BerkleeFall 1998 Vol. 10, No. 2

to yA Forum for Contempora~ry Music and Musicians

16 Bill Frisell’78: Unwitting Iconoclast21 Reflections on Teaching24 Hearing by Interval

ngnote~

STEFON HARRIS A fully-develoaed collection of post-bop

jazz nfused with African and Latin rhythms and harmonies.

A Cloud of Red Dust ShOWCaSes Stefon Harris’ ~mmense

talents as composer and bandleader. The 25-year-old

ns[ng star has been featurea with Wynton Marsalis.

Joe Henderson. Charlie Hunter ana more.

TOMMY FL&NAGAN The five-time Grammy

nominee makes his Blue Note debut with a live

recording at the Village Vanguard. Recorded

on hiS 6?th birthday, this legendary pianist

excels in the trio setting as he is joined by

Peter Washington

& Lew~s Nash. This live set will leave

FALL ¯ 1998

VOLUME ° X

NUMBER ¯ 2

Contents

ON THE COVER: For guitarinnovator Bill Frisell ’78,musical honesty and lack ofpretense have guided his eclec-tic jazz journey. Cover photoby Kevin Ellsworth. Storybegins on page 16.

LEAD SHEET by Harry Chalmiers 75

BERKLEE BEATHonorary degrees for Joe Lovano and Vito Pascucci, Berklee Press launch,Berklee 2005 Day, faculty notes, visiting artists, and more

PERFORMANCE SPECIALIST by Mark Small ’73Professor Livingston Taylor has been telling his students for nine yearsthat a performer’s main job on stage is to pay attention to the audience

WHAT IS WORLD MUSIC? by Theresa ValleseAs musicai styles from across the globe become increasingly popular,world music is becoming part of the Berklee curriculum

UNWITTING ICONOCLAST by Mark Small ’73Without intending to do so, guitarist Bill Frisell ’78 has been changingthe sound and people’s perceptions of jazz

REFLECTIONS ON TEACHING by Stephen M. Gould ’66An alumnus who has taught at all levels, from K-12 to college,recommends a paradigm shift for music education

HEARING BY INTERVAL by Steve Prosser 79A method by Berklee’s ear training acting chair for developing yourlong-term memory of the sounds of intervals

ALUM NOTESNews, quotes, and recordings of note

ALUM PROFILE by Mark Small 73Charles Lake ’54

CODA by Rodger AldridgeComposers and Systems Analysts

12

14

16

21

24

26

33

4O

A Publication of the Office of Institutional AdvancementEditor

Mark L. Small ’73

Copy EditorLisa Barrell

Graphics ConsultantsDave Miranda, Mich~le Malchisky

LEAD SHEET

Land of

OpportunityHarry Chalmiers, Provost/V.P. of Academic Affairs

Editorial Board

Rob HayesDirector of Public Information

Judith LucasDirector of Publications

Lawrence McClellan Jr.Dean, Professional Education Division

Matt MarvuglioDean, Professional Performance Division

Donald PuluseDean, Music Technology Division

Joseph Smith "75Dean, Professional Writing Division

Office of Institutional Advancement

David McKayVice President of Institutional Advancement

Marjorie O’MalleyDirector of Development

Beverly Tryon ’82Director of Corporate Relations

Peter Gordon "78Director of tile Berklee Center in Los Angeles

Chika Okamoto ’87Assistant Director of Institutional Advancement

Kassandra KimbrielAssistant Director for Annual Fond

As the alumni-oriented music magazine of BerkleeCollege of Music, Berklee today is dedicated to inform-ing, enriching, and serving the extended Berklee commu-nity. By sharing information of benefit to alumni aboutcollege matters, music industry issues and events, alum-ni activities and accomplishments, and musical topics ofinterest, Berklee today serves as both a valuable forumfor our family throughout the world and an importantsource of commentary on contemporary music.

Berklee today (ISSN 1052-3839) is published three times a yearby the Berklee College of Music Office of Institutional Ad-vancement. All contents © 1998 by Berklee College of Music.Send all address changes, press releases, letters to the editor, andadvertising inquiries to BerkIee today, Box 333, Berklee Col-lege of Music, 1140 Boytston Street, Boston, MA 02215-3693,(617) 747-2325, or via e-mail: msmall@berklee.edu. Alumni areinvited to send in details of activities and ideas suitable for fea-ture coverage. Unsolicited submissions arc accepted.

B n January of 1973, I traveled from my home inLouisiana to study guitar and composition at Berklee.

It was cold, I was lonely, and I couldn’t read music. AtBerldee, I quickly found an atmosphere of enthusiasm andenergy that helped me to deal with two of those problems--but I was still cold. A few months back, a friend I met here 25years ago, David Mash, now vice president for informationtechnology, called to say that the provost position was openat Berklee and that he thought I should consider it. Theprospect of returning to my alma mater in a leadership rolewas very stimulating. I applied, was offered the job, and amdelighted to be writing to you today as Berklee’s newprovost/vice president for Academic Affairs.

The Berklee education emphasizes flexibility, improvisa-tion, practicality, and the ability to recognize and respond tochanging environments. These characteristics serve us well inmusic and in all aspects of life. I have often thought of theadministrative work that I do as comparable to composing.Directing a music school is like doing a giant counterpointexercise everyday complete with consonance, dissonance,and the need for resolution. Like a good melody, a schoolshould be well balanced with variety, contrast, and cleardirection. The most important skill a good administrator pos-sesses is the ability to listen. Perhaps my Berklee ear trainingcourses helped me to develop this skill!

As a composition student, I was constantly sharpening mycritical thinking skills, strengthening my concentration, andhaving my creativity challenged. In some ways, making musicis the art of making good decisions. A composer may ponderthem for awhile and the improvisor makes them on the spot.In ensembles, we learn to cooperate and responsibly fulfill ourindividual roles within a group while appreciating the contri-butions of others. To master an instrument, one must developpatience and an ability to see the big picture. Daily practice isrequired to reach long-term goals. In countless ways myBerklee education prepared me to succeed as a professionalmusician and helped me to develop skills and insights neces-sary for effective leadership.

I entered Berldee without an extensive theory backgroundor reading ability and still found an enormous variety of richmusical experiences that started me on a fascinating journey asa music professional. The changes to Ber!dee’s programs andfacilities since I left are awesome. Unchanged is the uniqueessence of Berklee where everyone can have a chance to makesomething of his or her musical talents. Berklee is truly a landof opportunity, and I am pleased to have this new opportunityto help shape its future as we continue to provide leadership forcontemporary music education in the twenty first century.

2 Berklee today Fall 1998

Berklee b e a t

News of note

from abouttown andaround theworld

HONORARYDEGREES FORLOVANO ANDPASCUCCI

On September 11, 1998,Berklee held its annual con-vocation to welcome theciass of 2002. On hand forthe occasion were jazz saxo-phonist Joe Lovano ’72 andVito Pascucci, CEO of theG. Leblanc Corporation.The two received honoraryDoctor of Music degrees.

Assistant Vice Presidentfor Student Affairs StevenLipman and Vice President ofStudent Affairs LawrenceBethune offered openingremarks. Faculty speakerAssistant Professor CaseyScheuerell told the audience,"Berklee is a never-endingtable for you to take from. Itis also a network, and yourgreatest asset may be the per-son sitting next to you."

From the left: Joe Lovano, Lee Eliot Berk, and Vito Pascucci.

Fall 1998

As this year’s musicindustry speaker, JoeLovano greeted the 848entering students andechoed Scheuerell’s wordsby describing the people hemet here who helped him toshape his career after college."Whether you’re an impro-viser, a composer, or arecording engineer--what-ever your personal vision isabout music, this is an amaz-ing place to start gettingyourself together and form-ing relationships that willgrow for the rest of yourlife," he said. "Be a sponge;you are at the beginning ofshaping your own voice andfuture."

Before bestowing thehonorary degrees, PresidentLee Eliot Berk introducedVito Pascucci and recountedPascucci’s early days as aninstrument repair technicianfor the Glenn Miller’s ArmyAir Corps Band duringWorld War II. He chroni-cled Pascucci’s success ingrowing the G. LeblancCorporation from a one-man operation to a majorwoodwind and brass windinstrument manufacturer.Berk stated that Pascucci’swork has had % profoundimpact on both musicalinstrument production andmusic education. His pro-gressive attitude towardsmanufacturing and hisvisionary approach to mar-keting have raised the stan-dards for woodwind and

brass wind instrument man-ufacturing, resulting inimproved leaening and play-ing experiences for countlessmusic students."

In the presentation toLovano, Berk said thatLovano possesses "one ofthe most distinctive musicalvoices heard in the jazz"world today." Berk citedLovano’s contributions tocontemporary jazz as acomposer and performer.He also mentioned the saxo-phonist’s 17 albums as aleader and nearly 100 as asideman and his Grammywin earlier this year.

Next, 29 student musi-cians took the stage to pre-sent a concer~ of pop, jazz,and r&b selections. Altosaxophonist Jaleei Shawopened the show playingunaccompanied beforebeing joined by drummer,Charles Haynes. Theysegued into a medley ofLovano’s "Lines andSpaces" and "His Dreams"with a full rhythm section.

Other high points wereSting’s "We’ll Be TogetherTonight" featuring CaseyDreissen on electric violin,and a duet rendition ofLovano’s "Fort Worth" bybassist Yoshi Waki and saxo-phonist Mattias Murhagen.The concert closed with anenergetic reading of the[Earth Wind and Firearrangement of the Lennonand McCartney classic "Gotto Get You into My Life."

gerklee today 3

JAMMING ON THE FUTURE"Today is a big step in a iong jour-

ney." That’s how business consultantand creativity guru John Kao charac-terized V 2.0: Berklee 2005 Day, a day-long brainstorming session held in theUchida building September 19."Finding the future involves gettingoutside of what you know in order toget someplace new. There’s a Berkleeof the year 2005 in your heads waitingto get out."

About 100 students, faculty, andstaff members gave up their Saturdayto generate ideas -- raw material for ayea>long pIanning process that willlead to the coIlege’s second formal five-year plan (thus the software-inspired"version 2.0" tag). It was billed as a dayof wild ideas and blue-sky thinkingand, for many participants, the experi-ence lived up to expectations.

"This is the best event I’ve everattended at Berklee," said AssistantProfessor Walter Beasley. "I have thesense that this is the beginning of avery exciting time in the history of thecollege. I’m glad to be part of it."

In 1995, the college adopted a planthat resulted in construction of theUchida building, a renovated mediacenter and library, the EnteringStudent Ensemble Program, a campus-wide electronic-communication net-work, and new international partner-ships. Now in need of a plan to takethe college to the year 2005, PresidentLee Eliot Berk looked for a way toinvolve even more of the entire Berkleecommunity in the process of settinggoals and priorities.

"The big thing for us," explainedExecutive Vice President GaryBurton, who chairs the strategic plan-ning steering committee, "is that thereis an incredibly creative bunch of peo-ple at Berklee. We needed a way of tap-ping into all that imagination and cre-ativity. That’s what was eluding us."

Who better to jump-start thatprocess at Berklee than John Kao (pro-nounced "kay-oh")? A formerHarvard Business School facultymember and founder of the IdeaFactory, a San Francisco-based con-sulting firm, Kao also plays jazz piano.In his book, Jamming: The Art andDisdpline of Business Creativity, Kaouses musical improvisation--which

4 Berklee today

balances structure andfreedom, familiarityand novelty, group cohe-siveness and individualexpression--as a model formanaging creativity forbusiness advantage. AtBerklee, Kao noted, jammingis hardly an alien concept.

"Jamming is somethingBerklee traffics in," Kao told thegroup in the David Friend RecitalHall to start off the day. "Youalready know a lot about the processwe’re going to go through today."

But the subject matter was also verydifferent than anything they were usedto jamming on. In eight groups, eachone containing a mix of students, fac-ulty, and staff, ideas about what couldmake Berklee better got tossed backand forth in a conversation uncon-strained by considerations of practical-ity, affordability, or, for that matter,desirability. On this day, all judgmentswere deferred, in order not to suppressinventiveness in any way.

The results, reported by each groupin the afternoon plenary session, com-prised a wide-ranging wish-list rang-ing from long-distance learning overthe Internet and a Berklee radio stationto a greener campus and more dancing.FinaIly, the participants wrote theirfive favorite ideas on post-it note,,; andplaced them on long sheets under cat-egories such as curriculum, infrastrac-ture, space, new opportunities, tech-nology, and quality of life. Then every-one "voted," affixing blue dots to fiveideas they "violently agree with," inKao’s words, and red dots to two ideasthey are "uncomfortable with."

But even that process was the begin-ning, rather than the end, of sorting outideas for Berklee’s future. The post-it-note collection will be displayed oncampus, and a host of committees; willcome up with their own proposals. Asurvey will go out to all students, facul-ty, and staff this fall. Ideas will also besolicited from alumni, parents, theboard of trustees, the board of visitors,international partners, and other friendsof the college. As the holidaysapproach, all the ideas will be posted onbulletin boards and on the collegeintranet, so that everyone can commenton them. Only then will these ideasbegin be distilled, based on common

themes andpractical viability, into

a vision for Berldee in 2005."My hope is we have a rich variety

of ideas by the time this three-monthprocess has run its course," saidBurton, "and that everybody feelsthey’ve had their hands on it."

That hands-on feeling was in evi-dence at Berklee 2005 Day. Many par-ticipants cited the brainstorming ses-sion as an example of the kind of com-munication they’d like to see more of.

"I’m very pleased to see all theexpanded participation in this secondapproach to multi-year planning," saidPresident Berk. "Berklee’s first five-year plan is serving our needs very well.I know that one of the achievements ofthe current process will be increasedownership of our goals for the futureby the entire Berklee community--both on campus and beyond."

"It was a great idea," said SteveBerman, president of the student coun-cil. "I had a few good ideas. I couldn’tfind anyone to tell them to. Berkleeneeds to have yearly meetings Iike this.It should be an ongoing thing."

Berklee 2005 Day also set a newstandard for participation that, as theplanning process proceeds, the collegewill be challenged to maintain.

"It gave people a real sense of hope,"said Professor Pat Pattison, one of 12members of the Berklee communitytrained by Kao to facilitate the smallgroup meetings. "Now that the firststep in the process has been taken, thereare higher expectations that somethingwill come from these conversations. It’sreally crucial that, having launched it,the college seizes the opportunity tofollow through."

--Robev Keough

Fall 1998

TIM COLLINS NAMED TO BERKLEE’SBOARD OF TRUSTEES

Board of Trustees Chair WillDavis recently announced theappointment of Tim Collins to theboard. Davis has articulated theboard’s intention to fill vacanciesocurring as older members retirewith individuals like Collins whopossess a professional profile andwho are a strategic fit with the insti-tution and the other board mem-bers.

A music industry veteran,Collins has been a prominent figurein the business for over 20 years.He is president of CollinsEntertainment, an artist manage-ment company based in Boston. Hewas named Manager of the Year byPollstar magazine in 1993 and hasbeen nominated for that award sixtimes. Collins is widely known forhis talents as a manager whoseclients have included artists such asEdie Brickell and platinum rockband Aerosmith.

Collins handled Aerosmith forover a decade and orchestrated theircomeback in the late 1980s. Under

his guid-ance, theband soldover 27 mil-lion rec-ords, wontheir firstGrammyAward, andregainedtheir statusas one of thetop-grossingrock concert

Trustee Sandra Uyterhoeve~, President Berk (left), and boardchair Will Davis (right) present Tim Collins a plaque withBerklee’s mission statement at his June election to the board.

alcohol addiction awareness and themusicians’ assistance programs.

Of his election to the board,Collins said, "I am thrilled to join theboard of trustees of Berklee College ofMusic. In my view, Berklee is the goldstandard for music education. I intendto be a hands-on trustee and look for-ward to becoming an integral part ofBerklee’ s continued efforts to build abridge between the academic musiccommunity and the entertainmentindustry."

attractionsin American and international mar-kets. In 1995, Collins established theAerosmith Endowed ScholarshipFund for Berklee students majoring inMusic Business/Management.

