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 6

Starting at the Top: The Careers of Four Violinists

Sousa Archives and Center for American Music Join the Smithsonian

Illinois Wind Symphony at Carnegie Hall

DANA HALL FROM ROCKETS TO RACKETS

JOHN WALTER HILL GOES FOR BAROQUEStarting at the Top: The Careers of Four Violinists

Sousa Archives and Center for American Music Join the Smithsonian

Illinois Wind Symphony at Carnegie Hall

C a m p u s N e w s

From the Dean

The School of Music continues to excel as a compre-hensive music school within the profession, among ourpeers and here in the university community. You willread in this publication of the phenomenal new facultywho are joining us in the College and of the success ofour continuing faculty, students and alumni. On theday that I write this greeting, the Illinois Brass Quintetwill be featured at the campus convocation for new

freshmen—providing a wonderful introduction to the serious joy of musicmaking by seasoned, expert faculty artists. Within several months, the cam-pus will hear the unique programming of the Sinfonia da Camera as thisensemble embraces dance in its presentation of both new and classic work,the overwhelming technique and performance bravado of our resident world-renowned Pacifica Quartet, and the varied manifestations of American jazz. Iname only a few of the remarkable performances we can anticipate.

With the vibrant leadership of its director and faculty, every major programin the School is deepening its commitment to musical excellence—whether itbe performance, education, composition or musicology. Active in communitybuilding and outreach, the School has enhanced the College’s presence in EastSt. Louis, working with the school system to re-install its music program. Oncampus, the faculty provide leadership in joint academic programs with othercolleges including the Russian, East European and Eurasian Center. Ourstrings program is revitalized and reaching out to the schools in the state ofIllinois. This summer a composition student wrote a piece that lauded LanceArmstrong and received regional and national press attention! Music-makingand music scholarship have never been so richly represented at Illinois.

Leadership in music and all the arts has taken a new shape in this millenni-um. Entrepreneurial energy and collaborations among musicians, amongteachers, among administrators, among alumni make for a School of Musicthat not only celebrates its heritage but that also assumes the mantle ofresponsibility in educating students for serious music making and study inthis century. Your gifts of time, attention and financial support have aided theSchool in providing the hallmark of an Illinois education. We thank you foryour gifts which make our programs possible.

Come visit us again—try something new…read the scholarship of one of ourethnomusicologists, attend a New Music concert, catch the Symphonic Bandsat Carnegie Hall this February. You will be enriched.

Kathleen F. Conlin

Dean, College of Fine and Applied Arts

Winter 2006

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, businessJoyce Griggs, assistant director, enrollmentmanagement and public engagement

Marlah Bonner-McDuffie, associate director,development

Suzanne Hassler, coordinator, alumni relations and development

Suzanne Hassler, editorAnne Mischakoff Heiles, features writer

Contributing Writers:Herschel V. BeasleyDanielle GainesAndrea LynnMelissa MitchellAntoinette PomataJoseph RasselSpecial thanks to Bruno Nettl

BonadiesCreative Inc., designCover Photos: Chris Brown Photography

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

s o n o r i t i e ss o n o r i t i e s

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From the Director

Return of Empty Nest and the TT Chronicles

This past summer, Jean and I experienced the empty nest syndrome all over again. Our youngerdaughter, Kristen, who was living in Walnut Creek, CA, picked up and moved to New Zealand at theend of July, accepting a coaching position with a synchronized swimming team in Auckland. Sara,our older daughter, became another employed UI alum, winning the oboe/English horn position withthe Tucson Symphony and moving from Urbana (it was critical that she be an Urbana resident so shecould claim she did not live in the same town as her parents) to Tucson in August. Within three weeks,one daughter left the country and the other left the time zone.

As I headed down I-40 in my Audi TT toward Tucson to help Sara with her move, the top down andthe Bartók String Quartets playing in my ears via my iPod, an Arkansas State Trooper pulled upalongside and informed me through his megaphone that if I did not remove my headphones immedi-ately I would be making a significant contribution to the Arkansas highway fund. I, of course, com-plied and decided to try the radio. Did you know that the only thing you can pick up on the radio inrural Arkansas and east Texas is either country music or Rush Limbaugh? I opted for country music.

In the classical world, we have gentle, descriptive titles like On Hearing the First Cuckoo in Spring, orPrelude to the Afternoon of a Faun; uplifting titles such as Symphony #2, Resurrection, or A Hero’sLife; and contemplative titles like Quartet #2, Intimate Letters, or Sonata Pathétique. Titles of countrymusic songs are somewhat different in nature, however. Generally, I could categorize the songs Iheard into several different genres: unrequited love, for example, I Gave Her a Ring and She GaveMe the Finger, or My Wife Ran Away with My Best Friend, and I Sure Do Miss Him; titles with spiritu-al connotations including Drop Kick Me Jesus Through the Goal Posts of Life and I’ve Been Roped andThrowed by Jesus in the Holy Ghost Corral; and those that allude to some sort of liquid refreshmentlike I’d Rather Have a Bottle in Front of Me than a Frontal Lobotomy, or She’s Acting Single and I’mDrinkin’ Doubles. Finally, there are songs which one simply cannot categorize: I Don’t Know Whetherto Kill Myself or Go Bowling. Thankfully, as I got closer to the Dallas/Ft. Worth area more stationsbecame available. Lo and behold, but if I didn’t hear the new recording of the Mendelssohn StringQuartets by our own Pacifica Quartet (the first chamber ensemble I know of that has a car namedafter them).

Speaking of the Pacifica, the School’s resident quartet is now a quintet! First violinist Simin Ganatragave birth to a baby girl, Layla Juliette Vamos, on September 24—the same day the quartet was tochristen the School’s new performance venue at Allerton Park with a short concert. Fortunately, therewas no shortage of talent on hand to cover the occasion as the graduate string quartet stepped in toperform the inaugural concert in the new venue—a beautiful barn, built in the late 19th century, thathas been refurbished and outfitted with a theatrical lighting system. It will now serve as a three-season(late spring, summer, early fall) hall, allowing us to do all kinds of interesting performances. Staytuned for further details as we begin to develop various concert series in this new, old space.

There is plenty of news pertaining to both faculty and alumni throughout thisissue, so happy reading. Keep in mind that I’m very interested in what peopleare listening to these days; please include a printout of your iPod playlist withyour contribution to the annual fund. The most interesting playlist gets a men-tion in my next column.

Karl KramerDirector, School of Music

in this issueC A M P U S N E W S

2 Smithsonian Affiliation

3 Hurricane Benefit

4 Smith Hall Preservation

4 Enescu Premiere

6 Leonhard Legacy Conference

7 Ethnomusicology Turns 50

C O V E R S T O R Y

8 John Walter Hill’s BaroqueMusic

F E A T U R E S

28 It’s Not Rocket Science:Jazz Engineer Dana Hall

35 Alumni Profiles:Starting at the Top: Four Violinists

D E P A R T M E N T S

13 Admissions Activities

14 Development Update

17 New Appointments

21 Book News & Reviews

23 Faculty News

33 Student News

41 Band Notes

42 Alumni Events

43 Alumni News

50 Partners in Tempo

Winter 2006

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Campus News

The 159-year-old Smithsonian Institutionhas opened its doors – and collections – toa slightly younger cousin across the coun-try. The renowned institution in Washing-ton, D.C., has invited the 137-year-oldUniversity of Illinois at Urbana-Champaigninto its prestigious Affiliations Program.

Affiliation with the renowned institutionthat “offers the world a picture of America,and America a picture of the world,”brings a host of privileges, includinggreater access to the institution’s 137 mil-lion objects, many of them priceless. Theinstitution considers affiliation with organi-zations whose mission is parallel to its ownan “increase and diffusion of knowledge.”

Illinois is among only a handful of insti-tutions of higher education that have beengranted affiliate status; most affiliates areindividual museums. Joining Illinois in theclass of 2005 is the San Diego AerospaceMuseum in California, bringing the num-ber of SI affiliates to 142 in 39 states, plusthe District of Columbia, Puerto Rico andPanama.

Aaron Glavas, senior coordinator of theSmithsonian Affiliations Program, said thatIllinois and its museums, including theSousa Archives and Center for AmericanMusic (SACAM), “perform a vital publicservice for the people of Illinois and visi-tors throughout the region. We look for-

ward to strengthening the relationshipbetween our institutions to expand andenhance that service.”

Three U. of I. units—the Krannert ArtMuseum, the University Library, andSACAM, which is under the aegis of theLibrary—got the affiliation process rolling.Those three units will be early beneficiariesof the partnership, but the benefits will beavailable campuswide, including all otherU. of I. museums, galleries and collections.

Scott Schwartz, director of SACAM,will serve as the liaison or facilitatorbetween university units and the SI. Hesaid he takes “great pride in knowing thatthese two internationally recognized institu-tions of higher knowledge—the SI and theU. of I.—have come together for the better-ment of learning for future generations.”

According to Schwartz, the SI sees itsaffiliates as “vehicles to help get its collec-tions out to the broadest public possible.”Last year an estimated 21 million peoplevisited Smithsonian-Affiliate institutions.

The Smithsonian also helps promote thepreservation and educational missions ofits affiliates and facilitates “greater collab-oration between its affiliates across thecountry and world – one of the greatestbenefits of an affiliation with the SI,”Schwartz said.

Others involved in the application formembership were Paula Kaufman, universi-ty librarian, and Pauline Cochrane, profes-sor emerita, both in the University Library;Kathleen Harleman, director, and KarenHewitt, deputy director, Krannert Art Muse-um; and Richard Herman, chancellor ofthe Urbana campus.

Affiliate organizations may integrateSmithsonian collections into exhibitions,educational initiatives and research pro-grams; incorporate the many outreachservices of the Smithsonian: curriculumdevelopment in local schools, lectures, trav-eling exhibitions, workshops and studytours; and “borrow” Smithsonian staffexpertise in areas of conservation, collec-tions care and exhibition development.

Schwartz also sees enhanced opportu-nities for Illinois faculty and students to par-ticipate in a variety of internships andfellowships at and through the SI andworking with leaders from diverse academ-ic, museum, archives, library and preser-vation communities in the nation’s capital.

“But, the opportunity to develop newand innovative collaborations across aca-demic disciplines at Illinois is perhaps thegreatest benefit of the new affiliation,” saidSchwartz, who began the process toobtain SI affiliation more than a year ago.He knew the effort to “establish a vital linkand collaborative relationship” would bewell worth his time because he had beenan archivist for the SI’s Duke Ellington andAmerican Music Collections in the ArchivesCenter of the National Museum of Ameri-can History (NMAH), Behring Center,before coming to Illinois in 2003.

UIUC Granted Affiliate Statusby Smithsonian InstitutionAndrea Lynn, UIUC News Bureau

Scott Schwartz, director of the Sousa Archives and Center forAmerican Music (SACAM), will serve as the liaison between uni-versity units and the 159-year-old Smithsonian institution.

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Thus Schwartz also knew that as anaffiliate, the university would be able toshare the SI’s public programming, educa-tional outreach, academic mentoring andbe able to borrow historical artifacts forexhibitions “in ways that would not havebeen as possible had we not become anaffiliate.”

He said he recognized that the partner-ship would “expedite” the process of bor-rowing objects from the SI, something withwhich he also has some acquaintance.Last year, for example, and largely theresult of his existing relationship with thestaff of the NMAH, Schwartz borrowedJohn Philip Sousa sheet music and pianorolls, and hired the Smithsonian Jazz Mas-terworks Orchestra.

For the 2006 celebration of AmericanMusic Month at Illinois, Schwartz is plan-ning once again to tap the SI, specifically,to bring to campus the Smithsonian Cham-

ber Ensemble and the SI’s Stradivarius andAmati violins for a month-long festival ten-tatively titled “Illinois Chautauqua: LifeLong Learning Through the PerformingArts.”

“By becoming an affiliate, the universityhas elevated its loan request for these his-toric music instruments by demonstratingthat it shares with the SI a mission of aca-demic excellence, educational outreachand public engagement.”

This November’s American MusicMonth celebration, detailed atwww.library.uiuc.edu/sousa and titled“Lifescapes of America’s Music,” featureda performance of original jazz composi-tions by Billy Strayhorn and lectures byWalter van de Leur, artistic director of theDutch Jazz Orchestra and the leadingStrayhorn scholar; a youth fiddling contestand benefit concert for the preservation ofAmerican music at the Virginia Theatre in

downtown Champaign; lectures by promi-nent physicians on music and healing; andexhibitions.

With more than 10 million volumes, theUniversity Library is the largest public uni-versity collection in the world. The KrannertArt Museum’s strengths include the TreesCollection of European and AmericanPainting, the Olsen Collection of pre-Columbia Art, a small but exquisite collec-tion of Asian art, and a large andimportant collection of works on paper.SACAM is home to the world’s single-largest collection of original compositionsand arrangements by John Philip Sousa,including many Sousa artifacts, and hasstrong collections of 20th century electron-ic and avant-garde music, a repository ofarchival papers documenting America’swind band traditions, and select ethnomu-sicological papers from the faculty andstaff at the University of IIlinois.

‘Shelter from the Storm’ Concerts Benefit Hurricane VictimsAntoinette Pomata, Alumni Relations and Development Staff

Two concerts were held in October to benefit victims of hurricanes Katrina and Rita, featuring musi-cians from the University of Illinois and the Champaign-Urbana community. The first concert, held onOctober 7th, 2005 in the Foellinger Auditorium, was supported by the University of Illinois and fea-tured pianist Ian Hobson, the University of Illinois Black Chorus under the direction of Dr. Ollie WattsDavis, and the University of Illinois Jazz Band. Pre-concert entertainment was provided by the Uni-versity of Illinois Graduate String Quartet, and sound production by Knox Productions. The $10 vol-untary donation at the door raised approximately $1,300 in aid to the gulf area.

A second all-day concert held on October 15th included performances by local bands Bruiserwith the Javelinas, Unfinished Business, The Delta Kings, Kilborn Alley, Tom Turino & Big GroveZydeco, Anglo-Afro Beat Experience, The Painkillers, Jamnation, and Beat Kitchen. Alto Vineyardshosted the event, and also contributed all money made in tips to the cause; in addition, over 20area businesses, including Lil’ Porgy’s Bar-B-Que and Pekara Bakery, provided food and contributed prizes. The concert at the vine-yard, with several hundred people in attendance, raised $4,700; combined with private donations, this brought the total amountraised to $7,000.

“These benefit concerts give all of us the chance to pull together and strengthen our unity by helping others in need,” said concertorganizer David Adcock; “We’re also able to enjoy the diverse and rich musical culture that exists here.”

Said co-organizer Steven Errede, “[the concerts] were driven by very gut-wrenching feelings about what we were seeing in theareas affected by the hurricanes... the music down there, and the culture, there’s a risk of losing that.”

Proceeds from the benefit concerts went to the American Red Cross Disaster Relief Fund, the Habitat for Humanity, the HumaneSociety of the United States, and MusiCares, the relief branch of the National Academy of Recording Arts and Sciences. MusiCaresis working with the Lafayette Alliance to provide funding, medical care and other assistance to displaced New Orleans musicians.

“Shelter from the Storm” benefit brings Schoolof Music and local musicians together.

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C a m p u s N e w s

The Campus Heritage Grant, recentlyawarded to the University by the GettyFoundation, aims topreserve campus histo-ry through documenta-tion of UIUC campusbuildings, including theSchool of Music’s SmithMemorial Hall. The Uni-versity of IllinoisUrbana-Champaigncampus is one of only10 colleges and univer-sities in the UnitedStates to receive a2005 Campus HeritageGrant. The awardamount is $175,000 to be used over atwo-year period.

“It is a wonderful grant that we arevery fortunate to have received,” saidJohn Garner, professor of architecture.“These are important cultural facilities thathave meaning both to present users andthose who have been here in the past, sowe need to take stock of these resourcesand make sure that we don’t do anythingfoolish to cause their loss,” he said.

Through the grant, a preservation main-tenance plan is being developed for his-toric buildings. An educational campaignabout these locations is also in the works.

Melvyn Skvarla, campus historic preser-vation officer and author of the grant, saidthe primary contribution of the grant is thecreation of a database on all campusbuildings. The Department of Planning andDevelopment will create and maintain thedatabase. It will categorize and prioritizebuildings for restoration on campus, outlin-ing when restoration will begin on each.Information such as architectural style, yearbuilt, architect’s name, significant featuresand the dates of additions are also beingdocumented, Skvarla said.

“It will be interesting to learn moreabout the buildings that we take classes

in,” said Chao Tantipjitkasem,a senior in LAS. “Our campushas such great history, know-ing more about it will increasethe pride we have in our uni-versity.”

Currently, the Universityis home to two National His-toric Landmarks: the Observa-

tory andMorrow Plots.Additionally,there are ninesites listed inthe NationalRegister ofHistoricPlaces, includ-ing Smith

Hall, which houses a 900-seat mahoganypaneled recital hall, a three-manual Casa-vant concert organ, and the jewel-likeSmith Memorial Room, a drawing-roomreminiscent of European palaces with crys-tal chandeliers and elegant décor thatoffers an ideal setting for chamber con-certs and harpsichord recitals. There arealso approximately 95 other buildings onthe UIUC campus eligible for listings.

Skvarla is also including buildings inthe database that are not presently oldenough to be eligible for the National Reg-ister, like the Krannert Center for the Per-forming Arts, and the Krannert ArtMuseum.

Money to complete later constructionand restoration plans will be supplied byother organizations, Skvarla said.

According to their Web site, www.getty.edu,Getty’s Campus Heritage Grant has awardedroughly $7 million to more than 50 collegesand universities to preserve historic buildings,sites and landscapes since 2002.

Fifty years after the death of Romaniancomposer and musician George Enescu,his opera Oedipe—based on the Oedi-pus myth—had its American premiere, atthe University of Illinois at Urbana-Cham-paign.

The semi-staged performance by the U.of I.’s Sinfonia da Camera, directed andconducted by music professor Ian Hobson,was given October 15, 2005, in the Kran-nert Center for the Performing Arts.Appearing in the starring role was StefanIgnat. The world-class baritone has per-formed in opera houses throughout Europeand Asia, and recently portrayed Oedipe

University History to be Preserved Thanks to GrantDanielle Gaines, Daily Illini, used with permission of Illini Media

Historic preservation project to includeSmith Memorial Hall.

Phot

o by

L. B

rian

Stau

ffer

Faculty violinist and long-time Sinfonia da Camera concert-master Sherban Lupu orchestrated the American premiere ofGeorge Enescu’s opera “Oedipe” on October 15, 2005.

“The subject consideredseems to pertain to us today

more than ever.”

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in a performance with the BucharestNational Opera at the George Enescu Fes-tival in Romania.

The cast for the U. of I. production alsoincluded alumni of the university’s operaprogram and members of the San Francis-co opera, with vocal accompaniment bythe U. of I. Chamber Singers, led bychoral music professor and chair FredStoltzfus. The performance was directedby emeritus professor of voice NicholasDiVirgilio. Choreographer and principaldancer was U. of I. dance professor PhilipT. Johnston.

Orchestrating the historic event was themusic school’s own resident Romanian-born musician and Enescu authority: facul-ty violinist and long-time Sinfonia daCamera concertmaster Sherban Lupu. Theperformance was the centerpiece of a larg-er event: “Oedipus and Its Interpretations,”a two-day symposium, Oct. 15-16,planned to attract classicists, musicologistsand literary scholars from throughout theworld to the campus to examine and dis-cuss a variety of topics related to Enescuand the Oedipus story. The public sympo-sium included a concert by the U. of I.’sEnescu Ensemble, conducted by Lupu,October 16 in the Smith Hall.

Lupu said Enescu’s musical interpreta-tion, created in collaboration with poetEdmond Fleg and first produced in Paris in1936, recasts the tragic Greek mythicalcharacter in a more becoming light thanmost other versions. In their interpretation,Enescu and Fleg portrayed Oedipe—who

is exiled from his homeland, unwittinglyslays his father and ultimately consum-mates a relationship with his mother—as acourageous figure who challenges thecruel fate he has been dealt, rather thanas a powerless victim.

“The subject considered seems to per-tain to us today more than ever,” Lupusaid. “Besides the identity crisis, it has todo with uprootedness, exile, the search forwho we are and why we are here. Theseare eternal questions that are particularlyof interest in modern times when thesequestions become more pertinent in orderto maintain our humanity while we face anever adverse world around us.”

While Oedipe has been performed inopera houses throughout Europe since itsdebut, Lupu said he can only venture aguess as to why it has never been stagedin the Western Hemisphere. “Lack of imag-ination and adventure?” he offered as apossibility.

The reasons for producing the operanow, at the U. of I., are easier to pin-point. “We found the right environment. Itwas like a constellation of events comingtogether to make it all happen at the righttime,” Lupu said. Among those alignedbehind the project, he noted, was “myfriend, colleague and collaborator, IanHobson, with whom I’ve played Enescu’sworks all over the world. I also foundgreat support from the College of Fineand Applied Arts and Dean Kathleen Conlin, the Center for Advanced Study,Illinois Arts Council and the RomanianCultural Institute.

AMERICAN PREMIERE OF ENESCUOPERA TAKES PLACE AT ILLINOISMelissa Mitchell, UIUC News Bureau, Arts Editor

“But perhaps the reason why it is mostappropriate to do this here is becauseGeorge Enescu had quite a history at theUniversity of Illinois. He came to the cam-pus as a visiting artist and professor in1948, 1949 and 1950, performing withthe orchestra and chamber ensemble,conducting orchestra and teaching masterclasses.” From all reports, Lupu said,Enescu “energized the musical life of thecampus.”

Lupu has been conducting quite a bit ofenergy from Enescu’s musical life-force him-self, particularly this year. During the pastfew months, Lupu has traveled to China,Hungary, Finland, Poland and Romania topresent Enescu’s music in concert. He per-formed in October in Germany, and onDecember 4 in New York City’s MerkinHall. Earlier this month, he released a CDof previously unknown works for violin byEnescu. Also released at the same timewere six volumes of unknown works by thecomposer, edited and arranged by Lupu.

While it may appear that Enescu andhis work have functioned as something ofan international passport for the U. of I.professor, he points out that the door“goes both ways.” “I’ve also been anemissary … introducing the world to thistowering figure of 20th century music.”

Visit the School of Music’s “Oedipe” Web siteat: www.music.uiuc.edu/sinfonia/oedipus/.

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Former students, families and friends trav-eled from every region of the country to theUniversity of Illinois, Urbana-Champaign,for the Charles Leonhard Legacy Confer-ence November 4-5, 2005. The fast-pacedtraffic of the Tri-State Tollway eased as Imerged onto Interstate 57 South to Kanka-kee. The urban congestion turned to the flatprairie of the Midwest as the interstatesnaked toward Champaign. Driving past theempty corn fields I reflected on Dr. Leon-hard’s story of boardingthe Twentieth CenturyLimited in New YorkCity’s Grand Central Sta-tion for the journey west-ward to establish theEd.D program in MusicEducation at the Unversi-ty of Illinois.

Earlier as a studentand then faculty memberat Teachers College (capital “T”, capital“C”) Dr. Leonhard immersed himself in thecosmopolitan life of New York City and

“picked the brains”of great minds suchas James Mursell,Howard Murphy,Lilla Belle Pitts,and Norval Churchto name a few. Thephilosophy of JohnDewey and the

community sing-along tradition of PeterDykema were embedded in Dr. Leonhardand he brought these egalitarian traditionswhen he returned to his Midwestern roots.As Roger Rideout suggested in his confer-ence paper, the establishment of the Ed.D inMusic Education at the University of Illinoiswas one of the lasting accomplishments ofCharles Leonhard and perhaps his most sig-nificant contribution to the scholarship ofteaching in general and music education inparticular.

The conference began Friday, November4 with a reception hosted by Drs. PeterTiboris and Joe Grant. Rick Murphy, Direc-tor of Music at University High School, per-formed on the piano in the Levis FacultyCenter Music Room. The event allowedattendees to reacquaint and catch up onnews in their personal and professional lives.

The Saturday morning session in SmithMemorial Hall Room 25 was moderated byProfessor Joe Grant, chair of the music edu-

cation division. He introduced Dr.Karl Kramer, Director of the Schoolof Music, who provided an update onnew faculty appointments in stringeducation and expanded degree pro-grams in jazz studies.

Dr. Kramer was followed by Dr.Eve Harwood, Associate Dean, whorecalled experiences as a student ofCharles Leonhard’s and brought greet-ings on behalf of the College of Fine

Arts. Joe Grant thenintroduced Dr. PeterTiboris, Chair of theLeonhard LegacyCommittee, who pro-vided a summary ofthe committee’s workto date and possible scenarios for the future.Peter concluded by recounting a very mean-ingful professional and personal experiencewith Leonard Bernstein—learning of theMaestro’s knowledge of and respect for

Charles Leonhard.The morning

session ended witha report by MarlahBonner-McDuffie,Associate Directorof Developmentfor the School ofMusic, on contri-butions to theCharles LeonhardEndowed Fund for

Excellence in Music Education. Sheacknowledged individual donors and mem-bers of the committee—who collectivelyhave committed nearly $70,000 towards anew fellowship in Dr. Leonhard’s name—and outlined the benchmarks needed toreceive matching funds from the Universityof Illinois Foundation.

A conference devoted to the legacy ofCharles Leonhard would not be completewithout a lively sing-along. After luncheonin Levis Faculty Center, attendees joined in

singing: The Doxology (the second time witha “belly breath”), Make New Friends, DonaNobis Pacem, Just A Song At Twilight, Amer-ica, and Hail To The Orange. Music educa-tion major and pianist Sarah Petersenprovided accompaniment.

The afternoon session was devoted topapers delivered by Professor Roger Rideout(University of Massachusetts) and ProfessorLizabeth Wing (Uni-versity of Cincinnati).Liz presented “Pay ItForward” in a “readers’theater” format thatallowed participationfrom a large numberof audience members. Roger’s presentation,“Travels with Charlie,” included an insight-ful commentary on Leonhard’s use of humoralong with several interesting perspectives onhis life and legacy. The afternoon sessionadjourned for informal “picture moments”and campus walks.

Later that evening, everyone reassembledat Kennedy’s Restaurant in Urbana for cock-tails and dinner. It was pointed out thatexactly five years ago on this date graduates

Charles Leonhard Legacy ConferenceRemembers a Great EducatorHerschel V. Beazley, Class of ’78Professor of Music and Governor’s Teaching Fellow, Georgia Southwestern State University

Dr. Richard Colwell (’61) of Bostongives the keynote address.

Peter Tiboris (’80), Chair of theLeonhard Legacy Committee, withDavid Osterlund (’78).

Harry Steckman (’79), withJames Johnson (’69) andAldona Naudzius (’83).

Barbara Burley (’75), John Burley (’79), and Sharon Nix (’78),with author Herschel Beazley (’78).

Suzanne Hassler, Coordinator ofAlumni Relations, and Joe Grant(’83), Chair of Music Education.

Dalvin Boone (’72) catchesup with Joseph Goble (’78).

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gathered at the same location for Charlie’s85th birthday event. After a delicious buffetdinner prepared by chef Luke Kennedy, Dr.Peter Tiboris introduced Dr. Richard Col-well, a long-time professor of music educa-tion at the University of Illinois and studentof Charlie Leonhard’s, who spoke on“Langer, Leonhard and Augury,” deliveredin his signature “rapid-fire” and “shoot fromthe hip” style.

On a personal note, Peter and I visitedDr. Robert Thomas, Emeritus Professor ofMusic. Many of you will be happy to knowhe continues to reside in his condo inUrbana surrounded by beautiful collectablesand art works meaningful to his life. He no

longer travels, but isextremely interestedin and supportive ofthe Legacy Commit-tee. Dr. Thomas is,as ever, the Renais-sance Man.

Conference atten-dees were pleased with the weekend ofremembrance and celebration of the life andlegacy of Professor Charles Leonhard andplan to meet again in 2007.

For additional information on how to becomeinvolved, together with a complete listing ofCommemoration Weekend activities, visit:www.charlesleonhardlegacy.com

As ethnomusicology has been an important field at UIUC for over 45 years,the annual meetings of the Society for Ethnomusicology (SEM) in Atlanta,Nov. 16-20, 2005, which celebrated the fiftieth anniversary of the Society’sfounding, are of special interest to many UIUC alumni (as well as presentfaculty and students).

This most extensive ethnomusicology conference ever held had 440 sepa-rate presenters and session chairs, and ca. 140 sessions on music in allparts of the world, ranging from the origins of music to the role of the Inter-net in musical life. The program committee was chaired by UIUC emeritusprofessor Bruno Nettl (one of the founders of the Society) and Judith McCul-loh, Assistant Director of the University of Illinois Press. Other faculty partici-pants were Donna Buchanan, Charles Capwell, Gabriel Solis, Isabel Wong;visiting professors Anna Schultz and Svanibor Pettan; and graduate studentsJennifer Fraser and David McDonald.

