Issuu

of the Performing and Media Arts

Deforia Lane: Healing Through Music

WHAT’S INSIDE: • Dancers’ Dual Worlds • E-Media’s New Initiative • CCM Travelogue • Alumni News

Volume 21, No. 1 Spring 2008

2007â€“2008 Corporate Sponsors

CCM recognizes and thanks the following corporations and individuals for their generous support:

Duke Energy

Mainstage Season Sponsor

Macyâ€™s

Mainstage Season Design Sponsor

The Otto M. Budig Family Foundation Musical Theater Program Sponsor

Dianne & J. David Rosenberg

Friends of CCM Event and Membership Sponsor

Christopher Dietz Family Jazz Guest Artist Sponsor

Huntington National Bank,Trustee of the William Hueneke Foundation Musical Theater Production Sponsor

Keating, Muething & Klekamp, P.L.L. Jeff Thomas Catering Special Events Sponsors

Susan & Bill Friedlander Bartlett & Co.

Chamber Music and Faculty Artist Series Sponsors

Castellini Foundation Jazz Series Sponsor

UC Mobile Powered by Cincinnati Bell

Young Friends of CCM and Take 5 Sponsor

Neil R. Artman and Margaret L. Straub Studio Drama Series Sponsors

Leo H. Munick & Alice F. Fegelman Wonderful Town Production Sponsors

ADMINISTRATIVE STAFF Warren E. George Interim Dean

Frank Weinstock Interim Associate Dean Academic Affairs Paul Hillner Assistant Dean Admissions and Student Services Kit H. Anderson Director of Development and External Relations Karen Tully Senior Associate Director of Development and External Relations Rayburn Dobson Senior Director of Performance Management Amy Dennison Director of Preparatory Department

University of Cincinnati College-Conservatory of Music

Volume 21, No. 1 Spring 2008

Publisher Dean Warren George Editors Katie Rankin Syroney Cur t Whitacre Contributing Writers Joshua Moe Julie Mullins Shannon Rego Design and Layout Aimee Mar tini Printing Ket-Moy Printing Cover Design Libby Perszyk Kathman (LPK), Cincinnati Cover Photo Billy Delfs

CommuniquĂŠ is published twice a year by the College-Conser vator y of Music. Free upon request to the CCM Public Relations Office, (513) 556-2683. College-Conser vator y of Music University of Cincinnati P.O. Box 210003 Cincinnati, OH 45221-0003 www.ccm.uc.edu

FEATURES

Deforia Lane: Healing Through Music

Best of Both Worlds

MacBook Pro Opens Doors to E-Media Success

A Global View of the Ar ts/Travelogue

IN EVERY ISSUE

Corporate Sponsors

A Word From the Interim Dean

Alumni Events

Friends of CCM

Notations and Ovations

Faculty Fanfares

Alumni Notes

In Memoriam

Student Salutes

A Word From the Warren Interim DeanGeorge

Though the administration, faculty and staff at CCM have been remarkably stable for many years, this year has held several significant personnel changes. My tenure as interim dean began in August 2007 after my esteemed colleague Douglas Lowr y assumed the deanship of the Eastman School of Music. Throughout the fall and winter, we worked with the Provost’s office, a committed search team headed by Louis Bilionis, dean of UC’s College of Law, and internationally respected search firm Russell Reynolds Associates, who shepherded us through the decanal search process. By March, CCM’s next dean was named: Dr. Douglas Knehans. The deanship of CCM marks a stateside return for Dr. Knehans, a St. Louis native who has built a career in Australia. His credentials both as an administrator and a musician are impressive, and we look forward to welcoming him to CCM in September 2008. With my appointment, it became essential to identify an interim associate dean of academic affairs. We were for tunate that Frank Weinstock, professor of piano and chair of the piano depar tment, graciously agreed to ser ve in this capacity. Professor Weinstock is a highly regarded faculty member and has been a member of the CCM family for 28 years. He jumped in with both feet and has attended the responsibilities of that office with efficiency and integrity.

Those of you who maintain contact with your divisions may already be aware of other administrative transitions. Rober t Zierolf left CCM to accept an appointment as associate dean of UC’s Graduate School. Edward Nowacki, professor of musicology, agreed to ser ve for one year as interim head of the division of Composition, Musicology, and Theor y with plans to retire at the conclusion of this term. We also have seen transition in Warren George several staff positions, and we’re delighted to have welcomed capable and enthusiastic individuals into those positions and the CCM family.

PHOTO: LISA VENTRE

As it is with any organization, change is inevitable. We have seen—and embraced—great change at CCM over recent months, both in terms of our day-to-day operations and on a broader, institutional level. As we look ahead, we do so with the approach that this is an oppor tunity to focus on CCM’s core mission, as well as to refine our operations in order to help take that mission fur ther.

With the naming of CCM’s next dean, the possibility of major change on an institutional level also comes to the fore. What we know for sure is that CCM’s core mission will remain true — to provide an unparalleled educational experience for our students. Enthusiasm for this endeavor is exemplified in the zeal with which our faculty and staff approach each day, and I applaud them for their ongoing effor ts toward building excellence, especially during this transitional period. Although change is truly the only constant here, we are excited about the prospects ahead. We are indeed committed to moving CCM as a whole to greater heights, and we thank you for being par t of this journey.

Remembering Patricia Corbett

The CCM community deeply mourns the loss of Patricia Corbett, a great philanthropist and dear friend of CCM, who passed away in Januar y 2008. Mrs. Corbett’s presence is ever ywhere at CCM, from her namesake theater to the suppor t she generously gave to countless young ar tists. A tribute will be featured in the next issue of Communiqué.

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Deforia Lane: Healing Through Music By Cur t Whitacre

Like many CCM alums, Lane’s stor y begins with a music-filled home. In her convocation address to the CCM class of 2007, she explained, “[My] love for music began in the small living room of my home in Dayton, where I heard the resonant singing voice of my father and was mesmerized by the exquisite piano playing of my mother.” Never theless, Lane never really considered a career in music as a child. Instead, her early aspirations were towards nursing and a life in medicine. At the urging of her high school voice teacher, though, Lane auditioned at CCM and was offered a scholarship to attend. “CCM provided fellowship, encouragement and gave me wings to fly,” she explains. “It ushered the skinny-legged girl of color into the splendid world of opera.” Despite her natural propensity for opera, though, Lane eventually found herself drawn down a far more unconventional path.

PHOTO: BILLY DELFS

Miguel de Cer vantes once claimed that, “He who sings scares away his woes.” In Deforia Lane’s (‘70 BM Voice) line of work, though, music does more than just provide emotional solace. Once an aspiring opera singer, Lane now performs on a ver y different kind of stage. As the director of the music therapy program at the University Hospital of Cleveland Ireland Cancer Center and Rainbow Babies & Children’s Hospital, she uses the power of song to ease the mind, train the body, soothe the soul and, above all, provide hope to those who need it most.

As a therapist, Deforia Lane combines scientific methodology with the spirit-stirring power of music.

The exact moment when Lane settled on a career in music therapy is uncer tain, though her first glimpse of the healing power of music came at a ver y young age. “I remember being in church as a child,” she says, “seeing the ar thritic women who struggled to walk down the aisle. When they would sit, it would be painful to watch. But when the gospel choir would begin to sing, it was like someone had filled their limbs with new bones! For a moment, their hands and arms would wave and their feet would move without restriction, as if set free from something.” When she first discovered the science of music therapy, a light bulb turned on. “I always knew it was there,” she explains, “but it was wonderful to find a discipline that would teach me the nuances of this.”

music can also be used to help structure how someone moves. “We can tailor the music so that it helps a patient motor plan. You would be surprised to watch how differently a Parkinson’s patient can walk—the music affects their brain and motor planning in such a way that it’s almost magical.”

