More Than A Pipe Dream ..........................4

After a long journey, Jessen organ pipes return home to restore the

aesthetics and acoustics of a beloved performance venue.

Sacred Music at the University ..................... 5

New program on its way to excellence with key new faculty.

On the Move .......................................... 2

UT Jazz headed in the right direction with expansion of outstanding

faculty and talented students.

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

Faculty ......................................................11

New Faculty ................................................18

Students .....................................................20

In Memoriam ...............................................24

Guests .......................................................25

New Endowments and Gifts .............................27

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

The Magazine of The UniversiTy of Texas school of MUsic

On the Cover

UT School of Music Jazz Faculty: John Mills, Saxophone;

John Fremgen, Bass; Director of Jazz Studies Jeff Hellmer, Piano;

Ron Westray, Trombone

SCHOOL of MUSICCollege of Fine Arts

The University of Texasat Austin

DirectorB. Glenn Chandler

Associate DirectorsMichael C. TusaScott S. Hanna

Assistant to the DirectorWinton Reynolds

Director of Graduate StudiesHunter C. March

Director of Undergraduate Studies

Suzanne Pence

WORDS of NOTEVolume 20:

Sept. 2005–Aug. 2006

Editor/DesignJohn Wimberley

PublicityKathryn Van Zandt

ContributorsCharles Ball

Jacqueline HoftoWinton ReynoldsNathan RussellMark SariskyMichael Tusa

Kathryn Van Zandt

Cover DesignAshley Kjos,AKA Design

Cover PhotographBrett Brookshire

Words of Note The University of Texas

at AustinSchool of Music

1 University Station E3100Austin, Texas 78712-0435

www.music.utexas.edu

It gives me great pleasure to share with you this year’s Words of Note with all the exciting information about the School of Music, its students, faculty and alumni. We have much for which to be proud when we look back across the past year. The productivity and accomplishments of our talented students, such as winning an ASCAP award, or a Downbeat Magazine award, demonstrate the fact that we have some of the best students in the country. I know that you will enjoy reading about these and other such activities in the pages to follow.

This year we are very pleased that so many of our alumni responded to our request for information. I know that alumni will be interested to know what your former classmates have been doing in recent years. For those who have not honored us with such a reply, please make an effort to share with us an up-date of your recent involvements for our next edition of Words of Note.

Last year we received a total of more than $3M in gifts to the School of Music, much of that being designated for scholar-ships. Many of you have made contributions to our scholarship fund as a result of our plea last spring, for which we are most grateful. If you have not made such a contribution we invite you to join your friends in donating to the School of Music Scholarship Fund today.

We are pleased that we could continue our initiative of the last few years to involve our students in international activities. Last summer the UT Chamber Singers traveled to Brazil where they joined with the orchestra from the University of São Paulo in a concert tour of that coun-try. Such activities are often the highlight of a student’s education and it is important that we continue to provide such opportunities.

We have been fortunate in recent years to gain a num-ber of new faculty positions, which has enabled us to

expand our curriculum into new areas of study. This year we accepted our first class of students into two new undergraduate degree programs, one in Music Business, the other in Recording Technology. This past year we collaborated with the Center for Middle Eastern Studies and the Department of Middle Eastern Studies to create a new position in the Musicology/Ethnomusicology Division in Middle Eastern music. This new area of study will not only enrich the degree programs available to music students but also enrich the general education of non-music students across the campus as well.

With nearly 100 music faculty members there are usually some changes each year. This year we said goodbye to col-leagues Elizabeth Crist, who ac-cepted a position on the faculty of Princeton University, and John (Jay) Watkins, who accepted the position as head of the marching band at the University of Florida. We will miss them but wish them well in their careers. At the same time we welcome a number of new faculty for the fall of 2006, about whom you may read later in this magazine.

I am very proud of the entire family that makes up the School of Music and wish to invite you to visit us in the near future. We offer more than 500 concerts, recitals, master classes and other

musical events each year. For those of you who cannot just pop in for a concert we invite you to listen to our concerts live via our web casts. For information and ac-cess go to our web site at www.music.utexas.edu/ and look for the Web icon.

Sincerely,

B. Glenn Chandler, Director

1

B. Glenn Chandler

Dear Friends:

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THE UNIVERSITY OF TEXAS SCHOOL of MUSIC2

UT Jazz Studies program grows dramaticallyin size and quality

Renowned jazz drummer Peter Erskine’s remarks about his performance with The University of Texas Jazz Orchestra reflect how significantly the School of Music’s jazz program has been revitalized by its com-mitment to individuality, diversity and solid grounding in the funda-mentals of jazz. Thanks to these e f f o r t s , t h e program has experienced unprecedent-ed growth over the past five years. “Expansions in the number and quality of faculty, students and degree plans have made this the most exciting time to be involved in the jazz program in my eighteen years as a UT faculty member,” said Jeff Hellmer, Professor of Music and Director of Jazz Studies. “We’re proud that the recent changes have put the program on par with the country’s best.”

The dramatic changes in the program began in 2002 when the school introduced Bachelor of Music degrees in both Jazz Performance and Jazz Composition. The new plans allow students

to receive appropriate credits for the time and energy they require to study jazz seriously. When these programs were adopted, undergraduate inter-est from both inside and outside the School of Music soared, resulting in an energized community of talented young undergraduates to complement the successful graduate program that was already in place.

For the new degree programs to be successful, the first priority was to establish an accomplished faculty. The nature of improvisation and the unique challenges of each instrument demanded a faculty spe-cialist for each instrument. John Fremgen, jazz bassist, who had joined the faculty part-time in 1996, started full-time work in 2002. That same year, John Mills, saxophonist and composer, also joined the faculty. The program then added adjunct positions in drum set (Brannen Temple), jazz guitar (Mitch Watkins), and jazz trumpet (Dennis Dotson). The addition of Ron Westray, jazz trombonist and composer, in the fall of 2005, marked the completion of a distinctive faculty with the expertise needed to carry out the program’s goals.

“The faculty’s talents and credentials are remarkable,” Hellmer declared of his colleagues, noting that all the members of the fac-ulty are active in a variety of musical settings that extend beyond their duties as professors. Westray spent eleven years as a mem-

ber of Wynton Marsalis’ Lincoln Center Jazz Orchestra before leaving New York for Austin. Mills, a prolific composer and performer, recently appeared in Austin with the Maria Schneider Jazz Orchestra. Watkins tours

with Lyle Lovett and Jerry Jeff Walker and works as a producer on numerous jazz and pop recordings. Likewise, Temple is a highly sought-after recording and touring artist, working with perform-ers such as Robben Ford and Leni Stern. Fremgen and Hellmer recently performed in Germany with legendary Count Basie drum-mer Butch Miles. Additionally, a subset of the jazz faculty performed and taught at the St. Petersburg Conservatory in Russia in 2003, and a new jazz faculty recording is in the works for early 2007. “The strengths and variety of experiences that this group possess cover the entire jazz and commercial spec-trum, offering invaluable opportunities for students. I’m proud to be associated with this great group of musicians and teachers,” said Hellmer.

Student achievements in jazz have begun to follow the example of excel-lence set by the faculty, resulting in a striking amount of national recognition for The University of Texas jazz program at both the graduate and undergradu-ate levels. Many students are already dis-tinguishing themselves as performers, composers and educators.

“Our top two ensembles, the Jazz Orchestra and AIME [Alternative Improvised Music Ensemble], are largely

ON THE MOVE

“I often get asked the question, ‘Where is jazz going?’ I can answer it tonight by saying the future of jazz is right here, in good hands, with these musicians I’m playing with tonight.” –Peter Erskine

Director Jeff Hellmer leads the Jazz Orchestra in concert with acclaimed pianist Shelly Berg at the 2006 Longhorn Jazz Festival.

Two-time DownBeat student award winnerCarter Arrington

3WORDS of NOTE

dedicated to performing compositions of stu-dents and faculty,” Hellmer explained. “This strengthens students’ individual voices, and increases their investment in the music.” Both ensembles toured Europe in 2004, performing by invitation at both the Montreux and North Sea Jazz Festivals. Additionally, the Jazz Orchestra won a DownBeat magazine Student Recording Award for outstanding big band performance, one of an impressive six awards the program has received in the last two years. DownBeat also recognized several University of Texas stu-dents, including guitarist Carter Arrington (twice), drummer Aaron Easley, and the student combo Texas Treefort. “The Texas Treefort project is a great example of the synergy of the jazz program, and the fulfillment of its mission,” said Hellmer. “A self-formed student combo got together with Phil Hill, a student engineer from our new recording technology program, and produced an outstanding CD of their own material that received national recognition for excel-lence.“ Hill recently won a separate award from DownBeat for his engineering skills. Student composers have also achieved recog-nition. Graduate students John VanderGheynst, David Guidi and David Renter recently received awards from DownBeat, ASCAP and the Brussels Jazz Orchestra, respectively.

Equally impressive is the roster of professional artists appearing with the Jazz Orchestra as part of the Longhorn Jazz Festival. These artists include celebrated performers such as Peter Erskine, Shelly Berg, Phil Woods, Michael Brecker, Terry Gibbs, and Kenny Garrett.

“Many students have related to me that the Kenny Garrett concert was the peak musical experience of their lives,” Hellmer stated. The program is also planning several new student ensemble recordings for the 2006 - 2007 school year.

Despite the recent attention, the program remains focused on pro-ducing musicians that are com-mitted not only to performing, but also to teaching the art of jazz

to others. Graduates of the program cur-rently teach at universities throughout the United States including the University of Memphis, the University of Nebraska, Georgia State University, and Cal State University/Los Angeles. “An impor-tant part of our mission

is to contribute to the legacy of jazz by producing excellent educators, as well as performers,” Hellmer remarked.

The jazz program, poised for future growth, faces several challenges as part of that growth. “Operating a program with the number and caliber of students and faculty such as ours requires greater resources for guest artists, recording, touring, and scholarships,” expressed Hellmer. “We wish to build on our excellence and ensure progress in the years to come.” Despite these challenges, however, it is clear that the School of Music can point to the jazz program as an integral part of its sterling reputa-tion. “America’s music needs to be nurtured and advanced in its finest universities,” Hellmer said. “I’m convinced that our School of Music is the perfect place for this to occur.”

Jazz luminaries recently visiting The University of Texas School of Music . . .

Peter ErskineMichael Brecker

Kenny Garrett inspired student performers as well as the audience at the 2005 Longhorn Jazz Festival.

Ron Westray Shelly Berg takes a bow at the finale of this year's festival.

All photographs on these two pages (except Brecker, Erskine) by Mark Rutkowski.

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THE UNIVERSITY OF TEXAS SCHOOL of MUSIC4

Nine years after the Jessen Pipe Organ was sold, a portion of it makes a return, restoring the hall’s visual and acoustic appeal.

pring break 2006 was a time of homecoming for 45 large organ pipes. The display pipes, which lived high above the stage in Jessen Auditorium for over fifty years, arrived back at the uni-

versity in seven long, heavy crates after spending nearly a decade in storage. Upon their arrival, organ technician Keith Henderson and his assistant restored the pipes to their former perch in Jessen, in what was the culmination of a labor of love by the School of Music’s head piano technician, Charles Ball.

“When the organ was sold and removed from the hall in the sum-mer of 1997, we never dreamed that it would take nine years to restore the appearance and acoustics of our most cherished performance venue,” Ball recalled. The 1942 Aeolian-Skinner pipe organ, which was larger than the Visser-Rowland organ that now lives in Bates Recital Hall, was cherished and beloved by generations of students and performers. It was the esteemed organ firm Aeolian-Skinner’s last organ installation prior to the United State’s entry into World War II, and was voiced by the firm’s most illustrious tonal designer and technician, G. Donald Harrison. Aeolian-Skinner, which also built organs for Riverside Church, St. John the Divine Cathedral, and St. Thomas Church in New York City, was renowned for its outstand-ing orchestral instruments. Brilliant chorus reeds, colorful string and flute stops, and a variety of special stops including vibra-harp and chimes gave the organist the colors of a full romantic orchestra at his or her fingertips. During the instrument’s prime, organ luminar-ies such as Virgil Fox, Catherine Crozier, Marcel Dupré, Flor Peeters, E. Power Biggs, Jean Langlais, and current professor of sacred music Gerre Hancock performed on it.

After the installation of the organ in Bates Recital Hall in 1983, the Jessen organ went unused and fell into disrepair. The impres-sive new Bates organ incorporated a classical style of organ build-ing that was more popular at that time. The newly opened Music Building and Performing Arts Center was receiving international attention, and the organ, along with the new Steinway pianos and Salzado harps were viewed as the jewels of the extensive new facil-ity. Estimates to restore the Jessen organ were in the hundreds of thousands of dollars, and there were questions about whether the

organ was suitable for a 350 seat recital hall. Finally, in 1997, the school sold the organ to St. Andrews Episcopal Church in Amarillo for $140,000.

The organ was carefully dismantled and the various components, including the wide row of display pipes that hung across the front of the hall, were crated and shipped to Amarillo. This left a dark, unat-tractive chamber adorned only with peeling paint and dangling light bulbs. Worse, the hard surfaces of the open chamber created echoes and other acoustic problems and made tuning the pianos in the hall extremely difficult. As a temporary solution to get the hall through the summer recitals, a black curtain was hung over the chamber opening. The curtain posed its own problems for the acoustics of the hall, as the reflective/refractive qualities of the origi-nal metal pipes had been lost. The temporary curtain remained over the chamber for the next nine years, while other renovations at the University took precedence.

In the meantime, the organ went through its own odyssey. Plans for its rebuilding were postponed when St. Andrew’s Church lost it’s

building in a fire in 1996, and at one point the organ was stored, still in crates, in an abandoned hospital. Nonetheless, a stunning new sanctuary, constructed with the tonal and acoustical needs of the organ in mind, was finally completed in 2005, and celebrated organist Thomas Murray of Yale University gave a recital for the fully restored instrument, with its 6246 pipes, to dedicate the organ in its new home.

When Ball learned of the organ’s dedication, he began a series of inquiries into the fate of the dis-play pipes. He eventually deter-mined that not only were the dis-play pipes excluded from the res-

toration at St. Andrew’s, but also that the church was interested in selling the unused pipes back to the university. The School agreed to purchase the pipes, and Ball coordinated with St. Andrew’s to take inventory of the pipes and prepare them for their return to Austin.

The reinstallation has received a warm response from both faculty and students. The hall has been returned to its original appearance, and the acoustics have been substantially restored. Faculty and stu-dents who never heard the legendary Jessen acoustics during the hall’s zenith can now better understand why the hall was once so popular. Jessen remains the primary performance venue for student and faculty recitals, and the restoration of these pipes will enhance the performance experience of countless performers and audiences for years to come.

“The project could never have been done without the constant support of many people.” Ball remarked, noting the school’s direc-tor, Glenn Chandler, among the most influential in the process. For Ball, who has worked on the pianos in Jessen for twenty-six years, the improvement in the hall’s acoustics is particularly significant. “I admit, my motives for the project were at least partly selfish,” he confided. “The Steinways in Jessen sound better than they ever have, and without any additional technical effort on my part.”

more thana pipe dream

Head piano technician Charles Ball

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When it comes to sacred music, The School of Music is thinking big. “Imagine what could happen,” said director B. Glenn Chandler.

“Imagine a comprehensive program in Sacred Music, right here at The University of Texas School of Music. Such a program could serve not only students looking for degrees, but also bring resources and training to church musicians who are already in the field by providing continu-ing educational opportunities for organists, conductors, singers and composers in sacred music.” He projected an opportunity to increase the national profile of sacred music, raise the standards of music in churches and synagogues across the nation, provide new career paths for musicians, and establish The University of Texas as a national leader in the field of sacred music. However, the plans for sacred music at the University aren’t all just vision and dreams anymore. The school is already well on its way to meeting its vision through its new sacred music program that began in 2004.

The School of Music isn’t completely new to the field of sacred music. Fifty years ago, The University of Texas had a vibrant sacred music program that produced musi-cians like Gerre Hancock, who spent more than 30 years at St. Thomas Church in New York City building one of the pre-mier sacred music programs in the country, and James Mo-eser who is now Chancellor of the University of North Caro-lina, Chapel Hill. However, a number of national trends and local factors contributed to the decline of the program during the eighties, and finally, to the cancellation of the degree program.

