DAN PERRINO (APRIL 15, 1921 AUGUST 17, 2012)

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1 WINTER 2013 The New Magazine of the Univerity of Illinoi School of Muic A TRIBUTE TO DAN PERRINO (APRIL 15, 1921 AUGUST 17, 2012)

2 From the Dean WINTER 2013 Publihed for alumni and friend of the School of Muic at the Univerity of Illinoi at Urbana-Champaign. The School of Muic i a unit of the College of Fine and Applied Art at the Univerity of Illinoi at Urbana-Champaign and ha been an accredited intitutional member of the National Aociation of School of Muic ince Jeffrey Magee, Interim Director Joyce Grigg, Aociate Director for Academic Affair Jame Gortner, Aitant Director for Operation and Finance J. Michael Holme, Enrollment Management Director David Allen, Outreach and Public Engagement Director Ruth Stoltzfu, Coordinator, Muic Event Managing Editor: Ruth Stoltzfu Aociate Editor: Emily Wuchner Reearch Aitant: Stephen Burian Reearch Aitant: Lauren Coleman Contributing Writer: Chritina Bahford, Dale Cockrell, Eduardo Diazmuñoz, Julie Gunn, Anne Michakoff Heile, Joeph Horowitz, Herbert Kellman, Roger Laramee, Melia Merli, Jeananne Nichol, Paul Redman, Duty Rhode, Emily Wuchner Graphic Deign: Bonadie Creative, Inc. Front cover: Bernard Wolff Photography UI School of Muic on the Internet: Share your good new! Send photo and ubmiion to: Sonoritie, UI School of Muic 1114 W. Nevada, Urbana, IL or onoritie@muic.illinoi.edu, by Augut 31, A I begin my tenure a Dean of the College of Fine and Applied Art, I look forward to working with the faculty, taff, alumni, and friend of the School of Muic to further trengthen it fine program and to extend the reach and impact of it work on Campu and beyond. The School exceptional record of innovative muic cholarhip, education, performance, and public outreach i a ource of pride for the College and Univerity. I have taught city planning for 15 year, eight of thoe in FAA at Illinoi. My reearch and teaching focue on the policie, plan, and public and private organizational arrangement and partnerhip that influence the economic development of citie and region in the US and around the world. Naturally that mean that my mot immediate pat profeional experience i with the applied art ide of our College. Yet like mot city planner, I have a deep appreciation for the role the performing and viual art play in underpinning great communitie, exploring the human condition, and elevating the human experience through artitic expreion. Indeed, I firmly believe that FAA blend of the core environmental deign field with the viual art, deign, and the performing art poition our College to contribute ubtantially and uniquely to Illinoi new initiative to tackle ome the world mot ignificant environmental, ocial and economic challenge. The School of Muic bring coniderable etablihed trength and a hitory of multidiciplinary collaboration to that agenda. With the departure of Karl Kramer to the Sydney Conervatorium, the School of Muic enter a new era in it leaderhip. I am grateful to Interim Director Jeffrey Magee for hi willingne to hepherd the School through thi time of tranition a the College move forward with a earch for a permanent director. Meanwhile, the good work of the School continue and thi year i already off to an impreive tart. Our entering muic tudent are a talented a ever, the School put on another outtanding Allerton Muic Barn Fetival, and we welcomed everal new faculty member, including the renowned Jupiter String Quartet, to our ditinguihed rank. o n or Edward Feer Dean, College of Fine and Applied Art i t i e b

3 From the Director For many reader, thi iue of Sonoritie will trike a retropective note tinged with notalgia. The cover tory about Daniel Perrino that we had long planned took on the added reonance of lo after he paed away on Augut 17, We alo mark the paing of other key figure in the School of Muic community. But there i much more than notalgia here. For me, recently auming the role of Interim Director, every page of thi Sonoritie tand a a naphot of the preent and a challenge for the future a challenge to uphold the tandard of excellence that Perrino and other have embodied. Joeph Horowitz commencement addre, reprinted here, certainly offer a challenge for muician and educator of the future a viion of how muician will thrive in the 21t century that mehe well with Chancellor Phylli Wie call for Illinoi to be an agile univerity. We tand at a pivotal moment in the School of Muic hitory. Thi pat year we aid goodbye to many key figure in the School life, including Director Karl Kramer and Aociate Director Edward Rath, who tepped out of retirement, guided the elf-tudy for our National Aociation of School of Muic accreditation, and erved briefly a Interim Director. We are grateful for Karl and Ed leaderhip over the pat everal year, and wih them and their familie the bet for the future. Even in thi tranitional time, there i much to celebrate. The School ha welcomed everal dynamic, energetic, riing tar in their field, including a new tring quartet, the Jupiter, and two internationally repected compoer. By thi time next year, we will have a permanent Director and a new Director of Development to work with our new Dean, Edward Feer. The Univerity and the School are on firmer financial footing than we have been in the pat five year, but we need your upport moral, trategic, financial more than ever to tay on track. A we move ahead, our core miion and trength remain: a world-cla faculty, a vibrant tudent body, a dedicated taff, and thouand of active alumni who remain inveted in the School greatne. With everyone working together, we can expect a vibrant future and a great year ahead. Jeffrey Magee Interim Director, School of Muic in thi iue Winter 2013 CAMPUS NEWS 2 Anglo-American Muical Connection Allerton Muic Barn Recap Enemble Performance 4 Jazz Trombone Enemble Tour 4 Paradie Lot DoCha Fetival 5 Ravinia Fetival COVER STORY 12 Remembering Dan Perrino FEATURES 9 Sound from Jupiter 20 Moral Fire: 2012 Convocation Speech 22 Edward Rath: SoM Say Goodbye to it Right-Hand Man FACULTY FEATURE 24 Compoition-Theory from Far and Abroad DEPARTMENTS 6 Development Update 7 Upcoming Alumni Relation Event 8 Outreach Update 26 Faculty New 31 New Publication and Recording 32 Emeriti Report 33 Student New 34 Alumni New 36 In Memoriam 39 Partner in Tempo w in t e r

4 Campu New o n or i t i e 2 anglo-american MuiCaL ConneCtion Even the weather cooperated. It wa late July 2012 and ome 80 delegate to the North American Britih Muic Studie Aociation (NABMSA) Fifth Biennial Conference were about to decend on Champaign-Urbana for three day of paper, performance, and related event. My main worry, a chair of local arrangement, wa that the blitering 100 degree temperature we d been having would continue or give way to bad torm, even power outage. But right on cue it cooled down. And o Anglo- American Muical Connection thi wa the conference focal theme took off. The School of Muic wa delighted to welcome NABMSA to campu becaue both Britih and American muic have long been trength of the Muicology Diviion here. Reearch into Britih muic wa firt pearheaded by Profeor Emeritu Nichola Temperley, who joined the faculty in 1967 and laid the foundation for thi now thriving field of cholarhip. He later erved a NABMSA firt preident, and more recently endowed a prize for the conference bet tudent paper. I arrived in 2005 and am alo a Britih muic pecialit. Like me, Nichola Temperley i a native of Britain. The conference opened with a welcome addre by Jeffrey Magee, Interim Director and American muic cholar, who highlighted the depth and breadth of the program. Paper on the Anglo-American theme were indeed many and varied; during the meeting we heard about Elgar muic in America, Motown influence on Duty Springfield, Irih fife and drum band in multicultural Toronto, and an American collector of Gaelic folkong, to name a few. Plu, there were talk on Britih ubject including Charle Dicken a opera librettit, the ue of Beatle ong by avant-garde compoer, the Britih Broadcating Corporation muic policie, mad ong in Shakepeare Hamlet (the latter given Nichola Temperley Photo: Catherine Henney by Stacey Jocoy, M.M. 96, PhD 05) and the Scotch nap (a paper by Nichola Temperley and hi on David). Tenor Jutin Vicker (D.M.A. 11) gave a lecture recital on the excied epilogue to Benjamin Britten Holy Sonnet of John Donne. The quality of preentation and dicuion wa excellent and many people commented on the buzz that wa being generated. The keynote addre on the Anglo-American theme wa given on July 27 in Krannert Art Mueum by Patrick Warfield (Univerity of Maryland), who poke on John Philip Soua interaction with Britih copyright law, with a fabulou mixture of wit and erudition. It wa followed by a tour of an exhibition up the treet at the Soua Archive, curated by Adriana Cuervo to compliment Warfield talk. Both event were open to the public. In fact, campu outreach played a ignificant part in the proceeding. There were two other exhibition: one in the Muic and Performing Art Library, drawing on it holding of American and Britih muic material; the other in the lobby of the Krannert Center for the Performing Art, howcaing publihed reearch on Britih and American muic by muicology faculty (Lawrence Guhee, Jeffrey Magee, Gayle Sherwood Magee, Gabriel Soli, Temperley, and myelf). There wa alo a pecial Krannert Uncorked at KCPA on July 26, at which delegate joined the local community for a tating of American wine and Britih ale, and parkling Anglo- American cabaret performed by inger Sam Dewee (B.M. 12), Karen Loda (B.M. 11), Dane Suarez, (M.M. 12) and Ingrid Kammin (M.M. 08, D.M.A. 12) with current muicology graduate tudent Anderi Strizek at the piano. We heard Noel Coward, Cole Porter, Andrew Lloyd Webber, and much more. But the bigget, mot electric event came lat: a gala public concert of Britih and American orchetral and choral muic on July 28 at KCPA, to honor Temperley pioneering contribution to Britih muic reearch, both at the Univerity of Illinoi and throughout North America, on hi 80 th birthday, which fell a few day after the conference. The performer were local group with UI connection: the Baroque Artit of Champaign Urbana (conducted by Profeor Emeritu Cheter Alwe), The Prairie Enemble (conducted by Kevin Kelly, M.M. 93) and Prairie Voice (conducted by Laurie Matheon, D.M.A. 98). The program included work by Samuel Sebatian Weley, Charle Stanford, Michael Tippett, Charle Ive, and Ralph Vaughan William, whoe Serenade to Muic (with oloit Amy Fuller, M.M. 95, D.M.A. 11; Elizabeth Buckley, M.M. 98, D.M.A. 09; Jutin Vicker; and Ronald Hedlund, profeor emeritu of voice) proved a moving and memorable end to what wa a truly excellent concert. Afterward we had a wine reception with peeche, thank-you, two rendition of Happy Birthday, and farewell. Temperley preented the Temperley (tudent) Prize for 2012 to Erica Siegel (Univerity of California, Riveride) for her paper on Vaughan William female tudent in America. And peaking of tudent, I mut ay that the conference would never have run o moothly without the terling help of five of our muicology GA (Catherine Henney, Linda Remaker, Mike Warner, Megan Woller, and Alex Woller) and Maureen Reagan (KCPA). Anglo- American connection indeed. Chritina Bahford, Aociate Profeor of Muicology Performer receive an ovation on the Foellinger Great Hall tage during the concert for Nichola Temperley for hi 80 th birthday.

5 2012 Allerton Muic Barn Fetival Recap The ixth annual Allerton Muic Barn Fetival featured the Jupiter String Quartet making it performance debut a Univerity of Illinoi faculty member. Alo during the fetival, the jazz faculty paid tribute to The Blue and the Abtract Truth and everal faculty member at the School of Muic performed The Pirate of Penzance. The Labor Day weekend fetival took place in a beautifully retored 19thcentury Dutch barn in Allerton Park, about 25 mile outhwet of the Univerity of Illinoi near the town of Monticello. Each year ince it inception, the fetival ha old out of ticket. The fetival opened Augut 30 with the Jupiter String Quartet performing Ravel Quartet in F major; Anton Webern Langamer Satz, one of hi few tonal work; and Schubert Cello Quintet, with Illinoi cello profeor Dmitry Kouzov. In a concert verion of Gilbert and Sullivan comic operetta Pirate of Penzance on Augut 31, Profeor Jerry Siena ang the famou patter ong I am the Very Model of a Modern Major-General with a new vere by Nichola Temperley with a local twit (ee box). Ian Hobon, pianit and muic director of Sinfonia da Camera, conducted. [Choru] On September 1, member of the Jazz Studie faculty paid tribute to axophonit Oliver Nelon 1961 album The Blue and the Abtract Truth, bet known for Stolen Moment, now conidered a jazz tandard. Nelon alo wa a compoer and arranger, credited with creating the muic for the televiion N. T. how Ironide, Night Gallery, Columbo, and The Six Million Dollar Man. Nelon on Oliver Nelon Jr., a graduate tudent in the School of Muic, wa on tage to introduce the tune and talk about hi father work. The Allerton Bach Choir and Orchetra performed Cantata No. 21 on September 2, under the baton of Fred Stolzfu. The Reverend Roger Digge gave an inightful homily that developed the cantata piritual theme. The Allerton Wind, directed by Robert Rumbelow, concluded the fetival on September 3 with a Labor Day concert featuring an Armed Force medley, Soua Wahington Pot, Eater Monday on the White Houe Lawn, and Star and Stripe Forever. Duty Rhode, UI New Bureau (To replace vere 2 of I am the very model of a modern Major-General ) I ve heard of Illinoi, it ha a famou univerity: It in Champaign-Urbana, which they ay could be a wore city. They huffle the adminitrator often, almot daily, a Proceeding which led one of them to cuttle to Autralia. The Muic School i excellent: I offer no apology 5 For relihing a marching band, and even muicology. Ye, I can hum a fugue of which I ve heard the muic din afore And whitle all the air from that infernal nonene, Pinafore. Ye, I know every opera from Figaro to Peter Grime, But no-one, even Gilbert, ha produced a et of neater rhyme. 10 In hort, in matter muical, poetic, and ephemeral I am the very model of a modern Major-General. (Line 7-8 are Gilbert.) SPRING 2013 ENSEMBLE PERFORMANCES UI SYMPHONY ORCHESTRA, February 8 ILLINOIS MODERN ENSEMBLE, February 20 WIND SYMPHONY, February 21 CHORALE, February 22 WIND ORCHESTRA, February 26 SCHOOL OF MUSIC OPERA: My Fair Lady, February 28-March UI CHAMBER ORCHESTRA, March 1 UI PHILHARMONIA, March 2 CAMPUS AND UNIVERSITY BANDS, March 5 BLACK SACRED MUSIC CONCERT, March 10 HARDING AND HINDSLEY BANDS, March 12 ILLINOIS MODERN ENSEMBLE, March 28 WIND SYMPHONY, April 2 UI SYMPHONY ORHESTRA, April 5 WIND ORCHESTRA, April 7 ILLINOIS BRASS QUINTET, April 7 UI PERCUSSION ENSEMBLE, April 11 WOMEN S GLEE, April 13 UI BLACK CHORUS, April 13 UI TROMBONE CHOIR, April 16 BALKANALIA, April 20 WIND ORCHESTRA CHAMBER CONCERT, April 22 JAZZ BAND II, April 23 CAMPUS AND UNIVERSITY BANDS, April 24 JAZZ TROMBONE ENSEMBLE, April 24 SCHOOL OF MUSIC OPERA and ILLINOIS MODERN ENSEMBLE: The Threepenny Opera, April HARDING AND HINDSLEY BANDS, April 25 UI STEEL BAND, April 25 JAZZ VOCAL ENSEMBLE, April 25 CONCERT JAZZ BAND, April 26 VARSITY MEN S GLEE CLUB, April 27 LATIN JAZZ BAND, April 27 JAZZ BAND III, April 27 WIND ORCHESTRA, April 28 UI PHILHARMONIA, April 28 JAZZ COMBO I, April 28 JAZZ BAND IV, April 28 WIND SYMPHONY, April 30 OPERA STUDIO, April 30 JAZZ SAXOPHONE AND GUITAR ENSEMBLES, April 30 UI SYMPHONY ORCHESTRA, May 1 OPERA STUDIO, May 1 JAZZ COMBO II, May 1 For more event information: w in t e r

6 Campu New PARADISES LOST The Traveling on a pacehip detined for a new and found the premie which touche on planet make perfect operatic ene to Stephen both cience and religion intriguing. Taylor Taylor, aociate profeor of Compoition began conceptualizing the opera in 2003 and and Theory. The Univerity of Illinoi Opera contacted Le Guin, who wa upportive of Department premiered Taylor opera Paradie the idea. After many draft, workhop, and a Lot in April 2012 at Krannert Center for the librettit change, Taylor and librettit Marcia Performing Art. Johnon completed the work for the It jut eemed like there are all of thee opera eaon. cience fiction book and cience fiction The opera follow a group of pioneer on movie and TV how and opera ha been really the pacehip Dicovery which i et to land underrepreented, Taylor aid. on the planet Shindychew year in the future. A cience fiction buff, Taylor began All thoe aboard the hip were born there and exploring a variety of novel and hort torie have no conception of what life on a planet i he could adapt into an opera. He ran acro like. A faction called Bli challenge whether Urula Le Guin hort tory Paradie Lot the hip i meant to land or not. Unexpectedly the pioneer realize that the hip ha gained momentum, meaning it will land in mere day. Although I like minimalim a lot, and compoer like John Adam and Steve Reich are big influence, what I wa really going for in the opera wa a muical language that hare element with popular artit like Bjork and Radiohead, two of my big favorite. Stephen Taylor Photo: Hyungul Kim paenger each mut chooe to either remain on the hip or live on the new planet. To create muic for uch a plot, Taylor mixed muical characteritic from late twentieth century compoer and popular artit. He alo built electronic element into the core to depict the ound of the pacehip and pace itelf. Although I like minimalim a lot, and compoer like John Adam and Steve Reich are big influence, what I wa really going for in the opera wa a muical language that hare element with popular artit like Bjork and Radiohead, two of my big favorite. Taylor believe the premiere wa a ucce and look forward to taging the opera again in the future. In the meantime, in September he preented a paper on hi work at the 100 Year Starhip Public Sympoium. He alo look forward to organizing a conference themed Science Fiction and the Art at UI next year. Emily Wuchner, Aociate Editor o n or i t i e 4 Member of the UI Jazz Trombone enemble (l to r) Dan Pieron, Ben Ford, (friend), Johua Torrey, Reginald Chapman, Euan Edmond, Lar Laron, Sam Hating (not pictured: Sam Peter, Alex Moraru) enjoy the ight in Pari thi pat ummer. For it homogeneou ound and impeccable rythm and mooth, eamle tranition the enemble won the Kai Winding Competition, ponored by the International Trombone Aociation and wa invited to perform and repreent the UI Muic Department and Jazz Diviion at the 2012 International Trombone Fetival, held thi pat July at the Pari Conervatoire. The group alo won the National Jazz Trombone Enemble Competition and performed in March at the Eatern Trombone Workhop in Wahington DC, ponored by the US Army Band Perhing Own. The enemble i directed by Profeor of Jazz Studie Jim Pugh.

7 DoCha, downtown Champaign chamber muic fetival founded by Univerity of Illinoi School of Muic profeor, i now under the artitic leaderhip of Profeor Stefan Milenkovich, Dmitri Kouzov, and Gabriel Soli with adminitrative upport provided by Executive Director Paul Redman. DoCha i unique in it commitment to hare chamber muic with all people by offering free performance and educational outreach activitie that are funpirited, engaging, incluive, informal, and collaborative. For the 2012 eaon, DoCha partnered with Julie Gunn, aociate profeor of accompanying, to expand on it engagement of talented young muician in the Champaign County area. The reult wa the founding and creation of the Univerity of Illinoi School of Muic Academy. Originally a pilot program, thi comprehenive chamber muic and muic theory academy for muician under age 18 wa extremely ucceful and will continue in Deigned to provide advanced young muician with utained training opportunitie with School of Muic faculty, the program alo erve a an important recruiting mechanim for the School of Muic and a way for the muic faculty to further engage the public community beyond the campu. The 2013 DoCha fetival will take place April 5-7 at the Orpheum Theatre through it renewed partnerhip with the Orpheum Children Science Mueum. The fetival chedule will include three evening performance geared toward adult audience featuring unique collaboration among Univerity of Illinoi muic profeor, muic tudent, dancer, and artit. DoCha ha built a loyal and devoted following of audience of all age. Beyond a traditional chamber muic fetival, DoCha i a community project involving the participation and collaboration of many people and organization. For more information viit Paul Redman, Executive Director, DoCha Photo: Paul Redman PICTURE-PERFECT DAY FOR RAVINIA FESTIVAL There ha been a lot to celebrate at the Univerity of Illinoi recently, and for me it all connected on a picture-perfect day at the Ravinia fetival in Highland Park, IL. If you haven t been to the Ravinia Fetival, you hould conider attending. For the entire ummer world-cla artit and their fan including Juilliard String Quartet, Stephanie Blythe, Diana Krall, and Garrion Keillor converge at thi park to celebrate the art through concert, materclae, young artit program, fine dining, and over-the-top picnic. My huband Nathan Gunn wa lated to ing one of hi favorite role: Papageno, the birdcatcher of Mozart Magic Flute, with the Chicago Symphony Orchetra under Jame Conlon. Thi Magic Flute cat wa tellar. Nathan wa joined by the luminou Ailyn Pérez (Pamina), the titanic Morri Robinon (Saratro), and the virtuoic Erika Miklóa (the Queen of the Night). I ve had the good fortune to ee a few emi-taged opera in my time, but on thi occaion the CSO added omething new: John De Lancie, of Star Trek fame, acted a narrator (and ometime a cenery!) For me it wa an excellent performance, epecially with Nathan inging the entire role in a Hawaiian hirt and a baeball hat. In addition to the muical treat, we aw many Illinoi friend there: Preident Bob Eater with hi wife Cheryl, Chancellor Phylli Wie, Richard and Suan Herman, Dean Bob Grave, and Trutee Pam Strobel and her huband Ru. Alumni and friend were there a guet on behalf of the School of Muic National Adviory Council, particularly Paul and Ginny Uhlenhop and Lynd and Gene Corley. The Interim Director of the School of Muic, Jeffrey Magee, gave a warm welcome to all guet, epecially tudent from the new Chicago High School for the Art (ChiArt.) The School of Muic will be coming to Chicago for three pecial reception thi year at the Heritage Building by Millenium Park to introduce ourelve to tudent from ChiArt and the exciting program After School Matter and to reconnect with alumni and upporter. I hope to ee you there! Julie Jordan Gunn. Aociate Profeor of Accompanying w in t e r

