School of Music

Ithaca College
3322 Whalen Center
Ithaca, NY 14850-7240

School

of
Guest Artists 2003–2004
Be sure to check out the online concert calendar at
Music www.ithaca.edu/concerts for a listing of all School of Music performances.

Elmar Oliveira, violin, and

Soundings

Robert Koenig, piano . . . . . . . . . . . . . . . . Friday–Saturday, September 12–13

Barry Snyder, piano . . . . . . . . . . . . . . . . . . Sunday–Monday, September 21–22
Czech Philharmonic
Chamber Orchestra . . . . . . . . . . . . . . . . . . Friday, October 3
Spring 2004

Rhythm and Brass . . . . . . . . . . . . . . . . . . . Sunday, October 26

Fritz Gearhart, violin, and
John Owings, piano . . . . . . . . . . . . . . . . . Tuesday–Wednesday, October 28–29
Thomas Duffy, conductor . . . . . . . . . . . . . Tuesday, November 11
Number 1

Frank Battisti, conductor. . . . . . . . . . . . . . Monday–Thursday, December 8–11

EDITOR: Sharon Isbin, guitar, and
Erik Kibelsbeck Gaudencio Thiago de Mello,
percussion . . . . . . . . . . . . . . . . . . . . . . . . . Wednesday–Thursday, January 28–29
The graphic symbol on the Stephen Hough, piano . . . . . . . . . . . . . . . Saturday–Sunday, February 7–8
Volume 5

cover of the newsletter is an

Los Angeles Guitar Quartet . . . . . . . . . . . Saturday–Sunday, February 14–15
early design associated with
the Ithaca Conservatory of Jiggs Wigham, trombone . . . . . . . . . . . . . Tuesday, February 24
Music. The symbol has been
engraved on all of the room Sylvia McNair, soprano, and
signs in the James J. Whalen Ted Taylor, piano . . . . . . . . . . . . . . . . . . . . Thursday–Friday, March 25–26
Center for Music.
 Soundings is published for the alumni and friends of the Ithaca College School of Music.

Photograph by Andrew Gillis

School

of
Letter from
Music the Dean
Soundings
Dear Friends:

During the current academic year, there have been an extraordinary number of recitals, concerts,
competitions, and appearances by internationally renowned artists here at the School of Music.
Yet the heart of our program remains the special bond that exists between our faculty and students
as they attend private lessons, classes, and rehearsals. The School of Music is fortunate to have a
Spring 2004

gifted faculty who are not only outstanding performers, researchers, and clinicians but also dedi-
cated teachers. I invite you to learn about some of the latest accomplishments of our faculty later
in this publication.
One of the joys of being dean of the School of Music is the chance to attend many concerts
in both Ford Hall and the Hockett Family Recital Hall. In addition to the many students and faculty
attending, I am always pleased to see so many members of the community at our concerts. When
the Whalen Center opened in 1999, the Baker Walkway connecting the upper parking lot to the
Number 1

McHenry Lobby truly became our bridge to the community. Thanks to the convenient parking
and easy access to our performance venues, record numbers of community members now attend
concerts. To help readers understand the extraordinary resource this provides for the community,
I asked Henry Stark, a community member who moved to Ithaca just about the time the Whalen
Center was completed, for his perspective as an avid concertgoer. You will read his enthusiastic
response to our concerts later in this newsletter. It is similar to that of many people in the commu-
Volume 5

nity who now have become regular attendees.

The School of Music continues to be highly visible both nationally and internationally. As you
will read in this issue of Soundings, a student brass quintet performed in Germany last June,
and the chamber orchestra performed in Ireland last March and presented a special concert in
New York City on October 9. Our women’s chorale traveled to Boston for the Eastern Division
American Choral Directors Association conference, and the wind ensemble appeared in
Williamsburg, Virginia, at the American Bandmasters Association concert. Our school will receive
further international recognition in June 2004, when the International Trombone Association holds
its annual conference here at the College, attracting upwards of a thousand trombone players to
campus for several days of activities. In addition, the School of Music is now the publisher of the
Journal of Historical Research in Music Education, which is edited by Professor Mark Fonder.
Let me also express my sincere thanks to the record number of alumni who have responded
to the new Ithaca Fund for Music. I was totally overwhelmed by the number of alumni who
expressed their support for the School of Music in this way last year. These gifts make a huge
difference in allowing me to respond quickly to student and faculty needs that are not covered
by the operating budget. If you have not had an opportunity to consider a gift to the Ithaca Fund
for Music, I encourage you to join others in support of our program by using the envelope enclosed
for your convenience.
I hope to see many of you throughout the year and invite you to visit the school whenever
you might be in the area. In the meantime I welcome any e-mail comments to my attention
at ostrande@ithaca.edu. On behalf of the School of Music faculty and staff, I offer best wishes
for your musical endeavors.

