Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
sonorities
Winter 2005
renowned Pacifica Quartet, and the Illinois Brass Quintet to
the student orchestras, ensembles, and choruses to the innovative scholarship of the
musicologists so aptly illustrated by Bruno Nettl’s conference on improvisation—the
School is responding to the new realities impacting scholarship and practice in the
twenty-first century. I join in welcoming the new faculty and staff who are committed
Published for alumni and friends of the
to preserving the legacy of the School of Music on the one hand while shaping its
School of Music at the University of Illinois
at Urbana-Champaign future with a sense of urgency, a commitment to excellence and a recognition of our
responsibility to speak to a new generation of students.
The School of Music is a unit of the College
of Fine and Applied Arts at the University
We have managed to move the School forward in these exciting ways in spite of the
of Illinois at Urbana-Champaign and has
been an accredited institutional member of stunning challenges of the state’s dwindling financial support for higher education. It
the National Association of Schools of has been especially hard in the arts because we do not have access to federally funded
Music since 1933. research dollars or to significant amounts of private support to bolster us in times of
reduced state appropriations. Nevertheless, because of the compelling vision of the
Karl Kramer, director School as articulated by its director and faculty, we have made progress. An entrepre-
Edward Rath, associate director neurial spirit and a team effort involving a variety of campus partners and key donors
David Atwater, assistant director, business
have coalesced to refocus our programs including development of a jazz program, the
Joyce Rend, assistant director, enrollment
management and public engagement residency of the Pacifica Quartet, exciting leadership of the opera program and the
Marlah Bonner-McDuffie, associate director, new music ensemble, and strategic hires in music education headlined by the recruit-
development
ment of an internationally renowned scholar for the Zimmerman endowed chair.
Janet Manning, coordinator, alumni
relations and development
Janet Manning, Bruno Nettl, editors The support of our alumni and friends is critical at this time in the School’s history.
Anne Mischakoff Heiles, staff writer Your contributions to the annual fund—no matter the amount—aggregate into
PrecisionGraphics.com, design
immediate support for School programs. Larger gifts secure the excellence of faculty
hires and new curricular initiatives. We thank you in advance for your generosity—
Cover photo by Chris Brown
whether you are a first time donor or if you have a history of sustained support. You
UI School of Music on the Internet: can also help us in recruiting the best undergraduates and graduates in the field to
http://www.music.uiuc.edu study at Illinois. Come to see us, meet the faculty, and direct those wonderful students
to our programs. We think you will like what you see and you will partner with us in
a genuine way to secure the legacy and advance the future of this magnificent School
of Music.
I look forward to seeing you—at the annual tailgate, at a concert, at the opera...
wherever we gather to celebrate music at Illinois.
Kathleen F. Conlin
Dean, College of Fine and Applied Arts
in this issue
From the Director
This fall, the School of Music welcomed ten new full-time faculty. Combined with last year’s hires,
more than 20% of the faculty (15 members) is new, having a profound positive effect on the
School. I remind my faculty often that not a single student decides to matriculate at the UI School
of Music because Karl Kramer is the director*; they come because of the unique talent, energy,
and expertise of each individual faculty member. After all, when the computers are shut off for the
night and our amazing library closes, we’re still a medieval apprenticeship—one on one.
I should mention several performance highlights scheduled for this year, beginning with a
combined performance of the Marching Illini and Florida A&M’s Marching 100 (whose two
directors, by the way, are UI alums) at the first game of the season in Memorial Stadium…what a
hoot! In October, the UI Symphony Orchestra opened its season with Mahler’s Symphony No. 5,
and the New Music Ensemble, now firmly woven into the fabric of the ensemble program, wel-
Winter 2005
CAMPUS NEWS
comed its new music director and conductor, Eduardo Diazmuñoz. November 6-7 marked the
sesquicentennial commemoration of John Philip Sousa’s birth, which was celebrated by a week-
2 CRME Bulletin Revamped
end-long symposium spearheaded by Jim Keene and the Wind Symphony. In February, we wel-
come back alum and Grammy-winning artist Jerry Hadley to star in our spring semester
3 Sousa Celebrated
production of Candide. You’ll probably remember that Jerry won his first Grammy Award for his 3 International Impovistaion
Conference
recording of Candide with June Anderson and Bernstein himself conducting. Jerry will be with us
for a full month of rehearsals during which time he will be giving master classes, coachings, and
voice lessons. Call and get your tickets now; this is an excellent reason to come back to campus,
4 2004 Summer Jazzfest
to reconnect and see this rarely staged gem of American opera/musical theater.
Administratively, we have completely reorganized and restructured our admissions and out-
4 Eunice Boardman—Hall of
Famer
reach operations into one integrated division of enrollment management and public engage-
ment. The result is a lean, mean recruiting machine, if you will, to facilitate our national and 5 Admissions and Outreach
international recruiting efforts and to serve our state-wide constituencies for both degree-granting
collegiate programs as well as our pre-college summer programs and workshops. Two new staff
COVER STORY
members, David Allen and Lynwood Jones, join this operation headed by Joyce Rend.
The University is still grappling with the issue of what to do about Chief Illiniwek, and,
quite frankly, I’m not sure there is an agreeable solution in sight. The dilemma is to keep him
6 A Tale of Two Chips
and continue to deal with claims of insensitivity or to retire him with honor. My solution, which,
by the way, no one embraced, was to cast the chief as the Commendatore in our fall production FEATURES
of Don Giovanni. As the story goes, he would be “retired” in the first act, with honor, of course
(I mean how much more honorable can you get than a Mozart opera?), and then make a brief 11 Giving:
Zimmerman Foundation
appearance in the finale leading Giovanni to his “final” resting place. Metaphors abound with-
in all that pageantry, and, to top it off, we would do it four times! Funds Music Education
My own life is still in transition from New England to the Midwest…I have let my subscrip-
tion lapse to Yankee Magazine, I have requested that L.L. Bean take me off their mailing list 26 Musicology: Lessons from
Native American Music
(I’m now getting into REI), and I’m just beginning to trade my baseball frustration from the Red
Sox to the Cubs, although my childhood love of the Phillies still continues to be first in my con-
sciousness. And a tidbit in the irony department…while living in New Haven, Jean and I owned
28 Student Awards
a house in the city limits which, for some bizarre reason known only to an 18th century survey-
or, included an acre and a half of ground. My John Deere tractor came in handy when it was
32 Alumni Profile:
Viktor Krauss
time to mow the grass. When we moved to Champaign, in the heart of the nation’s farm coun-
try and only 45 minutes from the John Deere factory in Decatur, I had to sell the tractor because 46 Alumni Profile: Ian Ding
our house here has a lawn the size of a postage stamp…go figure.
Thanks to all of you who keep the checks of support coming; the
state of Illinois’ budget isn’t doing the University any favors. Only you D E PA RT M E N T S
can provide that margin of excellence that distinguishes the UI School
of Music.
16 New Faculty
19 Faculty News
Eunice Boardman
Now a Hall of Famer
Anne M. Heiles
In April 2004 Professor Emerita Dr. Eunice temporary music as suitable for the educa-
Boardman was the fifth UIUC faculty mem- tion of young children….” According to
ber to be inducted into the National Associ- Harwood, Charles Leonhard—international
ation for Music Education Music Educators leader of graduate music education, who
Hall of Fame. That mouthful signifies the spearheaded the building of UIUC’s doctor-
association’s recognition of Boardman’s al programs in music education—”used to
career-long impact as a leader in music refer to her regularly as ‘the brightest mind
education. MENC established its Music in general music.’”
Educators Hall of Fame twenty years ago to Boardman joined the UI faculty in 1989,
honor “the most highly regarded profes- helping her colleagues expand course offer-
sionals in the field.” It selects no ings to include the
more than three individuals every psychology of music
two years for the honor, and the and computer-based
association’s guidelines require instruction, among
that the recipient be “at least 55 other subjects. She
years of age with a record of sus- was editor for the
tained…contributions to the field.” Council for Research
In addition to having made out- in Music Education
standing contributions to advance Journal and on the
music education, a recipient must editorial board of
have attained eminence, exerted the International
significant influence, and accom- Journal of Education
plished something of continuing & the Arts before her
value to the future of the field. retirement in 1998
In her career at the University at the age of seven-
of Illinois, and before that at the ty-two. Joe Grant,
Second Annual UIUC University of Wisconsin, Boardman clearly chair of the music education division,
Summer Jazzfest Sizzles passed the test—and she continues to do so remarked that “the span of her teaching
in retirement. Boardman was chair of grad- career is quite amazing; . . .personal zeal
Krakatau…. Scott Joplin…. Miles Davis/Gil
uate music education at UI, a program that and energy are what characterize her both
Evans… Chip McNeill….. Jon Faddis……
produced and placed hundreds of music personally and professionally.”
Indonesia, Spain, America…. jazz…. rock…
educators among its master’s and doctoral Music educators know Boardman
pop… were all featured during the School of
degree recipients. She herself was one of through her work as author or co-author of
Music’s June Jazzfest at the Krannert Center
those graduates, earning a doctorate at UI numerous publications—journal articles,
for the Performing Arts (a fourth concert and
after completing undergraduate work at these include the elementary school text-
dinner were held at the University of Illinois’
Cornell College, Iowa, a master’s degree at books in the Holt Music series, The Music
Allerton House Conference Center).
Teachers College-Columbia, and teaching Book (1981), and Exploring Music (1971),
The enthusiastic ensemble Krakatau, a
in the public schools. In her letter of support the last of which one reviewer on the “book-
world-famous and widely-traveled ten-piece
for Boardman’s nomination, Dr. Eve Har- thoughts” website gave five stars plus the
jazz ensemble from West Java, Indonesia per-
wood described the impact Boardman’s rave notice: “This is a freakin’ awesome
formed traditional Indonesian music energized
writings and mentoring had on her “and a book!” At the university level, Boardman’s
by modern feels of jazz, rock, and pop on
host” of other students. She added: “The widely used textbooks include Musical
June 9. The next evening brought a revival of
clarity of her thinking in applying Bruner’s Growth in the Elementary School (1963,
Scott Joplin’s The Red Back Book, conducted
theory of learning to music education was 6th ed. 1996), and she was editor of
by Don Schleicher. Featuring renowned trum-
truly impressive. Her development of the Dimensions of Musical Thinking (1989),
speter, Jon Faddis, the third evening concert ‘generative approach’ to music teaching and Dimensions of Musical Learning and
oincluded the Miles Davis/Gil Evans collabora-
ntion of Sketches of Spain and Porgy and Bess stands as an enduring and original contri- Teaching (2002).
o bution…in this field.” She further cited After a whirlwind schedule at the Uni-
rwhich were performed and conducted by Joe
iMuccioli. Professor Chip McNeill’s Quartet, Boardman’s “championing of comprehen- versity, retirement took “a long time” to get
tfeaturing Jon Faddis, concluded the perform- sive musicianship and her support of con- used to, Boardman says, adding that she
i
eances at Krannert.
s
Photos: Chris Brown
4
has learned to enjoy bridge and crossword
puzzles, book clubs, and travel, “the usual
School of Music
retirement activities.” Professor Boardman
also has kept active in guest residencies
and talks in the past year, for example,
Admission Activities
appearing at Lebanon Valley College’s
Mary E. Hoffman Symposium. Now living
in Rock Island, Illinois, she has also edited
Include Outreach Too!
Joyce Rend, assistant director for enrollment management and public engagement
an anthology for the Davenport-based Mis-
sissippi Valley Blues Society (Up the Missis-
Many new things in the area of admissions and outreach have
sippi: A Journal of the Blues, a book and
taken place since the last publication of the Winter 2004 issue of
CD). Boardman says she got the assignment
sonorities. July 1 marked the beginning of a new appointment for
“by accident,” not realizing what it
me within the School of Music as assistant director for enrollment
entailed, but that she “learned a lot from it
management and public engagement. Though the title change is
and had fun.” She continues to see UI con-
subtle, the new responsibilities are considerable.
ductor Donald Schleicher, who is also music
Before embarking on a summary of the changes implemented this summer, I
director of the Quad Cities Symphony, as
would like to share a review of the 2003 – 2004 admission season. First, the
she helps organize the orchestra’s pro-
School of Music saw a 25% increase in the number of applications. In addition,
grams in the public schools.
over the last several years, the selectivity factor has improved from 72% in 2001 to
Over the past two decades, several
52% in 2004. With three national audition dates held in 2004, the School of
other past UI music educators have been
Music was able to attract a broader applicant pool. As applications continue to
inducted into MENC’s Hall of Fame, includ-
rise, the School of Music faculty members will continue to see higher quality appli-
ing faculty members Austin Harding
cants, speaking both musically and academically. The class admitted in 2004
(1988), Charles Leonhard (1994), Richard
includes 66 freshmen, 13 transfer students, and 89 new graduate students. Though
J. Colwell (1998), and Mary E. Hoffman
the incoming undergraduate class is slightly smaller than usual, this is one of the
(1998), as well as Bennett Reimer (2002),
largest incoming graduate student classes the School has enrolled in several years.
who received his Ed.D from UI and went on
We now set our sights on applicants for Fall 2005. The School of Music con-
to head the music education program at
tinues to have a presence at all of the NACAC Performing and Visual Arts fairs
Northwestern University. Leonhard, teacher
during the month of October. In addition, members of the newly reorganized
of several of the others, merits special atten-
admissions and outreach team will visit high schools throughout the state of Illi-
tion. He wrote Foundations and Principles
nois and adjoining states in an effort to raise student and teacher awareness of
of Music Education, a textbook first pub-
degree and curricular opportunities at the School of Music. Similar visits will also
lished in 1959 that became the standard for
be made to performing arts high schools throughout the United States as we
generations of graduate and undergradu-
attend college fairs in metropolitan cities.
ate students. He founded and chaired the
As mentioned above, a dramatic change within the
Council for Music Teacher Education and
School of Music has taken effect by the integration of
was director also of the National Arts Edu-
admissions and outreach under one umbrella. Dr.
cation Research Council.
Kramer invited two highly qualified people to join the
At the time of Charles Leonhard’s induc-
enrollment management and public engagement staff:
tion Dr. Boardman wrote about her col- Allen Jones David Allen, coordinator of outreach and public
league (see Music XIV, no. 3, 5): “The
engagement and Lynwood Jones, coordinator of enrollment management and stu-
passion of his commitment to the cause of
dent services. Together, we are working diligently to take advantage of recruiting
music education has inspired those of us
trips where we can promote outreach programs such as the Allerton Chamber
who have had the privilege of studying with
Symposia and Illinois Summer Youth Music. Likewise, when on-campus events such
him in the graduate program at Illinois….
as ISYM are in session, we have a mini-college fair where students interested in
The power of that commitment, as reflected
attending the University of Illinois can pick up more information and ask questions
in the creative insight of his solutions to
of the admissions staff.
music education problems, will continue to
This is an exciting time for the School of Music, especially in the areas of out-
serve as a model for many years to come.”
reach and admissions. Should you have students or colleagues who are interested
These words apply equally well to Eunice
in learning more about any of the 20 outreach programs sponsored by the School
Boardman herself, whose own work has
of Music or applying to the University of Illinois, please refer them to our website:
guided and inspired thousands of students w
www.music.uiuc.edu.
here and elsewhere. ■ i
I would be happy to discuss our recruiting and outreach activities. If you would n
like to contact me, please do so by email at musadm@music.uiuc.edu or phone at t
217.244.7899. I wish you all the best for a successful and productive year. e
r
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A TAL
Cover Story
TWO
Tenor saxophonist Charles “Chip” McNeill and
pianist John “Chip” Stephens, two sparkplugs
in Champaign-Urbana’s jazz scene, seem
almost joined at the hip in their careers. The
two have worked together under three very
Anne M. Heiles
McNeill, associate professor and chair of the jazz division,
gives his synopsis:“Chip was in the Woody Herman band in
the late 1980s when we first met. After some time he left the
band; then I left the band a few months later. I got on May-
CHIP 1
(Chip McNeill)
nard’s band, and was in Cleveland one night when Chip came
to the gig. Afterward we were hanging out, and I thought,
well, this guy would be perfect for Maynard’s band. Sure
enough, he came on a while later. Again, he left and then I
left, both of us to start teaching. Then he got Arturo’s gig and
maybe a year later I got on.Then he left, then I left….”
Taking over the narrative, Stephens, UI’s newest addition
to the jazz division faculty, elaborates: “Woody’s band differed
from the traditional big band setup in that he used three
tenor saxophones and one bari sax (as opposed to the
more standard two altos, two tenors, and baritone
saxophone line).” A typical big band is eight-
een pieces, with 5 saxophones, 4 trom-
bones, 5 trumpets, and 4 rhythm section
(piano, bass, guitar, and drums).
Maynard Ferguson was “one of
Sandoval’s idols,” Stephens says of
his next boss. “Maynard could
play high notes all night long.
He actually gave Arturo his
s trumpet one night on a gig
o in Florida. Arturo has it
n
o displayed in a big oak
r
i cabinet in his house.
t Maynard got his first
i
e
s
6 Photo: Chris Brown
E OF
CHIPS
special band leaders: Woody Herman, Maynard
Ferguson, and Arturo Sandoval. Each experi-
ence helped pave the road to the next. And
now they are again working together, enliven-
ing UI’s jazz program.
gig at the age of sixteen with Stan Kenton’s orchestra, which
made him an instant star.
“Chip [McNeill] had a long history with Maynard. He was
with the Big Bop Nouveau band when he called me in
Maine—on the second night of my honeymoon—and said,
CHIP 2
‘You want a gig?’ So I asked my wife. She’s always felt that if (Chip Stephens)
something is a good decision creatively and artistically—and
pays good money (let’s not forget that)—hey, let’s do it. Her
father’s a great jazz pianist in his seventies, though he sounds
thirty years younger.” Knowing a jazz player’s life, his wife
accepted what came next: “I was married for two weeks and
then went on the road for a year.”
Stephens says,“It was a great experience; Arturo is
one of those artists who wears his heart on his
sleeve.You always know how he feels.”
McNeill adds, “It shows up in his
playing.”
Picking up the beat, Stephens
continues: “It sure does. He’s a
passionate man and a passionate
player. It was an absolute ball
playing in his band. Latin music
isn’t a style indigenous to my her-
itage, so I was glad to have
already played in a Latin band in w
i
Cleveland. Arturo had a six- n
piece band, much smaller. Its t
rhythm section is piano, bass, e
r
drums, congas, and timbales.
2
Arturo played the timbales and 0
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7
Cover Story
Chip Stephens, Arturo Sandoval, and Chip McNeill in Nashville, circa 1990s.
trumpet, so the front line was just saxophone and trumpet. It in those days,” he sums it up. “Sure, travel is hard on you,
was very exposed, and there was a lot more room for improv- being away from family and all that you know and love. But
isation with the smaller group. playing music on that high a level every night made it worth-
“I had some wonderful times with him—and some heated while. And I’ve always loved playing with Chip; we shared
moments, which you would expect with anyone who’s under the stage so many times in our careers together. That’s
the kind of pressure he had.” Sandoval’s nerves were frayed always been a joy.”
over small and big issues,“variables” Stephens calls them. He Both Chips were in Sandoval’s band when it recorded the
fretted over getting to the gig on time, how he might per- Grammy-winning Hot House album. Chip McNeill “wrote the
sonally feel about a band member, a missed flight, a club not chart on the title cut and was arranger for several of the
paying him the deposit, and songs (Mambop and Cuban
more. Stephens is quick to American Medley),” Stephens
point out that Sandoval was points out. “Chip’s a great
hardly alone in reacting writer.” McNeill’s three songs
strongly to pressure.While he were nominated for individ-
was in Woody Herman’s band, ual Grammy awards, but it
Stephens saw the same strong was the record as a whole
reactions to stress in Frank that won.
Tiberi, the band’s leader after There were no rehearsals
Herman’s death: “There were for their performances, a com-
nights when Frank had so mon practice where budgets
Photo: Chris Brown
much on his mind that it was are limited and studio time so
hard for him to be himself. McNeill rehearsing with the UIUC Jazz Ensemble. costly. Stephens says they
But he and Arturo were pro- recorded the rhythm section
s
o fessionals, and this wasn’t communicated to the audience.” players in Miami’s Criteria Sound, a “beautiful studio” and
n Stephens stayed with Arturo Sandoval almost three years, popular venue, which, McNeill notes, was built by Max
o
r touring the world more than once, from Hong Kong to Aus- Immerman, inventor of the Ampex multitrack tape machine.
i
t tralia and everywhere in Europe.“Lots of frequent flyer miles “Basically, we got to the studio, read through it a couple of
i
e
s
8
“When you see that your instructors can stand “When I was a student, the professors I
up and reproduce what they’re talking about, respected most were those who played and
that’s the quickest, most powerful lesson.” those who had a history of playing.”
—Chip McNeill —Chip Stephens
times, and recorded it,” says Stephens. And he shares that hood after his broth-
knowledge with his students: with so little rehearsal time er started calling
available in professional situations, he says,“they must devel- him Chip. Around
op the ability to read. Not being able to sight-read is like an the UI Music Build-
author not knowing the alphabet.There was a period in jazz ing, the two are
history when you could get away with not being able to sight- sometimes referred
read, but that isn’t true today.” to as the “Chipsters.”
