Words of Note 06.indd - Butler School of Music - The University of ...

THE MAGAZINE OF THE UNIVERSITY OF TEXAS SCHOOL OF MUSIC
On the Move .......................................... 2
UT Jazz headed in the right direction with expansion of outstanding
faculty and talented students.
More Than A Pipe Dream ......................... 4
After a long journey, Jessen organ pipes return home to restore
the aesthetics and acoustics of a beloved performance venue.
Sacred Music at the University ..................... 5
New program on its way to excellence with key new faculty.
Alumni ....................................................... 6
Faculty .......................................................11
New Faculty ................................................18
Students .....................................................20
In Memoriam ...............................................24
Guests .......................................................25
New Endowments and Gifts .............................27
Gifts And Donations ......................................28
On the Cover
UT School of Music Jazz Faculty: John Mills, Saxophone;
John Fremgen, Bass; Director of Jazz Studies Jeff Hellmer, Piano;
Ron Westray, Trombone
SCHOOL of MUSIC
College of Fine Arts
The University of Texas
at Austin
Director
B. Glenn Chandler
Associate Directors
Michael C. Tusa
Scott S. Hanna
Assistant to the Director
Winton Reynolds
Director of Graduate Studies
Hunter C. March
Director of
Undergraduate Studies
Suzanne Pence
WORDS of NOTE
Volume 20:
Sept. 2005–Aug. 2006
Editor/Design
John Wimberley
Publicity
Kathryn Van Zandt
Contributors
Charles Ball
Jacqueline Hofto
Winton Reynolds
Nathan Russell
Mark Sarisky
Michael Tusa
Kathryn Van Zandt
Cover Design
Ashley Kjos,
AKA Design
Cover Photograph
Brett Brookshire
Words of Note
The University of Texas
at Austin
School of Music
1 University Station E3100
Austin, Texas 78712-0435
www.music.utexas.edu

Dear Friends:
It gives me great pleasure to share with you this year’s
Words of Note with all the exciting information about the
School of Music, its students, faculty and alumni. We have
much for which to be proud when we look back across
the past year. The productivity and accomplishments of
our talented students, such as winning an ASCAP award,
or a Downbeat Magazine award, demonstrate the fact that
we have some of the best students in the country. I know
that you will enjoy reading about these and other such
activities in the pages to follow.
This year we are very pleased that so many of our alumni
responded to our request for information. I know that
alumni will be interested to know
what your former classmates
have been doing in recent years.
For those who have not honored
us with such a reply, please make
an effort to share with us an update
of your recent involvements
for our next edition of Words of
Note.
Last year we received a total of
more than $3M in gifts to the
School of Music, much of that
being designated for scholarships.
Many of you have made
contributions to our scholarship
fund as a result of our plea last
spring, for which we are most
grateful. If you have not made
such a contribution we invite you
to join your friends in donating to
the School of Music Scholarship Fund today.
Wyatt McSpadden
We are pleased that we could continue our initiative of
the last few years to involve our students in international
activities. Last summer the UT Chamber Singers traveled
to Brazil where they joined with the orchestra from the
University of São Paulo in a concert tour of that country.
Such activities are often the highlight of a student’s
education and it is important that we continue to provide
such opportunities.
We have been fortunate in recent years to gain a number
of new faculty positions, which has enabled us to
B. Glenn Chandler
expand our curriculum into new areas of study. This
year we accepted our fi rst class of students into two new
undergraduate degree programs, one in Music Business,
the other in Recording Technology. This past year we
collaborated with the Center for Middle Eastern Studies
and the Department of Middle Eastern Studies to create
a new position in the Musicology/Ethnomusicology
Division in Middle Eastern music. This new area of study
will not only enrich the degree programs available to
music students but also enrich the general education of
non-music students across the campus as well.
With nearly 100 music faculty members there are usually
some changes each year. This
year we said goodbye to colleagues
Elizabeth Crist, who accepted
a position on the faculty
of Princeton University, and John
(Jay) Watkins, who accepted the
position as head of the marching
band at the University of Florida.
We will miss them but wish them
well in their careers. At the same
time we welcome a number of
new faculty for the fall of 2006,
about whom you may read later
in this magazine.
I am very proud of the entire
family that makes up the School
of Music and wish to invite you
to visit us in the near future. We
offer more than 500 concerts,
recitals, master classes and other
musical events each year. For those of you who cannot
just pop in for a concert we invite you to listen to our
concerts live via our web casts. For information and access
go to our web site at www.music.utexas.edu/ and
look for the Web icon.
Sincerely,
B. Glenn Chandler, Director
1

Director Jeff Hellmer leads the Jazz Orchestra in concert with
acclaimed pianist Shelly Berg at the 2006 Longhorn Jazz Festival.
UT Jazz Studies program grows dramatically
in size and quality
Renowned jazz drummer Peter Erskine’s remarks about his performance
with The University of Texas Jazz Orchestra reflect how significantly
the School of Music’s jazz program has been revitalized by its commitment
to individuality, diversity and solid grounding in the fundamentals
of jazz.
Thanks to these
e f f o r t s , t h e
program has
experienced
unprecedented
growth over
the past five years. “Expansions in the number and quality of faculty,
students and degree plans have made this the most exciting time to
be involved in the jazz program in my eighteen years as a UT faculty
member,” said Jeff Hellmer, Professor of Music and Director of Jazz
Studies. “We’re proud that the recent changes have put the program
on par with the country’s best.”
The dramatic changes in the program began in 2002 when
the school introduced Bachelor of Music degrees in both Jazz
Performance and Jazz Composition. The new plans allow students
2
ON THE MOVE
to receive appropriate credits for the
time and energy they require to study
jazz seriously. When these programs
were adopted, undergraduate interest
from both inside and outside the
School of Music soared, resulting in
an energized community of talented
young undergraduates to complement
the successful graduate program that
was already in place.
“I often get asked the question, ‘Where is jazz going?’
I can answer it tonight by saying the future of jazz is right here,
in good hands, with these musicians I’m playing with tonight.”
–Peter Erskine
For the new degree programs to be
successful, the first priority was to
establish an accomplished faculty. The nature of improvisation and
the unique challenges of each instrument demanded a faculty specialist
for each instrument. John Fremgen, jazz bassist, who had
joined the faculty part-time in 1996, started full-time work in 2002.
That same year, John Mills, saxophonist and composer, also joined
the faculty. The program then added adjunct positions in drum set
(Brannen Temple), jazz guitar (Mitch Watkins), and jazz trumpet
(Dennis Dotson). The addition of Ron Westray, jazz trombonist and
composer, in the fall of 2005, marked the completion of a distinctive
faculty with the expertise needed to carry out the program’s goals.
“The faculty’s talents and credentials are remarkable,” Hellmer
declared of his colleagues, noting that all the members of the faculty
are active in a variety of musical settings that extend beyond
their duties as professors. Westray spent eleven years as a member
of Wynton Marsalis’ Lincoln
Center Jazz Orchestra before
leaving New York for Austin.
Mills, a prolific composer and
performer, recently appeared in
Austin with the Maria Schneider
Jazz Orchestra. Watkins tours
with Lyle Lovett and Jerry Jeff Walker and works as a producer on
numerous jazz and pop recordings. Likewise, Temple is a highly
sought-after recording and touring artist, working with performers
such as Robben Ford and Leni Stern. Fremgen and Hellmer
recently performed in Germany with legendary Count Basie drummer
Butch Miles. Additionally, a subset of the jazz faculty performed
and taught at the St. Petersburg Conservatory in Russia in 2003,
and a new jazz faculty recording is in the works for early 2007. “The
strengths and variety of experiences that this group possess cover
the entire jazz and commercial spectrum,
offering invaluable opportunities
for students. I’m proud to be associated
with this great group of musicians and
teachers,” said Hellmer.
Student achievements in jazz have
begun to follow the example of excellence
set by the faculty, resulting in a
striking amount of national recognition
for The University of Texas jazz program
at both the graduate and undergraduate
levels. Many students are already
distinguishing themselves as performers,
composers and educators.
“Our top two ensembles, the Jazz
Orchestra and AIME [Alternative
Improvised Music Ensemble], are largely
Two-time DownBeat
student award winner
Carter Arrington
THE UNIVERSITY OF TEXAS SCHOOL of MUSIC

dedicated to performing compositions of students
and faculty,” Hellmer explained. “This
strengthens students’ individual voices, and
increases their investment in the music.” Both
ensembles toured Europe in 2004, performing by
invitation at both the Montreux and North Sea
Jazz Festivals. Additionally, the Jazz Orchestra
won a DownBeat magazine Student Recording
Award for outstanding big band performance,
one of an impressive six awards the program has received in the last
two years. DownBeat also recognized several University of Texas students,
including guitarist Carter Arrington (twice), drummer Aaron
Easley, and the student combo Texas Treefort. “The Texas Treefort
project is a great example of the synergy of the jazz program, and
the fulfillment of its mission,” said Hellmer. “A self-formed student
combo got together with Phil Hill, a student engineer from our new
recording technology program, and produced an outstanding CD
of their own material that received national recognition for excellence.“
Hill recently won a separate award from DownBeat for his
engineering skills. Student composers have also achieved recognition.
Graduate students John VanderGheynst, David Guidi and
David Renter recently received awards from DownBeat, ASCAP and
the Brussels Jazz Orchestra, respectively.
Equally impressive is the roster of professional artists appearing
with the Jazz Orchestra as part of the Longhorn Jazz Festival. These
artists include celebrated performers such as Peter Erskine, Shelly
Berg, Phil Woods, Michael Brecker, Terry Gibbs, and Kenny Garrett.
“Many students have related to
me that the Kenny Garrett concert
was the peak musical experience
of their lives,” Hellmer stated. The
program is also planning several
new student ensemble recordings
for the 2006 - 2007 school year.
Ron Westray
Despite the recent attention, the
program remains focused on producing
musicians that are committed
not only to performing,
but also to teaching the art of jazz Shelly Berg takes a bow at the fi nale of this year's festival.
All photographs on these two pages (except Brecker, Erskine) by Mark Rutkowski.
Charlie Fonville, The Daily Texan
WORDS of NOTE
to others. Graduates of the program currently
teach at universities throughout
the United States including the University
of Memphis, the
University of Nebraska,
Georgia State University,
and Cal State University/
Los Angeles. “An important
part of our mission
is to contribute to the legacy of jazz by
producing excellent educators, as well as
performers,” Hellmer remarked.
The jazz program, poised for future
growth, faces several challenges as part
of that growth. “Operating a program
with the number and caliber of students
and faculty such as ours requires greater
resources for guest artists, recording,
touring, and scholarships,” expressed Hellmer. “We wish to build on
our excellence and ensure progress in the years to come.” Despite
these challenges, however, it is clear that the School of Music can
point to the jazz program as an integral part of its sterling reputation.
“America’s music needs to be nurtured and advanced in its
finest universities,” Hellmer said. “I’m convinced that our School of
Music is the perfect place for this to occur.”
Jazz luminaries recently visiting The University of Texas School of Music . . .
Michael Brecker
Peter Erskine
Kenny Garrett inspired student performers
as well as the audience at the 2005 Longhorn
Jazz Festival.
3

Nine years after the Jessen Pipe Organ was sold, a portion of it
makes a return, restoring the hall’s visual and acoustic appeal.
pring break 2006 was a time of homecoming for 45 large organ
pipes. The display pipes, which lived high above the stage in
Jessen Auditorium for over fifty years, arrived back at the university
in seven long, heavy crates
after spending nearly a decade in
storage. Upon their arrival, organ
technician Keith Henderson and his
assistant restored the pipes to their
former perch in Jessen, in what was
the culmination of a labor of love
by the School of Music’s head piano
technician, Charles Ball.
“When the organ was sold and
removed from the hall in the summer
of 1997, we never dreamed that
it would take nine years to restore
the appearance and acoustics of
our most cherished performance
venue,” Ball recalled. The 1942
Aeolian-Skinner pipe organ, which
was larger than the Visser-Rowland
organ that now lives in Bates Recital
Hall, was cherished and beloved by generations of students and
performers. It was the esteemed organ firm Aeolian-Skinner’s last
organ installation prior to the United State’s entry into World War
II, and was voiced by the firm’s most illustrious tonal designer and
technician, G. Donald Harrison. Aeolian-Skinner, which also built
organs for Riverside Church, St. John the Divine Cathedral, and St.
Thomas Church in New York City, was renowned for its outstanding
orchestral instruments. Brilliant chorus reeds, colorful string and
flute stops, and a variety of special stops including vibra-harp and
chimes gave the organist the colors of a full romantic orchestra at
his or her fingertips. During the instrument’s prime, organ luminaries
such as Virgil Fox, Catherine Crozier, Marcel Dupré, Flor Peeters,
E. Power Biggs, Jean Langlais, and current professor of sacred music
Gerre Hancock performed on it.
4
more than
a pipe dream
Brett Brookshire
After the installation of the organ in Bates Recital Hall in 1983,
the Jessen organ went unused and fell into disrepair. The impressive
new Bates organ incorporated a classical style of organ building
that was more popular at that time. The newly opened Music
Building and Performing Arts Center was receiving international
attention, and the organ, along with the new Steinway pianos and
Salzado harps were viewed as the jewels of the extensive new facility.
Estimates to restore the Jessen organ were in the hundreds of
thousands of dollars, and there were questions about whether the
Head piano technician Charles Ball
organ was suitable for a 350 seat recital hall. Finally, in 1997, the
school sold the organ to St. Andrews Episcopal Church in Amarillo
for $140,000.
The organ was carefully dismantled and the various components,
including the wide row of display pipes that hung across the front
of the hall, were crated and shipped to Amarillo. This left a dark,
unattractive chamber adorned only with peeling paint and dangling
light bulbs. Worse, the hard surfaces of the open chamber
created echoes and other acoustic problems and made tuning the
pianos in the hall extremely difficult. As a temporary solution to
get the hall through the summer recitals, a black curtain was hung
over the chamber opening. The curtain posed its own problems for
the acoustics of the hall, as the reflective/refractive qualities of the
original metal pipes had been lost. The temporary curtain remained
over the chamber for the next nine years, while other renovations at
the University took precedence.
In the meantime, the organ went through its own odyssey. Plans for
its rebuilding were postponed when St. Andrew’s Church lost it’s
building in a fire in 1996, and at
one point the organ was stored,
still in crates, in an abandoned
hospital. Nonetheless, a stunning
new sanctuary, constructed with
the tonal and acoustical needs
of the organ in mind, was finally
completed in 2005, and celebrated
organist Thomas Murray of Yale
University gave a recital for the
fully restored instrument, with its
6246 pipes, to dedicate the organ
in its new home.
When Ball learned of the organ’s
dedication, he began a series of
inquiries into the fate of the display
pipes. He eventually determined
that not only were the display
pipes excluded from the restoration
at St. Andrew’s, but also that the church was interested in
selling the unused pipes back to the university. The School agreed
to purchase the pipes, and Ball coordinated with St. Andrew’s to
take inventory of the pipes and prepare them for their return to
Austin.
The reinstallation has received a warm response from both faculty
and students. The hall has been returned to its original appearance,
and the acoustics have been substantially restored. Faculty and students
who never heard the legendary Jessen acoustics during the
hall’s zenith can now better understand why the hall was once so
popular. Jessen remains the primary performance venue for student
and faculty recitals, and the restoration of these pipes will enhance
the performance experience of countless performers and audiences
for years to come.
“The project could never have been done without the constant
support of many people.” Ball remarked, noting the school’s director,
Glenn Chandler, among the most influential in the process. For
Ball, who has worked on the pianos in Jessen for twenty-six years,
the improvement in the hall’s acoustics is particularly significant.
“I admit, my motives for the project were at least partly selfish,” he
confided. “The Steinways in Jessen sound better than they ever
have, and without any additional technical effort on my part.”
THE UNIVERSITY OF TEXAS SCHOOL of MUSIC

