkins is a cellist, conductor,and violist da gamba. Hopkins’ early pro-fessional work includes several years withthe Lincoln Symphony Orchestra, Nebras-ka Chamber Orchestra, Omaha Sympho-ny, and Nebraska Sinfonia. Dr. Hopkinshas been the director of contemporarymusic ensembles at Cornell University andthe Cleveland Institute of Music. He hasalso worked extensively in technology. Dur-ing the ‘80s, he worked as a programmerin educational software and created oneof the first music notation applications forpersonal computers. Later he redirectedthis area of research to experiments ingraphic notations for innovative perform-ance techniques.

SSccootttt HHoosstteettlleerr, visiting assistant profes-sor of oboe, received his bachelor’sdegree from the Cleveland Institute ofMusic, where his teacher was John Mack,and did further studies at The JuilliardSchool of Music, with Elaine Douvas,Linda Strommen, and Thomas Stacy. Hewas recently named to the second oboistposition of the Chicago Symphony Orches-tra. Prior to that appointment, he was principal oboe and artist-in-residence withthe Kalamazoo Symphony. In addition, hehas played second and third oboe andsubstituted for various oboe positions inthe Iris Chamber Orchestra, Toledo Sym-phony, Michigan Opera Theatre Orches-tra, Erie Philharmonic, Florida Orchestra,Cleveland Orchestra, Youngstown Sym-phony, and Kokomo Symphony.

JJoonnaatthhaannKKeeeebbllee, visiting professor offlute, received hisbachelor’s degreefrom NorthwesternUniversity, and thePerformer’s Certifi-cate and both themaster’s and doctor-

al degrees (all in performance) from theEastman School of Music. His formerteachers include Bonita Boyd, WalfridKujala, and Frances Risdon. Keeble is apast winner of the Coleman ChamberMusic Competition. His concerto appear-ances have taken him to venues in NorthAmerica, South America, and Europe. Dr.

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Keeble has presented new works atNational Flute Association Convention con-certs, as well as at festivals in Ecuador,Sweden, and Japan. He routinely tourswith the Prairie Winds, a professionalwind quintet that includes UIUC associateprofessor of bassoon Timothy McGovern.The quintet’s critically acclaimed record-ing, Gale Force, can be found on theAlbany Record Label and was recentlyranked among the top 15 recordings of2001 by Chicago Tribune critic John vonRhein. In addition to Dr. Keeble’s activesolo and chamber career, he has enjoyedregular appearances with the Tulsa (Okla-homa) Philharmonic, Spokane (Washing-ton) Symphony, and Eugene (Oregon)Symphony. Prior to his arrival at the Uni-versity of Illinois, he was associate profes-sor of flute at Oklahoma State University,and earlier in his career served as visitingassistant professor at the State Universityof New York at Fredonia and as a teacherat the Eastman School of Music.

KKaarrll KKrraammeerr,director of the UIUCSchool of Musicand professor ofmusic, received hisbachelor’s degree(magna cum laude)from Temple Univer-sity, master’s degreefrom Yale University,

and doctoral degree from the ManhattanSchool of Music. A tubist, his principalteachers have included Thompson Hanks,Warren Deck, and Edmund Moore. Dr.Kramer is a leading authority on the per-formance of modern brass chamber musicand has written extensively on the sym-phonic brass music of Richard Strauss. Heis principal tuba of the New Haven Sym-phony Orchestra and a founding memberof Brass Ring, a professional brass quintet.He is former principal tuba of the MiamiSymphony Orchestra and has also per-formed with the New York City BalletOrchestra, Opera Orchestra of New York,Florida Philharmonic, Hartford SymphonyOrchestra, Springfield Symphony Orches-tra, Chautauqua Festival Orchestra,Philadelphia Gabrieli Consort, and withGerry Mulligan. As a member of BrassRing, Dr. Kramer was a prize winner at

the Philip Jones International Brass Cham-ber Music Competition in Barcs, Hungary;the Naumberg Chamber Music Competi-tion in New York; and Concerts Atlan-tique. Three Brass Ring CDs on the Crystallabel feature world premiere recordings ofworks of Lutoslawski, Berio, Henze, Rorem,and Del Tredici. With Brass Ring, Dr.Kramer has concertized extensivelythroughout the United States and Europe,has recorded soundtracks for the PBSseries “The American Experience,” and isbroadcast regularly on NPR. He was pre-sented the 1990 Distinguished ServiceAward by the New Haven SymphonyOrchestra and, in June, 1993, premieredSongs of Zion Recycled, a concerto writtenfor him by Neely Bruce. In 1996 at theBass Museum in Miami Beach (Florida),Dr. Kramer premiered Sonata for Tuba andPiano, written for him by Eric Ewazen. Dr.Kramer has also performed world pre-mieres by composers such as Ned Rorem,Jacob Druckman, David Del Tredici, JohnHarbison, Christopher Rouse, Martin Bres-nick, and Roger Kellaway. Dr. Kramer’sarrangements for brass quintet are pub-lished by the Kendor Music Company andBrass Ring Editions.

CChhaarrlleess ““CChhiipp””MMccNNeeiillll, associate professorand chair of thejazz division,received both theB.B.A. and M.M.degrees from theUniversity of Miami.Immediately prior to

his appointment at UIUC, McNeill wasassociate professor and director of jazzstudies at Florida International University,and before that, associate professor anddirector of jazz studies at Virginia TechUniversity for six years. He was previouslythe musical director and jazz saxophonistfor Maynard Ferguson, as well as pro-duced, wrote, and performed on four ofMaynard’s latest releases. McNeill hasperformed at countless jazz festivals andclubs around the world. His list of record-ing and performance credits as a jazztenor saxophonist include numerous per-formances with legends in the jazz field:Sandoval, Sinatra, Sammy Davis, Jr., Gille-

spie, Eckstine, Marsalis, Nat Adderley,D’Riviera, and Ira Sullivan, to name but afew. Special venues at which he has per-formed include Carnegie Hall, Town Hall(Sydney, Australia), and the London Palla-dium, as well as for numerous jazz radioand television productions in Europe,Japan, Great Britain, India, and Indonesia.McNeill enjoys an active performanceschedule as a solo saxophonist, clinician,writer, and pianist. In addition to his dutiesat UIUC, McNeill is also the musical direc-tor and jazz tenor saxophonist for Gram-my Award winning recording artist ArturoSandoval and has recorded with Arturo onhis latest CD, Americana, as well as theGrammy winning release Hot House onEncoded Music.

GGaabbrriieell SSoolliiss,assistant professorof musicology,received his bache-lor’s degree in musi-cology from theUniversity of Wis-consin and hisPh.D. degree inmusicology/ethno-

musicology from Washington University inSt. Louis. A specialist in African Americanmusic, Dr. Solis has done ethnographicand historical research with jazz musi-cians and capoeiristas in the UnitedStates. His work views black music in bothAmerican and diasporic perspectives.Drawing on work in African Americanstudies, anthropology, and history, headdresses the ways people engage thepast, performing history and memorythrough music. Additionally, his workexplores musicians’ and audiences’ inter-actions with and personalization of mass-mediated musical commodities intransnational circulation. His article “Hear-ing Monk: History, Memory, and the Mak-ing of a ‘Jazz Giant’” is forthcoming inThe Musical Quarterly, and he is complet-ing a book on contemporary performanc-es of Thelonious Monk’s music, titledMonk’s Music: Thelonious Monk and JazzHistory in the Making. Dr. Solis has stud-ied capoeria with Professor Doutor ofASCAB and Instructor Macaquinho ofCapoeira Angola Paimares.

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The annual fall party for the Division of Musicology on September 15, 2002, included an

observance of three landmark events: Nicholas Temperley’s recent 70th birthday, the 82nd

birthday of former School of Music Director Austin McDowell, and the 50th wedding aniver-

sary of Wanda and Bruno Nettl (both of the latter events on September 15). One of Temper-

ley’s achievements has been the reconstruction of a performing version of part of Mozart’s

incomplete opera The Goose of Cairo; this work was recently performed in Montevideo. Two

hundred fifty-two years ago, in 1750, Johann Sebastian Bach labored to finish

his Art of Fugue, but he died before completion of an intended quadruple fugue

including his signature motive, B-A-C-H (Bb-A-C-B natural). The word “Bach”

means “stream” in German. The name “Luigi” refers to Ludwig van Beethoven.

Nicholas Temperley

Now Registering for Illinois SummerYouth Music 2003ISYM is a comprehensive and intensive program of music instruction

for student musicians. It is held on the campus of the University of

Illinois at Urbana-Champaign. More than 51,000 students have

experienced music at ISYM. Many are now performing in major

symphony orchestras and other professional ensembles. A signifi-

cant number are successful teachers, engineers, scientists, lawyers,

doctors, and business executives. ISYM has as its objectives to devel-

op musical skills, and to improve the understanding and apprecia-

tion of music. Our 16 different camps are designed to challenge

musicians in varying degrees of musical skill and development.

Though final performances are a high priority, the learning process

is of equal value at ISYM.

First Session June 21-28, 2003 Second Session July 6-12, 2003 Third Session July 20-26, 2003

For more information contact: Illinois Summer Youth Music 909 W. Oregon StreetUrbana, IL 61801217-244-3404

www-conted.music.uiuc.edu

TWO HUNDRED FIFTY-TWOCairo Goose sends greetings

to Nicholas from afarand his music keeps resoundingunfolding bar by bar ________ .

If you’re puzzled as to whyask the folks in Uruguay ________ .

For our temperate friend from Britainwho before us now is sittin’

has achieved a rite of passagethree score years and ten againcause for pride and senior status

from Urbana out to Mattis ________ .This fine laurel he has won

only now to be outdone - - - -For Austin now, our Nick’s a baby

still a novice, tenured? maybe.He was leader of our band,

had the school at his command.He indeed now has a reason

to feel as if he’s more in season.What’s his edge on Temperley?

Ten more years plus two, you see.But sorry Austin, ‘tis all in fun

for you too have been all undone.Others here have snatched the crown,

strengthened through their duty boundand through their double claim on famehave grasped the prize before our eyes.

Bruno Boy and Wanda Girl,who dazzles us just like a pearl,

have through their teamwork won the raceand foiled Nick’s and Austin’s pace.

In this their anniversary yearthey’ve racked up five decades I hear.

It’s true that on this very dayin fifty-two they both said “YEA!”

That makes a hundred clicks in timeand adds three digits to the line.The total for all dear contenders

ten score, fifty and two more members.Stretched out now across the ages

that takes us clear back to those pagesleft unfilled by old Sebastian

as the stream flowed in the vast thing ____ .When B-A-C-H joined the fray

the torch was passed to another dayas later Mozart’s Cairo Goose

waited for Nick’s cunning noose.“Art is long and life is short”

as Luigi liked to snort Yet life indeed is pretty fine

as Nick and Austin do remindHere’s to ALL your laurels won - - - -and with this line the poem’s done.

—William Kinderman

ILLU

STRA

TION

: JA

CK D

AVIS

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appearance being part of a series of con-certs commemorating the 300th anniver-sary of the founding of that city. For moreinformation, please use the Concert Choirwebsite <www. concertchoir.net>. Alwes’composition Psalms of Ascent was per-formed at the opening concert of therecent World Symposium of Choral Musicin Minneapolis. The performance was con-ducted by Robert Sund, conductor of theSwedish Male Chorus Orphei Draenger,and the choir was an “honors choir,” com-prised of quartets from many collegiatemale choruses assembled for the confer-ence. He has submitted a book proposalto W.W. Norton for a text concerning the“History of Western Choral Music.” Inaddition, Alwes self-published a collectionof 23 anthems, composed (mostly) for hischoir at Grace Lutheran Church, entitledSongs of Grace; the anthology is a memo-rial to his sister, Marjorie Winham, whodied of cancer in January, 2001.

William Brooks, Zack Browning,and Erik Lund, professors of composi-tion-theory, have been chosen as Awardrecipients for 2001 by the American Soci-ety of Composers, Authors and Publishers.

Zack Browning (composition-theory)recently received a prestigious ChamberMusic America Commission for a newwork for the Bang on a Can All-Stars, aswell as an Illinois Arts Council $7,000Artist Fellowship for music composition.Browning’s Network Slammer (for flute andcomputer-generated tape) was performedby UI graduate student Chih-Hsien Chienat the Society of Electro-acoustic Music inthe United States (SEAMUS) National Con-ference, held at the University of Iowa; theFlorida Electro-acoustic Music Festival at

Reid Alexander(piano pedagogy) pre-sented (with duo-part-ner JoEllen DeVilbiss) arecital of French pianorepertoire that wasbroadcast using Inter-net 2 technology fromthe Indiana University

School of Music-Indianapolis campus, Sep-tember 30 at 7:00 p.m. Additionally, hewas invited to present a session at theWorld Conference on Piano Pedagogy inLas Vegas, October 28. In August, he com-pleted a tour of eight workshops for pianoteachers in the states of Washington,Nebraska, Iowa, and Kansas. Reid recent-ly completed, with his co-authors, thescholarly 296-page Handbook for Teach-ers (Frederick Harris, Toronto, March,2001) as part of the comprehensive 30-volume Celebration Series: Piano Odyssey,3rd edition. The Handbook for Teachersprovides detailed discussions on all reper-toire and etudes contained in this series,which is used in Canada and the U.S. forall levels of the Royal Conservatory (Toron-to) examination program, including theprofessional ARCT diploma. During his2001 Fall sabbatical leave, he worked ondeveloping a series of urtext volumesdevoted to the piano solo music of select-ed composers.

Chester Alwes (choral) served as clini-cian for The Missouri Collegiate Sympo-sium, held in Missouri Baptist University’snew Pillsbury Chapel and the DaleWilliams Fine Arts Center on October 5.He will conduct the UI Concert Choir on itsfirst Russian tour, scheduled for March,2003, with performances scheduled inMoscow and St. Petersburg, the latter

the University of Florida; and at the Imag-ine 2002 Festival at the University of Mem-phis. In addition, Browning receivedperformances of his music by the CrashEnsemble in Dublin, Ireland, and byNUMUS in Ontario, Canada. His composi-tion Impact Addiction recently receivedperformances by NUMUS, with choreogra-phy by the Dancetheatre David Earle, atWaterloo, Ontario, Canada, and by theCrash Ensemble at Expo 2000 in Ger-many. Browning’s Sole Injection was per-formed at the 2001 Sonorities Festival inBelfast, Ireland. His solo CD Banjaxed,containing eight original compositions,was released recently by CapstoneRecords.

George Brozak(music education)had two articlesrecently published:“The Perception ofTension in PercyGrainger’s IrishTune from CountyDerry Among Music

Majors and Non-Music Majors,” publishedin Volume 2, Special Edition (August,2002) of Visions of Research in Music Edu-cation (VRME); and “Revelli and Fennell:The Albert Austin Harding Influence,” pub-lished in the Journal of Band Research (Vol-ume 38/Number 1/Fall, 2002).

Donna Buchanan(musicology) completedin this past year the“Russia: Folk and Pop-ular Music” and “Bul-garia” entries for theNew Harvard Dictio-nary of Music, revisededition (Cambridge:

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Harvard University Press), and two articlesconcerning popular music, national identity,and soccer in post-socialist Bulgaria, whichwill appear in the British Journal of Ethno-musicology, and an edited volume entitledUnited Europe - United Music? Diversityand its Social Dimensions in SoutheasternEurope (Munich: Verlag SüdostdeutschesKulturwerk). During Spring, 2002, theensemble “Balkanalia,” which performsunder Buchanan’s direction, conducted amasterclass with Turkish music virtuosoFaruk Tekbilek, attended a Balkan musicworkshop at the University of Chicago Inter-national House, and presented performanc-es at Illinois Wesleyan University(Bloomington) and Carrie-Busey ElementarySchool (Champaign), in addition to itsannual campus spring concert. In late Mayand June, Buchanan presented two lecturesat international conferences at the Acade-my of Music in Ljubljana, Slovenia, and theMusic Sector of the Institute for Art Studiesin Sofia, Bulgaria, as well as conductedfour weeks of ethnomusicological fieldworkin Bulgaria under the auspices of grantsawarded by the UIUC Russian & East Euro-pean Center, European Union Center, Cam-pus Research Board, School of Music, andCollege of Fine and Applied Arts. In Octo-ber, 2002, she delivered an invited paper,“Balkan Circuits, Ottoman Orbits, and Pop-ular Music in the EU ‘Accession States’: AComparative Case Study,” at a conferenceon “Music and Cultural Identity,” hosted bythe Insinuate for Art Studies with the Bulgar-ian Academy of Sciences in Sofia. At theAnnual Meeting of the Society for Ethnomu-sicology, she was invited to participate in a“Pre-Conference” concerning ethnomusicol-ogy performance ensembles, where sheserved as a panelist for a morning round-table and, together with Anne Rasmussen(College of William & Mary) and ScottMarcus (University of California at SantaBarbara), conducted an afternoon work-shop on the teaching of Balkan and MiddleEastern music performance.

Michael Cameron(double bass) per-formed several con-certs in Germany inFebruary, 2001, withFrankfurt-based Ensem-ble Modern, includingthe prestigious festival“Musik der Jaurhun-

derte” in Stuttgart. He also performed theBottesini Concerto in B Minor with theFrankfurter Kammerorchester. Michael per-formed with the London group Topologiesin a concert broadcast by the BBC Radio 3and presented a masterclass/recital at theRoyal Academy of Music. His recordingFaktura with Guillermo Gregorio for theSwiss label Hat Art was released in August,and he performed with Gregorio at theChicago Cultural Center. Cameron was aguest artist and clinician at the Double BassEncounter in Pirenopolis, Brazil. He has anarticle about works for double bass fromthe New York School appearing in BassWorld magazine, and another article deal-ing with the history of the double bass inthe twentieth century for the London-basedDouble Bassist magazine. Several of hisreviews of music and recordings have beenpublished recently in The American StringTeacher magazine, and he continues tocontribute a dozen-or-so concert reviews ayear for the Chicago Tribune.

Thomas Caneva(bands) was elected tomembership in theprestigious AmericanBandmasters Associa-tion. He served as aguest conductor ofhonor bands at IowaState University, Luther

College, University of Wisconsin-Milwau-kee, and the Illinois District 1 High SchoolHonor Band. Caneva also guest conductedthe Arkansas Tech University SymphonicBand in Wichita, Kansas, at the ABANational Convention. He conducted the UISymphonic Band I at the Chicagoland Invi-tational Concert Band Festival in ArlingtonHeights, and served as an adjudicator andclinician for events in California, Col-orado, Texas, and Illinois. As director ofthe Marching Illini. Tom traveled with 125members of that band to England; the unitbecame the first college band from theUnited States to perform at the London Mil-itary Tattoo in Wembley Arena. An addi-tional performance was given inStratford-Upon-Avon. The Marching Illiniappeared at the Sugar Bowl in NewOrleans last year. Members of the March-ing Illini appeared on “Wheel of Fortune”for five days during the television gameshow’s “College Week” in Chicago. Cane-

va appeared in an interview in the ESPNseries “Rites of Autumn” about the historyof college football (the marching band andpageantry episode).

Elliot Chasanov(trombone) was fea-tured soloist with thePolish State Philhar-monic-Bialystok inDecember, 2001, per-forming the GrondahlConcerto, for trom-bone and orchestra.

He also presented masterclasses in Bia-lystok and at the Cracow Conservatory.On the same trip he and his wife, pianistLarisa Chasanov, performed a recital ofalto and tenor trombone works in Poland’sfamed “Florianka” chamber music hall inCracow. In April, 2002, Chasanov servedas artist-in-residence at Millersville Universi-ty in Pennsylvania. He has been invited toserve as featured trombone clinician andsoloist at the 2002 Polish Brass Sympo-sium, held at Bialystok in December. Elliotalso has been invited by Jacques Maugerto perform in recital and present master-classes at the Paris Conservatory duringthis academic year.

Eric Dalheim (accompanying) performedoff-campus with two singers in mid-Septem-ber. Millikin University faculty sopranoCynthia Oeck gave a concert with Dal-heim at his alma mater, Baldwin-WallaceCollege, in Berea, Ohio, where they alsoconducted a masterclass. Eric performedwith opera tenor and distinguished UIalumnus Jerry Hadley in a concert at theUniversity of Maryland, College Park. OnOctober 4, Dalheim conducted morningand afternoon masterclasses focusing on20th century American and British songrepertoire at Illinois Wesleyan University,which culminated in an evening concertpresentation.