Of the ethnomusicologists who read papers or chaired sessions, twenty-sixwere UIUC alumni. Of these, Philip V. Bohlman (Ph.D. ‘83), professor at theUniversity of Chicago, is the incoming president of the Society. AlumniAnthony Rauche, Christopher Waterman, and Carol Babiracki, with BrunoNettl, also participated in an evening of “fun stuff” including poetry read-ings, a short opera, and a calypso satirizing the history of ethnomusicology.

Society for EthnomusicologyCelebrates First Fifty Years

Top: The SEM-Illinois Alumni Reception brings togeth-er UIUC alums and presenters.

Middle: Karl Kramer and Bruno Nettl with PhilipBohlman, UIUC alum, Professor of Ethnomusicologyat the University of Chicago, and incoming presidentof SEM.

Bottom: Karl Kramer, Director of the UIUC School ofMusic with program co-chairs Bruno Nettl and JudithMcCulloh at the 50th anniversary meeting in Atlanta.

The Charles Leonhard Endowed Fund forExcellence in Music Education has received$22,150 in contributions to date, andpledges totaling $69,720. The commit-tee’s initial goal is to reach $150,000 toendow a graduate fellowship and receive

matching funds from the University of Illinois Foundation.Their long-term goal is $250,000.

The University of Illinois Music Education Division isdelighted by the alumni’s decision to commemorate Dr.Leonhard’s life and work through support of an endow-ment in his name. To contribute, contact Marlah Bonner-McDuffie, Associate Director for Development,217.244.4119. Or, send your contribution, made payableto the UIF/Dr. Leonhard Legacy Endowment Fund, to:

Development OfficeUniversity of IllinoisSchool of Music, 3068MB1114 W. Nevada StreetUrbana, IL 61801

The University of Illinois and School of Music thank you!

Linda Gerber (’75) and RobertWessler (’76) reminisce.

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C o v e r S t o r y

J O H N W A L T E R H I L L’ S

BAROQUEMUSIC A M A T C H O F

S E V E N T E E N T H A N D T W E N T Y - F I R S T C E N T U R I E S

When a sales representative from W. W. Norton Compa-

ny approached Professor of Musicology John Walter Hill

about the company’s latest offerings, his sales pitch was

accompanied, as is standard, by a question: was he working

on anything that their acquisition editor should consider

publishing? Hill brushed it off as the usual compliment

extended as a technique to promote the publisher’s text-

books. But the representative persisted, telling him the

company was seeking a scholar to write the remaining

book, Baroque Music, in its Introduction to Music History

series. Hill countered by recommending several colleagues

as potential authors. At home that evening he described the

conversation to his wife, Laura. “She said, ‘But you would

want to write that book, wouldn’t you?’ And I said, ‘Well,

By Anne Mischakoff Heiles

BAROQUEMUSIC

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C o v e r S t o r y

To organize the table of contents, Hill relied on his long teach-ing career: “My starting point was the organization of the course onthe subject that I’ve taught annually for the last thirty-five years.That organization has been tested; it evolved over the years.” Still,when he drafted his manuscript, he made additional changes, “part-ly ordering the topics to minimize references to future discussions.For instance, the discussion of early seventeenth-century Italianchurch music should follow the discussion of theater and vocal

chamber music because the novelties and innovationsin it are based on theater and chamber music. If youhad it the other way around, you’d be constantly say-ing, ‘As we will see in the following chapter….’ I envi-sioned the textbook as serving a semester course. Iused it for one semester last year, so in fact it can bedone. The students have to read about fifteen pages ofthe book in preparation for each class section. That’srelatively painless; it’s basically an hour of readingthree times a week.”

There were holes to fill in his own knowledge, Hilladmits, because any teacher is selective in a particular

course. “And as I wrote, I sent the chapters to specialists in thoseparticular fields. I got extremely good feedback. When it was com-pleted, it was sent to six more referees. Norton wanted to be certainthat the book was going to be widely considered a standard anddefinitive account, rather than idiosyncratic writing.”

Not one to mince words, however, Hill acknowledges that hisapproach “isn’t a neutral or default account by any means.” Hebroke new ground in several ways. For example, by adding theresults of research from many scholars since the publication ofBukofzer’s Music of the Baroque Era in 1947, he expanded dis-cussions of French, Spanish, and Portuguese music, as well asthe contributions made by women. He developed the music’s

yes, I guess I would.’ So the next day I emailed Michael Ochs, themusic editor at Norton who had previously been music librarian atHarvard, and asked if he would be open to a proposal from me.”

Some five years later, Hill’s office is littered with boxes of thetextbook he authored and its supplementary Anthology of BaroqueMusic, and with the music equipment he used to help create dozensof listening examples that bring the anthology to life. Probably themagnum opus of his distinguished career as a music scholar andteacher (or at least the work most likely to make hisname widely known), Baroque Music was publishedin 2005 and caps a career that has produced The Lifeand Works of Francesco Maria Veracini, Vivaldi’sOttone in Villa: A Study in Musical Drama, and a fair-ly recent two-volume set titled Roman Monody, Can-tata, and Opera from the Circles around CardinalMontalto.

Hill has been editor of the Journal of the AmericanMusicological Society and has served on several inter-national boards and committees. He has also writtenextensively for the New Grove Dictionary of Musicand Musicians and for Die Musik in Geschichte und Gegenwart.Nevertheless, the editorial staff at Norton put him through stiffpaces before formalizing an invitation to write the Baroque historydestined to succeed Manfred Bukofzer’s benchmark survey that hadserved two generations. Michael Ochs, Hill surmises, “worked somephones to see if I was the right sort of person. He asked for a two-page general prospectus about the approach, a complete table ofcontents, and two subchapters of about five printed pageseach.” Then Norton’s editor formulated a listof questions about both Hilland the proposal, sending themalong with copies of his materi-als to about five or six referees.“Basically a publisher wants toknow if the person has a reputationsuch that the work would interestprofessors. After all, you don’t adopta course textbook by someone youknow is not your equal. So, on thatbasis, they prepared a contract.”

“THE WHOLE THEORY OF ROOTS AND INVERSIONS WAS IN PLACE MORE THAN A HUNDRED YEARS EARLIER IN

THE WORKS OF HARNISCH AND JOHANNES LIPPIUS. . .”

Baroque Music and its accompanying anthology,published in 2005 by W. W. Norton & Co., drawfrom author Hill’s 35-year teaching experience onthe subject, as well as extensive research.

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cultural, political, and religious contexts to a greater extent than hadearlier texts. “That would more or less be expected in the year 2005from a book of this kind,” he says. “But what is particularly differ-ent is the emphasis on period theory and thought that I’ve used asthe basis for approaching music. Most of my specialist colleagues inthis period use a modern approach, which tends to be retrospectivein treating many features of seventeenth-century music as mereforeshadowing of eighteenth-century music.”

Referring to nearly sixty Baroque-era theorists for his analyses,Hill says the list begins with “the writers from around Florence,Italy, having to do with the birth of opera: Vincenzo Galilei, GiulioCaccini, Jacopo Peri, Giovanni Battista Doni—and that list goeson. Then come the many writers on mode,with Adriano Banchieri setting the toneamong them.” Rameau’s importance in thehistory of theory has been greatly exagger-ated, in Hill’s judgment. “The whole theo-ry of roots and inversions was in place morethan a hundred years earlier in the works ofHarnisch and Johannes Lippius (the betterknown of the two because his account wasmore thorough).”

Rather than discuss the “modern con-cept of tonality,” Hill says he focuses onwhat he calls “the normalized harmonicstyle of Corelli from the standpoint of thetheory of one of his students, FrancescoGasparini, who (like another student ofCorelli, Francesco Geminiani) presents, discusses, and teaches theharmonic style of that period as a series of modules. These are nor-malized units of two, three, four, and five chords.” Referring as anexample to the music of Giovanni Maria Bononcini (1642-1678),Hill says, “The previous two parallel and distinct strands of com-positional thought in the Western world—chords and mode—merged together. It’s a merging of structure with modal and chordallanguage that creates the language of the Corelli generation.

“Chordal composition seems to arrive in Western Europe withthe fretted instruments of the lute-guitar family from Spain, wherethey were established by Arabic musicians. So the chordal traditionseems traceable back to Arabic traditions, whereas mode traces backthrough Christian and Jewish traditions. In a sense, these two greatpillars of Mediterranean civilization come together at the end of theBaroque era, in what today is loosely called tonality but what I callthe normalized harmonic style of the late Baroque.”

Hill’s new text delves into other aspects discussed by theorists ofthe Baroque period to explain music, including formal rhetoric andrhythmopoeia, the “analysis of music using poetic scansion conceptsand markings, starting with Marin Mersenne. Mode and rhetoricare two continuous strands in [Baroque Music], although someestablished scholars may have trouble digesting them.”

In expanding the discussion of Spanish and Portuguese music,compared with Bukofzer’s Baroque history, Hill was driven by theawareness made possible by burgeoning research in recent decades.“The subject warrants it. There was very little usable research andwriting by earlier Spanish scholars. Musicology, and many otherbranches of modern humanities research, emerged from Germany,

then from France and later from Italy.Spain had mostly become somewhat isolat-ed from the rest of Europe culturally,socially, and intellectually. I am glad thatthere is more to say about Spain, just as Iam that there is a great deal more to sayabout women: today we understand betterthat our culture, society, and history werenot carried out solely by northern Euro-pean men. The founders of musicology,German men, were nationalistic, malechauvinist, and racist to a great extent.Writing this book was a good opportunityto rectify that as much as I could.”

Hill credits the British and Americanscholars of his generation and especially

the younger generation with having the distance—as well as thefamiliarity with enough languages—to avoid writing from a nation-alist slant. “Already when I was in graduate school in the 1960s, weof student age thought our generation had an historical mission torectify this German slant on the history of music. It was a blinkeredview of the rest of Europe, which, of course, robbed it of its validi-ty and strength. It wasn’t sufficiently disinterested to be reliable.”

An anthology of music, 130 pieces totaling more than a thou-sand pages, accompanies the textbook, with another 46 musicalexamples available for downloading in PDF files from the Internet.Hill edited all the examples, his approach a mix of Urtext and read-ability: “My goal was to preserve the original rhythmic values andmeter signs, and the key signatures: that is, not to add anything ortake away anything from the original body of notes. Other thanthat, I wanted to use modern clefs, rather than C clefs, and to placea running translation in italics above the vocal text for languagesother than English,” he explains of his decision not to simply rely

“THE FOUNDERS OF MUSICOLOGY, GERMAN MEN, WERENATIONALISTIC, MALE CHAUVINIST, AND RACIST TO A GREATEXTENT. WRITING THIS BOOK WAS A GOOD OPPORTUNITY TO

RECTIFY THAT AS MUCH AS I COULD.”

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on a text and translation in poetic form following the score. “Withthe running translation, students don’t have to page back and forthbetween the text and music.”

Editing the anthology, however, consumed far more hours eventhan writing the textbook. All the scores were created anew, basedon the original manuscript and printed sources. Hill devoted addi-tional hours to persuading Norton to include listening examples.Using commercial recordings was too costly for a period historybook because they required copyright payments, and using onlystudents to perform the examples risked an amateurish result oralienating some buyers who might think the performance outlookwould “reflect a single phi-losophy of performancepractice.” It took a kind ofmodern-day deus ex machinato resolve the problem.

To procure the necessarybandwidth and server spacefor modern-day students todownload examples, Hillwent to the University’sCITES (Campus Information Technologies and Educational Ser-vices). He also learned to convert files to MP3 format. Moreover, hefigured out how to create his own brand of synthesizer sounds,“using a MIDI instrument file based on live sound samples that Iplayed, by recording on a Baroque violin, viola, and cello notesabout half an octave apart from the lowest to highest notes you’relikely to hear, and trimmed those down, making those samples thebasis of MIDI instruments. It didn’t turn out to sound as realistic asI thought it would, but it did soak up quite a lot of time, to findthe right software to execute it (Vienna Sound Fonts); I’ve sincelearned that there are other more sophisticated programs that do thesame thing that are somewhat costly.” Hill has a longstanding inter-est in performance practices (and devotes a number of sidebars andboxes in the textbook to them). He combined his painstakingefforts at the string instruments, keyboard, and mouse with record-ings of performances by School of Music students.

In the end, Hill’s work has garnered glowing reviews. BarbaraHanning (City College of New York) wrote that “Baroque Music isastonishingly thorough and brilliantly insightful….” And BruceGustafson (Franklin & Marshall College) has called it a “monu-mental achievement…destined to become a classic.” One mightexpect Hill to feel let down after devoting five years intensively toits creation. He says he has not had time for a letdown or “decom-pression period” because of being “thrown into a period of three or

four invitations annually to give papers at conferences in Europe.They’re very attractive: free trips to Europe, and being put up in anice hotel and given elaborate meals, a tradition among Europeanscholars.”

Compounding his busy schedule, however, the invitations havecome with specified topics: “They’re not on subjects where I haveongoing research, so they have been demanding of time: identifyingmy project, collecting material, coming up with a thesis, and writ-ing. They’ve all been in European languages. Just yesterday I wokeup at 4 a.m. in Rome and had a whole day of travel, and here I amat school in Urbana today. In Rome I talked about a couple of dif-

ferent perspectives on thevocal works of Luca Maren-zio, a sixteenth-centurymadrigalist, from the per-spective of solo singing; Italked about his imitation ofsomething called cantarealla bastarda, and the reflec-tion of the idiom of theSpanish guitar accompani-

ment. There’s another conference in December, so today [in Sep-tember] I have to start preparing for that event in Venice, Verona,and Mantua. I’ll speak about the longstanding convention and tra-dition of the love complaint in the Orpheus operas in the seven-teenth-century and my interpretation—fairly contemporary in thatI’m going to sound quite a bit like a feminist—of its social and cul-tural meaning.” The Baroque meets the twenty-first century.�

“More than just a textbook, John Walter Hill’s

Baroque Music is a detailed scholarly investigation

of the era, beautifully illustrated and produced by

W. W. Norton & Company. The companion

Anthology of Baroque Music opens new perspectives

by supplying carefully edited scores of many works

not otherwise available, and it is augmented by a

Web-based supplement, broadening our awareness

of music of this fascinating period.”

Professor William KindermanUIUC School of Music

C o v e r S t o r y

“MY GOAL WAS TO PRESERVE THE ORIGINAL RHYTHMIC VALUES AND METER SIGNS, AND THE KEY SIGNATURES: THAT IS, NOT TO ADD ANYTHING OR TAKE AWAY

ANYTHING FROM THE ORIGINAL BODY OF NOTES....”

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“The School of Musicis rockin’ ” exclaimedDr. Kathleen Conlin,Dean of the Collegeof Fine and AppliedArts, to attendees ofthe School of MusicOpen House on Sep-

tember 27. How true! With increasedenrollment, visibility, and faculty involve-ment in outreach and recruiting events, theSchool of Music has an incredible energythat is becoming contagious!

The School of Music has enrolled oneof the largest freshman classes in recentyears with 100 new, first year students. Inaddition to meeting our enrollment goal atthe undergraduate level, overall graduateenrollment has also increased by almost15% this year.

As you may recall from last year’s edi-tion of sonorities, Music Admissions andOutreach & Public Engagement were fusedinto one office with one mission: to bringquality educational programs to studentsand teachers while creating, fostering, andmaintaining relationships with prospectivestudents. The synergy created by combin-ing these two offices gives the School ofMusic faculty and staff an opportunity tosee prospective students on multiple occa-sions. Whether attending one of our Aller-ton Chamber Symposia, Superstate, orOpen House, students are beginning tosee the same familiar faces that make theSchool of Music a small, personable com-munity of excellence.

Once again this fall the School partici-pated in performing and visual arts fairs—bringing information about musicalopportunities to hundreds of students. As Icomplete the last airplane ride of my col-lege fair travel for 2005 and reminiscenceon the students and parents I met in mytravel to various cities, I am reminded ofthe power of influence. Many students withwhom I spoke cited that it is because of

Admissions Activit iesJoyce Griggs, assistant director for enrollment management and public engagement

you—our alumni and our supporters—thatthey were directed to consider the Univer-sity of Illinois.

I am well aware that with the fiercecompetition between great schools andgreat programs, and the increasing needfor scholarships and financial aid, studentshave many choices and reasons for deter-mining which school they attend—whetherfor a summer music experience or formajoring in music. In the age of the inter-net, the vast opportunities for studentsbecome blurred. Which school is really sounique that a student can’t possibly missthe chance of attending? How do studentstake the wealth of knowledge available tothem and decipher it with a scrutinizingeye, in order to better separate substancefrom the rhetoric? It is through communica-tions with our faculty and our alumni thatstudents gain understanding of their poten-tial for success at the University of IllinoisSchool of Music.

I invite you to contact my office to dis-cuss the many possibilities for workingtogether to bring relevant and meaningfulenrollment information to students. Whetheryou prefer a chamber ensemble concert, apresentation by a staff member, or a visit tocampus, we can assist with arranging theseappointments and ensuring that all studentsinterested in learning more about the Uni-versity are reached.

I would be remiss if I did not concludethis article with thanking the many hard-working colleagues who make up ournewly restructured office of Enrollment Man-agement and Public Engagement. To DavidAllen, Lynwood Jones, Nancy Boaz, RuthStoltzfus, Sandy Horn, Cathy Egan, our stu-dent workers, and most importantly facultyand other supporting staff—thank you formaking 2004–05 such a great year for ouroutreach and admissions programs. I lookforward to strengthening our relationshipsand making each year a success!

A comprehensive and intensiveprogram of music instructionheld on the campus of the Uni-versity of Illinois at Urbana-Champaign. For the past 57years, Illinois Summer YouthMusic has enrolled more than athousand students annually.Many past campers performwith major symphony orchestrasand other professional ensem-bles. A significant number aresuccessful teachers, engineers,scientists, lawyers, doctors, andbusiness executives.

Elective Courses

• Chamber Music

• Composition/Theory

• Conducting

• Group Piano Lessons

• Music Technology

First SessionJune 18-24Senior BandsSenior ChorusSenior OrchestraAdvanced PianoAdvanced Junior Flute Musical Theatre

Second SessionJune 25-July 1Junior BandsJunior Orchestra and

Junior StringsAdvanced Senior FlutePianoDouble Reed

Third SessionJuly 9-15Junior BandsTromboneJunior ChorusJunior PianoJazzAdvanced Percussion

Now Registering for

Illinois Summer Youth Music 2006

www.music.uiuc.educ l i c k o n t h e “ I S Y M ” l i n k

217-244-3404E-mail: ISYM@music.uiuc.eduNow accepting major credit cards.Get an application online!

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Development Update

Since my appointmentto Associate Directorof Development inOctober 2004, I havehad the privilege ofmeeting with over150 alumni andfriends of the Schoolof Music from across

the country. Making a personal connectionwith alums continues to be an exhilaratingand rewarding experience for me. Alumnihave shared their many wonderful experi-ences of how the School of Music has hada transformative impact on their personaland professional development. Moreover, Ihave been humbled and inspired by ouralumni and friends’ willingness to becomea part of the future of the School throughtheir generous gifts of financial support.

This is truly an exciting time for the Uni-versity of Illinois and for the School ofMusic, and I am thrilled to have joined theSchool during this period of tremendousgrowth and opportunity. Under the leader-ship of Dr. Karl Kramer, now in his fourthyear as director, the School of Music hasaccomplished many worthy goals in whichour alumni can take much pride. In ourcontinued quest for unparalleled excellencein professional music training, we haveattracted world renowned musicians, schol-ars, and artist-teachers to our faculty fromaround the globe. Our enrollment hasexperienced significant growth in recentyears, and we continue to attract many ofthe best students from all over the world.Our challenge remains to provide our stu-dents and faculty with the resources thatwill allow them to succeed in their aca-demic and professional careers.

There are several opportunities foralumni and friends to make an immediateimpact in the future of the School. As youtake a look at our “wish list” (page 15),

you will note that the most urgent need forthe School of Music continues to be secur-ing endowed chairs and professorships,which assist us greatly by attracting themost talented faculty and providing themwith the resources to excel in their scholar-ly endeavors, and to provide the bestresources to our students. Moreover,endowments provide permanent financialsupport and enable you, the donor, tobecome a perpetual partner in the successand future of the School of Music. In lightof declining financial support from thestate of Illinois, the establishment ofendowed chairs and professorships isincreasingly critical to the success of theUniversity of Illinois and to the School ofMusic.

Our School has benefited greatly fromalumni and friends who have made thedecision to provide financial supportthrough planned or deferred givingarrangements, which range from bequeststo several life income instruments that canprovide you or a designated beneficiarywith income for life and the School ofMusic with an outright gift of the remain-ing balance, or an endowment to supportthe School in perpetuity.

I am committed to assisting our donorsin finding the most personally gratifying aswell as financially advantageous methodto meet their philanthropic objectives. Iinvite you to become a long-term partnerin our future success by considering an out-right or deferred gift to the School ofMusic. We encourage you to reconnectwith the School by visiting our website,http://www.music.uiuc.edu, joining us fora performance, or contacting us directlywith an update on what you’ve been up tosince earning your degree.

Creating a Lasting Partnership for Our Future

Marlah Bonne-McDuffie, associate director for development

The importance of private gifts to theSchool of Music increases every year.The state of Illinois provides basicoperating revenue for the Universityof Illinois; however, support from thestate accounts for less than 18 per-cent of the total budget.Thus giftsfrom alumni and friends help to pro-vide the margin of excellence whichdistinguishes the UI School of Music.

We look forward to a very brightfuture for the School of Music, andwe continue to evaluate new oppor-tunities and programs that will helpto ensure our position as one of theleading music schools in Americatoday. In order for us to reach ourgoals and to provide the best educa-tion possible for our students, wemust have the resources in place.

The following items represent thecurrent needs and wishes of theSchool of Music in order of impact:

• Chairs and Professorships: endowedchairs and professorships serve aseffective tools with which to recruitand retain scholars and performers.Renowned faculty attract the mosttalented students and the brightestminds to study at the University ofIllinois. As artists and scholars, theycontribute to the world of research,creativity, and virtuosity that is one ofthe University’s principal missions.This is vital to the continued successof the School of Music.

• Fellowships: the continued excel-lence of the School of Music dependsin part on attracting the most talent-ed graduate students from across thenation and around the world. For usto remain competitive among theleading schools in the country, wemust be prepared to assist the excep-tional students we serve.

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Louise Taylor Spence Scholar-ship Fund for Undergraduate Performance MajorsA $300, 000 bequest was received inOctober 2005 from the estate of LouiseTaylor Spence, a resident of Los Alamos,New Mexico, for the benefit of new schol-arships. Funds from the endowment will beused to provide tuition and fees for worthyand promising undergraduate studentsenrolled in the UIUC School of Music, asdetermined through a competition judgedby the music faculty.

Mrs. Spence, a 1936 graduate of theUniversity of Illinois, played the organ andhad many positive memories of UI, whereshe majored in music. Her husband, Dr.Roderick W. Spence, also attended theUniversity of Illinois, receiving his Ph.D. inchemistry in 1939. He was a group leaderat Los Alamos Lab most of his career and aManhattan Project veteran. Both enjoyedmusic and remembered attending wonder-ful recitals in Smith Music Hall. The LouiseTaylor Spence Scholarship fund is dedicat-ed to benefiting students majoring in theperforming arts in applied music.

G. Jean Sutter Music Education Endowment Fund

This scholarship for theMusic Education divisionwas funded by Mr. CraigB. Sutter of Urbana, Illi-nois in honor of his moth-er G. Jean Sutter.

Mr. Sutter received hismaster’s degree in Education in 1978 anda Bachelor of Science degree in Aeronauti-cal and Astronautical Engineering in1971. Because of his commitment to thefuture of education, his association with thefaculty, students and staff atThe University of Illinois,and his wish to honor hismother’s love of music, heestablished the G. Jean Sut-ter Music Education Fund.Once fully endowed, the

fund will provide an annual award to adeserving upper division music educa-tion student in the UIUC School of Musicwho demonstrates an unusual enthusiasmfor sharing their love of music with futurestudents.

Valencia F. Huson and R. JaneScott Band and Music Audiovi-sual Preservation EndowmentA new endowment, established by PeggyBilling and Christopher Huson of Urbana,Illinois, in honor of their mothers ValenciaF. Huson and R. Jane Scott, wasannounced at the Band Alumni Reunionbanquet held at the Illini Union on Febru-ary 19, 2005. This new fund will benefitthe Sousa Archive and Center for Ameri-can Music (SACAM).

Peggy S. Billing is a 1982 graduate ofthe University of Illinois and has been amember of the Champaign Brass as atrumpet player since 1995. Peggy beganstudying music education, studied trumpetwith Professor Ray Sasaki, and performedwith several U of I bands including thefamed Marching Illini while a student, andeventually received her Bachelor of Sci-ence degree in finance. She is especiallyinterested in preservation of Band andMusic sound and audio visual recordings,preserving the Marching Band audio visu-al archives, as well as helping raisemoney for the University Bands.

Chris Huson received his master’sdegree in Computer Science from UIUC in1983, and is a Senior Research Program-mer. His employer, Intel Americas, Inc.,has generously contributed matching fundsto the new Huson-Scott Endowment.

Both extremely loyal alums, Chris andPeggy feel the education they received hasa tremendous impact on their careers andwished to express their “Illinois Loyalty”through this joint gift for the benefit of theSousa Archives to help with preserving theaudio visual materials in the Archives.

New GiftsThe School of Music is pleased to announce the establishment of severalnew endowments between September 2004 and October 2005.

• Advocates for Young Artists: twenty-five outstanding undergraduate stu-dents have participated in the AYAprogram since its inception in 1999.Donors make a four-year commit-ment to support one student duringhis/her tenure and are invited to vari-ous events featuring AYA scholarshiprecipients.

• Building Infrastructure and Equip-ment: maintaining the facilities andequipment for our faculty and stu-dents takes considerable resources,and to be competitive with our peerinstitutions, we must continue tohave outstanding practice facilitiesand performing venues.There arenumerous opportunities, rangingfrom studio recording equipment torenovating Smith Memorial Hall.

• Opera Sponsorship: the School ofMusic produces two full-lengthoperas each year.An opera produc-tion takes considerable time, effortand money. Current productions cancost in excess of $60,000.While tick-et sales cover about half the cost ofeach production, additional supportwill assure both student performersand audience members of operaticexperiences comparable to produc-tions found in major cities, whilekeeping ticket prices reasonable.

We hope you will consider making amajor gift to the School of Music. Ifyou are interested in funding projectssuch as these or would like toexplore other opportunities, pleasecontact Marlah Bonner-McDuffie,associate director of development, at217-244-4119.

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New Appointments

Christina Bashford,Assistant Professor ofStrings/Musicology,received her Certificatein Teaching in HigherEducation from OxfordBrookes University, herB.A. from University of

Oxford, and both the M.M. and Ph.D.from King’s College, University of London.Christina’s main research interests are inperformance history and the social andeconomic history of music. Her principalfocus to date has been on musical culturein nineteenth and early twentieth centuryBritain, particularly London, and this hasresulted in a range of work on chambermusic, concert institutions, audiences, pro-gram notes and listening practices. Shehas published articles and reviews inMusic & Letters (winner, Jack WestrupPrize, 1991), Journal of the Royal MusicalAssociation, Journal of Victorian Culture,and Musical Quarterly, and has con-tributed to several volumes of essays,including The Cambridge Companion tothe String Quartet (2003). She speaks reg-ularly at seminars and conferences, andhas developed lecture-recital workshops inconjunction with chamber music groups.Co-editor (with Leanne Langley) of Musicand British Culture, 1785-1914: Essays inHonour of Cyril Ehrlich (Oxford UniversityPress, 2000), Professor Bashford is also aprincipal collaborator on the Concert Lifein 19th-century London Database, aresearch project founded in 1997 with col-leagues at the University of Leeds andGoldsmiths College, London. Currently sheis completing a monograph entitled ThePursuit of High Culture: John Ella andChamber Music in Victorian England, forwhich she received support from the Artsand Humanities Research Board (UK) in2003-04. Prior to coming to Urbana-Champaign, Professor Bashford was onthe faculty of Oxford Brookes University inEngland; before that she served as theManaging Editor of the New Grove Dictio-nary of Opera.