School Establishes New Sacred Music Program
W
hen it comes to sacred music, The School of Music is thinking big.
“Imagine what could happen,” said director B. Glenn Chandler.
religious music are complemented with studies in service planning
and playing, choir training, and improvisation. “After only two years,
“Imagine a comprehensive program in Sacred Music, right here at The we are happy to say the program is right on target,” Chandler said,
University of Texas School of Music. Such a program could serve not noting that the program’s enrollment has already reached two-thirds
only students looking for degrees, but also bring resources and training
to church musicians who are already in the fi eld by providing continu-
of the enrollment goals.
ing educational opportunities for organists, conductors, singers and However, degree programs are not the only focus of the sacred music
composers in sacred music.” He projected an opportunity to increase movement. The program is reaching out to professional and volunteer
the national profi le of sacred music, raise the standards of music in church musicians in the community that are already in the fi eld.
churches and synagogues across the nation, provide new career paths The school has established two annual workshops in sacred music
for musicians, and establish
that have found enormous
The University of Texas as a
success. The fi rst, a one-day
national leader in the field
workshop set to take place
of sacred music. However,
each January, provides an
the plans for sacred music at
intimate setting for musicians
the University aren’t all just
to learn from the most talented
vision and dreams anymore.
practitioners in their fi eld. The
The school is already well on
2006 January workshop was
its way to meeting its vision
led by Dr. Malcom Archer,
through its new sacred music
the celebrated Organist and
program that began in 2004.
Master of Choristers at St.
Paul’s Cathedral in London.
Next year’s workshop, which
will take place January 20,
2007, is set to feature Ann
Labounsky, Chair in Sacred
Music and Organ at Duquesne
University, and will focus on
the life and music of French
organist and composer Jean
Langlias.
The School of Music isn’t
completely new to the fi eld
of sacred music. Fifty years
ago, The University of Texas
had a vibrant sacred music
program that produced musicians
like Gerre Hancock, who
spent more than 30 years at St.
Thomas Church in New York
City building one of the premier
sacred music programs
in the country, and James Moeser
who is now Chancellor of
the University of North Carolina,
Chapel Hill. However, a
number of national trends and local factors contributed to the decline
of the program during the eighties, and fi nally, to the cancellation of
the degree program.
When Chandler fi rst came to the school in 2001, having a history in
sacred music himself, he immediately saw the potential for reinstating
the sacred music program. As sacred music programs around the
nation were rapidly disappearing, Chandler recognized an opportunity.
After a yearlong study by a task force of faculty and community
church musicians, the next step toward that goal became possible in
2004 when School of Music alumnus Dr. Gerre Hancock and his wife
Dr. Judith Hancock joined the faculty in sacred music. In addition to
the Hancocks’ distinguished careers at St. Thomas Church, both are
accomplished concert organists and perform internationally. Upon
their arrival in Austin, they immediately began the challenging process
of rebuilding the school’s sacred music program.
Thanks to the Hancocks’ leadership, the program is already fast
becoming a vibrant center for sacred music. In its initial stages, the
program currently offers a concentration in sacred music for graduate
students in choral conducting or organ performance. The concentration
provides instruction in both performance and administrative skills
that prepare students for professional church music appointments.
Surveys in choral and organ literature and the histories of liturgy and
WORDS of NOTE
The Visser-Rowland Organ
Bates Recital Hall
This past June also witnessed
the overwhelming success
of the program’s fi rst annual
conference, Music For Sacred
Occasions. This week-long
event featured Todd Wilson, Director of Music and Organist at the
Church of the Convenant in Cleveland, Ohio, and head of the organ
department at the Cleveland Institute of Music. It provided enriching
experiences to both novices and seasoned professionals. “Many musicians
who work in church music, do not have any formal training in
sacred music. They simply fall into it because they are members of
congregations needing musical leadership and they want to help,”
Chandler remarked. “This kind of event is designed to give those
people especially valuable resources and techniques to help them
better meet the challenges that are unique to sacred music.”
These events are just the fi rst steps in what Chandler hopes will be
an extensive program prepared to help meet the needs of the sacred
music fi eld on a national level. “It is a way to keep the rich history of
sacred music alive, to encourage the creation of new works for sacred
music, to improve the experience of those who attend worship, and
to develop strong teachers who will continue to pass on the traditions
of sacred music to future generations of musicians. We think there
is potential to develop an Institute for Sacred Music at UT that will
set the standard for such programs in the future.” These goals that
Chandler has set for the program are ambitious. However, with the
exceptional leadership of the Hancocks, and a strong program already
underway, the future of sacred music at The University of Texas is
already meeting the challenge.
5

6
Mary Dunleavy
Lee Appleman (MM 1982) is playing drums on the tour of Monty
Python’s Spamalot, which opened in Boston in March and is booked
for several years throughout the United States and Canada.
William Henry Caldwell (MM 1978) is an
Associate Professor of music and director
of vocal and choral activities at Central
State University in Wilberforce, Ohio. He
also maintains an active schedule as a baritone
soloist. Recent engagements include performances with the
Dayton Philharmonic Orchestra
as soloist in the Coronation
Mass and the C-Minor Mass in
celebration of the 250th birthday
of Mozart. Caldwell performed
in the world premiere
of Agnus Dei for Mozart’s Mass
in C-Minor by Robert Xavier
Rodriguez. Professor Caldwell
has conducted the Central
State University Chorus in performances
with the Dayton
Philharmonic Orchestra, the
Cincinnati Pops, The Cincinnati
May Festival, the Indianapolis
Symphony Orchestra and
numerous performances with
the world renowned Cleveland Orchestra at Severance Hall. The
Central State University Chorus was nominated for a Grammy Award
in 1994 for its performance with the Cincinnati Pops in Amen: A
Gospel Celebration. The chorus has also recorded Porgy and Bess with
Angela Brown, Gregg Baker, Harolyn Blackwell, and Erich Kunzel.
Professor Caldwell and the chorus have performed in England,
Italy, France, Egypt and Germany and appear on several Telarc
International Recordings.
Nick Ciraldo (DMA 2006) has been chosen as the new Assistant
Professor of Guitar at the University of Southern Mississippi.
Jacob Clark (DMA 2006, piano performance) was recently appoint-
Mary Dunleavy (MM 1990) was one of four alumni chosen by the Texas Exes to receive the 2006
Outstanding Young Texas Ex Award. The award was inaugurated to recognize young alumni who
are distinguished in their fields and have demonstrated a continuing interest in The University of
Texas and the Texas Exes.
Praised as one of the most exciting singers in this generation of lyric coloratura sopranos, Ms.
Dunleavy is lauded for the varied and vivid gallery of operatic heroines she has depicted on leading
opera stages throughout the world.
In her 2005–2006 season, she sang with the Dallas Opera, the St. Louis Symphony, the Metropolitan
Opera in New York and the Opera Company of Philadelphia. She performed Violetta in La Traviata
and Pamina in The Magic Flute at the Metropolitan and all four roles in The Tales of Hoffman with
the Dallas Opera.
Ms. Dunleavy was born in Connecticut and raised in New Jersey. She received her undergraduate degree from Northwestern University
and earned her master’s degree in music at UT, where she frequently returns to give master classes.
William Caldwell
Soprano Named Outstanding Young Texas Ex
Alumni
ed to a piano/group piano faculty position at the Levine School of
Music in Washington DC, one of the oldest, largest and most prestigious
community music schools in the nation.
Paul De Castro (DMA 2002) toured, performed
and taught in jazz festivals in Hungary
and Romania in the summer of 2006. Highly
regarded as a pianist, composer and instructor
of jazz and Afro-Cuban (salsa) styles, De
Castro has performed around the world with Gary Foster, Bobby
Shew and Bobby Rodriguez, among others. He serves as Afro-Cuban
music expert for the International Association for Jazz Education
and directs the master in music degree program in Afro-Latin music
at California State University, Los Angeles. Primarily his design, the
program provides students with the opportunity to hone their skills
in traditional and contemporary Latin styles, performing onstage
and in master classes with Edgardo Cambón, Danilo Lozano, Frank
Emilio Flynn, Carlitos del Puerto, José Luis Quintana “Changuito,”
Los Muñequitos de Matanzas, and other professional musicians. His
award-winning university ensemble is the first Afro-Latin music stu-
Paul De Castro
THE UNIVERSITY OF TEXAS SCHOOL of MUSIC

dent group from the United States to be invited to perform in Cuba.
De Castro also composes and performs with the Latin jazz group
Rhubumba and is a founding member of the Cuarteto Experimental
Afro-Latino.
Rob Deemer (DMA 2005) taught at the University of Oklahoma
School of Music during the 2005-06 academic year and has been
appointed to the faculty of McNeese State University in Lake
Charles, Louisiana.
Don Devous (BM 1984) recently earned his master of arts degree in
voice at the University of North Texas. He lives in Ft. Worth, Texas,
where he works as a choral director for the Keller Independent
School District.
Brubeck Festival Honors Salmon
WORDS of NOTE
John Salmon
John Salmon, professor
of piano at the University
of North Carolina
at Greensboro
(UNCG), received the
2006 Award for DistinguishedAchievement
from the Brubeck
Institute, located
at the University of the
Pacific (UP), Brubeck’s
alma mater. He also
performed a recital
of Brubeck works as
part of the institute’s
annual Brubeck festival
in April.
“John’s work with Dave Brubeck’s music has been outstanding
as a performer, editor, and scholar and has been going on for
many years,” said Steve Anderson, dean of the UP Conservatory
of Music and director of the Brubeck Institute. Other artists
performing in the festival included the David Grisman Quintet,
Pancho Sanchez Latin Band, Bobby Watson and the Clayton-
Hamilton Jazz Orchestra.
Salmon has released two recordings of Brubeck’s classical
music and will soon release a recording of Brubeck’s nocturnes
through the publisher Naxos. In addition, he is the author of
the book The Piano Sonatas of Carl Loewe, and has published
articles in many respected publications, including American
Music Teacher, The Chronicle of Higher Education, Clavier and
Piano Today, among others. Equally adept in jazz and classical
genres, Salmon is a member of the faculty jazz trio at
UNCG School of Music, where he has taught since 1989. He
holds the Master of Music degree from The Juilliard School,
and the Doctor of Musical Arts degree from The University of
Texas. Salmon has championed piano pieces by many contemporary
composers, especially Brubeck, who dedicated
two pieces to Salmon.
Charles Ditto (MM 1994, DMA
1998) performed his original score
for Raving, a theater work written
and directed by Peter Lobdell, at
the International Michael Chekhov
Festival in Amherst, Massachusetts,
and at four performances at the
Metropolitan Playhouse in New York
City as part of their Poe-Fest. A composition
by Ditto for string quartet
was performed by the Texas State
University faculty string quartet
at the Joint College Music Society
South Central Chapter and National
Alexandre Dossin
Association of Composers/USATexas
Chapter Conference concert in March, where Ditto also presented a
paper: “Minimalist Structure in Steve Reich’s Electric Counterpoint/
II.” He collaborated with Dr. Lucy D. Harney (Texas State University
Department of Spanish) on an article, “Musical Function in Selected
Spanish and Cuban Zarzuela,” in Gestos: Teoría y práctica del teatro
hispánico, edited by Juan Villegas (UC/Irvine).
Alexandre Dossin (DMA 2001) served four years on the faculty at
the University of Wisconsin-Eau Claire and will begin teaching at
the University of Oregon School of Music in August 2006. He has
released two recordings that have received positive reviews from
many publications, including American Record Guide and Fanfare.
His third recording will be released by Naxos in 2007 and will be distributed
internationally as part of the Franz Liszt Complete Piano
Works series. Dossin will also record an album of piano works by
Dimitri Kabalevsky that will be released by Naxos in 2008. Dossin
has been included in Who's Who Among America's Teachers and
Who's Who in America. For more information visit www.dossin.net.
Adrienne Inglis (MM 1986) recently recorded with her Latin
American folk music group, Chaski, on the soundtrack to the IMAX®
film Ride Around The World, which was released in June 2006. The
film explores a thriving global culture of horse and cattle raising
peoples that has helped shape Western civilization for a thousand
years, transporting viewers to Morocco, Spain, Mexico, Argentina,
Patagonia, Texas and Canada in an active and educational giant
screen experience. Inglis was recorded playing twelve different
flutes: flute, alto flute, bass flute, piccolo, zampoñas, semi-toyas,
toyos, quena, quenacho, moseño, Baroque flute and penny whistle.
Robert W. Jenkins (BM 2001) recently composed the short song
cycle Three Songs of Innocence: The Lamb, Nurse's Song, and Infant
Joy, a musical setting of William Blake’s Songs of Innocence. The work
was commissioned by soprano Carmen Claure, who performed it at
the royal palace in El Escorial, Spain, in summer 2006.
During the 2005–2006 season, George Garrett Keast (BM 1995)
was the assistant conductor of the Dallas Opera, where he held
the nationally awarded Bruno Walter Assistant Conductor Chair.
He served as a regular speaker for Dallas Opera pre-performance
lectures and education programs. He debuted with the Dallas
Opera Orchestra in November, and in February conducted the
Dallas Opera Family Concert in partnership with Radio Disney and
Mozart's Birthday Bash. Keast returned for his second season at New
York City Opera, serving as associate conductor on the Mark Lamos
production of Madama Butterfly. Mr. Keast served as an adjunct
faculty member of the UT Butler Opera Center, where he conducted
four performances of Dialogues of the Carmelites in the spring.
7

Michael Barnes of the Austin American-Statesman wrote about the
production: “The best student opera I’ve ever witnessed. Poulenc’s
score received a honeyed treatment from conductor Garrett Keast.”
During the summer, Keast conducted the Naumburg Orchestra in
Central Park and conducted his fifth season for the Music at Port
Milford Chamber Music Festival in Canada. In the fall of 2006, he will
conduct the New Jersey Symphony Orchestra in a series of fourteen
Young People’s Concerts.
Benjamin Keltner (BM 2003) is serving in Iraq with the 1116th
Transportation Company of the New Mexico Army National Guard.
He was unexpectedly called back into service as he began his third
year as high school band director in La Feria, Texas. His tour of duty
will end in late fall 2006, at which time he will resume his teaching
duties. Former classmates may contact him at ben.keltner@us.army.
mil.
Peter Knell (DMA 1997) attended the premiere of his work (012)
– (01234) by the ensemble counter)induction at New York’s Tenri
Institute in June 2006. His orchestral work LINES/ANGLES, commissioned
by the Winnipeg Symphony in 2001, was recently chosen by
the International Society for Contemporary Music as one of three
official U.S. submissions to the World Music Days in Hong Kong
in 2007. Another of his orchestral works, “…the weakening eye of
day,” was selected by the Young Musicians Foundation (YMF) for its
national premiere by the YMF Debut Orchestra at Disney Hall in Los
Angeles, California, in May 2007. Knell’s Vortex for string orchestra
was a finalist in the Kremlin Chamber Orchestra’s Mozart 250 competition,
which included a Moscow performance that was broadcast
throughout Russia and streamed live on the web. The piece will
be performed again in November 2006 at New York’s Weill Recital
Hall. In November 2004, Peter Knell served as composer-in-residence
for the American Music Festival in Cluj, Romania, overseeing
the premieres of his orchestral overture Charged Particles and his
Sing, Praise! for a capella chorus. Upcoming projects include a new
work for the Ying Quartet and a large ensemble work for ensembleGREEN.
Anthony Scott Kojak (BM 1979) has worked as a pianist and composer
in Austin, New York City, Beaumont, Houston, Galveston and
Indianapolis. He played Carnegie Hall in 1981. Kojak has composed
many songs with Biblical text including his latest work, Jesus Christ,
Son of God, which is taken from the Gospel of John.
Violist Josephine Liu (DMA 2003) toured in Europe as a member of
the Pacific Symphony of Los Angeles.
8
Rebecca Locklear
Rebecca (Fadely) Locklear (BM
1979, MA 1982) is in her tenth
season as director of the Central
Oregon History Performers, an
auditioned group of 75 primary
and secondary students who
reenact various periods in history.
Locklear researches and
creates the group’s productions,
which exhibit vocal and instrumental
music, dance, drama,
choreographed swordplay, and
artistic displays.
Yuan Xiong Lu (MM 1988), who
performs with the San Antonio
Symphony, was recently chosen to be a visiting Assistant Professor
of Double Bass at Baylor University.
Brett Mitchell (MM 2003, DMA 2005) has been named Assistant
Conductor of the Orchestre National de France. Mitchell auditioned
for the orchestra and its Music Director, Kurt Masur, in Paris this
past February. He has worked
several times previously with
Masur, Music Director Emeritus of
the New York Philharmonic, and
was invited by Masur to conduct
Mozart's 40th Symphony in New
York on the 250th anniversary of
Mozart’s birth. Mitchell will retain
positions as Director of Orchestras
at Northern Illinois University
and Associate Conductor of the
Pittsburgh New Music Ensemble,
traveling to and from Paris each
season as scheduling demands.
Molly Costen Nero (BM 1989) has
been teaching the joys of perfor-
Brett Mitchell
mance to elementary students
for the last 14 years. She directs six musical productions a year as a
music instructor at Brushy Creek Elementary School in the Round
Rock school district. Nero was honored by her colleagues as 2002–
03 Teacher of the Year for “her unending energy and dedication to
her students.” She was chosen for the 2006 Who's Who of American
Teachers and is also included in the Empire Who's Who Registry of
Executives and Professionals 2006–2007.
Artists International Presentations recently granted saxophone
soloist Todd Oxford (DMA 2001) the prestigious 2006 New York
Debut Award. In conjunction with the award, Oxford gave his New
York solo debut performance in Weill Hall at Carnegie Hall. Oxford
launched his performance career as an undergraduate student
when he was invited to join the acclaimed Harvey Pittel Saxophone
Quartet. Oxford later co-founded the Elision Saxophone Quartet,
which performs frequently at festivals and music education conferences,
and has been broadcast on radio and television. Oxford
is currently lecturer in saxophone at Texas State University. He has
been profiled in the 2005 Who’s Who in America and the 2006 Who’s
Who in the World.
Sue-Jean Park (DMA 2006) was recently appointed as Assistant
Professor at Murray State University in Kentucky and also
Concertmaster for the Jackson Symphony Orchestra. She received
her MM from Yale and BM from Seoul National University in Korea.
During her doctoral studies, Park was a tenured member of the
Austin Symphony Orchestra and Austin Lyric Opera and was also a
principal in the Victoria Symphony.
Roberta Rust (BM 1978) appeared with the New Philharmonic
(Florida) in multiple performances of Tschaikovsky's First Concerto
in 2006. She was soloist in Saint-Saëns's Second Concerto with the
Boca Raton Philharmonic Symphonia at Mizner Park and soloist in
Beethoven's Third Concerto with the Lynn University Philharmonia
Orchestra in 2005. Rust serves as Artist Faculty-Piano and Head
of the Piano Department at the Conservatory of Music at Lynn
University in Boca Raton, Florida. In May 2006, she gave master
classes at the China Conservatory in Beijing.
THE UNIVERSITY OF TEXAS SCHOOL of MUSIC

