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WORDS of NOtetHe MAGAZINe OF tHe UNIVeRSItY OF teXAS BUtLeR SCHOOL OF MUSIC

FALL 2012

Outside the Music Box … Butler School of Music Outreach

The Magazine of The SaRah anD eRneST BuTleR School of MuSic

SARAH AND ERNEST BUTLERSCHOOL of MUSIC

College of Fine ArtsThe University of Texas at Austin

Interim DirectorGlenn A. Richter

Associate DirectorsJeff Hellmer

Robert DeSimoneC. Winton Reynolds

Director of Graduate StudiesEugenia Costa-Giomi

Director of Undergraduate Studies

Steven Bryant

Director of AdmissionsSuzanne Pence

Assistant Director for Development

Lauren Zachry-Reynolds

WORDS of NOTEVolume 26:

September 2011–August 2012

Editor and DesignerJohn Wimberley

PublicityKrysta Gonzales

ContributorsB. Glenn Chandler

Krysta GonzalesEvan Leslie

C. Winton ReynoldsGlenn A. Richter

Lauren Zachry-Reynolds

Photos for Cover and Outreach Stories

Evan Leslie Laura Naski

Raymond Thompson

The University of Texas at AustinButler School of Music

2406 Robert Dedman Dr.Stop E3100

Austin, Texas 78712-1555 www.music.utexas.edu

Alumni 9

Outside the Music Box 2

Guest Artists 15

Faculty 21

In Memoriam 33

Butler Society and Endowments 36

New Endowments and Gift Highlights 18

Student Activities and Awards 28

1

Dear Friends:

There are moments in the life of a school when we must pause to recognize the work and achievements of a leader who made a real difference. Glenn Chandler’s eleven years at the University of Texas Butler School of Music, one of the longest music leadership terms in recent history, helped push the school to new heights. The teaching faculty grew to one hundred, and the combined undergraduate and graduate population expanded to more than 750 students. I asked three colleagues whose own UT careers paralleled Chandler’s term to comment on his contributions, and there are common themes in the salutes.

“Glenn Chandler’s eleven years as Director of the Butler School of Music have been transformative. Under his stewardship, faculty hires, curricu-lum advancements, and programmatic changes have helped to create one of the finest schools of music in the country. The greatest charge of an ad-ministrator is to hire good people and allow them to excel. Glenn Chandler has always understood this challenge. His vision and understanding will al-low future faculty and students to benefit from his legacy of leadership.”

—Adam Holzman, Professor of Guitar

“Over the last decade, Glenn Chandler has made an enormous contribution to advancing our ambitions for the Butler School of Music to become the preemi-nent public university music program with a com-prehensive and richly interdisciplinary approach to music education, performance, and research.”

—Doug Dempster, Dean, UT College of Fine Arts

Glenn Chandler provided over a decade of insight-ful leadership that transformed the Butler School of Music. He guided the school through a period of unprecedented growth in both size and excellence. His instrumental role in securing the Butler endowment left a legacy for generations of future students.

—Jeff Hellmer, Professor of Jazz Studies

Transformative, finest, vision, ambitions, comprehensive, growth, legacy; wonderful descriptions of Glenn Chandler’s work during his service to the music school. Personally, I found a supportive leader willing to let me explore the addition of a music industry program. Today, forty young musicians pursue concentrations in the music business and arts administration, and another dozen use the sound production concentration to prepare for careers in the capture and artistry of musical sounds. The recently-created and trademarked Longhorn Music label has produced top-flight recordings, distributed by NAXOS through both digital and hard copy formats.

All of us owe Glenn Chandler a standing ovation for this wonderful composite work now called The Butler School of Music.

There is another quality of Glenn Chandler’s legacy, the central theme of this edition of Words of Note, which we call outreach. As you will see in the following pages, the musical talents of our students and faculty touch all parts of the Austin community. Solo recitals, collab-orative performances, chamber music, and small ensembles enrich this wonderful arts environment we call Austin. These opportunities allow our students to test their musical proficiencies and much more.

“Music is an expression of the human spirit and of the spiritual quality unique to the human condition. Music is an intrinsic part of what we are, from the way we speak to the kinds of songs we sing. Babies are lulled to sleep with it; we grow up with it; we live with it as adults”.

—Morton Gould, Composer, Conductor, ASCAP President

The late Morton Gould wrote these words after he was challenged to define music. Live performances, amplified through our outreach program, connect our students to the power of music and real audi-ences. An audience may be awed by the virtuosity of a young artist, but unless that young artist can communicate with listeners, future engagements could suffer. Gould also understood that music is for a lifetime. The UT String Project, directed by Laurie Scott, introduces music to young children. The New Horizon Project for seniors (over 50) encourages amateur musicians to keep music as a lifetime pur-

suit, a door to a better quality of life. Dr. Jack Mon-crief, M.D., has practiced medicine for the past 50 years, including kidney, heart, pancreas, and lung transplant management. He is presently director of a large dialysis facility and trains individuals to carry out their own procedure at home.

For the past 15 years I have been privileged to par-ticipate in a music outreach program sponsored by the UT Butler School of Music. My week is now planned to allow me to enjoy and participate in a 50-piece band, which I have never done before. I have learned that one is never too busy to commit to a truly loved endeavor. Now, at 75 years of age, I have found a new career. I do however continue to practice medicine full-time. Delightful combination.

—Dr. Jack Moncrief, M.D.

Outreach opportunities allow our faculty to mea-sure the commitment of their students to the highly competitive world of the arts. A career in music performance or music education is chal-

lenging, requiring patience, devotion, discipline, and a deep tool-box of pure skills. After forty years in music education, I know how much and why the parents of college music students worry about this career choice. It is never easy. I love Nadia Boulanger’s quote. The beloved composition teacher, one of Donald Grantham’s significant teachers and influences, had it right:

When I have a new pupil, I would say to them, “Can you live without mu-sic? If you can live without music, thank the Lord and goodbye! Because it is only unavoidable that you must do music. You can never love music with enough devotion. If not, you are making a mistake.

—Nadia Boulanger, Composition Teacher

These are just a few values offered through the outreach experience. There are many more, and the words and pictures in this edition effectively illustrate the value of music in our lives, the value of outreach, the value of music and the arts.

Glenn Richter, Interim DirectorButler School of MusicThe University of Texas at Austin

Glenn A. Richter

Raym

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Thom

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SARAH & ERNEST BUTLER SCHOOL of MUSIC2

Every member of our Butler School faculty and staff looks forward to the day when graduates review the terms of their first contracts as

professional musicians. We also aspire for our graduates to become art-ist leaders, generously sharing their talents with neglected communi-ties and advocating for a broader appreciation of music. These parallel goals of employment and good citizenship are beginning to intersect. Struggling with dwindling audiences and finances, prominent profes-sional orchestras, opera companies, and concert presenters have been forced to explore fresh, aggressive ways of building community interest and support. In the past, a newly hired musician could expect to simply commute to a traditional concert hall for a day’s work of rehearsals and formal evening concerts. The job description detailed on our students’ first contracts will expect more, requiring regular and extensive non-traditional performances in the community. The Butler School of Music is proud to be at the forefront of preparing music students to tackle the challenges of the changing modern reality. We offer an innovative curriculum that provides enriching, real-world performance opportu-nities and specialized training in audience engagement, encouraging

our students to actively cultivate new audiences, challenging them to share their music with anyone in any setting.

Teaching creative strategies for community engagement is a major ele-ment of the undergraduate and graduate chamber music curriculum and the Butler School’s overall educational mission. Each semester, stu-dents enrolled in chamber music are required to participate in one of seven different community outreach projects conceived and directed by the Butler School’s community outreach coordinator, Evan Leslie. Projects are designed to challenge our students, placing them in a va-riety of unconventional performance environments, where they must interact with a diverse array of community audiences of all ages. In workshops, coaching sessions and outreach master classes, our illustri-ous chamber music faculty share specific strategies for relating to each distinct type of audience. In the spring 2012 semester 125 chamber music students ventured out of the safety and comfort of our building to bring music to audiences of all ages and backgrounds. Here are a few chamber music outreach project highlights:

Arts Pep-Rallies at Texas NeuroRehab CenterDuring the spring 2012 semester, chamber music students from the Butler School were involved in an innovative residency at the UT Char-ter School at the Texas NeuroRehab Center (TNRC). TNRC is home to about 60 children affected by complex medical, behavioral, and learn-ing difficulties such as autism or brain injury. Over the course of three months, four chamber music ensembles made ten visits, performing music during the Charter School’s weekly “arts pep-rallies.” In addition to the pep-rallies, The Aiana String Quartet, UT’s young professional quartet-in-residence, worked extensively with middle and high school students in the classroom, using live performance of Bartok’s third string quartet to inspire creative writing and art projects.

A variety of different Butler School ensembles presented pep-rally concerts for the entire K-12 student body in the school’s gymnasium. TNRC pep-rallies are like any other school’s pep-rallies, with students wearing school colors (burnt orange, like UT!) and waving pom-poms, running through a reception line of teachers and therapists, offering high-fives and pats on the back. TNRC pep-rallies focus on academic

The Skyros Quartet—Sarah Pizzichemi, Marina Branković, Justin Kurys, Willie Braun (not pictured)—performs during the Music Expedi-tion Scavenger Hunt Concert at Texas Memorial Museum.

Outside the Music Box … Chamber music students cultivate new audiences through community outreach

3WORDS of NOTE

What Starts Here Changes the WorldBy Jacqueline Perrin, Senior, Piano Performance Major

Kelsey tapped me on the shoulder. “What are we supposed to be doing right now?” she whispered, unsure. We were seated

side-by-side, attending a classical chamber music concert in the vast Bates Recital Hall, watching as the stage manager rearranged stands in utter silence. I considered her question for a moment, and it occurred to me how odd this experience must be for a “layper-son.” I’ve made it a point to bring non-musician friends to classi-cal music performances, and my guests unfailingly express uncer-tainty or worry regarding conventions classical musicians find so commonplace.

These experiences have allowed me to look at classical concerts not as they have been, but as they could be. I am the founder and presi-dent of a student organization called Classical Reinvention, which aims to share classical music with a broader audience by changing aspects of the presentation style and concert environment, while also preserving the integrity of the art form. With professional or-chestras struggling and audiences writing off classical music as an irrelevant, dead art form, musicians need to be bold and creative. If we do not begin to advocate for our art form, who will?

In Spring 2012, Classical Reinvention began staging monthly pro-ductions to experiment with new strategies for sharing music with wider and more diverse audiences. Our performances include vi-sual stimuli, audience inclusion, clear communication of our expec-tations of the audience, and a theme to tie it all together.

Our second concert, entitled Music Under the Stars, experimented with an unconventional venue’s effect on audience engagement. We presented four fifteen-minute acts, utilizing varied instrumen-tation and time periods. The final act featured UT student compos-er Joel Love’s exquisite work, Synchronicity in Purple Minor, a reflec-tion on artwork he encountered at UT’s Blanton Museum of Art. We originally planned to offer this performance on the roof of the

astronomy building, with public access to the impressive $20,000 telescope. As luck would have it, it started pouring rain an hour be-fore the performance, so my team and I did some fancy footwork to convert a classroom I had reserved into a makeshift black-box theater. Even with the quick change of plans, the intimacy of the room allowed for discussion and collaboration with the audience.

During each piece, audience members used paper, writing utensils, chalk, and mosaic pieces to illustrate their reactions to the music. Following each performance, I facilitated a discussion in which au-dience members shared responses and artistic renderings inspired by the music. People read poems aloud, explained abstract draw-ings depicting the music, and representations of the performers themselves. We discussed the history of music and the performers’ experiences learning the music. The entire concert was a very inti-mate and highly participatory experience, which was moving and gratifying for everyone involved.

I have received invaluable support and inspiration from the Butler School of Music. The Butler School represents a coalition of devot-ed, intelligent, talented, and unusually kind human beings. Faculty and staff members such as Robert Freeman, Evan Leslie, Chuck Dillard, Glenn Richter, and Kathy Panoff have graciously given me their guidance and advice, which has proven to be extraordinarily helpful.

My experience with Classical Reinvention has completely changed my perception of and interaction with classical music. I want to ig-nite a passion for classical music in all generations. There is so much that this music has to offer, and it is so underrepresented in our cul-ture today. My future plans include major collaborations with visual artists, dancers, and actors. Perhaps being young and foolish infus-es me with unrealistic aspirations. Perhaps. But I heard once that “what starts here changes the world,” and I’m inclined to believe it.

and artistic accomplishments, rather than sports. Children take turns sharing good news from the week, reciting original poems and stories and singing songs. Butler School students served as emcees and as the in-house band. TRNC children heard performances from a UT flute and guitar duo, a brass quintet, and two string quartets. Each performance was designed to be interactive, with commentary, listening games, movement, and discussion. During frequent visits, the TNRC children overcame struggles with communication and interpersonal skills, and enthusiastically welcomed their new musician friends, actively partici-pating in concerts and lingering afterwards, eager to meet our Butler Students one–on–one.

“The project has been a tremendously successful learning experience for everyone involved,” said Dorothy Goodman, principal of the TNRC UT Charter School. “These children rarely enjoy experiences that oth-ers take for granted—exposure to music, art, and mentorship from compassionate adults from the community. When the UT musicians visit, our students come to life with excitement. They’re more creative. They’re more open, engaged and motivated. It’s been wonderful.”

“It’s been extremely gratifying to see the TNRC students enjoying the performances, but I’m especially thrilled with the growth I’ve observed in the UT performers,” said Evan Leslie. “The children at TNRC are so

The Aiana String Quartet - Jillian Annie Bloom, Mario Anton Andreu, Roseminna Watson, Hanna Hurwitz - pose with UT Charter School teacher Jamie Reichardt after a class visit about music and mask making.

SARAH & ERNEST BUTLER SCHOOL of MUSIC4

imaginative and curious, and their reactions to music—their questions and comments—have clearly impacted the musicians. I think the UT students will remember this experience for the rest of their careers.”

“My experience with the UT musicians was amazing. It moved me in many positive ways. The music opened the calmer side of me and un-locked my creative qualities,” said a TNRC student.

The Butler School and UT Charter Schools will continue the project next year, and they will expand the program, offering a similar residency for foster children attending the UT Charter School at Helping Hand.

Forty Acres Concerts at Longhorn VillageFor the past several years, the Butler School has presented the monthly Forty Acres Concert Series at Longhorn Village (LHV) retirement and assisted living community. LHV is home to hundreds of senior citizens, many with mobility limitations that keep them from attending eve-ning concerts away from home. With that in mind, Butler School’s Forty Acres Concert Series brings enriching performances to them. Most im-portantly—these folks are family! The majority of residents at LHV are UT alumni and they share our pride in hearing the accomplishments of our current students.

The 2011–12 school year was full of memorable chamber music per-formances. In December, Professor Delaine Fedson led the UT Harp Ensemble in a delightful concert of holiday favorites, culminating in a clever, original arrangement of The Eyes of Texas spliced together with Handel’s Hallelujah chorus, which brought the audience to their feet with laughter and “hook ‘em horns” gestures. In February, the Aiana String Quartet not only performed a beautiful concert, but they also in-vited the audience to join them in a “very open rehearsal.” In this unique concert format, residents were empowered to stop the quartet at any moment to ask a question or pose a suggestion. The Aiana even polled the audience when they found themselves debating an interpretive decision about the music. Other chamber music ensembles guided the residents through a world tour of music, from Argentine tangos to Scandinavian brass quintets. The series culminated in April with JAM!, a jazz appreciation month performance by the Longhorn Jazz Band. The band, made up of undergraduates representing many different majors throughout the university, played favorite mid-century jazz standards for a packed house of over 200, including special guest Vincent R. DiNi-no, emeritus director of the Longhorn Band. Residents danced in the aisles and raucously sang The Eyes of Texas to close the show.

The Forty Acres Series has blossomed into something much more sig-nificant than monthly concerts. With frequent visits, the Butler School has nurtured a cherished relationship with this community of alumni

and retirees. Students and residents mingle after concerts, enjoying multigenerational fellowship and passion for music.

“At Longhorn Village, up in the hills of Austin, UT’s ongoing gift of music has been our delight!” wrote Marian Heilbrun, a Longhorn Village resi-dent. “I’m constantly amazed that gifted young musicians, chosen from all over the world, come to us, sharing their knowledge and experience in engaging and refreshing post-concert conversations. They give us ‘The Keys to the Kingdom of Music’ for which we are deeply grateful.”

Music Expedition: A Children’s Scavenger Hunt Concert at Texas Memorial Museum

On March 3, as part of the campus-wide open house Explore UT, five Butler School chamber music groups presented child-friendly, interac-tive mini-concerts among the exhibits in the Texas Memorial Museum. Small audiences encountered each concert by following a scavenger hunt map through the four-story museum. Each mini-concert was de-signed to relate music to the scientific displays in the various galleries. To honor central Texas’ prehistoric history as a social gathering place of dinosaurs, a string quartet held a dino-dance party in front of the fossil remains of a triceratops. A violin and viola duo used the famous varia-tions in Handel-Halverson’s Passacaglia to help their young audience imagine the diverse flight styles of birds in the avian gallery. Children and parents crammed in between the glowing glass cases of colorful, stuffed birds, mesmerized by the virtuosity of the two Butler School un-dergraduates. In the museum’s paleontology lab, a flautist led an “aural excavation” through layers of modern music to find an ancient musical quote by Debussy. Right next door, children used toothbrushes to ex-cavate a real fossil, with the help of a museum docent. In the nocturnal animals gallery, a trio of violin, flute, and harp asked their audience to close their eyes and listen intensely to changes in their music, just like a nocturnal animal would. After completing all of the musical and scien-tific activities, children received a prize.

About 400 children and parents participated in the Music Expedition scavenger hunt concert. Families and school groups came to the cam-pus from all over Texas to participate in Explore UT. After the success of this initial collaboration, the Butler School and the Texas Memorial Museum plan to produce a similar scavenger hunt concert next year, along with other, new family-friendly programs.

Cultural Campus Concert CrawlAiming to immerse the campus in music, on April 14, twenty Butler School chamber music students simultaneously presented concerts at four of UT’s acclaimed museums—the Blanton Museum of Art, the Harry Ransom Center, the Texas Memorial Museum, and the Visual Arts Longhorn Village residents sing “The Eyes of Texas” at a Forty Acres Concert.

The Skyros Quartet charms children at Texas Memorial Museum.

5WORDS of NOTE

Disco Classical By Mackenzie Slottow, MM Spring 2012, Flute Performance

A space had been cleared as a dance floor in the middle of the bar. The crowd formed a circle, anticipating the action with

drinks in hand, as a wind quintet unleashed the first raucous chords of Astor Piazzolla’s Libertango. After a few minutes of music, a pair of bejeweled dancers swept into the circle, dipping and swinging the piece to its energetic finale.

April 11, 2012, marked an unusual evening at the Butterfly Bar on Manor Road: a DJ, two live bands, and eight classical music acts played between 8 pm and midnight in an event I designed and called Disco Classical. Musical acts ranged from brass quintet play-ing video-game music to flute with electronics; from a string quar-tet’s Balkan dance tunes to saxophonists hitting tambourines with their feet. Classical acts segued into popular dance music at the top of each hour.

Throughout my time at the Butler School, I’ve wanted to create a classical music experience that was engaging for people who didn’t already love it. My goal with Disco Classical was to bring people together in a familiar environment where they could experience something they had probably never heard before—a variety of mu-sical styles and combinations of musicians. I wanted someone to walk away saying, “Wow, that was cool, I’m going home and looking up more music like that!”

While some in the audience weren’t as eager to dance (the “disco” part of Disco Classical), my friends and I were. The atmosphere was extremely relaxed and full of good cheer. Patrons approached me expressing their excitement about the music and the way it was presented, and although I had not given thought to a second in-stallment of Disco Classical, I was assured by many people that they would be present and bring their friends to the next one!

Full of amazingly creative people with diverse interests and back-grounds, UT is an ideal environment for turning an idea into a re-ality. Over forty individuals were involved in the making of Disco Classical from start to finish, most of whom were students. Two in-credible resources at the Butler School facilitated the process, and will doubtless fuel many other students’ creative musical projects in the future. First, a student group called Classical Reinvention formed at the Butler School in January 2012, dedicated to presenting clas-sical music in newly inviting and engaging ways. The Butler School Outreach Office provided the crucial inspiration and knowledge necessary to get started and see the event through to the finish. Outreach Coordinator Evan Leslie specializes in projects that bring classical music out of Bates Recital Hall and into the Austin commu-nity. Evan patiently mentored me through the process of producing an event from scratch. I’m also profoundly grateful for the support and inspiration of my flute teacher, Professor Marianne Gedigian.

Looking back on Disco Classical, I realized that creative presentation and programming of music can encourage listeners to step into the unfamiliar and gain new perspectives to carry into their personal and professional lives. By celebrating communities (in this case UT’s nightlife-loving students) and introducing them to new sounds and experiences, I can link my passion for playing to a broader goal: us-ing music to build a cooperative global community with concert ex-periences that encourage creative thinking and open-mindedness.

Conner O’Meara, clarinet; Aaron Wright, bassoon; and Bradley Emerson, piano; perform at the Harry Ransom Center during the April 14 Cultural Campus Concert Crawl .

Center in the department of Art and Art History. In the weeks prior to the concert crawl, students worked diligently with faculty and the community outreach coordinator to compose presentations that would be accessible and informative to an audience new to classical music. In designing their programs, the students endeav-ored to choose music that would relate to the art and exhibits in the various performance spaces.

On the afternoon of the crawl, guests encountered a wide vari-ety of music and ensembles stationed throughout the campus. A quartet of tubas bellowed ancient chorales under a canopy of dinosaur bones at the Texas Memorial Museum. A flautist “beat-boxed” and purred new music to delighted crowds in a contem-porary art gallery at the Visual Arts Center. Two blocks down the street a string duo engulfed the Blanton’s beautiful blue atrium in Ravel’s exotic harmonies. At all of the concerts, Butler School stu-dents engaged their audiences in a casual conversation about the music they were performing, sharing photos of the composers, and welcoming questions throughout their presentations.

Concerts repeated throughout the afternoon, so that museum go-ers could travel at their leisure from venue to venue, learning about music, art, science, and history. Over three hundred people par-ticipated in the concert crawl, including a bike tour group, a public school teacher training group, and retirement home groups. All of the concerts were presented as part of regular museum admission, with no additional cost.