Since parting ways with Aerosmithin 1996, Collins has done consultingwork for several major artists and hasfacilitated the signing of Irish bandRuby Horse to Innerscope Records.Additionally, Collins has devotedmuch energy to the NARASMusiCares Foundation’s drug and

NEW INSTITUTIONALADVANCEMENT V.P.NAMED

After a yearlong, nationwidesearch, President Lee Eliot Berkhas announced that DavidMillard McKay has been hired asBerklee’s new vice president ofinstitutional advancement.

McKay has an extensive back-ground in college developmentand fundraising. He comes toBerklee from Trinity College ofVermont in Burlington where hehas served as vice president ofinstitutional advancement.During his time at Trinity, heoversaw development initiatives,public relations, marketing,alumni affairs, and special events.His achievements included lead-ing and managing a capital cam-

David McKay

paign and developing and imple-menting five-year strategic andannual plans.

Prior to his work at Trinity,McKay served as director ofdevelopment at Medical Collegeof Georgia in Augusta, Georgia,

Norwich University inNorthfield, Vermont, andVanderbilt University inNashville.

Of his appointment at Berklee,McKay said, "What I liked mostabout Berklee the first time I vis-ited, was the sense of energy I feltas soon as I walked in. When Itold people that I was going towork at Berklee, I was amazed athow many had some kind of con-nection to the place--a relative orfriend who had gone to schoolhere, or some other affiliation.Everyone seems to know aboutthe college. It is great that theinstitution has such a clear focusand a very good long-range plan.All of these factors will make myjob a little easier."

McKay will manage Berklee’sfundraising efforts, corporate rela-tions, alumni relations, publicaffairs, and other college initiatives.

Fall 1998 Berklee today 5

BENSON MAKES $100,000 COMMITMENT TO BERKLEEScott Benson, president and chief

executive officer of Valent SoftwareCorporation, recently announcedthat he will provide $100,000 overthe next two years to establish anendowed scholarship fund. The fundwill provide financial support foroutstanding students enrolled atBerklee who are pop, rock, or folk

songwrit-ers, pre-ferablyguitar orpianoplayers.Scholar-ship sup-port forstudentmusiciansis a criti-

Scott Benson cal link inprovidingthem the

opportunity to develop their creativetalents to the fullest extent at Berklee.

Of his. gift to Berklee, Bensonsaid, "Music is at the core of who Iam. I am delighted that throughBerklee I’m able to provide access toa world-class music education fortalented musicians, for whom, likeme, music is as important as air."

Berklee’s creative and vibrantatmosphere is greatly enhanced bythe support we receive from gener-ous donors like Benson.

BCM SupportMany donors (see list at the

right) recently made very substan-tial gifts to the Berklee City Music(BCM) Program. The program pro-vides much needed financial sup-port which enables disadvantagedyoung people in urban areas, pri-marily high school and middleschools students, to attend Berklee’sfive-week Summer PerformanceProgram. Many of these studentscontinue their affiliation withBerklee throughout the school yearthrough the mentoring program orwith expanded educational oppor-tunities through the new Saturdayprogram. Participants strengthentheir musical skills, gain academictraining, and have access to Berklee

faculty and staff on a one-to-onebasis for mentoring. Four studentsgraduating from this program eachyear are awarded full-tuition schol-arships to Berklee. Private dona-tions have allowed BCM to growand fill the void created by a short-age of music programs in theBoston Public Schools.

In 1998, Berklee bestoweddegrees upon the first graduates ofthe Music Therapy program. Wegratefnlly acknowledge the gen-erosity of Joan Johnson for estab-lishing the Music Therapy Instituteat Berklee. The institute will enableour Music Therapy majors to gainexperience in community-basedsettings.

Scholarship SupportBerklee is tremendously grateful

to those donors (listed to the right)whose recent gifts have made schol-arships available to so many talentedmusicians from around the world.Many students benefit directly fromthe support of individuals, founda-tions, corporations, and organiza-tions that provide financial aidthrough scholarships. For a numberof students, financial aid in the formof scholarships enables them to fulfilltheir dream of completing theirmusical education at Berklee.

m r .AlbertNatale,recogniz-ed as oneof Bos-ton’s bestknowntrumpe, tplayersduringthe hey-day of

Albert A. Natale the bigbands,

established an endowed scholarshipfund at Berklee to be awarded to anoutstanding brass player. Natale is:former vice president of the BostoniMusicians’ Union and a member ofBerklee’s board of visitors.

---Marjorie O’Malley

_Arts

sumer Electronic

(SESAC)Foundation

6 8erklee today Fall 1998

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8 Berklee t o d a y

BERKLEE PRESS SET FOR EXPANSIONThis fail, Berklee officially

launched the new Berklee Press. Therevamped company plans to create aseries of groundbreaking print andelectronic products focused primari-ly on music and music education.

When Berklee founder LawrenceBerk began offering education in jazzand contemporary music 53 yearsago, there was no organized peda-gogy for the music of the time.Musicians painstakingly transcribedthe music for further study. In the1950s, Berk increasingly turned hisattention to publications with a goalof having faculty-authored materialsprofessionally produced for class-room use.

"I still recall the hours my fatherspent converting faculty materialsinto a format suitable for profession-al publication," recalls President LeeEliot Berk. "My father was veryproud of what resulted from the col-laboration."

In 1958, Lawrence Berk foundedBerklee Press Publications to makethese materials available to students allover the world. Instrumental methodbooks, course workbooks, big bandscores, and blank manuscript paperwere among the sorely needed publi-cations that Berklee Press produced.The Berklee correspondence coursewas another of Berk’s innovations.

For the expanded Berklee Press, thecollege has hired David Kusek, a 25-year music industry veteran with asuccessful track record in starting andmanaging publishing and technology-oriented companies. He has developedan extensive and forward-lookingbusiness plan. Kusek plans to intro-duce a wide range of products includ-ing books, folios, videotapes, audioCDs, interactive DVDs (digital versa-tile discs), and online material.

Kusek’s staff will initially includea managing editor and senior staffwriter. Continuing the Berklee Presstradition, Kusek hopes to see a largeportion of all titles authored byBerklee faculty members and alumni."There are many who have valuableexperience and information that theycould share with others," saysKusek. "Berklee Press will be a vehi-cle for turning ideas into products."

BerkleeP R E S S

The first major project forBerklee Press (slated for release in1999) is a series of 11 Berklee prac-tice methods penned by facultymembers for brass, woodwind, vio-lin, guitar, drum set, and percussioninstruments.

"They will cover how to practice,read, and listen," says Kusek. "Thesebooks will help prospective studentsto better prepare to come to Berkleeand will put a bit of the Berklee expe-rience into the hands of consumers."

The press is actively seeking manu-scripts from alumni in order to have awell-rounded representation of themusic industry. "Most titles will beoriented toward music education,"says Kusek, "but we are seekingbiographies and advice books relatingpeople’s experiences in all parts of thebusiness. I envision Berklee Pressbecoming the definitive resource forpeople looking into careers in music."

% am very pleased," saidPresident Berk, "that Executive VicePresident Gary Burton and AssistantVice President for Operations TomRiley have devoted so much thoughtto the future of our publications pro-gram. The same values that motivat-ed my father to launch Berklee Pressare still valid today, and this fleshimpetus will benefit education atBerklee and beyond. This is animportant part of our tradition, ourpresent, and our future."

Fall 1998

BERKLEE LIBRARYCATALOG ON THE WEB

Through a Web-based pub-lic access catalog (WebPac),Berklee’s Stan Getz MediaCenter and Library collectionscan now be searched by thosearound the globe who are notpart of the Berklee community.

Using the Internet, patronscan search an index of the songtitles contained on every popu-lar music and jazz recordingand every song book held inthe Berklee library. Also, a per-former index lists the names ofeach instrumentalist or vocaliston every recording held in theBerklee coliection. In additionto these unique indexes, sub-ject, title, and series searchcapabilities are also available toWeb surfers.

The WebPac is a powerfulresource for musicians, schol-ars, and students studying allaspects of contemporary music.

To see the site, the address is:<http://library.berklee.edu>.

INSTRUMENT STRAPSMade in U.S.A.

"It’s not only a matter of appearance - your guitar straphas a direct bearing on your performance as well asyour physical well being. After making my living

in music for over twenty five years DoubleTreble straps are the best I’ve ever used."

Charles H. ChapmanJazz Guitarist

Professor Berklee College of Music

CALL OR WRITE FOR A FREE BROCHURE OFOUR OTHER HIIGH QUALITY GUITAR STRAPS

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ALL-STAR BENEFIT CONCERT NOV. 7

Berklee faculty member and leg-endary rock performer and pro-ducer A1 Kooper will present abenefit concert with his band theRekooperators at the BerkleePerformance Center on November7 at 8:00 p.m.

All proceeds from the concertwill benefit Kooper’s "It CanHappen" Scholarship Fund, whichwill specifically aid handicappedstudents attending Berldee. Theconcert is sponsored by NewburyComics and Risky Records.

A music industry veteran,Kooper has recorded and touredwith Bob Dylan, Jimi Hen&ix, andthe Rolling Stones, and was a mem-ber of the Blues Project and Blood,Sweat, and Tears. His productioncredits include the Super Sessionrecordings with guitarists Stephen

Stills and MikeBloomfield,Dylan’s NewMorning, andthe first threediscs by LynyrdSkynyrd.

The Rekoop-erators bandincludes Kooperon keyboardsand mandolin,drummer AntonFig (from "The Late Show withDavid Letterman" band), bassistMike Merritt, and guitarist JimmyVivino (both from the "Late Nightwith Conan O’Brien" band).

Vibraphonist Gary Burton andkeyboardist Paul Griffin will be sit-ting in with the band as specialguest performers.

The Rekooperators. From the left: Anton Fig, MikeMerritt, AI Kooper, and dlimmy Vivino

Those showing a currentBerklee alumni pass at the door willbe digible for a $5 discount on tick-ets priced at $15 and $20 (only twotickets per alumnus). To obtain analumni pass, call (617) 747-2236.Golden Circle tickets are $75. Forfurther ticket information, ca11(617) 747-2261.

Fall 1998 Berklee today 9

FACULTY NOTESProfessor Julius Williams has been

named artistic advisor to theWashington Symphony Orchestra inWashington, D.C., for the 1998-99season. Williams will serve as interimconductor for the orchestra’s eightconcerts, education outreach efforts,and community concerts.

String Department Chair MattGlaser was featured on a NationalPublic Radio broadcast in August ina segment about Louis Armstrong.

Pro.lessor Charles Chapmanpenned articles for the October issuesof Acoustic Guitar and Just JazzGuitar. He was recently featured onthe "Susan Wornick Show" pro-duced by New England Cable News.Chapman was invited to attend the100 Year Celebration of the ArchtopGuitar event held recently at theSmithsonian Institution inWashington, D.C.

Assistant Professor Dave Howardperformed at the Jazz and Vento fes-tival in Cortale, Italy, in August. Atthe conclusion of the three-day festi-val, Howard, a guitarist, played atseveral jazz venues in Montepaone,Lido, and Soverato, Italy.

Executive Vice President GaryBurton has recorded a new albumtitled Like Minds for the Concordlabel. The disc, featuring ChickCorea, Pat Metheny, Roy Haynes,and Dave Holland, is scheduled forrelease on November 3. Burton wasalso recently appointed to the boardof directors of the National Academyof Recording Arts and Sciences(NARAS) Foundation.

Seven faculty members havereceived ASCAP awards for theiraccomplishments as composers andperformers. They include AssistantChair of Composition Greg Fritze,Chair of Contemporary Writing andProduction day Kennedy, professorsof composition Dennis Leclaire anddulius Williams, assistant professorsof composition Allen Levines andArthur Welwood, and AssistantProfessor of Music Synthesis NellLeonard.

Music Production andEngineering Chair Bill Schenimanand Music Synthesis Chair JanMoorhead went to Beijing, China, to

10 gerklee t o d a y

lecture at the first professional audiosymposium ever held there.Scheniman spoke about designingand equipping recording studios, andMoorhead discussed new develop-ments in music synthesis.

Associate Professor of MP&EStephen Webber composed the scorefor the animated film Zoetrobics. t-Ierecorded the score at Lucasfilm’sSkywalker Ranch with members ofthe San Francisco Symphony, violin-ist Evan Price ’97, and members ofthe Turtle Island String Quartet.Andy Martin ’96 did sound designand Jeanine Cowan ’96 served asmusic supervisor. Berklee trusteeWatson Reid coproduced the musicand added vocals to the score. Thefilm premiered at the NashvilleIndependent Fihn Festival.

Brass Professor Tony Lada releaseda new CD, On the Edge, for the VeeRecords label. Lada is featured ontrombone with Assistant Chair ofthe Bass Department John Repucci,Assistant Professor Suzanna Sifter(piano), and Associate ProfessorDave Weigert (drums). Assistant VicePresident for Special Programs RobRose produced it with executive pro-ducers Frank Vardaros ’93 and JenisaKatz ’94.

Guitarist and Assistant ProfessorBruce Saunders released his secondCD, Likely Story, with backing fromPeter Erskine (drums), DaveCarpenter (bass), and Dave Pietro(saxophone). Saunders has alsorecorded with Pietro on the WindDance CD and with the groupStrange Fruit.

Associate Professor of Bass OscarStagnar0 played with rising nuevoflamenco guitarist Gerardo N(ifiezin his September 23 appearance atScullers. Alula Records releasedCalirna, the new record by Nti~ez,to rave reviews.

Trumpeter Arturo Sandoval’s HotHouse Big Band features six facultymembers and four alumni. On saxo-phones are Assistant Professors BillThompson and Dan Smith, InstructorDino Govoni, and Pat Loomis ’92. Thetrumpet section includes AssociateProfessor Ken Cervenka, AssistantProfessor Wayne Raus, and alumni

Lee Walkowich ’81 and FrankVardaros ’93. The trombone sectionincluded Professor Tony Lada andSteve Piermarini ’86. The groupplayed at several festivals in Boston,Newport, and Saratoga, and atCarnegie Hail.

Bass Professor Bruce Gertz andAssociate Professor Ken Cervenkateamed up to release Shut Wide Openfor the Double Time Records.Besides Gertz (bass) and Cervenka(trumpet), Jerry Bergonzi ’68 heard on saxophone along withpianist Bruce Barth and drummerJorge Rossy ’90.

Assistant Professor of PianoSuzanna Sifter released her debut CDFlowers for You featuring five of heroriginal pieces. She is backed by sax-ophonist Dino Govoni, trombonistTony Lada, Assistant Professordoshua Davis (bass), and AssistantProfessor Casey Scheuerell (drums).

Guitarist and Associate ProfessorSteve Rochinski was invited to play ina Tal Farlow memorial tribute con-cert at St. Peter’s Church inManhattan on September 20.Rochinski has penned a book onFarlow’s jazz guitar style.

Associate Professor Eric Reasoner,and alumni Daryl Kell ’88 and JimBurt 74 were three of the five musiceditors working on the film LethalWeapon 4 that was released this sum-mer. The score was written byMichael Kamen.

Guitar Professor Garrison Fewellwas invited to present a jazz work-shop and concert at the MontreuxJazz Festival in July. He will releasehis fourth CD this winter on theBirdland label.

Associate Professor of Compositiondames Russell Smith contributed anessay to the book In My Life:Encounters with the Beatles publishedby Fromm International Publishing.Smith’s essay is titled "Following theGenius with Four Heads; or Why IBecame a Composer."

Assistant Professor of Guitar LaurenPassarelli engineered the CD GardenParty by alternative rock band Crave.She signed an agreement with audiomanufacturer Joe Meek to endorse theSC2.2 stereo optical compressor.