8 Development Update Roger Laramee, Aitant Dean for Advancement, College of Fine and Applied Art Campaign provide financial reource to enhance brilliant future o n or i t i e 6 The pat year ha been a mixture of exciting achievement along with many change in the School of Muic. One major accomplihment i the ucceful concluion of the Univerity Brilliant Future Campaign. During the coure of thi effort, alumni and friend committed more than $1.6 billion to the Urbana-Champaign campu, and the entire Univerity campaign final total wa $2.4 billion. The College of Fine and Applied Art urpaed it $70 million campaign goal with commitment totaling $83.4 million, and a total of $18.9 million wa contributed on behalf of the School of Muic during thi Univerity-wide campaign effort. Of the $18.9 million contributed to the School of Muic during the Brilliant Future Campaign $6.5 million (34.5 percent) wa unretricted in upport of the School while $5.8 million (30.6 percent) wa devoted to aiting undergraduate and graduate tudent. Faculty upport included $5.7 million (30.2 percent) and the remaining balance upported academic program and facilitie. It i epecially ignificant to note the majority of thi remarkable amount of generou funding will upport the School of Muic in perpetuity a endowment in the form of cholarhip, fellowhip, and faculty upport. Alumni and friend who contributed during the Brilliant Future Campaign have provided reource that will change and influence live. The impact of our donor philanthropic pirit will provide opportunitie for future generation of Illinoi tudent to have acce to tranformative learning environment, influence from the finet faculty, and financial reource which make educational opportunitie poible. Gift made today will caue a ripple effect, will impact live and will be the force behind brilliant future. Thank you to all the donor who contributed to the future of the School of Muic at the Univerity of Illinoi. Their foreight and generoity will enhance the School and opportunitie for tudent who will be our future cholar, muician, and muic educator. All of u look forward to witneing how thee invetment create a brighter future. Ann and Ralph Maon Endowed Fund in Muic Dalheim Memorial Scholarhip Daniel J. Perrino Chair Dee Wood Frame Excellence in Muic Award Donald E. Meman Trut for the Marching Illini Band Dori Vance Harmon Scholarhip Dorothy A. and Claude R. Langford Endowed Chair in Muic Dr. Charle Leonhard Endowed Fund for Excellence in Muic Drumline Scholarhip Fund Edmund C. William Excellence Award Edmund Plazczykowki Memorial Scholarhip for Excellence in Muic Firt and Foremot Band Fund G. Jean Sutter Muic Education Scholarhip George M. Unger Endowment in Muic Gerald and Linda Anderon Muic Education Scholarhip Ginny Sherman Memorial Scholarhip Glen Strau and Krita Tereau Allerton Muic Barn Fetival Gregory S. Vaich Memorial Endowment Harry Begian Aitanthip in the Department of Band Howard A. Stotler Graduate Fellowhip IBQ Bra Scholarhip Jame R. and Candace Penn Frame Endowment Jame Ruell Vaky Merit Scholarhip in Muic Jerry Hadley Memorial Scholarhip Jeica Brennan Clark Scholarhip Joe Bartkowiak Memorial Scholarhip Fund John Garvey Jazz Scholarhip Joephine Daniel Endowment Fund June and Charle Ro Piano Fellowhip June and Charle Ro Piano Retoration LT Spence Scholarhip School of Muic Campaign Gift Commitment Academic Program Faculty Support Student Support A total of 11,311 gift were made to the School of Muic during the Brilliant Future Campaign and were made by 3,454 alumni, friend, corporation and foundation. The collective impact of thee donation will influence the School of Muic for generation to come. Lited below are the new School of Muic fund donor etablihed during the campaign with the Univerity of Illinoi Foundation: Martha S. Beerman Endowment Fund Mather Other Guy Performance Fund Michael E. Ewald Memorial Scholarhip Nichola Temperley Award for Excellence in a Diertation in Muicology Preer Foundation Fellowhip in Muic Robert Earl Thoma Award in Muic Education Roger R. Cunningham Fellowhip Stephen Blum Endowment for the Robert E. Brown Center for World Muic Steven Schankman Family Endowment in Jazz Studie Suan Starrett Chair in Violin Thelma Willett Piano Scholarhip Trotter Endowment Fund Facilitie Unretricted Varity Men Glee Club Scholarhip Virginia Summer Harroun Trut Wert Muic Advocate for Young Artit Award

9 The importance of private gift to the School of Muic increae every year. The State of Illinoi provide baic operating revenue for the Univerity; however, upport from tate government cover le than 14.6 percent of the total budget. So gift from alumni and friend are crucial to provide the margin of excellence that ditinguihe the UI School of Muic. We continue to evaluate new opportunitie and program that will help to enure our poition a one of the leading muic chool in America today. To reach our goal and to provide the bet poible education for our tudent, we mut have the proper reource in place. The following item repreent the current need and wihe of the School of Muic: Scholarhip and Fellowhip: Continued excellence depend in part on attracting the mot talented tudent from acro the nation and around the world. To remain competitive among the leading chool in the country, we mut be prepared to ait exceptional tudent. Chair and Profeorhip: Endowed chair and profeorhip erve a effective tool with which to recruit and retain cholar and performer. Renowned member of the faculty attract the mot talented tudent and the brightet mind to tudy at the Univerity of Illinoi. A artit and cholar, uch faculty member contribute to the world of reearch, creativity, and learning that are the Univerity principal miion. Building Infratructure and Equipment: Maintaining facilitie and equipment for our tudent and faculty take coniderable reource. To be competitive with our peer intitution, we mut continue to have outtanding facilitie and performance venue. Opera Sponorhip: The School of Muic produce two full-length opera each year. An opera production take coniderable time, effort, and money often in exce of $60,000. While ticket ale cover about half the cot of each production, additional upport will provide both tudent performer and audience member with operatic experience comparable to thoe found in major citie, while keeping ticket price reaonable. There are everal pecific giving opportunitie available for opera ponorhip each eaon. Unretricted Gift: In thee ongoing time of economic uncertainty, the School of Muic, like all intitution, need the flexibility to manage our financial reource in trategic way that continue to provide our tudent with the bet poible education. An unretricted gift will allow the School of Muic to invite viiting guet artit to give mater clae to our tudent, howcae our tudent enemble in run-out performance outide of Urbana-Champaign, ait faculty with recruiting the bet tudent in the nation, and much more. Conider making an unretricted gift to aure that your upport goe where it i mot immediately needed. We hope you will conider making a gift. If you are intereted in funding project uch a thee or would like to explore other opportunitie, pleae contact the School of Muic Development Office at (217) WATCH FOR THESE UPCOMING ALUMNI RELATION EVENTS Midwet Band and Orchetra Clinic December 19-22, 2012 McCormick Place Chicago, IL School of Muic to hot Illinoi event Illinoi Muic Education Conference Friday, January 25, 2013 Packard Plaza 211 Northeat Adam Street, Peoria, IL 6 8 p.m. Reception, Ballroom School of Muic Twenty-Fifth Annual Award Luncheon Wedneday, April 24, 2013 Alice Campbell Alumni Center 601 S. Lincoln Avenue, Urbana 12:00 2 p.m. Ballroom w in t e r

10 Outreach Update David Allen, Outreach and Public Engagement Director/Clinical Aitant Profeor of Muic Education o n or i t i e 8 Dan Perrino memorial event wa a wonderful tribute to a great man. I m ure that I peak for many who attended when I ay that even if you think you knew a lot about Dan, you only knew a lice. In order to ee the whole pie, you would need to interview the multitude of people who knew him peronally and knew hi work. Thoe of u who work to plan and promote our engagement program are well aware of hi work in Continuing Education and Public Service, and epecially hi work with Illinoi Summer Youth Muic. A Joyce Grigg and I prepared an article for the 2009 edition of Sonoritie, Dan wa intrumental in giving u a feel for the ISYM that once lived in Allen Hall and held concert under the Big Top. Hi dedication to engagement through muic i omething we hould all keep in mind a we engage through muic. Speaking of engagement through muic, ISYM 2012 wa a huge ucce a we increaed our enrollment by 100 participant. Our Pre-College erie and ISYM Academy continue to attract young muician who are looking for a muically challenging and fulfilling one-week experience. Another attraction that our 2012 participant enjoyed wa the addition of ukulele leon to our elective line-up (ee the entire lit of elective at We plan to expand thi for ISYM 2013 to fit demand. Our newet week-long program for 2012 were Compoition/Electronic Muic and Rock Band/Song Writing. Both went wonderfully and I am happy to ay we will be offering thee program again in Finally, we had a record number of participant who took advantage of back-to-back eion. Thi appeal to young muician who want to enjoy a large enemble experience and alo take part in an intrument pecific program. Our School of Muic Academy for high chool tring and piano player ha begun it econd year and ha proven to be an important addition to our engagement activitie. The performance level achieved by thee outtanding muician wa evident in their recital lat May. Pleae take a moment to hear ome of that performance at edu/somacademy. In November 2011 we celebrated the 100 year legacy of Paul Rolland teaching. Dr. Michael Fanelli preented a talk entitled Paul Rolland 2011: A Centennial Biographical Preentation of Hi Life and Work in String Education. Peter Rolland hared many of Paul teaching video a well a ome wonderful torie about Public Engagement Program for 2013 High School String and Orchetra Clinic February 9 Foellinger Great Hall, KCPA High School Chamber Muic Sympoium April 5-6 TBD Young String in Action (c. 1985) i one of Paul Rolland method book for beginner. CU Symphony-Young People Concert April Foellinger Great Hall, KCPA Supertate Band Fetival May 3-4 Foellinger Great Hall, KCPA Illinoi Summer Harp Cla June 6-8 School of Muic growing up Rolland. Lynn Denig and Nancy Kredel preented mater clae and Robin Kearton Bowdaciou String enemble worked with Peter Rolland on ome muic prepared pecifically for the event. In addition to thoe already mentioned, ditinguihed guet included Marvin Rabin and Dan Perrino. The event decription i available in the pat event ection of our Outreach and Public Engagement web page at outreach. Finally, I would like to thank all of our Alumni who upport our current tudent through hared opportunitie and career networking. Our repreentation in muic i trong acro the nation and daily I ee the work of our graduate, whether they erve a cooperating teacher, advior, or colleague, to our newet graduate. While there will be few who ever touch a many live a thoe touched by Dan Perrino, many of our graduate (myelf included) trive to provide for other opportunitie to be a part of the rich tradition and reource of Illinoi. Illinoi Summer Youth Muic Seion I - June Seion II - June Seion III - July 7-13 School of Muic

11 SOUNDS FROM JUPITER The Jupiter String Quartet i ready to give a world of muic to tudent and the community a the new tring quartet in reidence at the Univerity of Illinoi. By Emily Wuchner w in t e r

12 What thee young player brought to the Schubert wa both energetic firmne and fine nuance, qualitie that erved the opening movement and the extended et of variation in the low movement beautifully. THE NEW YORK TIMES o n or i t i e While a barn i not the firt place you would expect to hear a profeional tring quartet, it eem to hold a pecial ignificance for the Jupiter String Quartet. The quartet debuted a an enemble at the Yellow Barn Muic Fetival in Putney, Vermont in Nearly 10 year later, in the big red barn at the Allerton Muic Barn Fetival, the quartet made it debut a tring quartet in reidence at the Univerity of Illinoi. Compoed of violinit Nelon Lee and Meg Freivogel, violit Liz Freivogel, and cellit Daniel McDonough, the group erenaded a old-out crowd with muic by Ravel, Webern, and Schubert. We had a great audience; they were very attentive, Liz Freivogel aid. When we re playing we can tell they re right there with u. It let u do thing we wouldn t normally do. It a beautiful etting. Though the quartet found their firt performance venue in Champaign-Urbana charming, they are eager to call the Krannert Center for the Performing Art and the community itelf home. Originally baed in Boton, MA, the quartet i particularly cloe a Meg and Liz are iter and Meg i married to McDonough. All grew up litening to claical muic and taking individual leon, but each member wa drawn to the collaborative nature of the quartet genre. Freivogel aid, o that all member can contribute individually while alo working together to create a unified ound. I love that (the tring quartet) combine your own voice one on a part you can really have that individuality, but you re contributing to a larger whole Meg Freivogel aid. And becaue of that it i alway changing, your mind i working in a creative way o you are initiating omething, but you re alo alway reacting to each other. I think that a challenge and alo the beauty of it. The group pend ignificant amount of rehearal time dicuing how they want to communicate pecific feeling through the muic. Determining and developing the energy of the muic i crucial, Meg Freivogel aid. Such concept are alo dicued democratically o that everyone idea are conidered. One thing that we talk about a lot i becoming the character of the muic in a theatrical way, Meg Freivogel aid. Not in the way you move, but actually embodying the pirit of the muic, o epecially when we are performing, that what we re trying to feel and we re trying to get acro. So we really trive for that and let the technical thing fall into it, and I hope that come acro in our ound and in our interpretation. Lee add, It hard for u to have perpective on our own playing ometime becaue we re o Lee, Meg Freivogel, and The Jupiter String Quartet, including (l to r) Liz Freivogel, Daniel McDonough, Meg caught up in what we re doing. We McDonough met a tudent at the Freivogel, and Nelon Lee, met in 2001 and have been collaborating ince. don t necearily try to ditinguih Cleveland Intitute of Muic, where they occaionally played together in chamber enemble. When the trio of friend decided to form a tring quartet, they needed a violit to complete the group. Meg uggeted Liz, who wa tudying at the nearby Oberlin Conervatory. In 2001 the enemble began in the intene String Quartet Training Program at the New England Conervatory. The program focue olely on tring quartet playing and train group who intend to work together for year to come. It wa a way for u to really connect a a quartet through ound and technique, blending ound and playing off of each other, Liz Freivogel aid. It wa a great experience. The quartet gained inpiration for it name from the planet Jupiter, which prominently hone in the ky when the enemble formed. The connection can be extended ymbolically, a the atrological ymbol for the planet reemble the number four, and muically to Mozart Jupiter Symphony and Holt The Planet. The technique they learned through the String Quartet Training Program continue to influence how they unite a an enemble and create a ditinctive ound. The quartet trive for a democratic voicing, Meg ourelve in a different way. I think we jut try to be ourelve a much a we can. We try to preent the mot communicative and peronal interpretation of the muic that we identify with. And whatever happen after that, we jut let that carry over into the audience into how people react. Beethoven, Bartók, and Britten are among the quartet favorite compoer to perform, and lat ummer they performed Beethoven 16-quartet cycle in jut 10 day. In commemoration of Britten 100 th birthday next year, they plan to frequently play hi three quartet. They try not to limit themelve to one pecific era, tyle, or compoer, and often commiion new muic, which i evident in their divere repertoire. When building concert program, the quartet trive to find creative, often le obviou way of linking eemingly unrelated piece. While thi require a lot of reearch, the proce allow the enemble to better undertand the hitorical ide of the muic and what inpired it compoition. Thee idea are detailed in the program note, often written by the quartet, allowing the member to hare their thought proce firt-hand. Similarly, the quartet ha found creative way to connect the work featured on it two CD. The firt album, releaed in 2007, focue on the 10

13 Every o often a performance leave u in awe of it loving ophitication, it attention to the finet detail of balance and expreion. That how it wa with the Jupiter String Quartet performance Monday night of a Haydn F minor String Quartet (Op. 20, No. 5). THE DALLAS MORNING NEWS powerful and peronally reflective quartet written by Shotakovich and Britten during WWII. It mot recent album, releaed in 2009, include the lat quartet of Beethoven and Mendelohn, which the quartet reearch yielded urpriing reult. While one might expect Beethoven final quartet to be dark and dimal it i cheerful, and the typically lively Mendelohn final quartet i orrowful and turbulent. Since it formation the enemble ha focued on touring and fetival, but it alo ha fulfilled temporary univerity reidencie which typically include hort viit and concert throughout the year. Securing a permanent reidency ha alway been an important goal, not jut for the playing opportunitie but alo for the chance to join and contribute to a univerity community. When you re a quartet you do a lot of traveling to perform, and it can feel like you don t have any root, Liz Freivogel aid. We really liked the idea of building our own community to play frequently for the ame people and tudent to teach on a regular bai. Having root omewhere i omething really appealing to u. Before being awarded the poition at the Univerity of Illinoi, the quartet cheduled performance for the next two year. Depite it frequent upcoming travel, the enemble cheduled performance at Krannert Center a well a collaboration with cellit Dmitry Kouzov, pianit Ian Hobon, and the Illinoi Wind Symphony. McDonough aid thee collaboration were organized even before the member began packing for the move from Boton. We ve gotten o many nice from faculty, taff and tudent who I think are excited, and they kind of want to get the ball rolling, and they want to plan great muic and great concert, McDonough aid. It a nice feeling. Even the guy who helped me buy my houe wanted to know when we play. Beide performing and touring, teaching their own tudio i a new reponibility for the quartet member. All are eager to get to know their tudent, help them improve their playing, and hare their love of muic. I think all of u have alway loved teaching, o we are excited to both teach individually the talented tudent at the Univerity and alo get to coach chamber muic and the enemble there. Hopefully we ll be able to hare our paion for muic-making with them, McDonough aid. Ultimately, the member of the quartet view themelve a ambaador for the Univerity and the region. They hope that through their frequent travel they can promote the Univerity and attract tudent to attend the School of Muic. The quartet i alo intereted in collaborating All photo courtey of the Jupiter String Quartet. with other area of the Univerity, to trengthen tie campu-wide. Their Sept. 11 commemorative performance wa one way the quartet linked the community and the Univerity. Liz Freivogel aid the trong community tie will help the quartet better invet in outreach and concert, uch a Allerton Barn Muic Fetival. Ten year ago a yellow barn initiated a new beginning for the Jupiter Quartet. Now a red barn mark another new journey, which they hope to hare with audience throughout the campu, community, and region. UPCOMING PERFORMANCES February 17, 2013 Recital at Krannert Center Schubert Quartet in Eb D. 87 Britten Quartet no. 1 in D major op. 25 Dvorak Quartet in Ab major op. 105 April 13, 2013 Chicago Chamber Muic Society Mozart Quartet in D major K. 575 Brahm Quartet in C minor op. 51 no. 1 Though their perfomance take them to exotic location around the world, Liz Freivogel peak for the ret of the quartet when he tate: We really liked the idea of building our own community to play frequently for the ame people and tudent to teach on a regular bai. Vit to ee a full performance chedule. Emily Wuchner i a Ph.D. tudent and graduate teaching aitant in muicology. She earned her B.A in Journalim and Muic from Murray State Univerity in 2009 and M.A. in Muicology from the Univerity of Tenneee at Knoxville in w in t e r

14 o n or i t i e 12 DANIEL J. PERRINO (APRIL 15, 1921 AUGUST 17, 2012)

15 Danny Boy Muic, Perrino alway inited, wa hi paion, and hi life wa celebrated in muic performed by the Illinoi Wind Symphony (conducted wa probably the only one that people totally truted becaue he had no reolve the problem. Of all the adminitrator on campu, Dan Perrino by Robert Rumbelow), the Black Choru (directed by Ollie Watt Davi), agenda. Even if tudent wanted to tage a protet, Dan would find them a tudent he had mentored, and a re-gathering of hi Medicare 7, 8, or 9 jazz public addre ytem, former Dean of Student Hugh Satterlee aid. He enemble colleague. The formation of thi enemble hold a pecial ignificance in the hitory of the Univerity and the community. He would be going to a meeting at the Union, Broom recalled, and wa the bet-liked adminitrator that I knew of, bar none. In 1969 Perrino wa in the econd of what would be ix year a I d be going with him becaue he needed me to carry omething. But it Dean of Student Program and Service. From hi office on the corner of would take u 30 minute to walk the two block. Long-haired activit, Oregon and Matthew, jut outh of the old chemitry building, he could gray-haired faculty, tudent newpaper editor, and other would top and ee tudent demontrating againt talk with him. Intead of anwering A look at the life and legacy of Dan Perrino by Anne Michakoff Heile When the Saint (Went) Marching In for Danny Boy on September 9, 2012 at a memorial celebration of Daniel Perrino life, hundred of hi family member, former tudent, colleague, and friend paid tribute to him with adne along with warmth and joy in their memorie of the beloved man. A an adminitrator Perrino wa near legendary, but he wa alo recalled a o much more: teacher and mentor, huband and father, conciliator, and parkplug for at leat a dozen program. But he i remembered epecially a a muician. No to requet, he would ay, Let talk about that. Dan wa the only peron not conidered one of them but rather a omeone truted by both tudent and adminitration. Perrino anwer to many of the tudent concern wa to tart or facilitate an array of program. One wa a Rumor Center, modeled on the mayor program in Chicago, which began in Perrino office in March 1969 and wa run by tudent. It intent wa to oberve what wa actually occurring on campu to quell exaggerated or fale rumor reported locally and elewhere. Faculty and adminitrator had become fearful of demontration turning dangerou and even of ome activit leader. Perrino worked to have them meet face to face with the activit. For example, he introduced one frightened dean to John Lee Johnon, a black community leader, over drink at the Capital Bar (later the ite of Murphy ). Dow Chemical for it production of napalm and Agent Orange, ued in the Vietnam War. When the Claybaugh Act forbade ubverive from peaking on campu, till more tudent came out to protet. Student quetioned the relevance of their coure; they ditruted adminitrator. Medicare 7, 8, or 9, ometime called Perrino ignature achievement, began on November 20, 1969, a an effort to overcome that growing ditrut among tudent, faculty, adminitrator, and the CU community. The warine had firt bubbled up earlier in the 60 with battle for Civil Right and wider participation in univerity governance, a well a againt the Vietnam War. Activit tudent wapped their neatly preed khaki, tobacco, and crew cut for dirty jean, marijuana, and long hair. Peaceful demontration and it-in turned more violent after enactment of a draft lottery, aaination of Martin Luther King, Jr. (April 4, 1968) and Robert Kennedy (June After tudent began throwing rock and breaking window on the campu and Green Street, he brought together buine people and tudent 6, 1968), and enuing riot in Chicago, Detroit, and elewhere. Tenion built on campue acro the country. for talk. Soon tudent volunteer were tanding in front of torefront to Perrino and hi taff had ear to the ground: the tudent reporting the protect them. campu talk back to hi office. According to Willard Broom, then a junior Student had taken over the South Lounge of the Illini Union building a the tage for their peeche. Perrino and hi taff firt etablihed and later Aociate Dean of Student, Perrino and hi taff ought way to a w in t e r