“Our audiences were very engaged and interested in our program,” said Conner O’Meara, a graduate clarinet student. “My experience performing at the Ransom Center was VERY rewarding and artisti-cally satisfying!”

When our students graduate and embark on their careers, they will feel special confidence and insight, reflecting on memories of uncommon instruction and performing opportunities provided at the Butler School of Music. At the Butler School, we’re prepar-ing our students to tackle the new challenges of the 21st century. We’re proud to be at the forefront of community outreach training. By placing our students in unconventional performing situations, where they interact with a wide variety of community audiences, we’re enabling them to envision a fuller role for themselves in society. We’re encouraging them to be creative, compassionate, and versatile artists that enrich and inspire every audience they encounter.

SARAH & ERNEST BUTLER SCHOOL of MUSIC6

BSOM Ensembles Perform at Tejano Monument Unveiling

The UT Mariachi Ensemble along with the Conjunto Ensemble per-formed at the unveiling of the Tejano Monument on the State of

Texas Capitol grounds in March 2012. Both ensembles performed at the ground-breaking ceremony earlier this year. The UT Mariachi En-semble is under the direction of Ezekiel (Zeke) Castro, char-ter UT String Project student (1948) and teacher and con-ductor of orchestras while in undergraduate school (1957–1961). The Conjunto Ensemble is led by faculty members Jean Jacques (JJ) Barrera, Joel Guzman, and Robin Moore.

The Tejano Monument is a multi-statue monument on the south lawn of the Tex-as Capitol grounds honor-ing the contributions of early

Spanish-Mexican settlers and their descendants to Texas. The unveil-ing marked a 12-year effort by Hispanic business and education lead-

ers to honor Spanish and Mexican pioneers, seldom mentioned in Texas history. “It should have always been here, because we’ve always been here,” said Rep. Richard Raymond of Laredo.

Mariachi and Tejano con-junto dance rhythms are an integral component to Te-jano culture and the UT en-sembles were honored and excited to commemorate the state’s monument to the culture and history of the Te-jano population. “The future of Texas is tied directly to the future of Hispanics,” said Gov. Rick Perry at the ceremony, “and I believe we have a glo-rious future ahead of us.”

Bach Cantata Project Completes Sixth Season

The Bach Cantata Project completed its sixth successful season in April 2012. From the beginning, the BCP has been a joint venture of

the UT Choral Program and the UT Blanton Museum of Art. At noon on the last Tuesday of each month of the long semesters (three in the fall

and four in the spring), a Bach cantata is performed in the Atrium of the Blanton Museum to standing-room-only audiences. Each month, dif-ferent student conductors study and rehearse a Bach cantata, prepar-ing soloists, chorus, and instrumentalists for the noon performances. The Blanton pairs a specific work of art in its collection to each cantata and provides a post-concert walk to talk about the work. The project has become one of Austin’s most popular classical events, developing a strong following of enthusiastic regulars, including the School of Mu-sic’s namesake supporters Sarah and Ernest Butler.

The Bach Cantata Project was started by Dr. James Morrow, UT Direc-tor of Choral Activities, in the fall of 2006 to provide an opportunity for UT graduate choral conducting majors to work with singers and play-ers in the rich repertoire of Bach’s cantatas. Morrow states, “I was an Artist/Fellow of the Bach Aria Festival and Institute as a graduate stu-dent, and I never forgot the enormous impact that amazing encounter with Bach’s music had on me as a musician and as a human being. It opened my mind to the genius of Bach, and I wanted to create a similar, ongoing opportunity for our students and community to experience more of this incredible repertoire than just the few cantatas that are well-known.” Thus far, forty-four of the 200 plus surviving cantatas have been performed, and the popular concert series has no end in sight. “At this rate, we’ll cover all the cantatas in about another 20 years,” says Morrow, “then, we’ll happily start the whole thing over again.”

Morrow never envisioned that the Bach Cantata Project would become such an audience favorite. “My original motivation was completely about the musical experience, that’s all. I was caught off guard by the incredible audience response, but could not be more delighted. It’s a testament to the greatness and enduring value of Bach’s music, of course.” The Bach Cantata Project will be right back in its regular time and place at the University of Texas Blanton Museum of Art this fall for season seven, with no signs of slowing its momentum in performing these great works.

Bach Cantata Project performance in atrium of Blanton Museum

UT Mariachi Ensemble, directed by Zeke Castro (third from left, second row)

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7WORDS of NOTE

In January 2012, the Butler School of Mu-sic announced that it will host the 2014

Menuhin International Competition for Young Violinists from February 21 to March 2.

This biennial competition, the pre-eminent international competition for young violinists, will be held in North America for the first time in its 29-year history. “We are thrilled that 2014 will be the Menuhin Competition’s first year in the United States. Over the years many en-tries and prize winners have come from Ameri-ca, and we are very excit-ed that the Butler School of Music at The Universi-ty of Texas at Austin has the vision and creativi-ty to stage this unique music event,” said Gor-don Back, artistic direc-tor of the Menuhin Com-petition, which is based in the United Kingdom. The timing of the compe-tition coincides with the Butler School of Music’s centennial. “Hosting the Menuhin Competition’s first North American appearance is testament to the Butler School of Music’s rising prominence, not only in this country but around the world,” said former BSOM Director Glenn Chandler. “The Butler School and the Menuhin Competition share a common goal of cultural exchange in educa-tion.”

The Menuhin Competition is held in a dif-ferent city every two years. Previous hosts have included the Royal Academy of Music

in London, the Royal Welsh College of Mu-sic in Cardiff, and the Norwegian Acad-emy of Music in Oslo. The Central Con-servatory of Music in Beijing hosted the competition in April 2012, with 11 of the 42 selected competitors being American. Past winners of the Menuhin Competition

have gone on to major international careers, including Nikolaj Znaid-er, Julia Fischer, and Ray Chen. To date, 23 of the prizewinners have been from the United States. The competition is open to violinists under the age of 22. Accepted applicants vie for cash prizes, scholarships, concert engagements, and the loan of fine violins.

The competition is the only one of its kind, combining competi-tion rounds with a 10-day festival of perfor-mances and master classes given by jurors. Past jurors have includ-

ed such distinguished violinists as Maxim Vengerov, Pamela Frank, and Miriam Fried. Violinist Yehudi Menuhin was one of the 20th century’s most celebrated violinists. He founded the Menuhin Competition in 1983 with the goal of enabling young violinists from all over the world to study in an environ-ment rich with cultural exchange. Menuhin established the Yehudi Menuhin School in England in 1963 and the Menuhin Festival in Gstaad, Switzerland, in 1957.

Butler School to Host Esteemed Competitionand Festival for Young Violinists 2012 Austin Critics’

Table BSOM Winners

Butler School of Music faculty, stu-dents, and alumni had a strong pres-ence among the Austin Critics’ Table nominees and winners this year.

The Austin Critics’ Table Awards, in its twentieth year, are given annually by an informal group of local arts crit-ics. Winners were announced at an awards ceremony in June.

A list of Butler School winners follow:

Classical Music

Outstanding Symphonic Performance

Austin Symphony with Bion Tsang, violoncello (current faculty)

Dvořák: Cello Concerto in B Minor

Outstanding Instrumentalist Daniel Ching, violin (current faculty)

Puts: Credo

Outstanding Chamber Performance

Steve Parker (current student) Cage: Musicircus,

Blanton Museum of Art

Outstanding Choral Performance Conspirare

(featuring current faculty Nathaniel Brickens, Thomas Burritt, Rebecca Henderson, Patrick Hughes, Kristin Wolfe

Jensen, and alumnus Brian Shaw) Samuel Barber: American Romantic

Outstanding Original Composition/Score (Tie)

Steven Snowden (current student): For So Long It’s Not True

Ian Dicke (DMA, 2012): Musa

Visual Art

Outstanding Work of Art: Installation Line Upon Line Percussion Ensemble

(alumni)/Norma Yancey and Emily Little: “seeing times are not hidden,”

Architecture in Music/Music in Architecture

Young Yehudi Menuhin with famed conductor Bruno Walter (1931). Menuhin displayed extraordinary talents at an early age, soloing with the San Francisco Symphony at the age of seven.

SARAH & ERNEST BUTLER SCHOOL of MUSIC8

Butler Opera Center Young Artists Program

The Butler Opera Center Young Artists Program (BOCYAP) completed its third season in June 2012. Designed for talented young high school singers, the

program began in 2009 with 17 students from Central Texas high schools, along with 10 Butler School of Music faculty. By the 2012 season, the program had ex-panded to 49 singers and 21 faculty. Students from over 50 high schools in the Austin, Dallas, Houston, San Marcos, and San Antonio areas travelled to Austin once per week during the month of June.

The program engages students in challenging classes, lessons, and performance opportunities. The curriculum covers individual voice instruction and classes related to the art of singing, including diction, song and aria interpretation, and the science behind vocal production.

At the program’s end, students perform a vibrant and extensive Solo and Opera Scenes Concert. The BOCYAP goal is to provide intensive solo training for gifted young singers who wish to pursue a singing career.

Recent graduates of the program have received full scholarships from the Uni-versity of North Texas, Baylor University, Oberlin Conservatory, Vanderbilt Uni-versity, Georgetown University, Berklee School of Music, Oklahoma University, and the University of Texas at Austin.

The Butler Opera Center Ensemble (Undergraduate Op-era) became a major part of the Center two years ago. Dur-ing 2011-12, the Ensemble presented four performances: a staged production of Dido And Aeneas with the UT Early Mu-sic Ensemble, a Rogers and Hammerstein Concert, chorus for Die Fledermaus, and an Aria Concert.

Butler Opera Center 2011–12

The 2011-12 Butler Opera Center Season brought a diverse repertoire to the McCullough Theatre. Honoring the 100th Anniversary of Gian Carlo Menotti, BOC Director Robert DeSimone presented a new production of

Menotti’s musical drama The Consul (photos above) in October, conducted by guest conductor Kelly Kuo.

Johann Strauss’ Die Fledermaus (photos right and below right) was presented in April with a special second-act Gala in each of the four performances. Guest artists included outstanding Butler School of Music faculty and guest conductor Robert Spillman.

All photos on this page by Nathan Russell

Daron Hagen’s New York Stories (photos above and below left), three one-act operas set in a New York apartment building, was performed as a trilogy for the first time in February, an American premiere. The all-student-directed-and-designed production featured video as scenic elements.

9WORDS of NOTE

Christopher Atzinger (BM 1999) was re-cently granted tenure and promotion to Associate Professor of Music at St. Olaf Col-lege in Northfield, Minnesota. He also cel-ebrated the release of his fourth commer-cial CD, which features solo piano music of Judith Lang Zaimont on the Naxos label. His concert engagements in the last year have included performances in Cleveland, Cincinnati, Washington D.C., the U.S. Virgin Islands, Canada, and Malta.

Karol Ann Badgett (DMA 2008) is now a featured composer at Alpha Major Publish-

ing of Houston, Texas. Alpha Major publishes educational materials for music students and teachers  including theory workbooks, musician-ship lesson plans, and original music. Dr. Badgett currently has twenty compositions in the Alpha Major catalogue, including duets for one-piano, four-hands, ensembles for two and three violins and piano, and primary piano solos. The piano duets were premiered in June  at the Alpha Major Showcase for the Texas Music Teachers’ Association State Convention in Grapevine, Texas.

James Barry (MM 2000) had a year of work focused on his new op-era, Smashed: The Carrie Nation Story, commissioned by Opera on Tap in Brooklyn, New York, with Austin-based librettist Timothy Braun, directed by Kathleen Stakenas.

The story is a modern, comedic look at the life of Ms. Nation, who showed her displeasure of alcohol consumption by terrorizing bar patrons with a hatchet. In Jan-uary 2012 a libretto reading was presented at the Brooklyn Lyceum. Several scenes were show-cased at Barbès bar and performance space in June 2012. A full workshop of the opera and local flash mob bar performances are planned for De-cember 2012, moving toward premieres in Texas and New York City in March and April 2013, fol-lowed by performances by several Opera on Tap national chapters. The Holyoke Civic Symphony

opened its past season with Barry’s orchestra piece Snapshot. Hustle, a new work commissioned by the Brandon High School Orchestra in Tampa, Florida, premiered in February 2012, and was performed on a tour to California. Songs written by Barry for F. Scott Fitzgerald’s play Porcelain and Pink were performed on a 10-show run across New York City, the Bronx, Queens and Brooklyn in the Xoregos Performing Company’s pro-duction One Act Gems in May. Please visit www.james-barry.com & www.youtube.com/HSMusic2010 for more information.

Enjoying an active career on the world stage, flutist Christine Erlander Beard (MM 1998, DMA 2003) was a featured guest artist at the 2011 European Piccolo Festival in Jezersko, Slovenia, where she performed alongside world-renowned piccoloists Jean-Louis Beaumadier, Nicola Mazzanti, Matjaž Debeljak, and Nicole Esposito. A review of the festival in the Canadian journal Flute Focus stated that Beard’s performance “…should be essen-tial listening for all composers/orchestra-tors…for it shatters any notions that the

piccolo might be lacking in deep, expressive powers.” Beard played in three concerts at the 2012 National Flute Association Convention and served as a judge for the NFA Piccolo Artist Competition. She presented a lecture-recital on the flute music of Philip Glass at the 2012 British Flute Society International Convention in Manchester, England. Beard and percussionist Tomm Roland, who perform as the duo Zephyrus, headlined the 2011 Festival of New Ameri-can Music in Sacramento, California, and won the College Music Society’s inaugural Chamber Music Competition in 2011.

Sean Beavers (BM 1998) was recently named Associate Dean of the College of Arts and Sciences at Liberty University, where he continues to serve as Associate Professor of Guitar. Dr. Beavers’ administra-tive role focuses on program assessment, faculty evaluation, and supervision of un-dergraduate residential programs within the College of Arts and Sciences. Dr. Bea-vers has been asked to serve on the Board of Trustees for the Guitar Foundation of America.

Dwight Bigler (DMA 2006) is in his third year as Director of Choral Ac-tivities at Virginia Tech. In May 2012, he led the Virginia Tech Chamber Singers on a tour through Italy, perform-ing at St. Peter’s Basilica in the Vatican and St. Mark’s in Venice. Bigler is

currently composer-in-residence of the Festival Choir of Madison and regularly receives commissions from around the country. His composition Miss Macken-zie was a winner of the 2011 National Collegiate Choral Organization’s Choral Music Series. He presented the work at the NCCO national conference in Fort Collins, Colorado, and it has now been published by NCCO. The work was also featured in a lecture as part of Virginia Tech’s Visible Scholarship Initiative at the Newman Library in 2012.

Jeremy Brown (DMA 2006) recently obtained tenure as Associate Pro-fessor and has served a year as Chair of the Music Department at Mt. San Jacinto College in San Jacinto and Menifee, California.

Alexis Ebbets Buffum (MM 2006) is the solo violinist on two films recently pro-duced. The first is Bernie, starring Jack Black, Shirley MacLaine, and Matthew McConaughey. Graham Reynolds com-posed music for this film. Buffum also recorded on Mud, starring Matthew Mc-Conaughey and Reese Witherspoon, fea-turing music by David Wingo.

The Texas Guitar Quartet, comprised of BSOM graduates Isaac Bustos (DMA 2010), Jonathan Dotson (DMA 2010), Alejandro Montiel (DMA 2009), and Joseph Williams II (DMA Guitar Perfor-mance) released their debut album, Red, in March 2012. The recording contains

Christopher Atzinger

James Barry

Sean Beavers

Alexis Ebbets Buffum

Alumni

Dwight Bigler with the Virginia Tech Chamber Singers in the Vatican

SARAH & ERNEST BUTLER SCHOOL of MUSIC10

new pieces and arrangements for guitar quartet, including the world-premiere recording of Antoine de Lhoyer’s Air Varié et dialogué and Jo-seph Williams’ Red quartet.

William Henry Caldwell (MM 1978) is a full professor and chairperson for the Department of Fine and Performing Arts at Central State Uni-versity in Wilberforce, Ohio. He continues to perform as a baritone in recital and guest appearances with symphony orchestras. As conduc-tor of the Grammy-nominated Central State University Chorus, he has toured the United States, Europe, and Asia, with solo performanc-es in Cairo, Egypt. Professor Caldwell recently returned from China, where he conducted the CSU Chorus in performances in Shanghai and at the U. S. Embassy in Beijing. He continues to prepare the Central State University Cho-rus for its annual performance with the world renowned Cleveland Orchestra at Severance Hall. The Chorus appeared on national state television from Salzburg, Austria, with a view-ing audience of eight million during its partici-pation in Musikantensthal für Intercultur.

Anne Clark (DMA 1988) and her singer-songwriter daughter Elizabeth, have created an original children’s musical based on Janette Oke’s children’s book, Ducktails. The Community Chamber Orchestra LLC, founded and directed by Dr. Clark, was awarded grants from the PatsyLu Fund for Women’s Music Projects, Open Meadows, and the Puffin Foundation to present performances of the musical drama Ducktails in June 2012 in Morganville, Kansas. Dr. Clark has been selected for inclusion in the 2012 Worldwide Who’s Who as “Professional of the Year in Musical Direction.”

Currently working on his third studio album, David Cloyd (BM 1998) has started his own label imprint, Hook & Ladder Records, as a home for the developing artists emerging from his Buffalo recording and production studio. The label launched in Summer 2012 with the July release of Fragile Chances, the debut album from newcomer Caroline Fenn. Cloyd has also been named Executive Vice President of Creative Operations at ECR Music Group (formerly Engine Company Records) of New York City.

Jack Cooper (DMA 1999) was co-writer and presenter of a National En-dowment of the Humanities and American Library Association grant for the three part “Jewish American Song Writers” series presented at the University of Memphis. He was guest conductor for the Arizona All-State Honor Jazz Ensemble at the 2012 Arizona State Music Conven-tion. Cooper served as a book reviewer for JazzTimes magazine, and his reviews can be viewed online at that publication’s website. He served as music arranger and conductor for Grammy Award-winning singer Aaron Neville in October 2011. He continues to do staff arranging and composing for Alfred Music Publications and has over 100 works in publication with Alfred, RGM, 3 to 2, Increase Music, UNC Jazz Press, and Brass 4 Publishing. As a woodwind player, Cooper performed most notably recently with the Memphis Symphony and Deana Martin. Coo-per will soon complete his 15th year at the Rudi E. Scheidt School of Music at the University of Memphis, where he is an Associate Professor of Music.

Pas de Deux, a duet for oboe and clarinet by Charles Ditto (MM 1994, DMA 1998), received three national and international performances in the past season. In February 2012, Paul Chenin and Rochelle Oedeman performed the piece at the College Music Society Composers Concert at George Mason University in Fairfax, Virginia. In March, the piece was

performed at the Music Society Composers Concert at Capilano Uni-versity in Vancouver by Ian Davidson and Vanguel Tangarov, who again performed the piece in June at the National Association of Composers/USA East Coast Summer Fest at Christ and St. Stephen’s Church in New York City. Ditto was a featured pianist at an 18-Century Spanish Music concert during the 43rd American Society for Eighteenth-Century Stud-ies Annual Meeting in San Antonio, where he performed solo keyboard works and accompanied tenor Yuri Porras. Additionally, Ditto com-

posed a commissioned score for Broadway and Alley Theater performer Peter Lobdell’s theater production, Scherzando, performed at Amherst College in September 2011.

Alexandre Dossin (DMA 2001) has recently made several CD recordings. Russian Transcrip-tions, his second recording to be included in Naxos’ prestigious international series “Com-plete Piano Works by Franz Liszt,” was released in June. In August, Rachmaninoff: Prelude in c# minor, op. 3 no. 2, Preludes op. 23 was released on Schirmer Performance Editions. Lieder, with soprano Charlotte Pistor, was released in September. His recording of Rachmaninoff:

Preludes op. 32 is to be released in 2013, also by Schirmer. A full discog-raphy is available at www.dossin.net. Dossin performed several all-Liszt recitals in 2011-12, during the Liszt bicentennial celebrations, including performances in New York City, Washington D.C., Connecticut, and Vir-ginia. He performed with orchestras in Brazil and in the U.S., and taught and performed in international festivals in both countries as well. He is on the Board of Directors of the American Liszt Society, and is the presi-dent of the Oregon Chapter of the American Liszt Society. He is also on the advisory board of the Liszt-Garrison International Competition in Baltimore. Dr. Dossin was the artistic director of the 2012 Festival of the American Liszt Society, held at the University of Oregon, where he has taught since 2006.

Mezzo Soprano Helen Fanelli (née Shuler) (BMA 1983) was recently selected as one of ten finalists in the American Opera Idol Competition hosted by the Connecticut Concert Opera. In December 2011, Fanelli sang with the Chelsea Opera Chorus in “A Child’s Christmas in Wales” concert with orchestra at Christ and St. Stephen’s Church in New York City. She performed the Bach B Minor Mass Aria, “Agnus Dei,” in an April 2012 concert at St. Thomas Episcopal Church in Mamaroneck, New York, where she has been the alto soloist since 2005. Fanelli was invited to sing in a “Random Act of Culture” concert with Opera Philadelphia Chorus in September 2012. Her website is www.classicalsinger.net/HelenFanelli

Sharon Birkman Fink (MM 1973) sang musical theatre after her study at UT and later married baritone Richard Paul Fink, who recently won a Grammy Award for his Metropolitan Opera recording of Dr. Atomic by John Adams. She stayed very active in music until 2002, when she tran-sitioned to the world of business and psychology to become CEO of her father’s company, Birkman International, Inc., in Houston. She noted that she is in a three-generation Longhorn family, as her father earned his doctorate at UT and her youngest daughter has now completed her freshman year there.

Christopher Guzman (DMA 2011) recently won the top prize at one of the most prestigious piano competitions in Europe, The Orléans International Piano Competition, which heavily promotes its winner in France and abroad. The day after winning, Guzman performed his Paris début at the Théâtre des Bouffes du Nord, with the performance recorded and broadcast on France Musique Radio. In addition, the

William Caldwell (center) with Franz Welser-Möst and the Cleveland Orchestra

11WORDS of NOTE

competition funded a tour of France conservatories and the recording of a CD. Guzman was appointed last year as Assistant Professor of Piano at The Pennsylva-nia State University.