Music therapy can be defined as the clinical and evidencebased use of music inter ventions to accomplish individualized goals within a therapeutic relationship. As with music itself, music therapy is a multifaceted discipline with many different applications. A credentialed professional, Lane suggests that, “Music therapy is many different things and it can reach us in many different areas. When I’m in an intensive care unit, I use music to train the hear t rate or blood pressure—to get beyond the conscious par t of a person.” According to Lane,

Lane recounts one par ticularly amazing experience that captures the bittersweet nature of her work: “There was a little 20-year-old mother brought here brain dead with a six-month-old baby in her womb. The nurses wanted me to provide music for the baby until the doctor could deliver the baby via C-section. I was ver y scared to see someone brain-dead, but she looked like ‘Sleeping Beauty.’ I walked in and placed my hands right on the mother’s belly and I began to sing. Life inside of death.” As she sang, Lane began to feel

While Lane’s work is firmly rooted in science, she acknowledges that there are cer tain miraculous aspects to her work. “I would be less than honest if I told you that I know what it is in music that moves the hear t and the soul,” she confesses. “If I knew that, it would no longer be music. It’s more than notes and rhythm and harmony. When it’s infused with spirit, it’s untouchable and unexplainable.”

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continued from previous page the unborn child dancing under her fingers. “My hear t felt like it was going up my throat,” she admits, “just to see life responding to something as singular as that.” As the nurses monitored mother and child, they noticed that the baby’s hear tbeat began to speed up as Lane sang faster. “You could watch this ballet right through the mother’s womb. That was a day to behold.” Right before the doctors planned on delivering the young woman’s child, her parents and caregivers gathered in her hospital room, knowing full well that the bir th of the baby would be the end of the mother. “I asked, ‘Would you mind if I played the baby’s favorite song?’ All of us focused our eyes on her abdomen and when I sang ‘He’s Got the Whole World in His Hands,’ the sheet moved and we all smiled and cried. When Samantha was born, I heard her sing. There were no tears there.”

A woman of numerous successes, including being the first music therapist to receive grant money to study music’s therapeutic effects on cancer patients, Lane’s life has taken its fair share of unexpected turns. “I struggled with the ‘What ifs?’ for years,” she admits. Having long ago traded opera halls for hospital wards, Lane has come to welcome these unforeseen twists. In her convocation address, she said, “Life will be filled with unexpected scores of music—surprise symphonies, if you will. Be willing to be shaped and molded by your successes and your faux pas—they are equally impor tant!” While her life has taken many unexpected twists, there is no doubt that Lane is exactly where she is meant to be. Her life is still filled with music and she still brings joy to audiences on a daily basis. “I still use my performing skills in the hospital room, my stage is just different, that’s all.” PHOTO: BILLY DELFS

When Lane was diagnosed with breast cancer, she suddenly found herself on the receiving end of the power of music therapy. When Lane felt overwhelmed by the disease, music helped her set herself apar t. “Music was a constant reminder that I was more than the disease,” she explains, “I was also a musician, a singer, a pianist, a teacher, a mentor. It gave me life beyond breast cancer. My hope was that my doctors saw more than stage 2, type 2 carcinoma.” When Lane had trouble

sleeping, music helped her to focus her attention on something other than worr y and anticipation. It also gave her a voice in a time of need. “People will sometimes listen to a song much more easily than they will listen to someone talk. I composed a song and people would listen to that and hear far more than I could say.”

Lane shares a laugh with patients. PAGE 6

Best of Both Worlds

CCM dance majors balance working, studying and performing

PHOTO: PETER MUELLER

By Julie Mullins

Sarah Bek (second from left) and Kelly Yankle (second from right) dance with Cincinnati Ballet’s Corps de Ballet in The Nutcracker (2007).

Ah, college days—a laid-back schedule, spor ts, par ties and such. If a co-op enters the picture, you might get a bit busier—or in the case of some dance majors at CCM, a lot busier. Junior Sarah Bek and Kelly Yankle, a senior, are learning to balance the demands of a rigorous conser vator y program that includes regular rehearsals, technique classes and performances, academic classes and full-time company positions with Cincinnati Ballet. This marks Yankle’s second season with the Ballet. It’s Sarah’s first, and she says having Yankle around to answer her questions has made her debut easier. “It’s been really eye-opening because I go from an atmosphere where I’ve been graded on dancing, versus this [where] my job depends on it,” Bek says of her experience at the Ballet so far. “If I don’t come to class, it’s not just [going to] bring my grade down. They could ask me not to come back.” Yankle says, “There’s a lot of great exposure, a lot of great oppor tunities for more professional companies even if you decide you don’t want to stay here. I love it. It’s been great.” CCM offers its Dance division students the chance to get a jump on their careers through performance and co-op oppor tunities with area companies such as Cincinnati Ballet, Dayton Ballet and Lexington’s Kentucky Ballet Theatre. Ar tistic

directors from the companies come to CCM periodically to audition students or see them perform before possibly extending an offer. Dance division head Shellie Cash says this is a unique situation among schools with dance programs, citing other “frame-of-reference” schools that do not allow their dancers to perform with other companies and don’t encourage students to audition professionally until their senior year. According to Cash, these schools don’t offer programs arranging for credited professional experience because of the extra administrative time, suppor t and two-way communication it requires. At CCM, most co-ops are juniors and seniors, and much of the coursework is done through independent study. Although Cash says that of the 45 current dance majors, more than 20 students are par ticipating this year—most just for selected performances and a few as full-time company members—the program isn’t for ever yone. Cash says the students who par ticipate tend to be “ver y dynamic, ver y selfmotivated and ver y aggressive in terms of being able to be in two places as often as possible.” How do they balance these demands? Yankle says, “I feel like as dancers, dancers who are really serious about what they do, we tend to be disciplined anyway. continued on next page

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continued from previous page I find that when I have time off I don’t know what to do with myself.”

I had eight hours of dance and then I had four hours of classes.’ ”

“One does wonder what normal people do.” Bek adds, laughing.

“I feel like we have the best of both worlds,” Bek says. “Amazing choreographers, plus we get to go to school.”

“It gets a little hectic sometimes—you don’t want to go home and write that paper or go to class after being here for nine hours a day,” Yankle says. “But I really wouldn’t have it any other way.”

In their co-op time, Bek and Yankle have also provided inspiration for some Cincinnati Ballet dancers to take classes at UC and work toward degrees of their own.

People are surprised to learn how much they rehearse. “You tell people you’re a ballet major and they just assume you don’t do anything and then they complain about how they have four hours of classes,” Bek says. “And then you say, ‘Well

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“It’s ver y possible,” Bek says. “It’s kind of a myth that you don’t do that and that it’s really hard to do and you can’t. You can. It just takes work.” This article originally appeared in CityBeat. Used with permission.

