WINTER The News Magazine of the University of Illinois School of Music

Transcription

1 WINTER 2012 The New Magazine of the Univerity of Illinoi School of Muic

2 From the Dean WINTER 2012 Publihed for alumni and friend of the School of Muic at the Univerity of Illinoi at Urbana-Champaign. The School of Muic i a unit of the College of Fine and Applied Art at the Univerity of Illinoi at Urbana-Champaign and ha been an accredited intitutional member of the National Aociation of School of Muic ince Karl Kramer, Director Joyce Grigg, Aociate Director for Academic Affair Jame Gortner, Aitant Director for Operation and Finance J. Michael Holme, Enrollment Management Director David Allen, Outreach and Public Engagement Director Sally Takada Bernhardon, Director of Development Ruth Stoltzfu, Coordinator, Muic Event Tina Happ, Managing Editor Jean Kramer, Copy Editor Karen Marie Gallant, Student New Editor Contributing Writer: David Allen, Sally Takada Bernhardon, Michael Cameron, Tina Happ, B. Suzanne Haler, Anne Michakoff Heile, J. Michael Holme, Melia Merli, Tracy Parih, Edward Rath, Duty Rhode, Thoma Schlei, John Wagtaff Reearch Aitant: Lauren Waidelich Graphic Deign: Bonadie Creative, Inc. Feature Photography: Chri Brown Photography Front cover: Alion Allender (B.M.E. 01, M.M.E. 09) i a band director and muic educator in the Monticello (IL) Community Unit School Ditrict #25. UI School of Muic on the Internet: Share your good new! Send photo and ubmiion to: onoritie, UI School of Muic 1114 W. Nevada, Urbana, IL or onoritie@muic.illinoi.edu, by Augut 31, On behalf of the College of Fine and Applied Art, I want to congratulate the School of Muic on a year of outtanding accomplihment and to thank the School many alumni and friend who have upported it miion. While it teache and interpret the muic of the pat, the School i committed to educating the next generation of artit and cholar; to preerving our artitic heritage; to puruing knowledge through reearch, application, and ervice; and to creating artitic expreion for the future. The ucce of it faculty, tudent, and alumni in performance and cholarhip i outtanding. The lat few year have witneed uncertain tate funding and, thi pat year, deep budget cut. The challenge facing the School and College are real, but o i our ability to chart our own coure. The School of Muic ha reolved to move forward together, to diregard the thing it can t control, and to ucceed by deploying it manifet creativity. The School alo enjoy the widepread upport of alumni and friend. In difficult time like thee, private giving provide tudent with pecial performance and publication opportunitie, travel to key conference and reearch ite, and cholarhip to continue their education. Recently, the College ha hired a new director of development for Muic, Sally Bernhardon, to replace Marlah Bonner-McDuffie, who ha moved with her huband and children to Delaware. I very much hope that you can meet Sally oon, and that you contact her if you wih to be involved in advancing the School profile. On behalf of the College, I epecially want to thank alumni who provide u the upport to maintain our margin of excellence. o n or Robert Grave Dean, College of Fine and Applied Art i t i e b

3 From the Director Thi year mark my 10th year a director at thi very pecial place here on the prairie. It ha been a privilege and a pleaure to work with the tudent, faculty, our alum, and friend in cultivating the wealth of reource thi School ha to offer. We can be proud of the School of Muic rich hitory of a pioneering pirit and the development of innovative idea. To name a few, the legacie of Paul Rolland groundbreaking reearch reulting in hi film erie and book, Teaching of Action in String Playing; computergenerated muic that began here with the premiere of Lejaren Hiller and Leonard Iaacon Illiac Suite in 1956; and the Walden Quartet concept of a concertizing and teaching reidency at a muic chool live on with the work of Loui Bergonzi in tring education; Scott Wyatt and hi colleague in the Compoition-Theory Diviion and our experimental muic tudio; and the Pacifica Quartet world-wide reach of it artitry. With thoe legacie in mind, the road to excellence continue and widen, due in no mall meaure to the backing of our alumni and friend. In my tenure at thi great intitution, I have witneed ignificant growth in our tudent body, faculty, and curricular offering. Your encouragement, for example, ha contributed to the expanion of the jazz program from one faculty member, a band, and a coure here and there into a fully taffed diviion offering a full complement of degree in jazz tudie. Likewie, the Allerton Muic Barn Fetival finihed it 5th eaon a an academic year-opening howcae for the School of Muic faculty with incredible largee from our community of friend and alumni. Although the Univerity i weathering a very difficult financial period, the School of Muic will emerge tronger with your upport. I look with optimim for a bright future a we prepare a elftudy for the renewal of our ten-year National Aociation of School of Muic accreditation thi pring. We would greatly appreciate your help with our elf-tudy if you would complete the online alumni urvey, the detail of which can be found on page 47. While ome of our faculty and taff who officially retired lat year are till on campu working for u, thi pat year we aid goodbye to a number of longtime colleague: Profeor Emeriti Chet Alwe and Sherban Lupu; Profeor Pete Griffin, who aumed the chairmanhip of the muic department at Elmhurt College; and Marlah Bonner-McDuffie, who accepted a poition at the Univerity of Delaware. We thank them for their ervice and wih them well. Though change i contant, it can, indeed, revitalize. It i in that pirit we welcome new colleague to the faculty and taff about whom you can learn more in thi iue. On a peronal note, change ha been at the forefront in my life thi pat year too. Lat ummer, Jean and I married off our younget daughter, Kriten, in Mo Beach, CA, and we celebrated the birth of our firt grandchild, Ethan Patrick Fraker. A whole new phae of life ha begun for u. Thank you for your teadfat upport of the School over the year, and pleae keep in touch and continue to let u know about the change in your live. Karl Kramer Director, School of Muic in thi iue Winter 2012 C A M P U S N E W S 2 Allerton Fetival Recap 2 New Year New Face New Excitement 3 Concert Jazz Band New CD 3 Spring Enemble Performance 4 Tradition with Enhancement 4 DoCha Fetival Return 5 Minor Ha a Major Opportunity 6 Hobon Preent Schumann 7 Mentorhip and Service- Learning in Muic 7 New SoM Web Site C O V E R S T O R Y 10 Putting the Who in Muic Education F E A T U R E S 18 Brother, Sing On! The Illinoi Varity Men Glee Club at The New D.M.A. F A C U L T Y F E A T U R E 22 Jim Pugh: Reelin in the Year with Steely Dan D E P A R T M E N T S 8 Development Update 9 Upcoming Alumni Relation Event 26 New Appointment 30 Faculty New 37 New Publication and Recording 39 Student New 42 Alumni Note 44 Alumni New 50 In Memoriam 51 Partner in Tempo w in t e r