Sincerely,

Arthur E. Ostrander
Dean, School of Music
2

New Faculty Hockett Chamber Series Brings

Jeffrey Grogan,
associate profes-
sor, director of
orchestras, comes
to Ithaca from
Baylor University,
where he served
as associate
director of bands,
conductor and
music director of
the Waco Symphony Youth Orchestra,
and assistant conductor of the Waco
Symphony Orchestra. He recently
studied conducting in Europe and
conducted the Bohuslava Martinu
Philharmonic Orchestra of Zlín in the
Czech Republic.
Jennifer Haywood
’94, M.M. ’00,
assistant professor,
music education,
previously served
as music teacher
in the Ithaca City
School District and
as director of
choral activities at
St. Bonaventure
University. She continues to serve as
conductor for the Ithaca Children’s
Choir, where she conducts the senior
choir and co-conducts the Young
Men’s Chorus of Ithaca. She recently
conducted for both the New Mexico
and Maryland all-state choirs. Her
article “Transformation through
Music: Deborah’s Story,” which
synthesized a phenomenological
research project on the inclusion of
special needs individuals in choirs,
was recently published in the
Canadian Music Educator’s Journal.
She has completed her doctoral
coursework at the University of
Toronto, where she served as both
a music education and conducting
graduate fellow.
Los Angeles Guitar Quartet to Ford
Hall
K nown for bringing top-notch chamber
music performers such as the
Kalichstein-Laredo-Robinson Trio, Richard
Stoltzman, and the American String
Quartet to campus, the Shirley and Chas
Hockett Chamber Music Concert Series this
year occurred in conjunction with another
annual event, the Winter Guitar Festival,
when the Los Angeles Guitar Quartet pre-
sented a Saturday concert in Ford Hall.
The Los Angeles Guitar Quartet is one of
the most charismatic and versatile groups
performing today. The four virtuosi of the
LAGQ—John Dearman, William Kanengiser,
Scott Tennant, and Andrew York—bring
a new energy to the concert stage with
their eclectic programs and dynamic
musical interplay. Their inventive, critically
acclaimed transcriptions of concert master-
works provide a fresh look at the music
Student Brass Quintet Studies
and Performs in Germany
P innacle Brass, one of our chamber
ensembles, and trumpet professor
Kim Dunnick participated in a brass cham-
ber music course in Lichtenberg, Germany,
last summer. The one-week course was an
intensive study in brass quintet literature,
rehearsal skills, and performance. Other
chamber groups came from Germany
and Hungary for the event. This course
is presented annually, sponsored by the
Bezirk Oberfranken and Haus Marteau,
the estate of the late Henri Marteau,
a famous violinist of the late 19th century.
Members of Pinnacle Brass are
Cassandra Large ’05 and Jesse King ’05,
trumpets; Tyler Ogilvie ’05, horn; Tim Smith
’02, filling in for regular trombonist Matt
Haines ’05; and Christian Carichner ’05,
tuba. They received scholarships to attend
the course from both the sponsoring insti-
tution and Ithaca College. Kim Dunnick was
a faculty member for the course, joining
Roland Szentpali of Hungary and Bob Tucci
of Germany. During the week, the quintet
of the past, while their interpretations of
works from the contemporary and world-
music realms continually break new ground.
Their Ithaca program included transcrip-
tions of Igor Stravinksy’s Pulcinella and
Liszt’s Hungarian Rhapsody no. 2, works
written for guitar quartet, and the music
of Joaquín Rodrigo and Chick Corea.
The LAGQ has appeared with top
orchestras and in prestigious music series
from New York to Paris to Tokyo. In recent
seasons they have been heard coast to
coast on popular radio programs such as
Performance Today, St. Paul Sunday, and
World Café. Their performance of de Falla’s
“Fire Dance” was nationally broadcast on
PBS’s Evening at Pops. The quartet has also
been featured on CNN’s Show Biz Today,
CBS’s Saturday Morning, and A&E’s
Breakfast with the Arts. n
Pinnacle Brass rehearsing with artists at Haus Marteau:
(l to r) Casey Large, trumpet; Christian Carichner, tuba;
Jesse King, trumpet; Tim Smith, trombone; Tyler Ogilvie,
horn; Peter Knudsvig, Rekkenze Brass; Roland Sventpali,
Hungarian tuba artist
also rehearsed with and was coached by
members of the host Rekkenze Brass, one
of Europe’s best-known professional brass
ensembles. Pinnacle Brass performed a
concert on Thursday and took part in the
week-ending concert on Saturday night in
Bad Steben, a resort town near Lichtenberg.
In addition to coaching chamber groups
and performing in the final concert,
Dunnick presented two master classes
during the week. n
 7

Chamber Orchestra Tours Faculty Notes q w eh rw q x q w

(continued from page 5)

Ireland and NYU Irish Festival DAVID PARKS (voice) performed the tenor solo role
in Haydn’s Creation with the West Virginia Symphony.

