Words of Note{ T h e M a g a z i n e o f T h e U n i v e r s i T y o f T e x a s s c h o o l o f M U s i c }

Surreal Strings

The World-Class

MiroQuartet

Is Named UT Faculty

String Quartet

{ p l U s }

From String Quartets to Bar Room Blues: School Unveils New Center for Ameri-can Music

Law, Music, Drama and Dance: A Special Convergence of the Performing Arts

f a l l 2 0 0 4

school of MUsiccollege of fine arts

The University of Texasat austin

DirectorB. glenn chandler

Associate DirectorsMichael c. Tusascott s. hanna

WorDs of noTevolume 18:

sept. 2001–aug. 2003

Assistant to the Directorfor Communications suzanne hassler

Editor/DesignerJohn Wimberley

Contributing WritersJack Brannonnancy Bussey

charles clark -30-suzanne hassler

nancy neffMatt orem -30-

Cover Designnancy McMillen,

nancy McMillen Design

Cover Montagesung park,The Austin

American-Statesman

Words of note school of Music

1 University station e3100austin, Texas 78712-0435

www.music.utexas.edu

School creates new Center for American Music .................4

“From string quartets to bar room blues . . .”

Law and Music share mutual interests ..................... 5

School of Law and College of Fine Arts sponsor joint symposium.

UT Alum leads University of Miami School of Music ......... 9

Dean William Hipp has served 21 years at helm of major music school.

Miró Quartet named Faculty String Quartet ............ 2

School recruits world-class quartet through unique endowment.

Alumni ..................................................................................6

Faculty ................................................................................ 12

Guests ................................................................................. 22

Students ............................................................................... 23

In Memoriam ........................................................................ 25

Gifts And Donations ............................................................... 28

New faculty appointments at School of Music ..........................19

Wealth of new talent and knowledge comes to campus.

Words of NoteThe Magazine of The UniversiTy of Texas school of MUsic

Dear Friends,

The School of Music at UT has always been an excellent program, so when I arrived in the fall of 2001 I was thrilled at the opportu-nity to work with outstanding colleagues and talented students. After a couple of years I have not been the least bit disappointed. To be sure, the aftermath of 9/11 brought about changes that have dramatically affected us all, and the economic downturn of the past few years has manifested itself in the form of budget cuts, and even layoffs. The School of Music, as every other unit in the university, shared in the pain of reduced funding. Due to budget-ary constraints we made the decision to forgo publication of Words of Note in Fall 2002 in favor of a biennial edition that covers 2001–2003. Thus, this issue is designed to share with you highlights of these two years. Future issues will keep you informed in a timely fashion about the wonderful developments in one of the most ex-citing music schools in the country.

Even in the face of financial setbacks, the School of Music has managed to move forward in a most dramatic fashion, as you will see in the following pages. Thanks to the support of our friends in the community, our alumni across the country and the university admin-istration, there are many new initiatives that I am happy to share with you.

Our lead story is about the world renowned Miró Quartet, our new faculty string quartet selected after a year-long international search. The appointment of the Miró Quartet was made possible through the generosity of sev-eral supporters in the community who made substantial contributions toward an endow-ment goal of $6M, which currently stands at $4.2M. We would like to complete the endow-ment in the near future and welcome additional contributions.

The addition of the Miró Quartet to our string faculty comes on the heels of the appointment of two other outstanding string fac-ulty, Brian Lewis, violinist, from Juilliard, and Bion Tsang, cellist, from New York City. Certainly the string program has received a significant boost by the addition of these fine musicians to the faculty. Other wonderful additions to the faculty include: Eugenia Costa-Giomi and Laurie Scott, music education, Robert Carno-chan, director of the Longhorn Band, and Jay Watkins, assistant band director. Following national searches John Fremgen, jazz bass, John Mills, jazz sax and composition, and David Neely, op-era conductor, joined the faculty in 2003–2004. Of course we also lost some wonderful faculty during these two years, including Paul Olefsky, cello, and Stephen Kostka, theory, who retired, and Martha Deatherage, voice, who passed away in May 2003. Rick Lawn, John Geringer, Kevin Sedatole, Barry Kraus, Tim Lovelace, and Esther Wang took jobs in other institutions. We will certainly miss all of them.

The Visiting Composers Series brought many wonderful compos-ers to the campus during the 2001–2003 school years, including John Corigliano, who received the School’s $25,000 Eddie Medora King Award for musical composition. This relationship has led to another exciting accomplishment for the School of Music in that we have commissioned Mr. Corigliano to write his third symphony for the UT Wind Ensemble. This work will be premiered in Febru-ary 2005 under the baton of Professor Jerry Junkin. Mr. Corigliano will also be composer-in-residence during 2004–2005.

Other UT ensembles have prospered and even flourished in recent times. The UT Symphony Orchestra, under the direction of Profes-sor Kevin Noe, has continued to mature and to thrive. The perfor-mance of Mahler’s Second Symphony in March of 2003 is said to be one of the most significant events in the history of the School of Music. Professor James Morrow, Director of Choral Activities, organized a town-and-gown choral group called the Austin Choral Arts Society to perform the major choral masterworks. The group is off to a very successful start with performances of such works as the Brahms and the Verdi Requiems. The Jazz groups are in great shape and will continue to grow and prosper now that we have developed a new undergraduate degree program in the field. And, the Longhorn Band is still the finest in the land!

What excites me most about UT is the willingness of the faculty to accept challenges. In the spring of 2002 the music faculty approved

a new strategic plan that calls for some bold initiatives. Task forces studied the feasibility of creating new programs in musical theatre, film composition, recording technology, mu-sic business and sacred music. By the spring of 2003 the faculty had approved new degree programs in Music Entrepreneurship and in Recording Technology. Plans are being laid to create the school’s own CD label to serve as a lab for students in these new programs, and also to showcase the talented faculty and stu-dents that make up the School of Music.

Among the most significant recent develop-ments is the creation of two new and exciting centers in the School of Music. The Center for Music Learning was created in the spring of 2002 to foster cutting-edge concepts of how we learn music—and thus how we teach it—with the assistance of nationally known experts

from a number of fields. The center, under the direction of Pro-fessor Robert A. Duke, has implemented several activities that have already drawn national attention. The Center for American Music was approved in the fall of 2002 to foster the creation, study, and performance of all styles of American music. It will mine the huge repository of musical treasures stored in the Center for American History and the Harry Ransom Humanities Research Center, and it will take advantage of the wealth of musical styles enjoyed in Austin, the country’s “Live Music Capital,” and in the state of Texas. We will soon be embarking on some significant fundraising efforts to support these initiatives as well as to sup-port student scholarships, something that is vital to our success as a world-class school of music.

I am confident that we will be successful in all these endeav-ors. As always we invite you to attend any of the more than four hundred performances, lectures, and other musical presentations by the faculty, students and guest artists of the School of Music throughout the year. We appreciate your support and look for-ward to seeing you soon.

Sincerely,

B. Glenn Chandler, PhDDirector and Florence Thelma Hall Centennial Chair in Music

B. Glenn Chandler

1

THE UNIVERSITY OF TEXAS SCHOOL of MUSIC2

wonderful balance of the criteria of our search–top-notch perfor-mance abilities, a commitment to community and state-wide expo-sure of the arts, and a passion for chamber music that is infectious. During their interview they showed great energy in their teaching, as well as a strong vision for chamber music not only for the stu-dents here at UT, but for people and communities across our great state and beyond. The University of Texas at Austin now joins an elite group of schools that have a quartet in residence, and I have no doubt that the Miró Quartet will become one of the brightest stars on the music scene in Texas.”

School Director Glenn Chandler noted that “having a renowned string quartet such as Miró as part of the UT faculty will help draw the best string students from all over the world and improve the ar-tistic level of many of the School’s programs. The string program is the basis of any university’s chamber music, orchestral and operatic programs, and it is vital to the advancement of our school.” He add-ed, “In America’s top universities, recruitment of string players has always been an unusually competitive matter, often approaching that for top athletes.”

The School’s continuing commitment to string study is also reflect-ed in the recent hirings of violinist Brian Lewis and cellist Bion Tsang, each with fully established international concert careers. Reaction to the appointment has been enthusiastic. “The Miró Quar-tet is currently one of the finest ensembles of its type in the world,” said Joseph W. Polisi, president of the Juilliard School. “Not only are they wonderful individual artists and superb chamber musicians, they are excellent teachers who will add to the artistic and educa-tional environment at The University of Texas.”

Miró cellist Josh Gindele commented, “We’re extremely excited to be part of such a prestigious university. It will be terrific to be work-ing alongside the wonderful and enormously talented colleagues at The University of Texas. The School of Music has a great feel and is on the way to becoming one of the very top music schools in

the country. We’re thrilled to be part of that process.”

Since winning First Prize at the 1998 Banff Internation-al String Quartet Competition and the prestigious Na-umburg Chamber Music Award in

2000, the Miró Quartet has captivated audiences around the world, dazzling listeners with its youthful intensity and mature inter-pretations. Formed in the fall of 1995, the Quartet met with immedi-ate success, winning in 1996 the First Prize at the 50th annual Cole-man Chamber Music Competition and the First and Grand prizes at the Fischoff National Chamber Music Competition.

The members of the Miró Quartet teach violin, viola, and cello stu-dents individually and coach chamber music ensembles. The group also performs locally, statewide, nationally, and internationally, rep-resenting the university, the College of Fine Arts and the School of

The University of Texas has built its reputation in part by recruiting top research facul ty for its

laboratories, distinguished scholars for its lecture halls, and outstanding coaches for its athletics fields.

Now, after an international search, it has recruited a world-class string quartet for its performance halls. The Miró Quartet, one of America’s brightest and most exciting young string quartets, has been appointed Faculty String Quartet at The University of Texas at Austin. Members of the quartet are Daniel Ching, violin; Sandy Yamamoto, violin; Joshua Gindele, cello; and John Largess, viola.

Of the many professional quartets applying for the newly endowed position, five internationally distinguished groups were selected as finalists and were invited to the School of Music in spring 2003 to interview, perform, teach, and conduct master class-es. Four quartets traveled to Austin, and the faculty search commit-tee made the unanimous decision to offer the position to the Miró Quartet.

“We are very excited to welcome the Miró Quartet to the faculty of the UT School of Music,” said Brian Lewis, Associate Professor of Violin and chair of the search committee. “The Miró possesses a

World-Class Miró Quartet Named UT Faculty String Quartet

Miró Quartet: Daniel Ching, violin; John Largess, viola; Sandy Yamamoto, violin; and Joshua Gindele, cello

“Not only are they wonderful individual artists and superb chamber musicians, they are excellent teachers who will add to the artistic and education-

al environment at The University of Texas.”

– Joseph W. Polisi,

3WORDS of NOTE

Music, and acting as artistic ambassadors of the highest level. “In a time when many institutions are cutting back, the recruitment of a

world-class string quartet and the provision of ade-quate financial resources to support their work is big news in classical mu-sic and music education,” says Chandler.

“The string quartet pro-gram will improve artistic standards and create a deeper and richer pool of string players for the professional orchestras of Austin and the State of Texas, as well as in the music programs of public schools and other univer-sities around the state,” said Dr. Robert Freeman, Dean of the College of Fine Arts. This is of partic-ular importance because “there is a shortage of string players and string

teachers at a local, national and international level.”

The Miró Quartet enjoys an active international touring schedule and performs in some of the world’s most recognized concert ven-ues. Recent highlights include performances in New York, Bos-ton, Washington D.C., San Diego, Santa Fe, Cleveland, Oberlin, and Frankfurt, Germany. In addition to the ap-pointment at UT Aus-tin, the Miró Quartet is currently Quartet-in-Residence at the Cham-ber Music Society of Lincoln Center Two and was named to the Dis-tinctive Debut Series of Carnegie Hall, which includes a Weill Re-cital Hall performance as well as debut ap-pearances in Cologne, Stockholm, Brussels, London, Vienna, Am-sterdam, and Athens. In 2001, Miró made its To-kyo debut in a concert benefiting the victims and families of the Sep-tember 11th tragedy.

Performance reviews are enthusiastic. “There is almost nothing one would want from a string quartet that the Miró can’t do: clarity, articulation, balance, and an appealing tonal palette are all accounted for,” said Philip

Kennicott, classical music critic at The Washington Post. The New York Times has written of the Miró’s “pouring out phrase after phrase of sheer lyrical beauty.”

The Quartet has been heard on countless national radio and televi-sion broadcasts. Internationally, the Miró has been featured on radio networks across Europe, Israel, and Canada. At the invitation of Isaac Stern, the Quartet performed in a live broadcast at the Jerusalem Music Center in Israel and was featured in the recent American Mas-ters Documentary “Isaac Stern: Life’s Virtuoso.”

The members of the Quartet maintain a strong dedication to the next generation of musicians. Before coming to Texas, the Miró were on the faculty of the Hugh A. Glauser School of Music at Kent State University, where they taught private students and coached cham-ber music. For the past several seasons, Miró have been the Resi-dent String Quartet of Kent/Blossom Music, Kent’s annual summer chamber music festival in cooperation with the Cleveland Orches-tra. They make regular appearances at the Norfolk Chamber Music Festival and are Quartet-in-Residence at the Swannanoa Chamber Music Festival. They also performed at the Santa Fe Chamber Music Festival, the Lake Tahoe music festivals, and the San Diego Chamber Music Workshop. On short notice, the Quartet filled in for both Hen-ry Meyer and Isaac Stern, leading master classes in Switzerland and Germany. The Quartet recently teamed up with the Grand Canyon Music Festival and composer Brent Michael Davids to form the Na-tive American Composers Apprentice Project, which teaches Native American students how to read and write music.

The Quartet’s unyielding commitment to contemporary music has lead to the commission and performance of music of such com-posers as Brent Michael Davids, Leonardo Balada, David Schober, Chan Ka Nin, Maurice Gardner, and Ezra Laderman. The Quartet has

recorded the music of George Crumb, Gunther Schuller, and Rued Lang-gaard for several Bridge Records releases. Also planned is an indepen-dent release of quartets by Mozart and Mendels-sohn, and collaboration with celebrated cellist Matt Haimovitz for a re-cording of Schubert’s Quintet in C on the Oxin-gale label.

The Miró Quartet is named after the Spanish artist Joan Miró, whose surrealist works, with subject matter drawn from the realm of mem-ory and imaginative fantasy, are some of the most original of the 20th century.

Additional information about the Quartet may

be found at these web sites: www.Miróquartet.com, and at www.music.utexas.edu/programs/miro.asp.

Unique endowment supports

string quartet

With a lead gift of $3 million from Joe and Teresa Long and additional major gifts from Jeff and Gail Kodosky, James Armstrong and others, the College of Fine Arts has raised a total of $4.2 million towards the $6 million en-dowment that will support the string quartet program. No other public institution has created an endowed fund specifically for the support of a faculty string quartet.

The Miró Quartet: The Faculty String Quartet

THE UNIVERSITY OF TEXAS SCHOOL of MUSIC4

The stage was set for Austin to become the capi-tal for the study and performance of American

Music with the creation, in fall 2002, of the Center for American Music at the School of Music.

Designed to advance the teaching, scholarship, and performance of American music from all traditions, including concert, folk, and popular musics, the new Center has established The University of Texas at Austin as a leading institution for the study and perfor-mance of American Music.

“In keeping with the richness and diversity of the United States, the Center concerns itself with the variety of music in America through research, educational, and performance programs of the highest quality directed to all those who love American music,” said school director Dr. Glenn Chandler.

David Neumeyer, Chair of the Board of Advi-sors and noted theorist and film music scholar, noted, “the Center is the only such institute to be integrated with a comprehensive school of music within a major research university. The School of Music aims to create a unique community of scholars, performers, and industry professionals in a collaborative learning environment. And UT already offers re-markable institutional resources. Our Center will work closely with and draw upon the University’s exceptional programs in Ameri-can History, American Studies, the Center for American History, the Harry Ransom Center, and the superb archives of the General Libraries system.”

New courses in the music of Texas, for example, incorporated his-toric sound recordings and photographs found at the Center for American History into lectures and presentations. A course in Delta Blues was added in Spring 2003. Beginning in fall 2004, the Center will also house new School of Music programs, including recording technology, music business, and a UT recording label.

Austin is known as “the live music capital of the world,” and its lively musical scene and burgeoning recording and film industries provide the perfect context for the study of American music in its many guises: from traditional folksong, country, blues, and gospel, to rock, rap, blue-eyed soul, and contemporary classical music. The Center plans to forge links between the academy and the commu-nity to facilitate an unprecedented exchange between musicians, scholars, students, and citizens of Austin.

To kick off the Center for American Music, the School organized sev-eral conferences and events. The inaugural conference, “Popular Culture and American Music,” took place November 20–23, 2002. Music scholars from around the country gave formal presentations on various topics in popular music, including the relationship be-tween music and technology, radio formats, and the use of music in films. In the spring, the Center hosted the cutting-edge new music ensemble “eighth blackbird” for a week of residency activi-ties, culminating in a public concert in Bates Recital Hall. Noted scholars also discussed the challenges and rewards of performing contemporary music.

As plans were discussed for the new Center, an independent fea-sibility study conducted interviews with a variety of individuals in the music business—record label executives, performers, produc-ers, and legal experts. Findings indicated great enthusiasm for the

project within the music industry and concluded that the time was right for the formation of a com-prehensive Ameri-can music center at a major university.

A faculty task force developed curricular modules associated

with the Center. A group of interested alumni, friends and Fine Arts Advisory Council members with ties to the larger music community came together to assist Director Chandler in related development issues. Finally, UT administrative officials characterized the project as one of the most exciting in years and championed new faculty positions in Music Business and Recording Technology, the first of several under the Center’s broad umbrella. In the near future, the Center will take advantage of “cluster,” or cross-over faculty appointments, collaborations with professionals in the School of Business, College of Communication, and the School of Law with expertise in music-related fields.