4 Campu New 2011 Allerton Muic Barn Fetival Recap Duty Rhode, Art and Humanitie Editor, UI New Bureau Four-time Grammy-winner Arturo Sandoval ha performed with Dizzy Gillepie, Johnny Mathi, Frank Sinatra, the Boton Pop, the London Symphony, Celine Dion, Alicia Key, and Jutin Timberlake. On September 2, he played at the Allerton Muic Barn Fetival. Thi mark the fifth year of the annual fetival, created by Karl Kramer, the director of the School of Muic. The fetival, which ran from September 1-5, 2011, opened with the Allerton Salon Orchetra performing a variety of Viennee bonbon under the direction of Profeor Donald Schleicher. Solit for the evening included muic faculty member Dawn Harri (oprano), Stefan Milenkovich (violin), and Debra Richtmeyer (axophone). The performance by Cuban-born trumpet mater Sandoval wa backed by a half-dozen profeor from the UI jazz tudie program, including Tito Carrillo (trumpet), Larry Gray (ba), Chip McNeill (axophone), Jim Pugh (trombone), Chip Stephen (piano), and guet drummer, Joel Spencer from the Chicago campu. For everal year McNeill toured the world a Sandoval full-time muical director. In addition to hi Grammy award, Sandoval ha ix Billboard Muic Award, plu an Emmy for compoing the core for the HBO movie For Love or Country, baed on hi own life tory, tarring Andy Garcia. Sandoval i known for hi virtuoity in Latin jazz, bebop, ballad, and claical muic. The Saturday night performance by the Pacifica Quartet [Simin Ganatra (violin); Sibbi Bernhardon (violin); Maumi Per Rotad (viola); and Brandon Vamo (cello)] alo featured guet muician from the muic faculty: John Dee (oboe) played in Mozart Quartet in F major, K. 370, and Ian Hobon (piano) joined Pacifica for Brahm Piano Quintet in F minor, Op. 34. The fetival Sunday morning concert, occurring o cloe to the 10th anniverary of the 9/11 attack, wa dedicated to the memory of victim of that tragedy. Titled Mourning Muic, the concert featured the Allerton Bach Choir and Orchetra under the direction of Profeor Fred Stoltzfu, performing Bach Cantata No. 198 ( Trauerode ) and the world premiere of Credo, commiioned for the fetival and compoed by Profeor Erik Lund. Opening the concert wa Bach Ricercare from The Muical Offering, arranged by Profeor Michael Cameron (double ba). Solit that morning included alumna Deirée Haler (D.M.A. 11), voice tudent Caandra Jackon, and Profeor Ricardo Herrera (baritone) and Jerold Siena (tenor). On Sunday evening, Milenkovich again took the tage, performing Handel Sonata for Violin and Piano in D major, Beethoven Sonata No. 7 in C minor, and fiery work by Pablo de Saraate, Henryk Wieniawki, Paganini and Fritz Kreiler. He wa joined by renowned pianit Rohan De Silva, who ha performed with Johua Bell, Midori, Itzhak Perlman, Nadja Salerno- Sonnenberg and Pincha Zukerman. The fetival cloed Monday night with a concert by the Allerton Wind, conducted by Profeor Robert Rumbelow, performing work by Richard Strau and Dvorak. Member of the enemble included muic faculty Jonathan Keeble (flute), J. David Harri (clarinet), John Dee (oboe), Timothy McGovern (baoon), and Bernhard Scully (horn). NEW YEAR NEW FACES NEW EXCITEMENT J. Michael Holme, Enrollment Management Director/Clinical Aitant Profeor of Muic o n or i t i e 2 The Muic Admiion Office at the Univerity of Illinoi ha undergone a changing of the guard thi year. I am humbled to overee uch an important part of the School of Muic in my new poition a the enrollment management director. I would be remi if I did not mention my colleague Joyce Grigg, who ha provided teadfat leaderhip to the Muic Admiion Office for the lat eleven year. Joyce ha tepped into the role of aociate director for the School of Muic, where he ha tranitioned from overeeing all matter relating to propective tudent to now uperviing academic affair for all current tudent of the School of Muic. It i alo my pleaure to welcome Angela Schmid a the enrollment management aitant director. A alumni of the School of Muic, Angela and I are uniquely qualified to help propective tudent in their deciion to attend the Univerity of Illinoi. Although we have big hoe to fill, I am optimitic and look forward to the challenge. It i great to be back on campu with all of the energy of a new year, who could help but to be excited! Our firt tak wa to recruit for the School of Muic Open Houe, which took place on September 27 th. Thi annual event allow u to figuratively open all of our door to give propective tudent a tate of life a a muic tudent at the Univerity of Illinoi. Our goal wa to hot 150 propective tudent at thi year Open Houe. Happily, we exceeded that goal, welcoming nearly 160 propective tudent (with parent, the actual number of guet totaled over 400). Our attention ha now turned to the plethora of recruitment event and activitie planned around the United State, where we will continue to tell tudent about all of the great thing that the Univerity of Illinoi School of Muic ha to offer. In addition, we are implementing a new marketing campaign, mot notably, the new School of Muic Web ite; and we are moving our operation into the 21 t century by providing nearly all of our application material online and introducing a new Web portal that will allow our faculty to precreen applicant. For more information on all of the activitie of the Muic Admiion Office, pleae ee our Web ite at illinoi.edu/propective-tudent.

5 CONCERT JAZZ BAND'S NEW CD IS ALL-STUDENT EFFORT OF WRITING, ARRANGING Duty Rhode, Art and Humanitie Editor, UI New Bureau Photo: Brian Stauffer, Univerity of Illinoi at Urbana-Champaign In December 2010, the Univerity of Illinoi Concert Jazz Band releaed a new CD called Freeplay. The opening track If I Only Had Seven Giant Brain (a mah-up of the jazz tandard Giant Step and Seven Step to Heaven with Scarecrow theme from The Wizard of Oz ) offer immediate proof that thee tudent are profeional-caliber artit. Once the litener ha acclimated to the nimble muicianhip diplayed throughout the ret of the double-dic et, then it might be time to tell the truth about thi album: that 11 of the track are original compoition written by UI jazz performance tudent, and all 17 tune on the CD were arranged by the tudent in the band. Chip McNeill, chair of the Jazz Studie Diviion, ay the tudent chart et thi project apart from the band previou CD and from CD produced by other college jazz program. We needed to get to thi point, where we had omething to offer where it all done by the tudent in every way, McNeill aid. That happen in other place too, but we ve done it in a very, very hort pan of time. UI didn t offer a jazz performance degree until nine year ago; ince then, the program ha lured well-known muician to join the full-time faculty, and thoe profeor have attracted talented tudent. The jazz program now include 18 performing enemble, including four big band. The Concert Jazz Band i conidered the top group. Grad tudent compried the majority of the band that recorded Freeplay in April 2010, but trombonit Scott Ninmer a junior at the time of the recording compoed five of the tune (including the title track) and arranged two other. Another then junior, alto-axophonit Brian Krock, ha two original compoition on the CD. (The album alo include a few tandard, like Your Red Wagon and Polkadot and Moonbeam. ) McNeill aid UI jazz curriculum require more writing, orchetrating and performance clae than ome other chool. The degree we offer are jazz performance, but being a good and converant writer in many idiom and tyle mean being a good performer in many idiom and tyle. They go hand-in-hand. They alway have. Recording the CD provided more learning experience for the tudent. Working with a mall budget donated by a private party, the band booked an Indianapoli jingle tudio and recorded all 17 track in two day, with only one or two take per track. They [the tudent] got to ee what goe on in a tudio in term of a timeline, with a limited amount of time, a limited amount of money. The leon continued during the mixing of the tape, which wa alo done by tudent, under McNeill uperviion, over the coure of three day. Freeplay i available at the price of $20 at all UI jazz enemble performance and through McNeill at chipmc@illinoi.edu. S P R I N G 2012 ENSEMBLE PERFORMANCES NEW MUSIC ENSEMBLE, February 17 WIND SYMPHONY, February 18 UI PHILHARMONIA, February 28 UI CHAMBER ORCHESTRA, February 29 SCHOOL OF MUSIC OPERA: Barber of Seville, March CAMPUS AND UNIVERSITY BANDS, March 11 HARDING AND HINDSLEY BANDS, March 11 CHORALE, March 13 WIND ORCHESTRA, March 14 NEW MUSIC ENSEMBLE, March 15 WIND SYMPHONY, April 01 UI TROMBONE CHOIR, April 05 UI PERCUSSION ENSEMBLE, April 13 UI BLACK CHORUS, April 21 WOMEN S GLEE, April 21 WIND ORCHESTRA, April 22 CAMPUS AND UNIVERSITY BANDS, April 24 JAZZ TROMBONE ENSEMBLE, April 24 UI STEEL BAND, April 24 HARDING AND HINDSLEY BANDS, April 25 JAZZ COMBO I, April 25 JAZZ BAND III, April 26 SCHOOL OF MUSIC OPERA and NEW MUSIC ENSEMBLE: Paradie Lot, April CONCERT JAZZ BAND, April 27 BALKANALIA ENSEMBLE, April 28 JAZZ BAND II, April 28 LATIN JAZZ BAND, April 28 VARSITY MEN S GLEE CLUB 125th Anniverary Concert, April 28 JAZZ COMBO II, April 29 JAZZ SAXOPHONE AND GUITAR ENSEMBLES, April 29 UI PHILHARMONIA, April 29 WIND ORCHESTRA, April 29 JAZZ VOCAL ENSEMBLE, May 01 WIND SYMPHONY, May 01 JAZZ BAND IV, May 02 SCHOOL OF MUSIC OPERA STUDIO, May 02 UI SYMPHONY ORCHESTRA, May 02 For more event information: w in t e r