Thomas Heflin (DMA 2009) continues as Program Manager at the Manhattan School of Music Precol-lege Division, a Saturday music program that has re-cruited some of the most talented middle and high school musicians in the New York area. A professional jazz trumpet player, Heflin headlined for two nights along with trombonist and former UT faculty member Ron Westray in September 2011 at Smalls Jazz Club in Greenwich Village. The event was a CD release party for his recent album, Live from Austin, recorded during his time at UT. In October, Heflin’s sextet, Spectrum, was also one of the groups featured at “The Spot,” a new music series at the Brooklyn Lyceum. He performed as a sideman in two recent recordings : Bill Mobley & The Smoke Big Band - Vol. 1-2 - Live At Smoke, recorded at Smoke Jazz Supper Club and Lounge in Manhattan, and Kelly Powers Project, a quintet album featur-ing pianist Kelly Powers. In January 2012 Heflin gave a clinic at the Jazz Education Network Conference in Louisville, Kentucky, entitled “Bring-ing Jazz History to Life Through Multimedia Presentations,” in which he outlined ways to engage large lecture classes through techniques he learned while serving as Assistant Instructor for a large Jazz Apprecia-tion class at UT.

Hank Hehmsoth (BM 1975, MM 1976), a faculty member in the School of Music at Texas State University-San Marcos, has been selected as the MacDowell Colony Norton Stevens Fellow for 2012, an award based on the spirit of the artist’s work and importance to the world commu-

nity of artists. Hehmsoth has also been awarded a New Music USA grant in mu-sic composition for 2012. In May Hehm-soth represented the Texas State School of Music during an international lec-ture/performance tour in Chile, where he conducted a lecture/clinic and per-formed at the Instituto Profesional Pro-jazz in Santiago. Two Hehmsoth works were premiered in April 2012. Freedom STOMP was performed for the first time at the Mysterium for New Music concert on the Texas State campus. The premiere of Carlos ‘n Charlie’s was performed at the 15th Annual Inside Out Steelband

Festival, One World Theatre, by the Knights of Steel, one of the most re-spected steelbands in the country. The composition received the JCOI Jazz Composers Orchestra Institute Special Recognition award in 2010 from Columbia University. Hehmsoth was runner-up for the 2011 Texas State University Presidential Award for Excellence in Scholarly/Creative Activities.

Chris Heldt (MM 2011) has been active in the Austin and Texas music scenes since he graduated. In the fall of 2011, Heldt served as adjunct instructor of trumpet at Texas A&M University-Kingsville, where he taught applied les-sons and assisted with studio and brass methods classes. Locally, Heldt taught private lessons and was a member of the Cedar Park Winds and Austin Civic Orchestra. In the fall of 2012, Heldt begins DMA work at the University of Georgia, where he will be a graduate teaching assistant and study with David Bilger, principal trumpet of the Phil-adelphia Orchestra.

In addition to his work as a director and teacher, Alan E. Hicks (DMA 2009) recently published his first book, Singer and Actor; Acting Technique and the Operatic Per-former (Amadeus Press, 2011), and has begun work on a second. Hicks has served on the production staffs of Chautauqua Opera, Central City Opera, Florida Grand Opera, Michigan Opera Theatre, and Tulsa Opera as well as directing productions for Palm Beach Opera, Tulsa Opera, Opera in the Ozarks, Sam Houston State University, and the University of Iowa. His production of Susannah at UT’s Butler Opera Center in 2008 won First Prize in the National Opera Association’s Opera Production Competition. Hicks has held Visiting Assis-tant Professor positions at Sam Houston State Univer-

sity and the University of Iowa, and taught acting at Druid City Opera Workshop for the past two years.

Erin Jepson (BA 2004) was recently pro-moted to Director of Events and Patron Services at Walton Arts Center in Fay-etteville, Arkansas. Walton Arts Center, Arkansas’ largest and busiest center for the performing arts, has recently taken over the Arkansas Music Pavilion, a 7,500 seat outdoor music venue, and is also presenting a summer concert season at the Riverfest Amphitheater in Little Rock, Arkansas.

James Jeter (BM 1971) continues to perform as principal bassoon for the Westfield Orchestra in New Jersey and the St. Cecilia Orchestra in New York City. He taught and performed again for his seventh sum-mer at Blue Lake Fine Arts Camp in western Michigan, where he was principal for opera, symphony orchestra (including the Verdi Requiem, broadcast on NPR) and concert wind ensemble. Dr. Jeter was featured on Danilo Mezzadri’s solo flute recital, performing Charles Ruggiero’s Chobim - Six Jazz Compositions in Honor of Frederic Chopin and Antonio Carlos Jobim for Flute, Bassoon & Piano for Blue Lake’s Faculty Series.

Conductor Garrett Keast (BM 1995) continues to impress European audiences with fresh interpretations and the technical excellence of his productions. The 2011-12 season was packed with operatic debuts in Paris, Berlin, and Bonn, including a new Opera de Paris production of Faust with Roberto Alagna, a premiere of the Georg Friedrich Haas op-era Bluthaus with the Oper Bonn and SWR Sinfonieorchester, and reper-toire performances at the Deutsche Oper Berlin. Upcoming highlights include debuts  with the NDR Sinfonieorchester, Atlanta Symphony Orchestra, Wuppertal Sinfonieorchester, Fort Worth Opera, Virginia Op-era, and the Nashville Symphony and Ballet.

Janice N. Killian (PhD 1980), Chair of Music Education at Texas Tech University since 2002, recently received the prestigious 2011-12 Chancellor’s Council Award for Distinguished Teaching, Texas Tech’s highest award for teaching. Killian is currently editor of the Journal of Music Teacher Education and chair of the executive committee of NAfME’s Society for Research in Music Education.

Rev. Cheryl A. Kirk-Duggan, PhD, (MM 1977) is Profes-sor of Religion at Shaw University Divinity School and serves on the clergy staff at Young Missionary Temple Christian Methodist Episcopal Church, both in Raleigh, North Carolina. The author of over twenty books and nu-merous articles and book chapters, Dr. Kirk-Duggan was named as 2011 Excellence in Research Award Winner

Thomas Heflin

Hank Hehmsoth

New book by Alan Hicks

Erin Jepson

SARAH & ERNEST BUTLER SCHOOL of MUSIC12

at Shaw University. Her most recent book, coauthored with Marlon Hall, is Wake Up!: Hip Hop, Christianity, and the Black Church (Abingdon, 2011), which explores the intersections of Black sacred and secular music. Dr. Kirk-Duggan was also named in 2011 to the YWCA Academy of Women in the Area of Education, a distinguished group of women honored for their accomplishments and commit-ment to the YWCA mission. Additionally, Dr. Kirk-Duggan was a 2011 Black Religious Scholar Group Honoree at the American Academy of Religion and Society of Biblical Lit-erature annual meeting in San Francisco. She was named one of the Black Religious Scholars Group’s Womanist Legends at an event entitled “What Manner of Woman Is This? Womanist Gala and Black Church Summit” in New York City in March 2012. Dr. Kirk-Duggan’s beloved husband for over 28 years, Hon. Michael “Mike” Allan Kirk-Duggan, died in October 2011. A Professor Emeritus of the McCombs School of Business, Michael Kirk-Duggan was a UT professor from 1969 to 1993. Dr. Cheryl Kirk-Duggan is cur-rently working on several books as well as preparing to present a vocal concert in Fall 2012.

Dan K. Kurland (BM 2010) continues to pursue his masters at The Juilliard School. In September 2011, he performed with Austin-native violinist Charles Yang to a standing-room crowd in Lincoln Center’s Ru-binstein Atrium. He also led and performed in the first ever Dueling Pianos Concert, featuring performances by second-year students in Juilliard’s collaborative piano. He had the privi-lege of collaborating with faculty and students, working with instrumentalists and vocalists. In February 2012, Kurland coached with soprano Lucy Shelton in preparation for the “FOCUS! 2012: John Cage at 100” festival, featuring col-laborations with vocalists Karen Vuong and Carla Jablonski. During the spring, he played for UT Professor Anne Epperson during her spring master class at The Juilliard School, in addition to performing at the school’s Czech Liedera-bend. He performed an all-Britten program with tenor Spencer Lang, for which Kurland was said “to deliver a full palette of musical colours...an ideal collaborator” and that “the two musicians had everything worked out to the finest detail yet it all seemed wonderfully spontaneous and alive” (Philip Gardner, “Oberon’s Grove” blog). In summer of 2012, he returned to the faculty of the Franco-American Vo-cal Academy.

Sidra Lawrence (PhD 2011) recently received an appointment as a tenure-track Assistant Professor of Ethnomusicology in the College of Musical Arts at Bowling Green State University beginning in Fall 2012.

Nathan Leaf (MM 2002, DMA 2006), As-sistant Professor and Director of Choral Activities at North Carolina State Univer-sity, performed as a Conducting Fellow at the Providence Renaissance Institute in Rhode Island in February 2012. Se-lected through national audition, the fel-lows were coached in the music of Mon-teverdi, Tomkins, and Byrd by members of the acclaimed early music ensemble I Fagiolini. Having completed his third season as North Carolina Opera’s chorus master with productions of Carmen and

Il Trovatore, Dr. Leaf returned to Eugene, Oregon, in June for his seventh season performing at the Oregon Bach Festival.

BZ Lewis (BM 1992) won his sixth Emmy in June 2012. The chief producer/engineer/multi-instrumentalist of his Studio 132 has garnered 14 Emmy nominations for his studio work, and in the past two years, five artists from his studio have made the Grammy long list.

Martha MacDonald (DMA 1986) maintains a studio of clarinet, flute, and piano students and is currently the 4th Vice-President and Music Advisor on the Mu Phi Epsilon

International Music Fraternity Board of Directors.

Composer/conductor Joseph Martin (MM 1983) directed the Distin-guished Concerts International New York chorus and orchestra in a per-formance of his own choral works on a Memorial Day (May 28, 2012) concert “Of Faith and Freedom” in Avery Fisher Hall, Lincoln Center. The repertoire of Martin compositions included The Awakening, one of his most performed choral compositions; The Epitaph, a Memorial Day an-them; Song for the Unsung Hero, written in the days following the 9-11 tragedy; and the world premiere of A Festive Call to Freedom, a call to citizenship and liberty. Twenty-one choirs from thirteen states made up the chorus. Widely recognized for his sacred and secular choral com-positions, Martin’s music is published by numerous publishing houses, with over a thousand compositions currently in print.

Matthew Middleton (BM 2003) recently began doctoral studies in or-gan at the Jacobs School of Music at Indiana University, studying with Janette Fishell. He was a competitor in the National Young Artists’ Com-petition in Organ Performance and was invited to compete in the up-coming Grand Prix de Chartres in France. He accompanied two choirs—Trinity Episcopal Church in Indianapolis and Christ Church Cathedral of Hart-ford, Connecticut—on their residencies at the English cathedrals of Coventry, Norwich, and Lincoln in August 2012. The Trinity choir premiered Middleton’s newly-composed Preces and Responses at Norwich.

Brett Mitchell (DMA 2005) has been ap-pointed as Music Director of the Moores Opera Center at the University of Hous-ton after serving as guest conductor there for five productions over the past three seasons. As an Assistant Professor at the Moores School of Music, Mitchell will lead the opera program in up to four fully staged works each season. Mitchell has also been selected from over 400 applicants

as one of only 24 conductors to com-pete this year in the 6th International Conductors’ Competition Sir Georg Solti in Frankfurt, Germany, and begins his third season as Music Director of Michigan’s Saginaw Bay Symphony Or-chestra this fall.

Gary Mortenson (DMA 1984) has been named the inaugural Director of the School of Music, Theatre, and Dance at Kansas State University. Mortenson served as Head of the Department of Music and assumes this post follow-ing the realignment of performing arts

Cheryl A. Kirk-Duggan

Nathan Leaf

Matthew Middleton

Brett Mitchell

Gary Mortenson

13WORDS of NOTE

disciplines at the university and the recent ap-proval of the new school by the Kansas Board of Regents.

Mathayo Bernard Ndomondo (PhD 2010) fo-cused his doctoral research at UT on the intersec-tion between music, gender, religion, and state agencies in the war against HIV/AIDS in Tanzania. He is continuing with this area of research in a one-year postdoctoral fellowship sponsored by the African Humanities Program in collaboration with the American Council of Learned Society. “What I want to get across to the people through this research,” states Dr. Ndomondo, “is that performances that focus on the HIV/AIDS pandemic in Tanzania are more than spaces for message-oriented or crowd-attracting activity, but serve as sites upon which not only the manifestations and negotiations of power relations and gendered and spiritual identities take place, but also as avenues for

the collective production of diverse types of knowledge such as musical, biomedical, reli-gious and indigenous knowledge about heal-ing in the context of HIV/AIDS.” In addition to his research activity, Dr. Ndomondo also works as a lecturer and head of the music division in the Department of Fine and Performing Arts at the Uni-versity of Dar Es Salaam, Tanzania.

Edmund L. (Ed) Nichols (MM 1957) recently had his personal and career papers as a U.S. Senior Foreign Service agricultural diplomat accepted by the Poage Legislative Library at Baylor University. Nichols’ ca-reer summary can also be seen on the website of the Texas State Cemetery where he and his wife Sandra Heiligman Nich-ols, CPA, (BBA UT 1960) will be interred.

Linda L. Pelleymounter (MM 1984) recently completed a compila-tion CD of her past piano performances, which includes compositions

by Schumann, Scriabin, Rachmaninoff, Bach, and Chopin. The CD is available through iTunes and CD Baby. Linda is cur-rently employed in genetic research at the Mayo Clinic. She recently published an article in the journal Molecular Genet-ics and Metabolism on a new method to analyze next-generation sequencing data using concepts from both sensitiv-ity analysis and pat-tern recognition. She believes that some of her ideas

arose from her experiences in music, and that context is important when analyzing both music and a person’s DNA.

Kendall Prinz (DMA 2010) was recently named Assistant Professor of Low Brass and Instrumen-tal Music Education at Northwest Missouri State University, where he will teach the trombone, euphonium, and tuba studio, as well as teaching several music education courses. He is leaving a

seven-year position as Director of Bands at Taylor (Texas) Middle School, where his ensembles have earned numerous awards.

Mary Robbins’ (DMA 1992) review of Understand-ing Mozart’s Piano Sonatas  (Irving) for the  Mo-zart Society of America was published in the Fall 2011 MSA Newsletter and in March 2012, on the MSA website (www.mozartsocietyofamerica.org). In June 2012, her cadenza for Mozart’s Rondo for Horn and Orchestra, K. 371, was performed in Sweden by the principal horn player of the Hel-singborg Symphony Orchestra. Engraving of her

compositions 26 Cadenzas, Lead-Ins and Embellishments for Mozart’s Piano Concertos K.466, K.467, K.482, K.491, K.503 and K.537, which follow the style of Mozart’s own examples, was completed in early 2012. Her ongoing work on Mozart style and performance includes her present writing codifying sound relationships as indicated by Mozart’s notation of expression markings in his manuscripts, and how those relationships can be achieved by performers on modern instruments.

Composer Andrew Rudin (BM 1962) returned to UT in April for a per-formance of his septet Chiaroscuro by Dan Welcher and the UT New Music Ensemble during the 50th anniversary celebrations of his graduating class. His Sonata for Cello and Piano was performed in Philadelphia shortly there-after, and Masha’s Arias was heard in the final concert of the Brooklyn New Music Collective. Rudin’s Sonata for Violin and Piano will be performed in Dallas next sea-son by Voices of Change, and a CD of his three string sonatas is in production with Centaur Records.

Cindy Sadler (BM 1990) con-tinues to enjoy a busy perform-ing career. The 2011-2012 sea-son saw her making numerous role and house debuts to rave reviews, including Gertrude in Romeo & Juliette with Florida Grand Opera (a role she also sang with San Antonio Opera), the Old Baroness in Vanessa with Sara-sota Opera, Marcellina in The Marriage of Figaro with Kentucky Opera, the Marquise de Berkenfield in La Fille du Regiment with Opera Idaho and Sugar Creek Festival, Baba the Turk in The Rake’s Progress, and Zita

in Gianni Schicchi with the Princeton Festival. Up-coming engagements include a return to Opera Idaho as Dame Quickly in Falstaff, and to Austin Lyric Opera as Martha in Faust. She will also direct a workshop production of Un ballo in maschera in January 2013. Sadler continues to administer and stage direct for her opera troupe, Spotlight on Opera, now in its 6th season, to write for Clas-sical Singer Magazine, and to offer her Business of Singing workshops across the US.

Pianist John Salmon (DMA 1988) had a busy year that included a concert tour of China, with recit-als in Shenyang, Shanghai, Ningbo, and Tongliao. He gave lecture-recitals on the piano music of Cindy Sadler

New CD by Linda Pelleymounter

Ed Nichols

Mary Robbins and Paul Badura-Skoda

Andrew Rudin with clarinetist Shih-Wen Fan

Kendall Prinz

SARAH & ERNEST BUTLER SCHOOL of MUSIC14

music of Nikolai Kapustin at the Music Teachers National Association conference in New York and at “The Intersec-tion of Jazz and Classical Music” conference at West Vir-ginia University. He also performed and gave clinics at the Festival for Creative Pianists at Colorado Mesa University. He appeared at the Sunday Jazz Showcase in New Bern, North Carolina, performed music of Gabriel Fauré at the Focus on Piano Literature symposium at the University of North Carolina at Greensboro, and collaborated with the GroundWorks Dance Theater of Cleveland Heights, Ohio, which is using his recording of music by Dave Brubeck for a new choreographic production.

Larry Schnitzer (BM 1984) has just completed his 22nd year as Director of Bands at Naaman Forest High School in the Garland, Texas ISD. Under his direction, the Ranger Bands have received 46 con-secutive 1st division ratings at University Interscholastic League march-ing and concert competitions, and have won 18 contests at both the regional and national levels. He and his wife, Laura, have a 10th-grade daughter, Jessica, who plays trombone and a son, Jacob, who will enter UT this fall as a Music Studies major with an emphasis in horn.

Dan Schwartz (MM 2008) was recently appointed Assistant Professor of Oboe at the University of Oklahoma. He was teaching at OU on a one-year appointment, and will begin his appointment as a tenure-track Assistant Professor in the fall of 2012.

Deborah Schwartz-Kates (PhD 1997), Chair of the Musicology Depart-ment at the University of Miami, authored a chapter on Argentina, Uru-

guay, and Paraguay for the contemporary collegiate textbook Musics of Latin America (W. W. Norton, 2012). The book, edited by UT Professor of Ethnomusicology Robin Moore, also includes a chapter by alumnus T. M. Scruggs (MM 1985, PhD 1994). This past year, Schwartz-Kates published an article on the letters of Alberto Ginastera at the Library of Congress for the journal Notes (2011). She was invited to speak at the Cultural Counterpoints conference, in honor of the 50th anniversary of the Latin American Music Center at Indiana Universi-ty. She is a Contributing Editor to the Hand-

book of Latin American Studies, a major international reference for Ibero-American scholarship.

Naomi Seidman (DMA 2007) has accepted an appointment as Assis-tant Professor of Flute at Pennsylvania State University, University Park, to begin fall 2012. A frequent soloist, orchestral, and chamber musi-cian, Seidman has performed with the Victoria Symphony Orchestra, Corpus Christi Symphony, Santa Fe Symphony, Kingsville Symphony, and has also participated in many festivals. In May 2010, she was invited to perform in the Festival Cultural de Mayo in Guadalajara, Mexico. In 2011, she performed with the Vienna Piano Trio and the Walden Cham-ber Players. Dr. Seidman is a founding member of the Rhapsoidos Trio, which includes soprano, flute, and piano.

Daniel Seriff (MM 2003) returned to the UT family in October 2011 when he was hired as Assistant to the Director and Graduate Admis-sions Coordinator at the Butler School of Music.

Jeri-Lynne (White) Severance (MM 1987) co-wrote an article “Edu-cators Maneuvering the Challenges of RTI Conferences Guidelines for Success” that was published in The Delta Kappa Gamma Bulletin, Winter edition 2012.

Larissa Chace Smith’s (MM 2006) band, The Hello Strangers, recently won the AirPlay Direct “Win an Amer-icana Record Deal Contest,” which includes a record contract with IMI Music in Nashville, radio distribution, promotion, and other services and opportunities. More info can be found at thehellostrangers.com.

Bassoonist Amanda Swain (BM 2009), who earned her MM from Northwestern University in June 2011, has led an active freelance career in Chicago since leaving UT. In addition to being a regular member of the Civic Orchestra of Chicago, she has performed with the Chi-cago Symphony Orchestra, Music of the Baroque, Mu-sicNOW, Camerata Chicago, New World Symphony, and

others. She also toured the Midwest in October 2011 and appeared on the famed Dame Myra Hess series in March 2012 with her Fischoff-win-ning woodwind quintet, The City of Tomorrow. In July 2012, Swain was awarded 2nd place in the prestigious Gillet-Fox International Competition. This fall, she will relocate to her home-town of Houston to begin recently-won positions as Principal Bassoon of the Houston Grand Opera and Second Bassoon of the Houston Ballet.

John Len Wiles (DMA 2008) is Assis-tant Professor of Music at the Univer-sity of Northern Iowa in Cedar Falls, Iowa. He conducts the vocal ensem-bles, which include Cantorei, the UNI Singers, and the Varsity Men’s Glee Club, and also directs the graduate program in Choral Conducting. During the past year Wiles began the Northern Iowa Bach Cantata Series (based on the Bach Cantata Project established at UT Austin), conducted UNI’s performance of Mozart’s Re-quiem, and was nominated for a Dean’s Award in Teaching Excellence. In addition, the Varsity Men’s Glee Club of over 50 members sold out six performances over the past two years, and Wiles conducted the group during a tour to Munich, Salzburg, and Vienna in May 2012. Recently, Wiles founded Northern Voices, a summer ensemble comprised of uni-versity students and community members dedicated to singing sacred Renaissance music in cathedrals and basilicas in Iowa.

Asa J. Williams (BM 1979) graduated with High Distinction from Lib-erty University in May 2012 with a Master of Science in Accounting de-gree. He has worked as an Internal Revenue Agent for the Internal Rev-enue Service (IRS) in Fort Worth, Texas, and is currently a Senior Team Coordinator with the IRS based in Atlanta, Georgia.