Ollie Watts Davis,(voice) participated inSongFest 2001, heldat Chapman Universi-ty in Orange, Califor-nia, with accompanistGraham Johnson. Shealso served on thefaculty for the

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SongFest 2001 Young Artist Program.Davis was included in a special exhibit,entitled “This Legacy is Yours,” at theEarly American Museum, Mahomet, Illi-nois, in recognition of her lasting contri-butions to the Champaign CountyCommunity. She participated as a choralclinician, panelist, and performing artistat the Women in Music Symposium, heldat Illinois State University (Normal) inMarch, 2001.

Gregory DeNardo(music education) gavea research presenta-tion entitled “AnAssessment of StudentLearning in the Mil-waukee SymphonyOrchestra’s ACE Part-nership: 1991-2000”

at the 2002 MENC National Convention,held in Nashville, Tennessee, in March. InJune he offered a presentation entitled“Education Evaluation Models” at the 57thNational Conference of the American Sym-phony Orchestra League, held in Philadel-phia, Pennsylvania. DeNardo presentedthe ACE Ten-Year Report Findings at anAdministrator’s Retreat, held in Milwaukee,Wisconsin, in August. He was appointededitor in August of the Bulletin of the Coun-cil for Research in Music Education, a Uni-versity of Illinois periodical publication.

Timothy Ehlen (piano) was in residencein August at the festival Rencontres Musi-cales en Lorraine in Nancy, France. Hisconcert appearances in France included asolo recital in the Beaux Arts Museum inNancy as part of the festival’s offering ofthe complete cycle of Beethoven Sonatasand Variations. His other recent perform-ances include a solo recital and master-class for the St. Louis Music Teacher’sAssociation at the Steinway Piano Galleryfor the Steinway Artist outreach program;a recital in Auer Hall at Indiana Universityin Bloomington; and a chamber programof piano quartets in Los Angeles on the“Sundays at 6” series from the Los AngelesCounty Museum of Art, broadcast live onKMZT radio and the internet. This recitalincluded a premiere of a new piano quar-tet, Four Painters (2001) by UCLA compos-er Roger Bourland. His recent collaborative

CD, A Musical Painting Comes to Life, wasreleased in Summer, 2001, on the Crystallabel, featuring David Debolt, bassoon.The CD explores musical associations of aDegas painting.

Michael Ewald(trumpet) was soloistwith the 2002 BlueLake Fine Arts Festi-val Orchestra in July,performing theCapricorn Concerto.He is scheduled todo masterclasses

and recitals at Bowling Green University,Kentucky, in November and at Troy State,Alabama, in March. Michael presented asolo recital and several masterclasses inconjunction with a trumpet festival held atthe National Conservatory in Lima, Peru,in November, 2001.

Ricardo Flores (per-cussion) served as theLatin percussion spe-cialist last summerwith The Midwest Per-cussion Camp at McKendree College inLebanon, Illinois. Healso taught at the Illi-

nois Summer Youth Music camp in theadvanced percussion and the bandcamps, and was on faculty for a two-weeksession of the Blue Lake Fine Arts Camp inMichigan.

Guy Garnett (composition-theory) wasan invited speaker at the SIMS 02 Confer-ence (Sensing and Input for Media-centricSystems) at the University of California,Santa Barbara. The presentation featuredGarnett’s work in Virtual Reality, includingthe Virtual Score program he is developingwith his graduate students KyongmeeChoi, Tim Johnson, Ivan Elezovic, and oth-ers. He recently was named an Affiliate ofthe Beckman Institute, where he will contin-ue his work in interactive systems andinterfaces for performance. Garnettreceived a new CRI grant (along with Uni-versity of Illinois faculty members in Artand Design, and Architecture), as well asa National Center for SupercomputingApplications fellowship to produce Interac-tive Emmersive Artworks in NCSA’s virtual

reality CAVE. Garnett is continuing in newdevelopments of his ongoing work underhis first CRI grant, and he was scheduledto make a presentation of his work at aninternational conference in Havana, Cuba.

Joe Grant (music education) hosted andparticipated in the fourth semi-annualRetreat for Choral Music Education, heldMay 24-26, 2002, at the Allerton Confer-ence Center (Monticello, Illinois). The con-ference is co-sponsored by the School ofMusic at UIUC, Penn State University, East-man School of Music, and Lebanon ValleyCollege. Thirty collegiate choral music edu-cators and conductors met for the presenta-tion of research, panel discussions, andinformal discussion. Headline presentersincluded Henry Leck of the IndianapolisChildren’s Choir and Butler University, andCarroll Gonzo, editor of the AmericanChoral Director Association’s Choral Jour-nal. Joe also reports that all choral musiceducation undergraduates who completedtheir degrees last year have teaching posi-tions or have entered graduate programs.

Peter Griffin (bands) served as guestconductor and/or clinician for the Subur-ban Prairie Conference Honor Band(Maple Park, Illinois) in February, the Dis-trict 214 Concert Band Festival (RollingMeadows, Illinois) in March, and the Den-nis-Yarmouth Regional High School (CapeCod, Maine) in May. He was head clini-cian for the nationally famous Smith-Wal-bridge Drum Major Clinics (Eastern IllinoisUniversity, Charleston) in July and the Uni-versity of New Hampshire Marching BandClinics (Durham, New Hampshire) inAugust. Griffin conducted a guest perform-ance of the UI British Brass Band at theChicagoland Invitational Concert BandFestival (Arlington Heights, Illinois) in April.Previously, he served as co-producer/direc-tor of the 2000 Chick-fil-a Peach Bowl andadjudicator/clinician of the 2000 PeachBowl Festival, held in Atlanta, Georgia, inDecember, 2000. He was co-director fortwo UI Marching Illini performances atWembley Arena, in London, England,May, 2001. He had an article, “OfferingSpecific Solutions Instead of Vague Criti-cisms,” published in the July, 2001, issueof The Instrumentalist magazine.

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Richard Griscom (library) reports that,for the past year, the Music Library hasbeen using streaming-audio technology todeliver music to School of Music students.Students in ten School of Music coursesare now able to complete their listeningassignments from any computer attachedto the Internet. Before the new service wasintroduced, all listening had to be done inthe Music Library. “Students love the con-venience of being able to listen in theirdorm rooms, and we’re happy not to seethem waiting in long lines the night beforetheir exams,” says Griscom.

Lisa Gruenhagen (music education) is amember of the faculty for the Project ZeroSummer Institute at the Harvard GraduateSchool of Education in Cambridge, Massa-chusetts. Her presentations from this pastyear include: “Reflection in the ElementaryMusic Classroom: Evolution of TeacherPractice and the Development of Children’sMusical Understanding” (Eastman Schoolof Music, Rochester, New York, February2, 2002; University of Illinois, Urbana,April 26, 2002); “Secure Foundations inMusic for Special Learners” (New YorkState School Music Association AnnualConference, Rochester, New York, Novem-ber 26, 2001); “Reflective Practice in theElementary Music Classroom: An EmergingPicture of Children’s Musical Understand-ing” (American Orff-Schulwerk AssociationNational Conference, Research Poster Ses-sion, Cincinnati, Ohio, November 14,2001); and “Listening for the Changes: AnExploration of Form in Music” (HarvardGraduate School of Education, Project ZeroClassroom: Views on Understanding, Cam-bridge, Massachusetts, August 2, 2001).

Rudolf Haken(viola) has received a$7000 fellowship inmusic compositionfrom the Illinois ArtsCouncil. He is usingthese funds to recordhis concertos for clar-inet, oboe, and viola

pomposa for Centaur Records.

J. David Harris (clarinet) served aschairman of the panel of judges for theJeunesses Musicales Romania InternationalClarinet Competition in Bucharest, Roma-

nia, in May. While in Bucharest he playeda solo recital at the American CulturalCenter. In April, 2003, Harris will be thesoloist in two performances of the MozartClarinet Concerto with the Illinois ChamberOrchestra (Springfield).

Ronald Hedlund(voice) was invited toparticipate in the FifthInternational VoiceSymposium inSalzburg, Austria, inAugust. While there hegave a lecture/demon-stration on teaching

the male high voice and also presented amasterclass using another voice teacher asa pupil.

John Hill (musicolo-gy) was the invitedfeatured speaker attwo international con-ferences held in Italyduring Spring, 2002.At the conference Rimee suoni per cordespagnole (“Poetry and

Instrumental Music for Spanish Strings”) inFlorence, Hill presented his paper L’accom-pagnamento rasgueado di chitarra: unpossibile modello per il basso continuodello stile recitativo? (“Strummed Accom-paniment for Guitar: A Possible Model forthe Basso Continuo of Stile Recitativo?”).And at the Convegno Internazionale suAntonio Cesti (“International Conferenceon Antonio Cesti”), he presented Ov è ildecoro? Etichetta di corte, espressionedegli affetti, e messa in scena delle arienelle opere storiche di Antonio Cesti(“Where Is Decorum? Court Etiquette,Expression of Affects, and Staging of Ariasin the Historical Operas of Antonio Cesti”).

Christopher Hopkins (composition-theo-ry) has received three commissions for the2003-2004 season. These are for AliceGiles (harpist, Australia), Lucy Shelton/KarlPaulnack (soprano/keyboardist, U.S.A.),and Gary Verkade (organist, Sweden).Hopkins’ Sonatas in Dark to Light (2000)was recorded by the Society for NewMusic for release on the Innova label, andhis Arched Interiors (1991) was performedin October by Margaret Leng Tan, as partof the Melbourne International Arts Festival.

Danwen Jiang (vio-lin) was featured lastfall as guest soloistwith the ManchesterString Orchestra inNew York City andVermont, performingviolin concerti of Bachand Vivaldi. In Spring,

2002, she presented guest artist recitalsand masterclasses at the University ofMichigan in Ann Arbor, Oberlin Conserva-tory of Music, and Florida State University.In May, Jiang soloed with the RiversideSymphonia Orchestra in New Jersey andperformed the Dvorak Romance, Opus 11and Ravel’s Tzigane. In June, she was invit-ed as a guest soloist to perform Mozart’sSinfonia Concertante with Arnold Stein-hardt (member of the Guarneri StringQuartet) and the Rutgers Festival Orchestraat Rutgers University. During the summer,Jiang was a faculty artist at the Manches-ter Music Festival in Vermont, where shegave intensive chamber music coachingsto 23 highly selected young artists fromrenowned music institutions around theworld, as well as performed on weeklyfaculty chamber music concerts and soloedwith the festival orchestra. In 2001-2002she toured as guest violinist with the Ameri-can Chamber Players for performances atthe Sanibel Chamber Music Festival (Flori-da), as well as the Yale Chamber MusicSeries, held in New Haven, Connecticut,in March. She participated in a chambermusic benefit concert, held in June in Man-chester, Vermont, where she performedwith violinist Ani Kavafian, violist MichaelTree, and cellist Sadao Harada (formermember of the Tokyo String Quartet).

Jonathan Keeble (flute) gave a series ofrecitals, masterclasses, and clinics in Swe-den in October, 2001. In addition, hiswind quintet, the Prairie Winds (includingUI bassoonist Timothy McGovern), had itsGale Force CD rated a top-20 recording of2001 by Chicago Tribune critic John vonRhein. During Summer, 2002, Keeble per-formed and taught at Oregon’s Britt Festivaland Wisconsin’s Birch Creek Music Center,where he played the Nielsen Concerto withthe festival orchestra.

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James Keene(bands) is serving aspresident of the Ameri-can Bandmaster’sAssociation (A.B.A.).Founded in 1928,(with John Philip Sousaselected as the firsthonorary life president)

the University of Illinois’ first director ofbands, A. A. Harding, was one of 11charter members of the association. Hard-ing became president of A.B.A. in 1937.Harding’s UI successors, Mark Hindsleyand Harry Begian, were elected to theA.B.A. presidency in 1957 and 1984,respectively. Thus, all four directors of theUI Bands have held the A.B.A. presidency,a distinction that no other university bandprogram can claim. In June, 2002, Keeneserved as conductor of the famous Gold-man Memorial Band (the oldest completelyprofessional concert band in the U.S.) inconcerts at Bryant Park and DamroschMusic Shell/Lincoln Center in New YorkCity. Keene was named Honorary LifetimeMember of the band at that time. InMarch, 2002, he served as guest conduc-tor of the United States Air Force Band ofWashington, D.C. It was his third appear-ance as guest conductor of that band. Onprevious occasions he also conducted theband in concert with the U.S. Army, Navyand Marine Bands of Washington D.C. InJuly, 2002, Keene was named HonoraryLife Member of the Texas BandmastersAssociation, in appreciation for his serviceto the bands of the State of Texas. This isonly the sixth time that such an honor hasbeen bestowed in the 56-year history ofthis 2,300 member organization.

Herbert Kellman(musicology) has pub-lished two studies:“Heinrich Schütz’sMary Magdalen,”Album AmicorumAlbert Dunning, Turn-hout, 2002, and“Openings: The

Alamire Manuscripts After Five HundredYears,” Yearbook of the Alamire Founda-tion 6 (in press), as well as an article onthe UIUC Renaissance Archives in LeMédiéviste et l’Ordinateur 39, Winter,2000. He also read papers at several

international conferences: “Music at theLadies’ Peace of 1529” (“La musique àCambrai du XIVe au XVIIe siècle,” Centred’Études Supérieures de la Renaissance,Tours, France); “Two 16th Century PalatineManuscripts: Answers for Mr. Strunk”(“Oliver Strunk,1901-1980: the Scholarand his Legacy,” American Academy inRome, Italy); and “The Authority of theChigi Codex: Images of BurgundianMusic, Art, and Poetry” (“Images ofAuthority and the Authority of Images,”Centre National de la Recherche Scien-tifique-University of Illinois Collaboration inMedieval and Renaissance Studies, UIUC).At the Seventeenth Congress of the Interna-tional Musicological Society (Leuven, Bel-gium), Kellman read a paper on “TheFuture of Renaissance Manuscript Studies”and was session respondent for papers onthe Burgundian-Habsburg manuscripts.

William Kinderman (musicol-ogy) had his writingsabout and perform-ance of Beethoven’smusic receive muchattention recently. Dur-ing 2002 two of hisCDs of Beethoven’s

piano works appeared on theHyperion/Helios label. These includeBeethoven’s last three piano sonatas andBeethoven’s Diabelli Variations. The Pen-guin Guide to Compact Discs describedhis CD as “The most outstanding DiabelliVariations to have appeared for ages.”Kinderman is currently correcting theproofs of a three-volume publication onBeethoven’s creative process entitledArtaria 195: Beethoven’s Sketchbook forthe Missa Solemnis and the Piano Sonatain E Major, Opus 109. This publicationoffers a full transcription of a large manu-script complex from Beethoven’s lateryears, together with a book-length com-mentary, and discloses much new materialabout Beethoven’s compositional process,including some previously unknown piecesfor piano. This publication will appear atthe beginning of 2003 as part of the newBeethoven Sketchbook Series with the Uni-versity of Illinois Press, of which Kindermanis general editor. Kinderman is also organ-izing a major international conference on

“Beethoven and the Creative Process,” totake place at the University of Illinois May2-4, 2003. Leading experts from across North America, as well as from Englandand Germany, will be coming to Urbana-Champaign for this event, which is sup-ported by the School of Music and theCollege of Fine and Applied Arts. An exhi-bition is being planned that will involvesome of Beethoven’s original manuscripts,and concerts will be coordinated with theprogram of lectures. This conference willbegin by addressing the topic of “creativeprocess” from an interdisciplinary perspec-tive, with speakers drawn from variousfields of study.

Laurien Laufman (cello) and former stu-dent James Fiste (B.M.’88, D.M.A.’01),now assistant professor at Central Michi-gan University, have founded the annualPlymouth Chamber Music Festival in Ply-mouth, Massachusetts.

Erik Lund (composition-theory) had hiscomposition Raccontini performed by theWolpe Trio at the Museum Folkwang onNovember 25, in Essen, Germany. He andUI Professor William Brooks have beeninvited to write commemorative worksmarking the 10th anniversary of theWolpe Trio (Essen, Germany). Their workswere scheduled to be performed at a cele-bration concert in Essen on October 18,2002. Erik has had four recent worksaccepted for publication by Media Press:dalla linea dell’arco che esse formano(string quartet); descent, debris, debrief(amplified solo double bass); And whereyou are is where you are not. (sopranoand chamber ensemble); Olinda (trumpetand piano). These works will be releasedin 2003.

Sherban Lupu (violin) received theArnold Beckman Award from the UIResearch Board for his project to recordthe complete works for violin and piano ofBéla Bartók. Lupu recently was awardedan Honorary Doctorate Degree in Musicfrom the “G.Dima” University from Cluj,Romania. His new CD, Inner Visions (fea-turing contemporary works for violin,including those of UI composers ZackBrowning and Guy Garnett), has beenreleased on the Capstone label. Sherbanrecently performed solo recitals in New

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York City at the Symphony Space and theMiller Theater, and presented courses,masterclasses, and solo appearances inGermany, Poland, and Romania.

Kazimierz Machala(horn) taught at andperformed in a brassfaculty recital for theDomaine Forget Sum-mer Music Festival(Music and DanceAcademy) in Québec,Canada, in June,

2001. Machala was featured in July,2001, as a soloist with the AmericanWind Symphony in Winona, Minnesota;he also conducted that ensemble in RedWing, Minnesota, in works of Dvorak,Strauss, and Tomasi. In September, 2001,his composition Intuitions for Horn Quartetwas performed in Basel, Switzerland, bythe American Horn Quartet and wasrecorded for broadcast by SchweizerRadio DRS 2. Machala has been chosenas Award recipient for 2001 by the Ameri-can Society of Composers, Authors andPublishers. Kazimierz was featured soloistat the 2002 International Horn Symposiumin Finland in August, performing his tran-scription of music of Enrique GranadosOrientale, Spanish Dance No. 2 (for hornand piano). For the Symposium’s GalaClosing Concert, he also performed hisarrangement of Alasdair Frazer’s Tommy’sTarbukas for Horn Solo and Horn Choir,accompanied by 26 horn students from theEastman School of Music.

Charlotte Mattax(harpsichord and musi-cology) will tour theUnited Kingdom thiscoming summer, withconcerts at the SaintAlbans InternationalOrgan Festival (St.Albans Cathedral), the

National Trust Concert Series (ClaydonHouse), the Music at Oxford Series (Shel-donian Theater), Usher Hall (Edinburgh,Scotland), the Cambridge Summer MusicFestival (Kings College Chapel), London’sSouthwark Cathedral, and the BBC Proms(Royal Albert Hall). She performed J.S.Bach’s Well-Tempered Clavier in conjunc-

tion with an art exhibit of etchings by NewYork artist Elizabeth Harington in May,2001, at Lehigh University, as part of the94th Annual Bach Festival, held in Bethle-hem, Pennsylvania. Mattax also presenteda program of French harpsichord music atthe University of Virginia, Charlottesville,and gave a lecture on basso continuoaccompaniment in early 17th-centuryFrance at Northwestern University(Evanston, Illinois) as part of the annualconference of the Midwestern HistoricalKeyboard Society.

Timothy McGovern (bassoon) per-formed with the Chicago SymphonyOrchestra, Grant Park Symphony, andRavinia Festival Orchestra this past summerin programs which included works ofMahler, Brahms, Tchaikovsky, and Rossini,to mention a few. He also spent part of thepast two summers in residence with thePrairie Winds Woodwind Quintet at theBritt Festival Chamber Music Camp in Jack-sonville, Oregon. In March, 2001, he per-formed on the MusicNOW Series atSymphony Center (Chicago, Illinois) withthe Prairie Winds Woodwind Quintet andmembers of the Chicago SymphonyOrchestra. McGovern performed as princi-pal bassoon with Concertante di Chicagoin a concert which featured VariacionesConcertantes by Alberto Ginastera in May,2001. He also performed with the PrairieWinds Woodwind Quintet in June for atwo-hour, live radio broadcast on Chica-go’s WFMT. He toured Georgia, Califor-nia, Kansas, Ohio, and Illinois with theQuintet during the 2000-01 season.

William Moersch(percussion) participat-ed this past summer inthe Cloyd Duff SchoolTimpani Masterclass inKansas City and in theOberlin (Ohio) Percus-sion Institute, hostedthe Illinois Summer

Youth Music Advanced Percussion Camp,and observed his 13th season with theBard Music Festival for “Mahler and hisWorld.” Events on his 2002-03 scheduleinclude serving on the board for directorsfor the Percussive Arts Society and makinghis 14th appearance as a featured soloistat the 2002 Percussive Arts Society Interna-tional Convention in Columbus, Ohio.