Creating ar t can be a messy proposition, requiring an intimacy with paint spatters, lumps of clay, and charcoal dust. Richard Cawood, assistant professor in CCM’s E-Media division, relishes his students’ exposure to such a creative canvas, specifically in the digital domain. With a required purchase of MacBook Pro notebook computers and the use of Apple’s iLife digital authoring suite, Cawood says his students have the chance to get “digitally dir ty” early on in their college careers. Most impor tantly, Cawood and his colleagues believe that a familiarity with core Apple technologies will enable students to make a clean sweep of the creative media industr y in the future. CCM’s E-Media major offers students a broad, liberal ar ts education that provides a foundation on which to build careers in the media industr y. E-Media graduates typically work in audio and video production, radio, broadcast journalism, new media, and related areas. In 2005, E-Media faculty members assessed the long-term direction of their program. Cawood felt strongly that an immersion in industr y-standard technologies at an early stage was critical to students’ future success. “I saw that the majority of today’s college students are either going to have a computer purchased for them, or they’ll buy one before they’re even in college,” Cawood said. “I’d rather have them have the correct machine for our specific industr y. The MacBook Pro allows us to leverage the iLife software suite as a set of digital tools. This gives students an entire tapestr y of tools for video, audio, web, and photographic work. And, it opens up the stage for students to discover their areas of interest.” E-Media’s MacBook Pro notebook requirement went into effect in the fall of 2006. That mandate prompted faculty members to pay close attention to students’ needs and experiences. Initially, Cawood and associate professors Thomas Haines and John Owens gave keynote presentations about the new technology-infused curriculum. Then the trio recorded podcasts about the E-Media program ever y three weeks, delivering the content to students via iTunes. Said Owens, “We decided that we were going to ‘shepherd’ this first year of classes, because there was the new computer requirement. Podcasting and iTunes offered a great point of contact with the students and helped personalize the discussions. Our students understood that we are committed

PHOTO COURTESY APPLE.COM

MacBook Pro Opens Doors to E-Media Success

A MacBook Pro on UC’s wireless campus makes for a completely portable workspace.

to the hardware and software, and the stor ytelling tools that we have, just as much as they are.” The E-Media students worked extensively with the iLife suite from the star t. Haines says the tools enabled his students to focus on their creativity versus the actual usage of the software. “By the second quar ter of their first year, students were blogging and producing podcasts, which they found really rewarding,” Haines noted. “iLife helped our students to become stor ytellers.” Manfred Wolfram, head of the E-Media division, believes that the MacBook Pro requirement offers students the ideal preparation for their careers, saying, “The introduction of our notebook computer requirement is not only timely, but it reflects the changing nature of our industr y. We are educating our majors to function in the 21st centur y.” Haines says the technologies are instrumental in developing the skills and minds of his students. “We felt our students needed an earlier introduction to the tools of media production, so that their final years in our program could be spent producing interesting stories rather than stumbling through a software package. We are confident that the MacBook Pro requirement will expand the laborator y and assist in our goal of graduating ‘thinkers who do, and doers who think.’ ” Owens added that he sees great potential in GarageBand and iTunes to suppor t faculty members in creating podcasts. “Through iTunes, our students are automatically fed new

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PHOTO: RICHARD CAWOOD

episodes as soon as they’re available. We hope that this effor t will foster stronger bonds between all of us, and ultimately, will improve our retention rate.” Each student in the E-Media program now compiles digital project work into electronic por tfolios as par t of E-Media’s “Digital Core” experience. Haines says the use of Apple technologies is central to the creation and preser vation of all ePor tfolio content. “Our plan is that as students go through their college careers, they can continue to archive the content they create with the iLife applications and upload it to a ser ver through their .Mac accounts. Then as they navigate through the program they’ll have a really good histor y of where they came from, and a wealth of information they can pull from.” Based on their foundational year using the iLife suite, students will continue to move through the curriculum and into Apple’s Pro applications, including Final Cut Pro, Motion, Soundtrack Pro, DVD Studio Pro and more. Armed with their ePor tfolios and a foundation in these technologies, Cawood believes CCM’s E-Media graduates will be well prepared for success in the digital domain. “Four years down the road,” mused Cawood, “the only way your degree has any value is if you have the ability to look back and see where you’ve come from. Having all of these ‘digital breadcrumbs’ will allow our students to see that growth. In the future with their foundation work in Digtal Core, and continued creative work in the digital domain, E-Media students will be able to engage with the new media frontier.” This article originally appeared on www.apple.com. Used with permission.

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VISIT THESE SITES FOR MORE INFORMATION: CCM E-Media: http://emedia.ccm.uc.edu The Digital Core: http://web.mac.com/thedigitalcore/ Podcasts: http://www.richardcawood.com/podcast/Emedia

A Global View of the Ar ts By Shannon Rego

Both CCM and UC place a high priority on offering attainable and compelling study-abroad opportunities for students. Shannon Rego (a second-year student pursuing dual masters degrees: an MA in arts administration and MBA from UC’s College of Business) recounts her experiences—and surprises— learning about arts management on a recent academic excursion to Europe. As I sat in the airpor t in Paris, waiting to board my flight back to the United States, my reflection on the past two weeks of travel was interrupted by a passing obser vation—a young Muslim man, perhaps in his early twenties, placed a mat on the ground in the corner of the airpor t lounge and, facing Mecca, knelt in prayer. It was star tling to obser ve the reactions of many of the people who passed him. Why, I wondered, were this man’s peaceful actions being regarded with fear and surprise by so many? Why is a man praying quietly in a corner wor th making a fuss about? In asking myself these questions, it made the impor tance of my trip that much clearer to me. It seems that so many of the bad things about this world come about as a result of fear, and fear is often a product of lack of understanding. So what better way to improve the world than to learn through travel? I was for tunate to have the oppor tunity to do just that through UC’s College of Business MBA study-abroad program. I traveled to Toulouse, France, and Barcelona, Spain, for two weeks during the summer of 2007. Before those two weeks, I had never left the countr y, and it was an enlightening experience, to say the least. As the trip was organized through the MBA program, we took business classes during the day at a local college. Sometimes these classes took the form of lectures by local professors, and sometimes they involved field trips to nearby businesses. The UC professor leading our trip, Dr. Larr y Gales, put together a few visits to ar ts organizations for myself and the two other ar ts administration students on the trip, and these were par ticularly beneficial to me. The three of us, along with Dr. Gales and our translator, visited the Toulouse Opera, which was unlike anything I’ve ever seen. After talking with the Opera’s education director, it seemed like being an ar ts administrator in France couldn’t be easier. The state provided the entirety of their $35 million budget. When I asked if they ever ended the year “in the red,” she seemed perplexed. She had never been exposed to the concept that an ar ts organization, especially a governmentfunded one, could exceed its budget. We also asked about subscription sales, only to discover that the Toulouse Opera has to limit subscriptions to 80% of the house, because they

Arts administration students Shannon Rego, Khoa Nguyen and Jessica Hummel tour the Freixenet Winer y in Barcelona.

want to ensure the availability of single tickets for sale. Our jaws dropped. Nearly any ar ts marketer in the United States would claim to have the opposite problem, with the task of growing subscription sales being one of the major challenges for most ar ts organizations. We left the inter view wondering, “Why not just learn French and move to Toulouse?” No fundraising, no marketing—it would be the easiest job in the world! But upon fur ther reflection, we remembered a few things. First, the Toulouse Opera is indeed feeling the effects of a budget crunch. Though they haven’t yet lost funding, their budget has not increased to match inflation and the rising cost of building materials for costumes and sets. The Toulouse Opera is experiencing the early stages of a challenge that is emerging across Europe—ar ts organizations that used to be entirely state-suppor ted are star ting to have to look for money elsewhere, just like we do here in America. The Toulouse Opera was just one of many eye-opening experiences we had on our trip. Also wor th mentioning is the wine (it really is cheaper than water in France!), the amazing food, and the beautiful architecture, plus the oppor tunity to learn about cultures that are in some ways so similar to our own and in some ways so fantastically different. I will cer tainly be recommending these study-abroad oppor tunities to my classmates in CCM’s ar ts administration program. And I have a feeling that I will soon be following my own advice and jumping on a plane.