A bout the time you received your last issue of Soundings, the chamber orches-
tra was traveling to Ireland to give concerts in Galway, Limerick, and Dublin.
The tour was one facet of the exchange program between Ithaca College and
the Irish World Music Centre at the University of Limerick.
The chamber orchestra, conducted by Jeffrey Grogan, performed works
of American composers for part of each performance and collaborated with
Mícheál Ó Súilleabháin, director of the Irish World Music Centre, for the rest
of the program. Ó Súilleabháin is a leading proponent of Irish music, and the
chamber orchestra joined him for a set of his compositions, which draw inspira-
tion from the rich heritage of traditional Irish music. His music features members
of the faculty of the Irish World Music Centre performing on traditional Irish
instruments.
Also traveling were the four members of the string faculty who make up
the Ariadne String Quartet: Susan Waterbury, Rebecca Ansel, Debra Moree,
and Elizabeth Simkin. They conducted master classes at the World Music Centre
and performed as a quartet.
Funded by an anonymous gift, the exchange program, besides providing
for the tour, allowed students from both IC and the Irish World Music Centre
to study at the partner institution for various lengths of time.
The chamber orchestra also performed with Ó Súilleabháin this fall both in
Ithaca and at New York University. The New York gala concert was in NYU’s newly
opened Skirball Performing Arts Center. For that performance, the orchestra was
joined by several outstanding traditional musicians and dancers, and accompa-
nied part of the silent film Irish Destiny (1926) with a score by Ó Súilleabháin.
A special treat was the premiere of new choreography by ex-Riverdance dancer
Colin Dunne. The concert was part of “West along the Road,” a weeklong festival
that celebrated the 10th anniversary of NYU’s Glucksman Ireland House and
showcased New York as a cultural crossroads of Ireland and America. n
J o u rn al o f Hi s to r ic al R es e a rch in Music
E d u c a t i o n Now Based at Ithaca College
STEPHEN PETERSON (wind ensemble) guest con-
ducted in North Dakota, Connecticut, Pennsylvania,
Tennessee, Illinois, and New York. He was the all-
state guest conductor in New York, Washington,
and Maine.
SANDY REUNING (Suzuki/strings) and five other
teachers from the Ithaca Talent Education School
participated in the first Suzuki Festival in Guanajuato,
Mexico. Three years ago Reuning took 20 violin
and cello students on a concert tour of central
Mexico with the purpose of introducing the Suzuki
method to that area of the country. Mexican
teachers then came to the College’s summer Suzuki
Institute. Reuning also taught Suzuki workshops
in Wilmington, North Carolina, and Bermuda.
This summer’s Suzuki Institute celebrates 30 years
under his direction.
KELLY SAMARZEA (voice) performed in the solo
quartet of the Bruckner Te Deum with the Ithaca
Community Chorus.
SUSAN WATERBURY (violin) taught on the faculty
of the Rocky Mountain Summer Conservatory in
Steamboat Springs, Colorado. She also spent six
weeks in Europe: three weeks on the Spanish island
of Majorca, performing with Camerata Deia, a group
of eight musicians playing chamber music concerts
all over the island, and three weeks in Italy, on the
faculty of the Adriatic Chamber Music Festival.
BARUCH WHITEHEAD (music education) presented
a research paper, “The Effect of Music-Intensive
Intervention on Mathematics Scores of Middle and
High School Students,” at the International Arts
and Humanities Conference in Honolulu, Hawaii.
He directed the Orff-Schulwerk certification program
for Boston University and Ithaca College. He guest
conducted the Wayne County Elementary Band and

M ark Fonder, professor of music

education, is the new editor of
the Journal of Historical Research in
The most recent editor remembered the
publication resulting from that confer-
ence, which was edited by Fonder, and
serves as music director of Voices, an Ithaca-based
multicultural community chorus.