Bradley Williams (BM 1986, MM 1991) was recently appointed Assis-tant Chair of Voice at the New Eng-land Conservatory. With an extensive performing career in opera as a tenor in the bel canto repertoire, Williams has appeared in major productions in theaters around the world, including Gran Teatre del Liceu, , Opera de Bor-deaux, Royal Danish Opera, Opera du Rhin in Strasbourg, and many more. He may be heard on disc as Salvini in Bellini’s Adelson e Salvini on the Nuova Era label and as Scott in Harvey Milk on the Teldec label.

Deborah Schwartz-Kates

Naomi Seidman

Asa Williams

Bradley Williams

15WORDS of NOTE

A few of the year’sdistinguished guests

Julie Smith

John Clayton Laurence Lesser

Cho-Liang Lin

Gerry Pagano

David Kim

Stephen Mead

Francesca ArnoneJayne Stadley

Chloë Hanslip

Mark Nuccio

Paul Merkelo

James Dunham

Christopher Adkins

Angela Cheng

Berlin Philharmonic Wind Quintet

Alvin Chow

SARAH & ERNEST BUTLER SCHOOL of MUSIC16

Longhorn Music, the official record label of the Butler School of Music, has earned a reputation for releasing exciting and

engaging performances of classical music. The label aspires to capture the best musical moments offered by the Butler School and distribute them to audiences worldwide, while providing an innovative hands-on education for students. Longhorn Music re-leases are exclusively distributed by Naxos America.

In the Thick of ItUT Jazz Orchestra; Jeff Hellmer, DirectorReleased November 2011In the Thick of It features compel-ling compositions by students Mike Sailors, Gabriel Santiago, and Marcus Wilcher, as well as the music of jazz faculty member John Mills. The album reveals the exciting variety of compositional voices found in the Butler School’s

jazz composition program, while also showcasing the polish, vir-tuosity, and premier style of the UT Jazz Orchestra, directed by Jeff Hellmer. The Butler School is proud to share the amazing profes-sionalism and artistry of our jazz students and faculty.

Gobo: Commissions and Premiers for the Oboe Rebecca Henderson, oboe

Released March 2012This album is the Longhorn Mu-sic debut for acclaimed obo-ist and UT professor Rebecca Henderson. Commemorating her illustrious career of champi-oning new music for the oboe, this album includes five brilliant new commissions or premiers of chamber music with oboe. Fac-ulty composer Russell Pinkston composed the album’s title track, Gobo, for oboe and electronic sounds. Faculty members Kristin Wolfe Jensen (bassoon), Robert Freeman (piano), and Rose Taylor (narration) are also featured. A rare collection of masterfully performed, attractive new chamber

music for woodwinds, Gobo is a wonderful addition to the Long-horn Music catalogue.

Many Sided Music Æolus String QuartetReleased March 2012Many Sided Music is the Æolus Quartet’s second release on the Longhorn Music label, and it

represents the culmination of the student quartet’s two years as the Butler School’s Young Professional String Quartet-in-Res-idence. The album features three virtuosic works by emerging young American composers, anchored by William Bolcom’s be-loved Three Rags for String Quartet. UT composition student Ste-ven Snowden’s Appalachian Polaroids is also featured. With the Æolus having completed their studies at the Butler School in May of 2011, we are thrilled to release this album as a reflection of the exemplary education, mentorship, and support that the school offers its students.

I, tooIcy Simpson, soprano,

and Artina McCain, piano Released August 2012

A collection of rarely-heard vocal art songs and spirituals composed or arranged by African-American composers, I, too features fantas-tic debut performances by two immensely gifted recent UT grad-uates, soprano Icy Simpson and pianist Artina McCain. The record-ing’s inspiration was drawn from their desire to increase the awareness of this particular musical heritage and style. I, too features an attractive variety of beautiful-ly performed inspirational songs, providing profound insight into past and present African American culture. The album was made possible in part by a generous gift from Admiral Bobby Inman.

Upcoming Releases

Starry CrownUT Wind Ensemble; Jerry Junkin, DirectorThis recording is the first UT Wind Ensemble project on the Long-horn Music Label. The album’s title work, Starry Crown, was written by faculty composer Donald Grantham.

I Can’t Believe It’s Not Cello: Bach Unaccompanied Suites for Violoncello Performed on the Double BassDaXun Zhang, Double BassAcclaimed virtuoso DaXun Zhang, Assistant Professor of Double Bass, performs his own transcriptions of three of Bach’s famous suites for unaccompanied cello.

Beethoven Razumovsky QuartetsMiró Quartet The Butler School’s celebrated faculty string quartet-in-residence will soon release the second album in its series of the compete string quartets of Ludwig van Beethoven.

New Releases from Longhorn Music

17WORDS of NOTE

Center for American Music Explores Musical Diasporas

This past spring, the Center for American Mu-sic (CAM) was pleased to host a number of

guests as a part of its annual invited speaker’s series. The theme for this year’s series was American Music(s): Musical Diasporas in the US. This year’s goal was to attempt to expand the definitions of Amer-ican Music through an explora-tion of the variety of musical communities that comprise the American musical landscape. The series sought to investigate the ways in which these groups’ musical practices and beliefs serve to connect and/or distinguish them from American culture and society as a whole. To that end, a number

of scholars, edu-cators, and per-formers were in-vited to explore these issues in relation to their own work.

The first event featured Ingrid Monson speak-ing on the of-ten-overlooked connections be-tween the R&B

and avant-garde traditions in black music, seen through the impact of the great tenor saxo-phonist John Coltrane. As Quincy Jones Pro-fessor of African-American Music at Harvard, Dr. Monson is one of the foremost experts on music of the African diaspora, having pub-lished and lectured widely on a variety of relat-ed topics. Her early work was built around eth-nographic research she undertook as a profes-sional jazz trumpet player in New York City, ex-ploring the almost clairvoyant connections be-tween musicians in jazz ensembles. Her cur-rent research focuses on a variety of musical practices in contem-porary Mali.

The second speaker of the series, Rick Mook, is currently Assistant Professor of Music at the Univer-sity of Arizona, where he teaches courses in American music. His presentation looked at the tradi-tion of the barbershop quartet, with an eye towards the ways in which the tradition framed middle-class ideas about white-ness and masculinity against a backdrop of increasing social change. Dr. Mook is currently

working on a book on the same topic.

The Center was keen to integrate music perfor-mance into the series this year, and members

were excited by an opportunity to partner with the UT Middle Eastern Ensemble, led by Dr. Sonia Seeman. Through the efforts of Dr. Seeman, the two groups were able to bring in renowned Armenian-American multi-instrumentalist Souren Baronian, as well as several of his frequent collaborators. Over a two-day period, Baronian

and his colleagues gave master classes and workshops, and included a fascinating lecture in which Baronian recounted his vast experi-ences in jazz and world music. The weekend was capped by an exhilarating performance by Baronian and the Middle Eastern Ensemble before an audience that drew from both the University and the Austin community.

The final guest of the semester was Dr. Tamar Bar-zel of Wellesley College. In her talk, Dr. Barzel explored what many refer to as the “radical Jew-ish tradition” of music emanating from New York City beginning in the 1980s. Many of the composers associated with this scene used music to explore their connection to their Jewishness, with a diverse range of outcomes. Through various musical examples, Dr. Barzel explored the complicated relationships between tradition and individu-alism within this movement.

The past year’s series continued the string of successes undertak-en by CAM recently. Each lecture was well-attended, and resulted in a number of lively discussions that extended well beyond the scheduled ending of each event. Going forward, the center will be concentrating its efforts on a number of significant projects, chief of which will be hosting the U.S. chapter of the Interna-tional Association for the Study of Popular Music conference in

2013. CAM is generously funded by the Butler Endowment and led by Glenn Richter.

A Busy Summer for Butler School

Collaborators

In the fall of 2008, the Butler School in-augurated a new graduate degree pro-

gram in Collaborative Piano along with a complete Collaborative Piano Area in the Chamber Music and Collaborative Arts Division. Under the leadership of interna-tionally renowned collaborative pianist and pedagogue Anne Epperson, the pro-gram continues to expand and flourish, as evidenced by the following highlights of a few months of collaborative activity by faculty and students in the division.

Anne Epperson was on the jury of the Fischoff National Chamber Music com-petition, was the featured clinician at the Oklahoma Music Teachers Association state conference, and returned to the art-ist faculty of the Colorado College Sum-mer Music Festival. Colette Valentine was official collaborative pianist for the Washington International String Compe-tition, the Gina Bachauer International Junior and Young Artist Piano competi-tions, and the prestigious William Kapell International Piano Competition, in addi-tion to her collaborative positions at the Marina Piccinini International Flute Mas-terclasses, the National Flute Association convention, and the Adult Chamber Mu-sic Camp at Interlochen, Michigan. Chuck Dillard served as Music Director of the Austin-based Spotlight on Opera as well as participating as coach/conductor for the Butler Opera Center Young Artist Pro-gram. He was a featured performer at the International Double Reed Society con-ference in collaboration with bassoonist Maya Stone (DMA 2010). Nyle Matsuoka (MM 2011) was on the staff of the Butler Opera Center Young Artists Program (BO-CYAP) and Spotlight on Opera. Allie Yuy-ing Su (DMA 2012) was also on staff for the BOCYAP and the Franco American Vo-cal Academy in Elgin, Texas, and was ap-pointed to join the full-time collaborative staff at the Oberlin College Conservatory. Tomoko Kashiwagi (DMA 2011) returned to the collaborative staff of the Mead-owmount School of Music in New York, joining UT collaborative staff pianist Alex Maynegre and Aram Arakelyan (MM 2012). Christina Wright-Ivanova (DMA 2012) was a repetiteur at the American Institute of Musical Studies in Graz, Aus-tria, and DMA students Suyeon Kim and Jacob Coleman received fellowships to study at the Music Academy of the West in Santa Barbara, California.

Souren Baronian

Tamar Barzel

Rick Mook

Ingrid Monson

SARAH & ERNEST BUTLER SCHOOL of MUSIC18

Cheryl and Robert Butler, daughter-in-law and son of Sarah and Ernest Butler, have recently established the Cheryl and Robert Butler Endowed Fellow-

ship in Music, providing unrestricted support for the outstanding graduate stu-dents in the Butler School of Music. This new endowment will make it possible for the Butler School to recruit and retain the best and brightest students pursuing advanced degrees in any musical discipline, from music theory and musicology to performance and education.

Mary Ann and Andrew Heller have for years given outright cello scholarships to help the Butler School of Music attract and retain the best and brightest students. But a year or so ago, the Hellers set out to raise an unprecedented level of endowed scholarship support for cello students. Thanks to the Hellers’ vision and leadership and for the many individuals, foundations, and corporations that responded so generously with gifts of sup-port, we now have the Friends of Cello Scholarship. Established in honor of Bion Tsang, this new scholarship will be used for the benefit and support of outstand-ing cello students in the Butler School of Music.

Greg McCoy, a McCombs School of Business alum who for many years seriously studied and played the cello before decid-ing to switch career paths, was a potential candidate for giving to-ward the Friends of Cello Schol-arship. He had recently made a gift to the Butler School to ex-press gratitude for having the opportunity to study with retired UT Professor of Cello Paul Olefsky. When approached for a gift to the Friends of Cello Scholarship, he responded enthusiastically, yet not without first asking if he could establish a separate named endowment to honor his former teacher. The Paul Olefsky Cello Scholarship, established by Greg McCoy, honors the legacy of his most influen-tial teacher, while providing enduring support for outstanding cello students in the Butler School of Music for generations to come.

New Endowments at the Butler School of Music

Vincent DiNino Establishes New Gifts

Professor Emeritus of Bands Vincent DiNino has created three additional planned gifts for the But-

ler School of Music. The Vincent R. DiNino Endowed Scholarship for the President of Kappa Kappa Psi pro-vides support to the President of the Alpha Tau chap-ter of Kappa Kappa Psi.

The Vincent R. DiNino Endowed Scholarship for the President of Tau Beta Sigma supports the President of the Beta Gamma chapter of Tau Beta Sigma.

The Vincent R. DiNino Endowed Scholarship for the University of Texas Orchestras is given in honor of Professor of Instrumental Conducting Gerhardt Zimmermann for the support of outstanding Butler School of Music orchestral players or orchestral con-ductors at the graduate or undergraduate levels.

Professor DiNino became the first full-time direc-tor of the University of Texas Longhorn Band in 1955 and made significant changes that gained the band national prominence as the Showband of the Southwest.

He has extended his support of the Longhorn Band just as actively into the area of development and philanthropy. He and his late wife, Jane, in conjunction with former bandsmen and friends, established a Chair for the Director of Bands at UT. He has also established a Professorship in the Butler School for the Director of the Longhorn Band, numerous Presidential Scholarships for Longhorn Band students, and has donated funds for research projects and provided support for orchestra as well as band activities at the Butler School of Music.

Bion Tsang

Greg McCoy and Paul Olefsky

Vincent DiNino

Scot

t New

ton

Jeff

Farr

is

19WORDS of NOTE

The UT String Project offers scholarships and instrument rental at significantly reduced rates based on a family’s ability to pay. A grant from the Seawell Elam Foundation makes it possible to offer tuition support and to acquire additional instruments, enabling more children and their families to participate.

A matching grant by a private founda-tion is helping to provide an unprec-edented level of scholarship support for String Project students for the 2012–13 academic year. The foundation has of-fered a grant of $5,400 with the stipula-tion that only gifts made by first-time donors or by those who have not con-tributed to the String Project in at least two years will qualify for the

match, encouraging new friends and supporters to give. As of September 1, 2012, $3,100 has been raised, provid-ing $6,200 in merit-based scholarships for continuing UT

String Project students.

A critical prerequisite for learning the violin or the cello is an instrument appropriately sized to the student. With full support from the Genivieve and Ward Orsinger Foun-dation, the UT String Project is able to place perfectly-sized string instruments in the hands of the four and five-year-olds currently

enrolled in the program. With instru-ments that fit properly, these chil-

dren are far more likely to enjoy their music studies and find success.

Celebrating a shared legacy in music, the Kermie F. and David W. Sloan Endowment for the UT String Project was established

by David Sloan (B.M. 1959 and D.M.A. 1970) to provide perma-nent unrestricted support for the UT String Project, the Butler School of Music’s exemplary teacher training and community outreach program. Dr. Sloan tells the story behind this impor-tant new endowment for the Butler School of Music in his own words:

Kermie was always the big support for everything I did in mu-sic performance. It was quite natural for her, as a former music major at Southwestern at Memphis, now Rhodes College. She brought her commitment to her studies as a former pianist for her church and other organization in South Memphis during her high school years. Her music activities were cut short to raise her family in Mississippi. When we met in Oxford, she was active in supporting the youth activities at St. Peter’s, and as a chorus member at the University. She was an undergraduate in business. Upon completing her degrees, we were married, and moved to Austin, where I began work with the Eanes I.S.D. She knew the kids in the orchestras, and parents, other musicians I worked with, and many other directors in the state. She worked “behind the curtain” for the Texas Orchestra Directors Association board, and was support-ive when I was serving TMEA as Orchestra VP. We enjoyed attending operas together in Austin, Houston, Ft. Worth, New York, and Chicago.

A few years ago, we discussed establishing some endowment for edu-cational purposes for children–music–string instruction. We settled on the UT String Project. Making the original donations were fruitful, yet not especially dynamic. After her death last summer (August 2011), with the aid of the Development Department, I decided to change the name of the endowment to the Kermie F. and David W. Sloan Endow-ment for the UT String Project, as it is today. It was a beneficial move, making the endowment more obvious to Kermie’s family and friends. The change also makes the direction of the endowment more attrac-tive to my friends and colleagues. The purpose of the endowment is to provide financial support for the director of the project, at his/her discretion. We would appreciate your participation. —David W. Sloan, D.M.A.

Kermie F. and David W. Sloan Endowment for the UT String Project

Another Banner Year for the UT String Project

David and Kermie Sloan

Director Laurie Scott (far left) demonstrates theUT String Project’s hands-on approach to teaching.

SARAH & ERNEST BUTLER SCHOOL of MUSIC20

Gift Highlights for 2011-12Miró Quartet Records

Beethoven Cycle with Help from Friends

Recording the complete cycle of Beethoven string quartets has long been considered

a benchmark achievement for professional string quartets. Through accomplishing this ambitious goal, the Miró Quartet further estab-lishes itself among the most celebrated string quartets in the world. The Budapest, Guarnieri, and Emerson string quartets all have recorded the Beethoven cycle.

As these recordings will come to define the Miró Quartet, it was extraordinarily impor-tant to have the very best recording engineer on the project. This is why the Miró Quartet selected Da-Hong Seetoo, Grammy award-winning classical producer and engineer. Like-wise, the Miró has linked the success of their recording with the University of Texas at Aus-tin, where they hold permanent faculty posi-tions, by recording on the Butler School label, Longhorn Music.

One might ask what value there is in yet anoth-er recording of the Beethoven cycle. Over time tastes change and interpretations of these well-known works vary dramatically. With this in mind, the Miró Quartet staged their record-ing to relate their age and stage of artistic de-velopment with that of Beethoven at the time of composition. In other words the quartet members, who are all roughly the same age, recorded opus 18 when they were all 28 to 30 years old. Now that they are in their mid-thirties, they are ready for Beethoven’s middle period. In a few years, the Miró will tackle the latter middle and eventually the late string quartets to complete the cycle.

Members of the Miró String Quartet and in-deed the entire Butler School of Music are grateful for the support of Richard Hartgrove and Gary Cooper, Mary Ann and Andrew Heller, Joe and Terry Long, and Gail and Jeff Kodosky, who made this benchmark recording possible.

Miró Quartet Mariachi and Conjunto Ensembles Continue to Flourish Due to Widespread Support

For former Mayor of Austin Gus Garcia and former State Senator Gonzalo Barrientos, next to seeing their sons graduate from the UT Law School, one of their most fulfill-

ing experiences as alums of The University of Texas at Austin has been their return to campus to see the development of two Mexican-American performance ensembles: The Mariachi Paredes de Tejastitlan and The Tex-Mex Conjunto. When they were stu-dents, these groups did not exist.

 Since 1977, when the first Mexican-American ensemble, a mariachi, was formed, per-formance of this music at UT has served not only to preserve traditions, but it has also provided students the opportunity to experience through words and song the history and culture of Mexico and the Southwestern United States.

Participation in these groups has been tremendously meaningful for students at UT Austin, as is demonstrated by numerous student testimonials.

Due to the long-term effect of the economic downturn beginning in 2008, the State of Texas has been projecting revenue shortfalls years into the future. As a result, fund-ing allocations for UT Austin have been significantly reduced. Were it not for signifi-cant private support, the valuable Mexican-American ensembles program might have been scaled back or even cut.

In December 2010, Mayor Garcia and Senator Barrientos sent an e-mail appeal to the Hispanic Texas Exes. Thanks to the overwhelming response, the Mariachi and Con-junto ensembles have been allowed to continue, making it possible for UT students to accept an opportunity of a lifetime.

That opportunity came when IBC Bank President and CEO Renato Ramirez along with former Austin Mayor Gus Garcia and other members of the Tejano Monument committee invited the Mariachi Tejastitlan and Texas-Mex Conjunto to perform at the Tejano Monument unveiling ceremony that took place on the Capitol grounds in March. Since their appearance, these ensembles have seen an unprecedented level of financial support and are receiving further invitations to perform for other events off campus.

The Butler School of Music is ever grateful for Renato Ramirez, Gus Garcia, Gonza-lo Barrientos, and members of the Hispanic Texas Exes for their advocacy and sup-port, as well as for music director Zeke Castro for his leadership and vision for these ensembles.

It is vitally important not only to the students, but also for the citizens of Texas and the Southwest that this music continues to be played.

UT Conjunto EnsembleNat

han

Russ

ell

21WORDS of NOTE

Professor of Piano Gregory Allen has been in demand as a juror in various piano competitions during the past year. After serving

on the panel of judges for the 2011 Van Cliburn Competition for Out-standing Amateurs, he was invited to screen applicants for the 2012 PianoTexas Festival at TCU. He also judged the finals in the High School, College, and Young Artist divisions of the MTNA Regional Competition. Upon the retirement of Professor Betty Mallard, Allen has taken over the administration of the Sidney Wright Competition in Piano Accompanying. He taught and performed in the inaugural season of the Clear Creek Music Festival in Oregon and returned there for the 2012 summer session.

Elliott Antokoletz, Professor of Musicology, has pub-lished a book, Music and Twentieth-Century Tonality: Harmonic Progression Based on Modality and the Inter-val Cycles (Routledge, co-author Paolo Susanni). Two others are currently in press: The Musical Language of the Twentieth Century, The Discovery of a Missing Link: The Music of Georg von Albrecht (Frankfurt am Main: Verlag Peter Lang) and A History of Twentieth-Century Music in a Theoretic-Analytical Context (Routledge). Antokoletz presented master classes and lectures on the Bartók String Quartets at the University of Missouri at Kansas City in March 2012. He also presented mas-ter classes on various string quartets at Charles Castlemen’s Chamber Music Festival in Boulder, Colorado, in July. Antokoletz continues as editor of the annual International Journal of Musicology (Frankfurt am Main: Peter Lang) and as member of the Editorial Advisory Board, Revista Brasileira de Música (School of Music, Universidade Federal do Rio de Janeiro).

The Austin Latino Music Association (ALMA) recently awarded the Ido-los del Barrio Music Award to UT Mariachi Ensemble director Zeke Cas-tro. ALMA established this lifetime achievement award to recognize highly influential Latino musicians, promoters, and broadcasters from Austin.

Andrew Dell’Antonio, Professor of Musicology, was recently named to the UT Academy of Distinguished Teachers. Comprising approximately 5% of the tenured faculty, the Academy provides leadership in im-proving the quality and depth of undergraduate education. Each year, new members of the Academy are selected through a rigorous evalu-ation process. Honorees are awarded the title University Distinguished Teaching Professor and serve for the duration of their tenure.

Veit Erlmann, Professor of Ethnomusicology, was awarded the Mer-cator Prize by the German-based Deutsche Forschungsgemeinschaft (German Research Foundation), the largest research funding organi-zation in Europe. The Mercator is a highly sought-after award that al-lows German research universities to provide residencies to outstand-ing international scholars. The award carried a one-year residency at Humboldt University in Berlin, where Erlmann also won a major grant to host an international conference on intellectual property law, his new research topic. During his leave of absence from UT, Erlmann lec-tured extensively at major institutions in Germany (HU Berlin, Franz-Liszt-Hochschule Weimar, Leipzig, Frankfurt), Switzerland (Lausanne), Belgium (Gent), Sweden (Uppsala), and South Africa (Cape Town, Stel-lenbosch, Western Cape). In addition to publishing several articles in leading journals such as differences and Qui Parle, he also wrote and directed a radio feature for Deutschlandradio Kultur and was featured on Bayerischer Rundfunk (Bavarian Broadcasting) and Radio Swiss. Erl-mann holds the Endowed Chair of Music History at the Butler School.