The Center for American Music has received a great deal of positive attention in the national press. An article in the Austin American-Statesman noted, “From string quartets to bar room blues, from rich orchestral arrangements to the lonesome wail of Jimmie Dale Gilmore, Austin has become a spiritual home to the grand scope of American music. It is fertile ground to grow a music center worthy to be ranked among the best in the nation . . . Texas is closely identified with the music that makes America sing, and it is exciting that UT is building on that identity to create a world-class research center.”

Learn more about the Center at www.cam.music.utexas.edu.

“From string quartets to bar room blues . . . Austin has become a spiritual home to the grand scope of American music. It is fertile ground to grow a music center worthy to be ranked among the best in the nation . . .”

–Austin American-Statesman

School Unveils The Center for American Music

5WORDS of NOTE

With the premise that law, music, drama, and dance are similar (and worth comparing) in that they all involve

the interpretation of texts such as musical scores or legal statutes and the transformation of these texts into complex social actions, The University of Texas School of Law, the School of Music, and the College of Fine Arts sponsored a week-long symposium in March, 2002, titled “From Text to Performance: Law and Other Performing Arts.”

The symposium examined theoretical and practical issues in the practice of law and the performance of music, dance, and drama. UT faculty and guests from around the country presented lectures, performances and panels on these topics and explored such related subjects as: how performing artists learn about works created in the past; adapting classic texts for contemporary audiences; the relationship between living dramatists and composers and the directors of their plays and/or conductors of their music; and the role of critics in presenting works to wider audiences through reviews.

Highlights included back-to-back performances by the distinguished pianist Russell Sherman, performing Liszt’s Transcendental Etudes and a selection of Beethoven sonatas. To complement Sherman’s Beethoven evening, noted forte-pianist Malcolm Bilson performed several of Beethoven’s sonatas on instruments appropriate to the period of the compositions. In addition, the UT Opera Theatre, directed by Robert DeSimone, presented the premiere of a fully staged version of Carl Orff’s Antigone in the McCullough Theater.

Other offerings included discussions of Beethoven and the

law, legal responses to offensive texts, the courtroom scene from The Merchant of Venice, revivals, authenticity and inter-pretive freedom, jazz as a text-based art, and performing law by a who’s who of performers, scholars, authors, composers, directors, actors, playwrights, philosophers, and lawyers. Among the speakers and contributors were Anthony Tom-masini, music critic of the New York Times; Michael Tusa, Professor of Musicology and Associate Director of the School of Music; Harvard’s Lewis Lockwood, a world authority on Beethoven; the eminent theatre historian Oscar Brockett of the Department of Theatre and Dance; Walter Dellinger, former U.S. Attorney General and Acting Solictor General; Linda Greenhouse, Supreme Court correspondent for the New York Times; jazz pianist Phil Markowitz; Joshua Rifkin, conductor, pianist and musicologist;and Tom Phil-lips, Chief Justice of the Texas Supreme Court.

Keynote speakers included musicologist and critic Richard Taruskin from the University of California at Berkeley, and Dr. Jonathan Miller, physician, producer, director, and au-thor of The Afterlife of Plays. Sanford Levinson, the Garwood Centennial Chair in Law, directed the symposium. Suzanne Hassler, now Assistant to the Director of the School of Music, coordinated the event, which included over 100 speakers and performers.

Writing in the Austin American-Statesman, arts critic and panel moderator Michael Barnes described the colloquium as “among the most thorough, informative and thought-provoking in memory.”

Left to right: Panelists Lewis Lockwood, Malcolm Bilson, Russell Sherman, and Michael Tusa

UT school of law and school of Music Meet in international symposium

THE UNIVERSITY OF TEXAS SCHOOL of MUSIC6

Alumni Activities 2002

Hanan Alattar (BM, 1999, Voice) has completed her Masters degree in voice from the Juilliard School and will be entering the Juilliard Opera Center next year. For the past two summers she has performed at the Aspen Music Festival in the roles of Giorgetta in Il Tabarro and Blanche in The Dialogues of the Carmelites. She returned to Tex-as to sing an evening of Verdi arias at the International Festival-Institute at Round Top. She has performed Lady Billows in Albert Herring and Euridice in Orpheus in the Underworld at Juilliard. Alattar became an Austin Lyric Opera apprentice in 1999, singing roles in their productions of Otello, Tosca, and Salome. Summer 2002 included an apprenticeship at St. Louis Opera and a return to the Aspen Festival.

Mark Belcik (DMA, 1999) was recently ap-pointed Associate Dean of the School of Music at Oklahoma City University.

Ben Bell (BM, 2000; MM, 2002, Opera) spent the summer as an Apprentice Artist with the Des Moines Metro Op-era singing a number of roles in the main stage productions.

Eduardo Benavides (MM, 1882) was named 2001 Pre-college Teacher of the Year by the Texas Music Teachers Association.

Rob Carnochan (DMA, 1999) was appointed Associate Director of Bands and Director of the Longhorn Band at The University of Texas at Austin, effective July 1, 2002.

Keith Clifton (BM, 1990, Voice) joins the faculty of the School of Music at Central Michigan University this fall as Assistant Professor of Musicology. His recent publications include articles and reviews for The Opera Journal, The Encyclopedia of the Romantic Era, The Companion to Modern French Thought, and Musical Borrowing: An Annotated Bibliography. His paper, “Ravel, the progressive?” was pre-sented at the 17th Congress of the International Musicological So-ciety in Leuven, Belgium. His forthcoming book, American Art Song Since 1980: A Guide, is in preparation for Scarecrow Press. Clifton served as tenor soloist and section leader at St. Alban’s Cathedral in England during the summer of 2001.

Joe David Compean (BM, 1997; MM 1999, Saxophone) is orches-tra director at United Middle School in Laredo, Texas. In addition to teaching, Compean continues to perform in both classical and jazz mediums around the Laredo community and in Mexico.

Martin Cuellar (MM,1991; DMA, 1997), Assistant Professor of Piano at Emporia State University in Kansas, received that university’s 2001 President’s Award for Research and Creativity. His pedagogical com-positions continue to be published by FJH music company.

Rafael Davilla (MM, 1998, Opera) recently per-formed the role of the Duke in Rigoletto for the Austin Lyric Opera and Candide with the Fort Worth Opera. He played the lead in Faust, Cassio in Otello, and Miguel in the Zarzuela La del Soto del

Parral with the Teatro de la Opera Puerto Rico, and performed at the Cassals Festival.

Alexandre Dossin (DMA, 2001) recently concluded a one-year teaching position at the University of Louisiana at Lafayette. He has accepted a tenure-track position at the University of Wisconsin at Eau Claire.

Helen Fanelli (née Shuler) (BM, 1983, Voice), Dramatic Mezzo

School of Music alumnus produces international broadcast series

Hanan Alattar

Tony Morris (MM 1993, Guitar Performance) produces and hosts the public radio program Classical Guitar

Alive! which recently expanded its broadcasts to the Euro-pean Broadcasting Union Euroradio Network (EBU), the Eu-ropean equivalent of National Public Radio. The Euroradio network reaches 190 million people and provides program-ming for broadcasts in 43 major European cities.

Classical Guitar Alive! features music and interviews with many of the world’s leading guitarists and composers. Pro-duced in the studios of KMFA in Austin, the program is dis-tributed to over 180 public and commercial radio stations in the US and can also be heard on internet simulcasts.

Past guests featured on Classical Guitar Alive! include such notable musicians as guitarist John Williams, Pulitzer Prize-winning composer John Corigliano, former Led Zeppelin rock guitarist Jimmy Page, Paco De Lucia, Pepe Romero, Da-vid Russell, Sergio Assad, Paul O’Dette, Christopher Parken-ing, Manuel Barrueco, Jorge Morel, and many others.

(Left to right) Recording artist John Williams, program host Tony Morris, British jazz guitar virtuoso John Etheridge.

Alumni

7WORDS of NOTE

Soprano, has had an active career singing opera in New York for the last 14 years and was a Metropolitan Opera Company member dur-ing the 2002–2003 season. She performed the role of the Mother Abbess in The Sound of Music at the Tarrytown Theater in Tarrytown, New York, in November 2000 and sang the role of Marcellina in Le Nozze di Figaro with the Taconic Opera Company at the Yorktown Theater in New York in May 2001. Ms. Fanelli has appeared profes-sionally throughout New York state with such companies as the Hudson Valley Opera Fest, New Rochelle Opera, Inwood Opera, Operesque Opera, Regina Opera, NYC Liederkranz Choral, Hemp-stead Liederkranz, New York Cantata Singers, and New York Vocal Artists. She has served on the faculty of the Mozartina Musical Arts Conservatory in Tarrytown, New York.

Howard Jonathan Fredrics (DMA, 1998, Composition), assistant professor of music at Texas A&M University, was recently elected to the National Academy of Recording Arts and Sciences.

Nick Fryman (MM, 1969, Music Theory) has lived in Los Angeles since 1977, and has worked as a freelance pianist, mu-sical director, and musical arranger/or-chestrator for live shows, television, and film.

Jorge Gallegos owns and manages Sala Beethoven, one of Mexico’s top mu-sic academies and piano dealerships. As artistic director of the International Piano Festival Sala Beethoven, now in its eighth year, he engages prestigious pianists from around the world to per-form in Monterrey. He also has served as adjudicator of many international piano competitions.

Jeff Gershman (DMA, 2002) was appointed Assistant Professor of Music at Texas A&M University in Commerce.

Celinda Hallbauer (BM)is president-elect of the Texas Music Teach-ers Association (2002–2004). She is head of the Music Department at Central Texas College in Belton, Texas, formerly Mary Hardin Baylor University.

Dr. Jacqueline Chryar Henninger graduated from UT with three degrees: a Bachelor of Music in Music Studies (1992), a Master of Mu-sic in Music Education (1998), and a Doctor of Philosophy in Music Education (2000). She is in her second year as Assistant Professor of Music Education at The Ohio State University in Columbus, Ohio. Her most recent article, “The Effects of Knowledge of Instructional Goals on Observations of Teaching and Learning,” is currently in press with the Journal of Research in Music Education.

Adrienne Inglis (MM, 1986, Flute; BS, 1992, Chemical Engineering) performs on flutes, zampoñas, and quena with Chaski, a Latin Amer-ican folk music trio that has performed together for 17 years. The group’s recent CD, Unay, features love songs, dance tunes, and fes-tival music from Bolivia, Peru, Argentina, and Venezuela, as well as original compositions and ancient Sephardic songs. Inglis has stud-ied with Scott Goff, Karl Kraber, and Bolivian zampoñero Fernando Jiménez. She has taught flute at Southwestern University, played with the Wild Basin Winds, was principal flute with the Mid-Texas Symphony for many years, and performed on and coordinated the

Westminster Sunday Afternoon Music Series in Austin for two years.

Ralph N. Jackson (MM)was elected President of the BMI Founda-tion, Inc. in January 2002. The BMI Foundation, Inc. is a non-profit corporation dedicated to encouraging the creation, performance and study of music through awards, scholarships, commissions and grants. Jackson will head the Foundation while maintaining his cur-rent positions as BMI Assistant Vice President, Classical Music Rela-tions and Director of the BMI Student Composer Awards. Jackson joined the BMI staff in 1980 and has contributed significantly to the growth of BMI’s classical music repertoire. As a composer, he has received numerous awards and honors, including two BMI Student Composer Awards.

Jeremy Justeson (DMA, 2001, Saxophone) is now the director of the Single Reed Studio and Assistant Band Director at Kutztown Univer-sity of Pennsylvania. He will perform with the Allentown Symphony

on its first subscription series this year.

In the past season, conductor George Garrett Keast (BM, 1995) served as As-sistant Conductor of the New Amster-dam Symphony Orchestra and as Chorus Master of the Bronx Opera Company, where his chorus in the revival of Franz von Suppé’s Boccaccio received high ac-claim from Opera News. He was invited to lead the Florida Orchestra, Mass-apequa Philharmonic, and the North Penn Symphony Orchestra. This sum-mer he was on the faculty of music at Port Milford in Ontario, Canada, and led a concert of Stravinsky, Purcell, Mozart, and Respighi with the New Amsterdam Symphony Orchestra. Keast works on the music staff of the Metropolitan Op-

era in New York City. He was a trombone student of Donald Knaub at UT, and began his conducting studies at that time with Stephen Stein of the Houston Symphony.

After six years as director of opera at Ohio State University, Noel Koran (MM, 1992; DMA, 1997, Opera Directing) has accepted the di-rectorship of the Raglund Opera Theatre at Northwestern University beginning September 2002.

Julianne Markavitch (BM, 1990 , Piano) has just released her fourth CD, Nocturne. Her other three recordings are Moonlight (1996), Noel (1999), and Tempest(2000). Markavitch continues to successfully mar-ket her recordings independently through internet and other retail outlets. Since moving to Arizona in 1997, she has been featured in The Arizona Republic, ASU’s State Press Magazine, and the television programs “Arizona Morning” and “Sonoran Living.” Two selections from her Noel CD were recently featured on the compilation record-ing A Holiday Gift, which was released in November for national dis-tribution. Proceeds from sales benefit the Boys and Girls Clubs of America. In addition to her performance and recording career, she teaches at her studio in Chandler, Arizona.

Vernon H. Moeller (MM, 1979, Theory and Composition) was re-cently named an Associate of the American Guild of Organists (AAGO). Requirements included a performance exam, in which Moeller played music by Bach, Franck, and Sowerby, and a six-hour written exam on such subjects as form and analysis, fugue writing,

Garrett Keast

THE UNIVERSITY OF TEXAS SCHOOL of MUSIC8

composition, ear-training, history, and literature of music and pipe organ construction and maintenance. Moeller is a computer pro-grammer for the state, and is organist for Bethany United Methodist Church in Austin. He is married to the former Ann Perrine (BMusEd 1979), and they have two teenage sons.

Elizabeth Hansing Moon (MM, 1981) is Dean of Fine Arts at the St. Stephen’s School in Austin.

Mark Moore (MM, 1995, Guitar Performance) recently joined the faculty of Houston Baptist University to direct its classical guitar pro-gram. He also teaches guitar at Bellaire High School and serves on the board of directors for Guitar Houston, Houston’s guitar society.Dr. Catherine Parsoneault (Ph.D., 2001), program director in the

division of universities and health-related institutions at the Texas Higher Education Coordinating Board in Austin, presented a paper entitled “’Li abai de pensee’: The Im-agery and Origins of the Montpel-lier Codex” at the 37th International Congress on Medieval Studies in Ka-lamazoo, Michigan, in May. Her dis-sertation on the Montpellier Codex, supervised by Rebecca A. Baltzer, was named as School of Music Out-standing Dissertation Award at the May honors convocation. She had a paper accepted for the annual meeting of the American Musicologi-cal Society entitled “... belle, bonne et sage ... Marie de Brabant and the Origins of the Montpellier Codex.” She presented a lecture in the UT Continuing and Extended Education Thompson Conference Center Lecture Series, “In the Footsteps of St. Francis,” coordinated by Dr. Sigrid Knudson (Department of Art and Art History).

Paul Richards (DMA, 1998), assistant professor of composition at the University of Florida, has won the Fresh Ink 2002 Florida Com-posers’ Competition. His composition, Trip Hammer, was announced as the winner following its premiere performance in May at the Jacksonville Symphony Orchestra’s Fresh Ink 2002 Concert . The JSO will commission a new work by Dr. Richards to be premiered in 2004. Mythical Tales of Extar by renowned composer and UT alumna Stella Sung was premiered as a “runner-up” work in the contest.

Richard Rose (DMA, 1989) was recently awarded The Dr. Ruth Wolkowsky Greenfield Chair in Music by Miami-Dade Community College, where he has taught for 14 years. He is currently a professor in the Department of Commercial Music and teaches music educa-tion, music technology, and jazz. As a professional bassist, Dr. Rose performs jazz, commercial music, and folk music, regionally and na-tionally and has written extensively about his field.

Roberta Rust (BM, 1978, Piano) was invited by the Piano teacher’s Guild of the Philippines to present a solo recital and seminar in Ma-nila in July 2002. She gave master classes at the University of the Phillipines, University of Santo Tomas, and St. Scholastica’s College. She later traveled to Thailand, giving master classes at Chulalong-korn University and Mahidol University. She presented a lecture, master class, and recital in Bangkok for the International Academy of Music. In the US she gave recitals at the Idyllwild Arts Academy in California, Blue Ridge Community College in North Carolina, the Universalist Unitarian Fellowship in Gainesville, Florida, and St. Gregory’s Episcopal Church in Boca Raton. She served as chair of the jury for the Third Piano Concerto Competition at the Community College of Southern Nevada and also presented a recital in Las Ve-gas. She is currently Artist Faculty–Piano and Professor of Music at the Conservatory of Music at Lynn University in Boca Raton, Florida.

Kevin Sedatole (DMA, 1997) was appointed Director of Bands at Baylor University.

Dr. Julia Wingo Shinnick (PhD, 1997), a member of the musicol-ogy faculty at the University of Louisville, presented a paper entitled “Mimetic Violence in the Medieval Mass” at the 37th International Congress on Medieval Studies in Kalamazoo, Michigan, in May. She also gave a paper, “Text Expression in a ‘Laudes crucis’ Contrafact,” at the Cantus Planus / International Musicological Society meeting

Richard Rose

In February 2002, the School of Music proudly welcomed back award-winning pianist James Dick, one of our most

distinguished alumni, and founder and director of the In-ternational Festival Institute at Round Top, to perform a solo piano recital in Bates Recital Hall. On the program were works by Bach, Beethoven, Menotti, Chopin, and Prokofiev. The recital was his first at UT since he gave his senior recital and graduated with special honors in piano in 1963. During a week-long residency, Mr. Dick also taught sev-eral master classes in piano and chamber music and gave a public lecture. James Dick’s early triumphs as top prizewinner in the Tchaikovsky, Busoni, and Leventritt International Compe-titions were a prelude to an eminent career highlighted by acclaimed recitals and concerto performances in the world’s premier concert halls with many major orchestras and directors, and collaborations with the most renowned musicians. In 1971, he established the James Dick Founda-tion for the Performing Arts and the International Festi-val-Institute at Round Top. This internationally recognized education and performance project provides advanced mu-sical instruction by distinguished faculty to gifted inter-national students on an idyllic 200-acre campus.

eminent pianist returns to campus

James Dick in master class.