DANA WILSON (composition) continues to have

Music Education (JHRME). The University
of Kansas hosted the journal from its
inception in 1978 until 1999, when it
moved to Arizona State University.
The journal now sports a photo of the
Whalen Center on its cover.
“It really is an honor to have a
major research journal housed here
at IC,” Fonder observed. “The other
major American research journals are
published at much larger institutions,
including the University of Illinois and
Indiana University, besides the MENC
Journal of Research in Music Education.”
Both of the previous editors of the
journal were commissioned to write
papers for the Ithaca College Conference
on American Music Education, which was
sponsored by the College in 1992 as a
centennial event tracing 100 years of
music education history in this country.
therefore asked him to take on the
JHRME.
The JHRME publishes scholarly
articles covering topics in international
music education history as well as the
history of music education in the United
States. The first Ithaca-produced issue,
in volume 25, included an article on the
role and contributions of female com-
posers as seen by the authors of college
music history textbooks, a biographical
study of a pioneering African American
performer and teacher, and an examina-
tion of the extent of nationalistic and
patriotic themes in school songbooks
used in Taiwan since World War II.
To subscribe, contact Mark Fonder
at the School of Music at Ithaca College,
Ithaca, NY 14850, (607) 274-1563, or
fonder@ithaca.edu. n
his music performed throughout the United States,
Europe, and Asia. Hornist Gail Williams ’73 and pianist
Mary Ann Covert recently premiered his “Musings”
in Evanston, Illinois. “Songs of Life Passing” received
its premiere in March by tenor DAVID PARKS and
pianist CHARIS DIMARAS as part of the Sarajevo
Winter Festival in Bosnia and Herzegovina. Larry
Combs, principal clarinetist with the Chicago
Symphony, and pianist Gail Niwa premiered
“Liquid Ebony” at Clarinet Fest in Salt Lake City
in July. The Harmo Saxophone Quartet of Tokyo,
which commissioned “Howling at the Moon,”
performed the work at the World Saxophone
Congress. Wilson has been guest composer at a
number of universities throughout the country,
and Boosey and Hawkes has released three of his
works: “Vortex,” “Shortcut Home,” and “Masks.”
GREGORY WOODWARD (composition, chair of
graduate studies) was appointed interim dean of
the Division of Graduate Studies for the 2003–4
school year while Garry Brodhead serves as interim
dean of the Park School.
 6

Ithaca Memories . . .
by Frank L. Battisti ’53, M.S. ’64,
D.M. (hon) ’92, IC Alumni Association’s
Lifetime Achievement Award ’03

I was born in Ithaca in 1931 and started to go to concerts at

Ithaca College when I was a student playing trumpet in the
Ithaca High School band and orchestra in 1946–49. These wonder-
ful concerts were important sources of inspiration for me. I was
particularly thrilled by the performances of Walter Beeler’s Ithaca
College Concert Band. The players in the band were mostly World
War II veterans who had performed in military bands and orches-
tras. The band was terrific! Hearing them influenced my decision
to become a band director.
I entered Ithaca College in the fall of 1949 as a freshman music
education major. The College then was scattered throughout
downtown Ithaca. The white-columned music building was located
at the corner of Cayuga and Court Streets. A practice room build-
ing (the World War II Butler building) was situated directly behind
the music building. Its walls were so thin that when practicing one
heard sounds being created in all the other practice rooms. Faculty
studios and the president’s office were in the Boardman House,
a short diagonal walk across Dewitt Park from the music building.
Our Little Theatre, the College’s venue for concerts and drama
productions, was adjacent and connected to the Boardman House.
Academic classes were held in second-floor rooms over the old
Woolworth 5 and 10 Cent Store on State Street (now Ithaca
Commons). Later these classes were taught in a new building
built next to the Boardman House.
I can trace my love of American history to a class taught by
Marguerite Rowland. Professor Rowland was a dynamic teacher—
I can still recall how exciting she made the Battle of Quebec.
One often went to the Olympia Restaurant or Home Dairy to
have coffee with friends or a faculty member between classes
or rehearsals. We listened to LP recordings (and sometimes even
purchased one) at Lent’s Record Store, which was located next
to the Olympia Restaurant. After-concert gathering spots were
the Normandie Restaurant and College Spa on State Street.
During my undergraduate and graduate studies I was inspired
by a legion of dedicated, sensitive, and talented faculty, including
George King Driscoll, Lynn Bogart, Ferdie Pranzatelli, Don Wells,
Walter Beeler, Carl Wickstrom, Howard Dillingham, Donald Bube,
and Warren Benson. Warren was the first composer I had ever
known. Studying with him stimulated my interest in contemporary
music. I can still recall the thrill of meeting Norman Dello Joio
and discussing his music with him. A visit by “America’s composer”
Aaron Copland was another highlight. His lecture on Edgard
Varese was my introduction to the music of this amazing and
innovative composer. My teachers took a personal interest in
me and every other student. During my undergraduate years
at IC I was challenged to explore, discover, and grow as both
a person and a musician in an environment that was demanding
and supportive. Many of the strategies and techniques I use in my
teaching and conducting are extensions of the knowledge, skills,
and insights I gained from my teachers at the College.
Since receiving my master’s degree in 1964 I have returned
to the School of Music numerous times as a guest conductor and
teacher. The present college on South Hill is very different from
the one I attended downtown. However, the faculty, administra-
tion, and staff and, most important, the quality of its education,
all remain at a very high level. The tradition of excellence contin-
ues. In 1982 I commuted to Ithaca every week from my home
near Boston to serve as the first conductor of the Ithaca College
Wind Ensemble, and in 1992 the College awarded me an honorary
doctor of music degree. I sometimes wonder how many other
people have three degrees from Ithaca College.
The College was also the place I met Charlotte Tayntor.
Charlotte came to the College in 1951 as a cello and music
education major. We were married in 1955, and during our life
together for the past 48 years (and counting) we have often
shared feelings and recollections about our Ithaca College
experiences, which we treasure as among the most influential
and best years of our lives. n