16 o n or i t i e Dialog program, with prominent faculty member itting in the Lounge and talking about anything the tudent wanted to talk about. A Perrino recalled, during one uch Dialog eion, trumpeter and muic profeor John O Connor came by and aid, How are thing going? Well, I aid, I think they are going OK, but there i a lot of tenion here. And he aid, facetiouly I thought, What you need here i ome jazz. So we got a group of faculty member together and went there. We played jazz, and it opened up a new avenue for dicuion. Jamming unreheared Dixieland, the band wa a mix of adminitrator (Dan Perrino a announcer and on axophone, Stan Rahn on clarinet and a vocalit, Art Proteau on banjo), faculty (John O Connor on trumpet; Mo [Morri] Carter on trombone), and tudent (Terry Gate on tuba, Charle Braugham on drum, Larry Dwyer on piano, Willard Broom adjuting ound level). Some 75 tudent litener grew to a tanding-room-only crowd of 500. When a reporter aked Perrino how many player were in the group, he aid, Seven, eight, or nine, depending on how many how up. Rahn added, Well, I gue conidering our age, you could probably call u Medicare 7, 8, or 9. According to then-chancellor Jack Peltaon, the band cloed the generation gap, the town-gown gap, and the racial gap. I wih I could ay that wa exactly the way we expected it would happen. We didn t know, Perrino aid many year later. That firt [performance] could have triggered omething negative, and then it would have been a complete but for u and I might have been demoted! We were lucky that thing didn t go the wrong way, but I think it i a credit to the taff we had, acknowledging Willard Broom, Dave Bechtel, and other tudent. They all felt that need for communication becaue they knew that a long a you are talking to one another, you aren t hooting one another. Eve Harwood, retired Profeor of Education and Aociate Dean of Fine and Applied Art, commented, It wa an incredibly brave thing to do; they could have jut got laughed out of the Union or got pitball. It took ome viion and it took ome gut. Over the year Medicare 7, 8, or 9 gave more than 2,000 concert acro the nation in all ort of venue for alumni group and for youngter, from Krannert Center to Wrigley Field Perrino managing the cheduling, programming, and rotation of well over 100 muician. Loui Liay, Executive Director of the Alumni Aociation, wrote, They are the greatet ambaador the UI ha ever had. Dan wa Mr. Outreach. I immediately took to him becaue both of u had parent who were born in Italy and teacher who opened the door for u. At one Philharmonia concert that I conducted an evening concert that he came out for when he wa already 85 he came backtage to greet me, which really touched me. I aked, Well, Dan, how did you get here? and he aid, By cab. And I aid, We ll give you a ride home, pleae. Oh, I ll jut call a cab. It wa at leat 9:30, o we inited. Over the year I ran into him at SoM event. Lat year I wa the recipient of the Daniel J. Perrino chair in muic education. And he came up to me on the treet thi pat year, aying, Hey, you have my chair! Loui Bergonzi, Daniel J. Perrino Chair in Muic Education, Profeor of Conducting and Muic Education/String and Conductor of the UI Philharmonia Orchetra One of the graduate tudent who played trombone with Medicare in the mid-1980 wa Erik Lund, now a profeor of compoition: I quickly learned what a pecial man Dan wa, Lund recall. On one occaion Medicare played in the Chicago area, and my parent came to the concert. I introduced them to Dan, and he promptly invited them to dinner with the band. They were tunned by Dan immediate and genuine generoity and hopitality. I wa fortunate enough to travel with Medicare to the Eat Coat, where I wa amazed to ee how Dan eemed to know people everywhere. And when our hot introduced Dan and the band at our concert, in city after city, the outpouring of love and repect for Dan wa alway abundantly evident. Another young trombonit to play with Medicare wa compoer Morgan Powell, who went on to enjoy a warm friendhip with Perrino and to play at hi memorial. Another program Perrino began in repone to the unret wa Quad Day. The firt one in 1970 included repreentative from campu activitie and organization, including religiou organization and the YMCA. With Fribee flying, a Yo-Yo competition, Slip and Slide with platic and oapy running water, volleyball game, and muic making, tudent, police, adminitrator, and faculty were all talking with one another. It wa like a county fair, Willard Broom aid. Loui Bergonzi, Profeor of Muic Education who alo hold the Daniel J. Perrino chair aid, It wan t that he ignored the iue: the iue were till there Civil Right, poverty, the Vietnam War but he focued on the people. He wan t out to cure poverty or top the war; he wanted to attend to people and bring them together and diffue the [tenion] o that progre could be made on thoe iue. 14

17 It one thing to get a program running when you re in charge of it; it another to get it intitutionalized, which mean you have the viion to ee omething that really need to happen and you get other people to buy in o that it outlat you. That rare. Perrino with ditinguihed alumna Sheila C. Johnon a noted entrepreneur, philanthropit, and muician who etablihed the Daniel J. Perrino Chair in Muic in Perrino aited in the creation of La Caa Cultural Latina to recognize the contribution of Hipanic and Latino/a tudent, faculty, and taff at the Univerity and in the central Illinoi region. He initiated program and activitie that would complement their education. Between 1961 and 1967 Perrino alo became involved with the Civil Right movement and the black community. He aited in the creation of the African-American Cultural Center (etablihed in 1969), providing a upport ytem for tudent with adviing, couneling, program planning and implementation. Another program he worked on wa the Project 500 (1968) to provide equal educational opportunity to black and Latino tudent to attend UI; that year 565 tudent began tudie in the program. Dan loved mentoring minority tudent and other who felt they were getting overlooked, and he found unuual, creative way to get thing going if they were needed, Eve Harwood aid. That a gift a an adminitrator. He could get a ytem in place that lat. It one thing to get a program running when you re in charge of it; it another to get it intitutionalized, which mean you have the viion to ee omething that really need to happen and you get other people to buy in o that it outlat you. That rare. Among the many UI tudent Perrino mentored wa a violinit named Sheila Crump Johnon who went on firt to become director of the Youth String in Action, co-founding partner of Black Entertainment Televiion, CEO of Salamander Hopitality, a noted philanthropit, and much more. Johnon wa awarded an Alumni Achievement Award in She gave $4 million to endow two SoM chair, one of which he tipulated hould be named after her mentor, Daniel J. Perrino. Perrino received numerou award, including the Alumni Aociation UI Ditinguihed Service Award, 1981; the Governor Award for the Art in Illinoi, 1982; the School of Muic Ditinguihed Alumni Award; the Chancellor Medallion, 2001; and the Lou Liay Spirit Award, 2002, from the UI Alumni Aociation. Over the year I have been fortunate to get nice award and plaque, Perrino aid, but the one that I probably appreciated more than any i a little plaque igned by Terry Townend, thanking me for whatever I wa doing at the time by the black community. Perrino had helped tart a drum corp and muic guitar lab in the community, and helped organize the Twin City Gopel Choir. In 1968 four black tudent topped to talk with Perrino, haring with him their wih for a choir on campu imilar to one they knew in larger citie that gave the level of comfort and familiarity available in inging piritual, gopel muic, and anthem. That led him to help them etablih the Black Choru, firt directed by Robert Ray. Profeor Ollie Watt Davi, who ha directed the group ince 1981, relate how fortunate he ha alway felt in having had Perrino upport and encouragement of the Black Choru and her career, a a tudent and a a faculty member and concert artit. He wa o graciou, gentle, and kind, and hi demeanor and commitment to muic tudent and hi community continue to inpire me. Perrino ent her the recording he had kept of the Black Choru early year and he kept the verion of Happy Birthday he wrote out and mailed her. Jut lat April 2012, he attended the Award Luncheon, and Davi wa able to ing Happy Birthday back to him when he had jut turned 91. *** Perrino wa a middle child, born Vito Joeph Perrino. Hi father, Dominick, immigrated to the U.S. by himelf at age 10, going to South Dakota to work with the railroad, eventually ettling on the outhwet ide of Chicago, and marrying Pietrina DiVincenzo, another Italian immigrant. Vito iter diliked hi name and introduced him on hi firt day of kindergarten a Danny; the name tuck (he changed hi name legally to Daniel only in 1982). The family lived near what i now Midway Airport in a blue-collar melting pot of a neigh- w in t e r

18 Many of Perrino accomplihment within the SoM have become o deeply rooted that it i hard to imagine that they were all the initiative of thi one adminitrator. o n or i t i e borhood where they were the only Italian. Muic featured prominently in the family home. Even during the Depreion, Perrino father managed to take him to the opera, vaudeville, and to hear Bing Croby, Fanny Brice, and Guy Lombardo: Guy Lombardo wa a very popular big band, and I aw the front row of hining gold axophone, and that wa what I wanted to play. So my father bought me a oprano axophone for $25. Young Perrino began olfège leon from a friend of hi father, who told him he hould tudy piano. Danny tood up for himelf and inited alo on playing axophone. He tudied at Chicago Hull Houe. It wa a tough neighborhood, however, and in the eventh grade Perrino joined a gang for protection and becaue it had a oftball team. He uffered a lot of bullying, probably not only becaue he wa of Italian decent but alo becaue he wa hort. He walked around with rock in hi pocket or carrying a tick; one weapon of choice againt bigger boy wa tomatoe with rock in the middle of them. He found himelf in plenty of tight pot trying to ecape bullie, and once he wa caught in a ewer where he wa recued by a policeman and then, to add inult, everely reprimanded in public by hi dad. Perrino attended Kelly High School. One day omeone tole hi axophone and the book from hi locker. When Dan heard that he would have to pay for the book, he thought he hould be reimbured for at leat the intrument. I told (the principal) he wa crazy if he thought I wa going to pay for my tolen book and he wan t going to pay for the horn. The principal lapped him for hi inolence, and Perrino knee-jerk reaction wa to kick him in the leg and run. He wa ent to the large, all-boy Tilden High School in enemy territory near the tockyard, one of the roughet neighborhood in Chicago. After one particular run-in with bullie, Perrino cut chool for 78 day, hiding in movie theater. Hi iter finally arranged a meeting that allowed him to tranfer back to Kelly, which by then had a new principal. Perrino led a dance band at chool and by the time he graduated in 1939, he had already played jazz in a variety of club and theater. He acquired the nickname 62 inche of Swing. After a year at the Univerity of Chicago and the Chicago Muical College, Perrino tranferred to UI in fall 1940, drawn to it by hearing A. Autin Harding band. But Germany occupied Pari, and wa moving into Greece. I remember in a peech cla I had to defend why I wa a noniolationit, he aid, recalling how he received a failing grade from hi iolationit teacher. In thoe day you were thinking about the war and eeing clamate going off to it. Perrino in the UI ROTC hore artillery. Ironically, he had never ridden a hore before joining. My roommate... told me that he thought it would be good for me to make ure I got in the ROTC to work toward getting into the officer corp. Perrino igned up and in January 1943 attended Office Candidate School. I fell in love with the ROTC program. It really helped me with leaderhip opportunitie, and I attribute any kind of adminitrative ucce that I ve had to my work in the Army. I learned an awful lot being in the military. I ended up a commanding officer in Europe and the Pacific and came out a Captain. Perrino alo attributed hi drive, aertivene, and creativity in hi ubequent adminitrative career to hi wartime experience. Stationed a a communication officer in the Southwet Pacific Theater with the 77 th Diviion, Perrino remained there during the occupation of Japan until He wa aked to lead an army dance band to help boot the morale of the American troop and bridge the gap between the American and Japanee people. For ix month after the Japanee urrender, he led a muical group that toured Japan. I remember we were getting ready to leave on the train for Sapporo, Perrino aid, telling one of hi favorite torie from the occupation day. There had been a foul-up. We were uppoed to have a reerved car for all 22 band member, performer, and our intrument, but it turned up full of Japanee civilian. And you have to remember at that time, Japanee railroad car were much, much maller than American one, o thing were pretty tight. Well, the Japanee travel mater wanted to pull all of thee people out of the car o we could board, but I told my interpreter that perhap we could all fit. It wa a pretty tene ituation. Pretty oon, one of (the band member) hauled out hi guitar and tarted trumming it to demontrate a certain chord progreion. Then, out came other intrument and pretty oon we had a jam eion going. When the muic tarted, it jut broke the tenion. Smile tarted to break out on the face of the Japanee, and before we knew it, all thi food tarted coming at u. 16

19 With bride Marjorie in It wa in Japan that Perrino dicovered hi own ambition to be a teacher when he began organizing community muic group and acquainting children with American muic. He alo arranged for the GI to combine voice with a women choru for a Chritma program, complete with a Santa and Jingle Bell. After 42 month in the ervice, Perrino returned to finih hi BME degree in 1948 and MS degree in He met hi lifelong partner, Marjorie Aileen Galutia, who wa firt chair axophone in the UI band. Two week after graduation, in 1948, they were married. The couple went on to have three children: Donald, Michael, and Debbi, a well a three grandchildren, David, Liza, and Carie. With hi degree completed, Perrino wa hired a director of muic and conductor of the band at Macomb High School ( ). He wa recruited away to become director of band and muic education at Quincy High School ( ), and then to aume the ame poition at Urbana High School ( ). Steve Shoemaker, who wa a trombonit in the UHS band, remember that Perrino led the player in Tchaikovky March Slav, Repighi Pine of Rome, and even work by Shotakovich, unuual band repertoire for the The tudent loved him. He wa enthuiatic, litened, and cared about u. He tarted a jazz band that played at Friday night dance and at the Stage Show, an end of the year talent how with inger, dancer, and ye, even Rock & Roll tudent group. He taught me to appreciate all type of muic. The 1959 high chool yearbook wa dedicated to Perrino. Shoemaker, retired a miniter at McKinley Prebyterian Church/Foundation and executive director of the Univerity YMCA, ay Perrino exemplified the Rotary Club miion of building bridge and avenue through ervice. Roger Ebert wa another UHS tudent when Perrino aked him to emcee the Stage Show in 1956 and In hi debut evening a emcee for the band performance, Ebert wa undertandably quite jittery. He had Courtey of the Univerity of Illinoi Archive. Courtey of the Univerity of Illinoi Archive. uch patience for young people, Ebert wrote. I clearly remember having an attack of nerve a emcee for one of hi band concert, and how did he handle it? He aked me again for the next one. In an interview in June 2012, Perrino told Jeff Boert how pecial Ebert wa a a tudent, alway thinking and fitting the right tatement in the right place. Sometime when you get omebody who i an emcee, they talk too much. About ix year ago, Perrino ent Ebert a caette tape of that econd how, which he had aved for nearly 50 year! Perrino wa happy at UHS o that when the UI School of Muic Perrino a Dean of Student. director invited him to join it faculty, he firt declined. But hi former advior took him out to Steak n Shake and told him: You can t turn down a univerity job. In February 1960 he accepted a joint appointment a Aitant Profeor of Muic and Muic Extenion. Perrino mied the interaction with tudent. The next year, however, he became director of Muic Extenion and the Illinoi Summer Youth Muic program, where he had contact with both high chool and univerity tudent. He brought energy to the Extenion program, helping to arrange tour for enemble, increaing enrollment in ISYM, etablihing in-ervice training program for teacher, and etting up workhop for tudent inger and intrumentalit. Perrino (right) a director of Muic Extenion and the ISYM program in After Perrino tenure a Dean of Student Program and Service, he became Aociate Dean of the College of Fine and Applied Art in When he heard that the tudent were indicating that they needed to get involved in more creative experience, Perrino deigned and taught a popular coure called Exploring the Art. Eve Harwood, one of hi adminitrative ucceor at FAA, aid It a legacy coure that continue for non-art major to get a tate for the art, uually three different one. They might be anything from Kabuki theatre, gla blowing, jazz, or dance notation, to architecture. w in t e r

20 o n or i t i e Many of Perrino accomplihment within the SoM have become o deeply rooted that it i hard to imagine that they were all the initiative of thi one adminitrator: he etablihed the SoM Student Leaderhip Committee ( ), it fall open houe for propective high chool tudent, it Award Luncheon and Program, it commencement ceremony, and it development program. He alo reorganized the SoM Muic Alumni Aociation. Beyond thee initiative, Perrino anticipated by decade three practice in contemporary muic education. Bergonzi enumerate them: He wa involved in jazz even in the early 1960 when the muic education profeion wa aying, The Beatle and jazz are nice, but we don t have room for them in the claroom. Perrino alo anticipated by 40 to 50 year the idea that muic education goe beyond K-12 to community muic, wherever muic making occur, a an opportunity for muic tudent. Third, Perrino had long ued rote teaching, what educator now refer to a Ear to Eye or Rote to Note. Univerity Archive from 25 former adminitrator about campu event from 1968 to Beide volunteering for divere organization (Rotary, Habitat for Humanity, Illinoi Art Council, Illinoi Park and Recreation, and more), Perrino continued to mentor young people until the end of hi life. Molly Netter wa one of them and aid, He taught me how to ing jazz and American ong with the right tyle, to relax into the beat, and mot importantly to look at each piece with an open heart and perform it with incerity. Harwood got to know more of Perrino through her daughter, Molly: He a peron that connect with people. Dan could meet a thouand people and remember every one of them. If you had an interet, a little park to you, or were a peron with omething to give, Dan would find a way for that to happen. Perrino knew to match audience, ong, and muician When we have an older audience, we try to elect tune they are familiar with, he told Nancy Gilmore. With children, on the other hand, there wa more of the tory With faculty who complained about activit tudent, Perrino ued to anwer You know, you guy have a reponibility, too. You have tudent in your claroom whom you could talk to. He advied them to liten more. I can t tell you how many time I d ay that I wan t ure if I could do anything, but I d certainly look into it. Perrino continued hi work in the SoM a Director of Continuing Education in Muic and ISYM and a Coordinator of Alumni Affair and The original Medicare 7, 8, or 9. of jazz and a how-and-play of the intrument. Uually, Perrino aid, the group would tart out with a grabber omething infectiou like Sweet Georgia Brown and end with a good finih uually When the Saint Go Marching In. Band member watched face in their audience a a barometer to gauge reaction. He loved to bring muic to audience. He undertood very well how to entertain an audience. It wa a combination of muic that Performing with jazz pianit Rick Murphy. Development in the He retired from the wa acceible and extremely well performed, Univerity in 1988 for at leat a few month. But hi kill and retle energy returned him to erve part-time a coordinator of Alumni Affair for the SoM, ; a chair of the Chancellor Tak Force on Ethnic and Cultural Diverity, ; coordinator of Medicare 7, 8, or 9 performance until 1998; and creating a enior alumni/retired faculty program, Perrino and Hugh Satterlee, retired Ombudman and Harwood ay. Maureen V. Reagan call Perrino a muic educator from the heart whoe action were moved by love, joy, and repect. She remember how he coached young inger in electing program from the Great American Songbook, howing them how to couple their inging with talking to the audience to make performance more peronal. And many of thee young muician appeared in the Krannert lobby a pre-concert how, an Dean of Student, then coordinated the gathering of an oral hitory for the 18

21 Dan wa one of thoe people you never forget. I would ay, in a matter of a few day, he ll know everyone in heaven. idea forwarded by Perrino. He wa like a grandfather to them, Harwood aid. Richard Murphy, muic teacher at the Univerity Laboratory High School recall how Dan loved people who had a zet for haring, being friendly, and opening Perrino with wife Marge. their heart to muic. He wa a tirele upporter of people of all age, but he epecially loved energetic young people. Murphy and Reagan quickly lited example: Abby Burgett Crull, Caitlin Caruo Dobb, Courtney Huffman, Ingrid Kammin, Rachel Klippel, Mary Prot, Allion Semme, violinit Annie Rong, among other. The encouragement of young people extended to the children of hi acquaintance a well. For example, he wrote a formal letter of congratulation on January 18, 1994, to newly deignated Eagle Scout Dan Bechtel: Bravo on your election and progre to include the pretigiou Eagle Scout ditinction. Thi i, of coure, quite an honor. You mut indeed feel good about yourelf a well a making your family proud of all your accomplihment... I know you will continue to achieve excellence in whatever you do, imply becaue you are a peron who peronifie excellence. And Dan Bechtel went on to fulfill Perrino faith in him, becoming an award-winning math teacher at UHS and recipient of the Gene Amberg Excellence in Teaching Endowed Chair. Throughout hi later year, Perrino continued to care for people he met and heard about. One of Medicare pianit, the wonderful and amazing 9 Don Heitler, recalled how hi colleague picked him up from the nuring home after Heitler mother had died. The world could ue 100 more Danny right now. Erik Lund, too, experienced that caring firthand: I ran into Dan one day at the local grocery tore. Somehow we got onto the ubject of macular degeneration of the eye, which Dan uffered from, and I mentioned that my iter-in-law had recently been diagnoed with the dieae. Later that afternoon Dan wa knocking on my door with a folder full of literature about MD for me to hare with my iter-in-law, omeone he had never met. Friend like to recall other very human apect of Perrino. Suzi Duker tell that finding a parking pot on campu wa never a problem for Dan. He would imply leave the car running and the door open. One time he left it for three hour and found the car had run out of ga! Other recall hi love of food. He wa a regular at Sam Club, an aficionado for whom there could never be too many double chocolate-fudge muffin or apple pie. Perrino wa quick to recommend food hop and retaurant in the Italian ection of Chicago along Taylor Street near Halted. One time he took Erik Lund with him to Chicago: The retaurant, the deli, the lamb hop, the patry hop. Dan knew the owner in every pot, and it wa clear that he wa till family to them. On another occaion Perrino talked with an acquaintance at an evening party about the old neighborhood culinary treaure. The next day, he ent the man a three-page letter, complete with irreitible decription of 10 place that he recommended for variou food, including the Conte di Savoia Grocery Store, the place where Al Capone family hopped many year ago. He included a neatly hand-drawn map of the area noting each place location. At Perrino 90 th birthday party (poted on YouTube), when people tarted inging Happy Birthday, Dan went to the piano to accompany the friend inging, calling out, In the key of F! He went on to play Hail to the Orange, Daiy Bell, and Mona Lia on the piano he had made ure wa purchaed for the new Alumni Center. Edward Rath, former Aociate Director of the School of Muic, remember Dan a a bundle of friendly energy. Sharing the entiment of many, he ay, If we all aimed to be more like Dan, even if we were to fall hort of the goal, the world would be a better place. Paul Duker, who firt met Perrino a a high chool tudent in Quincy, gave him a fine a ignoff a any: Dan wa one of thoe people you never forget. I would ay, in a matter of a few day, he ll know everyone in heaven. Thank you to Loui Bergonzi, Eve Harwood, Molly Netter, Richard Murphy, Ollie Watt Davi, Roger Ebert, Eric Lund, Steve Shoemaker, Maureen Reagan, and Edward Rath, Jr. for haring their thought and memorie on the life of Dan Perrino for thi article. Quote from Perrino and elected other are borrowed from The Oral Hitory Project, the Dan Perrino Paper, Nancy Gilmore The Magic of Medicare 7, 8, or 9 and All That Jazz, The Chicago Tribune, Inide Illinoi, The Quincy Herald-Whig, and article from illinoi.edu. Anne Michakoff Heile, who earned a D.M.A. from the Univerity of Illinoi, ha taught at UIUC a a viiting profeor in the Muic Education Diviion. She ha taught viola, chamber muic, and muic hitory at the Univerity of the Pacific, California State Univerity, and Northwetern Univerity; and he played viola a a member of the Detroit Symphony and wa a regular ubtitute in the Chicago Symphony. She ha written three book and dozen of article, one of them winning a national award for educational pree. She i a pat national preident of the American String Teacher Aociation. w in t e r