Fall 1998

Throughout the summermonths a string of talentedvisiting artists came toBerklee to share their experi-ence and insight with stu-dents and faculty members.

This year’s SummerGuitar Sessions brought in arange of jazz, rock, andblues players. Included inthe lineup were, Peter Leitch,Blues Saraceno, JackPetersen, and Wayne Krantz.

Trumpeter NicholasPayt0n was the guest of theBrass Department for a Julymaster class. He spoke of hisbeginnings in New Orleansand discussed issues involv-ing trumpet technique. Hewas assisted in his clinic byalumnus Anthony Wonsey.

Slide guitarist DerekTrucks, nephew of AlhnanBrothers band drummerButch Trucks, came to sharehis thoughts on playingblues guitar.

SUMMER VISITING ARTISTS

Berklee’s Mallet Keyboard Festival brought in a humbler ofguest artists, including Dave Samuels (above), marimbistsJanis Potter and Julie Spencer, and vibist Gary Burton.

Saxophonist and com-poser Jane Ira Bloom pre-sented a clinic titledPerformance Perspectives inthe Berklee PerformanceCenter for the five-weekSummer PerformanceProgram students.

Dr. Jonathan Rutchik, aboard certified neurol.ogistand occupational and envi-ronmental medicine spe-cialist, gave a seminar on thediagnosis and treatment ofmusicians’ injuries.

Drummer Bob Hnrsen

presented a clinic titledSurviving the L.A. MusicScene. He gave tips ondrum techniques and show-cased his Pork Pie drum kit.

The Berklee World Per-cussion Festival in Augustbrought hand percussionspecialist Giovanni Hidalgo,West African master drum-mer Mohammed Camara,South Indian percussionistTrichy Sankaran, framedrum artist AlessandraBelloni, Karl Perazzo andRaul Rekow of Santana’sdrum section, Afro-Cubandrum set artist HoracioHernandez, and drum circlefacilitator Arthur Hull.

The String Department’sannual Summer StringFling featured violinist andTurtle Island String Quartetfounder Darol Anger, PaulWinter Group cellist DavidFriesen, and renowned jazzviolin master John Blake.

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Fall 1998 Berklee today 11

FACULTY PROFILE

Performance Speciakst

by Marl( Small

W hen Livingston Taylor starts sharing his phi-losophy about performing, his voice rises andfails with the zeal of a Southern preacher. (His

upbringing in Chapel Hill, North Carolina, in the Biblebelt may yield clues to this trait.) Giving his unique takeon performing has been Taylor’s specialty since hejoined the Berklee faculty nine years ago. Like manyfaculty members, Taylor has found that teaching hasbrought his thoughts on his area of expertise clearlyinto focus. He is currently completing a text bearing the

Livingston Taylor with members of his performance class

12 Berklee t o d a y

title of his class, Stage Performance Techniques.Introduced to the college by Rob Rose, assistant vice

president for special programs, Taylor came at Rose’sinvitation to give a seminar on the business side of musicand found he enjoyed the experience. He saw that he hadmuch to impart about being a performer, recording artist,hit songwriter; and one-time television host, and commit-ted to teach part time at the college.

Taylor was attracted to music and the stage early on.His superstar brother James Taylor was only one of themusical influences Livingston was touched by whilegrowing up. "We had an older brother Alex, who passedaway a few years ago, and he used to bring a lot of musicinto the house," Taylor says. "My parents were also amusical influence. My mother always wanted to be asinger. James and Alex had a band called the Corsairs thatused to play at the fiat houses at the University of NorthCarolina. They would go out and make music and comehome with money. I got the picture. For me, there was nogrand design. I just started writing music and playing itfor people. They liked it, so I kept doing it."

In the late 1960s, Taylor started out playing coffee-houses in Boston and soon doors in the business began toopen for him. "A friend introduced me to Jon Landau,who went on later to produce Jackson Brown and tomanage and produce Bruce Springsteen," Taylor says. "Iplayed him some songs, and he wanted to produce me.He took me to Macon, Georgia, where I met Phil Walden,who was recording the Allman Brothers, Boz Scaggs, and

Fall 1998

Jonathan Edwards. I got signed toCapricorn Records and made threerecords with them before driftinginto other orbits."

Taylor has learned after 30 yearsin the business that performance isthe bedrock of a career. "I feel anartist just has to play live," he says."The reality is that the sound youmake is sometimes desirable to themass media, but you are usually outof the loop more than you are in.When you are in the loop, yourmusic is on the radio and becomesthe soundtrack for various parts ofpeople’s lives. When they want torecreate that or add to the myth, theycome out to see you on a regularbasis.

"Students come to my classes hav-ing learned about performing bywatching someone onstage at theOrpheum or at Great Woods. I fig-ure my students can take care ofthemselves once they have sold250,000 units, and have gotten seri-ous radio play. We have to connectthe dots so they can get to that point.

"We discuss developing an audi-ence, how to play for people, and howto stop living in the fantasy of whattheir careers should be and start livingin the reality. When, as an artist, youget to where you are drawing 500,1,000, or 2,500 people, you have alarge enough audience to give you asteady living for the rest of your life.We work on getting there."

The subtitle of Taylor’s StagePerformance Techniques course isThe Care and Feeding of YourAudience. He continually stresseshow vital an audience is to musiciansand how they need to respect andbefriend them. "The only source ofincome in the music industry is anaudience," he says. "Eventually, youare going to want them to buy yourstuff. They will buy it because theylike it--they really don’t need it. Asmusicians, we have to make themwant it.

"Many young students come inwith a belief that they can just standup on stage, spread their noise outthere, and that people will accept it.That is not the way it works. Wespend a lot of time learning how totake in rather than how to put out.The audience has paid for tickets

because theyreally want anartist to payattention tothem. The firstjob onstage isto pay atten-tion to youraudience; theyare the onespaying yoursalary.

"It is funnyto tell a classthat their jobonstage is notto put out butto take in;

Livingston Taylor: "When you are drawing 500, 1,000, or 2,500people, you have a large enough audience to give you asteady living for the rest of your life."

about three or four out of the groupwill get it. A light goes on when theyrealize it is about the audience, notabout the performer."

Taylor explains that some abandonthe audience by retreating into theirinstruments, hoping to win them overwith their technical abilities. "Theaudience wants the performer to havea conversation of sorts with them," hesays. "When a performer really looksat the audience members, they cansend that performer signals."

Taylor also examines stage fright inhis classes. "The core of nervousnessis a fear of rejection, that people won’twant what you offer," he says. "Thattriggers so much panic in people thatthey weird out. I help students to seethat when they are nervous, they arejust thinking about themselves. So wediscuss how bad it is to be awful somenights--that it’s bad, but not fatal."

Taylor also addresses the expecta-tions of aspiring performers. "Famecan be a very compelling force foryoung people," he notes. We speak aiot about it and how it can be a badthing. When you become gratuitouslyvisible, you turn into a cartoon charac-ter. Most of my students want to beknown as a fine musician; a qualityperson; a good friend, wife, husband,or parent. I tell them that these arethings they are already working onand are about to get. Gratuitous fameis no fun, and the older you get, theworse it gets. Anonymity is precious.

"When somebody calls to tell methey have a hit record, I say, ’I’m sosorry.’ I ask my students to thinkabout why they want this. The pay-

off comes if you endure it and get tothe other side intact; you becomeknown and respected. You will beable to work with other known andrespected people and can assemblethe best creative people in your fieldto work together. That is solvingproblems and living a quality life."

Taylor, who plays about 75 con-certs yearly, sees the benefits ofbeing an active practitioner whileteaching. "I can come back andshare my experiences," he says. "Iwant the students to see that there isno difference between where theyare and where I am. There is no dif-ference between where I am andwhere Eh:on John is. The reality is,you show up, you do your workand hope it goes well. Sometimes itdoesn’t. There is an assumption thatthere is a place you get to and yourproblems ease. It never happens.The, y just change shape."

For all his philosophizing and shar-ing, Taylor stresses that in the musicindustry, each generation must find itsown path. "I tell the students not toseek: steady counsd from older peo-ple--including me. The only excep-tions are when signing contracts orinvesting raoney.

"I tell the students, ’Live in yourown pod with your contempo-raries. Although I want to spare_you pain, I can’t do it. My advicewill only make you timid if youtake it. Stay with your peers andfigure things out to the best of yourability. C;o out and scrape yourknees. Your shared mutual pain willbe your bond and your maturity.’"

Fall 1998 Berklee today

OVERVIEW

What 1s World Music?

As ethnic music styles impact contemporary music, Berklee facultymembers are mapping strategies to help students master them.

by Theresa

Vallese

Students of differing backgroundswork to stylize a group sound.

A nyone browsing the racks at TowerRecords, Newbury Comics, or anotherrecord store, will notice the growing col-

lection of offerings in the world music area. It isbecoming more common to hear about musicby artists from remote parts of the world, likeLadysmith Black Mambazo from South Africaor the Bulgarian group Les Voix Mysterieux deBulgare, who are enjoying a surge in popularitywith American listeners. Another sign--moresubtle and indicative of world music’s successfulforay into Western contemporary music--is thatglobally renowned pop artists such as Madonna,Sting, Paul Simon, and Sinead O’Connor haveincorporated world music elements into their

songs. Thanks tothese and manyother artists, mostof us can recognizeelements of worldmusic when wehear them, but cananyone accuratelydefine "worldmusic?"

Attempts atdefinitions havecome from variousquarters. TheBoston Globe ran

=~ article titled~ an---~ "Marching to the

Beat of a DifferentDrummer," dated

November 20, 1996, that said world music is "anindustry catch-all term for music produced in acountry different from where it is sold." Thisdefinition would then include American popmusic if it were to be sold in a neighboring coun-try. As well, arbitrarily grouping Balinese game-lan music with styles played in the Andes moun-tains or in China into a single category of musiccreates an entity far too broad to be meaningful.Larry Monroe, associate vice president for inter-national programs, says, "The term ’worldmusic’ doesn’t really tell me anything. I wouldlike to think that Berklee would play a role indefining what world music is."

There are some compelling reasons forBerklee not only to define world music, but alsoto lead the way in teaching so-called worldmusic styles. First, Berklee has an internationalstudent population of about 40 percent. Walkingaround the college these days, one frequentlysees and hears groups of students from variousethnic backgrounds working together to createor stylize a group sound.

A second reason is that Berklee has historical-ly focused on practical career preparation--teach-ing students not only how to be musicians, butalso how to make a living in music. Across theentire spectrum of the music business, there is a

Theresa Vallese is a freelance journalist. She wasthe program director for Berklee’s InternationalPrograms until August. She now lives in NewYork City.

14 Berklee today Fail 1998

growing demand for performers whocan play an increasingly wider varietyof music including those world musicelements. Dean of the ProfessionalPerformance Division Matt Marvugliosays, "Whether the gig is at a nightclub,a wedding, or a concert, more peopleare expecting to hear these other styles.Listeners have come to expect the dif-ferent textures that result from theincorporation of different rhythms andgrooves into traditional standards."

A case in point was a celebration ofthe U.S.S. Constitution in late Julythis year, at the Charlestown NavalShipyard. Professor of PercussionJohn Ramsay played there with anine-piece Afro-Cuban band calledWomen of the Village. He said thatfamiliarity with cornparsa, son mon-tuno, mambo, and cha-cha styles, andAfrican pop rhythms were fundamen-tal to his playing with the group.

Fascination with blending ethnicmusical styles with American forms isnot new. It was seen in jazz decadesago. "There has always been an inter-est in this," says Marvuglio. "It’s in theidea of Coltrane using oriental scalesto make a piece sound Indian. WayneShorter, Charles Mingus, and GilEvans and Miles Davis (on theSketches of Spain album) all experi-mented with world music elements intheir work." Young musicians atBerklee have been working on hybridstyles for some time as well.

Over the years, courses on non-western styles have steadily crept intoBerklee’s curriculum and the WorldPercussion Festival has become a majorsummer event focusing on styles ofdrumming from around the globe.Recently, Marvuglio and other worldmusic proponents have been makingan effort to mainstream world music

’ courses into Berklee’s curriculum.As a start, the Professional

Performance Division formed a 27-member World Music Committee con-sisting of department chairs, faculty, andadministrative staff. Their first initiativewas to define what world music wouldmean at Berldee. They concluded that itwould refer to any musical style thatisn’t a form of jazz, country, pop, orrock (including blues, North Americanfolk, gospel, musical theater, opera, r&b,etc.). They also eliminated classicalmusic in the European tradition.

Among the fruits of the commit-tee’s efforts is a brochure called AGuide to World Music at Berklee list-ing 46 courses now being offered atBerklee. Since drummers are key tomost of these non-Western styles, thePercussion Department offers themost in-depth courses. They includeWest African drumming techniques,Afro-Cuban ceremonial drumming,steelpan techniques, frame drumming,and Latin percussion styles. Latinstyles are the ones most requested.

Also offered to all students are sur-vey courses that can be elected by allstudents. These include courses titledMusic of India, the East, and EasternEurope; Music of Africa, Latin, andSouth America; and History of theMusic of Black America. For musicbusiness majors, an offering calledMusic in the InternationalMarketplace is available.

String Department Chair andWorld Music Committee Chair MattGlaser states that while African,Indian, Asian, Latin American, andCaribbean music styles are a majorfocus, the committee’s definition isstretched to cover some other areas ofinterest. Courses listed as multicultur-al/multistyle offer labs in NativeAmerican drumming, frame drum-ming, world beat pop, and others totry to close the gaps.

Glaser teaches a course under themulticultural/multistyle category forstring players called World FiddleGroup. For this offering, Glaser cov-ers the use of fiddle in Americanmusic (styles originating inAppalachia, Texas, and New England)and its use in bluegrass Balkan, Latin,Swedish, Indian, and Irish styIes.

Describing the elemental differencesbetween world music and Westernmusic, Glaser points out, "These othertraditions are not about chords; theyare about melody and rhythm.Regardless of their differences, Africanmusic, Latin music, and Asian musicare largely about melody and rhythm.These are two components connectingall these world music traditions." Forsome students this means a shift awayfrom the focus on harmony that is sucha key element of jazz and other formsof Western music.

To help those playing harmonicinstruments to incorporate world

A I~articipant at Berklee’s annualWorld Percussion Festival

music elements into their own styles,Assistant Professor of Piano MarcRossi teaches courses in World MusicComping. These classes provideopportunities to learn about rhyth-mic, harmonic, and melodic compingpau:erns and repertory for reggae,Afro Pop, traditional African, soca,Latin, North and South Indian,Balkan, Algerian rai, and other styles.

Rossi claims that students, espe-cially those who are interested inworking in pop music, should befamiliar with these styles, as mostworld music styles are dance oriented.

Currently, there is no school in theNew England area that hosts a worldmusic program. Although programsin ethnomusicology can be found inHarvard Universtiy, MIT, NewEngland Conservatory of Music,Northeastern, Tufts, and WellesleyCollege, the intent of these programsis flandamentally different from whatis offered at Berklee. While theyexplore the music of other cultures,ethnomusicologists are interested inthe music’s social implications. Incontrast, Berklee’s interest in worldmusic is based on a skills-oriented,professional articulation.

Summing up his vision for thefuture of world music at Berklee,Marvuglio states, "We hope that theinclusion of world music in Berklee’smain curriculum will ultimatelyestablish it as a cohesive, unifiedforce at the college." ~

Fall 1998 Berklee today 15

Unwitting Ico, noclast

Without setting out to do so, guitarist Bill Frisell ’78is changing the image of jazz for many listeners.

by Mark

Small "73

M ore than any other player in the nineties,Bill Frisell ’78 has l:edefined jazz guitar.His broad vision has prodded many

others to widen their view of what jazz is.Evidence of this was in the 1998 annual DownBeat critics poI1 where Frisell was named the topguitarist and his CD Nashville was voted "jazzalbum of the year." Nashville, the ultimate dark-horse candidate in that race, bested efforts by jazzmainstays like Tom Harrei1, Joe Lovano ’72, andHerbie Hancock. The music on Nashville is adelightful improvisational amalgamation of blue-grass, jazz, and pop elements featuring Frisell andsome of the Music City’s top studio players.