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Travelogue

Trotting the Globe

Never ones to rest on their laurels, CCM students and faculty know to keep their passpor ts up-to-date for academic and performance oppor tunities throughout the world. This is a small sampling of their recent overseas adventures.

Associate professor of dance Jiang Qi (back row, third from right) teaches at the Shanghai Conser vator y of Theater and Dance.

Yu-Chung Johnny Ku (DMA Choral Conducting) directs the Taipei Philharmonic Youth Choir in a rehearsal at Taiwan’s National Concert Hall in April 2007.

Professor Rick VanMatre performs in Siena, Italy, at the annual conference of the International Association of Schools of Jazz in July 2007.

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At CCM’s Opera Theatre and Music Festival of Lucca (Italy), participants enjoy the inauguration of the Museo Vivente della Dieta Mediterrane during summer 2007. Left to right: CCM students Robin Carlson and Catherine Eisele, professor emeritus Marie Speziale, faculty member Susan Magg.

Electronic media students in CCM’s Munich Summer Curriculum program scale the Alps during summer 2007. Back row: Jonathan Diehl, Jenny Gold, Dan Diaczun, Paul Jaeger, Julieanne Roland, David Ryder, Jonathan Saffian. Front row: Caitlin Behle, Sonya Mueller, Chelsea Patthof, Joey Deady, E-Media division head Dr. Manfred Wolfram, Jordan Hurst, Danny Rust, Adam Lytle.

Alumni Events

Alumni “PAN-e-monia” Launches New Student Scholarship

Alumni and friends gathered in November 2007 for the first annual PAN-e-monia, a debut event benefiting the newly-established Mar tha Moore Crabtree Alumni Scholarship and hosted by CCM’s Alumni Board of Governors.

Pamela Myers and Donna Sontag-Grummich

CCM student Andrea Shoker y with Professor Sylvia Plyler

Named for the iconic sculpture of Pan that has welcomed visitors to the CCM campus for decades, P A N - e - m o n i a featured showstopping performances by CCM students and alumni. WGUC-FM announcer Naomi Lewin ser ved as the event’s emcee, and CCM student Andrea Shoker y, the scholarship’s first recipient, performed.Headlining the evening was award-winning pianist and recording ar tist Mac Frampton (’68 MM, ’86 DMA Piano).

Jay Springer

Phil Crabtree and Walter Cuttino Mr. and Mrs. Mac Frampton

ATTENTION ALUMS:

Stay in touch and learn about upcoming events.

Naomi Lewin with Terr y LaBolt, Pamela Myers and WGUC-FM’s Robin Gehl

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Friends of CCM PHOTOS: MARY STRUBBE

Friends of CCM

Honoree Frank Payne with Theresa and John Henderson

Terri Lyne Carrington (center) with Christopher Dietz and Rick VanMatre

Grammy-Nominated Jazz Drummer Headlines “In a Whirl of Jazz 8” Featuring Grammy-nominated jazz drummer Terri Lyne Carrington, “In a Whirl of Jazz 8” was again a hit, raising $40,000 for jazz studies programs and scholarships. Held at CCM in October 2007, the event attracted more than 450 people who enjoyed a program featuring Carrington alongside CCM’s faculty jazz ar tists and student Jazz Ensemble led by Rick VanMatre, director of jazz studies. Also that evening, local jazz pianist Frank Payne was honored with the William Lawless Jones Award for his contributions to jazz culture in the Greater Cincinnati area. Of the oppor tunity to work with Carrington, VanMatre said, “As a performer, she played with the kind of flexibility and depth found in only the greatest jazz ar tists. Likewise, as a lecturer about jazz in general and as a teacher of the drums, she showed the same depth of musical philosophy and technical exper tise.” 2 007 In a W h i rl of Ja z z Sp o nso rs Christopher Dietz Family Castellini Foundation Carroll & David Hall Harkavy Management Ser vices Hugh H. Hoffman Jo Ann & George Kurz

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Carole and Ed Rigaud with Reuven Katz

Roz Harkavy and Terri Lyne Carrington

Jim and Cora Ogle

Fred Mar tens/Mar tens’ Ar t Marge & Ike Misali Cora & Jim Ogle Jeff Thomas Catering UC’s Just Community WCIN-AM Jessica Baron, Donna & Tony Perzigian, Anna VanMatre

Last October, over 400 young professionals from Greater Cincinnati gathered at downtown’s Lightborne Studios for Take 5 Night Lights. Presented by the Young Friends of CCM, this new event featured mini-performances by CCM students and small bites from local restaurants in Lightborne’s chic, urban space. The Young Friends’ yearlong Take 5 series features social events with a scholarly twist. Attendees enjoy mingling and learning about various ar t forms from CCM exper ts and young ar tists. More information is available at www.ccmtake5.com.

Drama students work a scene

PHOTOS: KEN GILKEY

Young Friends Illuminate CCM Artists at “Take 5 Night Lights” 2007 T ak e 5 Ni gh t Li ght s pa rt ne rs: Lightborne Sung Korean Bistro CityBeat CincyUpdate Enjoy the Ar ts Jeff Thomas Catering Taste From Belgium UC Mobile Powered by Cincinnati Bell

Costumes by CCM artists on display

Dance students improvise movements

Take 5 committee members Bettina Engelmann and Teresa Hoelle

JOIN THE FRIENDS OF CCM

Excellence and achievement in music, opera, musical theater, drama, dance and media have made CCM one of the nation’s top-ranked schools. The Friends of CCM suppor t the talented students and faculty and make possible a wide variety of oppor tunities including scholarships, travel, development grants, special projects and more. The Friends of CCM enjoy terrific special events, one-of-a-kind master classes and behind-the-scenes oppor tunities all year long. Join today to help advocate the star in ever y student. CALL THE FRIENDS OF CCM HOTLINE FOR MORE INFORMATION | ( 5 1 3 ) 5 5 6 - 5 0 0 0

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PHOTOS: UC PHOTOGRAPHY SERVICES

Dianne and J. David Rosenberg and UC President Nancy Zimpher

Seventh Annual â€œFeastâ€? Celebrates with Sold-Out Crowd

The much-anticipated 2008 A Moveable Feast, a fundraiser hosted by the Friends of CCM now in its seventh year, was again a standing-room-only success. Guests had a chance to roam the impressive CCM Village, enjoying an eyepopping variety of performances and visual demonstrations while sampling delicious dinner-by-the-bite. New this year was Nite Bite, an after-par ty presented by the Young Friends of CCM, which featured more performances by CCM students, spinning by local DJs and dancing into the night. A M o v e a b l e F e a s t drew a sellout crowd of over 860 attendees, with N i t e B i t e attracting over 420. The evening raised $120,000 to suppor t financial assistance programs, scholarships and career development oppor tunities for CCM students.