22 MORAL FIRE CONVOCATION SPEECH TO THE GRADUATING CLASS OF 2012 by Joeph Horowitz o n or i t i e 20 A lot of the writing that I ve done over the pat 25 year ha explored the tory of claical muic in America in it mot dynamic period the late nineteenth century. Here a vignette: the Metropolitan Opera preented the premiere of Wagner Tritan und Iolde in When the curtain fell on Iolde Liebetod, tunned ilence enued for a period of minute. Then a we can read in the Muical Courier women in the audience tood on their chair and creamed their delight for what eemed hour. Here a econd anecdote about the ame event. In the third act, Wagner ha Tritan tear the bandage off hi wound when he ee Iolde hip approach. The wound bleed copiouly, and Tritan expire. When Albert Niemann, the Met firt Tritan, tore hi bandage and bared hi wound, many in the audience wooned. At ubequent performance, the bandage remained intact. I don t think that thi tory i about an audience timidity; what it document i an unbearable intenity of experience. I would ugget that at leat four ingredient account for the atounding urgency and immediacy of thi epochal 1886 operatic performance. The firt of coure i Wagner opera it wa radically new. The econd i the condition of the people who wooned and creamed. That the vat majority of Wagnerite in late nineteenth century America were women tell u that Wagner anwered powerful need, need for elf-realization not otherwie anwered for in the coreted and equetered Gilded Age houewive and mother. The third ingredient i the Metropolitan Opera of the 1880 and 90 never again would the Met be uch a hotbed of innovation and experimentation. It viionary matermind wa a charimatic conductor who had lived with Wagner almot a a urrogate on: Anton Seidl, the central miionary for Wagnerim in the United State. Fourth, and finally, American of the late nineteenth century were acutely uceptible to ophiticated art and culture: it crucially helped them to dicover and define who they were, and what America wa a a nation. I have a new book, publihed thi month, titled Moral Fire. Here are three entence from my introduction: If creaming Wagnerite tanding on chair are unthinkable today, it i partly becaue we mitrut high feeling. Our children avidly pecialize in vicariou form of electronic interperonal diverion. Our laptop and televiion ennare u in a urrogate world that hun all but facile paion; only Jon Stewart and Bill Maher hare moment of moral outrage diguied a comedy. Photo by Maggie Horowitz The full of title of my new book i Moral Fire: Muical Portrait from America Fin de Siecle. The portrait are of Laura Langford, who preented Wagner concert 14 time a week in ummertime at Coney Iland; of Henry Krehbiel, the onetime dean of New York muic critic; of Charle Ive, arguably the mot important concert compoer that thi country ever produced; and of Henry Higginon, who invented, owned, and operated the Boton Symphony Orchetra. The binding theme i that all four of thee heroic individual embraced the notion that art i morally empowering. They inhabited a moment half a century before the muic lover Hitler and Stalin dicredited art a a moral beacon. But we can till, I believe, draw inpiration from their example, and from thoe creaming Wagnerite at the Met. Thi afternoon, I would mainly like to ponder the aga of Henry Higginon and hi Boton Symphony it getation and ubequent hitory and ak what leon thi hitory might teach today. Higginon wa not born to wealth. A a young man he went to Vienna to become a muician. When he dicovered that he lacked ufficient talent to excel, he adopted a different life plan: to ama enough capital to create a world cla orchetra for the city of Boton. He entered the family buine, which happened to be banking. Then, in 1881, at the age of 47, he placed an announcement in every Boton paper headed in the interet of great muic. What Higginon announced wa the creation of a Boton Symphony Orchetra, wholly financed by himelf. It would perform twice weekly, October through March. It memberhip would be table no playing for dance on rehearal or performance day. Alo, a certain number of 25 cent ticket would be et aide for all performance becaue Henry Higginon wa a cultural democrat. By 1900, Higginon Boton Symphony wa already internationally acknowledged a a great orchetra. It wa already a catalyt for the creation of important orchetra in Cincinnati and Chicago. It already gave more than 100 concert a eaon. It already offered a ummer erie of Promenade concert today Boton Pop. In format, length, and ritual, it concert were virtually identical to the Boton Symphony concert of today. That by 1900 Higginon orchetra looked and ounded like American concert orchetra a century later either document reilience or inertia: reitance to change. Meanwhile, the world wa changing and in way that impacted on the ymphonic experience. A ueful criterion in aeing any cultural event i ene of occaion. Higginon wa lucky: hi concert created a ene of occaion automatically. In 1900, you couldn t hear an orchetra in your living room on the radio

23 or phonograph. Alo, orchetra the caliber of Boton were few and far between. Alo, Higginon audience wa keenly inquiitive about new muic: new ymphonie by, ay, Dvořák and Tchaikovky. Alo, Boton audience equally appreciated local compoer. Everyone undertood that George Chadwick wa no Beethoven but every new ymphonic work Chadwick compoed wa promptly premiered by Higginon orchetra. Theodore Thoma, the founding father of American ymphonic culture, preached that a ymphony orchetra how the culture of a community. Higginon Boton Symphony did that. If thi late Gilded Age moment mark the apex of claical muic in America, that becaue it a moment buoyed by a central apiration, an apiration influentially purued by Antonin Dvořák a director of Jeannette Thurber courageou National Conervatory of Muic the apiration to create for American orchetra and opera companie a native repertoire of opera and ymphonie that would gird American claical muic to come. But thi never happened. We intead acquired a mutant muical high culture, a Eurocentric culture privileging materpiece by dead European. How that happened and why are quetion that have long preoccupied me. Certainly, after World War I, viionarie like Higginon or Thurber, or Dvořák, or Anton Seidl, or Henry Krehbiel, or Theodore Thoma were little in evidence. Intead, the central powerbroker for claical muic wa a buineman: Arthur Judon, who imultaneouly ran the New York Philharmonic, the Philadelphia Orchetra, and Columbia Artit Management the major booking agency for conductor and olo intrumentalit. It wa Judon frank opinion that an orchetra programming could only go a far a the public will go with u. Thi notion that the audience et tate wa omething new, a conceion unknown to the pioneering tatemaker of turn-of-the-century America. With the advent of recording, of radio and TV, orchetra could be heard at home. With the advent of modernim, audience were etranged from contemporary muic a never before. That every concert would generate a ene of occaion, a in Higginon Boton, could no longer be aumed. All of thi challenged orchetra or might have to rethink the concert experience. Then came exigent challenge of another kind. Since 2005, the average orchetral deficit and mot American orchetra run deficit ha more than tripled. Claical muic participation ha dropped 30 percent over the pat two decade. Cot continue to rie fater than revenue. According to Jee Roen, who head the League of American Orchetra The current problem are not cyclical problem. The receion ha merely brought home and exacerbated long-term problem. And here one more tatitic according to a urvey of Philadelphia Orchetra ubcriber by reputation, a conervative body of litener only 21 percent are in favor of tandard format concert with no talking. Thi hunger for information, I would ay, reflect both fatigue with buinea-uual among old litener and the growing need of new litener. I cannot recommend a panacea. But I d like to cite one ign of contructive change. A never before, American orchetra are experimenting with what known in the field a contextualized programming explicating muic in the context of cultural and political hitory, and in relationhip to literature, the viual art, dance and theater. The Chicago Symphony call it Beyond the Score. The New York Philharmonic ha ued the rubric Inide the Muic. Philadelphia offer Acce Concert. In particular, a landmark $300,000 grant from the National Endowment for the Humanitie upport a conortium of orchetra intent on aborbing contextualized program not a a tangential option, but a part of their central artitic miion. During the eaon jut concluded the firt year of thi NEH Muic Unwound initiative three orchetra performed Dvořák New World Symphony in tandem with a viual preentation retoring the cultural vocabulary of the ymphony firt New York audience, culling pertinent excerpt from Longfellow The Song of Hiawatha, culling iconic painting of the American Wet by Albert Bietadt, George Catlin, and Frederic Remington. The Buffalo Philharmonic Dvořák and America fetival incorporated an event at an art mueum exploring the relationhip between Dvořák ymphony and what art hitorian term the American ublime. The North Carolina Symphony Dvořák fetival, lat February, linked to 11 th grade American Hitory claroom that made Dvořák American ojourn a major curricular component. When the Pacific Symphony Youth Orchetra did it Dvořák fetival, lat March, all 100 member of the orchetra, grade 9 to 12, tudied the Dvořák tory in detail, and inquired into the poible impact of extra-muical reading on the way muician hear and interpret Dvořák American ymphony. The ucce of thee fetival all the participating orchetra are eager for more ugget that today orchetra, unlike Henry Higginon Boton Symphony, cannot take their miion for granted. Thi i a moment for orchetra to refreh and even to reformulate their reaon to exit. And I would like to further ugget, in cloing, that thi leon may pertain to young artit uch a thoe aembled here today. Certainly thoe of u in claical muic occupy a milieu in flux. It i, I would ay, incumbent on u to dicover and articulate, a never before, a peronal ene of miion. We cannot aume that we can lip into exiting niche of profeional experience becaue thoe niche are vanihing or evolving. When I meet with young pianit, I urge them to tudy compoition and improviation, and muic outide the Wetern canon to identify objective that are pecific, novel, and individual new piece or little-known compoer that they believe in, or new way of preenting muic in live performance. And in fact a freh wind of entrepreneurial innovation i everywhere apparent. Thoe 1886 Wagnerite creamed and tood in their chair becaue Tritan und Iolde anwered the need of the moment need demanding a new kind of artitic expreion, and new realm of aethetic experience. Today moment again generate ubtantially new need, need impacting on artit and on artitic intitution. Thi challenge i equally an opportunity. Thank you very much. Joeph Horowitz i a writer and concert producer. Hi nine book include Claical Muic in America: A Hitory and Moral Fire: Muical Portrait from America Fin de Siecle. He erved a Executive Director of the Brooklyn Philharmonic Orchetra in the 1990, and ubequently a a conultant for a variety of American orchetra, including the New York Philharmonic, Pittburgh Symphony, and Pacific Symphony. He i co-founder and Artitic Director of PotClaical Enemble of Wahington, D.C., a chamber orchetra which pecialize in muic of the America. w in t e r

24 THE SCHOOL OF MUSIC SAYS GOODBYE TO ITS RIGHT-HAND MAN By Anne Michakoff Heile o n or i t i e 22 When Edward Rath retired after 24 year a right-hand man to four director of the Univerity of Illinoi School of Muic, the Univerity lot a key contributor to it well-being. You might think of Rath a a kind of adminitrative handyman, on the pot to enable tough fixe. Or you might think of him a an executive for IPO, overeeing tartup of the jazz program advanced degree and other academic program. He been an impreario for gala event. Then there hi development work and overeeing the proce for faculty promotion and tenure. You might have found him ubbing a profeor for piano leon or piano literature or even performing in concert. Mot tudent and faculty have known him epecially a the reident expert on curricular matter, a ombudman, conciliator, and diplomat, and, a Profeor William Heile ay, advior-in-chief. Hi warmth, intelligence, good cheer, and dedication to the School will be orely mied, Profeor Charlotte Mattax Moerch comment. I remember how poitive and upportive he wa of every faculty member. He wa intrumental in guiding o many of u uccefully through the tenure and promotion proce. Although he held an adminitrative poition, he i a firt-rate pianit whoe performance I alway admired for their muicality and profeionalim. Born in California, Rath grew up in Chicago, Oklahoma, and Wiconin which he conider hi home. A a youngter he wa friend with the cellit on of hi piano teacher (Rath alo played firt baoon in local youth orchetra), and many evening the two boy played chamber muic with the cellit father, a profeional violinit, until midnight. So I developed an affinity for the cello and it literature, which grew in college. He wa in charge of the artit erie at Northwetern State Univerity in Natchitoche, LA, and it wa there that he jumped in to accompany cellit Leonard Roe on hort notice. where he remained for nine year. Rath completed hi DM in piano performance and literature with high honor at Indiana Univerity in 1975, where he tudied with György Sebök and coached with cellit Jano Starker. He had already taught at hi undergraduate alma mater, Lawrence Univerity, for four year and at the Univerity of Wiconin- Parkide for an additional year. Next he joined the faculty at Northwetern State Univerity in Louiiana, Rath went on to perform with former principal cellit of the New York Philharmonic Lazlo Varga, Ronald Leonard, and for UI faculty cellit Laurien Laufman, Suren Bagratuni, and Dmitri Kouzov. Hi routine, he ay, wa to eat a teak before thee concert. In 1984 Rath accepted a poition a an opera coach at The Univerity of Iowa, upporting inger in the opera cla and tage production. In graduate chool I wa the accompanit for Don V Moe Chamber Singer. Many member of that group were inging in opera and giving recital, and a their accompanit I developed an interet in opera. Moe later moved to the Univerity of Iowa, where he founded the Claical Muic Fetival, which took place in the Eterházy Palace in Eientadt, Autria. In 1976, at Moe uggetion, Himie Voxman at Iowa School of Muic aked Rath to erve a adminitrative director for the CME. Rath helped organize the fetival and manage it finance while Moe erved a artitic director and conductor. Rath wa the fetival adminitrative director for 22 year. When the opera taff poition in Iowa wa cut in 1986, Rath career took a zigzag. He had long been intereted in finance and for two year became an invetment executive with Dain Boworth, Inc. But I mied muic and academia; the eparation wa difficult. Moe became Director of UI School of Muic in By then he had een Rath work with concert artit a well a with government official in Autria and knew both hi organizational and muical kill. He hired Rath, firt a Viiting Aitant Director ( ) and then a Aociate Director, a poition he held from 1990 until hi official retirement in 2010, with parttime extenion until Growing up in Oklahoma, I remember my dad banked at the Citizen State Bank, which had a motto: Large enough to erve you, mall enough to know you. I think if you expand on that idea, the SoM ha many fine facilitie, a great muic library, expert recording capabilitie, outtanding enemble and excellent teaching, cholarhip, reearch, and performance. There very little that you can t experience here. So it large enough to erve a variety of interet and tudent at the very highet level. But there alway been that feeling, to me at leat, of a family. Ye, we have ome large lecture clae, but we try to keep our dicuion ection at 20 or fewer. Often when I met parent I let them know that it wa an honor to be entruted with the muical live of their children, and that I alway conidered them our kid and that I wanted the bet for our kid. Beginning adminitrative hi poition at UI, Rath ay that he immediately felt comfortable and fell in love with Illinoi. During hi econd emeter, Moe appointed him temporary Chair of the Diviion of Opera to tide the program over during the earch for a new opera director. He worked to better organize the program and overee it financial apect. He alo worked with Daniel Perrino and Beverley

25 Friee in the area of development and played an important role in the creation of the Friend of the School of Muic. The organization wa tarted by Moe to better communicate and involve the community with the SoM, thereby helping expand it donor bae. In 1989 Rath ucceeded Perrino, who had taken him under hi wing when he firt viited Urbana, a Chair of Continuing Education and Public Service in Muic (now the Office of Outreach and Public Engagement.) For three year he worked on recruiting and outreach and integrated the CEPS office more cloely with the SoM to avoid duplicating ervice and to ave expene and become more economical. Over the year, that CEPS office ha evolved ubtantially, Rath ay. Originally conidered a diviion of the chool, under Karl Kramer it became a upport organization. Rath explain that it aumed a more central, active role. Kramer alo intigated creation of the SoM webite, the expanion of Sonoritie (which had many year earlier been a horter tabloid), and updated publicity material. It become more outreach and public ervice: workhop, clinic, program for teacher, and ISYM, the big program for public engagement. One ucceful change Rath made wa to offer one-week ummer youth camp rather than two, which eaed both budget and taff reponibilitie. You can only have o many dance, movie, partie to entertain the kid in the evening. During Karl Kramer tenure, Rath alo overaw the Burgo Chamber Muic Fetival in Spain in 2006 and 2007 in a capital city of northern Spain. In Eientadt, the fetival enjoyed free ue of the palace hall and the town conervatory, contended with an extenive bureaucracy, and in it earliet year (given the 10 year of the province occupation by the Soviet) dealt with limited amenitie like taxi or private bathroom. Burgo, a larger ite, preented omewhat the oppoite challenge: a eeming lack of bureaucracy and paperwork that made for continual difficulty in ecuring neceary commitment in writing. Among Rath proudet accomplihment for the Univerity, however, were the gala production he arranged. He planned and brought together the Gift of Love Through Muic retirement gala for William Warfield. Hi reputation, what he had done to break the color barrier in the 1940 and 50, and the help he had given o many tudent, Rath add, made it an occaion for a campuwide celebration, and Rath wa in charge of the SoM apect. There wa participation by ome of our bet tudent, many faculty, and guet artit. Letter of tribute came from all over. I took a call from Jame Earl Jone. Some 1,300 people attended. Rex Anderon had cued up the clip of hi inging Oh Lawd, I m on My Way in Porgy and Be, and we played that a he exited the tage. Bill wa genuinely touched by the whole event. Ed with the late Jerry Hadley in Another Rath extravaganza wa a SoM contribution to the annual UI Foundation weekend, a gala called From Sea to Shining Sea. He wrote the cript, titled from the ending of America the Beautiful, and organized the program. A tribute to the influence of muic in America, the muic featured the chool variou band and choral group, jazz enemble, orchetra, and olo inger, ending with a combined rendition of America the Beautiful. We had upward of 500 participant, Rath recall, and it wa a lot of fun. Over hi 24-year tenure Rath worked with four very talented and quite different director, at leat five dean, and a many provot, chancellor, and four Univerity preident! In the pat decade he helped former director Karl Kramer and profeor Chip McNeill get the jazz program off the ground, making it a reality on three degree level. Rath and hi wife, Loi, have two children (Lori, an attorney in Seattle, and Nathan, a ergeant on the Champaign police force) and two grandon (Collin and Aaron). So far in hi retirement Rath i enjoying the chance to practice hi wimming and golfing, continue hi paion for cooking, keep up with hi lively grandon, work around the houe, practice the piano, have extra time for travel and hi family, and to occaionally not dre till late morning. I got paid for doing what I enjoy, working with people who are the bet of the bet, and o many talented kid! Thi i jut a wonderful place to be. Of all the univeritie that I ve been aociated with, UI, throughout the campu, ha conitently been the mot helpful. People eem to go out of their way to be of aitance; ye, there are exception. But I ve never felt anything but that UI i a wonderful place to pend one life. And if I had to do it all over again, I d do it exactly the ame; I d jut work harder. w in t e r

26 Faculty Profile o n or i t i e COMPOSITION-THEORY FROM By Emily Wuchner Though Erin Gee and Carlo Carrillo-Cotto have pent recent year compoing and teaching far from the Midwet, both are eager to return to the area and begin work a new theory-compoition faculty member. Gee earned degree in piano performance (B.A.) and compoition (M.A.) from the Univerity of Iowa. She then moved acro the Atlantic to Gratz, Autria where he earned her Ph.D. in muic theory at the Univerity of Muic and Dramatic Art. While in Europe, he traveled and tudied throughout Germany, Italy, and even completed a hort reidency in Japan. Thee travel gave her new perpective on compoition and allowed her to hear many contrating type of muic-making. It a lightly different world in Europe in general, Gee aid. I wa motly in the Germanpeaking part, but I wa in Italy for a year at the American Academy in Rome with the Rome prize. It wa jut great to have an even broader idea of what kind of muic-making i going on, whatever everyone i compoing all over the world. Gee reearch and compoition interet focu on the voice a an intrument that produce ound intead of audible word, which he claifie a non-emantic. Exploring the mouth extenive ound palette wa part of her diertation reearch pecifically on the relationhip between non-emantic muic and the phonetic alphabet. She ha developed and expanded upon thee idea in her erie of compoition which he typically perform herelf each beginning with the title Mouthpiece. With 20 intallment to date, Gee experiment with the way variou intrument and voice combination can mimic each other and work together to create what he call a uper mouth. Her Mouthpiece have won a number of pretigiou award and received international acclaim. In 2007 Gee Mouthpiece 9: For Voice 30 year before. and Orchetra won the International Rotrum of Compoer Contet, in which radio tation worldwide elect a recently compoed, ditinctive piece of muic. Though her piece wa nominated by Autria where he wa living at the time Gee i the firt American to win the contet ince George Crumb in He an inpiration to me, Gee aid. It wa a particular honor to win a prize that he had won more than In 2009 Gee wa awarded the eteemed Guggenheim fellowhip, in which he compoed three different Mouthpiece: one for electric enemble, a concert opera, and one for olo piano. The concert opera, Mouthpiece XIII: Mathilde of Loci Part I, wa commiioned by the American Compoer Orchetra and done in collaboration with her older brother, Colin. The partially taged opera include a non-emantic voice, a ilent actor, video, and chamber orchetra. Her theatrical work and collaboration with her brother extend to her 2009 chamber opera SLEEP, which won the compoition competition Teatro Minimo and premiered in Zürich Opera Houe. The opera follow a character through a peronal tranformation experienced during the four tage of leep. At the premiere, Gee ang the non-emantic female voice part and Colin wrote the libretto, which wa poken by a male voice artit. It wa really amazing to work with an opera houe that i a really fantatic and huge intitution, Gee aid. I wa really happy to be able to work there. It i a beautiful opera houe and beautiful to ing there a well. Similarly, Carlo Carrillo, who join the theory faculty in the pring 2013 emeter, i alo trying hi hand at writing an opera. Born in Puerto Rico, he ay hi culture i an important apect of hi work. It my heritage, and it jut part of who I am, and that fine with me, Carrillo aid. I think where you come from bring omething pecial. You are adding omething that other people can t bring. It jut part of who I am. One of hi continuing project, an opera titled La paión egún Antígona Pérez, alo reflect 24

27 FAR AND ABROAD FACULTY MILESTONES thi paion. Written by the prominent Puerto Rican author and playwright Lui Rafael Sanchez, Carrillo decribe the toryline a the Latin American verion of Antigone. To create the libretto Carrillo i pulling text directly from the original ource, involving him in every apect of the compoitional proce. In April, part of the opera were preented in New York with great ucce, and Carrillo i exploring potential performance opportunitie for the work premiere in the next few year. Mot recently Carrillo taught theory and compoition at the San Juan Conervatory. He tudied compoition at Eatman (B.A.), Yale (M.A.), and the Univerity of Pennylvania (PhD) and ha held teaching appointment at DePauw Univerity in Greencatle, IN. and Reed College in Portland, OR. Though he draw inpiration from Bach, Beethoven, Takemitu, and Janáček, he credit hi teacher a an important influence on hi compoitional tyle. He decribe hi work a non-tonal with ome ene of cononance and lyric and expreive. One of Carrillo mot ucceful work and proudet achievement i hi ymphony titled Cantare which wa written in 1993 during hi third year of undergraduate tudy at Eatman. In the ame year, Cantare won the pretigiou BMI Foundation and Berne award for tudent compoer. Not only did thi achievement open many door profeionally, but the recognition and encouragement from hi peer motivated him to keep compoing. In 2002 Cantare wa featured at the LA Philharmonic workhop Synergy: Compoer and Conductor, which i deigned to foter relationhip between young and upcoming compoer and conductor. Among hi many accolade, Carrillo wa one of the firt recipient of the Aaron Copland Award, which included a tay at Copland home in New York. In the peaceful atmophere he wa able to focu on creativity and compoition. In fact, on hi firt day taying at the home Carrillo wrote the connective theme that begin and end hi opera. He till ha the original ketch. While I wa in the houe I wa able to read about him I knew ome of hi work, but I wa able to learn more, and I know that he encouraged many compoer in all of the America, Carrillo aid. Somehow I feel that wa till happening. While I wa working in hi houe it felt he wa till encouraging compoer on. In addition to hi numerou commiion for profeional enemble, Carrillo epecially enjoy working with youth enemble through both conducting and compoing work pecifically for them. I love teaching, and working with a youth ymphony i conducting and teaching at the ame time, Carrillo aid. When I wa conducting that youth enemble in Indiana, I aw it a an expanion of my teaching. I apply the thing I know and love. It a fantatic experience. In addition to compoition, teaching and fotering relationhip with tudent are omething Gee and Carrillo are paionate about. They both agree that intructing and learning from tudent while alo haring their own love for muic i what they look forward to mot at UI. The tudent are o great, Gee aid. They re jut really intereted in what they are working on. I find them wonderful and outgoing, very nice, very good, very knowledgeable. I am jut looking forward to teaching and incorporating my compoing at the ame time. It a good dynamic I think. I am excited to how them what I am working on. I find teaching really rewarding and inpiring and I am jut o excited to be here. Erin Gee: Carlo Carrillo: PROMOTIONS Tito Carrillo Aociate Profeor Ricardo Herrera Aociate Profeor Dana Robinon Aociate Profeor Chip McNeill Profeor Ann Yeung Profeor Jeffrey Magee Profeor STAFF PROMOTIONS Stephen Burian Outreach and Public Engagement, Aitant Director VISITING FACULTY, Bridget Benton Viiting intructor (Theater) Cara Chowning Viiting Lecturer (Opera) Lillie S. Gordon Viiting Aitant Profeor (Muicology) Jee Leyva Viiting Aitant Profeor (Band) Suan Parii Viiting Aitant Profeor (Muicology) Jake Rundall Viiting Aitant Profeor (Comp-Theory) Joel Spencer Viiting Aitant Profeor (Jazz) Joe Wachtel Viiting Intructor (Muic Ed) RETIREMENTS Tom Turino w in t e r Edward Rath 25