Mezzo-soprano Cindy Sadler (BM 1990) enjoys a busy singing
career throughout the United States. Most recently she has been
heard as Tituba in Opera Boston's The Crucible, Zita in Gianni
Schicchi with Opera Santa Barbara, the First Maid in Elektra with
Austin Lyric Opera, Baba the Turk in The Rake's Progress and Third
Lady in The Magic Flute with Des Moines Metro Opera. In April
2007 she will return to Austin Lyric Opera as Bertha in The Barber of
Seville. In addition to her singing, Sadler is in demand as a lecturer
and consultant, traveling the country to give workshops on the
business aspects of a singing career. She is well-known for her “Ask
Erda” advice column in Classical Singer Magazine, in which she has
published over 60 articles. She was a featured speaker at the 2006
Classical Singer Convention in Philadelphia. Sadler is on the voice
faculty at St. Edward's University in Austin and recently published
her first book, The Student Singer's Starter Kit. For more information
on her activities, please visit www.cindy-sadler.com and www.
thebusinessofsinging.com.
Brenda Sansig (BM 1997, MM 1999)is a busy freelance performer
and teacher in the Austin area. She has performed with the Austin
Lyric Opera, the Austin Symphony Orchestra, and is principal trombone
with Lyric Opera of San Antonio. In addition, she performs
with the Hill Country Brass, Hemisphere Brass and the Mid-Texas
Symphony. She serves on the faculty of Texas A&M University in
Corpus Christi and Texas Lutheran University and teaches in the
high school private lesson program in New Braunfels, Texas, where
she resides.
Lucy Schaufer (MM 1991, Opera) performed the role of Cherubino
in Le Nozze di Figaro with the Los Angeles Opera. She performs regularly
with the English National Opera in London. Lucy Schaufer
returns frequently to campus to offer master classes to UT voice
students.
James Sclater (DMA 1970) has been named the Mississippi Music
Teachers Association Commissioned Composer for 2006. His commissioned
work, Irish Sketchbook for flute and piano, will be premiered
in November 2006. Sclater's newest vocal work, Light Upon
Silver, Books I - V, is a collection of songs based on the photography
WORDS of NOTE
Robert Foster
of his father, Arthur L. Sclater. Sclater wrote both text and music for
the work, which will be premiered in fall 2006 by the voice faculty
of Mississippi College. He completed his 36th year of teaching at
Mississippi College in spring 2006. Several of his works have been
recently published by E.C. Schirmer of Boston.
Jeri-Lynne White Severance (MM 1989) is a special education
teacher working with trainable mentally-handicapped children,
grades K–5. She co-founded a festival of the arts at her school,
which is now in its tenth year. She also directs a chamber singers
group and assists with the children's music program at her church.
Severance recently completed an education specialist degree in
educational leadership.
Vivian Siao (MM 1972) has been a Visiting Professor in Piano at the
China Conservatory of Music in Beijing since March of 2005 and will
be there through spring 2007.
Susanna Silvestro (BA 2003) has taught music and drama at Rising
Stars Creative Arts Center and now teaches piano and voice at the
Albertson School of Music in Austin. She is also a church pianist and
vocalist.
Yvonne Steely (MM Theory) is the composer/lyricist/playwright
of nine musicals and two plays. She is also composer/lyricist of an
additional eleven stage and television musicals. Her work has been
produced nationwide. The American Theatre Association awarded
A Bird in Hand a special national prize for senior theatre. The musical
Columbus (Voyagers) was named an official project of the National
Quincentennary Commission in Washington, D.C., and showcased
off-Broadway by the National Alliance of Musical Theatre Producers
as one of the best new musicals of 1991. The Ransom of Red Chief was
produced off Broadway in 2002. Steely has served on the National
Endowment for the Arts in Washington, DC. She is finishing work as
composer/lyricist with bookwriter Patricia Rumble on yougogirl.com,
an all female cast musical, which will be produced in February 2007
in Houston, and later off-Broadway.
Nancy Jonson Teskey (MM 1991) is instructor of flute at Lewis &
Alumnus Inducted Into Band Hall of Fame
Robert Foster, Professor of Music and Assistant Chair of the Department of Music
and Dance in the University of Kansas (KU) School of Fine Arts, was inducted into the
National Band Association (NBA) Hall of Fame at Troy State University in Alabama in
February 2006.
Foster, a graduate of The University of Texas, has served as Director of KU Bands for
31 years, conducting the KU Symphonic Band/Wind Ensemble and the KU Marching
Band.
Foster is vice president of the John Philip Sousa Foundation and former president of
the National Band Association, the Southwest Division of the College Band Directors
National Association and the Big 12 Conference Band Directors Association. He is also
an active guest conductor and adjudicator in the U.S., Canada, Mexico, Japan, Singapore
and Europe.
To be nominated for induction into the Hall of Fame, directors must have a national
reputation as band conductors and must have made a national impact on the American
band movement.
9

Clark College in Portland, Oregon,
and teaches middle school band
and orchestra at a local college
preparatory school. She performs
with Friends of Rain, a new music
ensemble of faculty from Lewis &
Clark College.
Yoichi Udagawa (BA 1985) guest
conducted the UT Symphony
with violin faculty Brian Lewis
as soloist during the 2005–2006
concert season. Udagawa also
guest conducted at the New
England Conservatory and the
Yoichi Udagawa
North Carolina Region All State Orchestra. He continues to serve
on the faculty at the Boston Conservatory, and is the music director
and conductor of the Cape Ann, Melrose and Quincy Symphony
Orchestras.
Martin Vasquez (BM 1986) is a frequent performer at the Festival
Lyrique-En-Mer in Belle-Ile, France, where he has made recent guest
appearances in Carmen, Le Nozze di Figaro and Die Zauberflöte and
performed the tenor solo in Carmina Burana. As a solo artist Vasquez
has recently appeared with the Brooklyn Philharmonic as Pedro in
El Retablo de Maese Pedro and Judas in Judas Maccabeus. He also
performed the role of Quint in Turn of the Screw with Stony Brook
Opera. Other highlights include performances with Chattanooga
Opera, Summer Opera Theatre (Washington, DC), Opera Delaware,
Springfield Symphony, the outreach program of Tulsa Opera, and
tours with the New York City Opera. Vasquez has performed in off
Broadway musicals and has worked as a teaching artist with the
Guild of the Metropolitan Opera. He lives with his wife Yvette (MM
1995) in Forest Hills, New York, and anticipates completing his doctorate
at the State University of New York at Stony Brook in the
2006–07 academic year.
Yvette Vasquez (MM 1995) is the arts education coordinator for
the educational outreach program of the Oratorio Society of New
York, the resident chorus of Carnegie Hall. She is also soprano section
leader for the society. Recently, she served as a choral director
for the Guild of the Metropolitan Opera’s Urban Voices arts initiative,
an after-school chorus program for inner city students. In addition,
she coordinates the vocal music ensemble for the National Dance
Institute. Vasquez is a committee member and preliminary-round
panelist for the Oratorio Society of New York’s International Solo
Competition.
10
Janeene Williams
Soprano Janeene Williams (BM
1985), whose specialties include
oratorio and concert repertoire,
new music and song recital was
recently invited to perform with
the UT Symphony Orchestra.
Other recent solo performances
include Messiah, Creation
and Judas Maccabaeus with
Austin Civic Chorus, Juliet at Her
Window (Godfrey) and Sparrows
(Schwantner) with Dan Welcher
and the UT New Music Ensemble,
an all-Mozart recital for A. Mozart
Fest’s gala concert with pianist
Mary Robbins, and a recital with concert pianist Frederick Moyers.
Upcoming performances include Vocalissimus (Currier) with the
UT New Music Ensemble and Mozart’s C-minor Mass with the San
Angelo Symphony and Chorale. Williams will be singing with Craig
Hella Johnson and Conspirare in the upcoming series, “A Wondrous
Journey,” which will culminate in a performance at the American
Choral Directors Association in Omaha, Nebraska.
Schumann Wins Piano Competition
Michelle Schumann
Michelle Schumann (MM 1998, DMA 2003) was named winner
of the 2006 UT San Antonio Janice K. Hodges Contemporary
Piano performance competition in February. The UTSA competition
was established to introduce the public to the language
of contemporary music and encourage advanced pianists
to study and perform the music of the present.
Schumann, a native of Canada who resides in Austin, performs
as a solo artist and with the Long Beach Opera, Austin
Chamber Music Center, Ballet Austin, Barbwire Music Project,
Tosca String Quartet, Meridian Arts Ensemble and the newly
formed American Repertory Ensemble.
The recognized new music consortium, Common Sense, is
currently composing an album of music specifically written
for Ms. Schumann. Her annual performances of the the music
of John Cage, now in the sixth season, continue to draw audiences
and acclaim.
Schumann, whose performances have been listed as top arts
events by the Austin American Statesman, was nominated for
best instrumentalist by the Austin Critics Table Awards. The
Austin American Statesman noted Schumann’s performances
as “masterly, alive, and melodic.”
Michelle Schumann is an Assistant Professor in Piano and Artist
in Residence at the University of Mary Hardin-Baylor.
THE UNIVERSITY OF TEXAS SCHOOL of MUSIC

Brett Brookshire
Robert DeSimone
WORDS of NOTE
DeSimone Inducted Into Austin Arts Hall of Fame
Butler Opera Center director Robert DeSimone was inducted into the Austin Arts Hall of Fame for
his contribution to the arts community over many years of service. A special ceremony was held
in June for the 2005–06 inductees by the Austin Critics Table, a group of arts writers who make annual
awards to outstanding artists and performers.
Over the last two decades, DeSimone has built the UT opera program into a major center for preparing
talented young singers for the professional opera world. Notable alumni of his recent tutelage
include Metropolitan Opera singers Lucy Schaufer and Mary Dunleavy, among many other professional
singers throughout the world who have benefited from his guidance. Philanthropists Sarah and
Ernest Butler, who recently gave a $2 million endowment to UT opera, have expressed their admiration
of Robert DeSimone’s teaching art.
In April, U.S. Senator Kay Bailey Hutchison made an official announcement that DeSimone had received
a Fulbright award from the Fulbright-Hays Group Projects Aboard program. The grant award funded
“Exploring Mexico: Performing Arts and Culture,” a seminar and curriculum development project for
educators in which the performing arts become a central thread to study culture. The project itinerary
planned and led by DeSimone took place in June and July in Oaxaca de Juarez City, Mexico City,
Guadalajara, Mazatlan and Morelia. Fifteen educators were selected from five states to participate
in the seminar.
Faculty
Elliott Antokoletz, Professor of Musicology,
has published a chapter entitled “Copland’s
Gift to be Simple Within the Cumulative Mosor
Emerita of Musicology, has continued to
be professionally active since her retirement in
May 2005. She is a member of the board of disaic
Complexities of His Ballets” in Aaron Corectors
of Early Music America and is the music
pland and His World (Princeton and Oxford: Princeton University book review editor for Speculum, the journal of the Medieval
Press, 2005). He presented two invited lectures, “From Bartók Academy of America. In August 2006 she presented a paper at
and Berg to Perle: A New Tonality and Means of Progression the meeting of the Cantus Planus Study Group of the Interna-
as Shown in No. 5 of George Perle’s Thirteen Dickinson Songs” tional Musicological Society held at the abbey of Niederaltaich
and “George Perle: Man, Composer, and Theorist” in a celebra- on the Danube in Bavaria. She is listed in the 2006 Who's Who in
tion of composer/theorist George Perle, given at the Eastman
School of Music in November 2005. In March, Antokoletz pre-
America.
sented a lecture entitled “Musical Symbolism in Bartók’s Opera, Nathaniel Brickens received a 2006 University of Texas Dad's
Bluebeard’s Castle: Trauma, Gender, and the Unfolding of the Association Centennial Fellowship for Excellence in Teaching.
Unconscious,” at the Institute for Musicology in Budapest, as He was a featured clinician at the Brazilian Trombone Associ-
part of an international conference entitled “Bartók’s Orbit.” ation's 2006 XII Encontro Brasileiro de Trombonistas held in Joao
Another lecture, “In Defense of Theory and Analysis: A critical Pessoa, Brazil, in February and at an August event, Trombonanza
Evaluation of the Discipline and Its Application to Bartók’s Mu- 2006, hosted by the Escuela de Musica in Santa Fe, Argentina.
sical Language,” was given at
He served as an adjudicator for the
the University of Surrey, Guild-
Music Teachers National Associaford,
England, in a conference
tion National Solo Competition,
on“Re-engaging Formalism:
the Texas State Solo and Ensemble
Bartók.” He was invited by the
Competition, and the Texas Music
American Hungarian Educa-
Educators Association All State Entors’
Association to present a
sembles auditions. He performed
lecture on “The New Hungarian
as trombonist for the Victoria Bach
Art Music: Bartók as Pioneer”
Festival Orchestra and has been
at Indiana University in April.
active as a substitute trombonist
Antokoletz continues as editor
with the San Antonio and Austin
of the annual International Jour-
Symphony Orchestras. Brickens
nal of Musicology (Frankfurt am
remains active as executive board
Main: Peter Lang), now in its
member of the International Trom-
tenth year. He is also completbone
Association (ITA), participating
a new book on the music of
ing in meetings in Washington
the early 20th-century Russian-
DC, Las Vegas, and Birmingham,
German composer Georg von
England.
Albrecht (Peter Lang Verlag in Lorenzo Candelaria surveys the ruins of Teotihuacán. The
Frankfurt).
pyramids of the Sun and the Moon stand against a
Lorenzo Candelaria, Assistant
Dr. Rebecca A. Baltzer, Profes- volcano in the background.
Professor of Musicology, lectured
Monique Candelaria
11

widely on the sacred music of Spain and Mexico. Highlights
included presentations at Cambridge University, Yale University,
the University of Chicago, El Conservatorio de las Rosas
(Morelia, Michoacán), the Universidad Nacional Autónoma de
México and the Museo Nacional del Virreinato (Tepotzotlán,
México). With the generous support of the
School of Music, College of Fine Arts and a
Walter and Gina Ducloux Faculty Fellowship,
he completed his current book project
titled The Rosary Cantoral: A Spanish Chantbook
from Sixteenth Century Toledo (Boydell
& Brewer). He also published, with the late
Daniel Kingman, the third concise edition of
a leading textbook entitled American Music:
A Panorama (Thomson Schirmer). During his
appointment as a Visiting Professor at Yale
University in spring 2006, Dr. Candelaria
taught a course on music and Mexican religious
devotion and led the Yale Institute of
Sacred Music through musical components
of a two-week study tour in Mexico. He is
currently working with Oxford University
Press to develop a book that will focus on music and Mexican
Catholicism.
In April 2006, Delaine Fedson was one of four harp teachers
from around the world invited to teach at the 14th World
Suzuki Conference in Turin, Italy, where she had the opportunity
to meet and work with teachers and students from Italy,
Germany, the United Kingdom, France and the United States. In
May, she was the invited Master Class Clinician for the Suzuki
Association of the Americas Biennial Conference in Minneapolis,
where she also performed and presented a clinic on the UT
C. Lee
12
Harp Project. During the summer, Fedson taught at Longhorn
Music Camp and presented teacher training at workshops in
Colorado and Wisconsin. She remains active as the Southwestern
Regional Director and Secretary to the Board of the American
Harp Society and second harpist with the Dallas Opera
Orchestra.
During 2005 and 2006, Donald Grantham
wrote a chapter about his wind ensemble
music and compositional practice for the
book Composers on Composing for Band, GIA
Publications, Inc., Chicago. Commercial recordings
include: Houston Strokes (for percussion
ensemble) by the University of Houston
Percussion Ensemble, Blake Wilkins, conductor,
Albany Records; We Remember Them
(for a cappella chorus, text from the Hebrew
Union Prayer Book) by the Conspirare Choir,
Craig Hella Johson, conductor, Clarion Recordings;
Wind Ensemble Music by Donald
Recent recording by Eugene Grantham by the North Texas Wind Sympho-
Gratovich and Sidney Knowlton ny, Eugene Migliaro Corporon, conductor,
GIA Recordings; Baron Cimitiére’s Mambo (for wind ensemble)
and Baron Samedi’s Sarabande (and Soft Shoe) (for wind ensemble)
by the North Texas Wind Symphony, Eugene Migliaro Corporon,
conductor, GIA Recordings. Commissions include Music for
the Blanton (for large chamber ensemble), which was commissioned
by The University of Texas College of Fine Arts to celebrate
the opening of the Blanton Museum in April 2006. Baron
Samedi’s Sarabande (and Soft Shoe) (for wind ensemble) was commissioned
by the Tennessee Tech Wind Ensemble, and Court
Music (for wind ensemble) was commissioned by the Tokyo Kosei
Wind Orchestra. Grantham served as a Guest Composer or
Piano Faculty Play Mozart to Benefi t Martin Scholarship
UT piano professors Gregory Allen, Sophia Gilmson, Betty Mallard, Anton Nel,
Lita Guerra, David Renner, Martha Hilley and Nancy Garrett (seated)
On April 28, 2006, The University of Texas
piano faculty performed a benefit for the
Danielle Martin Memorial Scholarship Fund
with an all-Mozart program. The program
included Mozart's Sonata in C Major for Piano,
Four Hands, K. 521; Fantasy in D Minor, K. 397;
Fugue in G Minor for Piano, Four Hands, K. 401;
Ten Variations in G Major on “Unser dummer
Pobel meint;” Sonata in C Major, K. 545; Rondo
in A Minor, K. 511; and Sonata in D Major for Two
Pianos, K. 448.
A recording of two marathon concerts by students,
friends and fellow artists honoring the
life and work of Danielle Martin is still available,
with proceeds going to the Danielle Martin
Scholarship Fund.
The two volume, four CD set, may be purchased
through the School’s web site: www.music.
utexas.edu or by contacting Eloisa Saldaña,
eloisa@mail.utexas.edu, (512)-471-0806, or
Eloisa Saldaña,1 University Station E3100, Austin
TX 78712-0435.
THE UNIVERSITY OF TEXAS SCHOOL of MUSIC