When Chandler first came to the school in 2001, having a history in sacred music himself, he immediately saw the potential for reinstat-ing the sacred music program. As sacred music programs around the nation were rapidly disappearing, Chandler recognized an opportu-nity. After a yearlong study by a task force of faculty and community church musicians, the next step toward that goal became possible in 2004 when School of Music alumnus Dr. Gerre Hancock and his wife Dr. Judith Hancock joined the faculty in sacred music. In addition to the Hancocks’ distinguished careers at St. Thomas Church, both are accomplished concert organists and perform internationally. Upon their arrival in Austin, they immediately began the challenging process of rebuilding the school’s sacred music program.

Thanks to the Hancocks’ leadership, the program is already fast becoming a vibrant center for sacred music. In its initial stages, the program currently offers a concentration in sacred music for graduate students in choral conducting or organ performance. The concentration provides instruction in both performance and administrative skills that prepare students for professional church music appointments. Surveys in choral and organ literature and the histories of liturgy and

religious music are complemented with studies in service planning and playing, choir training, and improvisation. “After only two years, we are happy to say the program is right on target,” Chandler said, noting that the program’s enrollment has already reached two-thirds of the enrollment goals.

However, degree programs are not the only focus of the sacred music movement. The program is reaching out to professional and volunteer church musicians in the community that are already in the field. The school has established two annual workshops in sacred music

that have found enormous success. The first, a one-day workshop set to take place each January, provides an intimate setting for musicians to learn from the most talented practitioners in their field. The 2006 January workshop was led by Dr. Malcom Archer, the celebrated Organist and Master of Choristers at St. Paul’s Cathedral in London. Next year’s workshop, which will take place January 20, 2007, is set to feature Ann Labounsky, Chair in Sacred Music and Organ at Duquesne University, and will focus on the life and music of French organist and composer Jean Langlias.

This past June also witnessed the overwhelming success of the program’s first annual conference, Music For Sacred Occasions. This week-long

event featured Todd Wilson, Director of Music and Organist at the Church of the Convenant in Cleveland, Ohio, and head of the organ department at the Cleveland Institute of Music. It provided enriching experiences to both novices and seasoned professionals. “Many musi-cians who work in church music, do not have any formal training in sacred music. They simply fall into it because they are members of congregations needing musical leadership and they want to help,” Chandler remarked. “This kind of event is designed to give those people especially valuable resources and techniques to help them better meet the challenges that are unique to sacred music.”

These events are just the first steps in what Chandler hopes will be an extensive program prepared to help meet the needs of the sacred music field on a national level. “It is a way to keep the rich history of sacred music alive, to encourage the creation of new works for sacred music, to improve the experience of those who attend worship, and to develop strong teachers who will continue to pass on the traditions of sacred music to future generations of musicians. We think there is potential to develop an Institute for Sacred Music at UT that will set the standard for such programs in the future.” These goals that Chandler has set for the program are ambitious. However, with the exceptional leadership of the Hancocks, and a strong program already underway, the future of sacred music at The University of Texas is already meeting the challenge.

School Establishes New Sacred Music Program

The Visser-Rowland OrganBates Recital Hall

THE UNIVERSITY OF TEXAS SCHOOL of MUSIC6

Lee Appleman (MM 1982) is playing drums on the tour of Monty Python’s Spamalot, which opened in Boston in March and is booked for several years throughout the United States and Canada.

William Henry Caldwell (MM 1978) is an Associate Professor of music and direc-tor of vocal and choral activities at Central State University in Wilberforce, Ohio. He also maintains an active schedule as a bari-tone soloist. Recent engagements include performances with the

Dayton Philharmonic Orchestra as soloist in the Coronation Mass and the C-Minor Mass in celebration of the 250th birth-day of Mozart. Caldwell per-formed in the world premiere of Agnus Dei for Mozart’s Mass in C-Minor by Robert Xavier Rodriguez. Professor Caldwell has conducted the Central State University Chorus in per-formances with the Dayton Philharmonic Orchestra, the Cincinnati Pops, The Cincinnati May Festival, the Indianapolis Symphony Orchestra and numerous performances with

the world renowned Cleveland Orchestra at Severance Hall. The Central State University Chorus was nominated for a Grammy Award in 1994 for its performance with the Cincinnati Pops in Amen: A Gospel Celebration. The chorus has also recorded Porgy and Bess with Angela Brown, Gregg Baker, Harolyn Blackwell, and Erich Kunzel. Professor Caldwell and the chorus have performed in England, Italy, France, Egypt and Germany and appear on several Telarc International Recordings.

Nick Ciraldo (DMA 2006) has been chosen as the new Assistant Professor of Guitar at the University of Southern Mississippi.

Jacob Clark (DMA 2006, piano performance) was recently appoint-

ed to a piano/group piano faculty position at the Levine School of Music in Washington DC, one of the oldest, largest and most presti-gious community music schools in the nation.

Paul De Castro (DMA 2002) toured, performed and taught in jazz festivals in Hungary and Romania in the summer of 2006. Highly regarded as a pianist, composer and instructor of jazz and Afro-Cuban (salsa) styles,

De Castro has performed around the world with Gary Foster, Bobby Shew and Bobby Rodriguez, among others. He serves as Afro-Cuban music expert for the International Association for Jazz Education and directs the master in music degree program in Afro-Latin music at California State University, Los Angeles. Primarily his design, the program provides students with the opportunity to hone their skills in traditional and contemporary Latin styles, performing onstage and in master classes with Edgardo Cambón, Danilo Lozano, Frank Emilio Flynn, Carlitos del Puerto, José Luis Quintana “Changuito,” Los Muñequitos de Matanzas, and other professional musicians. His award-winning university ensemble is the first Afro-Latin music

Alumni

Mary Dunleavy (MM 1990) was one of four alumni chosen by the Texas Exes to receive the 2006 Outstanding Young Texas Ex Award. The award was inaugurated to recognize young alumni who are distinguished in their fields and have demonstrated a continuing interest in The University of Texas and the Texas Exes.

Praised as one of the most exciting singers in this generation of lyric coloratura sopranos, Ms. Dunleavy is lauded for the varied and vivid gallery of operatic heroines she has depicted on lead-ing opera stages throughout the world.

In her 2005–2006 season, she sang with the Dallas Opera, the St. Louis Symphony, the Metropolitan Opera in New York and the Opera Company of Philadelphia. She performed Violetta in La Traviata and Pamina in The Magic Flute at the Metropolitan and all four roles in The Tales of Hoffman with the Dallas Opera.

Ms. Dunleavy was born in Connecticut and raised in New Jersey. She received her undergraduate degree from Northwestern University and earned her master’s degree in music at UT, where she frequently returns to give master classes.

Soprano Named Outstanding Young Texas Ex

Mary Dunleavy

William Caldwell

Paul De Castro

7WORDS of NOTE

student group from the United States to be invited to perform in Cuba. De Castro also composes and performs with the Latin jazz group Rhubumba and is a founding member of the Cuarteto Experimental Afro-Latino.

Rob Deemer (DMA 2005) taught at the University of Oklahoma School of Music during the 2005-06 academic year and has been appointed to the faculty of McNeese State University in Lake Charles, Louisiana.

Don Devous (BM 1984) recently earned his master of arts degree in voice at the University of North Texas. He lives in Ft. Worth, Texas, where he works as a choral director for the Keller Independent School District.

Charles Ditto (MM 1994, DMA 1998) performed his original score for Raving, a theater work written and directed by Peter Lobdell, at the International Michael Chekhov Festival in Amherst, Massachusetts, and at four performances at the Metropolitan Playhouse in New York City as part of their Poe-Fest. A com-position by Ditto for string quartet was performed by the Texas State University faculty string quartet at the Joint College Music Society South Central Chapter and National Association of Composers/USATexas Chapter Conference concert in March, where Ditto also presented a paper: “Minimalist Structure in Steve Reich’s Electric Counterpoint/II.” He collaborated with Dr. Lucy D. Harney (Texas State University Department of Spanish) on an article, “Musical Function in Selected Spanish and Cuban Zarzuela,” in Gestos: Teoría y práctica del teatro hispánico, edited by Juan Villegas (UC/Irvine).

Alexandre Dossin (DMA 2001) served four years on the faculty at the University of Wisconsin-Eau Claire and will begin teaching at the University of Oregon School of Music in August 2006. He has released two recordings that have received positive reviews from many publications, including American Record Guide and Fanfare. His third recording will be released by Naxos in 2007 and will be dis-tributed internationally as part of the Franz Liszt Complete Piano Works series. Dossin will also record an album of piano works by Dimitri Kabalevsky that will be released by Naxos in 2008. Dossin has been included in Who's Who Among America's Teachers and Who's Who in America. For more information visit www.dossin.net.

Adrienne Inglis (MM 1986) recently recorded with her Latin American folk music group, Chaski, on the soundtrack to the IMAX® film Ride Around The World, which was released in June 2006. The film explores a thriving global culture of horse and cattle raising peoples that has helped shape Western civilization for a thousand years, transporting viewers to Morocco, Spain, Mexico, Argentina, Patagonia, Texas and Canada in an active and educational giant screen experience. Inglis was recorded playing twelve different flutes: flute, alto flute, bass flute, piccolo, zampoñas, semi-toyas, toyos, quena, quenacho, moseño, Baroque flute and penny whistle.

Robert W. Jenkins (BM 2001) recently composed the short song cycle Three Songs of Innocence: The Lamb, Nurse's Song, and Infant Joy, a musical setting of William Blake’s Songs of Innocence. The work was commissioned by soprano Carmen Claure, who performed it at the royal palace in El Escorial, Spain, in summer 2006.

During the 2005–2006 season, George Garrett Keast (BM 1995) was the assistant conductor of the Dallas Opera, where he held the nationally awarded Bruno Walter Assistant Conductor Chair. He served as a regular speaker for Dallas Opera pre-performance lectures and education programs. He debuted with the Dallas Opera Orchestra in November, and in February conducted the Dallas Opera Family Concert in partnership with Radio Disney and Mozart's Birthday Bash. Keast returned for his second season at New York City Opera, serving as associate conductor on the Mark Lamos production of Madama Butterfly. Mr. Keast served as an adjunct faculty member of the UT Butler Opera Center, where he conduct-ed four performances of Dialogues of the Carmelites in the spring.

John Salmon, profes-sor of piano at the Uni-versity of North Caro-lina at Greensboro (UNCG), received the 2006 Award for Dis-tinguished Achieve-ment from the Bru-beck Institute, located at the University of the Pacific (UP), Bru-beck’s alma mater. He also performed a recital of Brubeck works as part of the institute’s annual Bru-beck festival in April.

“John’s work with Dave Brubeck’s music has been outstanding as a performer, editor, and scholar and has been going on for many years,” said Steve Anderson, dean of the UP Conservatory of Music and director of the Brubeck Institute. Other artists performing in the festival included the David Grisman Quintet, Pancho Sanchez Latin Band, Bobby Watson and the Clayton-Hamilton Jazz Orchestra. Salmon has released two recordings of Brubeck’s classical music and will soon release a recording of Brubeck’s nocturnes through the publisher Naxos. In addition, he is the author of the book The Piano Sonatas of Carl Loewe, and has published articles in many respected publications, including American Music Teacher, The Chronicle of Higher Education, Clavier and Piano Today, among others. Equally adept in jazz and classical genres, Salmon is a member of the faculty jazz trio at UNCG School of Music, where he has taught since 1989. He holds the Master of Music degree from The Juilliard School, and the Doctor of Musical Arts degree from The University of Texas. Salmon has championed piano pieces by many contemporary composers, especially Brubeck, who dedicated two pieces to Salmon.

Brubeck Festival Honors Salmon

John Salmon

Alexandre Dossin

THE UNIVERSITY OF TEXAS SCHOOL of MUSIC8

Michael Barnes of the Austin American-Statesman wrote about the production: “The best student opera I’ve ever witnessed. Poulenc’s score received a honeyed treatment from conductor Garrett Keast.” During the summer, Keast conducted the Naumburg Orchestra in Central Park and conducted his fifth season for the Music at Port Milford Chamber Music Festival in Canada. In the fall of 2006, he will conduct the New Jersey Symphony Orchestra in a series of fourteen Young People’s Concerts.

Benjamin Keltner (BM 2003) is serving in Iraq with the 1116th Transportation Company of the New Mexico Army National Guard. He was unexpectedly called back into service as he began his third year as high school band director in La Feria, Texas. His tour of duty will end in late fall 2006, at which time he will resume his teaching duties. Former classmates may contact him at ben.keltner@us.army.mil.

Peter Knell (DMA 1997) attended the premiere of his work (012) – (01234) by the ensemble counter)induction at New York’s Tenri Institute in June 2006. His orchestral work LINES/ANGLES, commis-sioned by the Winnipeg Symphony in 2001, was recently chosen by the International Society for Contemporary Music as one of three official U.S. submissions to the World Music Days in Hong Kong in 2007. Another of his orchestral works, “…the weakening eye of day,” was selected by the Young Musicians Foundation (YMF) for its national premiere by the YMF Debut Orchestra at Disney Hall in Los Angeles, California, in May 2007. Knell’s Vortex for string orchestra was a finalist in the Kremlin Chamber Orchestra’s Mozart 250 com-petition, which included a Moscow performance that was broad-cast throughout Russia and streamed live on the web. The piece will be performed again in November 2006 at New York’s Weill Recital Hall. In November 2004, Peter Knell served as composer-in-resi-dence for the American Music Festival in Cluj, Romania, overseeing the premieres of his orchestral overture Charged Particles and his Sing, Praise! for a capella chorus. Upcoming projects include a new work for the Ying Quartet and a large ensemble work for ensem-bleGREEN.

Anthony Scott Kojak (BM 1979) has worked as a pianist and com-poser in Austin, New York City, Beaumont, Houston, Galveston and Indianapolis. He played Carnegie Hall in 1981. Kojak has composed many songs with Biblical text including his latest work, Jesus Christ, Son of God, which is taken from the Gospel of John.

Violist Josephine Liu (DMA 2003) toured in Europe as a member of the Pacific Symphony of Los Angeles.

Rebecca (Fadely) Locklear (BM 1979, MA 1982) is in her tenth season as director of the Central Oregon History Performers, an auditioned group of 75 primary and secondary students who reenact various periods in his-tory. Locklear researches and creates the group’s productions, which exhibit vocal and instru-mental music, dance, drama, choreographed swordplay, and artistic displays.

Yuan Xiong Lu (MM 1988), who performs with the San Antonio

Symphony, was recently chosen to be a visiting Assistant Professor of Double Bass at Baylor University.

Brett Mitchell (MM 2003, DMA 2005) has been named Assistant Conductor of the Orchestre National de France. Mitchell auditioned for the orchestra and its Music Director, Kurt Masur, in Paris this past February. He has worked several times previously with Masur, Music Director Emeritus of the New York Philharmonic, and was invited by Masur to conduct Mozart's 40th Symphony in New York on the 250th anniversary of Mozart’s birth. Mitchell will retain positions as Director of Orchestras at Northern Illinois University and Associate Conductor of the Pittsburgh New Music Ensemble, traveling to and from Paris each season as scheduling demands.

Molly Costen Nero (BM 1989) has been teaching the joys of perfor-mance to elementary students for the last 14 years. She directs six musical productions a year as a music instructor at Brushy Creek Elementary School in the Round Rock school district. Nero was honored by her colleagues as 2002–03 Teacher of the Year for “her unending energy and dedication to her students.” She was chosen for the 2006 Who's Who of American Teachers and is also included in the Empire Who's Who Registry of Executives and Professionals 2006–2007.

Artists International Presentations recently granted saxophone soloist Todd Oxford (DMA 2001) the prestigious 2006 New York Debut Award. In conjunction with the award, Oxford gave his New York solo debut performance in Weill Hall at Carnegie Hall. Oxford launched his performance career as an undergraduate student when he was invited to join the acclaimed Harvey Pittel Saxophone Quartet. Oxford later co-founded the Elision Saxophone Quartet, which performs frequently at festivals and music education con-ferences, and has been broadcast on radio and television. Oxford is currently lecturer in saxophone at Texas State University. He has been profiled in the 2005 Who’s Who in America and the 2006 Who’s Who in the World.

Sue-Jean Park (DMA 2006) was recently appointed as Assistant Professor at Murray State University in Kentucky and also Concertmaster for the Jackson Symphony Orchestra. She received her MM from Yale and BM from Seoul National University in Korea. During her doctoral studies, Park was a tenured member of the Austin Symphony Orchestra and Austin Lyric Opera and was also a principal in the Victoria Symphony.