According to McNeill, the horns were recorded in San- Trombone great Paul
doval’s home, a small section that used overdubbing to create McKee once jokingly
w
Three Sons” so much comprises five faculty members: McNeill, Stephens, drummer- i
that she nicknamed composer-ethnomusicologist Dana Hall, pianist Joan Hickey, n
him after the charac- and saxophonist Ron Bridgewater. McNeill: “Really, our goal t
Stephens relaxing at the Steinway in his studio. e
ter Chip (officially has been to revitalize the jazz program. The Jazz Band was r
short for Cortland). McNeill received his nickname in child- John Garvey’s ‘baby,’ but he didn’t have a full program. But 2
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9
Cover Story
even then, it’s important to remember, UI turned out some Armstrong, Miles Davis, Art Tatum (“he was so sophisticated
amazing jazz players, including tenor saxophonist Joe Ferrell harmonically, not to mention a technical wizard”), and pianist
(who was originally a flute major here), alto saxophonist Bill Evans (“an absolutely beautiful player”). Evans, Chick
Howie Smith (now directing the jazz program at Cleveland Corea, Keith Jarrett, and Brad Meldau (a younger player) all
State University), composer and arranger Jim McNeely (now are fine jazz artists with a classical music background,
a major jazz pianist and composer in New York City), and sax- Stephens adds. “A lot of younger jazz musicians have
ophonist-composer Kim Richmond (now in Los Angeles). embraced the Western classical tradition because there are so
McNeill waxes enthusiastic: “In the late 1980s and 90s many things you need now to succeed. It’s not just about
Tom Birkner and Tom Wirtel started a small program with a playing the blues. Playing in tune and having the ability to
few courses. But now we have a major in jazz studies, offi- read music is vital in today’s music world.
“A lot of students ask, ‘Can you make a living in
music?’ Professor Stephens points out: “I’m more con-
vinced than ever that if all your basic musical skills are in
place—if you’ve got a good sound, can play in tune, and
can read, if (as a reed player) you can double, and if you
can play with other people, you can do really well in this
business. I’ve got dozens and dozens of friends who are
doing it.” Typically people don’t hire someone unless
they know the playing and the person, Stephens warns.
“Especially with road bands, where you’re working and
living with people, it means being able to play in certain
contexts and getting along with others. The tape or CD
Photo: Carol Ann Stephens
is just preliminary.”
Both men perform in the Urbana area as they have
Stephens in his Smith Hall studio with student Toby Curtright. time. Late this summer they played at the Iron Post, a
club in town.“It’s cool to be a part of a faculty that’s out
cially called jazz and improvisational music. In two years there doing it,“ Stephens says.“To cut to the chase, that vali-
we’ve gone from zero to about forty students, all the way dates our existence. When I was a student, the professors I
from bachelor’s and master’s degrees to a doctor of musical respected most were those who played and those who had a
arts in jazz. It’s been a lot of work and a lot of fun, too. We history of playing.” McNeill concurs: “The crux of it is your
already have our rhythm section, with Chip Stephens and ability to play. When you see that your instructors can stand
Dana Hall.We’re working on getting a jazz bass teacher next, up and reproduce what they’re talking about, that’s the quick-
and eventually we’ll have a guitar and jazz brass person.When est, most powerful lesson.”
I came to Urbana, one of the first things I noticed was the Chip 1:“You learn how to play by playing.”
rich tradition of jazz in the area clubs, with an amazing num- Chip 2:“That’s right.There’s no substitute for experience.
ber of true jazz players, improvising being their primary The act of going out there physically and playing with all
source of music,” enthuses McNeill. kinds of bands on the road forces you to deal with all sorts of
Stephens, who began his career after getting degrees at the musical situations and players. In reality, that’s what our stu-
University of Akron and Cleveland State University in classi- dents are going to be doing.”
cal piano, says classical studies are terrific background for McNeill sums it all up:“This
high school students to bring to their jazz studies. He is our way of giving back to
emphasizes also the importance of “getting a teacher who the students what we’ve
understands the jazz idiom, a really good teacher who can learned in our playing experi-
point you in the right direction, noting deficiencies but also ence. It’s all about them.” ■
s building on strengths. Many young musicians don’t under-
o stand the importance of listening to music and getting the
n GET HERE SOONER
o sound in their mind’s ear; it really is an aural tradition.” The University of Illinois Concert Jazz
r Band’s debut CD! Featuring The Long
i Although he says young people should listen to “everybody,” Road To Nowhere, In This Moment,
Maybe You Don’t, Nothing Doing,
t he suggests starting out with some “marquee players”: Louis The Forrest, Greenpiece, Just Friends,
i and Get Here Sooner. Available in
e the School of Music Jazz Division
s (217-333-9703), and at Champaign-
Urbana bookstores.
10
New Gifts
The School of Music is pleased to announce several new endowment gifts.
Through the generosity of our donors, the School of Music will continue to
attract outstanding students to study at the University of Illinois.
million gift to the School of Music endows and Ph.D. at the University of Sydney. His
research interests include psychological
aspects of musical behavior, performance
Chair and Fellowship in Music Education skill, composition, improvisation, instrumen-
tal pedagogy, motivation and self-regula-
Edward Rath, associate director Marilyn paid practicing music teachers the
tion, giftedness and talent in music, and
respect of writing a thorough review of the
music education curriculum development.
The School of Music received its first active literature, including all the relevant cita-
He is current president of the International
endowed chair this past year through the tions, in language a working teacher could
Society for Music Education, former nation-
generosity of the Vernon K. and Marilyn understand and use as a basis for design-
al president of the Australian Society for
Pflederer Zimmerman Foundation. ing his or her own curriculum.”
Music Education, a member of the Aus-
Marilyn Zimmerman, a world-renowned In speaking about Dr. Zimmerman,
tralian Music and Psychology Seminar,
author and teacher, received both master’s Dean Harwood told a group of music edu-
and of the Advisory Panel for the Call-
and doctoral degrees from the University
away International Resource Centre for
of Illinois. She later was a member of the
Music Education at the University of West-
School of Music faculty at various times in
ern Australia. He has also served as a
a career that also included faculty appoint-
teacher education advisor for the Aus-
ments at Case Western Reserve, Indiana,
tralian Music Examinations Board. McPher-
Northwestern, Ohio State, and Temple uni-
son is editor of Research Studies in Music
versities. Her husband, Vernon, was known
Education and a member of the editorial
throughout the world for his leadership in
boards of the Bulletin of the Council for
the field of international accounting, and
Research in Music Education, Psychology
he served as Dean of the UIUC College of
of Music, Music Education Research,
Commerce and Business Administration for
British Journal of Music Education, Interna-
15 years. Marilyn died in 1995, and
tional Journal of Education and the Arts,
Vernon in 1998.
Research and Issues in Music Education,
Marilyn Zimmerman made her mark in
Journal of Research in Music Education,
the world of music education through her
and Asia-Pacific Journal for Arts Education.
research concerning the relationship of
He is also a member of the International
children’s musical activities and the role
Society for Music Education Research
perception plays in musical-cognitive devel-
Commission. In 2003 and 2004 he
opment, and seeking to learn how this
worked as the professor of creative arts at
might influence and improve instruction in cators that “‘Gentility’ is the best descrip-
the Hong Kong Institute of Education. Dr.
the music classroom. “Her studies were tion I can find for the quality Marilyn
McPherson will be joining the School of
pioneering and remain as a standard ref- brought to scholarly life. In the first issue of
Music faculty in January 2005, at the com-
erence for anyone investigating children’s the Bulletin that she edited, Marilyn said,
pletion of his association with the HKIE.
musical cognition,” said FAA associate ‘civility is not inconsistent with intellectual
The School of Music is most grateful to
dean Eve Harwood, herself a colleague integrity.’ She was unfailingly courteous
the Zimmerman Foundation and Mrs.
and close personal friend of Marilyn’s. and genuinely championed the research of
Joyce Zimmerman for the tremendous faith
Furthermore, Dr. Zimmerman was a fre- her colleagues and students.”
they have placed in the School. We look
quent speaker at national and international Last year, a faculty search committee
forward to fulfilling the responsibilities of
conferences, a prolific writer, and editor of undertook the daunting task of identifying
the Bulletin of the Council on Research in someone of world renown who could this trust as we enter the 21st century in a w
Music Education. “She authored a pam- assume duties as the first Zimmerman Pro- position of strength, greatly enhanced by i
this gift, in the field of music education. n
phlet for the MENC called, Musical Char- fessor of Music Education. The person
t
acteristics of Children,” said Harwood. “It appointed to hold the Zimmerman chair is e
Materials used for this column were found in earlier
was a landmark in that it was written for Dr. Gary McPherson. Dr. McPherson r
articles by Melissa Merli of the Champaign-Urbana
practicing music teachers, explaining how earned his Diploma in Music Education at News Gazette and Melissa Mitchell of the UIUC Inside 2
children conceptually organize music. the New South Wales Conservatorium; the Illinois, and a presentation made by Dr. Eve Harwood. 0
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11
New Gifts
Janet Manning Helen Sanford Morgan attended the University Chamber Orchestra and the
coordinator of alumni relations and development
Sacred Heart Dominican College in Hous- Harry Partch Ensemble, taught viola and
ton. In her career with Southwestern Bell chamber music, and founded the Russian
Telephone Company, she attained the posi- Folk Orchestra. Among his most notable
tion of senior manager for the state of accomplishments was the founding, in the
Texas before retiring in 1991. Robert and 1960s, of the Jazz Band which won
Helen very much appreciate that the South- major competitions, including the Colle-
western Bell Foundation has matched all of giate Jazz Festival in 1964, 1967-1968,
their contributions to establish the John and 1969. Under the auspices of the
Department of State, the Jazz Band toured
“Though I did not attend the University of
widely, including performances in Europe
Illinois, it seems very familiar to me because and Russia. In addition to viola and vio-
Bob [Morgan] speaks of it so often. I very lin, Professor Garvey studied South Indian
much enjoyed the weekend we spent on UI’s singing, balalaika and domra (in
beautiful campus (May, 2003) when Bob Moscow), Catalan music (in Barcelona),
received the Alumni Achievement Award. and Balinese gamelan music. He has had
He is extraordinarily proud of this recogni- many hobbies, including collecting Bali-
John Garvey Scholarship tion, and we have both enjoyed sharing the nese woodcarvings and paintings, Turkish
in Jazz Studies experience with friends and family in Hous- rugs, Indonesian ikat weavings, and
Robert and Helen Morgan of Houston, Russian folk instruments.
ton and elsewhere. I met John Garvey only
have established a jazz scholarship in once, at an IAJE conference, and regret that
honor of John Garvey, former School of
I do not know him better. I know that Bob
Music professor. Robert Morgan graduat-
considers him to be one of the primal men-
Jill McAllister
ed with Bachelor of Music and Master of
Music degrees from the University of tors of his life and career, and is very pleased Award
North Texas, and received a Doctor of to be involved in this scholarship project. For The Jill McAllister Award
Musical Arts degree in composition from my part, I am very pleased that my former was established in memo-
the University of Illinois at Urbana-Cham- employer, SBC, has matched our personal ry of Jill McAllister (1948-
paign in 1974. He played trumpet and 2003) by her husband,
contributions 100% to make this scholarship
trombone in UNT’s One O’clock Lab Stuart Levy, research programmer in the
possible.”
Band, and piano in the Illinois Jazz Band. National Center for Supercomputing
— Helen Morgan
After graduating from the UI, Morgan Applications at the University of Illinois.
was director of the jazz program at Sam Garvey Scholarship in Jazz Studies. Helen The award recognizes outstanding stu-
Houston State University (Huntsville, now concentrates on various volunteer dents in the division of musicology who
Texas), and director of jazz studies at activities, principally in support of Hospice demonstrate an interest in opera from a
Houston’s High School for the Performing at the Texas Medical Center, and on activi- musicological perspective. Jill received a
and Visual Arts (HSPVA) where he was on ties related to fine art photography, which Bachelor of Arts, cum laude, in art history
the faculty from 1976 to 1999. Under his she collects. Robert continues an active from Indiana University in 1973, and
direction, the HSPVA jazz program career as a pianist, composer/arranger, attended graduate school at the University
became internationally known as a model and clinician. He serves on the Board of of Minnesota, where she won a year-long
for the successful training of young musi- Directors of HSPVA. NEH fellowship in museum practice, work-
cians. The jazz scholarship will recognize an ing also at the Minneapolis Institute of
Throughout his distinguished career, Dr. outstanding student pursuing jazz studies Arts. At the University of Minnesota Com-
Morgan has been the recipient of numer- and will be awarded during the 2004-05 puter Center, and later at Cray Research,
ous awards and honors including the fol- academic year. she worked for fifteen years in computing,
lowing: Membership on the Jazz Music moving from operator to teacher to pro-
Advisory Panel, National Endowment for grammer/analyst. At the University of Illi-
the Arts (1986-1988); University of North Professor Emeritus nois from 1997 to 2000, Jill earned
Texas, “Teacher of the Year” (1987); John Garvey Bachelor of Arts degrees in French and
Down Beat Magazine, “Achievement Professor Emeritus John Latin. She pursued graduate studies in
Award for Jazz Education” (1996); Garvey (b. 1921), was a musicology at UIUC until her death in
National Foundation for Advancement in member of the music facul- 2003. Jill’s interests included textile arts,
the Arts, “1997 NFAA Distinguished ty from 1948 to 1991. As song, theater, early music, and opera,
s especially French opera.
o Teachers in the Arts”; “Presidential Schol- violist of the Walden
n ars Teacher Recognition Award” by the String Quartet for many years, he toured
o
r White House Commission on Presidential Germany, Austria, and England. Garvey
i Scholars; and the University of Illinois was chairman of the Illinois Contemporary
t Arts Festival for several years, conducted
i “Alumni Achievement Award” in 2003.
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James Russell Vaky Merit cializing in strategic marketing, strategic While earning her M.B.A. and working
planning, special event production and full-time at Novartis, Marlah began consult-
Scholarship in Music
management, and public relations. Repre- ing for arts and cultural organizations,
James Russell Vaky—musi-
sentative clients of marik & associates artists, and authors. Her consulting work
cian, artist, poet—estab-
include arts and cultural organizations, began as small projects for local artists,
lished the James Russell
independent filmmakers, artists, and start-up arts organizations, and authors
Vaky Merit Scholarship in
authors. With over 13 years of progressive and steadily grew into developing and
Music in 2004. The schol-
responsibilities in marketing, media man- implementing strategic business plans, mar-
arship supports under-
agement, development, and public rela- keting, and donor relations strategies for a
graduate students who are
tions in both corporate and non-profit diverse range of clients in both the corpo-
enrolled as piano, organ, cello, or harp
organizations, Marlah’s professional expe- rate and non-profit sectors. Although she
majors and is to be rotated among the
rience covers a diverse range of strategic initially did not have intentions of leaving
specified instrumental disciplines each
management applications, and prior to the security of a large corporation, she
year. Mr. Vaky has enjoyed a long career,
relocating to Urbana, she worked with realized that consulting provided a unique
from coast to coast, as a teacher and
organizations in the New York, Philadel- opportunity to build a career that com-
accomplished pianist and organist. His
phia, and Boston areas.
career path was launched in 1919 when bined her passion for the arts with her
Marlah earned a Bachelor of Science
he began piano lessons at the age of academic and professional experiences in
eight. It wasn’t until eighty years later that in marketing and international business
business.
he learned his first teacher, Alethea Foster, from Penn State University. The love of fine
Marlah is excited about her new role as
was the daughter of Mr. and Mrs. C. W. and performance arts led her to supple-
associate director of development for the
Foster, music instructors at the University of ment her business education with courses
School of Music. She looks forward to con-
Illinois for the academic year, 1894-95 in music, theater, and art. While at Penn
necting with some of the world’s finest
(one year before the School of Music was State, Marlah received an academic schol-
scholars, performers, and composers. She
officially established). Mr. Foster had arship for study at the University of Nice,
is extremely enthusiastic about the College
served as director during that year. Vaky France. Although she studied business and
of Fine and Applied Arts perfect mix of
entered the School of Music in 1929 and economics at the University of Nice, this
extremely talented and accomplished facul-
played under John Philip Sousa in 1931. life-changing experience strengthened her
ty, seasoned and dedicated staff, and, of
He later enrolled in the College of Liberal appreciation of the arts, as well as provid-
course, the best development team at the
Arts and Sciences where he received a ed an opportunity to learn another lan-
University of Illinois.
Bachelor of Arts in English and German in guage. In addition, this experience fueled
Marlah feels strongly that the School of
1933. He continued to perform profession- her passion for international travel—since
Music at UIUC is truly one of the best pro-
ally while studying painting at the Corco- then, she’s traveled to Greece, Denmark,
grams in the country, and is committed to
ran School of Art in Washington, D.C., Holland, Italy, Germany, Puerto Rico, and
ensuring that its programs and facilities
and at the Otis Art Institute in Los Angeles St. Lucia. She hopes to get to India and
continue to thrive. She is delighted to be
where he taught English at the Page Mili- Africa within the next few years.
joining the FAA development team at a
tary Academy. His first book of poetry was Upon graduating from Penn State, Mar-
time of revolutionary growth and opportu-
published in 1973 and his fourth when he lah gained invaluable professional experi-
nity for the School of Music. She is looking
was almost ninety. Mr. Vaky currently lives ences working in marketing and sales for
forward to providing a unique perspective
at The Inman Plaza in Champaign. large organizations in the corporate sector
to fundraising, as well as building on the
including Estee Lauder, Bristol Myers, Aet-
many successes of the School of Music’s
naUSHealthcare, and Novartis Pharmaceu-
development efforts. One of her many
Marlah Bonner-McDuffie, ticals. While at Novartis, Marlah earned
goals is to develop strategies which will
New Associate Director of her MBA from Temple University in
consistently engage younger potential
Philadelphia in marketing and media man-
Development agement. Upon completion of her pro-
donors, as well as create innovative
A native of Philadel- approaches to stewardship for existing
gram, she received the Fox School of
phia, Pennsylvania, donors.
Business and Management’s “Dean’s Cer-
Marlah Bonner- Marlah lives in Urbana with her hus-
tificate of Excellence,” which is awarded
McDuffie relocated band, Erik McDuffie, an assistant professor
to M.B.A. candidates for academic excel-
to Champaign- in the Gender and Women’s Studies
lence in their program of study. In addi-
Urbana in August Department and the African-American
tion, she was inducted into the Beta
2004. Prior to her Studies and Research Program. They have
Gamma Sigma honor society, the highest
appointment to asso- a six-month-old daughter, Amaya-Soledad. w
ciate director of national recognition a student in business i
development in the School of Music, Mar- can receive in an undergraduate or mas- n
lah was founder and marketing director of ter’s program. Moreover, Marlah has taken t
courses in the Non-Profit Management Cer- e
marik & associates, a consulting firm spe- r
tificate program at the University of Penn-
sylvania. 2
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13
New Gifts
Alumni Organize Those in attendance at the August meet- through a generous gift from UI alumnus,
ing included: John Burley (M.S.’70, Calvin D. Filson (B.S.’43, business admin-
the Charles Leonhard Ed.D.’79), director of instrumental music, istration) of Boulder City, Nevada.
Legacy Project Scottsdale Community College, AZ; Linda Filson played the drum as a member of
Gerber (Ed.D.’75), retired professor of the Marching Illini in the early 1940s.
Professor Emeritus
music, Western Connecticut State Universi- When he returned in 2002 to play in the
Charles Leonhard
ty; Jon Gilliland (M.S.’77, Ed.D.’91), K-12 Alumni Band—his first visit to campus in
was one of the
fine arts coordinator, Appleton Area 39 years—he found “his” drum in barely
most influential edu-
Schools, WI; Joe Grant (M.M.’71, playable condition. “The 80-year-old
cators in American
Advanced Certificate ’72, Ed.D.’83), cowhide drumheads were as brittle as
music history. Dur-
chair, music education division, School of parchment,” noted Filson. According to
ing his 35 years
Music, University of Illinois; Roger Reich- professor emeritus Gary Smith, interim
(1951-1986) as
muth (M.S.’66, Ed.D.’77), retired assistant director of the Marching Illini, the venera-
professor of music
dean, College of Fine Arts and Humani- ble relic had been retired in the 1960s.
at the University of Illinois, he initiated the
ties, Murray State University, KY. “We drug it out at Homecoming for old
doctoral program in music education, guid-
time’s sake,” added Smith.
ed more than 200 doctoral dissertations,
Cal Filson contacted the University of
and served as chairman of the graduate
committee on music education. Dr. Leon- Alum Revives Giant Illinois Foundation and the Alumni Associa-
tion and offered to personally pay for the
hard also was director of research for the Bass Drum overhaul of the drum. He played it as a
National Arts Education Research Center. An 80-year-old tradition was revived at the member of the Alumni Band during the Fri-
He was known for the book, Foundations 2004 Homecoming football game on Sat- day night Homecoming Parade and during
and Principles of Music Education, which urday, October 30, when the Alumni Band the band’s pre-game and halftime perform-
he co-authored with alum Robert House took the field for its pre-game performance ances at the Illinois vs. Iowa football game
(Ed.D.’54). His awards are many, includ- alongside the Marching Illini. The Alumni on Saturday.
ing the “Distinguished Alumnus Award” Band’s drum-line included the giant bass Attending the unveiling of the restored
from Teachers College-Columbia University, drum that first debuted with the football drum at Friday’s band rehearsal was Cal
and “Distinguished Alumni Fellow” from band in the days of Red Grange and Bob and his wife Edna, and daughters Leah
the School of Music at the University of Zuppke. The 1920s-era drum, which meas- Richard and Dana Stauffer.