9WORDS of NOTE

“William Hipp, Dean of the Frost School of Music at the University of Miami, has gone on to lead one of the most outstanding schools of music in the United States,” said Dr. Glenn Chandler, director of the School of Music at Hipp’s alma mater, The University of Texas at Austin. “Dean Hipp holds three music degrees from UT and has provided students not only at Miami, but also at Southern Methodist and Illinois Wesleyan University, with an outstanding model of leadership as an American music educator and arts advocate for more than 30 years,” said Chandler.

During Dr. Hipp’s 21-year tenure as Dean, the University of Miami School of Music has celebrated two particu-larly important occasions. The year 2001 marked the 75th anniversary of the founding of the school in 1926, and in October 2003 it received a landmark $33 million endowment. The gift, made by philanthropists Dr. Phillip and Pa-tricia Frost of Coral Gables, Florida, is thought to be the largest endowment ever given to a university-based music school in the United States.

That William Hipp’s career should culminate as dean of a major music school is not surprising. His primary research

interest as a doctoral student in music education at UT in the 1970s was in the area of arts administration in higher edu-

cation. While a graduate student in Austin, he also worked in the Dean’s office as an assistant to E. William Doty, Dean of The Univer-sity of Texas College of Fine Arts at the time.

When asked to comment on his experiences in the School of Music at UT he responded, “In addition to being a first-rate musical institu-tion, it was the mentoring I received that was so important, from people such as Bill Doty, Bernie Fitzgerald, Warren George, Bob Bays, Carroll Gonzo, Janet McGaughey, Alexan-der von Kreisler, and others. The musical experiences I received at UT were absolutely top notch.”

Future projects on Dean Hipp’s drawing board include complet-ing Miami’s $10.5 million music library, premiering a new work by composer Roberto Sierra, a partner-ship with the Miami International Piano Festival—and an invitation

from UT. Dr. Chandler has invited Bill to travel “home” to Texas to speak to students in UT’s Music Leadership Program in the near future.

in Leuven, Belgium, in August. She is a former student of Rebecca Baltzer.

Mark Spede (DMA, 1998) has been appointed Director of Bands at Clemson University in South Carolina.

Kristen (Smith) Stoner (BA, 1995) has joined the faculty at the University of Florida as Assistant Professor of Flute. She received her MM and DMA from the University of Cincinnati. She previously taught at Denison University in Ohio for three years. She has been active performing around the country, playing at three of the last four National Flute Association (NFA) conventions and in various na-tional competitions. She also returned to The University of Texas in April to perform a guest artist recital. In August, she presented her doctoral thesis, The Influence of Folk and Popular Music on Twentieth-Century Flute Music of Brazil, at the NFA convention in Washington, D.C., as one of two winners of the NFA’s Doctoral Dissertation Com-petition. This fall she is performing as a featured soloist with the University of Florida New Music Ensemble and the Jacare Brazilian Ensemble.

Yoichi Udagawa (BA, 1985, Music Studies) is Music Director and Conductor of the Cape Ann, Melrose, and Quincy Symphonies, and

is on the conducting faculty at the Boston Conservatory. He traveled to Japan in October for a return engagement to guest conduct the Nobeoka Philharmonic Orchestra. In February he conducted mem-bers of the Boston Pops Esplanade orchestra in an outreach presen-tation for the Boston Symphony in Roxbury, MA.

Lecolion Washington (BM, 1999, Music Studies) recently accepted a position as Assistant Professor of Bassoon at the University of Mis-souri-Columbia.

Hyunah Park Yu, a 1990 honors graduate in biology, studied voice with Darlene Wiley throughout her four years at UT. After leaving Texas she studied at Peabody Conservatory, including study with Stanley Cornett, Phyllis Bryn -Julson, Thomas Grubb, John Shirley-Quirk, Graham Johnson, Phyllis Curtin, Benita Valente, and Evelyn Lear. After winning third place in the 1999 Naumburg International Competition, she won the Russell Wonderlich Competition and was a finalist in both the Concert Artists Guild and Duten International Vocal Competition in Hertogenbosch. Her career has sky-rocketed, with engagements at Washington Opera (Sophie in Der Rosenkava-lier, Titania in Midsummer’s Night Dream, Susanna in Marriage of Fi-garo) Carnegie Hall solo recitals, Marlboro Music festival, Shriver Hall concert series in Baltimore, Baltimore Symphony, New England Bach

Dean William Hipp

UT alum leads University of Miami school of Music

THE UNIVERSITY OF TEXAS SCHOOL of MUSIC10

Festival and most recently a highly successful audi-tion at the Metropolitan Opera.

Alumni activities 2003

George Garrett Keast (BM, 1995) was recently named as conductor and host for the Queens Sym-phony Orchestra Young People’s Concerts, with an audience of over 3,000 schoolchildren. During the summer of 2003 he conducted the Festival Orchestra and Chorus at the Canadian Music Festival and Camp at Port Milford on Lake Ontario. He recently conduct-ed Madama Butterfly in South Florida, and finished his third season at the Metropolitan Opera.

Dr. Elizabeth Momand (DMA, 2001), a former stu-dent of the late Martha Deatherage, has been ap-pointed associate professor of voice at the University of Arkansas-Fort Smith, beginning with the fall 2003 semester.

Klondike Steadman (DMA, 2002) received the 2003 Music Teachers National Association Studio Teacher Fellowship Award, which “helps music teachers de-velop and enhance their newly established studios.” Steadman was the first person to receive a doctoral degree in classical guitar performance at UT. He won first prize at the 1997 MTNA Collegiate Artist Guitar Competition, one of several awards throughout his career. Along with his wife Wendy Kuo, he recently opened the Joyful Sounds Academy of Music in Aus-tin, which will employ at least eight other teachers of varied instruments, offering courses in music history, theory, chamber music coaching, composition, im-provisation, and more. He continues work on volume 3 of his 5-volume method book, An Integrated Ap-proach to Classical Guitar. He served as president of the Austin Classical Guitar Society from 1999–2001, during which time he founded the Educational Out-reach Program to provide free guitar lessons to low-income students. He has taught at UT and Huston-Tillotson College and is on the faculty at Southwest-ern University in Georgetown, Texas.

John Schwalm (BM, 2000) was selected last Spring as the new bass trombonist for the Chicago Lyric Op-era Orchestra.

Deborah Schwartz-Kates (PhD, 1997, Musicology,) was awarded an international fellowship to carry out research at the Paul Sacher Stiftung in Basel, Switzer-land. The Paul Sacher collection is considered one of the most important twentieth-century music ar-chives in the world. Her research deals with the film scores of Alberto Ginastera, which constitute an es-sential part of the composer’s creative production that has never been systematically explored.

Center for Music Learning celebrates its inaugural year

The 2002–2003 academic year marked the inaugural of the Center for Music Learning. The Center was established as a research and teaching unit whose purpose is to study the processes of skill devel-

opment and knowledge acquisition, integrating the results of systematic research from multiple disciplines across the university with best prac-tices in music. By bringing together expert teachers, performers, compos-ers, psychologists, neurologists, and physiologists, the work of the Center encompasses the design of curricula, the implementation of instruction, and the assessment of learning, all premised on a deep understanding of the development of auditory and motor skills.

The Center encompasses of wide range of programs, among them:• The Distinguished Teachers Series—an ongoing residency program that honors the most skillful and successful artist-teachers in music. The list of DTS honorees includes such luminaries as Eliot Fisk, Richard Killmer, Donald McInnes, and Nelita True.• The Nelson G. Patrick Honors Teaching Fellows Program—a teach-ing collaboration between the Center and the Austin Public Schools. The most outstanding undergraduates in the School of Music’s teacher prepa-ration program are paired with outstanding middle school students from disadvantaged backgrounds in teaching-mentoring relationships guided by School of Music faculty.• The Center provides in-service workshops for K–12 teachers in the region, making available to practicing elementary and secondary teach-ers the faculty and resources in the School of Music • The Center will soon launch an online journal, Reviews of Research in Human Learning in Music, a publication devoted to reviewing research from disciplines outside of music, including psychology, neuroscience, and kinesiology, and interpreting and relating their findings to music behavior.• The Center’s research mission is enhanced by seminars and research collaborations featuring leading scientists who are studying the processes of human perception and motor skill development. • The Center joins with the UT String Project in sponsoring the annual Excellence in String Teaching Lecture Series, whose roster includes Doris and William Preucil, Barbara Barber, Marilyn O’Boyle, Katie Lansdale, Jean Dexter, Michael Allen, Alice Joy Lewis, and Judy Palic.• Each year the Center sponsors Music Careers in Public Education, a one-day workshop designed to acquaint music students in all disciplines with the profession of teaching in primary and secondary schools. School of Music alumni with successful professional lives as choral, instrumental, and elementary music teachers return to campus to share their experi-ences and discuss the challenging and gratifying aspects of their work. Having accomplished a number of ambitious goals in its first year of operation, the Center for Music Learning has taken the first steps to becoming a leading institution for interdisciplinary research in the arts and sciences and for the development of effective teaching practices at all levels of instruction. The promise of its programs is a fuller under-standing of music and the human condition, with the result of broad-ening and deepening levels of participation in the music of our culture for all members of our society. For further information about the Center for Music Learning, visit http://cml.music.utexas.edu/

11WORDS of NOTE

The Music Leadership Lecture Series was highlighted by a visit in September 2001 by Dr. James Moeser, School of

Music alumnus and Chancellor of the University of North Carolina at Chapel Hill. His talk, entitled “From Longhorn to Tar Heel: What I Took from Texas on the Long Trail to North Carolina,” fo-cused on Moeser’s experiences at UT and the School of Music that shaped his career as concert organist, profes-sor, university administrator, and past president of the American Guild of Organists. Despite his parents’ fear of the “alien and worldly influences” outside West Texas, Moeser moved from Lubbock to Austin in 1957 to study organ with Dr. E. William Doty, founding Dean of the College of Fine Arts and professor of organ. There he encountered such remarkable faculty as Ja-net McGaughey and Kent Ken-nan, significant mentors who shaped his early days at UT. He also encountered an important life outside music, sampling courses from such sought-after faculty as John Silber in the Department of Philosophy and igniting his interest in social and political issues. Moeser was swept up in the burgeon-ing Civil Rights movement on campus. When Dean Doty asked him why he was running for Student Assembly, Moeser told him, “because I think I can make a difference.” Following his undergradu-ate degree and a year abroad on a Fulbright grant, Moeser returned to UT for gradu-ate study in musicology. He helped Doty establish the Fine Arts Advisory Council to advocate for the College and to raise funds for its activi-ties. Doty’s influence also led Moeser to the University of Michigan for his doctoral work in organ performance. He became assistant professor of organ per-formance at the University of Kansas where, later as Dean, he estab-lished a similar and quite successful Advisory Council. Another important mentor with UT connections was Dr. Bryce Jor-dan, who, as president of Penn State University, hired Moeser as dean of the School of Arts and Architecture. “I can honestly say that I learned the art of the college presidency” from Bryce Jordan, Mo-

eser said. Moeser told his audience, ‘This University presents you with incred-ible opportunities for growth and development, if you take the ini-tiative and take hold of them.” The School of Music offers one-on-one undergraduate instruction, unlike any other part of the Univer-sity. “Take full advantage of your faculty mentors. Watch them, and emulate their best characteristics.” Second, “get to know the rest of the University. Find your way into student organizations that are committed to making the world a better place. Get engaged with some form of significant public ser-vice. You are never too busy for what is really important to you.” Third, “enroll in some challenging courses outside of music. Explore the far reaches of your curiosity, courses that challenge your ideas and force you to think critically and express yourself clearly, both in writing and orally. I can’t stress this enough: seek out those faculty who stress good writing.”

Fourth, “reach out beyond your own comfort zone and get to know people who are really dif-ferent—people of different ethnic and national backgrounds, people of different religious or political persuasion, different sexual ori-entation. I will warn you—some-times this can make you uncom-fortable. It can be awkward. But from it, you can learn how to re-late to someone with whom you differ. That doesn’t mean you should surrender your values or your point of view.” “Finally, no matter what the re-quirements of your degree, don’t leave this university without learning another language.” “People sometimes ask me how an organist could possibly run a major research university. My flip-pant response to that question is that anyone who can conduct a church choir can run anything. The real answer is not far from that—as musicians we under-stand the importance of leader-ship, but we also understand play-ing our own part and playing to-

gether. We understand that you can’t play well if you don’t listen. “My wish for each of you is to have the same rich experience at this University that I did. No matter what your career path is, no matter how many careers you have, you have before you all the resources and tools that one could possibly ask for. The responsibility is yours. Reach out and take it.”

Distinguished alumnus offers career advice to students

Music Leadership Lecturesimpart professional insights

The School of Music’s endowed Music Leadership Lec-ture Series brings to campus outstanding professionals

with performance, academic, and leadership credentials to help prepare students for careers in music. Invited lectur-ers include performing musicians, directors of major music festivals, symphony orchestras and opera companies. Oth-ers have backgrounds in areas within the music industry, law, communication, or recording technology. Speakers who have visited in this series recently include:•James Moeser–Chancellor, University of North Carolina/Chapel Hill. School of Music alumnus•Charles Riecker–retired artistic director, Metropolitan Opera. •James Dick–concert pianist; founder/artistic director, International Festival Institute at Round Top•Charles Webb–Former Dean of the School of Music, University of Indiana•Philip Kurnit–Executive, entrepreneur, and attorney in the entertainment industry•Jeff Cline–coordinator of the Music Technology Depart-ment at the University of Memphis•Tim DuBois–top Nashville record label executive•Karissa Krenz–Editor-in-Chief of Chamber Music America

James Moeser

THE UNIVERSITY OF TEXAS SCHOOL of MUSIC12

Faculty Activities 2002Gregory Allen, Professor of Piano, was nominated by the Aus-tin Critics Table in the Best Chamber Music category for his collaboration with the Cavani String Quartet in Dvorak’s Piano Quintet. He joined colleague Anton Nel for a rare performance of John Corigliano’s Chiaroscuro, for two pianos tuned 1/4 step apart, under the composer’s supervision. Allen participated in a concert of the Chamber Music International series in Dallas, and was featured pianist with the Austin Symphony in Ballet Austin’s production of George Balanchine’s Who Cares?, based on songs by George Gershwin. Professor Allen coordinated the production of a promotional CD recording entitled “We’re Tex-as!” featuring nine outstanding freshman piano students. With the Chamber Soloists of Austin, Allen played and conducted Mozart’s Concerto no. 27 in B-flat, K.593. The group also pre-sented Carl Czerny’s chamber arrangement of Mozart’s great D minor Concerto, K. 466, which will soon be issued on the Gasp-aro label in its world-premiere recording.

Elliott Antokoletz, Professor of Musicology, presented eight days of seminar lectures on twentieth-century music at the National Center for the Arts in Mexico City in December. He was invited to lecture in February on “Shostakovich’s Fifth Symphony: Its Musical Language and the Aes-thetics of Socialist Realism,” at Icebreaker: Voices from New Russia, a festival and international conference of con-temporary Russian music hosted by the Seattle Chamber Play-ers. Antokoletz continues as editor of the International Journal of Musicology (Frankfurt am Main: Peter Lang), now preparing Volume 9.

Dr. Rebecca A. Baltzer, Professor of Musicology and Division Head, chaired sessions for the national meeting of the Ameri-can Musicological Society in Atlanta in November 2001 and for the International Machaut Society at Kalamazoo, Michigan, in May 2002. She gave an invited guest lecture at the Univer-sity of Iowa in April and a research paper, “The Saints and the Sanctorale: Dating by the Decade in Thirteenth-Century Paris,” at the Cantus Planus/International Musicological Society meet-

ing in Leuven, Belgium, in August 2002. A book she co-edited, The Divine Office in the Latin Middle Ages: Methodology and Source Studies, Regional Developments, Hagiography (Oxford University Press, 2000), was one of three books to receive an award (Hon-orable Mention) in the category of Philosophy and Religion, from the Professional and Scholarly Publishing branch of the Association of American Publishers.

Nathaniel Brickens, Professor of Trombone, appeared as solo-ist, clinician and conductor at the Illinois Summer Music Camp at the University of Illinois Champaign-Urbana and at the Ohio University Low Brass Day. Brickens played trombone in a demo recording session for the movie Spy Kids 2 and a video-taping of a national television ad for South Pacific (with Robert Goulet). He directed fourteen off-campus performances of the UT Trombone Choir, which was awarded first place in the 2002 Emory Remington International Trombone Choir Competition. Nathaniel Brickens was promoted to the rank of Professor of Trombone in September.

Thomas Burritt, Assistant Professor of Percussion, traveled to Sweden to perform and teach at the Musikhögskolan in Piteä at

the 2001 summer mallet workshop. In July, Bur-ritt was a guest artist in residence at the Chau-tauqua School of Music summer program. He gave a clinic and performance at the Percussive Arts Society International Convention in Nash-

ville in November. In December he performed Joseph Schwant-ner’s Concerto for Percussion with The University of Texas Wind Ensemble.

Lorenzo Candelaria, Assistant Professor of Musicology, gave the keynote address to graduating Mellon Fellows and McNair Scholars at Oberlin College in May. In the fall he presented a paper at the conference A Sense of Place: Seventy Years of Musical Scholarship at Yale in New Haven, Connecticut. He gave a mas-ter class “Ensemble Techniques for the Mariachi” at the Inter-national Mariachi Conference in Las Cruces, New Mexico. His master class was originally designed for Walt Disney World’s Mariachi Cobre, a group recently nominated for a Grammy for their collaboration with the Boston Pops Orchestra on The Latin Album. With the support of a Summer Research Assignment, Dr. Candelaria returned to Spain for eight weeks to continue his research on sixteenth-century music and popular religion. The results will be presented at the national meeting of the American Musicological Society in November and in his up-coming graduate seminar “The Motet in Renaissance Spain.”