Bruno Nettl (musicol-ogy and ethnomusicol-ogy) publishedEncounters in Ethnomu-sicology, a Memoir(Harmonie Park Press,Detroit) in 2002. Thecover of the bookdescribes it: “This is

Nettl’s story of what it was like to partici-pate in the development of ethnomusicolo-gy as a student, teacher, fieldworker,author, editor, advisor, and often just as anobserver, for half a century.” One of itschapters deals with the development of eth-nomusicology in the University of IllinoisSchool of Music. Among his other recentpublications are “Aux sources de larecherche américaine 1950-2000: undemi-siècle dethnomusicologie avec BrunoNettl” [interview by Yves Defrance],Cahiers de musiques traditionelles (Gene-va) 14:249-76, 2001, and “What’s to BeLearned: Comments on Teaching Music inthe World and Teaching World Music atHome,” in The Arts in Childrens Lives, ed.Liora Bresler and Christine Thompson (Dor-drecht: Kluwer, 2002), pp. 29-41. Nettlgave keynote lectures at a conference ofthe Iberian Society for Ethnomusicology inMadrid (June, 2002), at the MidwestChapter of the Society for Ethnomusicologyin Indianapolis (May, 2002), and at thefirst conference of the Brazilian Society forEthnomusicology in Recife (November,2002). In May, 2002, he received an hon-orary Doctor of Humane Letters from Keny-on College, Ohio. In April, 2002, he wasin residence for ten days as Visiting Schol-ar in Ethnomusicology at the University ofSouthern California, a visit that included apublic lecture at the Armand HammerMuseum of Los Angeles titled “ReachingOut the Persian Radif in World Music.” Healso read papers at several scholarly meet-ings: “On Gertrude Kurath as Scholar ofMusic and Dance,” Society for Ethnomusi-cology, Detroit, October 25, 2001; “WhatDid We Think We Were Doing? Notes onArchiving ca. 1950,” UCLA Conferenceon Ethnomusicological Archives, Los Ange-les, Nov. 10, 2001; and “Concept andReality in Musical Change: a ComparativeStudy,” International Musicological Society,Leuven, Belgium, 2002.

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Paul Oehlers (composition-theory)served as the festival director for the MAV-erick Festival 2002, an eight-concert festi-val held both in Chicago and at theUniversity of Illinois at Urbana-Champaign,featuring the music of distinguished guestcomposer Christian Wolff. During 2002,Oehlers’ music was performed at Electron-ic Music Midwest Festival (Kansas City),the imagine 2002 festival (Memphis), theMAXIS Festival of New Music (Sheffield,England), the Midwest Composers Sympo-sium, the Mid-American Center for theContemporary Arts, Queens College, theUniversity of Washington, the Western Illi-nois New Music Festival, the EleventhAnnual Florida Electro-acoustic Music Festi-val, NODUS New Music Festival (Miami),and the SEAMUS 2002 National Confer-ence. He has also completed Character,an experimental film collaboration withfilm maker Chris Mich, starring MarieOsmond, which has been shown at Para-mount Studios, QVC’s Super 8 Film Festi-val, and the Philadelphia Festival of WorldCinema.

Susan Parisi (research scholar) readpapers in the past year at conferences ofthe Centre d’Études Supérieures de laRenaissance (Tours, France), the NewberryLibrary Center for Renaissance Studies(Chicago), and the International Musicolog-ical Society (Leuven, Belgium). She pub-lished articles in the Albert DunningFestschrift (Turnhout, 2002) and NewGrove Dictionary of Music and Musicians.Parisi is co-editor (with Colleen Reardon) ofMusic Observed: Studies in Memory ofWilliam C. Holmes (Harmonie Park Press,forthcoming). She is serving as chair of thePisk Prize Committee of the American Musi-cological Society in 2002-03.

David Patterson (musicology) has givenpresentations in the past eighteen monthsat the national conferences of the Societyfor American Music, Royal MusicologicalAssociation, the Society for Cinema Stud-ies, Society for Dance History Scholars,American Studies Association, AmericanMusic Research Center, and AmericanMusicological Society. He also presentedhis research at the Second Biennial Interna-tional Conference on 20th-Century Musicin London, as well as at the symposium“Music in the ‘Free’ World, 1950-1970,”

held at Wesleyan University, Connecticut.In 2002, John Cage: Music, Philosophy,and Intention, 1933-1950, a collection ofessays for which he was editor and a con-tributor, was published by Routledge Press,and in September, two of his other essayswere published in the Cambridge Com-panion to John Cage. Within the Societyfor American Music, he recently coordinat-ed the founding of the Gay/Lesbian/Bisex-ual/Transgendered Interest Group, andchairs both this and the 20th-CenturyMusic Interest Group. He is currently work-ing on his own book on Cage’s aestheticevolution, which is contracted by the Uni-versity of Rochester Press.

EEddwwaarrdd RRaatthh(administration) per-formed a recital withhis brother, bassoonistCarl Rath, at the Inter-national Double ReedSociety Conference,held in Banff, Canada,in August, 2002.

Sam Reese (musiceducation) was aninvited keynote speak-er for the InternationalSociety for Educationin the Arts, AsianRegional Congress,held in Taichung, Tai-wan, November,

2001. He spoke on “Music Technology inAmerican Schools: Technique or Transfor-mation?” He made presentations ofresearch at The National Association forMusic Education 2002 national conference(Nashville, Tennessee), including “TheImpact of Training on Music Teachers’Knowledge of, Comfort with, and Use ofTechnology: A Pilot Study” (with WilliamBauer, Case Western Reserve University,and Peter McAllister, Ball State University);“Teaching Composition: Ideas for Projectsand Assessments” (with Maud Hickey,Northwestern University); and “Strategiesfor Teaching with Technology” (with Kim-berly Walls, Auburn University, and Kim-berly McCord, Illinois State University).Reese also made presentations at the Tech-nology Institute for Music EducatorsNational Conference, Nashville, Ten-nessee, “Trends in Music Technology in Illi-

nois Public Schools,” and at the Associa-tion for Technology in Music InstructionNational Conference, Kansas City, Mis-souri, “Trends in Music Technology in Illi-nois Schools: A Follow-up Survey.” In June,2002, Sam was a guest instructor for theCollege Music Society Center for Profes-sional Development in Music Technology, aone-week course for college music profes-sors, held at Illinois State University (Nor-mal). He will have a chapter, titled“Responding to Student Compositions,”appear in the upcoming book, Why andHow to Teach Composition: A New Hori-zon for Music Education, to be publishedby MENC.

Debra Richtmeyer (saxophone) record-ed a CD of saxophone concertos last Maywith the Slovak Radio Orchestra, with KirkTrevor conducting. The CD, which willinclude music by Strauss, Rachmaninov,Glazounov, and a concerto written for herby Pulitzer Prize nominee David Ott, willbe released on 4tay records.

Dana Robinson(organ) was co-direc-tor for a Pipe OrganEncounter, sponsoredby the East Central Illi-nois and Peoria Chap-ters of the AmericanGuild of Organists,held June 23-29 at the

UI School of Music. Pipe Organ Encounteris a program of the American Guild ofOrganists designed to introduce highschool students to organ study. Theencounter brought together 16 young students with ten faculty members,drawn from colleges, universities, andchurch music programs throughout thecountry. Members of the University of Illi-nois Student Chapter of the Guild servedas counselors for the event. Robinson alsopresented a recital on June 29, 2002, forthe national convention of the Organ His-torical Society, held in Chicago. The recitalfeatured the historic 4-manual 1902 Lyonand Healy organ at the Basilica of OurLady of Sorrows. Dana and three studentstook a study trip to Germany and theNetherlands for two weeks in May andJune, 2001. Through arrangements withthe Westminster Historic Organ Program,the group was in residence for ten days at

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Cappel, Germany, home of the famous1698 Arp Schnitger organ, one of theworld’s most important monuments of organbuilding. Here, students had the opportuni-ty for daily practice and instruction on theSchnitger organ, as well as access to theSchnitger organ in nearby Dedesdorf. Thetrip included excursions to numerous othermonuments of organ building in NorthernEurope, including Norden, Weener, andLudingworth in Germany, and Beverwijkand Haarlem in the Netherlands.

Ronald Romm (trum-pet) was one of thethree judges for theMontréal SymphonyOrchestra InternationalCompetition in Novem-ber, 2002. This yearthe competitionemphasis was on

woodwinds, brass, and percussion.

Peter Schaffer (violin) has been invitedto attend and give a special concert inBerlin next spring for a reunion of some ofthe world famous Variety Artists of the lastCentury. His father, Sylvester, was one ofthose artists. Peter will also give a lectureon his experiences as the son of a vaude-ville performer.

Donald Schleicher (orchestra) appearedas guest conductor in 2002 for Le Nozzedi Figaro at the Rice University ShepherdSchool of Music, and with the Oberlin Col-lege Chamber Orchestra, Nevada All-StateOrchestra, and Quad City Wind Ensem-ble. During this past summer he served inhis 9th season as music director and prin-cipal conductor of the Pine MountainMusic Festival (PMMF), conducting per-formances of Don Giovanni as well as con-certs by the PMMF Symphony. In Fall,2002, Schleicher began his fourth seasonas music director and conductor of theQuad City Symphony Orchestra. In Janu-ary, 2003, Don will be the conductor ofthe Illinois All-State Honors Orchestra. Inthe 2001-2002 academic year, Schleicherconducted the Eastman Philharmonia, theNevada All-State Orchestra, the Tri-M/MENC International Honors Orchestra,and the IMEA District 9 Orchestra.

Jerold Siena (voice)appeared this pastFebruary at NewYork’s MetropolitanOpera in the role ofDon Basilio in LeNozze di Figaro. Thispast summer he per-formed and taught for

“La Musica Lirica” in Urbania, Italy, and atthe University of Miami Summer MusicSchool in Salzburg, Austria. PreviouslyJerold appeared in two highly acclaimedproductions of the Dallas Opera, in whichhe received glowing reviews for his role ofHauptmann in Berg’s Wozzeck and for hisrole of Guillot in Massenet’s Manon.

Gabriel Solis (musicology) was invited topresent a paper at the annual meeting ofthe American Musicological Society inOctober, titled “Historical Treasures andTestaments Betrayed: The Publication ofThelonious Monk’s Live Recordings at theFive Spot, 1958.”

Kenneth Steinsultz (bands) was anadjudicator/clinician for the SoutheastDuPage Festival of Bands (Burr Ridge, Illi-nois) in March, a guest conductor for theMid-State Conference Honor Band (Field-crest High School, Minonk, Illinois) inMarch, and a euphonium soloist with theQuincy (Illinois) Park Band in July, per-formed Bellstedt’s Napoli. Steinsultz per-formed for the WILL/Krannert Art Museum“Second Sunday Concert Series” in Sep-tember, along with tubists Mark Mooreand Fritz Kaenzig, as well as MaureenReagan, euphonium.

Fred Stoltzfus(choral) traveled inSeptember to West Vir-ginia with the vocalensemble Choragos,for which he serves asfounder, director, andperformer, to presentconcerts at The Ran-

dolf County Arts Center (Elkins), West Vir-ginia Wesleyan College, The Choral ArtsFoundation (Clarksburg), and GlenvilleState College.

Sylvia Stone (voice) taught voice at theSummer Program for Opera Singers inPiobbico, Italy, during June. This programoffered the participants voice lessons andcoachings with an international faculty andan intensive language course, and wasadministered by the Scuola Italia. Eachweek there was a concert at a differentvenue, and the group traveled to Rome tosing at the Vatican, Sunday, June 23. InJuly she adjudicated the LeopoldskronCompetition for Singers in Salzburg andserved as resident co-director of the Komis-che Kammeroper Muenchen in Germany.In August, Stone presented masterclassesat the University of Miami Summer Pro-gram in Salzburg, and she then traveled toAustin, Texas, to hold a group of master-classes for the Austrian-American-Mozart-Academy at the University of Texas.

Heinrich Taube (composition-theory)had his composition Aeolian Harp per-formed at the Washington Arts Festivalsand the CCRMA Summer Concert in Sum-mer, 2001. Taube was in recent contractnegotiations with Harcourt Brace to devel-op the Music Theory Workbench intointeractive courseware, to be marketed byHarcourt Brace.

Stephen Taylor (composition-theory)completed Quark Shadows (for horn, viola,double bass, and prepared piano), a com-mission from the Chicago Symphony; itwas premiered on November 20, 2001.The Chicago Sun-Times called the work“sonically spectacular,” while the ChicagoTribune review noted “an original and per-sonal voice, something exceedingly rare ina country so taken with unconvincingremakes in old languages.” Among otherrecent performances of Taylor’s music areShattering Suns, played by the UI WindSymphony in March, 2002; SevenMicroworlds (for flute, guitar, and electron-ics), performed at the SEAMUS nationalconference at the University of Iowa inApril, 2002; Unfurl (for two harps), com-missioned by UI harp professor AnnYeung), premiered in Geneva, Switzerland,for the July, 2002, World Harp Congress;Viriditas, also performed at the WorldHarp Congress by the Debussy Trio; PulseAria (for viola and electronics), performedby UI violist Rudolph Haken at the Michi-gan City, Indiana Music Festival; Nebula

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(for solo cello), premiered by UI faculty cel-list Laurien Laufman in September, 2002;and In The Balance, performed by the UISymphony Orchestra in Fall, 2002. Cur-rently Taylor is working on a large-scalesolo piano piece for the Los Angeles-basedpianist Gloria Cheng; he will be on leavein Spring, 2003, to complete this work, asa recepient of a grant from the HowardFoundation.

Sever Tipei (composition-theory) finisheda new work for voice and chamber ensem-ble on poems by Antonin Artaud. In June,three new variants of his manifold composi-tion A.N.L.-folds, for computer generatedsounds, were presented at the JIEM 2002festival, Centro Reina Sofia, Madrid,Spain. His Curses (for male voice, backupgroup, and computer generated tape) wasaccepted for performance at the ElectronicMusic Midwest Festival, December 5-7,2002. As a visiting scientist at ArgonneNational Laboratory, Tipei is continuingwork on software for sound synthesis, com-position, visualization of music in the CAVEvirtual environment, and sonification ofcomplex scientific data. Another recentproject of Tipei’s involves the DVD record-ing of a piece for trumpet, prepared piano,tape, and images, using the facilities of theUI Beckman Institute’s Imaging TechnologyGroup.

Christos Tsitsaros (piano pedagogy)was artist in residence in Summer, 2001,at the Helene Wurlitzer Foundation of Taos,New Mexico, where he premiered his Vari-ations after a Reading of Primo Levi’s Sur-vival at Auschwitz (for piano solo). InJanuary, 2002, he was soloist with theCyprus State Orchestra in Grieg’s PianoConcerto. During the past academic year,Christos has also contributed pianoarrangements in the Hal Leonard’s PatrioticPiano Series, the proceeds of which werecontributed to the God Bless America Fund(a joint project with Yamaha Corp. ofAmerica). He gave his New York debutrecital, presented by MidAmerica Produc-tions, at Carnegie Weill Recital Hall in Jan-uary, 2001. Newly-issued educationalpiano works of Tsitsaros were presented ata Hal Leonard Showcase during the MusicTeachers National Association national con-ference, held in Washington, D.C., inMarch, 2001.

Heidi Von Gunden (composition-theory)received the ASCP Deems Taylor Awardfor her book, The Music of Vivian Fine; theawards ceremony was held at New York’sLincoln Center in December, 2000.

Scott Wyatt (composition-theory) had hiswork for percussion and tape, All for One,which received the first Bourges ComposerLaureate Award in 1984, selected forinclusion on the 15th volume of the Elec-tronic Culture Recording Series (LCD-278074/75) by the Groupe InternationalMusique Electroacoustique de Bourges,released in May, 2002. His electro-acoustic music composition In the Arms ofPeril was selected for inclusion on the com-pact disc recording Music from SEAMUS,Volume 11 (EAM-2002), released in June,2002. Wyatt’s electroacoustic music com-position Night Visitors was selected forinclusion on the compact disc recordingMusic from SEAMUS, Volume 12 (EAM-2003), to be released in May, 2003.Night Visitors was performed at the 2002national conference of the Society for Elec-tro-Acoustic Music in the United States,hosted by the University of Iowa, April 4-6,2002. He was invited to be guest compos-er for lectures and performances at theUniversity of North Texas and the Universi-ty of Texas at Austin in November, 2001.Wyatt will be guest composer at the Uni-versity of Missouri-Kansas City, March 5-7,2003. He remains on the editorial boardfor Organised Sound: An InternationalJournal of Music Technology by Cam-bridge University Press, and continues tobe on the board of directors of the Societyfor Electro-Acoustic Music in the UnitedStates, as well as the board of advisors forthe Musical Entrepreneurial Studies Pro-gram at Millersville University in Pennsylva-nia. Wyatt continues to serve as projectdirector and engineer for the music fromSEAMUS compact disc recording series ofthe Society for Electro-Acoustic Music inthe United States.

Ann Yeung (harp)has been appointededitor of the WorldHarp CongressReview, the biennialpublication of theWorld Harp Congress,Inc., with circulation inover 50 countries. In

July, 2002, she premiered Anne LeBaron’sHsing (for solo harp) and UIUC composerStephen Andrew Taylor’s Unfurl at the AHSNational Conference in St. Paul, Minneso-ta. She also serves as chair of the AHSHarp Literature Committee that secured thepublication of a previously unknown workby Marcel Grandjany, founder of the AHS,in celebration of its 40th anniversary.Yeung’s article “Discovery and Acknowl-edgment: Chou Wen-Chung’s Two FolkSongs for Harp Arranged by LucileLawrence” was published in the Summer,2002, issue of The American Harp Journal.In Spring, 2002, she performed at theMidwest Composers Symposium, the Flori-da Electroacoustic Music Festival, and in abenefit concert with UI violist Rudolf Hakenfor the International Children’s Heart Foun-dation in Memphis, Tennessee. The UI harpprogram hosted a visit by distinguishedcomposer and avant-garde harpist AnneLeBaron (California Institute of the Arts) inconjunction with the Environmental Coun-cil’s Horizons 2002 conference and the UICenter for Advanced Study’s CAS/Miller-Comm lecture series in April.

Stephen Zank (musicology) continuedresearch in Washington, New York, andParis during the summer on three separatemonographs (two on Ravel). His chapter inthe Yale University Press volume on the his-tory of the piano (Piano Roles, ed. byParakilis) has recently been reprinted, andhe has been invited to speak at the Interna-tional Prokofiev conference in Manchester,United Kingdom, in February.

In MemoriamCharles Leonhard, 87, died January 31, 2002,in Champaign, Illinois.

Alexander Ringer, 81, died May 3, 2002, inLansing, Michigan.

William Warfield, 82, died August 25, 2002,in Chicago, Illinois.

I would like to introducemyself as the new assis-tant director of develop-ment in the School ofMusic. I am delighted tobe a part of one of the

premier music schools in the nation. Ithas been a pleasure working with thestudents and faculty since I began here,and I look forward to sharing many suc-cesses with you.

What attracted me to this positionwas the reputation of the School andthe opportunities it provides for stu-dents and faculty from all disciplines.We play a big role in enriching the livesof thousands of people on campus, aswell as members of the local, national,and international communities. TheSchool is also an important part of theCollege of Fine and Applied Arts, a Col-lege that boasts some of the top pro-grams in the country. Our collaborativeefforts with other units in the College,

as well as other departments oncampus, have allowed the Schoolto explore new opportunities.

These opportunities havecreated new programs

and initiatives that willcontinue to positively

impact the Universi-ty and our ability to

attract the best and bright-est students and faculty. We are a

vital part of the University of Illinois,one of the most respected educationaland research institutions in the world.This is exciting!

However, what makes this place trulyspecial for me is the people—our stu-dents, faculty, alumni, and friends. I havehad the opportunity to meet severalpeople during the last few months andhave enjoyed hearing about the experi-

C a m p u s N e w s

ences of our alumni. Regardless of whatcareer paths our graduates have chosen,it is the quality of education and theopportunity to study with some of themost talented faculty and scholars any-where that has enabled our graduates tobe so successful. The history of thisSchool and the contributions that ouralumni have made, and continue tomake, whether it is gracing the world’smost famous stages or teaching stu-dents in rural towns, is unparalleled.