Oklahoma. Leonhard was inducted into the ures more than five feet in diameter, was
music education Hall of Fame in 1994. recently restored to its original condition
Charles Leonard died January 31, 2002.
In accordance with Professor Leonhard’s
wishes, there was no public memorial fol-
lowing his death.
After several months of discussion
among a large number of Dr. Leonard’s
former graduate students, a committee of
eight alums met on August 21, under the
leadership of Peter Tiboris (Ed.D.’80), to
formulate plans to celebrate and remember
the legacy of Dr. Leonhard’s teaching,
scholarship, and career. The committee
will work with the School of Music to
establish a permanent means to celebrate
Leonhard’s work; ideas toward that end
are in process. If you are a music educa-
tion alum from any era and are interested
in working on this project, please contact
Dr. Peter Tiboris at 212-239-0205; 973-
746-1162, or e-mail him at
mozart11@aol.com.
The Charles Leonhard Legacy Project
s provides the opportunity for all interested
o
n persons to contribute and assure that Dr.
o Leonhard’s impact upon the profession will Elisabeth Spotts, Marilyn Borbas, and Cal Flison
r endure. Additional information on this proj-
i
t ect may be found at:
i www.charlesleonhardlegacy.com.
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Renaissance Archives Gift
to Assist in Research W I S H L I S T
The Renaissance Archives (Herbert Kell-
man, director) recently received a gift from
George Unger (B.S.'86, mechanical engi- The importance of private gifts to the • Advocates for Young Artists: twenty-
neering), of Los Angeles. It will help defray School of Music increases every year. five outstanding undergraduate stu-
the travel expenses of young pre- and post- The state of Illinois provides basic dents have participated in the AYA
doctoral musicologists in the United States operating revenue for the University program since its inception in 1999.
and abroad who wish to carry out
of Illinois; however, support from the Donors make a four-year commitment
research in the Archives.
Last year, eight scholars from Europe
state accounts for less than 24 per- to support one student during his/her
and the United States traveled to campus cent of the total budget.Thus gifts tenure and are invited to various
for research in the Archives, while many from alumni and friends help to pro- events featuring AYA scholarship
others, from universities throughout the vide the margin of excellence which recipients.
world, carried out research by correspon- distinguishes the UI School of Music.
dence. The Archives continue to be an • Building Infrastructure and Equip-
active partner in collaborative Renaissance We look forward to a very bright ment: maintaining the facilities and
projects headquartered in Germany, Bel- future for the School of Music, and equipment for our faculty and stu-
gium, Holland, France, and the United
we continue to evaluate new oppor- dents takes considerable resources,
Kingdom.
tunities and programs that will help and to be competitive with our peer
to ensure our position as one of the institutions, we must continue to
leading music schools in America have outstanding practice facilities
Benefit Dinner to Feature
today. In order for us to reach our and performing venues.There are
Rising Opera Star
goals and to provide the best educa- numerous opportunities, ranging
The Advisory Board of
tion possible for our students, we from studio recording equipment to
the School of Music
will host a dinner
must have the resources in place. renovating Smith Memorial Hall.
fundraiser on Sunday,
September 18, 2005, The following items represent the • Opera Sponsorship: the School of
at the French restau- current needs and wishes of the Music produces two full-length
rant, Le Titi de Paris, School of Music in order of impact: operas each year.An opera produc-
in Arlington Heights, tion takes considerable time, effort
Illinois. Special entertainment will be pro- • Chairs and Professorships: endowed and money. Current productions can
vided by rising opera star, baritone chairs and professorships serve as cost in excess of $60,000.While tick-
Nathan Gunn (B.M.’94), and his wife,
effective tools with which to recruit et sales cover about half the cost of
accompanist Julie Jordan Gunn (M.M.’92,
and retain scholars and performers. each production, additional support
D.M.A.’01). Proceeds will provide a fel-
lowship in the School of Music.
Renowned faculty attract the most tal- will assure both student performers
If you are interested in attending, ented students and the brightest and audience members of operatic
please contact Janet Manning at 217-333- minds to study at the University of experiences comparable to produc-
6452 or e-mail her at jmanning@uiuc.edu, Illinois. As artists and scholars, they tions found in major cities, while
to receive an invitation. Seating is limited. contribute to the world of research, keeping ticket prices reasonable.
creativity, and virtuosity that is one of
the University’s principal missions. We hope you will consider making a
“My three years in the School of Music, from This is vital to the continued success major gift to the School of Music. If
1973-1976, were incredible. During this time of the School of Music. you are interested in funding projects
such as these or would like to
my principal teachers/mentors were Robert • Fellowships: the continued excel- explore other opportunities, please
Gray, Dan Perantoni, Harry Begian, and Ben
lence of the School of Music depends contact Marlah Bonner-McDuffie,
in part on attracting the most talent- associate director of development, at w
Johnston, among many. I am heartened to ed graduate students from across the 217-244-4119. i
nation and around the world. For us n
read that so many good things continue to t
to remain competitive among the e
happen at the UI. Keep it up!” leading schools in the country, we r
must be prepared to assist the excep- 2
—Charles Isaacson (M.M.’74, D.M.A.’81)
tional students we serve. 0
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15
Campus News
New Faculty
John J. Dee, Bill Eduardo gist, and he specializes in soul music and
A. Nugent Professor Diazmuñoz, black popular culture in America. Professor
in Music Perform- Assistant Professor Hall’s work draws from studies found in
ance and Professor of Opera and Con- anthropology, sociology, black studies, cul-
of Oboe, was prin- ductor of the New tural theory, religion, and history. It both
cipal oboe of major Music Ensemble, challenges and adds to existing philoso-
orchestras in Florida served as conductor phy concerning music and its role in the
from 1981 to 2004 of the Metropolitan lives of folk, particularly black folks. His
and professor of oboe studies at the Harid Philharmonic Orchestra (which he found- scholarly concentrations include the study
Conservatory of Music from its inception ed), and the Carlos Chavez Symphony of ethnicity, identity, and temporality in
through 2004. Mr. Dee was also professor Orchestra. Diazmuñoz also served as musics of the world; the study of popular
of oboe at the University of Miami from music director and conductor of the Baja musics of the world, particularly in the
1986-1998, and he has served as princi- California Orchestra in Tijuana, which is East; ethnic and popular musics of North
pal oboe of the Chicago Chamber Orches- dedicated to the performance of contempo- and West Africa; and issues of cross cultur-
tra and Civic Orchestra of Chicago. He rary orchestral literature. Diazmuñoz alism, colonialism, representation, and
has recorded on numerous major profes- received a Presidential Appointment to appropriation. Dana has performed on six
sional record labels and has performed conduct all official youth orchestras and continents in extensive concert, club, and
and recorded with such conductors as choirs in Mexico. He was twice nominated international festivals. In addition to lead-
Guilini, Levine, Abbado, and Solti while for the “Best Classical Album” in the Latin ing his own ensembles, and his member-
playing with the Chicago Symphony Grammy Awards, the only Mexican con- ship in the Terell Stafford Quintet and the
Orchestra and as principal oboe of the ductor to have been nominated twice for Chicago Jazz Ensemble, Dana Hall is an
Ravinia Festival Orchestra. He has also this prestigious prize. In the United States, in-demand drummer, composer, and
performed with the Atlanta Symphony his work with the San Diego Opera has arranger for such artists as Branford
Orchestra, Hong Kong Philharmonic, Lyric become well known, and he has devel- Marsalis, Joshua Redman, the Woody Her-
Opera of Chicago, among many others, oped a high profile and outstanding repu- man Orchestra, Horace Silver, Ray
was guest soloist with I Solisti Aquilani tation in Miami and other cities where he Charles, Benny Golson, Bobby Hutcher-
String Orchestra in Italy, and assisted the has conducted and/or taught. He brings son, Curtis Fuller, Joe Lovano, Jackie
Yamaha Corporation in the development of together his substantial training from the McLean, Jimmy Heath, Lester Bowie,
their professional model oboe. He has per- “old school,” under the mentorship of Leon Michael Brecker, Betty Carter, Maria
formed and taught at numerous major sum- Barzin and Leonard Bernstein, with an Schneider, Joe Henderson, and the presti-
mer festivals and institutes. He has affinity for today’s pre-professional singers gious Grammy-nominated Carnegie Hall
received the “Outstanding Teacher Award” and their musical and technical needs in Jazz Band under the musical and artistic
from the National Endowment for the Arts both traditional and contemporary musical direction of trumpeter Jon Faddis.
and is a frequent guest of National Public theatre. He will be conducting four per-
Radio’s Performance Today. Mr. Dee was formances of Candide in the Tryon Festival Cynthia Haymon-
president of Chamber Music Management Theatre at Krannert Center Thursday, Feb- Coleman, Assistant
for 18 years. His former students are ruary 24 through Sunday, February 27, Professor of Voice,
oboists in major orchestras here and 2005. earned her Bachelor
abroad. He will be presenting a faculty of Music degree at
recital in Krannert Center on Saturday, Dana Hall, Northwestern Uni-
February 26, 2005. Assistant Professor versity. She made
of Jazz Studies, her debut in 1985
received his degrees in the title role of Thea Musgrave’s Harriet,
from William Pater- A Woman called Moses, in the world-pre-
s son College and miere performance for the Virginia Opera.
o DePaul University, Since then, her engagements have includ-
n
o and currently is ed Micaela in Carmen with the San Fran-
r completing his Ph.D. in ethnomusicology at cisco Opera, Susanna in Le nozze di
i
t the University of Chicago. He is a jazz Figaro, and Liù in Turandot with the Seattle
i drummer, composer, and ethnomusicolo-
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16
Opera. In 1986 she made her European Ives. Her articles have appeared in jour- Joseph
debut as Bess in Trevor Nunn’s production nals such as the Journal of the American Manfredo,
of Porgy and Bess at Glyndebourne, with Musicological Society, 19th Century Assistant Professor
Sir Simon Rattle. Professor Haymon-Cole- Music, and Musical Quarterly. Her book, of Music Education,
man also created the role of Coretta King Charles Ives: A Guide to Research, was earned his Bachelor
in the musical King, opposite Simon Estes published by Routledge in 2002, and her of Music Education
in London. In concert, Professor Haymon research has been cited by the Atlantic and Master of Arts
has appeared with the Israel Philharmonic Monthly, The New York Times, and the in conducting at
under Kurt Masur, the London Symphony New Yorker. Professor Magee’s work has Eastern Illinois University, and his Ed.D. in
Orchestra under both Myung Whun Chung been supported by grants from the Nation- music education from the University of Illi-
and Michael Tilson Thomas, the Cleveland al Endowment for the Humanities, Sinfonia nois. Prior to his appointment at Illinois, Dr.
Orchestra under Isaiah Jackson, and the Foundation for Research in American Manfredo served as music coordinator for
Boston Symphony Orchestra for the world Music, Whiting Foundation, and Mellon the Urbana (IL) School District. In addition,
premiere of Ned Rorem’s Swords and Foundation. She will be joining the faculty he conducted various bands, including the
Plowshares. Professor Haymon performed in January 2005. Urbana Concert Band, which was named
in the world premieres of Portraits by Honor Band for Class 2A at the 2004 Illi-
Richard Danielpour, with YoYo Ma and Keeril Makan, nois SuperState Concert Band Festival. Dr.
Emmanuel Ax, and John Williams’ first Assistant Professor Manfredo also served as director of bands
song cycle, Seven for Luck. Professor Hay- of Composition- and professor of music at Eastern Illinois
mon’s first solo recording, Where the Theory. After initial University. At EIU, he conducted the Sym-
Music Comes From: American Songs, on studies in violin and phonic Wind Ensemble and Eastern Sym-
Decca’s Argo Label, features art songs by oboe, Keeril went phony Orchestra, and he taught
American composers. She also portrays on to receive undergraduate and graduate courses in
Bess on the EMI recording of Porgy and degrees in composi- conducting and instrumental music meth-
Bess with Sir Simon Rattle, which won a tion and religion at Oberlin College and ods. He has published in various journals
1990 Grammy Award. She has sung the Conservatory in Ohio. He is completing and was co-author of the marching band
role of Leila in Les Pêcheurs de Perles for his Ph.D. in composition at the University drill design software, Quick Step Design.
the Portland Opera, Eileen in Bernstein’s of California (Berkeley), where he studied Manfredo has been an active adjudicator,
Wonderful Town, and Poppea in Pierre computer music at the Center for New clinician, and guest conductor, including
Audi’s production at the Brooklyn Acade- Music and Audio Technology (CNMAT). In several All-State Bands. At UIUC he teach-
my of Music. More recently, she has per- addition to his studies in the U.S., Keeril es courses in undergraduate conducting
formed Liù for the Portland Opera, Verdi’s spent a year in Helsinki, Finland at the and instrumental music methods. He also
Te Deum, Mendelssohn’s Elijah, with James Sibelius Academy on a Fulbright grant. assists with the supervision of student
Conlon and the Cincinnati Symphony, and Having been awarded the George Ladd teachers. His research is focused in the
Philip Glass’ Symphony No. 5, with Carl Prix de Paris from the University of Califor- area of curriculum and instruction, and his
St. Clair and the Indianapolis Symphony. nia, he also lived for two years in Paris, dissertation won the MENC Annual Out-
France, where he studied with Philippe standing Dissertation Prize.
Gayle Sherwood Leroux. Keeril has received numerous com-
Magee, Assistant missions from ensembles such as the Kro- Gary
Professor of Musicol- nos Quartet, Bang On A Can All-Stars, McPherson,
ogy, received her Paul Dresher Electroacoustic Band, Left Marilyn Pflederer
Bachelor of Music Coast Chamber Ensemble, and Del Sol Zimmerman Profes-
degree from String Quartet. He has also received major sor of Music Educa-
awards and commissions from the Ameri-
w
McMaster University, tion, earned his i
and her Ph.D. from can Academy of Arts and Letters, ASCAP, Diploma in Music n
Yale University. Gayle Sherwood Magee’s Fromm Music Foundation at Harvard, Education at the t
scholarship focuses on American music of Gerbode Foundation in San Francisco, New South Wales Conservatorium; the e
the 19th and 20th centuries. Her disserta- Meet the Composer, and Carnegie Hall. Master of Music Education at Indiana Uni- r
tion at Yale was on the composer Charles versity; and the L.T.C.L., F.T.C.L., and Ph.D. 2
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New Faculty
at the University of Sydney. His research performed on the Grammy Award-winning appointed vocal music coach at Tangle-
interests include psychological aspects of CD by Arturo Sandoval, Hot House, as wood, a position he has held ever since.
musical behavior, performance skill, com- well as the Emmy Award-winning sound His concert schedule has taken him to 30
position, improvisation, instrumental peda- track to For Love or Country, about the life states, Canada, Latin America, Europe,
gogy, motivation and self-regulation, of Sandoval. Stephens has performed and Asia, and to the major concert stages
giftedness and talent in music, and music extensively around the world and frequent- of America. He has performed with numer-
education curriculum development. He is ly appears as a guest artist and clinician ous world-renowned artists, performed and
president of the International Society for throughout the United States and Europe. taught at numerous summer festivals and
Music Education, former national president institutes, and for four years was co-direc-
of the Australian Society for Music Educa- tor of Hear America First, a New York con-
tion, a member of Australian Music and cert series devoted to the performance of
Psychology Seminar, and a member of the
Advisory Panel for the Callaway Interna-
FULL TIME VISITING FACULTY American music. He has recorded cham-
ber music and songs on many major pro-
tional Resource Centre for Music Education fessional recording labels, and his
at the University of Western Australia. He Linda Antas, Visiting Assistant Professor publications include translations of opera
has also served as a teacher education of Composition-Theory, earned her doctor- libretti and song texts, as well as super-
advisor for the Australian Music Examina- ate in composition and electronic music titles for numerous operatic productions.
tions Board. Gary is Editor of Research from the University of Washington in
Studies in Music Education and on the edi- 2002, where she served on the staff of the
torial boards of the Bulletin of the Council Center for Advanced Research Technology Paul Smith, Visiting Lecturer in Voice,
for Research in Music Education, Psycholo- in the Arts and Humanities. She has taught earned his Bachelor of Music degree and
gy of Music, Music Education Research, computer music, theory and ear-training, his Master of Music degree from Roosevelt
British Journal of Music Education, Interna- and the flute. Her compositions have been University, and is currently working on his
tional Journal of Education and the Arts, programmed and broadcast throughout the D.M.A. at the University of Illinois. After
Research and Issues in Music Education, U.S. and Europe, and are recorded on the his German debut as Belmonte, Mr. Smith
Journal of Research in Music Education, Media Cafe, TauKay, and Centaur labels. made his home for 12 years in various
and Asia-Pacific Journal for Arts Education. A Fulbright Fellow for studies in Spain, Dr. European cities. His career has brought
He is also a member of the International Antas has also been recognized in interna- him to more than 25 operatic venues
Society for Music Education Research tional competitions and with commissions including the Deutsches National Theater
Commission. He will be joining us in Janu- from numerous artists and agencies. She (Weimar), Deutsches Oper am Rhein
ary 2005. has worked with choreographers, theatre (Düsseldorf), the Prague State Opera, The-
directors, filmmakers, and other composer- atre des Arts Opera de Normandie, and
John “Chip” improvisors. She has been a visiting artist the Cairo Opera. Spanning Italian, French,
Stephens, Assis- at the Center for Digital Arts and Experi- German, Russian, and English his operatic
tant Professor of mental Media since 2002. Antas was repertoire includes such important roles as
Jazz Studies, recently awarded residencies by the Romeo, Duca, Faust, Almaviva, Pinkerton,
earned his Bachelor Atlantic Center for the Arts, Djerassi, and Lenski, Belmonte, Feffando, and Tamino.
of Music degree at Yaddo. Comfortable on the musical stage as well,
the University of he performed Piangi in both the London
Akron, and his Mas- Dennis Helmrich, Visiting Associate Pro- and Hamburg productions of Andrew
ter of Music at Cleveland State University. fessor of Accompanying, earned his Lloyd Webber’s The Phantom of the
His teaching credits include Youngstown degrees from Yale University and did doc- Opera. His appreciation for concert music
State University and Cleveland State Uni- toral studies at Boston University. During has manifested itself in his repertoire of
versity. As a jazz pianist at the University his years at Yale, Helmrich received prizes over 40 religious works and many song
of Illinois at Urbana-Champaign, Chip from the Lacewood and Ditson Founda- recitals. He has taught at Blackburn Col-
maintains a very diverse teaching and per- tions and the National Endowment for the lege, Prairie State College and The Stella
forming career at both the national and Arts. At the age of twenty-four he joined Musical Academy in Hamburg.
international levels. A partial list of per- the music faculty of Antioch College, and
forming and recording credits include subsequently served on the faculties of the
Maynard Ferguson, Arturo Sandoval, The State University of New York campuses at
Woody Herman Orchestra, Ingrid Jensen, Albany and Purchase, the Jewish Theologi-
Steve Kirby, Teresa Carroll, Keith Oxman, cal Seminary, Manhattan School of Music,
s Red Holloway, Bobby Shew, Roseanna The Juilliard School, and New York Univer-
o
n Vitro, Ralph Lalama, Bill Kirchner, Randy sity. In 1969 he was invited to go to Tan-
o Johnston, Jerry Brown, John Fedchock, glewood to aid in productions under Erich
r
i Kenny Burrell, and Joe Lovano. Chip has Leinsdorf and Michael Tilson Thomas, and
t in the following year Helmrich was
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Faculty News
Reid Alexander as Poet and Composer” at the Hawaii consortium in Spring 2004 and premiered
(piano pedagogy) was International Conference on Arts and a new work for wind band, Divertimetal
the featured clinician Humanities in January 2004. by Scott McAllister (Baylor University).
for the annual piano Caneva was a member of a panel discus-
festival held at the Zack Browning sion, “Graduate Conducting Auditions:
University of Utah (Salt (composition-theory) How Will You Be Seen by the Committee?”