Elizabeth B. Crist, Assistant Professor of Musicology, contin-ues her research on Aaron Copland’s music during the 1930s and 1940s. In November, she read a paper at the national meet-ing of the American Musicological Society, and two of her ar-ticles on the composer have recently appeared in leading musi-cological journals. Professor Crist was on leave in 2002–03, hav-ing been awarded grants from the National Endowment for the Humanities and from The University of Texas. Her first book, Music for the Common Man: Aaron Copland during the Depression and War, is under contract with Oxford University Press.

Robert DeSimone, Director of Opera, opened the UT Opera Theatre season with a production of Mozart’s The Magic Flute. In February the Opera Theatre presented the American staged premiere of Karl Orff’s opera Antigonae, directed by James

Robert DeSimone conducts the inaugural concert for the new Gov-ernor of Michoacan at the Governor’s Palance in Morelia, Mexico.

Faculty

13WORDS of NOTE

Hampton, and in April Menotti’s The Consul was performed. In August DeSimone directed a production of The Magic Flute in Salzburg, Austria. In November he opened the International Music Festival in Morelia, Mexico, with an opera concert, then

returned to Mexico in February to conduct the inaugural concert for the new Governor of Michoacan. In addition he presented master classes in Mexico City, Guadalaja-ra, and at the Conservatorio de las Rosas in Morelia. Later this year he will return to Mexico to conduct a production of Puccini’s La Boheme at the Teatro Ocampo.

Robert Duke, Professor of Music and Human Learning, held the Endowed Chair in Music in the School of Music at The Univer-

sity of Alabama and the Joy Vee Davis Lectureship in Music Education at Baylor University during the fall semester of the 2001–2002 academic year. During the past academic year Pro-fessor Duke presented the keynote addresses for the 6th Inter-national Research Symposium on Talent Education, the College Music Society, the Oregon Music Educators Association, and the Missouri Bandmasters Association. He presented additional lectures at meetings of the Suzuki Association of the Americas and the Nebraska Music Educators Association. He was also an invited guest lecturer at the University of Nebraska, Kennesaw State University, VanderCook College of Music, and the Univer-sity of Maryland. His most recent research was presented at the biennial meeting of the Music Educators National Conference and appears in recent issues of the Journal of Research in Music Education.

Veit Erlmann, Professor of Ethnomusicology, was one of the founding fellows of UT’s new Humanities Institute. He also received a major grant by the Wenner Gren Foundation for

Martha Martin Deatherage died Monday, May 5, 2003, in Austin, Texas. She was born in Parsons, Kansas, May 12, 1930. She received an Associate of Arts de-

gree from Stephens College, Columbia, Missouri, a Bachelor of Music with Honors from The University of Texas, and a Master of Music degree from UT. She also studied privately with Paul Ulanowsky in Chicago, Madame Lotte Lehm-ann at the Music Academy of the West in Santa Barbara, and Dame Maggie Teyte in London. Professor Deatherage taught at The University of Texas as an Associate Instructor, 1953–54; and from 1961 as Professor of Voice. She was Instructor of Voice at Monticello College, Al-ton, Illinois, from 1954–58, and Vocal Instruc-tor at the University of Chicago Rockefeller Memorial Chapel Choir, 1958–59. She also taught privately at the Bayerische Staatsop-er in Munich, Germany; the Opera House in Lyon, France; and the Theatre de la Monnaie in Brussels, Belgium. A soprano, she performed for four years on weekly radio and television arts pro-grams in St. Louis. She performed many soloists roles with orchestras and was an outstanding oratorio soloist. Her operatic repertoire included such roles as Nedda (in I Pagliacci) and Tosca with the St. Louis Grand Opera Guild, and Leonore (in Fidelio) with the University of California at Los Angeles. She also performed dozens of faculty recitals at UT. During her career, she received numerous professional hon-ors and awards including the Artist Award of the National Federation of Music Clubs, the Dealy Competition in Voice (Dallas), Who’s Who in American Women, 1000 Women of Distinction, Who’s Who in the South and Southwest, the In-ternational Who’s Who in Music, and Who’s Who in Educa-tion. She held membership in several professional and honor-

ary organizations, including Pi Kappa Lambda, Sigma Alpha Iota (Sword of Honor), Music Teachers National Association, American Association of University Professors, and the Na-tional Association of Teachers of Singing, where she served as District Governor in 1973.

Martha Deatherage was frequently called on to

judge various competitions, including the Met-ropolitan Opera Midwest and North Central

Regional Auditions, and many National As-sociation of Teachers of Singing Regional Auditions. She offered master classes in Texas, New York, Illinois, Georgia, Loui-siana, and Mississippi.

She was also active at the Univer-sity and in Austin, serving on numerous faculty committees, working with other

departments and local organizations to present lectures, concerts and programs

on topics ranging from women composers to Charles Ives to “The Music of the Vauxhall Gar-

dens in the Reign of George III.”

She served for many years on UT’s Roy Crane Award for Cre-ativity in the Arts committee. Most recently, she coordinated a performance by School of Music and Department of The-atre and Dance students with UT alumnus Harvey Schmidt for the Ex-Students’ reunion of the Class of 1952. In 2002, she was invited to be advisor on musical examples for a display in conjunction with preparations for the new British Wing of the Victoria and Albert Museum in London. Martha Deatherage’s former students have gone on to careers with major opera companies in the United States and abroad, and they teach in numerous colleges and universities.

School of Music Loses Renowned Soprano and Voice Teacher

Robert Duke

THE UNIVERSITY OF TEXAS SCHOOL of MUSIC14

Anthropological Research which enabled him to organize and chair an international conference on “Hearing Culture—New Directions in the Anthropology of Sound,” held in Oaxaca, Mexico, in April.

Delaine Fedson, Lecturer in Harp, was recently elected to a three year-term as Southwestern Regional Director for the American Harp Society.

John Fremgen, Jazz Studies Lecturer, maintained a busy sched-ule performing and recording, in addition to teaching. In Oc-tober, he toured the Midwest in support of his first release on Viewpoint Records, Meanwhile, along with colleague Jeff Hellmer, piano, DMA candi-date David Glover on drums, and local gui-tar legend Mitch Watkins. Fremgen played bass on Sara Hickman’s latest CD, Faithful, and on upcoming releases by legendary bluegrass musician Johnny Gimble and Columbia recording artist PJ Olsson. His second Viewpoint release, Pieces Of String, featuring drummer Peter Erskine and pia-nist Shelly Berg, is due in the fall.

Sophia Gilmson, Associate Professor of Piano Pedagogy, spent a five-day residency at the University of Oregon at Eugene, where she played J. S. Bach’s Goldberg Variations on harpsichord and piano in one evening, presented a series of workshops for graduate piano pedagogy classes, and gave master classes. She gave a lecture-demonstration on Bach’s Goldberg Varia-tions, and participated in a panel discus-sion on Russian contributions to advanced piano pedagogy at the Oregon Music Teacher’s Association State Convention. At the World Piano Pedagogy Conference in Orlando, Florida, she was a member of the Committee on the Future of Piano Pedago-gy. Gilmson is founder and artistic director of the Austin Young Artists Concert. In June Professor Gilmson gave a workshop and master-classes at Texas Southern University, and in July she presented a lecture-demonstration on the numerical symbolism of J. S. Bach’s polyphony at AMP-2002 International Conference in her home-town, St.Petersburg, Russia.

Donald Grantham, Professor of Composition, fulfilled five commissions for wind ensemble works in 2001–02. Farewell to Gray was commissioned by the United States Military Academy Band and premiered at West Point in September 2001. Don’t You See? was commissioned by a consortium of the universities of Oklahoma, Arizona and Oregon in memory of Professor Ste-phen Paul, and was premiered by the University of Oklaho-ma Wind Ensemble in November. The University of Arkansas Wind Ensemble commissioned Fayetteville Bop, which pre-miered in February 2002. Northern Celebration (chorus and wind ensemble), commissioned by Northern University in celebration of its 100th anniversary, premiered in April. A group of six Cali-fornia wind ensembles commissioned Phantasticke Spirites, and the University of California at Riverside premiered the work in May. Other Grantham works were performed in Japan, Ger-many, England, Brazil, Singapore, and throughout the United States. The Technique of Orchestration, which was coauthored with Kent Kennan, appeared in its sixth edition.

Eugene Gratovich, Associate Professor of Violin and Cham-ber Music, was featured on the show “Journal Experience” on AT&T Broadband Channel 8, appearing in four cities in the greater Boston area. Dr. Gratovich performed solo music by Pa-ganini, Bach, and a premiere of “Sonata No. 3” written for him by American composer Sidney Knowton. The thirty-minute show was broadcast four times per week over a three-week pe-riod and was recently awarded a “SAMMY” award for produc-tion excellence. In July, Dr. Gratovich traveled to New Hamp-shire to teach and perform at the Dan Heifetz International Mu-sic Institute. In August, he participated in the Viana Do Castelo International Music Festival.

Rebecca Henderson, Associate Professor of Oboe, was featured on two new CDs: Mozart’s Gran Partita, with the Rainier Chamber Winds (on the RCWinds label) and Paul Hindemith, featuring his chamber music works for double reeds (on the Centaur label). The Seattle Times praised the Hindemith CD, saying, “The Oboe Sonata and English Horn Sonata both are re-minders of the University of Washington’s loss in the departure of former faculty member Rebecca Henderson, who does beautiful work here” and calls the CD “a must for fans of the double reeds.” In May, Henderson performed the premiere of a new work for oboe and com-puter generated sound by composer Diane Thome. Henderson was coordinator of a con-sortium of oboists who commissioned the new work. She spent the latter part of the summer in Bellingham, Washington, on the faculty of the Marrowstone Music Festival and served as Co-Principal Oboe with the American Sinfonetta at

the Bellingham Festival.

Martha Hilley, Professor Of Group Piano and Pedagogy, was honored by the Music Teachers National Association (MTNA) Foundation as MTNA Foundation Fellow. This program offers recognition for individuals who have made outstanding contri-butions to music teaching. The award is bestowed when a peer or group of peers donates $1,000 to the MTNA Foundation in an individual’s name. Professor Hilley is the first MTNA Founda-tion Fellow from the state of Texas. She was sponsored by the Texas Music Teachers Association and recognized at the 2002 MTNA National Conference Gala in Cincinnati in March.

Adam Holzman, Professor of Guitar/Chamber Music, saw his sixth release on the Naxos label recently, the Bardenklänge (op. 13) of Johann Kaspar Mertz.

Patrick Hughes, Assistant Professor of Horn, had a busy first year at UT. In the fall he performed recitals on campus with the Faculty Woodwind Quintet and the Faculty Brass Quin-tet. In the Spring he performed a recital of 20th-century music with Timothy Lovelace, piano, and Tom Burritt, marimba, and was a featured soloist with both the UT Symphony Orchestra (Britten’s Serenade for Tenor, Horn, and Strings) and the Wind Ensemble (Texas premiere of Dan Godfrey’s Shindig). Profes-sor Hughes also performed as substitute with the San Antonio Symphony Orchestra this past season.

Judith Jellison, Professor of Music and Human Learning, was

Eugene Gratovich

15WORDS of NOTE

awarded a Dean’s Fellow for the spring semester 2002 to pursue her creative work with music and children with disabilities. During semesters in the previous year she presented keynote addresses at state music education conferences in Illinois and Kansas, and gave presentations and workshops at state confer-ences in Ohio and Texas. She presented research papers at the 14th National Symposium for Research in Music Behavior, at the 2002 MENC Biennial Conference in Nashville, and at con-ferences of TMEA. She was awarded the American Music Ther-apy Association Research Award for 2001.

Kristin Wolfe Jensen, Associate Professor of Bassoon, was act-ing principal bassoonist with the Houston Grand Opera for its production of Verdi’s Rigoletto in the fall and Mozart’s Abduction from the Seraglio in the spring. She also performed with the San Antonio Symphony and the San Antonio Lyric Opera through-out the year. In September, Professor Jensen toured The Uni-versity of North Carolina, Greensboro, and Wingate University with the Wolfe-Spy Duo, presenting master classes and recitals. At the TMEA convention in February she presented a popular clinic, ”The Bassooner the Better,” and led the UT Bassoon En-semble in a showcase performance.

Leonard Johnson , Associate Professor of Voice, sang a con-cert on September 13 featuring songs by Hugh Chandler, who received his doctorate at UT, with Chandler accompanying on guitar. The concert, at Central Presbyterian Church, was dedi-cated to those who lost their lives on September 11.

Jerry Junkin, Frank C. Erwin, Jr. Centennial Professor of Music and Director of Bands, maintained a busy schedule both on and off campus, leading six campus concerts as well as an enthusi-astically received UT Wind Ensemble performance for the Texas Music Educator’s Association membership in San Antonio. The San Antonio performance featured a world premiere of Frank Proto’s Paganini in Metropolis with virtuoso clarinetist Eddie Daniels. He also conducted concerts in Alabama, Tennessee, Mississippi, Hawaii, Oregon, Indiana, California, and China. There he appeared on the inaugural concerts of the Hong Kong Wind Philharmonia, for which he now serves as Principal

Guest Conductor. He also continued in his role as Artistic Direc-tor and Conductor of the Dallas Wind Sym-phony.

Karl Kraber, As-sociate Professor of Flute, has released a second CD on Equilibrium: Flute/Piano Music by Ital-ian Composers (works by Clementi,Donizetti, Morlacchi, Busoni and Casella) with pia-nist Michael Rogers. Kraber played his 18th season as principal flute with the Austin Symphony and 15th with the Chamber

Soloists of Austin. One of the Chamber Soloists’ four Austin concerts included the US premiere of a Mozart Symphonie Con-certante for two flutes and orchestra. He spent July in Italy, per-forming several chamber concerts at the Assisi Festival and a return engagement at the Castello Montegualandro in Tuoro. In August he again served as principal flute at the Sunriver Music Festival in Oregon.

Richard Lawn, holder of the Marlene and Morton Meyerson Centennial Professorship, on invitation by the UT Trombone Choir composed a four-movement suite entitled Hill Country Miniatures that was premiered at the Eastern Trombone Work-shop in March. The Trombone Choir performed the piece at the International Trombone Association conference in Denton, Tex-as. ITA Manuscript Press has published the piece. Kendor Mu-sic recently published two new works for jazz ensemble, one of which was recorded by Austin’s Third Coast Jazz Orchestra and released this past fall on the Sea Breeze label. He performed with the Austin Symphony Pops Orchestra and in a Jessen Se-ries recital with the Nova Saxophone Quartet and friends. The performance, later aired by KMFA, consisted of arrangements contributed by Lawn, including a set of three tangos arranged for a small chamber ensemble.

Danielle Martin, Professor of Piano and Keyboard Division Head, gave three days of master classes at the University of Louisiana at Lafayette in October. In January, she spent two weeks in Seoul, Korea, at the invitation of the Society for Music and Musicians, performing a lecture recital on Debussy’s Es-tampes, and teaching master classes and private lessons. She vis-ited over a dozen UT graduates who teach piano at leading uni-versities and arts high schools in Korea, as well as innovative pre-school programs and middle school. She was interviewed and reviewed in two prominent Korean piano magazines. She also taught a guest master class in solo repertoire and chamber music for piano at the University of Arizona in Tucson, and ad-judicated the TMTA piano competitions held in Corpus Christi and two different ADMTA competitions in Austin.

David Neumeyer , Professor in Music Theory and Leslie Waggener Professor in Fine Arts, attended the Fifth European Music Analysis Conference at the University of Bristol in April, and read a paper titled “Background as Theme,” derived from his book manuscript to be completed soon.

Paul Olefsky, Professor of Cello, performed recitals with UT Dean of Fine Arts Robert Freeman at Jessen Auditorium and the Austin Chamber Music Series in September 2001. He also performed that month in the annual Selichot Concert at Agu-das Achim Synagogue. Olefsky performed as guest artist with pianist Alegria Arce at the Royal Chamber Music Concert at the Palace Theater in Georgetown, Texas, in October. He played in the DELL Spring Chamber Music Concert in April and was invited to give a master class at the Guelph International Music Festival in Canada in June. This year marked the retirement of Professor Olefsky after 28 years of faculty service.

Ray Sasaki, Professor of Trumpet and a member of the St. Louis Brass Quintet since 1991, played a ten-day concert tour in Germany with the group in October. The tour featured concerts and master classes at the German Brass Academy in Krefeld and recitals with Fred Mills, formerly of the Canadian Brass. He

Martha Hilley, here accompanied by her mother, ‘Miz Lillian’ Nay, is honored by the MTNA.

THE UNIVERSITY OF TEXAS SCHOOL of MUSIC16

was soloist with the Cleveland Chamber Symphony in March, performing Time Windows, which was written for Sasaki by Cleveland composer Howie Smith. A studio recording of the piece was completed and will be included on a CD of Howie Smith’s compositions to be released in 2003.

Nikita Storojev, Assistant Professor in Voice and Opera, per-formed the opera Trois Soeurs (Three Sisters) by Hungarian com-poser and conductor Peter Eötvös in Paris, Brussels, Lyon, and Vienna. The work has been recorded and is now available on CD and DVD. In October and January Storojev sang Mussorg-sky’s Boris Godunov in Berlin, and in December traveled to the Ukraine for Verdi’s Attila and Boris Godunov at the Dreprop-etrovsk Opera. In January he returned to his home town of Yekaterinburg, performing excerpts from Boris Godunov and Mussorsky’s Songs and Dances of Death with the Yekaterinburg Philharmonic and a second concert of Rossini’s Stabat Mater. In February he sang Tchaikovsky’s Pique dame in Liège, Belgium.

Professor of Voice and Opera Rose Taylor’s activities featured several performances of Handel’s Messiah this past year, in-cluding performances at Texas Lutheran with the Mid-Texas Symphony, David Mairs conducting, and also with the Waco Symphony at Baylor University, under the direction of Stephen Heyde. In February Ms. Taylor joined colleague Darlene Wiley and other music faculty members in a recital of Bach cantata arias and duets. March took the mezzo-soprano to San Antonio for two performances of Mamma Lucia in Cavalleria Rusticana, with Christopher Wilkins conducting the San Antonio Sympho-ny. In April she toured Ireland with Barry Scott Williamson and the Austin Choral Symposia Chorus and was the alto soloist for Messiah in Galway and again in Dublin on the occasion of the 260th anniversary of the work’s premiere there. Also in April, she sang Bach’s Passion According to St. John with James Morrow and the UT Chamber Singers, and performed the same work in August with Barry Scott Williamson and the Austin Choral Symposia.