Delaine Fedson had a busy year of performances with the Austin and San Antonio Symphonies, and with the choral groups Conspirare and

the Texas Choral Consort. In December, she performed for her 10th year at St. Mary’s Cathedral Celtic Christmas Concert. In March 2012, she taught master classes for the Charlotte, North Carolina Chapter of the American Harp Society, Inc. (AHS). During the summer she taught Suzuki Association Teacher Development Workshops and student mas-ter classes at Colorado Suzuki Institute, Peaks to Plains Suzuki Institute,

Utah Suzuki Institute, and the American Suzuki Insti-tute. Throughout the academic year, Fedson collabo-rated with soprano and UT alumna Kathryn Findlen for several performances at Good Shepherd Episcopal. 2012 is Delaine Fedson’s second year as President of the AHS, Inc. The organization celebrated its 50th An-niversary and 40th National Conference in New York City in June 2012.

Professor of Musicology Robert Freeman accompa-nied cellist Carlos Prieto on a tour in January 2012

that included performances in El Paso and Lufkin, Texas. Freeman gave a keynote address and piano performance in March at a scholarship event in honor of Isidor Saslav at Stephen F. Austin State University. He gave a guest lecture on branding of music schools at the UT McCombs School of Business, and also presented a keynote address for a chapter

meeting of the College Music Society. He performed at an event in memory of UT alumnae and philanthropist Amy McGlaughlin at the Museum of

Fine Arts in San Angelo. In November, he served as narrator in the UT New Music Ensemble’s performance of Walter Walton’s Façade, directed by Dan Welcher. He also performed in a UT Quest series presentation with UT Professor Lucien Douglas narrating. Freeman continued to serve as a board member of the Ann and Gordon Getty Foundation.

Professor of Composition Donald Grantham’s Concerto For Tuba, com-missioned by a consortium of 11 ensembles, was premiered by Charles Villarrubia and the UT Wind Symphony, conducted by Robert Carno-chan, at the College Band Directors National Association Convention in San Antonio in March 2012. Grantham’s Stomp was performed in February 2012 at the Texas Music Educators Association Convention by the All-State Band, conducted by Sharon Lavery. Baron Piquant On Pointe was premiered by the Columbus State University Wind Orchestra in December 2011. Numerous other performances of Grantham’s works were heard around the country and in Japan, Norway, Sweden, Cana-da, Spain, and the UK. Grantham orchestrated the music for the vid-eogame Lococycle, recorded by the Czech Philharmonic in May 2012. He served as composer-in-residence at Indiana University and Western Washington University. Grantham’s Bum’s Rush was recorded by The U.S. Coast Guard Band, conducted by CDR Kenneth W. Megan, at the 2011 World Association for Symphonic Bands and Ensembles Conven-tion in Taiwan, and released by Mark Records. We Remember Them, a composition for SATB a cappella choir commissioned by The University of Texas for the “UT Remembers” ceremony, was featured at two ten-year commemoration ceremonies of 9/11. It was performed on Sep-tember 11, 2011, at the Notre-Dame de Paris Cathedral, in the presence of the U.S. ambassador, 40 other ambassadors, and members of the French government. The cathedral choir was conducted by Lionel Sow. The piece was also sung on the same date by 200 choristers in Copley Square, Boston, and was broadcast on WERS radio. We Remember Them has been recorded by Conspirare, conducted by Craig Hella Johnson, on the CD Requiem (Harmonia Mundi).

Eugene Gratovich, Associate Professor of Violin and Chamber Music, presented a seminar on American Violin Music at the Innsbruck Con-servatory of Music in Austria in July 2012. He performed the Beethoven Sonata No. 7 at the International Academy of Music near Florence, Italy, where he served as a faculty member. He performed with the Raphael

Faculty Activities

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Trio at the Cathedral of Peter and Paul in Casstelnuovo di Garfagnana, Italy. A world-premier performance of Fan-tasy by Roy Harris was arranged by his former student, American composer-pianist Sidney Knowlton, in Florence, Italy. The Gratovich and Knowlton Duo presented a series of concerts in the Boston area featuring the music of New England composers. In August 2012, Dr. Gratovich performed music of Ka-balevsky and Sarasate for the opening concert of the Beverly Hills Internation-al Music Festival in California. Gratovich was appointed acting-concertmaster in Austin Lyric Opera productions of operas by Mozart and Puccini. The Austin Symphony Orchestra invit-ed him to be concertmaster and prepare the string parts for the Texas Young Composers Concert. He also presented master classes in Hous-ton and in Austin for visiting high school orchestra members. In late July, he recorded the music of Bach and Biber in Boston for a special CD dedicated to the memory of his late sister.

Robert Hatten, Professor of Music Theory, gave three keynote ad-dresses in 2011-12: “Schubert’s Late Style,” for the international confer-ence “Schubert and Concepts of Late Style,” Maynooth, Ireland; “Musical Forces and Agential Energies: An Expansion of Steve Larson’s Model,” for the West Coast Conference of Music Theory and Analysis (Steve Lar-son memorial); and “Beyond ‘Beyond Analysis’,” for Music Theory South-east. He presented papers at the Semiotic Society of America (“Inter-preting the Grotesque in Music”); the Beethoven Festival Symposium

in Warsaw (“On War and Peace [Inner and Outer]: A Complex Series of Opposi-tions in Beethoven’s Agnus Dei and Op. 111 from 1822”); and Houston Baptist University (“Engaging the Spiritual in Music through Theory and Analysis”). Three articles and one review-article appeared: “Enlarging the Musical Dis-course: Mozart’s Piano Quartet in G Mi-nor, K. 478,” in Mozart’s Chamber Music with Keyboard (Cambridge); “On Meta-phor and Syntactic Troping in Music,” in Music Semiotics: A Network of Signifi-cations (Ashgate); “Beethoven’s ‘Ewig-Weibliche’,” in Beethoven 5: Studien und Interpretationen (Akademia Muzyczna w

Krakowie); and “Sentiment and Style: Charles Rosen’s Pursuit of Musical Meaning,” Nineteenth-Century Music Review.

With the help of new technology, Director of Jazz Studies Jeff Hellmer shared the stage with George Gershwin during a performance with the Dallas Wind Symphony in February 2012. Using software developed by Zenph Sound Innovations, a Yamaha Disklavier PRO piano re-created a 1924 recording of Gershwin performing Rhapsody in Blue, which was accompanied live by the Wind Symphony directed by Hellmer. “The new context allows people to hear Gershwin play one of the best pi-anos available in a fine concert hall with excellent musicians accom-panying the re-performance,” said Hellmer. Despite the software’s ca-pabilities, Hellmer had to become intimately familiar with Gershwin’s interpretation of the piece to coordinate the live performance with the piano. “While re-performances will never replace live musical perfor-mance, the technology is certain to expose many people to ‘live’ music that they would never hear otherwise,” Helmer said. Rare video footage of Gershwin performing I Got Rhythm was synchronized with the pro-grammed piano, followed by an ensemble performance of the piece, with Hellmer taking over the piano from Gershwin. A similar Gershwin concert is planned for March 2013 with the UT Wind Ensemble and Jazz Orchestra. In addition to the Gershwin event, during the past year Hellmer has performed classical and jazz concerts at Riverside (Califor-nia) Community College, recorded a CD with Gary Foster and the Orion Saxophone Quartet in Los Angeles, taught at the Idyllwild Arts Jazz Camp, and traveled with the Faculty Jazz Quartet to the Royal Academy of Music in Aarhus, Denmark. He also coordinated the Longhorn Jazz Festival and Longhorn Jazz Camps, and served as Associate Director of the Butler School of Music.

Professor of Oboe Rebecca Henderson’s second solo CD, Gobo: Com-missions and Premieres for the Oboe, was recently released on the Long-horn Music Label. The recording features Henderson along with UT col-leagues Kristin Wolfe Jensen, Robert Freeman, Rose Taylor, and others performing works composed for them. The title track, Gobo, is a piece for oboe and electronic sounds by UT Professor of Composition Rus-sell Pinkston. Henderson is also featured on LA Philharmonic English hornist Carolyn Hove’s latest CD, Eclecticisms, on Crystal Records, which highlighted new works for English horn, including Suite for Oboe and English horn by oboist/composer Jeffrey Rathbun. Recent live perfor-mances include appearances with Nathan Williams and Kristin Wolfe Jensen at the San Francisco Conservatory and the Meg Quigley Vivaldi Competition and Symposium in Sacramento, as a featured soloist and clinician at Colorado State University’s Oboe Day, as a soloist with vio-linist Sandy Yamamoto and the UT Symphony Orchestra in the Bach’s Concerto for Violin, and as soloist performing four different concertos in three music festivals in the summer of 2011.

Jacqueline C. Henninger, Assistant Professor of Music and Human

Jacqueline Henninger with one of her students in Tanzania

Miró Quartet Tours Extensively in 2011-12

With the appointment of William Fedkenheuer as the Miró Quartet’s newest member, the 2011-12 season proved

to be a busy and exciting year for the quartet.  Highlights in-cluded appearances at Lincoln Center’s White Lights Festival in New York City and return visits to major concert series in Chicago, Cleveland, Miami, and Montréal, among others. Of their Cleveland appearance on the Cleveland Chamber Music Society series, Donald Rosenberg of the Cleveland Plain Deal-er wrote: “Throughout, the Miró gave lessons in the art of the string quartet, shaping each of the night’s scores with a blend of refinement and vibrancy that drew the listener deeply inside the sonic arguments.” The Miró Quartet also held a multi-day residency with the New World Symphony (NWS), teaching and coaching the NWS fellows.

The quartet’s 2012 summer schedule included a return to New York, where they performed at Avery Fisher Hall, sharing the stage with Yo-Yo Ma, Alan Gilbert, and the New York Philhar-monic in a performance honoring the distinguished French composer Henri Dutilleux. Other highlights of their 2012 sum-mer season included return appearances at the Santa Fe Cham-ber Music Festival, Orcas Island Chamber Music Festival (where they were recipients of the Guarneri String Quartet Residency, supported by Chamber Music America), and the Hotchkiss Summer Portals. The Miró Quartet also taught and performed at the Music Academy of the West in Santa Barbara, Califor-nia. For more information on all of the Miró Quartet’s exciting activities, please visit www.miroquartet.com .

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Learning, received a Fulbright Scholar Award, which will enable her to teach music education courses and analyze the teaching and learn-ing of East African songs and dances at Tumaini University-Makumira University College in Tanzania, East Africa, during the 2012-13 aca-demic year. Dr. Henninger gave four refereed research presentations in 2011–12. “What’s Going on in That Head of Yours? Evaluating Novices’ Evaluations of Their Work as Teachers” was presented with co-authors DaLaine Chapman (UT PhD student) and UT Professor Robert Duke at the Symposium on Music Teacher Education Conference in Greens-boro, North Carolina. Her research entitled “Experienced Music Educa-tors’ Self-evaluations of Their Teaching as Preservice Music Educators” was presented at the Texas Music Educators Association Conference in San Antonio, Texas. Dr. Henninger, along with Dr. Kate Fitzpatrick (University of Michigan) and Dr. Don Taylor (University of North Texas), presented a session entitled “Access and Retention: Experiences of Marginalized Populations in Teacher Education” at the biennial meet-ing of the National Association for Music Educators Conference in St. Louis, Missouri. At the same conference, Dr. Henninger presented an independently-authored paper entitled “The Nature of Expertise in Instrumental Music Lessons: A Comparative Analysis of Common Elements Observed in Band Re-hearsals and Applied Lessons Taught by Ac-complished Individuals.”

Martha Hilley, Professor of Group Piano and Pedagogy and a University Distin-guished Teaching Professor, has been awarded the University of Texas Civitatis Award, which is conferred upon a member of the faculty in recognition of dedicated and meritorious service to the University above and beyond the regular expectations of teaching, research, and writing. Over the past twenty years, Martha has won numer-ous teaching awards, from Texas Excellence Teaching Awards to the Outstanding Colle-giate Teacher Award from the Texas Music Teachers Association and the Distinguished Service Award from the Music Teachers National Association. While epitomizing teaching excellence at UT and pioneering new techniques in music education, Hilley has also been a tireless leader in University governance, and in the coming year will serve a second term as chair of the University Faculty Council.

Amongst many other activities last year, Professor of Guitar Adam Holzman was invited to be one of seven international judges for the Joanne Falletta International Guitar Concerto Competition in Buffalo, New York. The competition, held every other year, features eight final-ists from around the world performing for a live audience and a live broadcast to over 10 million listeners.

Judith A. Jellison, the Mary D. Bold Professor in Music and Human Learning and University Distinguished Teaching Professor, was an in-vited Master Teacher at the Festival Internacional de Educación Musi-cal in Monterrey, Mexico, where she gave clinics and lectures on topics related to inclusive music classrooms and the musical development of children. Her presentations were featured in the newspaper El Norte. She also presented research papers (in collaboration with MHL gradu-ate students Laura Brown and Ellary Draper) and clinics at conferenc-es of the National Association for Music Education, the American Music Therapy Association, and the Texas Music Educators Association (at the TMEA clinic with Professor Laurie Scott and Laura Brown). An article by Brown and Jellison will appear in a forthcoming issue of the Journal of Music Therapy. Book chapters on inclusive music programs (Oxford

University Press) and music education and music therapy professionals (with M. Brotons, Editorial Medica JIMS) are also in press. On campus she continues to enjoy teaching, advising and mentoring students, and interdisciplinary activities with the Texas Center for Disability Studies, Bridging Disciplines Program, UT Freshman Interest Group, and “Read-ing Roundup.”

Kristin Wolfe Jensen, Professor of Bassoon, presented master classes and recitals at Indiana University, The San Francisco Conservatory of Music, The Meg Quigley Vivaldi Competition and Symposium at the University of the Pacific in Stockton, California, Emory University’s Bas-soon Day in Atlanta, Bowling Green State University, and Ball State University. She continued as a member of the artist-faculty at the In-ternational Festival institute at Round Top, Principal Bassoonist of the River Oaks Chamber Orchestra in Houston, Co-Founder and Director of the Meg Quigley Vivaldi Competition and Symposium, and author/performer of the multimedia web site: MusicandtheBassoon.org. She also performed on Professor Henderson’s new CD release on Longhorn Music.

David and Mary Winton Green Chair Holder Brian Lewis, Professor of Violin, continues to be much sought after as an educator and concert artist. In addition to maintain-ing a full studio at UT, Professor Lewis re-cently completed his second year as Class of ‘57 Visiting Professor of Music at the Yale School of Music. Solo engagements around the world included concerto performances with the Sinfonia Toronto, Pensacola Sym-phony, Yakima Symphony, Buzzards Bay Music Fest Orchestra, and Corigliano’s “Chaconne” from The Red Violin with the UT Wind Ensemble. Lewis gave residencies at the Colours of Music Festival and the Glenn Gould School in Canada, was concertmaster of the St. Barth’s Festival Orchestra in the French West Indies, and participated in the Costa Rica Suzuki Festival and Les 72 Heu-

res d’Aout à Ainay-le-Vieil in France. He also toured Japan and made numerous appearances across the United States. In October, Profes-sor Lewis was recognized as an ING Professor of Excellence during an award ceremony at a UT football game. In May, he was a featured guest clinician at the Suzuki Association of the Americas international confer-ence, where he delivered a keynote address and taught chamber music and violin master classes.

On December 2, 2011, the UT Tower was lit orange in honor of William Lewis, Professor of Voice, who was appointed that day by the French Republic to the rank of Chevalier dans l’Ordre des Arts et des Lettres (Knight of the Order of Arts and Letters). Professor Lewis holds the Frank C. Erwin Centennial Professorship in Opera, and focuses on undergraduate opera study at the Butler Opera Center. He received the award for his work in all aspects of French music worldwide. An accomplished tenor, he has sung in every major opera house in the world and has performed 140 major roles in 10 different languages. He worked for the Metropolitan Opera for 35 years, and has been on the UT faculty for the past 20 years. In addition, along with his wife, French soprano Frederique Added,  he operates a summer music academy, the Franco-American Vocal Academy, which has programs in France, Austria, and Texas, and  runs the annual contest Grand Concours de Chant at the Butler School of Music.

John Mills, Associate Professor of Jazz Composition/Jazz Saxophone, scored a number of commissioned large ensemble works, including 10

Martha Hilley

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pops arrangements for Rosanne Cash, Indigo Girls, and Asleep at the Wheel, which were performed with symphony orchestras across the U.S. He contributed writing to both the Dallas Wind Symphony’s Christ-mas CD and their George Gershwin tribute concert, and wrote special event arrangements for star vocalists Kat Edmonson, Bob Schneider, and Carmen Bradford. Mills composed a new score to the classic Ger-man silent film Pandora’s Box, which he orchestrated for ten musicians and conducted live to a screening at UT’s Visual Arts Center. Among his studio projects, he recorded on flute for a new film score by Jonny Greenwood of the band Radiohead. He performed at Bass Concert Hall with Michael Feinstein, and for composers Graham Reynolds’ and Pe-ter Stopchinski’s reinventions of Prokofiev’s Visions Fugitives at South by Southwest. He traveled with the UT Jazz Faculty to the Royal Dan-ish Academy, where he played concerts, presented master classes, and participated in rehearsals as both a saxophon-ist and composer. As a member of the Texas Horns he returned for the 14th year to the Ot-tawa Blues Fest, performing for two weeks at one of North America’s largest music festivals.

Robin Moore was awarded a prestigious American Council of Learned Societies Col-laborative Grant during the 2011-12 academ-ic year, allowing him to finalize research on the history of the danzón, a Latin music genre of the early twentieth century that influenced the entire Caribbean region and contributed to the development of New Orleans jazz. To-gether with colleague Alejandro Madrid, he spent the fall conducting research in New Or-leans, Mexico, and various parts of Cuba. The book project, entitled Danzón: Circum-Carib-bean Dialogues in Music and Dance, will go to press at the end of the year. Dr. Moore has offered invited lectures over the past year at the University of Delaware, at Princeton Uni-versity, and at the Festival Nacional Danzo-nero in Monterrey, Mexico. He gave keynote addresses at celebrations commemorating the fiftieth anniversary of Indiana University’s Latin American Music Center in Bloomington and at an International Symposium of Musi-cology organized by the Federal University in Rio de Janeiro, Brazil. He serves as editor of the Latin American Music Review and on the editorial board of the Journal of Black Music Research and Revista Brasileira de Música.

James Morrow, Director of Choral Activities, founded a new profes-sional early music group in 2011 called Ensemble VIII. Bringing together some of the finest early music specialists from around the country, En-semble VIII performs music of the Renaissance and Baroque. Their inau-gural season included performances of Spanish polyphony of Morales and Victoria (featuring Victoria’s six-voice Requiem), a complete per-formance of Handel’s Messiah with period orchestra Mercury Baroque, passion music of Charpentier and Couperin, and English music of the Tudor period by Tallis, Sheppard, and Byrd. The upcoming season will feature music of the Sistine Chapel, Handel’s Messiah, Lenten works by Bach, Schütz, and Buxtehude, and music from the Eton Choirbook. Dr. Morrow conducted a performance of Johannes Brahms’ Ein deutsches Requiem in October 2011 in Bass Concert Hall in memory of Dr. Morris J. Beachy, long-time Director of UT Choral Activities. Many of Dr. Beachy’s former students participated in the performance, along with the UT Concert Chorale, Choral Arts Society, and Symphony Orchestra. Solo-ists were alumna Suzanne Ramo and UT voice professor David Small.

Roger Myers, Professor of Viola, had an exceptionally productive year, which began with the U.S. premiere of the little-known transcription for viola of the John Ireland Violin Sonata by British viola virtuoso Lionel Tertis. The performance was played and subsequently recorded for the Longhorn label with UT faculty pianist Rick Masters, who had sought special permission from the executors of the Tertis estate in Britain to allow access to the transcription manuscript. Two world premieres fol-lowed on a CD recorded in the famous Abbey Road Studios with the London Symphony Orchestra of works by Schumann, Shostakovich and McLean, to be released shortly. Myers played the world premiere of Michael McLean’s Suite for Viola and Piano with UT faculty member Rick Rowley at the 40th international Viola Congress, held at the East-man School of Music in May. He was also featured as concerto soloist at the Sunflower and Marrowstone Music Festivals. Professor Myers was

recently appointed Treasurer of the Interna-tional Viola Society.

Luisa Nardini, Assistant Professor of Musicol-ogy, completed her book manuscript on Neo-Gregorian Chant in Beneventan Manuscripts: The Proper of the Mass, to be published with the Pontifical Institute of Mediaeval Studies. She also wrote essays on medieval chant that are included in collective volumes, includ-ing the Festschrift for Alejandro E. Planchart, a miscellaneous volume on Music and Chris-tianity (Oxford: Oxford University Press), the proceedings of the meeting of the Interna-tional Association of Music Librarian (Lucca, Italy: LIM, 2012), and proceedings of the in-ternational conference on chant and liturgy at Montecassino (Rome, La Viella, 2012). She was invited to give public lectures for the Tex-as Performing Arts and the Italian American Association AMICI of Austin on the musical heritage of Italy. She presented and chaired at scholarly conferences, including conferences of the American Musicological Society in San Francisco and the International Musicological Society in Rome, Italy. She was nominated for the UT Regent Teaching Excellence Award and the Co-op Research Excellence Award. In Oc-tober 2012 she will participate in the Radcliffe

Exploratory Workshop on Transcribing the Beneventan Chant directed by Thomas F. Kelly, Harvard University, where a selected group of chant scholars will debate appropriate methods of transcription for early me-dieval chant.