Lake City). With co- had his composition at the Indiana Music Educator’s Conven-
authors James Lyke, Back Speed Double tion and a presenter at the first National
Tony Caramia, and Geoffrey Haydon, he Circuit (2003) pre- Collegiate Marching Band Symposium at
premiered the eighth edition of Keyboard miered by the Bang Ohio State University. He adjudicated
Musicianship, Volume 2, at the March On A Can All-Stars at band contests and festivals in California,
MTNA Kansas City Convention. Ten vol- Emory University Colorado, Illinois, Tennessee (Vanderbilt
umes of Celebrate Composers (Frederick (Atlanta, Georgia), on February 21, University) and Missouri (University of
Harris) were released in 2004, focusing 2004, and performed at the MASS Missouri). Caneva is co-author of The
on the solo piano music of Bach, Handel, MOCHA Festival on July 17. Browning’s Complete Marching Band Resource Manu-
Beethoven, Mozart, Haydn, Chopin, Network Slammer (1998) was performed al, published by the University of Pennsyl-
Grieg, Schumann, Heller, and Debussy. by the Crash Ensemble in Dublin on Janu- vania Press. The second edition of the
These volumes are distinctive through the ary 22 and in Amsterdam at the Septem- book was released in Fall 2003. As direc-
particular combination of compositions ber 2004 Gaudeamus Music Week. Three tor of the Marching Illini, Caneva conduct-
selected, and extensive scholarly perform- of Browning’s compositions were per- ed current members and alumni of the UI
ance notes. They were compiled by formed at the Bonk Festival of New Music Bands during a spring tour of Ireland and
Samuel Holland, Marc Widner, and Reid in Tampa, Florida, March 18-20, where he England. The band performed in Dublin,
Alexander. Alexander completes his 25th conducted the University of South Florida Waterford and Kilkenny. In addition, the
year of teaching at Illinois in 2004. Trumpet Ensemble in a performance of Marching Illini recorded a new compact
Breakpoint Screamer. Recent commissions disc entitled Here Come the Illini which
Chester Alwes include the: PRISM Saxophone Quartet for was released in Summer 2004. Caneva
(choral) is under con- their 20th Anniversary Concert at Sympho- remains active as a guest speaker at civic
tract to write a book ny Space, NYC, on November 14; Con- and alumni events and most recently
for Oxford University fluence Trio for the premiere at the March appeared as the featured guest speaker at
Press, tentatively titled, 2005 Bonk Festival; joint commission from the Cincinnati Illini Alumni Club picnic.
A Historical Survey of the NeoPhonia Ensemble (Georgia State Caneva has been on sabbatical leave dur-
Western Choral Music. University); and the NeXT Ensemble ing the fall semester of 2004.
It will present the fruits (Cincinnati Conservatory) for performances
of his teaching at Illinois and accomplish in February 2005. Elliot Chasanov
what no other book has done—give a (trombone) will be on
usable survey of the development of choral Tom Caneva (bands) sabbatical in Spring
music in Europe and the West from the served as a guest con- 2005. He plans to per-
Middle Ages through the 20th century. On ductor and clinician form invited solo
July 16, 2004, Alwes received the with bands from Cali- recitals and present
“Harold Decker Award” from the Illinois fornia, Colorado, Indi- master classes at the
State Chapter of the American Choral ana, Illinois, and Paris Conservatory, the
Directors Association. This award, named Missouri. This included Warsaw Academy, and in Katowice, w
for Alwes’s teacher and former Illinois fac- conducting the Indiana London, and other European cities. He i
ulty member Harold Decker, recognizes his All-State Band and the SICA Conference also will conduct research in Scotland at n
contributions to choral music in Illinois over Honor Band in Orland Park, Illinois. As
t
the University of Edinburgh in preparation e
20 years. Alwes presented a paper enti- conductor of the UI Symphonic Band I, the for work on a trombone text devoted to r
tled, “Words and Music: Benjamin Britten ensemble was part of a commissioning embouchure development. Chasanov has
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Faculty News
been performing as a regular extra and University of Illinois piano students for Campbell, of the new Cultural Computing
substitute trombonist with the Milwaukee performances, study, and immersion in Program at the Siebel Center for Computer
Symphony Orchestra since Fall 2003. In Viennese culture. Science. Complementing his work with cul-
November 2004 he performed the solo tural computing and computer science,
bass trumpet calls from Wagner’s Ring Michael Ewald Garnett will also be co-director of the
cycle with the MSO, Andreas Delphs con- (trumpet) has been cross-campus art and technology initiative,
ducting. invited to participate called the Seedbed Initiative for Transdo-
in a Chamber Music main Creativity (www.seedbed-
Ollie Watts Davis Festival with the Rekenze initiative.uiuc.edu). This initiative fosters
(voice) is a contribut- Brass in Lichtenburg, highly interdisciplinary work on campus
ing author for William Germany for Summer and in the world outside the campus. The
Warfield: Creating 2005 as an ensemble Cultural Computing Program at the Siebel
Home for Students at coach/consultant and master clinician. Dr. Center is a direct outgrowth of Guy’s work
Illinois—No Bound- Ewald was soloist in concert with the on the Seedbed last year.
aries, University of Champaign-Urbana Symphony in October
Illinois Vignettes, UI 2004. He was also trumpet soloist and cli- Joe Grant (music
Press, 2004. She performed in recital at nician at Iron County Youth Camp, Iron education) served as
the Clay Center for the Performing Arts Mountain, Michigan in Summer 2004. He guest conductor for the
and Sciences in Charleston, West Virginia; appeared in solo recital at California State Cairo (Egypt) Choral
Zonta International Conference; Freeport University-Northridge, and in public per- Society in performances
Community Concert Association’s 72nd formance in Thousand Oaks, California, in of Schubert’s Mass in
Year; National Society of Arts and Letters Fall 2003. G, and motets by
60th Anniversary National Convention on Bruckner and Stanford.
May 19; a Songfest at Pepperdine Univer- Ricardo Flores The performances took place at the Ameri-
sity (Malibu, California); and Artist Faculty (percussion) has can University of Cairo and at All Saints
for Songfest’s Young Artist Program at been active as a Cathedral, Zamalek. The UI Women’s Glee
Icicle Creek Chamber Music Festival teacher and per- Club was invited to perform at the state
(Leavenworth, Washington). Davis gave a former around the conference of the American Choral Direc-
lecture/presentation at Zion-Benton High world. He present- tors Association on October 22, at North-
School on Negro Spirituals and was guest ed numerous ern Illinois University.
conductor for the Sangamon Valley Honors concerts and
Choir Festival. workshops at the Peter Griffin (bands)
Sixth International directed the Illinois
Timothy Ehlen Percussion Forum British Brass Band in a
(piano) continues per- in Zagan, Poland, from August 19-28, featured guest perform-
forming solo and 2004. This year he will be presenting mas- ance at the Chicago-
chamber recitals in ter classes and performances at numerous land Invitational
national and interna- universities, including Hartt School of Concert Band Festival
tional venues, includ- Music, West Chester University, Florida in Arlington Heights,
ing Bösendorfer Hall State University and the University of Flori- Illinois, in April 2004. In March, Griffin
in Vienna, the Idyllwild da. He has been invited to return to Zagan served as an adjudicator of the Virginia
Arts Academy in Los Angeles, and the in the summer of 2005. He has also been Band and Orchestra Director’s Association
Plymouth Chamber Music Festival (Massa- invited to present master classes and per- District IV Concert Band Festival, and as
chusetts), during 2003-2004. A highlight formances at the Eastman School of Music clinician for Dennis-Yarmouth Regional
was a concerto performance at the Ameri- and at the Cross Drumming Festival in High School in South Yarmouth, Massachu-
can Liszt Society Conference at the Kran- Warsaw, Poland. setts. During February, he was guest con-
nert Center for the Performing Arts, with ductor/clinician of the 2004 All-South
Ian Hobson conducting. A recording fea- Guy Garnett (composition-theory) has Honor Band held at the University of
turing important solo works of Beethoven, received a half-time appointment in the Southern Mississippi. He served as guest
Schumann and Beethoven/Liszt will be department of computer science for this conductor/clinician of the Sixth Annual
s released during the current season on the academic year. As part of that appoint- North Shore Honor Band in Highland
o
n Azica label. During Summer 2004, profes- ment, he is teaching a course for music Park, and at the Big Northern Conference
o sor Ehlen was in residence at the and computer science students called Honor Band in Burlington (both in Illinois),
r
i Bösendorfer International Piano Academy “Computing Arts.” He also will be co-man- in January 2004.
t in Vienna, Austria, offering opportunities to ager, with computer science professor Roy
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Dennis Helmrich new projects include invited papers on Herbert Kellman
(accompanying) has Florentine monody and 18th-century com- (director of the Renais-
had a full concert and posers in Dresden, and a book on the the- sance Archives and
recital schedule for the ories of Joseph Riepel. professor emeritus of
2004 year which musicology) gave an
includes: A Lieder- Jonathan Keeble’s invited lecture on late
abend with tenor (flute) first solo CD, Burgundian music
Christoph Pregardien icarus, featuring clas- manuscripts in April
in Alice Tully Hall on the “Mostly Mozart sic and newly com- 2004 in the colloquium series at the Uni-
Series” (August 26, 2004); a concert in posed works for flute, versity of Kansas (Lawrence). In May, Kell-
San Francisco with violinist Tai Murray and was released on man participated in a symposium of
violist Amadi Hummings (October 2); a Albany Records in July authors of a book to appear in conjunction
recital with soprano Kathleen Battle in 2004. Included in his with the exhibition, “Renaissance Women
Santa Fe (October 9); a Liederabend with touring this year was a two-week Chamber of Distinction: Margaret of York and Mar-
mezzo-soprano Mary Ann Hart, chairper- Music America funded trip with the Prairie garet of Austria,” in Mechelen, Belgium, in
son of the voice department at Indiana Winds to Alaska. The Prairie Winds was 2005. Kellman is contributing a study of
University, in St. Louis (October 17); a also a featured ensemble at Chamber the political contexts of the two duchesses’
recital with tenor Jerold Siena at the Kran- Music America’s Residency Institute, per- musical patronage. Also this summer, Kell-
nert Center (October 23), and a concert of forming concerts, outreach, and sitting on man continued research on the composer
the works of composer Gerald Cohen at panels during the convention, as well as Josquin des Prez in archives in Belgium
Sinai Temple in Champaign, Illinois performing throughout the country. Keeble and France. His article “Openings: The
(November 13, 2004). At this time, he is performed and taught at The Madeline Alamire Manuscripts After Five Hundred
scheduled for a recital with flutist Gary Island Music Camp, the Birch Creek Music Years,” based on his keynote address at
Schocker in Washington, D.C. on Center, and was recently appointed princi- the International Alamire Conference in
April 16, 2005. pal flute of the Sinfonia da Camera at the Leuven in 1999, was published this year
UI. After publishing an article on ornamen- in the Alamire Foundation Yearbook, Vol.
Joan Hickey (jazz tation in Leonardo Vinci’s music in Flute 5. Earlier in 2004 he participated in “Illu-
piano and piano ped- Talk magazine, Keeble’s current projects minating the Renaissance,” a conference
agogy) performed at include a solo CD of newly composed on northern manuscript illumination at the
the Chicago Jazz Festi- music, and another recording with the Getty Museum in Los Angeles.
val 2004 on Septem- Prairie Winds.
ber 5 with her quartet.
The quartet performed James Keene
music from a CD that (bands) will serve as
is soon to be released. guest conductor of the
VanderCook College
John Hill (musicology) Concert Band during
is author of Baroque the 2004 Midwest
Music, a 600-page Clinic in Chicago. In
book accompanied by August, Keene was cli- William Kinderman and Katherine
the Anthology of nician, keynote speaker, and guest conduc- Syer (musicology) are collaborating on
Baroque Music, con- tor of the Singapore Ministry of several projects related to the operas of
sisting of 130 newly Education’s Fourth Band Convention and Richard Wagner. During Summer 2005,
created scores aug- guest conductor of the Singapore Armed they will resume their seminar “Wagner at
mented by a web supplement containing Forces Central Band. He was appointed to Bayreuth: Music, Drama, Politics” at the
45 additional works. The book belongs to the Board of Directors of the Goldman University of Bayreuth in conjunction with
A Norton Introduction to Music History, the Memorial Band in New York City, also in the Wagner Festival. Kinderman and Syer
series that replaces Norton’s venerable vol- August, where he had served as guest con- also presented lectures on Wagner at the
umes by Reese, Bukofzer, Einstein, and ductor in June 2004. Keene was clinician University of California (Davis) in January w
Austin. Barbara Hanning (CCNY) writes, and conducting mentor for the National 2004, and at the Festival Richard Wagner i
“Baroque Music is astonishingly thorough Band Association Biennial Convention and His World Festival in Jackson and Hat- n
and brilliantly insightful.” Bruce Gustafson (B.O.A.) Summer Symposium in June. Dur- tiesburg, Mississippi in April 2004. A t
(Franklin & Marshall) adds, “[Baroque ing the month of May, he was guest con- e
major publication related to this work is r
Music] is a monumental achievement and ductor of Texas A&M University Symphonic their co-edited book, A Companion to
it is destined to become a classic.” Hill’s Band Concert tour with performances in 2
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Faculty News
Wagner’s Parsifal, which is being pub- Sherban Lupu Yerba Buena Center for the Arts in San
lished by Camden House Press (Boydell & (strings) has been giv- Francisco on November 19, 2004. His
Brewer), and will appear in Spring 2005. ing concerts and mas- piece, Zones d’accord, for solo cello has
This book offers a comprehensive and ter classes in England, been recorded by Craig Hultgren and will
detailed study of Wagner’s controversial Poland and Romania. be released on Living Artist Recordings
final opera. [Another far-reaching collabo- During his visit to later this year. This piece was awarded
rative project debuted in Summer 2004: Poland, the Ministry of first prize in the 2003 Hultgren Cello Biennial.
Marie Eileen Kinderman was born on July Culture and Education
30; she joins sister Anna.] presented him an award in recognition of Charlotte Mattax
his outstanding teaching and his creative (harpsichord and musi-
William Kinderman has edited a book contribution to the development of young cology) will perform
on The String Quartets of Beethoven which talents. On January 16, 2004 Ion Iliescu, solo harpsichord
will be published by the UI Press in 2005. the president of Romania, conferred upon recitals in Princeton,
His most recent article on Beethoven’s him the title of “Commander of the Nation- New Jersey; Los Ange-
“Known and Unknown Bagatelles,” al Order of Merit and Service” in recogni- les, California; Bethle-
appeared in Musik und Biographie in tion of his worldwide musical and cultural hem, Pennsylvania;
2004. He performed a piano recital in activities. and Houston, Texas in Spring 2005. She
France in September 2004; others in has proposed to present a lecture-recital,
Nebraska and at UIUC will be in early Kaz Machala (horn) “J.S. Bach and the Lautenwerk,” at the
2005. In December he is giving a course performed his Concer- International Conclave of the Southeastern
on Wagner’s Parsifal at the Aula de Musi- to for Horn, Winds Historical Keyboard Society at Stetson
ca near Madrid, Spain, and in January and Percussion with University in Deland, Florida, March 3-5,
2005, he will present a lecture-recital on the American Wind 2005. Her review of Robert Zappulla’s
Beethoven at the International Conference Symphony in book, Figured Bass Accompaniment in
on Invention and Imagination at the University Ravenswood, West France, appeared in the Fall 2004 issue of
of the Arts in Berlin, Germany. Virginia and judged a the Journal of the Society for Seventeenth-
solo horn competition at the International Century Music.
Erik Lund (composi- Horn Symposium in Valencia, Spain, both
tion-theory) is complet- in July 2004. In May the American Horn Timothy McGovern
ing a new work for the Quartet performed Machala’s original (bassoon) was on the
Marshall University work Intuitions for Horn Quartet at the faculty at The Madeline
New Music Ensemble, Zurich Musik Hochschule, Switzerland. Island Music Camp on
which was presented Machala’s two transcriptions for horn and Lake Superior in Sum-
in October 2004 on a piano, Orientale and Andaluza (works of mer 2004, where he
concert of his music Enrique Granados), were performed at the performed, coached,
while he was in residence. Lund’s composi- 2004 International Horn Symposium in presented master class-
tion aftermath, for solo piano, received Valencia, Spain. Machala received the es, and workshops. Students (ages 16-26)
performances at the Western Illinois 2004-05 American Society of Composers, were from major schools of music includ-
University New Music Festival, San Jose Authors and Publishers Award. ing UIUC, Eastman, Indiana, and DePaul.
State University, Noe Valley and San Fran- In April 2004, Arthur Weisberg (bassoon
cisco, Washington University in St. Louis, Keeril Makan’s professor at Indiana University), interna-
and at the University of Illinois Krannert (composition-theory) tionally acclaimed soloist, teacher, conduc-
Center for the Performing Arts. His Raccon- Target, a new work for tor, composer, and author), presented a
tini, for chamber trio, was performed by soprano and chamber master class for the bassoon studio in
the Maverick Ensemble in Chicago, and ensemble, was com- which three students performed. McGovern
descent, debris, debrief, for amplified dou- missioned by Carnegie continues with the Prairie Winds on con-
ble bass solo, was performed as part of Hall and premiered on cert series performances, clinics, children’s
the Hear and Now 2003 Festival at UIUC, October 10, 2004 at concerts, summer music festivals, and mas-
for which Lund was also the festival coordi- the Weill Recital Hall. Target will be fea- ter classes in Wisconsin, Iowa, Illinois,
nator. tured in an NPR mini-documentary to be Michigan, New Hampshire, and South
s aired in the months following the premiere. Carolina. Prairie Winds was in residence
o
n The Del Sol String Quartet will premiere at the October 2003 Chamber Music
o Makan’s new work for percussion and America Conference at Roosevelt Universi-
r
i string quartet, commissioned by the Ger- ty (Chicago), where they presented a con-
t bode and Hewlett Foundations, at the cert and seminar in chamber music
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coaching. In October 2003, McGovern Berlin, in January; on music ownership Integration” was published in TRIAD: The
hosted guest artist, Barry Stees (assistant and control in Native American cultures in Ohio Music Educators Journal, and “Trans-
principal bassoon, Cleveland Orchestra), Melbourne, in July; on the voice and gen- forming Music Teaching via Technology:
who presented master classes at UIUC. der identification in Weimar, Germany, in The Role of Professional Development” was
McGovern performed Mozart’s Concerto September; and on revolutions in twentieth- published in the Journal of Research in
for Bassoon with the Illinois Chamber century world music in Kyoto, Japan, in Music Education. In June, Reese offered a
Orchestra in October 2003. November. He gave a short course on one-week teacher in-service workshop in
anthropology of music at the University of Libertyville, Illinois called, “Technology for
Charles (C Chip) Alcala (Spain) in February 2004, and the General Music Classroom.”
McNeill (jazz) per- delivered the opening paper at the UIUC
formed in concerts and conference, “New Directions in the Study Dana Robinson
workshops with The of Musical Improvisation” (of which he (organ) traveled to
Woody Herman Orches- was the principal coordinator), in April. A Germany in June to
tra in Hillsdale, Michigan second, thoroughly revised and enlarged play a recital on the
on September 10-11, edition of his book, The Study of Ethno- Arp Schnitger organ in
2004. McNeill’s new CD, musicology, first published in 1983, will Cappel. The organ,
Radio Improved, was promoted during his quar- be released by the University of Illinois from 1680, survives
tet’s performance at the Roanoke (Virginia) Jazz Press in 2005. unaltered, and is wide-
Festival. The quartet consists of himself on saxo- ly considered the best preserved of the
phone, world-renowned jazz drummer Joel Susan Parisi (UIUC research scholar) master builder’s works. Dana also served
Spencer (B.S.’78) on drums, one of the jazz undertook research in Fall 2003 at the on the faculty of an American Guild of
TAs and jazz doctoral candidate, Toby Curtright Getty Library in Los Angeles for a project Organists “Pipe Organ Encounter,” a
on bass, and another jazz TA, doctoral candi- on music in Mantua celebrating the Gon- week-long clinic for high school students,
date Sean Parsons, on piano. zaga-Habsburg wedding of 1622. The vol- held in August at Pacific Lutheran University.
ume Music Observed: Studies in Memory
William Moersch of William C. Holmes, which she co-edited Ronald Romm (trum-
(percussion) presented with Colleen Reardon and includes Parisi’s pet) and his wife, Avis
a master class at the article on a Francesco Rasi opera, was Fedge Romm (pianist),
Curtis Institute of Music recently published (Harmonie Park Press, toured throughout
and co-hosted the 2004). In Spring 2004, she completed Ohio, Illinois, and
Illinois Music Educa- another article on the 1599 Gonzaga Indiana in 2004 with
tors All-State Percus- state voyage to the Low Countries in which their concert/stage
sion Symposium with Monteverdi participated, to appear in the production of “A Trum-
UI percussion division colleague Ricardo Selected Proceedings of the Seventeenth peter’s Dream.” During the June 2004
Flores in March 2004. Moersch participat- International Musicological Society Con- International Trumpet Guild in Denver,
ed as a featured artist in the 6th Interna- gress, Leuven (Alamire Foundation Year- Romm participated in an educational
tional Days of Percussion in Ribarroja del book, in press). Parisi has been appointed panel discussion hosted by Ronald Modell,
Túria, in Valencia, Spain; co-hosted the series editor of Monographs in Musicolo- and created a duo concert performance
Illinois Summer Youth Music Advanced Per- gy/Studies in Music, for Harmonie Park with former Canadian Brass colleague,
cussion Camp in Urbana (with Ricardo Press. Fred Mills. The Romm/Mills duo was
Flores); performed with the American Sym- accompanied by the Denver Brass. Avis
phony Orchestra at the Bard Music Festival Sam Reese (music and Romm appeared at Festival Epsival,
in New York for “Shostakovich and His education) presented a sponsored by the Epsilon Brass in Limoges,
World”; and served as a juror for the Inter- session at the Associa- France which was recorded for French
national Marimba Competition 2004 in tion for Technology in Radio (RTF). Romm served as soloist with
Belgium. Music Instruction the United States Air Force Europe Band
National Conference under the direction of Maj. Scott Guidry,
Bruno Nettl (musicol- in San Francisco in and performed as a member of the Festival
ogy and ethnomusic- November. The session Epsival Brass-Percussion Ensemble under
w
ology) presented was entitled “Video Conferencing for the the direction of Frederick Mills in a concert i
invited or keynote Rest of Us,” and was made with professor entitled, “An Hour Around Fred Mills.” He n
addresses at several William Bauer, Case Western Reserve was trumpet clinician at the ISYM Band t
conferences on four University. He had two articles published Camp in Summer 2004.
e
r
continents in 2004: on in professional journals in 2004—
the concept of music in “Perspectives for Planning for Technology 2
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23
Faculty News
Peter Schaffer in Salzburg, Siena also gave a recital at Sylvia was on the voice faculty of AAMA
(violin) visited the the Carolino Augusteum and produced in Salzburg, Austria. Several performances
Hochschule for Musik in and directed an evening of opera scenes. (with orchestra) of Le Nozze di Figaro (in
Berlin, Germany, in German) and Die Lustige Witwe were per-
March. He was asked to Ken Steinsultz formed on Kapitelplatz. She also adjudi-
sit in on some juries and (bands) was conductor cated the Schloss Leopoldskron
talk to the violin students. of the IMEA District II Competition for Singers in Salzburg.