28 Faculty New o n or i t i e Reid Alexander (piano pedagogy) preented olo recital in conjunction with mater clae and guet lecture at the Univerity of Northern Colorado, the Univerity of North Carolina-Wilmington (artit-clinician for their Piano Day), Central Michigan Univerity, Eatern Illinoi Univerity, and Wetern Illinoi Univerity where he adjudicated their piano concerto competition. I Ketut Gede Anawa (muicology) taught Gamelan at Miami Univerity and performed for the Muic and Dance fetival held at Ohio Univerity. He alo taught and directed Gamelan for the Indoneian Performing Art of Chicago and wa a member of the judging panel for intrumental enemble performance at the Singapore Youth Muic fetival Primary School. In addition, he compoed three new work for two different type of Balinee Gamelan. Chritina Bahford (muicology) continued work on her Violin Culture in Britain and Beyond project, which materialized into a chapter for a book of eay (publihed June 2012), a paper at the American Muicological Society conference, and a new phae of archival work done in Ireland a a Viiting Fellow of the Intitute for Reearch in Irih Hitorical and Cultural Tradition at the National Univerity of Ireland in Maynooth. Bahford alo contributed to a muicology roundtable at the International 19th-century muic conference in Edinburgh, and a paper at the conference, The Art of Litening, in Berlin. Loui Bergonzi (muic education) helped organize and lecture at an on-campu ympoium in Fall 2012 linked to hi reearch on intructional climate in muic education etting regarding exim, racim, and homophobia, compared in high chool and muic camp etting. He appeared a a guet conductor at all-tate and fetival honor group nationwide and gave more than 20 free mater clae at chool in Illinoi. Donna Buchanan (muicology) gave paper at The Ohio State Univerity, the annual Society for Ethnomuicology meeting, and the Univerity of Chicago. Her preentation at Ohio State Univerity will be publihed and revied in expanded form a a chapter in Beyond Moque, Church, and State: Negotiating Religiou and Ethno-National Identitie in the Balkan (ed. Theodora Dragotinova and Yana Hahamova). She led an organized panel, Balkan Beat for a New Europe: Comparative Soundcape of Social Difference, at the Society for Ethnomuicolgy conference in Michael Cameron (double ba) releaed hi CD Canto in May which feature olo and chamber work by Thoma Fredrickon. In December hi album The Sonata Project will be releaed. He wa awarded a Reearch Board Grant for The Sonata Project Phae II. Now erving a chair of the tring diviion, he organized and participated in the college diviion of the Chicago Ba Fetival at Ravinia. Elliot Chaanov (trombone) wa a guet artit at Kutztown Bra Day at Kutztown Univerity (PA) in February He continue building the catalogue of the Elliot Chaanov Bra Serie, publihed by Metropoli Muic in Belgium and hi work have been performed in Belgium, Italy, and Argentina. Charle Daval (trumpet) played olo trumpet on Bach Brandenburg Concerto #2 with the Seattle Symphony in January. During the ummer he participated in hi 22 nd Grand Teton Muic Fetival in Jackon Hole, WY. Ollie Watt Davi (voice) won a lifetime ACE (Art, Culture, Education) award from 40 North. She celebrated her 30th anniverary year a muic director and conductor of the UI Black Choru and received the Illinoi Student Senate Teaching Excellence Award for She appeared a oprano oloit in Mendelohn Midummer Night Dream with the Prairie Enemble, performed recital and concert at Mea State Univerity (CO) and completed an artit reidency at the Univerity of South Carolina-Charleton. John Dee (oboe) will preent everal world premiere performance at the Univerity of Illinoi during the concert eaon. He wa an invited guet performer at the 2012 International Double Reed Society Annual Conference held thi ummer at Miami Univerity of Ohio. In addition to other featured appearance at the conference, he performed with newly formed Univerity of Illinoi Double Reed Quartet compried of aociate profeor of baoon Timothy McGovern, and their teaching aitant Evan Tammen (ob) and Ahley Haney (bn). 26

29 Gregory DeNardo (muic education) pent Fall 2012 on abbatical to re-examine chool in the Milwaukee Symphony Orchetra Art in Education Partnerhip. DeNardo helped launch the program in 1991 and i reviiting chool that have participated in the partnerhip for 23 year. Eduardo Diazmuñoz (opera) wa invited by the National Intitute of Fine Art in Mexico to work a Artitic and Muic Director for a pothumou tribute to Daniel Catán featuring a performance of all of hi muic. In November he wa appointed to Director of Academic Review at the National Council of the Fermatta Muic Academy in Mexico. In February 2012, he guet conducted the Zacateca Philharmonic Orchetra (Mexico) in a tribute concert for Mexican ymphonit Candelario Huízar. He wa on abbatical in Spring 2012 to work on a Symphonic Suite baed on the theme he wrote for a Mexican feature film in the ummer of Timothy Ehlen (piano) completed and releaed volume four and five of the complete Beethoven Sonata on Azica Record. Hi book chapter Genre Reference in Beethoven Sonata wa publihed in The Pianit Craft: Matering the Work of Great Compoer. He preented five lecture on Beethoven piano onata, a olo recital broadcat live on the internet, and mater clae and chamber performance at the Brevard Muic Fetival. He alo performed with with the Champaign- Urbana Symphony in Fall 2011, a well a a erie of two-piano recital in Spring 2012 with piano duo partner, Yu-Chi Tai (A.D. 11, D.M.A. 11). Ehlen and Tai have recently been invited to join the Steinway Artit Roter a an enemble. Ricardo Flore (percuion) wa a featured oloit at the 2011 Percuive Art Society International Convention in Indianapoli on a concert with an expanded Steel Band, including member from the UI Steel Band. He alo participated in reidencie, concert and clinic at the Univerity of Arizona-Tucon, the Illinoi Muic Educator Conference, and Wetern Illinoi Univerity. Lawrence Gray (jazz ba) had many performance engagement including with the Larry Gray Trio in Chicago and a concert appearance in Tblii, Georgia. Hi arrangement for for jazz extet were performed lat winter at Smith Hall and alo at the Iron Pot in Urbana. Recently, a performance with the John Moulder quintet at the Green Mill wa recorded and releaed a a CD on the NAIM label. Julie Gunn (accompanying) piloted a new coure for accompanit and tring player focuing on the violin and cello onata and trio of Beethoven, culminating in two recital. She founded the UI School of Muic Academy, which intruct tudent in chamber muic and theory and provide coaching from graduate tudent a well a tring and accompanying facultie. She and huband Nathan Gunn will perform with the Pacifica Quartet in Carnegie Hall during Winter Nathan Gunn (voice) ang at the Segulda Fetival in Latvia, Houton Grand Opera, and the Lyric Opera of Chicago. He performed in the John Dexter production of Billy Budd at the MET. He ha alo hared new recital repertoire at the Van Cliburn Serie, the Krannert Great Hall Serie, and the Parlance Serie. In September he wa appointed by the Opera Company of Philadelphia a the Director of the American Repertoire Council to lead it commitment to produce a new American opera in 10 conecutive eaon. Rudolf Haken (viola) appeared a a member of the American Piano Quintet in concert at Andrew Univerity (MI) and a a guet artit for the Univerity of Tenneee Viola Celebration. Hi piece for olo viola, Faut, wa premiered by Rachel Barton Pine at the Beethoven Fetival in Chicago. Dawn M. Harri (voice), ang the econd oprano olo in Bach B Minor Ma with the Baroque Artit of Champaign and appeared a the oprano oloit at the 2011 Allerton Barn Fetival on the An Evening of Strau Waltze and Viennee Bonbon concert. She alo directed and performed Lee Hoiby one woman opera, Bon Appetit! with the Prairie Enemble and will join colleague, Ronald Hedlund, a he perform the role of Illona in the operetta, Game of Love at the Station Theater. Ricardo Herrera (voice) wa baritone oloit with UI Philharmonia Orchetra in Prokofiev Lieutenant Kije, ba oloit in Bach Cantata No. 21 at the Allerton Barn Muic Fetival, ang the role of Figaro in Mozart Le Nozze di Figaro with the El Pao Opera, and wa the tage director of the World Premiere of Paradie Lot by Stephen Andrew Taylor. Additional performance include engagement with the American Chamber Orchetra and the Danville Symphony, and the role of Porteo in Ator Piazzolla tango opera Maria de Bueno Aire in Chihuahua City, Mexico. w in t e r

30 Faculty New o n or i t i e J. Michael Holme (axophone) performed with the St. Loui Symphony Orchetra during their 2012 European tour in London, Berlin, Lucerne, and Pari. He wa featured on the cover of the 2012 September/October Saxophone Journal. Barry L. Houer (band) completed hi firt term a Governor of the North Central Ditrict of Kappa Kappa Pi and wa Keynote Speaker and Coordinator of the Intercollegiate Band and Reading Band at the 2012 NCD Convention for Kappa Kappa Pi and Tau Beta Sigma. Additionally, he wa co-director of the Macy Great American Marching Band which include more than 200 tudent who perform in the annual Macy Day Parade in New York City. He wa director and clinician at fetival in Illinoi and Florida and preented at the 2012 CBDNA Athletic Band Director Sympoium at The Ohio State Univerity. Jonathan Keeble (flute) wa chair of the board of director of the National Flute Aociation. He performed at Eatman School of Muic, Indiana Univerity, Northwetern Univerity, and the Univerity of Michigan. He taught and performed in variou capacitie with faculty from Eatman, Juilliard, Oberlin, the Hartt School of Muic, and muician from the St. Loui Symphony, Chicago Symphony, Lyric Opera, and the National Symphony. The Aletheia Duo (with harpit Ann Yeung) releaed the album Song of the Black Swan and performed in Italy and Switzerland. William Kinderman (muicology) completed two book: The Creative Proce in Muic from Mozart to Kurtág and Wagner Parifal. He gave two keynote addree at conference in France and Canada, five other conference paper (in the US, Hungary, and Germany), and everal lecture recital, including a Beethoven lecture recital in the Chamber Muic Hall of the Beethoven-Hau at Bonn. He completed everal article and erved a an organizer of the New Beethoven Reearch conference in San Joe, California. Dmitry Kouzov (cello) performed with the St. Peterburg Symphony Orchetra in Ruia, Brazil, and the US. In addition, he recorded Shotakovich two cello concerto with the St. Peterburg Symphony Orchetra. He performed chamber recital in the US, Ruia, and Italy and participated in fetival throughout the US and in Brazil. Erik Lund (compoitiontheory) compoed Credo (for choru and chamber orchetra) for the 2011 Allerton Barn Fetival. He toured Taiwan a a guet compoer and performer in May 2012 where hi work Unknown Origin wa performed by the Taiwanee Illiart Piano Trio at the Yuan-Lin Concert Hall and at Taipei National Education Univerity. He alo performed at The Artit Village in Taipei. He gave lecture at the National Chiao Tung Univerity and Taipei National Education Univerity. Additionally, he performed trombone at Rooevelt Univerity (Chicago) and in a erie of concert ponored through a grant from the Urbana Art Grant program. He wa commiioned by the New York-baed enemble mie-en to compoe a new work for chamber orchetra, to be performed in May Jeffrey Magee (muicology) completed hi book Irving Berlin American Muical Theater and gave a public lecture at the 92Y Tribeca in New York with Irving Berlin eldet daughter, Mary Ellin Barrett, in attendance. He alo preented paper at the annual meeting of the American Muicological Society in San Francico and at the Harvard-Princeton Muical Theater Forum, an invited interdiciplinary event that alo included doctoral candidate Megan Woller. Charlotte Mattax Moerch (harpichord) recorded the olo harpichord work of Armand-Loui Couperin and wa invited to perform thee work at the Berkeley Early Muic Fetival in Berkeley, CA. During the eaon he alo performed the harpichord concerti of Johann Sebatian Bach with the Bach Choir of Bethlehem, PA, with whom he recorded the Bach St. John Paion for Analekta Record. Timothy McGovern (baoon) ha toured extenively, preenting recital and materclae at chool including Northwetern Univerity, Indiana Univerity, Ohio State Univerity, and Miami Univerity. Charle L. McNeill (jazz) and the UI Concert Jazz Band performed at the Midwet Band Clinic in Chicago and at McCormick Place. The Concert Jazz Band and Jazz Vocal Enemble performed at the Jazz Education Network international conference in Louiville. Hi profeional jazz quintet wa invited to perform at the JEN conference, promoting their latet CD releae, The Whirl. He played with Doc Severinen and the Tonight Show Big Band on a three week tour in February and March Lat ummer he toured Ruia (Mocow) and Ukraine (Kiev) with the Ark Otruvkiy Jazz Group. William Moerch (percuion) wa a returning featured olo artit at the 10th International Patagonia Percuion Fetival in Rio Negro, Argentina, and the 2011 Percuive Art Society International Convention in Indianapoli, IN. Hi clinic, The Art of Timpani: Improving Student Muicianhip, wa elected for the Illinoi Muic Education Conference. He alo appeared a a concerto oloit in Joeph Schwantner Concerto for Percuion with the Univerity of Illinoi Symphony Orchetra. 28

31 Linda R. Moorhoue (band) erved a a headliner conductor for the Wetern International Concert Band Clinic in Seattle thi pat fall. She wa a member of the 2012 Chick-Fil-A Bowl Pregame/Halftime taff in January, and erved a a clinician/conductor for honor band in Louiiana, Kentucky, North Carolina, and Illinoi lat Spring. She alo repreented the United State on an international panel of muic judge for the 2012 Singapore Youth Muic Fetival. Jeananne Nichol (muic education) publihed two chapter in Narrative Sounding: An Anthology of Narrative Inquiry in Muic Education. She preented paper at the 2012 American Educational Reearch Aociation meeting in Vancouver, Britih Columbia, the Day of the Art (part of the Eighth International Congre of Qualitative Inquiry at UIUC) and the International Society for Muic Education 30th World Conference on Muic Education in Thealoniki, Greece. In the Fall he wa awarded a eed grant by Action Reearch Illinoi to provide a weekly art experience for youth incarcerated in the Champaign County Detention Center. Suan Parii (muicology) edited the book The Muic Library of a Noble Florentine Family: A Catalogue Raionne of Manucript and Print of the 1720 to the 1850 collected by the Ricaoli Family, which are now houed in the Univerity of Louiville Muic Library. The book wa awarded a publication ubvention from the American Muicological Society, and the publication bring together documentary tudie and a catalogue of more than 1,400 compoition. Yvonne Redman (voice) performed with Jonathan Keeble on hi faculty flute recital and with Ricardo Herrera for the Sinfonia da Camera gala held at the Champaign Country Club. Debra Richtmeyer (axophone) wa a featured invited axophone oloit for the North American Saxophone Alliance Biennial National Conference evening Chamber Muic Recital at Arizona State Univerity in Tempe. She performed the world premiere of Surrenatalia II with violinit Stefan Milenkovich and compoer and pianit Rudolf Haken. She wa featured invited concerto oloit for the XIII World Saxophone Congre Final Gala Concert in St. Andrew, Scotland performing the European Premiere of the Concerto for Saxophone and Orchetra by Lee Actor with the Scottih Chamber Orchetra. She alo recorded concerto by compoer Lee Actor and Hilary Tann. Dana Robinon (organ) preented olo recital in Glen Fall, NY, at the Bailica of St. Adalbert in Grand Rapid, MI and at the Univerity of Iowa, where he performed duet with fellow Iowa alumnu Paul Tegel. He alo performed at St. Philip Prebyterian Church, where he preented a mater cla on pedal technique for the organ tudent at the Univerity of Houton, and at Wetminter Choir College, where he performed J. S. Bach entire Orgelbüchlein. Ronald Romm (trumpet) received the International Trumpet Guild Honorary Award in Columbu, GA in May The award i in recognition of a trumpeter ignificant international contribution to performance, reearch, and pedagogy. At thi year ITG preentation the Romm Trio (Avi Romm, piano, Ronald and Aaron Romm, trumpet) performed and lectured. Robert Rumbelow (band) ha comiioned new compoition for the Illinoi Wind Symphony through organizing a national conortium for a new work by Chritopher Theofanidi. Over the next three year, the Illinoi Wind Symphony will premiere at leat two new work per eaon due to thi effort. He continue to compoe muic, having completed two work for wind band (among other project) that will be publihed next year. Donald Schleicher (orchetra) wa invited to return for the fifth time a a lead teacher for the International Conducting Workhop and Fetival in the Czech Republic, and for the econd time for the International Conducting Intitute. He joined the Illinoi Council of Orchetra a a member of the Board of Director. Bernhard Scully (horn) wa invited a a guet artit at the Southeat Horn Workhop at Tenneee Tech Univerity, Lubbock, Northwet Horn Workhop (Pacific Lutheran Univerity), and the International Horn Sympoium (Univerity of North Texa) where he gave lecture and mater clae at each event. He wa invited to reidencie a a guet artit at Texa Tech Univerity, The Glenn Gould School (Toronto, Ontario), Univerity of Wiconin- Steven Point, Wheaton College (IL). Hi new CD, Dialogue En Françai wa releaed and featured on a National Public Radio Broadcat on All Thing Conidered. Rochelle Sennet (piano) performed recital in Ruia with violinit Igor Kalnin at the Nizhny Novgorod State Conervatory and Children Muic School #12. She alo recorded George Walker Piano Concerto, with Ian Hobon conducting the Sinfonia Varovia of Poland. Thi recording alo feature her participation in the chamber work Da Camera. She wa a olo performer at the Illinoi State Muic Teacher Aociation New Faculty Recital, which wa held at Illinoi State Univerity in Fall Gayle Sherwood Magee (muicology) pent the ummer working on her new book on muic in director Robert Altman film. Forthcoming publication include an article on Altman claic film Nahville (1975) in the journal Muic and the Moving Image, and a chapter on copyright and muic through w in t e r

32 Faculty New o n or i t i e Altman career in the book The Robert Altman Companion, edited by Adrian Dank. Gabriel Soli (muicology) completed two book manucript currently under contract: Theloniou Monk Quartet with John Coltrane, Live at Carnegie Hall which i an analytical tudy of one album, and What I He Building in There: Tom Wait and Rock at the End of the American Century. He had two major article accepted in ethnomuicology journal (Ethnomuicology and Muiculture) and one ubtantial review eay on new reearch in the South Pacific in Ethnomuicology. He alo taught a guet coure at Melbourne Univerity, and contributed workhop on ethnomuicology at the Univerity of Goroka, in Papua, New Guinea. Andrea Solya (clinical aitant profeor) helped recreate the UI American Choral Director Aociation Student Chapter which ponored and hoted a two day long workhop with the American Boychoir in November Thi event preented conducting and rehearal technique workhop for choral tudent in both undergraduate and graduate program and concluded with a joint concert featuring elementary and middle chool inger from the area. She alo preented her edition of Andrea Rauch Thymiaterium Muicale at the bi-annual National Collegiate Choral Organization conference in Fort Collin, Colorado. Sylvia Stone (voice) wa artitic director of a ummer opera program, Il coro etivo per giovani cantanti lirici, in Italy. The event attact tudent from Autralia, Germany, England, and the US. She alo taught American and Canadian tudent at the Franco American Vocal Academy in Salzburg where he alo poke at Schlo Mirabelle. Bridget Sweet (muic education) co-preented reearch with four colleague from different univeritie at the 2011 Sympoium on Muic Teacher Education at the Univerity of North Carolina-Greenboro and the 2012 Biennial Muic Educator National Conference in St. Loui. Aditionally he preented conference eion on the adolecent male and female changing voice at the 2012 American Choral Director Aociation Central Diviion Conference and the 2012 Illinoi Muic Education Conference. A recipient of a 2012 FAA Creative Reearch Award, he will now begin a qualitative reearch project focued on the adolecent female changing voice. Heinrich Taube (compoition-theory) completed the Reearch Board grant/beckmann award to redeign Chorale Compoer automatic theory intruction oftware. Thi ha been a huge undertaking (55,000 line of code) and i now nearing completion with an Alpha releae in June 2012 and ue in theory intruction in Fall Stephen Taylor (compoition-theory) preented two verion of hi opera Paradie Lot: a chamber verion in Portland, OR and the complete verion premiered at the Krannert Center, directed by Ricardo Herrera and conducted by Robert Rumbelow. He alo had new work premiered by Ann Yeung (Shindychew Dance for olo harp) in Vancouver, BC; and Decohere for two axophone, premiered by Phil Pierick (B.M. 09, M. M. 12) and Noa Even (M.M. 10), in Tempe, AZ. Hi 2010 percuion enemble piece Everywhere Entangled wa releaed on Albany Record. He alo wrote arrangement for the CD 1969, by Pink Martini with Saori Yuki, which went platinum in Japan. Reynold Tharp (compoition-theory) completed two new chamber piece which premiered in the pring of 2012: Red-winged Blackbird by Enemble Dal Niente and the ea i but a ound on a Boton Modern Orchetra Project Club concert. Hi piece Chaparral wa recorded by Jonathan Keeble and Ann Yeung, who alo performed the piece at Indiana Univerity and UI lat fall. Hi work, Wide ea, changeful heaven wa premiered by the UI Symphony Orchetra in September. He i currently working on a large enemble piece for the New Juilliard Enemble for Matthew Thibeault (muic education) i a Faculty Fellow for the year in the Illinoi Program for Reearch in the Humanitie, working on a book examining ound recording at the end of the nineteenth century and new media at the end of the twentieth a catalyt for change in muic, muician, and audience. He publihed everal chapter and article, continue to write the Secondary Scene column for General Muic Today, and gave everal invited preentation at the national level. Hi group the Homebrew Ukulele Union wa profiled by multiple media outlet. Sever Tipei (compoitiontheory) premiered hi computer-aited compoition for computergenerated ound work figer at Northern Illinoi Univerity. It wa alo performed at York Univerity, UK; Trinity College, Dublin; and the National Univerity of Muic in Bucharet along with HB with G&E for piano and computer-generated ound and other work. Talk about hi muic and DISSCO, oftware for compoition and ound ynthei developed at CMP, were delivered in Europe and the US during hi abbatical. Ann Yeung (harp) appeared at major univeritie and chool uch a Eatman and Interlochen a well a intitution in Indiana and Michigan. She publihed two article in Harp Column and the American Lizt Society Newletter, and edited the World Harp Congre Review. Aaron Ziegel (muicology) preented hi paper Sacred Muic a a Signifier of Patriotim in American Opera from the Early 1910 at the 2012 annual conference of the Nineteenth Century Studie Aociation and the American Muicological Society. Additionally, he publihed article in Muic Reearch Forum and The Opera Journal, along with review in both American Muic Review and the Journal of the Society for American Muic. 30