Professor Dan Welcher, Professor of Composition, had a very productive year, including four new commercially released compact disc recordings of his music and a concert performance of his opera Della’s Gift by the New York City Opera. An album

of six chamber works by Welcher entitled White Mares of the Moon was recorded by members of the New World Symphony Orchestra, considered the premier “entry level” symphony for young instrumentalists. Released by CRI, it was the first cham-ber music recording that the group had undertaken. American Record Guide said, “Dan Welcher is a prolific and versatile Tex-as-based composer who’s particularly known for his colorful scorings … these works show off his considerable contrapuntal ingenuity … “ Welcher’s music was featured this past season by the San Francisco Symphony, the New York City Opera, and the Boston Pops, among many other professional ensembles. A consortium commission of the Big Twelve Universities, Min-strels Of The Kells (based entirely on ancient Irish melodies and dance tunes), was premiered to great acclaim by the Texas Tech University Wind Ensemble in April of 2002. The National Flute Association commissioned Florestan’s Falcon, a new work for flute and piano, which premiered at the 2002 NFA convention in Washington, DC, in August.

Darlene Wiley, Professor of Voice and Opera, performed in Ul-san and Seoul, Korea, at both Sook Myong University and the Huyundai Performing Arts Center in Ulsan, with broadcasts following on KBS. Her focus continues in Vocal Tract Acous-tics and the use of high-speed digital processing in the study of the singing voice. Her particular interest area is the soprano voice and how the soprano sings in the upper register. To learn more or to visit the CASA Vocal Arts Lab, please contact her at dwiley@mail.utexas.edu.

Professor of Cello Phyllis Young was the featured presenter at the three-day national conference of Swedish string teachers held at the University of Gotenberg, Sweden, was string clini-cian at the Wisconsin Music Educators Association state con-vention, and gave a series of lecture-demonstrations at the Uni-versity of Wisconsin at Whitewater. She conducted a workshop sponsored by the Amarillo College (TX) Suzuki Program and one for the Memorial Middle School Cello Choir in Houston. Professor Young gave sessions in STRINGS 2002, an American String Teachers Association workshop sponsored by the Uni-versity of Arizona. She served on the faculty of the 2002 Inter-national String Workshop held in Stavanger, Norway, and was a clinician for the National String Workshop at the University of Wisconsin at Madison.

Faculty Activities 2003

Elliott Antokoletz, Professor of Musicology, has completed two new books; the first, Musical Symbolism in the Operas of Debussy and Bartók: Trauma, Gender, and the Unfolding of the Unconscious (Oxford University Press), appeared in December 2003, and the second, Georg von Albrecht: From Musical Folklore to Twelve-Tone Technique: Remembrances of a Musician Between East and West (Maryland: Scarecrow Press), of which he is editor, appeared in the Fall of 2003. He also published several chapters in larger volumes, including “A Discrepancy Between Editions of Bartók’s Fifth String Quartet: Resolved by a Comparative Study of Primary Sources and Analysis,” in For the Love of Music: Festschrift in Honor of Theodore Front on His 90th Birthday, ed. Darwin F. Scott (Lucca, Italy: Antiqua/musica, 2002), and “Spanish Folk Modes and Their Transformations in the

Friends honor Professor Paul Olefsky on his retirement in March.Left to right: UT Provost Sheldon Ekland-Olson, Mr. and Mrs. Paul Olefsky, Dean of Fine Arts Robert Freeman, School of Music Direc-tor Glenn Chandler.

17WORDS of NOTE

Music of Early Twentieth-Century Spanish Composers,” in Encomium Musicae: Essays in Memory of Robert J. Snow, ed. David Crawford (New York: Pendragon Press, 2002). Antokoletz also participated on a BBC Radio program on “Bartók: Music for Strings, Percussion and Celesta.” He gave a lecture on “Organic Expansion and Classical Structure in Bartók’s Sonata for Two Pianos and Percussion,” at the University of North Texas in Denton. Antokoletz is completing a new book on the music of the early 20th-century Russian-German composer Georg von

Albrecht. He recently completed the organization of the “Elliott Antokoletz Special Collection” to be housed together with the “Benjamin Suchoff Special Collection” (former trustee of the Béla Bartók Estate and head of the New York Bartók Archive) at the University of South Florida in Tampa, as part of the new Bartók Center for Research.

Lorenzo Candelaria, Assistant Professor of Musicology, con-tinued his on-going archival projects in the churches and mon-asteries of Toledo, Spain. The results of that research were pre-sented at the national meetings of the American Musicological Society (Columbus, Ohio), the Renaissance Society of America (Toronto), and the International Medieval Congress held at the University of Leeds. Dr. Candelaria’s articles have appeared or are forthcoming in Die Musik in Geschichte und Gegenwart and in the quarterly journal American Music. He is author of the forth-coming third edition of Kingman’s American Music, a revised version of the best-selling college textbook on the subject, and is currently writing a monograph on religious lay confraterni-ties and artistic patronage titled In the Name of the Rosary: The Choirbooks of San Pedro Mártir de Toledo, Tribunal of the Spanish Inquisition.

Andrew Dell’Antonio was recently promoted to Associate Pro-fessor of Musicology, shortly after returning from his year as Mellow Fellow at the Harvard-Villa I Tatti Center for Italian Re-naissance Studies in Florence, Italy, where his research focused on changing concepts of “listening” in early baroque Italy. His collection of essays, Beyond Structural Listening: Postmodern Modes of Hearing, forthcoming from University of California Press, was awarded a University of Texas Co-Op Society Sub-vention Grant. Dr. Dell’Antonio continues as the UT coordinator of the Austin/Southampton Early Music Exchange, which spon-sored a symposium at the British Academy in the spring of 2002 and a residency by the ensemble Musica Secreta in November 2003.

On March 29, 2003, bassoon professor Kristin Wolfe Jensen and oboe professor Rebecca Henderson hosted UT Double Reed Day. The event brought more than 100 young double reed players to the school for a day of clinics, performances, and fun. In addition to classes and performances by Jensen and Hen-derson, participants were treated to performances and master classes by guest clinicians K. David van Hoesen (former bas-soon professor at the Eastman School of Music) and Wayne Rapier (retired oboist with the Boston Symphony Orchestra), as well as reed classes by UT’s own graduate students in oboe and bassoon. The day ended with a gala double reed band perfor-mance, with all 100-plus participants on stage for a truly unique sound. In June, Professors Jensen and Henderson, along with outstanding graduate students Rebekah Heller (bassoon) and Susan Hatch (oboe), presented a world premiere performance of Nancy Galbraith’s quartet Of Nature at the 2003 Conference of the International Double Reed Society in Greensboro, North Carolina. The work was commissioned by the UT quartet and was presented as part of a full length recital. Professors Jensen and Henderson have been selected to host the June 2005 IDRS conference at UT.

Daniel Johnson, Director of the Early Music Ensemble, present-ed the Texas premiere of the recently discovered Gloria by Han-del with the Texas Early Music Project in December 2001. One

College of Fine Arts Doty Award presented to Charles Roeckle

During the College of Fine Arts spring commencement on May 18, Dean Robert Freeman presented the College’s

most distinguished honor, the E. William Doty Award, to Dep-uty to the President and former long-time Associate Dean of the College, Charles A. Roeckle. The following is excerpted from Dean Freeman’s remarks on that occasion. “Since his arrival at the University in 1964, Charles Roeckle made it clear that he possessed extraordinary talent, incredible dedication, a devotion to the University and the College of Fine Arts, and the intention to serve the campus and its students in every way possible. Here are the facts: from 1977 to 1998, Assistant to the Dean, Assistant Dean, Associate Dean, responsible for recruitment, admissions, orientation, rules and regulations, advising, retention, honors and proba-tion, graduation, curriculum development, teaching budgets, course schedules, minority recruitment, study abroad, inter-disciplinary programs … and the list truly goes on. “In his spare time, he made the College of Fine Arts a pioneer and a model in academic computing, directed spe-cial events, established our award-winning Fine Arts Career Services office, expanded the academic advising staff and programs, established a scholarship management system, created four computer laboratories for fine arts students, cre-ated multi-media classrooms … and that list goes on. I think maybe you’re catching on that Dr. Roeckle’s able hand is evi-dent in almost every aspect of your life and education here at UT, from the day you sent off your application for admission until this proud moment in Bass Hall! You may be surprised to learn that through all these years he was maintaining a career as a classroom teacher in the School of Music—make that an outstanding classroom teacher, recipient of a Teaching Excel-lence Award. From 1998 to 2000, Charles led the college as Acting Dean. His tenure was such a notable success that he was then tapped by President Larry Faulkner to serve his administration and the University as Deputy to the President. Educator, ad-ministrator, mentor, partner, Charles Roeckle through his deep caring, devotion to service, and high ideals, has touched the lives of almost everyone on this campus, and made those lives better, those years of education more satisfying and produc-tive. Charles, at the President’s behest we have loaned you to the whole University, but you are truly one of our own, and we are tremendously proud! Congratulations on this award.”

– Jack Brannon

THE UNIVERSITY OF TEXAS SCHOOL of MUSIC18

of his former students, Judith Overcash, was the soprano soloist in the national premier of the same work. Also in 2001–2002, the Austin Critics Table nominated the Texas Early Music Project concert “La Rosa: Sephardic Love Songs” for Best Chamber con-cert of the season. UT EME member Christopher LeCluyse won the Critics Table award for Best Male Singer. Johnson was the clinician/conductor for “La Pellegrina: Music for a Medici Wed-ding” at the Amherst Early Music Festival Workshop in August, 2002, and was invited to the Executive Advisory Committee for Amherst Early Music. In 2002–2003, Johnson and members of the UT EME recorded two selections by William Billings for an on-line article by UT Professor Elizabeth Crist. Johnson and the Texas Early Music Project were again honored by the Aus-tin Critics Table in its 2002–2003 awards. He was nominated for Best Male Singer for his work in the concert “Veris Dulcis: Music from Medieval Gemany” (which featured his abridged and newly edited version of Hildegard von Bingen’s Ordo Virtu-tem) and which won the award for Best Chamber Concert of the 2002–2003 season. His student Jenifer Thyssen won Best Female Singer in the classical category, marking the 3rd year in a row in

which a member of the UT EME and Texas Early Music Project has won the award for best singer in the classical music cat-egory. Johnson directed the medieval mystery play, Ludus Dan-ielis: The Play of Daniel at the San Francisco Early Music Festival medieval workshop in July from his newly edited and arranged score.

Kevin Puts, Assistant Professor of Composition, returned from a year at the American Academy of Arts and Letters in Rome. In November, his Symphony no. 2: Island of Innocence was given three performances by the Utah Symphony under Keith Lock-hart. In the same month, the Baltimore Symphony under Yuri Temirkanov gave four performances of Network for orchestra. Dr. Puts was awarded the inaugural $20,000 Danks Award for Orchestral Music by the American Academy of Arts and Letters at a ceremony in New York. In July, the Atlanta Symphony pre-miered Dr. Puts’ newly composed This Noble Company (Proces-sional for Orchestra).

Assistant Professor David Small performed leading baritone

phyllis young receives asTa lifetime achievement award

Phyllis Young, Professor of Cello and String Pedagogy, was honored with the prestigious Paul Rolland Lifetime

Achievement Award by the American String Teachers Asso-ciation with the National School Orchestra Association. Rec-ognizing “. . . a pedagogue of renowned stature for significant achievements and contributions to the profession throughout her career,” the award was presented at the University of South Carolina in a January conference. Professor Young is only the second person to have received this award in the history of the association, which has over 11,000 members and is dedi-cated to promoting excellence in string and orchestra teach-ing and playing. Holder of the Parker C. Fielder Regents Professorship in Music and head of the String Division, Phyllis Young is international-ly acclaimed, having presented workshops and master classes in 30 countries on six continents and 43 American states. Au-thor of two widely distributed string pedagogy books, “Play-ing the String Game: Strategies for Teaching Cello and Strings” (now in its seventh printing) and “The String Play: The Drama of Playing and Teaching Strings,” she has served as national president of ASTA and received its 1984 Distinguished Service Award. In 2000 she was honored by Indiana University’s Eva Janzer Memorial Cello Center and granted the title, “Grande Dame du Violoncelle.” For thirty-five years she directed the UT String Project, a large teacher training program which has been a model for many string programs throughout the US and abroad. Her former students are university professors, symphony musicians, pub-lic school teachers, private Suzuki teachers, and worldwide string leaders. She is an Honorary Member of the European String Teachers Association and has been listed in Who’s Who of America.

Seventeen UT alumni and former UT String Project teachers, all former students of Phyllis Young, join her following her keynote address at the ASTA national conference. All are on university mu-sic faculties and many are nationally known. First row (left to right): Dr. Robert Gillespie, incoming President-Elect of ASTA with NSOA (Ohio State); Phyllis Young, former ASTA president (UT Austin); Dr. Anne Witt, former ASTA president (UT Arlington) Second row: Dr. Donald Hamann (University of Arizona); Dr. Greg Hurley (East Caro-lina University, NC); Dr. Jane Palmquist (Brooklyn College) Third row: Karrell Johnson (University of North Texas); Ed Schaefle (University of Minnesota); Dr. Linda Jennings, (Indiana University of Pennsyl-anvia); Dr. Karen Becker (University of Nebraska-Lincoln) Fourth row: Dr. Janet Jensen (University of Wisconsin-Madison); Dr. David Littrell, incoming President of ASTA with NSOA (Kansas State); Dr. Lisa Maynard (Baylor) Fifth row: Dr. Richard Maag (Furman University (SC); Dr. Christine Crookall(Augusta State University, GA); Dr. Judy Palac (Michigan State); Dr. James Kjelland (Northwestern University, IL); Dr. Eugene Dowdy (UT San Antonio)

19WORDS of NOTE

roles with the Nevada Opera (Eisenstein in Die Fledermaus), the Austin Lyric Opera (Marcello in La Boheme) and the Des Moines Metro Opera (Ford in Falstaff). In addition he sang the baritone solos in Szymanowski’s Stabat Mater and Brahms’ Requiem with the UT choral ensembles, and performed a solo recital with pianist Anton Nel. Upcoming engagements include Sgt. Belcore in L’Elisir d’amore with the Pensacola Opera and the title role in Don Giovanni with the Sacramento Opera.

Professor Dan Welcher was on sabbatical leave during 2002–2003, during which he had extensive composing residencies at the MacDowell Colony in New Hampshire, and also at the Liguria Study Center in Genoa, Italy. Welcher’s second opera, Holy Night, was completed in addition to a new commissioned work for wind ensemble entitled Glacier. Holy Night is the “se-quel” to Welcher’s 1986 opera Della’s Gift, which was based on O. Henry’s classic short story “Gifts of the Magi.” The libretto was written by Paul Woodruff, Professor of Philosophy and Di-rector of UT’s Plan II program. Welcher and Woodruff attended the New York City Opera’s “Showcase” series in May of 2003, where Della’s Gift was one of several American operas present-ed. Welcher’s Concerto For Violin And Orchestra has been record-

ed by violinist Paul Kantor with Symphony Two of Chicago and released on the Equilibrium label, where it is coupled with two works by William Bolcom and one other work by Welcher.

Phyllis Young, Professor of Cello, was the featured clini-cian at the Central States String Teachers workshop held at the University of Nebraska-Omaha. She also gave master classes and workshops at the University of Nebraska at Lincoln and at Indiana University in Pennsylvania. During spring Professor Young presented a session at the state convention of the Texas Music Educators Association in which the Texas Cello Choir performed. She gave a workshop at the national convention of the American String Teachers Association, held at Ohio State University in Columbus, a Suzuki workshop at Centenary Col-lege in Shreveport, a cello seminar at UT-San Antonio, and was interviewed by the editor of Strings for its March issue. During the summer she gave sessions at Arizona State University dur-ing the Seventh American Cello Congress and taught in the International String Workshop in Biarritz, France. She was the featured clinician at the Texas Orchestra Directors Association convention in San Antonio and gave a three-day workshop in Santa Domingo, Dominican Republic.

Two faculty appointments in the string division promise to en-hance one of the core performance areas in the School of Mu-sic. BRIAN LEWIS joined the faculty in 2002–2003 as Associate

Professor of Violin. “Brian Lewis is an incredibly gifted young violin-ist and brings a vast knowledge of a variety of repertoire as well as experience and leadership to his teaching,” said Dr. B. Glenn Chan-dler, Director of the UT School of Music. As the director of the Star-ling-DeLay Symposium on Violin Studies at the Juilliard School, he carries on the tradition of Dorothy DeLay, a renowned string advo-cate who nurtured many of the world’s great performers including Itzhak Perlman, Nadja Salerno-Sonnenberg, Shlomo Mintz, Midori, Gil Shaham, and Brian Lewis himself. “His artistic and educational achievements are phenomenal, and we are honored to offer him this new appointment,” said Chandler. Lewis’s appointment, a new UT faculty po-sition, was made possible by a gift from Mr. and Mrs. David Green of Winnetka, Illinois. In 1998, the Greens endowed the Chair to attract a distinguished violinist and peda-gogue to the School.

“I am very honored to be the designee of the David and Mary Winton Green Chair and am looking forward to helping the School’s continued growth towards na-tional recognition as the foremost place for strings education. With great support from people like David and Mary Green, and with the guidance and vision of Dean Rob-ert Freeman and Dr. Glenn Chandler, the fu-

ture of the School of Music is very bright indeed,“ said Lewis.

Named National Artist of the Year by Young Audiences in 1998, Brian Lewis has established himself as a talented and charismatic young violinist. Acclaimed performances include concerto debuts in both New York’s Carnegie Hall and Avery Fisher Hall, as well as perfor-mances with the Berlin, Syracuse, American (New York), Wichita, To-peka, Hartford, Greenwich, and Amarillo symphony orchestras.