He also was invited to the state school for Junior Band on
artists in Berlin, where he presented a lec- November 20, 2004 Stephen Taylor
ture and discussed the future of violin at Augustana College (composition-theory)
teaching in the United States. While there, in Rock Island, Illinois. has several premieres
Schaffer was honored as the outstanding On November 13, he scheduled for the com-
teacher, voted on by some of his former served as conductor of the IMEA District IV ing year, including
students; he will be listed in Who’s Who Senior Band at Western Illinois University Transfiguration, a
Among America’s Teachers. (Macomb). twenty-minute work for
four singers with
Donald Schleicher (orchestra) is begin- Fred Stoltzfus orchestra, which opened the Quad City
ning his sixth season as music director and (choral) has received a Symphony Orchestra’s 90th season in
conductor of the Quad City Symphony grant from the UIUC October. Later that month, his half-hour
Orchestra. The 2004-05 season marks the Research Board to sup- piano work, Seven Memorials, was pre-
90th anniversary season of the QCSO. port travel and miered by Gloria Cheng in Los Angeles.
Highlights of the upcoming season include research on Taylor’s award-winning quartet, Quark
Beethoven’s Symphony No. 9, two world Beethoven’s Missa Shadows, will be performed in April 2005
premiers (including one by UI composer Solemnis in 2004-05. by the Composers Inc. Ensemble in San
Stephen Taylor), guest pianist Horacio He will study the extant sketches that have Francisco. Other new works include The
Gutierrez, oboist Robert Atherholt, and been catalogued in Berlin, Paris, Bonn, Floating World for the Libertyville (Illinois)
guest conductor Catherine Comet. Schle- and Vienna and focus his research on the High School Orchestra, to be premiered at
icher’s ongoing initiative of bringing “great genesis of the “Agnus Dei/Dona Nobis The Midwest Clinic in Chicago in Decem-
concertmasters from leading orchestras” as Pacem” movement from the Missa. He will ber; choral settings of Ursula K. Le Guin’s
guest soloists continues with Philadelphia then publish his work in the form of a fac- poetry; and Nebulae for harp, video and
Orchestra concertmaster, David Kim. simile, transcription, and commentary on live electronics, written for UIUC harp pro-
Robert Chen, Glenn Dicterow, and William the sketches from Grasnick 5, a sketch col- fessor Ann Yeung.
Preucil have recently been part of the lection catalogued in the Berlin Deutsche
series. In addition to the six pairs of classi- Staatsbibliothek. Christos Tsitsaros
cal concerts, the QCSO performs three (piano pedagogy)
pops programs, chamber music concerts, Sylvia Stone (voice) received publication of
and numerous education programs. was artistic director of his new piano collec-
Il Corso Estivo Per Gio- tion, Songs Without
Jerold Siena (voice) vani Cantanti Lirici Words, by Hal
is a 2004 recipient of and taught voice at Leonard Corporation
the “Excellence in Scuola Italia, Urbania, in August 2004. His
Teaching Award” from Italy (in the province of previous book, Poetic Moments, was suc-
the College of Fine Marché, near Pesaro), cessfully presented in 50 workshops
and Applied Arts. He from June 6 to July 3, 2004. Twenty-five nationwide. Between July and September
also received Honor- young singers, eleven of whom were stu- 2004, Tsitsaros gave workshops on piano
able Mention for the dents of UIUC, received an intensive Ital- technique in Boise and Twin Falls (Idaho),
University-wide Award for Excellence in ian language course, voice lessons, St. Louis, San Marcos, and Champaign.
Graduate and Professional Teaching. In coaching, opera scenes, and movement He was also an invited artist and clinician
March 2004, Siena appeared at the Festi- class with an international faculty. The at the Hal Leonard “Piano Day Spas,” in
val Casals de Puerto as Pong in Puccini’s singers presented four successful concerts Denver, Milwaukee, and Los Angeles.
s Turandot. He returned to Salzburg, Austria in and around Urbania; they included
o
n this summer where he continued his studio arias, ensembles, and opera scenes pre-
o teaching and master class activities. While pared with two casts by the stage director
r
i and coaches. From July 13-August 16,
t
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24
Scott Wyatt (composi- to give lessons and master classes to pro-
tion-theory), as part of FACULTY RETIREMENTS fessional singers along with other profes-
his research with the sional possibilities in St. Louis and New
Eric Dalheim
development and appli- Orleans. (excerpt from The News-Gazette, Champaign-Urbana)
cation of positional (M.M.’62) professor
three-dimensional audio and chair of accompa-
nying (2002-04),
imaging, composed an
electro-acoustic work, served on the School
“
IN MEMORIAM
of Music faculty from Gordon Ware Binkerd Emeritus Faculty
On a Roll, which demonstrates this applica-
1959-2004. He taught May 22, 1916-September 5, 2003
tion for surround sound audio format. On a
Roll was selected for performance at the the principles of Gordon Binkerd came to the University of Illi-
2004 National Conference of the Society accompanying and advanced accompany- nois in 1949 along with a handful of faculty
for Electro-Acoustic Music in the United ing, coached voice majors, and taught a who were charged with the task of leading a
States (March 25-27, 2004), and was graduate course in vocal literature. In the regional music [school] to a level of influence
selected by SEAMUS national conference early ’70s, he helped establish the school’s and stature beyond the borders of Illinois.
vocal coaching and accompanying degree These individuals had the musical expertise to
participants to appear on volume 14, Music
program, one of the earliest such university develop innovative programs that attracted
from SEAMUS compact disc recording series
programs in the country. His most notable the brightest and best students from through-
to be released in 2005. Several of Wyatt’s
appearances include concerts with: UI pro- out the country. Their vision during the 1950s
compositions, along with works by com-
fessor of saxophone Debra Richtmeyer, in and 60s made Illinois one of the premier
posers James Dashow and Richard Karpen, Schools of Music. Gordon Binkerd was
were released this year on DVD Audio by Yorkshire, England and in Paris; former UI
professor of oboe Nancy Ambrose King, among the first professors at Illinois to be
Capstone Recordings. Scott will appear as appointed to the University’s prestigious Cen-
guest composer at Illinois Wesleyan Universi- in her first-prize winning performance in
ter for Advanced Study. He helped develop
ty and Iowa State University in Spring 2005. the Third International Oboe Competition
the New Music Festival and attracted some
He remains project director of the Music in New York; and as a participant in the
of our finest young composers. His exclusive
from SEAMUS compact disc recording series locally produced 2002 PBS television doc-
contract with Boosey and Hawkes, one of the
by the SEAMUS Board of Directors. umentary, The Song and the Slogan, which leading publishing houses in the world,
won a regional Emmy Award. Eric will added to the influence and prestige of the
Ann Yeung (harp) continue to perform in UI faculty recitals University of Illinois during its quest to
was elected second and nationally with tenor Jerry Hadley become a major player.
vice-president of the (M.M.’77). Dalheim and his wife, Bar-
— David Saladino, Ph.D. (M.S.’71)
American Harp Soci- bara, will remain in Champaign, Illinois.
ety and was a guest of (excerpt from The News-Gazette, Champaign-Urbana)
Harold A. Decker Emeritus Faculty
honor at the Sixth USA May 13, 1914-June 16, 2003
International Harp Nicholas
Di Virgilio, professor Harold Decker presided over the choral divi-
Competition this sum-
of voice and opera, sion for 33 years, turning it into one of the
mer. Her tribute to Jane B. Weidensaul premier choral institutions in the country. He
was published in the spring/summer jour- joined the faculty
created the first D.M.A. especially designed to
nal of the Association Internationale des in1976, retiring in
equip choral musicians for work at the most
Harpistes et Amis de la Harpe in France. 2004. A graduate of
advanced level. In his tenure at Illinois, the
This past year, she was a presenter at the the Eastman School of
D.M.A. program became the benchmark
2004 American String Teachers Associa- Music, Di Virgilio against which all succeeding programs were
tion with NSOA National String Forum & began his career directing the Mobile measured. Harold played a pivotal role in the
Festival in Dallas, performed for the Ameri- Opera Company production of The Marriage creation of the American Choral Directors
can Harp Society chapters of Philadelphia of Figaro in the late 1960s. Since then, he Association, an organization he saw grow
and Knoxville, and gave a master class at has directed all over the world and nearly from its 58 charter members to a current mem-
the Curtis Institute of Music in October every opera in the repertoire. In 1977, bership of over 20,000, of which he served
2004. In November 2004, she performed Di Virgilio produced, directed, and sang in as president for many years. At the 1997
at the International Computer Music Con- Tosca. As the head of the UI Opera Coor- national convention in San Diego, he was
ference in Miami and gave a recital and dinating Committee, he helped choose awarded the organization’s most prestigious w
i
master class in the south of France. operas that lend themselves to the talents award—the “Robert Shaw Award” in recogni-
n
of students. Nic was responsible for imple- tion of his many contributions to the choral art. t
menting the Youth Opera Preparation and His legacy lives on in his students, in the com- e
Education Program (YOPE) which promot- mitment to excellence of performance and r
ed opera in the public schools—elemen- character that he instilled in all of us. 2
tary to high school. He plans to continue — Chet Alwes (D.M.A.’82) 0
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Musicology
L E S S O N S F R O M
NATIVE
AMERICAN
MUSIC Bruno Nettl, professor
emeritus of musicology
Many of us who began working I first heard a recording of Native Amer- them in dreams, often taught by animals
ican music when I was nineteen, at Indi- who were their guardian spirits. And I
in ethnomusicology in the late
ana University, in a class of Dr. George wondered: didn’t these complicated
1940s started our studies by Herzog’s, who told me that to go into song forms have to be produced by
learning something about Native ethnomusicology, I’d first have to learn composers who worked hard while
American music. It was a kind to transcribe this music—which of they were awake? Or was it really the
course lived in oral tradition—into nota- guardian spirits? I learned that the
of music that sounded to us tion, and he gave me a wire recording world’s societies have different ways of
about as different from what we (the most advanced technique we had conceiving of how music is created.
were used to as we could imag- in 1949) with which, repeating each In 1951, I met my first Native Ameri-
phrase many times, I managed to get a can teacher, an Arapaho with the curi-
ine; and also, it was easier to two-minute song down on paper in two ous name of Bill Shakespear (the name
undertake a summer’s field work or three hours. But how to write down given by a whimsical teacher at the Indi-
on a Native American reserva- the (to me) strange singing style, the an school in Carlisle, Pennsylvania), who
slightly but consistently fluctuating visited the Bloomington campus for a
tion than in Africa or Asia. It’s
intervals, the note-value relationships summer. Bill, about fifty, a gentle man
an interest I’ve maintained, and that didn’t fit into our system of notes who took an avuncular interest in my
now, looking back at the 55 and dots? This first lesson I’m laying on education, sang for my primitive tape
you here was an introduction to the recorder all of the songs he knew. But
years since my first encounter
immense variety of musics in the world, the question came up: what’s a song?
with this—to me—very exotic and I think it’s this variety that initially Most didn’t have words, and there was-
sounding singing and percussion, turned many ethnomusicologists on to n’t a good way to identify them. Once,
I realize that Native American their field, and that they can share with after he had sung one song, I asked him
the world of musicians. I also had to to sing it again to see whether it would
music has taught me a lot about analyze the forms of these songs and be different, and it was totally different,
the music of the whole world, was amazed at their sophistication. but he insisted that it had been the
and gave me things to wonder Then I learned that many Native Ameri- same, “only a little different in tone.”
cans conceived of songs as coming to Another time, he sang two songs that
about. Let me share with you sounded identical, but insisted they
some lessons. were not the same, maybe just “a bit
similar.” But then he would sometimes
say such things as “I got this song from
my grandfather.” I began to learn that
the world’s cultures differ as much in
s
o their conception of what music is as
n they do in their musical sounds and
o
r styles.
i
t
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e
s
Image courtesy Northwestern University Library, Edward S. Curtis’s
‘The North American Indian’: the Photographic Images, 2001.
26 http://memory.loc.gov/ammem/award98/ienhtml/curthome.html
Third lesson: Years later, beginning in song couldn’t be divided or changed, but now a professor at Arizona State),
the 1960s, I had the good fortune of some songs could be given or sold. I got Robert Witmer (M.M.’72, now at York
doing some fieldwork (sporadically the feeling that the Blackfoot thought of University in Toronto), Victoria Levine
over several years), on the Blackfeet songs as objects, like drums, rattles, blan- (Ph.D.’90, at Colorado College) and
Indian Reservation in Montana, in beau- kets, or headdresses. If two men learned Christopher Scales (Ph.D.’04, at William
tiful country just east of Glacier (dreamed) what might sound to us like & Mary College).
National Park. The Blackfoot nation the same song, these would be two dif- My fifth lesson, though, concerns a
maintained a vigorous culture in which ferent songs, because they were the relationship between the Blackfeet
they combined being modern Ameri- products of two acts of creation. reservation and our campus in C-U.
cans with trying hard to preserve and But my second example moves us to When I came to the University of Illi-
revive older traditions. I got to hear recent times. Modern American Indian nois, over forty years ago, I learned
some songs that people usually sang at musical life revolves around pow-wows, about Chief Illiniwek and saw the
private ceremonies, and I attended the gatherings, and celebrations at which dance, and I thought to myself, well, that
grand pow-wow, and if I were to bring Native American identity is represented doesn’t look like any Native American
back the one main lesson from my vari- mainly by singing and dancing. Small dancing I’ve seen, but there’s lots of vari-
ous activities, it would be this. Music— pow-wows may have a dozen dancers, ety there, so who knows? And I let it go
their own music—is just enormously one singing group (known as “Drum”) at that, feeling that the Chief didn’t real-
important to the Blackfoot. Of course with some five to eight singers; or even ly have much to do with real Native
they also listen to (and play), country just one singer. The large pow-wow of Americans anyway; it sure wasn’t any-
music and jazz and classical music; they the Blackfoot has as many as 25 drums, thing that I could use in my courses.
have a high school band and church taking turns, and hundreds of costumed Then, as I got more experience in field-
choirs. But what they call “Indian dancers moving around a circle, with work, I came to realize that American
music” may be the most important maybe a thousand spectators—natives, Indians were willing to share a lot,
emblem of their ethnic identity. tourists, hobbyist dancers. In a lot of though not all, of their culture with oth-
Two illustrations (the first, from the ways, the Blackfoot people were acting ers, but it was important to them that
“old days”): Calvin Boy, one of my prin- pretty much like their white neighbors. they should have the right to decide
cipal informants, or teachers, once said They even presented a color guard of how they would be represented. My
to me,“the right way to do something is U.S. military veterans, they flew the stars teachers, for example, wanted to be sure
to sing the right song with it.”Then he and stripes; they had come in pickup that I got right the things they were try-
corrected himself: “the right Blackfoot trucks, and (except for the dancers) ing to explain; and they weren’t always
way to do something is to sing the right dressed in T-shirts and farmer’s caps. But optimistic. Two years ago, in Browning,
song with it.” What did he mean? obvi- the music, the singing and drumming, I asked a couple of people whether they
ously, people weren’t constantly was totally Indian, there wasn’t, for four had heard of our “Chief” controversy.
singing. Some of the older authors who days, even a moment of rock or blues, They had heard, but weren’t sure what
recount life about 1900, talk about hear- hymns or patriotic songs, no national it was all about. Except for one man,
ing a lot of singing all the time. But sure- anthem for the flag, or Taps for memori- who couldn’t help wondering why a
ly Blackfoot homemakers didn’t sing als. It seemed to me that it was through bunch of people, mostly White, some
“ironing songs” and auto mechanics did- this insistence on Indian music that they also African American and Asian Ameri-
n’t sing “tune-up songs.” But Calvin— were asserting their Indianness or Black- can, would want to be symbolized by a
and others—had the idea that what footness. That’s a lesson, my fourth, that man in a Native American costume, in a
made Blackfoot culture unique was this would apply to many Native American dance inspired by what he thought
concept of a world of supernatural peoples. Native American dances were like, to
power, symbolized by songs (and I’ve visited the Blackfeet reservation music in which a marching band tried
dances and ceremonial acts that went some eight or ten times, often rather unsuccessfully to give an impression of
with them), that paralleled the everyday briefly, and there’s lots I learned and Native music. He couldn’t understand
world. Here’s how I interpret this: songs lots more I haven’t learned. I’ve had the how this spectacle could conceivably
and dances connected the natural privilege of teaching courses on Ameri- honor any Native Americans he knew, w
world to its analogue, the supernatural can Indian music at UIUC regularly and surely he didn’t see why this i
world. You learned songs in dreams since the 1960s, and also to advise some would make all those non-Natives feel n
from your guardian spirits who sang graduate students who have gone on to good about themselves. I guess I don’t t
e
them to you once, and now, too, people distinguished research and teaching in either. ■ r
say they learn songs in one hearing. A this field: Richard Haefer (Ph.D. 1981,
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27
BRAVO! 2004 SCHOOL OF MUSIC AWARD, SCHOLARSHIP, AND FELLOWSHIP RECIPIENTS
Kerry Heimann JOHN AND ELVIA SUTER AND KARL MONTAGUE HAKES AWARD: CAROLYN MITCHELL DAVY MEMORIAL AWARD:
Andrew Wallace Alicia Zeilenga
BILL A. NUGENT FELLOWSHIP IN MUSIC:
Sara Kramer MARILYN PFLEDERER ZIMMERMAN UNDERGRADUATE JAMES RUSSELL VAKY MERIT SCHOLARSHIP IN MUSIC:
SCHOLARSHIP IN MUSIC EDUCATION: Fu-Ju Song
SWANSON FAMILY PERCUSSION FELLOWSHIP: Catharine Casey, Suzanne Hermany
Darin Kamstra ANDREW G. DE GRADO PIANO AWARD:
MARILYN PFLEDERER ZIMMERMAN FELLOWSHIP IN DOCTORAL Laura Theby
NICHOLAS TEMPERLEY AWARD FOR EXCELLENCE IN A STUDIES IN MUSIC EDUCATION:
DISSERTATION IN MUSICOLOGY: Rebecca Kellermeyer, Rachel Whitcomb CLARA ROLLAND CHARITABLE TRUST SCHOLARSHIP:
Roberta Freund Schwartz Kris Becker
NANCY KENNEDY WUSTMAN MEMORIAL AWARD IN VOCAL
JOHN D. AND FERN HODGE ARMSTRONG AWARD FOR ACCOMPANYING: PAUL ROLLAND MEMORIAL STRING AWARD:
OUTSTANDING UNDERGRADUATE PERFORMANCE: James Ivey Cristina Lixandru, Ari Vilhjalmsson
Adelaide Muir
ELIZABETH MEIER FRAUENHOFFER MEMORIAL SCHOLARSHIP: EDGARD VARÈSE PERCUSSION AWARD:
RUNNERS-UP FOR THE JOHN D. AND FERN HODGE ARMSTRONG Leslie Damaso Christopher Cree
AWARD FOR OUTSTANDING UNDERGRADUATE PERFORMANCE:
David Husser, Katherine Cameron ANN SCOTT MAHER MASON VOCAL MUSIC SCHOLARSHIP: UI SYMPHONY ORCHESTRA STUDENT COMPOSITION AWARD:
Mary Wuestenfeld David Farrell
OUTSTANDING GRADUATING SENIOR IN CHORAL MUSIC
EDUCATION: GOLDEN LYRE FOUNDATION AWARD: CHIP DAVIS/MANNHEIM STEAMROLLER ORCHESTRA AWARD:
Joshua Spear Leah Myszkowski Rose Wollman
OUTSTANDING GRADUATING SENIOR IN ELEMENTARY GENERAL CHARLES F. AND HELEN W. LOEB VOICE SCHOLARSHIP: LYNN HORTON BASSOON SCHOLARSHIP:
MUSIC EDUCATION: Ashmani Jha, Adelaide Muir Hannah Rutzen
Seredy Masar
DOROTHY E. BOWEN VOICE SCHOLARSHIP: THOMAS J. SMITH SCHOLARSHIP:
OUTSTANDING GRADUATING SENIOR IN INSTRUMENTAL MUSIC Allison Holmes Raquel Adorno, Kimberly Davis, Lisa DeAngelis,
EDUCATION: Kristen Richards, Allison Semmes, Catherine Starks
Nicholas Stefanic ELIZABETH MEIER FRAUENHOFFER MEMORIAL AWARD IN MUSIC:
Raquel Adorno VERNA K. TOWNSEND AWARD:
ROBERT E. GRAY TROMBONE AWARD: Kelsey Fletcher-Broucek, Claire Happel, Adelaide Muir,
James Siders GRACE ELIZABETH WILSON MEMORIAL AWARD FOR EXCELLENCE Xin Tian
IN SINGING:
EDWARD J. KROLICK STRING AWARD: Adelaide Muir DIVISION ACHIEVEMENT AWARDS:
Phillip Hales Brass: Lucas Alberts, Eric Robins
SARA DE MUNDO LO AWARD: Composition-Theory: Wes Alexander
DANIEL J. PERRINO SCHOOL OF MUSIC SCHOLARSHIP: Lissette Jimenez Jazz: Andrew Fredrickson
Abby Burgett Music Education: Christopher Brown, Patrick Hayes,
s JOSEPH W. SCHLANGER MEMORIAL OPERA SCHOLARSHIP: Robert Krueger, Brianne Shadensack, Julie Simms
o ROBERT E. THOMAS AWARD: James Ivey Musicology: Timothy Duis
n Queena Chi Percussion: Sam Schmetterer
o ILLINOIS OPERA THEATRE ENTHUSIASTS AWARD FOR EXCELLENCE: Piano: Andrea Hui
r
i GUY M. DUKER INSTRUMENTAL MUSIC EDUCATION AWARD: Chad Ballantyne, Courtney Huffman Piano Pedagogy: Jonathan Schildt
t Christopher Barnum String Division: Charles Macko, Sarah Shreder
i JILL MCALLISTER AWARD: Voice: Marc Day, Allison Semmes, Caroline Stuart,
e Erik Horak-Hult Stacey Tavor
s
Woodwind: Joanna Martin, Stephanie Silosky
28
Student News
Although the School of Music honors its Waejane Chen, master of music candi- also was “performed” on the digital juke-
talented students at the Annual Awards Lun- date in piano, won the 2003-04 Krannert box at the ICMC in Miami on November
cheon in the spring, when it presents cur- Center Debut Artist Competition. Her debut 1-6, 2004.
rent students with awards, scholarships, concert was Sunday, May 2 in the
and fellowships, there are other student Foellinger Great Hall of the Krannert Cen- Amy Feather, doctoral candidate in
achievements and competitions sponsored ter for the Performing Arts. Also in 2004, vocal performance, sang the Countess
by professional organizations. Some of she was awarded the Kate Neal Kinley Ceprano role with the Boston Lyric Opera,
these winners are listed below: Fellowship by the College of Fine and and the role of Gretel in Humperdinck’s
Applied Arts. Hänsel und Gretel with its Outreach Pro-
gram during last season.