Part of what makes Frisell’s playing so uniqueis his unabashed blending of dreamy pedal steeleffects, psychedelic howls, folky acoustic textures,blues riffs, and avant-garde noise--sometimes inthe same tune. Friseli’s music, often hailed as anew bit of Americana, brings his listeners alongon a picturesque journey to the outskirts of jazz.

His imagination is unrestrained by style orgenre. He has written new soundtracks for twoclassic Buster Keaton movies and for two animat-ed features by his friend, cartoonist Gary Larson.His records have showcased his own composi-tions, jazz reworkings of music by AaronCopland and Charles Ives, songs by Nell Youngand Bob Dylan, and, of course, jazz standards. Heshows up live and on record with such diverseartists as Elvis Costello, Marianne Faithful,

Ginger Baker, Jim Hall, David Sanborn, LyleMays, Allen Ginsberg, and Gavin Bryars.

Raised by deer in Colorado (according to oneunverifiable source seeking to explain the gui-tarist’s ultra-gentle personality), Frisell was luredas a teen to the guitar by the sounds of 1960s popanti blues. Though he later became enamoredwith iazz, Frisell hasn’t lost or tried to hide hisaffection for other musical forms. That honestyanti a total lack of pretense are factors in both thewidespread appeal and the iconoclastic nature ofFrisell’s music.

When was it apparent to you that you had tobecome a musician?

When I was 10, I started playing clarinet in theschool band, and a few years later I started play-ing guitar just for fun. I just loved it so much.Sometime during high school I got serious aboutit. ~ had a great teacher, Dale Bruning, inColorado. He really exposed me to Miles Davis,Thelonious Monk, and Sonny RolIins. Bruning isan amazing, unsung player. He is starting to getout a little more now.

How did you end up at Berklee?I came to Berklee in 1971 for one semester. It

was all too much. The big city, after I’d been liv-ing in Colorado, kind of scared me away. But Igot a taste of Berklee. I went to study a littlewith Jim Hall and then went back to Colorado

PHOTO B~KEVlNELLSWOR

16 Berklee today Fall 1998

ornething snapped, and I

realized that I had cut myself

off from all of the music that

had led me to that point. So I

tried opening myself up to any-

thing, and a light went on.

for four years. I returned to Berklee and wentthrough the diploma program. Coming backlater, I knew how to maneuver and got myselfright where I wanted to be.

A lot ofyourpeers at Berklee have ended updoing well in the music business.

There are so many memories I have fromwhen I was in Boston at Berklee. I played withMike and Leni Stern [’75 and ’80], Tiger Okoshi[’75], Nell Stubenhaus [’75], Randy Roos [78]--so many people. Actually, I met [bassist] KermitDriscoll [78 ] my first day at Berklee and I havebeen playing with him ever since. Coming from avery small scene in Denver, where there were justa couple of people to play with, to Boston wasamazing. You could be walking down the streetand see someone carrying an acoustic bass andsay, "Let’s go play." Everyone in Boston wasready to go and play.

Was there any teacher who helped you findyour direction then?

Well, I was a little older than the kids comingthere straight out of high school. A few teacherswere just what I needed at that time. Studyingwith [guitar professor] Jon Damian was incredi-ble. I got so much from him. Mike Gibbs wasgreat, and I took all of Herb Pomeroy’s classes.He is such a heavy musician. I wish I could takeall of those classes again or pick his brain when Iget in a situation where I have to do arranging.

Is there any singular event that you consider tohave been your first break?

There were all of these little steps that Ikept taking. I went to Belgium for a year withKermit and a few other people I had met atBerklee. We played together with a Belgiansaxophonist named Stephan Houben [’77],

and a drummer named Vinnie Johnson [’75].After that year, I moved to New York where

things started to happen after a few years. The onlypeople I knew there were those I’d met earlier inBoston. I went to jam sessions and gradually start-ed getting a few gigs. For me, when Paul Motiancalled me in 1981, that was a big turning point.

The first album I heard you on was FluidRustle with Eberhard Weber.

That was an earlier break. I was in Belgium atthe time. I had played in Mike Gibbs’ ensemble atBerklee. Mike had planned a tour of England withincredible players like Eberhard Weber, CharlieMariano [’50], and Kenny Wheeler. PhilipCatherine [’72] was going to play guitar, but at thelast minute couldn’t make the gig. Mike knew I wasclose by and that I had already played his music inthe ensemble at school. That tour was where I real-ly hooked up with Eberhard. He introduced me toMartfred Eicher and Jan Garbarek. So that gig wasone that opened a lot of doors.

Some of your groups have featured adventur-ous instrumentation. I’m thinking of the basslesstrio with Joe Lovano and Paul Motian, or thegroup from your Quartet album featuring vio-lin, trumpet, trombone, and guitar. WTaat drawsto you those unconventional combinations?

I am just looking for new sounds, but there arealso nonmusical things that influence these choic-es too. That quartet had to be a small group so Icould travel easily with it. I wanted to have sort ofa microorchestra, though. I thought of the violinas the string section, the trumpet and trombone asthe brass section, and I filled out the other areason guitar. More than anything, though, it is thepersonalities of the people that causes thesegroups to come together.

I am always trying to find a different slant. Thequartet was a great group to write for--a smallgroup of people offering a lot of colors. Sometimesthe instrumentation is a setup for me to play theguitar more, as in a trio with bass and drums.

Music journalists have a hard time labelingyour" blend of blues, rock, country, and jazz, butultimately categorize it as jazz. Is it all jazz inyour’ mind?

It seems that in the last 10 years, jazz has got-ten a more formal definition. I am coming fromjazz and was influenced by teachers like Dale andartists like The]onius Monk, Sonny Rollins, MilesDavis, and Bill Evans. I believe I am thinking theway they thought. Deep in my heart, I feel I amcoming from jazz although I don’t know what itis anymore. Charlie Parker used all of the musicalinformation that was around him at the time. Heused to listen to Hank Williams, Stravinsky, orwhatever. He was open to all that, and it came

18 Berklee today Fall 1998

through in what he played. Now 40 or 50 yearslater, that is jazz. So I am trying to let whatever Ihave experienced in my life come through.Having grown up with the Beatles and JimiHendrix, it almost wouldn’t seem honest to notinclude that. In the end, it doesn’t matter whatpeople call it.

On your Nashville album and others, the solowasn’t the raison d’etre of the individual songs.Sometimes you got into just creating textures.Where does the solo fit into the hierarchy of yourmusic?

I have always been a fan of accompanists aswell as soloists. When I listened to Miles’ records,I was always fascinated by what Herbie Hancockwas doing behind Miles’ solo. I have always beeninterested in the mechanics of how instrumentswork together. The idea of a soloist out in frontof a band playing all of his stuff is becoming lessand less interesting for me. In my groups, every-one is accompanying everyone else all the time.

Sometimes in jazz there is an attitude aboutplaying the melody as fast as you can to get rid ofit and start piaying everything that you havelearned. That can be a drag.

A lot of jazz musicians play the same ideasover and over again.

Right. I think it is the melody that puts a tunein its own individual world. That keeps youwithin the architecture and makes each songindividual. It is really a way for people to findtheir own voice in a way. Instead of discardingit and playing what you have learned, themelody stays in there and connects with yourown voice.

Lately, I have been learning bluegrass tunes,and it amazes me how good bluegrass playerswill improvise around the shape of the melody.The melodies stay within one scale, but they areso active. Trying to improvise and keep thatintact is one of those mysteries that I don’tthink I’ll solve in this life.

In the music of my favorite jazz players, Ihave always heard this approach. No matterhow far Miles went, I could always hear that themelody was affecting what he was playing.Monk played the melody all the time.

You include nontraditional ways of playingthe guitar in your music. I am thinking of vari-ous scrapes and taps, strums behind the nut andbridge, or the rubbing of a drum stick over thestrings. When did you first start doing all that?

Just prior to coming back to Berklee in 1975,I had been studying with Jim Hall. I was reallyconservative and just wanted to play bebop.There were a few years when I could only seemusic as what happened from Charlie Parker

through the early 1960s. I couldn’t see anythingelse. Then something snapped, and I realizedthat I had cut myself off from all of the musicthat had led me to that point. So I tried openingmyself up to anything, and a light went on. Ihave tried to keep that attitude ever since.

There are probably only nine keys t.bat per-mit really guitaristic playing with openstrings and natural harmonics. Does thatmake you feel limited in the music you canwrite?

I hate to admit it, but my music comes somuch from the guitar. One thing I got from theclasses I had with Herb Pomeroy was a little bitof a handle on writing away from the guitar. Ihave done l[hat quite a bit. I will just "write onpaper without having a keyboard or guitar. Alot of great things come from that. I am just fol-lowing my ear or something that I’m hearing inmy head.

It could come from either place. I mightwrite a melody on paper in a sort of stream-of-consciousness style. It could start in any keyand modulate anywhere. As soon as ][ get myhands on the guitar, it becomes more idiomatic.

Some of your music has a sweet and down-home sound, but other pieces have pungentdissonances. Do you use dissonance to createcontrast, or are the darker tunes entities untothemselves in your mind?

I am not sure that it is a conscious decisionthat I make. The tunes seem to come out fullyformed. Some may stay in a really consonanttonality and that is enough; the music doesn’thave to go anywhere else. Sometimes I will needsome contrast. It may start out really dissonant,and I’ll want it to resolve or the reverse. As I amwriting a tune, I don’t have a preconceived ideaof what it will be. Stuff just comes out.

Frisell: "Be trueto where you arecoming from anddon’t be embar-rassed about themusic you grewup with."

Fall 1998 Berklee today 19

You have explored many musical avenues,but the Nashville album was probably themost unexpected turn to date. It is also yourbiggest seller. How do you interpret that?

After that album came out, some critics inlocal papers here in Seattle said I was selling outand trying to make money, playing it safe. Forme it was one of the most avant-garde and riskythings I could have done. Going down toNashville to play with people I’d never metbefore, I had no idea what was going to happen. Idon’t know if that has anything to do with it beingsuccessful. I had to figure out some kind of musicthat I thought we could play really quickly. Wehad no rehearsal and only a few days in the studio.I had never played with banjo or mandolin play-ers in my life. For me, it was all kind of terrify-ing. They were afraid to play with me too. Theydidn’t know whether I would bring in CharlieParker tunes to see if they could read them.Nobody knew what was going to happen.When we started playing, there was a rush ofgood feelings. It all felt so good.

Did you bring lead sheets for that materialto the sessions?

Yeah, but the players didn’t really read thecharts. Usually, for my own band, I will writeout lead sheets and everything starts from thatpoint. The Nashville players were really ear-ori-ented. I’d play the tune, and they would learn itthat way. They were frighteningly fast.

A lot of old bluegrass and country tunesseem simple on the surface because there areonly two or three chords, but there is a wholebunch of other stuff in there that can get prettycomplicated. There :might be two beats of thischord, five beats of that one, and six beats ofanother. It is amazing how those players canreally play on those bizarre forms.

What was the project you did with orchestra?Steve Mackey, who teaches at Princeton,

composed a piece called Deal featuring JoeyBaron and me as soloists. We played it with theLos Angeles Philharmonic New Music Groupwith Esa-Pekka Salonen conducting. We playedit in Los Angeles, San Francisco, and then atCarnegie Hall with the American ComposersOrchestra and Dennis Russell Davies. It was aconcerto for guitar and drums. We didn’t haveany actual pitched notations, just indications ofwhere we were supposed to play and where notto play. So our parts were improvised. We got toplay with incredible orchestras. I never thoughtI’d ever get to play in Carnegie Hall.

It seems like you have no constraints placedon what you do musically by Nonesuch, yourrecord company. Does that amount of freedom

make you have to dig deeper when you areapproaching a new album?

I am always trying to dig deeper; I put pres-sure on myself. I feel so lucky that my recordshaven’t been really big sellers because there isno pressure to come up to the previous one. Itwould be so hard to get a huge record dealwhere they give you all this money and then ifyour record doesn’t do well, they just drop you.That happens all the time in jazz and pop music.When someone has one big record and there ispressure to come up to it again. I feel like I amblessed to have this amazing record companythat will let me do what I want to do when Iwant to do it.

You have a very distinctive voice on yourinstr~4ment. With so many people playing theguitar these days, how could a young playerdevelop his or her voice on the instrument?

That is a hard question. I am not aware of itin my own playing, but people tell me about it.All of the musicians that I really love have theirown sound. The only thing I could say for sureis that you have to be true to where you arecoming from and not be embarrassed aboutwhatever music you grew up with. It just neverworks if you try to pretend to be somebodyelse. You’re not somebody else, so you’ll neverdevelop your own voice that way.

I spent years trying to be Jim Hall, and it wasvaluable because I learned a lot, but it wasn’tme, because I’m not him. Whatever music hasbeen part of your life should come out. Peopletell me I have found my own voice, but deepdown inside I feel the same way that I did in1963 or whenever I started to play guitar. Musicis an area where you will always feel that youdon’t have it together.

There is always so much more you canlearn, but that makes it fun and a challenge.

If you could figure it all out, there wouldn’t beany reason to keep doing it. When I was in collegein Colorado, I remember an incredible momentwhen I got to meet Bill Evans. There was a littlejazz dub in Denver where Bill was playing for aweek. I went with my friends every night. The lastnight, we were leaving the club and saw Bill wan-dering around outside. I guess he missed his rideback to his hotel. We offered him a ride. I was flip-ping out because I was giving Bill Evans a ride.

In the car he was so bummed out. He felt he hadnot played very well that night. I couldn’t believethat I was hearing this. At the club, I had been lis-tening to what I thought was the most amazingand magical music, and he was feeling he didn’tplay anything! I had thought you got beyond thatat his level. I realized then that there will always benights like that and more to learn. ~

21~ Berklee today Fall 1998

R fl ti hi ge ec ons on. ,ac n

Motivating today’s young students to desire musical knowledgerequires a shift in the way we conceptualize music: education

by Stephen M.

Gould "66,

Ed.D.

Fall 1998

I n public schools and private studiosacross the country, music educatorsreport that students are more difficult to

reach and teach than in the past. They alsonote a lack of social skills, motivation, andperseverance to learn. Engaging students andteaching for understanding have always beendaunting tasks for educators. Helping stu-dents to become interested and engaged inacquiring the musical knowledge, skills, andattitudes to be successful as a musician in theclassroom and ultimately the world at large,requires a shift in the way we conceptualizemusic education.

When educators teach knowledge, skills,and dispositions in isolation and without pro-viding students opportunities for practicalapplication, students often see musical instruc-tion as having no relationship to "real world"music. In addition, students often get turnedoff, feel inadequate, and see themselves as notbeing able to make music. Furthermore, musicshould be integrated into the academic cur-riculum. The following ideas are ways toimprove classroom music education. Althoughthey run contrary to common practice, theseideas are not new.

It is my opinion that everyone should betaught how to make music, not just the easy-to-teach, obviously talented, or well-behavedstudent. Conventional wisdom views themusic teacher as a performer or service deliv-ery professional. In schools, while teacher per-

formance is important, student performance ismore important. The definition of "to edu-cate" comes from the Latin verb educate,which means to draw out. It follows, then, thatthe job of the teacher is to draw out and helpstudents apply what they have learned to~vardachieving some end rather than to passivelyabsorb knowledge and skills from the teacher.

Certain conditions for effective learninghave been identified after years of experienceand experimentation. All students can learnwhat the schools are expected to teach if help-ful conditions for learning are established.Previously, most educators believed that stu-dents automatically applied what they learned

Stephen Gould: "Stu=dents should begin to experimentwith improvisation at the kindergarten level."

Berklee t o d a y 21

in school to the situations theyencountered outside of school.However, an educational surveyconducted as far back as 1900 report-ed research findings indicating thatmany students did not apply theirlearning in the outside world.