Louis Bergonzi,Associate Professor ofMusic Education/Strings and Conductorof the UI PhilharmoniaOrchestra, received hisDiploma from theKodály Musical Train-

ing Institute, Hartford, CT and later pur-sued undergraduate studies in musiceducation, Susquehanna University. Hereceived his B.M. (cum laude) from BostonUniversity, and both the M.M. and Ph.D. inMusic Education (with cognates in Orches-tral Conducting and Educational Founda-tions and Policy Administration) from TheUniversity of Michigan. Prior to hisappointment at UIUC, he was on the facul-ty of the Eastman School of Music for 16years, and earlier he held positions in vari-ous public school systems in Massachu-setts. A frequent presenter at regional,state, national, and international teachers’conferences, Bergonzi’s areas of expertiseinclude orchestra rehearsal technique, con-ducting, and string teaching, particularly inan urban setting. His extensive experiencein these areas include acting as director ofthe Eastman Summer Music Academy forString Teachers (1995-1999); director ofthe Rochester-Eastman Urban String Project(1997-2005); conductor of numerous all-state honor orchestras; Melbourne, Aus-tralia Summer Youth Music (1999-2005);Hong Kong Summer Youth Orchestras(1997); and All-State Intermediate Orches-tra at Interlochen (1985-1990). Bergonzi’sresearch involves secondary data analysisof large-scale, nationally representativedata sets to consider issues in the sociolo-gy of music education and arts educationpolicy. His efforts have garnered severalresearch grants and fellowships, includingYamaha Music Education Research Project(1995-present); National Endowment forthe Arts (1993-95, 1997-present); andBridging Fellowship in Public Policy Analy-sis, University of Rochester (1995).Bergonzi is author of several books:Rounds and Canons for Strings: Shaping

Musical Independence (Kjos, 2003); co-author, Teaching Music Through Perform-ance in Orchestra, Vols. 1 and 2 (GIA,2001, 2003); co-author, Americans’ Musi-cal Preferences (National Endowment forthe Arts, 2001); and Effects of Art Educa-tion on Participation in the Arts (NationalEndowment for the Arts, 1996). He hashad articles published in American StringTeacher, Journal of Research in Music Edu-cation, Bulletin of the National SchoolOrchestra Association, and Bulletin of theInternational Kodály Society. Among hismany affiliations are president, AmericanString Teachers Association (1998-2000)and national chair for its Urban OutreachProgram (1993-1996); Music EducatorsNational Conference; New York StateSchool Music Association; Society forResearch in Music Education; and theNational Editorial Board of the Journal ofString Research.

Philipp Blume, Visiting Lecturer in Com-position-Theory, received his Artists Diplo-ma from the Freiburg Conservatory inGermany, and did his graduate work atthe University of California at Berkeleyunder Professor Cindy Cox. Philipp is acomposer of experimental chamber musicwhose works have been featured in citiesthroughout the world, including London,Paris, Berlin, San Francisco, Freiburg,Stuttgart, Darmstadt, and the Banff Centrefor the Arts. He was a student of ProfessorMathias Spahlinger in Freiburg until 1999,and during his doctoral studies at Berkeley,he was also recognized for outstandingwork as an instructor. In 1999 Philipp wasa participant at the Voix Nouvelles Festivalin Royaumont, France, and in 2003 hetook part in the first Summer Workshop forYoung Composers hosted by Schloss Soli-tude in Stuttgart. Philipp spent the first fivemonths of 2000 at the HerrenhausEdenkoben on a composition stipendunder the mentorship of Peter Eötvös. Mostrecently, Philipp’s quartet ex cusa was pre-miered at the Akademie der Künste inBerlin, where he received the 2005 Ferruc-

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Electroacoustiques de Bourges 2004:Degré I-RESIDENCE; Spectrum Press andthe Los Angeles Sonic Odyssey’ MusicBeyond Performance: SoundImageSoundIII; Electronic Music Midwest 2005; SEA-MUS 2005; 32nd International Competi-tion of Electroacoustic Music and SonicArt/Bourges 2005; and NODUS concert2005. As a researcher she has worked inthe CAVE (Cave Automatic Virtual Environ-ment) at UIUC as part of the Virtual MusicProject where she developed a real-timeaudio synthesis patch in Max/MSP torespond to user/performer gestures. Herdissertation topic is the study of spatialrelationships in painting and electro-acoustic music.

Emilio Colón, Associate Professor ofCello, received his B.M. from the PuertoRico Conservatory of Music, and hisM.M. at Indiana University, where he alsopursued doctoral studies as a student ofJanos Starker. Emilio taught for the UIUCSchool of Music as a visiting faculty mem-ber in Spring 2004. Prior to his currentappointment at UIUC, he was AssociateProfessor of Cello at Indiana University,Bloomington, where he taught cello, con-ducted the Indiana Cello Ensemble inannual presentations, and served as Exec-utive Vice President of the Eva JanzerMemorial Cello Center. He was honoredwith the Pablo Casals Medal upon gradu-ation from the Puerto Rico Conservatory ofMusic, won first prize in the Las AmericasFestival Solo Competition, and hasreceived grants from the National Endow-ment for the Arts and sponsorship fromChamber Music America. He has present-ed recitals and master classes and per-formed as a soloist with orchestras inCanada, Costa Rica, Colombia, Ecuador,Germany, Guatemala, Japan, Puerto Rico,Spain, Switzerland, and the United States.He is a faculty member and frequent per-former at the International Festival-Instituteat Round Top and the Aria InternationalMusic Festival. Professor Colón’s perform-ing editions have been published by Mas-

ters Music Publications; he has made soloand chamber recordings for the Enhar-monic, Zephyr, Lyras and Klavier labels,and was recently featured as performer,arranger and composer on Klavier’srecent release of Obsecion.

Cathy Egan, Accountant II, joined thestaff of the School of Music business officein August 2005, having worked previouslyfor three years on the UIUC campus in theDepartment of Civil Engineering. Cathyprovides administrative support for Dr.David Atwater, Assistant Director for Oper-ations. She and her husband Ken Egan,manager of the scene shop in the KrannertCenter for the Performing Arts, came to theUniversity of Illinois in 1986 fromRochester, New York.

Dawn Harris, Visit-ing Lecturer in Voice(soprano), began hervocal studies at Ober-lin Conservatory ofMusic, then continuedat Kent State Universi-ty, where she received

both her B.M. and M.M. in vocal perform-ance. Further doctoral level studies invocal performance and opera were com-pleted at Louisiana State University. Hermajor teachers and coaches include JamesF. Stuart, James Mismas, PatriciaHavranek, Dale Moore, Gary Arvin, EricDalheim, Henry Holt, Robert Grayson, andMartina Arroyo. Prior to her appointmentat UIUC, she served on the faculties ofDePauw and Illinois Wesleyan Universities.Ms. Harris has a diverse performing expe-rience that ranges from singing the titlerole in Massenet’s Manon with BatonRouge Opera and Zerlina in Don Giovan-ni with Arizona Opera, both under thestage direction of famed basso, GiorgioTozzi, to dancing Jerome Robbins originalchoreography along side Broadway starBebe Neuwirth, in Cleveland Opera’shighly acclaimed production of West SideStory. In her many seasons as a leading

cio Busoni promotional prize in Composi-tion. He is currently at work on an ambi-tious cycle of pieces entitled Rausch desVergessens, inspired in part by the philoso-phy of Nicolaus Cusanus, the writings ofGertrude Stein, and the musical specula-tions of Mathias Spahlinger. The cycle willbe comprised of eight pieces of varyinginstrumentation, and eight epilogues forsolo piano.

Kyong Mee Choi,Visiting Lecturer inComposition-Theory,received her B.S.(Chemistry and Sci-ence Education) fromthe Ewha Women’sUniversity in Seoul,

Korea. She completed the Master Coursein Literature at Seoul National University,and received her M.M. (Music Composi-tion) from Georgia State University andD.M.A. in Composition from the Universityof Illinois at Urbana-Champaign. She is astudent of Agostino Di Scipio, WilliamBrooks, Guy Garnett, Erik Lund, RobertThompson, and Scott Wyatt. A composerand visual artist, Kyong Mee writes mainlychamber, electro-acoustic, interactive, andmulti-media music. Her compositions alsoincorporate algorithmic compositionaldevices, geometric charts, visual art, andanalogues of musical elements with non-musical concepts. She has also beenactive as a painter, which has led her toexperiment with integrating sound andimage into a single artwork. She has hadmany works recognized in numerousplaces such as the 2003 Luigi RussoloInternational Electroacoustic Competition;2003 ASCAP/SEAMUS; Concurso Interna-cional de Música Eletroacústica deSãoPaulo; 2004 Australasin ComputerMusic Conference; MUSICA CONTEMPO-RANEA in Ecuador; 2004 InternationalComputer Music Association; 4th AnnualElectroacoustic Musical Festival in Santia-go, Chile; Palmarès du 31e ConcoursInternational de Musique et d’Art Sonore

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lady and Assistant to the Director at OhioLight Opera, Ms. Harris was featured inover thirty roles by major operetta com-posers such as Offenbach, Lehar, Strauss,Herbert, and Romberg. Harris has distin-guished herself as an expert interpreter ofthe Gilbert and Sullivan style. Having sungnearly all of the G&S female roles, Ms.Harris is most noted for her portrayal ofYum-Yum in The Mikado, a role she per-formed more than fifty times at Ohio LightOpera, as well as Toledo Opera and theGrant Park Music Festival in Chicago. Herother credits include roles with Utah Festi-val Opera, Eugene Opera, Opera Theatreof San Antonio, and creating the role ofLola Lopez in the world premiere of RobertWard’s Lady Kate with Triangle Opera.On the concert stage, Ms. Harris has per-formed with symphony orchestras acrossthe country. While serving as the ArtisticDirector of Prairie Fire Theatre (a profes-sional light opera company in Blooming-ton, Illinois), she staged eight fullproductions including operetta and musicalreviews. As a member of the voice facultyand assistant opera director at Illinois Wes-leyan University, Ms. Harris directed manymainstage productions, including GianniSchicchi, Die Fledermaus, and Trouble inTahiti. Nationally, she has served as gueststage director for the production ofYeomen of the Guard at the prestigiousBrevard Music Festival; and has worked asa choreographer/Assistant to the Directorat Eugene Opera, Ohio Light Opera, andthe North Carolina School of the Arts. Hervoice students have won major awardsand scholarships to graduate schools, suchas The Cleveland Institute of Music, TheManhattan School of Music, Florida State,University of Illinois, and Indiana Universi-ty. Many of her students have attended thesummer programs at Brevard Music Festi-val, AIMS, Daniel Ferro Vocal Institute andOpera Festival di Roma. Likewise, hermusic theater students have been success-ful working with major theater companiesand national tours. Ms. Harris is an activemember of NATS, Opera America and PiKappa Lambda.

Suzanne Hassler,Academic Professional,received her B.F.A.(magna cum laude)from the University ofIllinois at Urbana-Champaign and herM.A. (summa cum

laude) in theatre history and criticism, withan emphasis in opera, from The Universityof Texas at Austin; her Principal teachersinclude Oscar Brockett, Martha Deather-age, and David Garvey. Suzanne joinedthe UIUC School of Music as Coordinatorfor Alumni Relations and Development inAugust 2005, having served previously asthe communications director and develop-ment liaison for The University of Texas atAustin School of Music. While at UT shecompleted an historical recording projectfeaturing David Garvey, Leontyne Price’slongtime artistic partner, and four Ameri-can opera singers titled “The Horse I RideHas Wings,” later accepted into theLibrary of Congress. She was a member ofthe UT College of Fine Arts External Rela-tions and Development Committee, the Cityof Austin’s annual B. Iden Payne TheaterIndustry Awards committee, and was invit-ed to join the executive committee of thecity-wide 2006 Shostakovich Festival.Suzanne was recognized by UT with anOutstanding Service Award in 1998 andnamed the National Critics Association’sSouthwest Regional winner in 1991. Shehas worked on repeat occasions with inter-national stage director Robert Wilson,most memorably as Saint Theresa I in Virgil Thomson’s Four Saints in Three Acts,and has coordinated many regional,national, and international events includingan interdisciplinary symposium, “From Textto Performance: Law and Other PerformingArts,” directed by Sanford Levinson, withguest artists and speakers Jonathan Miller,Richard Taruskin, Lewis Lockwood, JoshuaRifkin, Anthony Tommasini, Malcolm Bil-son, and Russell Sherman. She has workedprofessionally with the Alley Theater inHouston, American Repertory Theater atHarvard, Austin Lyric Opera, KrannertCenter for the Performing Arts, and TheUniversity of Texas Performing Arts Center.While conducting graduate research inCambridge, she also completed a profes-sional internship in Public Relations andMarketing under artistic director RobertBrustein at the American Repertory Theater

at Harvard University. Suzanne is responsi-ble for helping raise funds for the UIUCSchool of Music; editing sonorities; coordi-nating the annual Student Awards andCommencement ceremonies; and organiz-ing alumni activities at major conferencesand cities throughout North America, suchas the American Musicology Society,IMEA, MENC, Society for Ethnomusicologyand the Midwest Conference.

Dennis Helmrich,Associate Professorand Chair of Accom-panying, received hisB.M. (cum laude) andM.M. with honors fromYale University, and helater did doctoral stud-

ies at Boston University as a student ofBéla Boszormenyi-Nagy. A native ofNewark, NJ, he began his piano studies atthe age of five, and both he and his twinbrother sang in the famous boy choir of St.Thomas’ Church on Fifth Avenue in NewYork City. As a boy he studied solfege withMax Goberman, piano with EugeneHellmer, and flute with George Oppermanand Gerald Rudy. During his years at Yale,Helmrich received prizes from the Lace-wood and Ditson foundations and theNational Endowment for the Arts, havingstudied piano with Donald Currier. At theage of twenty-four he joined the musicalfaculty of Antioch College, and subse-quently served on the faculties of the StateUniversity of New York campuses atAlbany and Purchase, the Jewish Theologi-cal Seminary, Manhattan School of Music,The Juilliard School, and New York Univer-sity. Invited to the Tanglewood Festival in1969 to aid in the musical preparation ofBerg’s Wozzeck under Erich Leinsdorf andMichael Tilson Thomas, in the followingyear Helmrich was appointed Vocal MusicCoach at the Tanglewood Music Center, aposition he has held ever since. Almostfrom the outset of his career Helmrich hasconcentrated on chamber music and theart song literature. It is as a sonata partnerand accompanist that he now makes mostof his concert appearances in a schedulethat has taken him in recent years to thirtystates, Canada, Latin America, Europe,and Asia, and to stages such as AveryFisher, Alice Tully, and Carnegie Halls inNew York, Masonic Auditorium in SanFrancisco Symphony Hall in Boston, and

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Severance Hall in Cleveland. He has per-formed with such artists such as John Aler,Kathleen Battle, Richard Stilwell, Mary AnnHart, Eugenia Zukerman, Claire Bloom,Carol Wincenc, Gary Shocker, RobertaPeters, Petra Lang, Roberta Alexander, andthe late, legendary Charles Holland. Helm-rich has appeared frequently at the Tangle-wood, Bard, Yachats, and CaramoorFestivals. A continuing interest in contem-porary music has led Helmrich to give firstperformances of many American composi-tions. For four years he was co-director ofHear America First, a New York concertseries devoted to the performance of Amer-ican music. He has recorded chambermusic and songs on the Orion, Spectrum,Nonesuch, Chesky, Musical Heritage,Albany, Newport Classic, Delos, and Sam-sung label. His publications include trans-lations of opera libretti and song texts, andhe has created supertitles for numerousoperatic productions.

Timothy Johnson, Visiting Lecturer inComposition-Theory (Fall only), receivedhis B.M. in Music Composition with distinc-tion from the University of Wisconsin, hisM.A. in composition and M.M. in guitarfrom the University of Minnesota/TwinCities, and D.M.A. in composition from theUniversity of Illinois. Tim’s compositionaloutput runs the gamut from music for tradi-tional instruments to the most recent devel-opments in electronic and computer music.His algorithmically composed Electric Med-itation was most recently performed at the2005 International Lisp Conference held atStanford University. This piece is writtenentirely in Lisp using Heinrich Taube’sCommon Music algorithmic environmentand Bill Schottstaedt’s Common Lisp Musicsignal processing environment. ElectricMeditation has also been featured on themost recent CD of Experimental Music Stu-dios composers from the University of Illi-nois. A previous recording from EMScomposers featured an electronic work ofTim’s entitled Begin the Beguine. Hisorchestra piece Antyphony: Paul Morphyvs. Duke of Brunswick and Count Isouardwon the 2004 University of Illinois Orches-tra Prize. The piece is based on a famousnineteenth century chess game. The cham-ber work In the Beginning for clarinet,viola and piano was performed at the2002 Midwest Composer’s Symposium atIndiana University. Tim produced a concert

of his own music after winning the 21stCentury Piano Commission Award whichincluded a new piano piece entitledSonata Urbana, premiered by Brad Fried-man, as well as another solo piano work,Owen’s Leaf, a song cycle for voice, violinand guitar on poems by Charles Simic anda micro opera for actor, guitar, and liveelectronics. As a guitarist Tim has pre-miered many new works. His most recentrecital was broadcast live on Illinois PublicRadio station WILL and it included thebroadcast premiere of his solo guitar pieceTango Terceira. This piece had its origins inTim’s two-year stay in the Azore Islandswhere he taught classical guitar at a con-servatory.

James (“Jim”)Pugh, Professor ofJazz Studies (Trom-bone and Composi-tion/Arranging),joined the UIUC facultyin 2005. Prior to hisappointment here, he

taught at the Purchase College Conservato-ry of Music (SUNY), the University of theArts in Philadelphia, and at New York Uni-versity. Pugh has had a distinguishedcareer as a freelance trombonist, compos-er, and educator. His playing crosses allboundaries. He has been a featured soloiston Grammy-Award winning recordingswith Woody Herman and has recordedlarge orchestral works with the EOS, Con-cordia, St. Luke’s, and 92nd Street YOrchestras. While at Eastman, Jim studiedwith Emory Remington, Donald Knaub,Chuck Mangione, Ray Wright, andreceived Eastman’s coveted Performer’sCertificate. Upon leaving Eastman, Jimjoined the Woody Herman Band as leadtrombone and featured soloist and record-ed extensively with Woody over the nextfour years. After leaving Woody, herecorded and toured with Chick Corea fortwo years, with recordings includingMusicmagic, Secret Agent, and Return toForever - Live.

After settling down in New York, Jimwas in constant demand for the recordingof films, records, and jingles, having per-formed on over four thousand recordingsessions to date. He spent the summer of2000 playing and touring with the eclec-tic rock group Steely Dan, which herepeated in later years. He is the only

recipient of the National Academy ofRecording Arts & Sciences Virtuoso Awardfor trombone, awarded after being votedTrombone MVP by the New York record-ing community for five years. Recent CDprojects include the new Steely Dan CDEverything Must Go, lead trombone on theforthcoming Carla Bley big band record-ing Looking For America, and a two-trom-bone jazz outing entitled E’nJ - Legendand Lion with Japan’s leading young trom-bone star, Eijiro Nakagawa.

As a lead or principal trombone, Pughhas performed on more than 40 filmsoundtracks, ranging from Beauty and theBeast to When Harry Met Sally to Rocky V.He has recorded with such artists as PinkFloyd, Yo Yo Ma, Madonna, Paul Simon,Frank Sinatra, Barbara Streisand, andDawn Upshaw, to name a few. Jim hasalso been a featured soloist on recordingswith André Previn, James Taylor, HarryConnick Jr., Eileen Farrell, Barbara Cook,Dave Matthew’s Manhattan Jazz Orches-tra; the Broadway cast albums of Fosse,Victor/Victoria, City of Angels, and TheWill Rogers Follies; and with the St. Luke’sChamber Orchestra and Kathleen Battle inAndré Previn’s Honey and Rue. Hisalbum, Crystal Eyes, was released on hislabel, Pewter Records, and his compactdisc with bass trombonist David Taylor(The Pugh/Taylor Project - Digital MusicProducts), in addition to receiving wide-spread critical acclaim, was named one ofthe ten best CDs by the audiophile publica-tion The Absolute Sound.

Pugh has composed and arrangedmusic for jingles (MCI, Chrysler, Sprite,Fresca, Diet Coke), National Public Radio,films, and records. His composition Lunchwith Schrödinger’s Cat received a LincolnCenter premier in 1989 by Marin Alsopand the Concordia Chamber Orchestra.He has also been involved with the devel-opment of the Edwards small-bore tenortrombone, has worked closely with DaveMonette in the development of the MonetteTS11 and TS 6 small-shank tenor trombonemouthpiece, and appears frequently atmajor schools of music, conservatories,and conferences throughout the country asa guest artist/clinician.

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Svanibor Pettan,Visiting Associate Pro-fessor of Musicology(Spring only), studiedethnomusicology inCroatia (B.A.), Slove-nia (M.A.), and theUnited State of Ameri-

ca (Ph.D.). He researched music in hisnative Croatia, Slovenia, in the Balkans(particularly in Kosovo), Africa (Tanzania,Egypt), Australia, and the United States. Atthe University of Oslo he became involvedwith applied ethnomusicology through theBosnian-Norwegian project “Azra.” Hisspecialties include Balkan Gypsy music,multicultural music education, and music inrelation to politics, war and exile, as seenin his writings published in Austria, Croat-ia, Finland, Germany, Serbia, Slovenia,Sweden, and the US. He is Assistant Pro-fessor at the Institute of Ethnology and Folk-lore Research in Zagreb, and at the MusicAcademy of the University in Ljubljana.

Anna Schultz, Visit-ing Assistant Professorof Musicology,received her B.A. inAnthropology (magnacum laude) from BeloitCollege, her M.A. inSocial science from the

University of Chicago, and her Ph.D. inEthnomusicology from the University of Illi-nois. Prior to her appointment at UIUC, shetaught music and anthropology at IthacaCollege and Morrisville State College, andshe maintained a private piano studio inIthaca, New York. Schultz is interested inthe intersections between religion, politics,and music in South Asia. Her recent workis on nationalism and devotion in rashtriyakirtan, an Indian performance medium thatcombines singing, storytelling, and philo-sophical discourse. This research is basedon seventeen months of fieldwork conduct-ed in Maharashtra, India and was support-ed by grants from Fulbright-Hays, theAmerican Association of UniversityWomen, and the University of Illinois.Schultz’s articles have been published inEthnomusicology and The Encyclopedia ofPopular Music of the World.

Katherine Syer, Vis-iting Assistant Professorof Musicology,received her B.A. inEconomics, B.A. inMusic, and M.A. inMusic from McMasterUniversity, and her

Ph.D. in Musicology from the University ofVictoria in British Columbia. Her researchfocuses on the music and aesthetics of theRomantic era. A specialist on the stageworks of Richard Wagner, her operaticinterests extend to other eras, with a focuson current staging issues. Syer is co-editorof a Companion to Richard Wagner’s Par-sifal (May 2005, Camden House Press).Her contributions to the volume includetracing the sometimes disturbing history ofperformances across several continents,considering dozens of productions from1882 until the 21st century. In anotherchapter, she examines creative parameterssuch as motivic handling, tonal structure,stage direction, and large-scale dramaticshape. These concerns are central to hermonograph in progress, Altered States, astudy of the metaphorical significance ofearly nineteenth century psychology forWagner’s musico-dramatic experimentsfrom the early 1840s on. Together withWilliam Kinderman, Syer regularly leadsseminars on Wagner in conjunction withthe Wagner Festival at Bayreuth, Germany.In the area of sketch studies, Syer’s workon Schumann’s Märchenbilder andBeethoven’s Fidelio has been presented asconference papers; a current project con-cerns the genesis of the text of Wagner’sDer Ring des Nibelungen and its musicalimplications. Her research has been sup-ported by the Deutscher AkademischerAustauschdienst (DAAD), and the SocialSciences and Humanities Research Councilof Canada.

John Wagstaff, Associate Professor ofLibrary Administration and Head of theMusic Library, received his B.A. in Musicfrom the University of Reading, UK; M.M.in Historical Musicology from King’s Col-lege, University of London; and Diploma inLibrarianship from Polytechnic of NorthLondon. Prof Wagstaff, who is a Fellow ofthe UK Chartered Institute of Library andInformation Professionals (FCLIP), joinedthe University of Illinois from the Universityof Oxford in England, where he was theMusic Librarian at the Faculty of Musicfrom 1988 until early 2005. From 1984 to1988, he ran the music library at King’sCollege, University of London, where healso trained as a musicologist. ProfessorWagstaff is an active member of both theInternational Association of Music Librariesand the Music Library Association, andhas served as editor of the library journalsBrio (during the early 1990s) and Fontesartis musicae (from 2000 to 2004). Hispublications and reviews span both musi-cology and music librarianship. His AndréMessager: a Bio-Bibliography appeared in1991 from Greenwood Press, and was fol-lowed by the British Union Catalogue ofMusic Periodicals (Ashgate), which wasprepared under his editorship and pub-lished in 1998. He is currently workingon a study of Robert Cocks (a nineteenth-century London music publisher) and on abook provisionally entitled Music Librarian-ship: A Bibliography of Principles andPractices, for which he also has a contractwith Ashgate. At the University of IllinoisProfessor Wagstaff teaches courses inmusic librarianship for the GraduateSchool of Library and Information Scienceand contributes to classes in researchmethods and music bibliography in theSchool of Music. He also remains active inthe field of library education in the UK, asprogram adviser for modules in musiclibrarianship at the University of Aberystwyth.

Katherine Syer’s andWilliam Kinderman'sopera seminar membersmeet with WolfgangWagner, 86-year oldgrandson of the composerRichard Wagner, at theWagner Festival inBayreuth, Germany.

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Kinderman’s BeethovenSketchbook Series and CDReceive Outstanding Reviews

William Kinder-man’s three-vol-ume edition of theBeethoven sketch-book “Artaria195” and his CDrecording aspianist of

Beethoven’s “Diabelli Variations” for Hype-rion/Helios Records are the focus of twoback-to-back reviews in the most recentissue of Beethoven Forum (December 1,2005).

Richard Kramer writes about the“Artaria 195” edition, and the BeethovenSketchbook Series it initiates, that “theindefatigable William Kinderman hasmounted single-handedly an impressivenew series, of which this edition of ‘Artaria195’ is the auspicious pilot project,” andthat Kinderman “has put this monumentalproject back on our screens. His passion-ate articulation of its goals, his imaginativeand bold invitation to a new generation ofscholars on its behalf, and finally the deeditself, the actuality of this formidable firstissue, represent our current best hope forits eventual realization.”

Matthew Bengtson’s article inBeethoven Forum compares Kinderman’sCD of the “Diabelli Variations” to record-ings of ten other pianists, including Arrau,Brendel, Richter, and Serkin, and he writesthat “the insight and commitment one findsin Kinderman’s writings are strong charac-teristics of his recording as well.”

Beethoven Sketchbook SeriesWilliam KindermanUniversity of Illinois PressISBN 0252027493www.press.uillinois.edu

Musicians as Agents of Political Transition

The fall of the BerlinWall in 1989 sig-naled the onset oftumultuous political,economic, and socialreforms throughoutEastern Europe. InCzechoslovakia,Poland, and the Sovi-et Union these

changes were linked to the activities andphilosophies of political figures such asVáclav Havel, Lech Walesa, and MikhailGorbachev. In Bulgaria, however, thesechanges were first heralded and even facil-itated by particular musicians and shiftingmusical styles.

Based on fieldwork conducted between1988 and 1996 with professional Bulgari-an folk musicians, Donna A. Buchanan’sPerforming Democracy: Bulgarian Musicand Musicians in Transition argues that theperformances of traditional music groupsmay be interpreted not only as harbingersbut as agents of Bulgaria’s political transi-tion. Many of the musicians in socialist Bul-garia’s state folk ensembles served asofficial cultural emissaries for severaldecades. Through their reminiscences andrepertoires, Buchanan reveals the evolutionof Bulgarian musical life as it responded toand informed the political process. Bymodifying their art to accommodate chang-ing political ideologies, these musicians lit-erally played out regime change on theworld’s stages, performing their country’sdemocratization musically at home andabroad.

Performing Democracy and its accom-panying CD-ROM, featuring traditional Bul-garian music, lyrics, notation, and photos,reflects in the many ways how art echoesand influences politics. The publication is apart of the Chicago Studies in Ethnomusic-ology, published by the University of

Chicago Press, which is edited by Prof.Bruno Nettl and Philip Bohlman, Ph.D.from the UIUC and incoming president forthe Society of Ethnomusicology.

Performing Democracy: Bulgarian Musicand Musicians in TransitionDonna A. BuchananUniversity of Chicago PressISBN 0226078272www.press.uchicago.edu

Second Edition of Ethnomusicology ClassicNow Available

This fall, the secondedition of The Study ofEthnomusicology byBruno Nettl was pub-lished by the Universityof Illinois Press.According to the Press,the first edition of thisbook, published in

1983, has become a classic in the field. This revised edition, written twenty-two

years after the original, continues the tradi-tion of providing engagingly written analy-sis that offers the most comprehensivediscussion of the field available anywhere.This book looks at ethnomusicology as afield of research, focusing on 31 conceptsand issues that have been the subjects ofcontinuing debate.