Activities in Central and South America include a residency in San José for the U.S.-Costa Rican Cultural Center, recitals and master

classes throughout Honduras for the United States Information Agency, and concerto per-formances with the Philharmonic Orchestra of Lima.

Brian Lewis has won numerous awards and competitions, including grand prize in the Mid-America Violin Competition, the Waldo Mayo Talent Award and the Sony ES Award, as well as Juilliard’s Peter Mennin Prize and Wil-liam Schuman Prize for outstanding achieve-ment and leadership in music.

Known for his variety in programming and ability to communicate with audiences of all ages, Mr. Lewis has also recorded three CD’s, most recently “The Music of Robert Avalon” on the Centaur Records label. He holds both Bachelor and Master of Music degrees from Juilliard, where he was a student of Dorothy DeLay, Masao Kawasaki and Hyo Kang.Brian Lewis

New Faculty Appointments

THE UNIVERSITY OF TEXAS SCHOOL of MUSIC20

The UT School of Music also appointed BION TSANG as Assistant Professor of Cello, beginning in the 2002–2003 academic year.

“Tsang is a cellist of remarkable gifts,” said Dr. B. Glenn Chandler, Director of the School. “His ap-pointment to the music faculty is a major step for our string and chamber music programs, and we expect that his example as a player of virtuosity and prestige, combined with his demonstrated reputation as an educator and performance advocate, will be a magnet for talented new stu-dents.”

Tsang was the youngest cellist to receive a Gregor Piatigorsky Memorial Prize, making his de-but under Zubin Mehta with the New York Philharmonic, at the

age of 11. At 19, Tsang was also the youngest cellist to win a prize in the VIII International Tchaikovsky Competition. A recipient of a 1992 Avery Fisher Grant, a 1990 MEF Career Grant, and the Bronze Medal in the IX International Tchaikovsky Competition, Tsang has been internationally recognized as one of the outstanding instru-mentalists of his generation. He has appeared with such orchestras as the New York Philharmonic, the Atlanta Symphony Orchestra, the National Symphony Orchestra, the Stuttgart Chamber Orches-tra, the Moscow Philharmonic, the Hong Kong Philharmonic, and the Taiwan National Orchestra. Tsang’s distinguished career as a chamber musician includes numer-ous collaborations with violinists Cho-Liang Lin and Pamela Frank, frequent appearances as guest artist of the Boston Chamber Music Society, and performances at festivals such as Marlboro Music, the Portland and Seattle Chamber Music Festivals, Bravo! Colorado, and the Laurel Festival of the Arts, where he serves as Artistic Director. Born in Michigan of Chinese parents, Tsang began piano studies at age six and cello at seven. The following year, he entered the Juil-liard School to study cello with Ardyth Alton. His cello teachers have included Luis Garcia-Renart, Aldo Parisot, William Pleeth, Channing Robbins, and Leonard Rose. Tsang received his Bachelor of Arts de-gree from Harvard University and his Master of Musical Arts degree from Yale University, where he is a Doctor of Musical Arts candidate. Tsang takes over the reins from Professor Paul Olefsky, who retired this year after almost 30 years on the UT faculty.

EUGENIA COSTA-GIOMIAssociate Professor of Music and Human Learning

Eugenia Costa-Giomi received her PhD in Music Education from Ohio State University. She teaches research methods in music edu-cation, psychology of music, and musical development. Her re-search focuses on the areas of music perception and cognition dur-ing childhood, the nonmusical benefits of music instruction, and the relationship between specific abilities and behaviors and musical achievement. Prof. Costa-Giomi has held leadership roles in many musical organizations, having served as chair of the 13th Sympo-sium for Research in Music Behavior in 1999, the Music Perception Interest Group of the Music Educators National Association in 1998,

and the Fourth International Conference in Music Perception and Cognition with Dr. Bruce Pennycook in 1996. She is a member of the editorial committees of the Journal of Research in Music Education and Musicae Scientiae, and a past member of the editorial board of the College Music Symposium. Prior to coming to Texas, Dr. Costa-Giomi was Associate Professor of Music Education at McGill Univer-sity in Montreal from 1991 to 2002. She has taught music to children in Argentina, Mexico, Canada, and the United States.

LAURIE SCOTTAssistant Professor of Music and Human Learning

A specialist in string pedagogy and mu-sic education, Assistant Professor Laurie Scott also directs The University of Texas String Project. Prior to this appointment, Dr. Scott was a professor of violin and viola, and director of music education studies at Southwestern University in Georgetown, Texas. She is currently co-director of the Armadillo Suzuki Organi-zation, the Austin Metropolitan Suzuki School, and the Texas Suzuki Tour Group. Scott holds a bachelor’s degree in mu-sic education from the State University of New York at Fredonia, a master’s de-gree in applied violin from the University

of Nebraska, and a PhD in Music Education from The University of Texas. As a music educator, Dr. Scott has served as an officer of the Texas chapter of the American String Teacher’s Association, co-con-ductor of the Austin Youth Symphony, and as Region XVIII College Division Chair for the Texas Music Educators Association. Addition-ally, Professor Scott was co-editor of the public school column in the American Suzuki Journal and was named chairman of the Suzuki in the Public School division of the 1998 International Teacher’s Con-ference. She performs with the Austin Symphony, Austin Lyric Opera and Ballet Austin Orchestras. She is also a guest clinician and con-ductor at state and national conventions speaking on string peda-gogy, public school music education, orchestral bowing techniques and character development through the arts. Her articles have ap-peared in The American String Teacher, The American Suzuki Journal, and The Journal of Research in Music Education.

DAVID NEELY Assistant Professor of Opera Conducting and Coaching

David Neely was born in Dayton, Ohio. He received his Bachelor of Music in Pi-ano Performance and Master of Music in Orchestral Conducting from Indiana University. Further studies included con-ducting under Gerhard Samuel in Cin-cinnati. In 1990 he moved to Germany, where he worked in various opera hous-es as a coach and conductor, including the Landestheater Coburg, Staatstheater Stuttgart, Staatstheater Saarbruecken, and, most recently, Theater Dortmund, where he conducted thirteen premieres,

Bion Tsang

Laurie Scott

David Neely

21WORDS of NOTE

as well as productions of Hansel and Gretel, The Merry Wives of Wind-sor, and the German debut of Mark Anthony Turnages’s The Silver Tassie. He has led opera and musical theater productions as a guest conductor in the opera houses of Bonn, Halle, St. Gallen, and Kuala Lumpur, Malaysia, and has conducted concerts with the Bochumer Symphoniker and the Symphonieorchester Vorarlberg in Bregenz, Austria.

JOHN FREMGENAssistant Professor of Jazz, String Bass

The Austin Chronicle has described John Fremgen as “... the most profi-cient local bass man playing out right now, at home in virtually any setting or lineup.” He can be seen performing in Austin with various artists including Tony Campise, Paul Glasse, Doug Hall, Mitch Watkins, Gerry Gibbs, Suzi Stern, and Jeff Hellmer. He has performed in-ternationally with many jazz and pop luminaries including Jamie Findlay, Shelly Berg, Rick Margitza, Gary Fos-ter, Carmen Bradford, Ernie Watts and Larry Koonse. At The University of Texas Fremgen teaches jazz improvisation,

jazz theory, jazz history, jazz bass and directs the AIME ensemble. He has appeared on many national broadcasts including “Morning Becomes Eclectic” and “Late Night With David Letterman,” and can be heard on the critically acclaimed “Words for Living” on Colum-bia Records, the Sara Hickman CD “Faithful”, the Dawson’s Creek soundtrack “Songs of Dawson Creek”and the George Martin Bea-tles’s retrospective CD/documentary “In My Life.” He also played on and co-produced the Jeff Hellmer Trio CD “Peak Moments” on View-point Records featuring saxophonist Rick Margitza. His first solo CD “Meanwhile” for Viewpoint Records features guitarist Mitch Watkins and legendary drummer Peter Erskine.

JOHN MILLSAssistant Professor of Jazz Composition, Jazz Saxophone

Dr. John Mills has long been one of central Texas’ most in-demand saxophonists, arrangers, and composers. His interests and experi-ence cover a wide spectrum of musical styles, which he pursues both in concert and in the recording studio. During his professional career he has performed, arranged, and composed for a large num-ber of CD’s, film and television soundtracks. Mills is an integral part of Austin’s jazz community as a key member of such long-running groups as the Creative Opportunity Orchestra, Beto and the Fair-lanes, the Tony Campise Band, and the Concept Orchestra. He has also had the good fortune to share the stage with such diverse art-ists as Kenny Wheeler, Carla Bley, Stevie Ray Vaughan, Lyle Lovett, and Willie Nelson. He is an active educator, clinician and adjudica-tor. While Director of Jazz Studies at Southwest Texas State Uni-versity, his students won three Downbeat Magazine awards, and he designed a Bachelor of Music degree in Jazz Studies. His former students have toured with the jazz orchestras of Ray Charles, Harry Connick Jr., and Maynard Ferguson. John Mills’ new CD with creative jazz trio Courage, “The Way Out is Via the Door,” teams him with jazz bassist Steve Swallow, drummer Chris Massey and the esteemed American poet Robert Creeley.

ROBERT CARNOCHANAssistant Professor of Instrumental Conducting and Associate Director of Bands

Robert M. Carnochan is the Associate Director of Bands and Director of the Longhorn Band at The University of Tex-as at Austin. His responsibilities include directing and coordinating all aspects of the Longhorn Band, conducting the UT Symphony Band and teaching under-graduate conducting. He holds a Bach-elor of Science degree in Music Educa-tion from Towson University, a Master of Music degree in Wind Conducting from The University of Colorado at Boulder, and a Doctor of Musical Arts degree in Wind Conducting from The University of Texas at Austin. Prior to his appoint-

ment at UT, Dr. Carnochan served on the faculties at the University of Colorado, Northeastern Oklahoma State University, and Stephen F. Austin State University. Dr. Carnochan is active as an adjudicator, clinician, and guest conductor throughout the United States, and maintains memberships in the Conductors Guild, the College Band Directors National Association, the Texas Music Educators Associa-tion, and the Texas Bandmasters Association.

JOHN M. WATKINSSpecialist in Instrumental Conducting and Assistant to the Director of Bands

Jay Watkins serves as Assistant to the Director of Bands, Assistant Director of the Longhorn Band, and as Conductor of the Longhorn Basketball, Volleyball, and Concert Bands. Prior to his appointment at UT, he spent eight years as the Direc-tor of Bands and Assistant Professor of Music at Charleston Southern University in South Carolina, where he was also the Instrumental Music Education coordina-tor. Mr. Watkins received recognition as the CSU Outstanding Faculty Member of the Year in 1997 and is a recipient of the National Band Association’s “Citation of Excellence.” Prior to CSU, he served as the Director of Instrumental Music and the Navy Drum & Bugle Corps at the U.S. Naval Academy in Annapolis, Maryland, and as a teacher in the public schools in North Carolina. Mr. Watkins earned Bachelor of Science and Master of Music Education degrees from George Ma-son University and Valdosta State University. He holds professional memberships in the College Band Directors National Association, Music Educators National Conference, Texas Bandmaster’s Associa-tion, International Association of Jazz Educators, and the National Band Association, serving as the South Carolina State Chair and Southern Division Chair. He is an elected member of Phi Beta Mu, the International Bandmasters’ Fraternity.

John Fremgen

Robert Carnochan

Jay Watkins

THE UNIVERSITY OF TEXAS SCHOOL of MUSIC22

Stephen Hartke was a visiting composer. A faculty member of USC, Professor Hartke’s works have been performed by major orches-tras world-wide. University of Southampton Professor David Nicholls participated in the Symposium on Music at the Boundaries: New Di-rections in Music and Criticism. Anthony Plog, professor at Musikhochschule-Freiburg in Germany, gave a trumpet master class.

April Renowned violinist Ida Levin performed in Jessen Auditorium. Verdi scholar and Cor-nell University faculty member David Rosen presented lectures for a Church Music sym-posium, as did Gerre Hancock, Organist and Master of Choristers at St. Thomas Church in New York. Violinist Charles Castleman pro-vided a master class for string students. Mar-go G arre t t , faculty mem-ber at the Uni-versity of Min-n e s o t a a n d the Juil l iard School, pre-sented a lec-ture and mas-ter classes. She is a frequent collaborator with Dawn Up-shaw. Visiting composer David Del Tredici lectured and at-tended ensemble performances of his works. Top New York City jazz trumpeter Marvin Stamm visited campus to present a master class and performance.

the UT School of Music, per-formed on the Great Organ S e r i e s . S h e is A ssis tant Professor at Ewha Wom-en’s Univer-sity in Korea. Renowned composer Lee Hyla of

the New England Conservatory lectured and attended performances of his work as a guest of the Visiting Composer Series. Dr. Dora De Marinis presented a Music Leadership lec-ture about opportunities in Argentina. The Anonymous 4 vocal group gave a series of lectures and rehearsal demonstrations on choral technique in renaissance choral litera-ture. Academy Award-winning composer Sir Malcolm Arnold, attended rehearsals and a UT Wind Ensemble performance of his works. Among many other major works, he com-posed the movie soundtrack to “Bridge Over the River Kwai.”

March Professor Christopher Hasty of Harvard University lectured at the Symposium on Mu-sic at the Boundaries: New Direction in Music. Douglas Hill, principal horn of the Madison Symphony Orchestra, performed and gave master classes, in addition to coaching and re-hearsing ensembles in a week-long residency. World-class cellist George Neikrug presented classes during a five-day residency as part of the Special Programs Committee selection.

The School hosts literally hundreds of distin-guished guests each year including lecturers, performers, and composers visiting campus for residencies or appearances associated with our various series. Following are a few highlights of the numerous musicians and scholars who have recently graced our halls.

September, 2002 Alumnus Angela Hand performed a solo re-cital for voice and piano in Jessen in Septem-ber. As part of the School’s Visiting Composer Series, William Bolcom presented lectures, a master class, and attended rehearsals and performances of his works by various UT en-sembles. Professor Bolcom, who teaches at the University of Michigan, has received many awards including the Pulitzer Prize in Music.

October Timothy Jones, faculty member of the Moores School of Music, University of Hous-ton, was guest baritone soloist on a New Mu-sic Ensemble performance.

November John D. Petersen gave a recital as part of the Great Organ Series. Renowned violist Donald McInnes played a concert and ad-dressed students as part of the Distinguished Teachers Series. Executive, entrepreneur, and attorney in the entertainment industry Philip Kurnit presented a Music Leadership lecture concerning Music and Law. The SO Percus-sion Group, which has earned a reputation

for its exciting performances of new percussion music coached, lectured, and performed a re-cital. Klemperer String Trio pia-n i s t G o r d o n Back presented a master class in chamber mu-sic. Dr. Tim Rice, head of the Eth-nomusicolo-gy program at

UCLA, presented a lecture in the Music/Culture/Critique series. Former UT faculty member Patrick McCreless, now at Yale, pre-sented a lecture and taught a graduate theory class. Alumnus Elliott Cheney, now on the faculty of the University of Utah presented a cello workshop.

February, 2003 Hee Sung Kim, who received her DMA from

Donald McInnes

David Del Tredici

Hee Sung Kim

The Jazz Studies program has enjoyed a steady stream of guests in recent

months. A visit by Bob Brookmeyer, a se-nior statesman in the jazz community and mentor to many exceptional jazz compos-ers, gave students the opportunity to in-teract on a daily basis with a master who has performed and recorded with jazz leg-ends which include Charlie Parker, Jim Hall, Claude Thornhill, Charles Mingus, Stan Getz, Clark Terry, Gerry Mulligan, Thad Jones, and Mel Lewis, to name only a few. Clarinet virtuoso Eddie Daniels gave an improvisation master class while at UT for rehearsals leading to the UT Wind Ensemble premiere of his new work at the Texas Music Educators Association conference in San Antonio. Pianist Phil Markowitz, often featured with David Liebman and Bob Mintzer, offered piano and improvisation master classes. Trombonists Jiggs Whigham, head of the jazz department at Eisler College of Music in Berlin, and Conrad Herwig, renowned soloist with the Grammy winning Mingus Big Band, presented master classes for UT trombonists.

Brookmeyer rehearses with students

Jazz Studies Program Hosts Legendary GuestsGuests

23WORDS of NOTE

Darin Cash, graduate student in trombone performance, received a cash award of $1,500 as the Third Prize winner in the 2003 Zellmer Trombone Competition. The Minnesota Or-chestra, sponsor of the competition, targeted young musicians interested in careers as or-chestral trombone players for this prestigious event. This year’s competition had over 70 tapes submitted, with six trombonists se-lected to perform a live final round.

Several graduate and undergraduate piano students of Professor Danielle Martin re-ceived distinguished awards during the year. Xinyu Chen won first prize in the Fort Collins (C olorado) Symphony Orchestra Young Artist Concerto Competition and first prize in the SAI McGaughey-Yeager Competition at UT. Immin Chung was selected to perform in the University of Houston International Piano Festival. Hsing Hueh Chang performed con-

certs in Taiwan and Korea. JeeHyun Park, Hwa Young Lee, Trevor Gureckis, and Emy Todoroki-Schwartz participated in the 2002 Aspen Festival.

Amy Edmonds, a PhD candidate in musicol-ogy supervised by Dr. Rebecca Baltzer, pre-sented a paper entitled “Doña Blanca of Las Huelgas: Princess and Patroness” at the 37th International Congress on Medieval Studies. In December 2002 she left her position as mu-sic librarian and instructor in music history at Southwest Texas State University in San Mar-cos to become head of the Music Division of the District of Columbia Public Library in Washington. She is also the author of the In-structor’s Manual for the widely-used Grout/Palisca, A History of Western Music, Sixth Edi-tion, published by W. W. Norton.

Douglas Harvey was selected on the basis of audition to become the new principal cellist of the Austin Symphony Orchestra.

Sara Kowitz, a graduate student of Eugene Gratovich, was recently appointed to a violin

teaching position at the Sun Valley Summer Symphony Music Conservatory.