Conditions for learningLearning is the process by which

.one develops new patterns of behav-ing. Learning is not passive. Itrequires putting into practice behav-ior that is new to the learner. A con-dition for effective learning of a com-plex musical behavior is sequential,step-by-step learning. The experi-ences that are most helpful to stu-dents are those that require them toput forth great effort to achieve suc-cessfully yet are not so difficult thatthe students give up or do not try.

Each new assignment shouldrequire the acquisition of moreknowledge, skills, or appreciationthan the previous ones and the appli-cation of that behavior to new situa-tions. In music classrooms and pri-vate lesson studios where studentsare successful learners, music educa-tors formulate a plan for sequentiallearning of each behavior they seekstudents to develop. They also devel-op and present learning tasks appro-priate for the different steps studentsneed to take in their progress towardlearning complex musical behaviors.

Another condition for effectivelearning is met when students receivefeedback for each step in theirprocess of learning a new behavior.When students perceive that they aremaking progress, they are usuallystimulated to continue to work onassignments. When students arestruggling, a teacher collecting infor-mation about their lack of progresscan pin point difficulties and findways to surmount the problems.

Keeping them motivatedTo help students construct mean-

ing and apply what they havelearned, teachers must invent workand create learning conditions thatwill keep students engaged and moti-vated even when they have difficulty.Work that engages students almostalways focuses on a product or per-formance that students value: It must

22 Berklee t o d a y

have clear expectations and relate tosomething that students care about.

Students must be free to experi-ment, practice, and create withoutfear of embarrassment, punishment,or feeling inadequate. They are moremotivated when parents, peers, andteachers make it known that theyconsider the work undertaken to beimportant. Students are more likelyto be engaged when they can workinterdependently on a group task. Aswell, they are likely to be engagedwhen they are continually exposedto new and different approaches.

Providing students with choices:in learning activities usually resuh:sin a greater commitment to whatthey are doing. Students are morelikely to be engaged when knowl-edge and information are readilyavailable to use in addressing tasksthat are important to them. Whenteachers make an effort to inventwork that engages all students, all aremore likely to become engaged, notonly those already capable of highquality work.

Coverage syndromeThe music curriculum in most

schools is like an over-stuffed chair.Too much material is expected to becovered. Coverage is the enemy ofunderstanding, and music educatorsmust choose what to emphasize andwhat to omit. Nothing is gained if ateacher is covering the material butstudents aren’t learning it. To helpstudents learn how to function asmusicians, teachers must begin withthat end in mind. They must have anunderstanding of the knowledge,skills, and dispositions necessary tobe successful musicians in the realworld.

It follows, then, that generalmusic teachers should create workopportunities and learning condi-tions within the classroom that sim-ulate the work contexts of realworld musicians. By doing so, theygive students opportunities todevelop and utilize the knowledge,skills, and dispositions that singers,instrumentalists; and composersneed to make music in the realworld. When work assignments andlearning conditions are welldesigned, students discover on their

own why a particular skill is neces-sary.

Reading music is important, but itshould not be a prerequisite skill andan obstacle to inventing work thatproduces music. Many students areaware that some of the most rich andfamous singers and instrumentalistsof all time could not read a note.However, if the teacher has inventedwork in which students have beenasked to create a musical accompani-ment to a poem, story, or shortscene in a video using a variety ofpercussion instruments, tone-bars,or electronic keyboards, it will notbe long before they realize that theyneed some kind of retrieval systemto help them remember who playswhat and when.

In this situation the work-invent-ing teacher might ask students todevelop their own notation systemand then ask them to see how othershave done it in the past and whatmusicians do today. Once they dis-cover something to help them solve areal-world problem, teaching stu-dents about standard notationbecomes less of a challenge becausethey are motivated to learn.

Developmental stages of learningWhen students are having diffi-

culty learning, the problem oftenstems from the teacher’s lack ofunderstanding of the way peoplelearn. As a result, instructionalstrategies utilized and the sequencein which content and skills are intro-duced are often out of sync with thedevelopmental level of the student.Wherever there are successful learn-ers, music educators have a deepunderstanding of the developmentalstages of learning and are able toinvent work that is sequential and insync with each stage.

Anyone who has worked withchildren knows that they are full ofenergy and perpetually in motion.Sustaining sound over time is anabstract concept for children, yetteachers traditionally begin teachingnotation by introducing the wholenote. Since eighth notes are muchmore in sync with the way childrenmove, it makes sense to select musicfor them to read and perform thatcontains mostly eighth notes rather

Fall 1998

Learning improvisation should beginwith the repetition by students of one-bar patterns clapped by the teacher.

than whole notes which the childrenwill have difficulty sustaining.

The folk song connectionToday’s young people are into

popular music like no other genera-tion before. African-American folksongs are the foundation of rhythmand blues, jazz, and rock. They arehighly rhythmic, usually pentatonic,and easy to sing. These folk songsprovide a context for teachers tohelp students learn what musiciansshould know and be able to do.They lend themselves well to accom-paniments that can be played by stu-dents at varying levels. Some of theknowledge, skills, and dispositionsthat can be learned from these songsinclude American and music history,listening, form, notation symbols,sight-reading, playing instrumentalaccompaniments, improvisation,and the importance of working as ateam member.

Improvisation is very much a partof today’s music and is usually firsttaught in high school or middleschool. Students are expected tolearn how to play on chord changesthat are often beyond the develop-mental level of their age group.Ideally, teaching improvisationshould begin in kindergarten andprogress through the upper-grades.

Again, a sequential developmen-tal approach should be used.Learning how to improvise shouldbegin with the exact repetition bystudents of one-measure patterns

Fall 1998

clapped by the teacher. Once stu-dents can accurately respond to aone-bar pattern, they should begiven the option to replicate the pat-tern or substitute a one- bar patternof their own.

Call and responseThis experience should be trans-

ferred to the voice, and studentsshould literally sing back theteacher’s one-bar vocal ,call" oranswer by creating their own one-bar "response." This experienceshould be extended to two- andfour-bar "call and response" pat-terns and then be applied to class-room percussion and tone-barinstruments, guitar, keyboard, andband instruments. The next stepshould be to improvise on one chordand, at a later date, progress to twochord changes at different tempos.The next stage would be to listen toand become familiar with basic bluesprogressions and then begin toimprovise on them. More sophisti-cated progressions at faster temposshould not be attempted until theprevious developmental stages aremastered.

Once students are comfortableplaying these simple progressions ontone-bar instruments in the generalmusic classroom or on band instru-ments, more sophisticated sequences(like II, V progressions) may introduced. Regardless of the gradein which students begin to learn howto improvise, they must begin at thesame starting point and continuethrough a series of developmentalstages. Starting at a higher develop-mental level without the necessaryprerequisite experiences usuallyresults in unsuccessful improvisingexperiences for most students.

ConclusionsFor students in music classrooms

to be successful learners, educatorsmust have a deep understanding ofhow young people learn and whattheir developmental needs are.Teachers need a clear picture of whatstudents should know and be able todo and clearly state goals, norms ofbehavior, and the core values thatguide the program of study. Theyneed to know how to invent music-

making work for young people, con-tinue to expand their repertoire ofapproaches to instruction, and usestudent interests as windows ofopportunity to help students learn.

Successful music teachers estab-lish the foundations of self-confi-dence, social development, and emo-tional growth by nurturing, support-ing, and providing an environmentof acceptance and belonging. Theyalso know how to set limits and cre-ate a variety of real-life activities andcontexts so that students learn howto participate as members of a com-munity and have the opportunity forproblem solving, discovering, andsuccessfully applying what they havelearned. In such music classrooms,teachers involve students in an o%o-ing dialogue that strengthens pro-gram goals, asserts core values, nur-tures student interests, and rein-forces expectations for appropriatebehavioa Teachers help studentscommit to learning and achievinggoals by assessing their interests andmaking adjustments based on stu-dent input.

The day I began inventing music-making work for children in elemen-tary school was the day I began find-ing my voice as a composer.

As a music educator, I believe thatour focus should be to create music-making work that captures the inter-ests of young people and, at the sametime, reflects the knowledge, skills,a~d dispositions necessary for themto become successful music-makersin the real world.

As an elementary school principal, Ibelieve that the focus of music educa~tion should be to help all people learnhow to create their o~vn individual andcommunal worlds of music. ~1

Dr. Stephen Gould, prindpal of theLowell School in Watertown,Massachusetts, is a songwriter, composer,and playwright. He has taught music at allgrade levels, including college. He haswritten music for film and television, andnz4merous songs, arrangements, and otherperformance pieces for young people. Hehas also served as consultant and facilitatorfor the Massachusetts Department ofEducation and the MassachusettsElementary Prindpals’ Assodation.

Berklee today 23

Hearing by Interval

A method for improving aural skills by developingan independent, long-term memory of intervals

b y Steve

Prosser

’n movable Do so]fege, pitch relationships arepredicated upon a sense of resolution. Thus,

,the pitch SoI is Sol because it resolves to Do.But, what if Sol has no sense of resolution? Theobvious answer is that Sol would no longer be Sol.Losing a sense of Do, however, is a phenomenonthat all ear training students discover in the courseof their studies. Losing Do often happens in high-ly chromatic melodies or in those with quicklyshifting key centers. Indeed, some music entirelydefies a sense of key. For these melodic situations,it is often useful to en’~ploy intervalIic hearing.

Hearing by interval is not as easy as it sounds.The reason for that difficulty is not readiiy appar-ent. Many ear training and solfege method bookscontain intervaI studies, but those studies are usu-ally contextually based. Sol down to Do, forexample, is a perfect fifth interval, but a tonallybased understanding of a perfect fifth doesn’t nec-essarily translate to an atonal context. Test thisassertion out for yourself by singing example 1.

Trying to hear these perfect fourths and fifthsusing Soi to Do doesn’t work here. To hear inter-vallically in a situation like this, we need to knowthe sound of each interval intrinsically, withouttonal reference of any kind (like "Here Comes theBride" for a perfect fourth). Once we master theintrinsic sound of intervals, we will be able to hearthem and use them in any musical context.

The goal of interval study is to measure and

Ear Training Department Acting Chair Stephen H.Prosser holds a Ph.D. from Boston College and a J.D.from Suffolk University Law School. This article isadapted from his hooks Intervallic Ear Training forMusicians and Essential Ear Training for Musicians.

memorize, through accurate repetition, the size ofeach rnelodic interval. The best way to begin thattask is to start with the smallest interval, the minorsecond, and work toward the larger intervals.You need a confident sense of the minor secondbecause it will be the basis of construction for thelarger intervals. To reinforce your ability to hearthe minor second, work with the chromatic scale.

For example 2, sing on la or some other syllable(remember, we are not thinking solfege here).After giving yourself a reference pitch, sing a D,concentrating on your intonation. Then stop.Look at the next pitch, D~. After hearing the pitch,sing it, concentrating on the size of the intervalmotion you just made and on your intonation.Continue this process through the rest of the exer-cise. If this seems too easy, remember that yourgoal is to develop an accurate, long-term memoryof the interval. So, go slowly, concentrating on theinterval motion and on your intonation.

When you are confident hearing and singingminor seconds, move on to the major second. Tobuild the major second, we’ll use our knowledgeof the minor second. (See example 3.) As before,give yourself a reference pitch, E Then use the fol-lowing technique to sing each interval.I. Sing the first note, concentrating on intona-tion, then stop.2. Identify the interval between notes.3. Hear the interval in your head. Sing thebuilding block note, F if you need to. Whenyou begin to perceive the sound of the outerinterval, F~ to E, go back and try to hearthe major second without the building block.4. Sing the pitch while concentrating on inton-ation. When your intonation is correct, stop.

Example 4 is an exercise combining the various

24 Berklee today Fall 1998

intervallic permutations of minor sec-onds together with major seconds.Remember to use the singing tech-nique described above. Go very slow-ly, and make sure that you are satisfiedwith your intonation.

Notice that this exercise purposelyavoids tonal contexts and close repeti-tion of notes. Instead, it featuresmotions that are tonally ambiguous:changing tones using minor and majorseconds and successions of chromaticand whole tones. When you can singexample 4 with a high level of accura-cy, begin to work on speed and add arhythmic context. Then try largerintervals.

Each interval group has its own setof problems that you must overcometo effectively hear intervallically in anycontext. (See examples 5-9.)

Another effective means to practiceintervallic hearing is visualization-improvisation. The goal of this exer-cise is to see in your head pitches on amusical instrument as you sing vari-ous intervals. The preferred instru-ment for this exercise is a piano, butyour own instrument or even animage of musical notation can be used.

Look at the keyboard (example10) and then close your eyes andvisualize it. Run up and down thechromatic notes of an octave from Cto C. If you can "see" all the notes asyou go, then you are ready to impro-vise. No matter what instrument youchoose to see, you need a vivid imagein your mind.

Next, remembering the problemswith seconds, give yourself a refer-ence pitch, close your eyes, andbegin improvising. Don’t thinkabout style or rhythm. Just concen-trate on the notes that you are gener-ating and seeing. If you are not sureof what you are seeing--slow down!Remember to concentrate on theinterval motion and on the intona-tion of every note.

The result of working on these

Ex. 1

Ex. 2

Ex. 3 building block note

Ex. 4 seconds

Ex. 5 thirds

Ex. 6 fourths and fifths

Ex. 7 tritones

Ex. 8 sixt/as

Ex. 9 sevenths

exercises can be quite profound.Interval hearing, along with your Ex. 10 keyboard for visualization

sion music as you compose it, tomentally hear music on a pagewithout refering to an instrument, |and to understand the shape andform of live or recorded musicupon a first hearing. ~1

Fall 1998gerklee today 25

Alum

Compiled by

Ben Wright "98Lou Forestieri ’61 of Los

Angeles has written musicfor 12 episodes of the CBS-TV series "DiagnosisMurder." Forestieri’s othercredits include the filmsCrazy Moon, SomethingAbout Love, and I-IotMoves, and television shows"Lois & Clark," "BeverlyHills 90210," and "MelrosePlace."

James Castaldi "66 ofWoonsocket, RI, has beenband director of theWoonsocket High Schoolconcert band for the past 32years, and director of thevocal ensemble for the pastsix years. The school’s per-forming groups always place

Drummer and composer Cindy Blackmaa "80 has released Inthe Now for HighNote Records. The disc features hassist RonCarter, pianist Jacky Terrasson "86, and sa×ophonist RaviColtrane playing six Blackman originals. Other selections werewritten by Lennie Kravitz, Wayne Shorter, and Ornette Coleman.

in the top at the festivals inwhich they compete.

On Again, JerryBergonzi’s ’68 latest RAMRecords release, finds thetenor saxophonist leading anall-star quartet includingNick Goodrick "67, BruceGertz ’71, and AdamNussbaum.

Drummer RichardWilliams ’68 of Penn Van,NY, plays with the Christianband Our Father’s Children.The group released the CDSpreading the Gospel withSong in 1997.

Gordon Nicholson "70 ofEdmonton, Canada receivedhis Ph.D. from SaybrookInstitute in San Francisco,CA in June. His piece NineMiniatures for Saxophoneand Piano was premiered inSwitzerland in May.

Songwriter B.J. Snowden’71 of Billerica, MA, wasprofiled in the BostonSunday Globe on June 7.The article describes herappearances on MTV’s"Oddville" show and atNew York clubs. Snowdenalso teaches public schoolmusic in Roxbury and EastBoston.

John Zannini ’72 andAnthony Zannini ’171 both ofHampstead, NH, markedthe tenth anniversary of therelease of their first record-ing, Brotherz-Labor ofLove. Their band Brotherzis planning a new CDrelease.

Christopher Amberger "73of Petaluma, CA, hasrecorded and toured with

Nika Rejto ’75

Art Blakey’s JazzMessengers, Red Garland,Rosemary Clooney, and theLarry Baskett Trio. He hasreceived three NEA compo-sition grants and performsall over the West Coast atjazz rests, wineries, clubs,and hotels.