6 Campu New Tradition with Enhancement David Allen, Outreach and Public Engagement Director/Clinical Aitant Profeor of Muic Education One of the greatet apect of my job i meeting new people; however, I am mot pleaed when I meet Illinoi alumni for the firt time at our event and program. Thee alumni often make me think of my firt involvement with muic at Illinoi a I tood in the regitration line for Illinoi Summer Youth Muic in Thoe memorie alo encourage me to remain diligent in maintaining, enhancing, and haring the School of Muic rich tradition in outreach and public engagement for the ake of the thouand of high chool- and middle chool-aged muician who experience muic at Illinoi every year. Speaking of tradition...depite the challenging economy, we once again concluded a highly ucceful ummer of ISYM program. While ISYM i a bation of tradition, our new pre-college program offering in clarinet, French horn, and viola and more opportunitie on the way for our mot experienced participant to work directly with School of Muic faculty through the ISYM Academy will only erve to enhance the ISYM experience. ISYM 2012 will include 27 program option. Our two newet program are Compoition/Electronic Muic and Rock Band/ Song Writing. Alo, I have been working cloely with Profeor Ann Yeung to plan a weeklong experience for young harpit who are intereted in coming to campu for an ISYM orchetra program. I urge you to take a look at the variou program available on our Web ite ( illinoi.edu/iym), where you will find detailed decription and regitration information. Alo online you can view the other pecial program and event we have planned for thi year. The Piano Laboratory Program under the guidance of Profeor Reid Alexander i once again enrolled to capacity providing piano intruction for community member and UI tudent of all age and level of ability. Our invitational fetival for chool enemble are filling up, and we are making plan to provide great experience for the tudent and director involved. One of our newet program, the School of Muic Academy, wa initiated thi fall by Profeor Julie Gunn and reemble our ISYM Academy in that it appeal to high chool tudent who have attained a high level of muicianhip and wih to play muic with other who have imilar kill level and interet. In collaboration with the DoCha Chamber Muic Fetival, The Conervatory of Central Illinoi, and perhap other oon, I am excited about the potential for interet and growth in thi program. In my eighth year working in outreach and public engagement and my twenty year with ISYM, I realize now more than ever that our relevance and uefulne i born out of tradition combined with enhancement. I conider enhancement to be the lifeline for wonderful program like ISYM; the Supertate Concert Band and Illini Marching Band Fetival; the UI Jr. & Sr. String and Orchetra Clinic; the Intrumental Chamber Muic Sympoium at Allerton Houe; Summer Harp Week; the Piano Laboratory Program; the School of Muic Academy; a well a countle endeavor in the interet of outreach and public engagement. Since the very bet enhancement are often mot apparent to the participant, I urge you to get in touch with me if you have thought or quetion regarding our program. Your upport and feedback are vital to our continued offering in muic. o n or i t i e DoCha Chamber Muic Fetival Return The DoCha Chamber Muic Fetival will return to downtown Champaign for a third eaon March 31 through April 3, Having renewed it partnerhip with the Orpheum Theatre, DoCha will once again tranform the hitoric, former vaudeville theatre built in 1914 a a one-third cale model of the opera houe in Veraille into a fun, inviting, and unique chamber muic venue. Program will feature unique, multi-genre art collaboration with performance by UI world-renowned art faculty a well a tudent and viiting guet artit. At the three-day April 2011 fetival, DoCha more than doubled it audience reach from the previou year by adding family-friendly daytime program for youth each day. DoCha 2011 children program, Wolfgang Amadeu Schmutzinberry wa a comical play written by viiting guet artit Rami Vamo, an acclaimed muic educator and guitarit from New York, and featured Vamo, the Pacifica Quartet, and variou actor including Robert Grave, Dean of the College of Fine and Applied Art, in the role of Ludwig Van Beethoven. Thi program wa broadcat live on Illinoi Public Media WILL FM DoCha alo held a Young Artit Chamber Muic Competition for local youth chamber enemble under the age of 18. Winner were featured in a public mater cla during the April 2011 fetival led by School of Muic faculty member. DoCha ha expanded it educational offering for the eaon by collaborating with the School of Muic Academy, a new weekly chamber muic program for gifted young artit and will offer more public chamber muic mater clae throughout the academic year. 4

7 MINOR HAS A MAJOR OPPORTUNITY Edward Rath, Aociate Director Emeritu, School of Muic John Minor might be called a Man for All Tuning. A the head piano technician for the School of Muic, John i reponible for overeeing the wellbeing of numerou Steinway grand piano and other piano of all ize on a map of ever-going dimenion literally hundred of piano. In addition to hi dutie of tuning, regulating, and rebuilding intrument, John recommendation concerning purchae and the ditribution of work on piano when it ha to be farmed out are highly valued. Conidering hi reputation and experience, it no wonder that John found himelf in the enviable poition of being offered an opportunity to erve a head technician for a fiveweek period of time thi pat ummer at the pretigiou Tanglewood Fetival in Maachuett. Steve Carver, formerly the head piano technician at the Univerity of Iowa, had erved on the Tanglewood taff for many ummer; but when Carver moved to the Juilliard School in pring 2011, hi new ummer commitment in New York did not allow for a Tanglewood ummer engagement. That when Minor entered the picture. Looking at John job decription and hi weekly chedule at Tanglewood are enough to make you catch your breath. They certainly kept me hopping, Minor aid. In addition to keeping a half dozen concert piano in tip-top hape, I had to overee three apprentice tuner. We had 80 rehearal piano to worry about, too. At UI, we tune concert piano for each performance and other intrument a couple of time a year unle they have pecial need or problem with which to deal. But at Tanglewood, the concert and mater cla piano are tuned almot every day at leat once! Like he doe at Illinoi, John had to diagnoe problem that might how up in one intrument or another and then make the appropriate recommendation a to repair, replacement, or whatever. At Tanglewood, however, everything i under a compreed chedule, and thing need to be done in a day rather than in a week. One of the big urprie came when John dicovered that Tanglewood i baically an outdoor fetival. Sure, they have concert hall, but the wall and door are often removed to Screen frame of John Minor from a video produced by Anataia Tumanova for ninth letter. The hort video can be een at create an open-air pace, and the temperature and humidity become much greater influence on the piano than, ay, in the Krannert Foellinger Great Hall. It a lot like what one find at Ravinia cloer to home and till cloer, at the Allerton Park Barn concert outide of Monticello, Illinoi. There, the ummer heat caue ome real headache, technically peaking, but my experience at Allerton in the pat helped me do a better job of thing at Tanglewood, and what I learned at Tanglewood thi pat ummer helped me deal with extreme heat problem thi pat Augut in Monticello. Tanglewood i the ummer home of the Boton Symphony and annually attract ome of the bet tudent muician from America and abroad, a well a the world greatet teacher, conductor, and performing artit. Name like Yo Yo Ma, Emanuel Ax, and Kurt Maur are balanced with the like of Jame Taylor, Garrion Keillor, and John William. Peter Serkin, on of the famou pianit who performed often at Tanglewood, maintain a home in the area and perform regularly at the fetival. He aked me to do ome pecial eventh comma mean-tone tuning, omething relatively new for me, o it wa another learning opportunity. All of the artit are very appreciative of our making their concert the bet poible experience for them and for their audience. And peaking of audience, John aid they were great. Like the artit, the audience really appreciated my technical and muical kill and talent. Alo, I think claical muic lover are like rock concert groupie. People were trying to get cloe to the artit, attending rehearal by uch artit a violinit Johua Bell. It wa very exciting jut a wonderful experience. John return to Tanglewood next ummer i till an open quetion, but one thing for ure the five week thi pat ummer will alway to be remembered! The fetival organizer include DoCha founder and Aitant Profeor of Viola Maumi Per Rotad, Aociate Profeor and Chair of the Muicology Diviion Gabriel Soli, and DoCha Executive Director and School of Muic Director of Development Sally Takada Bernhardon. A true community collaboration, all participant in DoCha, including the performer, twelve UI tudent intern, and many buine partner, have donated their time and talent to the project. w in t e r