Composer-in-Residence at the University of North Texas, Sam
Houston State University and Tennessee Tech University.
Eugene Gratovich, Associate Professor of Violin and Chamber
Music, performed Beethoven’s Sonata in G Major for the International
Summer Music Academy in June 2005 in St. Petersburg,
Russian Federation. While there he presented a lecture-recital
on the violin sonatas of Charles Ives and gave a master class. He
performed Brahms's Violin Sonata in A Major for the International
Music Festival-Institute in Portugal in August 2005. He
also performed a program
of American music for the
opening of a modern art exhibition
in Viana do Castello,
Portugal. Dr. Gratovich
performed on a recently released
recording of original
music for violin and piano
by American composer
Sidney Knowlton, who performed
on piano. The SKD
Productions recording also
includes music recorded
live in St. Petersburg at the
Composers' Union Concert
Hall with the composer conducting
a violin ensemble of
Dr. Gratovich and University
of Texas students. The
piece, For Those Who Have
Gone, was dedicated to the
memory of the victims of the World War II blockade
of the city.
Gerre Hancock, Professor in Sacred Music and Organ,
performed organ concerts in Los Angeles, San
Antonio, Houston, Sacramento, Scottsdale, Philadelphia,
Richmond, Virginia and Tulsa. He conducted
choral festivals in San Antonio, Grand Rapids,
Michigan, Baltimore and Atlanta. Dr. Hancock conducted
master classes and performed in recital at
Brevard College, North Carolina; Duquesne University
in Pittsburgh; and The University of Washington
at Seattle. In Austin, he performed on the Great
Organ Series at Bates Recital Hall and lectured at
the Austin Presbyterian Theological Seminary.
In late October, Judith Hancock performed the Poulenc Concerto
for Organ, Percussion and Strings in concert with The University
of Texas Symphony Orchestra, under the direction of guest
conductor Gerhardt Zimmermann. She performed English cathedral
works for chorus and organ in November with the UT
Choral Arts Society, under the direction of James Morrow. Dr.
Hancock performed organ concerts at Wabash College in Indiana
and at Saint Mark's Episcopal Cathedral in Grand Rapids,
Michigan. She will perform a solo recital in Bates Recital Hall
next season as a part of the Great Organ Series.
Jeff Hellmer, Director of Jazz Studies, adjudicated and performed
at the Western Connecticut State/Litchfield Jazz Festival,
the Riverside (California) Community College Jazz Festival,
and the Island Jazz Festival in Corpus Christi. He appeared as
pianist and conductor for the Dallas Wind Symphony's “Swing
WORDS of NOTE
Band Valentine” concert at the Meyerson Symphony Center in
Dallas. He performed at Dizzy's Club Coca-Cola at Jazz at Lincoln
Center with faculty colleague Ron Westray, and appeared
at the Bingen (Germany) Jazz Festival with Count Basie's legendary
drummer Butch Miles. Hellmer performed recitals at
UT with the Faculty Jazz Quartet and with guest jazz pianist
Shelly Berg, and returned for his fifth summer as instructor at
the Idyllwild (California) Arts Jazz Camp.
Jacqueline C. Henninger, Assistant Professor of Music and Human
Learning, presented her research at regional and national
conventions and published in an international journal. “The Effects
of Verbal Feedback on Complex Skill Learning in Music: A
Review of Literature” was presented at the Texas Music Educators
Association Convention in San Antonio in February 2006.
Dr. Henninger also presented a paper entitled “The Effects of
Performance Quality Ratings on Perceptions of Instrumental
Music Lessons” at the biennial meeting of the Music Educators
National Conference in Salt Lake City, Utah. “Pedagogical
Techniques and Student Outcomes in Applied Instrumental
Lessons Taught by Experienced and Pre-service American Music
Teachers,” an article for which Dr. Henninger was the lead
author, was published in the International Journal of Music Education
in April 2006. Dr. Henninger also served as a guest clinician
and guest conductor for several middle school and high
school band programs throughout central Texas.
Professor Adam Holzman was featured
on the cover of two international
magazines in his field this year, Classical
Guitar Magazine (England) and Guitart
Magazine (Italy/USA). The Guitart
cover also featured his brother, Bruce
Holzman, who is professor of guitar at
Florida State University.
Patrick Hughes, Assistant Professor of
Horn, had a busy year. He performed
at the 2005 International Horn Society
Convention in Tuscaloosa, Alabama,
in June 2005, and later played with the
Victoria Bach Festival. In October, he
joined his colleagues in The University
of Texas Wind Quintet on a tour
to Michigan, where they performed
Bruce and Adam Holzman
and taught in Interlochen, Kalamazoo
and the Ann Arbor area. Hughes performed
with The Canadian Brass in Bass Concert Hall on campus
and performed Russell Pinkston’s Quartet for four horns and
tape on a New Music Ensemble concert in November. After two
Horn Choir concerts, one on campus and one at Congregation
Agudas Achim in a relief concert to aid musicians affected by
hurricanes Katrina and Rita, Hughes traveled to Minneapolis to
perform in a CD release concert for Peter Mayer's Midwinter. In
January, Hughes performed the Mozart Quintet with UT's own
Miró Quartet, and, in March, performed a solo recital featuring
two of his new arrangements for horn and piano: Send in
the Clowns by Sondheim, and Carmody's Favorite, a traditional
jig. In April, he traveled to Natchitoches, Louisiana, as a featured
artist at the 2006 Southeast Horn Workshop, performing
Schumann's Concertstück with Gail Williams (formerly with the
Chicago Symphony), Adam Unsworth (Philadelphia Symphony
and jazz artist) and Michele Stebleton (Florida State University).
He also performed a solo recital and assisted Professor
13

John Ericson (Arizona State University) in a presentation on
baroque horn repertoire. The academic year concluded with a
Horn Choir concert on campus and Mr. Hughes' participation
on modern horn and natural horn in the premiere of Donald
Grantham's Music for the Blanton, commemorating the new Blanton
Art Museum opening on campus.
Judith A. Jellison, Mary D. Bold Professor in Music and Human
Learning and University Distinguished Teaching Professor,
was one of three American scholars invited to give a keynote
address at the International Forum on Music Education
in Beijing, China. The conference, which was the first international
conference on music education in China, was attended
by delegates representing Chinese government agencies, news
organizations, music associations, universities, conservatories
and schools. While in Beijing, Jellison lectured at the prestigious
College of Music at Capital Normal University. She has
recently published a paper on music research and disabilities
written for the Beijing conference, a chapter on inclusive music
education for a book on musical development published by Oxford
University Press, and an article in Arts Education Policy Review,
which was based on her speech to the Society of Research
in Music Education in 2004 upon receipt of the Senior Researcher
Award from the National Association of Music Education/
Music Educators National Conference (MENC), the highest research
recognition granted by that organization. She continued
to serve on the editorial board of the Journal of Music Therapy
and has given presentations and research papers at conferences
of MENC and the Texas Music Educators Association. She conducted
a workshop on inclusion at The University of Vermont
and with her colleague Robert Duke taught a graduate course
at the Samuel Barber Institute for Music Educators in Pennsylvania.
Judith Jellison continues as Division Head for Music and
Human Learning.
During the year Kristin Wolfe Jensen performed as Principal
Bassoonist with the new and innovative River Oaks Chamber
Orchestra in Houston. The UT Faculty Woodwind Quintet
performed on a concert and master class tour to Michigan that
included dates at the Interlochen Arts Academy and the University
of Michigan. The Meg Quigley Vivaldi Competition, of
which Professor Jensen is co-founder and director, has gained
momentum since its inaugural competition in Austin during
the summer of 2005. Designed to provide young women bassoonists
of the Americas with an early inspirational competitive
experience, it involves a recorded first round and a live
final round for five players with $18,000 in prize money and
performance opportunities awarded. In addition to performing
required pieces and one of the contestant’s choice, finalists
are asked to introduce each piece as an opportunity to develop
skills in audience engagement. Jensen and co-founder Nicolasa
Kuster are now planning the 2007 competition. In the summer
of 2006, Kristin Wolfe Jensen spent a week in residence as faculty
at the International Festival Institute at Round Top followed
by five weeks in her new position as Principal Bassoonist at the
Eastern Music Festival in Greensboro, North Carolina.
Jerry F. Junkin won the 2006 Fine Arts Award for Outstanding
Achievement from the University Co-Op. Junkin is Professor of
Instrumental Conducting, Director of Bands, Frank C. Erwin Jr.
Centennial Professor in Music and a member of the Academy
of Distinguished Teachers, as well as Artistic Director and
Conductor of the Dallas Wind Symphony.
14
Professor Brian Lewis represented the School abroad in multiple
performances of the Bernstein Serenade in Denmark with
the Odense Symphony Orchestra, conducted by Paul Mann, in
September 2005. Other international performances included recitals
in Japan where he also worked with more than 500 young
musicians studying the Suzuki Method. Professor Lewis received
a 2005 Texas Exes Teaching Award, and a School of Music
Teaching Excellence Award. His much anticipated debut CD
with the London Symphony Orchestra was recently released on
the Delos label.
John Mills, Assistant Professor of Jazz, has pursued a wide
range of activities as a composer, arranger, saxophonist, educator
and writer in the past year. Commissioned to write new
pops arrangements for Asleep at the Wheel with the Ft. Worth
Symphony Orchestra and Andrew Heller with the Austin
Symphony Orchestra, he also contributed new jazz works to
concerts of both the Creative Opportunity Orchestra and the
UT Jazz Orchestra. He also composed the original score for
the KLRU-produced documentary Las Misiones and wrote
soundtracks and jingles for several commercial entities around
the U.S. His studio recording work included TV/radio projects
for Time/Warner, Sonic, and Southwest Airlines, as well as new
CDs for Sony artists Los Lonely Boys and renowned songwriter
Joe Ely. Among his concert activities were performances on
saxophones, clarinet and flute with the Maria Schneider Jazz
Orchestra and baritone saxophone work with New Orleans piano
legend Dr. John. He also played shows with such prominent
Texas musicians as Delbert McClinton, Jimmie Vaughan, Marcia
Ball and Joel Guzman. As a member of the Texas Horns, Mills
continued to be an Artist-in-Residence at major blues festivals
in Ottawa, Edmonton and Portland, Oregon, where the horn
section performed with numerous headliners and conducted
workshops. Dr. Mills was a clinician and guest soloist with the
Texas State University Jazz Ensemble, directed the Region 18
Small Schools All-Region Jazz Band, and adjudicated both the
Texas A&M – Kingsville Jazz Festival and the TMEA’s All-State
Jazz Alto Saxophone auditions. He presented a lecture on the
compositional style of Keith Jarrett at the 2006 Convention of
the International Association for Jazz Education in New York
City. The accompanying paper was published by the IAJE in
its Research Yearbook. Mills also wrote articles on jazz guitarist
Bill Frisell and vocalist Jimmie Scott for the Austin American
Statesman.
Associate Professor of Ethnomusicology Robin D. Moore has
published a new book through the University of California
Press entitled Music and Revolution: Cultural Change in Socialist
Cuba. It provides a dynamic introduction to the most prominent
artists and musical styles that have emerged in Cuba since 1959,
and to the policies that have shaped artistic life there. Moore
gives readers a chronological overview of the first decades after
the Cuban Revolution, documenting the many ways performance
has changed and emphasizing the close links between
political and cultural activity. The book uses music to explore
how Cubans have responded to the priorities of the revolution
and have created spaces for their individual concerns.
Roger Myers, Associate Professor of Viola, had an active year
both as performing artist and pedagogue. Highlights of his
year in performance include the acclaimed debuts of the newly
formed Texas Piano Quartet in Austin and at Carnegie Hall in
New York City. The group also performed the world premiere
THE UNIVERSITY OF TEXAS SCHOOL of MUSIC

The School of Music congratulates the following faculty members,
who have received Universityteaching awards in the past year.
Bob Duke, the Marlene and Morton
Meyerson Centennial Professor
in Music and Human Learning,
University Distinguished
Teaching Professor and Director
of the Center for Music Learning,
was named the 2005–06
recipient of the Elizabeth Shatto
Massey Award in Teacher Education.
Created in 2003 by UT alumnus
John H. Massey (LLB 1966)
to honor his wife Elizabeth (BS
1961), the Massey Award honors
exceptional accomplishment and
Bob Duke
commitment to the process of
preparing quality teachers. Duke
is the second recipient of the $10,000 award, one of the major
teaching honors at UT. Widely published in music and education,
Duke has directed national research efforts under the sponsorship
of such organizations as the National Piano Foundation and
the International Suzuki Institute. His work has been presented at
national and international conferences in music education, music
therapy and music psychology, and appears in major research
journals and texts.
Nathaniel Brickens was the
recipient of a 2006 University of
Texas Dad's Association Centennial
Fellowship for Excellence
in Teaching. The fellowship recognizes
a faculty member’s
teaching excellence and commitment,
and acknowledges
the many contributions the
faculty member has made to
the undergraduate experience
for students. Brickens is professor
of trombone and director
of the internationally acclaimed
UT Trombone Choir. He has won
Nathaniel Brickens
several teaching awards from
the University in the past, and is
also a highly sought-after international performer.
in April of Kevin Puts’ new work for piano quintet, Red Snapper.
Myers also performed at several music festivals including the
prestigious Festival de Musique on the island of Saint Barthélemy
in the French West Indies. He performed the Max Bruch
double concerto for clarinet and viola at the Buzzards Bay Musicfest
in Marion, Massachusetts, in July. Roger Myers was promoted
to the rank of Professor for fall 2006.
David Neely, Assistant Professor of Opera Conducting/Coaching,
Principal Conductor Butler Opera Center, conducted Sarasota
Opera’s production of Johann Strauss’s Die Fledermaus in
WORDS of NOTE
Music Faculty Win Teaching Awards
Brian Lewis, Associate Professor of violin and the David and Mary
Winton Green Fellow in String Performance and Pedagogy, was
honored at a special ceremony
in February 2006 as recipient of a
2005 Texas Exes Teaching Award.
His dedication to teaching was
again recognized in May when
he received the School of Music
Teaching Excellence Award in
applied music. The Texas Exes
Teaching Award is given annually
to a professor in each School at
the University. Recipients of the
award are selected by students.
Lewis has established himself
as one of America's most gifted
and charismatic young artists. He
Brian Lewis
has won several major awards as
a performer, including National
Artist of the Year in 1998 by Young Audiences, Inc., the grand prize
in the Mid-America Violin Competition, the Waldo Mayo Talent
Award and Juilliard's Peter Mennin and William Schuman Prizes for
outstanding achievement and leadership in the fi eld of music.
Laurie Scott, Assistant Professor in the Division of Music and Human
Learning, Director of the UT String Project, and faculty advisor
for the student chapter of the American String Teacher’s Association
(ASTA) was awarded the School of
Music Teaching Excellence Award
in Academics for 2005-06. Dr. Scott
has served as an offi cer of the ASTA
Texas chapter, was co-conductor
of the Austin Youth Symphony
and served as Region XVIII College
Division Chair for the Texas Music
Educators Association. She was coeditor
of the public school column
in the American Suzuki Journal.
She performs with the Austin
Symphony, Austin Lyric Opera and
Ballet Austin Orchestras. In 1990
she was named Woman of the Year
Laurie Scott
in the Arts for the City of Austin. Dr.
Scott was awarded the College of
Fine Arts Teaching Excellence Award in Music in 2004-05.
March. The Sarasota Herald-Tribune called it “a delicious feast for
eyes and ears … the orchestra, under the baton of David Neely,
was exceptional,” and the Longboat Observer said “David Neely,
in his conducting debut with the company, keeps a tight grip on
the orchestra and ensemble, leading with spirit and agile support.”
Neely will return to Sarasota in early 2007 to conduct the
American professional premiere of Moniuszko’s opera Halka.
In July he completed his fourth season as Assistant Conductor
with Des Moines Metro Opera and his second season as co-director
of that company’s Apprentice Artist Program.
15