Saxophonist ToddAnderson ’73 of New Yorkhas released the CD Framedfeaturing drummer ScottNeumann and bassist BorisKozlow.

Guitarist/songwriterScott Appel "73 of Boonton,NJ, released his new CDentitled Parhelion on OneMan Clapping Records.

Pianist Bob Dawson ’73was named artist-in-resi-dence and composer forMichigan State Universityfor the 1998, 1999, and 2000seasons. Warner Bros.Publications has publishedthe transcriptions of hisBreaking the Rules CD.

Vibist composer/arran-ger Bobby Vince Paunetto ’73of Cliffside Park, NJ, has

26 Berklee today Fall 1998

Alumni ChapterPresidents andCoordinators:

New YorkTom Sheehan ’75Consultant(212) 712-0957

ScandinaviaChristianLundholm ’96(454) 295-3083MartinFabricus ’96(453) 583-1679

ChicagoDougMurphy ’90The Star Store(708) 343-1750Tom Castonzo ’87(708) 488-1208

NashvillePamelaDent ’95(615) 662-9112MarkCorradetti ’87(615) 365-8052

BostonJeannie Deva ’75The Voice Studio(617) 536-4553

San FranciscoDmitriMatheny ’89Penumbra(510) 428-2328

Los AngelesLeanneSummers ’88Vocal Studio(818) 769-7260

Puerto RicoRalinaCardona ’91Crescendo(809) 725-3690

EnglandLawrenceJones ’8044-1273-701833

RomeClaudioZanghieri ’9306-7184053

GreeceMikeAcholadiotis ’84016-926019

CLASS CONNECTIONS

The summer monthsfor colleges are times forchange and growth and tomove new programs for-ward. This summer, Ibecame a part of thatchange; I have 1eft Berkleefor new horizons. I am sadto leave all of the wonder-ful alumni with whom Ihave enjoyed working forover six years.

The friendships thathave developed during ithis time will have a long-lasting effect on me. I feelhonored to have worked Sarah dodgewith so many talentedindividuals.

Since 1992, new projects and programs have been developedto strengthen alumni connections to the college. Among thoseare the Berklee Web site with its alumni page and directoryupdate, the alumni hotline; a first-ever ciass gift, the CareerResource Center’s alumni bulletin board, regional alumnievents and activities, and the establishment of 11 domestic andinternational alumni chapters.

The success of these programs is due largely to you, theBerklee alumni. I thank you all for your support of the alum-ni events. Also, I want to extend a very speciai thanks to a spe-cific group: the alumni chapter presidents, representatives, andcoordinators, past and present, with whom I have had the plea-sure of working over the past few years. They include StanKubit ’71, Jeanne Deva ’78, Steve Ward ’87, Tom Sheehan ’75,Doug Murphy ’90, Tom Castonzo ’87, Betsy Jackson ’84,Mark Corradetti ’87, Pamela Dent ’95, Gary BoLLs ’82, DmitriMatheny ’89, Leanne Summers ’88, Ralina Cardona ’91,Lawrence Jones ’80, Michiko Yoshino ’90, Mike Acholadiotis’84, Samy Elgazzar ’93, Claudio Zanghieri ’93, ChristianLundholm ’96, Martin Fabricus ’96, and Martin Sulc ’92. Theirassistance has made so many great projects possible.

By the time you read this, San Francisco area alumni will haveheld their September 28 reception with alumni hondrees Larryand Steven Oppenheimer ’77. For Boston alumni, ProfessorHenry Augustine Tate will have presented a Iecture and slideshow at Berklee followed by a guided tour of the acclaimedMonet exhibit at the Museum of Fine Arts on October 22. Watchhere for news of other events and for an introduction to the newassistant director of development for alumni relations.

In closing, I wish all of you alumni in the Berklee commu-nity continued success in your endeavors. And please, stay intouch with your alma mater.

Best regards,

--Sarah dodge, former Assistant Director of Developmentfor Alumni Relations

reissued his Grammy nomi-nated Latin jazz classicsCommit to Memory andPaunetto’s Point. The discs fea-ture a long list of top alumniplayers. Paunetto’s new releaseis titled Composer in Public.

Piano tuner and composerDavid Elinson ’75 of Brooklyn,NY, released his second CDRincon. It features his synthe-sized ambient music stylings.

Bassist Ron Ormsby ’75 ofCenterviIle, MA, is currentlyfreelancing in the NewEngland area. He is ownerand operator of REO Studios,a professional recording facili-ty located on Cape Cod.

Flautist Nika Rejto ’75released a new CD titledBridge Weaver featuring Dmitriiatheny ’89 on flugelhorn andguitarist Rick I/andivier "71, onher own 1abel, Unika Records.Herb Wong produced the discwhich can be purchased atRejto’s Web site:<www.fivespot.com/nika>.

Vaughn Klugh ’76 of Tokyo,Japan, played bass, guitar, andkeyboards on his first CDChoose Love.

Pete Goodall ’77 ofSnohomish, WA, is a customerservice manager for CompaqComputer Corporation andplays mandolin for FidelityGrange, a folk-grass band:

Composer Jan Stevens ’77has written for the NBC net-work series "Friends," "TheJenny Jones Show, .... ACurrent Affair," and manycommercials.

Marlene Tachoir ’77

Fall 1998 Berklee today 27

Composer MarleneTachoir ’77 ofHendersonville, TN, penneda multimovement worktitled A Jazz Concerto forVibraphone and Orc/aestra.The concerto was writtenfor her husband (Grammynominee) Jerry TachoirJerry was selected to be aclinician at the PercussiveArts Society’s InternationalConvention in Orlando.

Jim Thomas "77 ofJenkintown, PA, opened amusic library at the westPhiladelphia branch ofSettlement Music School.He also works as a recordingtechnician at Kloss Studiosin Roslyn, PA.

Pianist Robert Cento ’78 ofWalpole, MA, publishedarticles on the business ofstudio teaching in Claviermagazine. This summer, theFrederick Horris MusicCompany published hisbook of intermediate pianopieces entitled Sandcastles.

Derry Hirsch ’78 ofRoseville, MN, specializes inchildren’s music, both edu-cational and entertaining.Hirsch is the co-owner ofFull Quiver Productions, amusic and theater produc-tion company in St. Paul,Minnesota.

Drummer Chris Massey"78 of Langenthal,Switzerland, has recorded aCD with legendary beat

Patti Weiss ’78

28 Berklee t o d a j/

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poet Robert Creeley entitledUnexpected Images.Creeley, Massey, bassistSteve Swallow, and guitaristDavid Torn will give perfor-mances in the U.S.

Christopher Pitts ’78 of SanFrancisco, CA, and hisContemporary JazzOrchestra will appear at this

year’s Monterey JazzFestival.

Violinist Patti Weiss ’78 ofSan Francisco performed onthe soundtrack for theMiramax film Guinevereand played two concerts asguest soloist with the GypsyKings. Her debut CD Worldcard was released in July onJaguar Jazz Records.

Mark Werchowski ’78 ofOriskany, NY., released anew CD entitled That’s MyStory... and I’m Sticking toIt on Oriskany Records.Werchowski has twice wonASCAP’s PopularSongwriter Award.

Songwriter Jose Gomez"79 of New York, wrote thesong "If I Let Myself Go"with Sheree Sano. TheWave/BMG recording ofthe tune sur~g by ChuckJackson and DionneWarwick has been released

as the first single fromJackson’s I’ll Never GetOver You CD.

Percussionist Pasc0alMeirelles ’79 of Rio deJaneiro, released Fort6Brabo, his sixth CD as aleader. Meirelles has playedthroughout Brazil andEurope and has recordedwith Antonio Carlos Jobim,Ivan Lins, and Luiz Bonf~.

Seven-string guitaristJerry Sims "79 of Coiumbia,SC, owns Sims Music inColumbia. He has recentlycompleted a video forIbanez Guitars with SteveVai and John Petrucci andhas played for Ibanez at theLos Angeles NAMM show.

Bruce Upchurch ’79 ofScottsdale, AZ, is the ownerof Music Oasis, a produc-tion company specializing inmusic for advertising, televi-sion stations, and record

Fall 1998

Let me begin this column with arecap of an alumni event that washeld soon after the previous editionof Berklee today went to press. Thisseminar, hosted by the BerkleeCenter in L.A. in conjunction withL.A. Women in Music and theNational Academy of Songwriters,was entitled Women in Music andwas held at Capitol Records. It wasa great success with an audience ofalmost 150 filling Studios A and B.The panelists were Left BankManagement Senior Vice PresidentCarol Peters, drummer/producerTerri kyne Carrington ’83,pianist/composer Patrice Rushen,music publisher Carol Ware, com-poser agent Linda Kordek, ASCAPAssistant Vice President forCreative/Fihn and TV SpecialProjects Jeannie Weems, and panelmoderator/vocal coach LeanneSummers ’88.

The discussion focused onwomen’s opportunities in the musicindustry and the panelists sharedexperiences of gender-related issuesin their own careers. Topics includ-ed the current interest in the LilithFair tour, the number of successfulwomen in publishing and songwrit-ing, and the scarcity of women inthe film scoring and productionfields. Given the capacity atten-dance and the subsequent positivefeedback, it is likely that this topicwill be revisited in the near future.

Berklee in L.A., the annual sum-mer program held at ClareraontMcKenna College, recently con-cluded another successful session.Thank you to all the alumni whoprovided support during the pro-gram. Eric Marienthal ’79, JeffRichman ’76, Steve Billman "83, LynnFiddmont "83, and ~erney Sutton ’87all made outstanding contributionsas clinicians, as did Mark Goldstein(senior vice president Business andLegal Affairs, Warner Bros.Records) and bass specialist BunnyBrunel. Musical product/instru-ment support came from Yamaha,Fender, Kawai, Latin Percussion,Shure, and Zildjian. Thanks again to

L.A. NEWSBRIEFS

Women in Music panel (from the left): Carol Peters, Terri Lyne Carrington,Patrice Rushen, Peter Gordon, Carol Ware, Linda Kordek, LeanneSummers, and Jeannie Weems.

Tom Love ’82 for coordinatingKawai’s participation.

For the first time, this year’s pro-gram featured a structured course ofstudy in Latin jazz developedthrough a partnership with theLatin Jazz Institute in cooperationwith that organization’s artisticdirector dusto Almario ’71. The pro-gram gave students the opportunityto attend lectures, perform inensembles, and experience masterclass sessions, all of which focussedon Latin jazz. Among the masterclass clinicians were percussionistsAlex Acufia and Walter Rodriguez,pianist Joe Rotondi, bassist JohnPena, flutist Danilo Lozano, trum-peter Bobby Rodriguez, trombonistFrancisco Tortes, and Almario,playing flute and saxophone. Theenthusiasm expressed by students,Latin jazz educators, and cliniciansindicate that this program has abright future.

Congratulations to Emmy win-ner AIf Clausen ’66 and to Emmynominee Chris Klatman "80. For hiswork on "The Simpsons," Clausenreceived his second consecutiveEmmy in the category of Musicand Lyrics. Klatman received anomination in the category ofMain Title Theme for the CBSseries "Four Corners."

Klatman’s recent composing

credits include scoring An All DogsChristmas Carol for MGM,Toonsylvania for Dreamworks,and Disney’s "101 Dalmatians"television series.

.As for other alumni in the news...Randy Miller ’77 is currently scoringGround Control (starring KieferSutherland) for Trimark Pictures.Earlier this year, his music could beheard in the Warner Bros. movieWithout Limits. Ernest Troost ’78 hasjust finished scoring three pictures:Saint Maybe for Hallmark Hall ofFame, One Man’s Hero for MGM,and Beyond the Prairie for CBS.After scoring Running Wild,Valentine ~" Day, and Ice, three moviesthat will air on Showtime, HBO, andShowtime respectively, LawrenceShrng0e ’77 is now scoring the firstseason of "Welcome to Paradox," acritically acclaimed series on the Sci-Fi Network.

On the playing front . . . AmyEngelharflt’90 has been recording andtouring as the newest member of theBobs, a three-man, one-woman acappella group on Rounder Records.Their touring schedule includedopening for A1 Jarreau at a concertnear Portland, Oregon.

That’s it for now. Stay in touch.

Peter Gordon ’78, DirectorBerklee (?enter in Los Angeles

Fall 1998 Berklee today 29

Zoro "82 penned The Commandmentsof R&B Drumming.

projects. Upchurch also produced andarranged Partners in Crime by JimBrickman and Dave Koz.

Douglas James Wray ’79 ofStamford, CT, recently played bass onSloan Wainwright’s album FromWhere. You Are and backed GregGreenway on What’s That I Hear? acompilation of Phil Ochs’ songs.

Multi-instrumentalist David GiRlen’80 of Boston, MA, has recentlyreturned from a tour of Gambia,Senegal, and Mall in West Africa.

Cynthia Hilts ’80 of New York, N-Y,was composer-in-residence at theMontana Artists Refuge this summer.

Frank Macchia ’80 of Burbank, CA,recently won a Publisher’s Weeklyaward for his original stories withmusic entitled Little Evil Things. Hehas composed music for the TV pilot"Ed the Alien." He orchestrated musicfor the Jamie Lee Curtis filmHalloween H20 and for One Man’sHero for composer Ernest 1"roost ’78.

Producer/programmer AnthonyResta ’80 of Boston has been workingon the new Collective Soul CD and onguitarist Nuno Bettencourt’s latestCD. Resta is in England working onhis third project with Duran Duran.

Pianist Hiro Takada ’80 of Tokyoreleased the CD Portrait in NYC fea-turing bassist Rufus Reid, drummerAkira Tana, and vocalist Barbara King.The disc features jazz standards andfive original tunes.

30 Berklee t o d a y

Guitarist/songwriter GreganWortman "80 of BilIings, MT, and hispartner YeIonda L. Walking Eaglehave been performing on Wortman’spublic access television show "PsychoCircus" and in night clubs.

Mark Boling "81 of Knoxville, TN, iscoordinator of the jazz studies pro-gram at the University of Tennessee.He has recorded a CD entitledEnchante with pianist Donald Brown,due for release in the winter of 1999.

Bassist Gustav0 Gregorio "81 ofOsaka, Japan, has released his thirdbass method book written in Spanishand published by Ricordi. He has alsowritten five columns for Bass Frontiersmagazine.

dames Ankney’82 of Faribault, MN,has been head of the performing artsdepartment at Shattuck-St. Mary’sSchool for eight years. Last year, theschool’s chamber orchestra won theDown Beat magazine poll, and thevocal jazz ensemble performed at theIAJE convention.

Vocalist Maggie Galloway ’82 ofBoston, MA, has recently released herCD More Than You Know onBrownstone Records. The materialincludes classics and rare entries fromthe great American songbook.

Guitarist Leo Quintero "82 of NorthBay Village, FL, has been producingrecords and touring with various acts.

Violinist Benjamin Smeall "82 ofGreen Bay, WI, owns and operatesSongCycles Music Studio. SmealIholds a Ph.D. in Music Educationfrom the University of South Carolinaand has been teaching and arrangingbluegrass string quartets. He performswith his group, SongCycles.

Composer "Doctuh" Mike Wonds’82 of Bloomington, IN, composedand played bass on his CD DiggableBlues. Several of his chamber compo-sitions were recently premiered at aconcert at Hamilton College where"Woods is a faculty member.

Vocalist Lenora Zenzalai Helm "82 of~New York coproduced an awardsprogram and concert for InternationalWomen in Jazz in June. The honoreesincluded Dee Dee Bridgewater, CindyBlackman ’80, and Cecilia Smith "82.

Drummer Zoro ’82 of Los Angelesauthored The Commandments ofR&B Drumming, published byWarner Bros. Publications. Zoro’s

Fall 1998

156-page book contains aCD of the musical exam-ples, interviews with topr&b drummers, and recom-mended listening.