8 Campu New HOBSON PRESENTS SCHUMANN Edward Rath, Aociate Director Emeritu, School of Muic o n or i t i e Schumann early muic can be unuual, but hi harmonic vocabulary i rather predictable. In the later work, however, the harmonie are much le logical. Thoe who have followed Ian Hobon career over the year know of hi interet in programming the complete work of a compoer. Some of hi many recording are a tetament to thi concept: for example, the four concerto and Rhapody on a Theme of Paganini by Rachmaninov; the ame compoer complete piano trancription; the entire muical output of Chopin (including vocal and chamber muic and juvenilia); the complete Beethoven piano onata and the complete Brahm variation; and, a project underway, the Mochele piano concerto (the eighth of which Hobon ha recreated). A well, Hobon preented a erie of ten recital in New York in 2010, featuring work by both Schumann and Chopin mixed in with piano muic by other compoer who either influenced or were influenced by the two birthday boy. So, it wa not a complete urprie a few month ago to ee a beautiful poter announcing Ian erie of ten concert covering the complete olo piano work by Robert Schumann, concert to be preented on Monday night throughout the fall and pring emeter in Smith Memorial Hall. I firt tarted thinking of thi poibility for Schumann ome 15 year ago, when I programmed a erie of five alontyle concert at Krannert, featuring hi golden work like the Symphonic Etude, Carnaval, Fantaietücke, and the like. It wa a natural thing to aim for 2010, the Schumann bicentennial, but I wa already deeply into the complete Chopin recording and concert for that compoer bicentennial, o I moved thing back a year and will preent the Schumann concert in The concert, ponored by the UI Center for Advanced Studie, Krannert Center, School of Muic, and Sinfonia da Camera, are organized by mood, genre, title, and apect of Schumann thinking rather than by the work compoitional chronology. Thu, title like Theme and Variation, Sonata Form, and Fantaie are balanced by Love Letter, Prophetic Viion, and Lat Reflection. And the grouping are not alway obviou by virtue of their title, with the reult that ome well-known work are paired with thoe that are hardly known or played at all. Schumann early muic can be unuual, but hi harmonic vocabulary i rather predictable. In the later work, however, the harmonie are much le logical. A great example of the latter, the Geänge der Frühe, Op. 133, are five mall piece from 1853 that are abolute gem. Hobon alo talked enthuiatically about what i reputed to be Schumann lat work written before hi final plunge into inanity, the five Geitervariationen from Clara Schumann at on them for year, then gave them to Brahm, who had ued the ame theme for hi Variation for Piano, Four Hand, Op. 23 [1861]. Although the theme itelf wa included in the Breitkopf und Härtel edition of the complete Schumann, the variation were weren t printed until the 20th century. They re thickly contrapuntal, probably written away from the piano. Schumann apparently wa unconcerned about their difficulty. There a certain imilarity to the late piano work of Beethoven, and of coure Schumann wa tremendouly influenced by Beethoven, although the latter late piano work were overall more elevated than Schumann. After 35 year on the piano faculty of the School of Muic, Hobon retired thi pat pring from full-time teaching but ha returned to teach what ome would call nearly a full load of talented graduate (15 D.M.A. tudent!) and undergraduate from all over the world. I am enjoying a tudy period, where I have a bit more time to paue and reflect. I till find it timulating to help doctoral tudent epecially a they wend their way through the coniderable degree requirement. But I am continuing to work with Sinfonia da Camera [the orchetra that Hobon founded in 1984] and alo cheduled to play olo and chamber muic recital in America, including the UI, of coure, Switzerland, Poland, etc. I alo plan to record the entire Schumann work and will write my own liner note for the CD et. The Englih-born pianit, who graduated from the Royal Academy of Muic in London at the age of 17, likely the younget graduate ever from that pretigiou intitution, i alo finding time to return to hi homeland a a Viiting Fellow at Cambridge Univerity. For information about the all-schumann erie, pleae go to the School of Muic Web calendar at event_and_performance. 6

9 Mentorhip and Service-Learning in Muic Tracy M. Parih, Program Coordinator, Univerity of Illinoi Office of Public Engagement Change often bring with it the neceity for adaptation and creativity, and the new School of Muic Mentoring Program i a tetament to the veratility and imaginative thinking at the core of a utained record of ucce in meeting critical challenge while cultivating a uperior learning environment. Our mentoring program had it beginning in the fall of 2010 when an increaing number of tudent brought to light a erie of common theme in the challenge they face, including a need for a more robut tudent community upport ytem and a greater opportunity for ervice-baed learning. On a crip November morning, a group that included Sam Smith, the engagement director at the Krannert Center for the Performing Art; Emily Malamud, an undergraduate tudent in muic education; and me, a the outreach program coordinator for the School of Muic at the time, met for a braintorming eion that produced a number of idea for poible olution to our challenge. The idea of developing a mentoring program ultimately took center tage, a M. Malamud had been involved a a mentor in the Illinoi Promie program and uggeted a baic tructure for a School of Muic program baed on her experience. That initial converation pawned a flurry of new initiative aociated with the mentoring program, including a MUS 199 dicovery coure, Mentorhip in Muic, devoted to the development of mentoring kill for School of Muic mentor. In addition, we propoed and were approved to conduct a reearch tudy entitled, Mentorhip and Academic Achievement in Higher Education Muic Curriculum, for which I am erving a the reponible project invetigator and M. Malamud a the invetigator. Subequently, we were awarded a Provot Initiative for Teaching Advancement grant through which the mentoring program and aociated reearch tudy are funded. The School of Muic Mentoring Program kicked off in Augut 2011 with a reception at the Krannert Center for the Performing Art where twenty-four participating tudent were introduced to each other a well a key adminitrative figure in the School of Muic and College of Fine and Applied Art. The program conit of even bi-weekly one-on-one mentor-mentee meeting, three cultural event at the Krannert Center, and two ervice-learning experience in the local community over the coure of the fall emeter. Mentor are upper level undergraduate tudent elected for participation baed on elf-nomination and faculty recommendation, and pairing are made through an indepth application and review proce. Mentor participating in MUS 199 ubmit reflection on their mentor-mentee meeting and repone to dicuion topic provided through a coure Compa ite. On Augut 27, 2011, even mentor-mentee pair completed their firt ervice-learning experience by volunteering at the 36 th annual Urbana Sweetcorn Fetival. Special thank go to Scott Schwartz, Aociate Profeor of Library Adminitration and Archivit for Muic and Fine Art, for providing thi opportunity to engage with and experience the local community. Participating tudent were aigned to the One Community Together tage area, aiting program coordinator in variou children activitie including making animated pinner, whirligig, and didgeridoo! Other ervice-learning opportunitie are facilitated through a partnerhip with CUVolunteer.org, an organization dedicated to helping volunteer and reident of the Champaign-Urbana area connect. The fall cultural event mentor and mentee experienced together included a Sinfonia da Camera orchetra performance in September, The Mile Davi Experience in October, and a production of W.A. Mozart The Magic Flute by the School of Muic Opera Department in November. The aociated reearch tudy aim to compare and contrat the experience of mentee participating in the mentoring program with the experience of peer enrolled in the School of Muic who are not participant. Through interviewing and tracking the progre of firt-year undergraduate tudent mentee and non-mentee, we will determine the effect of upplemental adviing, reource, and cultural and community activitie on academic performance and ocial acclimation to the univerity environment. Our hope i that, through thee divere experience, participating firt-year tudent will acclimate to the univerity community more quickly and experience a rich and upportive academic environment in which they can thrive and grow a individual and profeional. SCHOOL OF MUSIC LAUNCHES NEW WEB SITE Lat year a maliciou oftware program inundated the School of Muic Web ite, and it had to be taken offline for nearly nine month. A temporary Web ite wa ued until a newly redeigned School of Muic Web ite wa launched in Augut There are a plethora of new feature that were built into the new deign, including calendar function that allow tudent and faculty to chedule recital, input their performance program, and check out rehearal pace online. Guet on the Web ite are able to download calendar item (and detail) directly to their peronal calendar, and oon a new media center will be added to the ite o that pat performance by our tudent, faculty, and enemble can be acceed online. Although thi pat year ha been difficult without a fully functioning Web ite, the School of Muic ued thi time to update and improve it, and we thank you for your upport and undertanding. Pleae be ure to viit the new School of Muic Web ite: Would you like to receive an electronic copy of onoritie? For next year iue of onoritie, we hope to give our reader the option of receiving the onoritie printed edition or a greener online verion. We plan to make acceible current and pat iue on the School Web ite a well. Let u know what you think by ending your comment to onoritie@ muic.illinoi.edu. w in t e r