Your support is essential in maintain-ing the quality for which the School ofMusic is known, and we thank you forthe difference that you are making forour students and faculty. We encourageyou to keep in touch with the Universi-ty and hope that you will visit us whenyou return to Urbana-Champaign. Wealso invite you to call to tell us aboutyour experiences or to share your com-ments about ways we can strengthenour efforts to remain a leader in music.We want to find ways for the School ofMusic to be an important part of yourlife in the years to come.

As I continue to learn more aboutthe rich traditions of the School ofMusic and the accomplishments of ourstudents, faculty, and alumni, I am excit-ed about what the future holds. I hopeyou are, too. I am here to build an evenstronger foundation for our studentsand faculty, and to create opportunitiesfor a new generation of performers,educators, composers, and musicolo-gists. I look forward to realizing thesegoals with you—our alumni and friends—our partners in excellence. •

(editor’s note: Sarah Green joined the School of Music in June, 2002.She holds a Bachelor of Music degree in music/business from DePauwUniversity (Greencastle, Indiana), a Master of Arts degree in per-forming arts: arts management from American University (Washing-ton, D.C.), and an M.B.A. degree from the University of Illinois. Shecan be reached at 217/244-4119 or sgreen@uiuc.edu.

Building aStrongFoundationSarah Greenassistant director of development

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The School of Music is pleased to announce

several new endowment gifts.Through the

generosity of our donors, these awards will

attract the most talented students, provide

additional funding for outstanding profes-

sors, and create new opportunities to bring

renowned scholars to our campus.

Dorothy A. and Claude R. LangfordEndowed Chair in Music

Dorothy A. and Claude R. Langford Keyboard Fellowships

Dean T. and Nancy Langfordhave established a Chairand Fellowships in Music.These awards are in honorof Dean’s parents, DorothyA. and Claude R. Langford,and will help fund profes-sors and students in the

keyboard divisions. (See separate article on page 6 in thisissue of sonorities.)

Bill A. Nugent Fellowship in MusicDr. B.A. Nugent was appointed execu-tive director of the University of IllinoisFoundation in 1986 and served in thiscapacity until his retirement in 1999.Dr. Nugent is credited with being thearchitect and director of Campaign Illi-nois, a $1 billion fund drive, which wasone of the first initiated by a public

university.To honor Dr. Nugent’s exemplary leadership, theUrbana-Champaign campus established this fellowship onthe occasion of Dr. Nugent’s retirement. Dr. Nugent holds adoctoral degree in musicology, is widely recognized as aconductor and pianist, and has published several books andarticles related to music. During his tenure at the Universityof Illinois Foundation, Dr. Nugent taught graduate courses inthe School of Music.The first recipient of the Fellowship isStacey Jocoy Houck, a doctoral candidate in musicology.

Swanson Family Percussion FellowshipThis Fellowship was established by Mark T. and Joan W.Swanson.The Swansons graduated from the University of Illi-nois at Urbana-Champaign in 1977—Joan with a B.A. degreein anthropology and ethnomusicology, and Mark with a B.M.degree in percussion performance. Joan also played cello inthe School of Music. Mark studied with Professor ThomasSiwe and later was a graduate assistant in percussion to Pro-fessor Mervin Britton at Arizona State University. The Swan-sons’ generosity qualified the fellowship for the University ofIllinois Endowed Fellowship Income Matching Program, asset forth by the Office of the Provost.The first recipient forFall, 2002, is Brian Nesselroad, a Master of Music candidate.

Nancy Kennedy Wustman MemorialAward in Vocal AccompanyingNancy Kennedy Wustman was a graduate of Crane College ofMusic at Potsdam State University in New York. She was amember of the Robert Shaw Chorale, and a lover and sup-porter of voice recitals at the University of Illinois.This awardwas endowed by Professor John Wustman and his former stu-dents. The 2002 winner, Lisa Engelbrecht, is a graduate stu-dent in accompanying.

The Bruno and Wanda Nettl Annual Lectureship in EthnomusicologyThis lectureship was established by Professor EmeritusBruno Nettl and Wanda Nettl, and students and friends of Pro-fessor Nettl.The first lecture,“From Jaguars to Napster: WhoOwns Music and What We Should Do About It,”was deliveredin September, 2001, by Dr.Anthony Seeger, professor of eth-nomusicology at UCLA.The 2002 lectureship took place thispast September with Beverley Diamond, professor in thedepartments of music and folklore at the Memorial Universi-ty of Newfoundland. She presented “Indigenous Music Cul-tures in an Interconnected World.”

New Gifts

Student News

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Kyongmee Choi, a doctoral student incomposition, was the winner of the 200121st Century Piano Commission AwardCompetition. She produced a concert inthe Krannert Center’s Foellinger Great Hallthat included her own works for piano,ensemble and electronic works, and video.The concert was also notable for its inclu-sion of about 30 original paintings byChoi with thematic links to the music. Choiis also the research assistant for the VirtualScore project, directed by UI Profes-sor Guy Garnett at the National Center forSupercomputing Applications.

Michael Drews, graduate student incomposition, attended the 2001 StefanWolpe Society Festival-Symposium, held atNorthwestern University, Evanston, Illinois,November 29-December 1, 2001, and the2002 SEAMUS National Conference atthe University of Iowa, Iowa City, April 4-6. His new composition for chamberorchestra, Undercurrents, was awardedComposer Alternate status for the 2002Minnesota Orchestra Reading Sessionsand Composer Institute, October 25-31,2002.

Ivan Elezovic, gradu-ate student in composi-tion, was awarded thePresser Award at theUniversity of Illinois inApril, 2002, and theManitoba Arts Council

Award from the Manitoba Arts Council,Winnipeg, Canada, in August, 2002. Healso attended the “InternationaleFerienkurse fur Neue Musik 2002” inDarmstadt, Germany, in July, 2002.

Andrew Granade, doctoral student inmusicology, presented his research on thegenesis of Harry Partch’s U.S. Highball atboth the Second Biennial InternationalConference on 20th-Century Music, held atGoldsmiths University, London, and the2002 national conference of the Societyfor American Music.

Sara Heimbecker, doctoral student inmusicology, presented her research, “Musi-cating Language: The Musical/PoeticWorks of John Cage and Jackson MacLow,” at the 2001 national conference ofthe American Musicological Society inAtlanta, Georgia.

Claire Happel,undergraduate stu-dent in harp, was afinalist in the 2002National AnneAdams Awards audi-tions. She performedin the 2002 IndianaUniversity Summer

Festival Orchestra and was selected to per-form in a masterclass with Chantal Math-ieu at the American Harp Society’sNational Conference in Cincinnati, Ohio,this past June.

Jing-I Jang, graduate student in harp,was principal harpist with the Yinqu Sym-phony Orchestra and the Taipei Contem-porary Chamber Orchestra in Taiwanbefore coming to the UI this Fall. She alsoperformed with the Taiwan National Sym-phony Orchestra, Taipei SymphonyOrchestra, and Asian Youth Orchestra. In2001, she was a quarter-finalist in theUSA International Harp Competition, wonthe National Taiwan Normal University(NTNU) concerto competition, and per-formed the Ginastera Harp Concerto withthe NTNU Orchestra. She was also elect-ed as “Outstanding Student” of NTNU inher first year of college, majoring in harpand piano.

Elizabeth Jaxon, undergraduate studentin harp, co-authored a scientific researcharticle published in the Publications of theAstronomical Society of the Pacific. Shewas the American String Teachers Associa-tion 2002 National Solo Competition Stateof Illinois Winner in the junior division forharp and a national semi-finalist. Jaxon

2002-2003Margarethe Adams, Julia Cortinas,Natasha Kipp, and Jessica Shelvik,

(pictured) graduatestudents in musicolo-gy, received 2002-2003 REES FLASfellowships involvingthe Kazak, Russian,Russian, and Russianlanguages, respec-tively. Margarethe

received a similar fellowship for Summer,2002, at Indiana University. Juliareceived her fellowship also for 2001-2002. Natasha received a Ford Founda-tion Summer Travel Grant to Russia forSummer, 2002.

Elizabeth Antle, graduate student invoice, is scheduled to sing the role ofAdina in L’Elisir d’Amore at Theaterhof inHumbach, Germany, this season

Brett Boutwell, doctoral student in musi-cology, presented his research, entitled“Vertical Translations: the Role of VisualMetaphor in Morton Feldman’s Composi-tional Aesthetic,” at the Second BiennialInternational Conference on 20th-CenturyMusic, held at Goldsmiths University, Lon-don. During Summer, 2002, he conductedresearch on Feldman at the Paul SacherArchives in Basel, Switzerland, fundedthrough a University of Illinois DissertationResearch Grant.

Jamie Brothers, doctoral student intrombone, won the audition for the secondtrombone position with the St. Joseph,(Missouri) Symphony for the 2002-2003season.

Minsoo Cho, graduate student in compo-sition, had an electroacoustic music compo-sition, The Day, selected for performanceat the 11th Annual Florida ElectroacousticMusic Festival on March 23, 2002. Thiscomposition also received “honorablemention” at the 29th Concours Internation-al de Musique et d’Art Sonore Electroa-coustiques de Bourges in June, 2002.

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Andrew Larson, doctoral student inchoral conducting, has joined the facultyof Stetson University in Deland, Florida.

Soojeong Lee, doctoral student in voice,joined the music faculty of NorthernAlabama University in Fall, 2001.

Ruth Lenz, doctoral student in violin, iscontinuing as associate concertmaster ofthe Reno Philharmonic. She was alsorecently appointed concertmaster of theNevada Opera and second violinist of theTelluride Chamber Music Festival in Col-orado. Lenz will be performing Schnittke’sConcerto Grosso No. 1 (for two violins,piano, and string orchestra) with the RenoChamber Orchestra in March.

Charles Lynch, graduate student inharp, gave a presentation on the RoslynRensch Papers and Collection (housed atthe UI Archives) at the 2002 AmericanHarp Society National Conference with Dr.Rensch-Erbes in attendance. He will be afeatured soloist with the Prairie Ensemblein William Grant Still’s Ennanga (for soloharp, piano, and string quartet), January24, 2003, at Urbana-Champaign.

David McDonald, doctoral student inmusicology, received 2001-02 and 2002-03 IPS FLAS fellowships, globalizationstudies, as well as a 2002 CIC ForeignLanguage Enhancement Program SummerGrant.

Scott Montgomery, undergraduate stu-dent in organ, won Second Prize in theArthur Poister competition, a national com-petition open to undergraduate and gradu-ate organ students, held annually inSyracuse, New York.

Matt Olson, doctoral student in saxo-phone, was hired as director of jazz stud-ies at Furman University.

Kimberly Persia,doctoral student inbassoon, was hiredin August, 2002, asprofessor of bassoonat Eastern Illinois Uni-versity in Charleston.

also was featured in the July/August 2002issue of the national publication Harp Col-umn in an article on young harpists.

Stacey Jocoy, doctoral student in musi-cology, was awarded a two-month Hunt-ington Library Research Fellowship forSummer, 2002, and carried out researchon popular music in England in the seven-teenth century, the subject of her disserta-tion. She also presented a paper at theSpring, 2002, meeting of the MidwestChapter of the American MusicologicalSociety in Indianapolis.

Philip Johnson, doctoral student in per-cussion, works in the San Bonito (Texas)School District as a percussion instructor.

Timothy E. Johnson, graduate studentin composition, was awarded the firstExperimental Music Studios’ “AssociateAward” in January, 2002. This new pro-gram awards the recipient dedicated useof EMS equipment during the academicyear, in addition to a budget for the pur-pose of investigation of interactive elec-tronics and the composition of a newwork involving the interactive set-up forperformance.

Karen Juliano, graduate student invoice, has been appointed to the voicefaculty of the Wausau Conservatory ofMusic in Wisconsin.

Richard Kurasz, doctoral student in per-cussion, has accepted the position of assis-tant professor in percussion at WesternIllinois University in Macomb.

Ieng-Ieng Lam,doctoral student inpiano, gave twoworkshops in Macauin June for studentswho were participat-ing in the MacauYouth Music Competi-tion. In August she

played Beethoven’s Piano Concerto No. 5with the Macau Youth Symphony Orches-tra at its Fifth Anniversary Concert, as wellas presented a solo recital featuring worksof Bach, Schubert, and Brahms.

Colleen Potter, undergraduate student inharp, was a winner of the Birch CreekMusic Performance 2002 Concerto Com-petition in Wisconsin. She will performCamille Saint-Saëns’ Morceau de Concert(for harp and orchestra) at Birch Creek inJune, 2003.

Trudie Ranson, doctoral student in musi-cology, was the recipient of a 2002 Grad-uate College Dissertation Travel Grant andconducted research in Munich, Jena, andVienna in connection with her dissertationon a manuscript in the Bavarian StateLibrary containing early 16th century par-ody masses.

Amy Reed, doctoral student in trumpet,is the professor of trumpet at WartburgCollege in Waverly, Iowa; she will be fea-tured soloist with the Wartburg Band thisFall and with the Wartburg Orchestra inthe Spring.

Sergio Rodriguez, undergraduate stu-dent in trombone, won the trombone posi-tion for “Opera in the Ozarks” in bothSummers, 2001 and 2002.

Kenneth Smith, graduate student inmusicology, is conducting research inParis, France, during the academic year2002-03, with full funding from the presti-gious Chateaubriand Fellowship, awardedby the French government. His topic is ahistory of the air sérieux in the late seven-teenth century.

David Steinau, doctoral student invoice, joined the faculty at SusquehannaUniversity in Fall, 2002.

Lucas Tannous, graduate student invoice, participated in the Santa Fe OperaApprentice Program last summer.

2001-2002Chad Ballantyne, graduate student invoice, sung in a performance of Bach’sMagnificat and Cantata No. 140 with theGalesburg (Illinois) Symphony Orchestra inDecember.

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S t u d e n t N e w s

Joanna Bosse, doctoral student in musi-cology, received the Nahumck Award forEthnomusicological Research on Dancefrom the Society for Ethnomusicology, forsupport of her study of ballroom dancingand the history of Latin dance “crazes” inNorth America.

Jeremy Brunk, doctoral student in per-cussion, won a section percussion positionwith the Illinois Symphony (Springfield). Herecently was appointed to the music facultyof Millikin University (Decatur, Illinois).

Stevi Caufield, senior student in bas-soon, was the winner of the Lynn HortonBassoon Scholarship. She also participat-ed in the Sarasota Music Festival in Flori-da this past summer.

Stephanie Chigas,senior student invoice, made herdebut at New York’sCarnegie Hall inApril, when she sangin a performance ofDuruflés Requiem. Sheappeared in recital

this Summer, 2001, at the Tarpon SpringsPerforming Arts Center in Florida. Chigaswas the first place winner of the GreekWomen’s University Club 2001 MusicCompetition, held in Chicago.

Jun Chun, graduate student in piano,has been appointed to a piano facultyposition at the University of Wisconsin-Plattville.

Ben Collins, Ben Hall, and AndrewPacker, freshmen students in percussion,were members of the drum line for theChicago Cavailers, 2001 Drum CorpsInternational champion.

Brent Davis, graduate student in voice,received a scholarship to the University ofMiami Summer Program, held in Salzburg,Austria, and was a winner of the recitalcompetition there.

Alexander Djordjevic,graduate student inpiano, recently per-formed a pianorecital at the PhillipsCollection in Wash-ington, D.C.; the con-cert was favorably

reviewed in the Washington Post.

Laura Ferguson, Chia-Ling Lu,Jason Meltzer, and Ken Smith, grad-uate students in music education, present-ed technology sessions at the 2001 IllinoisAll-State Meetings, held in Peoria, Illinois,in January, 2001.

Teun Fetz, doctoralstudent in percussion,recently was appoint-ed to the music facultyof Millikin University(Decatur, Illinois).

Connie Frigo, masters student in saxo-phone, was awarded a Fulbright fellow-ship for study in Amsterdam in the2001-2002 academic year with ArnoBornkamp. Connie joins Scotty Stepp (seebelow) to mark an extraordinary year forthe School of Music and the saxophonestudio of Professor Debra Richtmeyer, withtwo Fulbright fellowship winners chosen inthe same year from the same studio in thesame school of music—a truly remarkablehonor.

Desirée Hassler, graduate student invoice, sang four concerts with the SantaClarita (California) Master Chorale, mostnotably, as soprano soloist in the BrahmsRequiem. She also was a finalist in therecent Palm Springs Opera Guild Com-petition.

Jori Johnson, graduate student in voice,received a scholarship to Opera Aegeanin Greece for Summer, 2001.

Wendy Jones, graduate student invoice, sang the role of Agathe in 12 per-formances of the Theaterhof production ofDer lustige Freischütz in Germany duringthe Summer, 2001.

Injae Kim, doctoral student in choralmusic, participated in the Oregon BachFestival, held in Summer, 2001, in Eugene,Oregon. Injae accepted a position atDankook University in Korea to conducttwo choruses for the fall semester.

Richard Kurasz (B.M.’94), doctoral stu-dent in percussion, won a section percus-sion position with the Illinois Symphony(Springfield).

Hong Le, graduate student in music edu-cation, served as music director of thenewly-formed University of Illinois BassoonEnsemble, which presented a concert, enti-tled “Voices of Dead Trees,” in April.

Soojeong Lee, doctoral student in voice,recently accepted an appointment as assis-tant professor of music at the University ofNorth Alabama in Florence, Alabama.

Ruth Lenz, graduate student in violin,won the associate concertmaster positionwith the Reno Philharmonic last January.This position includes serving as concert-master for pops concerts and also bringswith it opportunities for chamber music per-formance and solo recitals, as well as theconcertmaster positions for the NevadaOpera and the Festival Ballet companies.

Teresa Loy, graduate student in pianopedagogy, accepted a full-time position asteacher of individual and group piano atthe Fountain Valley Music School in Califor-nia. She was recently employed as a full-time piano faculty member at the MeritSchool in Chicago, where she taughtapplied piano and children’s musicianshipclasses.

Charles Lynch, graduate student in harp,served as principal harp in the world pre-miere of a new opera by Paul Sietz at thePine Mountain Festival in Michigan thispast July. He also performed as secondharp with the Quad City (Illinois-Iowa) Sym-phony Orchestra last March. Lynch was afinalist in the National Anne Adams Awardauditions. He has been invited to give apresentation on the Roslyn Rensch Collec-tion, housed at the UI Archives, at the2002 American Harp Society NationalConference in June.

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Randall Meder, doctoral student inchoral music, has been appointed directorof choral music at North Carolina StateUniversity (Raleigh, North Carolina). Hisduties will include administering all choralactivities, conducting select choral ensem-bles, teaching studio voice, and advisingstudent-run vocal ensembles.

Scott Montgomery, undergraduate stu-dent in organ, recently received a scholar-ship from the National Association ofPastoral Musicians, which awards a limit-ed number of scholarships annually to out-standing student musicians pursuingcareers in church music.

Amy Olipra, senior student in voice andmusic education, was awarded a scholarshipfor study at the University of Miami SummerProgram in Salzburg.

Amy Olipra (left) with Professor Sylvia Stone, after a performance of “Tales of Hoffman” in February, 2002.

Henry Pleas, graduate student in voice,performed in the following works/concerts:Hailstork: Done Made My Vow (oratoriofor tenor, soprano, narrator, chorus andorchestra) with Grand Rapids Symphony(January, 2001) and with the Liberty Sym-phony Orchestra (May, 2001); Hayes: TheLife of Christ (sacred solo song cycle) FirstUnited Methodist Church of Glen Ellyn(April, 2001); and Janacek: Otceanas/OurFather, First Congregational Church of DesPlaines May, 2001.

Kevin Pruiett, graduate student in trum-pet, has been appointed recently asinstructor of trumpet and jazz at Okla-homa Baptist University.

Heidi Richter, undergraduate student invoice, sang the role of Helmtrude in theTheaterhof production of Der Lustige Freischütz in Germany in Summer, 2001.

Owen Rockwell (B.M.’00), graduatestudent in percussion, attended the AspenMusic Festival in Summer, 2001.

Vern Sielert, doctoral student in trumpetand jazz, has accepted a full-time positionin jazz at the University of Washington inSeattle.

MinaSomekawa(B.M.’93,M.M.’95), doctor-al student inpiano, accepteda position as visit-ing assistant pro-fessor of music at

Millsaps College, in Jackson, Mississippi,for the 2002 spring semester.

Scotty Stepp, doctoral student in saxo-phone, was awarded a Fulbright scholar-ship to study in Paris, France, for the2001-2002 academic year.