According to Eastman professor EllenKoskoff, past president of the Society forEthnomusicology, it “does a wonderful,even heroic job of highlighting the majorissue of the field, then tracing them overtime to reflect their development and inter-relatedness.” Anthony Seeger, of UCLA,calls it “an astounding achievement by ascholar who has shaped the field morethan anyone else.”

Book News & Reviews

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Bruno Nettl is professor emeritus ofmusic and anthropology at the UIUCSchool of Music. An internationallyrenowned musicologist, he is both afounder and past president of the Societyfor Ethnomusicology and the author ofmany books.

The Study of Ethnomusicology: Thirty-One Issues and ConceptsBruno NettlUniversity of Illinois PressISBN 0252072782www.press.uillinois.edu

Gushee’s New Book TracesEarly Days of Jazz

“This is the book wehave been waitingfor,” said Bruce BoydRaeburn of TulaneUniversity about Pio-neers of Jazz byUIUC School of MusicProfessor EmeritusLawrence Gushee.This recent release

chronicles the history of the renownedseven-piece Creole Band and its centralrole in the dissemination of jazz in NewOrleans in the period of World War I. Pub-lished by Oxford University Press, the workhas received significant praise. Dan Mor-genstern, Director of the Institute of JazzStudies at Rutgers, calls it “a masterpieceof scholarly research, then also a damngood read.” Ragtime scholar Edward A.Berlin describes Gushee as “the most tena-cious of musical sleuths as he traces theearliest days of jazz.”

Lawrence Gushee has been affiliatedwith the University of Illinois School ofMusic as a professor of musicology since1976 and devotes himself to music of themiddle ages, as well as to jazz and relat-

ed subjects. Alumni of the school willremember with pleasure his performancesas the clarinettist with the New GoldenRule Orchestra at Nature’s Table on Fridayafternoons.

Pioneers of Jazz: The Story of the Creole BandLawrence GusheeOxford University PressISBN 0195161319www.oup.com

Distinguished Alumnus AliJihad Racy’s Book on ArabMusic Wins Awards

Ali Jihad Racy, agraduate of the Uni-versity of Illinoisand doctoraladvisee of Prof.Bruno Nettl, aninternationallyknown performer,composer, andauthority on music

of the Near East, and professor of ethno-musicology at the University of Californiaat Los Angeles, was recognized for amajor contribution in the field of ethno-musicology.

His publication, Making Music in theArab World: The Culture and Artistry ofTarab (Cambridge University Press), won aprestigious first prize for the best book onthe Middle East to appear in 2003. Grant-ed annually by Al-Mubarak Foundationand sponsored by the British Society forMiddle East Studies (BRISMES), the awardwas presented to Racy at a special cere-mony during the Society’s annual meetingat the School of Oriental and African Stud-ies (SOAS) in London in July 2004.

According to Dr. Noel Brehony, chair-man of the judging committee, “[The book]

represents the culmination of ProfessorRacy’s long and distinguished career as anaccomplished performer, scholar andteacher of Middle East music. He exploresthe phenomenon of the tarab—looking atits musical substance, lyrics, performancepractice, secular and religious ecstasy andmusical education. It is written in a clearand engaging style that will appeal tomusicians and non-musicians alike. It israre that we find a book that opens up tothe general reader—and indeed manyMiddle East specialists—the world of Arabmusic and that is why the judges decidedto award the major prize this year to thiswonderful book.”

In the United States, the Society forEthnomusicology’s Alan P. Merriam PrizeCommittee, in determining the most distin-guished book in ethnomusicology pub-lished in 2003, granted Making Music inthe Arab World Honorable Mention at theSociety’s Annual Meeting in November2004. Since its publication, this extraordi-nary book has led to numerous interviewswith the author, including the British Broad-casting Company (BBC), and to a full-length program on tarab on Public RadioInternational (PRI). The work is expected toalso be released in Turkish and Arabictranslations.

Professor Racy was born in Ibl al-Saqi,Lebanon in 1943 and comes from a familyof poets, scholars, and artists. He graduat-ed from the American University of Beirutwith a B.A. in 1967 and received his Mas-ters of Music and Ph.D. in Musicology fromthe University of Illinois at Urbana-Cham-paign in 1971 and 1977 respectively.

Making Music in the Arab World: The Culture and Artistry of TarabAli Jihad RacyCambridge University PressISBN 0521304148www.cambridge.org

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Reid Alexander(piano) saw the inau-gural release this yearof ten volumes of theCelebrate ComposersSeries (Frederick Harrispublisher) compiled byReid Alexander,

Samuel Holland, Marc Widner, andAndrew Hisey. Each volume is devoted tothe solo piano music of a selected compos-er. The release of volumes for Bach (vol. 2,Inventions and Sinfonias) and Clementi willoccur in early 2006. This July, volumes 11-13 devoted to Mendelssohn, Scarlatti, andChopin (vol. 2) were announced. Addition-ally, Dr. Alexander served as moderatorfor a session at the National Conferenceon Keyboard Pedagogy in August andgave a master class for the St. Louis MusicTeachers Association in September. He willbe the featured artist clinician for the IowaMusic Teachers Association in 2006.

Christina Bashford(musicology) publishedan essay on nineteenth-century Mozart recep-tion in Words AboutMozart: Essays in Hon-our of Stanley Sadie(Boydell & Brewer).

She also gave a paper on chamber musichistoriography at the 5th InternationalMusic in Nineteenth-century Britain Confer-ence in Nottingham (UK). In January2006, Prof. Bashford will present a lecture-recital with Clive Brown and the LUCHIPEnsemble at a Royal Musical Associationconference at the University of Leeds (UK).Entitled “A Nineteenth-century ChamberMusic Experience,” it will explore issues ofconduct, ambiance and performance stylesat London concerts, through a reconstruc-tion of listening and performing practicesof the time. Dr. Bashford has also beeninvited to speak at a Musicology Colloqui-um at the Peabody Conservatory in Balti-more in March 2006.

Zack Browning(composition-theory)had four compositionspremiered during the2004-05 academicyear. Secret Pulse, forchamber ensemble andcomputer-generated

sounds, was premiered at Georgia StateUniversity in Atlanta by NeoPhonia andreceived subsequent performances byNeXT Ens at the Spark Festival in Min-neapolis and at The Cincinnati Conservato-ry of Music. The Atlanta Journal-Constitution described the work as “way-cool in attitude” and “speed-demonmusic.” Browning’s Crack Hammer forclarinet and computer-generated soundswas premiered by Esther Lamneck at NewYork University and later performed at theUniversity of Florida Electroacoustic MusicFestival. Howler Back was premiered bythe PRISM Saxophone Quartet at their20th Anniversary Concert at SymphonySpace in New York City, and FlamingWalls, for trumpet, trombone and piano,was premiered by the Confluences Trio atthe Bonk Festival of New Music at Tampa.

Elliot Chasanov(trombone) performedwith the Illinois BrassQuintet and presentedclinics in WashingtonDC; and in major Pol-ish concert halls andconservatories in War-

saw, Lodz, Gdansk, Katowice, and Poz-nan during his sabbatical in Spring 2005.He also performed with the MilwaukeeSymphony Orchestra several times in2005 as principal trombone.

Barrington Coleman (voice) wasthe tenor soloist andfeatured conductor ofcombined choralensembles for the Inau-guration Ceremony ofUIUC’s 16th President,

B. Joseph White on September 22, 2005,as well as the featured tenor in the FacultyVocal Recital held in Foellinger Great Hallon October 16, 2005. He commemoratedhis tenth year of directorship of the VarsityMen’s Glee Club on October 29, 2005,with a Father’s Day Concert. Guest artistsincluded the Women’s Glee Club and theOther Guys octet in a program of belovedsacred and secular treasures, including theMass excerpt Kyrie, composed by Schoolof Music alumnus Steven Hackman(B.M. ‘01). The Kyrie was commissioned tohonor Prof. Coleman in his tenth year asdirector of the Varsity Men’s Glee Club.November 18-19, Dr. Coleman served asguest choral conductor and as a clinicianfor the 2005 New York State Music Asso-ciation’s All-State Choral Festival held inSaratoga Springs, New York. He will servein a similar capacity for Songfest ’06, aH.S./Middle School boy’s choral festivaland collegiate men‘s choral conference tobe hosted by the Varsity Men’s Glee Clubin Urbana, April 21-22, 2006.

Ollie Watts Davis(voice) participated inthe 2005 SongFestprofessional programat Pepperdine Universi-ty (Malibu, CA) withcomposer Jake Heg-gie; served on the fac-

ulty for the SongFest Young Artist Program;and presented a recital of arias and spiri-tuals at the Los Angeles County Museum ofArt (broadcast live on K-Mozart 105.1).Professor Davis visited the Centro Studi Ital-iano in Urbania, Italia as a researcher andartist, and contributed a chapter onWilliam Warfield in No Boundaries Uni-

Faculty News

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Bosphorus Cymbals, Pro-Mark Drumsticksand Accessories, and Yamaha Drums. InJanuary 2006, Hall will lead a quintet in aseries of performances throughout the Mid-west in preparation for a studio recordingof his original compositions. In February2006, he travels with Jon Faddis to PuertoRico for performances, workshops, andcultural exchange with musicians in SanJuan. Prof. Hall, who was married in Janu-ary 2005 to Melissa Kurpinski (now Melis-sa Hall) is currently researching articlesand papers on jazz ensemble performancepractices, musics of the African Diaspora,and on a series of drum solo transcriptionsfor publication.

John W. Hill (musicology) has beenbusy on the Europeanconference circuit. InDecember of 2005 hepresented a paper inPisa, Italy, identifyingthe handwriting of Vin-

cenzo Galilei and Francesca Caccini inseveral Florentine monody manuscripts ofthe early seventeenth century. In March hespoke in Dresden, Germany, about the ori-gins of Joseph Riepel’s eighteenth-centurymusic theories. In September he offered apaper in Rome, Italy, on aspects of solosinging in Luca Marenzio’s sixteenth-centu-ry Italian madrigals. And, in December hewill speak in Mantua, Italy, concerning thelove complaint in seventeenth-centuryOrpheus operas and its connections withtheological and polemical writings aboutwomen in that period. These appearanceswere all invited and funded by the confer-ences.

Jonathan Keeble(flute) appeared ontwo National FluteAssociation ConventionRecitals, in addition toacting as an adjudica-tor for the Association’sannual Young Artist

Competition. His recent solo CD icaruswelcomed critical acclaim, and paved theway for the upcoming release of anothersolo recording with University of Illinoisoboist John Dee. In addition to serving asa panelist at the annual Chamber MusicAmerica Convention, Professor Keebleappeared with the Prairie Winds on con-

versity of Illinois Vignettes (University of Illi-nois Press). As conductor, Ollie WattsDavis directed the Black Chorus in a per-formance at the National Association forthe Study and Performance of AfricanAmerican Music National Conference inChicago and hosted the Seventh BiennialBlack Sacred Music Symposium on theUIUC campus.

Timothy Ehlen(piano) recently per-formed a recital atKum Ho Art Hall inSeoul, Korea. Whilein Korea, he offeredseveral master classesand was interviewed

for various articles in the Korean pianomagazine, The Piano. An extensive featureabout piano study at the University of Illi-nois will appear in this magazine this fall.Professor Ehlen’s solo piano CD containingthe Schumann Fantasie and other workswas recently released on the Azica label.The recording is available on many siteson-line, including Amazon.com andAzica.com, in addition to Tower Recordsand Borders.

Ricardo Flores(percussion) presentednumerous concerts andworkshops throughoutthe United States andin Europe, includingteaching and playingat Florida State Univer-

sity, The Hartt School of Music, WestChester University (PA), Tyler Junior Col-lege (TX) and Mesa State College (CO).Flores was also featured as percussionsoloist at the 26th Tri-C Jazz Festival inCleveland, OH where he played with theJazz Unit led by UI School of Music alumHowie Smith (M.S. ‘68) on a concertfeaturing Howard Johnson and VernonReid. In the summer of 2005, Prof. Florestraveled to Europe with colleague WilliamMoersch, where he was a clinician andfeatured performer at the CrossdrummingFestival in Jelenia Gora and Warsaw,Poland. This fall, Ricardo presented aconga clinic on fundamentals of soundproduction at the 2005 Percussive ArtsSociety International Convention, the fore-most gathering of percussion artists andteachers in the world. He will be a fea-

tured soloist with the University of IllinoisPercussion Ensemble, and in Spring 2006will solo with the Eastman PercussionEnsemble.

Peter J. Griffin(band) served as guestconductor at the Asso-ciation of ConcertBands national conven-tion in Quincy, and theInterstate Eight Confer-ence Honor Band in

Dwight, Illinois during the Spring 2005semester. He was also an adjudicator/cli-nician at Jazz in the Meadows in RollingMeadows, Illinois; All-Star Music Festivalsin Orlando, Florida and at the PlainfieldInvitational Concert Band Festival in Plain-field, Illinois. In June Dr. Griffin was guestconductor for the University of Iowa All-State Music Camp in Iowa City, and forthe Illinois Summer Youth Music Camp inChampaign. In July he served as HeadClinician for the nationally famous Smith-Walbridge Drum Major Camps at EasternIllinois University. In January 2006, Dr.Griffin will present a clinic on historicalresearch at the Illinois Music EducatorsAssociation Convention in Peoria. OnMarch 3, 2006, the Symphonic Band II,under his direction, will present a concertcelebrating the one hundredth anniversaryof the premiere of Illinois Loyalty.

Dana Hall (jazz)maintains an activeperforming, recording,and clinician schedulewith recent activities inMinneapolis, Chicago,Philadelphia, NewYork City, San Francis-

co, and Barcelona. Dana presented masterclasses and workshops at the SkidmoreJazz Festival; the Jazz at Lincoln CenterBand Directors Academy, held this year atNorthern Illinois University; and ColumbiaCollege Chicago. This fall he was invitedto give workshops at Northwestern Univer-sity, Temple University, and DePaul Univer-sity on jazz performance and will presentpapers in ethnomusicology at Ethnoise!, ascholarly workshop series held at the Uni-versity of Chicago. In June 2005, Mr. Hallcompleted a live recording with the TerellStafford Quintet, to be released in early2006 on MaxJazz Records. This summer,Dana also joined the roster of endorsers of

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cert series throughout the country. Upcom-ing performances include trips to Malaysiaand Florida with the Illinois Quartet, andconcert appearances throughout the Mid-west, Southeast, and West as a soloist andas a member of the Prairie Winds.

William Kinderman(musicology) presentedlecture recitals onBeethoven’s creativeprocess at two interdis-ciplinary conferencesin Berlin, on “Imagina-tion and Invention”

(January) and “Aesthetic Experience andEditions” (October), and offered severalpiano recitals devoted to Beethoven,including a concert held in August duringthe Wagner Festival at Bayreuth, Germany,where he led a study seminar. His editedbook The String Quartets of Beethovenwas published by the University of IllinoisPress in 2005, and while in Salzburg inMay, he completed research for a forth-coming book, Mozart’s Piano Music, thatwill appear during 2006 with Oxford Uni-versity Press. During November, Prof. Kin-derman also presented several lecturesand performances in Spain, including aprogram of the Mozart and Beethovenpiano and wind quintets, and a lecturerecital on “Beethoven, Thomas Mann, andthe Mystery of Opus 111.”

Kazimierz Machala(brass) was a recipientof the 2005-06 Ameri-can Society of Com-posers, Authors andPublishers Award. In2004, Machala com-posed a new work

Brass Quintet No.1 which was premieredby the UI faculty Illinois Brass Quintet onApril 3, 2005, and performed by thegroup in five cities on a concert tour ofPoland in April. Kaz also completed anarrangement for horn, guitar and doublebass of Vitaly Buyanovsky’s Espana origi-nally written for horn solo.

Keeril Makan(composition-theory)will have his newpiece for viola, clar-inets, and CD, ViolentMomentum, premieredthis fall in New York,Washington D.C., and

San Francisco with the dance companyLEVYdance. Violent Momentum was com-missioned by Meet the Composer/ NEA.Makan’s work, Target, for voice andensemble will be performed at the KnittingFactory in New York, as well as in Brook-lyn, New Haven, and Cambridge by thenewly formed ensemble Newspeak. Hissolo for baritone saxophone, Voice withinVoice, will be performed in Baltimore andSan Francisco by saxophonist BrianSacawa and at the Festival for New Amer-ican Music in Sacramento, California bysaxophonist Susan Fancher. The NewMusic Ensemble at the University of Illinoiswill perform his sextet bleed through dur-ing their fall season.

Joseph Manfredo(music education) wasappointed programcoordinator for clinicalexperiences, includingearly field experienceand student teaching.In January 2005, Man-

fredo conducted the Illinois All-State Bandat the Illinois Music Educators Association(IMEA) state convention. In November2005, he conducted the IMEA District Iand VI Honor Bands. In January 2006, Dr.Manfredo will present clinics on instrumen-tal rehearsal techniques at the IllinoisMusic Educators Conference and the Indi-ana Music Educators Conference. Finally,the Journal of Band Research is publishinghis paper, “The American BandmastersAssociation and its impact upon the devel-opment of the instrumentation of the wind-band (1930–2005)” in its Spring 2006edition.

Charlotte Mattax(harpsichord) will befeatured in May 2006as a concerto soloist inperformances ofJohann SebastianBach’s concerti forone, two, three and

four harpsichords for the 99th season ofthe Bethlehem Bach Festival. Other high-lights of 2005-2006 include performanceswith Arte Bella, a baroque trio featuringsoprano, viola da gamba and harpsichordfor which she is founder and artistic direc-tor. Her review of Robert Zappulla’s bookFigured Bass Accompaniment in France,which appeared in the Fall 2005 issue ofthe Journal of the Society for Seventeenth-Century Music concerns a variety of instru-mental combinations (keyboard and bassmelodic instruments) used in continuo play-ing, the accepted temperaments(Rameau’s, Correttes), and the mnemonicmethods for learning figures (Saint-Lam-bert’s, Delair’s). Professor Mattax continuesto serve on the Board of Directors for theSoutheastern Historical Keyboard Society.

Tim McGovern(bassoon) served asPrincipal Bassoon withthe Ravinia FestivalOrchestra; playedRavel’s Daphis andChloe with the GrantPark Symphony

Orchestra at Millennium Park; and wasbassoon soloist with the U of I Wind Sym-phony under conductor James Keene. Hepremiered the Sonata for Bassoon andPiano by Ohio composer Nikola Resanovicand released a recording of the Concertofor Bassoon by Gordon Jacobs. This sum-mer he also served on the bassoon facultyin residence with the Prairie Winds WoodQuintet, at the Madeline Island MusicCamp in Wisconsin and on the faculty ofthe Birch Creek Music Camp in DoorCounty. He performed in concert withPrairie Winds Woodwind Quintet in Wis-consin, Michigan, New Mexico, SouthCarolina, and New Hampshire. Thisensemble also completed a CD recordingof quintet music by Ligeti, Schervansky,and Blummer, which will be released in2006. In November 2004, IQ, the Univer-sity of Illinois faculty woodwind quartetcomposed of Profs. Keeble, Dee, Harris,McGovern, presented master classes andrecitals for the Elgin Youth SymphonyOrchestra, the Midwest Young ArtistsOrchestra, Homewood Flossmoor HS, Joli-et West HS, Wheaton Warrenville HS,Glenbard West HS, Hersey HS, andProspect HS.

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which is scheduled for publication thisyear in the Alamire Foundation Yearbook(vol. 6/7). Together with Don Krummel,Professor Emeritus of Library and Informa-tion Science, Dr. Parisi completed a mono-graph by the late Phyllis Danner, to bepublished by Harmonie Park Press, whereParisi is series editor. The monograph istitled Sousa at Illinois.

Edward Rath (associate director)was voted on to theBoard of Directors ofthe American LisztSociety in April 2005and also named Editorof that organization’s

newsletter, which has a world-wide reader-ship of about 500 individuals and sub-scriptions held by 100 or so libraries andother institutions.

Sam Reese(music education) pre-sented a clinic at theNew Directions inMusic Education:Teaching Compositionand Improvisation Con-ference, held at Michi-

gan State University, November 3–5,2005. His talk was entitled “IntegratingComposition Mentoring into Music TeacherEducation.” Sam has also been invited tobe the keynote speaker at Hong Kong Insti-tute of Education for the Arts EducationInnovation Symposium, March 22–26,2006. He will speak on “Perspectives forPlanning for Technology Integration.”

Donald Schleicher(orchestra) will beginhis seventh season asMusic Director andConductor of the QuadCity SymphonyOrchestra. He recentlyguest conducted the

Daegu (South Korea) Symphony Orches-tra, was guest conductor at the 2005Great Lakes Chamber Music Festival col-laborating with soprano Lucy Shelton, andwas guest conductor of the Minnesota All-State Symphonic Band. In April of 2005,he did a residency as a guest conductorand gave conducting master classes atBaylor University, as well as the Universityof Wisconsin at Stevens Point.

William Moersch(percussion) was a fea-tured solo artist for theCrossdrumming Festi-val 2005 in Polandduring June and July,presenting a series ofrecitals and master

classes in both Jelenia Gora and Warsaw.He then co-hosted the Illinois SummerYouth Music Advanced Percussion Campwith faculty colleague Ricardo Flores.Upcoming solo appearances include thepremiere of David Gillingham’s newly-expanded concerto Quintessence II, withJames Keene and the UI Wind Symphonyat New York’s Carnegie Hall in February2006. Moersch also continues to serve asa member of the Board of Directors for thePercussive Arts Society.

Bruno Nettl (musicology) spent aweek lecturing as Mar-sico Visiting Scholar atthe University of Den-ver, and another weekteaching at the Memor-ial University of New-

foundland. He delivered several invitedpapers, including, in June 2005, “TheConcept of Evolution in the History ofEthnomusicology,” at a Conference on Evo-lutionary Musicology sponsored by theUniversity of Munich. During the last year,publications of his have appeared inFrench, German, Iranian, Chinese (andAmerican) periodicals. A new, consider-ably enlarged edition of Nettl’s book TheStudy of Ethnomusicology, previously pub-lished in 1983, was issued by the Universi-ty of Illinois Press in November 2005.During the past year, he served as co-chairof the program committee for the 50thanniversary conference of the Society forEthnomusicology in Atlanta.

The Pacifica Quartet, composed ofSimin Ganatra (violin), Sibbi Bern-hardsson (violin), Masumi Rostad(viola), and Brandon Vamos (cello),released a three-CD set of the completestring quartets of Felix Mendelssohn togreat critical acclaim in Spring 2005. Sub-sequently, there have been feature articleson the quartet in the June issue of StradMagazine, and in the July issues ofGrammaphone and Fanfare Magazine.The St. Louis Post-Dispatch writes “...splen-did new recording...sets a new gold stan-dard for performances of Mendelssohn’sstring quartets.” The Chicago Tribune citesthe quartet’s “technical and musical com-mand, depth of understanding and urgent-ly expressive response to the music’svaried colors and moods... .” Strad Maga-zine proclaims “...this outstanding set fromthe U.S. goes straight to the top of theclass for playing and recording...interpre-tations burst with energy,” and Fanfarewrites “...the Pacifica Quartet displays afine sense of drama...outstanding perform-ances... .” The 2005-06 season will be abusy one for the quartet, with performanc-es all over the world, including an appear-ance on Lincoln Center’s Great PerformersSeries, a return appearance at WigmoreHall in London, and over 80 concertsacross Europe and the United States.

Susan Parisi(research scholar inmusic) participated inthe 2005 Medievaland Renaissance Con-ference, held in July atthe Centre d’ÉtudesSupérieures de la

Renaissance, in Tours, France, where shechaired the session on Tallis and Byrd. Shealso carried out research in the Archivesdu Royaume, Brussels; ArchivesNationales, Paris; and Public RecordOffice, London for two studies on court fes-tivals during Monteverdi’s time, one of

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Fred Stoltzfus(choral) spent a sab-batical researching thegenesis of the “AgnusDei/Dona nobispacem” movementfrom Beethoven’sMissa solemnis. Over

a period of twelve weeks in Berlin heworked with over 200 pages of extantBeethoven sketches catalogued in theStaatsbibliothek and prepared a transcrip-tion of “Grasnick 5,” a sketchbook thatBeethoven devoted almost entirely to ideasfor the “Agnus Dei” movement. The endgoal of the research is to publish a facsimi-le, transcription, and commentary about“Grasnick 5,” with a view to advancingour knowledge about Beethoven’s composi-tional process and, specifically, about howBeethoven’s musical and philosophicalideas concerning the Mass form itselfcame to the unique focus in the final ver-sion of the Missa solemnis. Stoltzfus wasalso active as a performer during his sab-batical giving master classes and clinics,and was invited to guest conduct at thegala 25th Anniversary Concert of theOrpheus Singers in Montréal.

Sylvia Stone (voice)spent the month ofJune in Urbania, Italy,as director of Il Corsoper Giovani CantantiLirici, a four-week pro-gram offering aspiringyoung opera singers

vocal and dramatic study with an interna-tional faculty and an intensive Italian lan-guage course, culminating in publicperformances in the area. July 23, 2005,she adjudicated the Schloss LeopoldskronCompetition for Singers in Salzburg, Aus-tria. In July and August, she taught voice inSalzburg at the Austrian-American-Mozart-Academy, a comprehensive summer pro-gram offering singers the opportunity toperform an opera role with orchestra. Thissummer two operas, Così fan tutte and DerZigeunerbaron, were produced.

Katherine Syer(musicology) Whileteaching a course onWagner’s Der Ring desNibelungen, Dr. Syerled a group of 49 fromUIUC to attend Wagn-er’s complete opera

cycle at Chicago’s Lyric Opera in April2005. At the Kalamazoo InternationalMedieval Congress in May, Syer presenteda paper entitled “Peter Konwitschny’s Tris-tan und Isolde: Wagner’s Opera FilteredThrough Modern Technology and CriticalPerspectives.” Her long-standing researchon Wagner production history is featuredin A Companion to Wagner’s ‘Parsifal’(Camden House Press) that appeared inJuly of 2005. Another of her chapters inthis volume, of which she is co-editor, con-cerns Wagner’s musical language and hisspecial handling of “unseen” voices. ThisNovember, Syer lectured on recent Wagn-er stagings—Robert Wilson’s Parsifal inparticular—for the Northern CaliforniaWagner Society, as well as on the produc-tion history of Fidelio for the guild networkof the San Francisco Opera.

Sever Tipei (composition-theory)presented a paper atthe 2005 InternationalComputer Music Con-ference in Barcelona,Spain, written withHans G. Kaper,

Adjunct Professor in Composition-Theory,on DISSCO, an integrated software forcomposition and sound synthesis. DISSCOwas developed at the Computer Music Pro-ject of the UIUC Experimental Music Stu-dios and was released recently onSourceForge.net, an important and usefulwebsite devoted to hosting tens of thou-sands of open source software projects.Two new works realized by Tipei withDISSCO will be released in 2006 on aCENTAUR compact disk with music byZack Browning and Sever Tipei.

Scott A. Wyatt(composition) appliedresearch in positionalthree-dimensionalaudio imaging for sur-round sound in audioformat to his recentelectroacoustic work

titled All At Risk. All At Risk, a composi-tion centered around ABC news correspon-dent Brian Rooney’s email to his familywhile covering the war in Iraq, was select-ed for performance at the 2005 NationalConference of the Society for Electro-Acoustic Music (SEAMUS), April 14-16,2005. On a Roll was selected by SEAMUSconference participants to appear on Vol-ume 14, Music from SEAMUS compactdisc recording series released in June2005. Wyatt presented lectures and per-formances of his compositions as a fea-tured guest artist at Iowa State Universityduring February and at Illinois WesleyanUniversity in March 2005. In April, heorganized a UIUC graduate student guestartist concert and road trip to Southern Illi-nois University with graduate compositionstudents presenting recent works from theUniversity of Illinois Experimental MusicStudios to the SIU campus. UIUC studentcomposers included Kyong Mee Choi,Bradley Decker, John Ritz, David Psenicka,Anthony Jay Ptak, Michael Drews, and EdMartin. Prof. Wyatt was a featured guestartist at the University of Oregon School ofMusic November 17–20, 2005, and iscurrently at work on a new compositionrecognizing the 20th anniversary of theChernobyl nuclear accident.

Ann Yeung (harp)premiered interactiveelectro-acoustic worksfor harp by MichaelAlcorn (Queen’s Uni-versity, Belfast; Direc-tor, Sonic ArtsResearch Centre) and

Stephen Andrew Taylor (UIUC) at the NinthWorld Harp Congress held in Dublin, Ire-land in July 2005. She also was a panelistat the Congress on “The ContemporaryHarpist.” Her article “Edits to HenrietteRenié’s Contemplation” was published inthe Winter 2004 issue of the AmericanHarp Journal. In August 2005, she per-formed a chamber recital on the Clas-sicFest 2005 concert series in Pensacola,Florida. She will be a featured performer,as part of a Pacific Harp Duo with Kyo-JinLee, at the American Harp Society Nation-al Conference to be held in San Franciscoin July 2006.