Pianist Makoto Ozone ’83released Three Wishes onthe Verve label with his triofeaturing bassist KiyoshiKitagawa, drummerClarence Penn, and specialguest Wallace Roney ’81 ontrumpet.

Keith Smith ’83 ofMechanicsburg, PA, is theWebmaster for FrankSinatra’s official guest bookon the Internet. You canvisit his site at:<www.sinatrafamily.com>

Songwriter and key-boardist Donald Breithaupt’84 of Bolton, Ontario,Canada, has just releasedthe CD True Winter withhis Toronto-based project,Monkey House. Thegroup’s first CD, Welcometo the Club, spawned fourtop-40 AC singles inCanada.

Philippe Crettien ’84 ofHopkinton, MA, is in hissecond year of teachingpiano at the Rivers MusicSchool in Weston, MA. Hehas also been teaching inthe Concord/CarlislePublic Schools for twoyears.

Former U.S. ArmyBand guitarist Lar~ 0anza’84 of Watertown, NY, hasreleased a CD titled NewStandard Tunes on JazzCity Records. His daughter

New Verve release bypianist Makoto Ozone ’83

Fall 1998

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Lola is currently enrolled asa Bertdee student.

Vocalist Lynne FiddmontLinsey "84 of Philips Ranch,CA, is singing on jingles andmovie soundtracks, andappearing live with variousartists. She has also made TVappearances and has record-ed with Babyface and StevieWonder.

Drummer Lar~ Franquez"84 of Guam signed a prod-uct endorsement deal withSabian Cymbals in March.After years as a music edu-cator and clinician in Guam,Franquez is relocating toBoston this fall.

Joel Goodman "84 com-posed music for the award-winning film GreenChimneys. Goodman alsoscored Concert of Wills: TheBuilding of the GettyCenter, and the featureOrigin of the Species, direct-ed by Andros Heinz.

Trumpeter HumbertoRamirez ’84 of San Juan, PR,released Treasures, his fifthCD for the TropiJazz label.

Jeff Robinson ’84 and hisband appeared on MTV’s"The Real World" and at the

1998 Boston Music Awardsat the Orpheum Theater.

Singer/pianist BarryRocklin ’84 performed on"Enchantment of the Seas"for Royal Caribbean CruiseLines, and will play theGrand Hyatt Hotel inBerlin, Germany, inOctober. His new CD istitled Barry Rocklin: IHeard Him Play It Live.

Guitarist Tom Kanematsn’84 of Gifu, Japan, releasedthe CD ka Foret for theMoment label. The disc fea-tures three of Kanematsu’scontemporary jazz originalsand five gospel selections.

Guitarist James Viglas "84of Winchester, MA, anddrummer Kevin S0ares "85 ofBuzzards Bay, MA, haveproduced a new CD titledThe Vigtones.

Richard Beligni ’85 of LasVegas, NV, recently engi-neered and played drums ata gala event in Las Vegashonoring Frank Sinatra.

Claudio Dauelsberg "86 ofRio de Janeiro, Brazil, hasreleased his first solo albumentitled Aldm das Imagens.The album is nominated for

a Price Sharp, the Brazilianequivalent of a Grammy.Dauelsberg has workedwith a number of greatsincluding PlacidoDomingo, Bob Mintzer,Bireli Lagrene, and ChickCorea.

Ed kittman "86 of NewYork, NY, has two CDs:My Window and Littman,Zanker, & Bollinger, duethis year on Yeah ManReCords. His band plays inthe New York City area.

April Perkinson "86 andSteve Maples "87 openedSweet Wood, a companyselling instruments likePeruvian flutes and Africanhand drums handmade by

Larry Franquez ’84

Berklee t o d a y 31

Front row, left: Michele (Singer) Evans "98, Sharon Farher ’97; back row, h3ft: KevinKliesch "92, David Barkley ’92, and ASCAP’s Bill McRae.

These four alumni were among the 16 participants chosen from nearly 200 applicantsfor the 1998 ASCAP Film Scoring Workshop in Los Angeles. The month-Iong programcovered various aspects of scoring and featured top film and television industry speak-ers. At the program’s conclusion, each participant composed a score and recorded itwith a 40-piece orchestra at the Newman Scoring Stage on the Fox Studios lot.

Maples. Perkinson alsotoured as pianist for record-ing artist Susan Osborn.

Ramin Sakurai ’86 of LosAngeles, CA, and his bandOversoul signed with PalmPictures/Island Life rec-ords. They are featured onGeneral Grant’s upcomingrecord and have a song onthe soundtrack of the movieThe Last Seduction II.

Keyboardist PauloCamarg0 "87 of Sao Paulo,Brazil, is currently per-forming with the Brazilianpop band the Karnak.

Mark Cohen ’87 of LosAngeles, CA, has justreturned from Estonia andRussia where he was lineproducer for the filmsVirtuoso and Live Virgin.

Flamenco guitarist JesseCook ’87 of Toronto releasedVertigo for the Naradalabel. The disc debuted atnumber nine on Billboard’sWorld Music chart. Cookhas been nominated for twoJuno Awards and was

32 Berklee t o d a y

hailed in the New YorkTimes for his guest appear-ances with the Chieftains.

Pianist Satoko Fujii "87 ofSaitama, Japan, has releasedtwo new CDs. Looking outof the Window features thepianist/composer in a triosetting, and South Windshowcases her writing andplaying in a jazz orchestrasetting.

Matthew Kaslow ’87 ofBrooklyn, NY, is currentlythe guitarist for LauraBranigan.

Stephen Mayone "87 andhis band Hummer releaseda new CD in June and havebeen performing in theBoston area.

Drummer John Mcl~gue’87 of Nashville recentlytoured with legendary vio-linist Vassar Clements, andplayed on two CDs by theNobles which includetracks sung by DollyPatton and Carl Jackson.

Since graduating fromBerklee, Gerald Merano ’87

of Carlisle, PA, has earnedhis juris doctor degree fromthe Dickinson School ofLaw at Pennsylvania StateUniversity.

Guitarist Giil Parris ’87 ofArdsley, NY, has recordedwith Dr. John, ToniBraxton, Will Calhoun "86,Chuck Rainey, and manyothers. Parris’ solo debut onRCA/BMG features DavidSanborn, Bob James, MarkEgan, Harvey Mason, WillLee, and Larry Geldings.

Saxophonist EdgarDuvivier ’88 of Rio de

Humberto Ramirez ’84

Janeiro released SaxBrasiliero featuring originalmusic, selections by variousSouth American composersand Charlie Parker’s"Donna Lee."

David Eisner "88 ofTimberlea, Nova Scotia isthe staff audio engineer forCTV in Halifax, NovaScotia, working on livebroadcasts and remote pro-ductions.

Engineer AndrewR0shberg ’88 of Miami, FL,has worked with talentssuch as Creed, BiIlie Myers,and Jon Ben Jovi, and on anew release by Ed Calle.

Jennifer Sebben-Russo’88 of Redwood City, CA, isa back-up vocalist for tele-vision studios in California,a published poet, andauthor of nonfiction books.

Songwriter AlanAnderson "89 of BeIlvue,CO, released his debut CDClay Machine featuring 13of his originals. He haswritten over 150 songs.

Orlando Collado "89 ofBayama, PR, is the directorof the Jingle Factory musicand postproduction com-pany. In 1996 and 1997, heproduced about 40 percentof the music in Puerto Rico.

Daniel Fisher "89 of FortWayne, IN, is director ofsoundware engineering forSweetwater Sound. He hasalso penned articles forKeyboard and ElectronicMusician magazines, andwrites for the newsletter"Sweetnotes."

Steven tagarto ’89 ofBristol, RI, is teaching gen-eral music, show choir, con-cert choir, and theater in theTaunton Public School sys-tem. He was nominated forthe fifth edition of Who’sWho Among America’sTeachers.

Christopher koomis "89 ofMounds View, MN, isworking in audio post-pro-duction in Minneapolis.

A LIFE ON THE ROAD

Charles Lake ’54 (left) and Dizzy Gillespie

Charles "Whale" Lake ’54 spreadsout his photos from Paris, London,Tokyo, Jerusalem, and many otherplaces, souvenirs of 50 years on theroad. As personal manager to DizzyGillespie from 1975 through 1993, hetraveled around the world enoughtimes to rack up one million frequent-flyer miles.

Lake started playing the trumpet asa kid in Chelsea, Massachusetts. Aftergraduating from high school and serv-ing a two-year hitch in the MarineCorps, he decided on a musical career.

"I went to New EnglandConservatory for a year," he says,"but I really wanted to play music thatswung, so I came in 1949 to Berklee[then called Schillinger House]."

He graduated in 1954 and workedlocally as a trumpet player and as"band boy" (equipment/library man-ager) for Herb Pomeroy. Lake becameWoody Herman’s band boy in 1958.

"In those days, we would drive atruck with equipment and luggage,and the band members followed infour cars," he says. "We would dividethem up so that there was a saxophon-ist, a trombonist, a trumpeter, and onerhythm section player in each car.That way if anyone disappeared, wecould still play the job. If we had onecar with all of the trombone players init and they didn’t show up, it wouldbe pretty tough to play that night.

"I really learned the business touringwith Count Basie in the sixties," recallsLake. "Every night after the gig, we’dget back on the bus and I would talkwith [saxophonist] Eddie ’Lockjaw’Davis about the business. He went over

the contracts with me andshared tips on getting thebest rates at the hotels andtold me how all of the finan-cial dealings of a big bandworked. That enabled me tomake a step up and becomeroad manager for BuddyRich in 1972 and then forSarah Vaughan in 1974."

Lake’s biggest step upin the business wasaccepting a position tobecome personal managerfor Dizzy Gillespie in1975, a job he held until

Gillespie passed away in 1993."As a personal manager, I took care

of all of the details a road managerwould and also started doing all of thebooking for him. Later we had agen-cies do that. When I first bookedDizzy, he got paid $3,000 a week.After the agencies took over, he start-ed getting $10,000 a night."

Although Gillespie toured a lot andthe schedules were grueling, Lakeloved traveling with Dizzy. Yes, therewere 6:00 a.m. ~ights most mornings,and making sure the fiduciaries werehandled according to Gillespie’s wish-es could be challenging, but Gillespie’sstature enabled them to fly first classand stay in the world’s best hotels.Lake also met many great musiciansand royalty who would stop backstageafter Gillespie’s shows.

"When I was invited to give a lectureat Bet!dee recently, I realized that I hada lot of practical experience to sharewith the kids," Lake said. "There is a lotmore to learn than just playing yourhorn. Musicians have to understandhow to live on the road and to realizethat when they are late or do somethingwrong, it affects other people."

Lake’s latest efforts have focused onperpetuating the music of his friendDizzy Gillespie. He is booking fund-raising concerts featuring Gillespie’scharts played by trumpeters like ConteCondoli and Bobby Shew to benefit theDizzy Gillespie Memorial Fund at theEnglewood Hospital in New Jersey.

Lake will once again be feeling thecurvature of the earth beneath his feet ashe travds internationally to producethese concerts throughout the year. ~

Fall 1998 Berklee today 33

Debut CD by keyboardistKobi Marceca ’90

Flugelhornist DmitriMatheny ’89 of SanFrancisco played in 40cities and three countriesduring his most recent tour.

Composer Yuval Ron ’89of Los Angeles scored thetheme to the film Cowboyand the Movie Star. He isalso releasing a new CDentitled In Between theHeartbeat.

Singer/songwriter SheINillett ’89 coengineered aCD of her alternative popsongs. One of her songswas featured on the televi-sion show "Law andOrder."

Jennifer Egan ’90 ofWaldwick, NJ, is workingas a producer and writer forfilm and video in the NewYork City area.

Michael Lau ’90 ofBethpage, NY, was themusic director and produc-er for the 1998 CBS WinterOlympics broadcast fromNagano, Japan, and the1998 Goodwill Gamesbroadcast. He is executiveproducer of special projectsfor STS Music Group/Rad-ical Entertainment.

Christopher Leible ’90 ofNew Haven, CT, gave theworld premier at YaleUniversity of Only Now, aclassical guitar duo writtenby guitarist/composerBenjamin Verdery. Leiblealso was a soloist at aConnecticut ClassicaIGuitar Society concert.

34 Berklee t o d a y

Singer/songwriter KobiMarceca ’90 of New York,NY, released her first CDentitled All and Enoughwhich contains 12 of heroriginals. This summer shetoured with Vince Johnson"90. The tour included stopsat the Taste of Coloradoand Milwaukee Jazz festi-vals and House of Blues inChicago.

Bassist/composer PaulRogalski "90 of Boulder,CO, recorded and releaseda CD with his band CoyKindred. They are current-ly touring in Colorado.

Vocalist Jeff Thacher ’90of New York, NY, of the acapella group Rockapella,appears regularly on thePBS show "Where in theWorld is CarmenSandiago." The group isalso featured in a Folger’sCoffee commercial.

Michael Masson ’91 ofHingham, MA, was fea-tured on "CBS ThisMorning" in MarkMcEwens’ entertainmentreport. He was directing agroup for the program"Weekencl Warriors."Masson is also ensembledirector at the South ShoreMusic Company inWeymouth, MA.

Isamu Ohira "91 ofFujisawa, Kanagawa, Japan,wrote the soundtrack forthe Gran Turismo Gamefor Sony ComputerEntertainment.

Nicolas Marlin ’91 ofMiami directs, produces,and sings in a merengueband and owns a recordingstudio in the DominicanRepublic.

Kumi Nakagawa "91 ofTokyo is working as aMIDI karaoke sounddirector.

Singer/songwriter RenePfister ’91 of Amsterdam,The Netherlands, is cur~rently performing in theEuropean tour of Hair

with the American DanceTheatre of New York. Hisfirst CD, Roo~s & Wings,will be released this fall.

Ittai Rosenbaum "91 ofMevaseret, Israel, and theIlana Eliya and JabalioGroup performed at festi-vals in Italy, Hamburg,Dusseldorf, and Frankfurt,Germany. Their repertoireis mainly Kurdish songs.

Pianist Ton~ Snow ’91 ofYarmouth, ME, and hisjazz quartet performed aconcert at Brunswick HighSchool in Brunswick, ME,to benefit MidcoastHospice.

Drummer Brian ~chy’91of Los Angeles, CA, will betouring the U.S. this sum-met with the bandForeigner.

Kyle Wesloh ’91 ofGroveland, MA, is workingas a recording engineer atNew England Conser-vatory of Music.

Composer StephenBergman ’92 of Milford,MA, has been writing chiI-dren’s musicals and has hadhis plays staged in Floridaand New Hampshire.

Bassist Ivan godley ’92 ofBrooklyn, NY, appears onthe live CD by singer RuthGershon and is currentlytouring Europe with herband.

Drummer dohn Coffey’92 of Nor~vood, MA, playswith BC and Company andthe Roy Scott Big Band. Healso teaches music in theSharon public schools.

Guitarist John Lane "92of Stamford, C~I; is current-ly performing with a JohnScofield tribute band calledBlue Matter.

Keyboardist HaroldMims "92 of Denton, TX, ispresently the director ofchoral music at CalhounMiddle School in Denton.Additionally, he is ministerof music at Denton’s MorseStreet Baptist Church and

arranger for the GainsvilleSwing Orchestra.

Giovanni Moltoni "92 ofBoston, MA, and theGiovanni Moltoni Quartet,have performed at interna-tional festivals and inBoston-area jazz venues.

Ralph Rosa ’92 of NewBrunswick, NJ, is market-ing coordinator for thegroup Bumblefoot featur-ing guitarist Ron Thal. Thegroup’s new CD Hands ison the Hermit label. TheirWeb site is at: <www.prog-nosis.com/bumblefoot/>.

Martin Suit ’92 andJaromir Honzak ’90, bothfrom Prague, CzechRepublic, were music advi-sors for a July jazz clinic inPrague that focuses onimportant Czech musi-cians, bands, and orches-tras, and introduces them tothe international scene.