33 New Publication and Recording Emily Wuchner, Aociate Editor Chrito Titaro, profeor of piano pedagogy, recently releaed two new CD on the Centaur Record label. The firt (Cahier Tango; Sonata; 4 Concert Trancription of American Song) contain original compoition including a tylized tango and arrangement of ong by Hoagy Carmichael, Vernon Duke, and Cole Porter. The econd, Eaier Piano Work, include recent compoition from the lat even year written to educate young muician. He edited and recorded 19 Little Prelude by J.S. Bach (G. Schirmer, 2012) which wa launched at the 2012 MTNA conference in New York. He alo completed Lyric Ballad: 6 Romantic Piece (Hal Leonard, 2012) for Piano Solo. The muic of Chrito Titaro ha a deceptive implicity about it or, perhap more accurately, it i eay to hear but ubtle in contruction, much like uch piece a Debuy Clair de lune or Golliwog Cakewalk, Beethoven Für Elie, or Schumann Träumerai. Each of thoe piece, like the muic of Titaro, ha an eential implicity of form a well a being acceible to medium-level piano tudent, yet the muic gain immeaurably in impact from being played by a uperior artit. Fanfare The Creative Proce in Muic from Mozart to Kurtág by William Kinderman; Univerity of Illinoi Pre, William Kinderman explore the different tage of muical creativity in hi latet book, which trace the compoition of muical work through reviewing autobiographical report, handwritten ketche, and revied manucript. Thi book provide revealing inight to both well-known and unknown work by Mozart, Beethoven, Schumann, Mahler, Bartók, and Kurtág. An engaging invetigation of the creative proce and genetic criticim. Thee deeply thoughtful eay etablih an enviable range, from Mozart through the grand figure of the German nineteenth century (Beethoven, Schumann) and beyond to three eminal figure of the twentieth (Mahler, Bartók, Kurtág). A ignificant contribution. Richard Kramer, author of Unfinihed Muic Song of the Black Swan: Work inpired by nature by the Aletheia Duo with Maumi Per Rotad (viola); Albany Record, In it newly releaed CD, the Aletheia Duo, compried of Jonathan Keeble (flute) and Ann Yeung (harp), forge a link between the natural and the piritual, containing work inpired by variou facet of nature. The repertoire evoke image of waterfall, river, landcape, and night. They are joined by violit Maumi Per Rotad on the Debuy Sonate. The album alo feature Chaparral, written by UI theory/ compoition profeor Reynold Tharp. On thi dic dedicated to the mytery and natural beauty of the black wan, Yeung and Keeble have choen a facinating program that reveal a diverity of repertoire not uually aociated with flute and harp. Fanfare The Devil Hopyard by Trombari: Glenn Wilon and Jim Pugh; Jazzmaniac, Trombone/baritone axophone combination are relatively rare, but Glenn Wilon and Jim Pugh hope to change that. The duo ha expanded the repertoire, drawing on work from wing to free jazz track, while alo experimenting with varied intrumentation. The enemble on thi recording include violin, cello, ba, drum, and percuion what Wilon and Pugh refer to a The Devil Hopyard. The album feature muic by the late axophonit Thoma Chapin. In hort thi CD ha it all going, great compoitional platform played with authority, a horn & tring ound that put thi muic in a league of it own, and the exuberant preence of two horn mater. I hope thi band doe ome touring becaue it i impreive and hould be heard widely. The Devil Hopyard deliver ome excellent muic that you hould not mi. Gapplegate Muic Loui Bergonzi, Daniel J. Perrino Profeor of Muic Education, publihed an arrangement of the Andante from Mendelohn Violin Concerto, Op. 64. The arrangement, geared toward young muician, wa the Editor Choice for 2012 from J.W. Pepper Muic. Arranged for tring orchetra, Dr. Bergonzi ha come up with a true materpiece with Mendelohn Andante. Thi olid, low piece ha been enitively and uccefully arranged for younger player. J.W. Pepper Muic The Muic Library of a Noble Florentine Family edited by Suan Parii; Harmonie Park Pre, The Univerity of Louiville Muic Library i home to a collection of manucript, print, and muic book from that once belonged to three branche of the Ricaoli family part of the high nobility of Florence. Thi reource contain eay on the background of the collection a well a a complete catalogue of the more than 1,400 compoition which range from opera, oratorio, mae, ballet muic, concerto, infonia, and other genre. Pugh-Taylor II by Jim Pugh with David Taylor. Pugh-Taylor II i the followup recording to the original 1984 Digital Muic Product CD, The Pugh-Taylor Project. In the tyle of the original, it i a collection of eclectic work for tenor and ba trombone, compoed for Jim and David, involving a variety of enemble. It wa recorded in New York over a 15-year period and feature the muic of David Matthew, Irwin Bazelon, Michael Sahl, John Clark, and Rich Shemaria. Irving Berlin American Muical Theater by Jeffrey Magee; Oxford Univerity Pre, Jeffrey Magee latet book delve into the life and career of Irving Berlin focuing particularly on hi immene influence on American muical theater. Combining both muicological and literary analyi, Magee critically approache ome of Berlin mot enduring ong and popular Broadway how. Conidering hi early experience inging for pennie and hi later truggle with depreion, thi book detail how uch intance influenced and informed hi muic. An atonihingly rich book. Everything about it i appealing. The reearch i prodigiou; the cultural analyi freh and compelling. Like Berlin himelf, Magee make how buine come alive, from the firt ong to the lat. Roe Roengard Subotnik, Profeor of Muic Emerita, Brown Univerity w in t e r

34 o n or i t i e 32 Emeriti Report Photo by L. Brian Stauffer, Univerity of Illinoi New Bureau. Nettl Named Ditinguihed Humanit Bruno Nettl, a profeor emeritu of muic and of anthropology at the Univerity of Illinoi, ha been awarded the Charle Homer Hakin Prize, preented annually to a ditinguihed humanit by the American Council of Learned Societie. Thi honor include a cah award and ak the recipient to deliver the Hakin Prize Lecture reflecting on a lifetime of work a a cholar and an intitution builder at the Council of Learned Societie annual meeting in May Nettl pioneered the field of ethnomuicology, the tudy of ocial and cultural apect of muic in local and global context. He i the author, co-author or editor of 26 book, including Nettl Elephant, a collection of eay on the evolution and current tate of ethnomuicology, and The Study of Ethnomuicology: Thirty-one Iue and Concept the updated and expanded edition of hi 1983 book Twenty-nine Iue and Concept, which i conidered a claic in the field. Nettl fieldwork focued on India, Iran and Irael, and the Blackfoot people of Montana. In recent year, he ha focued on the tudy of improviatory muic, the undertanding of muical change throughout the world and the intellectual hitory of ethnomuicology. He i the former preident and publication editor of the Society for Ethnomuicology, which nominated him for thi current honor, and the firt cholar in that organization to receive thi prize. Nettl wa born in Prague and earned degree in muic, muicology, library cience, and anthropology. He received a Ph.D. in muicology, with minor in anthropology and folklore, from Indiana Univerity in 1953, and taught at Wayne State Univerity before joining the UI in He retired in 1992 and continue reearching, teaching and adviing part time, and ha everal eay and cholarly article et for publication. A fetchrift dedicated to the work of Nichola Temperley (muicology) Muic and Performance Culture in Nineteenth-Century Britain: Eay in Honour of Nichola Temperley, edited by Bennett Zon, wa publihed in The book wa formally preented to him at the Biennial Conference on Nineteenth-Century muic at Duty Rhode, Univerity of Illinoi New Bureau Edinburgh on June 27, At the fifth meeting of the North American Britih Muic Studie Aociation, June 26-28, 2012, he wa made the firt Honorary Lifetime Member of NABMSA. A concert of Anglo-American muic wa given in honor of hi 80th birthday under SoM aupice in Foellinger Great Hall, conducted by Cheter L. Alwe (D.M.A. 82), Laurie Matheon (D.M.A. 98), and Kevin Kelly (M.M. 93). During the academic year , Bruno Nettl (ethnomuicology) preented hi paper Muikwienchaft und Ethnomuikologie in Mitteleuropa und Amerika um die Jahrhundertmitte: Erfahrungen und Kommentare at Geellchaft für Muikforchung, a pecial conference on pot-war hitory of muicology in Germany, in Mannheim on January 20, He preented work entitled The Study of Formal Deign in Native American Muic: Scholarhip, Hitory, and Speculation at the econd Annual Conference on Analytical Approache to World Muic at the Univerity of Britih Columbia on May 11, He preented the keynote lecture, What Are the Great Dicoverie of Your Field? Reply to a Quetion from a Phyicit at the Eighth Annual Congre on Qualitative Reearch, Day of the Art through the College of Education at UI on May 16, Zack Browning (compoition-theory) gave lecture at Seoul National Univerity, Ewha Woman Univerity, and Keimyung Univerity in South Korea, and at Steton Univerity, Univerity of Florida, the Univerity of Central Florida, Univerity of Tampa, and Eckerd College in Florida. Browning attended the world premiere of hi compoition Mung Bean Mountain by the Lumiere Enemble at the Seoul Art Center, and went to ix univeritie in Illinoi and Miouri doing lecture connected to the performance of hi String Quartet by the UI tudent Quaari Quartet, compoed of violinit Emelinda Ecobar (B.M. 12) and Gloria Mo (B.M. 12), violit Alya Roggow (B.M. 12), and cellit Philip Bergman (B.M. 12). In January 2012, Innova Recording releaed a CD of five of hi recent compoition called Secret Pule. Browning alo erved on the Illinoi Art Council Panel of Judge for the 2012 IAC Individual Art Fellowhip. John Walter Hill (muicology) publihed hi article Thematic Tranformation, Folkong and Notalgia in Brahm Horn Trio Op. 40 in the Muical Time. Hi article A Small Selection from among the Many Thing that I Still Do Not Know about Baroque Muic appeared in the Journal of Muic Hitory Pedagogy. During the pat year, Hill wa offered a one-year, full-time viiting poition at the Central Conervatory of Beijing to teach a coure on Baroque muic. Hi textbook on that ubject ha recently been publihed in Chinee. Alo thi year he wa named by the Italian National Agency for the Evaluation of Univeritie and Reearch Intitute to an international panel aigned to ae the quality of faculty reearch in muic department offering doctoral program in Italy. Cheter Alwe (choral muic/muic education) completed a five-week abbatical replacement at Greenville College in Greenville, IL. Hi chapter

35 Choral muic in the Culture of Nineteenth- Century Romanticim appeared in the Cambridge Companion to Choral Muic. He produced performing edition of chorue from two Handel oratorio and J. S. Bach Cantata 150 for G. Schirmer. He wa alo muic director for a CD to accompany a new edition of Sternhold and Hopkin Whole Book of Palm. Ronald Hedlund (voice) participated in many performance including Dr. Bartolo in the Barber of Seville with UI Opera Program, oloit for the Granny Porch program at the Virginia Theater, oloit for the 2011 Heartland Fetival Orchetra New Year Greeting Gala, and in cene from Die Fledermau with UI Graduate vocalit and hi former tudent, oprano Kay Welch (M.M. 09) and tenor Jutin Vicker (B.M. 98, D.M.A. 11). He co-produced and performed an evening of opera and muical theater with the Danville Symphony in May 2012 featuring numerou UI inger and muician. He wa a oloit at memorial ervice honoring late UI Profeor Eric Dalheim (M.M. 62) and Wendell William and ang recital at the Montpelier, VA Hitoric Home of Jame and Dolly Madion to benefit the Jame Madion Mueum with Cara Chowning and cellit Barbara Hedlund. Former Aociate Director Edward Rath will be an adjudicator in the piano diviion at the 12th biennial Lo Angele International Lizt Competition in November. The Competition focue primarily on piano repertoire, but alo include categorie for inger and organit. Rath continue to erve on the Board of the American Lizt Society, for which he i Editor of the Society newletter and alo erve a webmater for the Society ite at www. americanliztociety.net. In February, he will join Profeor Emeritu Ian Hobon for a performance of the four-hand verion of ome of Brahm Hungarian Dance a part of Hobon all-brahm erie to be performed throughout the academic year. Student New Lauren Coleman, Reearch Aitant, School of Muic Development Office Seol Baek, a ophomore in flute performance, attended the Academie Internationale d ete de Nice, France during the ummer for two eion. Jame Blachly, a mater tudent in orchetral conducting and the 2012 winner of the Preer Foundation Award, preented a concert of Mahler Fifth Symphony on July 12 at St. Bartholomew Church in New York City, in a performance titled A Work of Great Humanity. All proceed from the concert went to the Youth Orchetra of the Lower 9 th Ward, an El-Sitema inpired program in New Orlean now in it econd year, which Jame helped to create. Performer were ome of New York finet freelancer, including member of the Declaified, Enemble ACJW, New York Philharmonic teaching artit, and the Orchetra of St. Luke. Kehena Cinero-Waton, a enior in vocal performance, appeared a the Third Lady in Mozart Die Zauberflöte at the Harrower Summer Opera Workhop at Georgia State Univerity. Lauren Coleman, a doctoral tudent in flute performance, wa a emifinalit in the National Flute Aociation Piccolo Artit Competition and performed at their convention in La Vega. Alexi Ever, a junior in flute performance, wa a winner of the Smith Scholarhip Competition on campu. She alo attended the Eatern Muic Fetival over the ummer. Allion Fromm, a doctoral tudent in choral conducting, conducted the firt fetival choir of inger with diabilitie to perform at the American Choral Director Aociation Eatern Diviion Conference. She alo preented reearch on Aaron Copland In the Beginning for the ACDA Conference a well a for the Univerity of Maryland Chamber Singer. In addition, he conducted the Joyful Noie Choru at the Yale International Choral Fetival Sympoium: Choir Tranforming the World. a election of recent accomplihment Karen Gallant, a enior in flute performance, won firt place in the 2012 John D. and Fern Hodge Armtrong Competition for Outtanding Undergraduate Performance a well a econd place in the Mid-South Young Artit Competition. Adam Hawthorn and Erik Elmgren, both tudent of Profeor Debra Richtmeyer were accepted a two of 40 participant in the competition portion of the inaugural International Saxophone Sympoium and Competition held in Columbu, GA October 25-28, Holly Holme, a Ph.D. candidate in ethnomuicology, preented With a Voice Like a Gun: Brazillian Popular Muic, Cenorhip, and Strategie of Reitance during the Military Dictatorhip, at the Society for Ethnomuicology Conference in New Orlean. Chen-Yu Huang, a doctoral tudent in harp performance, wa Principal Harp of the American Wind Symphony Orchetra for their Summer 2012 tour. She performed Henk Bading Harp Concerto with the AWSO during the tour. Jackline Madegwa, a doctoral tudent in vocal performance, appeared a Donna Elvira in Mozart Don Giovanni at the Bay View Muic Fetival (Michigan). She won the 2012 Adrian Boyer Concerto Competition (Michigan) a well a the 2012 Bel Canto Foundation Award. She alo appeared a Eliza in J. LanYe Highway to Canaan. In March, Ann McLaughlin, a graduate tudent in harp performance, performed with the Univerity of North Texa Symphony Orchetra a a winner of the UNT concerto competition. During the ummer month, he wa an official treet muician for the downtown art program in her hometown of Sioux Fall, SD. While in South Dakota, he alo choreographed a muical and ventured on many long ditance unicycle ride. Ian Middleton, a Ph.D. tudent in ethnomuicology, preented Identity, Peace, and Learning at Rural Muic Fetival in Columbia Caribbean Coat at the Society for Ethnomuicology Conference in New Orlean. w in t e r

36 o n or i t i e Student New John Nichol III, a DMA tudent in compoition preented hi compoition Praxi Acciden at the 2012 International Computer Muic Conference Ljubljana, Slovenia. Hi compoition AGE wa awarded a Special Mention and incluion in a CD for the 2012 Métamorphoe Acoumatic Compoition Competition. Hi piece Headbanger wa elected for incluion on the SEAMUS Electro-miniature 2012 CD. Eugene Power, a graduate tudent in orchetral conducting, continue hi poition a Muic Director and Conductor of the McHenry County Youth Orchetra. Michael Siletti, a Ph.D. tudent in muicology, preented One thing you mut cut out: Contructing muical biography and the cae of Ethelbert Nevin at the American Muicological Society-Midwet conference in Indianapoli. Noël Wan, an undergraduate tudent in harp performance, won the 22 nd Chi-Mei Art Award for tring in Taiwan. She alo trancribed for harp and recorded piano work by John Cage including Muic for Marcel Duchamp, Dream, Prelude for a Meditation, and Two Patorale. Additionally, he wa accepted a a contetant for the 18 th International Harp Contet in Irael, the longet running, mot pretigiou international harp competition held every three year. Emily Wuchner, a Ph.D. tudent in muicology, preented Entrance and Afterthought: Schumann compoitional proce in the Waldzenen Op. 82 at the American Muicological Society-Midwet conference in Indianapoli. JungHwa Yoo, a doctoral tudent in flute performance, wa a emifinalit in the Myrna Brown Young Artit Competition in May. She alo received honorable mention in the Southern Illinoi Young Artit Competition a well a the Coeur d Alene National Young Artit Competition. Marc Zyla, a graduate tudent in French horn performance, wa named Principal Horn of the Evanville Philharmonic. In addition to the poition in the EPO, Zyla i alo the Conortium Intructor of Horn at the Univerity of Evanville AWARD RECIPIENTS THIRTEENTH ANNUAL 21ST CENTURY PIANO COMMISSION AWARD: John Nichol (compoition) Tatiana Shutova (piano) THEODORE PRESSER UNDERGRADUATE MUSIC AWARD: Kyle Griffith THEODORE PRESSER GRADUATE MUSIC AWARD: Jame Blachly CHANCELLOR S SCHOLARS: Katherine V. Bokencamp (voice) Erin M. Brooker (intrumental muic) Keley L. Cunningham (muic education) Brendan J. Dohi (jazz performance) Colin H. Drozdoff (jazz performance) Erik J. Elmgren (intrumental muic) John Jaworki (intrumental muic) Holly M. Leyden (muic education) Jeremy N. Loui (muic education) Emily Malamud (muic education) Alek J. Mann (muic education) Tabitha J. Nelon (muic) Karen M. Thei (muic education) Karen A. Wanner (muic education) KATE NEAL KINLEY MEMORIAL FELLOWSHIP: Yu-Chi Tai CLARA ROLLAND PIANO AWARD: Jiaxin Vania Ng PAUL ROLLAND MEMORIAL VIOLIN AWARD: Lelie de Leeuw (undergraduate) Michiko Theurer (graduate) KRANNERT DEBUT: Wuna Meng UNIVERSITY OF ILLINOIS SYMPHONY ORCHESTRA CONCERTO COMPETITION: Phil Pierick Yun Jin Ro Minyoung Yoon Alternate: Chu-Chun Yen Wuna Meng Congratulation to our tudent for their outtanding work and accomplihment! Alumni New Lauren Coleman, Reearch Aitant School of Muic Development Office David Keeney (B.M.E. 77) retired after 33 year teaching junior high chool band in School Ditrict 123 & 126, Oak Lawn & Alip, IL and erving a a Union Officer for both Ditrict in AFT Local #943. Look for Dave playing ax & guitar in Reverend T Blue Revival Band & The Brewki Brother. Dave replacement at Prairie Jr. High in Alip i Brian Hillhoue, (B.M.E ) Andrew Bawden (B.A. 98) placed econd in the American Prize for Vocal Performance - Friedrich & Virginia Schorr Memorial Award, in the college/ univerity art ong diviion. Donato Cabrera (M.M. 99) wa recently appointed Muic Director of the Green Bay Symphony. Horacio Nuguid (D.M.A. 94), pianit and Artitic Director of the Rocheter Chamber Muic Society (rocheterchambermuic. org) performed Beethoven Emperor Concerto with the Manila Symphony Orchetra lat Augut. During thi trip to the Philippine, he preented two olo and chamber muic recital, which included the Trio for Horn, Violin, and Piano by Brahm. Nuguid alo erve a a clinician at the Young Artit World Piano Fetival held at Bethel Univerity David Anderon (M.M. 08) added the poition of Director of the Beloit College Orchetra to hi lit of engagement including Muic Director and Conductor of the Lake Geneva Symphony and Conductor of the Elgin, IL Youth Orchetra. 34

37 Lindey Gome (B.M. 08) i working in Educational Muic Programming at the Baltimore Symphony. Jamie Hillman (M.M. 09) i currently piloting a comprehenive choral muic program at the larget medium-high ecurity prion in the tate of Maachuett. The initiative ue muic, becaue of it numerou cognitive, emotional, ocial, piritual, and therapeutic benefit, to fill an important need in the marginalized community of a prion. Julia Kay Jamieon (M.M. 02) wa a guet performer/ clinician and compoer at the Illinoi Summer Harp Cla at the Univerity of Illinoi thi ummer. She gave workhop a well a a recital featuring both the concert grand pedal harp and Dougla Single-Action harp. In addition, he wa the featured clinician and concert artit for the Univerity of Oregon annual Harp Day, and wa a guet clinician and concert artit for the Seattle chapter of the American Harp Society harp weekend where her harp enemble piece, Between My Balloon and the Moon, wa performed by local tudent. Jamieon continue to perform a Principal Harp for the Cleveland Chamber Symphony in Ohio. Philharmonia. Travi Juergen (M.M. 09) added the poition of Aitant Conductor of the Boulder Philharmonic to hi ongoing poition a Muic Director and Conductor of the Kana City Sara Kramer Fraker (D.M.A. 09) wa named Principal Oboe of the Tucon Symphony Orchetra. Carolyn Kuan (M.M. 01) retain her poition a Muic Director and Conductor of the Hartford Symphony. Po Kwan Law (M.M. 09) wa appointed Aitant Conductor of the Hong Kong Children Symphony Orchetra. Charle W. Lynch III (M.M. 02, D.M.A. 09) performed a ubtitute principal harp with the Illinoi Symphony a well a principal harp with the Millikin-Decatur Symphony and Kankakee Valley Symphony lat eaon. He alo performed with the Chicago Compoer Orchetra, premiering everal work. In Augut, he performed in the opera orchetra for the Sugar Creek Symphony & Song fetival. He aited in harp ectional with the Chicago Youth Symphony lat emeter. Lynch continue to develop program at Olivet Nazarene Univerity, Valparaio Univerity, and St. Mary College. He preented a faculty recital at St. Mary College in South Bend, IN with flutit Kimberlee Goodman, a part of the duo From the Wet in September. Ricardo Sepúlveda (M.M. 08) wa hired a an adjunct faculty member at Millikin Univerity in Since then he ha taught private tudio voice, cla voice (for non-muic major), vocal performance eminar on Spanih vocal literature, and voice mater cla. He alo recently performed the role of Schaunard in La Boheme with the Wet Suburban Symphony in Chicago and performed with Pamela William (Lyric Opera of Chicago) and Deiree Haler (D.M.A. 11) in a recital featuring work by Handel, Schubert, Sibeliu, and Dvorak in Door County, WI. Colleen Potter Thorburn (B.M. 06) wa appointed principal harp with the Eatern Connecticut Symphony Orchetra in New London, CT, beginning in fall Colleen horn and harp duo, Apple Orange Pair, wa awarded an alumniventure grant from the Yale School of Muic in January 2012, with which they commiioned, performed, and recorded three new piece for horn and harp. Colleen playing will be featured on everal recording next year: one with Apple Orange Pair, and another howcaing the muic of Lo Angele compoer Michael Winter. Colleen ha taught muic appreciation a an adjunct lecturer ince 2010 at Naugatuck Valley Community College in Waterbury, CT, and a an adjunct intructor of Hearing in Spring 2012 at the Yale School of Muic Zachary Carrettin (M.M. 10) wa appointed Director of Orchetra at the Univerity of Houton. Katie Gunn (D.M.A. 12) wa elected to join the faculty at Indiana State Univerity in Terra Haute in Augut. Claire Happel (B.M. 04, B.F.A. 04) received a Chicago Department of Cultural Affair CAAP Grant to record Carter Trilogy with Karia Werdon. She played a concert of work for ba and harp by Francaix, De Falla, Faur, and everal ong by Latin American Compoer with Philip Alejo at the Mackinac Iland Muic Fetival and in Petokey, MI. She attended the International Enemble Modern Academy in Innbruck, Autria, playing work by Unuk Chin, Iang Yun, and Anton Webern. Additionally, he won the Aociate Harp poition with the Civic Orchetra of Chicago. Aaron Kaplan (B.M. 11, B.M.E. 11) wa appointed a the new muic director/ conductor for the Sangamon Valley Youth Symphony in Springfield, IL. There, he will conduct three orchetra and an adult community orchetra while alo overeeing the beginning tring program. He wa invited to be the orchetra director for the Illinoi High School Theatre Fetival production of Memphi in January Thi i the firt production of the Broadway muical to be produced, aide from the original production, and the firt national tour. Autin Macdonald (M.M. 12) wa appointed Adjunct Profeor of Horn at Meredith College in Raleigh, NC. He i alo third horn in the Raleigh Symphony Orchetra. Jake Walburn (D.M.A. 11) i currently Aitant Profeor of Trumpet at the Univerity of Texa-Pan American, where he teache applied trumpet, trumpet pedagogy, direct the UTPA Jazz Enemble, and perform a a member of the UTPA Faculty Bra Quintet. Jake and hi wife Alba Madrid-Walburn currently live in McAllen, Texa, where they welcomed their firt child, Melanie Sophia Walburn, in December. Ka-Wai Yu (D.M.A. 11) ha been on the faculty of Eatern Illinoi Univerity ince He recently igned a contract with A-R Edition, Inc. to publih hi trancription of Robert Schumann Cello Concerto in A Minor, Op. 129 for cello and tring quartet. Thi i a verion originally propoed by Schumann himelf in 1853, but wa rejected by the publiher. w in t e r