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 3

Two IC Musicians at Home during Boehmler Rhythm

and Brass Concert
A lex Shuhan, assistant professor of
French horn, and alumni percussionist
David Gluck ’89 were at home with what
is normally their touring gig last October,
when their brass-quintet-plus-percussion
group, Rhythm and Brass, gave a concert
in Ford Hall. The concert was sponsored
by a grant from the Robert G. Boehmler
Community Foundation. Robert Boehmler
’38, M.M. ’61, was a musician and educator
who established the foundation to support
education in the communities in which
he lived.
Their innovative program was in two
parts. The first, “On Your Radio Dial,”
juxtaposed a variety of music. After inter-
mission the music was selected from the
songs of the Beatles, Hank Williams,
Led Zeppelin, Duke Ellington, Pink Floyd,
Louis Armstrong, and Stevie Wonder.
Since its inaugural season in 1993,
Rhythm and Brass has lived up to the
ideal of a musical presentation that is
not bound by time, geography, or culture.
With the unique ability to incorporate
influences as divergent as Josquin Des
Prez, Pink Floyd, John Coltrane, Johann
Sebastian Bach, and Duke Ellington, the
group searches for the commonality in
these influences and fearlessly weaves
them all into a single concert experience.
While maintaining a full touring sched-
ule, Rhythm and Brass has also performed
at numerous special events, including a
1994 New York concert debut at Carnegie
Recital Hall with celebrated jazz trumpeter
Randy Brecker. Internationally, the group
has performed in Canada, Saudi Arabia,
the United Arab Emirates, Japan, and the
Virgin Islands. n