The Red Onion Saxophone Quartet(UI Graduate Saxophone Quartet,coached by Professor Debra Richtmeyer)was selected in a national tape prelimi-nary round of more than 250 entrants tocompete at the Fischoff National Cham-ber Music Competition, held in SouthBend, Indiana, May 12-13, 2001. Itwas the only saxophone quartet that wasselected for the competition. The Quartetthen won Second Place in the actual com-petition, and received $2000 and silvermedals. Members of the Quartet are JimRomain, John O’Brien, Joyce Griggs, andNathan Nabb.

Alison Robuck, doctoral student inoboe, was selected as the oboe perform-ing assistant at the 2001 Bowdoin Sum-mer Music Festival, where she performedin many concerts, including a performanceof Dvorak’s Serenade with Joseph Robin-son, principal oboist of the New York Phil-harmonic.

Rachel Scott, undergraduate student invoice, sang the role of Mechthilde in theTheaterhof production of Der Lustige Freischütz in Germany in Summer, 2001.

Lucas Tannous, graduate student invoice, recently visited the apprentice pro-gram of the Santa Fe Opera, where hecoached with Nico Castel and ReginaSarfaty.

UI Horn Choir performed at the Mid-west Horn Workshop, held in Conway,Arkansas, in March, 2001. In addition,the performers participated in various lev-els of competition at the workshop; the stu-dents of Professor Kazimierz Machalawere named winner in four categories, aswell as runner-up in the two remainingcategories.

Libby Vanatta, graduate student inpiano pedagogy, recently served at MillikinUniversity (Decatur, Illinois) as an appliedteacher in the School of Music PreparatoryProgram and a part-time group pianoteacher for the collegiate program.

RRoosseemmaarryyWWiilllliiaammss, doctoralstudent in horn,recently accepted aposition as assistantprofessor of horn atBowling Green StateUniversity, BowlingGreen, Ohio. Prior

to this, she served as assistant professorof horn at Southern Illinois University-Car-bondale.

Eun-Jun Yoo, graduate student in harp,won First Prize in the UI String DivisionConcerto Competition and performedGinastera’s Concerto for Harp with the UISymphony Orchestra in January. Yoo hasbeen awarded the Roslyn Rensch HarpAward and was named alternate in theKate Neal Kinley Memorial Fellowshipauditions. She was a finalist in the Nation-al Anne Adams Award Auditions.

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Ihave many hats in my closet. When we

moved, so that I could shift half my aca-

demic life to the University of York, I found

that hats take up a lot of room. They’re tough

to pack; some are strong-brimmed and weak-

crowned, others the reverse; each suggests a

different box, different padding.

But the academic hats were worse. Scores

for analysis, for theory, for performance; music

I’d written and music I hadn’t; tapes, lectures,

articles, chapters, research notes, books—and

books—and books—and (oh, yes!) journals.

Too many hats; too much stuff—and always

the lingering sense that the well-dressed aca-

demic should really have one hat only, distinc-

tive but authentic, perfectly preserved, and

well protected from storm and theft.

There was a time when that plethora of

fedoras (academic, I mean) was useful. I had

resigned my position at UCSD and (after a

buffering year as Fulbright professor at the

University of Keele) undertaken to survive as

a free-lance. Now, in that world there are

some real advantages to hat collecting. For

one thing you can (with only the slightest

hypocrisy) say yes to nearly anything—some-

where, surely, is a hat that fits. So I copied

music, sang, conducted, composed, edited,

researched, wrote, organized. For another,

nobody expects too much: there’s the hidden

assertion (sometimes not so hidden, actually)

that the research you get from someone

who’s really a composer is going to be okay,

but... —and we all know about the music that

scholars compose, to say nothing of the per-

formances which both scholars and com-

posers give.

Then I came to Illinois, for reasons too com-

plicated to relate. Here all the hats go into the

closet: pick one, and don’t put the others on in

public. Here we have professors of musicolo-

gy, of jazz, of education, of bassoon. We all

do Our Things, one at a time, in perfect har-

mony. (Well, perhaps not—but as a modernist

you can imagine how much I welcome dis-

cord.) I was professor of composition (—theo-

ry, I hasten to add: one truly wonderful quirk

about this School of Music is its assertion,

often threatened but not yet abandoned, that

composers can wear theorists’ hats too,

though maybe a bit askew, and that therefore

composers make terrific teachers of theory).

It’s a big school; it’s a wonderful school; and

the little hat monopolies only help extraordi-

nary music to be made every day, in venues

from the orchestra (gosh, what a group!) to the

experimental studios (good heavens, what is

this stuff?).

The University of York, on the other hand,

isn’t a big school, not by Midwestern stan-

dards. There are upwards of 80 undergradu-

ates on a three-year degree program and 40

or so graduate students studying a variety of

things. The program is among the top five in

A N A M E R I C A N I N Y O R KWilliam Brooks professor of composition-theory

ILLU

STRA

TION

: NI

COLE

HEN

TGES

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England, and the department was founded in

1964 by Wilfred Mellers, whose hat collec-

tion is truly formidable. York is authentically

unique in the extent to which it has attempted

to institutionalize multi-hattedness: there is no

set curriculum, and all faculty members are

expected and encouraged to pursue a variety

of interests in both their scholarly and peda-

gogical lives.

The undergraduate York curriculum is

organized around what are called projects.

The year is divided into three terms of ten

weeks each, and a project centers on teaching

which takes place during half a term. During

that period (functionally four weeks, for admin-

istrative reasons), the professor and the stu-

dents (who enroll in only one project at a time)

meet together a minimum of 12 hours a week,

with substantial additional time set aside for

one-on-one instruction. It is intense, believe

me; and it makes for a depth of undistracted

conversation that I’ve never experienced else-

where. During the next half-term the students

pursue the topic individually or in small

groups, meeting frequently but irregularly with

the professor; and at the beginning of the fol-

lowing half-term, whenever it falls, they pres-

ent their work for criticism and assessment.

During a project, then, you wear one hat,

so constantly that you might as well sleep in it.

But from project to project the hats are change-

able: follow your interests, present your pas-

sions (the thinking goes), and the students will

be rewarded with a commitment and energy

that more than compensates for whatever com-

pleteness and inclusiveness derives from a

fully planned curriculum with majors, minors,

and a host of requirements. I first taught a

project on American Experimental Music; dur-

ing the past spring I taught ones on Composi-

tion and Repetition and Music before Elvis

(that’s pop music, 1800-1950). Coming up is

Compositional Structure and the analysis of

Charles Ives’s music. Down the road, who

knows?—Canon, Sacred Harp Singing,

Beethoven, Duke Ellington?? Gee, life is an

adventure again...

But what is lost in this battery of hattery?

There is no guarantee of evenness: the orches-

tra (excellent for the size of the University) will

always have weaknesses, and these will be

different each year. There are fewer people (a

lot fewer!); that sense of abundance, of being

buoyed by sea of amazing intellects, is simply

weaker. In the absence of fixed policies,

there’s a constant need for self-scrutiny: are

we doing a reasonably well-rounded job? Is

everyone being properly tended to? (Respon-

sibility, to students more than the

academy, calls for sensitivity and

invention to a wholly different

degree.) And there’s a remarkable

casualness about the underpin-

nings: the computer systems are

fraught, the facilities cramped

(though there’s a fine hall, and a

new building on its way), and the

library—well, in the best of moods,

I’d call it basic. (Oh, the library! Liv-

ing in paradise, to which my closest

experience is the UI Music Library and its staff,

one just doesn’t realize what is lost when

made to live on earth. How many times last

year did I weep at the distance between me

and 780.923!)

So now I find myself confronting not only

multiple hats, but different frameworks (cli-

mates, perhaps?) for that multiplicity. And with

this, the wish (of course) that there was a mid-

dle ground, a climate which offered both the

consistency of a Cubs-cap world like Illinois

and the adventuresome variety of the poly-

porkpied York. But there isn’t such a climate,

and there can’t be (not even in the Southern

California I fled, which never admitted the

importance of ice storms). The best we can

hope for is to learn to celebrate differences

meterological and metaphoric, and to cele-

brate these regardless of hats, closets,

libraries and curricula.

What a world this is! Awful, really, truly

awful: wrath, war, wickedness; too many W’s,

not enough L. And yet somehow we are

expected to embrace difference, even when

difference itself, it

would seem, encom-

passes fanaticism!

How can we be not

indifferent and yet

value differences?

I haven’t a clue, you

know; but stretching

those sinews to keep

one foot in Urbana

and the other in York

somehow seems like

good calisthenics for the world to come. Visit-

ing isn’t the same, but it’s a start. Consider

yourself invited. •

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Armstrong Competition WinnerReunites 1952 Classmates

Joshua Davis won the John D. and FernHodge Armstrong Award for OutstandingUndergraduate Performance on January28, 2002. The competition is held annual-ly for talented juniors and seniors who arerecommended by each division of theSchool of Music.

Sponsors of the award, John D.(B.S.’50) and Fern Hodge Armstrong(B.S.’52) of Rockford, Illinois, met Josh’sgrandmother, Allie Jane Miller Davis(B.S.’52), and mother, Paula Davis, ofCobden, Illinois, at the recital, which washeld for all competition participants, inSmith Memorial Hall on February 27. Thatafternoon was their first encounter sincethey graduated from the School of Musicin 1952. After the recital, Mrs. Armstrongand Mrs. Davis reminisced about theirrecitals, which had also taken place in theRecital Hall. Josh and other scholarshipand award recipients were honored onApril 29 at the Annual Awards Luncheon,where the 1952 classmates continued theirmemoirs.

Josh performed Sarabande et Cortège,for bassoon and piano, by HenriDutilleux. In addition to the $1,000 tuitionwaiver for 2002-03, he was invited to

perform with the Illini Symphony (JackRanney, conductor), on October 20 in theKrannert Center for the Performing Arts.At that concert, he performed the Con-certino for Bassoon and Orchestra by Fer-danand David. Josh studies withProfessor Timothy McGovern.

Three-time Grammy AwardWinner Receives AlumniAchievement Award

Metropolitan Operatenor and three-timeGrammy Award-win-ner Jerry Hadley(M.M.’77) receivedthe University of Illi-nois Alumni Associa-

tion’s Alumni Achievement Award duringthe May 12, 2002, Commencement Cere-mony at the Assembly Hall. The Award isthe highest honor bestowed upon alumni ofthe University of Illinois by the Alumni Asso-ciation. Following the Assembly Hall cere-mony, Jerry attended the School of MusicConvocation in the Recital Hall, SmithMemorial Hall, where he briefly spoke andalso sang Nancy Hanks, Abraham Lincoln’sMother by Katherine K. Davis and E luce-van le stelle (from Tosca) by Giacomo Puc-cini. He was accompanied by ProfessorEric Dalheim.

In his comments to the Alumni Associa-tion, Jerry stated, “The nurturing, encour-agement, and support given [to me at theUI] continues to serve as the foundation ofeverything I’ve been able to accomplish.I’m blessed to be able to stand on theshoulders of a host of wonderful people,without whose presence in my life I’d begreatly the poorer.”

Hadley performed in Mozart’s La Clemenza Di Tito at the NetherlandsOpera in Amsterdam, October 24-Decem-ber 29. He will perform in the Damnationof Faust in London, February 17-23, 2003.

Lou Liay Award Presented toDaniel J. Perrino

Professor EmeritusDaniel J. Perrino(B.S.’48, M.S.’49)was presented the LouLiay Award for Extra-ordinary Alumni Ser-vice on October 26,

2002 (Homecoming Weekend). TheAward is given to an alum who demon-strates extraordinary loyalty, commitment,dedication, and service to the University ofIllinois Alumni Association and/or its con-stituent and affiliated groups . . . whosename and achievements have become syn-onymous with their Alma Mater.

Perrino recently retired from the AlumniAssociation, where he served as coordina-tor of senior alumni programs. In additionto his work at the Alumni Association, hewas instrumental in establishing a Schoolof Music Alumni Board in the early 1980sand served as coordinator of alumni rela-tions for the School of Music until 1992.Dan formerly served as head of the Officeof Continuing Education and Public Ser-vice in Music and as associate dean of theCollege of Fine and Applied Arts. He is amember of the College of Fine andApplied Arts Alumni Board of Directors.Dan and his wife, Marge (B.S.’48), aresponsors of an Advocates for Young ArtistsScholarship in the School of Music.

Alumni Notes Janet Manning alumni relations and development

Fern Hodge and John D.Armstrong

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1936-1940James Schrodt(B.M.’38, M.M.’47,M.S.’49) was featured inthe 2001 Illinois TravelGuide, which advertisedthe University of Illinois andthe Marching Illini. When

he returned for the 2001 Homecoming, hediscovered a picture of himself with histrombone, wearing his Marching Illini hatand his medal, awarded by Dr. Harding,for serving four years in the Concert Band.

1956-1960Benjamin (Lucas) Drew (M.S.’58), fol-lowing a career of more than 40 years ofteaching and performing, is professoremeritus at the University of Miami Schoolof Music. Drew is also principal doublebass emeritus of the Florida PhilharmonicOrchestra and founder/artistic directoremeritus of the Highlands-Cashiers (NorthCarolina) Chamber Music Festival.

Lynd Corley (B.S.’59, M.S.’61), NancyKabat (B.S.’82), and Nan Ross(M.S.’95) are teachers for the GlenviewPublic School District 34; the city wasnamed one of the Best 100 Communitiesin America for Music Education in 2002.Sponsoring partners of the award were theAmerican Music Conference, Music Teach-ers National Association, NAMM Interna-tional Music Products Association, TheNational School Boards Association,Perseus Development Corporation, VH1Save the Music Foundation, and YamahaCorporation of America.

Ron Fink (B.S.’60,M.S.’61) retired in May,2001, from the University ofNorth Texas (Denton), after35 years of teaching per-cussion. He continues per-

forming with the Fort Worth SymphonyOrchestra and maintains a full schedule ofjazz club engagements.

1961-1965Jack Gottlieb (D.M.A.’64) received apremiere of his work Psalmistry (a scorebased on authentic Old World Jewishthemes) by the South Carolina SymphonicChorale in October, 2001. The concertwas billed as one for “national healingand hope.” Jack studied with Aaron Cop-land and Boris Blacheer at the BerkshireMusic Center.

1966-1970Sharon Reich Walton(M.S.’67) was named Certi-fied Teacher of the Year bythe Central East District ofthe Ohio Music TeachersAssociation and was hon-

ored at its April 8 conference. To qualifyfor this award, a teacher must meet theeducational and professional standards tobecome nationally certified by the MusicTeachers National Association; Sharon hasbeen certified for 20 years.

Jan Khorsandian (B.S.’68, M.S.’70) iscurrently involved with research in pre-school pedagogy and has established chil-dren’s classes for observation andteaching at the University of South Florida,where she is coordinator of group pianoand piano pedagogy. She created thesummer piano camp (which she directs) forhigh school students and developed twoongoing piano programs through continu-ing education: Beginning Piano I and II forAdults, and How to Play the Piano DespiteYears of Lessons.

Gladys Phillips-Evans (B.M.’70) is thesuperintendent of the 20,000-student Valle-jo City Unified School District in Califor-nia. She is both the first female and firstAfrican-American to be selected for thesuperintendent’s position there.

Alumni News

Have You Heard?Alumnus David Brunner (D.M.A.’89)was the 2002 School of Music Convoca-tion speaker on May 12. Dr. Brunner isdirector of choral activities at the Uni-versity of Central Florida.

• The College of Fine and Applied Arts has created anAlumni Board of Directors, which includes representativesfrom each unit within the College. The School of Music isrepresented by L. Deane Trumble (M.S.’65) and Dan Perri-no (B.S.’48, M.S.’49).

• Your UI Alumni Association membership dues is at workfor you! A percentage of the dues is returned to theSchool of Music and is used to partially fund alumni recep-tions at national conferences and conventions, the annualAwards Luncheon, printed programs (for current students),and diploma covers for graduates at the School Convoca-tion—our newest alumni!

• The UI Alumni Association has a new Online AlumniDirectory at www.uiaadirectory.org. Find your formerclassmates and update your personal information!

• Your benefits and services as a member of the AlumniAssociation can be found at www.uiaa.org.

Alumni receptions being held thisyear include:

National Association of Schools of Music(NASM)Monday, November 25, 2002 Fairmont Hotel, New Orleans, Louisiana5:30-6:30 pm

The Midwest ClinicFriday, December 20, 2002Chicago Hilton & Towers5:30-6:30 pm

Illinois Music Educators Association(IMEA)Friday, January 31, 2003Hotel Pere Marquette, Peoria, Illinois6:00-8:00 pm

American Choral Directors AssociationThursday, February 13, 2003Hilton, New York10:30pm-12 midnight

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A l u m n i N e w s

1971-1975Steven Lilja (B.S.’71) is principal con-ductor of the Christian Fellowship Band, acommunity concert band made up ofinstrumentalists from the Chicago area. Heis an insolvency advisor in the Chicagooffice of the U.S. Internal Revenue Service.

Rev. Douglas Medlin (Ed.D.’72) wasordained into the priesthood on February23, 2002, at Holy Family Church, Mariet-ta, Georgia, where he celebrated his firstmass the next day. His ministries of interestare adult education and returningCatholics. He formerly taught music in pub-lic schools, was head of the music depart-ment at West Virginia Wesleyan College,and served as director of music educationfor 19 years at the University of the Arts inPhiladelphia.

Deborah Dietz (B.S.’73, M.S.’79) is theband and orchestra director at HornsbyGirls’ High School in Australia. She is prin-cipal horn with the Ku Ring Gai Philhar-monic Orchestra, conducts its children’sconcerts each year, and has performed atthe Sydney Opera House for the Aus-tralian Opera and Ballet.

Jon Carlson (D.M.A.’74) is director ofthe Jacksonville Symphony Chorus. Duringthe 2001-02 season, the Chorus per-formed The Creation by Haydn, Messiahby Handel, Bernstein’s Chichester Psalms,Verdi’s Four Sacred Pieces, and songs tocelebrate the Richard Rodgers centennial.

Daniel Neuman (Ph.D.’74), professor ofethnomusicology at UCLA, has beenappointed vice chancellor for academicaffairs.

1976-80Pat Beckman (B.M.’76, M.M.’76), jazzpianist and owner of Cannova’s Restaurantin Freeport, Illinois, teaches a college-stylesurvey class to juniors and seniors atAquin High School. The class addressesmusic, art, architecture, and literature. Healso has directed the Highland CommunityCollege jazz ensemble.

Mary Ferer (Ph.D.’76) was awarded aWest Virginia University Faculty SenateGrant for Research and Scholarship for herproject, entitled “Music at the RenaissanceCourt of Charles V.”

George Sanders (M.M.’76) is assistantprincipal trombonist of the Hartford Sym-phony and the Connecticut Opera Orches-tra, lecturer at the University of Connecticut(Storrs), and coordinator of the Sympho-ny’s “Music-To-Go” outreach program.Sanders has performed with the UnitedStates Air Force Band in this country andthe Far East, and has free-lanced extensive-ly in the Midwest and on the East Coast.

Jerry Hadley (M.M.’77)and Eric Halfvarson(pictured) (B.M.’74,M.M.’76), former class-mates, were featured at theRoyal Opera in London inFall, 2001. Jerry sang the

role of Steva in Jenufa, and Eric sang therole of Sparafucile in Rigoletto.

Lisa Scott Arnold(B.S.’78, M.M.’80) waschosen in 2001 by USAToday as a member of the2000 All-USA TeacherTeam. The Team included17 individuals and three

teams of teachers, grades K-12. The teach-ers attended an awards luncheon at theUSA Today headquarters in Arlington, Vir-ginia, on October 13, 2001. The FirstTeam Teachers each received a trophy anda $2,500 cash award for their school.Lisa is a K-5 general music specialist atRiverview Elementary School in Sioux City,Iowa. While at Riverview, she created pro-grams such as: Project Worldsong, anational enrichment program in which par-ticipating schools exchange multi-culturalarts information; a Multicultural MusicalInstrument Factory, an enrichment programin which students study major world cul-tures and construct representative instru-ments; a Multicultural Music Residencyprogram for elementary students; an inter-national chorus which sings in the lan-guages of its students’ heritages;Riverstomp, a street percussion/movementgroup; and a project funded by the Roy J.Carver Foundation entitled “The Science of

Steel Drums,” in which students studysound and vibration, Caribbean culture,steel drum construction, and steel drumperformance.

Herschel Beazley(Ed.D.’78), professor ofmusic and director ofbands at Georgia South-western State University,was named DistinguishedProfessor for the 2000-

2001 academic year. The appointment,funded by the University Foundation, pro-vides support for research in technology-based instruction.