38 In Memoriam o n or i t i e Remembering Charle Hamm ( ) Charle Hamm became a faculty member in the muicology diviion of the School of Muic in 1963, and left for Dartmouth College in During hi tenure at the Univerity, Charle made a huge impact on the diviion and the School. He wa an unuual man with an unuual combination of qualitie: at firt encounter oft-poken, almot hy, but obviouly warm and kind; in other context elf-aured, diciplined, forthright, occaionally with contained but palpable anger. He had hi own idea, uually outide the norm but ultimately peruaive, becaue they made ene. He wa unfailingly generou, loved poker, travel, port (he played quah with hi colleague and creamed mot), hated injutice, pretentioune, and ocial convention. He wa both a pragmatit and an idealit, alo a conpiracy theorit. He had taunch friend all over the School and in many other part of the Univerity. Charle wa an outtanding cholar. Hi 1960 Princeton diertation on the muic of Guillaume Dufay wa publihed oon after hi arrival. By the time he left he had produced a econd book (on opera); two critical edition (work of Leonel Power and Stravinky); three chapter on 20 th century American Muic in a volume coauthored with Bruno Nettl and Ronald Byrnide; the firt volume of a five-volume catalogue of Renaiance manucript co-edited with thi writer; and 10 major article, all on Renaiance muic and it ource. At that point he wa a leading cholar in that field, and in muicology at large. He wa preident of the American Muicological Society from Charle gave coure and eminar in thi and later period of European muic, and in American muic, hi deepet complementary interet. He had an enviable reputation. One of hi triking trength wa hi ability to put complex iue in muic (and anything ele) into In the fall of 1971, Charle Hamm offered a graduate muicology eminar on 19th-Century American Sheet Muic, certainly the firt uch coure of it kind. Within it fine collection of heet muic, UI had a copy of the complete Foter Hall reprint and, in the pirit of the eminar, Charle uggeted that the final exam hould be a collective performance of all the Stephen Foter ong. On January 15, 1972 (which Charle remembered to me hortly before he died a one of the coldet day of hi life. The high wa -4 and the low -12 with typical Central Illinoi wind) the cla gathered in a room on the wet ide of the Illini Union, threw the door open and invited the world to enjoy the beautie of Stephen Foter, performed a well a we could manage. Significantly, there were lot of world that hifted a bit that day, and in ome way large and mall the tudy of American muic went off in new direction. Several of u in and around that eminar have devoted important part of our cholarly career to the tudy of that muic, including Deane Root (M.M. 71, Ph.D. 77), Dori Dyen (Ph.D. 77), Bill Brook (M.M. 71, D.M.A. 76), Neely Bruce (M.M. 66, D.M.A. 71), and myelf. (Deane Root ha ince become the director of the Univerity of Pittburgh Foter Hall Collection.) And if there a little le mytery today about what that muic i, how it can move people, and it meaning, it largely a reult of Charle being unafraid of the unknown and taking u all along for the adventure. Dale Cockrell (B.M. 71, M.M. 73, Ph.D. 78) Director of the Center for Popular Muic at Middle Tenneee State Univerity, Profeor Emeritu of Muicology at Vanderbilt Univerity. uch traightforward term, and with uch attractive informality, that tudent quickly acquired the confidence to undertake the unraveling on their own. Hi undergraduate coure were filled, the tudent facinated and enthuiatic. All hi graduate tudent admired him, and many were inpired to write diertation and thee on the ubject he himelf found mot intriguing. I wa involved in one of Charle longet-lating contribution to the School. A graduate tudent at Princeton we had decided eventually to etablih a reearch facility for Renaiance manucript tudie, and thi became poible when I joined the muicology faculty in We oon founded the Renaiance Archive, houed it in the Muic Building, and embarked on the Cenu-Catalogue, decribing 1,600 manucript. The firt volume wa completed before Charle departure, and with hi long-ditance moral upport, the remaining four volume were publihed by Both the Archive and the Cenu-Catalogue became eential reource, ued by countle cholar and tudent to thi day. One more tring in Charle bow require a word. When he came to Illinoi, the School wa a vital center for the new, avant-garde muic, paralleled in the other art, and manifet almot daily, but grandly celebrated in a biennial Fetival of Contemporary Art. Charle wa not only a dedicated aficionado of all thi activity, but, previouly a prolific though le experimental compoer, wa timulated by the new muic of Illinoi compoer and viitor to write a erie of new work in far more advanced idiom, for performance on campu. [For a vivid account of the extraordinary atmophere here in thoe year, ee Bruno Nettl Encounter in Ethnomuicology, A Memoir (2002)]. Charle pent le than half of hi career here, though it wa here, in the 1970, that hi paionate advocacy for the tudy of popular muic became a profeional imperative. That paion flowered in the remarkable erie of publication of hi Dartmouth year, but the eed were planted at the Univerity of Illinoi. Herbert Kellman, Profeor Emeritu of Muicology 36

39 Life Remembered: Schlei recalled for expertie, wit, kindne If there a heaven, Thoma Schlei i there at the piano, accompanying the opera inger Maria Calla. Mr. Schlei, a beloved lecturer, opera coach and opera manager at the Univerity of Illinoi, died at hi home in Urbana on July 18, The Champaign County coroner attributed hi death to natural caue. Mr. Schlei wa known for hi encyclopedic knowledge of opera, hi bon vivant way, hi wicked wit, and the kindne and encouragement he gave hundred of tudent who paed through the UI Opera Program a well a everyone ele he met. He certainly wa a unique human being, exceedingly brave, courageou, generou, and about the kindet peron I ever knew, aid Eduardo Diazmuñoz, director of the UI Opera Program. He never complained about anything in pite of hi alway frail health, and I gue we all know that hi health problem caued him more pain than we hall ever know. He taught u o many leon in life by example, not only in opera, a world in which hi knowledge wa vat. I till don t know how the opera program will get along without him. Diazmuñoz had planned a urprie celebration for Mr. Schlei 25th anniverary with the program. He will now dedicate the eaon to hi colleague memory. Mr. Schlei joined the UI faculty in 1981 and became the opera program vocal coach in He alo taught clae and wa a muical conultant for the UI Department of Theatre. The public knew Mr. Schlei in variou way. One wa through the concert program note he had written ince 1984 for Sinfonia da Camera and ince 1979 for the UI Opera Program. He alo gave pre-concert lecture for 25 year at Krannert Center for the Performing Art and wa an organit for 33 year at St. John Chapel on campu. Mr. Schlei alo taught for 10 year in the UI Office of Continuing Education community non-credit program, Elderhotel program and enior cholar program. In 2005 he received an outtanding intructor award from the Illinoi Lifelong Learning and Service Coalition. A a lecturer in the School of Muic he received the Excellence in Teaching and Faculty Service Award. And from 1979 to 1980 Mr. Schlei wa a freelance muic critic for The New-Gazette, writing 44 piece by hi count. He famouly lot that poition after writing a mixed review of Luciano Pavarotti 1980 concert at Krannert Center. Shortly after hi review wa publihed, a critic for The New York Time panned a Pavarotti recital at the Metropolitan Opera in New York. A Wiconin native, Mr. Schlei tudied piano at Lawrence Univerity and received a mater degree in muicology at the Univerity of Wiconin at Madion. Funded by a Fulbright, he did reearch in Germany on opera. He came to the UI to do advanced work and tayed. I m very happy here, he told The New-Gazette in I certainly love the town. The UI muic library i uch a fine muic library, and we have o many gifted tudent. That the pleaure of taying here. Many of hi former tudent are among Mr. Schlei 2,860 Facebook friend. Many poted remembrance on hi page upon learning of hi death. Brett Schlei wrote that it wa wonderful to ee the many great meage from people whoe live had been touched by hi couin. He wa an amazing friend, mentor, counelor, and couin to me, Brett Schlei wrote. He wa immenely thoughtful and never forgot a word that he heard. Hi interaction with tudent and hi time at the Univerity of Illinoi meant everything to him. Melia Merli Reprinted by permiion of The New-Gazette 2012 Thoma Henry Edward Schlei December 13, 1949 July 18, 2012 Profeor Thoma Schlei will be orely mied for year to come. He wa a living legend and even larger than life, a I quickly realized after moving to Champaign-Urbana in July Thu, I began to refer to him a the Opera Diviion Soul. The imple mention of hi name conjure many torie, memorie, and o much more. Schlei definitively frame an epoch not only at the Univerity of Illinoi, the School of Muic, and the Opera Diviion, but alo in the community and within many opera circle. It i alway difficult to accept that an era ha come to an end and with hi departure, we are till without word. Eduardo Diazmuñoz (left) with Thoma Schlei. The many tudent who knew Tom were touched by hi paion, kindne, gentlene, and broad and wide knowledge of muic, and in particular of opera and muical theatre. Above all I along with many other admired hi elfle drive, reilience, and hi dedication and paion for teaching. He wa alway willing to offer advice no matter if he wa on campu, at Timpone, or imply walking down the treet. We all know how profoundly he touched our community and he himelf became an intitution through hi preconcert lecture at Krannert Center, the coure he taught the Office of Continuing Education and the Theater Department, and hi ervice a organit at Saint John Catholic Newman Center. It i therefore fitting that Tom wa awarded an Excellence in Teaching and Faculty Service award from the Univerity Continuing Education Aociation. While he held a trong influence on everal opera circle and with everal colleague, I think it i till too oon to fully realize the magnitude and cope of hi legacy. I am abolutely convinced that it will continue to touch and amaze everal generation to come, for hi teaching were not only about muic, but alo valuable leon in life. I only aw him mad once and I never heard him peak poorly of anyone. He wa the type of man that never aw evil even if it wa obviou to all other. Thi i not about turning your face away from reality. It i a valuable leon to not becoming bitter, frutrated, or poioned. In pite of hi incurable dieae God only know how much he uffered he never complained. Every day wa a beautiful day to enjoy, to be happy, and to hare joyfully with other. Thi year would have been Tom 25th eaon a General Manager and Principal Coach of the Opera Diviion. My original intention wa to celebrate thi occaion throughout the year and I wanted to urprie him. Intead, he urpried u. Therefore we are now dedicating the opera eaon to the memory of Thoma H. Schlei. He wa looking forward to thi year repertoire and I know that everyone involved in the eaon, patron included, will join me in making him proud of each production. A day-long celebration of hi life wa held on Sunday, October 21, at Saint John Catholic Newman Center, culminating with a concert at Krannert Foellinger Great Hall. Hi pirit wa with u for ure, and I imagine he mut be extremely happy fulfilling one of hi mot preciou dream: coaching hi favorite inger, Maria Calla. Eduardo Diazmuñoz, profeor and chair of opera w in t e r

40 In Memoriam PLANNED GIVING Creating a Legacy of Excellence o n or i t i e 38 Lizabeth Wing (Ed.D. 78) died at the age of 64 on Thurday, Augut 9, 2012, after an extended battle with cancer. Liz earned a bachelor degree muic education at Luther College, a mater of muic degree at the Univerity of Cincinnati College- Conervatory of Muic and Doctor of Philoophy degree from the Univerity of Illinoi at Urbana-Champaign. She erved on the muic education facultie of the Univerity of Oregon and the Crane School of Muic at Potdam College. She wa appointed head of the Diviion of Muic Education in 1986 at College- Conervatory Muic where he taught until here retirement in the pring of A member of the National Board of Editor for The Quarterly from , Liz wa alo on the Council Adviory Committee for the Council for Reearch in Muic Education from She wa an editorial board member for Contribution and the Southeatern Journal of Muic Education. A an author, he wrote a chapter for the Handbook for Reearch in Muic Teaching and Learning (1992), wa ection editor for the next edition of the Handbook and co-wrote Structural Knowledge for Muic Teaching (2004) with Richard Colwell. She held the tate and regional diviion reearch office with the Muic Educator National Conference, and wa a clinician at tate and national convention. She wa a founding member of the Mountain Lake Colloquium for Teacher of General Muic Method and erved a the executive editor of the Mountain Lake Reader. She wa beloved by colleague and tudent alike for her irreverent wit and urpaing dedication to the profeion of teaching muic. Vernon Holman Opheim (D.M.A., 71), age 79, died on October 25, Vernon wa born December 29, 1931 to Mattie and Ingvald Opheim in Sedalia, Alberta, Canada. He moved to Minneota in 1950 to purue an education in muic. After an accident injured hi hand, he changed hi focu from piano performance to choral muic. He graduated from Concordia College in Moorhead, MN and taught in the high chool for one year in Princeton, MN and for 11 year in Moorhead. He obtained hi Doctorate of Muical Art from the Univerity of Illinoi, and then taught choral muic and conducting firt at the Univerity of Maine, then for 20 year at the Univerity of Minneota-Duluth, regularly taking choir on international tour. He etablihed a madrigal dinner tradition at UMD. He wa active in ACDA and MMEA. He retired from teaching in 1992 and etablihed a buine organizing international tour for other choir. He retired to Tucon in He married Avi Walwick in They have three daughter, Kathryn Opheim (Terry Feentra), Sioux City, IA; Mayme Barber (Tom), Eveleth, MN; and Kara Nevin (Dave), Rio Rancho, NM. Grandchildren are Abbey, Meredith, and Annie Feentra, Breanna and Neil Barber, and Romee and Keley Nevin. A ignificant portion of the School of Muic annual gift income come from realized bequet from our alumni and friend. Donor who remembered the School of Muic in their etate plan provide critical funding to etablih cholarhip, award, fellowhip, and other tudent and faculty upport. The School of Muic would like to recognize the following alumni and friend who have choen to remember the School through a bequet, charitable trut, or other planned gift vehicle: Anonymou Mr. Gerald E. and Mr. Linda Allen Anderon Mr. Alan J. and Mr. Joyce D. Baltz Mr. Patrick J. Bitterman Prof. Stephen Blum Mr. David A. Brun Mr. Richard R. Clark Mr. Stanford J. Collin Mr. Roger R. and Mr. Shirley E. Cunningham Mr. Calvin D. and Mr. Edna M. Filon Mr. Jame R. and M. Candace Penn Frame Mr. Preton L. and Mr. Cathy L. Gale Dr. Edward N. and Mr. Ferial Hook Mr. Donald M. and Mr. JoAnn Unell Houpt, Jr. Mr. Larry R. Houtz Dr. Raymond V. and Mr. Lori L. Janeviciu Mr. Bruce C. Johnon Mr. Edward J. Krolick Mr. Dean T. and Mr. Nancy Langford Mr. Randall S. Lindtrom Mr. Barbara C. and Mr. Michael J. McDonnell Dr. Peter A. and Dr. Sharon D. Michalove Dr. George W. Mitchell III and Dr. Tamara T. Mitchell Mr. William T. Scott III Mr. Frederick V. and Mr. Willodean Simon Mr. R. Marc and Mr. Linda D. Sim, Jr. Mr. Robert V. Sperlik, Jr. Mr. Diane H. and Prof. Albert E. Staub Mr. Craig B. Sutter Mr. David A. and Mr. Deborah M. Trotter M. Sharon Marie Wet Mr. John T. Winburn Mr. Robert L. Zarbock If you are intereted in information about etablihing a planned gift to benefit future generation of muic tudent at the Univerity of Illinoi, pleae contact Roger Laramee, Aitant Dean of Advancement, College of Fine and Applied Art, at (217)

41 Partner in Tempo GIFTS IN SUPPORT OF THE SCHOOL OF MUSIC (JULY 1, 2011 SEPTEMBER 30, 2012) The overall ucce of the School of Muic depend greatly on the generoity of our alumni, friend of the School of Muic, foundation and corporation. We gratefully acknowledge the generou upport of the following individual, corporation and foundation, who made gift in upport of the School of Muic from between July 1, 2011, and September 30, Pleae note that member of the Preident Council are deignated with an aterik (*). The Preident Council, the Univerity of Illinoi Foundation donor recognition program for thoe who give at the highet level, i reerved for contributor whoe outright or cumulative gift total $25,000 or more, a well a thoe who have made deferred gift of $50,000 or more. The School of Muic welcome new contributor to the honor roll. For more information about making a gift to the School of Muic, pleae contact Lauren Coleman in the Development office, at or lwaidel2@illinoi.edu. PRESTISSIMO ($15,000 and above) Ann Scott Maon Trut (Dec)* Donald E. Meman Trut (Dec) Jame Nakada Trut (Dec)* Mr. Mark W. Nakada* Howard A. Stotler Trut (Dec)* Mr. Paul B. and Mr. Virginia L. Uhlenhop* George Unger Charitable Remainder Unitrut (Dec)* Ruth E. Weinard Etate (Dec) PRESTO ($1,000 $14,999) Mr. William P. Alberth Jr. and Mr. Patricia A. Robb Mr. Linda Allen Anderon* Mr. Fern Hodge Armtrong* Mr. Robert M. Barne Jr. and Mr. Lia- Ann Lingner Barne Dr. Richard B. Berlin Jr. and Mr. Miaho M. Berlin* Dr. Alan R. Branfman* M. Sarah E. Chernick Buerger* Dr. W. Gene and Mr. Lynd W. Corley* Mr. William and Mr. Eleanor M. Crum Mr. John P. Davidon III and M. Shirley A. Schaeffer* Mr. Lynne E. Denig Mr. Todd Towbridge Dorman and M. Beverly Jeann Lacy W. Jean Eleer Etate (Dec) Dr. Albert C. England III and Mr. Barbara A. England Mr. Jame R. and M. Candace Penn Frame* Mr. Andrew L. Goldberg Mr. Charle E. Gullakon Mr. Joeph R. and Mr. Krity L. Mardi- Hanley Mr. Denni Helmrich Mr. Raymond J. and Mr. Bettie A. Holeman Dr. Raymond V. and Mr. Lori L. Janeviciu* Mr. Harrion J. Kaplan Mr. Thoma J. Keegan Mr. Robert G. and Mr. Cynthia M. Kennedy* Mr. Edward J. Krolick* M. Sandra R. Leonard Dr. Sara de Mundo Lo* Peter T. Magnuon, MD Mr. Arah Mahboobin Mr. Stuart M. Mamer* The Honorable Stephen E. Manroe Mr. Joeph S. and Mr. Joyce Marquette Mr. David R. Martin Dr. Steven E. and Mr. Jennifer S. Mather* Mr. Diane Emiko Matuura Mr. Charle T. and Mr. Trudy L. Medhurt M. Suan Harmon Meyer Mr. J. Michael Moore Mr. Joeph E. and Mr. Loi E. Morrow Dr. Jeffrey Ruell and Dr. Rebecca Kliewer Olon* Dr. George A. Pagel* Mr. Daniel J. (Dec) and Mr. Marjorie A. Perrino* Mr. William G. and Mr. Cynthia N. Petefih Mr. Dean A. Pollack and M. Lizabeth A. Wilon Mr. Jame R. Ponder and M. Jennifer A. Sochacki Dr. Edward and Mr. Loi Beck Rath* Mr. Paul A. and Mr. Yvonne G. Redman Mr. Allan H. and Mr. Dorothy E. Romberg Dr. Charle A. and Dr. June R. P. Ro (Dec)* Mr. Joeph G. Santrom Dr. Edwin A. Scharlau II and Mr. Carol A. Scharlau* Mr. Arthur Lee and Mr. France A. Schlanger Mr. Ralph C. and Mr. Penny S. Skogh Judge Lawrence A. Smith Jr. and The Reverend Donna Hacker Smith* Mr. G. Gregory and Mr. Anne D. Taubeneck* Mr. John H. Walter and Mr. Joy Crane Thornton-Walter* Mr. Bruce B. and Mr. Megan G. Weber* Mr. John E. and Mr. Nancy J. Whitecar M. Mariann Yevin VIVACE ($500 $999) M. Forough Minou Archer* Beth L. Armey* Mr. Theodore J. Barczak Mr. John H. Beaty Prof. Sigurbjorn and Mr. Sally Takada Bernhardon Patrick J. Bitterman* Mr. Craig W. and Mr. Nancy E. Branigan Mr. Clark A. and Mr. Cynthia Maanari Breeze Mr. Ronald J. and Mr. Melody J. Domanico* Prof. Gert (Dec) and Mr. Anne A. Ehrlich Mr. Jame Paul and Mr. Lauren R. Emme M. Elaine N. Ete Prof. Jame A. Farmer Jr. and Prof. Helen S. Farmer* Mr. Cleve W. Fenley Mr. Ronald H. Filler* Mr. Roger C. and Mr. Linda C. Fornell* Prof. Marvin and Mr. Matilda Frankel* M. Melva F. Gage* Mr. Jame J. and Mr. Jennifer A. Gettel Mr. Mary L. and Mr. Paul W. Hartuch Mr. Edward W. Harvey* Dr. Edward N. Hook* Mr. Robert L. and Mr. Cynthia A. Hormell* Mr. Scott E. and Mr. Jean H. Jamion Mr. Jeffrey K. Jungk Dr. Peter J. and Mr. Elizabeth M. March* Mr. Leonard G. and Mr. Bridget G. Marvin* Dr. Gordon W. Mathie Mr. John S. and Mr. Virginia P. Mead Mr. Cottrell R. Meador and M. Barbara C. Hunter Dr. Stephen Tipton Mile* Mr. Craig R. and Mr. Margaret Rece Milkint* Mr. William R. and Mr. Martha Behr- Miller* Prof. William and Prof. Charlotte Mattax Moerch Mr. Truman A. and Mr. Suan L. Moore Dr. Kenneth G. Nolte Dr. Philip O. and Mr. Jennifer L. Nubel Mr. William J. Panano Mr. G. Martin Riemenchneider Donald and Gay Robert* Mr. Paul D. and Mr. Debra A. Sarvela Dr. Paul K. and Mr. Suan K. Schleinger* Mr. Glendon A. and Mr. Julie A. Schuter* Dr. Denni J. and Mr. Patricia H. Schwarzentraub* Mr. William R. and Mr. Kathryn J. Scott Mr. Frederick V. Simon Mr. Melvyn A. Skvarla Prof. Nichola and Prof. Mary S. Temperley* M. Tammy L. Thramann Mr. David J. Wagtaff Mr. Jeffrey D. and Mr. Kimberly Ann Wahl Mr. John B. Weaver M. Lia A. Weintein Dr. Darren R. and Mr. Jean E. Wet M. Suan J. William Mr. Robert L. Zarbock Mr. Michael and M. Kimberley Ziegler ALLEGRO ($200 $499) Dr. Daniel C. and Mr. Olga Adam Mr. William P. and Mr. Donna M. Alberth Dr. Richard E. and Mr. Carolyn B. Anderon Mr. Shawn D. and Mr. Colleen Anderon Mr. Erwin O. and Mr. Linda A. Arend* Dr. Anton E. Armtrong Mr. Larry J. Ahley M. Stephanie J. Ahton Dr. J. Mark Baker Martha S. Beerman Trut (Dec) Mr. Richard B. Biagi Mr. Chritopher A. Biank M. Laura J. Bingham Mr. Alan W. Blair Dr. Charle W. Boat and M. Marha Clinard Dr. Philip V. and Mr. Chritine W. Bohlman Dr. Robert S. Bretzlaff Mr. George W. and Mr. Janine Brock Mr. David A. Brun Mr. Ralph D. Butler Mr. Janet K. and Mr. Jeffrey M. Carter Mr. Joel and Mr. Anna Y. Catalano Mr. Michael P. Chu M. Kirten R. Clemen Mr. Jeff Clodfelter Mr. Larry D. Cohen Mr. Laura J. and Mr. Dougla Coter Mr. Jame L. Davidon Jr. Mr. Marguerite L. Davi w in t e r