Roberta Rust (BM 1978) appeared with the New Philharmonic (Florida) in multiple performances of Tschaikovsky's First Concerto in 2006. She was soloist in Saint-Saëns's Second Concerto with the Boca Raton Philharmonic Symphonia at Mizner Park and soloist in Beethoven's Third Concerto with the Lynn University Philharmonia Orchestra in 2005. Rust serves as Artist Faculty-Piano and Head of the Piano Department at the Conservatory of Music at Lynn University in Boca Raton, Florida. In May 2006, she gave master classes at the China Conservatory in Beijing.

Brett Mitchell

Rebecca Locklear

9WORDS of NOTE

Mezzo-soprano Cindy Sadler (BM 1990) enjoys a busy singing career throughout the United States. Most recently she has been heard as Tituba in Opera Boston's The Crucible, Zita in Gianni Schicchi with Opera Santa Barbara, the First Maid in Elektra with Austin Lyric Opera, Baba the Turk in The Rake's Progress and Third Lady in The Magic Flute with Des Moines Metro Opera. In April 2007 she will return to Austin Lyric Opera as Bertha in The Barber of Seville. In addition to her singing, Sadler is in demand as a lecturer and consultant, traveling the country to give workshops on the business aspects of a singing career. She is well-known for her “Ask Erda” advice column in Classical Singer Magazine, in which she has published over 60 articles. She was a featured speaker at the 2006 Classical Singer Convention in Philadelphia. Sadler is on the voice faculty at St. Edward's University in Austin and recently published her first book, The Student Singer's Starter Kit. For more information on her activities, please visit www.cindy-sadler.com and www.thebusinessofsinging.com.

Brenda Sansig (BM 1997, MM 1999)is a busy freelance performer and teacher in the Austin area. She has performed with the Austin Lyric Opera, the Austin Symphony Orchestra, and is principal trom-bone with Lyric Opera of San Antonio. In addition, she performs with the Hill Country Brass, Hemisphere Brass and the Mid-Texas Symphony. She serves on the faculty of Texas A&M University in Corpus Christi and Texas Lutheran University and teaches in the high school private lesson program in New Braunfels, Texas, where she resides.

Lucy Schaufer (MM 1991, Opera) performed the role of Cherubino in Le Nozze di Figaro with the Los Angeles Opera. She performs reg-ularly with the English National Opera in London. Lucy Schaufer returns frequently to campus to offer master classes to UT voice stu-dents.

James Sclater (DMA 1970) has been named the Mississippi Music Teachers Association Commissioned Composer for 2006. His com-missioned work, Irish Sketchbook for flute and piano, will be pre-miered in November 2006. Sclater's newest vocal work, Light Upon Silver, Books I - V, is a collection of songs based on the photography

of his father, Arthur L. Sclater. Sclater wrote both text and music for the work, which will be premiered in fall 2006 by the voice faculty of Mississippi College. He completed his 36th year of teaching at Mississippi College in spring 2006. Several of his works have been recently published by E.C. Schirmer of Boston.

Jeri-Lynne White Severance (MM 1989) is a special education teacher working with trainable mentally-handicapped children, grades K–5. She co-founded a festival of the arts at her school, which is now in its tenth year. She also directs a chamber singers group and assists with the children's music program at her church. Severance recently completed an education specialist degree in educational leadership.

Vivian Siao (MM 1972) has been a Visiting Professor in Piano at the China Conservatory of Music in Beijing since March of 2005 and will be there through spring 2007.

Susanna Silvestro (BA 2003) has taught music and drama at Rising Stars Creative Arts Center and now teaches piano and voice at the Albertson School of Music in Austin. She is also a church pianist and vocalist.

Yvonne Steely (MM Theory) is the composer/lyricist/playwright of nine musicals and two plays. She is also composer/lyricist of an additional eleven stage and television musicals. Her work has been produced nationwide. The American Theatre Association awarded A Bird in Hand a special national prize for senior theatre. The musical Columbus (Voyagers) was named an official project of the National Quincentennary Commission in Washington, D.C., and showcased off-Broadway by the National Alliance of Musical Theatre Producers as one of the best new musicals of 1991. The Ransom of Red Chief was produced off Broadway in 2002. Steely has served on the National Endowment for the Arts in Washington, DC. She is finishing work as composer/lyricist with bookwriter Patricia Rumble on yougogirl.com, an all female cast musical, which will be produced in February 2007 in Houston, and later off-Broadway.

Nancy Jonson Teskey (MM 1991) is instructor of flute at Lewis &

Robert Foster, Professor of Music and Assistant Chair of the Department of Music and Dance in the University of Kansas (KU) School of Fine Arts, was inducted into the National Band Association (NBA) Hall of Fame at Troy State University in Alabama in February 2006.

Foster, a graduate of The University of Texas, has served as Director of KU Bands for 31 years, conducting the KU Symphonic Band/Wind Ensemble and the KU Marching Band.

Foster is vice president of the John Philip Sousa Foundation and former president of the National Band Association, the Southwest Division of the College Band Directors National Association and the Big 12 Conference Band Directors Association. He is also an active guest conductor and adjudicator in the U.S., Canada, Mexico, Japan, Singapore and Europe.

To be nominated for induction into the Hall of Fame, directors must have a national reputation as band conductors and must have made a national impact on the American band movement.

Alumnus Inducted Into Band Hall of Fame

Robert Foster

THE UNIVERSITY OF TEXAS SCHOOL of MUSIC10

Clark College in Portland, Oregon, and teaches middle school band and orchestra at a local college preparatory school. She performs with Friends of Rain, a new music ensemble of faculty from Lewis & Clark College.

Yoichi Udagawa (BA 1985) guest conducted the UT Symphony with violin faculty Brian Lewis as soloist during the 2005–2006 concert season. Udagawa also guest conducted at the New England Conservatory and the North Carolina Region All State Orchestra. He continues to serve on the faculty at the Boston Conservatory, and is the music direc-tor and conductor of the Cape Ann, Melrose and Quincy Symphony Orchestras.

Martin Vasquez (BM 1986) is a frequent performer at the Festival Lyrique-En-Mer in Belle-Ile, France, where he has made recent guest appearances in Carmen, Le Nozze di Figaro and Die Zauberflöte and performed the tenor solo in Carmina Burana. As a solo artist Vasquez has recently appeared with the Brooklyn Philharmonic as Pedro in El Retablo de Maese Pedro and Judas in Judas Maccabeus. He also performed the role of Quint in Turn of the Screw with Stony Brook Opera. Other highlights include performances with Chattanooga Opera, Summer Opera Theatre (Washington, DC), Opera Delaware, Springfield Symphony, the outreach program of Tulsa Opera, and tours with the New York City Opera. Vasquez has performed in off Broadway musicals and has worked as a teaching artist with the Guild of the Metropolitan Opera. He lives with his wife Yvette (MM 1995) in Forest Hills, New York, and anticipates completing his doc-torate at the State University of New York at Stony Brook in the 2006–07 academic year.

Yvette Vasquez (MM 1995) is the arts education coordinator for the educational outreach program of the Oratorio Society of New York, the resident chorus of Carnegie Hall. She is also soprano sec-tion leader for the society. Recently, she served as a choral director for the Guild of the Metropolitan Opera’s Urban Voices arts initiative, an after-school chorus program for inner city students. In addition, she coordinates the vocal music ensemble for the National Dance Institute. Vasquez is a committee member and preliminary-round panelist for the Oratorio Society of New York’s International Solo

Competition.

Soprano Janeene Williams (BM 1985), whose specialties include oratorio and concert repertoire, new music and song recital was recently invited to perform with the UT Symphony Orchestra. Other recent solo performanc-es include Messiah, Creation and Judas Maccabaeus with Austin Civic Chorus, Juliet at Her Window (Godfrey) and Sparrows (Schwantner) with Dan Welcher and the UT New Music Ensemble, an all-Mozart recital for A. Mozart Fest’s gala concert with pianist

Mary Robbins, and a recital with concert pianist Frederick Moyers. Upcoming performances include Vocalissimus (Currier) with the UT New Music Ensemble and Mozart’s C-minor Mass with the San Angelo Symphony and Chorale. Williams will be singing with Craig Hella Johnson and Conspirare in the upcoming series, “A Wondrous Journey,” which will culminate in a performance at the American Choral Directors Association in Omaha, Nebraska.

Yoichi Udagawa

Janeene Williams

Michelle Schumann (MM 1998, DMA 2003) was named winner of the 2006 UT San Antonio Janice K. Hodges Contemporary Piano performance competition in February. The UTSA compe-tition was established to introduce the public to the language of contemporary music and encourage advanced pianists to study and perform the music of the present. Schumann, a native of Canada who resides in Austin, per-forms as a solo artist and with the Long Beach Opera, Austin Chamber Music Center, Ballet Austin, Barbwire Music Project, Tosca String Quartet, Meridian Arts Ensemble and the newly formed American Repertory Ensemble.

The recognized new music consortium, Common Sense, is currently composing an album of music specifically written for Ms. Schumann. Her annual performances of the the music of John Cage, now in the sixth season, continue to draw audi-ences and acclaim. Schumann, whose performances have been listed as top arts events by the Austin American Statesman, was nominated for best instrumentalist by the Austin Critics Table Awards. The Austin American Statesman noted Schumann’s performances as “masterly, alive, and melodic.” Michelle Schumann is an Assistant Professor in Piano and Artist in Residence at the University of Mary Hardin-Baylor.

Schumann Wins Piano Competition

Michelle Schumann

11WORDS of NOTE

Butler Opera Center director Robert DeSimone was inducted into the Austin Arts Hall of Fame for his contribution to the arts community over many years of service. A special ceremony was held in

June for the 2005–06 inductees by the Austin Critics Table, a group of arts writers who make annual awards to outstanding artists and performers.

Over the last two decades, DeSimone has built the UT opera program into a major center for preparing talented young singers for the professional opera world. Notable alumni of his recent tutelage include Metropolitan Opera singers Lucy Schaufer and Mary Dunleavy, among many other professional sing-ers throughout the world who have benefited from his guidance. Philanthropists Sarah and Ernest Butler, who recently gave a $2 million endowment to UT opera, have expressed their admiration of Robert DeSimone’s teaching art.

In April, U.S. Senator Kay Bailey Hutchison made an official announcement that DeSimone had received a Fulbright award from the Fulbright-Hays Group Projects Aboard program. The grant award funded “Exploring Mexico: Performing Arts and Culture,” a seminar and curriculum development project for educators in which the performing arts become a central thread to study culture. The project itiner-ary planned and led by DeSimone took place in June and July in Oaxaca de Juarez City, Mexico City, Guadalajara, Mazatlan and Morelia. Fifteen educators were selected from five states to participate in the seminar.

Elliott Antokoletz, Professor of Musicology, has published a chapter entitled “Copland’s Gift to be Simple Within the Cumulative Mo-saic Complexities of His Ballets” in Aaron Co-pland and His World (Princeton and Oxford: Princeton University Press, 2005). He presented two invited lectures, “From Bartók and Berg to Perle: A New Tonality and Means of Progression as Shown in No. 5 of George Perle’s Thirteen Dickinson Songs” and “George Perle: Man, Composer, and Theorist” in a celebra-tion of composer/theorist George Perle, given at the Eastman School of Music in November 2005. In March, Antokoletz pre-sented a lecture entitled “Musical Symbolism in Bartók’s Opera, Bluebeard’s Castle: Trauma, Gender, and the Unfolding of the Unconscious,” at the Institute for Musicology in Budapest, as part of an international conference entitled “Bartók’s Orbit.” Another lecture, “In Defense of Theory and Analysis: A critical Evaluation of the Discipline and Its Application to Bartók’s Mu-sical Language,” was given at the University of Surrey, Guild-ford, England, in a conference on“Re-engaging Formalism: Bartók.” He was invited by the American Hungarian Educa-tors’ Association to present a lecture on “The New Hungarian Art Music: Bartók as Pioneer” at Indiana University in April. Antokoletz continues as editor of the annual International Jour-nal of Musicology (Frankfurt am Main: Peter Lang), now in its tenth year. He is also complet-ing a new book on the music of the early 20th-century Russian-German composer Georg von Albrecht (Peter Lang Verlag in Frankfurt). Dr. Rebecca A. Baltzer, Profes-

sor Emerita of Musicology, has continued to be professionally active since her retirement in May 2005. She is a member of the board of di-rectors of Early Music America and is the music

book review editor for Speculum, the journal of the Medieval Academy of America. In August 2006 she presented a paper at the meeting of the Cantus Planus Study Group of the Interna-tional Musicological Society held at the abbey of Niederaltaich on the Danube in Bavaria. She is listed in the 2006 Who's Who in America.

Nathaniel Brickens received a 2006 University of Texas Dad's Association Centennial Fellowship for Excellence in Teaching. He was a featured clinician at the Brazilian Trombone Associ-ation's 2006 XII Encontro Brasileiro de Trombonistas held in Joao Pessoa, Brazil, in February and at an August event, Trombonanza 2006, hosted by the Escuela de Musica in Santa Fe, Argentina.

He served as an adjudicator for the Music Teachers National Associa-tion National Solo Competition, the Texas State Solo and Ensemble Competition, and the Texas Music Educators Association All State En-sembles auditions. He performed as trombonist for the Victoria Bach Festival Orchestra and has been active as a substitute trombonist with the San Antonio and Austin Symphony Orchestras. Brickens remains active as executive board member of the International Trom-bone Association (ITA), participat-ing in meetings in Washington DC, Las Vegas, and Birmingham, England.

Lorenzo Candelaria, Assistant Professor of Musicology, lectured

Faculty

DeSimone Inducted Into Austin Arts Hall of Fame

Robert DeSimone

Lorenzo Candelaria surveys the ruins of Teotihuacán. The pyramids of the Sun and the Moon stand against a volcano in the background.

Bret

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THE UNIVERSITY OF TEXAS SCHOOL of MUSIC12

widely on the sacred music of Spain and Mexico. Highlights included presentations at Cambridge University, Yale Univer-sity, the University of Chicago, El Conservatorio de las Rosas (Morelia, Michoacán), the Universidad Nacional Autónoma de México and the Museo Nacional del Virreinato (Tepotzotlán, México). With the generous support of the School of Music, College of Fine Arts and a Walter and Gina Ducloux Faculty Fellow-ship, he completed his current book project titled The Rosary Cantoral: A Spanish Chant-book from Sixteenth Century Toledo (Boydell & Brewer). He also published, with the late Daniel Kingman, the third concise edition of a leading textbook entitled American Music: A Panorama (Thomson Schirmer). During his appointment as a Visiting Professor at Yale University in spring 2006, Dr. Candelaria taught a course on music and Mexican reli-gious devotion and led the Yale Institute of Sacred Music through musical components of a two-week study tour in Mexico. He is currently working with Oxford University Press to develop a book that will focus on music and Mexican Catholicism.

In April 2006, Delaine Fedson was one of four harp teach-ers from around the world invited to teach at the 14th World Suzuki Conference in Turin, Italy, where she had the opportu-nity to meet and work with teachers and students from Italy, Germany, the United Kingdom, France and the United States. In May, she was the invited Master Class Clinician for the Suzuki Association of the Americas Biennial Conference in Minneapo-lis, where she also performed and presented a clinic on the UT

Harp Project. During the summer, Fedson taught at Longhorn Music Camp and presented teacher training at workshops in Colorado and Wisconsin. She remains active as the Southwest-ern Regional Director and Secretary to the Board of the Ameri-can Harp Society and second harpist with the Dallas Opera

Orchestra.