Anton Nel, Professor of Piano and Chamber Music, had an extraordi-narily busy year of concerts and master classes. Reviewing recent con-certs with the San Francisco Symphony conducted by Michael Tilson Thomas, The San Francisco Weekly reported Nel as playing “with sensi-tivity, power, and the kind of hand-over-hand dexterity that leaves you wide-eyed.” Carrying twelve different concerti this season, he also ap-peared with the Detroit, Austin, and Dallas Wind Symphonies, orches-tras in Ann Arbor, Richmond, Baton Rouge, and San Angelo, as well as the Aspen Philharmonia and the Britt, Peninsula, and San Diego Mainly Mozart festival orchestras during the summer. He performed as recital-ist in cities across the United States (including a sold-out “Half-Century Celebration” at Bates Recital Hall) in addition to notable chamber music concerts: tours with the Miró and St. Petersburg Quartets, his 9th sea-son of concerts with members of the San Francisco Symphony, as well as return visits to the Aspen, Detroit Great Lakes, and Seattle Cham-ber Music Festivals. He delighted local audiences in April with a cameo

Anton Nel performs with Michael Tilson Thomas and the San Francisco Symphony.

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appearance during the BSOM run of Die Fledermaus, playing the slow movement of the Mozart K. 467 concerto.

Guido Olivieri, Lecturer in Musicology, organized the encore session of the International Early Music Academy in Fossacesia, Italy. Again this year about twenty participants came from around the world (in-cluding the US, Italy, Costa Rica, Lituania, and Austria) to meet in the stunning village dominated by the beautiful 12th-century Abbey and had the opportunity to specialize in early music performance with a group of first-rate faculty including Enrico Gatti (violin), Elena Cecchi Fedi (voice), Nora Tabbush (madrigal singing), Andrea De Carlo (viola da gamba), Andrea Coen (harpsichord), and Luigi Tufano (baroque flute). The Academy is a collaborative effort between the College of Fine Arts, the Butler School of Music, the Conservatorio dell’Aquila, the administration of Fossacesia, and the Abruzzi Region. Olivieri presented papers at the American Musicologi-cal Society Annual Meeting in San Francisco, at the International Musi-cological Society conference in Rome, Italy, and chaired two sessions at the meeting of the American Society for Eighteenth-Century Studies in San Antonio. His article on “The Gagliano: First Documents on the Activity of an Italian Family of Violin-Makers” ap-peared in Sleuthing the Muses: Essays in Honor of W. F. Prizer published by Pendragon Press.

Associate Professor of Music Theory Edward Pearsall recently published a textbook with Routledge entitled Twentieth-Century Music Theory and Practice. Building on the idea that mu-sic of many periods engages a number of common principles, the book uses the tools usually associated with atonal theory to explore a wide range of musical styles and genres. The discussion extends to music that is well over a hundred years old as well as music written by living composers. Composers representing a wide range of schools and “isms” are examined, including Paul Hindemith, George Crumb, Steve Reich, Ellen Taffe Zwilich, Philip Glass, Alexander Scriabin, Benjamin Britten, Ernest Bloch, Igor Stravinsky, Béla Bartók, Ruth Crawford, Toru Takemit-su, Arnold Schoenberg, Claude Debussy, Witold Lutoslawski, Aaron Co-pland, and Leonard Bernstein. The book is accompanied by an online

aural skills program (Motivic Hearing), one of the first to be delivered online rather than by means of CD ROM, and the only program de-voted exclusively to the acquisition of atonal aural skills.

Professor of Saxophone Harvey Pittel had a year of exciting recording projects and performances, and re-leased a 14-part pedagogy video series on YouTube that is already receiving ac-claim. Entitled Harvey Pit-tel Presents the Saxophone Teachings of the Master, Joe

Allard, Pittel shares his performance method, with tribute to his most influential teacher. Currently, nine of the 14 segments have been post-ed for the enjoyment and enrichment of thousands of viewers. Pittel has also been recording his upcoming album Songs for Mom, a tribute to his late mother, Dorothy Pittel, which will feature melodies she loved as well as less familiar songs. Among collaborators on the album are his son, UT alumnus David Pittel (BM 2005), and alumni of Pittel’s studio, including the Bel Cuore Saxophone Quartet. Pittel won recent acclaim for the 2011 release Sextuor à Vent, on which he plays with the West-wood Woodwind Quintet and duets with alumnus Sunil Gadgil (DMA 2011). In reviewing Sextuor, the American Record Guide wrote, “Harvey Pittel is the standard bearer for American saxophone playing.” Pittel performed in August at the Crystal Records Concert Hall in anticipation of his upcoming album The Baroque Saxophone, which will include per-

formances with the late Jens Nygaard and the Jupiter Symphony, and will feature works by William Grant Still, Quantz, Telemann, and Albinoni. Pit-tel also recently performed with son David on the “Concerto for Two Trum-pets” by Vivaldi and the “Concerto for Trumpet and Alto Saxophone” by Riv-ier in contribution to David’s upcom-ing solo trumpet CD, to be released in the fall.

Associate Professor in Music and Hu-man Learning and director of the UT String Project Laurie Scott collabo-rated with cellist and author Cornelia Watkins in writing the book From The Stage to the Studio: How Fine Musi-cians Become Great Teachers, released by Oxford University Press in April

2012. Premised on the synergistic relationship between teaching and performing, the book provides a structure for clarifying the essential el-ements of musical artistry. Scott’s discussion with Austin schoolteacher Christopher Purkiss, which was recorded and archived for StoryCorp as part of NPR’s National Teacher Initiative, focused on the impact of skilled and optimistic public school teachers on the lives of students in inclusive classrooms. The Suzuki Association of the Americas hon-ored Scott and UT alum William Dick with the “Creating Learning Com-munity Award” at the association’s national conference in Minneapolis. Recognized for creating a culture of cooperation and support between school classroom teachers and Suzuki studio teachers, their collabora-tion along with co-author Winifred Crock was identified as a determin-ing factor in the expansion and inclusion of Suzuki principles in string classrooms nationally. They are responsible for the development of the guidelines for Suzuki in the Schools Teacher Trainers and the curricula for the Suzuki in the Schools training courses. In addition to the above activities, Dr. Scott presented sessions at TMEA and the American String Teacher and Suzuki Association of the Americas national conferences.

As one of four nationally chosen Master Teachers for the NATS Intern Program during the summer, Associate Professor of Voice David Small mentored three young teachers, gave master classes, and sang a re-cital. In February 2012, he sang the title role of Rigoletto for the Sacra-mento Opera to critical acclaim. His busy year included many Austin performances, including baritone soloist with the Austin Symphony on Nielsen’s 3rd Symphony, the title role in Der Kaiser von Atlantis for the Butler School’s conference “The Banned and the Damned,” the Brahms Requiem in the memorial concert to Morris Beachy, and Mahler’s Rück-ert Lieder with the UT Wind Ensemble. Small was also invited by the head of the Chinese Chamber of Commerce to be a consultant for the Harvey Pittel and son, David

Laurie Scott (second from left) with String Project teachers who, together with their students, performed in May at a

gala event benefitting UT Elementary School.

SARAH & ERNEST BUTLER SCHOOL of MUSIC26

Austin Chinese Arts Association and sang for the Chinese Moon Festi-val on the Capitol steps.

Nikita Storojev, Associate Professor of Voice and Opera, performed the Shostakovich Symphonies 13 and 14 with the National Symphony Orchestra in Mexico City in September and October 2011. Also in Oc-tober, he sang in a concert of Music from the Holocaust at the Butler School and sang in Rimsky-Korsakov’s Mozart and Salieri at San Anto-nio College. In January 2012, he travelled to his native Russia, giving master classes at Ural Conservatory. In February, Professor Storojev performed as Beyday in an Amsterdam Opera production of Rimsky-Korsakov’s The Invisible City of Kitezh. He performed a faculty recital at

the Butler School in April and gave master classes in the Butler Opera Center Young Artist Program in June. He gave a recital in Poltava, Ukraine, in July 2012.

Dan Welcher, Professor of Composi-tion, was one of four recipients (along with Paul Moravec, Frank Ticheli, and John Zorn) of the Arts and Letters Award in Music from the American Academy of Arts and Letters. The May 2012 awards ceremony at the Academy in upper Manhattan fea-tured special lifetime achievement awards for Pete Seeger and David McCullough, with presentations by

Garrison Keillor, Meryl Streep, and Tony Kushner. Welcher’s award in-cluded a citation, a cash prize, and a financial award to be used toward the recording of his music. Welcher saw premieres of three new com-missioned works this past year: Lone Star Sinfonietta for three string quar-tets (written for the Cassatt Quartet), Scherzo for piano and string quartet (written for James Dick and the Cas-satt Quartet), and Romanza-Duettino for clarinet, violin, cello, and piano (written for SOLI in San Antonio). His music was featured at all-Welcher festivals at the University of North-ern Iowa and at the Crane School of Music at the State University of New York at Potsdam. Both festivals fea-tured a chamber concert with faculty and student performers, and a second concert of Welcher’s large ensemble works played by the uni-versity orchestra and wind ensemble. Welcher’s newest work, Museon Polemos (“War of the Muses”), commissioned by Texas Performing Arts, will be premiered in late September by the Miró and Shanghai String Quartets. This is a 25-minute work in three sections, modeled after the Stravinsky/Balanchine ballets of the 1930s and 40s.

Recently Retired FacultyThe faculty, staff, and students of the Butler School wish a fond good-bye to Leonard Johnson and Rose Taylor, two of our long-time and most-beloved teachers.

Leonard Johnson, Associate Profes-sor of Voice, has performed exten-sively throughout the United States and Western Europe. His opera per-formances include leading roles in Stravinsky’s Rake’s Progress and the New York City revival of Marc Blitzs-tein’s The Harpies. He has appeared with the Chicago Lyric, Chattanoo-ga, Birmingham, and San Diego Op-era Companies; in oratorio with the New York Choral Society, Pro Arte Chorale, and other major groups; and as soloist with the Detroit, San Diego, Wichita, and Amor Artis Or-

chestras. Mr. Johnson has toured with Goldovsky Opera, Rondoliers Trio, Gregg Smith Singers, and New York Vocal Arts Ensemble.

Rose Taylor, Professor of Voice, has enjoyed a musical career which spans all forms of classical vocal music. She has been a professional opera singer and appeared with many leading American opera companies, including Chicago Lyric, Dallas, Kansas City, Fort Worth, Opera Theatre of Saint Louis, Des Moines Metro, and Lake George. As a concert artist, she has appeared with many leading American symphony orchestras, including Philadelphia, Boston, Minnestota, National, Chicago, and the Los Angeles Philharmonic. She has been nominated for a Grammy award for her part in Ligeti’s Aventures

and Nouvelles Aventures, which was recorded with Esa-Pekka Sa-lonen for Sony Classical in 1997. She premiered Hans Werner Hen-ze’s Voices in London with the London Sinfonietta, Henze conduct-ing, and David Amram’s Trail of Beauty with the Philadelphia Or-chestra, Eugene Ormandy conducting. Rose Taylor was educated at the University of Southern California and the Juilliard School before launching her career in New York. She was a member of the Met-ropolitan Opera Studio, worked as an Affiliate Artist in Worcester, Massachusetts, and made a recording for New World Records enti-tled Angels Visits. In the early 1980s, she joined her husband, Russell Prickett, on a diplomatic posting to Belgrade, Yugoslavia ,where he served as Chief Economic Officer in the American Embassy. During this time, Rose performed both in concert and recital, as well as ap-pearing as Ulrica in Verdi’s A Masked Ball in both Belgrade and Za-greb., She joined the UT voice faculty in 1985. Through the years she has touched many lives and helped many singers to achieve their goals. She has also been an active performer at the university and in the community. She has performed with Texas Choral Consort, The New Texas Music Festi-val, Austin Lyric Opera, Austin Sym-phony, and Salon Concerts and the Austin Gilbert and Sullivan Society. In 2005 she was inducted into the Austin Arts Hall of Fame in honor of her contribution to the musical life of Austin. Rose Taylor

Leonard Johnson

Nikita Storojev as Beyday in Rimsky-Korsakov’s

The Invisible City of Kitezh

Nat

han

Russ

ell

David Small

Nat

han

Russ

ell

27WORDS of NOTE

New Faculty AppointmentsThe Sarah and Ernest Butler School of Music announces these new appointments for 2012-2013.

Donnie Ray Albert—Lecturer, Vocal ArtsDonnie Ray Albert earned a BM at Louisiana State University and his MM degree at Southern Methodist University. He began his career in 1975 with Houston Grand Opera in Treemonisha, and went on to per-

form in ten HGO productions, including award-winning tours of Porgy and Bess and Showboat. After thirteen years of his career as a Bass-Baritone, his switch to Baritone repertoire in 1988 proved favorable and led to engagements by most of the major opera companies and orchestras in North America and Europe. Highlights include Tosca in Portland and New York City Opera; Aida in Köln, and Stade de France; Na-bacco in Florentine Op-era and La Scala; Rigo-letto in New York City and Vancouver; Otello

in Sacramento and Hamburg; The Flying Dutchman in Austin and Köln; Macbeth in Ohio and Köln; La Traviata for Metropolitan Opera in the Parks, and many more. Albert can be heard on RCA’s Porgy and Bess (Grammy 1977—Best Opera Recording and the Grand Prix du Disc), The Rise and Fall of the City of Mahagonny (2 Gram-mys: 2008 Best Opera Recording and Best Classical Al-bum), and EMI’s Eine Florentinische Tragödie.

Gary Powell—Senior Lecturer, RecordingGary Powell’s accomplishments read like a Who’s Who catalog of family entertainment, with his productions having sold some 45 million albums across 47 countries with 125 albums all pro-duced in his Austin, Texas, recording studio. His credits include scoring work, original songs, and production as represented on Walt Disney’s storybook and song albums for The Little Mermaid, Aladdin, Beauty and the Beast, The Lion King, Pocahontas, A Bug’s Life, Toy Story I & II, Dino-saur, and Pirates of the Caribbean. In his work with Walt Disney Records, five of Powell’s productions have been certi-fied Gold and two Platinum. In 1999, Powell and co-producer Ted Kryczko were nominated for a Grammy Award for their production of Disney’s A Bug’s Life Sing Along. Powell has also won five Gold and one Silver Parents’ Choice Awards for his work as producer for children’s singer/songwriter Joe Scrug-gs on Shadow Play Records. Scruggs’ first video, another Powell production, won the National Parenting Publica-tion Award, the California Video Award, and has been honored at the USA Film Festival.

Bruce Saunders—Lecturer, Jazz StudiesBruce Saunders is currently a professor at Berklee College of Music where he has taught improvisation classes, private guitar lessons, his own Odd Meter Lab and the Kurt Rosenwinkel/Peter Bernstein Lab, the Joe Henderson Ensemble, and other various classes since 1993. He has also taught private guitar lessons at the New School, New York

University, and Austin Community College. He graduated with a MM in Jazz Performance from the University of North Texas after playing, record-ing and touring with the One O’clock Lab Band, and moved to New York City in 1986. While in New York, he played and recorded with many notable jazz icons, including Jack DeJohnette, Dave Holland, Peter Erskine, Kenny Werner, Dave Binney, Ben Monder, Bill Stewart, Scott Colley, Harvie S, Tim Lefevbre, Tony Scherr, Bill McHenry…too many to count or even remember

after 20 years in New York City. He moved to Austin in 2006 but continues to teach at Berklee and continues his association with his many friends in New York.

Ruth Ann Swenson—Lecturer, Vocal ArtsLyric soprano Ruth Ann Swenson attracted attention from the beginning of her 1983 professional debut in San Francisco. She also enjoyed recognition elsewhere almost immediately. She gave her European debut in Geneva in 1985, followed by engagements at the Salz-burg Festival and the Munich Staatsoper. Paris audienc-es heard her sing as Euridice at the Theatre des Champs Élysées and as Susanna at the Opera-Bastille. When Sw-

enson made her debut at the Metropolitan Opera in 1991, critics wel-comed her full and supple voice and captivating presence. Swenson has been a Metropolitan regular, heard in such roles as Gilda, Lucia di Lammermoor, Zerbinetta, Gounod’s Juliet, Massenet’s Manon, and the heroines in Les Contes D’Hoffmann and Musetta. During the 1994–95 Chicago Lyric Opera season, Swenson returned as Ann Truelove in Stravinsky’s The Rake’s Progress. She won high praise from English crit-ics when she sang a poised and full-voiced Semele at her 1996 Covent Garden debut. Audiences and critics alike have been pleased by her preparation, professionalism, and lovely voice.

John Turci-Escobar—Assistant Professor, Composition/TheoryJohn Turci-Escobar earned a BA from Rutgers University in 1996 and a PhD from Yale University in 2004. His primary areas of interest are the late Italian madrigal, the music of Astor Piazzolla, and Argentine tango. Secondary interests include nineteenth-century chromaticism, classical form, and broader issues in music and meaning. Turci-Escobar has presented his work at regional, national, and international conferences. He received a Mellon Dissertation Research Grant and a Prize Teaching Fellowship in 2000. In 2001, he was awarded the Robert M. Leylan Prize Dissertation Fellowship, and was a Lilly Teaching Fellow from 2006 to 2008. He is currently writing a series of articles on the music of Carlo Gesualdo and the late Italian madrigal. He is also preparing a book on the 1965 collaboration between Astor Piazzolla and Jorge Luis Borges.

Donnie Ray Albert

Gary Powell

Ruth Ann Swenson

Bruce Saunders

John Turci-Escobar

SARAH & ERNEST BUTLER SCHOOL of MUSIC28

UT Jazz Program Activities

The UT Jazz Orchestra celebrated the Longhorn Music release of its new compact disc, In The Thick Of It, distributed by Naxos.

The disc features compositions by UT students Mike Sailors, Gabriel Santiago, and Marcus Wilcher, as well as faculty mem-ber John Mills.

The Longhorn Jazz Festival culmi-nated in a sold-out concert fea-turing John Clayton, Grammy-winning bassist and composer, with the UT Jazz Orchestra. The concert was co-sponsored by the Butler School of Music and Texas Performing Arts. Earlier in the day, fifteen high school jazz bands performed for nationally-recog-nized adjudicators.

The UT Faculty Jazz Quartet (Jeff Hellmer, John Mills, John Fremgen, and Wayne Salzmann II) visited the Royal Academy of Music in Aarhus, Denmark, to play concerts and teach classes in all aspects of jazz, as part of the con-tinued exchange activities between the Butler School and the Roy-al Academy. Some Royal Academy jazz students will be attending

UT during the upcoming year.

DMA Jazz Composition student Gabriel Santiago toured Brazil with his quintet (which includes UT alumni Peter Stoltzman, Wayne Salzmann, and Russell Haight). He also released a DVD/CD set of his compositions and playing entitled Alive, which fea-tures the Gabriel Santiago Jazz Orchestra, an ensemble which in-cludes many present and former members of the UT jazz program. The set is available at www.gabri-elsantiagoproject.com.

DMA Jazz Composition student Michael Sailors headlined several gigs at the Elephant Room in Austin, and started his own big

band, the Truth in Jazz Orchestra, that has played in numerous regional venues.

Jazz clinicians that appeared in the Butler School this past year included trumpeter Ambrose Akinmusire, bassist Janek Gwiz-dala, and trombonist Jiggs Whigham.

Gabriel Santiago Quintet (l to r) Patrice Blanchard, Russell Haight, Gabriel Santiago, Wayne Salzmann II, Peter Stoltzman

Four Butler School Students Win UT Regents Awards

The University of Texas Board of Regents re-cently recognized four students from the But-

ler School of Music. Pianist and graduating senior Joseph Choi and the Hill Country Reed Trio, an undergraduate chamber music ensemble featur-ing oboist Angela Park, Stephanie Chung on clarinet, and Pearson Altizer on bassoon, were awarded the inaugural Regents’ Outstanding Student Awards in Arts and Humanities.

Choi was recognized in the outstanding perfor-mance by an individual or duo category. He is a student of Anton Nel, and has received many accolades during his undergraduate career. He was the first-place win-ner of the Butler School’s Concerto Competition in November 2011

and won the Nilsson Piano Competition as a sophomore in 2010. He has been ac-cepted to the Julliard School in New York City to pursue graduate studies in piano performance. “I have taught Joey since he was 15 and have had great pleasure see-ing him develop his talent and grow as a person,” said Nel. “I know he will continue to bring great credit to The University of Texas and I wish him well as he continues his studies at the Julliard School. I am very proud of him.”

The Hill Country Reed Trio was recognized in the category of outstand-ing musical performance by a group. Park, who will be a senior next fall, studies with Rebecca Henderson. She has competed in numer-ous competitions and is also a Grand Prize Winner of the International Youth Hymn Festival where she had the opportunity to perform at the Kennedy Center in Washington D.C. Chung is currently a junior study-ing under Nathan Williams. She began her studies in Taiwan, where she participated in several wind orchestras, including China Youth Corps Wind Orchestra performances in Taipei and New York. Altizer, a sopho-more studying with Kristen Wolfe Jensen, recently received an initiative grant for travelling to study with professional musicians from the Hous-ton Symphony, Houston Grand Opera, and Rice University.

“I am so pleased that the Hill Country Reed Trio won the prestigious new Regents Award,” said Professor Jensen. “After just a few months together, these three talented, eager, and committed musicians estab-lished a beautiful group sound, a cohesive sense of style, and sophisti-cated musicality.”

Joseph Choi

The Hill Country Reed Trio

Pres

ton

Broa

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Mar

sha

Mill

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29WORDS of NOTE

Spring Break in EuropeThree students of the Butler School of Music travelled to Italy over spring break last year to present a series of chamber music con-certs. Violinist Rachell Wong (then a Junior), cellist Francesco Mastromatteo (then final year DMA), and pianist Johan Botes (also fi-nal year DMA) played for packed audiences in the cities of Lucera, Foggia, and San Severo. The students played to admiring audiences who received their concerts with enthusiasm, helping to raise UT’s reputation in Europe at a very high-profile professional level. More im-portantly, the students grew as artists as they demonstrated the excellent performance tal-ent that flourishes at the Butler School.

Left to Right, Back: Francesco Mastromatteo, Johan Botes Front: Dr. Elvira Calabria (Presi-dent of the Lucera Festival), Rachell Wong

International Recognition Follows UT Trombones During Summer Tour

The UT Trombone Choir, led by trombone professor Nathaniel Brickens, spent the month of July touring Europe, including performances at the International Trombone Festival in Paris, the Schwenningen Music Festival in Germany, the French Reformed Church in Zurich, and the American Cathedral in Paris. The ensemble, which specializes in per-forming original music written for four to sixteen parts, has made quite an impression abroad, garnering mentions in German publications including Schwarzwälder-Bote and Südkurier Online. The Choir was enthusiastically received at each of the tour venues, in-cluding a gathering of over 30,000 people at their Kulturnacht performance in Germany.