Women’s Chorale, Wind Ensemble Faculty Notes q w e h r

Convention Performances MARY I. ARLIN ’61 (theory) served on the

T he Ithaca College Women’s Chorale was one of two women’s ensembles chosen
by blind taped audition for performance at the Eastern Division Conference of
the American Choral Directors Association in Boston in February. The other women’s
program committee for the Association for
Technology in Music Instruction and was the
chair of the session Creative Pedagogies II
at the joint annual meeting of the College
ensemble chosen was conducted by Kristy Kosko ’91, who sang in the Ithaca College Music Society/Association for Technology
Women’s Chorale for all four of her undergraduate years. in Music Instruction. She is on the program
The program, “In Remembrance,” was dedicated to the memory of William McIver, committee for the annual meeting of the
Music Theory Society of New York State,
a professor of voice at the Eastman School of Music who was women’s chorale con-
which will be held in April at the Eastman
ductor Janet Galván’s voice teacher for many years and who died recently at the age School of Music.
of 60. The women’s chorale also commissioned a piece from Francisco Núñez, “Walk
Humbly before God,” in his memory. The piece is a reflection on the ways in which a DIANE BIRR (piano) once again served on
the faculty of International Workshops,
teacher’s work lives on, even after death. Núñez is a longtime collaborator with the
a two-week program for music and art in
women’s chorale, which has recorded all of his treble works. Biarritz, France. Birr performed in several
The program reflected the adventurous and diverse repertoire for which the concerts, including one with French bassist
chorale is well known. They sang “Ödi Ödi” in Tamil, a language of Singapore, and François Rabbath. She also coached string
chamber groups. Birr currently serves as
“A Ma Lei A Ho,” a Tibetan folk song from Chinese Mountain Songs arranged by
president-elect of the New York State
Chen Yi. Yi, the Karel Husa Visiting Composer in 2002–3, worked with the women’s Music Teachers Association.
chorale on the entire set of Chinese Mountain Songs. Music of Torke, Fauré, Orbán,
and Hatfield completed the program. LES BLACK (theory) had an article on
Sibelius published in Sibelius Forum:
The Ithaca College Wind Ensemble performed for the American Bandmasters
Proceedings from the Third International
Association national convention in Williamsburg, Virginia, on March 4. Their program Jean Sibelius Conference. He also gave
included “Shortcut Home” by IC faculty composer Dana Wilson, Morten Lauridsen’s papers at the American Mozart Society
“O Magnum Mysterium,” and music of Kabalevsky, Gould, and Gandolfi. Besides conference at Cornell (“ ‘Are We There
Yet?’: Formal Ambiguity and Thematic
regular conductor Stephen Peterson, several guests conducted the wind ensemble:
Drama in Mozart’s Piano Sonatas”) and
Colonel Arnald Gabriel ’50, USAF (ret); Russell Mikkelson, director of bands at Ohio at the joint New York State/New England
State University; Robert Fleming, associate director of bands emeritus at Arizona State Society for Music Theory conference at
University; Richard Strange, director of bands emeritus at Arizona State University; Yale (“Sibelius’s ‘Modern Classicism’ and
the Integration of Modality”).
John Locke, director of bands at University of North Carolina at Greensboro; and
Richard Clary, senior wind conductor at Florida State University. n (continued on page 4)
 4
A Community Member’s Perspective
by Henry Stark
W henever I’ve moved from one city
to another, it’s been a compromise;
I’ve given up things I enjoy in the expecta-
tion—and hope—that I’ll find more positive
aspects in the new destination.
When I moved from Hartford,
Connecticut, to Ithaca a few years ago,
the one thing I knew I’d miss—and find
impossible to replace—was quality classical
music: Along with my season subscription
to the Hartford Symphony Orchestra, there
was a series of guest artists and ensembles
that passed through on their way from
New York City to Boston.
I rationalized that the Cornell and IC
visiting artist series would suffice, and I
resolved to purchase every available ticket.
Faculty Notes q w e h r w q x q w e q r h w x q w e h r w q x q w e q r h w x q w e h r w
(continued from page 3)
STEVE BROWN ’64, M.M. ’68 (jazz studies),
performed as a jazz guitarist with his own
groups and accompanying local singers
Cookie Coogan ’89 and Syracuse University
Vocal Jazz Ensemble director Tish Oney ’94.
He performed at the Cornigin Jazz Festival
and the Jazz in the Square Festival in Syracuse.
With jazz guitarist John Stowell he released a
new CD, Crossroads, and played a duo concert
at Colgate University. Brown was the guitarist
with the Central New York Jazz Orchestra.
He also was a guest artist/clinician at the fourth
annual Jazz Guitar Festival at the State University
of New York College at Oswego. His trio with
Steve Gilmore and IC alum Chris Persad ’84 per-
formed at the Deerhead Inn in the Delaware