Robert Gale (B.S.’78) is principal trom-bone with the Opera Company of Philadel-phia. He has performed with the St. Louisand Richmond Symphonies, and appearsregularly with the Concerto Soloists ofPhiladelphia, Orchestra 2001, and theorchestra of the Walnut Street and Merri-am Theaters. He is low brass instructor atSwathmore College, Widener University,and the Valley Forge Military Academy.Bob began 15 years of touring with theswing bands of Glenn Miller, JimmyDorsey, and Bob Crosby, as well as back-up bands for Bob Hope, Johnny Mathis,the Temptations, and other attractions.

Barbara Haggh (B.M.’78, M.M.’80,Ph.D.’88), associate professor of music atthe University of Maryland, served as pro-gram chair for the Seventeenth Congressof the International Musicological Society,at Katholiek Universiteit in Leuven, Bel-gium, in August. She is one of two mem-bers from the United States to be electedas director-at-large of the IMS this year.

Camilla Hoitenga (M.M.’78,D.M.A.’97) appeared July 6 as soloistwith the Chicago Symphony Orchestra atthe Ravinia Festival in the premiere ofKaija Saariaho’s Aile du songe (Wing ofDream) for flute, strings, harp, celeste, andpercussion. Other premiere performancesby Camilla included May 3, with theFrankfurt Radio Symphony Orchestra; theLondon Philharmonic Orchestra on March6; and on January 25, with the HelsinkiRadio Symphony Orchestra. On February23 Camilla performed Garten von Freuden

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und Traurigkeiten (for flute, cello, andharp) for Sofia Gubaidulina’s 70 birthdayon January 19 at Bochum, Thurber-SAA.

Philip Rogers (M.M.’78, D.M.A.’00),diversity music instructor at Parkland Col-lege in Champaign, Illinois, presented apaper and performed at the Fifth Interna-tional Congress of the Americas at the Uni-versity de las Americas in Puebla, Mexico,in October, 2001. The title of the paper,“Tearless by Langton Hughes: Maintainingthe Dignity While Exploring the Pain. ASong Cycle by Composer, Robert Owens,”is based on his doctoral thesis regardingselected song cycles by Owens, whoresides in Munich, Germany.

Joel Spencer (B.S.’78) isa professional drummer inChicago and teaches in theJazz Studies Program atDePaul University. He canbe heard on Daniel Baren-boim’s CD, entitled: Tribute

to Ellington (Teldec Records) with Baren-boim as pianist. The CD was released inBerlin and at Birdland, a New York Cityjazz club.

Jennifer Bloxam (B.M.’79), professor ofmusic at Williams College (Williamstown,Massachusetts), was awarded a 2002spring semester fellowship for study at theFrancis Christopher Oakley Center for theHumanities and Social Sciences. Her proj-ect is titled “Ritual Narratives of Faith: TheLate Medieval Mass in Context.” Jenniferreceived her Ph.D. degree in musicologyfrom Yale University.

Thompson Brandt (M.S.’79) was recent-ly appointed dean of humanities and socialsciences at Highland Community College inFreeport, Illinois. His new book, entitledHarry S. Truman’s Musical Letters (EdwinMellen Press, New York), became availablein 2001. Before leaving North Dakota,Thompson toured the state, presenting lec-ture-concerts funded by a North DakotaHumanities Council grant. His interest inJohn Philip Sousa’s performances in NorthDakota during the late nineteenth and earlytwentieth centuries led to several publica-tions and the lecture-concerts.

David Deitemyer (B.S.’79) is director ofbands and orchestras at the Illinois Mathe-matics and Science Academy in Aurora,Illinois, and is curriculum and assessmentleader for the Fine Arts Department.

Charles Mason(M.M.’79, D.M.A.’82),music professor at Birming-ham-Southern College, hasbeen re-elected to the posi-tion of vice president of theSociety for Electro-Acoustic

Musicians in the United States (SEAMUS).

Krsiten Shiner-McGuire (B.M.’80),director of percussion studies and assistantdirector of the jazz ensemble at NazarethCollege (Rochester, New York), is a newmember of the Maelström PercussionEnsemble and has played two successfulshows at The Tralf in Buffalo, New York.This year, she performed with the all-female trio The Pop Tarts in the U. S. Vir-gin Islands and also made a CD with thegroup. She performed with Jon Seiger andthe All-Stars at the New Orleans Jazz andHeritage Festival, the SunCoast Jazz Festi-val in Clearwater, Florida, and at theOcho Rios Jazz Festival in Jamaica, wherethe group opened for world-famous jazzorganist Jimmy Smith. Recent performancesinclude shows with The Pop Tarts at the all-women’s Hilleth Fair in the Bristol Hills ofthe Finger Lakes and with a women’s per-cussion ensemble at the Percussive ArtsSociety International Convention in Colum-bus, Ohio in November.

1981-1985Robert Clarida (B.M.’81) has joined thelaw firm of Cowan, Liebowitz, and Latmanin New York City. His practice is primarilyin the area of copyrights. He received hisJ.D. degree from Columbia Law School in1993.

Philip Franke (B.S.’81), euphonium, per-formed in “The President’s Own,” UnitedStates Marine Band, during the inauguralfestivities of George W. Bush on January20, 2001.

Jan Klug (B.M.’81) was named vicepresident of global marketing for FordMotor Company in March, 2001. She isresponsible for leading the development ofthe corporate positioning of the company’scar brands of Ford, Lincoln, Mercury,Volvo, Mazda, Land Rover, Jaguar, andAston Martin. She leads the company’sworld-class marketing and global services,including marketing research, media buy-ing and placement, dealer education andtraining, and the company’s presence onthe Internet. She was responsible for thesuccessful “No Boundaries” Ford Outfittersstrategy, the integrated advertising cam-paign for the Ford Sport Utility Vehicle line-up. Automotive News named her“Automotive Marketer of the Year” in2000. Jan completed her M.B.A. degreefrom the University of Illinois in 1985.

Dmitry Feofanov (M.M.’82) is a part-ner in the Naperville law firm of Brooks,Adams, and Tarulis. He joined the firm in1996 with a concentration in auto“lemon” law, consumer fraud, and litiga-tion. Dmitry is also an internationallyknown pianist and musicologist.

Peter Lipari (B.S.’83) was named musicdirector for the West Suburban Symphonyin La Grange, Illinois, in Fall, 2001. He isa member of Northern Illinois University’sopera department and will continue toguest conduct the London Gala.

Richard Scott Cohen(B.A.’84, B.S.’84)received publication in2002 of his doctoral dis-sertation, “The CommunityConcert Bands of Valencia,Spain: A Global Study of

Their Administration, Instrumentation,Repertoire and Performance Practices.” Hewas awarded the Fritz Thelen Prize inBand Research by the International Societyfor Research and Promotion of Band Music(Internationale Gesellschaft zur Erforschungund Forderung der Blasmusik, “IBEB”), ofGraz, Austria. Last year Cohen launched anew business venture, Visca Music, Ltd.,dedicated to diffusion of Spanish bandmusic in the United States. It is the exclu-sive distributor for the Piles Editorial deMusica, S.A. available on-line at www.vis-camusic.com and www.spanishbandmu-

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sic.com. Cohen is director of instrumentalmusic education, director of the universityjazz ensemble, and associate director ofbands at Radford University in Virginia.

Kallen Esperian (B.M.’84) performedthe role of Desdemona in Verdi’s Otello forthe Chicago Lyric Opera in Fall, 2001,after Renée Fleming began the role.

Daniel Adams(D.M.A.’85) waspromoted to full pro-fessor at TexasSouthern Universityeffective September1, 2001. Hereceived two per-

formances of his music in Spain during theFall of 2001. Spanish percussionist JuanPonsoda performed the European premiereof Adams’ Isorhythmic Concerto (for per-cussion solo and symphonic wind ensem-ble) on December 29, 2001, inMutaxamel, Alicante, on a concert present-ed by the La Alianza Musical Society ofMutaxamel. The percussion ensemble ofthe Alcoyana Symphonic Orchestra pre-miered Daniel’s composition AlicanteQuartet, a work commissioned by theensemble, in November in Benetusser,Valencia. In June, he received an awardfrom the American Society of Composers,Authors, and Publishers, as well as publi-cation contracts for two of his recent com-positions: Talea for percussion sextet (C.Alan Publications, Greensboro, North Car-olina) and Quandary for violin and guitar(Alfieri e Ranieri Publishing, Palermo,Italy). His composition, Dreamer’s Cartog-raphy for cello and piano, was premieredon a recital presented by cellist ArtanZhuri with Dr. Jane Perkyns, pianist, inRhinehart Auditorium at Texas SouthernUniversity on May 5, 2001. Daniel is theauthor of an article entitled “Structure andStyle in Nexus: Portfolio for Snare Drum,”published in the Spring, 2001, issue of theJournal of the National Association of Col-lege Wind and Percussion Instructors.

Daniel Gasse (M.M.’85, D.M.A.’93),and his wife, Sarah Morris-Gasse, haveopened the Gasse School of Music inChicago. They teach violin, viola, andcello, from beginners through college stu-dents. Daniel hopes the school will become

a place for chamber music. His future goalfor the school “is to become a not-for-profitso it can solicit donations, so low incomepeople will not have to worry about howthey are going to pay.” Gasse has per-formed extensively in Argentina, Brazil,and Paraguay as a soloist, in chambermusic ensembles, and for orchestras.

1986-1990Peter Jirousek (B.M.’86) is assistant lec-turer of horn at St. Xavier University(Chicago, Illinois). He has been principalhorn of the South Bend Symphony Orches-tra for the past ten years and is principalhorn of the Chicago Chamber Orchestra.Peter’s other duties include work with theIndiana Symphony Orchestra, the RaviniaFestival Orchestra, and the Chicago Sym-phony Orchestra.

Stacy Simons Eckert (M.M.’88,D.M.A.’90) sang the alto role for theChampaign-Urbana Symphony’s perform-ance of Verdi’s Requiem at the KrannertCenter for the Performing Arts in Novem-ber, 2001.

Kristina Boerger(B.S.’89, M.M.’92,D.M.A.’00), soprano, toursand records with thePomerium early musicensemble and the vocalsextet Western Wind. She

is music director of the Cerddorion VocalEnsemble and professor of music historyat Barnard College (New York City).Kristina debuted at Carnegie Hall inMarch, 2001, as a guest artist with VOX,sharing the stage with Maurizio Polliniand Luciano Berio.

Pamela Costic Dunleavy (M.S.’89)teaches music at Gardnertown FundamentalMagnet School in Newburgh, New York.

Timothy Bowlby (M.M.’90, M.M.’91,D.M.A.’97) was commissioned by UISchool of Music Professor Ronald Romm tocompose Beware the People Weeping, atrumpet ensemble piece for the School’sFall Trumpet Weekend (2001). Composedin response to the disasters of September11, 2001, the work was repeated inMarch, 2002, at the Spring Trumpet

Weekend and on the Trumpet Ensemble’sSpring, 2002, concerts. In October, 2001,his Two Songs on Imaginary Sonnets (forsoprano, clarinet and piano) was per-formed on Prince Edward Island and inNew Brunswick, Canada. In February,2002, Tim attended a concert of his com-positions at the Music Institute of Chicago,where his Rondo Capriccioso (for alto sax-ophone or clarinet in A and piano)received its world premiere. In March, thework was played in New Orleans byUIUC graduate Frankie Kelly. Tim isdesigning a web site dedicated to the lifeand music of the late Professor EmeritusPaul Martin Zonn.

Victoria Levine (Ph.D.’90) is professorof music at Colorado College. In 2002 herwork entitled Writing American IndianMusic, a history and compendium of tran-scription, notation, and arrangements ofNative American music, in the seriesMusic of the United States of America, waspublished by the American MusicologicalSociety.

Nathan Matthews (M.M.’90) teachesmusical theatre and voice at the AmericanMusical and Dramatic Academy in NewYork City and is a private coach andaccompanist there as well. In July, 2001,he returned to his home state of Virginia toconduct the Virginia Musical Theatre in aproduction of Oliver! for his 91-year oldgrandmother (who had never seen himconduct).

Jeff Reynolds (D.M.A.’90) was namedchairman of the music department at theUniversity of Alabama (Birmingham) inFall, 2001. Jeff is also music director ofthe International Cathedral Music Festival,and he conducts singers and instrumental-ists from around the world in venues suchas Salisbury Cathedral, Christ Church inOxford, St. Stephen’s Cathedral in Vienna,and St. Etienne-du-Mont in Paris.

1991-1995Viktor Krauss (B.M.’91) is a profession-al touring and recording musician—mostrecently with Lyle Lovett.

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Michael Sitton (D.M.A.’91) wrote acommissioned anthem for the Summer,2002, national conference of the Associa-tion of Anglican Musicians. The work waschosen as national winner in a competitionsponsored by the Anglican Musician’sFoundation; it is published by Selah Press,New York, 2001. ASCAP awarded himthe annual Composer’s Awards for workdone in 2000 and 2001. In Fall, 2001,he performed as guest artist at the French-American International School in San Fran-cisco. Sitton is associate professor of musicat Hollins University (Roanoke, Virginia).

Claudia Woll (M.S.’91) continues towork on a project which involves an inven-tion she started while working on herPh.D. degree in educational technology atthe University of Illinois. While in Lima,Peru, she is teaching, composing, and per-forming. A CD with Sony Music Peru, cele-brating Christmas 2000, has beenreleased. She has been invited to member-ship in the Peruvian Association of Com-posers, as well as the Latin AmericanAssociation of Educators.

Robert Hall (D.M.A.’92) was amongthree candidates in 2002 who successfullycompleted the Fellowship (FAGO) exami-nation from the American Guild of Organ-ists. It is the highest level professionalcertification from the AGO.

Taimur Sullivan (B.M.’92), saxophones,and Marilyn Nonken, piano, are directorsof Ensemble 21. The Ensemble presenteda concert in May, 2001, at the FLEA The-ater in New York City. Included on thatprogram were works of Milton Babbitt,Martin Bresnick, Jason Eckardt, DanielKoontz, Alvin Lucier, and Keith Moore(B.M.’93). The concert was co-presentedby The Bat Theater.

Jackie Wiggins (Ed.D.’92), associateprofessor and associate chair of thedepartment of music, theatre, and danceat Oakland University (Rochester, Michi-gan), received publication of her book,Teaching for Musical Understanding(McGraw-Hill, 2001). It is a book for in-service and pre-service music teachers.

Classmates Jane Jennings (pictured)(M.M.’93) and JohnBellemer (M.M.’94) performed in Rigoletto inPhoenix in 2001. Janesang the role of Gilda, and

John appeared as the Duke.

Jonita Lattimore (M.M.’93) sang withthe Skokie Valley Symphony Orchestra onMay 20, 2001, presenting the Four LastSongs of Richard Strauss and the Inciden-tal Music to Egmont by Beethoven.

May Lim (B.M.’93, M.M.’94, M.M.’99)is a member of the piano faculty at IowaState University as a group piano coordi-nator. She is working on her doctorate inpiano pedagogy from the University ofOklahoma.

Keith Moore (B.M.’93) and TaimurSullivan (B.M.’92) are directors of theThreeTwo Festival of New Music atBarnard College in New York City. Theirlatest venture was a five-hour extravagan-za which featured the chamber music andelectronic compositions of the late UI Pro-fessor Emeritus Herbert Brün. The perform-ers included internationally knownmusicians, including Professor MichaelCameron from the University of Illinois.

Ann Marie Bulley Morrissette(B.M.’93, M.M.’95) was the featuredsoloist with the Champaign-Urbana Sym-phony on December 9, 2001, at the Vir-ginia Theatre. She sang Schubert’s AveMaria, Max Reger’s Virgin’s SlumberSong, and Mozart’s Alleluia. A specialtreat on the program was The Twelve Giftsof Christmas, in which musical instrumentswere used rather than the usual birds, milk-maids, lords and ladies, etc.

Todd Payne (M.M.’93, D.M.A.’01), fol-lowing his summer apprentice positionwith Santa Fe Opera, received an auditionwith the New York City Opera in Decem-ber, 2001, after which he was invited to aMarch callback audition.

David Duke (M.M.’94, D.M.A.’01) is avoice faculty member at Eastern New Mex-ico University (Portales). In September,

2001, he appeared with Opera Southwestin Albuquerque in its production of TheMagic Flute.

Nathan Gunn (B.M.’94), baritone, sangthe role of Anthony for the Chicago LyricOpera’s Sweeney Todd in November andDecember. He appeared in Hamlet forOpera Theatre of St. Louis in the spring fol-lowing his successful role of Billy in thenew production of Billy Budd at the LyricOpera of Chicago in Fall, 2001. Nathanwas praised in Opera News for his per-formance of Tarquinius for the Glimmer-glass production of The Rape of Lucretia inSummer, 2001.

Lezlee Masson (B.S.’94)was reassigned to the Unit-ed States Air Force Band ofLiberty at Hanscom AirForce Base, near Boston,Massachusetts. Her previ-ous assignments include

Scott AFB in Illinois and Sembach AB inGermany. She was the featured bassoonsoloist for several performances of Hungar-ian Fantasy by C. M. von Weber on theBand of Liberty’s summer concert series ofperformances throughout New Englandand New York.

Amy Yarbrough (M.M.’94) performedin concert at Carnegie’s Weill Hall in NewYork City in December, 2001, and sangthe role of Micaela in Carmen with NewYork Opera Productions in January, 2002.

Stephanie Novacek(M.M.’95) sang the role ofMaddalena in Rigoletto inFall, 2001, and was seenon PBS as Jo in LittleWomen in August.

Christine Steyer(B.M.’95, M.M.’96) is amember of the ChicagoLyric Opera Chorus.

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1996-2000Linda Farquharson (D.M.A.’96) waspromoted to full professor at Illinois Wes-leyan University in Bloomington, Illinois,where she has been on the faculty since1988.

Kathy Kozak (M.M.’96) is associatecoach at The Juilliard School of Music inNew York City.

LaTanya Moore (M.M.’96) is adjunctprofessor of music at Clark-Atlanta Univer-sity (Georgia).

Tony Prisk (B.M.’96) began his appoint-ment as 4th/utility trumpet in the HoustonSymphony in June, 2002. He has playedwith the New World Symphony since1998 and substituted with the PhiladelphiaOrchestra and the Moscow Philharmonicduring the past two years. Tony completedhis master’s degree at McGill University inorchestral performance in 1998.

Saundra De Athos (M.M.’97), sopra-no, continues in her Adler Fellowship withthe San Francisco Opera, singing leadingroles and covering other leading roles.

Jenni Carbaugh(M.M.’97, D.M.A.’01)joined the voice faculty atthe University of NewHampshire in Fall, 2001.

Ingrid Gordon (D.M.A.’97, D.M.A.’00)founded the new music ensemble TimesArrow, which debuted in a mini-tour ofQueens, during which works for flute andpercussion by both American and interna-tional composers were performed. ZuZu’sPetals (Ingrid and Anthea Kreston,violin/viola), performed on a concertseries in February, 2001, in New York’sSaratoga County; the program included,among others, a work by Michael Col-grass (B.M.’56, Honorary Doctorate, ‘95).The recitals were funded by a projectgrant from the New York State Council onthe Arts and the Saratoga Arts Council.

Erica Keithley (M.M.’97, M.M.’98)received the Provost’s Award for outstand-ing teaching as a graduate assistant at the

University of Oklahoma, where she is acandidate for the Ph.D. degree in pianopedagogy.

Ioana Missits (M.M.’97), violin, has per-formed with the Cleveland Orchestra, Pitts-burgh Symphony, Michigan Opera TheatreOrchestra, and Detroit Symphony.

Charles Saenz (M.M.’97) was recentlyappointed instructor of trumpet at BowlingGreen State University (Ohio).

Michael Strasser (Ph.D.’98) is assistantprofessor of musicology at Baldwin-Wal-lace College (Berea, Ohio).

Daniel Teadt (B.M.’98, M.M.’00) wasoffered the role of Pinellino in GianniSchicchi with the San Francisco OperaCenter for 2001. He then toured with theWestern Opera Theatre in Fall, 2001, asGuglielmo in Così fan tutte. This past sum-mer Dan received a $2,000 fellowshipfrom the Denver Lyric Opera Guild and heperformed with the Central City Opera(Central City, Colorado).