Anton Nel, Division Head of Keyboard
Studies, continues an extremely
busy performing and teaching
career. Highlights of the past season
include three performances at Carnegie
Hall, a solo recital at Weill Recital
Hall, a performance of the complete
Beethoven Cello and Piano Sonatas
with colleague Bion Tsang as well as
the Texas Piano Quartet’s New York
debut, both at the new Zankel Hall,
earning rave reviews from the New
York Times and Strings magazine.
The Texas Piano Quartet, with guess
bassist Peter Lloyd, gave the world
premiere of Kevin Puts’s quintet The
Red Snapper, a special commission made by College of Fine Arts
Dean Robert Freeman to honor his father. Professor Nel toured
Europe as part of a piano trio with violinist Alexander Kerr and
cellist Paul Watkins, resulting in acclaimed debuts for the trio at
the Concertgebouw in Amsterdam and Wigmore Hall in London.
He substituted on less than 24 hours notice for an ailing
Abbey Simon at the University of Houston’s International Piano
Festival this past January. On campus he performed the Mozart
C Major Concerto, K. 467, with Kate Tamarkin and the UTSO,
the complete Beethoven Cello Sonatas with Bion Tsang, an all-
Beethoven solo program on the Jessen Series and concert of piano
quintets with the Miro Quartet. He also performed concertos
by Mozart, Beethoven, Ravel and Tchaikovsky with a dozen
orchestras, and played on several leading chamber music series
including the Houston Da Camera, and a series at the Palace of
the Legion of Honor in San Francisco. During the summer he
performed more than 20 concerts at summer festivals in San
Diego, Aspen and Seattle. Finally, this season saw three new
CD releases from Mr. Nel: Anton Nel in Recital and the complete
Beethoven Cello and Piano Music (with Bion Tsang), both on
Artek Recordings, as well as the Fauré Ballade and the Franck
Symphonic Variations with the Philharmonia Virtuosi (ESS.A.Y)
David Neubert continues to perform as Principal Bass of both
the Austin Symphony and the Austin Lyric Opera. In January
2006, he gave a solo recital of original Brazilian music arranged
by pianist/composer Francisca Aquino. In March he gave a joint
performance with guest artist/teacher Petia Bagovska from the
State Academy of Music in Bulgaria. In the spring, Dr. Neubert
was a guest solo artist and master class teacher at the 25th
annual Michaelstein Double Bass Symposium in Blankenburg,
Germany. Klauss Trumpf, retired professor of double bass from
the University of Munich, invited Neubert to participate in this
international event, at which he last appeared in 1996. Over 100
students and 12 renowned European artist-teachers participated
in the week-long event. The first annual “Bass Odyssey” (the
brainchild of Elizabeth Steves, local bass player and owner of
an instrument case company) was held at the School of Music
in May. The event featured nine very different and eclectic
bass players playing equally different instruments, which
included: violone, bull fiddle, slap bass, wash tub, upright bass,
dog house, double bass, electric upright, contrabass Balalaika,
viola da gamba, bassetto (a real “bass violin” tuned just like
a violin) and five and six-string electric bass. Neubert gave a
solo recital as the final performance of the event. Paul Ellison,
Professor of Double Bass at Rice University, and former UT
student Yuan Xiong Lu of the the San Antonio Symphony were
16
Anton Nel and Bion Tsang
among several guest artist-teachers
at this unique event. Dr. Neubert
served as instructional clinician,
along with Professor Phyllis Young,
in production of an internationallymarketed
instructional video based
on Gerald Fishbach’s pedagogic series,
String Success. The project involved five
days of intensive video taping and will
complement Dr. Fishbach's popular
video, Viva Vibrato.
Program Coordinator of Recording
Technology Mark Sarisky has had a
busy year. After mixing four tracks
for a future release by pop diva Annie
Lennox, Professor Sarisky produced and engineered two new
recordings for the School of Music's planned record label. First
ever recordings were made of Joseph's Turin opera The Scarecrow
with the Butler Opera Center and Nunes Garcia's Missa de
Nossa Senhora da Conceição with the UT Chamber Singers. In addition,
Sarisky recorded new CDs with Trumpeters Brian Shaw
and Pete Rodriguez. This summer, he made recordings with UT
professors flutist Marianne Gedigian and pianists Rick Rowley
and Jeff Helmer, as well as the legendary Texas swing fiddler
Johnny Gimble. After spending two years developing a unique
curriculum in the art and science of recording for music students,
the UT-Audio Recording Technology (UT-ART) program
admitted its first class of freshmen in the fall of 2006.
Stephen Slawek, Professor of Ethnomusicology, read a paper
assessing the state of research on music in South Asia at
the 50th Annual Meeting of the Society for Ethnomusicology,
which took place in Atlanta in November 2005. In January 2006,
Professor Slawek visited the Archive and Research Center for
Ethnomusicology of the American Institute of Indian Studies
(New Delhi) to become acquainted with his responsibilities as
the new chair of the American Institute of Indian Studies Ethnomusicology
Committee. While in New Delhi, he also visited
the Ravi Shankar Center and spent several days with Pandit
Ravi Shankar, continuing his research on the music of the renowned
musician. From New Delhi, Professor Slawek traveled
to Mumbai, where he read a paper on the implications of the
institutionalized teaching of improvisation at the annual symposium
of the Sangeet Research Academy (West). In March, an
appreciative audience at Louisiana Tech University in Ruston,
Louisiana, warmly received Professor Slawek's sitar recital of
Indian classical music. The concert was organized as part of
LTU's “Shaping the 21st Century: Focus on India” symposium.
During the year, Professor Slawek continued to serve as editor
of Asian Music, Journal of the Society for Asian Music.
Dan Welcher had a very productive year. His new work Symphony
#4: “American Visionary,” commissioned by the College
of Fine Arts, was premiered on November 10, 2005, by the UT
Wind Ensemble under Jerry Junkin's baton. This work, a threemovement
piece with spoken text preceding each movement,
was written in memory of George Kozmetsky, founder of the
UT Business School. Red McCombs, for whom the Business
School was ultimately named, read the text (written by Robert
Lawrence Kuhn) at the premiere, and later told the Chronicle of
Higher Education that the experience of being onstage with 50 instrumentalists
was inspiring “but can't compete with goat-rop-
THE UNIVERSITY OF TEXAS SCHOOL of MUSIC

ing.” Welcher also saw the premiere of a chamber work entitled
The Moerae, for flute, oboe, bassoon, and piano, at the retirement
celebration in April for Dr. Robert Freeman, outgoing Dean of
the College of Fine Arts. Professors Marianne Gedigian, Rebecca
Henderson, Kristin Wolf-Jensen and Rick Rowley performed
the nine-minute work (named for the three Greek Fates).
Welcher's new work Jackpot: A Celebratory Overture for Large Orchestra
was premiered in September of 2005 by the Las Vegas
Philharmonic under the baton of Harold Leighton Weller, Music
Director. The work was commissioned by the City of Las Vegas,
in celebration of the 100th anniversary of the city’s founding.
Phyllis Young's reputation and dedication as a teacher has
been honored by the Texas unit of the American String Teachers
Association (ASTA) through its establishment of a new
award named “The Phyllis Young Outstanding Studio Teacher
Award.” President of TexASTA Kathy Fishburn announced:
“This award will be presented annually to a studio teacher that
goes above and beyond their regular duties to support and foster
their own students and their orchestra programs.” Professor
Young was named the first recipient of this prestigious new
award in an ASTA ceremony at the Texas Music Educators Association
Conference in February. Professor Young's first string
pedagogy book, Playing the String Game, first published by The
The Miró Quartet, The University of Texas String Faculty Quartet in
Residence, had another truly eventful year in 2005-06. The Quartet’s
10th anniversary season began September 8, 2005, with a performance
in Bates Recital Hall sponsored by the UT Performing Arts Center as part
of the Cleveland Quartet Award winners’ tour. This was soon followed
by the release party for the Quartet’s latest recording: the Beethoven’s
Opus 18 quartets. The CD was released in Japan in December 2005
during a tour, with an All Beethoven Op. 18 Marathon performance in
Tokyo, as well as concerts in Zushi and Nagoya. The Miró gave several
programs for school children moderated in Japanese by violinist Sandy
Yamamoto!
In the fall the Quartet made it's debut
at the International Beethovenfest
in Bonn, Germany, as well as
it's South American debut on the
equator in Recife, Brazil.
Weill Hall at Carnegie in New York
City heard the premiere of a new
work commissioned by the Miró
from Mohican composer Brent
Michael Davids called the “Tinnitus
Quartet”, which depicts the
composer’s struggles with hearing
loss and ringing in his ears. Also
performed was a piece by Czech
composer Bedrich Smetana, who
suffers a similar hearing condition.
The Quartet visited St. Barts in the
Caribbean and Canada's Banff
Center for the Arts during the
WORDS of NOTE
University of Texas Press in 1978, continues to have widespread
circulation in several languages. The English version has had
eight paperback printings plus the hardback edition. German
and French editions were published and distributed in recent
years by the European String Teachers Association, which plans
to release an Italian edition soon, and the book is being translated
into Chinese and Korean. Phyllis Young continues to be in
demand as a workshop presenter and master class teacher. At
the ASTA national conference in Kansas City, she gave several
master classes and presented a session on tone with the assistance
of four of her former UT students: Dr. Karen Becker, Associate
Professor of Cello at the University of Nebraska-Lincoln;
Dr. Benjamin Whitcomb, Associate Professor of Cello and Music
Theory at the University of Wisconsin-Whitewater; Dr. Linda
Jennings, Assistant Professor of Cello at Indiana University of
Pennsylania; and Dr. Christine Crookall, Assistant Professor of
Cello at Augusta State University of Georgia. In May she gave a
cello pedagogy session and conducted a chamber music master
class at the International Conference of the Suzuki Association
of the Americas held in Minnesota; in June she taught in the
National Cello Institute held at Pomona College in California
and in July was featured as the master cello pedagogue in the
International Sommera Musikpedagogue sponsored by the
Akademie fur Musikpedagogi of Wiesbaden, Germany.
Miró Quartet Celebrates Tenth Anniversary and Parenthood
Christian Steiner
Miró Quartet
winter. In February 2006 the fi rst quartet baby, Adrian, was born to proud
parents Daniel and Sandy, the Miró violinists. By the time he was seven
weeks old the little boy had been on tour to all four US Continental Time
Zones, from San Francisco to Philadelphia, and a transatlantic trip to
Frankfurt, Germany, with a grandmom along to help.
Summer 2006 saw yet another Miró world premiere: this time of a guitar
quintet played with virtuoso Eliot Fisk, written for the Quartet by famed
Catalan composer Leonardo Ballada, and commissioned by the Austin
Guitar Society. Festival performances in Vail, Colorado, with Eugenia
Zukerman, and at Mostly Mozart in
New York with Joshua Bell rounded
out the summer.
New places the Quartet visited this
year included: Bayreuth, Germany;
the Freer Gallery in Washington,
D.C.; Vassar and Williams Colleges;
Logan, Utah; Chico, California; Tulsa,
Oklahoma; Norfolk, Virginia; Harrisburg,
Pennsylvania, and the Philosophical
Society in Philadelphia.
Several repeat appearances were
made at such venues as Seattle,
Toronto, Raleigh, Lincoln Center in
New York City, Detroit, San Diego, Ft.
Worth, Oberlin College, Vancouver
BC, among many others.
Numerous events and performances
such as these sum up another
busy and creative year for the Miró
Quartet, with a new family member
added in the process.
17

Gerhardt Zimmermann
Professor, Conducting, Director of Orchestral Activities
Maestro Zimmermann comes to School of Music from the Canton
(Ohio) Symphony Orchestra, where he has been music director for 25
years, and the Breckenridge (Colorado)
Music Festival—two organizations
with which he will continue his current
associations. Zimmermann is also conductor
laureate of the North Carolina
Symphony. Zimmermann's energetic
and vibrant performances have drawn
invitations to appear on the podium
with the such symphonies as Cleveland,
Chicago, National, Pittsburgh, Atlanta,
New Jersey, Syracuse, Rochester, San
Antonio, Toronto, Warsaw Philharmonic,
the Orchestre Symphonique de Paris,
the Calgary Philharmonic, Louisiana
Philharmonic Orchestra, Chicago's Grant
18
New
Faculty
The University of Texas at Austin School of Music
announces new appointments for 2006–2007.
Gerhardt Zimmermann
Park and the Colorado Philharmonic.
Maestro Zimmermann is a dedicated
advocate for people with disabilities, having testified before the
Arts Appropriation Committee of the U.S. Congress on behalf of the
National Endowment for the Arts, and received the Johanna Cooke
Plaut National Easter Seal Society award for community leadership in
November of 1997. He currently serves on the board of directors of both
the Easter Seals national board and the Easter Seals/United Cerebral
Palsy of North Carolina. Mr. Zimmermann holds a Master of Fine Arts
in Orchestral Conducting from the University of Iowa and a Bachelor
of Music in Education degree from Bowling Green State University.
Ed Fair
Lecturer, Music Business
Ed Fair
Ed Fair is an attorney with over twenty
years experience in the music business.
He received his BA and law degree from
The University of Texas at Austin. He has
a diverse music business legal practice.
His clients include Grammy winning
recording artists Los Lonely Boys, platinum
recording artist Chamillionaire,
world renowned fi ddle player Johnny
Gimble and Grammy nominee Marcia
Ball, as well as UT's Miró Quartet. Fair
will be teaching a course that focuses
on publishing, copyright, and contracts
in the music business.
Winton Reynolds
David Hunter
Senior Lecturer, Musicology
David Hunter (Ph.D., University of
Illinois at Urbana-Champaign,1989),has
been UT Music Librarian and Curator
of the Historical Music Recordings
Collection for many years. He has published
articles in numerous musicology
and historical journals; a book, Opera
and Song Books Published in England,
1703-1726: A Descriptive Bibliography,
and has also contributed to the major
music encyclopedic dictionaries Grove
Music Online and Die Musik in Geschichte
und Gegenwart. He has been the Book
David Hunter
Review Editor of Notes and currently
serves on the Editorial Board of Libraries & the Cultural Record (published
by The University of Texas Press).
Cynthia Morrow
Lecturer, Voice
A native of Virginia, Cynthia Morrow is a graduate of Hollins College
(Phi Beta Kappa), The University of
Maryland and The Ohio State University,
where she earned the Doctor of Musical
Arts degree in Vocal Performance. She
has taught at the University of Florida,
Mississippi College (where she served as
Opera Theatre Director), Hope College
and Grand Valley State University,
working with both undergraduate
and graduate voice students. She has
taught a variety of courses related to
vocal performance and pedagogy,
including vocal literature, vocal pedagogy,
applied voice, diction and opera
workshop. Dr. Morrow has performed
Cynthia Morrow
a wide array of repertoire by Mozart,
Poulenc, Britten, Handel, Bach, Mozart
and Schubert, has performed many
recitals and has coached with artists including Elly Ameling, Martin
Katz, Sherrill Milnes, and George Shirley.
Guido Olivieri
Lecturer, Musicology
Guido Olivieri (Ph.D. Musicology, University of California, Santa Barbara;
Diploma in Violin, Conservatorio di
Salerno - Italy) is a specialist in Baroque
instrumental music and performance
practice. He has presented papers at several
international conferences,published
articles and reviews in collective volumes
and scholarly journals and contributed
to major encyclopedia.He has
been a Research Fellow at the University
of Liverpool and at The Italian Academy
for Advanced Studies in America at
Columbia University. An A. W. Mellon
Postdoctoral Fellow at the University
of Michigan, he has taught at the
University of California, Santa Barbara
and the University of Michigan.
Guido Olivieri
THE UNIVERSITY OF TEXAS SCHOOL of MUSIC