During 2005 and 2006, Donald Grantham wrote a chapter about his wind ensemble music and compositional practice for the book Composers on Composing for Band, GIA Publications, Inc., Chicago. Commercial re-cordings include: Houston Strokes (for per-cussion ensemble) by the University of Hous-ton Percussion Ensemble, Blake Wilkins, con-ductor, Albany Records; We Remember Them (for a cappella chorus, text from the Hebrew Union Prayer Book) by the Conspirare Choir, Craig Hella Johson, conductor, Clarion Re-cordings; Wind Ensemble Music by Donald Grantham by the North Texas Wind Sympho-ny, Eugene Migliaro Corporon, conductor,

GIA Recordings; Baron Cimitiére’s Mambo (for wind ensemble) and Baron Samedi’s Sarabande (and Soft Shoe) (for wind ensemble) by the North Texas Wind Symphony, Eugene Migliaro Corpo-ron, conductor, GIA Recordings. Commissions include Music for the Blanton (for large chamber ensemble), which was commis-sioned by The University of Texas College of Fine Arts to cel-ebrate the opening of the Blanton Museum in April 2006. Baron Samedi’s Sarabande (and Soft Shoe) (for wind ensemble) was com-missioned by the Tennessee Tech Wind Ensemble, and Court Music (for wind ensemble) was commissioned by the Tokyo Ko-sei Wind Orchestra. Grantham served as a Guest Composer or

Recent recording by Eugene Gratovich and Sidney Knowlton

On April 28, 2006, The University of Texas piano faculty performed a benefit for the

Danielle Martin Memorial Scholarship Fund with an all-Mozart program. The program included Mozart's Sonata in C Major for Piano, Four Hands, K. 521; Fantasy in D Minor, K. 397; Fugue in G Minor for Piano, Four Hands, K. 401; Ten Variations in G Major on “Unser dummer Pobel meint;” Sonata in C Major, K. 545; Rondo in A Minor, K. 511; and Sonata in D Major for Two Pianos, K. 448.

A recording of two marathon concerts by stu-dents, friends and fellow artists honoring the life and work of Danielle Martin is still available, with proceeds going to the Danielle Martin Scholarship Fund.

The two volume, four CD set, may be purchased through the School’s web site: www.music.utexas.edu or by contacting Eloisa Saldaña, eloisa@mail.utexas.edu, (512)-471-0806, or Eloisa Saldaña,1 University Station E3100, Austin TX 78712-0435.

Piano Faculty Play Mozart to Benefit Martin Scholarship

UT piano professors Gregory Allen, Sophia Gilmson, Betty Mallard, Anton Nel, Lita Guerra, David Renner, Martha Hilley and Nancy Garrett (seated)

C. L

ee

13WORDS of NOTE

Composer-in-Residence at the University of North Texas, Sam Houston State University and Tennessee Tech University.

Eugene Gratovich, Associate Professor of Violin and Chamber Music, performed Beethoven’s Sonata in G Major for the Inter-national Summer Music Academy in June 2005 in St. Petersburg, Russian Federation. While there he presented a lecture-recital on the violin sonatas of Charles Ives and gave a master class. He performed Brahms's Violin Sonata in A Major for the Interna-tional Music Festival-Institute in Portugal in August 2005. He also performed a program of American music for the opening of a modern art ex-hibition in Viana do Castel-lo, Portugal. Dr. Gratovich performed on a recently re-leased recording of original music for violin and piano by American composer Sidney Knowlton, who per-formed on piano. The SKD Productions recording also includes music recorded live in St. Petersburg at the Composers' Union Concert Hall with the composer con-ducting a violin ensemble of Dr. Gratovich and Univer-sity of Texas students. The piece, For Those Who Have Gone, was dedicated to the memory of the victims of the World War II blockade of the city.

Gerre Hancock, Professor in Sacred Music and Or-gan, performed organ concerts in Los Angeles, San Antonio, Houston, Sacramento, Scottsdale, Philadel-phia, Richmond, Virginia and Tulsa. He conduct-ed choral festivals in San Antonio, Grand Rapids, Michigan, Baltimore and Atlanta. Dr. Hancock con-ducted master classes and performed in recital at Brevard College, North Carolina; Duquesne Univer-sity in Pittsburgh; and The University of Washing-ton at Seattle. In Austin, he performed on the Great Organ Series at Bates Recital Hall and lectured at the Austin Presbyterian Theological Seminary.

In late October, Judith Hancock performed the Poulenc Concer-to for Organ, Percussion and Strings in concert with The Univer-sity of Texas Symphony Orchestra, under the direction of guest conductor Gerhardt Zimmermann. She performed English ca-thedral works for chorus and organ in November with the UT Choral Arts Society, under the direction of James Morrow. Dr. Hancock performed organ concerts at Wabash College in Indi-ana and at Saint Mark's Episcopal Cathedral in Grand Rapids, Michigan. She will perform a solo recital in Bates Recital Hall next season as a part of the Great Organ Series.

Jeff Hellmer, Director of Jazz Studies, adjudicated and per-formed at the Western Connecticut State/Litchfield Jazz Festi-val, the Riverside (California) Community College Jazz Festival, and the Island Jazz Festival in Corpus Christi. He appeared as pianist and conductor for the Dallas Wind Symphony's “Swing

Band Valentine” concert at the Meyerson Symphony Center in Dallas. He performed at Dizzy's Club Coca-Cola at Jazz at Lin-coln Center with faculty colleague Ron Westray, and appeared at the Bingen (Germany) Jazz Festival with Count Basie's leg-endary drummer Butch Miles. Hellmer performed recitals at UT with the Faculty Jazz Quartet and with guest jazz pianist Shelly Berg, and returned for his fifth summer as instructor at the Idyllwild (California) Arts Jazz Camp.Jacqueline C. Henninger, Assistant Professor of Music and Hu-man Learning, presented her research at regional and national conventions and published in an international journal. “The Ef-fects of Verbal Feedback on Complex Skill Learning in Music: A Review of Literature” was presented at the Texas Music Educa-tors Association Convention in San Antonio in February 2006. Dr. Henninger also presented a paper entitled “The Effects of Performance Quality Ratings on Perceptions of Instrumental Music Lessons” at the biennial meeting of the Music Educa-tors National Conference in Salt Lake City, Utah. “Pedagogical Techniques and Student Outcomes in Applied Instrumental Lessons Taught by Experienced and Pre-service American Mu-sic Teachers,” an article for which Dr. Henninger was the lead author, was published in the International Journal of Music Edu-cation in April 2006. Dr. Henninger also served as a guest clini-cian and guest conductor for several middle school and high school band programs throughout central Texas.

Professor Adam Holzman was fea-tured on the cover of two international magazines in his field this year, Classi-cal Guitar Magazine (England) and Gui-tart Magazine (Italy/USA). The Guitart cover also featured his brother, Bruce Holzman, who is professor of guitar at Florida State University.

Patrick Hughes, Assistant Professor of Horn, had a busy year. He performed at the 2005 International Horn Society Convention in Tuscaloosa, Alabama, in June 2005, and later played with the Victoria Bach Festival. In October, he joined his colleagues in The Univer-sity of Texas Wind Quintet on a tour to Michigan, where they performed and taught in Interlochen, Kalamazoo and the Ann Arbor area. Hughes per-

formed with The Canadian Brass in Bass Concert Hall on cam-pus and performed Russell Pinkston’s Quartet for four horns and tape on a New Music Ensemble concert in November. After two Horn Choir concerts, one on campus and one at Congregation Agudas Achim in a relief concert to aid musicians affected by hurricanes Katrina and Rita, Hughes traveled to Minneapolis to perform in a CD release concert for Peter Mayer's Midwinter. In January, Hughes performed the Mozart Quintet with UT's own Miró Quartet, and, in March, performed a solo recital featur-ing two of his new arrangements for horn and piano: Send in the Clowns by Sondheim, and Carmody's Favorite, a traditional jig. In April, he traveled to Natchitoches, Louisiana, as a fea-tured artist at the 2006 Southeast Horn Workshop, performing Schumann's Concertstück with Gail Williams (formerly with the Chicago Symphony), Adam Unsworth (Philadelphia Symphony and jazz artist) and Michele Stebleton (Florida State Univer-sity). He also performed a solo recital and assisted Professor

Bruce and Adam Holzman

THE UNIVERSITY OF TEXAS SCHOOL of MUSIC14

John Ericson (Arizona State University) in a presentation on baroque horn repertoire. The academic year concluded with a Horn Choir concert on campus and Mr. Hughes' participation on modern horn and natural horn in the premiere of Donald Grantham's Music for the Blanton, commemorating the new Blan-ton Art Museum opening on campus.

Judith A. Jellison, Mary D. Bold Professor in Music and Hu-man Learning and University Distinguished Teaching Profes-sor, was one of three American scholars invited to give a key-note address at the International Forum on Music Education in Beijing, China. The conference, which was the first interna-tional conference on music education in China, was attended by delegates representing Chinese government agencies, news organizations, music associations, universities, conservatories and schools. While in Beijing, Jellison lectured at the presti-gious College of Music at Capital Normal University. She has recently published a paper on music research and disabilities written for the Beijing conference, a chapter on inclusive music education for a book on musical development published by Ox-ford University Press, and an article in Arts Education Policy Re-view, which was based on her speech to the Society of Research in Music Education in 2004 upon receipt of the Senior Research-er Award from the National Association of Music Education/Music Educators National Conference (MENC), the highest re-search recognition granted by that organization. She continued to serve on the editorial board of the Journal of Music Therapy and has given presentations and research papers at conferences of MENC and the Texas Music Educators Association. She con-ducted a workshop on inclusion at The University of Vermont and with her colleague Robert Duke taught a graduate course at the Samuel Barber Institute for Music Educators in Pennsyl-vania. Judith Jellison continues as Division Head for Music and Human Learning.

During the year Kristin Wolfe Jensen performed as Principal Bassoonist with the new and innovative River Oaks Cham-ber Orchestra in Houston. The UT Faculty Woodwind Quintet performed on a concert and master class tour to Michigan that included dates at the Interlochen Arts Academy and the Uni-versity of Michigan. The Meg Quigley Vivaldi Competition, of which Professor Jensen is co-founder and director, has gained momentum since its inaugural competition in Austin during the summer of 2005. Designed to provide young women bas-soonists of the Americas with an early inspirational competi-tive experience, it involves a recorded first round and a live final round for five players with $18,000 in prize money and performance opportunities awarded. In addition to perform-ing required pieces and one of the contestant’s choice, finalists are asked to introduce each piece as an opportunity to develop skills in audience engagement. Jensen and co-founder Nicolasa Kuster are now planning the 2007 competition. In the summer of 2006, Kristin Wolfe Jensen spent a week in residence as facul-ty at the International Festival Institute at Round Top followed by five weeks in her new position as Principal Bassoonist at the Eastern Music Festival in Greensboro, North Carolina.

Jerry F. Junkin won the 2006 Fine Arts Award for Outstanding Achievement from the University Co-Op. Junkin is Professor of Instrumental Conducting, Director of Bands, Frank C. Erwin Jr. Centennial Professor in Music and a member of the Academy of Distinguished Teachers, as well as Artistic Director and Conductor of the Dallas Wind Symphony.

Professor Brian Lewis represented the School abroad in mul-tiple performances of the Bernstein Serenade in Denmark with the Odense Symphony Orchestra, conducted by Paul Mann, in September 2005. Other international performances included re-citals in Japan where he also worked with more than 500 young musicians studying the Suzuki Method. Professor Lewis re-ceived a 2005 Texas Exes Teaching Award, and a School of Mu-sic Teaching Excellence Award. His much anticipated debut CD with the London Symphony Orchestra was recently released on the Delos label.

John Mills, Assistant Professor of Jazz, has pursued a wide range of activities as a composer, arranger, saxophonist, edu-cator and writer in the past year. Commissioned to write new pops arrangements for Asleep at the Wheel with the Ft. Worth Symphony Orchestra and Andrew Heller with the Austin Symphony Orchestra, he also contributed new jazz works to concerts of both the Creative Opportunity Orchestra and the UT Jazz Orchestra. He also composed the original score for the KLRU-produced documentary Las Misiones and wrote soundtracks and jingles for several commercial entities around the U.S. His studio recording work included TV/radio projects for Time/Warner, Sonic, and Southwest Airlines, as well as new CDs for Sony artists Los Lonely Boys and renowned songwrit-er Joe Ely. Among his concert activities were performances on saxophones, clarinet and flute with the Maria Schneider Jazz Orchestra and baritone saxophone work with New Orleans pia-no legend Dr. John. He also played shows with such prominent Texas musicians as Delbert McClinton, Jimmie Vaughan, Marcia Ball and Joel Guzman. As a member of the Texas Horns, Mills continued to be an Artist-in-Residence at major blues festivals in Ottawa, Edmonton and Portland, Oregon, where the horn section performed with numerous headliners and conducted workshops. Dr. Mills was a clinician and guest soloist with the Texas State University Jazz Ensemble, directed the Region 18 Small Schools All-Region Jazz Band, and adjudicated both the Texas A&M – Kingsville Jazz Festival and the TMEA’s All-State Jazz Alto Saxophone auditions. He presented a lecture on the compositional style of Keith Jarrett at the 2006 Convention of the International Association for Jazz Education in New York City. The accompanying paper was published by the IAJE in its Research Yearbook. Mills also wrote articles on jazz guitar-ist Bill Frisell and vocalist Jimmie Scott for the Austin American Statesman.

Associate Professor of Ethnomusicology Robin D. Moore has published a new book through the University of California Press entitled Music and Revolution: Cultural Change in Socialist Cuba. It provides a dynamic introduction to the most prominent artists and musical styles that have emerged in Cuba since 1959, and to the policies that have shaped artistic life there. Moore gives readers a chronological overview of the first decades after the Cuban Revolution, documenting the many ways perfor-mance has changed and emphasizing the close links between political and cultural activity. The book uses music to explore how Cubans have responded to the priorities of the revolution and have created spaces for their individual concerns.

Roger Myers, Associate Professor of Viola, had an active year both as performing artist and pedagogue. Highlights of his year in performance include the acclaimed debuts of the newly formed Texas Piano Quartet in Austin and at Carnegie Hall in New York City. The group also performed the world premiere

15WORDS of NOTE

in April of Kevin Puts’ new work for piano quintet, Red Snapper. Myers also performed at several music festivals including the prestigious Festival de Musique on the island of Saint Barthé-lemy in the French West Indies. He performed the Max Bruch double concerto for clarinet and viola at the Buzzards Bay Mu-sicfest in Marion, Massachusetts, in July. Roger Myers was pro-moted to the rank of Professor for fall 2006.

David Neely, Assistant Professor of Opera Conducting/Coach-ing, Principal Conductor Butler Opera Center, conducted Sara-sota Opera’s production of Johann Strauss’s Die Fledermaus in

March. The Sarasota Herald-Tribune called it “a delicious feast for eyes and ears … the orchestra, under the baton of David Neely, was exceptional,” and the Longboat Observer said “David Neely, in his conducting debut with the company, keeps a tight grip on the orchestra and ensemble, leading with spirit and agile sup-port.” Neely will return to Sarasota in early 2007 to conduct the American professional premiere of Moniuszko’s opera Halka. In July he completed his fourth season as Assistant Conductor with Des Moines Metro Opera and his second season as co-di-rector of that company’s Apprentice Artist Program.

The School of Music congratulates the following faculty members, who have received Universityteaching awards in the past year.

Bob Duke, the Marlene and Mor-ton Meyerson Centennial Profes-sor in Music and Human Learn-ing, University Distinguished Teaching Professor and Director of the Center for Music Learn-ing, was named the 2005–06 recipient of the Elizabeth Shatto Massey Award in Teacher Educa-tion. Created in 2003 by UT alum-nus John H. Massey (LLB 1966) to honor his wife Elizabeth (BS 1961), the Massey Award honors exceptional accomplishment and commitment to the process of preparing quality teachers. Duke

is the second recipient of the $10,000 award, one of the major teaching honors at UT. Widely published in music and education, Duke has directed national research efforts under the sponsor-ship of such organizations as the National Piano Foundation and the International Suzuki Institute. His work has been presented at national and international conferences in music education, music therapy and music psychology, and appears in major research journals and texts.

Nathaniel Brickens was the recipient of a 2006 University of Texas Dad's Association Centen-nial Fellowship for Excellence in Teaching. The fellowship rec-ognizes a faculty member’s teaching excellence and com-mitment, and acknowledges the many contributions the faculty member has made to the undergraduate experience for students. Brickens is profes-sor of trombone and director of the internationally acclaimed UT Trombone Choir. He has won several teaching awards from the University in the past, and is

also a highly sought-after international performer.

Brian Lewis, Associate Professor of violin and the David and Mary Winton Green Fellow in String Performance and Pedagogy, was

honored at a special ceremony in February 2006 as recipient of a 2005 Texas Exes Teaching Award. His dedication to teaching was again recognized in May when he received the School of Music Teaching Excellence Award in applied music. The Texas Exes Teaching Award is given annually to a professor in each School at the University. Recipients of the award are selected by students. Lewis has established himself as one of America's most gifted and charismatic young artists. He has won several major awards as a performer, including National

Artist of the Year in 1998 by Young Audiences, Inc., the grand prize in the Mid-America Violin Competition, the Waldo Mayo Talent Award and Juilliard's Peter Mennin and William Schuman Prizes for outstanding achievement and leadership in the field of music.