10 Development Update Sally Bernhardon, Director of Development, School of Muic A TIME FOR NEW BEGINNINGS, DISCOVERY, AND THANKS o n or i t i e I would like to tart my update by expreing how delighted I am to have recently joined the Univerity of Illinoi School of Muic family a your new director of development. At the time that I am writing thi update, I have been in thi role for jut ix week. However, I have dicovered new thing about the School of Muic and the UI community each day ince my tart that have impreed me and given me more reaon to be proud to have joined thi great intitution. The 2011 fall emeter began only one month ago, but I have heard numerou tudent and faculty performance and participated in many campu activitie that have demontrated jut how bright, dedicated, and world-cla our tudent, faculty, adminitration, alumni, and upporter are. While I already feel quite at home here at the School of Muic, there i much more dicovery left to take place. I hope to have the opportunity to get to know you individually and learn about your experience with the School of Muic. One of the mot enjoyable apect of what I do i hearing your torie. The School of Muic ha a deep and rich hitory and an impreively divere and comprehenive cope of offering within the broad category of muic. Thi mean that each of you ha a truly unique tory to tell about your experience here, and I look forward to learning more about why you tay connected and why you generouly upport our School. Knowing how dynamic and devoted our School of Muic community i, it come a no urprie to me that we have been ucceful in our goal for Brilliant Future: The Campaign for the Univerity of Illinoi, which will end at the cloe of the 2011 calendar year. I am pleaed to announce that the School of Muic ha exceeded it $5.2 million goal ahead of chedule. A of September 8, 2011, the School of Muic campaign gift to date total $15.6 million. The College of Fine and Applied Art a a whole ha alo been ucceful with it campaign goal of $70 million, having raied $78.2 million a of September 8, I would like to extend pecial thank to Joyce D. and Alan J. Baltz for their recent $1 million bequet to the String Diviion of the School of Muic. They have etablihed the Joyce Dutan Baltz Scholarhip Fund for undergraduate tudie in tring, the Joyce Dutan Baltz Fellowhip Fund for graduate tudie in tring, and the Joyce Dutan Baltz Profeorhip in String Fund to honor Mr. Baltz longtime involvement in muic and the art. Mr. and Mr. Baltz viited the School of Muic for the firt time thi fall and were treated to a private concert in the Smith Memorial Room howcaing ome of our outtanding tring tudent. All of u greatly enjoyed welcoming Mr. and Mr. Baltz to the School of Muic. During the pat year, the School of Muic ha alo received gift from the following etate or trut: Ann Scott Maon Trut for the Ann and Ralph Maon Endowed Fund in Muic Donald E. Meman Trut for the Marching Illini Band Fund George Unger Charitable Remainder Unitrut for the George M. Unger Endowment Fund in Muic Thelma Willett Etate for the Thelma Willett Piano Scholarhip On behalf of the School of Muic, I would like to offer our gratitude to thee alumni and friend who have choen to remember the School of Muic in their etate plan. I am alo grateful to the Illinoi Opera Theatre Enthuiat (IOTE) for their generou upport of the School of Muic Opera Program. Under the paionate leaderhip of UI alumna and opera lover Phylli Cline (B.A. 66, M.S.W. 68), IOTE provide ponorhip each year for a School of Muic opera through the joint contribution of it member. Thi year, IOTE will be a ponor of the Opera Program production of Wolfgang Amadeu Mozart The Magic Flute in November A the Brilliant Future campaign come to a cloe, I would like to thank everyone who ha contributed to the School of Muic campaign and in doing o provided the inpiration and upport needed for our talented tudent and faculty to continue their puruit of excellence. In particular, I would like to thank the School of Muic board, the National Adviory Council, for their leaderhip, trategic advice, financial upport, and commitment to the School. I would additionally like to thank my predeceor, Marlah Bonner- McDuffie, for her hard work, dedication, and direction of thi campaign ince it inception. And on a peronal level, I would alo like to expre my thank to the many people who have warmly welcomed me to the School of Muic and the UI campu. I incerely look forward to working with each of you to continue on our path toward a very bright future. 8

11 The importance of private gift to the School of Muic increae every year. The State of Illinoi provide baic operating revenue for the Univerity; however, upport from tate government cover le than 14.6 percent of the total budget. So gift from alumni and friend are crucial to provide the margin of excellence that ditinguihe the UI School of Muic. We continue to evaluate new opportunitie and program that will help to enure our poition a one of the leading muic chool in America today. To reach our goal and to provide the bet poible education for our tudent, we mut have the proper reource in place. The following item repreent the current need and wihe of the School of Muic: Scholarhip and Fellowhip: Continued excellence depend in part on attracting the mot talented tudent from acro the nation and around the world. To remain competitive among the leading chool in the country, we mut be prepared to ait exceptional tudent. Chair and Profeorhip: Endowed chair and profeorhip erve a effective tool with which to recruit and retain cholar and performer. Renowned member of the faculty attract the mot talented tudent and the brightet mind to tudy at the Univerity of Illinoi. A artit and cholar, uch faculty contribute to the world of reearch, creativity, and learning that are the Univerity principal miion. Building Infratructure and Equipment: Maintaining facilitie and equipment for our tudent and faculty take coniderable reource. To be competitive with our peer intitution, we mut continue to have outtanding facilitie and performance venue. Prioritie in thi area include renovation of Smith Memorial Hall, the Muic Building Auditorium, practice room and claroom facilitie, and continued development of the Allerton Muic Barn. Opera Sponorhip: The School of Muic produce two fulllength opera each year. An opera production take coniderable time, effort, and money often in exce of $60,000. While ticket ale cover about half the cot of each production, additional upport will provide both tudent performer and audience member with operatic experience comparable to thoe found in major citie, while keeping ticket price reaonable. There are everal pecific giving opportunitie available for opera ponorhip each eaon. Unretricted Gift: In thee ongoing time of economic uncertainty, the School of Muic, like all intitution, need the flexibility to manage our financial reource in trategic way that continue to provide our tudent with the bet poible education. An unretricted gift will allow the School of Muic to invite viiting guet artit to give mater clae to our tudent, howcae our tudent enemble in run-out performance outide of Urbana-Champaign, ait faculty with recruiting the bet tudent in the nation, and much more. Conider making an unretricted gift to aure that your upport goe where it i mot immediately needed. We hope you will conider making a gift. If you are intereted in funding project uch a thee or would like to explore other opportunitie, pleae contact the School of Muic Development Office at (217) WATCH FOR THESE UPCOMING ALUMNI RELATION EVENTS Illinoi Muic Educator Aociation Conference Alumni Reception Friday, January 27, 2012 The Packard 211 NE Adam Street, Peoria, Illinoi 6:00 8:00 p.m. Reception Thirteenth Annual 21t Century Piano Commiion Award Concert Wedneday, February 8, 2012 Krannert Center for the Performing Art 7:30 p.m. Recital, Foellinger Great Hall 9:15 p.m. Reception, Krannert Room School of Muic Twenty-Fifth Annual Award Luncheon Wedneday, April 25, 2012 Alice Campbell Alumni Center 601 S. Lincoln Avenue, Urbana 12:00 2:00 p.m. Ballroom Varity Men Glee Club 125th Anniverary Celebration Rehearal and Reception: Thurday, April 26 through Sunday, April 29, 2012 Concert: 7:30 p.m. Saturday, April 28, 2012 Krannert Center for the Performing Art School of Muic Convocation Sunday, May 13, 2012 Smith Memorial Hall 805 S. Mathew Avenue, Urbana 5:30 6:45 p.m. Smith Recital Hall 102nd Illinoi Homecoming Alumni Band Reunion and Performance Univerity of Illinoi at Urbana-Champaign 1:00 p.m. 11:00 p.m., Friday, October 26, :00 a.m. 5:00 p.m., Saturday, October 27, 2012 w in t e r