Water Gap. He also played a concert with his
brother Ray Brown ’68 and his Great Big Band
at the Kuumbwa Jazz Center in Santa Cruz,
California.
VERNA BRUMMETT (music education) conducted
a high school area all-state chorus in November.
She also received an IC summer grant to pursue
research on three prominent female music
educators.
PABLO COHEN (guitar) performed Roberto
Sierra’s Concierto Barroco with the Cayuga
Chamber Orchestra, and the same piece plus
the Villa-Lobos concerto with the Orchestra of
the Southern Finger Lakes. He also developed
and implemented the new Music in Latin
America class and has signed a publishing and
recording contract with Mel Bay Publications
for a collection of transcriptions of music by
Latin American masters Carlos Guastavino
and Horacio Salgán.
Following the principle that some music
is better than none, a month after I moved
to Ithaca I took my wife down one hill and
up another for a performance of the Ithaca
College Chamber Orchestra. I had heard
that the School of Music at IC was strong,
and I thought that maybe a student ensem-
ble would reflect high admission standards
and superior teaching.
To say I was overwhelmed would be an
understatement. In a recently enlarged
modern building on the stage of a state-of-
the-art auditorium sat a surprisingly large
group of formally dressed students who
played as if they were lifetime professionals.
The quality of the music was comparable
to that of many city symphony orchestras.
LAWRENCE DOEBLER (choir) celebrated 25
years as the director of choral activities with
some 70 former choir members who returned
for Alumni Weekend to rehearse and perform
a concert. His professional Cayuga Vocal
Ensemble presented major concerts in May
and October.
RICHARD FARIA ’87 (clarinet) performed John
Fitz Rodgers’s “The Arc of Winter” with the
Cornell Chamber Orchestra under Xak Bjerken
in November. During the summer he was a guest
artist at the Garth Newel Music Festival, where
he performed a recital of clarinet chamber music.
With Cornell University’s Mother Mallard
Ensemble he premiered David Borden’s “Odd
Alien Ego.” He is a regular player with the local
Ensemble X and made his conducting debut with
them in September. He also performed with the
Syracuse Symphony, including their Carnegie Hall
concert in April.
MARK FONDER (concert band, music education)
presented a paper last July on “Achieving Your
Ideal Band Tone” at the World Association of
Symphonic Bands and Ensembles conference
in Jonkoping, Sweden. Three of his articles
were published in Instrumentalist magazine.
He presented sessions at the Midwest Band and
Orchestra Clinic in Chicago and NYSSMA winter
conference on innovative ways to teach in band,
and he accepted a position as editor of the
Journal of Historical Research in Music Education
(see article, page 7).
READ GAINSFORD (piano) was in New Zealand
over the summer, performing and giving master
Encouraged by this experience, I
returned for more. In the ensuing weeks
I attended performances of the symphony
orchestra, the concert band, the symphonic
band, the jazz ensemble, a percussion
ensemble, and even a trombone choir.
And if that weren’t enough, the faculty
gave frequent performances. These
included a brass quintet, a string quartet,
and various trios, duets, and individual
recitals. All were superior quality.
I was impressed that the faculty
responsible for directing the students
chose challenging music. The directors
didn’t reach for easy pieces that would
lead to routine rehearsals and by-the-
numbers performances. They applied
classes. He was also on the faculty of the Heifetz
International Music Institute, held in Wolfeboro,
New Hampshire. Last fall Gainsford played a
number of solo recitals and made concerto
appearances in concerts across the Northeast.
He was asked at very short notice to step in
as soloist on tour with the Polish Philharmonic
of Resovia, with which he gave eight perfor-
mances. He has also given multiple performances
of Debussy’s 12 Etudes, which he is about to
record.
JANET GALVÁN (women’s chorale, chorus,
music education) conducted the North American
Children’s Chorale at Carnegie Hall in June.
Having prepared the children’s chorus for the
premiere of John Rutter’s Mass of the Children,
she was asked by Maestro Rutter to prepare the
children’s chorus for the second performance
in May. She conducted the New Mexico Junior
High All-State Choir in January, the Arkansas
High School Mixed All-State Chorus in February,
and the South Carolina High School All-State
Women’s Chorus in March. In May she will con-
duct the North Carolina Middle School All-State
Treble Choir.
ANGUS GODWIN (voice) was the featured soloist
at the Phi Mu Alpha Sinfonia National Assembly
in Washington, D.C. He is the adviser for Delta
Chapter at Ithaca College and serves as province
governor for province 17.
LEE GOODHEW (bassoon) performed with the
Syracuse Symphony and Rochester Philharmonic
and performed Rob Paterson’s Sonata for
Bassoon and Piano with DIANE BIRR in
Greensboro, North Carolina.