Laurie Scott, Assistant Professor in the Division of Music and Hu-man Learning, Director of the UT String Project, and faculty advisor for the student chapter of the American String Teacher’s Association

(ASTA) was awarded the School of Music Teaching Excellence Award in Academics for 2005-06. Dr. Scott has served as an officer of the ASTA Texas chapter, was co-conductor of the Austin Youth Symphony and served as Region XVIII College Division Chair for the Texas Music Educators Association. She was co-editor of the public school column in the American Suzuki Journal. She performs with the Austin Symphony, Austin Lyric Opera and Ballet Austin Orchestras. In 1990 she was named Woman of the Year in the Arts for the City of Austin. Dr. Scott was awarded the

College of Fine Arts Teaching Excellence Award in Music in 2004-05.

Music Faculty Win Teaching Awards

Brian Lewis

Laurie ScottNathaniel Brickens

Bob Duke

THE UNIVERSITY OF TEXAS SCHOOL of MUSIC16

Anton Nel, Division Head of Key-board Studies, continues an extreme-ly busy performing and teaching career. Highlights of the past season include three performances at Carne-gie Hall, a solo recital at Weill Recital Hall, a performance of the complete Beethoven Cello and Piano Sonatas with colleague Bion Tsang as well as the Texas Piano Quartet’s New York debut, both at the new Zankel Hall, earning rave reviews from the New York Times and Strings magazine. The Texas Piano Quartet, with guess bassist Peter Lloyd, gave the world premiere of Kevin Puts’s quintet The Red Snapper, a special commission made by College of Fine Arts Dean Robert Freeman to honor his father. Professor Nel toured Europe as part of a piano trio with violinist Alexander Kerr and cellist Paul Watkins, resulting in acclaimed debuts for the trio at the Concertgebouw in Amsterdam and Wigmore Hall in Lon-don. He substituted on less than 24 hours notice for an ailing Abbey Simon at the University of Houston’s International Piano Festival this past January. On campus he performed the Mozart C Major Concerto, K. 467, with Kate Tamarkin and the UTSO, the complete Beethoven Cello Sonatas with Bion Tsang, an all-Beethoven solo program on the Jessen Series and concert of pia-no quintets with the Miro Quartet. He also performed concertos by Mozart, Beethoven, Ravel and Tchaikovsky with a dozen orchestras, and played on several leading chamber music series including the Houston Da Camera, and a series at the Palace of the Legion of Honor in San Francisco. During the summer he performed more than 20 concerts at summer festivals in San Diego, Aspen and Seattle. Finally, this season saw three new CD releases from Mr. Nel: Anton Nel in Recital and the complete Beethoven Cello and Piano Music (with Bion Tsang), both on Artek Recordings, as well as the Fauré Ballade and the Franck Symphonic Variations with the Philharmonia Virtuosi (ESS.A.Y)

David Neubert continues to perform as Principal Bass of both the Austin Symphony and the Austin Lyric Opera. In January 2006, he gave a solo recital of original Brazilian music arranged by pianist/composer Francisca Aquino. In March he gave a joint performance with guest artist/teacher Petia Bagovska from the State Academy of Music in Bulgaria. In the spring, Dr. Neubert was a guest solo artist and master class teacher at the 25th annual Michaelstein Double Bass Symposium in Blankenburg, Germany. Klauss Trumpf, retired professor of double bass from the University of Munich, invited Neubert to participate in this international event, at which he last appeared in 1996. Over 100 students and 12 renowned European artist-teachers participated in the week-long event. The first annual “Bass Odyssey” (the brainchild of Elizabeth Steves, local bass player and owner of an instrument case company) was held at the School of Music in May. The event featured nine very different and eclectic bass players playing equally different instruments, which included: violone, bull fiddle, slap bass, wash tub, upright bass, dog house, double bass, electric upright, contrabass Balalaika, viola da gamba, bassetto (a real “bass violin” tuned just like a violin) and five and six-string electric bass. Neubert gave a solo recital as the final performance of the event. Paul Ellison, Professor of Double Bass at Rice University, and former UT student Yuan Xiong Lu of the the San Antonio Symphony were

among several guest artist-teachers at this unique event. Dr. Neubert served as instructional clinician, along with Professor Phyllis Young, in production of an internationally-marketed instructional video based on Gerald Fishbach’s pedagogic series, String Success. The project involved five days of intensive video taping and will complement Dr. Fishbach's popular video, Viva Vibrato.

Program Coordinator of Recording Technology Mark Sarisky has had a busy year. After mixing four tracks for a future release by pop diva Annie

Lennox, Professor Sarisky produced and engineered two new recordings for the School of Music's planned record label. First ever recordings were made of Joseph's Turin opera The Scare-crow with the Butler Opera Center and Nunes Garcia's Missa de Nossa Senhora da Conceição with the UT Chamber Singers. In ad-dition, Sarisky recorded new CDs with Trumpeters Brian Shaw and Pete Rodriguez. This summer, he made recordings with UT professors flutist Marianne Gedigian and pianists Rick Rowley and Jeff Helmer, as well as the legendary Texas swing fiddler Johnny Gimble. After spending two years developing a unique curriculum in the art and science of recording for music stu-dents, the UT-Audio Recording Technology (UT-ART) program admitted its first class of freshmen in the fall of 2006.

Stephen Slawek, Professor of Ethnomusicology, read a pa-per assessing the state of research on music in South Asia at the 50th Annual Meeting of the Society for Ethnomusicology, which took place in Atlanta in November 2005. In January 2006, Professor Slawek visited the Archive and Research Center for Ethnomusicology of the American Institute of Indian Studies (New Delhi) to become acquainted with his responsibilities as the new chair of the American Institute of Indian Studies Eth-nomusicology Committee. While in New Delhi, he also visited the Ravi Shankar Center and spent several days with Pandit Ravi Shankar, continuing his research on the music of the re-nowned musician. From New Delhi, Professor Slawek traveled to Mumbai, where he read a paper on the implications of the institutionalized teaching of improvisation at the annual sym-posium of the Sangeet Research Academy (West). In March, an appreciative audience at Louisiana Tech University in Ruston, Louisiana, warmly received Professor Slawek's sitar recital of Indian classical music. The concert was organized as part of LTU's “Shaping the 21st Century: Focus on India” symposium. During the year, Professor Slawek continued to serve as editor of Asian Music, Journal of the Society for Asian Music.

Dan Welcher had a very productive year. His new work Sym-phony #4: “American Visionary,” commissioned by the College of Fine Arts, was premiered on November 10, 2005, by the UT Wind Ensemble under Jerry Junkin's baton. This work, a three-movement piece with spoken text preceding each movement, was written in memory of George Kozmetsky, founder of the UT Business School. Red McCombs, for whom the Business School was ultimately named, read the text (written by Robert Lawrence Kuhn) at the premiere, and later told the Chronicle of Higher Education that the experience of being onstage with 50 in-strumentalists was inspiring “but can't compete with goat-rop-

Anton Nel and Bion Tsang

17WORDS of NOTE

ing.” Welcher also saw the premiere of a chamber work entitled The Moerae, for flute, oboe, bassoon, and piano, at the retirement celebration in April for Dr. Robert Freeman, outgoing Dean of the College of Fine Arts. Professors Marianne Gedigian, Rebec-ca Henderson, Kristin Wolf-Jensen and Rick Rowley performed the nine-minute work (named for the three Greek Fates). Welcher's new work Jackpot: A Celebratory Overture for Large Or-chestra was premiered in September of 2005 by the Las Vegas Philharmonic under the baton of Harold Leighton Weller, Music Director. The work was commissioned by the City of Las Vegas, in celebration of the 100th anniversary of the city’s founding.

Phyllis Young's reputation and dedication as a teacher has been honored by the Texas unit of the American String Teach-ers Association (ASTA) through its establishment of a new award named “The Phyllis Young Outstanding Studio Teacher Award.” President of TexASTA Kathy Fishburn announced: “This award will be presented annually to a studio teacher that goes above and beyond their regular duties to support and fos-ter their own students and their orchestra programs.” Professor Young was named the first recipient of this prestigious new award in an ASTA ceremony at the Texas Music Educators As-sociation Conference in February. Professor Young's first string pedagogy book, Playing the String Game, first published by The

University of Texas Press in 1978, continues to have widespread circulation in several languages. The English version has had eight paperback printings plus the hardback edition. German and French editions were published and distributed in recent years by the European String Teachers Association, which plans to release an Italian edition soon, and the book is being trans-lated into Chinese and Korean. Phyllis Young continues to be in demand as a workshop presenter and master class teacher. At the ASTA national conference in Kansas City, she gave several master classes and presented a session on tone with the assis-tance of four of her former UT students: Dr. Karen Becker, As-sociate Professor of Cello at the University of Nebraska-Lincoln; Dr. Benjamin Whitcomb, Associate Professor of Cello and Music Theory at the University of Wisconsin-Whitewater; Dr. Linda Jennings, Assistant Professor of Cello at Indiana University of Pennsylania; and Dr. Christine Crookall, Assistant Professor of Cello at Augusta State University of Georgia. In May she gave a cello pedagogy session and conducted a chamber music master class at the International Conference of the Suzuki Association of the Americas held in Minnesota; in June she taught in the National Cello Institute held at Pomona College in California and in July was featured as the master cello pedagogue in the International Sommera Musikpedagogue sponsored by the Akademie fur Musikpedagogi of Wiesbaden, Germany.

The Miró Quartet, The University of Texas String Faculty Quartet in Residence, had another truly eventful year in 2005-06. The Quartet’s

10th anniversary season began September 8, 2005, with a performance in Bates Recital Hall sponsored by the UT Performing Arts Center as part of the Cleveland Quartet Award winners’ tour. This was soon followed by the release party for the Quartet’s latest recording: the Beethoven’s Opus 18 quartets. The CD was released in Japan in December 2005 during a tour, with an All Beethoven Op. 18 Marathon performance in Tokyo, as well as concerts in Zushi and Nagoya. The Miró gave several programs for school children moderated in Japanese by violinist Sandy Yamamoto! In the fall the Quartet made it's debut at the International Beethovenfest in Bonn, Germany, as well as it's South American de-but on the equator in Recife, Brazil. Weill Hall at Carnegie in New York City heard the premiere of a new work commissioned by the Miró from Mohican composer Brent Michael Davids called the “Tin-nitus Quartet”, which depicts the composer’s struggles with hearing loss and ringing in his ears. Also performed was a piece by Czech composer Bedrich Smetana, who suffers a similar hearing condition. The Quartet visited St. Barts in the Caribbean and Canada's Banff Center for the Arts during the winter. In February 2006 the first

quartet baby, Adrian, was born to proud parents Daniel and Sandy, the Miró violinists. By the time he was seven weeks old the little boy had been on tour to all four US Continental Time Zones, from San Francisco to Philadelphia, and a transatlantic trip to Frankfurt, Germany, with a grandmom along to help. Summer 2006 saw yet another Miró world premiere: this time of a guitar quintet played with virtuoso Eliot Fisk, written for the Quartet by famed Catalan composer Leonardo Ballada, and commissioned by the Austin Guitar Society. Festival performances in Vail, Colorado, with Eugenia

Zukerman, and at Mostly Mozart in New York with Joshua Bell rounded out the summer. New places the Quartet visited this year included: Bayreuth, Germany; the Freer Gallery in Washington, D.C.; Vassar and Williams Colleges; Logan, Utah; Chico, California; Tulsa, Oklahoma; Norfolk, Virginia; Harrisburg, Pennsylvania, and the Philosophical Society in Philadel-phia. Several repeat appearances were made at such venues as Se-attle, Toronto, Raleigh, Lincoln Cen-ter in New York City, Detroit, San Diego, Ft. Worth, Oberlin College, Vancouver BC, among many others.

Numerous events and performanc-es such as these sum up another busy and creative year for the Miró Quartet, with a new family member added in the process.

Miró Quartet Celebrates Tenth Anniversary and Parenthood

Miró Quartet

Chris

tian

Stei

ner

THE UNIVERSITY OF TEXAS SCHOOL of MUSIC18

Gerhardt ZimmermannProfessor, Conducting, Director of Orchestral ActivitiesMaestro Zimmermann comes to School of Music from the Canton (Ohio) Symphony Orchestra, where he has been music director for 25

years, and the Breckenridge (Colorado) Music Festival—two organizations with which he will continue his current associations. Zimmermann is also con-ductor laureate of the North Carolina Symphony. Zimmermann's energetic and vibrant performances have drawn invitations to appear on the podium with the such symphonies as Cleveland, Chicago, National, Pittsburgh, Atlanta, New Jersey, Syracuse, Rochester, San Antonio, Toronto, Warsaw Philharmonic, the Orchestre Symphonique de Paris, the Calgary Philharmonic, Louisiana Philharmonic Orchestra, Chicago's Grant Park and the Colorado Philharmonic. Maestro Zimmermann is a dedicated

advocate for people with disabilities, having testified before the Arts Appropriation Committee of the U.S. Congress on behalf of the National Endowment for the Arts, and received the Johanna Cooke Plaut National Easter Seal Society award for community leadership in November of 1997. He currently serves on the board of directors of both the Easter Seals national board and the Easter Seals/United Cerebral Palsy of North Carolina. Mr. Zimmermann holds a Master of Fine Arts in Orchestral Conducting from the University of Iowa and a Bachelor of Music in Education degree from Bowling Green State University.

Ed FairLecturer, Music Business

Ed Fair is an attorney with over twenty years experience in the music business. He received his BA and law degree from The University of Texas at Austin. He has a diverse music business legal practice. His clients include Grammy winning recording artists Los Lonely Boys, plati-num recording artist Chamillionaire, world renowned fiddle player Johnny Gimble and Grammy nominee Marcia Ball, as well as UT's Miró Quartet. Fair will be teaching a course that focuses on publishing, copyright, and contracts in the music business.

David HunterSenior Lecturer, MusicologyDavid Hunter (Ph.D., University of Illinois at Urbana-Champaign,1989),has been UT Music Librarian and Curator of the Historical Music Recordings Collection for many years. He has pub-lished articles in numerous musicology and historical journals; a book, Opera and Song Books Published in England, 1703-1726: A Descriptive Bibliography, and has also contributed to the major music encyclopedic dictionaries Grove Music Online and Die Musik in Geschichte und Gegenwart. He has been the Book Review Editor of Notes and currently

serves on the Editorial Board of Libraries & the Cultural Record (pub-lished by The University of Texas Press).

Cynthia MorrowLecturer, VoiceA native of Virginia, Cynthia Morrow is a graduate of Hollins College

(Phi Beta Kappa), The University of Maryland and The Ohio State University, where she earned the Doctor of Musical Arts degree in Vocal Performance. She has taught at the University of Florida, Mississippi College (where she served as Opera Theatre Director), Hope College and Grand Valley State University, working with both undergraduate and graduate voice students. She has taught a variety of courses related to vocal performance and pedagogy, including vocal literature, vocal peda-gogy, applied voice, diction and opera workshop. Dr. Morrow has performed a wide array of repertoire by Mozart, Poulenc, Britten, Handel, Bach, Mozart and Schubert, has performed many

recitals and has coached with artists including Elly Ameling, Martin Katz, Sherrill Milnes, and George Shirley.

Guido OlivieriLecturer, Musicology Guido Olivieri (Ph.D. Musicology, University of California, Santa Barbara;

Diploma in Violin, Conservatorio di Salerno - Italy) is a specialist in Baroque instrumental music and performance practice. He has presented papers at sev-eral international conferences,published articles and reviews in collective vol-umes and scholarly journals and con-tributed to major encyclopedia.He has been a Research Fellow at the University of Liverpool and at The Italian Academy for Advanced Studies in America at Columbia University. An A. W. Mellon Postdoctoral Fellow at the University of Michigan, he has taught at the University of California, Santa Barbara and the University of Michigan.

New Faculty

Gerhardt Zimmermann

Guido OlivieriEd Fair

David Hunter

Cynthia Morrow

The University of Texas at Austin School of Musicannounces new appointments for 2006–2007.