Brent Lansberg, event co-chairs Bari Lansberg and Debbie Brant, Jody Brant

Steve Reineke, Gene Kimbrew and Andy Keller

Vicky Motch, Billy Inabnitt and David Motch

Sheela Geraghty, Ed and Nancy Rosenthal PAGE 16

The Feast crowd fills the CCM Atrium.

Trish and Rick Br yan

Mar y Ellen Goeke and Tom Schiff

Mel and John Kuempel, Jeff Thomas and Mar y Armour

200 8 A Mov e abl e F ea st Spon sor s Dianne & J. David Rosenberg Jeff Thomas Catering The Netherland Rubber Co. Check ‘n Go Keating, Muething & Klekamp, P.L.L. National City Bank Barnes, Dennig & Co., Ltd. Trish & Rick Br yan Macy’s Thomas R. Schiff Peter S. Barrett Frank Caliguri Cincinnati Ar t Galleries Cincinnati Bell Wireless Closson’s Convergys Corporation Cork ‘N Bottle Deborah & James Cummins Cutting Edge Selection

Mo Smith and Natasha Cavanaugh

David Lombardi, Sonya Whaley, Alex Sale, Drew DiMuzio, Marisol Barrero

Dianne Dunkelman Susan & David Eltringham Fifth Third Bank Jones the Florist/Arrangements Katz, Teller, Brant & Hild Arlene & Bill Katz Priscilla & Douglas Messer On Location Lighting Systems Joe Rigotti/Accent on Cincinnati Rookwood Proper ties, Inc. Squire Sanders & Dempsey LLP Standard Textile Co., Inc Jennifer & John Stein Unifund Lynn & Alex Warm

Sarah Tsai and Myrita Craig

CincyUpdate Frisch’s Restaurants, Inc. Lamson Design Mount Lookout Sprouts United Dair y Farmers 91.7 WVXU Cathy Bertke and Elizabeth Cannon PAGE 17

Notations and Ovations UC Foundation Announces Fundraising Goal

The University of Cincinnati Foundation announced in November 2007 that it will under take an $800 million fundraising campaign on behalf of the university. The campaign, quietly underway since 2005, will be the largest in UC’s histor y. A major public launch will be scheduled for fall 2008. The campaign is intended to suppor t student scholarships, fellowships to encourage advanced scholarship and research, endowed appointments for top-notch faculty, academic program suppor t and campus enhancements. Each college is preparing for this impor tant campaign, and regional committees are already at work building relationships with alumni and friends in New York, Chicago, Washington, DC, Silicon Valley, and beyond. For updates and additional information, visit the UC Foundation’s Web site at www.giveto.uc.edu.

CCM Professor and Alumnus Team Up for Powerful Musical Premiere

In October 2007, Cara Tasher (’06 DMA Conducting), director of choral activities and assistant professor of voice at the University of Nor th Florida (Jacksonville), hosted CCM professor and composer Miguel Roig-Francolí for the Nor th American premiere of his choral-orchestral work, Dona eis requiem (In Memor y of the Innocent Victims of War and Terror). Tasher conducted the program featuring the University of Nor th Florida Chorale and Chamber Singers with the Orchestra of the Chamber Music Society of the Good Shepherd. Roig-Francolí said the performance was followed by a full minute of silence, after which the audience broke into a standing ovation. “It was one of the most intense and beautiful moments in my career as a composer,” he said.

Roig-Francolí and Tasher

Henson Markham, ar tistic director of the Chamber Society of the Good Shepherd which hosted the event, wrote to RoigFrancolí: “The phones today have confirmed that last evening was an extraordinar y one for Jacksonville, and Dona eis requiem the best-received piece of contemporar y music in Jacksonville in decades.” In the words of one of the UNF tenors: “After the final cadences ... performers and audience alike reflected on the moment. This work proved to us that we can find hope and beauty through music, despite the magnitude of pain and suffering.” Miss America 2008: Kirsten Haglund

Musical Theater Student Named Miss America

Kirsten Haglund, a student in CCM’s musical theater program, was crowned Miss America in Januar y 2008. Representing her home state of Michigan, Haglund offered a stirring rendition of “Over the Rainbow” for the talent por tion of the competition. Haglund is on hiatus from her CCM studies while she fulfills the duties of her position, with plans to return to campus in 2009. During her reign, she will work to promote awareness of eating disorders, a disease from which she has recovered. PAGE 18

Starling Violinist Shines in From the Top

16-year-old violinist Kaori Matsui was selected to perform on National Public Radio’s From the Top in November 2007 in Maui, Hawaii. A student of Brittany MacWilliams in CCM’s Starling Preparator y String Project, Matsui was chosen for the taping along with four other young musicians from around the countr y. From the Top is a weekly, hour-long radio showcase of America’s top young classical musicians. Matsui and MacWilliams traveled to Kahului, Maui for the live taping at the Maui Ar ts and Cultural Center’s Castle Theater. There, Matsui performed Wieniawski’s Polonaise Brillante No. 2 in A major with concer t pianist and From the Top host Christopher O’Riley.

MacWilliams noted, “Kaori’s performance was crisp and exciting, and her emerging musical maturity really shone.” During her preperformance inter view, Matsui discussed her transition from Japan Matsui (right) with MacWilliams in Hawaii to Cincinnati in 2004. She also spoke about her love for lacrosse and the similarities between the teamwork required in playing the spor t and in playing chamber music, another of her favorite activities. O’Riley related that Matsui’s “joy for ever ything she does is obvious in her playing.”

batons of noted conductors, including James Conlon and Eric Whitacre. The choir also collaborates regularly with the CCM Music Education and Ensembles and Conducting divisions. In honor of this milestone anniversar y, CCC will commission and host composers Nick Page and Jim Papoulis, as well as host an anniversar y concer t in CCM’s Corbett Auditorium, featuring the premiere of a new work by Page, the winner of the CCC’s first annual composition competition. In Februar y 2008, the choir performed in John Adams’ On the Transmigration of Souls with the Cincinnati Symphony and May Festival Chorus under the baton of the composer, and in July 2008, the choir travels to Wales for the Llangollen International Choral Eisteddfod, where they will represent the United States in the Youth Choir division.

Matsui also traveled to several elementar y schools to perform and to share her unique perspective with other children as par t of From the Top’s educational component.

Learning the Dalcroze way

Music Education Students Experience Dalcroze

Cincinnati Children’s Choir

Cincinnati Children’s Choir Turns 15

The Cincinnati Children’s Choir, ensemble in residence at CCM, celebrates its 15th anniversar y season this year. Founded, managed and conducted by Robyn Lana (’87 BM, ’91 MM Music Education), the choir features 450 students in grades K–12 par ticipating in seven subchoirs. The CCC has accomplished much in its first 15 years, having performed with the Cincinnati Symphony, recorded with the Cincinnati Pops, toured Europe and Nor th America, appeared at the Music Educators National Conference Regional Convention and the Ohio Music Education Association, and performed under the

In May 2007, students and faculty in the Music Education division underwent a “Dalcroze Experience,” led by Dr. David Frego, past president of the American Dalcroze Society. The Dalcroze approach to music learning teaches musical concepts through rhythmic movement, expressive aural training, and physical, vocal, and instrumental improvisation. The event was made possible through suppor t from the Friends of CCM.

Great Wall International Music Academy Presented at Business Week Forum in Beijing In November 2007, the Great Wall International Music Academy, a summer program in China for young musicians founded by CCM professor Kur t Sassmannshaus, was introduced to a global audience of business leaders at Business Week’s CEO forum in Beijing. Great Wall student Xie Hao Ming performed Sarasate’s Zigeunerweisen for a private CEO reception in Beijing’s China World Hotel.