Adolph Ortiz
Specialist, Mariachi
One of Austin’s most well-known mariachi
musicians, Ortiz studied with the
late famous vihuelista, Benito Ramos,
learning many of the true styles and
techniques indigenous of Mexico City.
He has shared the stage with such
notable groups as Mariachi Vargas de
Tecalitlan, Mariachi Cobre and Mariachi
Los Camperos. Mr. Ortiz is a graduate
of Texas State University in San Marcos,
where he was a voice major, played
French horn, and also directed the
Adolph Ortiz mariachi program. He has been a studio
musician for various artists, movie
soundtracks and commercials, and currently directs the only Austin
mariachi on a record label, Mariachi Relámpago.
Jeanne Sasaki
WORDS of NOTE
Jeanne Sasaki
Lecturer, Collaborative Piano
Ms. Sasaki coordinates collaborative
piano activities for the School and
is an active pianist who collaborates
with singers and instrumentalists in
performances and recordings. Ms.
Sasaki is originally from Charlotte,
North Carolina, and attended the
North Carolina School of the Arts.
She has earned music degrees from
the Eastman School of Music and the
University of Illinois, and has studied
piano with John Wustman, Michael
Zenge, Robert Spillman, Barry Snyder
and Anne Epperson.
Sonia Seeman
Assistant Professor, Ethnomusicology
Dr. Seeman’s interests focus on the music of modern Turkey, the
Ottoman Empire, and Southeastern Europe, specializing in Rom
(“Gypsy”) communities. She has done field research in Macedonia,
Southeastern Europe and Turkey on
Rom, Turkish and transnational musical
practices. She received her Ph.D. from
UCLA in 2002 and taught at UCSB for 4
years on a post-doctoral faculty fellowship
and as a lecturer. Seeman has articles
in Middle East Studies Association
Bulletin, Ethnomusicology Forum
and Music and Anthropology and has
written several sets of liner notes. Her
recent research interests explore emergent
Turkish cultural expressions and
ongoing configuration of ethnic and
gendered identities in the wake of the
European Union accession processes.
Sonia Seeman
Damon Talley
Specialist, Assistant to the Director
of Bands
Damon Talley oversees the Longhorn
Basketball, Volleyball and Concert Bands
in addition to his duties as Assistant
Director of the Longhorn Band. Prior
to his appointment at The University of
Texas, Mr. Talley was Assistant Director
of Bands at the University of Michigan.
He holds a bachelor of music degree
from The University of Texas at Austin
and a master of music degree from
the University of Michigan. Mr. Talley
Damon Talley has also served as Music Director and
Conductor of the Dodworth Brass Band,
a professional brass ensemble based in Ann Arbor, Michigan. He is
an honorary member of Tau Beta Sigma and Kappa Kappa Psi music
fraternities and holds professional memberships in the College Band
Directors National Association, the Texas Bandmasters Association
and the Texas Music Educators Association.
Joshua Tucker
Joshua Tucker
Assistant Professor,
Ethnomusicology
Joshua Tucker received his Ph.D in
Ethnomusicology from the University
of Michigan in 2005, and was the
University of Chicago’s Post-Doctoral
Fellow in Ethnomusicology during
the 2005-06 year. He has spent almost
three years conducting ethnographic
research on Andean popular music,
media circulation, and social change in
Ayacucho and Lima, Peru.
All photographs on these two pages
(except Hunter, Morrow) by Brett Brookshire.
Dwight Bigler,
Staff Accompanistw
Originally from Blackfoot, Idaho, Dwight Bigler recently received a
DMA in choral conducting at The University of Texas at Austin where
he conducted the UT Men's Chorus
for three years. He completed his BM
degree in piano performance and MM
in choral conducting at Brigham Young
University. After graduation from BYU,
Mr. Bigler was the Pianist and Assistant
Conductor of the Dale Warland Singers
in St. Paul, Minnesota. At The University
of Texas, he has been Chorus Master for
the UT Butler Opera Center, Assistant
Conductor of the University Orchestra,
and pianist for voice lessons, recitals,
and master classes, instrumental recitals
and choir concerts. He is also an active
composer and arranger, with works
published by Oxford University Press
Dwight Bigler and Hinshaw Music.
19

The School of Music honored a large number of students at the Student
Awards Convocation in May. Students receiving major awards and honors
are listed with the degree they are working toward and their major.
Ezra Bartz, DMA Piano Performance, won first prize in the Sydney
Wright Piano Accompanying Competition for 2005–06. Second
prize went to Mieun Lee, DMA Piano Performance, and Misha Kim,
DMA Piano Performance, took third prize.
Anthony Suter, DMA Composition, won the Advanced Level
Composition award in the 2005 Solo String Music Composition
Competition for his work A Hymn for Forgotten Moons. Brandon
Hendrix, DMA Composition,
took the award for Intermediate
Level Composition, for the piece
Legend. Alexis Ebbets, MM Violin
Performance, won the Beginner
Level Composition award for The
DAD Song.
20
The 2005–06 Performer
Certificate of Recognition went to
Lisa S. Roane, BM Music Studies,
Voice; and to Casey Sexton, BM
Music Studies, Horn.
Anthony Suter The following were named for
Student Organization Outstanding Achievements:
Sara Eubanks, Highest Scholastic Average, Beta Xi chapter, SAI
Lindsey M. Keay, 2006 Collegiate Honor Award, Beta Xi chapter, SAI
Wade Yost, Scholastic Award and
Collegiate Honor Award, Phi Mu Alpha
Sinfonia
Andrew Passmore was elected to Phi Beta
Kappa.
Travis Marcum, BM Music Studies, Guitar, won the SAI McGaughey-
Yeager Scholarship Competition for 2006–07.
Chelsey Green, BM Performance, Viola, was named as the 2006–07
Presser Foundation Scholar.
Honored for Outstanding Undergraduate Recitals in 2005–06 were:
Charlene Sutton, BM Performance, Piano, Tami Iskenderian, BM
Performance, Violin; and Miles Maner, BM Performance, Bassoon.
Michael O’Brien, PhD Ethnomusicology, was awarded the William
S. Livingston Graduate Endowment Fellowship for 2006–07.
Robert Honstein
Students
Sharing the 2006–07 David
Bruton, Jr. Fellowship were
Gregory Bolin, DMA,
Composition, and Sarah Allen,
PhD Music and Human Learning.
Tania Camacho Azofeifa, MM,
Flute Performance, received
the 2006 Fulbright-Laspau
Scholarship.
Recognized for 2005–06
Outstanding Graduate Recitals
were:
Master of Music: Lisa Dexter, Piano Performance
Doctor of Musical Arts Recital: Najung Kim, Piano Performance
Doctor of Musical Arts Lecture Recital: Jiwon Kim, Piano Performance
Andrew Dickinson, DMA Composition, was recognized for the
Outstanding Dissertation of 2005–06, Serrated Edge.
The award for Outstanding Treatise went to Dwight Bigler, DMA
Choral Conducting, for Glimpses.
Robert Honstein, DMA Composition, won a 2006 ASCAP Young
Composer Award for his work Night Mixes, premiered by the UT
New Music Ensemble in October.
The Clarke Piano Trio won second prize at the Chamber Music
International/WRR Competition in Dallas. The group consists of:
Risa Ando, DMA Violin Performance;
Yen-Jung Chen, DMA Cello Performance; and L. Diana Peoples,
DMA Piano Performance.
Winning the Seattle Weekly
Newspaper Best Chamber
Music Ensemble for 2005 was
The Young Eight, founded by
Quinton Morris, DMA Violin
Performance.
Naomi Seidman, DMA Flute
Performance, won first place
in the 2006 Mid-South Young
Artist Competition.
UT trombonists
have fared well
recently in auditions
and competitions.
Raimundo Morales,
DMA Trombone Performance,
was one of three finalists in the
Quinton Morris
2006 International Trombone
Association Smith Solo Competition, earning a chance to compete
in the final round of the competition in July at the International
Trombone Festival in Birmingham, England. Owen Homayoun,
senior in Music and Human Learning, has accepted a scholarship
and brass assistantship to attend the San Francisco Conservatory.
DMA student Michael Mannella accepted a position with the USAF
Band of Liberty in Boston, Massachusetts, where he will serve as
principal trombone with the concert band and will also perform
with the Colonial Brass Quintet. Matt Wood, a DMA student, won
an audition to join the San Antonio-based brass quintet, Brass FX,
which is presently recording a CD and a series of educational videos,
in addition to maintaining a busy performance schedule.
Professor Roger Myers’ viola studio has seen a number of exciting
successes this year. Graduating senior Geoffrey Hamlyn was
offered full scholarships to Juillard, Manhattan School, New England
Conservatory and the University of Minnesota, and ultimately decided
to study with Heidi Castleman at the Juilliard School. Graduating
masters student Valerie Little will enter the doctoral program at
the University of Minnesota on a full scholarship. Doctoral candidate
Michalis Koutsoupides was invited to auditions for the London
Symphony Orchestra in England, the National Symphony Orchestra
in Washington, DC, and a principal viola position in Kansas City.
THE UNIVERSITY OF TEXAS SCHOOL of MUSIC

Amitava Sarkar
UT Opera had an exceptional 2005–06 season that included a world
premier, and a top honor from the Austin Critics Table. The season
opened in October with the production of two operas by Manuel de
Falla, El Amor Brujo and La Vida Breve, conducted by Assistant
Professor of opera conducting/coaching David Neely.
In February of 2006, the Opera Center presented the world debut
of The Scarecrow by Joseph Turrin, based on Nathaniel Hawthorneʼs
lighthearted tale Feathertop about a scarecrow animated by a jovial
witch and given the task of wooing the town belle.Turrin conducted
the production,while on campus for the Visiting Composers Series.
Linda Ku, MM 2005, won a position with one of Taiwan’s top orchestras,
the Evergreen Symphony. Junior Chelsey Green received an
Honorable Mention at the annual Sphinx competition in Michigan.
This past summer, Tami Iskenderian traveled to Canada to perform
in the National Arts Centre Young Artists Programme, created by
Pinchas Zukerman to provide gifted young musicians with training
at the highest level. Her past accomplishments include winning the
El Paso Symphony Competition as well as being selected as a Young
Artist for the Starling-DeLay Symposium on Violin Studies at The
Juilliard School in New York.
In only his second year of study in recording technology with
Professor Mark Sarisky, Phillip Hill received the George H. Mitchell
Award for Academic Excellence for his recording of The Texas
Treefort, a jazz student group that also garnered three DOWNBEAT
Magazine Awards.
UT horn students were highly visible at the 2006 Southeast Horn
Workshop in Natchitoches, Louisiana. One undergraduate horn
quartet consisting of Anne Marie Cherry, Lauren McCarty,
Ashleigh Pierce, Justin Rojo won the Quartet Competition,
and Anne Cherry and Leah Jones were finalists in the Solo
Competition.
Ethnomusicology doctoral student Ajay Kalra was awarded a Berea
College Appalachian Music Fellowship. He has co-authored two
articles with Ted Olson: “Gently but Surely: the Cradle Still Rocks,”
in The Bristol Sessions: Writings about the Big Bang of Country Music,
ed. by Charles K. Wolfe and Ted Olson (Jefferson, North Carolina:
McFarland & Co., 2005) and “Appalachian Music: Examining Popular
Assumptions,” in A Handbook to Appalachia: An Introduction to
WORDS of NOTE
The Sarah and Ernest Butler Opera Center
Amitava Sarkar
The fi nal production of the season was Francis Poulencʼs Dialogues
of the Carmelites conducted by UT alumnus Garrett Keast. The
production received rave reviews from both The Austin American
Statesman and The Austin Chronicle and won an Austin Critics Table
award for best opera.
All of the seasonʼs productions were directed by Professor
Robert DeSimone, director of the Butler Opera Center.
(left) The Carmelites by Francis Poulenc
the Region, ed. by Grace T. Edwards, JoAnn A. Asbury, and Ricky L.
Cox (Knoxville: University of Tennessee Press, 2006). Additionally,
he served as assistant editor of the newly issued Encyclopedia of
Appalachia (Knoxville: University of Tennessee Press, 2006), to
which he contributed fourteen articles.
Several students in opera studies had noteworthy activities
last year. Peter Kozma, DMA Opera Directing, has been named
the new Director of Opera at Ohio State University, effective in
September. During the 2005–06 season, he was a Young Artist
with the Minnesota Opera where he directed two productions and
spent the summer on the directing staff of the Des Moines Opera.
Soprano Desiree Wattelet, DMA Voice/Opera, spent the summer
as an Apprentice Artist with Central City Opera in Colorado, where
she performed in Don Giovanni. She also performed roles in two
Austin Lyric Opera productions last season. Baritone Benjamin
Bear, MM Opera, performed the role of Germont in La Traviata at
the Lake View Summer Program in
Wisconsin.
Keely Rhodes
The Scarecrow by Joseph Turrin
Keely Rhodes received the Austin
Critics Table Award for Best Classical
Female Singer of 2005–2006, for
her performance of Mother Marie
in Francis Poulenc’s Dialogues of the
Carmelites. A Fulbright grant this
fall will allow her to travel to Italy to
focus her studies on the pedagogical
practice of Bel Canto.
Kim Perlak, graduate student in
classical guitar, released her record-
21

ing Transilience, which aired on broadcasts of the National Public
Radio show “Classical Guitar Alive!” UT alumnus Tony Morris hosts
the show, which features performances and interviews with leading
musicians in classical guitar. The show is archived online and can
be heard on demand at http://www.guitaralive.org/playlist.html.
Perlak is also involved locally with various Austin projects, including
a local high school guitar outreach program, which she established.
22
Frank Gross, second year composition graduate student, won first
prize in the Emil/Ruth Beyer Piano Composition Contest sponsored
by the National Federation of Music Clubs (NFMC). Immediate benefits
of winning the competition include $2,000, a performance at
the NFMC national conference in Minneapolis, and a story in the
federation’s magazine. The winning composition, Scherzo for Piano,
is the first piece Gross composed since beginning studies at UT.
School Announces New Program in Recording Technology
by Mark Sarisky
Program Coordinator, UT Audio Recording Technology
The University of Texas School Of Music is looking for a few good
musicians – a few good musicians who want to be the best recording
engineers and music producers they can be.
This year the School of Music introduces
The University of Texas Audio Recording
Technology program (UT-ART), a program
dedicated to developing the knowledge
and skills needed to master the art and science
of audio recording. It is based on the
principle that while a musical performance
lasts moments, a musical recording can last
forever.
While the program is now offered through
the Bachelors of Arts in Music, a new degree
has been proposed: a Bachelors of Music
in Recording Technology, which is under
review to become the cornerstone of the
undergraduate program.
As UT-ART Program Coordinator, I have been
Plan II thesis supervisor for several students,
one of whom is Phillip Hill, a double major
combining Plan II and Music. Phillip took
the Introduction to Audio Recording course,
became more interested and enrolled in
other recording courses. After only two semesters
of study, Phillip Hill was awarded a
George H. Mitchell/University Co-op Award
for Academic Excellence for his thesis,
Brett Brookshire
Demystifying Studio Magic: A Case Study in the Record-Making Process–
Phil's Crew C.
UT-ART program requirements begin with two semesters each of
calculus and physics in order to provide the background needed to
understand acoustics and the manipulation of sound.
“It will be a very heavy degree,” said Glenn Chandler, director of the
School of Music, “but students who complete the degree will also be
qualifi ed to enter graduate programs in either music or engineering.”
The program consists of eight core courses in Recording Technology,
beginning with a two-semester sequence teaching the fundamentals
of audio recording. Microphone technique, basic acoustics and
recording technology form a foundation with a strong emphasis
on developing the listening skills needed to excel in the recording
profession.
More advanced courses in recording follow, as well as more demanding
projects. Two semesters are devoted to Digital Audio
Recording Technology Lesson One:
Mark Sarisky introduces a friend.
Workstations, the foundation of the 21st-century recording studio.
Analog recording is also a big part of the curriculum, given its
tremendous popularity in high-end audio. Senior students in the
program are required to complete a full length CD or DVD project
suitable for commercial release. This keystone project, along with
the other projects completed in the program, will demonstrate the
student’s readiness for the unique world of
the recording industry. In fact, one of the
most exciting components of the recording
program will be the establishment of UT’s
own recording label, which will serve as a lab
for recording students and will also provide a
showcase for the School’s talented faculty and
students.
Attending a university in one of the great
music cities of the world does have advantages.
Faculty have developed relationships
with dozens of local recording studios and
audio manufacturers, who can provide realworld
experience for students. While seniors
are required to serve a graded internship in
the audio industry, all UT-ART students are
encouraged to intern as much as possible during
their entire stay at the University. Nothing
beats experience!
”A degree in music with emphasis in recording
technology requires a heavy workload,”
Chandler said. “The program's size is limited, so
admission will be highly selective.” Recording
Technology majors will have the same audition
requirements as other students entering
the School for Bachelors of Music or Bachelors
of Arts in Music degrees. This program is designed fi rst and foremost
for musicians. Having a high-level understanding of music will only
help the student to succeed in the highly competitive world of the
Music Industry.
”We don't expect to admit more than a dozen majors per year,”
Chandler said. Recording technology students will receive training
from faculty drawn from the music industry who have extensive
experience in audio engineering and productions. The combination
of high academic standards, experienced faculty, the great resources
of the UT School of Music and the music scene of Austin will serve to
make the UT Audio Recording Technology program one of the most
unique and desirable programs in the country.
(Editor’s note: Mark Sarisky's work has established him as one of the top
engineers and producers of the recording industry. He has produced and
engineered projects for hundreds of artists, including: Tori Amos, Jafar
Barron, Josh Wink, The Disco Biscuits, Susanne Vega, Donna Lewis, Kahn
Jamal, King Britt, Chuck Berry, and Korn.)
THE UNIVERSITY OF TEXAS SCHOOL of MUSIC