Win

ton

Reyn

olds

19WORDS of NOTE

Adolph OrtizSpecialist, MariachiOne of Austin’s most well-known mari-achi musicians, Ortiz studied with the late famous vihuelista, Benito Ramos, learning many of the true styles and techniques indigenous of Mexico City. He has shared the stage with such notable groups as Mariachi Vargas de Tecalitlan, Mariachi Cobre and Mariachi Los Camperos. Mr. Ortiz is a graduate of Texas State University in San Marcos, where he was a voice major, played French horn, and also directed the mariachi program. He has been a stu-dio musician for various artists, movie

soundtracks and commercials, and currently directs the only Austin mariachi on a record label, Mariachi Relámpago.

Jeanne SasakiLecturer, Collaborative PianoMs. Sasaki coordinates collaborative piano activities for the School and is an active pianist who collaborates with singers and instrumentalists in performances and recordings. Ms. Sasaki is originally from Charlotte, North Carolina, and attended the North Carolina School of the Arts. She has earned music degrees from the Eastman School of Music and the University of Illinois, and has studied piano with John Wustman, Michael Zenge, Robert Spillman, Barry Snyder and Anne Epperson.

Sonia SeemanAssistant Professor, EthnomusicologyDr. Seeman’s interests focus on the music of modern Turkey, the Ottoman Empire, and Southeastern Europe, specializing in Rom (“Gypsy”) communities. She has done field research in Macedonia,

Southeastern Europe and Turkey on Rom, Turkish and transnational musical practices. She received her Ph.D. from UCLA in 2002 and taught at UCSB for 4 years on a post-doctoral faculty fellow-ship and as a lecturer. Seeman has arti-cles in Middle East Studies Association Bulletin, Ethnomusicology Forum and Music and Anthropology and has written several sets of liner notes. Her recent research interests explore emer-gent Turkish cultural expressions and ongoing configuration of ethnic and gendered identities in the wake of the European Union accession processes.

Damon TalleySpecialist, Assistant to the Director of BandsDamon Talley oversees the Longhorn Basketball, Volleyball and Concert Bands in addition to his duties as Assistant Director of the Longhorn Band. Prior to his appointment at The University of Texas, Mr. Talley was Assistant Director of Bands at the University of Michigan. He holds a bachelor of music degree from The University of Texas at Austin and a master of music degree from the University of Michigan. Mr. Talley has also served as Music Director and Conductor of the Dodworth Brass Band,

a professional brass ensemble based in Ann Arbor, Michigan. He is an honorary member of Tau Beta Sigma and Kappa Kappa Psi music fraternities and holds professional memberships in the College Band Directors National Association, the Texas Bandmasters Association and the Texas Music Educators Association.

Joshua TuckerAssistant Professor, EthnomusicologyJoshua Tucker received his Ph.D in Ethnomusicology from the University of Michigan in 2005, and was the University of Chicago’s Post-Doctoral Fellow in Ethnomusicology during the 2005-06 year. He has spent almost three years conducting ethnographic research on Andean popular music, media circulation, and social change in Ayacucho and Lima, Peru.

Dwight Bigler, Staff AccompanistwOriginally from Blackfoot, Idaho, Dwight Bigler recently received a DMA in choral conducting at The University of Texas at Austin where

he conducted the UT Men's Chorus for three years. He completed his BM degree in piano performance and MM in choral conducting at Brigham Young University. After graduation from BYU, Mr. Bigler was the Pianist and Assistant Conductor of the Dale Warland Singers in St. Paul, Minnesota. At The University of Texas, he has been Chorus Master for the UT Butler Opera Center, Assistant Conductor of the University Orchestra, and pianist for voice lessons, recitals, and master classes, instrumental recitals and choir concerts. He is also an active composer and arranger, with works published by Oxford University Press and Hinshaw Music.

Damon Talley

Sonia Seeman

Jeanne Sasaki

Adolph Ortiz

Dwight Bigler

Joshua Tucker

All photographs on these two pages (except Hunter, Morrow) by Brett Brookshire.

THE UNIVERSITY OF TEXAS SCHOOL of MUSIC20

The School of Music honored a large number of students at the Student Awards Convocation in May. Students receiving major awards and hon-ors are listed with the degree they are working toward and their major.

Ezra Bartz, DMA Piano Performance, won first prize in the Sydney Wright Piano Accompanying Competition for 2005–06. Second prize went to Mieun Lee, DMA Piano Performance, and Misha Kim, DMA Piano Performance, took third prize.

Anthony Suter, DMA Composition, won the Advanced Level Composition award in the 2005 Solo String Music Composition Competition for his work A Hymn for Forgotten Moons. Brandon

Hendrix, DMA Composition, took the award for Intermediate Level Composition, for the piece Legend. Alexis Ebbets, MM Violin Performance, won the Beginner Level Composition award for The DAD Song.

The 2005–06 Performer Certificate of Recognition went to Lisa S. Roane, BM Music Studies, Voice; and to Casey Sexton, BM Music Studies, Horn.

The following were named for Student Organization Outstanding Achievements:Sara Eubanks, Highest Scholastic Average, Beta Xi chapter, SAILindsey M. Keay, 2006 Collegiate Honor Award, Beta Xi chapter, SAIWade Yost, Scholastic Award and Collegiate Honor Award, Phi Mu Alpha SinfoniaAndrew Passmore was elected to Phi Beta Kappa.

Travis Marcum, BM Music Studies, Guitar, won the SAI McGaughey-Yeager Scholarship Competition for 2006–07.

Chelsey Green, BM Performance, Viola, was named as the 2006–07 Presser Foundation Scholar.

Honored for Outstanding Undergraduate Recitals in 2005–06 were: Charlene Sutton, BM Performance, Piano, Tami Iskenderian, BM Performance, Violin; and Miles Maner, BM Performance, Bassoon.

Michael O’Brien, PhD Ethnomusicology, was awarded the William S. Livingston Graduate Endowment Fellowship for 2006–07.

Sharing the 2006–07 David Bruton, Jr. Fellowship were Gregory Bolin, DMA, Composition, and Sarah Allen, PhD Music and Human Learning.

Tania Camacho Azofeifa, MM, Flute Performance, received the 2006 Fulbright-Laspau Scholarship.

Recognized for 2005–06 Outstanding Graduate Recitals were:

Master of Music: Lisa Dexter, Piano PerformanceDoctor of Musical Arts Recital: Najung Kim, Piano PerformanceDoctor of Musical Arts Lecture Recital: Jiwon Kim, Piano Performance

Andrew Dickinson, DMA Composition, was recognized for the Outstanding Dissertation of 2005–06, Serrated Edge.

The award for Outstanding Treatise went to Dwight Bigler, DMA Choral Conducting, for Glimpses.

Robert Honstein, DMA Composition, won a 2006 ASCAP Young Composer Award for his work Night Mixes, premiered by the UT New Music Ensemble in October.

The Clarke Piano Trio won second prize at the Chamber Music International/WRR Competition in Dallas. The group consists of: Risa Ando, DMA Violin Performance;Yen-Jung Chen, DMA Cello Performance; and L. Diana Peoples, DMA Piano Performance.

Winning the Seattle Weekly Newspaper Best Chamber Music Ensemble for 2005 was The Young Eight, founded by Quinton Morris, DMA Violin Performance.

Naomi Seidman, DMA Flute Performance, won first place in the 2006 Mid-South Young Artist Competition.

UT trombonists have fared well recently in audi-tions and com-

petitions. Raimundo Morales, DMA Trombone Performance, was one of three finalists in the 2006 International Trombone Association Smith Solo Competition, earning a chance to compete in the final round of the competition in July at the International Trombone Festival in Birmingham, England. Owen Homayoun, senior in Music and Human Learning, has accepted a scholarship and brass assistantship to attend the San Francisco Conservatory. DMA student Michael Mannella accepted a position with the USAF Band of Liberty in Boston, Massachusetts, where he will serve as principal trombone with the concert band and will also perform with the Colonial Brass Quintet. Matt Wood, a DMA student, won an audition to join the San Antonio-based brass quintet, Brass FX, which is presently recording a CD and a series of educational videos, in addition to maintaining a busy performance schedule.

Professor Roger Myers’ viola studio has seen a number of excit-ing successes this year. Graduating senior Geoffrey Hamlyn was offered full scholarships to Juillard, Manhattan School, New England Conservatory and the University of Minnesota, and ultimately decid-ed to study with Heidi Castleman at the Juilliard School. Graduating masters student Valerie Little will enter the doctoral program at the University of Minnesota on a full scholarship. Doctoral candidate Michalis Koutsoupides was invited to auditions for the London Symphony Orchestra in England, the National Symphony Orchestra in Washington, DC, and a principal viola position in Kansas City.

Students

Anthony Suter

Robert Honstein

Quinton Morris

21WORDS of NOTE

Linda Ku, MM 2005, won a position with one of Taiwan’s top orches-tras, the Evergreen Symphony. Junior Chelsey Green received an Honorable Mention at the annual Sphinx competition in Michigan.

This past summer, Tami Iskenderian traveled to Canada to perform in the National Arts Centre Young Artists Programme, created by Pinchas Zukerman to provide gifted young musicians with training at the highest level. Her past accomplishments include winning the El Paso Symphony Competition as well as being selected as a Young Artist for the Starling-DeLay Symposium on Violin Studies at The Juilliard School in New York.

In only his second year of study in recording technology with Professor Mark Sarisky, Phillip Hill received the George H. Mitchell Award for Academic Excellence for his recording of The Texas Treefort, a jazz student group that also garnered three DOWNBEAT Magazine Awards.

UT horn students were highly visible at the 2006 Southeast Horn Workshop in Natchitoches, Louisiana. One undergraduate horn quartet consisting of Anne Marie Cherry, Lauren McCarty, Ashleigh Pierce, Justin Rojo won the Quartet Competition, and Anne Cherry and Leah Jones were finalists in the Solo Competition.

Ethnomusicology doctoral student Ajay Kalra was awarded a Berea College Appalachian Music Fellowship. He has co-authored two articles with Ted Olson: “Gently but Surely: the Cradle Still Rocks,” in The Bristol Sessions: Writings about the Big Bang of Country Music, ed. by Charles K. Wolfe and Ted Olson (Jefferson, North Carolina: McFarland & Co., 2005) and “Appalachian Music: Examining Popular Assumptions,” in A Handbook to Appalachia: An Introduction to

the Region, ed. by Grace T. Edwards, JoAnn A. Asbury, and Ricky L. Cox (Knoxville: University of Tennessee Press, 2006). Additionally, he served as assistant editor of the newly issued Encyclopedia of Appalachia (Knoxville: University of Tennessee Press, 2006), to which he contributed fourteen articles.

Several students in opera studies had noteworthy activities last year. Peter Kozma, DMA Opera Directing, has been named the new Director of Opera at Ohio State University, effective in September. During the 2005–06 season, he was a Young Artist with the Minnesota Opera where he directed two productions and spent the summer on the directing staff of the Des Moines Opera. Soprano Desiree Wattelet, DMA Voice/Opera, spent the summer as an Apprentice Artist with Central City Opera in Colorado, where she performed in Don Giovanni. She also performed roles in two Austin Lyric Opera productions last season. Baritone Benjamin Bear, MM Opera, performed the role of Germont in La Traviata at

the Lake View Summer Program in Wisconsin.

Keely Rhodes received the Austin Critics Table Award for Best Classical Female Singer of 2005–2006, for her performance of Mother Marie in Francis Poulenc’s Dialogues of the Carmelites. A Fulbright grant this fall will allow her to travel to Italy to focus her studies on the pedagogi-cal practice of Bel Canto.

Kim Perlak, graduate student in classical guitar, released her record-Keely Rhodes

UT Opera had an exceptional 2005–06 season that included a world premier, and a top honor from the Austin Critics Table. The season opened in October with the production of two operas by Manuel de Falla, El Amor Brujo and La Vida Breve, conducted by Assistant Professor of opera conducting/coaching David Neely. In February of 2006, the Opera Center presented the world debut of The Scarecrow by Joseph Turrin, based on Nathaniel Hawthorne’s lighthearted tale Feathertop about a scarecrow animated by a jovial witch and given the task of wooing the town belle.Turrin conducted the production,while on campus for the Visiting Composers Series.

The final production of the season was Francis Poulenc’s Dialogues of the Carmelites conducted by UT alumnus Garrett Keast. The production received rave reviews from both The Austin American Statesman and The Austin Chronicle and won an Austin Critics Table award for best opera. All of the season’s productions were directed by Professor Robert DeSimone, director of the Butler Opera Center.

(left) The Carmelites by Francis Poulenc

The Sarah and Ernest Butler Opera Center

The Scarecrow by Joseph Turrin

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THE UNIVERSITY OF TEXAS SCHOOL of MUSIC22

ing Transilience, which aired on broadcasts of the National Public Radio show “Classical Guitar Alive!” UT alumnus Tony Morris hosts the show, which features performances and interviews with leading musicians in classical guitar. The show is archived online and can be heard on demand at http://www.guitaralive.org/playlist.html. Perlak is also involved locally with various Austin projects, including a local high school guitar outreach program, which she established.

Frank Gross, second year composition graduate student, won first prize in the Emil/Ruth Beyer Piano Composition Contest sponsored by the National Federation of Music Clubs (NFMC). Immediate bene-fits of winning the competition include $2,000, a performance at the NFMC national conference in Minneapolis, and a story in the federa-tion’s magazine. The winning composition, Scherzo for Piano, is the first piece Gross composed since beginning studies at UT.

by Mark SariskyProgram Coordinator, UT Audio Recording Technology

The University of Texas School Of Music is looking for a few good musicians – a few good musicians who want to be the best record-ing engineers and music producers they can be. This year the School of Music introduces The University of Texas Audio Recording Technology program (UT-ART), a program dedicated to developing the knowledge and skills needed to master the art and sci-ence of audio recording. It is based on the principle that while a musical performance lasts moments, a musical recording can last forever. While the program is now offered through the Bachelors of Arts in Music, a new degree has been proposed: a Bachelors of Music in Recording Technology, which is under review to become the cornerstone of the undergraduate program. As UT-ART Program Coordinator, I have been Plan II thesis supervisor for several students, one of whom is Phillip Hill, a double major combining Plan II and Music. Phillip took the Introduction to Audio Recording course, became more interested and enrolled in other recording courses. After only two se-mesters of study, Phillip Hill was awarded a George H. Mitchell/University Co-op Award for Academic Excellence for his thesis, Demystifying Studio Magic: A Case Study in the Record-Making Process– Phil's Crew C. UT-ART program requirements begin with two semesters each of calculus and physics in order to provide the background needed to understand acoustics and the manipulation of sound. “It will be a very heavy degree,” said Glenn Chandler, director of the School of Music, “but students who complete the degree will also be qualified to enter graduate programs in either music or engineering.” The program consists of eight core courses in Recording Technology, beginning with a two-semester sequence teaching the fundamen-tals of audio recording. Microphone technique, basic acoustics and recording technology form a foundation with a strong emphasis on developing the listening skills needed to excel in the recording pro-fession. More advanced courses in recording follow, as well as more de-manding projects. Two semesters are devoted to Digital Audio

Workstations, the foundation of the 21st-century recording studio. Analog recording is also a big part of the curriculum, given its tremendous popularity in high-end audio. Senior students in the program are required to complete a full length CD or DVD project suitable for commercial release. This keystone project, along with the other projects completed in the program, will demonstrate the stu-

dent’s readiness for the unique world of the recording industry. In fact, one of the most ex-citing components of the recording program will be the establishment of UT’s own record-ing label, which will serve as a lab for record-ing students and will also provide a showcase for the School’s talented faculty and students. Attending a university in one of the great music cities of the world does have advan-tages. Faculty have developed relationships with dozens of local recording studios and audio manufacturers, who can provide real-world experience for students. While seniors are required to serve a graded internship in the audio industry, all UT-ART students are encouraged to intern as much as possible dur-ing their entire stay at the University. Nothing beats experience! ”A degree in music with emphasis in record-ing technology requires a heavy workload,” Chandler said. “The program's size is lim-ited, so admission will be highly selective.” Recording Technology majors will have the same audition requirements as other students entering the School for Bachelors of Music or Bachelors of Arts in Music degrees. This

program is designed first and foremost for musicians. Having a high-level understanding of music will only help the student to succeed in the highly competitive world of the Music Industry. ”We don't expect to admit more than a dozen majors per year,” Chandler said. Recording technology students will receive training from faculty drawn from the music industry who have extensive experience in audio engineering and productions. The combination of high academic standards, experienced faculty, the great resources of the UT School of Music and the music scene of Austin will serve to make the UT Audio Recording Technology program one of the most unique and desirable programs in the country.