Michael McLemore, a DMA student in trom-bone performance, was hired as artist/crafts-man for Wisconsin-based Greenhoe Valve. His duties include performing clinic/demon-strations, serving as a technical consultant, and trombone valve assembly. He is also an active freelance artist in the Chicago and Mil-waukee areas.

Jesús A. Ramos , first-year PhD stu-dent in Musicology and co-president of the Association of Graduate Ethno/Mu-sicology Students, has been awarded an E. D. Farmer In-ternational Fellow-ship by the Teresa Lozano Long Insti-tute of Latin American Studies at UT to pur-sue his work on musical-liturgical practices in Mexico during the sixteenth century. The Farmer Fellowship was created by the Forty-first Legislature with the purpose of building friendship and goodwill between the State of Texas and the Republic of Mexico. Ramos, a Mexican national, received the highly com-petitive award to support his current research interests on Franciscan missionaries and their use of European-style polyphony in the Na-huatl language to minister to recently con-verted Christians.

Josh Sekoski, master’s student in opera, per-formed the roles of Marcello in La Boheme, Don Alfonso in Cosi fan Tutte, and Friedrich Bhaer in Little Women with Opera in the Ozarks at Inspiration Point, Arkansas.

South American-born Mariana Stratta, a flute doctoral student, is committed to facili-tating educational opportunities in music in Latin American countries. Last year she orga-nized and translated two master classes given by Dr. Mary Karen Clardy in Argentina and coordinated a tour by virtuoso flutist Robert Dick to Peru, Chile, Argentina, Uruguay, and Ecuador. Stratta’s performing activities in-clude “Neither Music,” a contemporary mu-sic initiative by Yale alumni performing and creating new music.

Graduate voice student Amy Tefft was an Artist-In-Residence with the Dayton Opera recently, performing major roles both in their main stage and touring productions.

Jesús Ramos

The UT Trombone Choir, directed by Nathaniel Brickens, was awarded first place in the 2002 Emory Remington International Trombone Choir Competition. The

three judges assigned perfect ratings to the UT group in several categories after reviewing a blind, unedited, audition tape. Recent Remington winners include the Black Forest Trombone Choir (Germany) and ensembles from Eastman, Jul-liard, and the Detmold Hochschule für Musik. As Remington competition winners, the group presented a showcase concert at the International Trombone Festival held at the University of North Texas in May. One of the pieces performed by the choir, Hill Country Miniatures, was written especially for the group by UT professor Richard Lawn. Lawn’s piece, a musi-cal description of Central Texas, was dedicated to Donald Knaub, UT professor emeritus. Other featured performances by the Trombone Choir during 2002 included con-certs at the Eastern Trombone Workshop (Arlington, Virginia), Baylor Univer-sity, and at churches and high schools in Austin, Dallas, and the Washington, D.C., area.

Trombone choir Wins international competition

The University of Texas Trombone Choir with Director Nathaniel Brickens (center)

Students

THE UNIVERSITY OF TEXAS SCHOOL of MUSIC24

In an effort to connect the School of Music with a dozen or so of the finest conservatories and universities around the world, Director Glenn Chandler has

initiated discussions with several European institutions to explore developing long- and short-term student and faculty exchanges and other mutually beneficial ar-rangements.

For several years the School has enjoyed an early music exchange program with the University of Southampton, England. Seeking opportunities of a similar na-ture, Chandler visited the Royal Scottish Academy of Music and Drama in Glasgow, Scotland, in Spring 2003. From there, he trav-eled to Russia, where four of our voice students, with Professor Nikita Storojev, performed at the Moscow Conservatory’s Rachmaninoff Concert Hall. Plans call for developing an American Music Certificate for Moscow students to

study with UT music faculty who will travel to Moscow periodically. Chandler held similar meetings with the heads of the St. Petersburg

Conservatory, the Sibelius Academy in Helsinki, and with officials of the Paris Conservatory.

The School previously established connections with the Royal Acad-emy of Music in London, and dis-cussions are planned with several other schools around the world. In addition exchanges have been es-tablished at the Conservatorio de la Rosas in Morelia, Mexico and at the Universidad Nacional de Cuyo, Mendoza, Argentina.

“These exchanges will of necessity proceed slowly because of budget-ary constraints,” noted Chandler, “but we are committed to this important initiative to provide ex-

panded opportunities for UT music students and to further en-hance the reputation of the School of Music.”

The College of Fine Arts (CoFA) has init iated a new ArtsReach program

designed to build new audiences for art and music in remote areas of the state and to foster better relationships between artists and their constituencies. The first ArtsReach project, by School of Music student Cory Reeves, was such a success it has become a model for the new program. Rockport-Fulton High School choir director Martha Luigi was a substantial inspiration in School of Music student Cory Reeves’ life. She shared the gift of music with him, and through the Arts-Reach program, Reeves went back to the small coastal commu-nity to return the favor. In December 2002, Reeves conducted a weeklong series of classes and performances in his hometown, culminating in a holiday concert by the Corpus Christi Symphony featuring Reeves as a guest conductor. The concert, held in the Martha Luigi Auditorium, marked the first time the symphony performed in Rockport. Luigi, who died in 1999, was the choir director at Rockport-Fulton High School for more than 20 years. “Through the generos-ity of a scholarship bearing her name, I have been able to continue my exploration of music at The University of Texas at Austin,” Reeves said. “I was delighted to return to Rockport to share the art of music with the schools and community which inspired me to pursue music.” The University Co-op, a college department store serving the

university community since 1896, provided initial funding for the project. “Cory Reeves’ activities in Rockport were exactly the kind of project that George Mitchell (president of the University Co-op) had in mind when we began collaborating in this area,” said CoFA Dean Robert Freeman. “His work in the community reflects the strong pedagogical influence of his music teachers, while demon-strating to the citizens of his hometown the artistic value added as the result of his education at the university. Martha Luigi sent him to us — now he goes back. Cory will undoubtedly recruit the next generation of musicians,” said Freeman. In addition to rehearsing and performing with the high school choir in Rockport, Reeves taught music lessons directly related to the holiday symphony concert in middle and elementary school music classes. “It was my hope that through the ArtsReach resi-dency, members of the Rockport-Fulton community—both partici-pants and those who attend the concert—would be able to come together to share in an art form which has different meanings in the lives of each individual,” Reeves said. Reeves has since graduated with a degree in choral music studies. While at UT he worked with music students in the Aus-tin and Round Rock school districts and served as choral direc-tor at Rolling Hills Community Church in Lago Vista, where he conducted the Chancel Choir, the Jubilaires (women’s chorus) and the Rolling Hills Orchestra. “Music is the universal force which transcends the barriers of language, culture and age,” he said. “I chose conducting because I believe it’s the best way to spread the word — to bring the most people together in a common purpose and to reach the largest audience through music.”

– Nancy Neff, Office of Public Affairs

artsreach program Building new audiences

Cory Reeves

UT voice students in Russia to perform at Moscow Conser-vatory’s Rachmaninoff Concert Hall.

School Travels the World through Exchange Programs

25WORDS of NOTE

Burl H. Anderson, friend and beloved benefactor of the School of Music, died January 9, 2002. Story on page 28.

Dr. Richard Maag, a highly respected na-tional leader in string education, died in February 2002 in Greenville, South Caro-lina, where he was Professor of Cello and Music Education at Furman University. He earned his Master of Music in Cello Perfor-mance in 1957 and his PhD in Music Educa-tion in 1974 from The University of Texas at Austin. He taught in the UT String Project while working toward his degrees, and in the following years encouraged many Fur-man University graduates to choose UT-Austin for graduate work in music. Despite health problems, he traveled to Columbia, South Carolina, two weeks before his death to attend the American String Teachers As-sociation with the National School Orches-tra Association banquet honoring his men-tor, UT Professor Phyllis Young.

Amanda Morris, senior voice student, died March 5, 2002, in Binghamton, New York. Scheduled to graduate in May, 2002, Mandy was auditioning for the graduate program

at the State Uni-versity of New York at Bing-h a m t o n a n d hoped to sing in the Tri-City Opera Program there when she was struck by a car while cross-ing a street. In a note to one of her teachers, she had written:

“I have a quote taped to my front door that I look at each day before heading off to the practice room. Scrawled, ironically, on the back of a flubbed music theory assignment from my freshman year, it reads, ‘For heights and depths no words can reach, music is the soul’s own speech.’” To celebrate the life of this outstanding student, a memorial con-cert was held in Bates Recital Hall on April 5, 2002, presented by her friends, fellow stu-dents and faculty.

Leonard Posner, retired University of Texas Professor of Violin, died February 3 in Austin. Professor Posner taught at the School of Music from 1969 to 1988. He was born in Philadelphia in 1918 and began the

study of music at age seven. His teachers includ-ed Nelzar Chafee, Joseph Knitzer, and Louis Pers-i nger. He was concertmaster of the Juilliard Orchest ra and received his per-former’s diploma from Juilliard in 1941. He served as concertmaster of Radio City Music Hall Orchestra (1944–47), the Utah Symphony (1947–49), Dallas Symphony (1950–54), and the NBC Symphony (1954–59). Posner also taught in the Aspen Institute Summer Pro-gram, the Congress of Strings, the Casals Festival Orchestra, and taught violin and chamber music at Southern Methodist University from 1959–69. He joined the School of Music faculty in 1969 at the rank of profess or. He became a member of the Austin Symphony Orchestra shortly there-after, where he served as concertmaster un-til his retirement in 1988. He was an active soloist and chamber musician.

Willa E. Stewart Setseck, longtime mem-ber of the voice faculty at the School of Music, died May 19, 2002. She graduated from SMU Teachers College in Springfield, Missouri, and the Curtis Institute of Mu-sic in Philadelphia. She enjoyed a success-ful performance career as soloist for many churches and synagogues in the East, and in 1942 began touring with the San Carlo Opera Company. She sang several lead-ing roles with the Chicago Civic Opera in 1945. From June to September 1946, she performed with the City Opera Company in New York City. From 1947 to 1950, she performed at Covent Garden in London, England, then spent two years in Vienna at the Staatsoper. She was a soloist in 1949 with Radio Italia in Rome. Heart problems forced her to retire from opera in 1952. She began her teaching career in Denton, Texas, in 1955, at North Texas State University and taught at The University of Texas, Austin, from 1957 to 1980. Each summer from 1958 until 1963, found her coaching at the Santa Fe Opera or the San Francisco Opera. She retired in 1982 after two final years at The University of Illinois. Willa was preceded in death by her husband, Michael, in 1995 after 54 years of marriage.

Amanda Morris

Leonard Posner

Sidney M. Wright Scholarship Competition

The 12th annual Sidney M. Wright Endowed Presidential Scholarship Competition was held on April 28th, 2002. Thanks to an unexpected surplus, a two-tiered first prize was awarded this year. The $3000 Sid-ney M. Wright Endowed Presiden-tial Scholarship was won by Vincent de Vries, DMA student of Professor Nancy Garrett. The $2000 Sidney M. Wright Endowed Presidential Schol-arship was won by Bryan Armstrong, MM student of Professor Anton Nel. Hyungkyung Woo, DMA student of Anton Nel, was awarded second prize of $1000, donated by Profes-sor Nel. Yun Jin Seo, DMA student of Professor Gregory Allen, was awarded the third prize of $500, donated by Professor Danielle Mar-tin and Gregory Allen in memory of Albert Martin. Honorariums of $100 apiece, do-nated by the Competition Advisory Committee, went to Monica Loza, best vocalist, student of Professor William Lewis; and Victoria Wolff, best instrumentalist, student of Pro-fessor Phyllis Young. Eun Ai Cho, student of Professor Gregory Allen, and Naoki Hakutani, student of Dr. Betty Mallard, were cited as Honorable Mention, as well as vocalist Dana Zenobi, student of Professor Martha Deatherage and Robert de Simone, and cellist Tara Harris, student of Phyllis Young. Preliminary judges were Dr. Brian Marks, Dr. Eric Hicks (both UT alums) and Dr. Dariusz Pawlas. Final round judges were Ruth Tomfordhie of the University of Houston, Tamas Ungar of Texas Christian University, and Dr. David Yeomans. The Advisory Com-mittee consisted of Mr. and Mrs. Charles Wright, Professor Lita Guer-ra, Dr. Betty Mallard, and Professor Danielle Martin, who also served as contest administrator.

In Memoriam

THE UNIVERSITY OF TEXAS SCHOOL of MUSIC26

Burl H. Anderson Endowed Presidential Scholarship for the Creative Arts

Established in December 2002, this scholarship support will alter-nately benefit full-time students in the School of Music and full-time students of the Department of Art and Art History's Studio Art Program, or its successor-equivalents. Recipients must be students of outstanding merit and financial need.

Dr. and Mrs. Ernest C. Butler Centennial Endowed Presidential Scholarship in Opera

Originally created as the Dr. and Mrs. Ernest C. Butler Cen-tennial Scholarship in Opera in 1983, this scholarship was re-designated within the Endowed Presidential Scholarship pro-gram in February 2003. Awards from this endowment support the most outstanding music stu-dents in opera. Since then, the Butlers, who have been generous supporters of the arts in Austin for many years, have given two additional Presidential Scholar-ships.

Pearl DuBose Clark Endowed Presidential Scholarship in Music

This scholarship was funded by Dr. Charles T. Clark of Austin in honor of his late wife, Pearl Du-Bose Clark, a 1945 Phi Beta Kappa graduate of The University of Tex-as with a BA in Spanish and Por-tuguese. Dr. Clark received a BBA in Business Administration from UT in 1938, MBA in Business Ad-ministration in 1939, and a Ph.D. in Management in 1956. He be-gan teaching business statistics in the UT School of Business in the mid-50s, and retired in 1985 as the Mary Lee Harkins Sweeney Centennial Professor Emeritus in Business—the recipient of more teaching excellence awards than any other UT faculty member. Because of his love of The University of Texas, his 50-year associa-tion with its faculty, staff and students, and his wish to honor the memory of his late wife and her love of music and the arts, he en-dowed the Pearl DuBose Clark Endowed Presidential Scholarship to benefit deserving students in the UT School of Music.

Priscilla Pond Flawn Endowed Scholarship in Music

On October 19, 2001, gifts were received as part of the UT Perform-ing Arts Center’s 20th Anniversary Celebration held on October 14, 2001 honoring Mrs. Priscilla Pond Flawn and her husband, President Emeritus Peter T. Flawn. These gifts will provide schol-arship support for undergraduate students pursuing a degree in the School of Music.

Nancy Leona Dry Smith Hopkins Endowed Presidential Scholarship in Piano

Na nc y Leona Dr y Sm it h Hopkins Endowed Presiden-tial Scholarship in Piano was funded by Dr. and Mrs. Lu-ther Brewer of Salado, Texas, to honor his late cousin, Nan-cy Leona Dry Smith Hopkins. Ms. Hopkins was a 1958 gradu-ate of UT and a life-member of Texas Exes. She later studied music at Harvard, Boston Uni-versity, and the New England Conservatory. She was an ac-complished concert pianist and a superb music teacher. She taught at both Durham Business College and Austin Community College. This new scholarship will assist talented and promising young pianists in the School of Music.

Lee and Joe Jamail Endowed Presidential Scholarship for the Longhorn Band

Lee and Joe Jamail established this endowment in November 2002 to provide scholarship support for students who participate in the Longhorn Band at The University of Texas at Austin. The purpose of the scholarship is to develop strong music leadership for the Band. Multiple awards can be made in recognition of outstanding initiative, leadership, musicianship, and service. The awards are intended to provide an incentive to section leaders and others who have exerted great effort to advance the band program.

William C. Race Endowed Presidential Scholarship in Piano

The William C. Race Endowed Presidential Scholarship in Piano was established by Katherine Race, widow of the late UT Profes-

Nancy Hopkins

The School of Music is pleased to announce the establishment of nine new scholarship endowments between September 2001 and August 2003.

Pearl Clark

New Endowments

Dr. and Mrs. Ernest Butler

27WORDS of NOTE

Toward the end of the fall semester, when for a few days we hadn’t seen him chatting in the hallways and revising his weekly list of recitals to attend, we learned that our friend

Burl Anderson was gravely ill, and shortly afterwards he died. At the end he went quickly, but he had been ill for some time—lon-ger, perhaps, than many of us had known. Strangely enough, it was Burl’s failing health that brought him to the School of Music in the first place. A few summers back, when he learned that his time was shorter than he’d have wanted, this retired State of Texas em-ployee and amateur visual artist decided to leave behind something of himself that would encour-age and further the arts. With the help of the UT Development Office, Burl pledged his estate to set up the Burl H. Anderson Endowed Presiden-tial Scholarship for the Creative Arts, for students in Music and Studio Art. That very afternoon he visited the School of Music for the first time and attended a master class by the New York Wood-wind Quintet. Burl didn’t know much about music then, but he was so taken with the performers and so impressed by the students that he became a regular from that day on. He underwent a successful surgery that summer, and the following fall we began to see Burl often. If he missed a Symphony or Wind Ensemble performance it was rare. A New Music Ensemble performance could occasion a week of hallway discussions with student and faculty composers. He sat in on lectures, master classes, studio classes. It seems he knew everyone by name, and if he missed a student recital it was because the Scheduling Office had the oversight to schedule two or three at the same hour. Burl had a question for every visiting composer and a sincere compliment for every faculty artist. His CD library

outgrew his living room as he collected recordings of works he heard on our stages. He even commissioned a piece by graduate composer Mark Lewis that was premiered by the Wind Ensemble. Burl never inserted himself in the workings of the School, but many of us benefited from his quiet encouragement at one time or another. He took such personal interest in students that, rather than disappoint, he would sometimes attend a recital when his health should have kept him at home.