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CCM Takes Center Stage at Urban Music Conference

Opera Fusion’s first year of programming involves CCM’s spring 2008 Studio Series production of Daniel Catán’s Rappaccini’s Daughter, a Spanish-language opera based on a Nathaniel Hawthorne stor y and retold by Mexican Nobel Prize-winning author Octavio Paz. Cincinnati Opera has commissioned a new orchestration of the opera’s score for two pianos and an extensive percussion ensemble, in par t to make the work suitable for presentation in CCM’s intimate Cohen Family Studio Theater. CCM will produce the work in May and collaborate with Cincinnati Opera on promotions and related lectures and master classes.

PHOTO: ALAN S. ORLING

Professor of Music Education René Boyer ser ved as host for the National Urban Music Leadership Conference, held in Cincinnati during October 2007. Approximately 125 collegeand school-based music educators from urban centers in 23 states par ticipated. Held annually, the conference provides a forum for educators to collaborate on ways to better advocate for music programs in urban K–12 schools. Students, faculty, and staff from CCM’s Music Education division assisted with technical and logistical suppor t, with CCM and the Preparator y division hosting a number of conference events. The CCM Jazz depar tment provided musical fare, and Professor of Accompanying Sandra Rivers collaborated with violinist Gareth Johnson in an evening recital at the National Underground Railroad Freedom Center.

Mar vin Stamm

Guest Artists Make Impression with Jazz Students

During 2007, the CCM Visiting Jazz Ar tist Series hosted workshops and performances by internationally recognized ar tists Gene Ber toncini, Barr y Reis, Fred Hersch, Conrad Herwig, Ted Rosenthal, Vince DiMar tino and Mar vin Stamm (pictured).

CCM and Cincinnati Opera Partner for Opera Fusion

CCM and Cincinnati Opera announced in November 2007 the establishment of The Corbett Foundation Opera Fusion Program, funded by a generous grant from the Cincinnatibased Corbett Foundation. The three-year program formalizes the existing par tnership between the two organizations with collaborative academic programming and enhanced young ar tist and internship oppor tunities for CCM students during Cincinnati Opera’s annual Summer Festival.

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As Opera Fusion continues, the two organizations will combine resources on a variety of projects. CCM students in multiple disciplines will have the oppor tunity to work in a professional environment, and Cincinnati Opera will showcase CCM’s rising young performers in mainstage productions and various other projects throughout the year.

CCM Prep Launches Prog rams For Special Learners

Latron Dodd is not your average piano student. Diagnosed with autism and unable to speak, Dodd nonetheless has an excellent ear for music, and learns quickly through repetition. Through CCM’s Preparator y depar tment, Dodd has been able to Latron Dodd (center) with take free piano lessons as Betsey Zenk and Takako Hayase par t of a new series of programming for special learners. For the past year, Dodd has studied with CCM Prep faculty member Takako Hayase, who has learned to teach without talking and to tape the pieces Dodd is working on for him to play back to her. His success is evident in his continued curiosity and confidence—twice Dodd has played on public concer ts at CCM. CCM Prep’s series of classes for students with special needs, suppor ted by the Friends of CCM, offers underser ved students access to superior ar ts experiences from highly qualified faculty, all at no charge to them. Currently two other programs are available: Dramakinetics, geared toward younger students (ages 3–11), and Adapted Guitar, for older students. The classes are culturally diverse, and par ticipants include students diagnosed with autism, gross motor issues, Downs Syndrome, and limited language skills. Dramakinetics is taught by Pam Schooner, a professional actor and teacher, and involves a weekly session that employs pretend play, music and movement centering around a stor y or

Music, CCM and the University of Regina. He has ser ved as the music director and conductor of the Buffalo Philharmonic Chorus and conductor of the Buffalo Philharmonic Chorus Chamber Singers, and the director of the University of Rochester Men’s and Women’s Glee Clubs, University Choir and Chamber Singers. He previously directed UC’s Women’s Chorus and Cabaret Singers. His ar ticles have been published in Anacrusis, American Choral Review, Choral Journal and Research Memorandum Series. Scott is the winner of awards from the Canada Council for the Ar ts, Eckhardt-Grammatté Competition and Prairie Festival of New Music Young Composer’s Competition. PHOTO: MARK LYONS

Members of the Adapted Guitar class perform in a holiday concert.

theme. Within this creative construct are naturally embedded oppor tunities to practice language, cognitive, and motor skills. Several children with typical needs also par ticipate in the class, acting as role models and fostering tolerance and acceptance among all the students. The Adapted Guitar class also meets weekly, led by Betsey Zenk, oboist and cer tified music therapy teacher. The curriculum encourages social interaction and group involvement while improving reading and fine motor skills; students develop friendships and help one another with their guitar skills. What’s more, the class provides valuable real-world experience to UC’s Cincinnatus scholars and CCM Music Education majors, who assist with the class. The program’s early success resulted in an invitation to perform at the Ohio State Music Therapy conference in October, followed by two additional public concer ts in Januar y. Additional information on CCM’s special learners programming is available at www.ccm.uc.edu/prep.

CCM Welcomes New Faculty

Two new full-time faculty members joined the CCM team during the 2007–2008 year. Assistant Professor of Musicology J o n a t h a n K r e g o r earned his BM at the University of Nor th Carolina–Chapel Hill and his PhD at Har vard University. At Har vard, he was a Presidential Instructional Teaching Fellow, and he offered his disser tation on Franz Liszt’s piano transcriptions. Kregor has published ar ticles and reviews in The Journal of Musicology, NineteenthCentur y Music Review, Journal of the American Liszt Society and Notes, and given papers at numerous national and international conferences. He is a recipient of fellowships from the German Historical Institute and the Stiftung Weimarer Klassik. Assistant Professor of Ensembles and Conducting L . B r e t t S c o t t earned his BM from Canadian Bible College, MM from the University of Regina, and DMA at CCM. Scott previously taught at the University of Rochester and Eastman School of

CCM’s 2007 production of Naomi Iizuka’s Anon(ymous)

Anon( ymous) Wins Acclaim

CCM opened its 2007–2008 Mainstage season with the regional premiere of Naomi Iizuka’s penetrating and poignant drama, Anon(ymous). A modern retelling of Homer’s The Odyssey, Anon(ymous) chronicles the adventures of a young Southeast Asian refugee who washes up on American shores and embarks on a cross-countr y search for the meaning of home and identity. CCM’s production was singled out for its excellence by the Cincinnati Enquirer’s Acclaim Awards, recognizing excellence in local theater. Anon(ymous) won three awards for Oustanding Direction (Richard E. Hess), Outstanding Lighting and Projection (students Kathr yn Furst and Tom Huston) and Oustanding Set Design (student Tielor McBride). PAGE 21

Faculty Fanfares

Faculty

Assistant Professor of Music Theor y David Carson Berry received the Emerging Scholar Award for 2006 from the Society for Music Theor y.