Stacey Bostwick (M.M.’99) recentlypresented a “FUNdamentals” clinic on per-cussion accessory instruments at the Per-cussive Arts Society Iowa Day ofPercussion. She served as assistant produc-er of the second CD by the Drake Universi-ty Bands. Stacey teaches privately in theDes Moines area and performs with theDes Moines Symphony Orchestra.

Mei-fang Lin (M.M.’99) received aBeebe Fund Award for a year to studycomputer music in Paris at IRCAM and pri-vately with composers. Mei-fang studiedcomposition with UI Professor Guy Garnettand is pursuing her doctorate at the Uni-versity of California at Berkeley.

Ian Ding (B.M.’99)recently won a section per-cussion position with theNew World Symphony.

Kirin Nielsen (D.M.A.’99) won the JuliusHerford Prize for outstanding dissertation,awarded biennially by the AmericanChoral Directors Association. The awardwas presented to her at the ACDA nation-

al convention in San Antonio in March,2001. This prize is given to the best dis-sertation on a choral subject completed inthe United States. She is associate profes-sor of music at Ripon College in Wisconsinand is associate choral director for theGreen Lake Festival of Music. In June of2001, Kirin led a choir on a two-weekconcert tour of Ireland and, in March, pre-sented a paper on Palestrina at the nation-al convention of the Renaissance Societyof America in Chicago.

Richard Wyman (M.M.’99) is a mem-ber of the United States Coast Guard Bandand is stationed in Connecticut.

Gillian Austin (B.M.’00) recentlyreceived his master’s degree in music busi-ness from New York University. He is work-ing at several record labels and music“nonprofits,” including Channel 13 (theNew York City PBS station) and is in theproduction department for “Great Perfor-mances.”

Jun Chun (D.M.A.’00) has been appoint-ed to a piano faculty position at the Uni-versity of Wisconsin-Platteville.

Daniel Masterson (D.M.A.’00) is assis-tant professor at Bethany College (Linds-borg, Kansas), where he teaches piano,piano pedagogy, chamber music, andmusic theory.

Elizabeth Pacheco (M.M.’00), sopranofinalist in the Neue Stimmen 2001 compe-tition (funded by the Bertelsmann Founda-tion), was invited to Guetersloh, Germany,to participate in a week of masterclassesin October. She sang on the final concert,which was broadcast on national Germantelevision.

Kenneth Smith (M.M.’00) is conductingresearch in Paris, France, during the2002-03 academic year, with full fundingfrom the Chateaubriand Fellowship,awarded by the French government. Histopic is a history of the air sérieux in thelate seventeenth century.

István Szabó (M.M.’00) has accepted afull-time professorship in viola at EasternIllinois University (Charleston) beginningFall, 2002.

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2001-2005Meghan Benson (B.M.E.’01) joined theUnited States Marine Band (“The Presi-dent’s Own”) in August, 2001, as aMarine Band librarian.

Frederick Burrack (Ph.D.’01) wasappointed assistant professor of music edu-cation at Ball State University (Muncie,Indiana) effective Fall, 2002.

Julianne Glatz (B.M.E. ‘01) recentlyopened a new business, RealCuisine,where she offers cooking classes in hermid-19th century farmhouse in Springfield,Illinois. She earned a certificate in cookingprinciples at the Culinary Institute of Ameri-ca at Greystone in California, where shestudied with cookbook author James Beardand Chicagoans Tony Mantuano and RickBayless. She continues her singing with theIllinois Symphony Chorus.

Natalie Ross Haas (B.M.E.’01) is thehigh school band director for MeridianSchool District (Mounds, Illinois).

Meghann Mokros (B.M.E.’01) was aninstructor in music exploration at the Inter-lochen Center for the Arts Summer Camp,Summer, 2001. She teaches in the Algo-nquin (Illinois) School District.

Dawn Rhyne (B.M.E.’01) accepted ateaching position at Cooper Middle School(Buffalo Grove, Illinois) in 2001.

Saxton Rose (M.M.’01) performed theRossini Duos from The Barber of Sevillewith world famous bassoon soloist StefanoCanuti at the International Double ReedSociety Convention at Banff, Canada, thissummer. He began his doctoral studies inFall, 2002, at the Cincinnati Conservatory,after completing his studies with StefanoCanuti in Italy.

Roberta Freund Schwartz (Ph.D.’01),assistant professor of musicology at theUniversity of Kansas, presented the paper“Patronage of Music by the Spanish Nobil-ity in the Renaissance” at the Novemberannual meeting of the American Musico-logical Society.

Michael Smith (D.M.A.’01) has beenappointed professor of trombone and lowbrass at Luther College (Decorah, Iowa),where he has a studio of more than 35students.

Andrew Williams (M.M.’01) was thewinner of the 2001 Reno (Nevada) Cham-ber Orchestra Concerto Competition. Heperformed the Vaughan-Williams TubaConcerto with that Orchestra in April,2001.

Stevi Caufield (B.M.’02) entered themaster’s degree program in bassoon performance at the New England Conser-vatory this fall.

Jetro de Oliveira (D.M.A.’02) is profes-sor of choral music and music history atCentro Universitário Adventista de SãoPaulo, Brazil, where he conducts twochoral ensembles. He is music director andconductor of the Adventist PhilharmonicOrchestra of Brazil. He has presentedresearch papers at the V Historical Musicol-ogy meeting on Brazilian Colonial Music.

Joy Granade (M.M’02), soprano, is anadjunct faculty member at Millikin Universi-ty (Decatur, Illinois).

Julie Knerr (M.M.’02) received a gradu-ate fellowship to pursue her doctorate inpiano pedagogy at the University of Okla-homa, beginning Fall, 2002.

Jeremy Koch (M.M.’02) is a member ofthe U.S. Air Force Band in Washington,D.C.

Cristina Lixandru (B.M.’02) was invitedto join the Manchester Music FestivalOrchestra during its October tour of Ver-mont and New York. In May, she per-formed the Mendelssohn Violin Concertowith the National Radio Chamber Orches-tra in Bucharest. On the UI Campus, Cristi-na performed the Bruch Violin Concertowith the Illini Symphony Orchestra in Octo-ber 2001, after winning the competitionfor the John D. and Fern Hodge ArmstrongAward for Outstanding Undergraduate Performance.

Jessica Ziegelbauer (M.M.’02)received a Fulbright grant for post gradu-ate study in Germany. The grant will sup-port her studies in music composition andmusic theory at the Staatliche Hochschulefür Musik und Darstellende Kunst Stuttgartduring the 2002-03 school year.

This gift is from �� Mr. �� Mrs. �� Miss �� Ms. �� Mr. & Mrs.

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Phone

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I/We have enclosed a gift of

�� $50 �� $100 �� $500 �� $1000 �� other $

for: �� School of Music (32905) �� Friends of the School of Music (32906)

�� Other

�� I have enclosed my employer’s matching gift form.

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$ through the credit card checked.

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Please make your checkpayable to: UIF/School of Music

Send to:University of Illinois FoundationP.O. Box 3429Champaign, IL 61826-9916

To make a gift online, please go to: www.admin.uiuc.edu/ocd/gift.html

5M 5XL

In Support of the School of Music

sonorities

4 6

A l u m n i N e w s

In MemoriamPauline Seed Kirkwood (B.M.’27),96, died February 7, 2000, in Austin,Texas.

George Wilson (B.S., B.M.’31), 92,died February 24, 2001, in WebsterGroves, Missouri.

Barbara Lee Fallon (B.S.’32), 90, diedNovember 3, 2002, in Lancaster, Pennsyl-vania.

Mary Juanita Miller Hodges(B.S.’34), 90, died February 21, 2002, inMonticello, Illinois.

Lena Beebe (B.S.’35), 88, died August23, 2000, in Portland, Oregon.

Dorothy Koelling (B.S.’36), 85, diedMay 4, 2000, in Collinsville, Illinois.

Elizabeth Ralston (B.S.’36), died Janu-ary 11, 2001, in Pasadena, California.

Ashley Coffman (B.S.’37), 86, diedMay 30, 2001, in Conway, Arkansas.

Margaret Brown (B.M.’38), 85, diedFebruary 13, 2001, in Sun City, Arizona.

Austin Garrels (B.S.’38, M.M.’43), diedDecember 12, 2000.

Ralph Fiorentine (B.S.’39), 85, diedFebruary 8, 2002, in Ventura, California.

Helen Leverich (B.S.’40), died 1998 inRidley Park, Pennsylvania.

Mildred Harrison (B.S.’41), 89, diedMay 9, 2002, in Winnetka, Illinois.

W. Jay Hoel (B.S.’42, M.S.’47), 82,died March 19, 2002, in Winfield, Illinois.

Margaret Hyde Splain (B.S.’43), 82,died February 12, 2002, in Lincoln, Illinois.

Parke Barnard (B.M.’47), 78, diedMarch 28, 2001, in New Haven, Connecticut.

Velsie Kinast (B.S.’50), 80, died Janu-ary 20, 2001, in Rock Island, Illinois.

Eugene Collins (M.S.’51), 77, diedOctober 10, 2000, in Mt. Carmel, Illinois.

James Hobbs (B.S.’51), 73, died Janu-ary 30, 2001, in Gilman, Illinois.

Wayne Richards (B.S.’52, M.S.’58),died May 21, 2001, in Michigan.

Jacqueline D. Cook (B.S.’54, M.S.’55),70, died January 28, 2002, in Willow-brook, Illinois.

August Eldon “Skip” Johnson(M.S.’54), 75, died May 4, 2002, in Peoria, Illinois.

Suzanne “Suzy” Scutt (M.M.’54), 71,died July 6, 2001, in Centerville, Ohio.

Bill Bissell (M.S.’56), 70, died in 2002in Bothel, Washington.

William Maschger (M.S.’56), 77, diedFebruary 15, 2002, in Arizona.

C. William Young (Ph.D.’57), 81, diedAugust 22, 2000, in Springfield, Missouri.

Jewell Grothaus (M.S.’58), 88, diedMay 12, 2002, in Bourbonnais, Illinois.

Eugene McNish (M.S.’58) 72, diedMarch 21, 2002, in Springfield, Illinois.

William Handley (M.S.’59), 69, diedOctober 18, 2000, in Danville, Illinois.

William Brackman (M.S.’62), 72, diedJune 25, 2001, in Urbana, Illinois.

H. Richard Hensel (D.M.A.’64), 73,died October 16, 2000, in Greensboro,North Carolina.

Limuel Dokes (M.S.’66), died January3, 2001.

Polly Campbell (M.M.’67), 64, diedDecember 31, 2000, in San Diego, California.

Douglas Lemmon (B.S.’68, M.S.’69,Ph.D.’75), 53, died January 3, 2000, inKnoxville, Tennessee.

John Maharg (Ed.D’68), 82, March 15,2001, in Middletown, Pennsylvania.

Joe Shirk (B.S.’69), 53, died September7, 2000, in Clifton, Virginia.

Phyllis Danner (M.S.’71, M.S.’94), 57,died February 25, 2002, in Urbana, Illinois.

Susan Kraybill (B.S.’76), 46, diedMarch 23, 2001, in Missouri.

Barbara Pierce (M.S.’80, M.M.’81) 50,died August 3, 2001, in South Lyon, Connecticut.

Peter Clogg (M.M.’89), 41, died March20, 2002, in Omaha, Nebraska.

Jill Kaler (B.M.’92), 32, died October26, 2000, in Naperville, Illinois.

Lise Waxer (Ph.D.’98), 37, died August13, 2002.

Name

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Your news

(Use separate sheet of paper for additional news copy)

Note: If you have photos to support your news items, please include them along with this form. Please send allmaterials to Janet Manning, Alumni News Writer, School of Music, University of Illinois, 1114 West NevadaStreet, Urbana, Illinois 61801.

...what has been happening

with you. Not only do the

people at the UI School of

Music want to hear about

what’s happening in your

career and life, but your

fellow alumni are also inter-

ested in your activities.

Please use the convenient

form at the right to provide

us with information for the

next sonorities.

LET US KNOW...

sonorities

4 8

PRESTISSIMO($15,000 and above)Dean T. and Nancy Langford*Marie B. McVicker EstateMark T. and Joan W. Swanson*

PRESTO($1,000-$14,999)Mr. & Mrs. John D. Armstrong*Ms. Phyllis L. ClineMrs. Lynd W. Corley*Mr. Roger R. CunninghamDr. Roslyn Rensch Erbes*Mr. Sheldon S. FrankMr. John A. Frauenhoffer*Mr. & Mrs. Norman Goldberg*Dr. & Mrs. Robert E. Gray*Dr. & Mrs. Raymond V. Janevicius*Mr. Bruce C. Johnson*Dr. & Mrs. Edward Krolick*Mr. Ardash Marderosian*Dr. & Mrs. Ralph Mason*Mr. & Mrs. Claude McKibben*Dr. & Mrs. Robert Mussey*Dr. & Mrs. Carl D. Obenauf*Mr. & Mrs. Daniel J. Perrino*Mr. & Mrs. Donald Roberts*Mr. & Mrs. Arthur Lee SchlangerMrs. Christie B. Schuetz*Dr. Ellen M. SimonMr. Glen Strauss*Prof. & Mrs. Nicholas M. TemperleyMr. Richard R. Tryon Jr.*Mr. & Mrs. Paul Uhlenhop*Mr. Charles Wert*Professor John Wustman*

VIVACE($500-$999)Dr. & Mrs. Gordon Anderson*Mr. & Mrs. James W. Armsey*Dr. Robert Stephen BlumDr. & Mrs. Thomas G. Bouwkamp*Dr. & Mrs. Alan R. Branfman*Mr. Craig W. BraniganMs. Helen K. BrowningMr. & Mrs. William CrumMs. Barbara CunninghamMr. & Mrs. Ronald J. Domanico*The Honorable Ann A. Einhorn*Ralph T. & Ruth M. Fisher*Prof. & Mrs. Marvin FrankelMr. Raymond P. GermanMr. & Mrs. Edwin L. Goldwasser*Dr. Edward N. HookMs. Florence KopleffPeter T. Magnusson, MDMrs. Diane Emiko MatsuuraDr. Stephen T. MilesProf. William Moersch &Prof. Charlotte Mattax MoerschProf. Alexander Douglass MurrayMr. William J. PananosMs. Maureen V. ReaganDr. William R. Scott & Dr. Kathryn J. ScottMr. & Mrs. Glendon A. Schuster*Mr. & Mrs. Frederick V. SimonDr. Robert E. ThomasProfessor Martin Wagner*Mrs. Betty S. WhitesideMr. & Mrs. Roger L. Yarbrough*

ALLEGRO($200-$499)Mr. Gordon K. Arnold & Dr. Alison E. ArnoldMr. Ben A. BeaversMr. & Mrs. Edward M. Bruner*Mrs. Ruth L. CortrightGerald M. Crystal Estate The Honorable Claude J. Davis & Mrs. Marguerite Hoffman Davis

Mr. Richard N. DeLong*Mrs. Lynne E. DenigMr. & Mrs. Gerald R. DittoWilliam R. Edwards, MDMr. Michael D. FaganMr. Cleve W. FenleyMr. & Mrs. John FordeMrs. Beverly A. Friese*Miss Melva F. Gage*Mr. Nicholas GoodMr. Gaurav GuptaDr. James W. Hile & Dr. Nancy L. WhitakerMrs. Diane Mann HiresProfessor Donald A. Holt*Dr. & Mrs. R. Bruce HustonMr. & Mrs. Peter J. KaleDr. James H. KeaysProf. Ruth LorbeDr. Russell MathisProf. & Mrs. Charles J. McIntyre*Mr. & Mrs. Jack McKenzie*Mrs. Donna F. McPherson*Mr. & Mrs. David R. MeloneMr. Frank M. Mynard III*Mrs. Gerda T. NelsonMr. & Mrs. Gerald J. PijanowskiDr. Stephen L. Portnoy &

Dr. Esther Portnoy*Mr. & Mrs. Michael W. PrestonDr. & Mrs. Edward A. RathMr. & Mrs. Kenneth L. ReinhardtProf. & Mrs. Melvin RothbaumMr. & Mrs. Terry S. SlocumDr. Milton L. Stevens Jr.Mrs. Janine H. StoykoMrs. Joan M. StrouseMr. & Mrs. G. Gregory Taubeneck*Ms. Mary C. UhingDr. & Mrs. Peter Van Den HonertMr. & Mrs. Earl J. WayProf. David B. WeillerMrs. Beverly Ann WilliamsMs. Susan WilliamsMr. Scott A. WyattMr. Robert L. Zarbock

ALLEGRETTO($100-$199)Prof. & Mrs. Carl Altstetter*Ms. Doreve Alde-Cridlebaugh & Mr. RichardB. Cridlebaugh

Mr. & Mrs. Gerald E. AndersonDr. Anton E. ArmstrongProf. & Mrs. Walter L. ArnsteinDr. & Mrs. David F. AtwaterMr. & Mrs. W. Herbert BayleyDr. Gordon A. Baym & Ms.Catherine Blom*Mr. David A. BenderMr. & Mrs. John P. BenisekMichael D. Bennett, PhDMs. Sandra S. BernhardProf. & Mrs. E. Sanford BerryDr. Charles W. Boast & Mrs. Marsha ClinardDr. Philip V. BohlmanDr. Gary C. BorchardtMrs. Joan B. BrinegarMr. & Mrs. James Lloyd BrownMr. Kent S. BurchillDr. Wesley R. Burghardt &

Ms. Angela M. StramagliaProf. & Mrs. Donald Burkholder*Dr. & Mrs. F. Kent CampbellMr. James L. CampbellMr. & Mrs. Jeffrey M. CarterMr. & Mrs. Samuel H. ChapinMr. John Z. ChenDr. Gary Corcoran Jr.Mrs. Frances F. CrawfordDr. Harold A. DeckerDr. & Mrs. Donald R. DickersonMrs. Debbi L. DillmanDr. Kenneth O. DrakeMr. & Mrs. Paul Duker The Reverend Wyeth W. DuncanMrs. Ellen S. EagerMr. Michael S. ErazmusMr. & Mrs. Jack W. ErgoMr. & Mrs. Timothy G. EspelMs. Dawn FairchildDr. Virginia FarmerDr. Linda J. FarquharsonMr. & Mrs. Jim Fay

Partners in TempoThe performing and visual arts benefit from a long and venerated tradition of patronage, aconcept that springs from the noble idea that an artist’s talent is a gift that enriches thelives of every one of us; therefore, the artist should have the resources and the freedom tocreate.While this idea has been modified over the course of several centuries, the basicprinciple remains the same. Our donors, whether they are alumni of the School of Music,patrons of the arts, or both, wish to support the education and training of the artists andscholars who will shape the future of music and preserve its grand heritage.

The School of Music is proud to acknowledge these individuals, foundations, and corpora-tions for their generous support.The following list represents those who made gifts betweenJuly 1, 2001, and June 30, 2002.

Please note that contributors to the Friends of the School of Music are represented in ital-ics, and members of the University of Illinois President’s Council are designated with anasterisk (*).The President’s Council is reserved for those contributors who pledge a mini-mum of $15,000 lifetime giving to the University of Illinois.

Questions or corrections may be addressed to Janet Manning at (217) 333-6452, or by e-mail(jmanning@uiuc.edu).