42 o n or i t i e Dr. Delbert D. Dielhort Mr. Donald R. Dodd* Mr. Mark G. Duebner Mr. Chritopher L. and Mr. Maureen A. Durack M. Ariana L. Dymerki The Honorable Ann A. Einhorn* Dr. David Eieman Mr. Rodney L. and Mr. Aldena L. Everhart M. Judith A. Feutz Mr. Margaret A. Frampton* Dr. John P. Frayne Mr. Barbara E. Gei M. Dorothy E. Gemberling* M. Vickie A. Gillio Mr. Joeph Dale Goble* Mr. Thoma E. Goettche Mr. Nichola Good Mr. Nobuko S. and Prof. Robert B. Grave Mr. Robert Knight Gray Mr. Dale A. Hallerberg and Dr. Brenda L. Brak Mr. Eric L. Hammelman Dr. Jame B. Hancock M. Jennifer L. Hanon M. Kathleen A. Harvey Mr. Jame S. Hatch Mr. Thoma W. Hawley M. Heather M. Hermanon M. Gaye Ann Hofer and Dr. Gregory Michael Cunningham Dr. Jee E. Hopkin Jr. Dr. Albert C. Hughe Jr. and Mr. Charlotte E. Hughe M. Jane P. Hummel Dr. R. Bruce and Mr. Sandra S. Huton Dr. Barbara G. Jackon Mr. Kathryn A. and Mr. Alan J. Janicek Mr. Rick R. Joellenbeck Mr. Bruce C. Johnon* Mr. Corey R. Johnon Vinon M. and Linda G. Johnon Mr. Howard V. Kennedy Mr. David W. and Mr. Jennifer L. Knickel Mr. John W. Koenig Jr. Mr. William J. and M. Carol A. Kubitz* Mr. Frank L. Kuchuri Mr. David D. Kullander Mr. David R. and M. Carol C. Laron M. Hannah E. Lebovitz Jame E. LeGrand, MD Mr. David William and Mr. Barbara R. Lembke* Prof. Ruth E. Lorbe Mr. Stephen J. Madden III and Mr. Janet M. Madden Mr. Alek J. Mann Mr. Richard S. Marho Mr. Deborah A. and Mr. Ricky Maon Mr. Joanne J. McIntyre* Mr. Bryan J. Meeker Mr. Robert B. and Mr. Mariana H. Meeker Mr. Anna J. Merritt* Dr. David W. and Mr. Sharron P. Mie Mr. LeRae Jon Mitchell Mr. Jeffrey Leigh and Mr. Barbara T. Modlin M. Ruth A. Moore Mr. Robert E. Morgan* Mr. Mark W. Moley and Mr. Sarah J. Good M. Phylli Brill Munczek Mr. Frank H. Mynard III and Mr. Suzanne Mynard* Mr. Lee E. Nickelon Jr. Mr. Marjorie S. Olon Mr. Lynda Ohinkie Dr. Mary J. Palmer Prof. Suan H. Parii and Prof. Herbert Kellman Dr. Karin A. Pendle Mr. Jeffrey Robert and Mr. Barbara Jo Peteron Mr. Michael S. Petteren and Dr. Jan Aramini Dr. Stephen L. and Dr. Ether Portnoy* Mr. Michael W. Preler Mr. Bruce T. Rhode Mr. Luzern A. Richter Dr. Kevin W. Rockmann Mr. Jeffrey L. and Mr. Joyce Kim- Rohrer Mr. Kenneth W. Rubin Mr. Robert John and Mr. Elda Louie Ruckrigel M. Lauren A. Ruh Mr. Thoma E. Schrickel* Mr. Richard H. and Mr. Janet D. Schroeder* Mr. Chritie B. Schuetz* Mr. Steven P. Seaney Mr. Ralph E. Shank Mr. Aaron T. and Mr. E. Regan Shepley Mr. R. Janice and Prof. Donald R. Sherbert Dr. William J. Stanley Mr. Jon D. and Mr. Kendra H. Stewart* Mr. Janine Sue Stoyko Mr. William J. Suman Mr. Lawrence E. Thee Mr. Denni O. Thiel Mr. John J. Thramann Prof. H. C. and Mr. Pola Fotitch Triandi* Mr. Jeffrey W. Trimble Dr. A. Robert and Mr. Mary K. Twardock* M. Samantha M. Uher Dr. Peter and Mr. Nancy Van Den Honert Dr. Jutin M. Vicker Mr. Sandra Smith Volk* M. Diane K. Walkup Dr. David L. Whitehill Mr. Dorothy W. William* Mr. Richard Lee William Mr. Rodney J. and Mr. Suan M. William Mr. Jame T. and Mr. Cheryl B. Wormley* Prof. Richard E. Ziegler* ALLEGRETTO ($100 $199) Dr. Montgomery M. Alger Mr. Eddie K. Allen Kenneth W. Altman, MD Prof. Carl J. and Mr. Nadja H. Alttetter Mr. David G. and Mr. Sharon M. Anderon* Mr. Glen R. Anderon Mr. Glenn R. Anderon Prof. Walter L. Arntein Mr. Charle C. Achbrenner and Chri T. Spencer Dr. David F. Atwater M. Suanne L. Aultz Mr. Virginia A. Baethke Mr. Eileen J. Balliett Mr. Michael J. Bandzierz and M. Ethel M. Patteron Mr. Clyde L. Barth George O. and Sandra L. Batzli* Mr. Raymond A. and Mr. Mary Ellen E. Baum Mr. W. Herbert and Mr. Iva Jean Bayley M. Suan D. Bell Dr. Michael D. Bennett M. Sharon Mae Berenon Prof. Richard J. and Mr. Carol A. Bett* Mr. Michael G. and Mr. Joyce A. Billing Mr. Alex C. Binek Dr. Jonathan T. and Mr. Sarah L. McKibben Black Dr. Cathrine Blom and Dr. Gordon A. Baym* Mr. Joeph A. and Mr. Jill A. Bonucci Dr. Richard D. Bradley Dr. Lynn Grabher Bradtke Mr. Clark S. and Mr. Karen S. Brooken Mr. Jeffrey A. and Mr. Stephanie P. Bryk Dr. L. Kathryn Bumpa The Reverend Stephen S. Burgener Dr. Weley R. Burghardt and M. Angela M. Stramaglia Mr. Jim and Mr. Kimberly W. Buron Mr. Thoma G. and Mr. Kara J. Butt Mr. Luana M. and Mr. Charle M. Byte Mr. Fernando R. Campo Mr. Sandra R. Caerly Mr. Thoma E. and Mr. Amy A. Clark Mr. Sandra Cohen Mi Judith Kay Cotter Mr. Robert E. Cowan Dr. Grady E. Coyle Mr. Kevin E. Craine M. Doreve A. and Mr. Richard B. Cridlebaugh Mr. Thoma and Mr. Donna L. Crown Dr. Warren J. and Mr. Marha K. Darcy Mr. John D. and Mr. Angela Deligianni M. Alice L. Dell Mr. Scott R. Dell Mr. Richard N. DeLong* Mr. Suan B. DeWolf Ruell B. Dieterich, MD Mr. Gerald R. and Mr. Cathy L. Ditto Mr. Robert F. Doak Steven G. Docimo, MD Mr. Han J. Doebel Mr. C. William and Mr. Kay W. Dougla Mr. Fred H. and Mr. Adele G. Drummond Mr. Scott W. Duff M. Marilyn M. Duginger Mr. Mark A. Duker The Reverend Wyeth W. Duncan Dr. David D. and Mr. Mary K. Granato Dungan Mr. Ruell Joeph Duzak Mr. Roger J. Eatman Mr. Peter A. Eggleon Mr. Kritopher J. and Mr. Cheryl M. Einweiler Mr. Mark E. Elledge M. Janeen Emory- Kolb Mr. Stephen L. Enda Mr. Perry W. Ergang Mr. Joanne H. Erwin M. Dawn Fairchild Mr. Frederick D. and Mr. Contance A. Fairchild Dr. Virginia Farmer Mr. Todd Henry Faultich Dr. Stefan P. Fiol and Dr. Meera Murthi Mr. Richard H. and Mr. Joanne Breee Foley* Dr. Diane Fout and Mr. Jame A. Nelon Prof. Dougla A. and The Reverend Margaret A. Foutch Mr. David and Mr. Sharon Bray Frank Dr. Michael T. and Mr. Julie Freina Prof. Stanley and Mr. France Friedman Dr. Kathleen S. Gaylord Mr. Lelie J. and Mr. Kent D. Geibel Mr. Karl W. Gei M. Viva G. Gillio Dr. Chritopher and Dr. Valerie Woodring Goertzen Dr. Joe W. and Mr. Rebecca M. Grant Mr. Edward E. Gray Mr. Paulette K. and Mr. Anthony F. Graziano M. Jennifer Leigh Grill Mr. Gregory M. Grobarcik Mr. Gregory R. Grove Mr. Glen E. Gullakon Mr. John W. and Mr. Michelle S. Hackett Mr. Richard K. Haine Mr. Candice A. Hanen Mr. Rebecca Hanon* Mr. Kennet F. Harri Dr. Albert D. and Mr. Pamela G. Harrion M. Mary Ann Hart Mr. Edward G. and Mr. Louie M. Hartigan Mr. Joeph C. Hartman Mr. Gretchen Graepp Hakett Mr. John J. and Mr. Marilyn H. Haynie M. Patricia J. Herna Mr. Steven Kenneth Hela M. Karen Ann Higdon Mr. Paul D. and Mr. Donna K. Hilgeman Mr. Ronald Z. and Mr. Mary Ann Hood Mr. Donovan P. Hough Mr. Larry R. Houtz* Mr. Chritopher A. and Mr. Peggy S. Huon* Mr. Jame A. Hutchinon Dr. Charle F. Iaacon Mr. John A. Jackanicz Mr. Everett M. Jame III Mr. Laurine Jannuch 40

43 Mr. Jeffrey R. and Mr. Eileen M. Jaica M. Julie A. Jaica- Mercola Mr. William A. and Mr. Gail A. Jindrich Carlyle W. and Judith M. Johnon Dr. Clifford B. Johnon Jr. and Dr. Critina N. Medrano- Johnon* Dr. Jame R. Johnon Mr. Mary L. Johnon Mr. Robert R. and Mr. Bobbie S. Johnon Dr. Richard B. and Mr. Terri J. Jona Mr. Charle W. and Mr. Joanne W. Kelly Mr. R. Edward and Mr. Barbara Kiefer Dr. Kent L. and Mr. Karen A. Knoernchild Mr. William R. Komarek Mr. Michael K. Konrad Mr. Linda S. Kranz Mr. Nancy J. Krumpolz Ulrich E. and Mary U. Krue M. Janet Kuchler Mr. Andrew M. and Mr. Suan M. Kunz Dr. Marvin Lee Lamb Mr. Ronald P. and M. Joan R. Larner Dr. Chritina M. Leiner- Lohe Mr. Suan S. Lewi Mr. Blake W. Linder Dr. William A. Longacre Mr. Alan B. Lopatka Prof. Morgan J. Lynge Jr. and Mr. Brenda Callahan Lynge* Dr. Walter J. and Mr. Marguerite F. Maguire* Dr. David M. Main* Mr. Robert M. and Mr. Suan Bekermeier Makeever Mr. Dougla J. Mandel Mr. Contance A. Marigold* M. Jane R. Marh Mr. Carolyn R. May M. Judith McCulloh* Mr. Myron D. and Mr. Nancy Ellen McLain Mr. Ellen M. Mettler Mr. John Warren Meyer Mr. Stephen E. and Mr. Wendy S. Michel Mr. Brian S. Mitchell Mr. David R. and Mr. Sherri L. Morri Mr. George M. Morvi* Dr. Bruce B. and M. Kathy Mo M. Stephanie T. Munyon Dr. Robert D. Muey* Mr. Ernet W. and Mr. Kathryn R. Nance Mr. Fredric G. Nearing* Mr. Gerda T. Nelon Mr. Larry R. and Mr. Donna L. Nemeth Kim Nickelon MD Mr. Andrew F. Nickle Mr. Gerald R. and Mr. Mary Ann Norton Mr. Richard E. and Mr. Jenene Norton Mr. Thoma R. Oakley Mr. Jean and Prof. Howard Oborn* Mr. Michael T. O Sullivan Mr. Margene K. and Mr. Peter M. Pappa Mr. Barbara L. Patteron Mr. Robert F. Pattion Mr. David L. Patton Dr. Carolyn R. Paulin and Dr. Paul Vermel Mr. Gregory W. Pfeifer Mr. Michael A. Pizzuto Mr. Kenneth R. Pletcher Mr. William L. and M. Retta Pollio Dr. Michael Joeph and Mr. Diane M. Pott Mr. Janet S. and Mr. Michael W. Preton Mr. Roland H. and Mr. Kelly A. Raffel Winifred Ehler and A. William Ramtad Mr. Stanley E. Ranom M. Phylli Rappeport Mr. Richard L. and Mr. Alexi G. Raley Mr. Gregory Reichold Jr. and M. Barbara J. Gawzik Mr. Lawrence R. and Dr. Linda S. Remennyder Mr. Daniel J. Repplinger Mr. William D. Rice Mr. John Richard Mr. Cheryl Lynn Richt Mr. Loi M. Richter Mr. Robert J. and Mr. Diana L. Rogier Dr. Deane L. Root Dr. Sylvia L. Ro Mr. Janice F. and Prof. Melvin Rothbaum* Mr. David A. Rouh Mr. Stephen K. and Mr. Deborah C. Rugg* Dr. John M. and Dr. Kathreen A. Ryan Dr. Lori K. Sander Mr. Jeanne D. and Mr. Ray K. Saaki Mr. John L. Schlafer Mr. Ralph S. Schleinger Mr. Herbert Schneiderman Dr. Steven E. Schopp Mr. Wallace B. and Mr. Patricia J. Schroth Mr. John F. and Mr. Nancy K. Schwegler Mr. Tobi L.S. Sellekaert Mr. Benjamin H. and Mr. Amanda- Kathryn Blanchette Shanbaum M. Terea A. Shine Mr. Ruthann Shurt Dr. John J. Silantien Mr. Ellen and Mr. Marc Singer Mr. Michael J. Sito Mr. John D. Skadden Prof. Robert M. and Mr. Mary M. Skirvin* Gregory L. Skuta, MD Mr. Terry S. and Mr. Katharine E. Slocum Dr. William C. Smiley Mr. Philip and Mr. Marilyn Smith Mr. David D. and Mr. Marcia L. Sporny M. Kathryn G. and Mr. Marc A. Spritzer Mr. Brian K. and Mr. Wendy Stabler Dr. Aaron Stachowiak Dr. Richard J. Stanilaw M. Kaitlin M. Steele Mr. Brian D. Stepping Mr. Chritopher M. Stoddard Mr. George E. Strombeck Nancy E. Stutman Mr. Willie T. and Mr. Valerian A. Summerville M. Jennifer L. Heted Swayne Mr. Scott L. Swinderman M. Kimberly I. Tallungan Mr. Thoma C. and Mr. Suan L. Temple* Mr. John A. Tenuto Jr. Mr. William P. Theien and M. Amy A. McArthur M. Laura J. Thelander Mr. Jacqueline A. Tille Mr. Randall E. and Mr. Margaret A. Torbeck Mr. Robert L. and Mr. Mary W. Towner Mr. Michael A. and Mr. Olivia L. Tremblay Mr. David A. and Mr. Deborah M. Trotter* Mr. Marhall M. and Mr. Cecilia Tucker Mr. Jane Groft Turcza Dr. Robert C. Van Nuy M. Athanazia E. Varner Mr. Angelija Vaich M. Diane Waltermire Dr. Calvin E. Weber Mr. Gerald G. and Mr. Mary Beth Weichbrodt Dr. Morton W. and Mr. Cecelia A. Weir* Mr. Ellen M. Wet Mr. Robin Jean and Mr. Jame W. Wet Mr. Edmund W. White Mr. Roger M. Widicu Mr. George R. and Mr. Diane H. Wilhelmen Mr. John E. and Mr. Tania N. Wilken M. Julie E. Wilkin Thelma Willett Etate (Dec) Mr. Caey W. William Mr. Keith L. Wilon Prof. John Wutman* Prof. Scott Alan and Mr. Marian Kuethe Wyatt Dr. William R. YaDeau M. Megan E. Zachar CORPORATIONS, FOUNDATIONS, AND ORGANIZATIONS American Endowment Foundation Ann and Gordon Getty Foundation Arlie Gough and Son Background Reearch Report, Inc. The Chicago Community Foundation Chico Heart Medical Clinic Community Foundation of Eat Central Illinoi ConAgra Food Lamb Weton Dad Aociation David E. Grabeman, DDS, PA David Martin & Company Conultant, LLC Eat Balt Commiary, Inc. The Erwin and Linda Arend Foundation Fidelity Charitable Gift Fund Gavlin Family Foundation Gibon Electric Company Glen Anderon & Aociate, LLC Golden Lyre Foundation IL Federation of Muic Club Haine & Aociate Ltd. Harry A. Rice Inurance Agency The Hindley Trancription, Ltd. Human Kinetic Illinoi Opera Theatre Enthuiat Jeanne F. Morriette, CPA, PC Kenneth and Diane Matuura Foundation L. R. Peck, Ltd. Law Office of Lance D. Taylor M. R. Bauer Foundation Magyar Family Trut Maplewood Maey Family Dentitry, PC Memphi Muicraft Publication The Mintel Family Neil A. Kjo Muic Company Opera Illinoi League Our Lady of Loretto Men Club The Preer Foundation The Safeway Group Schreiber Food, Inc. Schwab Charitable Fund The Stough Group Inc. Student Foundation of I.S.M.T.A. Thiel Accounting & Financial Service Tony Barron Orchetra U.S. Charitable Gift Trut Univerity of Illinoi Alumni Club of Houton Vanguard Charitable Endowment Program Wright-Patt Credit Union, Inc. YMCA of Central & Northern Wetcheter MATCHING GIFTS Abbott Fund Ball Corporation Bank of America Foundation The Boeing Company Edion International Exelon ExxonMobil Foundation Fidelity Foundation Firt Midwet Bancorp, Inc. GE Foundation HSBC Bank USA IBM Matching Grant Program Illinoi Tool Work Foundation Ireetec Incorporated McKeon Foundation, Inc. Mead Johnon Nutrition Nokia Initiative for Charitable Employee The Northern Trut Company Northwetern Mutual Life Foundation, Inc. PNC Foundation Sempra Energy Foundation St. Peterburg Time Fund, Inc. State Farm Companie Foundation Swi Re Takeda Pharmaceutical North America, Inc. Texa Intrument Foundation Thrivent Gift Multiplier Program W.W. Grainger, Inc. Corporate Giving Program Well Fargo Foundation Xcel Energy Foundation w in t e r

44 Non-profit Organization U.S. Potage PAID Permit No. 100 Champaign, IL 1114 Wet Nevada Street Urbana, Illinoi ADDRESS SERVICE REQUESTED EXPERIENCE 2013 REGISTER ONLINE: JUNE AND JULY 2013 iym.muic.illinoi.edu SESSION 1 JUNE SESSION 2 JUNE SESSION 3 JULY 7-13 SENIOR HIGH ISYM Academy Band Choru Compoition/Electronic Muic Jazz Muical Theatre Orchetra Piano Rock Band/Song Writing PRE-COLLEGE Baoon Cello Clarinet Flute French Horn Oboe Percuion Trombone Trumpet Saxophone Violin Viola ISYM ACADEMY The ISYM Academy i an accelerated track within the large enemble program giving high-level performer a more rigorou muical experience. Enrollment will be limited to only one or two participant per intrument or voice area. Small chamber enemble, leon with Univerity of Illinoi faculty, mater clae, pecial topic clae, and expanded individual practice time will comprie the majority of the day. Thoe elected for The Academy will receive preference for a principal poition within one of the three large enemble (Orchetra, Band, and Choru). Audition Requirement: All Academy participant will be elected during the audition that take place on the firt day of each ISYM eion. Academy applicant hould bring a olo or etude that can be performed in addition to the tandard ISYM placement excerpt during their audition time. JUNIOR HIGH - MIDDLE SCHOOL Band Choru Jazz Orchetra Piano Rock Band/Song Writing ELECTIVE STUDY Alexander Technique Capoeira Compoition/Theory Conducting Didgeridoo Gamelan Group Piano Muic Technology Rock Band/Song Writing Ukelele Wet African Drumming