(Editor’s note: Mark Sarisky's work has established him as one of the top engineers and producers of the recording industry. He has produced and engineered projects for hundreds of artists, including: Tori Amos, Jafar Barron, Josh Wink, The Disco Biscuits, Susanne Vega, Donna Lewis, Kahn Jamal, King Britt, Chuck Berry, and Korn.)

School Announces New Program in Recording Technology

Recording Technology Lesson One:Mark Sarisky introduces a friend.

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The University of Texas Chamber Singers performed in São Paulo and Rio de Janeiro May 21st through June 1st. At the heart of their pro-gram was the Missa de Nossa Senhora da Conceição (Mass of Our Lady of the Conception), a Brazilian masterpiece composed by José Maurício Nunes Garcia (1767-1830). James Morrow, Director of Choral Activities, direct-ed the UT Chamber Singers and their joint per-formances with the Universidade de São Paulo Orquestra de Câmara. Nunes Garcia was chapel master in the court of Portuguese emperor João VI, who fled Lisbon with his court to escape Napoleon's armies. The Missa, first performed in 1810, was long buried in a Rio archive until the late 1990s, when young Brazilian musicologist Ricardo Bernardes found sections of the score and painstakingly put it back together. Bernardes brought this “lost” music to The University of Texas at Austin in spring 2005, when the Missa was per-formed by the Chamber Singers with a full orchestra under the direction of James Morrow. The performance was part of ArtesAméricas, a program of the UT Performing Arts Center, and was the crowning event of the two-day symposium organized by the Teresa Lozano Long Institute of Latin

American Studies, Music and Culture in the Imperial Court of João VI in Rio de Janeiro. The Chamber Singers traveled to Brazil as guests of the

Universidade de São Paulo's Orquestra de Câmara, one of the leading orchestras in the state. They

performed the Missa throughout São Paulo, and finally in the 1673 chapel of the Franciscan

monestery in Rio de Janeiro near where the piece was first performed for Dom João VI

nearly 200 years ago. In the spring of 2005, the Chamber Singers performed at the national American Choral Director

Association (ACDA) convention in Los Angeles. The University of Texas Concert

Chorale, under the direction of Dr. Suzanne Pence, was one of eight

college choirs selected to perform at the 2006 ACDA Southwest conven-

tion in St. Louis. The Chorale per formed a

unique program of a cappella pieces with a central unifying theme that incorporated

the “Ave Maria” chant melody thread-ing the selections together. The pro-gram was received enthusiastically by

the audience of over 500 choral directors and students. Rarely are two primary performing choirs of a university selected to sing for consecu-

UT Chamber Singers Tour Brazil Choral Activities

UT Trombone Choir Performs at Kennedy Center

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

The UT Trombone Choir was recently honored as the first trom-bone choir invited to perform on the Millennium Stage at the Kennedy Center for the Performing Arts in Washington, DC. Their March 20, 2006, performance was well attended and received an enthusiastic standing ovation at its conclusion. Programmed se-lections included Canzon Septimi Toni no. 2 by Gabrieli, Etude in the Style of Bruckner by Enrique Crespo, Trombone Octet by Gordon Jacob, Toccata by Frescobaldi, and jazz standards by Duke Ellington and Cole Porter. As a prelude to the Kennedy Center perfor-

mance, the group performed at the Eastern Trombone Workshop in Arlington, Virginia. he trombone choir's busy year also included the release of a new recording, Christmas with The University of Texas at Austin Trombone Choir. It includes fifteen new arrangements by Gary Slechta and published by Select-a-Prwess as The University of Texas at Austin Trombone Choir Series. The record was featured on radio station WRR's new release show, “The Main Event,” in December.

UT Chamber Singers with Director James Morrow (far right)

THE UNIVERSITY OF TEXAS SCHOOL of MUSIC24

Clifford Antone, founder of the famed Antone's blues club and record label, died May 23, 2006, at his home in Austin. Born in 1949 in Port Arthur, Texas, Antone moved to Austin in 1968 to attend The University of Texas. In 1975 he opened Antone’s Club, which quickly became the premier blues club in Texas, bringing in such legendary blues artists as Muddy Waters, Fats Domino, and B.B. King. Antone also cultivated local talent, helping to launch the careers of Ste-vie Ray Vaughan, Jimmie Vaughan, Bob Schneider, Charlie Sexton and many others. For the last several years, Antone was the principal presenter in the course Clifford Antone’s History of the Blues at the UT School of Music. He also worked with numerous social and educational organizations, or-ganizing fundraisers for American Youthworks and an all-star benefit for victims of Hurricane Katrina. Considered by many to be at the heart of Austin’s music scene, Clif-ford Antone helped establish Austin as a national center for live music. His love for music and musicians will be missed even as his legacy continues to inspire.

School of Music alumnus Jeremy Milton died unexpectedly in April 2006. A native of Sydney, Australia, Jeremy began stud-ies at the Conservatorium of Music there before transferring to Michigan State University, where he finished his undergraduate work and earned his Master of Music degree in violin perfor-mance. Jeremy came to The University of Texas to study with Dr. Eugene Gratovich and earned his DMA in Violin Performance in January, 2006.

School of Music alumna Colleen Bohn Moore of Westlake, born October 2, 1928, died in a tragic fire on April 6, 2006, at the fam-

ily’s lake home on Lake Travis. Colleen grew up in Austin, Texas, graduated from Austin High and attended The University of Texas and The University of Colorado, as a piano and voice major. An accomplished pianist, singer, piano and voice teacher, Colleen’s love of music led to a long and active participation and presidency of: the Wednesday Morning Music Club, the Austin Women’s Club, the Women’s Symphony League, Austin District Music Teachers Associate, Texas Music Teachers Association and National Teachers Association. Colleen also belonged to: the

Austin Lyric Opera, the Bridge Club, the Dance Club, and Liz Carpenter’s GBATT’s (Getting Better All The Time Singers), where

she enjoyed singing beside her late husband, Doyle H. Moore. Her accomplishments include: Who’s Who in American Women, Teacher of the Year 1983, Austin Symphony League plaque, and the Women’s Symphony League plaque.

Former School of Music faculty member A. Clyde Roller, a cel-ebrated international conductor and teacher, died October 16, 2005, at the age of 91 in San Antonio, Texas. Roller was conductor of The University of Texas Symphony Orchestra from 1976-1979, and returned to the university briefly in 1986-1987. Roller began studying oboe as a young boy and later went on to study at the Eastman school of music. After serving as principal oboist with the Tulsa Philharmonic Orchestra and the Oklahoma City Symphony, he returned to Eastman as director of the Eastman Wind Ensemble. Roller had an extensive career as a performer and conductor, including positions with the Amarillo Symphony, the Lansing (Michigan) Symphony, the Houston Symphony Orchestra, and as an international guest conductor. In addition to his appointments at Eastman and The University of Texas, he held professorships at the University of Houston, the University of Wisconsin-Madison, the University of Michigan and Southern Methodist University. He spent more than fifty summers working with Interlochen Center for the Arts. Among the many honors awarded to Roller are the Texas Orchestra Director of the Year Award, the Sigma Alpha Iota Outstanding Educator of America Award, the 1961 Amarillo Man of the Year, the American Bandmasters Association’s Edwin Franko Goldman Memorial Citation and the Eastman School's Alumni Achievement Award.

In Memoriam

Colleen Bohn Moore

One characteristic that distinguishes the best teachers is the ability to light fires and inspire students to delve further

into the subject, spurring them to look at things from different perspectives. While I watched Clifford Antone refine his lectur-ing style with each passing semester, his passion, enthusiasm, and respect for the material and the students was always there. He told me that one of his greatest satisfactions was receiving phone calls and e-mails from students who shared with him their excitement upon purchasing music inspired by his class. Indeed, statements from students are a testament to his classroom success: “One of the best classes I’ve ever taken.” “A great historian . . .” “. . . a walking blues encyclopedia.” “He wanted everyone to feel what he felt and he kept everyone interested with the hundreds of stories he had.” “. . . I’ve never met anyone as passionate about the blues as Clifford was.” He loved teaching at the University, and I recall him bemoaning the end of the spring semester, expressing to the class that he did not want it to end. The students responded with applause. From my students and from my heart, thank you, Clifford, for touching our lives.

--Kevin E. MooneyEditor’s note: Dr. Kevin Mooney, lecturer in musicology and associ-ate chair of the UT Center for American Music, helped organize and teach the course “Clifford Antone’s History of the Blues.”

Remembering Clifford Antone

Clifford Antone

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Mark Kellogg, professor of trombone at the Eastman School, presented a recital in September 2005. The internationally acclaimed Canadian Brass were joined by the UT Faculty Brass Quintet for a double-brass quintet selection on their Bass Concert Hall performance in October.

Joe Burnam, Principal Trombone of the Italian National Radio Orchestra, presented an October recital and master class.

Organist Anthony Williams, formerly of Dillard University in New Orleans, visited for a performance in February. Displaced after the devastation from

Hurricane Katrina, Williams recently joined the faculty of Fisk University in Nashville.

Malcom Archer, Organist and Master of the Choristers at St. Paul's Cathedral in London, performed in February as part of the Great Organ Series. Archer, a prolific composer and organist, has played worldwide, broadcast on BBC Radio and produced numerous recordings.

Douglass Yeo, Bass Trombonist with the Boston Symphony, presented a master class in February.

Trombones de Costa Rica, winners of the Costa Rican National

Award for Music, presented a master class and concert in February. The quartet is the resident ensemble at the University of Costa Rica

S c h o o l o f Music and the National T h e a t e r o f C o s t a Rica, and is widely recognized as one of the most innovative and virtuosic brass ensembles on the American Continent.

Alumni Benjamin Whitcomb on cello, and pia-nist Vincent de Vries, gave a concert in March. Whitcomb is on the faculty of the University of Wisconsin-Whitewater. He has recorded several

CDs and recently re-corded the six Bach suites. He is editor of the cello forum of the A merican String Teacher. De Vries, active both as a soloist and ac-companist, recently joined the Baylor University School of Music faculty. He is also a concert or-ganist with more than three hundred solo recitals and six solo recordings.

Peter Lloyd, principal bass of the Minnesota Symphony, per-formed with the Texas Piano Quartet in April.

Also in April, the 2005-2006 World Music Series Concerts featured Issa Boulos and the al-Sharq Ensemble.

Organist Todd Wilson was the featured artist in the first an-nual Music for Sacred Occasions conference held at the School in June. Wilson is Director of Music at The Church of the Covenant in Cleveland, Ohio, and Head of the Organ Department at The Cleveland Institute of Music.Trombones de Costa Rica

Guest Artists

Anthony Williams

Malcolm Archer

Benjamin Whitcomb

In addition to the many guest artists, composers and lecturers in connection with our various series and residencies, the School hosts an amazing number of renowned guests every year. Following are just a few of the many recent artists who have visited.

Vincent de Vries

Issa Boulos

Todd Wilson

THE UNIVERSITY OF TEXAS SCHOOL of MUSIC26

In March, the School of Music awarded composer Joan Tower the 2006 Eddie Medora King Award

for Musical Composition at a special ceremony during a New Music Ensemble performance of several of her works. Tower was the first woman to receive the Grawemeyer Award in Composition, and has been hailed as “one of the most success-ful woman composers of all time” in The New Yorker. She has been inducted into the prestigious

American Academy of Arts and Letters, and into the Academy of Arts and Sciences at Harvard University.

The King award exemplifies the School of Music's commitment to the cre-ation and performance of new music. It was established in 1995 when the late Dr. William King Jordan of Pine Bluff, Arkansas, bequeathed an endow-ment in honor of his mother, Ms. Eddie

Medora King Jordan, with the intention that the bequest be used to award a major prize to an outstanding living composer of art music. Composers John Corigliano and George Crumb are among the past recipients of the award.

Tower received the King Award during her residency as part of the Visiting Composers Series. Now in its eleventh year, the series

is recognized as the foremost of its kind in the country. The series, directed by Professor Dan Welcher, provides student performance groups at the School of Music with the unique opportunity to learn the music of our time by working directly with composers. The compos-ers attend the final rehearsals leading up to the concert performances of their works, and also give lectures and master classes during their time at the school. The series has hosted such luminaries as John Corigliano, Thea Musgrave, John Harbison and David Del Tredici.

In addition to Joan Tower, the other renowned com-

posers that made up the 2005–2006 series were Fred Lerdahl, George Tsontakis , and Joseph Turrin . In October, Lerdahl, Professor of Composition at Columbia University, oversaw performances of his works by the UT Wind Ensemble and New Music Ensemble. Tsontakis, Professor of Composition at Bard College and winner of the 2005 Grawemeyer Prize, participated in rehears-als and attended a performance of his music by the New Music Ensemble in December 2005. Turrin conducted the Butler Opera Center’s production of his work The Scarecrow and was present for a UT Wind Ensemble performance of his composition Hemispheres in February 2006.

The inaugural season of the Starling Distinguished Violinist Series at The

University of Texas School of Music opened on December 12, 2005. Supported by a grant from the Dorothy Richard Starling Foundation, the Starling Series will bring outstanding violinists to campus for mas-ter classes and performances over the next three years. Associate Professor Brian Lewis created the series and serves as its artis-tic director.

Lewis’ goal is to bring the world’s best violinists to the university.

The opening concert featured violin-ist Stephanie Chase. Chase has per-formed in twenty-five countries with distinguished orchestras around the world. Newshouse Newspapers has called her “one of the violin greats of our era.”

In addition to Chase, the series fea-tured world renowned violinists Chee-Yun, Cho-Lian Lin and Jorja Fleeznis. Chee-Yun has received exceptional acclaim as a recording artist. Her most recent record-

ing, the Penderecki Violin Concerto No. 2, was acclaimed as “an engrossing, masterly performance” by Strad Magazine and “a performance of staggering virtuosity and musicality” by American Record Guide.

Cho-Lian Lin performed works by Mozart, Debussy, Kriesler and Sarasate. Among Lin’s many accomplishments and awards are two Grammy Award nominations and

Gramophone's Record of the Year. M usi ca l A m e r i ca n a m e d L i n i t s Instrumentalist of the Year in 2000.

Fleezanis , concer tmaster of the Minnesota Orchestra, closed the sea-son in the Spring of 2006. Her program included the music of Peter Menin, Mario Davidovsky, and Ernest Bloch. Fleezanis commissioned, premiered and recorded John Tavener's Ikon of

Eros, which was named one of the best classical recordings of 2003 by SoundStage! Music Online.

Jorja Fleezanis

Starling Series Completes Impressive First Season

Stephanie Chase

Cho-Liang Lin

Joseph TurrinGeorge Tsontakis

Joan Tower

King Award Highlights Visiting Composers Series

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Gift HighlightsThis past year the School has been the happy recipient of a number of additional significant gifts.

David and Mary Green made a surprise an-nouncement at last fall’s College of Fine Arts Advisory Council meeting by contributing an additional $1,000,000 to the David and Mary Winton Green Chair in String Perfor-mance and Pedagogy. This gift doubles the original endowment established in 1998 and will provide Professor Brian Lewis with even greater support as he helps to bring our string program to national prominence.

Jeff and Gayle Kodosky pledged another $500,000 towards the Miró Quartet fund moving us ever closer to the completion of that endowment.

Butler Opera Center endOwed presidential sChOlarship

Butler Opera Center endOwed presidential sChOlarship 2the sarah and ernest Butler prOfessOrship fund in Opera

Ernest and Sarah Butler have continued to show great dedi-cation to the Butler Opera Cen-ter and the School of Music through the establishment of two new Endowed Presiden-tial Scholarships in Opera this past year. Funds from these two endowments are to be used to assist promising and talented music students in op-era. Over the summer, the But-lers also chose to augment the Center with a pledge towards an Endowed Professorship in Opera with plans to complete the funding early in 2007. In

addition to the $2,000,000 endowment, which established the Butler Opera Center in 2001, the Butlers have now provided for a total of six scholarships and an endowed professorship in the School of Music.