the same criteria when choosing music for
themselves.
I couldn’t believe that each night I
attended a student band or orchestra per-
formance there were so many players on
stage. My eyes kept scanning the instrumen-
tal sections for players I had already seen on
previous nights, but there were no dupli-
cates, and my suspicious nature was satisfied
that no “ringers” were being imported from
the community to flesh out the groups.
IC is clearly dedicated to performance.
The quality of the music never wavered.
Oh sure, on a given night one group might
sound better than another and one section
might be stronger than another, but basi-
cally the level of competence is always
high. I have a friend who was voted the
best flutist in the state of Pennsylvania. She
applied to IC and was turned down. That
got my attention.
q w eh rw q x q w eq rh w x q w eh rw q x q w eq rh w x q w eh rw q x q w eh rw q h
PATRICK HANSEN (opera) continued his post at
Glimmerglass Opera as the director of musical
studies for the Young American Artists Program.
In addition to his duties as director, he played in the
Summer Gala Recital, did numerous community
opera previews, and lectured on the Glimmerglass
season throughout upstate New York.
REBECCA JEMIAN (music theory) gave a paper
about pedagogy of form to the South Central
Society for Music Theory in February. In June she
spent a week at the College of New Jersey read-
ing AP tests in music theory. She taught music
theory classes at the Summer Piano Institute at
Ithaca College in July, and continues to play sec-
ond bassoon in the Cayuga Chamber Orchestra.
TIMOTHY JOHNSON (theory) gave a talk,
“Charles Ives’s Music about Ballplayers:
A Major League Baseball Fan ca. 1906,”
at the Baseball Hall of Fame in Cooperstown,
New York. The research presented in this talk
will be included in Johnson’s forthcoming book,
Baseball and the Music of Charles Ives: A Proving
Ground, scheduled for publication in 2004
by Scarecrow Press. He presented the paper
“Charles Ives’s Rube and Its Derivatives” at
the Music Theory Midwest meeting at the
University of Indiana Bloomington this past May.
In November he presented “The Rube and the
City Slicker: Ives’s Compositional Models”at the
national conference of the Society for Music
Theory in Madison, Wisconsin. In January he
gave a presentation, “Teaching Basic Music
Theory from a Mathematical Perspective,” at the
joint meetings of the American Mathematical
Society and the Mathematical Association of
America in Phoenix, Arizona.
As far as missing the visiting artists in
Hartford, that feeling never manifested
itself. Richard Stolzman gave an amazing
clarinet concert at IC. Ana Kavafian mes-
merized a capacity audience with an
incredible display of violin virtuosity. Elmar
Oliveira dazzled us with the warm tone of
his violin playing. Our neighbor, the
Syracuse Symphony Orchestra, paid
us a welcome visit, and the Los Angeles
Guitar Quartet, not exactly our neighbor,
played in Ford Hall this winter.
And by the way, all of this incredible
music, this variety, this quality, is absolutely
free and open to the public.
Now my biggest problem is waiting
for the seasonal announcements of the
IC School of Music to plan our schedules.
Do I miss Hartford? I think the answer
is obvious. n
STEVEN MAUK (saxophone) was a featured
artist at the 13th World Saxophone Congress
in Minneapolis. Mauk performed Karel Husa’s
Concerto for Alto Saxophone and Band with the
Royal Belgian Air Force Band. He was also the
featured guest artist in March at two regional
conferences of the North American Saxophone
Alliance. In Columbia, South Carolina, he presented
a master class and gave a recital, which included
Wilson’s “Luminescence” and “We Sing to Each
Other.” At West Point he performed Wilson’s
“Calling, Ever Calling” for soprano saxophone
and wind ensemble with the West Point Band.
RICHARD MCCULLOUGH (voice) has been
appointed New York State governor of the
National Association of Teachers of Singing,
in which position he will coordinate the state
competition.
WENDY MEHNE (flute) wrote the cover article,
“An Interview with Nancy Toff,” for the spring
issue of the Flutist Quarterly. She performed with
the Chautauqua Symphony Orchestra and in the
Guest Artist Series at the University of Nebraska
at Lincoln and at Hastings College. With guitarist
PABLO COHEN, she played a concert and gave
a master class at SUNY College at Fredonia. This
summer she will once again perform and teach
at the third Ithaca Flute Institute, which will
feature guest flutists Leone Buyse, Jill Felber, and
Claudia Anderson. The week of master classes
and performances is open to undergraduate and
graduate flutists and young professional flutists.
In June soprano DEBORAH MONTGOMERY-COVE
(voice) performed two concerts with the
Anchorage Music Festival Orchestra. The first
5
Trombone Invasion
in June
T he Whalen Center will be bursting with
trombonists June 15–19 during the
International Trombone Festival, which is
expected to draw more than a thousand
trombone players. Attendees of the festival,
which was held in Helsinki last year, will
come from literally around the globe.
Professor Harold Reynolds will act as host
for the event, featuring workshops and
performances by a host of top-notch
trombonists. The Philadelphia Orchestra
trombone section and soloists from the
Woody Herman Band, as well as others
from Milwaukee, England, New York City,
Hungary, Macedonia, Holland, and else-
where, are scheduled to appear. Among
the ensembles performing will be the
United States Army Field Band, a Brazilian
trombone ensemble, and the Capitol Bones.
IC’s own student trombone troupe will offer
the opening concert. For more information,
visit www.itf2004.org. n
concert featured Broadway favorites and the
second was a performance of Grant Cooper’s
children’s opera Boyz in the Wood, in which the
soprano plays Little Red Riding Hood. This fall
Montgomery-Cove appeared with the West
Virginia Symphony Orchestra and the Syracuse
Symphony. In November she joined with col-
leagues KIM DUNNICK and CHARIS DIMARAS
to perform Handel and Scarlatti arias for the
Cayuga Chamber Orchestra. Spring events
included a master class for the Rochester Vocal
Arts Collaborative and another appearance
with the West Virginia Symphony Orchestra.
DEBRA MOREE (viola) presented a workshop
and played in a solo recital at the second annual
Viola Fest sponsored by the New York American
String Teachers at SUNY at Binghamton. She also
gave a master class at the Boston Conservatory.
PAIGE MORGAN (oboe) and CONRAD ALEXANDER
(percussion) attended the Brevard Music Festival
for their seventh summer. They premiered music
for English horn and marimba written for them
by Brevard composer Robert Palmer.
DAVID PACUN (theory) gave three confer-
ence papers on Kôsçak Yamada at the third
Biennial Conference on 20th-Century Music
in Nottingham, England; at Music of Japan
Today in Baltimore; and at Yale. He had
articles published in the Journal of Music
Theory Pedagogy (“Scanning Bass Patterns:
A Middleground Path to Analysis”) and in the
Brahms Society Newsletter (“Brahms and the
Sense of Ending”).
(continued on page 7)