By virtue of his scholarship endowment, Burl was invited to many of The University’s larger do-nor functions, including the President’s football receptions, where administrators, business lead-ers, and wealthy alumni learned of the wonders of the School of Music from our latest convert. Burl became one of our best sources of unpaid adver-tising, a promoter with a zeal usually reserved for the most ardent of Longhorns fans. At the end of that first semester, Burl had ex-perienced and enjoyed so much here that he cred-ited the School of Music for his improving health and, as he said, for “giving me my life back.” And so for a time we taught Burl about music,

and he taught us about opening our hearts and sharing our enthusiasm for our art. But more im-portantly, Burl taught us to be better musicians by revealing to us the power we have to inspire and enrich the lives of others. Thanks to Burl’s

love of art and music, there will be forever a Burl H. Anderson scholar in the College of Fine Arts. He wanted to be remembered as “a good man,” and indeed he will be: Burl was with us only a short time, but there will always be a little of this good man in each of our hearts.

– Charles A. Clark

sor of Piano, and by donations of many friends and family. William Race, who held the Priscilla Pond Flawn Regents Professorship in Piano Per-formance, served as Keyboard Division head for 20 of the 30 years he was on the UT faculty. For many years, William Race worked tirelessly and selflessly to bring Chinese students to The Univer-sity of Texas at Austin, and many of these worthy piano students obtained their degrees with the help of his Fund for Chinese Pianists. This schol-arship was established in the spirit of Dr. Race’s longtime efforts.

Phyllis Benson Roberts Endowed Presi-dential Scholarship in Music

Dr. Lorene Rogers, past President of The University of Texas at Austin, created this scholarship in 2002 in honor of her close friend

Phyllis Roberts. Funds from this endowment are to be used to assist talented and promising young string students in the School of Music. Preference is to be given to those studying violin.

Willa Stewart Setseck Scholarship

Willa Stewart Setseck left half of her residuary es-tate to The University of Texas to create the Willa Stewart Setseck Scholarship. This endowment will provide scholarships for graduate applied voice students in the School of Music. The recipient must be seeking a career in music as a teacher or a pro-fessional singer, and shall be selected each year

by majority vote of the voice faculty of the School of Music. The scholarship shall be awarded at least annually, and no student may receive it for more than four years.

William Race

Burl H. Anderson1942–2002

“A Good Man”

Gifts of 100,000 or moreMr. James C. ArmstrongEstate of Willa Stewart SetseckMr. and Mrs. Joseph D. JamailMr. and Mrs. Jeffrey L. KodoskyMr. and Mrs. Joe R. Long

Gifts of 50,000 – 99,999The Luther and Marilyn Brewer Living TrustCharles T. Clark, Ph.D.Mrs. Katherine P. RaceThe Bryan & Deborah Stolle Family Fund

Gifts of 10, 000 – 49, 999The Armstrong Family FoundationDr. and Mrs. Ernest C. ButlerThe Cain FoundationChevronTexacoDHB PartnershipReverend John S. Dunham, Sr.ExxonMobil FoundationThe Ann and Gordon Getty FoundationMr. Fred M. GibsonMs. Betty Holmes

Gifts of 10, 000 – 49, 999(continued)Moor Children’s FoundationMrs. Charlotte A. NarboniRainwater & Moore 1995 Charitable Remainder UnitrustDr. Lorene L. RogersDr. and Mrs. Eugene P. Schoch, Jr.W & W Musical Instrument Company

Gifts of 1,000 – 9,999American Harp SocietyMr. William D. ArmstrongAustin Chapter American Guild of OrganistsMrs. Barbara BeardenBecktell-Blackerby Stringed InstrumentsMr. and Mrs. James S. Boshart IIIMr. Geoffrey O. ColeyMrs. Theodocia CowanMr. Tommy N. CowanMr. Moton H. Crockett, Jr.Dr. and Mrs. Joe F. DahlstromDr. and Mrs. Charles E. EbelMr. Steven A. Fleckman

Endowed Faculty PositionsMary D. Bold Regents Professorship of MusicFrank C. Erwin, Jr. Centennial Professorship in MusicFrank C. Erwin, Jr. Centennial Professorship in OperaParker C. Fielder Regents Professorship in MusicPriscilla Pond Flawn Regents Professorship in Organ or Piano PerformanceDavid and Mary Winton Green Chair in StringPerformance and PedagogyM. K. Hage Centennial Visiting Professorship in MusicFlorence Thelma Hall Centennial Chair in MusicHistory of Music ChairThe Wolf and Janet Jessen Centennial Lectureship in MusicMarlene and Morton Meyerson Centennial Professorship in MusicMarlene and Morton Meyerson Centennial Visiting Professorship in Music

Endowed ScholarshipsAlamo City Endowed Scholarship for PianistsBurl H. Anderson Endowed Presidential Scholarship in the ArtsWayne R. Barrington Endowed Scholarship in French HornBurdine Clayton Anderson Scholarship in MusicBetty Osborn Biedenharn Endowed Presidential Scholarship in MusicMary D. Bold Scholarship FundDr. and Mrs. Ernest C. Butler Centennial Scholarship in OperaDr. and Mrs. Ernest C. Butler Endowed Presidential Scholarship in OperaPauline Camp Operatic Voice ScholarshipEloise Helbig Chalmers Endowed Scholarship in Music Therapy and Special EducationPearl DuBose Clark Endowed Presidential Scholarship in MusicMary Frances Bowles Couper Endowed Presidential Scholarship for Graduate Students in Piano PerformanceMary Frances Bowles Couper Endowed Presidential Scholarship for Undergraduate Students in Piano PerformanceAinslee Cox Scholarship in MusicPatsy Cater Deaton Endowed Presidential ScholarshipWilliam Dente Endowed Memorial Scholarship in OperaE. W. Doty Endowed Presidential Scholarship in MusicE. W. Doty Scholarship FundWhit Dudley Endowed Memorial Scholarship in HarpMarguerite Fairchild Endowed Presidential Scholarship in MusicPriscilla Pond Flawn Endowed Scholarship in MusicFondren Endowed Scholarship in MusicDalies Frantz Endowed Scholarship FundDavid Garvey Scholarship FundGarwood Centennial Scholarship in Art Song PerformanceMary Farris Gibson Endowed Presidential Scholarship in MusicMary Farris Gibson Memorial Scholarship in MusicThomas J. Gibson IV Endowed Presidential ScholarshipAnnie B. Giles Endowed Scholarship Fund in MusicAnnie Barnhart Giles Centennial Endowed Presidential ScholarshipMary Winton Green Endowed Presidential Scholarship in MusicMargaret Halm Gregory Centennial Endowed ScholarshipVerna M. Harder Endowed Presidential Scholarship in MusicLouisa Frances Glasson Hewlett Scholarship in MusicNancy Leona Dry Smith Hopkins Endowed Presidential Scholarship in PianoVirginia McBride Hudson Endowed ScholarshipLee and Joe Jamail Endowed Presidential Scholarship for the Longhorn BandJean Welhausen Kaspar 100th Anniversary Endowed Longhorn Band Scholarship

Endowments

Gifts

Kent Kennan Endowed Graduate Fellowship in Music Composition or TheoryAnna and Fannie Lucas Memorial Scholarship FundGeorgia B. Lucas Endowed Presidential Scholarship in MusicPansy Luedecke Scholarship FundJ. W. “Red” McCullough, Jr. Endowed Presidential Scholarship in Jazz StudiesMusic Endowment FundNelson G. Patrick Endowed Scholarship in Music EducationLeticia Flores Penn Endowed Presidential Scholarship in PianoWilliam C. Race Endowed Presidential Scholarship in PianoA. David Renner Endowed Presidential Scholarship in PianoLucille Roan-Gray Endowed Presidential Scholarship in MusicPhyllis Benson Roberts Endowed Presidential Scholarship in MusicE. P. Schoch Endowed Presidential Scholarship in BandMary A. Seller-Yantis Endowed Presidential ScholarshipEffie Potts Sibley Endowed Scholarship FundLomis and Jonnie Slaughter Scholarship in MusicMollie Fitzhugh Thornton Scholarship in MusicThe Trammell Endowed Scholarship in MusicLaura Duncan Trim Scholarship in MusicElizabeth Anne Tucker Centennial ScholarshipRobert Jeffry Womack Endowed Presidential ScholarshipLola Wright Foundation Centennial Endowed ScholarshipSidney M. Wright Endowed Presidential Scholarship

Program Support EndowmentsWilliam D. Armstrong Music Leadership EndowmentEddie Medora King Award for Musical CompositionMusic Education EndowmentMusic Leadership Endowment

28

Gifts of 100,000 or moreMr. James C. ArmstrongEstate of Willa Stewart SetseckMr. and Mrs. Joseph D. JamailMr. and Mrs. Jeffrey L. KodoskyMr. and Mrs. Joe R. Long

Gifts of 50,000 – 99,999The Luther and Marilyn Brewer Living TrustCharles T. Clark, Ph.D.Mrs. Katherine P. RaceThe Bryan & Deborah Stolle Family Fund

Gifts of 10, 000 – 49, 999The Armstrong Family FoundationDr. and Mrs. Ernest C. ButlerThe Cain FoundationChevronTexacoDHB PartnershipReverend John S. Dunham, Sr.ExxonMobil FoundationThe Ann and Gordon Getty FoundationMr. Fred M. GibsonMs. Betty Holmes

Gifts of 10, 000 – 49, 999(continued)Moor Children’s FoundationMrs. Charlotte A. NarboniRainwater & Moore 1995 Charitable Remainder UnitrustDr. Lorene L. RogersDr. and Mrs. Eugene P. Schoch, Jr.W & W Musical Instrument Company

Gifts of 1,000 – 9,999American Harp SocietyMr. William D. ArmstrongAustin Chapter American Guild of OrganistsMrs. Barbara BeardenBecktell-Blackerby Stringed InstrumentsMr. and Mrs. James S. Boshart IIIMr. Geoffrey O. ColeyMrs. Theodocia CowanMr. Tommy N. CowanMr. Moton H. Crockett, Jr.Dr. and Mrs. Joe F. DahlstromDr. and Mrs. Charles E. EbelMr. Steven A. Fleckman

Mission ResourcesMrs. Judy S. MooreDeborah D. MorinGarry L. Myers, D.D.S.Coral M. Noonan, Ph.D.Mr. Donald F. O’ConnellMr. and Mrs. Timothy A. and Nancy N. OneillMr. Robert W. OramMr. Henry L. PeckPhuong-Dung PhamMrs. Julia PoindexterMrs. Erika M. PopkinJoe Thomas Powell, M.D.PPG Industries FoundationLinda S. Ball and Forrest F. Preece, Jr.Mr. and Mrs. Wallace PryorMr. and Mrs. Steven and Beth Stevens RattnerMr. and Mrs. B.S. RichardsMr. Ricky V. RichardsMr. Don L. RicheyMrs. Heather M. RiserDelmer D. Rogers, Ph.D.Mr. Thomas R. RogersMs. Barbara D. RuddMrs. Harriet I. RutlandMr. Jonathan C. SantoreDr. and Mrs. Allan B. SchmittMs. Elizabeth M. SchwartzMs. Diana E. SeelersMrs. Katharine B. ShieldsDr. David W. SloanJames L. Smith, M.D.Mrs. Joleen E. SmithMr. and Mrs. Chad StarksMr. Douglas C. SternMr. Lawrence F. Stevenson, Jr.Strategic Investment Partners Inc.Mr. Edward R. StroeherThe Sun Microsystems Foundation Inc.Ms. Francesca M. SuttonMr. Andre J. SylvesterAlan R. Tanner, Ph.D.Ms. Rose A. TaylorMs. B. Valerie ThurmanTRW FoundationMr. and Mrs. Robert B. and Phoebe B. TudorMr. and Mrs. Chad A. TywaterUniversity Presbyterian ChurchMrs. Kimberly N. VerverMr. Thomas H. WaggonerMr. and Mrs. David WalterWestbank String ShopMs. Kay WestbrookMr. J. Scott WilsonMs. Susan D. WishnowHarold A. Wolf, Ph.D.Ms. Lucia Amparo WoodleyMrs. Ann Gullick WorleyMr. Charles I. WrightJohn W. King and Jeanne M. Yturri

Gifts of 1,000 – 9,999(continued)The Fry Marital TrustMr. and Mrs. Ronald J. GoldmanMr. and Mrs. Theodore P. Gorski, Jr.Dr. and Mrs. Jack M. GillMrs. Sally Y. GrantMr. Eric S. HagstetteGrady L. Hallman, M.D.Mr. and Mrs. Billy A. HarrellMr. Christopher M. HarteMr. James G. HejlH. R. A. RealtyInman FoundationMr. Joseph D. JamailMrs. Deborah H. JohnsonMr. Charles E. Jones, Jr.The Junior League of Austin Inc.KCN Company IncorporatedDr. Robert W. KincheloeProf. and Mrs. Donald L. KnaubProf. Danielle J. MartinMs. Emma L. MaytonMs. Linda McDavittMrs. Vicki L. McLaughlinDr. Dariusz B. PawlasThe Presser FoundationPricewaterhouseCoopers FoundationMr. and Mrs. William T. ProbandtMr. and Mrs. Richard C. RobinsonMr. and Mrs. J. Shelby SharpeMr. Ryan J. ShowersLuke and Merle Soules Family FoundationMr. and Mrs. Milton Y. Tate, Jr.Mr. and Mrs. Rex W. TillersonMr. and Mrs. Daniel WettreichMs. Vivian L. WolfeMs. Paula C. WongMr. Todd Tracy WongProf. Phyllis C. Young

Gifts of $500–$999Sterling K. Berberian, Ph.D.Dr. and Mrs. Frank M. Covert IIIProf. Paula A. CriderMrs. Bell T. DudleyDr. and Mrs. Richard E. EwingFidelity FoundationMr. Thomas A. Foreman, P.E.Mr. and Mrs. Robert E. FosterProf. Nancy B. GarrettMr. and Mrs. George L. GreeneDr. J. Carlos HernandezHyde Park Baptist ChurchMr. Michael S. KleinMr. and Mrs. James Lane LittrellDr. Betty P. MallardMr. and Mrs. Travis C. Meitzen, Jr.Mrs. Patricia R. NortonMrs. Jo T. Peters

Gifts of $500–$999(continued)Kenneth B. Ragsdale, Ph.D.Ms. Ellen RichieMr. LaFalco Robinson, Jr.Mr. and Mrs. Kenneth R. Sandberg Jr.Mr. Kenneth R. SandbergMr. Jerry W. WaltonMs. Vivian G. Zelter

Gifts $250–$499Mr. Gregory D. AllenMr. Edgar D. Bailey, Jr.Ms. Caroline H. CreedenDr. and Mrs. James P. DuncanMike Figer & CompanyMr. and Mrs. Joseph I. GascaThe Honorable and Mrs. K. Lee HamiltonMr. Orville John Hoag, Jr.The J. P. Morgan Chase FoundationMr. and Mrs. Fred Junkin Jr.Mr. and Mrs. W. Budge MabryMr. David B. MillerMs. Teresa C. NealPerformance Food GroupMr. Timothy PraterMr. Charles P. RaceMs. Ambra ReedyProf. A. David RennerMr. and Mrs. James V. RichardsMr. and Mrs. Kent M. RiderMr. Keith R. RowdenDrs. Kevin L. and Karen L. SedatoleSmith Barney citigroupDr. Robert C. Stemsrud

Gifts under $250Austin District Music Teachers AssociationAustin Forum Inc.Mr. Wayne B. BachmanRobert L. and Ann M. BakerMr. Roger D. BarkerProf. Gayle H. BarringtonChris P. and Melissa K. BatchelorMs. Vickie Lynn BibroMrs. Anne H. BoyerMr. William E. BrentMrs. Colleen B. BrezdenMrs. Robert T. BuchananMr. Craig A. BucheleMr. John B. Buford, P.E.Mr. James M. CampbellMr. Jean H. CarterMs. Florence M. CastleDavid E. ChildsCity of Lakeway - General FundMr. Mark K. ClardyMr. and Mrs. Harley R. Clark, Jr.Mrs. Gaylan G. CobbMr. and Mrs. Mac L. CokerMr. James L. Collier

Ms. Frances A. CollmannMs. Celia D. CookMr. and Mrs. K. C. CoonrodMrs. Janice Howell CorbinMr. and Mrs. Michael D. CowanMr. and Mrs. Richard W. CowlesMr. Richard W. CowlesMrs. Cinda Barnes CrewsThe Hon.and Mrs. James A. DarossMr. John A. DebnerProf. and Mrs. Louis E. DeMoll, Jr.Mrs. Phyllis M. DoluisioMs. Nancy A. DriverMr. Claude E. DuclouxMrs. Joan M. EdmondsMr. and Mrs. John FisherMr. John W. FisherMr. Robert F. FletcherMs. Deirdre Z. FotescuMr. and Mrs. William W. FranklinFriends of MusicProf. and Mrs. George A. FrockMrs. Kitzi B. FulghamMs. E. Jane GarnerMiss Hettie P. GarwoodMr. Conrad GeigerMs. Jeanne W. GibsonMs. Katheryn B. GovierMs. Susan GrovesProf. Lita A. GuerraMrs. Judith C. HarrisonMr. and Mrs. William E. Hatcher IIIMrs. Christine K. HeagertyDr. and Mrs. Clark C. HerringtonMs. Joanna HitchcockMs. Mary E. HockingMrs. Patricia C. HolmesMrs. Mary Helen HowellMr. and Mrs. Robert W. HutchisonI.P.P. CompanyMr. and Mrs. Scott E. JohnsonJoseph Financial PartnersMr. and Mrs. Kevin JedeleMrs. Annette G. JubaMrs. Virginia M. KeithMr. and Mrs. D. N. KingDunson N. King, Jr.Mr. and Mrs. J.P. KirkseyMrs. Edith C. KnauerDr. and Mrs. Billy Vaughn KoenMr. and Mrs. Larry E. LamberthLou Ann K. Lasher, Ph.D.Mr. William A. Lewis, Jr.Mr. G.J. LipovskiLive Oak PharmacyMr. and Mrs. George C. LudlowMr. Thomas E. MarburgerMs. Danielle J. MartinMr. Shigemi MatsumotoMs. Donna B. McCormickMr. Blocker D. MeitzenMr. and Mrs. Griffith L. MillerMrs. Margaret L. MillerMrs. Deborah S. Mireur

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