Associate Professor of Music Theor y Steven Cahn has a for thcoming essay in the Cambridge Companion to Arnold Schoenberg, as well as an ar ticle in Brain and Cognition on the subject of congenital tone deafness, for which he was interviewed by NPR. In June 2007, Cahn was selected to par ticipate in the 2007 Mannes Institute on Schoenberg and His Legacy at Mannes College (New York City). In Februar y 2008, he chaired an interdisciplinar y interfaith event at Hebrew Union College (Cincinnati) called Lamentations of Jeremiah: Liturgical Workshop and Concert. He is the holder of an ongoing grant from the NIH about music performance and analysis, and he has given recent papers at the Librar y of Congress, Getty Center, National Conference (Los Angeles) and Arnold Schoenberg Center (Vienna).

In June 2007, Assistant Professor of Piano Michael Chertock gave the world premiere of the Roger Davis Piano Concer to in F in Sofia, Bulgaria. Also in June, he performed the Gershwin I Got Rhythm Variations with the Cincinnati Symphony Orchestra, and in August, he performed Rhapsody in Blue with the Boston Pops at Wolf Trap Performing Ar ts Center.

Professor of Drama Rocco Dal Vera co-authored the new book, Acting in Musical Theatre: A Comprehensive Course (Routledge),

PAGE 22

with Wright State University professor Joe Deer, scheduled for release in spring 2008. Dal Vera and Deer also par tner on a new monthly column for Dramatics magazine called “Acting in Musical Theatre.”

Professor of Jazz Studies Phil DeGreg taught and performed in England at the Jazzwise Summer Jazz Workshop (London), the Wigan Jazz Festival, and other locations during summer 2007. He was awarded a Fulbright Fellowship to teach in Brazil during spring 2008 at the University of Campinas, near Sao Paulo. He released his ninth CD, Down the Middle, a piano trio featuring Los Angeles-based drummer Joe LaBarbera.

Assistant Professor of Composition Michael Fiday saw his work Automotive Passacaglia for piano and two percussion recorded by faculty members James Tocco, James Culley and Russell Burge in April 2007, to be included in a CD devoted to his work to be released during 2008. Also in spring 2007, he was awarded a grant from the University Research Council based on a proposal to write a new work for two electric guitars and three percussion. The work will result in both European and American performances by guitarists Seth Josel and Wiek Hijmans, together with the Percussion Group of the Hague and Percussion Group Cincinnati. During summer 2007, he was in residence at the Headlands Center for the Ar ts in the Marin Headlands (Calif.). Dharma Pops for violin duo was premiered at CCM’s Music 07 Festival by violinists Christopher Karp and August Vismara in June, and received subsequent performances during the summer by Veronika Afanassieva and Karine Garibova at Colorado College’s New Music Symposium, Carla Kihlstedt and Graeme Jennings at

the Headlands Center, and by Duo Gelland in Sweden. During July, 9 Haiku for flute and piano was published by Dinsic Publications (Barcelona) and was performed at the National Flute Convention (Albuquerque) in August 2007. Also in August, he launched his website, www.michaelfiday.com.

R. Terrell Finney, professor of drama and head of the OMDA division, has been elected to the board of directors for both the American High School Theatre Festival and the University/Resident Theatre Association. Finney has been reelected to a second term on the Commission for Accreditation of the National Association of Schools of Theatre.

Professor of Organ Roberta Gary recorded for Arsis Audio the complete Art of Fugue by J.S. Bach on the John Brombaugh organ of First Presbyterian Church in Springfield, Ill.

In fall 2007, Associate Professor of Composition Mara Helmuth released the CD Sound Collaborations, with Allen Otte, Rick VanMatre, Anna Socha VanMatre, alumnus Alan Bern, Ming Ke and NeXT Ens (a former CCM student electro-acoustic group including Shiau-uen Ding, Margaret Schedel, Carlos Velez, Timothy O’Neill and Heather Brown) as the Consor tium to Distribute Computer Music Series v.36 on Centaur Records. She received a Tangeman Sacred Music Center grant to travel to China, Korea and Japan during summer 2007, where she recorded bell, drum and gong sounds in Tibetan monasteries and Zen Buddhist temples, as well as Tibetan folk musicians and dancers. With Katuaki Shiota, she presented at the International Computer Music Conference in Copenhagen in August 2007.

Associate Professor of Drama and A.B., Dolly, Ralph and Julia Cohen Chair in Drama Richard Hess directed the new musical revue, The Kid in the Dark, by Mark Halpin and Andrew Smithson, for the 2007 Cincinnati Fringe Festival, which was subsequently revived by the KNOW Theatre of Cincinnati. It was named Best Alternative Theatre at the 2007 Cincinnati Enter tainment Awards, an honor he has won for three consecutive years with new works created for the Fringe Festival. In Januar y 2008, he directed Topdog/Underdog for the KNOW Theatre of Cincinnati, and directs The Barber of Seville for Cincinnati Opera Education in March. For CCM, he directed Naomi Iizuka’s Anon(ymous) in fall 2007. During summer 2007, he studied with Anne Bogar t’s SITI Co. at the 15th Anniversar y Reunion (Saratoga Springs, N.Y.).

During 2006, Associate Professor of Dance Jiang Qi traveled on a grant from UC’s International Studies program to China to establish a new creative par tnership with the prestigious Beijing Dance Academy. While there, he also forged a new relationship with Shandong University, whose officials expressed interest in working with CCM Dance to create a similar program there. Jiang was appointed to the position of Special Guest Professor at Shandong, where he will teach three months each year.

Associate Professor of Voice Karen Lykes gave a master class in Februar y 2007 at the University of Notre Dame and performed Janacek’s Diar y of One Who Vanished with tenor Mark Beuder t and pianist Timothy

Cheek. She returned to Notre Dame during summer 2007 to teach in the Summer Experience in Voice and Opera. She also spent two weeks at Glimmerglass Opera as a vocal consultant for the Young American Ar tists Program.

In spring 2007, Associate Professor of Musicology bruce d. mcclung presented two invited papers: “Lady in the Dark’s Vocal Score: Corrupted Source or Viable Text?” for the Editorial Board Meeting of the Kur t Weill Edition in New York City (March) and “George Gershwin, Kur t Weill, and the Jewish Immigrant Experience” for Eastman School of Music’s Musicology Colloquium (April). He discussed the symbiotic relationship between researchers and librarians in a talk titled “The Hermit Crab and the Polyp” for the University Libraries annual “Authors, Editors, Composers” event (April 2007), which recognized his monograph on the Broadway musical Lady in the Dark. His book, Lady in the Dark: Biography of a Musical (Oxford University Press, 2006), was awarded the 2007 Kur t Weill Prize, given jointly by the Modern Language Association, American Musicological Society, American Society for Theatre Research and the Kur t Weill Foundation. Professor of Musicology Mary Sue Morrow received a $100,000 NEH Collaborative Grant for 2006–2008 to work on The Eighteenth-Centur y Symphony, to be published by Indiana University Press.

Professor of Musicology Edward Nowacki wrote an ar ticle on the distributional evidence for oral transmission in the manuscripts of Old Roman Chant, published in 2007 in the Festschrift for David Hiley, Hungarian Academy of Sciences.

In May 2007, Professor of Music and Director of Choral Studies Earl Rivers conducted a Festival Chorus performance of John Rutter’s Requiem in Carnegie Hall of nine choirs, five led by CCM alumni: David McConnell, Lisa Hanson, David Ferreira, David Belles and Israel Carrillo Santa Cruz. In June 2007, Rivers conducted the recent Rober t Lewin completion/edition of Mozar t’s C Minor Mass K. 427, featuring CCM voice students Bronwen Forbay, Colleen Brooks, Wesley Lawrence and Aaron Wardell, with the Vocal Ar ts Ensemble of Cincinnati and Cincinnati Chamber Orchestra. Por tions of the concer t were webcast through suppor t of CCM’s Tangeman Sacred Music Center.