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When Dana Hall joined the facultyin August 2004 to teach appliedmusic (including small jazz ensem-bles) and courses in jazz historyand listening, he was endorsing adecision he had made years earli-er to give up his promising careeras an aerospace engineer. Hallhad initially worked at Boeing, asan intern, while he completed hisengineering degree, helping todesign propulsion systems anddevelop advanced compositematerials. He was involved in thepreliminary development of theBoeing 777 (the “triple-7,” as hecalls it) aircraft.

Eschewing aerospace propulsion,he nevertheless has had a meteoriccareer as a jazz musician, playingdrums in more than a dozengroups that have backed up suchstellar musicians as Betty Carter,Woody Herman, Ray Charles,Branford Marsalis, Joe Henderson,Joshua Redman, Jon Faddis, andother, younger, jazz artists. AsSOM Director Karl Kramer quips,Hall has gone from making “rock-ets to rackets.” Hall’s energieshave more recently encompassedethnomusicology as well. Hehopes very soon to complete aPh.D. at the University of Chicagoand then go into teaching coursesin ethnomusicology, as well

By Anne Mischakoff Heiles

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F a c u l t y P r o f i l e

as jazz studies. “I’ve taught Introduction toWorld Music courses at the University ofChicago, and have designed some coursesassociated with my dissertation researchmaterials and other areas of interest.” Hallhas worked under Philip Bohlman at theUniversity of Chicago, a professor whostudied at UI underBruno Nettl. “A lot ofBohlman’s thoughts andideas grew from seedsplanted here, so incoming here, I’malmost completing thecircle.”

Although his plungefrom the skies to drumsets may seem abrupt,music has in fact beencentral in his life fromchildhood. Born inBrooklyn, Hall movedwith his family toPhiladelphia when hewas four years old.“I’m the fifth generation[of musicians] andknew several genera-tions of grandparentsand a large extendedfamily. My formativeyears were spent inPhiladelphia and south-ern New Jersey. I’m thepioneer of the family,”he laughs, “the onlyone who lived west ofPittsburgh!” Explaininghow integral a part ofhis family’s life jazzmusic has been, hesays, “We had close associations with avital music community in Philadelphiaand New York, and members of my fami-ly were friends or associates of lots ofmusicians: Jimmy Smith and Lee Morgan,and a long list of talented musicians inPhilly.” Many of the musicians visited hisfamily’s home.

Hall began studying drums in juniorhigh school, “primarily during the march-ing season,” although during most of theyear his main instrument was the oboe.“My mother’s sister is an oboist. She’s theonly one in the family besides me who canplay any music other than the radio, so I

guess I got some of my music desire fromher.” As he played drums during the highschool marching season and for stageband, however, he “started to develop abit of technique.” He attended Iowa StateUniversity in Ames as a double major inclassical percussion and aerospace engi-neering. His training as an aerospaceengineer led to employment at Boeing. “I

worked from 7:30 a.m. till 4:30 p.m., andwould play jobs in the evenings.” Theschedule was tiring, and he knew hewould have to choose between the two.

He had been ruminating about a con-versation with trumpeter Wynton Marsalis,who had performed at C. Y. Stevens Audi-

torium in Ames, Iowa: “Itold him about my dilem-ma: ‘I’m double-major-ing in music andengineering, and I reallylike engineering, but Ilove music. What shouldI do?’ He said, ‘Well,not everybody has theability or the desire tobe an artist. The worldneeds artists. The worldneeds art to enrich what-ever people do with therest of their lives. Theymight be doctors,lawyers, or engineers,and not have the abilityto be a musician,painter, or sculptor. Sothey seek inspiration inthose arts. You owe it tosociety to pursue that ifyou have it in your heartand have the ability todo it.’”

Having made hisdecision, Hall left Boe-ing and earned adegree in jazz perform-ance at William Pater-son College in NewJersey. “I’ve neverregretted leaving engi-

neering. I feel this is my calling; this iswhat I have to offer to society.”

Living near New York offered Hallready connections to a host of jazz musi-cians. “In jazz the proof is in the pudding,and I was fortunate that I had just enoughpreparation when those musicians heardme that I was able to get my foot in thedoor to play with them. Those situationsprovided me opportunities to grow.”

“IN JAZZ THE PROOF IS IN THE PUDDING, AND I WAS FORTUNATE THAT I HAD JUST ENOUGH PREPARATION

WHEN THOSE MUSICIANS HEARD ME THAT I WAS ABLE TO GET MY FOOT IN THE DOOR TO PLAY WITH THEM.”

Dana Hall, with graduate student Josh Hunt, has never regretted leaving engineering: “I feel this is my calling; this is what Ihave to offer society.” Hall has been on the UIUC faculty since August 2004.

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As he proved his ability on gigs, Hallhad more and more opportunities to playwith some of the greats in the world ofjazz. He was impressed especially by theircompetence, confidence, individuality, andopen-mindedness. “They each bring differ-ent things to the table,” he says, “but theyall definitely have a special level of profes-sionalism and confidence with their instru-ments and with what they’re doing.Branford Marsalis, Jon Faddis, TerrellStafford, and Josh Redman: they’re all spe-cific about what they want to accomplishand how I might fit in with that. They’reopen about different ideas—and how Iapproach music. It’s engaging and excit-ing. Sometimes there might be some dia-logue about it, but generally the music isour language, and we don’t have to talk;we just do it. We may need to tweak itand talk about that, but otherwise we justdive right in.”

Hall has played in both large and smallensembles. With Ray Charles he played atfestivals in Europe: “The biggest was at theNorth Sea Jazz Festival in the Hague inHolland. Playing with him was great. Hewas particularly hard on drummers. Iheard that he apologize in a magazine toall the drummers he had ever played with.Because of the way he communicatedmusically, the drums were the heartbeat;they had to be correct all the time. He hada unique way of feeling rhythm. He wasreally the fountainhead for a particulargenre and style of music; he mastered away of playing soul music. It was challeng-ing and rewarding to play with him.”

Betty Carter, he recalls, “was anotherchallenging musician to play with. Shehad a clear idea of what she wanted,especially from the drummer, and wasdemanding. That’s the only way to grow—when someone places demands on youand asks for something that you may notknow you have within. The best leadersand best musicians have tapped into some-thing they heard in my playing that I maynot have been wise to yet.”

Having idolized Ray Charles, BettyCarter, and Joe Henderson for years, Hallsuddenly found himself on the bandstandwith them: “I have a certain reverence forwhat they accomplished as musicians. Butin order not to get too nerved out about it,I have to feel that I belong and that theycalled me for what I do. I picked up fromJoe Henderson that I really needed to have

confidence in what I do. He made me feelliberated to just do what I do and not feelthat I had to play like some other musi-cian. He said, ‘Don’t play like (and henamed off a few drummers: Elvin Jones,Pete La Roca, or Al Foster). Just play howyou play.’”

Maria Schneider impressed Hall withher intensity and vivacity. “The first time Iworked with her was when she conductedthe music of Gill Evans at Carnegie Hall.She is focused about what she wants fromus musicians and has an infectious visionof music. She’s a painter through her com-posing and arranging. Your color lies with-in her color scheme and power, and shemakes you feel a part of something excit-

ing. She gets so excited about what she’sdoing that it transports you into anotherplace.”

Since joining the UI faculty, Dana Hallhas continued to perform and record withTerrill Stafford’s ensemble (e.g., on LaborDay 2005 in Philadelphia). Staffordemploys newer rhythms and harmonicconcepts. Hall says, “It’s always freshworking with him. We do a lot of thingsthat are interesting and adventurous, andhe allows me to bring different rhythmicideas to the table. It’s not so much that theother [older] musicians are set in theirways but that their playing is rooted in tra-dition, whereas younger musicians,because they have been exposed to somany types of music, are wide open toanything that might happen.”

As a UI faculty member, Hall considersperforming an important part of his work.“It would be a disservice to the students forme to not continue to perform at a highlevel and to seek out musical challenges,so I’m an active musician.” He hopes toplay more in the Champaign-Urbana areaas well.

“I coach a sextet with saxophone, trom-bone, trumpet, piano, bass, and drums.And I work in private lessons with youngerjazz students in developing their techniqueand repertoire. In the Jazz Listeningcourse, I combine style, analysis, andunderstanding the fundamentals of jazz tohelp students listen more critically,” Hallelaborates.

As a professor, he combines his per-forming knowledge with his studies inethnomusicology to brew a rich mix for stu-dents: “I teach a jazz history course that’ssomewhat chronological, but I like to throwa few monkey wrenches in there, thinkingas an ethnomusicologist. It’s interdiscipli-nary; I’m concerned with places ofencounter and relationships that are socio-logical.”

In creating an interdisciplinaryapproach, Hall likes to highlight the “inter-sections” that music makes with society,politics, and culture. “I’m concerned with

“IT WOULD BE A DISSERVICE TO THE STUDENTS FOR ME TO NOT CONTINUE TO PERFORM AT A HIGH LEVEL

AND TO SEEK OUT MUSICAL CHALLENGES,SO I’M AN ACTIVE MUSICIAN.”

The Dana Hall Jazz Combo is made up of students Mike Jones,trumpet; Dave Dickey, trombone; Carlos Vega, tenor saxophone;Chris Reyman, piano; Chris Nolte, bass; and Joshua Hunt, drums.

Phot

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New

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negotiating that terrain also as a per-former, in the way I play and the situationsand material. In Iowa, for example, Iplayed in both a heavy-metal rock bandand the Cedar Rapids Symphony in aregion and at a time, during the mid-1980s, when one did not associate ablack man playing that style with convic-tion; it must have seemed anomalous tomany people there. I saw those experi-ences as essentialto my growth as amusician and knewthat I owed it tothe other musiciansand the audienceto play as effective-ly as I could. Look-ing back, I thinkabout how fewblack models ormentors there wereat that critical timein my musicaldevelopment. I stillenjoy questioningthe preconceivednotions and cultur-ally engrainedboundaries that wehave established inour society.”

Hall’s studies ofNorth and WestAfrican music haveinspired him to infuse his performanceswith a fresh repertoire of rhythm. He hasdipped into different improvisational sys-tems he has studied: for example, raga(melodic) and tal (rhythmic) elements fromnorthern-Indian, or Hindustani, improvisa-tional music from the southern-Indian Car-natic tradition, Middle Eastern maqam;and the rhythmic and ensemble practicesin North and West Africa. “More recently Ihave been obsessed with bhangra, theharvest music of the Punjab region inIndia, and the youth music of diasporicSouth Asians in the U.K.”

Hall plays a drum set, although hesometimes augments it with wood block,cow bell, or, more rarely, African or Mid-dle Eastern hand drums. His approach toperforming is broad: “When I think aboutplaying, it’s not playing the drums butplaying music on the drums. The drums inand of themselves can carry the load, cer-tainly, but I think about what I’m doingwith the music with other people,” he

explains. “Musicfor me is aboutthe social interac-tion and theengagement withother musicians.I’m talking aboutapplying tech-niques within agroup of othermusicians.”

This past yearHall has beenworking with pre-college percussionstudents, and histeaching both atthe university leveland with youngerstudents makeshim a naturaladvisor for howplayers might bet-ter develop theirskills for profes-

sional studies. “There are certain funda-mentals that all drummers need. Therudiments are the foundation of what wedo on the instrument, and to have a dia-logue with other musicians, you have toknow the language. The syntax of our lan-guage is the 26 standard rudiments (morethan 50 when you include the Swiss rudi-ments). Young jazz drummers should reallyknow and be able to execute those rudi-ments—cleanly and in a variety of tempi.They should have an understanding ofrhythm. They should develop an ability totune the timpani. All drummers shouldexpose themselves to and develop profi-

ciency on mallet instruments. They shouldalso take some piano lessons to get asense of how drums work within the har-monic context of an ensemble. The wayyou can change the texture on the drums,just based on the harmony that you’rehearing in the ensemble, adds to yourengagement with the music.”

With more advanced university students,Hall adds, “The most important advice thatI can give young performers is to be pre-pared. When opportunities come knocking,be prepared to answer the call. That levelof preparation means having a practiceroutine and working on things that youdon’t know. We tend to practice things weknow because it’s easy to do and buildsthe ego and confidence. The best way toprepare for musical situations, however, isto constantly be challenging yourself.”

Hall is happily attuned to the jazz divi-sion’s goals at UI: “All of us are trying toraise the bar, in terms of preparing the stu-dents for the outside world, making thembetter readers and performers, broadeningthe scope of their thinking about jazz,expanding their repertoire and knowledgeof the literature, and making them betterimprovisers and composers. Those are cer-tainly my goals: to make them more criticaland better informed listeners, ultimately tomake them better educators. Not all goodplayers can teach, but I believe all goodteachers should be good players. We’reblessed here with good players and goodeducators, and we can try to instill thatcombination in our students. What drawsus to get up every day and do what we’redoing? It’s also important to have a senseof our calling and what we do and beable to articulate that to others.”

Married less than a year, Hall is enthusi-astic about settling in Urbana. “This is agreat School of Music, and we have a greatdeal of support from the Director’s office. I’mexcited about what we do here and the stu-dents we work with. I’m excited about theacademic side and the work I do as an eth-nomusicologist. I feel enriched as a scholar,an academic, and as a musician.” �

F a c u l t y P r o f i l e

“NOT ALL GOOD PLAYERS CAN TEACH, BUT I BE L I EVE AL L GOOD TEACHERS SHOULD BE GOOD P LAYERS.

WE’RE BLESSED HERE WITH GOOD PLAYERS AND GOOD EDUCATORS, AND WE CAN TRY TO INST I L L THAT COMBINAT ION IN OUR STUDENTS. ”

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tion Completion Fellowship for his disserta-tion work on 20th-century American com-poser Morton Feldman.

Renée Clark, a Ph.D. candidate in musi-cology, is in her third year as visitinginstructor at Hillsdale College in Hillsdale,Michigan. Renée is a student of John Hill.

Bradley Decker and Ed Martin weretwo of four national finalists for the 2005ASCAP/SEAMUS National Student Com-position Commission Award, with EdMartin winning 2nd prize in the nationalcompetition.

Mary Ferris, a junior trombone perform-ance major in the studio of Professor ElliotChasanov, was the winner of the 2005Armstrong Award for Excellence in Under-graduate Performance. She performed theLarsson Concertino with the UI Philharmo-nia this fall as part of the award. Marywas also recipient of the 2005 RobertGray Award and a Brass Division Achieve-ment Award.

Stefan Fiol, a graduate student in musi-cology, returned recently from dissertationfieldwork on regional music in Uttaranchal,India. His doctoral research in North Indiawas sponsored by Fulbright and Wenner-Gren Foundation fellowships. An adviseeof Dr. Charles Capwell, Stefan has beeninvited by the South Asia Council of theAssociation for Asian Studies to present apaper on his research at the annual meet-ing of the Association to be held in SanFrancisco in April 2006. Most recently, hewas also awarded another year of supportfor his dissertation project by the AmericanInstitute of Indian Studies. This springsemester he will be a lecturer at NotreDame University.

Jennifer Fraser, a Ph.D. student ofCharles Capwell in ethnomusicology, reada paper about her dissertation research inIndonesia at the 50th anniversary meetingof the Society for Ethnomusicology onNovember 18, 2005.

Ryan Haynes, a graduate student inethnomusicology under Professor DonnaBuchanan, received a 2005-06 ForeignLanguage & Area Studies (FLAS) Fellow-ship for Serbian and Croatian languagestudies.

Gregory Hellenbrand, a Ph.D. candi-date in musicology, has received a one-year appointment as visiting instructor atthe University of Wisconsin at Eau Claire.Greg is a student of John Hill.

Eduardo Herrera, second year Ph.D.student in musicology under Gayle Sher-wood Magee, conducted research inBuenos Aires and Montevideo during sum-mer 2005 with the support of a TinkerField Research Award.

Chen-Yu Huang, a first year master’sdegree student in the harp studio of AnnYeung, performed with the Chi-MeiOrchestra in Taipei, Taiwan prior to com-ing to UIUC this fall.

Erik Horak-Hult, a Ph.D. student inmusicology, received the Presser Founda-tion Graduate Award in support of his dis-sertation research conducted in summer2005 in France, Germany, and Austria onBeethoven’s opera Fidelio.

Trent Jacobs, a master’s degree studentin instrumental performance, won twoorchestra positions this season: SecondBassoon in the Danville Symphony Orches-tra and Second Bassoon in Champaign-Urbana’s Prairie Ensemble.

Chadley Ballantyne, a baritone work-ing toward his D.M.A. degree in VocalPerformance under Professor Sylvia Stone,was a soloist in Josef Haydn’s Creationwith the Prairie Ensemble in May 2005. InJuly, he sang the role of Truffaldino in sev-eral performances of Ariadne aux Naxoswith the Union Avenue Opera TheaterCompany in St. Louis. Chadley alsoappeared with St. Martin’s ChamberSingers in Peoria, singing Figaro in LeNozze de Figaro in April 2005.

Keturah Bixby, a junior in harp per-formance in the studio of Ann Yeung, wasa winner of the UIUC Thomas J. SmithScholarship Auditions. In August 2005,she attended the MusicAlp Festival inCourchevel, France.

Bradford Blackburn, Minsoo Cho,Kyong Mee Choi, Bradley Decker,Ivan Elezovic, Timothy Ernest John-son, Ed Martin, David Psenicka,Anthony Jay Ptak, and Jake Run-dall in the Experimental Music Studios ofthe University of Illinois at Urbana-Cham-paign, are included on the new compactdisc recording Wavefields. Organized andengineered by Professor Scott Wyatt, theCD features recently completed works byUIUC graduate composition students. Fund-ing for the recording was provided by theUniversity of Illinois College of Fine andApplied Arts, the School of Music, individ-ual composers on the recording, and byUIUC Student Organization Resource Fee(SORF) funds. 600 of the new CDs will bemailed to select colleges, universities, per-forming arts, and new music centersaround the world.

Brett Boutwell, a Ph.D. candidate inmusicology and student of Dr. David Patter-son, received a Graduate College Disserta-

Student NewsSuzanne Hassler, alumni relations and development

A S E L E C T I O N O F R E C E N T A C C O M P L I S H M E N T S

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S t u d e n t N e w s

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Tzu-Feng Liu, a D.M.A. candidate inpiano performance with Professor WilliamHeiles, and Eun-Young Yang, a 2005D.M.A. recipient in vocal performance fromthe studio of Jerold Sienna, gave jointrecitals at Nova Hall, Tsukuba, Japan;Hsinchu Science Park Auditorium, Hsinchu,Taiwan; and KNFC Hanmaum Auditorium,Daejeon, Korea during August 2005. InDecember 2005 Ms. Liu will premier apiano solo work by composer Chia-Lin Pan.

Ieng-Ieng Lam, a D.M.A. candidate inpiano performance, performed the RavelPiano Concerto in G Major with theMacau Orchestra on its Flourishing Artsconcert series in July 2005, as well as theChopin Piano Concerto No. 1 in a concertwith the Macau Youth Orchestra.

Nicole Leupp, a soprano and doctoralstudent in vocal performance, newlyarrived on the UIUC campus this fall, flewto the United Kingdom in early Septemberto sing at Durham Cathedral. Nicole is astudent of Sylvia Stone.

Bomi Lim placed in two competitions dur-ing the spring of 2005: the Society ofAmerican Musicians Competition in Chica-go in April (honorable mention), and theEleventh Biennial International BeethovenSonata Competition in Memphis in May(fifth place). Bomi Lim is a M.M. candi-date in piano performance and pedagogy,and a student of Profs. William Heiles andReid Alexander.

Charles Lynch, a doctoral student inharp, is featured on the recently releasedbenefit CD Help Is On the Way for Hope-ful Heart, Inc. with theatre organist LynLarsen. Hopeful Heart, Inc. is an Arizonabased not-for-profit corporation set up togive a little extra “helping hand” to musi-cians, writers, artists, dancers, and othermembers of the arts community who arefacing medical difficulties and challenges.

Megan McCauley, a D.M.A. candidatein voice and student of Professor JeroldSiena, was declared winner of the Caroli-na District Metropolitan Opera Auditions

in November 2005. Megan will competein the MET Regional Finals to be held inAtlanta in February 2006.

David McDonald, a student of DonnaBuchanan in the Ph.D. program in musicol-ogy, received an Illinois Program forResearch in the Humanities (IPRH) Gradu-ate Student Fellowship and a DissertationCompletion Grant from the Graduate Col-lege for his study of music and nationalismamong Palestinian refugees in Jordan andPalestine. His research is based on twoyears’ ethnographic field work in the Mid-dle East. David read a paper about hisdissertation research at the 50th anniver-sary meeting of the Society for Ethnomusic-ology on November 17, 2005.

Tracy M. Parish, a D.M.A. student ofMichael Ewald and Ronald Romm in Trum-pet Performance and Literature, wasawarded the Buckeye Emerging ArtistAward from the Akron Summer Music Festi-val where he performed as a featuredartist in July 2005. Tracy also won a seatthis season with the Champaign-UrbanaSymphony.

Katrina Phillips, a graduate studentclarinetist and winner of the UI StudentConcerto Competition, performed the Clar-inet Concerto, Op. 57, by Carl Nielsenwith the UI Symphony Orchestra conduct-ed by Donald Schleicher on November 9,2005.

Dewayne Pinkney, a senior in bassoonperformance, won a position with Sinfoniada Camera, the resident orchestra of theUIUC Krannert Center for the PerformingArts.

Antoinette Pomata performed in the2005 Piccolo Spoleto Festival inCharleston, South Carolina, prior to com-ing to UIUC this fall. Antoinette is a fresh-man in violin performance in the studio ofSherban Lupu.

Marie Rivers, a graduate student ofWilliam Kinderman in the Ph.D. programin musicology, published an article in theSummer 2005 issue of Arietta on“Johannes Brahms, Gustav Nottebohm,

Elizabeth Jaxon, undergraduate studentin harp, won Fourth Prize in the AdvancedDivision of the American Harp Society’sNational Solo Competition in June 2005.In July, she performed in a master class atthe Ninth World Harp Congress in Dublin,Ireland, and in August, Elizabeth attendedthe MusicAlp Festival in Courchevel,France.

Joseph Jones, a musicology master’sdegree student, received the 2005 JillMcAllister Award for Studies in Opera insupport of his research on Der Rosenkava-lier by Richard Strauss.

Joonhee Kim, a doctoral candidate inpiano performance, was invited to presenta recital on December 23, 2005 at Young-San Art Hall in Korea. Joonhee, whoseteacher is Timothy Ehlen, was also award-ed a prize in the Los Angeles InternationalPiano Competition in November 2004.

Natasha Kipp, a Ph.D. student in musi-cology, received a 2005-06 AmericanCouncils for International EducationACTR/ACCELS Research Scholar Fellow-ship to pursue nine months of dissertationresearch in Baku, Azerbaijan.

Kiel Lauer, a freshman bass trombonistfrom the studio of Professor ElliotChasanov, was selected as a finalist in the2005 Eastern Trombone Workshop BassTrombone Solo Competition.

Sonia Lee, who is pursing a double doc-toral degree in musicology with John Hilland harpsichord with Charlotte Mattax,gave two solo recitals and performed inseven concerts as basso continuo playerwith Musicerend Gezelschap and LaDonna Musicale at the Boston Early MusicFestival and the Society for HistoricallyInformed Performance Early Music SummerConcert Series in June and July 2005.Reviews of her performances from this sum-mer can be found in the Early Music Amer-ica Magazine and the Boston Beacon HillTimes. Sonia will also participate in theworld premiere CD recording of The SevenPsalms of David, Vol. II by Antonia Bembowith La Donna Musicale.

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I N S U P P O R T O F T H E S C H O O L O F M U S I C

and Beethoven’s ‘Hammerklavier’ Sonata,”and read a paper on this topic on October28th at the National Annual Meeting ofthe American Musicological Society inWashington DC.

Hio Teng (Harriet) Wong, a junior inthe piano studio of Dr. William Heiles,traveled to Macau S.A.R. (China) to per-form the second and third movements ofthe Schumann Piano Concerto with theMacau Orchestra on their Flourishing ArtsConcert Series in July 2005.

Kydalla E. Young, a Ph.D. student inmusicology, received a 2005-06 FulbrightFellowship to conduct research abroad inPeru. His topic is “Music in Confraternitiesin Colonial Peru.” Kydalla is a student ofJohn Hill.

The U of I Concert Jazz Band, theschool’s top jazz combo, performed at theNorth Texas Jazz Festival in April 2005,winning the prestigious “Gene Hall”award for top big band.

In summer 2005, at the Palmarès du 32e

Concours International de Musique et d’ArtSonore Electroacoustiques de Bourges,France, Ivan Elezovic’s compositionMediterranean-Riots-Colors was awardedthe Degré I - RESIDENCE Prix. BradleyDecker’s composition Montage andJohn Ritz’s composition In the Very Eyeof Night were awarded Honorable Men-tions in the oeuvre d’esthétique formellecategory, and Kyong Mee Choi’s com-position Tranquility was awarded Honor-able Mention in the oeuvre d’esthétique àprogramme category.

Three singers from the UIUC School ofMusic were winners in the Met NationalCouncil’s Central Illinois District auditionsheld on the UIUC campus on October 23.They are Desirée Hassler, from the studioof Professor Jerold Siena, and Eun-JungAuh and Raquel Adorno, from the stu-dio of Professor Cynthia Haymon-Coleman.The three winners moved on to the regionalfinals in Chicago on November 6.

Congratulations to our many outstand-ing performers and teachers!

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A l u m n i P r o f i l e

From the experiences of UI alumni

violinists James Cooke, David

Halen, Lucia Lin, and Ioana Mis-

sits, one might surmise that the

secret to a fast-track career in a

major symphony lies in getting a

fine university education. Lin and

Cooke are members of the Boston

Symphony Orchestra (BSO), Mis-

sits of the Cleveland Orchestra, and

Halen is concertmaster of the St.

Louis Symphony Orchestra. All of

them won these positions early in

their careers. Talent and lots of

practice figured into the equation,

of course, and they don’t pretend

that even education, outstanding

A native of Urbana, Lucia Linbegan violin lessons with UI Pro-fessor Paul Rolland when shewas about four years old. At

eleven, she made her debut as soloist withthe Chicago Symphony, performing theMendelssohn Violin Concerto. She earneda bachelor’s degree at UI and master’s atRice University and was a student of Pro-fessor Sergiu Luca at both institutions.Soon afterward she won an audition forthe Boston Symphony on her first try, join-ing the orchestra in 1985. In 1990 shewas a winner in the InternationalTchaikovsky Competition in Moscow. Linhas served as an assistant concertmasterof the Boston Symphony (1988–91,1996–98), as acting concertmaster of theMilwaukee Symphony (1991–92), and as

co-concertmaster of the London Symphony(1994–96). She appears frequently inchamber music recitals as well.

James Cooke was born inLouisville but raised in St. Louis,where he began violin in thepublic schools and then studied

with Gladys Lang. At UI he earned a bach-elor’s degree in 1979 as a student of PaulRolland and, after Rolland’s death, beganwork toward a master’s degree, studyingwith Teddy Arm. He continued his master’sdegree at Boston University, studying firstwith concertmaster Joseph Silverstein andthen Denes Zsigmondy, and getting addi-tional lessons with concertmaster MalcolmLowe to prepare for auditions. Cooke wonthe Boston Symphony audition in 1987.

David Halen began violinstudies with his mother, a mem-ber of the Kansas City Philhar-monic, and continued lessons

with his father, a professor at Central Mis-souri State University, where David earnedhis bachelor’s degree. At nineteen he wona Fulbright Scholarship, “on a lark,” tostudy at the Freiburg Hochschule für Musik.Like his brother Eric, who is now actingconcertmaster of the Houston Symphony,David attended UI, studying with SergiuLuca. After a year as violinist in the Har-rington String Quartet in Amarillo, Texas,Halen won an audition for the HoustonSymphony, where he gradually moved upto third chair and assistant concertmasterbefore being hired by the St. Louis Sym-phony as its associate concertmaster in

gifts, and hard work guarantee that

a violinist can share the trajectory

their careers have taken. But they

agree that for them the University

worked.

“UI is a terrific music school. I

remember very well my orchestral

training with Paul Vermel, collabo-

rations with wonderful pianists, and

inspiring performances by both fac-

ulty and my peers in the vocal and

instrumental devisions. And cellist

Gabriel Magyar—I loved him; he

was such a major musical influence

for me. I remember amazing cham-

ber music coachings with him,”

recalls Lin.