Journalist Alisa Valdes’92 won first place in theBoston Globe Magazineessay competition for"Daughter of Cuba," thestory of her visit to herfather’s birthplace.

Drummer/vocalist glakeWindal ’~2 of Los Angeles,CA, played and sang backupvocals on the CD MoreThan 12 Stories under theSun by Lisa Cannon andrecorded an album in Pariswith Benoit Michel "91.

Robin Zaruba ’92 ofHouston, TX, ownsCompuCord Multimedia inHouston. In July, hereleased an enhanced CDwith audio, video, and inter-activity.

Bassist Eric gaines ’93 ofDenver, CO, has performedwith artists such as NelsonRangell, Chuck Loeb,Danny Seraphine, LosLobos, the KentuckyHeadhunters, and theDrifters.

Guitar David flert01i "93 ofAustin, TX, is an activemember of the live music

Fall 1998

scene in Austin.Drummer Don Correu "93

of Boston, MA, has playedwith various bands includingthe Van Halen tribute bandBottoms Up. He was fea-tured in the Noble & CooleyDrum Company’s onlinenewsletter.

Guitarist Marek Dykta "93of Maspeth, NY, has beenperforming in New YorkCity with drummer TommyCamphefi "79 and saxophonistDonny McCaslin’88, and hasbeen producing sessions atAvatar Studios.

Guitarist TimothyHarrington ’93 of Phoenix,AZ, is currently an instructorat Boogie Music in Phoenixand is working on a CD tobe released this winter.

Kaoru Yasui ’93 ofHamamatsu, Japan, is a tech-nical consultant for Yamahain the interest of planningand debugging for specifiedtools and programs.

Vlamir Abbud ’94 ofAtlanta, GA, has been work-ing as the audio and videoproducer for the WeatherChannel Latin America.

Bassist Zachary Borovay’94 of Brooklyn, NY, and hisband Rooftop Cowboysreleased a self-titled CD.

Guitarist MichaelChlasciak "94 of Bayonne,NJ, recently opened for theSteve Morse Band and

Yngwie Malmsteen. His sec-ond CD, Burned SoulCatharsis, is due in January1999.

Pianist Mark de Clive-Lowe ’94 of Auckland, NewZealand, has been touring inJapan with his trio. Earlierthis year, he did recordingsessions and gigs in London

Katerina Andreou ’92 of Strovolos, Cyprus, released herfirst album Ego Pou Les in June on City Recordsl The albumcontains three of her originals,

and studied with Cuban jazzmaster Chucho Valdez inHavana, Cuba.

Trumpeter and key-boardist Steve Krchniak ’94of San Francisco, CA, com-posed and arranged musicfor the CD This is ReggaeStyle by his band Creation.

Drummer NathanielMorton ’94 toured withChaka Khan this summerand played on Funk Noir,the latest release by theBoston funk band Chuck.

Guitarist Robert Morris’94 of New York, NY, andthe Morris Brothers Bandreleased a CD titled Pop theTrunk, which ranked as asemifinalist in Musicianmagazine’s Best UnsignedBand contest.

d0seph Ruoto IV ’94 ofNashville is assistant manag-er for Steve Wariner. Hecoordinated a recent charityauction for Naomi Judd’s

research fund.Kenjii Tajima ’94 of New

York, NY, is performingwith the fusion trio PrimitiveCool, featuring pianist KuniMikami and bassist DanFreeman ’76. His pop groupTrance Senders is playingclubs around the New Yorkarea.

6ina Zdanowicz ’94 ofMetuchen, NJ, is a part-timeprofessor of audio andMIDI technology atColumbia College inChicago, IL, and is a mem-ber of the electronic musicgroup Circle of Grey.

Singer/guitarist HenryChar ’95 of Cartagena,Colombia, has released a CDsingle titled "Bajo un Pedazode Cat6n" from his albumComprometido con MiTiempo.

Pianist Stephen Hamilton’95 of London recentlyrecorded the album Santa

Fall 1998 Berklee today 35

Rita with producer and gui-tarist Richard Niles.Hamilton has also been tour-ing with Bill Bruford andKing Crimson.

Percussionist Taku Hirano’95 of Santa Clarita, CA,recently performed onthe "Tonight Show" withBrandy and on "Sinbad’sSummer Soul Festival" withthe Emotions. He has alsobeen an artist-in-residence atCarnegie Mellon University.

Ina Kemmerzehl ’95 ofLondon, England, is work-ing as a cellist and electricbassist in the London area.

Composer Laura Andel ’96of Cambridge, MA, did threepresentations in Berlin,Germany, with the 22-pieceOli Bott Jazz Orchestra.Andel and Oil Bott ’96 directthe band featuring musiciansfrom around the globe.

Ayala Asherov "96 is agraduate student of filmcomposition at the NorthCarolina School of the Arts.Asherov received honorablemention in the John Lennonsongwriting contest andwrote the incidental musicfor a London theatrical pro-duction of Across the Bridge.

Vibraphonist Oli Bolt ’96of Berlin, Germany, and hisjazz quintet won two prizesin France at the As Pro JazzCompetition and the Jazz ~Vannes competition.

Vocalist KatherineFarnham ’96 of Miami Beach,FL, won the Diamond KingTalent Showcase in Aventura,

Herbie Hancock (left) andDoron Richard Johnson ’96

FL, and recently released aCD of original tunes entitledFor the Love of it AlL

Guitarist Pablo Fdez-Arrieta "96 of Madrid hasreleased an album titledStandards featuring saxo-phonist Ryan Woodward ’98and bassists Tom Dahl andCarlos Sanoja.

Boston-based rock bandBlinder, :featuring MeganGass ’96, Mason Wendell ’97,and Koven Smith ’97, releaseda new three-song CD titledMienakusuru.

Ross Hitmlin ’96 of Boston,MA, is the cofounder anddirector of Open FaucetProductions, a nonprofit artsorganization, and is one ofthe newest members of theMobius A~xs Group.

In April, pianist D0r0nRichard Johnson ’96 per-formed piano duets on a tourwith Herbie Hancock inSantiago, Chile. They willperform again at the IAJEFestival in Anaheim, CA, inJanuary. Johnson is presentlyworking on his doctorate atNew England Conservatory.

Pianist and composerGunther Kuermayr ’96 of theNetherlands, released his firstCD The Window on theDutch A-Records label. Itfeatures dehan Sievert ’95 onbass, Marc Gratama "97 ondrums, and saxophonist JerryBergonzi ’tlB.

Guitarist Israel Rozen ’96of Brookline, MA, released aCD entitled Red Sea onBrownstone Records in May.The disc features originalsand jazz standards.

Conteraporary jazz key-boardist and percussionistJoe Sherbanee ’96 of OrangeCounty, CA, merged hisproduction company ZodiacLtd. Enterprises with NativeLanguage Music. Sherbaneewill release his debut albumThe Road Ahead this fall.

Songwriter/arrangerSpyros Spyrou "96 of Larnaka,Cyprus, released a CD single

CALL THE HOTLINE

In our continuing efforts to provide helpful ser-vices to our alumni, we have developed an alumnihotline. This new hotline contains a directory ofnumbers for the campus offices most frequentlyrequested by alumni. To reach the 24-hour hotline,dial (617) 747-8945.

The options will let you update your address,obtain a Berldee alumni pass, or get information aboutBerldee Performance Center concerts, Berklee alumnichapter events, and career development offerings. Thehotline will also give information on continuing youreducation and will connect you with the alumni donorline or the Office of Alumni Relations.

entitled Mehri Hthes.Erik Steigen ’96 of VaIley

Village, CA, works as a legalassistant in the music/enter-tainment law firm of Lenard& Gonzalez LLP in BeverlyHills, CA. His bandSoulspeak is recording ademo CD.

Rodney Alejandro ’97 ofPacifica, CA, has been anassociate producer forNarada Michaei Walden andcowrote two songs on thelatest Temptations album. Heis also producing four songsfor Puerto Rican recordingartist Julian.

Drummer Sergio Bellotti’97 and bassist 1]no D’Agostino’97 of Rome, Ital;~ releasedSpajazzy, a CD featuring gui-tarists Mike Stern ’75 and JimKelly ’73, saxophonist Bill Vint"96, and keyboardists PatricAndr6n "95 and Greg Burk.

Vocalist Ernie Halter ’97 ofSanta Ana, CA, is workingwith the jazz and r&b groupScenario 34.

Flautist Marian Heller "97recently performed in a con-cert of music from the six-teenth to twentieth centurieson piccolo, standard flute,alto flute, and bass flute.

keif-Magnus ILilleaas ’97 ofNedenes, Nopa~ay, has beenaccepted to LIPA, the PaulMcCartney-supported col-lege in Liverpool, England.

Darryl Milstein ’97 ofMiami, FL, is working forDelrod Studios andPlayground Studios. Bothfacilities are located inMiami Beach.

d.C. Monterrosa ’97 ofNashville has been recordingengineer for Deana Carter,Randy Travis, LynyrdSkynyrd, Jeni Varnadeau,and Steve Wariner, and edit-ed John Berry’s video BetterTJ~an a Biscuit.

Guitarist Jeffrey Parks’97 of Boston, MA, is per-forming with singer/song-writer Patti Guirleo. Theyreleased a CD calledLongtirne featuring drum-mer Scott Eisenberg "99.

Gerardo Porraz "97 ofMexico City, Mexico, ismusical director and pro-ducer for Televisa GroupMexico, the country’slargest entertainment com-pany.

Brian Zamek "97 of WhitePlains, NY, is just finishingup his first year as banddirector in the Croton-Harmon school district inWestchester County, NY.

Gilson Schachnik ’99 hasjust released his CD Rawon Brownstone Records.Players include Berklee fac-ulty members Bill Pierce,Fernando Huergo, andMark Wessel.

36 Berklee todag Fall 1998

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Allow 2-3 weeks for delivery. Prices subject to change. Express delivery available at an extra charge.

FINAL CADENCECorrection: In the nightspots in South

summer 1998 issue of Carolina. He continuedBerklee today, it was performing until tworeported in this column weeks prior to his death.that David Mott ’68 had Wells leaves his wifepassed away. He Shae and nine children.informs us that he is Uttamlal "Tom" Shahalive and well in ’81 was among the 12Toronto, and works as a American victims of themember of the faculty August 7 terroristat the York University bombing at the U.S.Department of Music. Embassy in Nairobi,It was his brother, Kenya. Shah was antrumpeter Daniel M0tt employee of the U.S.’72, who passed away in State Department whoJanuary 1998. had first served in Cairo

Word has reached us and was later assigned tothat J0hnny Wells ’77 of the political section ofAbbeville, SC, died of the embassy in Nairobi.cancer earlier this year. Shah was a trumpetWells was a popular player and had earneddrummer and vocalist his degree in profession-working as a solo act at al music.

Thinking ofReturning?

It’s easier than you might think.

There is no readmission process

for alumni. Just contact the Returning Student

Coordinator in the Office of the

. Registrar at (617) 747-2242, or

............. fax: (617) 747-8520. Whether youwant to enroll full-time or have justa few credits left to graduate, it onlytakes a phone call to start the process.Return to Berklee and experiencealI the new and exciting changes!

Registra~tion for Spring ’99: January 14 - 15, 1999Classes begin January 19.

Registration for Summer ’99: May 20 - 21, 1999Classes begin May 24.

ALUM NOTES INFORMATION FORMFull Name

Address

City State ZIP Country. Phone

This is a new address. Your Internet address:

Last year you attended Berklee Did you receive a ~1 degree? Q diploma?Please give details of the newsworthy professional milestones that you would like the Berklee community to knowabout. Print or type (use a separate sheet if necessary). Photos suitabIe for publication are welcomed.

Q Send me more information on becoming a Berklee Career Network advisor.Please send this form, along with any publicitB clippings, photos, CDs, or items of interest to:Berklee today, Berklee College of Music, 1 i40 Boylston Street, Boston, MA 02215-3693. Is~ternet address: rasmall@berklee.edu

38 Berklee today Fall 1998

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CODA

Composers and Systems Analysts

Rodger Aldridge "68

H t is widely recognized that Berldee does a superb job inpreparing people for careers in music, but I found that a

music education is good preparation for other professions too.When I made a career change in 1977 from musician to com-puter programmer, I discovered that systems work has muchin common with composition. Both rely on analytical skills,critical thinking, pattern recognition, and ffmctionaI design.

Herb Pomeroy’s line writing classes were my best prepara-tion for a job as a systems designer. He taught a multidimen-sional way of thinking. Rather than simply harmonizing amelody vertically, he taught us to build a bass line in contrarymotion to the melody and construct contrapuntal inner voices.

Before I made the job switch, I took a computer aptitudetest. I was worried because I was never strong in math.However, once I got into the test, I felt that I was on familiarground. The kind of logic needed reminded me of twentiethcentury music analysis classes where we were taught to recog-nize motives that are transposed, inverted, or used in retro-grade. Likewise, I discovered in my first programming job thata key factor in systems work is the ability to Iook at things andsee the overall patterns. The parallels between programmingand composition are many; the two fields simply employ, dif-ferent languages and means of expression.

Since the 1950s, it has been recognized that musicians (par-ticularly theory and composition majors) make excellent com-puter programmers. When William Keivie became executivevice president and chief information officer of Fannie Mae (thenation’s largest secondary mortgage company and my presentemployer), one of the first things he did was to seek out themusic majors on the Corporate Information Systems staff.

Kelvie is intrigued with the relationships between musicand systems. He told me that during his many years in thebusiness, he had noticed that music majorswho go into the information technologyfield often possess intuitive and creative abil-ities for systems work. Musidans had natur-al gifts sometimes lacking in those trained informal computer science programs.

When studying composition, we arerequired to memorize an enormous amountof concrete information about scales, harmo-ny, counterpoint, orchestration, and form.However, the moment we close the text-book and put a pencil to the score pad, some-

Rodger Aldridge ’68 is a research analystfor Fannie Mae in Maryland. Rodger Aldridge ’G8

thing very subtle and magical begins to happen. The creativeparts of our brain are stimulated and all of the memorized rulesand facts, all of the music we have listened to and studied,become a large database we can draw upon. The best com-posers strive to create a score that is not just a mechanicalrehashing of academic information stored in their brains. Theact of composition goes beyond the world of logic and rules toembrace the intuition.

A really good piece of music is more than the sum of itsparts. You can look at it academically, analyze the changes,the melodic development, and the form, but there is aiwayssomething else in there. It is the soul of the music, the stuffthat is not on the page, but yet is expressed through the notesthat are written there. It is kind of mysterious and paradox-ical. There are times when I look at a piece of music that Ihave finished and think to myself, how did I write that?There is something in the music that speaks to me, some-thing that goes beyond the mechanical aspects of composi-tional craftsmanship. That something is not taught; it is intu-itive and comes from within.

In a similar way, to design a computer application or a busi-ness research model, one has to use logical analytical thinkingto deveiop inpu~ processing, and output design specifications.However, one often needs to go beyond formal thinking toreach out and grab a truly elegant solution to a design issue. Isee this as the same kind of intuitive creativity that musiciansexperience in writing a great chart or blowing the kind of solothat brings a smile to your face afterwards.

Composition training enabIed me to develop the kind oflogical and analytical thinking that is so essentiai to being a sys-tems designer. My experiences as a composer have, at times,helped me to go beyond the logical and the formal to sudden-

ly find a simple and wonderful intuitivesolution to a business problem.

It was the blending of these logical andintuitive skills that enabled me two years agoto move from the Corporate InformationSystems Department to Single FamilyMortgage Business. In this new role as aresearch analyst, I help to develop FannieMae’s loan default predictability models.That job draws upon all of the intuition andcreativity that I can muster.

The connections between compositionand information technology deserve furtherinvestigation. Perhaps it is good enough fornow just to know that they do exist. ~

40 Berklee today Fall 1998

What turned the music technology indusllry on its ear?