Chad Ballantyne, doctoral candidate in Stephanie Chigas, undergraduate voice
choral conducting, will appear as bass student, toured in Spring 2004 with the Stefan Fiol, graduate student in musicolo-
soloist in Haydn’s Creation with the Prairie Boston Lyric Opera’s Outreach Program, gy, was awarded a Fulbright grant by the
Ensemble in May 2005. singing Hänsel in Humperdinck’s Hänsel Institute for International Education as well
und Gretel. She received The Most Promis- as a Fulbright-Hays grant by the Depart-
Kris Becker, graduating senior in piano, ing Young Singer of the Year Award from ment of Education; and in addition, a
won the piano prize in the 17th National the opera company. This summer she was grant by the Wenner-Grenn Foundation in
Yamaha Young Performing Artist Competi- again invited to sing at the Glimmerglass competitions funding dissertation research.
tion in April 2004. Kris participated in a Festival in upstate New York, performing He will be doing research on music in the
concert featuring all of the instrumental the role of Angela in Gilbert and Sullivan’s state of Arunachal Pradesh, India during
competition winners on June 21 at Illinois Patience. the current academic year.
State University. He will enjoy many privi-
leges as a Yamaha artist, including servic- Kyong Mee Choi, doctoral candidate in Thomas Forde, senior voice major, par-
es and communication with Yamaha’s artist composition-theory, was selected to attend ticipated in the 54th season of Opera in
relations department. Following the May the International Computer Music Confer- the Ozarks at Inspiration Point in Summer
2004 Commencement at which Kris ence, University of Miami, on November 2004, singing the role of Zuniga in the
received his B.M. degree (Bronze Tablet), 6, 2004 following the performance of her production of Bizet’s Carmen. He was also
he attended and performed in the Amalfi work, Sublimation, at the Australian Com- featured as the lead male role, John/Her-
Coast Music Festival in Vietri sul Mare, puter Music Conference at Victoria Univer- messon, in the American premier of The
Italy (on the Mediterranean coast) in July; sity of Wellington, New Zealand. Her House of the Sun, by the Finnish composer
he remains an active solo classical per- electro-acoustic composition, Tao was per- Rautavaara. The premier was recently fea-
former, accompanist, chamber musician, formed at Music 04, University of Cincin- tured in Opera News, The New York
composer, music scholar, and jazz artist. nati College-Conservatory of Music on Times, The Wallstreet Journal, and by the
June 18. Another of her works, Condo- Finnish National Press. Under the vocal
Nathan Birkholz, doctoral candidate in lence, was performed at Zeppelin 2004 guidance of Ms. Korby Myrick, Thomas
piano, was a winner of the Neale-Silva Centre de Cultura contemporània de was also named a Hobart Scholar, receiv-
Young Artists Competition sponsored by Barcelona, Spain on May 22, 2004. ing a tuition waiver for his participation.
Wisconsin Public Radio. As a winner, he
performed in recital at the Elvehem Muse- Brad Decker, graduate student in com- Claire Happel, graduating senior with a
um in Madison on March 21, 2004, position-theory, won the 21st Century B.M. degree (Bronze Tablet) in harp per-
which was broadcast live across the state Piano Commission Competition in 2003 formance in May 2004, had an article,
on WPR. for his work, Podia. The piece was per- “World Harp Congress Review Compendi-
w
formed on February 27, 2004 at the Kran- um (1984-Spring 2004),” published in the i
Stevie Caufield, graduate bassoon per- nert Center for the Performing Arts. Podia Spring 2004 issue of the World Harp Con- n
formance major and 2002 B.M. alumna, gress Review. She is currently a graduate t
was awarded a second Tanglewood Fel- student at the Yale University School of e
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lowship for the Summer 2004. Music.
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Student News
Desiree Hassler, master of music candi- Jori Johnson and Henry Pleas, doctor- Edward Martin, doctoral composition-
date in voice, sang in the Chicago Sym- al candidates in voice, performed Stravin- theory candidate, was the 2004 first-prize
phony Chorus during the 2003-04 season. sky’s Pulcinella with the Prairie Ensemble in winner in the Festival of Living Music
April 2004. which was sponsored by the Tampa Bay
Gary Hollander, doctoral candidate in Composers’ Forum. Martin’s Dialogues, is
trombone, has been appointed Fall 2004 Phillip Johnson, doctoral candidate, an 11-minute work in five movements. In
sabbatical replacement for Dr. Stephen was appointed percussion instructor/assis- April, his work Metalission was performed
Parsons at Illinois State University. His tant band director for Nikki Rowe High at the Florida Electro-acoustic Music Festi-
duties include teaching all undergraduate School in McAllen, Texas. val. Martin’s composition, Apparitions for
and graduate trombone majors and work- alto saxophone and electroacoustic accom-
ing with the ISU Trombone Choir. Darin Kamstra, doctoral candidate in paniment, was performed at the North
percussion, was appointed to a one-year American Saxophone Alliance National
Stacey Jocoy Houck, doctoral candi- position at Mesa State College (Colorado). Conference which was held at the Univer-
date in musicology, presented “Tradition as sity of North Carolina (Greensboro).
Sedition: Christmas Carols in Puritan Eng- Daniel Kelly, doctoral candidate in trum-
land” at the conference of the Society for pet performance, is interim professor of Jeffrey Matter, master’s candidate in
Seventeenth-Century Music in La Jolla, Cal- trumpet at Indiana State University (Terre percussion, was awarded the Mark H.
ifornia in April, and at the conference Bri- Haute) for the 2004-05 academic year. Hindsley Award for outstanding bands-
tannia (Re-) Sounding: Music in the Arts, manship in May.
Politics, and Culture of Great Britain, at Jeung-Y Yoon Lee, master of music candi-
Oberlin College in June. She was recently date in piano pedagogy, has been accept- Patrizia Metzler, doctoral student in
appointed visiting assistant professor of ed into the doctoral degree program at the choral conducting, will serve as research
music at Texas Technological University University of Iowa which combines piano assistant to professor Fred Stoltzfus in a
(Lubbock) for 2004-2005 performance with piano pedagogy. project funded by the UIUC Research
Board for 2004-05 to explore the genesis
Courtney Huffman, junior voice major, Jie-YYoun Lee and Eun-JJun Yoo, doc- of the “Agnus Dei” in Beethoven’s Missa
sang the leading soubrette role of Zerlina toral candidates in flute and harp, respec- Solemnis.
in Mozart’s opera, Don Giovanni, in Fall tively, were winners of the 2004 National
2004. Courtney also sang the leading Flute Association’s Chamber Music Compe- Adelaide Muir, senior voice major, was
soprano role of Johanna in the UI opera tition and performed at the national con- one of seven grand finalists of the Metro-
production of Sweeney Todd in Spring vention in Nashville in August 2004. politan Opera National Council Auditions
2004. This year, too, she was the soprano in March 2004. She spent a week at the
soloist for Bach’s Cantata No. 80 (per- Sarah Long, doctoral candidate in musi- Met in meetings and rehearsals, learning
formed with chamber orchestra), and cology, is the recipient of the Newberry about the realities of opera, while she pre-
soloist with the Oratorio Society’s perform- Library of Chicago’s Annette Kade Fellow- pared to sing in concert with other finalists
ance of Bach’s Cantata No. 78, both ship for 2004-2005. She will spend the on March 21. In the grand finals concert,
under the direction of Fred Stoltzfus. She is fall semester in residence at the Newberry Adelaide sang, Piangero La Sorte Mia
a six-time recipient of the Sunriver Music Library Center for Renaissance Studies, from Giulio Cesare by Handel and Ah Je
Festival Scholarship Award, including 2004. and the spring semester continuing Ris De Me Voir (Jewel Song), from
research in Paris for her dissertation on the Gounod’s Faust. Her professor, Jerold
Jing-I Jang, graduate candidate in harp, printing of plainchant and the usages in Siena, and her father, John Muir
was a participant of the 2004 USA Inter- Paris in the early sixteenth century. (B.M.’76) were in attendance for the con-
national Harp Competition cert. She was soprano soloist in Musica
Charles Lynch, graduate student in
da Camera’s performance of Beethoven’s
Elizabeth Jaxon, undergraduate student harp, is adjunct faculty member at Olivet
Choral Fantasy and appeared this fall as
in harp, was a participant in the 2004 Nazarene University in Kankakee, Illinois.
soloist in Carmina Burana with the Cham-
USA International Harp Competition. She paign-Urbana Symphony.
is also co-author of a scientific paper enti- Fernando Malvar-R Ruiz, doctoral candi-
tled “Physical Structure of Planetary Nebu- date in choral conducting, accepted an
Jeffrey Peterson, doctoral candidate in
lae. II. NGC 7662,” published in the appointment as the Litton-Lodal Music
accompanying, was coordinator of the
October 2004 issue of The Astronomical Director of the American Boy Choir in
s pianists for Il Corso Estivo per Giovani
o Journal. Princeton which began in July 2004. Previ-
Cantanti Lirici in Urbania, Italy, in June. He
n ously, he had been associate director of
o also appeared as accompanist for the pro-
r the choir.
gram’s four concerts presented in Urbania
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Student News
Eun-JJun Yoo, doctoral harp candidate,
Colleen Potter, undergraduate harp stu- Ji Yon Shim, doctoral candidate in cello, presented a debut recital on October 16,
dent, studied French language and litera- has been appointed co-principal cellist of 2004 at the Seoul Arts Center Recital Hall
ture for six weeks at the Institute for the Springfield (Illinois) Symphony Orchestra. in South Korea.
American Universities in Avignon, France
in Summer 2004. She was principal Stephen Sieck, doctoral candidate in Six percussion majors spent the sum-
harpist for the Sugar Creek Symphony and choral conducting, was tenor soloist in mer marching with various corps on the
Song’s August production of Gounod’s Haydn’s Creation at Millikin University this 2004 Drum Corps International Tour.
Romeo et Juliette in August 2004. spring and will appear in the same capaci- Drew Russell marched with the Glass-
ty with the Prairie Ensemble in May 2005. men from Toledo, Ohio and Roxanne
Susan Rice, doctoral choral conducting He is serving as interim conductor of the Moore marched with the Cadets of
candidate, is serving as interim conductor UI Chamber Singers for 2004-05. Bergen County (New Jersey). Ben
of the UI Oratorio Society for 2004-05. Collins, Ben Hall, Travis Knapp, and
Joshua Spear, graduating senior, was Andrew Packer marched with the 2004
Stephen Roberts, doctoral candidate in awarded the Kappa Delta Pi Outstanding Drum Corps International World Champion
trumpet performance, is interim professor Senior Award through the College of Edu- Cavaliers from Rosemont, Illinois.
of trumpet at Iowa State University (Ames) cation. This award was given to the
for the Fall 2004 semester. teacher education degree candidate with The UI Black Chorus performed for
the highest grade point average among Illinois Arts Advocacy Day at the State
Allison Semmes, undergraduate voice those who graduated in May 2004. Capitol (Springfield) on April 22, 2004.
student, was an apprentice for Songfest’s
Young Artist Program at Icicle Creek Tyné Steele, master’s candidate in bas-
Chamber Music Festival June 27-July 10, soon performance, won the principal bas-
2004. soon position with the Quad City
Symphony Orchestra in Davenport, Iowa
in September 2004.
Card #
Business name Expiration date:
Business address
ViktorKrauss
FarFrom
Far From Enough, that’s the title of his recent
recording, and that’s how Viktor Krauss
(B.M.’91) still sees his career. It’s a career that
would strike many musicians as already pretty
rich in accomplishments. Composer, producer-
arranger, and bassist, the thirty-five-year-old
commutes between Nashville and Los Angeles.
He keeps busy making music with such greats
as Lyle Lovett, Bill Frisell, Mindy Smith, John
Fogerty, Mary-Chapin Carpenter, Graham Nash,
and, occasionally, his sister, violinist Alison
Krauss. And he looks forward to plenty more.
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Enough
“What I loved about studying with Paul Zonn,” Viktor adds,
“was his encouraging attitude. I never felt there were rigid
rules; he made sure that we were aware of various tech-
niques, such as serial techniques or traditional notation, but
also allowed the tape pieces I wanted to write.”
At UI he was involved in the jazz band, including its tour
to Russia. He says,“I absolutely loved my experience at UI. I
did twenty-two opera productions at Krannert, mostly
singing in the chorus, as well as two seasons with Medicare
Dixieland Jazz Band. I learned the chord structures to come
up with bass lines that might become a tune that I could
Anne M. Heiles
write, or to find parts that would complement everything
Growing up in Champaign, Illinois, Viktor says that once he else going on.” Although he rarely uses a bow (“If someone
saw the double-bass’s heft and heard its “ominous quality,” he asks me to play arco, I usually try to talk him out of it”), at the
found his “truest friend in the music world.” He soon recog- UI,Viktor was writing for bowed Fender bass; he also experi-
nized the bass’s integral role in any style of music. mented with using a constant loop of delay, echo techniques
“Whatever hires me is the style I play in, the genre of the with voice, and serial techniques with twelve-string electric
day, but I consider myself a rock guy first. Usually the stuff I guitar. He says he was “kind of out there” in his compositions,
get called for is kinda’ left of center!” Consequently, he advis- adding that being introduced to so much late nineteenth and
es students to “be open-minded and listen to twentieth century music in his courses
as many different genres as possible. Pay atten- helped enormously with his writing
tion to how the instrument itself works with- career.
in a band and how the other parts connect “The Experimental Studios with Scott
with it. Listen to important players, the ones Wyatt,”Viktor adds,“well—I had a wonder-
doing it ‘right.’” During high school Viktor ful time in that course and became an
studied with School of Music student Karen electronic gear junkie. I’m continually
Koresmeyer. “She compiled music into tapes looking to find unorthodox ways to treat
for me to listen to. I didn’t have many years of instruments, something I got from that
formal training, but my musical interests experience. I recently used the pickup
helped me as much as studying the instru- from my double-bass through four delay
ment itself. For instance, I was a big fan of boxes with overdrive and wa-wa pedals
bassists Ray Brown, Leland Sklar, and John for an underwater effect in a film score.”
Paul Jones of Led Zepplin (he still is a big Krauss collects pedals: guitar-effect, distor-
influence on me).” Krauss and his friends tion pedals, flangers and phasers, analog
formed a rock band, and Viktor began writing and digital delay—”anything that can be a lit-
songs for it. tle different.”
At the University of Illinois he majored in music composi- Viktor’s break came when he was invited to tour and
tion, with a minor in voice. He studied composition with Pro- record with Peter Rowan and the Free Mexican Air Force in
fessor Salvatore Martirano, but mostly with Professor Paul 1993. He had already worked in Nashville, so breaking in,Vik-
Zonn. Then chair of the theory-composition division, Zonn tor says, was largely a matter of “word of mouth and being
w
also played clarinet for shows and recordings in Nashville (as able to back it up by my playing once I had the gig.” In 1994 i
did his oboist wife,Wilma). Eventually the Zonn children, vio- he began to record and tour with Lyle Lovett; among their n
linist Andrea and bassist-cellist Brian, followed in their foot- most recent works were the 2003 releases My Baby Don’t t
e
steps; with Alison and Viktor Krauss that made four Tolerate (Viktor as bassist) and You Were Always There r
Champaign-Urbana string players who settled in Nashville. (which he co-wrote).“I played a bunch of chordal ideas, and
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Alumni Profile
“If there’s advice I would offer young players it is this: How you deal with people is as
important as your ability. Being on time is a huge thing. Being friendly and enthusiastic,
and making people feel there’s nowhere you’d rather be at the time will take you far.”
Lyle latched on to a particular one that we used. I was in the that’s pretty much it, though there may be editing or an addi-
right place at the right time, and had always wanted to play tional overdub to enhance it. In Los Angles, however, many
with Lovett. I contacted his manager, whom I’d already met, recordings are ‘built’: a sequenced/synthesizer track first, a
and expressed my interest.The manager said,‘We’ll keep you more human element then added as the overdub.” That
in mind.’ I was having a scary period in 1994, not much going process agrees with him:“You can focus on each instrument
on. So I called Lovett’s manager again to let him know that I in the overdub, building a track from something as small as a
was still around. A couple months later he told me I had the trio and working from that standpoint on.” The only negative
gig starting in ten days. That wasn’t much time to learn about in the process, he says, is losing some spontaneous interplay
80 to 100 tunes, so I scrambled. with other musicians. Even in Los Angeles Krauss worked in
“I think I was chosen because the older, orchestrated process in
my attitude was right and people Kevin Costner’s movie, For the
thought I was capable. If there’s Love of the Game, which the Sina-
advice I would offer young play- tra tune Summer Wind was done
ers it is this: How you deal with with full band, including horns
people is as important as your and full strings, “an amazing play-
ability. Being on time is a huge back with the headphone mix.”
thing. Being friendly and enthusi- With R & B singer Eric Benet, in
astic, and making people feel contrast,Viktor played a tune to a
there’s nowhere you’d rather be preexisting track, a drum loop,
at the time will take you far. A lot more like recording a commer-
of people are wonderful players cial. “Sometimes with commer-
but don’t interact well, and some cials, all I have to go on is a drum
people are good at being ‘political’ without backing it up in track, since many producers like to start with the bass. You
their playing.You need both!” don’t want to over- or underplay, but you don’t know exactly
Now that Krauss and his wife, Kristi, have a baby, he appre- what else will be added to the bass track.”
ciates that Lovett offers him flexibility. “He’s graciously He and his younger sister Alison have written,recorded,and
allowed me to do as much as I want to do. I’ve even worked co-produced (e.g., Moments Like This for the 1996 movie
with Lovett writing some songs and (with Matt Rollings) the Twister) together. “We just did a Christmas tune that’s being
score for a Robert Altman film, Dr. T and the Women.” released for this year’s holiday, Shimmy Down the Chimney.