Choral Activities
The University of Texas Chamber Singers performed in São Paulo
and Rio de Janeiro May 21st through June 1st . At the heart of their program
was the Missa de Nossa Senhora da Conceição (Mass of Our Lady
of the Conception), a Brazilian masterpiece composed by José Maurício
Nunes Garcia (1767-1830).
James Morrow, Director of Choral Activities, directed
the UT Chamber Singers and their joint per-
formances with the Universidade de São Paulo
Orquestra de Câmara.
Nunes Garcia was chapel
master in the court of Portuguese
emperor João VI, who fled Lisbon
with his court to escape Napoleon's
armies. The Missa, first performed
in 1810, was long buried in a Rio
archive until the late 1990s, when
young Brazilian musicologist Ricardo
Bernardes found sections of the score
and painstakingly put it back together.
Bernardes brought this “lost” music
to The University of Texas at Austin in
spring 2005, when the Missa was performed
by the Chamber Singers with a
full orchestra under the direction of James
Morrow.
WORDS of NOTE
UT Chamber Singers Tour Brazil
American Studies, Music and Culture in the Imperial Court of João VI in
Rio de Janeiro.
The Chamber Singers traveled to Brazil as guests of the
Universidade de São Paulo's Orquestra de Câmara, one of the leading
orchestras in the state. They performed the Missa
throughout São Paulo, and finally in the 1673
chapel of the Franciscan monestery in Rio de
Janeiro near where the piece was first performed
for Dom João VI nearly 200 years
ago. In the spring of 2005,
the Chamber
Singers performed at the national
American Choral Director Association
(ACDA) convention in Los Angeles.
The University of Texas Concert
Chorale, Chorale under the direction of Dr.
Suzanne Pence, was one of eight
college choirs selected to perform
at the 2006 ACDA Southwest convention
in St. Louis.
The Chorale per formed a
unique program of a cappella pieces
with a central unifying theme that incorporated
the “Ave Maria” chant melody
threading the selections together. The
The performance was part of UT Chamber Singers with Director James Morrow (far right)
program was received enthusiastically
ArtesAméricas, a program of the UT
by the audience of over 500 choral
Performing Arts Center, and was the crowning event of the two-day directors and students. Rarely are two primary performing choirs of
symposium organized by the Teresa Lozano Long Institute of Latin a university selected to sing for consecutive conventions.
UT Trombone Choir Performs at Kennedy Center
The University of Texas Trombone Choir with Director Nathaniel Brickens (far left)
The UT Trombone Choir was recently honored as the first trombone
choir invited to perform on the Millennium Stage at the
Kennedy Center for the Performing Arts in Washington, DC. Their
March 20, 2006, performance was well attended and received an
enthusiastic standing ovation at its conclusion. Programmed selections
included Canzon Septimi Toni no. 2 by Gabrieli, Etude in
the Style of Bruckner by Enrique Crespo, Trombone Octet by Gordon
Jacob, Toccata by Frescobaldi, and jazz standards by Duke Ellington
and Cole Porter. As a prelude to the Kennedy Center perfor-
mance, the group performed at the Eastern Trombone Workshop
in Arlington, Virginia.
he trombone choir's busy year also included the release of
a new recording, Christmas with The University of Texas at Austin
Trombone Choir. It includes fifteen new arrangements by Gary
Slechta and published by Select-a-Prwess as The University of
Texas at Austin Trombone Choir Series. The record was featured
on radio station WRR's new release show, “The Main Event,” in
December.
23

Clifford Antone, founder of the famed Antone's blues club and
record label, died May 23, 2006, at his home in Austin. Born in 1949
in Port Arthur, Texas, Antone moved to Austin in 1968 to attend
The University of Texas. In 1975 he opened Antone’s Club, which
quickly became the premier blues club in Texas, bringing in such
legendary blues artists as Muddy
Waters, Fats Domino, and B.B. King.
Antone also cultivated local talent,
helping to launch the careers of Stevie
Ray Vaughan, Jimmie Vaughan,
Bob Schneider, Charlie Sexton and
many others.
For the last several years, Antone
was the principal presenter in the
course Clifford Antone’s History of the
Blues at the UT School of Music. He
also worked with numerous social
and educational organizations, organizing
fundraisers for American
Youthworks and an all-star benefi t
for victims of Hurricane Katrina.
Considered by many to be at the
heart of Austin’s music scene, Clif-
ford Antone helped establish Austin as a national center for live
music. His love for music and musicians will be missed even as
his legacy continues to inspire.
School of Music alumnus Jeremy Milton died unexpectedly in
April 2006. A native of Sydney, Australia, Jeremy began studies
at the Conservatorium of Music there before transferring to
Michigan State University, where he finished his undergraduate
work and earned his Master of Music degree in violin performance.
Jeremy came to The University of Texas to study with Dr.
Eugene Gratovich and earned his DMA in Violin Performance
in January, 2006.
School of Music alumna Colleen Bohn Moore of Westlake, born
October 2, 1928, died in a tragic fire on April 6, 2006, at the family’s
lake home on Lake Travis.
Colleen grew up in Austin, Texas,
graduated from Austin High and
attended The University of Texas
and The University of Colorado,
as a piano and voice major.
An accomplished pianist,
singer, piano and voice teacher,
Colleen’s love of music led to a
long and active participation and
presidency of: the Wednesday
Morning Music Club, the Austin
Women’s Club, the Women’s
Symphony League, Austin District
Music Teachers Associate, Texas
24
Colleen Bohn Moore
Music Teachers Association and
National Teachers Association.
Colleen also belonged to: the
Austin Lyric Opera, the Bridge Club, the Dance Club, and Liz
Carpenter’s GBATT’s (Getting Better All The Time Singers), where
In Memoriam
Clifford Antone
she enjoyed singing beside her late husband, Doyle H. Moore.
Her accomplishments include: Who’s Who in American
Women, Teacher of the Year 1983, Austin Symphony League
plaque, and the Women’s Symphony League plaque.
Former School of Music faculty member A. Clyde Roller, a celebrated
international conductor and teacher, died October 16,
2005, at the age of 91 in San Antonio, Texas. Roller was conductor
of The University of Texas Symphony Orchestra from 1976-1979,
and returned to the university briefly in 1986-1987.
Roller began studying oboe as a young boy and later went on
to study at the Eastman school of music. After serving as principal
oboist with the Tulsa Philharmonic Orchestra and the Oklahoma
City Symphony, he returned to Eastman as director of the Eastman
Wind Ensemble.
Roller had an extensive career as a performer and conductor,
including positions with the Amarillo Symphony, the Lansing
(Michigan) Symphony, the Houston Symphony Orchestra, and as
an international guest conductor. In addition to his appointments
at Eastman and The University of Texas, he held professorships at
the University of Houston, the University of Wisconsin-Madison,
the University of Michigan and Southern Methodist University. He
spent more than fifty summers working with Interlochen Center
for the Arts.
Among the many honors awarded to Roller are the Texas
Orchestra Director of the Year Award, the Sigma Alpha Iota
Outstanding Educator of America Award, the 1961 Amarillo
Man of the Year, the American Bandmasters Association’s Edwin
Franko Goldman Memorial Citation and the Eastman School's
Alumni Achievement Award.
Remembering Clifford Antone
One characteristic that distinguishes the best teachers is the
ability to light fi res and inspire students to delve further
into the subject, spurring them to look at things from different
perspectives. While I watched Clifford Antone refi ne his lecturing
style with each passing semester, his passion, enthusiasm,
and respect for the material and the students was always there.
He told me that one of his greatest satisfactions was receiving
phone calls and e-mails from students who shared with him
their excitement upon purchasing music inspired by his class.
Indeed, statements from students are a testament to his
classroom success: “One of the best classes I’ve ever taken.”
“A great historian . . .” “. . . a walking blues encyclopedia.” “He
wanted everyone to feel what he felt and he kept everyone
interested with the hundreds of stories he had.” “. . . I’ve never
met anyone as passionate about the blues as Clifford was.” He
loved teaching at the University, and I recall him bemoaning the
end of the spring semester, expressing to the class that he did
not want it to end. The students responded with applause.
From my students and from my heart, thank you, Clifford,
for touching our lives.
--Kevin E. Mooney
Editor’s note: Dr. Kevin Mooney, lecturer in musicology and associate
chair of the UT Center for American Music, helped organize and
teach the course “Clifford Antone’s History of the Blues.”
THE UNIVERSITY OF TEXAS SCHOOL of MUSIC

WORDS of NOTE
Mark Kellogg, professor of trombone at
the Eastman School, presented a recital in
September 2005.
The internationally acclaimed Canadian
Brass were joined by the
UT Faculty Brass Quintet
for a double-brass quintet
selection on their Bass
Concert Hall performance
in October.
Joe Burnam, Principal Trombone of the Italian
National Radio Orchestra, presented an October
recital and master class.
Organist Anthony Williams, formerly of Dillard
University in New Orleans, visited for a performance
in February. Displaced after the devastation from
Hurricane Katrina, Williams recently
joined the faculty of Fisk University
in Nashville.
Malcom Archer, Organist and Master
of the Choristers at St. Paul's Cathedral
in London, performed in February as
part of the Great Organ Series. Archer,
a prolific composer and organist,
has played worldwide, broadcast on
BBC Radio and produced numerous
recordings.
Malcolm Archer
Douglass Yeo, Bass Trombonist with
the Boston Symphony, presented a master class in February.
Trombones de Costa Rica, winners of the Costa Rican National
Trombones de Costa Rica
Guest Artists
In addition to the many guest artists, composers and lecturers in connection with our various series and residencies, the School hosts an
amazing number of renowned guests every year. Following are just a few of the many recent artists who have visited.
Anthony Williams
Vincent de Vries
Award for Music, presented
a master class and concert
in February. The quartet is
the resident ensemble at
the University of Costa Rica
S c h o o l o f
Music and
the National
T h e a t e r
o f C o s t a
Benjamin Whitcomb
Rica, and is
widely recognized as one of the most innovative
and virtuosic brass ensembles on the American
Continent.
Alumni Benjamin Whitcomb on cello, and pianist
Vincent de Vries, gave a concert in March.
Whitcomb is on the faculty of the University of
Wisconsin-Whitewater. He has recorded several
CDs and recently recorded
the six Bach
suites. He is editor
of the cello forum
of the A merican
String Teacher. De
Vries, active both
as a soloist and accompanist,
recently
joined the Baylor
University School
of Music faculty. He
is also a concert or-
Issa Boulos
ganist with more
than three hundred solo recitals and six solo recordings.
Peter Lloyd, principal bass of the Minnesota Symphony, performed
with the Texas Piano Quartet in April.
Also in April, the 2005-2006
World Music Series Concerts
featured Issa Boulos and the
al-Sharq Ensemble.
Organist Todd Wilson was the
featured artist in the first annual
Music for Sacred Occasions
conference held at the School in
June. Wilson is Director of Music
at The Church of the Covenant
in Cleveland, Ohio, and Head of
the Organ Department at The
Cleveland Institute of Music.
Todd Wilson
25

The inaugural season of the Starling
Distinguished Violinist Series at The
University of Texas School of Music opened
on December 12, 2005. Supported by a
grant from the Dorothy Richard Starling
Foundation, the Starling Series will bring
outstanding violinists to campus for master
classes and performances over the next
three years. Associate Professor Brian Lewis
created the series and serves as its artis-
Stephanie Chase tic director.
Lewis’ goal is to bring the world’s best
violinists to the university.
The opening concert featured violinist
Stephanie Chase. Chase has performed
in twenty-five countries with
distinguished orchestras around the
world. Newshouse Newspapers has
called her “one of the violin greats of
our era.”
26
Starling Series Completes Impressive First Season
In addition to Chase, the series featured
world renowned violinists
Chee-Yun, Cho-Lian Lin and Jorja Fleeznis. Chee-Yun has received
exceptional acclaim as a recording artist. Her most recent record-
Greg Helgeson
In March, the School of Music awarded composer
Joan Tower the 2006 Eddie Medora King Award
for Musical Composition at a special ceremony
during a New Music Ensemble performance of
several of her works. Tower was the first woman to
receive the Grawemeyer Award in Composition,
and has been hailed as “one of the most successful
woman composers of all time” in The New
Yorker. She has been inducted into the prestigious
American Academy of
Arts and Letters, and
into the Academy of
Arts and Sciences at
Harvard University.
ing, the Penderecki Violin Concerto No. 2, was
acclaimed as “an engrossing, masterly
performance” by Strad Magazine and
“a performance of staggering virtuosity
and musicality” by American Record
Guide.
Cho-Lian Lin performed works by Mozart,
Debussy, Kriesler and Sarasate. Among
Lin’s many accomplishments and awards
a r e t w o
Grammy
Award
Cho-Liang Lin
nominations and Gramophone's Record
of the Year. Musical America named Lin
its Instrumentalist of the Year in 2000.
Fleezanis, concer tmaster of the
Minnesota Orchestra, closed the season
in the Spring of 2006. Her program
included the music of Peter Menin,
Mario Davidovsky, and Ernest Bloch.
Fleezanis commissioned, premiered
Jorja Fleezanis
and recorded John Tavener's Ikon of
Eros, which was named one of the best classical recordings of 2003
by SoundStage! Music Online.
King Award Highlights Visiting Composers Series
Noah Sheldon
is recognized as the foremost of its kind in the country.
The series, directed by Professor Dan Welcher, provides
student performance groups at the School of Music
with the unique opportunity to learn the music of our
time by working directly with composers. The composers
attend the final rehearsals leading up to the concert
performances of their works, and also give lectures and
master classes during their time at the school. The series
has hosted such luminaries as John Corigliano, Thea
Musgrave, John Harbison
and David Del Tredici.
Joan Tower In addition to Joan Tower,
the other renowned composers
that made up the 2005–2006
The King award exemplifies the School series were Fred Lerdahl, George
of Music's commitment to the cre- Tsontakis, and Joseph Turrin.
ation and performance of new music. In October, Lerdahl, Professor of
It was established in 1995 when the Composition at Columbia University,
late Dr. William King Jordan of Pine oversaw performances of his works
George Tsontakis
Bluff, Arkansas, bequeathed an endowment
in honor of his mother, Ms. Eddie
by the UT Wind Ensemble and New
Music Ensemble. Tsontakis, Professor
Joseph Turrin
Medora King Jordan, with the intention that the bequest be used of Composition at Bard College and
to award a major prize to an outstanding living composer of art winner of the 2005 Grawemeyer Prize, participated in rehears-
music. Composers John Corigliano and George Crumb are among als and attended a performance of his music by the New Music
the past recipients of the award.
Ensemble in December 2005. Turrin conducted the Butler Opera
Center’s production of his work The Scarecrow and was present for
Tower received the King Award during her residency as part of a UT Wind Ensemble performance of his composition Hemispheres
the Visiting Composers Series. Now in its eleventh year, the series in February 2006.
THE UNIVERSITY OF TEXAS SCHOOL of MUSIC
J. Henry Fair

Mark Rutkowski
The School of Music is pleased to announce the following endowments
established between September 2005 and August 2006.
BUTLER OPERA CENTER ENDOWED PRESIDENTIAL SCHOLARSHIP
BUTLER OPERA CENTER ENDOWED PRESIDENTIAL SCHOLARSHIP 2
THE SARAH AND ERNEST BUTLER PROFESSORSHIP FUND IN OPERA
Ernest and Sarah Butler have
continued to show great dedication
to the Butler Opera Center
and the School of Music
through the establishment of
two new Endowed Presidential
Scholarships in Opera this
past year. Funds from these
two endowments are to be
used to assist promising and
talented music students in opera.
Over the summer, the Butlers
also chose to augment the
Center with a pledge towards
an Endowed Professorship in
Sarah and Ernest Butler
Opera with plans to complete
the funding early in 2007. In
addition to the $2,000,000 endowment, which established the Butler Opera
Center in 2001, the Butlers have now provided for a total of six scholarships
and an endowed professorship in the School of Music.
GINO R. NARBONI ENDOWED PRESIDENTIAL
WORDS of NOTE
SCHOLARSHIP IN CONDUCTING FUND
Continuing with their long-standing support of the
School of Music, Charlotte Narboni has chosen to
honor her husband Dr. Gino R. Narboni through a
pledge to establish an Endowed Presidential Scholarship
in Conducting in his name. The scholarship
will be of great benefi t to our conducting program
as we continue to build upon its already strong
reputation.
David O. Nilsson
New Endowments
Charlotte Narboni
DAVID O. NILSSON SOLO PIANIST AWARD FUND
Retired Mathematics Professor Dr. David O. Nilsson
has been an active supporter of the Liberal and
Fine Arts at The University of Texas for a number of
years. This past winter his generosity extended to
the School of Music in the form of a pledge towards
an endowed scholarship in piano. The endowment
will support a biennial piano competition to be
held by the School of Music and will provide scholarship
funds for the winner(s) of this competition.
Such an endowment inspires students to greater
heights of achievement while also contributing to
the School’s renowned piano program.
Gift Highlights
This past year the School has been the
happy recipient of a number of additional
signifi cant gifts.
David and Mary Green made a surprise announcement
at last fall’s College of Fine Arts
Advisory Council meeting by contributing
an additional $1,000,000 to the David and
Mary Winton Green Chair in String Performance
and Pedagogy. This gift doubles the
original endowment established in 1998 and
will provide Professor Brian Lewis with even
greater support as he helps to bring our string
program to national prominence.
Mary and David Green
Jeff and Gayle Kodosky pledged another
$500,000 towards the Miró Quartet fund
moving us ever closer to the completion of
that endowment.
New Directions for the Center
for American Music
Now in its fi fth year since its inception, the
Center for American Music is expanding its
scope with a number of exciting new initiatives.
Along with that growth has come some
important contributions from our friends and
supporters.
John Buck, a graduate of The University
of Texas Law School, contributed $100,000
towards a community outreach program currently
under development in the Center for
American Music. Stay tuned for more news
as this exciting initiative takes shape!
Bob Moor provided a gift of $45,000 in support
of the Center for American Music and
John and Vicki McLaughlin also contributed
$25,000 towards the Center’s Recording
Studio renovations.
27