12 By Anne Michakoff Heile o n or i t i e 10 WHO-NESS MATTERS MORE THAN THE WHAT-NESS IN FINDING WAYS TO BRING MUSICAL EXPERIENCES CLOSER TO YOUNGSTERS. Photo by Chri Brown Photography

13 No, we re not talking about Roger Daltrey, Pete Townhend, John Entwitle, and Keith Moon The Who. And the Muic Education Diviion at the Univerity of Illinoi i more apt to encourage building intrument than detroying them, though the faculty would probably like to engender energetic performance among their univerity and, by extenion, younger tudent. Today muic education faculty member could call one of their central miion the title of The Who 1978 album: Who Are You? They ee themelve a looking for The Who in their tudent. A Chair Loui Bergonzi ay, The quetion that i more front-and-center than ever i Who are the learner in front of you and how do you meet their need? It i from thi only that the quetion of What do I teach? and How do I teach it? come to matter. Firt we look to recognize what our tudent bring to the table and then we encourage them to draw upon their own traditional and nontraditional experience with muic making, teaching, and learning. We think about what and how we do what we do in relation to the who becaue we appreciate that it the tudent that are changing in today claroom. Gregory DeNardo, now the diviion enior faculty member and a profeor of general muic, elaborate on that theme, aying that the who-ne matter more than the what-ne in finding way to bring muical experience cloer to youngter. Aitant Profeor Jeananne Nichol, the newet faculty member in muic education, riff on the miion: We extend thi outward a we prepare tudent to teach, paing on thi value. We encourage them to think about who they teach, to learn about the communitie they erve in, and conider how muic learning can happen in meaningful way wherever they are. Every tudent bring to the claroom a different background, kill et, and undertanding of education, ay David Allen, Director of Outreach and Public Engagement. I tell tudent teacher that the time ha come to deign an IEP, an individual education plan, for everyone. Bridget Sweet, who pecialize in choral muic and ha had extenive experience working with middle chool tudent, characterize the approach he take a different from how he wa taught: Many choral director in the pat approached teaching in autocratic way; they were the age on the continued w in t e r

14 Muic education cla ca o n or i t i e tage, and tudent followed their direction. I prefer to be a guide on the ide. Although I come to rehearal with a plan and idea for the experience, I work hard to facilitate the growth of thee idea with the tudent during rehearal. A a reult, inger gain a ene of ownerhip and are more engaged and connected with the proce of muic creation. When I work with choral muic education tudent at UI, I urge them to conider what outcome they deire for their future tudent. I ak them, Do you want your tudent to perform exactly a you intruct? Or do you want them to gain muical independence and undertanding through your rehearal? I often ak future teacher: Why i thi important to the tudent? Why hould they care about thi? What i meaningful about thi for them? much carcer. You had to know people who owned recording, and you were lucky if you had the opportunity to liten to a wide variety of muic. Today, tudent have virtually intant acce to everything through online ite and ervice. They have much more breadth of opportunity, although they may in fact develop more narrow tate, litening deeply to a ingle tyle of muic. They have pent and continue to pend more time with media than did tudent 20 year ago; the Kaier Foundation report that on average 8- to 18-year-old tudent pend even-and-a-half hour every day with media, a third of that time in multitaking, and 2.5 hour of it with muic. The iue for our profeion i how to rethink the role of muic education for tudent who have grown up with thee change. Aked how he and hi colleague deal with univerity tudent who have had Growing up in a digital age, tudent today not urpriingly bring quite Thibeault with Homebrew Ukulele Union after a performance at the Beckman Intitute. Photograph by Robert K. O Daniell. only limited acquaintance with Wetern art muic in their litening experience, different experience to their muic cla leon, both at the univerity and pre-college level, than did their parent and grandparent, omething all the faculty eem to agree on. Aitant Profeor Matthew Thibeault note the ubtantial cultural change and continue: Student today have grown up with an overabundance of content. When I grew up in the 1980, muic wa Thibeault repond, Much of thi i covered through their experience with enemble. Our band, choir, and orchetra include great literature, and the act of making thi muic often increae the interet of tudent. Our univerity tudent alo participate in more divere enemble offering here at the School of Muic, from Profeor Davi Black Choru to Profeor 12

15 THE DIFFERENCE BETWEEN MUSIC EDUCATION TODAY AND THE WAY IT WAS PRACTICED 20 OR 30 YEARS AGO IS THAT WESTERN ART MUSIC IS NO LONGER THE SOLE FOCUS. Buchanan Balkan Enemble. UI tudent participate every emeter in variou enemble, including choral and intrumental one, and they get individual voice or intrument intruction. They take muic theory and muic hitory, which Thibeault ay can alo get them excited about Wetern muical culture. Abolutely, we believe that all muic ha potential importance and value for tudent, Thibeault continue. The difference between muic education today and the way it wa practiced 20 or 30 year ago i that Wetern art muic i no longer the ole focu. For much of the hitory of muic education in the United State, the emphai wa to improve the general level of culture through a focu on Wetern claical muic. Largely a a reult of the civil right movement, the Eurocentric perpective i no longer the protagonit in muic education. So, claical muic, undoubtedly a central achievement of humanity, take it place alongide many other tradition that are now een a alo having importance and validity. The trend ha been toward broadening offering, but we ll never top believing in the importance of Mozart. We alo have adapted to ome of thee change in our tudent experience and interet, for intance, by focuing more on muic technology. We make ure alo to include a broad variety of intereting muic in the coure that we teach, to model for them muic education that connect and yntheize idea acro a variety of muical culture. It i not only the breadth and diverity of repertoire that ha changed in today muic education coure, however. A econd area that ditinguihe today Muic Education Diviion from that of year pat i it concern with diverity in the population it erve and how it goe about meeting the divere educational need of all tudent. Bergonzi call it an ecoytem: We want all our tudent to undertand that the new ecoytem for muic teaching and learning involve not only themelve a excellent muician-educator but alo chool and tudent of all type. It extend to muic learning that occur formally and informally both on- and off-grid. We operate under thi generou conception of muic education becaue thi i the only way that we and muic education can remain relevant in today ocietie. Bergonzi i profeor of conducting and muic education/tring and conduct the UI Philharmonia Orchetra. Today Muic Education Diviion ha evolved from a long ditinguihed hitory a a center of teacher training. A few generation ago the faculty included recognized profeor uch a Grace Wilon, Bjornar Eunice Boardman guiding elementary tudent in their muical growth. Bergethon, and Richard Colwell. Under Profeor Charle Leonhard leaderhip, the diviion began a doctoral program at the UI School of Muic, awarding it firt doctorate degree to Robert Houe in By 1995 ome 300 individual had earned doctorate with an emphai in muic education at the chool. The Muic Education Diviion now offer both the Ed.D. and Ph.D. Among recently retired faculty member, Dr. Eve Harwood and Dr. Joe Grant were hired during Leonhard tenure. The late Eunice Boardman, who had earned her doctorate here, chaired graduate tudie in muic education beginning in 1989, with Grant chairing undergraduate tudie. During Boardman tenure, technology-baed muic intruction wa firt taught by Dr. David Peter, and courework in the pychology of muic wa added. A ummer-only degree wa one of the mot popular program developed for muic educator, allowing teacher to purue a mater degree over three ummer of tudy while teaching during the chool year. The program till exit a one of three option (the other are tudying during the uual academic year and earning an M.M.E. degree with Initial Teacher Certification), with the ditinction that it i the regular faculty who teach in the ummer program, keeping the ame tandard a during the academic year. In the 1990 the muic education faculty alo undertook to expand the emphai on multicultural component in the curriculum. There were 23 doctoral tudent then in reidence, with another 18 tudent off campu but continuing to purue their doctorate; at that time there were alo 205 undergraduate tudent in muic education. Thi, Boardman noted, made the program in Urbana one of the larget in the nation, although the number were omewhat lower than during the Boardman wa a proponent of a contant interaction between profeional preparation a a muicianteacher-educator and development a a cholar-teacher. She alo taught and upervied tudent teacher at the Childhood Developmental Laboratory at Holy Cro Elementary School. In 1995 he tated: It i my conviction, one I trut that i hared by other member of the faculty, that thi interaction i the eential component of advanced tudy and that ynergetic balance between thee component i what ha hitorically made thi program unique. When a ynthei of theory and practice occur, the profeional muic educator i able to contruct curricula and engage in effective intructional practice that i firmly grounded in the theoretical concept on which uch practice mut be baed. * That aociation between the practice of muic education and it theoretical or reearch background went back to Charle Leonhard ( ) continued w in t e r