In 1995 Viktor met avant-garde guitarist Bill Frisell, anoth- We wrote it in 1988, and thought ‘Shimmy’ would work for
er significant association. “He hired me based on word of this compilation. It sounds like a ’70s or ’80s R & B tune.”
mouth. When I heard him, I thought,‘Wow, this is really great.’ In February 2004,Viktor’s Far From Enough placed num-
We’ve done about eight records, including Good Dog, Happy ber six on the Billboard chart of Top Contemporary Jazz and
Man and Nashville, and he was instrumental in making my among the top ten recordings sold by Amazon.com. Viktor
record happen.” Their tours continue to the present (Novem- has described the songs as a “soundtrack without the movie,”
ber 2004).“We were playing in New York at Joe’s Pub,”Viktor a kind of program music that’s “edgier than straight-edge jazz,
recalls, “and the president of the record label came to the but hard to characterize as a pop record.There isn’t one pro-
show. I had been telling Bill and his producer that I hoped to grammatic thread running through it, though some of the
do my own record, and had played some of the stuff for titles give away an intent or image.” The CD features Krauss
them.” That bit of self-promotion, he says,“ended in my get- on bass, Bill Frisell on electric guitar, Jerry Douglas on Dobro,
ting to make the record—again, pretty much being in the Steve Jordan on drums, and Alison Krauss on viola and vocalises.
s right place at the right time.” Viktor Krauss has his fingers crossed now, hoping that the
o
n Viktor explains that “a lot of pop music depends on the good record sales will pique the production company’s inter-
o musician in the moment of the session,”the ideas that emerge est in future projects. “I would love to continue doing film
r
i then becoming the core orchestration for further recording scores.” You can check out what else is on his plate at his
t sessions.“In Nashville a group plays the recording session and website: viktorkrauss.com. ■
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Alumni Notes
Janet Manning
coordinator, alumni relations
and development
on both concerts. At the Navy Memorial Tom Jewett (B.S.’65) has created an
concert, they performed Karl King’s “online reunion” for members of the 1964
Melody Shop as an encore. Coincidental- Symphony Orchestra tour of South Ameri-
ly, each of the trio has served as principal ca. Alumni may participate by visiting
euphonium with the University of Illinois www.tomjewett.com/thetour through
Wind Symphony. Also, Ken Steinsultz con- 2004.
ducted Edwin Franko Goldman’s Illinois
March at the WW II Memorial Concert. 2004-2005 ALUMNI RECEPTIONS
Amy Olipra (B.M.’03, Alexia Kruger (M.M.’04) sang in the Frederick William Westphal
B.M.E.’03), mezzo-soprano, Chicago Symphony Chorus during the (B.S.’37, B.M.’38) April 25, 1916 -
sang two roles this summer 2003-04 season. December 23, 2003,
at the Central City Festival. Walnut Ridge, AR
They were the Voice of the Thomas Madeja (B.M.’04) is a graduate
Mother in The Tales of Hoff- assistant at Baylor University (Waco, Texas). Mildred G. Williams (B.M.’39)
mann and Gretchen in The Student Prince. December 17, 1916 - May 18, 2004,
Justin White (B.M.’04) is a graduate Monmouth, IL
Benjamin S. Schoening (M.M.’03) was assistant at the University of Kansas
Colleen Jean Kirk (B.S.’40,
hired as music department head, and (Lawrence).
M.S.’46, former music education
director of bands and choirs, at Northland faculty member) September 7, 1918 -
Pioneer College in January 2004. He is March 5, 2004, Paxton, IL
“My most vivid memories
conductor of the Silver Creek (Arizona)
Symphony Orchestra and director of the of my days at the UI sur- Dorothy Tauber Stone (B.S.’40)
orchestra program at Northland Pioneer March, 2004, Chicago, IL
College. round the Symphonic Band
Betty Marie Starr McClellan
under Harry Begian and my close asso- (B.S.’42) January 15, 1920 - Novem-
Jason Swanson (B.M.E.’03) is one of
the new band directors at East St. Louis ber 13, 2003, Orem, UT
ciation with my fellow musicians. The
Senior High School this fall. In Spring
2004 he taught at Reed-Custer High Patricia Jean McNees (B.S.’45)
outstanding literature, the great perform-
January 11, 1924 - November 25,
School in Braidwood, Illinois.
ances and the camaraderie with friends 2003, Paris, IL
Daniel Cardwell (M.M.’04) will appear John Charles Christian (B.M.’53,
will be remembered forever.”
in Fall 2004 as Rodolfo in La Bohème in M.M.’56) November 31, 1931 - May
Minneapolis. Neil would love to hear from old friends 22, 2004, Lakewood, OH
and musicians at: nbcc203@mac.com
Jared Gray (M.M.’04) is teaching in the David O. Brown (B.S.’54, M.S.’55)
— Neil Finbloom (B.S.’74)
band department of Acadiana High January 5, 1930 - December 12,
School in Lafayette, Louisiana. 2003, NY
Eric Hines (B.M.E.’04) recently was “My three years in the School of Music, William Burt Lauderdale (B.S.’58,
appointed percussion instructor/assistant M.S.’59) February 16, 1936 - August
band director for Los Fresnos High School from 1973-1976, were incredible. Dur- 28, 2004, Auburn, AL
(Texas).
ing this time my principal teachers/men- Grant H. Newman (M.S.’59,
Ed.D.’66) December 8, 1931 - January
tors were Robert Gray, Dan Perantoni, 30, 2004, Ankeny, IA
w
Harry Begian, and Ben Johnston, among i
Richard Wayne Vandament n
many. I am heartened to read that so
(B.S.’59, M.S.’70) June 29, 1937 - t
March 9, 2004, Marion, MA e
many good things continue to happen at r
Pamela Call-Sims (B.S.’74)
2
the UI. Keep it up!” September 29, 1952-May 15, 2004, 0
Champaign, IL 0
—Charles Isaacson (M.M.’74, D.MA.’81) 5
45
Alumni Profile
Ian Ding
and
Detroit’s
Striking
New Beat
Anne M. Heiles
Ian Ding (B.M.’99) came to the Detroit Symphony
Orchestra (DSO) just as its historic Orchestra Hall was
about to be renovated. And so, when he stepped into
his new job as assistant principal percussionist in the
Detroit Symphony Orchestra in March 2003, he was
appalled by the facilities. He remembers, “The back-
stage area was awful; Orchestra Hall seemed to be
just a stage. Coming from the facilities at the New
World Symphony, which started up with a large endow-
ment and blank check to buy all the percussion instru-
GOOD NEWS!
Home address
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Partners in Tempo
FOR SUPPORT OF THE SCHOOL OF MUSIC JULY 1, 2003-JUNE 30, 2004
The following list consists of contributions to the School of Music accumulated through
ALLEGRETTO
($100-$199)
Mr. Robert N. Altholz
Mr. & Mrs. James W. Armsey*
Dr. Anton E. Armstrong
the generosity of alumni and friends.We thank them for their support of the talent, teach- Prof. & Mrs. Walter L. Arnstein
ing ability, and creativity that exists within the School of Music. Dr. David F. Atwater
The following list represents those who made gifts between July 1, 2003 and June 30, Mrs. Virginia A. Baethke
Dr. Don R. Baker
2004. Please note that members of the Presidents Council are designated with an asterisk Mrs. Iva Jean Bayley
(*). The Presidents Council is reserved for those contributors who pledge a minimum of Ms. Kathleen A. Bell
$15,000 lifetime giving to the University of Illinois. Mr. & Mrs. David A. Bender
Mr. & Mrs. John P. Benisek
Questions or corrections may be addressed to Janet Manning at (217) 333-6452, or by Michael D. Bennett, PhD
e-mail: jmanning@uiuc.edu. Ms. Sandra S. Bernhard
Prof. & Mrs. E. Sanford Berry
Ms. Cathrine Blom*
Dr. Charles W. Boast & Ms. Marsha Clinard
Dr. Gary C. Borchardt
Mr. David Andrew Bruns
Charles A. Wert* (Dec) Mrs. Mary E. Fisher-Lee*
PRESTISSIMO Prof. John Wustman* Mr. and Mrs. Andrew J. Foort
Dr. Wesley R. Burghardt & Ms. Angela M.
Stramaglia
($15,000 and above) Mr. Andrew L. Goldberg Mrs. Gloria L. Burson
Mr. & Mrs. Dean T. Langford* Mr. Nicholas Good
Vernon K. & Marilyn Pflederer Zimmerman VIVACE Dr. & Mrs. Joe W. Grant
Mr. James L. Campbell
Mr. & Mrs. Gregory D. Cargill
Foundation* ($500-$999) Mr. Edward E. Gray Ms. Kathleen A. Carroll
Dr. & Mrs. Alan R. Branfman* Ms. Mary Ann Hart Dr. Gary Corcoran Jr.
Mr. Craig W. Branigan
PRESTO Dr. Kathleen F. Conlin*
Dr. & Mrs. James S. Hatfield
Dr. James W. Hile & Dr. Nancy L. Whitaker
Mrs. Rebecca Kaplan Cytron
($1,000-$14,999) Ms. Mary Ann Daly
Mr. William Crum Dr. R. Bruce Huston
Mr. & Mrs. John D. Armstrong* Ms. Carol A. David
Mr. & Mrs. Ronald J. Domanico* The Reverend J. Eugene Kane
Ms. Phyllis L. Cline Mrs. Susan B. DeWolf
Prof. & Mrs. Marvin Frankel* Mrs. Cynthia M. Kennedy*
Dr. & Mrs. W. Gene Corley* Mr. Heath Eric Deyo
Mr. Raymond P. German & Ms. Clara L. Littig Mr. and Mrs. Howard V. Kennedy
Mr. Roger R. Cunningham Mrs. Debbi L. Dillman
Mr. & Mrs. Edwin L. Goldwasser* Mr. James E. Kloeppel
Mrs. Libby De Grado-Condo Mr. & Mrs. Gerald R. Ditto
Mrs. Doris E. Harmon Mr. and Mrs. Thomas M. Koutsky
Dr. William R. Edwards Mr. Bruce Doctor & Dr. Gail Schewitz-Doctor
Mr. Arthur R. Keller Mr. David D. Kullander
Dr. Roslyn Rensch Erbes* Dr. Kenneth O. Drake
Ms. Florence Kopleff Mr. & Mrs. Andrew M. Kunz
Ralph T. & Ruth M. Fisher* Mr. David P. Drengenberg
Dr. & Mrs. B. A. Nugent* Mr. David R. Larson & Ms. Carol C. Larson
Mr. John A. Frauenhoffer* Mr. & Mrs. Benjamin L. Drew Jr.
Mr. William J. Pananos Dr. Russell Mathis
Mr. & Mrs. Norman A. Goldberg* Mr. & Mrs. Paul Duker
Mr. Anthony J. Petullo* Prof. & Mrs. Charles J. McIntyre*
Dr. & Mrs. Robert E. Gray* The Reverend Wyeth W. Duncan
Dr. Paul K. Schlesinger Mr. Brett G. Milan
Mrs. Virginia Summers Harroun* Ms. Pamela J. Dunleavy
Dr. William R. Scott & Dr. Kathryn J. Scott Mr. & Mrs. Craig R. Milkint*
Dr. & Mrs. Raymond V. Janevicius* Mr. & Mrs. Harold J. Eager Jr.
Dr. William J. Stanley Mr. & Mrs. Jeffrey L. Modlin
Mr. & Mrs. Maurice C. Kaplan Mrs. Carolyn K. Eigel
Mr. & Mrs. G. Gregory Taubeneck* Ms. Ruth Pinnell
Mr. Edward J. Krolick* Mr. Michael S. Erazmus
Prof. Nicholas Temperley & Prof. Mary S. Dr. Stephen L. Portnoy* & Dr. Esther
Dr. Sara de Mundo Lo* Mr. & Mrs. Jack W. Ergo
Temperley* Portnoy*
Ms. Jacqueline Eva Lord* Ms. Dawn Fairchild
Dr. Robert E. Thomas Mr. Michael W. Pressler
Dr. & Mrs. Ralph E. Mason* Mr. Frederick D. Fairchild
Ms. Susan Williams Dr. & Mrs. Edward Rath*
Mr. & Mrs. Josh McQueen* Prof. Emory M. Fanning Jr.
Mr. and Mrs. Roger L. Yarbrough* Mr. George G. Richardson
Mr. Jeffrey J. Mellander* Dr. Virginia Farmer
Prof. & Mrs. Melvin Rothbaum* Dr. Linda J. Farquharson
Dr. Robert & Helen Morgan* Dr. & Mrs. Edwin A. Scharlau II*
Prof. & Mrs. Bruno Nettl* ALLEGRO Mr. James W. Schrodt*
Ms. Esther E. Fay
Dr. & Mrs. Carl D. Obenauf* ($200-$499) Ms. Judith A. Feutz
Mr. John S. Setterlund Mrs. Michelle Walker Fine
Mr. & Mrs. Daniel J. Perrino* Dr. Kenneth E. Andersen* Mrs. Katharine W. Slocum
Donald & Gay Roberts* Dr. Alison E. Arnold Mr. John Forde
Mr. David D. Sporny Dr. Diane Foust
Dr. Elizabeth D. Sandage & Dr. Robert D. Mr. & Mrs. Paul T. Bateman* Mr. Dennis M. Steele
Mussey* Dr. Andrew N. Beagle Mrs. Margaret A. Frampton*
Dr. Milton L. Stevens Jr. Prof. & Mrs. Stanley Friedman
Mr. & Mrs. Arthur Lee Schlanger Mrs. Joan B. Brinegar Dr. Virginia K. Stitt
Mrs. Christie B. Schuetz* Ms. Helen K. Browning Mr. & Mrs. Robert Lee Fritz
Mr. Andrew W. Trieger Mrs. Mary Margaret Gaddy
Mr. & Mrs. Glendon A. Schuster* Mr. & Mrs. Jeffrey M. Carter Dr. & Mrs. Peter van den Honert
Dr. Ellen M. Simon* Mr. Richard N. DeLong* Miss Melva F. Gage*
Mrs. Susan T. Van Sickle Ms. Dorothy E. Gemberling
Mr. & Mrs. Frederick V. Simon Mrs. Lynne E. Denig Mr. & Mrs. William L. Volk*
s Mr. Gary E. Smith Dr. Delbert D. Disselhorst Mr. Gerald C. Gentes
o Mr. John H. Walter* & Mrs. Joy Thornton- Mrs. Jennifer A. Gettel
Dr. & Mrs. Peter J. Starrett Prof. Gert Ehrlich & Ms. Anne A. Ehrlich Walter*
n Mr. Mark C. Gillen
o Mr. Glen Strauss* The Honorable Ann A. Einhorn* Mrs. Ellen M. West
r Mr. Richard R. Tryon Jr.* Mr. Michael D. Fagan Dr. Gary P. Gilroy
Mr. & Mrs. Tien-Chiang Yang Mr. & Mrs. Richard Glazier
i Mr. & Mrs. Paul B. Uhlenhop* Mr. Cleve W. Fenley Mr. Robert L. Zarbock
t Prof. Martin Wagner* Mr. Stanley L. Gorbatkin
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Mr. & Mrs. Jeff Grace Mr. Terry L. Mohn Dr. Robert E. Williams Mrs. Cynthia M. Breeze
Mr. & Mrs. Walter C. Grace Ms. Ruth A. Moore Prof. & Mrs. Wendell S. Williams* Mrs. Ellen F. Brewer
Mr. & Mrs. Michael A. Griebel Mrs. Phyllis Brill Munczek Mr. Keith L. Wilson Dr. Robert G. Brewer
Ms. Delreen J. Hafenrichter Ms. Ann E. Murray Mr. Bruce Wittrig & Ms. Mary Alice Rich- Mrs. Erma S. Bridgewater
Mr. George R. Halik Mrs. Gerda T. Nelson Wittrig Ms. Kareen G. Britt
Mr. David Hamilton Mr. & Mrs. David W. Norris Dr. Marsha Cook Woodbury & Mr. Roger E. Dr. David N. Broadbent
Mr. Jack W. Hammel Dr. & Mrs. Philip O. Nubel Woodbury* Dr. & Mrs. Frank W. Brown
Dr. Albert D. Harrison Ms. Julie A. O’Connor Dr. & Mrs. William R. YaDeau Mr. & Mrs. Joe Brown
Dr. Eve E. Harwood* Mr. Leif E. Olsen Jr. Mr. Robert H. Brown
Mrs. LuAnn E. Hayes Mr. & Mrs. Douglas G. Olson Mrs. Gina H. Buhr
Mrs. Vera A. Hays Mrs. Marjorie S. Olson ANDANTE Ms. Anita Bullard
Mrs. Virginia L. Hedrick Prof. & Mrs. Howard Osborn* (under $100) Mr. William F. Busen
Dr. Gregg S. Helgesen Mrs. Geraldine B. Petty Dr. Theodore L. Agnew Mrs. Linda S. Buzard
Ms. Sharon B. Hermann Mr. & Mrs. Douglas L. Pinney Mr. Richard A. Alderman Mrs. Luana M. Byte
Mr. Philip H. Highfill III Mr. & Mrs. Michael W. Preston Mrs. Elizabeth Z. Allan Dr. Milburn E. Carey
Mr. & Mrs. Daniel M. Hilecher Mr. & Mrs. Robert A. Quade Mrs. Ellen Amberg Dr. Jon O. Carlson
Mrs. Diane Mann Hires Mr. John P. Rankin Mr. Glenn R. Anderson Dr. David M. Carter
Mr. Charles J. Hock Dr. W. Donald Rankin Mr. Erwin O. Arends Dr. Philip S. Cary
Ms. Gaye Ann Hofer & Dr. Gregory M. Mrs. Alexis G. Rasley Ms. Dianna K. Armstrong Mr. Scott J. Casagrande
Cunningham Mr. & Mrs. William J. Reagan Mr. John D. Armstrong Ms. Clara E. Castelo
Mrs. June F. Holmes Dr. Roger E. Reichmuth Dr. Kerchal F. Armstrong Dr. Joseph S. Ceo
Dr. Jesse E. Hopkins Jr. Mr. & Mrs. Kenneth L. Reinhardt Dr. & Mrs. Paul M. Arnold Ms. Yoline W. Chandler
Mr. Alf S. Houkom Prof. & Mrs. Kenneth L. Rinehart Jr.* Ms. Pamela T. Arnstein Dr. Carl E. Chapman
Dr. Jan G. Houston Mr. Kevin W. Rock Mr. Charles C. Aschbrenner Mrs. Mary L. Chapman
Ms. Alice A. Hove Mr. & Mrs. Robert J. Rogier Mr. Larry Ashley Mr. Scott Chase
Mr. Fred M. Hubbell Mr. John R. Romans Mr. Duane C. Askew Ms. Judy L. Chastain
Dr. & Mrs. Albert C. Hughes Jr. Mr. Kenneth W. Rubin Mr. Ralph R. Athey Mr. Thomas E. Cherry
Mr. Robert H. Huss Dr. John M. Ryan & Dr. Kathreen A. Ryan Ms. Susanne L. Aultz Mrs. Amy L. Childress
Mr. & Mrs. Frederick W. Irion Norman S. Ryan MD Mr. Robert S. Baile Mrs. Charlotte Presler Chilton* (Dec)
Mrs. Jean H. Jamison Mr. George J. Sanders Mrs. Linda D. Bailey Ms. Joanne A. Chorpening
Mrs. Kathryn A. Janicek Mr. & Mrs. Kyle A. Schumacher Mrs. Patricia A. Baird Mr. John C. Christian (Dec)
Mr. William C. Jennings Prof. & Mrs. Donald R. Sherbert Mrs. Marlene K. Ballard Mr. Michael P. Chu
Mrs. Doris D. Jones Dr. Stephen M. Slawek Mrs. Lisa G. Baltzer Mrs. Jean A. Clarke
Mrs. Patricia L. Jordan Mr. Philip Smith Mr. Michael R. Bandman The Honorable John P. Coady & Mrs. Kathy
Peter Kale & Patricia Kale Mr. M. Andrew Sprague* Prof. & Mrs. Delmar K. Banner A. Coady
Mr. & Mrs. James B. Kaler* Mrs. Janet N. Steffy Ms. Marolyn G. Banner Dr. Dale Cockrell
Mr. Thomas J. Keegan Mr. Wesley Q. Stelzriede Mrs. Mary Jeanne Bannister Mrs. Donna A. Coffman
Mr. Frederick James Kent Barbara J. Stover Mr. Daniel P. Barach Dr. Richard Scott Cohen
Mr. R. Edward Kiefer Mr. & Mrs. Chester Strohecker Dr. & Mrs. David C. Barford Mr. Morris Collier
Dr. & Mrs. Myung Ho Kim Mr. George E. Strombeck Mr. & Mrs. Gary N. Barrow Jr. Mr. & Mrs. James T. Conder
Mr. & Mrs. David L. King Mrs. Joan M. Strouse Dr. Neale K. Bartee Mr. Mark A. Conley
Mr. Philip W. Klickman Dr. Gary R. Sudano Mrs. Barbara J. Barth Mr. Curtis O. Cooper
Dr. & Mrs. James W. Krehbiel Prof. & Mrs. Earl R. Swanson* Ms. Angela M. Bates Miss Judith K. Cotter
Mr. & Mrs. William J. Kubitz* Emile J. Talbot & Elizabeth M. Talbot Dr. Jon W. Bauman Ms. Beverly J. Cottrell
Mr. William O. Kuyper Mr. Thomas C. Temple* Mr. John E. Bauser Mrs. Rebecca T. Courington
Dr. Peter J. LaRue Dr. Robert F. Thomas Jr. Jammie L. Beammish & Halei Beitler Dr. Victoria L. Covington
Mrs. June C. Levy Mr. Arthur T. Tiedemann Dr. Calvert Bean Ms. Mina M. Coy
Prof. Ruth Lorbe Mrs. Jacqueline A. Tilles Mrs. Sandra K. Beckman Mr. Keith C. Craft
Dr. & Mrs. Jerry L. Loyet Mr. & Mrs. Robert C. Timblin Mrs. Nancy H. Beckmann Ms. Betty J. Cravens
Mr. David W. Madden Mr. Mark A. Timko Mr. & Mrs. James D. Beebe Mrs. Jeanne E. Craver
Mrs. Amy Dolan Malaney Mrs. Hollis C. Tomashek Dr. John R. Bell Dr. Bruce F. Dalby
Prof. & Mrs. W. G. Marigold Prof. & Mrs. H. C. Triandis* Mrs. Phyllis A. Bergagna Mr. & Mrs. Jerry L. Daniels
Mr. Leonard Marvin Dr. Jill L. Trinka Mrs. Margery I. Bergstrom Dr. & Mrs. James Dapogny
Dr. & Mrs. Steven E. Mather Dr. A. Robert Twardock* Mr. & Mrs. Thomas E. Bertucci Dr. Daniel J. Dauner
Dr. Gordon W. Mathie Mr. Wayne Van Dyke Mr. James E. Beverly Ms. Deborah M. Day*
Mrs. Diane Emiko Matsuura Mr. John A. Van Hook Ms. Andra L. Bez Dr. Larry M. DeBrock
Mr. Gary L. McClung* Mrs. Joan M. Vogen Mr. Richard B. Biagi Mr. Robert M. Dekoj
Mr. Richard D. McKee II Ms. Elizabeth F. Von Dassow Mr. Dennis R. Biagioli Mr. William E. DeMont
Mr. & Mrs. Jack H. McKenzie* Mr. James R. Waechter Mr. Andrew J. Billing Mrs. Erika DePasquali
Dr. Alexander B. McLane Ms. Diane K. Walkup Mrs. Jacqueline LaRue Bills Mrs. Louise L. Derning
Mr. & Mrs. H. Richards McLane Mr. Earl J. Way Mr. Ronald T. Bishop Mr. & Mrs. Edmund J. DeWan w
Mr. James H. McNeely Mrs. Mary Jane Weber Ms. Evelyn Blackman Dr. Donald R. Dickerson i
Mr. Kurtis J. Melin Dr. Hong Wei & Mr. Yuankun Ni Dr. Shirley M. Blankenship Dr. Christopher Di Santo n
Ms. Ida K. Mercer & Mr. Glenn A. Mercer Miss Ruth E. Weinard Mr. Robert O. Blissard Mrs. Nolda J. Dohme* t
Prof. & Mrs. Richard L. Merritt* Mr. Duane H. Werner Mrs. Jacqueline K. Block Mr. C. William Douglass e
Mr. William R. Miller* Mr. Frederick W. Westphal (Dec) & Mrs. Mrs. Susan E. Block Mr. Donald W. Downs r
Ms. Erie A. Mills Hinda C. Westphal Dr. & Mrs. Philip V. Bohlman Mrs. Jean E. Drendel
Mr. Danlee G. Mitchell Mr. Daniel Wiesbrock Mr. John E. Bolz Ms. Darcy D. Drexler 2
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Mr. Howard S. Ducoff Ms. Melissa J. Guilfoyle Mrs. Nanci L. Karlin Mr. Lutz L. Mayer
Mrs. Helen F. Duffield Dr. & Mrs. Ernest N. Gullerud* Mr. Stephen J. Kasak &Dr. D. Trotter Kasak Ms. Mary E. Mayhew
Ms. Marilyn M. Duginger Mrs. Margaret S. Gunderson Dr. Byron F. Kauffman CAPT Lonny K. McClung, USN (RET)
Mr. John G. Duker Ms. Layna Chianakas Haddad Mrs. Lois D. Kazan Mr. Frank J. McCollough
Mr. John G. Dunkelberger Mrs. Marilyn J. Hall Dr. William K. Kearns Mr. James L. McDonald
Rev. Raymond N. Dunlap Ms. Judith G. Hanson Dr. Brenda E. Kee Mr. & Mrs. Douglas R. McIntosh
Mr. Dwight E. Dyer Ms. Morgan A. Hawker Dr. Robert P. Keener Mr. & Mrs. Myron D. McLain
Mrs. Elizabeth F. Easley* Mr. & Mrs. G. Byron Healy Mrs. Patricia C. Keim Mr. & Mrs. Robert J. McMenamin
Mrs. Jeannette J. Ebelhar Dr. Robert H. Hearson Mr. Frederick T. Kelly Mr. & Mrs. William J. McNeiland
Mrs. Carole J. Eckert Mrs. Michele C. Hecht Mr. J. Robert Kelly Mrs. Donna F. McPherson*
Mr. & Mrs. Blaine E. Edlefsen Mr. & Mrs. Morris L. Hecker Jr.* Ms. Wendy L. Kelly Mrs. Rita D. Melin
Mrs. Jean M. Edwards Mr. & Mrs. W. Robert Hedgcock Mr. Jeremy Niles Kempton Dr. Mardia Melroy
Mr. Stephen F. Eggerding Dr. William H. Heiles & Dr. Anne Mischakoff Mrs. Mary Anne Kesler Ms. Laura A. Mensik
Mr. Philip W. Eherenman Heiles Mrs. Jan K. Khorsandian Mr. & Mrs. James K. Merwin Jr.