28
Endowments
Endowed Faculty Positions
Mary D. Bold Regents Professorship of Music
The Sarah and Ernest Butler Professorship Fund in Opera
Effi e Marie Cain Regents Chair in Fine Arts
College of Fine Arts String Quartet Endowment Fund
Vincent R. and Jane D. DiNino Chair Fund in Music
The Walter and Gina Ducloux Fine Arts Faculty Fellowship Endowment
Frank C. Erwin, Jr. Centennial Professorship in Fine Arts
Frank C. Erwin, Jr. Centennial Professorship in Music
Frank C. Erwin, Jr. Centennial Professorship in Opera
Parker C. Fielder Regents Professorship in Music
Priscilla Pond Flawn Regents Professorship in Organ Or Piano Performance
David and Mary Winton Green Chair in String Performance and Pedagogy
M. K. Hage Centennial Visiting Professorship in Music
Florence Thelma Hall Centennial Chair in Music
History of Music Chair
The Lee Hage Jamail Regents Professorship in Fine Arts
The Wolf and Janet Jessen Centennial Lectureship in Music
Marlene and Morton Meyerson Centennial Professorship in Music
Marlene and Morton Meyerson Centennial Visiting Professorship in Music
Grace Hill Milam Centennial Fellowship in Fine Arts
John D. Murchison Fellowship in Fine Arts
Leslie Waggener Professorship in the College of Fine Arts
Endowed Scholarships
Alamo City Endowed Scholarship for Pianists
Burdine Clayton Anderson Scholarship in Music
Wayne R. Barrington Endowed Scholarship in Horn
Betty Osborn Biedenharn Endowed Presidential Scholarship in Music
Mary D. Bold Scholarship Fund
Marietta Moody Brooks Endowed Scholarship Fund in the College
of Fine Arts
Dr. and Mrs. Ernest C. Butler Centennial Endowed Presidential Scholarship
in Opera
Dr. and Mrs. Ernest C. Butler Endowed Presidential Scholarship in Opera
Butler Opera Center Endowed Presidential Scholarship
Butler Opera Center Endowed Presidential Scholarship 2
Sarah and Ernest Butler Family Fund Endowed Presidential Scholarship
in Opera
Sarah and Ernest Butler Family Fund Endowed Presidential Scholarship
in Opera 2
Pauline Camp Operatic Voice Scholarship
Eloise Helbig Chalmers Endowed Scholarship in Music Therapy and
Special Education
Pearl DuBose Clark Endowed Presidential Scholarship in Music
Barbara Smith Conrad Endowed Presidential Scholarship in Fine Arts
Mary Frances Bowles Couper Endowed Presidential Scholarship for
Graduate Students in Piano Performance
Mary Frances Bowles Couper Endowed Presidential Scholarship for
Undergraduate Students in Piano Performance
Ainslee Cox Scholarship in Music
Patsy Cater Deaton Endowed Presidential Scholarship
William Dente Endowed Memorial Scholarship in Opera
E. W. Doty Endowed Presidential Scholarship in Music
E. William Doty Scholarship Fund
Whit Dudley Endowed Memorial Scholarship in Harp
Marguerite Fairchild Endowed Presidential Scholarship in Music
Priscilla Pond Flawn Endowed Scholarship in Music
Fondren Endowed Scholarship in Music
Dalies Frantz Endowed Scholarship Fund
David Garvey Scholarship Fund
Garwood Centennial Scholarship in Art Song Performance
Mary Farris Gibson Endowed Presidential Scholarship in Music
Mary Farris Gibson Memorial Scholarship in Music
Thomas J. Gibson IV Endowed Presidential Scholarship
Annie Barnhart Giles Centennial Endowed Presidential Scholarship
Annie B. Giles Endowed Scholarship Fund in Music
Mary Winton Green Endowed Presidential Scholarship in Music
Margaret Halm Gregory Centennial Scholarship
Verna M. Harder Endowed Presidential Scholarship in Music
Louisa Frances Glasson Hewlett Scholarship in Music
Nancy Leona Dry Smith Hopkins Endowed Presidential Scholarship
in Piano
Virginia McBride Hudson Endowed Scholarship
Lee and Joe Jamail Endowed Presidential Scholarships for
the Longhorn Band
Jesse H. Jones and Mary Gibbs Jones Endowed Presidential Scholarship
Jean Welhausen Kaspar 100th Anniversary Endowed Longhorn
Band Scholarship
Kent Kennan Endowed Graduate Fellowship in Music Composition
Or Theory
Anna and Fannie Lucas Memorial Scholarship Fund
Georgia B. Lucas Endowed Presidential Scholarship in Music
Pansy Luedecke Scholarship Fund
Danielle J. Martin Memorial Scholarship
J. W. “Red” McCullough, Jr. Endowed Presidential Scholarship
in Jazz Studies
Music Endowment Fund
Gino R. Narboni Endowed Presidential Scholarship in Conducting Fund
Willie Nelson Endowed Presidential Scholarship
Dr. David O. Nilsson Endowed Presidential Scholarship
in Performing Arts
David O. Nilsson Solo Pianist Award Fund
Nelson G. Patrick Endowed Scholarship in Music Education
Leticia Flores Penn Endowed Presidential Scholarship in Piano
William C. Race Endowed Presidential Scholarship in Piano
A. David Renner Endowed Presidential Scholarship in Piano
Lucille Roan-Gray Endowed Presidential Scholarship in Music
Phyllis Benson Roberts Endowed Presidential Scholarship in Music
E. P. Schoch Endowed Presidential Scholarship in Band
The Mary A. Seller-Yantis Endowed Presidential Scholarship
Willa Stewart Setseck Scholarship
Effi e Potts Sibley Endowed Scholarship Fund
Lomis and Jonnie Slaughter Scholarship in Music
Carl and Agnes Stockard Memorial Endowment Fund
Elizabeth McGoldrick Surginer Endowed Scholarship
Jack G. Taylor Memorial Endowed Presidential Scholarship in Fine Arts
Mollie Fitzhugh Thornton Music Scholarship Fund
The Trammell Scholarship Endowment in Music
Edward Triggs Endowed Scholarship in Design
Laura Duncan Trim Scholarship in Music
Elizabeth Anne Tucker Centennial Scholarship
Robert Jeffry Womack Endowed Presidential Scholarship
Karen E. Woodside Endowed Presidential Scholarship in Fine Arts
Lola Wright Foundation Centennial Endowed Scholarship
Sidney M. Wright Endowed Presidential Scholarship
Endowed Program Support
William D. Armstrong Music Leadership Endowment
Sarah and Ernest Butler Opera Center
Fine Arts Advisory Council Endowment for Excellence
The Eddie Medora King Award for Musical Composition
Music Education Endowment
Music Leadership Program Endowment

Gifts
Gifts of $100,000
or more
Austin Community
Foundation
Mr. John A. Buck II
Dr. Ernest and Sarah Butler
Professor Vincent R. DiNino
David Green and Mary
Winton Green Foundation
Mr. & Mrs. Jeffrey L. Kodosky
Gifts of $10,000 to
$99,999
The Ann and Gordon Getty
Foundation
Dr. Andrew R. Heller
Ewing Marion Kauffman
Foundation
Mr. & Mrs. John V. McLaughlin
Mr. Robert A. Moor
Mrs. Charlotte A. Narboni
David O. Nilsson, Ph.D.
Mr. W. T. Probandt
Social Marketing Resource
Center
Dorothy Richard Starling
Foundation
Mr. Rex W. Tillerson
Gifts of $1,000
to $9,999
Mr. James C. Armstrong
Austin Chapter American
Guild of Organists
Mr. Charles O. Biedenharn
Mr. Moton H. Crockett, Jr.
Dean MacFarlane Music
Education Foundation
Friends of Music
Professor Nancy B. Garrett
Mr. Fred M. Gibson
Virginia Martin Howard
Foundation
Howdy Honda
Ms. Linda McDavitt
Gino R. Narboni, M.D.
Ms. Natalie S. Potter
The Presser Foundation
Mr. John H. Richardson, P.E.
Eugene P. Schoch, Jr., M.D.
Estate of Olliedyne Sorelle
Mr. Milton Y. Tate, Jr.
University Co-operative
Society
University Federal Credit
Union
Professor Phyllis C. Young
Gifts of $500-$999
Sterling K. Berberian,
Ph.D.
Grady L. Hallman, M.D.
Ms. Emily Jordan
Estate of Kent Wheeler
Kennan
Professor Donald L. Knaub
KPMG Foundation
Dr. John B. Lowe
Mrs. Jane S. Parker
St. Luke's Episcopal
Church
Tribune - KTLA-TV
Gifts of $250-$499
Mr. Gregory D. Allen
Mr. George L. Greene
Mr. Scott I. Harmon
Logos Foundation
Betty P. Mallard, D.M.A.
Morton Meyerson Family
Foundation
Austin District Music
Teachers Association
The Prudential
Foundation
Mrs. Katherine P. Race
Ms. Peggy W. Rainwater
Southwest Sports Group
Mr. Dwight E. Urelius, P.E.
Gifts under $250
Mr. Lewis L. Akenhead
Mrs. Alma G. Alexander
Kamran A. Ali, Ph.D.
Altoona Public Library
Mr. R. Allen Anderson
Ms. Bliss H. Angerman
Austin Anesthesiology
Group L.L.P.
Mr. Warren C. Bair
Mr. Charles K. Ball
Mr. David E. Bandas
Mr. Chris P. Batchelor
Mrs. Frederick L. Beaty
Ms. Elizabeth R. Bechtol
Mrs. Amanda M. Beck
Mr. Swamy R. Behara
Mrs. Rhoda C. Benson
Mr. George B. Biggs, Jr
Mr. Conrad R. Bohn
Ms. Mary N. Boren
Ms. Vida L. Bouldin
Mrs. Nancy P. Bowman
Mr. James C. Boydston
David Braybrooke, Ph.D.
Dr. Paul Q. Breazeale
Mr. William E. Brent
Mr. James M. Bruner
Mr. Frank G. Burdis
Ms. Strelsa H. Burks
Mrs. Adeline T. Burstyn
Mrs. Barbara H. Buttrey
Mrs. Sally Byrom
Calhoun & Co. LLP
Ms. L. Patricia Campbell
Mr. Ara V. Carapetyan
Mrs. Robin E. Carpenter
Casa Mariposa Akumal
Inc.
Ms. Rosemary F. Chancler
Mr. James L. Collier
Ms. Ann T. Collins
Ms. Barbara L. Commons
Ms. Jody Conradt
Ms. Kelly P. Contello
Mrs. Meredith R. Cooper
Mr. Tommy N. Cowan
Ms. Margaret Anna Cox
Mr. Robert J. Cranshaw, Jr.
Mrs. Dana C. Crisp
Ms. Kelly M. Crisp
Mr. W. Kennedy Crone
James R. Cullington, M.D.
Mrs. Betty Ann B. Cummins
Mrs. Mary E. Darby
Mr. Ralph H. Daugherty, Jr.
F. W. de Wette, Ph.D.
Mr. Goran Devic
Ms. Patricia B. Dougherty
Evolve Physical Therapy/
Sports Center PC
Mrs. Henrietta B. Ferree
Ms. Deborah V. Finley
Mr. Alan W. Ford
Dr. Robert R. Franklin
Ms. Elaine M. Frederick
Mrs. Gina P. Frithiof
Professor George A. Frock
Fruhauf Uniforms Inc.
Mrs. Susan Beck Gardner
James B. & Ann B. Garrison
Trust
Miss Hettie Page Garwood
Ms. Kathy M. Geurink
Ms. Sophia Gilmson
Dr. Homer R. Goehrs
Ms. Diane E. Gorzycki
Mr. Arthur F. Graf III
Ms. E. Suzanne Grantham
Mr. M. Russell Gregory, Jr.
The Austin Art League
Group 6
Professor Lita A. Guerra
Ms. Billie O. Gurkin
Mrs. Kerry L. Hall
Dr. Gerre E. Hancock
Mr. Mark C. Hastings
Mr. Steven L. Havens
Mr. Joseph R. Heffi ngton
Mr. Doyle B. Hickerson
Mr. Binh T. Hoang
Mr. William R. Hornbuckle
Mr. Jack M. Howard
Ms. Beth Hudak
Mr. Billy Johnson, C.L.U.
Mr. Leonard A. Johnson
Ms. Bobbi K. Jones
Dr. Norman S. Kaderlan
Mrs. Marty G. Kanetzky
Mr. Hyun Gu Kang
Mr. Michael A. Kennedy
Ms. Gloria Y. Kim
Ms. Miyuki K. Kimura
Mrs. Judy Kirksey
Mrs. Edith C. Knauer
Mrs. Joyce M. Knott
Ms. Susanna S. Kohlmyer
Carol A. Koock
Russell Korman Company
Inc.
Ms. Pamela R. LaBanca
Mrs. Karen A. Lacrosse
Jeanne M. Lagowski,
Ph.D.
Ms. Joy A. Lawless
Mr. John B. Lay
Mrs. Anna V. Leathers
Mr. Spencer A. Ledlow
Mr. Brandt Leondar
Ms. Jane S. Lewis
Mr. John R. Lindley
Live Oak Unitarian
Universalist Church
Dr. John C. Loehlin
Mr. Richard L. MacDowell
Mangum Custom Homes
Ms. Linda Manifold
Mr. Jason E. Mann
Mrs. Sulinda C. Mann
Ms. Jan McClarty
Ms. Sheila G. McCormack
Ms. Nancy T. McDow
Mr. Michael F. Melant
Mr. Jose Mendez
Michaelson Entertainment
David C. Miesch, M.D.
Mr. Bill Nalle
Mr. John H. Nash III
Mrs. Rose Nau
Professor Anton Nel
Mr. Arthur A. Nelson III
Mrs. Dorothy F. Nichols
Nobody's Fool Publishing
Ms. Lois W. Obermiller
Mr. E. G. Olivares
Judith A. Palac, D.M.A.
Parallel Petroleum
Corporation
Mr. Dariusz Pawlas
Suzanne M. Pence, D.M.A.
Ms. Antoinette K. Perry
Mrs. Jo T. Peters
Pok-E-Jo's Smokehouse
Inc.
Ms. Jane D. Powell
Mr. Timothy Prater
Ms. Frances P. Pratt
James A. Prentice, M.D.
Mr. Robert L. Pugh
Mrs. Linda S. Ramsey
Mr. Patrick H. Reagan
Professor A. David Renner
Mr. Joe P. Reynolds
Mr. William W. Reynolds
Mr. Ben S. Richards
Phyllis L. Richards, Ph.D.
Ms. Richel Rivers
Mary L. Robbins, D.M.A.
Mrs. Gayle G. Roche
Mrs. Josephine K. Roche
Mr. Steven R. Rooks
Mr. Robert Rudie
Ms. Roberta F. Rust
Ms. Eloisa Saldana
Jorge Salinas
Sam Bass Music
Mr. E. Larry Sanders
Ms. Gail Sanditen
Dr. Barbara E. Scheidker
Ms. Debbie Schiraldi
Allan B. Schmitt, Ph.D.
Mrs. Bettie M. Schoedel
Mr. Thomas D. Seay
Ms. Kay A. Shapiro
Joel F. Sherzer, Ph.D.
Mrs. Katharine B. Shields
Mrs. Nancy B. Snyder
Star of Texas Fair
and Rodeo
Mr. Rudolph L. Struhall, Jr.
Dr. Kiyoshi Tamagawa
Mr. Dan A. Taylor
Ms. Kristin Taylor
Ms. Rose A. Taylor
The Gardner Group
Mrs. Kathleen A. Thomerson
Mr. Walter H. Thompson IV
Ms. Janice Timko
Ms. Diane N. Tucker
Verizon Foundation
Ms. Bette L. Voorhis
Mr. William W. Wagner
Mr. Adrien M. Wang
Mr. Robert V. Wasko
Mr. Fred B. Werkenthin, Jr
Mr. Max J. Werkenthin
Mrs. Sophie T. Wetzel
Ms. Karen J. White
Mrs. Norma White, R.N.
Mr. Nicholas P. Wibbelsman
Mr. Kerry L. Wiggins
Mrs. Brooke B. Winfrey
Mr. Charles I. Wright
Mrs. Lindsey M. Wright
Laurie S. Young, Ph.D.