FOUR VIOLINISTS TALK ABOUT THEIR CAREERS

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BY ANNE MISCHAKOFF HEILES

1991. During 1993 to 1995 he was actingconcertmaster, becoming official concertmas-ter in 1995. For nearly a decade Halen hasalso been concertmaster of the Aspen FestivalOrchestra and Aspen Chamber Orchestra.

Born in Rumania, Ioana Missitsbegan her violin studies at a state-run music school. She came to theUnited States when she was nine-

teen as an undergraduate at Bowling GreenState University, continuing at UI, beginningin 1996, a master’s degree and course worktoward a D.M.A. She studied with ProfessorSherban Lupu. After freelancing for a year inDetroit (where she was an extra for theDetroit Symphony), she joined the PittsburghSymphony for one year and, since fall 2000,has been with the Cleveland Orchestra. She

has won prizes in the Cittá di Stresa, PaulRolland, Joseph Gingold, and RomanianNational Violin competitions.

Here’s what the four had to say on a vari-ety of topics.

EARLY STUDIES AND TEACHERS

Lin: I began with Paul Rolland when Iwas five and continued studying with himuntil his death, when I was seventeen. Ireceived the fundamentals of my techniquefrom those lessons and was fortunate, ashis was a very natural approach to theviolin. Mr. Rolland was like a secondfather to me. I remember he took me shoeshopping in Atlanta the day before a con-certo performance; I think I was 13. He

wanted me to buy me Hush Puppies formy concert shoes because they were bet-ter for the feet. Fortunately, my motherintervened! I began studying with Profes-sor Sergiu Luca when I was a senior inhigh school, and continued through mymaster’s degree. A brilliant musician, hetaught me a tremendous amount aboutinterpreting a piece of music, not just froman intellectual standpoint but also an emo-tional one. He has many interests that heis passionate about, and studies them untilhe is an expert on them. An example ishis passion for Chinese food; he canorder in Chinese and can cook wonderful-ly in Chinese style. That kind of enthusi-asm has been inspiring to me.

continued...

IN THE SYMPHONY

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A l u m n i P r o f i l e

Cooke: I had always wanted to be in anorchestra, and I told Joey Silverstein that Iwould be happy to be in a nice midlevelorchestra; that would be just fine. I made itto the BSO and have to laugh now when Irecall that.

It’s important to know what an auditioncommittee listens for; these things are mys-teries to most people. Auditioning is ahard skill for most people, and making anaudition tape is a completely different skillfrom taking a “live” audition. You have toexercise patience, sitting down and listen-ing to playbacks, and deciding “that onejust won’t do.” You have to hear exactlywhere something hasn’t caught the flavorof the excerpt. A tape is so much more ofa microscope. In the BSO when we listento auditions, we want to hear that a playerknows the piece, that the individual isaware of how it would sound—its expres-sion—when an entire orchestra plays thatexcerpt. It’s so easy in practicing anexcerpt to get into a sterile, metronomicmanner of playing. The committee listensfor an individual’s awareness of style andknowledge of the excerpt as a piece ofmusic. You have to know what parts thecommittee will listen to for rhythmic stabili-ty and what parts for a singing style.

Missits: I played in smaller orchestras inthe Detroit area to get started, and subbedfor the Detroit Symphony, which soundedamazingly good. When I prepared for thePittsburgh and Cleveland auditions, Iworked on the excerpts for a long time,really dissecting them to figure out how toplay those kinds of parts alone. The audi-tion repertoire for the Cleveland Orchestrawas larger than for Pittsburgh. Cleveland isthe only major orchestra, I think, that hasno screen; the audition was in front of thecommittee. I got into the Detroit Symphonyin January 2000, but won the Clevelandaudition four months later.

Halen: I was visiting my friend, Lucie Lin,who was taking an orchestra excerpt classat Rice; I would play the excerpts for her,and she would relate what she had

Cooke: Gladys Lang, with whom I hadprivate lessons as a youth, gave me thesense that it’s possible to enjoy life andfind fun and inspiration into adulthood;she had that spark that communicates wellto teenagers, who want to see that adultsare not weighed down with just making itthrough each day. She had known Profes-sor Paul Rolland; he was the main reason Iwent to UI (my Dad received a doctoratethere in chemistry and I liked the campuswhen I first visited). Rolland understoodpsychology and recognized that collegestudents want a more professional training.He had responsibilities and the studentshad responsibilities; his teaching at theUniversity was more at arm’s length thanwith younger students, like Lucia Lin. I alsostudied viola with Guillermo Perich, andworked with Gabriel Magyar in chambermusic, a really good experience. I enjoyedthe chamber music program a lot there.

Joe Silverstein, Denes Zsigmondy, andMalcolm Lowe in Boston helped me a lotin very different ways. When you studywith multiple teachers, it’s something likethe glass being half full or half empty: Youhave to concentrate on what is positive inevery situation. If you try to look for thewarts, you’ll find them, but if you can takesomething positive from each of the teach-ers that you have, eventually you’ll end upwith a synthesis that works for you. It canbe a greater richness than if you had stud-ied with just one teacher for a long time.

Halen: By testing out of classes, I graduat-ed early and had the luxury of studying inEurope on a Fulbright scholarship when Iwas nineteen. It took me from a small townin Missouri and plopped me down in themiddle of Europe, giving me a completelydifferent view. My brother Eric was study-ing violin at UI with Sergiu Luca and spokeso highly of him that I applied for gradu-ate school in Urbana. There was a won-derful class of students at that time, one ofwhom was Lucia Lin, a good friend. Weall learned a lot from each other as well asfrom Sergiu. And there was a great

teacher there, cellist Gabriel Magyar,whom we all studied with in chambermusic.

Missits: In Romania the system is verycompetitive, based on a series of regularexams, and we practiced a lot and eachhad two hour-long lessons a week. I metSherban Lupu through my husband, thenmy boyfriend at Bowling Green, who wasin the graduate program at UI. Mr. Lupuwas very good for me, helping me withmy playing in solo repertoire.

CHAMBER MUSIC THEN ANDNOW

Lin: Chamber music has long been animportant part of my musical life. Abouteight years ago, I joined the Muir StringQuartet, which is in residence at BostonUniversity where we teach and perform. Ialso formed a group, Innuendo, with someof my closest friends, who have enjoyedplaying and socializing with each other formore than 12 years now.

Cooke: Chamber music is one of thethings I was blessed with at UI withGabriel Magyar, who had played in theHungarian Quartet, and at BU (Boston Uni-versity) with Eugene Lehner, who hadplayed in the Kolisch Quartet. Chambermusic experience at the college level isextremely important—learning how to playwith other people and gaining personalskills. I played in the Boston ComposersString Quartet until the birth of our daugh-ter. I still participate in chamber music withother BSO members.

ORCHESTRA AUDITIONS ANDEXCERPTS

Lin: (on getting into the BSO at her firstaudition) In many ways, it helps to haveignorance on your side when you take anaudition! It’s much harder when you knowwhat you’re getting into and start to psychit out.

“Levine’s beat is understated;

he wants the musicians to find the

music and the energy from with themselves.”

“Constantly ask yourself,

‘Am I producing a beautiful sound?

A full sound? Am I relaxed while I’m doing it?’”

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learned in her class about them. There’s nosuch thing as too much preparation whenyou audition. The main thing is to let thecharacter of the music carry you throughany audition. Assuming that people’s tech-nical stuff is really in order, that’s theanswer. Accuracy is never moving enough;it’s really about the music. The winners ofauditions play at the level of our soloists,at least on their audition day. That’s theone day you want to play as well as Perl-man at his very best.

When I was young, I heard discourag-ing words about the likelihood of beingable to be a professional musician. Beingself-critical as well, I never thought I wouldwin an orchestra audition—but I won myfirst one. Do what you really believe inand follow your dream. The worst thingthat can happen is that you learn a greatdeal about music and carry that with youthe rest of your life, even while doingsomething else professionally, and eventhat’s a good outcome. If I hadn’t tried,boy, would I have regretted it. The firsttime I heard Mahler’s Second Symphonyfrom amid the orchestra, I couldn’t believeit. And, had I not heard that from the mid-dle of an orchestra, how much I wouldhave been missing!

PLAYING IN THE SYMPHONY

Lin: Being a member of the BSO isgreat—one has exposure to world-classmusicians and a beautiful hall. But anorchestra of that level has less tolerancefor an inexperienced player. It was a lot ofpressure to learn the repertoire quickly andlearn how to fit in as a section player, bothin terms of sound and as a colleague. Itwas a tough first year for me. Learning theropes in an orchestra with a less demand-ing schedule might have made the transi-tion easier.

Missits: When I was a student at the Kent-Blossom Festival in 1992, I went to hearthe Cleveland Orchestra play every week.Sitting in the third row and watching thepeople play, I thought, “This is where I

want to end up.” Of course, I didn’t thinkthat would ever happen. But it has hap-pened, and that is why I’m going to stayhere for as long as I can.

Cooke: If you can’t learn how to play effi-ciently and with relaxation, you’re goingto have problems in an orchestra becausethere’s just so much repertoire. You have tobe able to get the most out of the leastamount of effort. Yet efficiency cannot bethe be-all-end-all. When I joined the BSO, Ilearned a great deal from sharing a standwith some of the older, experienced violin-ists, observing how they played andresponded to conductors. One older col-league, Joe Wilfinger, produced the mostbeautiful sound with tremendous bowspeed and no tension. One time I bor-rowed his violin and was amazed to dis-cover it had a teeny sound! He said to me,“Always remember, your sound is in here,”gesturing to his head. He knew whatsound he wanted to produce; he had it inhis mind and ear.

Halen: Being concertmaster is like beingthe first officer on the Starship Enterprise inStar Trek.

CONDUCTORS

Lin: Levine and Ozawa have very differ-ent approaches to music. Ozawa is beauti-ful to watch on the podium and almostseems to be reacting, dancing to themusic. Levine’s beat is understated; hewants the musicians to find the music andthe energy from within themselves. Eachhas validity but creates different listeningexperiences for the audience. Levine is aproponent of new music, which has beenchallenging for both the musicians andaudiences. It’s definitely made me openmy ears in a different way.

Cooke: I worked under Seiji [Ozawa] forthirteen years, and enjoyed him verymuch. I’ve also enjoyed the change withLevine. His choice of repertoire is challeng-ing, sometimes almost staggering in terms

of his commitment to Elliott Carter’s music,but it’s good to be challenged: it sharpensyour skills. Levine has a vocal approach tomusic making. He tells you that he likes thestring sound relaxed but full, and with a lotof repertoire he wants a soloistic approachfrom the section, as if the expression isgenerated from each player. You have toconstantly ask yourself, ‘Am I producing abeautiful sound? A full sound? Am Irelaxed while I’m doing it?

Halen: I was acting concertmaster underLeonard Slatkin and then his regular con-certmaster for the season before he left inspring 1995. Hans Vonk replaced him, butgot Lou Gehrig’s Syndrome, ALS; hepassed away in fall 2004. I consideredhim a dear friend, and he was my boss. Iwatched him, wasting away from the dis-ease, like watching a candle in anenclosed space go down to a flicker.

David Robertson is now our conductor,a vigorous force and an inspired leader inmany different styles of music. A dynamicperson and brilliant mind, he brings aleadership that is refreshing and that hashelped reinvigorate the entire community.We went after him immediately, when wehad the music director opening, andnailed him down. That guy is really head-ed up, and we wanted to ride that wavetogether with him.

STAYING FRESH

Lin: I entered the Tchaikovsky Competitionat a time in my life when I was at a cross-roads and didn’t really know what I want-ed to do with my life. I like to find thingsthat will push me to grow musically andtechnically. Going to Moscow was a littlelike taking an Outward Bound course! Ifound ways to practice four to six hoursdaily on top of playing in the BSO. And inMoscow I didn’t know anyone and neededto find inner strength to get through thethree competitive rounds. You come out ofthat kind of an experience thinking, “Yes, Ican do it!” Playing on the first stand in Mil-waukee and London were also wonderful

“The main thing is to

let the character of the music

carry you through any audition.”

“I worked on the excerpts for

a long time, really dissecting them to

figure out how to play those kinds of parts alone.”

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A l u m n i P r o f i l e

experiences. I enjoyed being back in theMidwest and made some close friends inMilwaukee; living in London was aninvaluable, eye-opening experience (yes,America is not the only country in theworld!). I also learned a lot about what isinvolved in leading an orchestra. One ofthe terrific things about the BSO is thatmembers can apply for leaves to haveother musical experiences; it keeps theplayers fresh and in shape.

Missits: I love the orchestra tours. I likeplaying in the big concert halls and seeingthe audiences react, and I meet people inother cities I haven’t seen for a long time.This year, when we were in Germany, Imet my first violin teacher!

Cooke: Having started violin in the publicschools, I know how important string edu-cation in the public schools is; my wife(Lisa Crockett, whom I met at UI) and Ihave been teaching a string ensemble asvolunteers in our local public school forabout six years. We are committed to help-ing out in public school string education.My wife’s father, Frank Crockett, got hisdoctorate in music education at UI, andbecame arts coordinator for the State ofGeorgia. It’s important at a certain point inyour career that you foster creativity andhelp people understand the joy of makingmusic. It’s incredibly important at the pub-lic schools, and not just for the children ofparents who are motivated to get their chil-dren music lessons. Now that our daugh-ters Elizabeth and Laura are fourteen andeleven, I’m also thinking of playing morechamber music again. I’m still thrilled to bein the BSO. My colleagues are wonderfulplayers, and it’s a constant learning expe-rience, a continual graduate course. Wehave guest conductors, like Frühbeck deBurgos this week, and you take somethingaway from those concerts. Even whenyou’re playing standard repertoire, yougain an insight into it.

BALANCING CAREER AND FAMILY

Lin: My son, Aaron, is two years old. Heloves music and sometimes asks me to takeout the violin. I’m not going to specificallysteer him into music, but if he asks tostudy, I’ll encourage him.

I like having the variety of chambermusic, orchestra, and teaching in my

career. I’m blessed in having the opportu-nity to play Mahler or Brahms symphoniesand Mozart or Beethoven quartets withtop-notch musicians. And teaching keepsme on my toes—as does having a tod-dler—always thinking. I end up appreciat-ing each aspect of my life, and theannoying little things that might normallybe irritating don’t matter: there isn’t time toworry about them!

Missits: We have two sons, Alexander(who is four years old) and Adrian (who istwo). My husband works at home, repair-ing and selling flutes. I play chambermusic and teach a bit at home, and Ienjoy that very much. I don’t think I’mgoing to teach our children; that would bea conflict of interest! I’ll leave that work tosomeone else.

Halen: My wife, Miran (a Korean-bornsoprano), and I have a son named Christo-pher who is nine and plays the piano. Wego to Aspen in the summer, where I domost of my teaching in addition to beingconcertmaster. It’s lovely, and the orches-tras there are basically young profession-als mixing with older professionals from allover the country. It’s great fun.

ADVICE

Missits: Take orchestra classes seriouslyfrom early on!

Cooke: It’s critical that students have anunderstanding of what they’re going to doin life after the university. It’s really impor-tant, for a symphony career, to learn thestandard repertoire as thoroughly as youcan, because then you won’t be startingfrom ground zero when you prepare forauditions.

You learn from things that don’t work.You have to approach auditions and inter-views with the idea of learning how to goon from there. You can’t let a rejectionweigh you down too much. You may notfeel great, especially if you made the finalsbut didn’t get the job, but at a certainpoint, you have to learn from the experi-ence and grow for the next one.

Halen: It’s crucial today to get involved inworking for the orchestra’s financial health.We have to appeal to all kinds of audi-ences including the traditional ones, but

also younger ones. It’s part of the jobdescription for the music director, the con-certmaster, and in reality, for all the play-ers. People support institutions because ofthe people in those institutions. The onething an orchestra has going for it is anarmy of creative talent that can inspire acommunity to step forward and get inter-ested in and excited about the world ofmusic. The most obvious motivation for theaudience to support us is for the orches-tra’s performances to be inspiring. Thenumber one way to communicate isthrough the music, but right after that,there are social settings and spokenwords. Often the most important things arethe one-on-one relationships: you fill con-cert halls one seat at a time.

Being a musician today is much moreof an entrepreneurial endeavor than itonce was. The skill that I find overlooked isone of self-promotion; you must have asavvy marketing mind for yourself. Every-one in today’s world must have a CD oftheir solo playing. What music schoolsmight do as part of their master’s degrees,instead of having required recitals, is tohave candidates go through the process ofmaking a professional CD: a great per-formance, editing, engineering, greatpackaging including cover art, puttingtogether liner notes and a label that arewell written and accurate. Then they havea professional product to introduce them-selves to the professional world. The peo-ple who win orchestra auditions are a tinyfraction of the graduates today, but the CDwould help all kinds of graduates learn tobetter represent themselves.

Lin: Listen to great singers, jazzers, instru-mentalists that play other instruments. Thinkoutside the box. When I was taking audi-tions, I played for wind players, for cellists,for an orchestra librarian, trying to playfor a set of ears that was not hung up onbowings and fingerings.

I enjoyed studying at two universitiesbecause it gave me exposure to otherfields and art forms, not just the musicworld. It’s important to always be search-ing for better ways to communicate in yourmusic, to be more convincing, to have aclear point of view or interpretation. Awell-rounded person has more experiencesto tap into, and that will be reflected in hisor her music making. �

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Band Notes

The Illinois Wind Symphony,under the direction of Pro-fessor James F. Keene, willperform in concert Fridayevening, February 17,2006 in America’s most

renowned music center, Carnegie Hall. Allalumni and friends of the University of Illi-nois are invited to experience the thrill ofseeing the nation’s most famous universityband in New YorkCity as they performon the world’s mostprestigious stage forthe first time in uni-versity history.

Guest artists willinclude the Illinois Brass Quintet, com-posed of Professors Ronald Romm andMichael Ewald (trumpets), KazimierzMachala (horn), Elliot Chasanov (trom-bone), and Mark Moore (tuba), as well aspercussion professors William Moerschand Ricardo Flores. Guest artists will beperforming the premiere of David Gilling-ham’s newly-expanded concerto Quintes-

sence II, written especially for theCarnegie Hall event. In addition, two otherworks were composed specifically for thisconcert, Cityscape: A Fanfare for Windsand Percussion by Scott Boerma, and TwoPieces for Wind Ensemble by New Yorkcomposer Shafer Mahoney.

Join in celebrating this historic occasionand in supporting the students, faculty, andstaff involved in this exciting event. Call

the Carnegie Hall BoxOffice for ticketstoday: (212) 247-7800. Individual con-cert tickets areavailable for $20,$30, or $45. Private

boxes, seating up to eight people each,can be purchased on the first or secondtiers for $400 and $600. For informationabout private boxes and group tickets (forgroups of 30 or more), contact Peter Grif-fin, UI assistant director of bands, (217)333-3028.

Illinois Wind Symphony in Concert at Carnegie Hall

This concert is an official event of the2006 year-long celebration of the 75thAnniversary of the College of Fine andApplied Arts at the University of Illinoisat Champaign-Urbana.

Alumni Notes

Gurnee District BandTeam Recognized forOutstanding TeachingThe Gurnee District 56 Band teamreceived an impressive Award of Meritfrom the Illinois State Board of Educa-tion (ISBE), as part of the 31st annualThose Who Excel/Illinois Teacher of theYear education awards program. TheGurnee District music educators werenominated by a band parent. The finalselection for the Award of Merit, thehighest recognition given in the teamteaching category, was determined bya committee of peers. The three memberteam was presented with their awardfor outstanding teaching at the ISBEstate banquet held in Decatur in April2005. All three directors are alumni ofthe UIUC program in Music Education:

Michael Bandman (B.M. '79) hasdirected the Viking Symphonic Band of7 and 8th graders at Viking MiddleSchool for 26 years.

Ruth Moore (M.S. '86) teaches the4th and 5th grade band at O'PlaineSchool and has been teaching in thedistrict for 23 years.

Jeff Worth (B.M. '80) directs the 6thgrade concert band at Viking MiddleSchool. He is a 24 year veteran of Dis-trict 56.

“It is indeed a pleasure to honor theseindividuals for their outstanding workwith students,” said Interim State Super-intendent of Education Randy Dunn.“They represent the thousands of peoplewho create great educational experi-ences and positive learning environ-ments for students every day. We salutethem for their dedication, their talentsand their commitment to excellence.”

Illinois Brass Quintet

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A lumni Events

The School of Music welcomes all trom-bone alums to campus to join in celebrat-ing the 50th Anniversary of the Universityof Illinois Trombone Choir with an on-cam-pus reunion Saturday, April 8 and Sunday,April 9, 2006.

The 2005-06 season marks the 50thanniversary of the founding of the UI Trom-bone Choir by Professor Emeritus RobertGray. Elliot Chasanov became the choir’ssecond director in 1991 and, under hisdirection, it has performed in both the U. S. and Canada, on tours of Quebec,Texas, the East coast, Midwest, and south-ern United States. The choir performed atThe International Trombone AssociationConvention in Cleveland as the winner ofthe Emory Remington Trombone Choir

Competition in 1993, and has also pre-sented invited performances at The Mid-West Clinic, International Band andOrchestra Conference; the Illinois MusicEducators Association Convention; the Fes-tival de Launediere in Quebec; and theMontreal Music Festival.

The University of Illinois Trombone Choirgot an early start celebrating their 50thseason with a concert November 1, 2005in the Great Hall of the Krannert Center forthe Performing Arts. A highlight of the pro-gram included Franz Biebl’s Ave Mariaarranged for the choir by the conductorElliot Chasanov, and performed in memoryof Dr. John Hubbard.

To join the Trombone Choir in their Spring2006 Reunion Concert, contact Prof. EllliotChasanov by e-mail, echasano@uiuc.edu,or by phone, 217-333-6674.

Don’t forget to save the dates:

Trombone Choir Reunion WeekendUIUC School of MusicSaturday, April 8, and Sunday, April 9, 2006Mom’s Day Weekend

For more reunion information, check the UI TromboneStudio Website at:

www.trombone-at-illinois.com

2005-06 ALUMNI EVENTS

Society for Ethnomusicology50th Anniversary MeetingsFriday, November 18, 2005Sheraton MidtownAtlanta, GA9:30 to 11:30 p.m. Reception, Crown Room

The Midwest ClinicInternational Band & Orchestra ConferenceFriday, December 16, 2005Hilton Chicago720 S. Michigan AvenueChicago, IL5:30 to 6:30 p.m. Lake Michigan Room

Illinois Music Educators AssociationFriday, January 27, 2006Pére Marquette Hotel501 Main StreetPeoria, IL6 to 8 p.m. Cheminee Room

Illinois Wind Symphony ConcertConductor James F. KeeneFriday, February 17, 2006Carnegie Hall 57th Street & 7th Avenue New York, NY8:00 p.m. Isaac Stern AuditoriumCarnegie Hall Box Office, (212) 247-7800

Meet Joe WhiteSaturday, February 18, 2006101 Park Avenue at 40th Street4 to 6:30 p.m. Club 101, ManhattanRSVP by Feb. 9: (800) 355-2586 or alumni@uillinois.eduSponsored by the Illinois Alumni Club ofGreater New York

50th Anniversary U of I Trombone ChoirSunday, April 9, 20063:00 p.m. Concert, KCPA Great Hall

Music Educators National ConferenceThursday, April 20, 2006Salt Lake City Marriott Downtown75 South West Temple9:30 to 11:00 p.m. Room TBA

School of Music ConvocationSunday, May 14, 2006UIUC Smith Memorial Hall5:30-6:45 p.m. Recital Hall

The University of Illinois Trombone Choir in concert at the 1993ITA Convention as winners of the Remington Competition.

Come Join UIUC Trombone Choir’s 50th Season Celebration

Meet Joe WhiteWhile in New York, meetthe new UIUC President B. Joseph White, whowill be introduced byUrbana Campus Chancellor(and native New Yorker)

Richard Herman. Hear about the Univer-sity of Illinois of today and the plans for abrilliant future. Ask questions, learn how youcan get involved, and stay informed. Hostfor Pres. White’s reception will be DennisSwanson, ‘61 COM, MS ‘66 COM, andpresident of Fox Television.

Saturday, February 18, 2006101 Park Avenue at 40th Street4 to 6:30 p.m. Club 101, Manhattan

Reception sponsored by the University ofIllinois Alumni Association and the IllinoisAlumni Club of Greater New York. Cashbar and complimentary hors d’oeuvres pro-vided. Admission is free, but reservationsare recommended. RSVP by February 9 bye-mail, alumni@uillinois.edu, or by phone,(800) 355-2586.

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A lumni News

1940-1949James W. Schrodt (B.M. ’38, M.M.‘47. M.S. ’49), see story In Memoriam.

1970-1979Eric F. Halfvarson (B.M.’74, M.M. ’76),internationallyknown operasinger, was mar-ried to StephanieArmelle Montalvoin New York’s CityHall in Manhattanon October 18,2005. Halfvarson,

originally from Aurora, Illinois, is son ofchoral directors and music teachers Stenand Lucille Halfvarson. Stephanie, daugh-ter of dentists Michel and Anie Montalvoof Bordeaux, France, is a stage managerwith the Liceu Opera Theater in Barcelona,Spain. The couple met while Halfvarsonwas singing in the theater three years ago.They plan, eventually, to live in New YorkCity. Eric recently appeared with the NewYork City Opera in a new production ofCapriccio, the last opera by Strauss, andwill reappear in the MET opera production

Eric Halfvarson and StephanieArmelle Montalvo were marriedin New York, October 18, 2005.

of Rigoletto in December. He sang the roleof Hunding in Wagner’s Die Walkü re withthe Royal Opera at Covent Garden in Lon-don and King Marke with the SymphonyOrchestra of the Gran Teatre del Liceu ontheir recent 2005 DVD release of Tristanund Isolde. Eric also coached UIUC musicstudents in a series of master classes whilevisiting the Urbana campus in April andOctober 2005.

RichardLawrence Johnson (B.S.’76, M.S. ’78Michigan State)professor ofmusic at Salis-bury State Uni-versity, served

as guest conductor to the All-County HighSchool Honors Band on January 29, 2005in Hagerstown, Maryland. The concert,which included works by Prokofiev, J. S.Bach, Percy Grainger, William Latham,and Harry L. Alford, concluded three daysof intensive rehearsals, clinic and work-shop sessions with select county highschool musicians and their directors.Richard returned to Hagerstown in March2005 to serve as clinician/adjudicator forWashington County’s first county-wide festi-

val. He also appeared in Elkton, Marylandin March as guest conductor for the CecilCounty High School Honor Band Festival.The Washington County performance wasJohnson’s eighteenth appearance in Mary-land as guest conductor to All-County HighSchool bands and orchestras, MarylandIntercollegiate Bands, MMEA All-State In-Service clinic ensembles and regional sum-mer festival ensembles. He has served asguest conductor in Delaware, Illinois andMichigan, and as consultant, clinician,and adjudicator at over 30 county, stateand regional festivals since coming to Sal-isbury University in 1988.

Theodore Lucas (D.M.A. ‘70) wasnamed Provost and Vice President for Aca-demic Affairs at California State UniversityChannel Islands, a new campus of theCSU. Formerly the Director of the Schoolof Music and Dance at San Jose State Uni-versity, Ted came to UIUC following a yearin Paris, where he was a student of NadiaBolanger. He pursued a double major atUIUC in Ethnomusicology and Composi-tion, studying under Bruno Nettl, GordonBinkerd and Thomas Fredrickson. Dr.Lucas, who has done field work in as farflung locations as the Amazon jungles inPeru, most recently had a choral composi-tion, “The Greatest of These Is Love,” pub-lished by Santa Barbara Music Publishers.In his spare time Ted likes to ride hismotorcycle, fly airplanes, and play the vio-lin in local orchestras in and around LosAngeles.

“My favorite memory of my years at U of I:Our string quartet, which included DavidRosenboom, played on a student composers'concert, and we did an arrangement of theBeatles' "Day Tripper.” We had dozens ofwomen in the balcony start screaming andthrowing jelly beans at us. You couldn't evenhear the music! Later, the composition facultythreatened to expel us from the program if weever did that again.”

Ted LucasD.M.A. '70

1950-1959Roslyn Rensch (M.A. ’59, Ph.D. ’64 University ofWisconsin-Madison), alumna and former music facultymember at UIUC, visited the Urbana campus on Octo-ber 4, 2005, attending the school’s harp studio classand meeting with harp students. During her visit, Dr.Rensch gave the School of Music Library an auto-graphed copy of her book Trois Siècles de Harpes(Three Centuries of Harpmaking), which was includedin the Victor Salvi Foundation Harp Collection Exhibi-tion at the Musée des Beaux Arts in Lyon, France. Theillustrated catalog of antique harps explores the evolu-tion of the instrument over the last 300 years and wasprepared in conjunction with the exhibit curated by theSalvi Foundation, as a part of the Musée des Beaux

Arts bicentennial and the Sixth European Harp Symposium held in Fall 2004. Dr.Rensch is a longtime board member of the World Harp Congress and has served asthat group’s historian.