In addition to performing with the UT Trombone Choir, Subito Bones, a quartet com-prised of two seniors and two spring 2012 graduates won first prize in the quartet com-petition at the International Trombone Festival. Subito Bones was the only ensemble from the Americas selected, via blind audition, to compete in the final round of competi-tion. The two other finalists were Erasmus Trombone Quartet from the Conservatorium van Amsterdam and Quattrobones from Musikhochschule-Hannover, Germany.

”I believe that Subito Bones is a stellar ensemble, that they clearly represent UT’s finest and that they have done much to provide service, honor and distinction to our great university,” said Professor Brickens. “Being labeled as the world’s best at any achieve-ment is a remarkable accomplishment.”

Subito Bones (l to r) Alex Glen, Josh Balleza, Daniel Fears, and Matt Carr

The UT Trombone Choir in Europe

Harp Studio NewsThe Butler School Harp Studio was host to fifteen high school students from Texas and Oklahoma at the 2012 Longhorn Music Camp Harp week in June. Sophomore Emily Me-lendes spent her second summer as librar-ian and harpist at the Breckenridge Festival. Master’s student Vincent Pierce toured China with The Noise Revival Orchestra. DMA gradu-ate Jacquelyn Venter recorded works of Samuel Barber with Conspirare (to be released October 2012) and performed with the Con-spirare Children’s Choir in December 2011. Butler School BM graduate Jaclyn Wappel received her MM in Harp Performance from Ball State University and will continue DMA studies there. Alumna Alaina Seabourne re-ceived her MM in Harp Performance from the University of Toronto and was accepted into the DMA program at Cincinnati Conservatory. Masters harp student Lisa Lamb is the inau-gural harp instructor at the Monarch Suzuki Academy and has a new harp theory publica-tion, Harp Games. Undergraduate Natalie Te-odori is the principal harpist with the Round Rock Symphony.

SARAH & ERNEST BUTLER SCHOOL of MUSIC30

Butler School of Music Student Awards, 2011–12School-wide Awards

Butler School of Music Concerto Competitions, 2011-12Jillian Bloom, MM Cello Performance

Charles Chadwell, BM Music Studies, SaxophoneJoseph Choi, BM Piano Performance

David O Nilsson Solo Piano Competition, 2012Jacqueline Perrin, BM Piano Performance – 1st prize

Shinhye Kim, BM Piano Performance – 2nd prizeNivan Gunaratne, BM Piano Performance – 3rd prize

Eleanor Alexander Stribling Award for Excellence in Jazz Studies, 2011-12

Graduate: Mike Sailors, DMA Jazz Composition Undergraduate: Aaron Easley, BM Jazz Performance

Sidney M Wright Piano Accompanying Competition, 2012Ruoxu Chen, DMA Piano Performance – Winner

Meng-chun (Mickey) Chien, MM Piano Performance – WinnerLi-wen Chen, MM Piano Performance – Honorable MentionNataly Wickham, DMA Opera/Voice Emphasis – Best Vocalist

Yi Xin, DMA Cello Performance – Best Instrumentalist

UT System Regents Outstanding Students Awardsin the Arts And Humanities, 2012

Joseph Choi, BM Piano PerformanceHill Country Reed Trio:

Angela Park, BM Oboe PerformanceStephanie Chung, BM Clarinet Performance

Pearson Altizer, BM Bassoon Performance

Undergraduate Achievements

Outstanding Plan II Honors Thesis, 2011-12Amanda Jensen, Plan II Classics, BA Music, Harp

“The Development of the Harp as a Solo Instrument in Renaissance Spain and Italy”

Certificates of Recognition in Performance, Fall 2011Samantha Miller, BM Music Studies – Voice

Virginia Rollo Elizondo, BM Music Business – VoiceClaire Trowbridge, BM Music Studies – Clarinet

Alicia Ponder, BA Music – Viola

Certificates of Recognition in Performance, Spring 2012Amanda Jensen, BA Music – Harp

Marshall Wootton, BA Music – ClarinetTucker Ewer, BM Music Studies – Trumpet

Connor Jewell, BM Music Studies – TrumpetJenifer Bailey, BM Music Studies – Voice

Eric Lyday, BM Music Studies – VoiceAustin Hart, BM Music Studies – Voice

Kyle Stringfield, BM Music Studies – ClarinetBernadette Dela Cruz, BA Music – Piano

Outstanding Undergraduate Recitals, 2011-12

Outstanding Junior RecitalsTristan Boyd, BM Percussion Performance

Amanda Lester, BM Trombone PerformanceEthan Marks, BM Trumpet Performance

Rachel Wong, BM Violin Performance

Nicolas Barnett, BM Music Studies, Euphonium, Outstanding Community Recital

Outstanding Senior RecitalsJoshua Balleza, BM Trombone Performance

Joseph Choi, BM Piano Performance Laura Jesson, BM Viola Performance

Meredith Riley, BM Violin Performance

Presser Foundation Scholar, 2012-13Jacqueline M. Perrin, BM Piano Performance

Graduate Achievements

Outstanding Masters Report, 2011-12Margaret Fons, MM Music Theory

“’A Thousand Nuances of Movement’: the Intersection of Gesture, Narrative, and Temporality in Selected Mazurkas of Chopin”

Outstanding Graduate Recitals, 2011-12

Outstanding Master of Music RecitalsJared Broussard, MM Trumpet Performance Charles Magnone, MM Piano Performance

Saul Regalado, MM Euphonium Performance Mackenzie Slottow, MM Flute Performance

Loren Welles, MM Clarinet Performance Lauren Miller, MM Bassoon Performance

Marina Brankovic, MM Violin Chamber Music

Outstanding Doctor of Musical Arts RecitalsDorea Cook, DMA Voice Performance, DMA I

Jesse Cook, DMA Trumpet Performance, DMA IKsenia Zhuleva, DMA Viola Performance, DMA I

Joanna Fernandes, DMA Voice Literature/Pedagogy, DMA 2Michael Hertel, DMA Saxophone Performance, DMA 2

Chia-Jung Lee, DMA Flute Performance, DMA 2Francesco Mastromatteo, DMA Cello Performance, DMA 2

Spencer Nielsen, DMA Saxophone Performance, DMA 2Brad Raymond, DMA Voice Literature/Pedagogy, DMA 2Darren Workman, DMA Trombone Performance, DMA 2

Outstanding Doctor of Musical Arts Chamber RecitalsChristopher Luther, DMA Viola Performance

Outstanding Doctor of Musical Arts Lecture RecitalsAbigail Mace, DMA Piano Performance

Jonathan Helmlinger, DMA Piano Performance

31WORDS of NOTE

Graduate Fellowships

American Institute of Indian Studies Junior Fellowship, 2012-13Eben Graves, PhD Ethnomusicology

Fulbright Grant for Study in Portugal, 2012-13Steven Snowden, DMA Composition

Fulbright Grant for Study in Sweden, 2012-13Ian Dicke, DMA Composition

Fulbright Grant for study in West BengalBen Krakauer, DMA Ethnomusicology

David Bruton, Jr Fellowship, 2011-12Tania Camacho, PhD Musicology

University Continuing Fellowships, 2011-12Steve Snowden, DMA Music Composition

Mark Lomanno, PhD Ethnomusicology

University Graduate Diversity Recruitment Fellowships, 2011-12Stephan Griffin, MM Organ Performance

Adrian Ruiz, DMA Jazz Trumpet Performance

University Preemptive Recruitment Fellowships, 2011-12Timothy Hagen, DMA Flute Performance

Alex Heitlinger, DMA Music Composition, Jazz Emphasis

Editorial Graduate Research Assistantship, 2011-12Cory LaFevers, MM Ethnomusicology

Outside Achievements

2011 Asian Double Reed Association Competition – First PrizeLaura Miller, MM Bassoon Performance

2012 Florida Flute Festival’s Young Artist Competition – Top PrizeMeekyoung Lee, Sophomore, BM Flute Performance

2012 Boston Guitar Festival and Competition – First Prize11th Annual Texas Guitar Competition – First Prize

Chad Ibison, MM Guitar Performance

52nd Sorantin International Young Artists Competition – WinnerRachel Wong, Junior, BM Violin Performance

XVII International Young Soloist competition of Orquestra Sinfônica de Porto Alegre, Brazil – Winner

Fernando Cardoso, MM Trombone Performance

2012 Big 12 Tenor Trombone Solo Competition – First PrizeJoshua Balleza, Senior, BM Trombone Performance

2012 Fort Worth Trombone Summit National Solo Competition – First Prize

Trey Medrano, Junior, BM Music Studies

2012 ASCAP/SEAMUS Student Commission Competition – First PrizeEli Fieldsteel, DMA Composition

2011-12 ASCAP Plus Award for CompositionLane Harder, DMA Composition

2012 Louisville International Guitar Festival – First Prize2012 Columbus International Guitar Festival and Competition –

Second Prize2012 Appalachian State Guitar Competition – Second Prize

Joseph Palmer, DMA Guitar Performance

2012 Classical Minds Guitar Festival in Houston – Second PrizeKyle Comer, Sophomore, Guitar Performance

2012 International Trombone Association’s Wiehe Solo Competition - Honorable Mention

Matt Carr, Senior, Guitar Performance

2012 Big 12 Bass Trombone Solo Competition – Third PrizeTrey Medrano, Junior, BM Music Studies

2012 International Trombone Association Marsteller Solo Competition – Finalist

Joshua Balleza, Senior, BM Trombone Performance

2012 International Trombone Association’s Smith Solo Competition Honorable Mention

Blair Castle, MM Trombone Performance

2012 American Harp Society Foundation Awards Competition, Young Professional Division – Finalist

Emily Melendes, Sophomore, BM Harp Performance

2012 American Harp Society Anne Adams Award - WinnerEmily Melendes, Sophomore, BM Harp Performance

2011 Young Arts National Competition – Honorable Mention AwardMeera Gudipati, Freshman, BM Flute Performance

2012 Gillet-Fox International Bassoon Competition-FinalistLaura Miller, MM Bassoon Performance

Ensemble Awards

2012 UT Brownsville Guitar Ensemble Festival and Competition – First Prize

Undergraduate Guitar Quartet:Kyle Comer

Stephen KrishnanLuis Rangel

Thales Smith

2012 International Trombone Association Trombone Quartet Competition – First Prize

Subito Bones:Josh Balleza

Matt CarrAlex Glen

Daniel Fears

SARAH & ERNEST BUTLER SCHOOL of MUSIC32

Butler School Students, Teachers, and Alumni Participate in Franco-American Vocal Academy

Honored in 2011 by the Republic of France as Chevalier of the Order of Arts and Letters, Professor William Lewis con-

tinues his involvement in the teaching and promotion of French vocal music internationally. He is co-director with his wife, Parisienne soprano Frederique Added, of the Franco-American Vocal Academy in Perigueux, France, which has again received critical and public acclaim for its summer 2012 activities.

Professor Lewis directed a highly successful produc-tion of Jacques Offenbach’s Les Contes d’Hoffmann, as well as two one act Offenbach operettas: Bagatelle and Le Mariage aux Lanternes – sung in French with French dialogue by Frederique Added.

The Academy Singers, numbering forty, were heard in three staged concert versions of Lecons de Français aux Americains by composer-in-residence Isabelle Aboulker. The work was staged by Dr. John McGuire, a graduate of the Butler School of Music.

The Academy has expanded its educational programs since 2011 to in-clude a school in Salzburg concentrating on the operas of W.A. Mozart,

which Professor Lewis and Frederique Added also organize and man-age. The repertoire this season was Le Nozze di Fi-garo (headed by UT alumni Dr. Alan Hicks, stage director, and David Brown, conductor) plus Der Schauspieldirektor and Bastien und Bastienne.

A highlight of the summer season was a produc-tion of Offenbach’s La Perichole, fully staged with orchestra by Professor Lewis, sung in French with English dialogue at the Miller Outdoor Theater in Houston. David Brown was the conductor and the entire production was adapted and coordinated by Frederique Added.

Summer faculty included UT graduates Dr. Maggie Chen, Dan K. Kurland, Dr. John McGuire, Dr. Alan Hicks, David Brown, and present UT faculty Rick Rowley (Butler School of Music)and Dr. Michael

Johnson (Department of French and Italian). University of Texas singers in the programs included: Erin Rogers, Julia Gmeiner, Katie Chapman, Namanda Musoke, Alyssa Barnes, Krista Lundquist, Andrew Newton and Dan Sullivan. All programs and projects are affiliated with the Butler School of Music.

Offenbach’s Les Contes d’Hoffmann:Sara Warner as Antonia,

Adam Piper as Dr. Miracle

Update: Aeolian-Skinner Organ Installation in Jessen Auditorium

In last year’s issue of Words of Note we announced the acquisition of an Aeolian-Skinner pipe organ, intended for installation in Jessen

Auditorium. The instrument, originally commissioned by the Cen-tral Presbyterian Church of Houston, began its life in 1963 as Opus 1393 of the Aeolian-Skinner Or-gan Company of Boston, a firm long-considered one of the premier or-gan-builders in America. In the spring of 2011, thanks to the generosity of Butler School of Mu-sic friend and supporter Robert Sherrill, the or-gan was acquired from the church and shipped to Atlanta where mas-ter organ builder Robert Coulter has performed a complete restoration and rebuild.

The installation here at UT, originally scheduled for summer 2012, will take place in mid-September with final tuning and finishing of the instrument in Oc-tober. As this magazine goes to print, Robert Coulter and company have gathered the many components into Jessen Auditorium and are busy installing the organ into the hall that housed for decades the school’s original Aeolian-Skinner pipe organ. That first instru-ment was the very one that founding dean William Doty taught

and performed upon, and among his many successful students was our own beloved Professor Gerre Hancock. In fact, Dr. Hancock was the driving force behind the initiative to return an organ to Jessen. He located and recom-mended the purchase of the above-mentioned Opus 1393 and was over-joyed that an instrument so similar to the organ he had studied upon would once again be heard in the hall.

It is a tragedy, indeed, that Gerre Hancock passed away before he could experience once again the sound of an Aeolian-Skinner in the hall so ideally suited for its acoustics. However, Gerre’s wife, Dr. Judith Hancock, has remained on the organ faculty here at the Butler School and will be performing a concert to celebrate the new organ, along with fellow faculty member Scott Davis.

The dedicatory organ concert will occur on Friday, December 14th at 7:30 pm and will be streamed live over the internet. Be sure to visit our calendar at www.music.utexas.edu for instructions on how to tune in to this historic event.

A portion of the organ’s more than 1,400 pouches having old leather stripped.

Craftsman at Coulter Organbuilders applies new leather pouches.

33WORDS of NOTE

Richard Dean Blair, retired Professor Emeritus of The University of Texas School of Music, died on De-cember 2, 2011. He was born in Detroit, Michigan. His musical training was with Marcel Tabuteau of the Philadelphia Orchestra and Fernand Gillet of the Boston Symphony Orchestra. He received a Diploma in Oboe in 1951, a BM from the New England Conservatory of Music in Boston in 1956, and an MMus in Mu-sic Education from The University of Texas at Austin in 1966. Blair’s tenure at UT spanned 41 years, in which he lovingly shared the beauty of music with students of all levels as they gained skills in oboe and chamber music performance. He encouraged students

“to listen and to really hear.” His love of teaching spread throughout the campus and attracted non-music major recorder students as well. A consummate musi-cian who knew the real meaning of mak-ing music, he shared an open heart and was an inspiration to all who knew him. At various times, he served as Assistant Dean of Fine Arts, Acting and Associate Chairman of the Department of Music, and other administrative positions. He was also an Assistant Director of The University of Texas Longhorn Band. The famed Script Texas band formation

was his creation, and, upon his retirement in 1995, he was invited to conduct the National Anthem at the UT-TCU football game where his formation was to be featured. In typical humor, he remarked “67,000 people came to see me conduct. Some of them might have come to see the game!” Richard Blair’s performance career included the UT Woodwind Quin-tet, various other music department ensembles, and engagements with orchestras throughout Texas. He was English hornist with the San Anto-nio Symphony for four years, and served for over 20 years as the Principal Oboist of the Austin Symphony Orchestra. He also had a passion for buy-ing antiques and adding to his large collection of antique music boxes. Other joys included creating handcrafted items in his wood-working shop, spending time at his homes in Fredericksburg, Texas, and Sil-ver Plume, Colorado, and traveling to France with a group of oboists. Survivors include his wife of 50 years, Amy, a daughter and son-in-law, granddaughter, son and daughter-in-law, two grandsons, and a sister and brother-in-law.

Jennifer Bourianoff, Assistant Concertmaster for the Austin Sym-phony for the last 15 years, died on December 27, 2011, after a short illness. A native Austinite, she graduated from S.F. Austin High School, then attended the Cleveland Institute of Music, where she received a Bachelor of Music degree in 1991. She entered the University of Texas at Austin and received a Master’s Degree of Music with Honors. Throughout her career, she studied with such renowned teachers as Vincent Fritelli, David Cerone, Jascha Brodsky, David Up-degraff and Eugene Gratovitch, and performed in mas-ter classes presented by Isaac Stern, Pinchas Zukerman, and Dorothy Delay. Jennifer was a talented musician who displayed a gift for music at an early age. She started studying piano at the age of 2, and violin at the age of 7. She served as the Assistant Concertmaster of the Austin Sympho-ny Orchestra and as Assistant Concertmaster of the Britt Festival Orchestra in Oregon. She was a founding member of Hyde Park Strings, and performed as leader and soloist with the Chamber Soloists of Austin, A. Mo-zart Fest, and performed with the Santa Fe Pro Musica

Chamber Orchestra, the Austin Lyric Opera, and the Austin Chamber Music Center. She served on the faculty at St. Stephen’s Episcopal School, the Uni-versity of Texas at Austin, Texas Lutheran University,

and the American Festival for the Arts. She was invited to perform at the Teatro Colon in Buenos Aires in 1997 and in 2001 at the VIII Interna-tional Festival de Otono in Mexico. In 2005, Jennifer performed at the White House in Washington D.C. with Viva Trio. She was a gifted teacher who loved her students and loved to help them achieve their goals. She was awarded Outstanding Musician by the Austin Critics Table, cited in Teach-ers Who Make a Difference by Fox 7 News, and named Educator of the Year by the Austin Under 40 Awards. She was an active member and ordained Elder in Hyde Park Presbyterian Church. She loved animals, cooking and spending time with close friends and family. Surviving her are her parents, Dr. George Bourianoff and Rev. Linda Bou-rianoff, two sisters, nephews, an aunt, uncle, and cousins. Jennifer was deeply loved and her determination and pas-sion for her music and life will be greatly missed by her family and friends.

One of America’s most highly acclaimed concert organists and choral directors, Gerre Hancock, professor of organ and sacred music at the Butler School of Music, died on January 21, 2012, at the age of 77. Prior to his appointment at UT, Hancock held the position of Organist and Master of Choristers at Saint Thomas Church Fifth Avenue in New York City for more than thirty years. Previously, he held positions as Organ-ist and Choirmaster of Christ Church Cathedral in Cincinnati, where he also served on the Artist Faculty of the College-Conservatory of Music, University of Cincinnati, and as Assistant Organist at St. Bartholomew’s Church, New York City. “Gerre Hancock was a legend in his own time. We are so fortunate to have had him on the faculty in the Butler School of Music for nearly nine years,” said Glenn Chandler, former director of the Butler School of Music. “After a 32-year career at St. Thomas Church on Fifth Ave in New York City where he and his wife Judith built what was arguably the fin-est Anglican church music program in the United States, he came back to his alma mater to pass on to the next generation of organists the knowledge and skills that he had so wonderfully mastered during his lifetime. We will sorely miss him.” Hancock received his bachelor’s degree in music from UT and his

master’s degree in sacred music from Union Theologi-cal Seminary in New York. He also studied in Paris and was a finalist at the Munich International Music Com-petitions. He studied organ with E. William Doty, Rob-ert Baker, Jean Langlais and Marie-Claire Alain. He served on the faculty of The Juilliard School and taught improvisation on a visiting basis at the Insti-tute of Sacred Music, Yale University, and The Eastman School of Music. In 1981, he was appointed a Fellow of the Royal School of Church Music, and in 1995 was appointed a Fellow of the Royal College of Organists. He received honorary doctor of music degrees from the Nashotah House Seminary and The University of the South at Sewanee, Tennessee. In 2004, he was awarded an honorary doctor of divinity degree from The General Theological Seminary in New York. He is listed in Who’s Who in America, and his biogra-phy appears in The New Grove Dictionary of Music and

In Memoriam

Richard BlairJennifer Bourianoff

Gerre Hancock

SARAH & ERNEST BUTLER SCHOOL of MUSIC34

Musicians. In 2004, he was presented the Medal of the Cross of St. Au-gustine by the Archbishop of Canterbury for his extraordinary service to the Anglican Church. Gerre Hancock’s consummate skill was clearly apparent in his con-cert appearances. Possessing a masterly interpretive ability, he was an artist of taste, warmth, perception, and style. He was a featured recital-ist and lecturer at numerous regional and national conventions of the American Guild of Organists. Considered the finest organ improviser in America, Hancock was heard in recital in many cities throughout the world. He also performed in duo recitals with his wife, Dr. Judith Hancock. His compositions for organ and chorus are widely performed, and his textbook, Improvising: How to Master the Art, is used by musicians throughout the country. He has recorded for Gothic Records, Decca/Argo, Koch International and Priory Records, both as a conductor of The St. Thomas Choir and as a soloist. He is survived by his wife of 50 years, Judith Hancock, and their two daughters, Deborah Hancock and Lisa Hancock.