16 WE ARE BRINGING TOPICS TO UNDERGRADUATES THAT USED TO BE ONLY IN THE GRADUATE COURSES. o n or i t i e and Richard Colwell founding of the Bulletin of the Council for Reearch in Muic Education (known affectionately by the acronym CRME) in Houing the publication and office of CRME continue to bring recognition to muic education at UI for it reearch activitie. Faculty member have alo achieved recognition for plentiful publication. The textbook by Leonhard, Colwell, Boardman, and Mary Hoffman achieved wide adoption acro the country. The late Profeor Marilyn Zimmerman, a pecialit in early childhood education, wa alo a highly repected editor of the Bulletin and an adored teacher. DeNardo (a former tudent of Eunice Boardman from her year a educator and adminitrator in Wiconin) wa editor of the Bulletin for ten year until pring The publication will be available online a well a in print now that the Univerity of Illinoi Pre will be publihing it. Profeor Emeritu Eve Harwood, who ha been a leader in early childhood education, ha returned to erve a interim editor a well a undergraduate advior in the Muic Education Diviion. Bergonzi ay that the diviion continue to be connected to reearch, but that i not enough. We contantly trive to connect theory and reearch to practice. We are bringing topic to undergraduate that ued to be only in the graduate coure. The diviion continue the practice of placing undergraduate in the field, including the Childhood Developmental Laboratory. Allen ue video early on to upervie muic education tudent in their field experience: We do a lot with video ent back to u by the tudent. The role of the ite viit ha changed a bit becaue the viit doen t erve a the firt time we ee the tudent teach in the chool etting. We have expanded on the Illinoi tradition of having method coure meet in relevant field etting o that by the time our tudent approach tudent teaching they will undertand and have had experience in teaching, Bergonzi ay. We build upon and value that our undergraduate have come to u with ignificant experience in muic education true, a learner, not teacher but we value the fact they have learned from excellent role model (in many cae UI alumni new and old) and have been inculcated into what an excellent muic education claroom look and feel like for tudent. Muic education enior Whitney Zu work with 4th grade tudent a part of her tudent teaching experience. A might be expected, technology i much more central to muic education today than 20 year ago, becoming an innate part of culture through digital media, and the focu ha hifted ince the early year when computer were new intrument and programmer were firt developing oftware to teach theory and notation. Thibeault ay, The claroom, however, i evolving much more lowly than ociety. Adult and children today know that they can rapidly gain acce to idea, knowledge, content, etc. We are able to rapidly organize our live, and the claroom need to embrace ome of thee richer way of learning and knowing and to give tudent more opportunitie and avenue by which they can have deeper, fuller live. Thibeault, who ha recently completed editing a ection on media and muic education for the forthcoming Oxford Handbook of Muic Education, ay, My current reearch focu ha been on undertanding way that the muic education profeion can repond to change in practice brought about through media and technology. Even tudent who play unaccompanied cello uite by Bach are making muic in a world where mot experience come through recording, and thi ha profound conequence. Audience are more likely to know the piece, audience and performer are more likely to have an expectation for a high level of performance, and the audience may bring expectation for an interpretation haped by litening repeatedly to a ingle cellit uch a Yo-Yo Ma, Rotropovich, or Caal. On the other hand, audience may have le experience connecting to a performer in a live etting becaue their muical-ocial habit developed around recording. So muic educator mut think about the unique contribution that live performance make and build on thoe unique contribution. In my reearch, I have purued the idea that ound recording led to radical change in muic, muician, and audience, change that have reulted in what I call a potperformance era. Thi potperformance world, Thibeault ay, ha led to recording practice haped by the unprecedented abilitie to edit and manipulate recording from ProTool and GarageBand to AutoTune. It ha led to litening habit haped by muic experienced through databae that decontruct album and make recommendation through tatitical referral. It ha juxtapoed concert with the ability to liten to nearly everything ever recorded 14

17 PART OF MY PHILOSOPHY IS TO CONNECT THEORY TO PRACTICE AND TO GET MUSIC EDUCATION STUDENTS ENGAGED IN THE FIELD AND EXPERIENCING THE CONCEPTS THEY ARE LEARNING. at home on YouTube, Spotify, and Pandora. And muic educator have an opportunity to help hape thee change, to both embrace and critique them. A clear emphai among the Muic Education Diviion faculty member i the ene of a muical community and that participating in muic making i central to learning. Profeor DeNardo ha been one of the more progreive faculty member in fotering community outreach on and off campu, both with univerity and public chool population. That DeNardo emphaize community i no urprie, given hi 12 year a conultant to the Milwaukee Symphony Orchetra. A a young public chool muic teacher, DeNardo tarted bringing youngter with evere diabilitie to Milwaukee Symphony concert. After he began teaching in Bowling Green, Ohio, the Milwaukee Symphony manager called on him to begin an aement of tudent learning that might occur from attendance at the orchetra youth concert. DeNardo not only formulated an aement protocol but alo developed a erie of in-chool performance funded by the NEA called Art in Community Education (ACE). A variety of maller ymphony-member enemble went to chool and engaged youngter in compoing, performing, being litener, and even in conducting. DeNardo doctoral tudent then reviewed and evaluated thee project. One of DeNardo current project i ending tudent for field experience to the Carle Hopital Auditory Oral School (with the tartling acronym CHAOS). An outgrowth of a coure he teache called Diverity in the Muic Claroom, the field experience involve pecial learning population a part of the broader divere tudent body. Both muic education major and performance major from the UI School of Muic are working with hearing-impaired youngter, jut one of the population of pecial learner that tudent learn about. One of the participating univerity tudent i Jackline Madegwa, a young woman from Kenya who i working toward a D.M.A. degree in voice. She decribe how excited the youngter, ome with cochlear or Baha implant, are a they hear and feel intrument, ing, and engage with muic. They can feel the vibration coming from the cello itelf! They can hear clarinet for the firt time. Our trumpeter made neighing ound, and we ang nurery rhyme and O Danny Boy with them. Chri Brown Photography Allender focue on way to improve individual muicianhip. DeNardo explain that for thee children with hearing deficit, and even for normally hearing youngter and many entering univerity tudent, it i a revelation to ee how muic i made, how it i produced acoutically rather than digitally generated. He ay that children volunteer to be paired with the hearing-impaired CHAOS tudent of their age to help them acquire language kill once mechanical mean have improved the youngter capacity to hear. Among thee volunteer are young children of D.M.A tudent at UI. A believer in experiential learning, DeNardo, who alo teache Muic in the Elementary School explain hi approach: Part of my philoophy i to connect theory to practice and to get muic education tudent engaged in the field and experiencing the concept they are learning. A congenial and communicative peron, he find it natural to foter among hi muic tudent hi affinity for community. DeNardo i pleaed that graduate tudent in performance are taking muic education clae. For example, Marcelo Boccata Kuyumjian, a D.M.A. jazz tudent from Brazil, i learning to deign leon plan that involve teaching jazz and improviation. The fruit of hi effort thi fall 2011 i three Urbana public chool that are including hi jazz unit. DeNardo comment, It i important that children hear Ella Fitzgerald, for example, and other jazz great, that they become acquainted with the founder of jazz and undertand the idea of improviation. And I like that performance tudent alo have opportunitie to be connected with public chool. Many muic education tudent take advantage of the SOM jazz faculty, and they can alo take a jazz pedagogy cla that i counted in the Ed.D. cognate. DeNardo continue the practice of teaching tarted by Boardman at the Children Development Laboratory (CDL). He explain that tudent now have three venue for field experience: elementary general muic grade 1-5 (at three Champaign and three Urbana chool), prechool (at the CDL on campu), and Carle Auditory Oral School. Early fieldwork i a crucial component of teacher preparation, ay Jeananne Nichol, who thi fall redeigned the tructure of the field experience for tudent in elementary and middle chool intrumental method. Intead of pre-ervice teacher going to one chool a a large group to oberve a middle chool band director, getting to practice-teach only twice during the emeter, the cla continued w in t e r