Dr. Rensch autographs her book TroisSiècles de Harpes for the Music Library.

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Stephen Cary (B.M.‘70, M.M. ’75,D.M.A. ’88) appearedas a tenor soloist dur-ing the past season inDvo?ák’s “Requiem”with the North Caroli-na Symphony andNorth Carolina Master-

chorale, conducted by Alfred Sturgis(D.M.A. ‘90); Mozart’s “CoronationMass,” “Regina Coeli,” and “Solemn Ves-pers” with the Stretton, England ChoralSociety; Beethoven’s “Ninth Symphony”with the Tuscaloosa Symphony, conductedby Shinik Hahm; three performances ofHandel’s “Messiah” with the Illinois Sym-phony in St. Louis, Springfield, and Bloom-ington; and three performances of Haydn’s“Paukenmesse” with the North CarolinaSymphony and the Durham Choral Society,along with recitals and master classes forstudents of Moorhouse College and ClarkAtlanta University. Stephen was also pro-moted recently to full Professor at The Uni-versity of Alabama School of Music. Histeachers have included Frances Crawford,Ronald Hedlund, John Wustman, andGérard Souzay.

Charles NormanMason (M.M.‘79, D.M.A.‘82), composerand Birming-ham-SouthernCollege profes-sor of music,was awardedthe prestigiousSamuel BarberRome Prize Fel-lowship in

Musical Composition during ceremonieson April 14, 2005 in New York City. TheAmerican Academy in Rome awards theRome Prize each year to fifteen emergingartists and fifteen scholars. As a prize win-ner Mason will spend eleven months at theAmerican Academy in Rome composingand gaining inspiration from the art andarchitecture of Rome, and his peer schol-ars and artists. Among the pieces he willwork on will be a commission from KarenBentley Pollick and Ivan Sokolov for a vio-lin and piano duet, a composition for the

Charles Mason won the prestigiousSamuel Barber Rome Prize in MusicalComposition.

Anne Mischakoff Heiles (D.M.A. ‘78)is the author of a new biography abouther father, titled Mischa Mischakoff: Jour-neys of a Concertmaster, published byHarmonie Park Press in late 2005. Heilesis currently completing a draft for anotherbook, a more general set of profiles andhistory, called Concertmasters.

Robert Morgan (D.M.A. ‘74) wasinducted into the International Associationfor Jazz Education (IAJE) Hall of Fame inceremonies in Long Beach, California, on

the occasion of the 32nd annual IAJE inter-national conference. The IAJE Hall of Famewas established in 1978 to honor “individ-uals whose musical contributions and dedi-cation to jazz education over the past 25years have created new directions and cur-ricular innovations for jazz educationworldwide.” Dr. Morgan’s inductionoccurred during the conference’s eveningconcert on January 6, 2005. Robertretired in 1999 as Director of Jazz Studiesat Houston’s High School for Performingand Visual Arts (HSPVA), a position heldsince 1976. The HSPVA jazz programholds the state record for most studentsselected for Texas All-State Jazz Ensemble,and national records for CliffordBrown/Stan Getz Fellows, IAJE Young Tal-ent Award recipients, and Arts Recognitionand Talent Search jazz finalists. Dr. Mor-gan continues to maintain an active careeras a pianist, composer/arranger and clini-cian, and to serve on the Board of Direc-tors for HSPVA.

Beverly (Smith) Soll (B.M. '71, M.M.'73) authored a book on the operas ofAfrican American composer William GrantSill, I Dream of the World, which wasreleased by the University of ArkansasPress in the spring of 2005. Previously shewas editor of a three-volume edition ofArias, Duets, and Scenes from the Operasof William Grant Still, published byWilliam Grant Still Music in 1998.

1980-1989Daniel Adams(D.M.A. ’85) receivedfour performances ofhis composition“Between Stillness andMotion” for solo pianoduring the fall of2005. The composition

was performed at Henderson State Univer-sity (September 20), Pittsburg State Univer-sity (September 26), and Kansas StateUniversity (September 28) by pianist Dr.Jeri-Mae G. Astolfi, and at Texas SouthernUniversity (September 29) by Dr. JanePerkyns. Adams composition “KhromasDiabolus” for trombone solo and percus-sion ensemble was recently released on acompact disc entitled “Greetings From…”produced and distributed by the NationalAssociation of Composers, USA.

“It was lovely to come down April 6 and 7 and appear before Prof. Katherine Syer’s Musicologyclass, as well as Prof Ron Hedlund’s voice class. The enthusiasm of the 50 or so people who allcame up to attend the Lyric Opera of Chicago’s complete RING cycle was a tremendous supportto all of us on stage.”

Eric F. HalfvarsonB.A. ’74, M.M. ’76

UIUC Ring groupies traveled to the Chicago Lyric Opera for Wagner’s complete Ring Cycle.

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Miami String Quartet, and a guitar quartetand chamber orchestra piece for the CoronaGuitar Kvartet of Denmark.

Nathan Matthews (M.M. ‘80) SopranoHarolyn Blackwell sang the world premiereperformance of Nathan’s new composi-tion, “A Woman’s Plight,” at the 20thAnniversary Concert: An Evening of WorldPremieres in New York’s Merkin ConcertHall in May 2004. The evening celebratedthe 20th anniversary of the RiversideOpera Ensemble, a not-for-profit organiza-tion dedicated to developing and present-ing new musical theater pieces andexperimental opera. The new work byMatthews, producing artistic director of theRiverside Opera Ensemble, is a setting ofpoems by Edgar Allan Poe. Nathan ismusic director and assistant professor inthe Department of Theatre and Dance atthe University at Buffalo, and also main-tains a New York City studio where heteaches privately as a vocal coach.

Jon Ceander Mitchell (M.S. ‘ 72, Ed.D.‘ 80), Professor of Music and Chair of theDepartment of Performing Arts at the Uni-versity of Massachusetts Boston, had hissecond conducting CD released by Cen-taur Records (www.centaurrecords.com).“The Youthful Beethoven” features, amongother selections, his own realization ofBeethoven’s Piano Concerto in E Flat,W.o.O. 4 and completion of the RomanceCantabile, H13. The featured pianist isGrigorios Zamparas and the orchestra isthe Bohuslav Martinu Philharmonic of Zlin,Czech Republic. In addition, his book, TheBraunschweig Scores: Felix Weingartnerand Erich Leinsdorf on Beethoven’s FirstFour Symphonies, was published by theEdwin Mellen Press in 2005.

Carolyn Paulin (D.M.A. ‘89) works atWFMT in Chicago and sings in the Chica-go Symphony chorus. Carolyn just finishedproducing the “On Wings of Song” seriesfrom the Marilyn Horne Foundation, whichwill soon be syndicated nationally. The 13part series of song recitals was recordedin NYC between 2002 and 2004. Dr.Paulin wrote the scripts, record thevoiceovers, edited commentary by hostKerry Frumkin and Marilyn Horn, and putthe series together—including editing andputting multi-tracks with music beds under

the voices. She is now considered a pro-ducer at WFMT, which she writes is “Real-ly great fun!”

“Amazing how one’s life and career can take such great turns!”

Carolyn PaulinD.M.A. ‘89

Ronnie Pejril (B.M. ’86, M.F.A. ’88Princeton) was appointed to the music fac-ulty at Richard J. Daley College in Chica-go. Ronnie studied composition with PaulZonn and Thomas Fredrickson at UIUC,and with Paul Lansky and Milton Babbitt atPrinceton. He is active as a composer andperformer as pianist for the jazz trio 13Miles High.

Marianne Sandborg (M.M. ‘81), lyricsoprano, resident artist and teaching asso-ciate at Roanoke College, recently wonfirst place in the Philadelphia CathedralVoice Competition, held in conjunctionwith the Diana Barnhart American ArtSong Competition. As the first place win-ner, she was invited to open for mezzo-soprano Marietta Simpson in a recital ofAmerican art song. The judges for thecompetition came from the faculties of East-man, Peabody Conservatory, Juilliard, andthe Manhattan School of Music. In theMay 2005, Marianne was featured as thesoprano soloist with the Salem ChoralSociety and Orchestra world premiere of“Mass for Peace,” conducted by the com-poser Aaron Garber. She has performedwith the Roanoke Symphony Orchestra(RSO) and the Roanoke Valley ChoralSociety, Canticum Novum ChamberSingers, Blacksburg Master Chorale, Eury-dice Community Orchestra, and JeffersonChoral Society, in addition to severalOpera Roanoke productions. Marianne,who is also an organist and soloist at Sec-ond Presbyterian Church in Roanoke, wasvoted ‘Best Vocalist’ for 2005 by readersof The Roanoker magazine.

1990-1999James Bohn (M.M. ‘93, D.M.A. ‘97),author of a newly released book on LejarenHiller for Edwin Mellen Press, recently had acomposition entitled “ice nine” included onthe CD compilation The Last Signal(www.independentopposition.com). Thevideo of this composition was presented atMost Significant Bytes 2004 II in Akron,OH. Receiving its European premiere,Bohn’s video “Walking on Eggshells” waspresented at Schallmauer in Vienna, Austria.

Donato Cabrera (M.M. ‘99), previouslya graduate student in Orchestral Conduct-ing with Professor Donald Schleicher, hasa new position as Assistant Conductor ofthe San Francisco Opera Company. Dona-to is also closely associated with the NewJersey Symphony Orchestra (NJSO), andhas guest conducted the orchestra onnumerous occasions and served as host fortheir pre-concert series Classical Conversa-tions. During the NJSO’s Northern LightsFestival, Mr. Cabrera guest conducted theGreater Newark Youth Orchestra in a per-formance of Grieg’s First Peer Gynt Suite.Cabrera, a Vienna Philharmonic KarajanConducting Fellow, was also recentlyappointed Music Director of the AmericanContemporary Music Ensemble (ACME),and received international attention forprogramming adventurous repertoirethrough its month-long webcast on Ameri-can Music Center’s website (newmu-sicbox.org). At the 2004 Spoleto FestivalItaly, Cabrera assisted Maestro James Con-lon in a production of Viktor Ullmann’sopera, Der Kaiser von Atlantis. In recentseasons, he was Assistant Conductor forNeeme Järvi, Mariss Jansons, Kurt Masur,George Manahan, Marcello Viotti, RobertoAbbado, Gerard Schwarz, Julius Rudel,and Sergiu Commissiona. In addition,Cabera has served as Music Director ofthe Opera Scenes Program and as ChorusMaster for Manhattan School of Music’sOpera Theater, and conducted the Man-hattan School of Music’s Chamber Sym-phony in a master class with MichaelTilson Thomas through a live Internet 2webcast. Donato currently divides his timebetween New York and San Francisco.

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Interlochen Center for the Arts the past twosummers. Daniel’s public broadcast can beheard at: http://www.wgte.org/fmlive/7-1-05.asp

Justin Vickers (B.M. ‘96, M.M. ’00Univ. of Kentucky), lyric tenor, made hisinternational operatic debut recently at theArbat Opera in Moscow, creating the titlerole of Italian painter Amedeo ‘Dedo’Modigliani in the world premiere of JerroldMorgulas’ Anna and Dedo, with the NorthAmerican premiere presented in New YorkCity in Fall 2005. Justin was invited toreturn to Moscow for the premiere of acycle of Shakespeare Sonnets in a two-week Festival of the Music of AleksanderZhurbin, and to portray pivotal roles in atriptych of Chekhov-based one-act operasfor Moscow’s Arbat Opera in 2006, afterwhich he will return to America for his firststaged-portrayal of Gennaro in OperaBoston’s Lucrezia Borgia. Vickers createdthe role of Tom Cobb in Seymour Barab’sA Perfect Plan for Encompass New OperaTheatre and rejoined Encompass in Springof 2005 for the world premiere of WilliamBanfield’s new jazz opera, Gertrude SteinCreates a Leap Early On, a Gertrude Steintrilogy which includes two one act operasby Ned Rorem and Virgil Thomson. Inrecent seasons Mr. Vickers has concertizedthroughout Spain, Albania and China,where his visit to Beijing culminated with aperformance in the Concert Hall of the For-bidden City. He was invited to appear asthe tenor soloist with the Choral Societyand Orchestra of Grace Church in NewYork City in their performance of Haydn’sCreation on March 11, 2005.

Richard Wyman (M.M. ’99) wasappointed Assistant Director of the UnitedStates Coast Guard Band on October 18,2004, having played Baritone Saxophonein that organization since 1998. The CoastGuard Band, based in New London, Con-neticut, is one of the nation’s five premieremilitary bands. It represents the guardaround the U.S. and the world, at presiden-tial functions, and for the Secretary ofHomeland Security and other cabinet offi-cials on formal and informal occasions. Asa member of the Mystic Saxophone Quar-tet (membership consists of the USCG Bandsax section), Wyman won the Bronzemedal in the Winds Division at the 2004Fischoff Chamber Music Competition. At

Madelene(Potamianos)Campos (B.M.‘97) is an activefreelancer in theChicago area onflute, piccolo, andpiano. In recentseasons, she hasperformed with theCivic Orchestra ofChicago under

Daniel Barenboim, the Spoleto U.S.A. Fes-tival in Charleston, S.C., the Kenosha Sym-phony, and the Lyric Opera of Chicago.She and Edgar Campos, her husband,also play with a Brazilian group EvanstonEscola de Samba, which can be heard thiswinter at the Hot House and the Old TownSchool of Folk Music, as well as a dozenChicagoland schools. Madelene teachesflute in the Chicago area and is the choiraccompanist of St. Benedict Parish. Sheenjoyed in particular performing in theLyric Opera of Chicago’s production ofWagner’s Ring Cycle in 2005.

Ada Fine (M.M. ‘99) a Russian mezzo-soprano and former student of SylviaStone, sang “Sieben Lieder” by AlmaMahler with the Knoxville SymphonyOrchestra on October 9, 2005.

Andrew Goldberg (B.A.‘97) was very activewhile a student inmusic composition atUIUC, serving aspresident of the Var-sity Men’s Glee Clubwith Bill Olson andBarrington Coleman,singing with the Con-cert Choir and The

Other Guys, working at The Planet, andinterning with the late Suzi McDonald atthe Krannert Center. Since graduating in1997, Andrew has pursued a career pathin arts administration. His goal is to be aCEO for a major performing arts compa-ny. He is currently the Director of AudienceDevelopment at the Florida Grand Opera(FGO), where he oversaw a major ticketgiveaway of 2,000 free tickets to Puccini’sMadama Butterfly. During the past 2 years

at FGO, the 7th oldest and 13th largest

Andrew Goldberg is Directorof Audience Development forthe Florida Grand Opera.

Madelene and Edgar Camposperform with the Braziliangroup Escola de Samba.

opera company in North America,Andrew has engineered an 11% increasein ticket sales for the company.

Aaron Ichiro Hilbun (B.M.’95,D.M.A.’04 Florida State), oboe andChristopher Krummel (.M.M. ’92D.M.A. ’97), trumpet were two of the fea-tured soloists in a performance of J. S.Bach’s Second Brandenburg Concerto withthe Orquesta Sinfónica de Trujillo at the2005 Festival Internacional Bach in Perú.Hilbun also presented a recital and masterclass at the Conservatorio Regional deMúsica del Norte Carlos Valderrama. Thefestival takes place annually during themonth of August.

Raymond Pettit (M.S. ‘75, Ed.D. ‘96),Vice President for Product Development &Intelligence for Longwoods International,continues to serve as an international busi-ness consultant, writer, and speaker, andwill publish a new book titled “MarketResearch and Advertising” (LEA Inc., Pub-lishers) on behalf of the AdvertisingResearch Foundation, based in New YorkCity. The book is a synthesis and analysisof a ten year collection of advertising casestudies gathered as part of the DavidOgilvy Research Award program. Royal-ties from the book will be used to supportan academic scholarship in marketing andadvertising studies, sponsored by theAdvertising Research Foundation.

Daniel Schuetz (M.M. ‘93), AssistantProfessor of Voice at Heidleberg Collegein Tiffin, Ohio, gave a live performance/interview for Ohio’s PBS/NPR affiliateWGTE FM 91 in July 2005. The award-winning program “Live From FM 91!” fea-tures performances and conversation withsome of the area’s finest musicians, alongwith special appearances by guest artists.Daniel and his wife Jennifer Hibish Scheutzalso taught on the Voice Faculty of the

Aaron Hilbun and Chris Krummel were soloists at the 2005Festival Internacional Bach in Perú.

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the 2003 World Saxophone congress, heperformed as soloist and with the USCGBand Saxophone Quartet. On Thanksgiv-ing 2002, he and the quartet performed afeature segment on the Tonight Show withJay Leno. Richard currently lives in Water-ford, Connecticut, with his wife Erin (Con-ner) Wyman (M.M. ’98), and their twosons Conner (2) and Avery (1).

2000-2005Kristina Boerger (B.S. ‘89, M.M.’92, D.M.A ’00), Associate Professorof Music at Barnard College, is cur-rently filling a one-year positionteaching undergraduate and graduateclasses in choral conducting at theManhattan School of Music. In Mayher chamber choir, the CerddorionVocal Ensemble, celebrated its tenthanniversary by presenting commis-sions from Lisa Bielawa, Elliot Z.Levine, and David Lang. This pastseason’s guest-conducting appear-ances brought her back home to leadthe University of Illinois ChamberSingers’ February concert. She alsogave clinics and lectures as a guestof the Kalamazoo Bach Festival anddirected the AMUSE women’s cham-ber choir of Manhattan in its firstsummer concert of the season.Appearing with the ChristopherCaines Dance Company at Danspace,she directed the music for a workentitled Tenebrae, choreographed tomotets of Thomas Tallis. Highlights ofthe past season’s singing with theWestern Wind sextet included per-formances of Latign AmericanBaroque music with the Folger Con-sort, and the completion of a record-ing of works created for thisensemble by Robert Dennis.

Richard Wyman performs with the Mystic Saxophone Quarteton the Tonight Show with Jay Leno.

Rebecca Bryant (Ph.D. ’03), director ofthe Graduate College Career ServicesOffice at the University of Illinois atUrbana-Champaign, had an article titled“But I Have No Skills“ published in theChronicle Careers section of the August18, 2005 issue of the Chronicle of HigherEducation.

Stevie Caufield (B.M. ‘02) won the Co-Principal Bassoon position in the UnitedStates Coast Guard Band, in Connecticut.

Stephanie Chigas, mezzo-soprano andformer student of UIUC Voice ProfessorSylvia Stone, won First Prize in the 2005George London Competition held March17, 2005 in New York City, singing “O,mio Fernando” from La Favorita and the“Seguidilla” from Carmen. Stephanie alsosang Carmen in several performances ofthe Peter Brook’s adaptation La Tragédiede Carmen this summer in Washington,D.C. and the mezzo-soprano role of LaSphinge in the October 2005 Americanpremiere of Georges Enescu’s operaOedipe at the Krannert Center for the Per-forming Arts with the Sinfonia da Cameraunder conductor Ian Hobson. She willappear during the coming season with theBoston Lyric Opera and will also coverroles at New York City Opera.

Brian Cole (M.M. ’00), who studied con-ducting at UIUC under Donald Schleicher,is the new conductor of the Puerto RicoConservatory of Music.

Josh Davis (B.M. ’04) received his instru-mental music degree in bassoon perform-ance and began graduate studies atManhattan School of Music.

Gregory Diethrich (Ph.D. ‘04) hasrecently taken up the position of ExecutiveDirector of the Music Arts School in High-land Park, Illinois.

David Grandis (M.M. ’02), a conduct-ing student of UIUC Prof. Donald Schleich-er, was recently accepted into the doctoralconducting program at the Peabody Con-servatory.

Claire Happel(B.M. ‘04) was apanelist on “Keep-ing Your Body inTune at the Harp”at the NinthWorld Harp Con-gress in Dublin,Ireland inJuly 2005, whereshe presented herresearch on harp

technique and the Alexander Technique.Other panelists included principal harpistsof the BBC Symphony Orchestra andTrondheim Symphony Orchestra, and harpprofessors of the Norwegian State Acade-my of Music and the Accademia di SantaCecilia in Rome. This summer, Claireattended the Hot Springs Music Festival inArkansas, and the Aspen Music Festival inColorado. She is currently in her secondyear of study as a master’s degree studentin harp performance at Yale University.

William Helmcke (B.M.E. ’01) has fin-ished his fourth and final year at TownsendJunior High School in Chino Hills, Califor-nia. In May 2005, Townsend became thethird Junior High School ever to perform atCarnegie Hall in New York City. Helmckewas recently nominated anonymously forthe prestigious Disney “Teaching Hand”Award. Mr. Helmcke has also completedcommittee work for the State of Californiawhere he was the only junior high schoolmusic teacher on the panel charged withrevising the California State and UniversityMusic Standards. Helmcke is now pursuinga masters/doctorate degree in music theo-ry at the University of Minnesota.

Joseph Herl (Ph.D. ’00), a graduate ofthe musicology program under NicholasTemperley and assistant author of theHymn Tune Index (Oxford University Press,1998), is largely responsible for the HymnTune Index query program now online athttp://hymntune.music.uiuc.edu. An assis-tant professor of music at Concordia Uni-versity in Seward, Nebraska since 2000,Herl’s book Worship Wars in EarlyLutheranism: Choir, Congregation andThree Centuries of Conflict (Oxford,2004), based on his UIUC dissertation,received a distinguished award from theSixteenth Century Society and Conference:

Claire Happel, with ProfessorAnn Yeung, at the Ninth WorldHarp Congress in Dublin.

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Amy Olipra (B.M.’03, B.M.E.’03),mezzo-soprano and aprevious student ofProfessor SylviaStone, graduatedwith an M.M. degreein music from IndianaUniversity in Decem-ber and has been

accepted into the Sarasota Opera Appren-tice Program beginning January 2006.Amy sang the role of Czipra in JohannStraussís comic opera Der Zigeunerbaronat the Austrian American Mozart Academyin Salzburg, Austria this summer.

Saxton Rose (M.M. ’01) was appointedprincipal bassoon of the Puerto Rico Sym-phony Orchestra in October 2003 andrecently performed as soloist with the sym-phony. He is professor of bassoon at thePuerto Rico Conservatory of Music andserves as assistant editor for the Interna-tional Double Reed Society web site.

Tyne Steele (M.M. ’05) won the princi-pal bassoon position in the Waterloo/Cedar Falls Symphony Orchestra in Iowa.

Rachel Whitcomb (Ed.D. ’05) hasaccepted a position as assistant professorof music education at Nazareth College inRochester, New York.

Amy Olipra, with ProfessorSylvia Stone, in Austia.

the 2004 SCSC Roland Bainton prize foroutstanding book in the field of Art Historyand Music.

Adrianne Honnold, (B.M.E. ‘99, M.M.‘05), was appointed Instructor of Saxo-phone at McKendree College in Lebanon,IL, beginning in Fall 2005. Ms. Honnold isa former student of Debra Richtmeyer. Priorto enrolling in the Masters degree programin saxophone performance at the Universi-ty of Illinois, she was the principal saxo-phonist in the USAF Heritage of AmericaBand, located at Langley Air Force Base,Virginia. She has also performed with theIllinois Symphony Orchestra and the St.Louis Symphony Orchestra. Ms. Honnoldwas the recipient of the A. A. HardingAward from the University of Illinois Bandsin 2005.

Wendy Jones (M.M. ’03), soprano andwinner of the Palm Beach Opera Competi-tion, has a contract from Septemberthrough April 2006 with the Resident ArtistProgram of their company. She will coverthe title role in Puccini’s Tosca, in additionto singing The First Lady in The MagicFlute by Mozart and Clorinda in La Cener-entola by Rossini.

Carolyn Kuan (M.M. ’01), who studiedconducting while at UIUC with DonaldSchleicher, was recently appointed AssistantConductor of the North Carolina Symphony.

Anne Lyle (B.M. ’03) bassoon, won aposition with Sinfonia da Camera, the resi-dent orchestra at the Krannert Center forPerforming Arts in Urbana, Illinois.

Timothy Newton (D.M.A. ‘04), wasawarded the Julius Herford Prize by theAmerican Choral Directors Associationfor his dissertation “A Study and CriticalEdition of Samuel Capricornus’s Theatrummusicum (1669, 1670) and Continuatiotheatri musici (1669).” The work receivedthe Nicholas Temperley Award for Excel-lence in a Dissertation in Musicology inApril 2005 and will soon be published inthe series Recent Researches in theBaroque. A Mellon Fellow and Lecturer inChoral Studies at Grinnell College, Timcurrently conducts the Grinnell Singers. InOctober 2005, he conducted in masterclasses under Helmuth Rilling at the Inter-national Bach Festival at the University ofToronto, along with UIUC D.M.A. choralstudent David Sawatzky. Over thepast year, Tim taught choral music at theAmerican School in England, where healso sang in many of the major concertvenues in London, appearing with theLondon Symphony Chorus, the Philharmo-nia Chorus and the Chamber Chorus.Prior to teaching at Grinnell, Tim servedas Conductor and Visiting Assistant Pro-fessor of Music at Dartmouth Collegefrom 1999-2003.

I N M E M O R I A M

James W. Schrodt (B.M.’38, M.M.’47, M.S. ‘49), was practically aborn musician. A band leader for 64 years, he also played invaudeville, and often with orchestras when performers such as Liber-ace or Red Skelton were the headliners. “He often filled in when theMusicians Union called and needed someone,” said his stepson,Tim Mosher of Longwood,[Florida]. “When he became a banddirector, you had to know how to play every instrument in theband.”

Although he was skilled at playing many instruments, trombonewas his favorite, but by no means his first instrument, his stepsonsaid. “He told me that his grandfather gave him a saw to play whenhe was 10 years old.”

Schrodt, who died at age 90 on July 22, 2005, was born andraised in Mount Carmel, Illinois. He had bachelor’s and master’sdegrees in music and a master’s degree in education from the Uni-versity of Illinois. Until a few years ago, he was still marching at theschool’s homecoming events.

“He marched in the Alumni Band at the University of Illinoishomecoming and was the oldest marcher four times,” Mosher said.“He was also the oldest participating trombonist for four years at theInternational Trombone Association’s yearly festival.”

Schrodt was a bandleader for school bands, college bands and,during World War II, for the U.S. Army Air Corps Band in Miami. In1975, he retired as a supervisor of music for the Prince George’sCounty Public Schools in Maryland and moved to Central Florida.

After his retirement, he continued to entertain audiences with hismusical talents as assistant director of the Seminole Community Sym-phonic Band at Seminole Community College, as a pianist for theSunday school at First Baptist Church in Orlando, and as member ofthe Maitland Presbyterian Orchestra, where he played trombone.

James Schrodt was a member of the Florida Bandmasters Association,the International Trombone Association, a Life Member of the AmericanFederation of Musicians, and a Life Member of the University of IllinoisPresidents Council.

Music Never Ended During Lifetime of Bandleader James W. SchrodtJoseph Rassel, reprinted with permission of the Orlando Sentinel (7/26/05)

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Mr. William C. JenningsDr. James H. KeaysMr. Thomas J. KeeganMr. Howard V. KennedyMr. Jeffrey S. KimptonMr. Thomas M. and Mrs. Susan A. KoutskyMr. Andrew M. and Mrs. Susan M. KunzMr. William O. KuyperMr. David R. and Ms. Carol C. LarsonDr. John R. LeisenringProf. Ruth LorbeDr. Russell MathisProf. Charles J. and Mrs. Joanne J.McIntyre*

Prof. Richard L. and Mrs. Anna J. Merritt*Mr. Jeffrey L. ModlinMs. Ruth A. MooreMrs. Gerda T. NelsonDr. Philip O. and Mrs. Jennifer L. NubelMrs. Jean and Prof. Howard Osborn*Mr. Michael S. PettersenDr. Stephen L. and Dr. Esther Portnoy*

Mr. Michael W. PresslerMrs. Marlyn Whitsitt Rinehart and Prof.Kenneth L. Rinehart (Dec) *

Donald and Gay Roberts*Dr. Deane L. Root and Dr. Doris J. DyenMrs. Janice F. and Prof. Melvin Rothbaum*Dr. Edwin A. Scharlau II and Mrs. CarolZimmer Scharlau*

Mr. Herbert SchneidermanMrs. Christie B. Schuetz*Mr. Kyle A. SchumacherMr. John S. SetterlundMrs. R. Janice and Prof. Donald R. SherbertMr. Dave SpornyMrs. Susan S. StarrettMr. Dennis M. SteeleDr. Milton L. Stevens Jr.Dr. Virginia K. StittMs. Terri M. SvecDr. Leon ThurmanDr. Peter and Mrs. Nancy van den HonertMr. Gerald G. and Mrs. Mary BethWeichbrodt

Dr. Craig J. WestendorfDr. Steven Moore WhitingMr. Robert L. Zarbock

ALLEGRETTO($100-$199)Ms. Doreve Alde- and Mr. Richard B.Cridlebaugh

Prof. Carl J. and Mrs. Nadja H. Altstetter*Mr. Glen R. AndersonDr. Anton E. ArmstrongMrs. Celia S. ArnoldMr. Duane C. AskewDr. David F. AtwaterDr. David C. and Mrs. Debra S. BarfordDr. Jon W. BaumanMr. W. Herbert and Mrs. Iva Jean BayleyMrs. Lynne E. BeachDr. Calvert BeanMs. Kathleen A. BellMr. John P. and Mrs. Elaine Pohl BenisekMr. Donald H. and Mrs. Margery I.Bergstrom

Prof. E. Sanford and Mrs. Elizabeth C. BerryMr. James E. BeverlyMr. Richard B. BiagiMr. Dennis R. BiagioliMs. Cathrine Blom*Dr. Philip V. BohlmanDr. Gary C. BorchardtMr. Clark A. and Mrs. Cynthia M. BreezeMrs. Joan B. BrinegarDr. Kathryn BumpassDr. Wesley R. Burghardt and Ms. Angela M.Stramaglia

Ms. Sandra CarrMr. Richard B. Cogdal*Mrs. Ruth L. CortrightMiss Judith K. Cotter

Partners i n TempoThe following list consists of contributions to the School of Music accumulated through the generosity of alumni and friends. We thank them for their support of the talent, teaching ability,and creativity that exists within the School of Music.