Don Hood, long-time band director and administrator in Angleton, Texas, passed away December 18, 2011, in Houston, at the age of 78. He had many notable accomplishments in his 50-plus year career work-ing for the Texas public school system. While attending The University of Texas at Austin, Don was princi-pal horn with the Symphonic Band, the University Orchestra, and later with the Austin Symphony. He was president of the Symphonic Band and Phi Mu Alpha Sinfonia Music Fraternity. After earning his UT bache-

lor’s degree, he completed his master’s degree while teaching elementary school band in the Austin Public Schools.His next position was with the Lake Jackson Jr. High Band, which he helped develop into an outstanding band recognized as one of the fin-est in the state. Mr. Hood was selected to lead the Angle-ton High School band in 1965, and for the next eleven years he built the band from ap-proximately 90 to over 350 members, more than 25% of the high school student body. The band was awarded straight first divisions in marching and was a consistent first-division

winner in concert and sight-reading. The Angleton band performed on national television numerous times at Houston Oiler and Dallas Cow-boys games. In 1972 the band was selected by the Angleton Chamber of Commerce as “Citizen of the Year.” The band won the Tournament of Roses marching contest in 1973, and was selected to perform at the first game held in the New Orleans Super Dome. In his twenty-year ca-reer as a band director, Hood’s bands received a total of 50 UIL first-division ratings, three second-division ratings, and one third-division rating. He conducted numerous clinics and served as a UIL adjudicator throughout the state. He served as state chairman of the UIL Advisory Committee, and was on the UIL Music Se-lection Committee numerous times. In 1976, Don Hood became principal of Angleton’s Northside Elementary School, where he served for twen-ty years. He was selected as an Outstanding Adminis-trator for the State of Texas by the Classroom Teachers Association. In 1996, he became principal of the Early Childhood Campus and served as Director of Fine Arts. Upon his retirement in 2002, the City of Angleton issued a proclamation designating Friday, September 27, 2002, as “Don Hood Day.” In 2008, he was inducted into the Texas Band Masters Phi Beta Mu Hall of Fame. Don married his college sweetheart, the then Lola

Kay Palmer, who was an outstanding clarinetist at UT, and became a highly-successful elementary and middle school music teacher. Survi-vors of Don Hood, include his wife, Lola Kay, a son, grandson, mother, sister, and sister-in-law.

K. M. (Kay) Knittel, Associate Professor of Musicology, died suddenly on August 6, 2012, at her home in Philadelphia, Pennsylvania, at the age of 46. She began playing the violin at age 10, and was concert-master of the Corvallis High School Orchestra and the Oregon All-State Orchestra. She graduated from Carleton College with a Bachelor of Arts in music and went on to earn a Doctorate in musicology from Princeton University. Professor Knittel taught at Seton Hall University before joining the musiciology faculty at the Butler School of Music in 2001. Her research interests included Beethoven, Mahler, 19th Century European history, German nationalism, Jewish studies, history of antisemitism, and biography. Her work appeared in the Journal of the Ameri-can Musicological Society, 19th Century Music, Music & Letters, and Beethoven Forum, and she contributed articles to both The New Grove Dictionary of Op-era and to the most recent edition of The New Grove Dictionary of Music and Musicians. Her book, Seeing Mahler, is a study of the reception of Mahler and his mu-sic seen against the backdrop of Vien-nese anti-Semitism at the turn of the century. Portions of the book were presented at American Musicological Society meetings in the U.S. and in Great Britain, and have appeared in 19th-Century Music. “Kay” Knit-tel is survived by her husband, Josh Klein of Philadelphia; her parents, Martin and Marjorie Knittel of Albany; and two sisters.

Robert Rudié passed away on March 4, at 93 years of age, after a long and celebrated career as violinist, conductor, educator, and actor. He was born in New York City. He began his study of violin at age seven, and made his concert debut at age ten. After graduating from the Juil-liard Graduate School with honors, his musical career included the first-violin section of the NBC Symphony; Concertmaster and Assistant Conductor of the Oklahoma Symphony; Concertmaster of the Ameri-can Symphony, Orchestra of the Americas, Westchester Symphony, As-pen Festival, New York City Ballet, and New Jersey Symphony; Guest Concertmaster of the Dallas Symphony and Honolulu Symphony; and Assistant Concertmaster of the Austin Symphony. In 1981, he came to Austin, where he served on the UT violin faculty. He was Director of the Riverdale School of Music in New York City for nineteen years, head of the String Department at Harlem School of

the Arts, and taught at Vassar College, University of Okla-homa at Alva, and Westchester Conservatory. Rudié made seven tours of the United States, Canada and Mexico as recitalist and soloist with orchestra under Columbia Art-ists Management, and five tours as conductor and soloist with the Rudié Sinfonietta. His acting career began when he was a boy, acting in Clare Tree Major’s Children’s Theater in New York City and then as a teenager in the Teatre Français in New York City. After a long hiatus, his acting career resumed with the performances and national tours of two one-man shows, Paganini! and Heroes and Lovers, with pianist and composer Kathryn Mishell. Acting roles in Austin included Scrooge in the Zach Scott production of A Christmas Carol,

K. M. (Kay) Knittel

Robert Rudié

Don Hood

35WORDS of NOTE

and major roles in True West, Where There’s a Will, Inspecting Carol, and many others. Rudié’s performance as Paganini won an Emmy award for the Steve Allen PBS-TV show Meeting of Minds in 1981. As chamber musician, he was first violin of the Riverdale String Quartet and Bronx Arts Ensemble before founding Salon Concerts in 1990, which help to support the CHAMPS program he founded to teach chamber music in public schools. Passionate about chamber music, he continued to perform, coach ensembles, and travel to schools into his 90s. It was Robert Rudié’s wish that CHAMPS survive and thrive long after his death. Those wishing to contribute are asked to make a dona-tion to Salon Concerts, Inc. P.O. Box 163501, Austin, Texas 78716 or at salonconcerts.org. He was survived by his wife, Kathryn Mishell, a son and daugh-ter, a stepson and two stepdaughters, three grandchildren, and two step-grandchildren.

Oswaldo “Ozzie” Guadalupe Vela passed away September 27, 2011. He was born in Kenedy, Texas, attended schools in Kenedy and Corpus Christi, and then served in the Navy. He met his wife, Pauline “Polly” Grace Ames while stationed in the Navy at Green Cove Springs, Florida. They lived in Port Arthur for fifty years and moved to Houston in 2005.He served in the Army Reserve Band and performed in the Corpus Christi Symphony Orchestra while attending college there. He gradu-ated from Del Mar Jr. College in Corpus Christi and earned his Bachelor in Music from the University of Texas in Austin in 1953. He also earned a Masters Degree in Education from Sam Houston State Teachers

College and a Masters in History from Lamar University. Ozzie’s life was devoted to music and his family. He taught instrumental music for 30 years and social studies for 4 years in Port Arthur Independent School District. He loved to visit the French Quarter in New Orleans to view the artists and their works and listen to the jazz musicians. He became involved in church and community activities including the United Methodist Church, Port Arthur Teachers Association, the Mexican Heritage Society, and the Texas Art Museum Society. While he was president of the teachers’ organization, teachers began to receive Social Security benefits. He also held private music lessons in his home, directed the choir at Lakeview United Methodist Church, and played double bass in the Beaumont Symphony Orchestra. Upon retirement, he enjoyed lessons in fine art at art clubs and Beau-mont’s Lamar University. Before his death he suffered from Alzheimer’s Disease. He is survived by his wife of sixty-three years, Pauline “Polly” Vela, six children and their spouses, eleven grandchildren and their spouses, six great-grand-children, a sister, niece, two nephews, grand nieces, grand nephews, and several cousins. Memorials may be made to the Texas Artist Museum, Port Arthur, or to any Alzheimer’s Unit.

A Requiem for Dr Gerre Hancock

On February 4, 2012, a requiem mass was held for Dr. Gerre Hancock at St. Thomas Church, Fifth Avenue, New York City,

where he had served as Master of Choristers and Organist for 33 years, assisted by his wife, Dr. Judith Hancock, before they joined the faculty of the Butler School of Music at UT, his alma mater, in 2004. The two-hour service was a fitting tribute to a lifetime of dedication and contribution to the field of sacred music. During his career he became recognized as the epitome of excellence in Anglican Church Music and was revered around the world for his organ performance, especially his improvisations, and for his compositions and arrangements of sacred choral music.

Two hours before the service there was a line of people waiting outside the church more than a block long. When the doors opened the church filled quickly. Space was provided in the cha-pel with closed-circuit television for those who could not get into the sanctuary. The event was also webcast. All twelve of the organ and sacred music majors from the Butler School attended, along with the former director of the school, B. Glenn Chandler, and his wife, Joy. It became ob-vious while listening to the hymns being sung that the audience was made up of numerous musicians, many of whom were former choirboys and organ students of Dr. Hancock.

Presiding over the service was The Reverend Andrew Mead, Rector of St. Thomas Church, who was assisted by Rector Emeritus John Andrew, with whom Dr. Hancock had worked closely for much of

his tenure at St. Thomas. The current organist/choirmaster of St. Thomas Church, John Scott, prepared and led the St. Thomas choir in a ser-vice featuring the best of music from the Angli-can tradition, including works by Dr. Gerre, as his students affectionately called him. Assistant organists assisted throughout the service with inspiring music from the great Arents Memorial Organ in the chancel and the Loening-Hancock Organ in the rear of the church. Participating in the service were Lisa Hancock, daughter, and The Reverend James Hancock, brother. Dr. Ju-dith Hancock, who was married to Dr. Gerre for fifty years, greeted the hundreds of attendees at a reception that followed the service.

In an earlier private service, Dr. Hancock’s ashes were interred in the chancel floor near the spot where he stood for more than thirty years to conduct the choir.

On February 14, the Butler School of Music hosted a memorial “Celebrating the Life of Gerre

Hancock” which included speeches reflecting on Hancock’s life and legacy in addition to musical performances from students, faculty members, and other colleagues.

Ozzie Guadalupe Vela

This portrait of Dr. Hancock by Paul Newton hangs in the St. Thomas

Choir School.

St. T

hom

as C

hurc

h

SARAH & ERNEST BUTLER SCHOOL of MUSIC36

The BuTler SocieTyThe Butler Society is a community of supporters whose generous contributions provide enrichment and professional growth opportunities to students and faculty in the Sarah and Ernest Butler School of Music. Members of the Butler Society are acknowledged in select Butler School concert programs, unless otherwise requested, based on contributions made in the past twelve months. We appreciate very much the support provided by members of the Butler Society and invite those who have not participated to consider becoming a member by making a gift today. For more information about giving and the Butler Society, please visit our website at www.music.utexas.eduButler Society Permanent Members Cumulative Gifts of $1,000,000 and aboveSarah and Ernest ButlerVincent R. DiNinoMary Winton GreenKent Wheeler KennanJeff and Gail KodoskyJoe R. and Teresa Lozano Long

Butler Society Annual Members– August 1, 2011 through August 31, 2012Gifts $100,000 and aboveSarah and Ernest ButlerDorothy Richard Starling Foundation

Gifts from $10,000-$99,999Moton CrockettVincent R. DiNinoThe Ann and Gordon Getty FoundationMary Ann and Andrew R. HellerGail and Jeff KodoskyJoe R. and Teresa Lozano LongGregory L. McCoyEstate of W.K. MilnerDr. David O. NilssonDavid SloanUniversity Co-Operative Society

Gifts from $1000-$9,999AEP Texas Central CompanyCooki and Bob BlevinsJohnella BoyntonFrances and Douglas BrownCathy and George CastleberryJoy and Glenn ChandlerClassical Artists Development FoundationArdis and Eli P. CoxTania and Don CoxCheney G. CrowPaula and Daniel DalyJudith Jellison and Robert DukeExxonMobil FoundationJennifer and David EygesThe Fant FoundationMarvin FinkleMaurine FordFriends of the UniversityWarren GouldMary Winton GreenRussell GregoryRichard Hartgrove and Gary CooperRebecca Henderson and Daniel Kowalski

Carol and John HoldenIBM International FoundationNancy and Bob InmanIBC BankJPMorgan Chase FoundationJennifer and Steve JornsThe Junior League of AustinRuth and Allen KillamDonald KnaubJames R. LittlefieldLucia Palacios MaleyJulia MarsdenRobert MiddletonThe Cynthia and George Mitchell FoundationJon and Hilary OlsonGenevieve and Ward Orsinger FoundationThe Presser FoundationR & P Ramirez, LTD.RWM FoundationHildegard Froehlich RainbowA. David RennerBronwyn and Vernon RewRichie & Gueringer P.C.Jeanne and Ray SasakiThe Seawell Elam FoundationCarolyn and Marc SeriffSt. Martin’s Evangelical Lutheran ChurchSt. William’s Catholic ChurchSteven Harris Architects LLPBecky StewartThe Tejano Statue-Capitol, Inc.Carla and Kelly ThompsonThe University of Texas Foundation, Inc.William C. Vaughan, Jr.Eva and Marvin Womack

Gifts from $500–$999Susan K. and Odilon P. AlvaradoAustin Chapter American Guild of OrganistsBeverly BarringtonCarol and Sterling BerberianBuffet Group USAMichael ChurginBarrett ColvinStephen FalkSteven FleckmanJeff Hellmer and Abra MooreDaniel and Catherine JaffeAlaire LowryScott McNultyNational String Project ConsortiumOak Hill United Methodist ChurchMichael OrtizLucien Rees Roberts

LaFalco Robinson, Jr.Tuesday ClubUniversity United Methodist ChurchSusan WileyLauren Zachry-Reynolds and C. Winton Reynolds

Gifts up to $499Pamela AckerSusan K. AdlerRichard AlexanderGregory D. AllenMichael ArnoldAustin Community FoundationAustin District Music Teachers AssociationLouise K. AvantJannette and Bennie BalkeCharles BallSuzannah and Barneby CoxJoseph BatsonSean M. BeaversVickie L. Bibro and John H. AbbottJerome BierschenkSmith BlackwellAnn and Daniel BoyerDouglas BoyerRachel and David BreedingWilliam Erwin BrentBarbara V. BrownAmy and Randy BuckspanWill ButcherH. David and Linda CaffeyNancy F. CardozierKathy and Steven CarrikerJudy CheathamTimothy Mark CheekMae ChngJonell A. and Mark K. ClardyCharles A. ClarkWilliam L. and Mary Lynn Cohagan Rosemary ConeConsulado General de MexicoCamille CookRebecca CurryScott Alan DavisStephen C. and Jill H. Davol Lea DeForestJohn A. DebnerAndrew DenmanMr. James DickMarlee and Hanns-Bertold DietzTammy DitmoreStacy and Gene DowdyDonald and Patricia DumtraValerie O. El FarrahDavid EllisPamela ElrodThe Ex-Students’ Association

Jana R. FallinCharlotte and Jim FennerUnited Methodist ChurchLucette FlanaganStuart FolseJason P. FosterJennifer and Charles FowlerCheryl FullerSusanna P. GarciaNancy B. GarrettHettie Page Garwood, honoring Judge W.GarwoodBonnie S. GilsonDaniel GobleAngela GoodwinKathryn B. GovierJeanne and Charles GravesPage GravesLita A. GuerraJuan M. GuerreroKelly HaleDr. Alexander W. HamiltonRobert L. Hardgrave, Jr.Loretta R. HawleyBonnie HedgesJacquelyn HelinJohn F. HerzerLydia HewettDonald A. HodgesLavona and James HollandKathleen B. HorneLinda Marell HurstadKathryn Hutchison and Rami El-FarrahJoseph Financial PartnersRoderic M. KeatingJames M. KleinNora Peterson KlierEdith C. KnauerRita and Fred KogerLee M. KohlenbergSusan KrupnickSusan LalumiaLinda and Robert LaneAnn LawsonCharles LeeKathryn G. LeeLou LeonardMelanie C. LewisIsabelle and Jack LipovskiJennifer LoehlinSondra Lomax and Peter LohmanErin L. and Bruce E. Ludwick, Jr.Martha and Robert MacDonaldBetty and Harry MallardNancy and Bruce McCannEvelyn McCartyJulie and Jerry McCoyReba and Stephen McHaney

Margaret and Gary MeoAly Mercado-Castro and Zeke CastroSusan and James MoeserMartha MorganJoel MottMr. Carl V. MullerAnton NelSteve NuessbaumBarbara A. O’BrienEstela OlevskyJulie and Derrik OlsenDiane PerrinDiana PhillipsFrantz Piere-GheirDiane PowellBruce PowerSue and Clift PriceJulie PruettKatherine P. RaceMr. Miner RaymondShelagh Johnston and Louis RileyBob RobertsonNancy ScanlanBrian ShankmanReve ShapardM. Michael and Susan S. SharlotMicki SimmsMargaret M. SimpsonSheryl H. StackPauline and Herbert StarkRowena and Tom StenisScott A. StewartMargaret StrongRichard TackettMarion and James TaylorMartha L. ThomasKathleen and Jamie ThomersonJames TollesonDebbie TottTravis TranAnn TurpinSusan Kidwell and Michael TusaJanis and Mark VanderBergMarianne Gedigian and Charles W. VillarrubiaWilliam K. WakefieldJennifer WalkerRosemary and Richard WatkinsJerome WellsAnne WittE. Custis WrightSue F. YackelDarlyene and Dean YarianAnne Marie de Zeeuw and Larry FrederiksenSome of our donors have requested to remain anonymous and therefore are not listed

WORDS of NOTE

Sarah and erneST BuTler School of MuSic endowMenTSThe Butler School of Music greatly appreciates those who have established an endowed gift, and by doing so have forever linked their names, or those of family members, friends, or organizations, to the excellence in this program. For more information on how to establish a new endowment or how to give to an existing endowment, please contact Lauren Zachry-Reynolds at 512-232-3515 or lzreynolds@austin.utexas.edu.PrograM SuPPorTWilliam D. Armstrong Music Leadership EndowmentAnn Callaway Brown Endowment Fund for the UT String ProjectSarah and Ernest Butler Opera CenterSarah and Ernest Butler School of Music EndowmentCollege of Fine Arts String Quartet EndowmentMoton H. Crockett, Jr. and Martha Crockett Endowment for Big BerthaVincent R. and Jane D. Dinino Chair Fund for Director of BandsRobert M. Gerdes Music Program EndowmentThe Eddie Medora King Award for Musical CompositionMusic Education Endowment FundMusic Leadership Program EndowmentDavid O. Nilsson Solo Pianist AwardKermie F. and David W. Sloan Endowment for the UT String Project

faculTy SuPPorTMary D. Bold Regents Professorship of MusicSarah and Ernest Butler Professorship in OperaSarah and Ernest Butler Professorship in MusicSarah and Ernest Butler Professorship in Opera ConductingFrank C. Erwin, Jr. Centennial Professorship in MusicE.W. Doty Professorship Frank 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 Wolf and Janet Jessen Centennial Lectureship in MusicJoe R. & Teresa Lozano Long Chair in PianoMarlene and Morton Meyerson Centennial Professorship in MusicGrace Hill Milam Centennial Fellowship in Fine ArtsJohn D. Murchison Fellowship in Fine ArtsJack G. Taylor Regents Professorship in Fine ArtsLeslie Waggener Professorship in the College of Fine Arts

STudenT SuPPorTAlamo City Endowed Scholarship for PianistsBurdine Clayton Anderson Scholarship in MusicRichard S. Barfield Endowed ScholarshipWayne R. Barrington Endowed Scholarship in HornTom Barton Endowed Presidential Scholarship in PianoDr. Morris J. Beachy Choral FellowshipBetty Osborn Biedenharn Endowed Presidential Scholarship in MusicMary D. Bold Scholarship FundBrook Boynton Endowed Presidential ScholarshipBrittany Brown Endowed Scholarship in MusicCheryl and Robert Butler Endowed Fellowship in MusicDr. 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 EducationJoy B. Chandler Endowed Scholarship in OrganPearl 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 Music

E. William Doty Scholarship Fund Whit Dudley Endowed Memorial Scholarship in HarpFaculty Endowed Scholarship in MusicMarguerite Fairchild Endowed Presidential Scholarship in MusicPriscilla Pond Flawn Endowed Scholarship in MusicFondren Endowed Scholarship in MusicDalies Frantz Endowed Scholarship FundDavid Garvey Scholarship FundGarwood Centennial Scholarship in Art Song PerformanceMary Farris Gibson Endowed Presidential Scholarship in MusicMary Farris Gibson Memorial Scholarship in MusicThomas J. Gibson IV Endowed Presidential ScholarshipAnnie Barnhart Giles Centennial Endowed Presidential ScholarshipAnnie B. Giles Endowed Scholarship Fund in MusicAlbert Gillis Endowed Presidential Scholarship in StringsMary 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 BandMichael Kapoulas Endowed Scholarship in CompositionJean Welhausen Kaspar 100th Anniversary Endowed Longhorn Band ScholarshipKent Kennan Endowed Graduate Fellowship in Music Composition or TheoryDonald and Charlotte Knaub Endowed Scholarship in TromboneLennart and Daniel Kopra Memorial Endowed Presidential Scholarship in Classical Guitar or Music EducationJoe R. & Teresa Lozano Long Piano ScholarshipAnna 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 StudiesSuzanne and John McFarlane Endowed Presidential Scholarship in Vocal and Choral ArtsSuzanne and John McFarlane Endowed Presidential Scholarship in WindsMusic Endowment FundGino R. Narboni Endowed Presidential Scholarship in Orchestral ConductingHettie Nel Endowed Scholarship in PianoWillie Nelson Endowed Presidential ScholarshipNelson G. Patrick Endowed Scholarship in Music EducationLeticia Flores Penn Endowed Presidential Scholarship in PianoWilliam C. Race Endowed Presidential Scholarship in PianoLouis W. Rase and Sophie Braun Rase Scholarship FundA. 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 ScholarshipMary Elizabeth Sherrill Endowed Presidential Scholarship in MusicMary Elizabeth Sherrill Endowed Presidential Scholarship in OrganJohn W. and Suzanne B. Shore Endowed Presidential Scholarship in MusicEffie Potts Sibley Endowed Scholarship FundLomis and Jonnie Slaughter Scholarship in MusicCarl and Agnes Stockard Memorial Endowment FundTexas Endowed Presidential Scholarship in MusicMollie Fitzhugh Thornton Music Scholarship FundThe Trammell Scholarship Endowment in MusicLaura Duncan Trim Scholarship in MusicElizabeth Anne Tucker Centennial ScholarshipRuth Middleton Valentine Endowed Presidential ScholarshipLois Johnson White Endowed Presidential ScholarshipWard and Sarah Widener Endowed Presidential Scholarship in MusicRobert Jeffry Womack Endowed Presidential ScholarshipLola Wright Foundation Centennial Endowed ScholarshipSidney M. Wright Endowed Presidential ScholarshipShirley Sue and Frank Howell Zachry Endowed Presidential Scholarship in Music

Call for Alumni News

We are eager to report noteworthy activities of our alumni to colleagues, friends, and other alumni in our next issue. Please forward alumni news, including your name, degree, major field of study, and year of graduation to:

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