Mrs. Cheryl M. Einsweiler Ms. Margarita L. Heisserer Mrs. Elizabeth E. Kirkpatrick Mr. Paul D. Messerall
Mrs. Joanne Elam Mrs. Nona J. Heitmann Prof. Ann M. Kleimola Mrs. Irene Metzger
Dr. & Mrs. Barry L. Ellis Mrs. Gloria S. Helfrich Dr. David W. Knutson Mrs. Sharron P. Mies
Mrs. Ellen R. Elrick Mr. John W. Helper Ms. Rosanne J. Koehler Mr. Martin E. Miller
Mr. William A. Erdman Dr. & Mrs. Donald M. Henderson Mrs. Mayola C. Kolbe William S. Miller & Christine P. Miller
Mr. Earl Eugene Evans Mrs. Margaret E. Henderson Ms. Lavetta J. Koresko Mrs. Rita J. Millis
Mr. Gerald A. Fabris Mrs. Margaret F. Henderson Mr. George S. Kosmach Mrs. Eleanor L. Milnes
Dr. Kenneth E. Fahsbender Mr. Robert J. Henderson Mr. John A. Krebs Mr. James E. Mirakian
Mrs. Sharon Fekete Mr. Steven T. Henning Ms. Rebecca D. Kriz Mr. Keith A. Mitchell
Mr. Scott D. Feldhausen Mr. & Mrs. Donald G. Henrickson Mr. & Mrs. Murray P. Krugman Ms. Sylvia J. Mize
Mr. Ron Fink Mr. Bernard H. Henry Mr. & Mrs. David L. Kuehn Prof. William Moersch & Prof. Charlotte
Ms. Jocelyn W. Fischer Mr. & Mrs. Louis R. Henson Mrs. Ellen Green Kuroghlian Mattax Moersch
Dr. Robert J. Fleisher Mrs. Retta L. Hentschel Mr. Michael E. Lagger Mrs. Harriet A. Moir
Dr. Nancy P. Fleming & Mr. Ansley D. Mr. Harvey A. Hermann Jr. Mr. Gerald P. Lahti Mr. Milton R. Mojzis
Fleming Mrs. Sally K. Hermann Mrs. Joyce M. Laible Mr. Maurice E. Monhardt
Mr. & Mrs. Paul H. Fletcher Ms. Cynthia A. Heuer Dr. Marvin L. Lamb Mr. Albert L. Moore
Prof. & Mrs. Robert M. Fossum* Mr. & Mrs. H. William Hey Mrs. Irene E. Lamkin Dr. & Mrs. David W. Morse*
Mrs. Dee Fraccaro-Murphy Dr. Douglas M. Hill Mr. & Mrs. F. W. Lancaster Dr. Bruce B. Moss
Mr. Larry L. Franklin Mr. & Mrs. Delmar L. Hillman Mrs. Barbara A. Lanham Mr. & Mrs. Theodore F. Mueller
Mrs. Gwynne H. French Mr. & Mrs. Robert W. Hindsley Mrs. Bonnie A. Larner Mrs. Brenda D. Muench
Mr. & Mrs. Donald W. Fretty Mrs. Jane Bishop Hobgood Dr. & Mrs. Richard H. Larson Mr. Martin J. Murray
Mr. & Mrs. John D. Frey* Mrs. Audrey S. Hodgins* Ms. Dana LaSalle Dr. Walter L. Myers & Ms. Jane L. Myers*
Mr. John A. Fry Dr. & Mrs. Erwin J. Hoffman Mrs. Barbara A. Lauff Ms. Joyce G. Nagel*
Mr. Thomas R. Fudge Mrs. Mary Ellen Honnold Ms. Sunny Christiansen Lawrence Mr. Larry G. Neemann
Ms. Judith Kaye Fulton Dr. & Mrs. W. Peter Hood* Mr. Bradley S. Leeb Mrs. Louise S. Nelson
Mr. Richard D. Furr Mrs. Cary A. Horvath Mrs. Florence K. Leigh Mrs. Rosemary F. Nelson
Mrs. Edwina T. Gabcik Mr. Don Hough Dr. John W. Leman Mrs. Patricia S. Newman
Dr. & Mrs. Stephen L. Gage Mrs. Abbie O. Hubbell Dr. Larry E. Leonard Mr. Steven N. Ng
Mr. Robert C. Gand Mr. Robert D. Huffington Dr. Victoria L. Levine Mr. William J. Nicholls
Mr. & Mrs. Timothy W. Gannon Mr. William H. Hughes Jr. Mrs. Elise K. Lidral Kim Nickelson, MD
Mrs. Charlene W. Gates Ms. Jane Paul Hummel Ms. Marjorie A. Lin Dr. Eugene D. Novotney
Mr. & Mrs. Thomas Lee Gauger Mr. & Mrs. Allen E. Hunter Mr. Jeffrey E. Lindberg Mr. David A. Nowak
Mr. & Mrs. G. William Geis Mr. & Mrs. John M. Hunter Prof. Robert P. Link* Dr. Brian M. O’Connor
Dr. Alexander L. Gelfand & Dr. Ingrid G. Mrs. Ingrid Hutchings* Mr. Roger D. Little Mr. G. Allan O’Connor
Gordon Mrs. Janice C. Impey Mrs. Rita J. Littmann Mrs. Adrienne L. Olsen
Mrs. Cheryl S. Gibson Mrs. Mayda S. Irwin Dr. Thomas Lloyd Dr. & Mrs. Charles E. Olson
Ms. Renee Gladstone Dr. Charles F. Isaacson Mrs. Virginia K. Lovett Dr. Lesley C. Olson
Mr. & Mrs. Donald L. Glossop Jr. Dr. Barbara G. Jackson Mrs. Klara Lueschen Mrs. Kay A. Orfei
Mr. & Mrs. John D. Frey* Mr. & Mrs. William L. Jackson Mr. Albert L. Lundgren Mr. Rick K. Orr* & Mr. Scott D. Larimer*
Mr. Herbert Goldhor & Mrs. Ruth H. Dr. David C. Jacobsen Mrs. Helen A. Magnuski* Dr. David C. Osterlund
Goldhor* (Dec) Mrs. Laurine Jannusch Dr. & Mrs. Walter J. Maguire* Mr. Thomas W. O’Toole
Ms. Sarah J. Good Mr. William T. Jastrow Dr. David M. Main* Ms. Janet L. Outis
Mr. Frank L. Gould Jr. & The Reverend Dr. James R. Johnson Mr. & Mrs. Robert M. Makeever Mr. & Mrs. Ronald R. Page
Karen N. Gould Mr. Robert R. Johnson Dr. & Mrs. Joseph Manfredo Ms. Patrice M. Pakiz
Mrs. Nanette R. Grant Mrs. Cheryl Lynn Johnson-Richt Mrs. Stevi A. Marks Mrs. Margene K. Pappas
Mr. Eugene Gratovich Mr. & Mrs. Parker N. Johnstone Ms. Anne S. Martel Dr. & Mrs. D. Randall Parker
Dr. Susan Keith Gray Mrs. Ruth M. Jones Mrs. Marian S. Martin Mrs. Karen D. Parrack
Dr. John E. Green Mr. Richard E. Jorgensen Dr. Jameson N. Marvin Mr. & Mrs. Donald E. Peaslee
s Ms. Sarah E. Green Mrs. Stanka Jovanovic Mrs. Ann K. Mason Mrs. Gail Peine
o Mr. Michael R. Greene Mrs. Donna L. Kaelter Mrs. Nancy V. Matchett Mr. John H. Pennell
n Mr. Lylburn A. Greer Ms. Karen Kaiser Mrs. Carolynne B. Mathis Ms. Susan B. Peppercorn
o
r Mr. Charles W. Gregg Prof. Marianne E. Kalinke Ms. Mary Matijevich Mrs. Aiko K. Perry
i Mr. Douglas A. Griffith Dr. Dennis K. M. Kam Ms. Elise R. Matusek Dr. Linda W. Perry
t Mrs. Lynn B. Gros Mrs. Elizabeth A. Kamps Mrs. Carolyn R. May Ms. Anne M. Petrie
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Mr. & Mrs. Ted Pevnick Mrs. Grace H. Sexton Mr. & Mrs. Michael A. Tremblay
Mrs. Amy L. Phelps Mr. Dennis A. Shaul Dr. Tod M. Trimble
MATCHING GIFTS
Accenture Foundation, Inc.
Dr. Thomas L. Pituk Mr. Richard W. Shellman Dr. & Mrs. Max R. Tromblee
American International Group, Inc.
Dr. Robert W. Placek Mrs. Kristen Shiner-McGuire Dr. L. Deane Trumble
Ball Corporation
Mr. Kenneth R. Pletcher Mr. & Mrs. Dale A. Shipe Mrs. Katharine B. Tyler
BP Amoco Foundation
Mr. & Mrs. James T. Pokin Ms. Jill Shires Mr. Walter E. Urben
Caraustar
Mr. Alan M. Porter Mrs. Faraba G. Shirley Dr. John D. Vanderslice
Eli Lilly and Company Foundation
Dr. Scott E. Preece* Dr. Blaine F. Shover Mrs. Emily Vaniman
Ford Motor Company
Mr. Ernest W. Pressley Dr. Scott C. Shuler Mrs. Susanne M. Veal
GE Foundation
Ms. Alice R. Preves Mr. Arthur A. Sievers Mrs. Linda J. Viall
J. P. Morgan Chase Foundation
Mr. George H. Pro Ms. Mary L. Sigler Ms. Joanne M. Vician
Leo Burnett Company, Inc.
Mrs. Karyn A. Quandt Mrs. Dorene E. Sikdar Ms. Alice W. von Neumann & Prof. Albert
Pharmacia Retiree Matching Gifts
Mr. Roland H. Raffel Mr. Fay M. Sims* Wattenberg
(A Program of Pfizer Foundation)
Mr. Stanley E. Ransom Mrs. Patricia S. Skarr Ms. Melody Vroman
SBC Foundation
Ms. Phyllis Rappeport Ms. Sharen R. Slade Mrs. Shirley Ann Wagner
Science Applications International Corp.
Ms. Frances S. Reedy Mr. & Mrs. Michael J. Slinger Ms. Kathleen A. Walker
Telcordia Technologies
Dr. & Mrs. Sam Reese Mr. & Mrs. F. William Small Jr. Mrs. Shirley A. Walker
Texas Instruments Foundation
Mrs. Irma Reiner Dr. Marilynn J. Smiley Mr. Harvey N. Wallace
The Allstate Foundation
Mr. Randall G. Reyman Ms. Deidre A. Smith Ms. Cheryl E. Hein Walters
Mr. David M. Rice Mr. Phillip R. Smith Mr. Arthur S. Wasik The Northern Trust Company
Mr. Joe D. Rice Dr. Linda J. Snyder Mrs. Bernice S. Wax The Procter & Gamble Fund
Mrs. Margaret G. Rice Dr. & Mrs. Anthony B. Soskin* Dr. Calvin E. Weber Verizon Foundation
Mr. Thomas L. Rice Mr. Robert V. Sperlik Jr. Mrs. Susan M. Werner
Dr. Selma K. Richardson Mr. and Mrs. Joseph Spytek Mr. Gary R. Wheaton
Mr. Kim R. Richmond Ms. Nancy S. Stagg Ms. Celeste E. Whiting
CORPORATIONS, FOUNDATIONS,
Mrs. Lois H. Richter Mrs. Diane H. Staub* Mr. Marvin D. Whitlock ORGANIZATIONS
Mr. & Mrs. Mark A. Rinaldi Dr. Harry M. Steckman Ms. Patricia G. Whitlock Ann and Gordon Getty Foundation
Mrs. Patricia J. Rinkenberger Mrs. Erin E. Stegall Mr. & Mrs. Elmer L. Wille Anthony Petullo Foundation, Inc.
Mrs. Betty A. Ritter The Honorable Robert J. Steigmann* Ms. Thelma Willett Bio-Consult, Inc.
Mr. & Mrs. Dean A. Ritzmann Dr. David B. Stein Mrs. Beverly Ann Williams Community Foundation of Champaign
Mrs. Eulah B. Robinson Mrs. Isabelle Kole Stein Dr. Mark D. Williams County Academy Memorial Scholarship
Dr. & Mrs. Schuyler W. Robinson Mr. & Mrs. Allan L. Steinberg* Mr. Richard L. Williams Fund
Mr. Charles R. Roe Dr. Barbara Steinhaus-Jordan Mr. & Mrs. Rodney J. Williams Golden Lyre Foundation IL Federation of
Mr. Scott D. Roeder Mrs. Krista J. Steller Dr. Sandra L. Williams Music Clubs
Dr. Franz L. Roehmann Mr. Thomas C. Stewart Dr. & Mrs. Jeffrey S. Wilson Hersey Instrumental Association
Mr. Donald Q. Rogers Mr. Robert J. Stiehl Mr. Michael H. Wilson Illinois Opera Theatre Enthusiasts
Mrs. Elizabeth P. Rogers* Mr. Roger A. Stien Mrs. Jane R. Wineman Memphis Musicraft Publications
Mr. Jeffrey L. Rohrer & Mrs. Joyce Kim- Dr. David K. Stigberg Mrs. Ann R. Winget M. R. Bauer Foundation
Rohrer Mrs. Roberta L. Stiles Mrs. Betty S. Wise Mu Phi Epsilon Urbana-Champaign Alumni
Dr. Brenda R. Root Mr. James R. Stith Mrs. Rita S. Wise Chapter
Dr. Deane L. Root & Dr. Doris J. Dyen Prof. & Mrs. Victor J. Stone* Mrs. Kim Y. Wittel New Life Video/Bay-Com
Mrs. Mary A. Rosborough Ms. Mary G. Stonecipher Edward C. Wolf, PhD Pacific Direct
Mrs. Linda F. Rosen Dr. Michael C. Strasser Dr. Robert L. Wolf Precision Graphics
Prof. Barak Rosenshine Mr. James R. Straub Ms. Trudy Fraase Wolf Roger and Dolores Yarbrough Foundation
Mrs. Devorah B. Ross Ms. Patricia Stroh Mr. A. Scott Wood Smith Walbridge Camps, Inc.
Mrs. Mary Higley Rosser Mrs. Blanche J. Sudman* Mrs. Rose Marie Wood Sound Enterprises
Mrs. Nina Rubel Mr. J. David Sulser Dr. Benjamin W. Woodruff Jr. The E. F. Wildermuth Foundation
Mr. & Mrs. Robert J. Ruckrigel Dr. John N. Sumrall Jr. Mrs. Zoe R. Worner The Presser Foundation
Dr. & Mrs. Gregory C. Rudolph Sr. Mrs. Marianne C. Sutton Mr. William C. Worra The San Diego Foundation
Mr. & Mrs. Michael E. Rugen Prof. & Mrs. Ralph R. Swarr Mr. & Mrs. Scott A. Wyatt Village Music Store
Mrs. Cheryl Lane Ryan Ms. Catherine Szeto Mr. & Mrs. H. W. Wyld Jr. Westlawn Consulting Services Inc.
Mrs. Marilyn R. Sameh Mr. Peter A. Takacs Prof. & Mrs. Thomas Alexander Yancey*
Dr. Lori K. Sanders Mr. Matthew S. Talbott Ms. Joyce S. Yang
Mr. & Mrs. Ray K. Sasaki Ms. Nan E. Tate Mr. & Mrs. Mickey W. Young
Ms. Madeline S. Sauerbier Mr. Richard Wesley Temple Mr. Robert E. Yung
Mr. David L. Saunders Mr. Edwin C. Thayer
Dr. Joyce R. Zastrow
Mr. & Mrs. James C. Saxton Mrs. Catharine A. Thieme
Mrs. Sharon S. Scanlon Mrs. Ladora Thomason
Miss Patricia Schaefer Dr. Gerald J. Throop
Mr. Arthur G. Schildbach Mr. David P. Thurmaier
Mrs. Shirley J. Schnizer Ms. Helen L. Thursh w
Mrs. Jane W. Schoeniger Ms. Kelly A. Tilsy i
Dr. & Mrs. Karl-Heinz Schoeps Ouida Tisdall, MD n
Mr. Steven E. Schopp Mr. Russell E. Todres t
Mrs. Karen Schulman-Bear Mrs. Marie Griffith Tompkins e
Mrs. Glenda L. Schultz Mrs. Barbara B. Toney r
Mr. & Mrs. John F. Schwegler Mr. Vincent B. Trauth
Mr. & Mrs. Steven J. Seidman Mr. & Mrs. John W. Trautwein 2
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