The following list represents those who made gifts between July 1, 2004 and September 302005. Please note that members of the Presidents Council are designated with an asterisk (*). The Presidents Council is reserved for those contributors who pledge a minimum of $15,000 lifetime giving to the University of Illinois.

Please send corrections to Suzanne Hassler, by e-mail, shassler@uiuc.edu, or by telephone, (217) 333-6452.

FOR SUPPORT OF THE SCHOOL OF MUSIC JULY 1, 2004-SEPTEMBER 30, 2005

winter

2006

5 1

Dr. Grady E. CoyleMs. Mary Ann DalyDr. Warren J. and Mrs. Marsha K. DarcyMs. Carol Capadona DavidMrs. Lynne E. DenigMrs. Susan B. DeWolfMr. Bruce L. DickersonMrs. Debbi L. DillmanMr. Bruce and Dr. Gail Schewitz- DoctorDr. Kenneth O. DrakeMr. Gerald A. and Mrs. Jean E. DrendelMr. John G. DukerThe Reverend Monsignor Edward J. Duncan*The Reverend Wyeth W. DuncanMrs. Ellen S. EagerDr. David EisemanMr. Jack W. and Mrs. Carol L. ErgoMs. Dawn FairchildMr. Frederick D. FairchildProf. Emory M. Fanning Jr.Dr. Virginia FarmerDr. Linda J. FarquharsonMs. Judith A. FeutzRalph T. and Ruth M. Fisher*Dr. Mark L. FonderDr. John W. Fonville and Mrs. Janet FennerMr. John FordeDr. Diane FoustMrs. Margaret A. Frampton*Dr. Andrew N. and Mrs. Lisa S. FrenchMrs. Roxanne C. and Mr. John D. Frey*Mr. Robert C. GandMr. G. William and Mrs. Barbara GeisMrs. Jennifer A. GettelMrs. Cheryl S. GibsonMr. Mark C. GillenMs. Renee GladstoneDr. Eva W. GrayMr. Carroll E. and Mrs. Wanda E. GreenDr. Ernest N. and Mrs. Lois E. Gullerud*Mr. Jack W. HammelMr. David A. HarlanDr. Eve E. Harwood*Dr. James S. and Mrs. Susan HatfieldDr. Robert H. HearsonMr. Morris L. Hecker Jr. and Mrs. Martha Z.Hecker*

Mr. Ronald W. and Mrs. Barbara S. HedlundDr. Gregg S. and Dr. Marlene A. HelgesenDr. James C. HeltonMs. Sharon B. HermannMr. Philip H. Highfill IIIMs. Gaye Ann Hofer and Dr. Gregory M.Cunningham

Mr. Orland W. HolmesDr. Jesse E. Hopkins Jr.Mr. Robert L. Hormell*Mr. Don HoughMs. Alice A. HoveMr. Fred M. HubbellMr. Robert D. HuffingtonMs. Jane Paul Hummel

Dr. David C. HunterDr. Stephen HusarikMr. Robert H. HussMr. Chuck IsraelsMr. Lansing K. JohansenMrs. Mary L. JohnsonMr. Robert R. JohnsonMrs. Doris D. JonesMr. John E. and Mrs. Patricia L. JordanMrs. Maxine G. and Mr. James B. Kaler*Dr. Dennis K. M. KamMr. Howard E. KemperMrs. Mary Anne KeslerMr. R. Edward KieferMrs. Judy B. KjellanderMr. Philip W. KlickmanMr. David L. KrusemarkMr. David L. and Mrs. Susan E. KuehnMr. Dale A. LammiMrs. Barbara A. LanhamDr. Peter J. LaRueMs. Dana LaSalleDr. Janet V. LeonardMrs. June C. LevyMrs. Sondra Gerhardt LibmanDr. Sara de Mundo Lo*Mr. David W. MaddenMr. Robert M. and Mrs. Susan B. MakeeverProf. W. G. and Mrs. Constance Y. MarigoldMrs. Ann S. Mason* Mrs. Jennifer S. MatherMrs. Diane Emiko MatsuuraMr. Richard D. McKee IIDr. Alexander B. McLaneMrs. Linda K. McLaneMr. James H. McNeelyMr. Ronald D. and Mrs. Judith M.McWilliams

Mr. Charles T. and Mrs. Trudy R. MedhurstMrs. Sharron P. MiesMr. Craig R. and Mrs. Margaret ResceMilkint*

Ms. Erie A. MillsMrs. Eleanor L. MilnesMr. Danlee G. MitchellMrs. Phyllis Brill MunczekMs. Ann E. MurrayDr. Barbara H. NoelMs. Julie A. O’ConnorMr. Don D. and Mrs. Nikki OwensMr. Joe and Mrs. Joyce Laase PeacockDr. Karin A. PendleMr. John H. PennellMrs. Geraldine B. PettyMs. Ruth PinnellMr. Douglas L. PinneyDr. Scott E. Preece*Ms. Phyllis RappeportMrs. Alexis G. RasleyDr. Wallace J. RaveMr. Kim R. RichmondMrs. Lois H. Richter

Dr. Kevin W. RockmannDr. Franz RoehmannMr. Donald Q. RogersMr. Robert J. and Mrs. Diana L. RogierMr. Kenneth W. RubinMr. Robert J. and Mrs. Elda L. RuckrigelMr. Walter W. and Mrs. Patricia A. Rust*Mr. John M. and Dr. Kathreen A. RyanNorman S. Ryan MDMr. George J. SandersMr. Steven E. SchoppMr. John F. and Mrs. Nancy K. SchweglerMr. Ralph E. ShankMs. Gloria A. Shiff (Dec)Dr. Marilynn J. SmileyMr. Philip SmithMr. Scott R. Smith and Ms. Cheryl K. StreetMrs. Elizabeth M. SpencerMr. M. Andrew Sprague*Mrs. Gail M. and Mr. Joseph SpytekMrs. Janet N. SteffyDr. Jack M. and Mrs. Eva L. StegerMr. Wesley Q. StelzriedeMrs. Joan M. StrouseMr. Mark S. Stryker and Mrs. Candace E.Stuart

Dr. Gary R. SudanoMr. Willie T. and Mrs. Valerian SummervilleMAJ Kent W. Swagler (Ret) and Mrs. PatriciaSwagler

Prof. Earl R. and Mrs. Janice E. Swanson*Ms. Catherine SzetoMr. Peter A. TakacsEmile J. and Elizabeth M. TalbotDr. Gerald J. ThroopMr. Robert L. TownerMr. Michael A. and Mrs. Olivia L. TremblayProf. H. C. and Mrs. Pola Fotitch Triandis*Dr. A. Robert Twardock*Mr. John A. Van HookMrs. Susan T. Van SickleMs. Alice W. von NeumannMr. James R. WaechterMs. Michelle T. WalkerMs. Diane K. WalkupMr. Earl J. WayDr. Evelyn J. Weber*Mr. Duane H. and Mrs. Bonnie Johansen-Werner

Mrs. Dorothy W. Williams*Mr. Richard L. WilliamsDr. Sandra L. WilliamsMr. Keith L. WilsonEdward C. Wolf PhdDr. Marsha Cook Woodbury*Mr. Scott A. and Mrs. Marian K. WyattMr. Roger L. and Mrs. Dolores G.Yarbrough*

ANDANTE(under $100)Dr. Daniel C. AdamsMrs. Elizabeth Z. AllanMr. Robert N. AltholzMr. Glenn R. AndersonMs. Tammy J. AndersonMr. Roger W. and Mrs. Mary Lou ArendsMr. John D. ArmstrongDr. Kerchal F. ArmstrongMr. Gordon K. and Dr. Alison E. ArnoldMs. Pamela T. ArnsteinProf. Walter L. ArnsteinMr. Charles C. AschbrennerMr. Larry AshleyMr. Ralph R. AtheyMs. Susanne L. AultzMr. Robert S. BaileMrs. Linda D. BaileyMrs. Patricia A. BairdMr. Michael R. BandmanProf. Delmar K. and Mrs. Karen R. BannerMs. Marolyn G. BannerMr. Daniel P. BarachMrs. June H. BarberMr. Gary N. Barrow Jr. and Mrs. Meghan E.Barrow

Dr. Neale K. and Mrs. Elaine BarteeMrs. Barbara Zander BarthMrs. Angela M. Bates- SmithMr. John E. BauserDr. Gretchen Hieronymus BeallMrs. Nancy H. BeckmannMr. James D. and Mrs. Joy Lynn BeebeMs. Sandra S. BernhardMr. Thomas E. and Mrs. Sandra S. BertucciMr. David E. BilgerMs. Evelyn BlackmanMr. Walter R. and Mrs. Dolores B. BlissMr. Robert O. BlissardMrs. Jacqueline K. BlockMrs. Susan E. BlockDr. Charles W. Boast and Ms. Marsha ClinardMr. John E. BolzDr. Dalvin L. and Mrs. Jean A. BooneMr. Alfred E. Born and Dr. Christelle E.Menth

Dr. Kathryn Smith BowersDr. Samuel L. Bradshaw Jr.Mrs. Kathleen E. BragleDr. Peter G. and Mrs. Judith M. BraunfeldDr. Robert G. BrewerMrs. Erma BridgewaterMr. Jerome B. BrillhartMs. Kareen G. BrittMr. C. Wayne BrodkorbMr. Joe and Mrs. Kathleen BrownMr. Robert H. BrownDr. Gerald D. and Ms. Donna C. BucklerMrs. Paula K. BunnDr. Bartlett R. and Mrs. Barbara D. ButlerMrs. Linda S. Buzard

sonorities

5 2

Mrs. Luana M. and Mr. Charles M. ByteDr. F. Kent CampbellLisa S. CaramiaDr. Milburn E. CareyDr. Jon O. CarlsonDr. Harry H. Carter Jr. and Mrs. Ellen B.Carter

Dr. Philip S. CaryMrs. Mary M. CashMs. Clara E. CasteloDr. Joseph S. CeoMs. Yoline W. ChandlerDr. Carl E. ChapmanMr. Scott ChaseMs. Judy L. ChastainMr. Thomas E. CherryMs. Joanne A. ChorpeningDr. Alisa Clapp-ItnyreMrs. Jean A. ClarkeMrs. Katherine M. CloonenDr. Dale CockrellMr. Garrett Rigney CofieldDr. Richard Scott CohenMs. Nina M. ColeMr. Morris and Mrs. Aleta CollierMr. James T. and Mrs. Paula R. ConderMr. Mark A. ConleyMr. Curtis O. CooperMs. Beverly J. CottrellMrs. Rebecca T. CouringtonDr. Victoria L. CovingtonMs. Mina M. CoyMs. Betty J. CravensMrs. Jeanne E. Craver and Mr. Charles C.Craver

Mrs. Arlene J. CrawfordMrs. Rebecca Kaplan CytronDr. James and Mrs. Gail A. DapognyDr. Daniel J. DaunerMs. Deborah M. Day*Dr. Michael T. and Mrs. Joyce L. DayDr. Larry M. DeBrockMr. Richard N. DeLong*Mr. William E. DeMontMrs. Louise L. and Mr. Jack DerningMr. Clement R. DeRosaMr. Edmund J. DeWanDr. Donald R. DickersonDr. Christopher and Mrs. Karen J. Di SantoMrs. Oscar H. Dodson*Mr. C. William and Mrs. Kay W. DouglassMr. Donald W. DownsMs. Darcy D. DrexlerMr. Howard S. DucoffMrs. Helen F. Duffield (Dec)Mrs. Barbara M. DuffyMs. Marilyn M. DugingerMs. Pamela J. DunleavyMrs. Edith A. DwinnellsMr. Dwight E. DyerMr. Austin A. R. DysonMrs. Jeannette J. Ebelhar

Mrs. Carole J. EckertMr. Philip W. EherenmanMrs. Cheryl M. EinsweilerDr. Barry L. and Mrs. Terri L. EllisMr. Douglas G. and Mrs. Ellen R. ElrickDr. Albert C. England III and Mrs. Barbara A.England*

Mr. Earl Eugene EvansDr. Kenneth E. FahsbenderMs. Marilynn P. FarnhamMs. Esther E. FayMrs. Sharon FeketeMr. Scott D. FeldhausenMr. Jack V. and Mrs. Joan T. FeldpauschMr. Ron FinkMrs. Janice L. FisherMr. Edward A. FitzgeraldDr. Robert J. FleisherDr. Nancy P. FlemingMrs. Margaret A. FotouMrs. Carolyn J. Foy-StrombergProf. Marvin and Mrs. Matilda Frankel*Mr. Larry L. FranklinDr. L. Thomas FredricksonMrs. Gwynne H. FrenchMr. Donald W. and Mrs. Beverly A. FrettyProf. Stanley and Mrs. Frances FriedmanMs. Judith Kaye FultonMr. John D. Funston and Mrs. Jenna D.Finch

Mrs. Mary Margaret GaddyDr. Stephen L. and Mrs. Stephanie R. GageMrs. Charlene W. GatesMr. Thomas Lee GaugerMrs. Marian B. GebhardtMr. Gregory L. and Mrs. Sandra P. GilboeMrs. Karen L. GivenDr. Valerie Woodring and Dr. ChristopherGoertzen

Mr. Herbert Goldhor*Mrs. Elizabeth W. and Mr. Edwin L.Goldwasser*

Mr. Stanley L. GorbatkinMr. Daniel A. GoslingMr. Frank L. Gould Jr. and The ReverendKaren N. Gould

Mrs. Nanette R. GrantMs. Denise D. GreenDr. Richard D. GreenMr. Charles W. GreggMrs. Lynn B. GrosDr. Margaret Rosso and Dr. MichaelGrossman*

Mrs. Margaret S. GundersonMrs. Jeanne M. HaackMrs. Marilyn J. HallDr. Alice M. HansonMrs. Sharon L. HardestyMs. Teresa E. HargroveMr. Frank B. HarmantasDr. Ruthann HarrisonMrs. LuAnn E. HayesMr. Jason P. Healey

Mrs. Helen E. HealyMr. David L. and Mrs. Michele C. HechtMs. Margarita L. HeissererMrs. Nona J. HeitmannMr. John W. HelperDr. Donald M. and Mrs. Margaret F.Henderson

Mrs. Margaret E. HendersonMr. Donald G. and Mrs. Janice I. HenricksonMr. Harvey A. Hermann Jr.Mrs. Sally K. HermannMr. Steven K. HeslaMs. Cynthia A. HeuerMr. Darren S. HicksDr. Douglas M. HillMrs. Carol K. and Mr. Delmar L. HillmanMrs. Marilyn L. Holt*Mrs. Abbie O. HubbellMr. Ronald F. Hughes Jr.Mr. William H. Hughes Jr.Mr. Allen E. HunterMrs. Ingrid Hutchings*Mrs. Janice C. ImpeyMr. Frederick W. and Mrs. Lois S. IrionDr. Charles F. IsaacsonDr. Barbara G. JacksonDr. David C. JacobsenMr. Timothy D. JamesMrs. Jean H. JamisonMrs. Kathryn A. JanicekMrs. Laurine JannuschMr. William T. and Dr. Julie D. JastrowMr. Aaron L. JohnsonDr. David Lee JohnsonDr. James R. JohnsonMrs. Helen K. and Mr. Parker N. JohnstoneMrs. Ruth M. JonesMr. Richard E. JorgensenMrs. Donna L. KaelterMs. Karen KaiserMr. Robert A. KaiserProf. Marianne E. KalinkeMrs. Elizabeth A. KampsMrs. Nanci L. KarlinMrs. Lois L. KaszniaDr. Byron F. KauffmanMrs. Lois D. KazanDr. Brenda E. KeeDr. Robert P. KeenerMrs. Patricia C. KeimMr. Jeremy Niles KemptonMr. James E. and Mrs. Susan M. KetchMrs. Nina S. KeyMr. George M. and Mrs. Patricia D. KichinkoMrs. Elizabeth E. KirkpatrickMr. James and Mrs. Joan Skinner KnappMr. Jon W. KnudsonDr. David W. KnutsonMrs. Mayola C. KolbeMr. George S. KosmachMrs. Kathleen A. KrepelMrs. Lois Krizan

Dr. Gerald E. and Mrs. Ellen GreenKuroghlian

Mrs. Joyce M. LaibleMr. Raymond (Dec) and Mrs. Irene E.Lamkin

Mr. F. W. and Mrs. M. C. LancasterDr. Jean N. LandersMs. Sandra L. LaneMrs. Bonnie A. LarnerDr. Richard C. LarsonMr. Kenneth M. LarvenzDr. Elizabeth L. LawrenceMs. Sunny J. LawrenceProf. David and Mrs. Betty Lazarus*Sister Mary F. LeahyMrs. Theta LeeMr. Bradley S. LeebMrs. Florence K. LeighDr. John W. LemanMr. John D. LeslieDr. Victoria L. LevineMr. Jeffrey E. LindbergDr. Thomas LloydMrs. Susan A. Lobdell*Mrs. Virginia K. LovettMrs. Klara LueschenDr. Linda S. MackMr. Boyd A. MackusDr. James T. and Mrs. Tammara D. MadejaMrs. Helen A. Magnuski*Dr. David M. Main*Dr. Joseph and Mrs. Leslie A. ManfredoMrs. Guileen P. ManuelMrs. Stevi A. MarksMs. Jane R. MarshMrs. Jean C. MarshallDr. Marilyn M. and Mr. Jeffrey L. MarshallMs. Anne S. MartelProf. Chris T. MartensMrs. Marian S. MartinDr. Jameson N. MarvinMrs. Ann K. MasonMs. Lezlee A. MassonMrs. Nancy V. MatchettMrs. Carolynne B. MathisMrs. Eva M. MaxwellMrs. Carolyn R. MayMr. Lutz L. MayerMs. Mary E. MayhewMr. Donald O. Maylath*Dr. David McChesneyMrs. Nalda N. McColloughMr. James L. McDonaldMr. Austin J. McDowellMr. William J. and Mrs. Brenda B.McNeiland

Mrs. Donna F. McPherson*Dr. Mardia MelroyDr. Maria P. MerkeloMr. C. J. MerrillMr. James K. Merwin Jr. and Mrs. KathleenL. Merwin

William S. Miller and Christine Miller

winter

2006

5 3

Mr. Keith A. MitchellMrs. Harriet A. MoirMr. Milton R. MojzisMr. Maurice E. MonhardtMr. Albert L. MooreMrs. Nancy F. and Dr. David W. Morse*Mr. Theodore F. and Mrs. Joan Lipke MuellerDr. Walter L. and Ms. Jane L. Myers*Ms. Joyce G. Nagel*Mr. Larry G. NeemannDr. Jo Ann N. NelsonMrs. Louise S. NelsonMrs. Rosemary F. NelsonMrs. Kim J. NewmanMrs. Patricia S. NewmanMr. Steven N. NgMr. William J. NichollsDr. Eugene D. NovotneyMr. Lee OlsonDr. Lesley C. OlsonMr. Dante J. (Dec) and Mrs. Kay A. OrfeiMr. Rick K. Orr*Dr. David C. OsterlundMr. Thomas W. O’TooleMs. Janet L. OutisMs. Patrice M. PakizDr. Susan ParisiMrs. Karen D. ParrackDr. Lisa D. PattersonMrs. Gail PeineMs. Susan B. PeppercornMr. Daniel J. and Mrs. Marjorie A. Perrino*Mrs. Aiko K. PerryDr. Linda W. PerryMrs. Janice L. Petri*Mrs. Amy L. PhelpsDr. Robert W. PlacekMr. Alan M. PorterMs. Alice R. PrevesMr. George H. ProMr. Leo H. ProvostMrs. Karyn A. QuandtMr. Roland H. RaffelWinifred Ehler RamstadDr. W. Donald RankinMr. Stanley E. and Mrs. Zelma RansomMs. Maureen V. ReaganMr. Donald O. Reddick Jr.Ms. Frances S. ReedyDr. Sam and Mrs. Susan E. ReeseMrs. Irma ReinerMr. Beau A. RenshawMrs. Barbara J. RiceMr. Joe D. and Mrs. Patricia L. RiceMr. Thomas L. RiceMr. Adam C. RichardsonDr. Selma K. RichardsonMr. Paul S. RiegelDr. Robert E. RitschelMr. Dean A. and Mrs. Mary RitzmannMr. Bruce C. and Mrs. Faith RobertsDr. Schuyler W. and Mrs. Linda K. Robinson

Mr. Scott D. RoederDr. Carl S. RogersMrs. Elizabeth P. Rogers*Mr. Jeffrey L. and Mrs. Joyce Kim- RohrerDr. Brenda R. RootMrs. Mary A. RosboroughMrs. Linda F. RosenProf. Barak RosenshineMrs. Devorah B. RossMrs. Mary Higley RosserMrs. Nina RubelMrs. Barbara B. RudolphMrs. Cheryl Lane RyanMrs. Marilyn R. SamehDr. Lori K. SandersMrs. Jeanne D. and Mr. Ray K. SasakiMr. David L. SaundersMs. Marlys J. ScarbroughMr. Steven T. and Mrs. Jane SchererMr. Ralph S. SchlesingerMrs. Shirley J. SchnizerMrs. Jane W. SchoenigerDr. Karl- Heinz and Mrs. Dorothy SchoepsMr. Jeff A. SchroederMrs. Karen Schulman- BearMrs. Glenda L. SchultzMrs. Gail N. SeidmanMr. Scott H. and Mrs. Connie L. SeveranceMr. Dennis A. ShaulDr. Randall C. SheetsMrs. Kristen Shiner- McGuireMr. Dale A. and Mrs. Nancee A. ShipeMs. Jill ShiresMrs. Faraba G. ShirleyDr. Blaine F. ShoverMs. Mary L. SiglerDr. Ann L. SilverbergMr. Fay M. Sims*Dr. J. Taylor and Dr. Jo Ann M. SimsProf. James B. Sinclair*Mrs. Patricia S. SkarrMs. Sharen R. SladeMrs. Paula A. and Mr. Michael J. SlingerDr. William C. SmileyMs. Deidre A. SmithDr. James G. SmithMr. Phillip R. SmithMrs. Constance W. SolbergDr. Theodore SolisMr. Robert V. Sperlik Jr.*Ms. Nancy S. StaggMrs. Diane H. Staub*Mrs. Joan K. StaufferDr. Harry M. SteckmanThe Honorable Robert J. and Mrs. Sharon W.Steigmann*

Dr. David B. SteinMrs. Isabelle Kole SteinMrs. Krista J. StellerMr. D. Grier Stephenson Jr.Mr. Robert J. StiehlDr. David K. StigbergProf. Victor J. and Ms. Susan C. Stone*

Ms. Mary G. StonecipherBarbara J. StoverMs. Merry B. StoverMs. Patricia StrohMrs. Blanche J. Sudman*Mr. J. David SulserMrs. Sheryl M. SummerellMr. Matthew S. TalbottDr. Paula G. Taquet- WoolfolkMrs. Vivian B. TerrillMrs. Catharine A. ThiemeMrs. Jacqueline LaRue ThomasDr. Robert F. Thomas Jr.Mrs. Susan Kuriga ThorneMr. David P. ThurmaierOuida Tisdall MDDr. Donald C. ToddDr. Russell E. TodresMrs. Maryellen T. TomassettiMrs. Marie Griffith TompkinsMrs. Barbara B. ToneyMr. John W. and Mrs. Charlotte G. TrautweinDr. Tod M. and Mrs. Monica G. TrimbleDr. Jill L. TrinkaDr. Max R. and Mrs. Sue C. TrombleeDr. Lynn M. and Mrs. Nancy S. TrowbridgeDr. L. Deane TrumbleDr. Gary L. UnruhMr. Walter E. UrbenDr. Michael G. VaillancourtDr. John D. Van der SliceMrs. Julia V. Van DykeMr. Wayne Van DykeMrs. Emily VanimanMrs. Susanne M. VealMrs. Joan M. VogenMrs. Sandra Smith Volk*Ms. Cheryl E. Hein WaltersDr. David Ward-SteinmanMr. Arthur S. WasikProf. Albert WattenbergMrs. Bernice S. WaxMr. Charles S. and Mrs. Tamar A. WeaverDr. Calvin E. WeberMrs. Mary Jane WeberMiss Ruth E. WeinardMrs. Susan M. WernerMs. Celeste E. WhitingMs. Thelma WillettMrs. Beverly Ann WilliamsMr. Rod and Mrs. Sue WilliamsDr. Jeffrey S. WilsonMr. Michael H. WilsonMr. Dennis D. WindlerMrs. Jane R. WinemanMrs. Ann R. WingetMrs. Betty S. Wise and Mr. Clark E. WiseMrs. Rita S. WiseMrs. Kim Y. WittelMs. Trudy Fraase WolfMr. A. Scott WoodMrs. Rose Marie Wood

Mrs. Zoe R. WornerMr. H. W. Wyld Jr. and Mrs. Jeanne-MarieWyld

Prof. Thomas Alexander and Mrs. CatherineWiles Yancey*

Mr. Mickey W. YoungMr. Robert E. YungDr. Joyce R. ZastrowMs. Amy J. Zussman

MATCHING GIFTSAccenture Foundation, Inc.American International Group, Inc.Ball CorporationBank One FoundationBP Amoco FoundationCaraustarCaterpillar FoundationFidelity FoundationFirst Midwest Bancorp, Inc.General Motors CorporationIBM Matching Grants ProgramJ. P. Morgan Chase FoundationLeo Burnett Company, Inc.Motorola FoundationPfizer FoundationSBC FoundationTelcordia TechnologiesTexas Instruments FoundationThe Northern Trust CompanyVerizon FoundationWachovia Foundation

CORPORATIONS, FOUNDATIONS,ORGANIZATIONSAndrew George De Grado Foundation, Inc.Ann and Gordon Getty FoundationBay-Com EnterprisesChimney’s String ResourcesCommunity Foundation of East CentralIllinois

Community Foundation of ChampaignCounty Academy Memorial ScholarshipFund

Golden Lyre Foundation Illinois Federationof Music

Hermann Music TeachingIllinois Opera Theatre EnthusiastsJoan Strouse Music StudioM. R. Bauer Foundation Northbrook Chapter SPEBSOSA, Inc.Opera SouthwestPaxton Farms, Inc. Roger and Dolores Yarbrough FoundationSmith Walbridge Clinics & Band Products Sound EnterprisesSound Sleeve Performance Products AKACurry Precision Mouthpieces

St. Matthew Roman Catholic CongregationVillage Music StoreThe E. F. Wildermuth FoundationThe Presser Foundation

1114 West Nevada StreetUrbana, Illinois 61801

Nonprofit Org.

U.S. Postage

P A I D

Permit No. 75

Champaign, IL

ADDRESS SERVICE REQUESTED

ILLINOIS WINDSYMPHONY

I N C O N C E RT AT

CARNEGIE HALL

8:00 p.m. Friday February 17, 2006

Carnegie Hall

Conductor, James F. Keene

G U E S T A R T I S T S

The Illinois Brass QuintetThe Moersch-Flores Percussion Duo

An official event of the 2006 year-long celebration of the75th Anniversary of the College of Fine and Applied Arts at

the University of Illinois at Champaign-Urbana.