GinO r. narBOni endOwed presidential sChOlarship in COnduCtinG fund

Continuing with their long-standing support of the School of Music, Charlotte Narboni has chosen to honor her husband Dr. Gino R. Narboni through a pledge to establish an Endowed Presidential Schol-arship in Conducting in his name. The scholarship will be of great benefit to our conducting program as we continue to build upon its already strong reputation.

david O. nilssOn sOlO pianist award fund

Retired Mathematics Professor Dr. David O. Nils-son has been an active supporter of the Liberal and Fine Arts at The University of Texas for a number of years. This past winter his generosity extended to the School of Music in the form of a pledge towards an endowed scholarship in piano. The endowment will support a biennial piano competition to be held by the School of Music and will provide schol-arship funds for the winner(s) of this competition. Such an endowment inspires students to greater heights of achievement while also contributing to the School’s renowned piano program.

The School of Music is pleased to announce the following endowments established between September 2005 and August 2006.

Mary and David Green

Sarah and Ernest Butler

Charlotte Narboni

David O. Nilsson

New Endowments

New Directions for the Centerfor American Music

Now in its fifth year since its inception, the Center for American Music is expanding its scope with a number of exciting new initia-tives. Along with that growth has come some important contributions from our friends and supporters.

John Buck, a graduate of The University of Texas Law School, contributed $100,000 towards a community outreach program cur-rently under development in the Center for American Music. Stay tuned for more news as this exciting initiative takes shape!

Bob Moor provided a gift of $45,000 in sup-port of the Center for American Music and John and Vicki McLaughlin also contribut-ed $25,000 towards the Center’s Recording Studio renovations.

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Endowed Faculty PositionsMary D. Bold Regents Professorship of MusicThe Sarah and Ernest Butler Professorship Fund in OperaEffie Marie Cain Regents Chair in Fine ArtsCollege of Fine Arts String Quartet Endowment FundVincent R. and Jane D. DiNino Chair Fund in MusicThe Walter and Gina Ducloux Fine Arts Faculty Fellowship EndowmentFrank C. Erwin, Jr. Centennial Professorship in Fine ArtsFrank C. Erwin, Jr. Centennial Professorship in MusicFrank C. Erwin, Jr. Centennial Professorship in OperaParker C. Fielder Regents Professorship in MusicPriscilla Pond Flawn Regents Professorship in Organ Or Piano PerformanceDavid and Mary Winton Green Chair in String Performance and PedagogyM. K. Hage Centennial Visiting Professorship in MusicFlorence Thelma Hall Centennial Chair in MusicHistory of Music ChairThe Lee Hage Jamail Regents Professorship in Fine ArtsThe Wolf and Janet Jessen Centennial Lectureship in MusicMarlene and Morton Meyerson Centennial Professorship in MusicMarlene and Morton Meyerson Centennial Visiting Professorship in MusicGrace Hill Milam Centennial Fellowship in Fine ArtsJohn D. Murchison Fellowship in Fine ArtsLeslie Waggener Professorship in the College of Fine Arts

Endowed ScholarshipsAlamo City Endowed Scholarship for PianistsBurdine Clayton Anderson Scholarship in MusicWayne R. Barrington Endowed Scholarship in HornBetty Osborn Biedenharn Endowed Presidential Scholarship in MusicMary D. Bold Scholarship FundMarietta Moody Brooks Endowed Scholarship Fund in the College of Fine ArtsDr. and Mrs. Ernest C. Butler Centennial Endowed Presidential Scholarship in OperaDr. and Mrs. Ernest C. Butler Endowed Presidential Scholarship in OperaButler Opera Center Endowed Presidential ScholarshipButler Opera Center Endowed Presidential Scholarship 2Sarah and Ernest Butler Family Fund Endowed Presidential Scholarship in OperaSarah and Ernest Butler Family Fund Endowed Presidential Scholarship in Opera 2Pauline Camp Operatic Voice ScholarshipEloise Helbig Chalmers Endowed Scholarship in Music Therapy and Special EducationPearl DuBose Clark Endowed Presidential Scholarship in MusicBarbara Smith Conrad Endowed Presidential Scholarship in Fine ArtsMary Frances Bowles Couper Endowed Presidential Scholarship for Graduate Students in Piano PerformanceMary Frances Bowles Couper Endowed Presidential Scholarship for Undergraduate Students in Piano PerformanceAinslee Cox Scholarship in MusicPatsy Cater Deaton Endowed Presidential ScholarshipWilliam Dente Endowed Memorial Scholarship in OperaE. W. Doty Endowed Presidential Scholarship in MusicE. William Doty Scholarship FundWhit Dudley Endowed Memorial Scholarship in HarpMarguerite Fairchild Endowed Presidential Scholarship in MusicPriscilla Pond Flawn Endowed Scholarship in MusicFondren Endowed Scholarship in MusicDalies Frantz Endowed Scholarship FundDavid Garvey Scholarship Fund

Garwood Centennial Scholarship in Art Song PerformanceMary Farris Gibson Endowed Presidential Scholarship in MusicMary Farris Gibson Memorial Scholarship in MusicThomas J. Gibson IV Endowed Presidential ScholarshipAnnie Barnhart Giles Centennial Endowed Presidential ScholarshipAnnie B. Giles Endowed Scholarship Fund in MusicMary Winton Green Endowed Presidential Scholarship in MusicMargaret Halm Gregory Centennial ScholarshipVerna M. Harder Endowed Presidential Scholarship in MusicLouisa Frances Glasson Hewlett Scholarship in MusicNancy Leona Dry Smith Hopkins Endowed Presidential Scholarship in PianoVirginia McBride Hudson Endowed ScholarshipLee and Joe Jamail Endowed Presidential Scholarships for the Longhorn BandJesse H. Jones and Mary Gibbs Jones Endowed Presidential ScholarshipJean Welhausen Kaspar 100th Anniversary Endowed Longhorn Band ScholarshipKent Kennan Endowed Graduate Fellowship in Music Composition Or TheoryAnna and Fannie Lucas Memorial Scholarship FundGeorgia B. Lucas Endowed Presidential Scholarship in MusicPansy Luedecke Scholarship FundDanielle J. Martin Memorial ScholarshipJ. W. “Red” McCullough, Jr. Endowed Presidential Scholarship in Jazz StudiesMusic Endowment FundGino R. Narboni Endowed Presidential Scholarship in Conducting FundWillie Nelson Endowed Presidential ScholarshipDr. David O. Nilsson Endowed Presidential Scholarship in Performing ArtsDavid O. Nilsson Solo Pianist Award FundNelson G. Patrick Endowed Scholarship in Music EducationLeticia Flores Penn Endowed Presidential Scholarship in PianoWilliam C. Race Endowed Presidential Scholarship in PianoA. David Renner Endowed Presidential Scholarship in PianoLucille Roan-Gray Endowed Presidential Scholarship in MusicPhyllis Benson Roberts Endowed Presidential Scholarship in MusicE. P. Schoch Endowed Presidential Scholarship in BandThe Mary A. Seller-Yantis Endowed Presidential ScholarshipWilla Stewart Setseck ScholarshipEffie Potts Sibley Endowed Scholarship FundLomis and Jonnie Slaughter Scholarship in MusicCarl and Agnes Stockard Memorial Endowment FundElizabeth McGoldrick Surginer Endowed ScholarshipJack G. Taylor Memorial Endowed Presidential Scholarship in Fine ArtsMollie Fitzhugh Thornton Music Scholarship FundThe Trammell Scholarship Endowment in MusicEdward Triggs Endowed Scholarship in DesignLaura Duncan Trim Scholarship in MusicElizabeth Anne Tucker Centennial ScholarshipRobert Jeffry Womack Endowed Presidential ScholarshipKaren E. Woodside Endowed Presidential Scholarship in Fine ArtsLola Wright Foundation Centennial Endowed ScholarshipSidney M. Wright Endowed Presidential Scholarship

Endowed Program SupportWilliam D. Armstrong Music Leadership EndowmentSarah and Ernest Butler Opera CenterFine Arts Advisory Council Endowment for ExcellenceThe Eddie Medora King Award for Musical CompositionMusic Education EndowmentMusic Leadership Program Endowment

Gifts of $500-$999Sterling K. Berberian, Ph.D.Grady L. Hallman, M.D.Ms. Emily JordanEstate of Kent Wheeler KennanProfessor Donald L. KnaubKPMG FoundationDr. John B. LoweMrs. Jane S. ParkerSt. Luke's Episcopal ChurchTribune - KTLA-TV

Gifts of $250-$499Mr. Gregory D. AllenMr. George L. GreeneMr. Scott I. HarmonLogos FoundationBetty P. Mallard, D.M.A.Morton Meyerson Family FoundationAustin District Music Teachers AssociationThe Prudential FoundationMrs. Katherine P. RaceMs. Peggy W. RainwaterSouthwest Sports GroupMr. Dwight E. Urelius, P.E.

Gifts under $250Mr. Lewis L. AkenheadMrs. Alma G. AlexanderKamran A. Ali, Ph.D.Altoona Public LibraryMr. R. Allen AndersonMs. Bliss H. AngermanAustin Anesthesiology Group L.L.P.Mr. Warren C. BairMr. Charles K. BallMr. David E. BandasMr. Chris P. BatchelorMrs. Frederick L. BeatyMs. Elizabeth R. BechtolMrs. Amanda M. BeckMr. Swamy R. BeharaMrs. Rhoda C. BensonMr. George B. Biggs, JrMr. Conrad R. BohnMs. Mary N. BorenMs. Vida L. BouldinMrs. Nancy P. BowmanMr. James C. BoydstonDavid Braybrooke, Ph.D.Dr. Paul Q. Breazeale

Mr. William E. BrentMr. James M. BrunerMr. Frank G. BurdisMs. Strelsa H. BurksMrs. Adeline T. BurstynMrs. Barbara H. ButtreyMrs. Sally ByromCalhoun & Co. LLPMs. L. Patricia CampbellMr. Ara V. CarapetyanMrs. Robin E. CarpenterCasa Mariposa Akumal Inc.Ms. Rosemary F. ChanclerMr. James L. CollierMs. Ann T. CollinsMs. Barbara L. CommonsMs. Jody ConradtMs. Kelly P. ContelloMrs. Meredith R. CooperMr. Tommy N. CowanMs. Margaret Anna CoxMr. Robert J. Cranshaw, Jr.Mrs. Dana C. CrispMs. Kelly M. CrispMr. W. Kennedy CroneJames R. Cullington, M.D.Mrs. Betty Ann B. CumminsMrs. Mary E. DarbyMr. Ralph H. Daugherty, Jr.F. W. de Wette, Ph.D.Mr. Goran DevicMs. Patricia B. DoughertyEvolve Physical Therapy/ Sports Center PCMrs. Henrietta B. FerreeMs. Deborah V. FinleyMr. Alan W. FordDr. Robert R. FranklinMs. Elaine M. FrederickMrs. Gina P. FrithiofProfessor George A. FrockFruhauf Uniforms Inc.Mrs. Susan Beck GardnerJames B. & Ann B. Garrison TrustMiss Hettie Page GarwoodMs. Kathy M. GeurinkMs. Sophia GilmsonDr. Homer R. GoehrsMs. Diane E. GorzyckiMr. Arthur F. Graf IIIMs. E. Suzanne GranthamMr. M. Russell Gregory, Jr.The Austin Art League Group 6Professor Lita A. GuerraMs. Billie O. GurkinMrs. Kerry L. HallDr. Gerre E. HancockMr. Mark C. HastingsMr. Steven L. HavensMr. Joseph R. HeffingtonMr. Doyle B. Hickerson

Mr. Binh T. HoangMr. William R. HornbuckleMr. Jack M. HowardMs. Beth HudakMr. Billy Johnson, C.L.U.Mr. Leonard A. JohnsonMs. Bobbi K. JonesDr. Norman S. KaderlanMrs. Marty G. KanetzkyMr. Hyun Gu KangMr. Michael A. KennedyMs. Gloria Y. KimMs. Miyuki K. KimuraMrs. Judy KirkseyMrs. Edith C. KnauerMrs. Joyce M. KnottMs. Susanna S. KohlmyerCarol A. KoockRussell Korman Company Inc.Ms. Pamela R. LaBancaMrs. Karen A. LacrosseJeanne M. Lagowski, Ph.D.Ms. Joy A. LawlessMr. John B. LayMrs. Anna V. LeathersMr. Spencer A. LedlowMr. Brandt LeondarMs. Jane S. LewisMr. John R. LindleyLive Oak Unitarian Universalist ChurchDr. John C. LoehlinMr. Richard L. MacDowellMangum Custom HomesMs. Linda ManifoldMr. Jason E. MannMrs. Sulinda C. MannMs. Jan McClartyMs. Sheila G. McCormackMs. Nancy T. McDowMr. Michael F. MelantMr. Jose MendezMichaelson EntertainmentDavid C. Miesch, M.D.Mr. Bill NalleMr. John H. Nash IIIMrs. Rose NauProfessor Anton NelMr. Arthur A. Nelson IIIMrs. Dorothy F. NicholsNobody's Fool PublishingMs. Lois W. ObermillerMr. E. G. OlivaresJudith A. Palac, D.M.A.Parallel Petroleum CorporationMr. Dariusz PawlasSuzanne M. Pence, D.M.A.Ms. Antoinette K. PerryMrs. Jo T. PetersPok-E-Jo's Smokehouse Inc.

Ms. Jane D. PowellMr. Timothy PraterMs. Frances P. PrattJames A. Prentice, M.D.Mr. Robert L. PughMrs. Linda S. RamseyMr. Patrick H. ReaganProfessor A. David RennerMr. Joe P. ReynoldsMr. William W. ReynoldsMr. Ben S. RichardsPhyllis L. Richards, Ph.D.Ms. Richel RiversMary L. Robbins, D.M.A.Mrs. Gayle G. RocheMrs. Josephine K. RocheMr. Steven R. RooksMr. Robert RudieMs. Roberta F. RustMs. Eloisa SaldanaJorge SalinasSam Bass MusicMr. E. Larry SandersMs. Gail SanditenDr. Barbara E. ScheidkerMs. Debbie SchiraldiAllan B. Schmitt, Ph.D.Mrs. Bettie M. SchoedelMr. Thomas D. SeayMs. Kay A. ShapiroJoel F. Sherzer, Ph.D.Mrs. Katharine B. ShieldsMrs. Nancy B. SnyderStar of Texas Fair and RodeoMr. Rudolph L. Struhall, Jr.Dr. Kiyoshi TamagawaMr. Dan A. TaylorMs. Kristin TaylorMs. Rose A. TaylorThe Gardner GroupMrs. Kathleen A. ThomersonMr. Walter H. Thompson IVMs. Janice TimkoMs. Diane N. TuckerVerizon FoundationMs. Bette L. VoorhisMr. William W. WagnerMr. Adrien M. WangMr. Robert V. WaskoMr. Fred B. Werkenthin, JrMr. Max J. WerkenthinMrs. Sophie T. WetzelMs. Karen J. WhiteMrs. Norma White, R.N.Mr. Nicholas P. WibbelsmanMr. Kerry L. WigginsMrs. Brooke B. WinfreyMr. Charles I. WrightMrs. Lindsey M. WrightLaurie S. Young, Ph.D.

GiftsGifts of $100,000 or moreAustin Community FoundationMr. John A. Buck IIDr. Ernest and Sarah ButlerProfessor Vincent R. DiNinoDavid Green and Mary Winton Green FoundationMr. & Mrs. Jeffrey L. Kodosky

Gifts of $10,000 to $99,999The Ann and Gordon Getty FoundationDr. Andrew R. HellerEwing Marion Kauffman FoundationMr. & Mrs. John V. McLaughlinMr. Robert A. MoorMrs. Charlotte A. NarboniDavid O. Nilsson, Ph.D.Mr. W. T. ProbandtSocial Marketing Resource CenterDorothy Richard Starling FoundationMr. Rex W. Tillerson

Gifts of $1,000 to $9,999Mr. James C. ArmstrongAustin Chapter American Guild of OrganistsMr. Charles O. BiedenharnMr. Moton H. Crockett, Jr.Dean MacFarlane Music Education FoundationFriends of MusicProfessor Nancy B. GarrettMr. Fred M. GibsonVirginia Martin Howard FoundationHowdy HondaMs. Linda McDavittGino R. Narboni, M.D.Ms. Natalie S. PotterThe Presser FoundationMr. John H. Richardson, P.E.Eugene P. Schoch, Jr., M.D.Estate of Olliedyne SorelleMr. Milton Y. Tate, Jr.University Co-operative SocietyUniversity Federal Credit UnionProfessor Phyllis C. Young