18 I HELP STUDENTS INTERNALIZE WHAT THEY SEE ON THE MUSIC PAGE AND THEN PRODUCE THOSE SYMBOLS AS SOUND. o n or i t i e i divided into team of four or five tudent who are out in the chool twice a week. Our tudent have the opportunity to learn from everal highly accomplihed teacher whom I invited to take ownerhip of thi field experience. They have reponded enthuiatically by aigning the tudent to work with mall group or individual. Intrumental muic education tudent change teaching ite everal time during the emeter o that they can work with a wider variety of tudent. Something a baic a reading and writing muic notation continue to be a truggle among general muic tudent, DeNardo admit, and if it i greater thee day than in the pat, he urmie that may in part reult from a highly mobile ociety coupled with more limited muic cla time thee day (generally twice weekly for jut a half hour). He recommend viual mediator to hi muic education clae, that i, uing picture of ound and duration, a an intermediate tep in the path from hearing to muic ymbol, baed on olfège or a number ytem. Thee can be augmented with tactile-kinethetic aociation. So many concept have to be experienced hand on, he ay. A lot of learning diabilitie today reult from tudent deficit in being able to pontaneouly think of and ue trategie that help one learn and correct. Andrea Solya, Clinical Aitant Profeor of Muic Education and Coordinator of Aural Skill, agree with the need to develop muic reading kill. A mater teacher of Kodály at ummer conference, he overee all level of aural kill development what ued to be called ear training on campu during the academic year. Uing principle from both Robert Schumann and Zoltan Kodály, he ay, I help tudent internalize what they ee on the muic page and then produce thoe ymbol a ound. Through the internal kill of inging, they connect ymbol and ound; it i rather a new concept for the intrumentalit epecially ince playing an intrument i external. Strongly epouing an experiential connection to muic, Thibeault ha for three year taught a coure titled Deigning Muical Experience that ue ukulele. Student build their own ukulele from a kit, working together a ort of an aembly line. They learn to play the ukulele, create their own ongbook, and then hare their favorite piece with other in the group. They have formed an enemble they call the Homebrew Ukulele Mater tudent Evelyn Lee teache the importance of proper intrument height. Union that ha performed at campu venue ranging from The Blind Pig, a local pub, to the Beckman Intitute for Advanced Science and Technology. Counteracting the trend among performer (driven, Thibeault ay, by the pat century recorded example) to trive for perfection, thi enemble ha no pretene of perfect performance. Intead the muic education tudent learn how poible it i to develop a ene of community and a le treful experience in making and haring muic. Solya, who direct the Women Glee Club, hare ome of Thibeault goal. The Women Glee Club i open to all female tudent on campu by audition, he ay, and it preent ome muical challenge to non muic major a well a to muic education tudent. Aware of the change among tudent brought about by technology, he, too, foter a ene of community and a le treful environment. Decribing her approach to the enemble, he ay, I try to make the Women Glee Club alo an iland of ecurity, a afe haven to feed the oul and pirit a a relief from all the running around tudent do in their uual activitie. It a chance for u all to low down from a fat-moving ociety, to enhance our day in a digital ociety. Our repertoire in t a full break from the pat; I till introduce claical muic, but adjut to tudent a they are today. It i remarkable, at ome level, that in addreing the who in their tudent of today, Thibeault and Solya are continuing the pirit of muical participation on campu that date back more than a century. By 1894 there wa a Univerity Mandolin, Banjo, and Guitar Club a well a a Glee Club. But the earliet large muic enemble at UI wa a military band, already photographed in Nichol, who teache future chool band director, appreciate that longtime tradition: My focu at UI i both on preparing undergraduate tudent to teach band and working with graduate tudent on reearch. Both of thee emphae have long, cherihed root at Illinoi, and I am thrilled to be a part of thi univerity and to contribute to it continuing tradition of excellence in muic education at both the graduate and undergraduate level. The Muic Education Diviion continue to offer a broad array of required and elective coure in general education, teacher training for elementary through high chool muic program, conducting, educational 16

19 TIMES HAVE CHANGED FOR MUSIC EDUCATION AND WE ARE MEETING THE NEW REALITY. WE ARE NOT LOCKED AWAY BEHIND SOME DOOR PINING FOR THE GOOD OLD DAYS. Bergonzi lead a mater cla clinic for a high chool orchetra, one of the many group that come to campu each year. method, and enemble, all geared to tudent today. There are tigma urrounding every grouping of tudent: elementary, middle chool, high chool, and college, Sweet note in decribing her interet in teaching future educator about working with middle chool tudent. Teaching middle chool choral tudent eem to create fear in young teacher, but in reality thee young adolecent are no quirkier than any other population. It jut a matter of learning about the quirk and uing them to advantage. Voice change in t cary if you learn how to work with it, jut a middle chool emotion and mood wing don t have to be cary if you learn how to harne that extra energy in your claroom. More than anything, middle chool tudent want to be treated like adult. They are making the tranition from child to adult, and helping them navigate thi tranition can be o rewarding! Student chapter on campu offer an additional venue for profeional training along with ocial interaction. Solya ha tarted a tudent chapter of the American Choral Director Aociation at the SOM. I want to retore their face-to-face communication and ene of community. Similarly, Bergonzi ha continued the UI tradition (begun by Paul Rolland) of ponoring a tudent chapter of the American String Teacher Aociation. Allen talk about an evolution he enviion in hi work at UI in the future: We are on a contant trek to remain relevant when contemplating our tudent. What in it for them? I ak myelf thi often when conidering new plan or program for Illinoi Summer Youth Muic (ISYM) or clinical experience for our tudent teacher. Time have changed for muic education, Bergonzi reiterate, and we are meeting the new reality. We are not locked away behind ome door pining for the good old day. In many way, our view of the realtie for which our tudent need to be prepared i no longer limited to brick-andmortar, K-12 chool building. We ee the poibilitie within the tradition paed down to u but alo the poibilitie in adding to thoe tradition to better addre the need and reource of 21 t -century chool and muic tudio. The mot forward thinking educator, including many UI alumni, have tranformed what happen in band, orchetra, and choral education. Other (like current M.M.E. tudent Nick Jaworki) have expanded what i meant by muic education in way that reflect today tudent and how muic i created, performed, and ditributed. We intend to honor the tradition, tay relevant to today, and be prepared for the future. *From Eunice Boardman, UI Graduate Program in Muic Education, Muic (Summer 1994): vol. XIV, no. 3. See Robert Schumann, On Muic and Muician. New York: McGraw-Hill, 1964: 31. Anne Heile, who earned a D.M.A. from the Univerity of Illinoi, ha taught at UIUC a a viiting profeor in the Muic Education Diviion. She ha alo taught at the Univerity of the Pacific, California State Univerity, and Northwetern Univerity; and he played viola a a member of the Detroit Symphony and wa a regular ubtitute in the Chicago Symphony. She ha written three book and dozen of article, one of them winning a national award for educational pree. She i a pat national preident of the American String Teacher Aociation. w in t e r

20 Brother, The Illinoi Varity Men Glee Club at 125 o n or i t i e 18