FOR SUPPORT OF THE SCHOOL OF MUSIC JULY 1, 2001-JUNE 30, 2002

winter

2003

4 9

Mr. & Mrs. Earl E. FennerMs. Judith A. FeutzMrs. Michelle Walker FineMrs. Ruth H. FliegelDr. Diane FoustMrs. Carolyn J. Foy-StrombergMrs. Margaret A. Frampton*Mr. Lawrence E. FreemanMrs. Mary Margaret GaddyMs. Dorothy E. GemberlingMr. Edward E. GrayMs. Delreen J. HafenrichterMr. David A. HarlanDr. Albert D. HarrisonMs. Mary A. HartDr. & Mrs. James S. HatfieldMrs. Virginia L. HedrickMrs. Gloria S. HelfrichMs. Karen A. HigdonMr. Philip H. Highfill IIIMrs. June F. HolmesDr. Jesse E. Hopkins Jr.Dr. & Mrs. Chester W. Houston*Mr. & Mrs. Frederick W. IrionMrs. Jean H. JamisonMrs. Kathryn A. JanicekMrs. Doris D. JonesDr. Dennis K. M. KamMrs. Cynthia M. KennedyMr. Frederick James KentMr. R. Edward KieferMr. & Mrs. James E. KloeppelMr. David L. KrusemarkDr. Peter J. LaRueDr. John W. LemanMrs. June C. LevyDr. & Mrs. Walter J. Maguire*Prof. & Mrs. W. G. MarigoldMs. Jane R. MarshMr. Leonard MarvinMrs. Barbara A. MateerDr. Gordon W. MathieMr. Gary L. McClung*Mr. Richard D. McKee IIDr. Alexander B. McLaneMrs. H. Richards McLaneMs. Anne Martin McLaughlin*Mrs. Patricia H. McNeesMr. & Mrs. Ronald D. McWilliamsMr. & Mrs. Charles T. MedhurstProf. & Mrs. Richard L. Merritt*Mrs. Sharron P. MiesMr. William R. Miller*Ms. Erie A. MillsMr. Danlee G. MitchellMrs. Phyllis Brill MunczekMr. Robert N. NashProf. & Mrs. Bruno Nettl*Dr. & Mrs. Philip O. NubelProf. & Mrs. Howard Osborn*Mrs. Karen D. ParrackMs. Jane Paul HummelDr. Karin A. PendleDr. & Mrs. G. David Peters*Mrs. Geraldine B. PettyMr. E. Thomas Pierce

Ms. Ruth PinnellMr. & Mrs. Douglas L. PinneyDr. & Mrs. Scott E. Preece*Mr. Michael W. PresslerMrs. Karyn A. QuandtDr. Wallace J. RaveProf. & Mrs. Kenneth L. Rinehart Jr.*Mr. & Mrs. Robert J. RogierMrs. Clara Rolland*Mr. & Mrs. John R. RomansMr. Kenneth W. RubinMr. & Mrs. Robert J. RuckrigelDr. & Mrs. Byron Ruskin*Dr. Kathreen A. RyanMr. George J. SandersDr. Philip S. SargentDr. & Mrs. Edwin A. Scharlau*Mr. Thomas H. SchleisMr. James W. Schrodt*Mr. & Mrs. John F. SchweglerMr. John S. SetterlundMr. Fay M. Sims*Mr. & Mrs. A. Gene Skipworth*Mrs. Irene G. Slottow*Mr. Phillip R. SmithDr. & Mrs. Anthony B. Soskin*Mr. Wesley Q. StelzriedeDr. Virginia K. StittMr. & Mrs. Chester StroheckerDr. Gary R. SudanoMs. Terri M. SvecProf. Emile J. Talbot & Dr. Elizabeth M. Talbot

Dr. Robert F. Thomas Jr.Mrs. Jacqueline A. TillesProf. & Mrs. H. C. Triandis*Mrs. Susan T. Van SickleMrs. Sandra Smith Volk*Mr. John Walter & Mrs. Joy Thornton-WalterMrs. Joanne L. WegscheidMr. & Mrs. Gerald G. WeichbrodtMiss Ruth E. WeinardMr. Sherman J. WeissDr. & Mrs. Robert E. WelkeMr. & Mrs. Daniel L. WerriesMr. Frederick W. WestphalMrs. Alma E. WhiteDr. Robert E. WilliamsMr. Keith L. WilsonMrs. Mary Alice WittrigMs. Grace YoungProf. David A. Ziebart*

ANDANTE(Under $100)Dr. Daniel C. AdamsMrs. Elizabeth Z. AllanMr. & Mrs. Eddie K. AllenMr. Robert N. AltholzMs. Nicole K. AlvarezMrs. Patti Alward-JohnsonDr. Fletcher C. AndersonMr. Glenn R. AndersonMr. Erwin O. ArendsMrs. Mary Lou Arends

Ms. Dianna K. ArmstrongMr. John D. ArmstrongDr. Kerchal F. ArmstrongMs. Pamela T. ArnsteinMr. Charles C. AschbrennerMr. Larry AshleyMr. Duane C. AskewMrs. Shirley T. AxelMrs. Betty J. AyersMr. Eugene E. BaethkeMr. Robert S. BaileMrs. Linda D. BaileyMrs. Maria N. BakerMrs. Marlene K. BallardMrs. Lisa G. BaltzerMr. Michael R. BandmanMs. Marolyn G. BannerMrs. Mary Jeanne BannisterMrs. June H. BarberDr. & Mrs. David C. BarfordMr. & Mrs. Gary N. Barrow Jr.Dr. Neale K. BarteeMs. Angela M. BatesMrs. Mary Agnes BatesMr. John E. BauserMrs. Elinor Sanes BaylissMrs. Lynne E. BeachDr. Gretchen Hieronymus BeallMrs. Nancy H. BeckmannMr. & Mrs. James D. BeebeDr. & Mrs. Richard E. BeilDr. John R. BellMr. Orris H. BenderMr. James E. BeverlyMr. Richard B. BiagiMr. Dennis R. BiagioliDr. Sara B. BidnerMr. David E. BilgerMr. Ronald T. BishopMr. & Mrs. James H. Black IIIMs. Evelyn BlackmanMr. Robert O. BlissardMrs. Jacqueline K. BlockMr. James D. BluckerMr. Benjamin J. BlumbergMr. John E. BolzMr. Peter T. BoorMr. Alfred E. Born & Dr. Christelle E. MenthDr. Kathryn Smith BowersMr. Steven E. BoydMrs. Kathleen E. BragleMrs. Cynthia M. BreezeMr. & Mrs. William F. BrewerDr. Robert G. BrewerMr. Ronald J. BribriescoMr. & Mrs. Lew R. C. BrickerMs. Kareen G. BrittMr. C. Wayne BrodkorbMichelle L. BrodskyDr. & Mrs. Frank W. BrownMr. Philip L. BrownMr. Robert H. BrownMs. Anita BullardDr. Bartlett R. ButlerMrs. Linda S. BuzardDr. Milburn E. Carey

Mr. & Mrs. Gregory D. CargillDr. Jon O. CarlsonDr. David M. CarterDr. & Mrs. Harry H. Carter Jr.Dr. Philip S. CaryMrs. Mary M. CashMs. Clara E. CasteloDr. Joseph S. CeoMrs. Artha L. ChamberlainChampaign-Urbana Music Teachers Association

Dr. & Mrs. Carl E. ChapmanMrs. Mary L. ChapmanMs. Judith L. ChastainMrs. Jo Y. ChengMr. Thomas E. CherryMrs. Amy L. ChildressMrs. S. Martha ChiligirisMrs. Charlotte Presler Chilton*Mr. John C. ChristianMr. Michael P. ChuMrs. Jean A. ClarkeMrs. Katherine M. CloonenThe Honorable John P. Coady & Mrs. Kathy A. Coady

Dr. Dale CockrellMr. Garrett Rigney CofieldMrs. Jessie T. CogginsDr. Richard Scott CohenMs. Nina M. ColeMr. & Mrs. Morris CollierMr. & Mrs. James T. ConderMr. Mark A. ConleyMr. & Mrs. Charles E. ConnerMs. Jacquelyn D. Cook (Dec)Mr. Curtis O. CooperMs. Grace C. CoorensMrs. Rebecca T. CouringtonDr. Victoria L. CovingtonMrs. Mina M. CoyMs. Betty J. CravensMr. & Mrs. Charles C. Craver IIIMrs. Arlene J. CrawfordMs. Harriet E. CrawfordDr. & Mrs. Ron K. CytronProf. Everett C. DadeDr. Bruce F. Dalby & Ms. Lisa Allene KerrDr. & Mrs. James DapognyDr. & Mrs. Warren J. DarcyMrs. Dolores S. Das*Dr. Daniel J. DaunerMs. Deborah M. DayDr. & Mrs. Michael T. DayDr. Larry M. DeBrockMs. Nancy DehmlowMr. & Mrs. Giovanni DePasqualiMr. & Mrs. Edmund J. DeWanMrs. Susan B. DeWolfMr. Bruce L. DickersonMr. C. William DouglassMr. Donald W. DownsMr. Allen C. DrakeMrs. Jean E. DrendelMs. Darcy D. DrexlerMr. Howard S. DucoffMs. Marilyn M. Duginger

sonorities

5 0

Mr. John G. DukerMr. John DunkelbergerMs. Pamela J. DunleavyMrs. Edith A. DwinnellsMr. Dwight E. DyerMr. Austin A. R. DysonMrs. Elizabeth F. Easley*Mrs. Jeannette J. EbelharMr. & Mrs. James A. EckertMr. & Mrs. Franklin EdwardsMrs. Jean M. EdwardsMr. Philip W. EherenmanProf. Gert Ehrlich & Ms. Anne A. EhrlichMr. & Mrs. John C. EifertMrs. Cheryl M. EinsweilerDr. & Mrs. Barry L. EllisMr. & Mrs. Douglas G. ElrickMr. & Mrs. James H. EricksenMr. Gerald A. FabrisDr. Kenneth E. FahsbenderProf. Michael Faiman & Dr. Lia Faiman*Mr. Frederick D. FairchildProf. Emory M. Fanning Jr.Mr. Andrew J. FarnhamMs. Esther E. FayMr. & Mrs. Scott D. FeldhausenMr. & Mrs. Jack V. FeldpauschMr. Ron FinkMrs. Janice L. FisherDr. Robert J. FleisherDr. Nancy P. Fleming & Mr. Ansley D. Fleming

Mrs. Elizabeth A. FoortMrs. Dee Fraccaro-MurphyDr. L. Thomas FredricksonDr. & Mrs. Andrew N. FrenchThe Reverend James W. French & Mrs. Gwynne H. French

Mr. & Mrs. Donald W. FrettyMrs. Roxanne C. Frey*Mr. Daniel E. FridleyMr. & Mrs. Robert Lee FritzMs. Sandy FritzDr. Steven M. FryMr. Thomas R. FudgeMs. Judith Kaye FultonMrs. Edwina T. GabcikDr. & Mrs. Stephen L. GageMr. & Mrs. Richard W. GarretsonMr. Michael C. GarrisonMs. Peggy Pfaab GarrisonMs. Ilene G. GasserMr. & Mrs. Robert R. GatrellMr. Jon T. GeheberMr. & Mrs. G. William GeisMrs. Jennifer A. GettelMrs. Cheryl S. GibsonMr. Robert A. GilbertMr. & Mrs. Gregory L. GilboeProf. & Mrs. Donald M. GinsbergMs. Renee GladstoneMrs. Edna L. GlassMrs. Marjorie A. GlossopMr. William R. GoetzMrs. Rickie G. GoleMr. Walter H. Gorrell Jr.

Dr. Sam W. GrabarskiMs. Cynthia Lauridsen GrantDr. John W. Gray & Dr. Eva W. GrayDr. Susan Keith GrayMs. Denise D. GreenMr. John F. GreenwoodMrs. Lynn B. GrosDr. & Mrs. Ernest N. Gullerud*Ms. Donna J. GullstrandMrs. Margaret S. GundersonMr. George S. HaggardMr. & Mrs. Mark HambyMr. & Mrs. Julian J. HamerskiMr. Jack W. HammelMr. & Mrs. Steven E. HancockDr. Richard D. HansonMr. Kennet F. HarrisMr. Michael R. HawkinsMr. Thomas W. HawkinsMrs. LuAnn E. HayesMr. & Mrs. G. Byron HealyDr. Robert H. HearsonMr. & Mrs. David L. HechtMr. W. Robert HedgcockDr. William H. Heiles & Dr. Anne Mischakoff Heiles

Ms. Margarita L. HeissererMrs. Nona J. HeitmannDr. Gregg S. Helgesen & Dr. Marne A. Helgesen

Dr. & Mrs. Donald M. HendersonThe Reverend Marion L. HendricksonMr. Steven T. HenningMr. Bernard H. HenryMs. Sharon B. HermannMr. Steven K. HeslaDr. Douglas M. HillMr. John T. HillMr. & Mrs. Robert W. HindsleyMrs. Jane Bishop HobgoodNaomi Hodgman & Donald HodgmanMrs. Karen J. HoeltjeMr. James L. Honnold (Dec) & Mrs. Mary Ellen Honnold

Mrs. Linda G. HopkinsMr. & Mrs. Dale F. HopperMr. & Mrs. Robert A. HormellMr. Robert L. HormellMr. Don HoughDr. & Mrs. Robert W. HouseMrs. Marguerite HubbardMrs. Abbie O. HubbellDr. & Mrs. Ernest Jay HugghinsMr. Allen E. HunterMr. John M. HunterMr. & Mrs. Bruce L. Hutchings*Mrs. Janice C. ImpeyDr. Charles F. IsaacsonDr. David C. JacobsenMrs. Madhu JainMrs. Laurine JannuschMr. & Mrs. Carlyle W. JohnsonDr. David Lee JohnsonMs. Cheryl Lynn Johnson-RichtMrs. Ruth M. JonesMr. & Mrs. John E. Jordan

Mr. Richard E. JorgensenMr. & Mrs. Drasko JovanovicMrs. Donna L. KaelterMs. Karen KaiserMrs. Elizabeth A. KampsMrs. Nanci L. KarlinMr. & Mrs. Carl K. KaroubMrs. Annette KarshDr. William K. KearnsMr. William F. KeckMs. Brenda E. KeeDr. Robert P. KeenerMrs. Patricia C. KeimMr. Christopher W. KellyMr. J. Robert KellyMr. Jeremy Niles KemptonDr. Harold A. Kessler*Ms. Shirley KesslerMr. & Mrs. James E. KetchMrs. Jan K. KhorsandianMr. & Mrs. David L. KingMrs. Elizabeth E. KirkpatrickProf. Ann KleimolaMr. & Mrs. Michael J. KnaufDr. David W. KnutsonMs. Rosanne J. KoehlerMs. Lavetta J. KoreskoMr. Andrew KrierMr. Jason L. KrigasMs. Rebecca D. KrizProf. & Mrs. William J. KubitzMr. & Mrs. David L. KuehnMrs. Ellen Green KuroghlianMrs. Joyce M. LaibleMr. & Mrs. F. Wilfrid LancasterProf. & Mrs. Jerry M. LandayMs. Sandra L. LaneMrs. Barbara A. LanhamMrs. Bonnie A. LarnerMr. David R. Larson & Ms. Carol C. LarsonMr. Kenneth M. LarvenzMs. Dana LaSalleMrs. Barbara A. LauffMs. Sunny J. LawrenceMr. Dean B. LeffMr. & Mrs. Paul J. LehmannMrs. Florence K. LeighDr. Larry E. LeonardMr. John D. LeslieMs. Regina L. LeslieMr. Paul F. LesterMr. Jeffrey E. LindbergMr. Roger D. LittleDr. Thomas LloydMrs. Maureen M. LoberDr. & Mrs. P. Bradley LoganMrs. Virginia K. LovettMrs. Pamela S. LucasMrs. Klara LueschenMr. Albert L. LundgrenMr. Timothy R. LutzProf. & Mrs. Morgan J. Lynge Jr.Dr. Linda S. MackMrs. Clare S. MackeyDr. & Mrs. James T. MadejaMrs. Helen A. Magnuski*

Dr. & Mrs. David M. Main*Dr. and Mrs. Joseph ManfredoMrs. Guileen P. ManuelMrs. Jean C. MarshallMs. Anne S. MartelProf. Christiane T. MartensMrs. Marian S. MartinDr. Jameson N. MarvinMrs. Ann K. MasonMs. Lezlee A. MassonMrs. Nancy V. MatchettMrs. Jennifer S. MatherMrs. Carolynne B. MathisMrs. Eva M. MaxwellMr. & Mrs. David V. MayMr. Thomas J. MayMr. Lutz L. MayerMs. Mary E. MayhewMr. Melvin A. McCoyMr. Kevin A. McGinnisMr. & Mrs. Douglas R. McIntoshMr. & Mrs. Myron D. McLainMr. & Mrs. William J. McNeilandMrs. Ann K. MeekerMr. & Mrs. Jon E. MelinDr. Mardia MelroyMs. Ida K. MercerDr. Maria P. MerkeloMr. C. J. MerrillMr. & Mrs. James K. Merwin Jr.Mrs. Irene O. MetzgerMrs. Lynn G. MillerMr. & Mrs. Martin E. MillerMrs. Rita J. MillisMrs. Eleanor L. MilnesMr. James E. MirakianMr. Keith A. MitchellMs. Sylvia J. MizeMr. Milton R. MojzisMrs. Wilma J. MollerMr. Maurice E. MonhardtMr. Albert L. MooreMs. Ruth A. MooreMr. & Mrs. Robert MorganMrs. Ann F. MorrowDr. & Mrs. David W. Morse*Mr. & Mrs. Theodore F. MuellerMrs. Brenda D. MuenchMrs. Kathryn Rice MuenchMu Phi Epsilon Urbana-Champaign Alumni Chapter

Marilyn M. Murphy, PhDMs. Catherine A. Murphy*Ms. Ann E. MurrayDr. & Mrs. Walter L. Myers*Ms. Joyce G. NagelMrs. Nancy NashDr. Nina M. Nash-RobertsonDr. J. C. NavalMr. Larry G. NeemannMr. Joseph H. Nelson & Mrs. Myrtle A. Nelson (Dec)

Mrs. Louise S. NelsonMrs. Rosemary F. NelsonMs. Ann K. NewmanDr. & Mrs. Grant H. Newman

Mrs. Kim J. NewmanMr. William J. NichollsKim Nickelson, MDMrs. Cheryl I. NiroDr. Eugene D. NovotneyMr. G. Allan O’ConnorMs. Julie A. O’ConnorMrs. Jean O’HareDr. Charles E. OlsonMr. Rick K. Orr & Mr. Scott D. Larimer*Dr. David C. OsterlundMr. Stephen A. OsunsamiMr. Dennis L. OttmersMrs. Carol C. OuradaMs. Janet L. OutisMr. & Mrs. Ronald R. PageMs. Patrice M. PakizMrs. Paula L. PalmgrenMrs. Margene K. PappasDr. Susan Parisi & Prof. Herbert KellmanMr. & Mrs. Spencer L. PaseroMrs. Betty B. PeasleeMr. Lowell R. PeckMrs. Gail PeineMs. Susan B. PeppercornMrs. Aiko K. PerryDr. Linda W. PerryMr. & Mrs. James M. PetersenMs. Anne M. PetrieMrs. Amy L. PhelpsMrs. Marian PhillippeMr. Adam M. PijanowskiMs. G. S. PiltzDr. Robert W. PlacekMr. & Mrs. James Thomas PokinDr. Mary Ellen PooleMr. Alan M. PorterMr. Ernest W. PressleyMr. George H. ProMr. Myron A. RahnMr. Stanley RansomMs. Phyllis RappeportMr. & Mrs. William J. ReaganMr. Donald O. Reddick Jr.Ms. Frances S. ReedyDr. & Mrs. Sam ReeseMrs. Irma ReinerMrs. Sue Ann Bartchy ReinischMrs. Kathryn Ann ReipMrs. Barbara J. RiceMr. Joe D. RiceMrs. Margaret G. RiceMrs. Carolyn C. RichardsMr. Adam C. RichardsonMrs. Lois H. RichterMr. Paul S. RiegelMrs. Patricia J. RinkenbergerMrs. Betty A. RitterDr. & Mrs. Schuyler W. RobinsonDr. Franz L. RoehmannMr. & Mrs. Donald Q. RogersMrs. Rosalyn RooseveltDr. Brenda R. RootDr. Deane L. Root & Dr. Doris J. DyenMrs. Linda F. RosenMs. Cary A. Rosko

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The aim of this conference is to bring together leadingscholars to address Beethoven’s creative process by considering aesthetic and psychological issues as well asthe surviving evidence from Beethoven’s workshop: his

sketches and drafts. The conference will be coordinated with a seriesof concerts as well as an exhibition including original manuscripts.

Beethoven and the Creative Process

University of Illinois at Urbana-ChampaignMay 2-4, 2003

Session I, Friday, 2 May, 9-12 am Interdisciplinary Perspectives on Creativity

Session II, Friday, 2 May, 2-5 pm The Nature of Creativity: Freedom vs. Determinacy

Session III, Saturday, 3 May 9-12 amInterpreting Beethoven’s Sketches and Autograph Scores

Session IV, Saturday, 3 May, 2-5 pm The Genesis of the Missa solemnis

Session V, Sunday, 4 May, 9-12 am New Approaches to Understanding Beethoven’s Late Style

Speakers will be coming from Germany, England, Australia, and across North America. A limitednumber of papers will be selected on the basis of abstracts submitted by 15 December, 2002. For further information, contact Professor William Kinderman, School of Music, University of Illinois at Urbana-Champaign, 1114 W. Nevada St., Urbana, IL 61801, Tel. 217 244-5808 Support toward travel costs is available for those whose abstracts are selected.

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