Professor of Music Theor y Miguel RoigFrancolí’s choral/ orchestral composition Dona eis requiem (In Memor y of the Innocent Victims of War and Terror) was performed in Ibiza, Spain, in April 2007, and Jacksonville, Fla., in October 2007. The ballet Meditations on Design, with choreography by Associate Professor of Dance Shellie Cash based on his musical composition Canticles for a Sacred Earth, was premiered at CCM’s Fall 2007 Dance Concer t. The orchestral version of Canticles for a Sacred Earth was premiered in Januar y 2008 in Palma de Mallorca, Spain, by the Symphony Orchestra of the Balearic Islands. Roig-Francolí’s new textbook, Understanding Post-Tonal Music (McGraw-Hill), appeared in May 2007 and has been adopted by numerous musical institutions throughout the U.S. and Canada. Associate Professor of Musicology Stephanie Schlagel’s book Si placet Parts for Motets by

Josquin and His Contemporaries (critical edition and commentar y) was published by A-R Editions in 2006. The volume has been included in the series Recent Researches in Music of the Renaissance and is the culmination of a project that included collaborations with Earl Rivers and the CCM Chamber Choir. Her ar ticle “A Credible (Mis)Attribution to Josquin in Hans Ott’s Novum et insigne opus musicum: Contemporar y Perceptions, Modern Conceptions, and the Case of Veni sancte Spiritus” appeared in the journal Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis (Journal of the Royal Society for Netherlandish Music Histor y) in fall 2006. She also was elected secretar y of the Midwest Chapter of the American Musicological Society.

Throughout 2006–2007, Assistant Professor of Lighting Design Jakyung Seo ser ved as lighting designer for the world premiere of One Nation, Under God with the Lodestone Theatre Company (Grove Theatre Center, Los Angeles), Rhinoceros at Miami University (Oxford, Ohio), Who’s Afraid of Virginia Woolf? at Glacity Theatre Company (Toledo, Ohio), and Have Been Thinking at Dong Nyuk Theatre (Busan, South Korea). During June 2007, she par ticipated in the Prague Quadrennial Scenofest 2007, where she was lead lecturer for a session titled “Transnational Aesthetics and the Impact on the Lighting Designer’s Process.” Associate Professor of Trumpet Alan Siebert released a new CD, Stargazer, on Equilibrium, which may be ordered through his website, www.alansieber t.com, or www.equilibrium.com. He presented concer ts and classes in Nor th Carolina, Tennessee, Texas, New York, Connecticut, Massachusetts, Kentucky and South Carolina. He also ser ved as a judge for the Chicago Youth Symphony Youth Orchestra Concer to Competition and hosted the International Trumpet Guild Ohio Chapter Meeting in April 2007.

Association of Schools of Jazz in Siena, Italy, in July 2007. Also in Italy, he performed two jazz concer ts at CCM’s Opera Theatre and Music Festival of Lucca. He then traveled to Poland where he was featured as a guest soloist with the Janusz Sprot Ensemble and taught at the International Jazz Workshop Pulawy.

Adjunct Professor of Bassoon William Winstead spent a week in September 2007 at the New World Symphony (Miami, Fla.). The session featured private lessons, master classes and rehearsals for young bassoonists, as well as full orchestra rehearsals where Winstead performed alongside the students. In June 2007, Winstead spent a week at Interlochen Academy of the Ar ts directing their first advanced bassoon seminar.

Professor of Music Theor y and Histor y Robert Zierolf was named to the position of associate university dean of UC’s Graduate School. His academic appointment remains in CCM’s division of Composition, Musicology and Theor y. His most recent publication, titled “Computer Remix,” is published in the Journal of the Korean Electro-Acoustic Music Society. He also gave a paper at the Sixth European Music Analysis Converence, Hochschule für Musik/Alber t-Ludwigs Universität (Freiburg, Germany) in October 2007. Zierolf ’s CD reviews can be read on www.wguc.org.

Professor and Director of Jazz Studies Rick VanMatre par ticipated as a faculty member and performer at the annual conference of the International

PAGE 23

Alumni Notes Alumni 1950s

After retirement in 1991, John Koehler (’51 BM Clarinet) began singing with the Grand Rapids Symphony Chorus (Mich.). He has also sung with several jazz groups and currently sings with a senior group in his community.

Ronald Bennett (’57 BM, ’59 MM Piano) was awarded a citation for being the Distinguished Composer for the South Central Region at the National Federation of Music Clubs convention in June 2007. It was also announced that five of his piano pieces are to be included in the Festival Bulletin for the years 2008–2010 for use in the national auditions during those years. The July/August 2007 issue of Clavier magazine recommended his piece, “Shooting the Rapids.” Miltiades Matthias (’57 BM, ’59 MM Piano) gave three lecturerecitals under the auspices of the New York Council for the Humanities: “Franz Lizst: Emblem of Romanticism—Keyboard Superman” (October 2007) and two presentations of “Ludwig van Beethoven—Promethean Giant” (November 2007).

1960s

David Northington (’69 BM, ’70 MM Piano) recently returned from his second consecutive tour of Poland and Italy, having performed Chopin waltzes at Warsaw’s Chopin Memorial Monument in Lazienki Park. A CD of his work was released this year on Centaur Records.

1970s

Sandra Kay Faddis (’70 BM Music Education) retired in 2002 after 31 years of teaching, the last 19 years as an orchestra director for the South Orangetown Public Schools (N.Y.). She resides near Ft. Lauderdale and has been pursuing a second career as a member of PAGE 24

the tennis staff of a Boca Raton countr y club.

In December 2007, Glenn L. Rudolph’s (’73 BM Composition) piece, The Dream Isaiah Saw, received its Kennedy Center premiere by the Washington Chorus. The piece, commissioned by the Bach Choir of Pittsburgh in memor y of those who perished on Sept. 11, has been performed by church and civic choruses across the countr y. Rudolph has received other recent commissions from churches in Indianapolis, Columbus, Ohio, and Hilton Head Island, S.C . After 35 years on the air in Cincinnati at WSAI, WRRM, Traffic Watch and WVXU, Mark Tipton (’73 BFA Radio and Television) and his par tner relocated near Palm Springs, Calif.

Jane Grebeck-Brewer (’77 BFA Musical Theater) performed in and ser ved as dance captain for the musical Hats at Chicago’s Royal George Theatre. She starred as Gina Oswald in last year’s Christmas musical Roasting Chestnuts: Gina Wants You at Pheasant Run Resor t Theatre (Ill.). She returned to Pheasant Run in Mid-Life: The Crisis Musical, which ended its run in November 2007.

Ruth Sheridan Cobb (’78 BM Organ) is in her sixth year as director of admissions and alumni relations at Saint Thomas Choir School (N.Y.), one of world’s four remaining choir schools in which the boys of the choir are educated and boarded together during the school term.

William Florescu (’78 BM Voice) is the general director of the Florentine Opera Company (Milwaukee), responsible for ar tistic and administrative operations. In April 2007, he directed the company’s production of The Barber of Seville, and in Januar y 2008, he made his debut with Nashville Opera directing H.M.S. Pinafore. He is a regular on-site repor ter for the National Endowment for the Ar ts. He

recently ser ved as judge for the Metropolitan Opera National Council Auditions in Chicago and Lincoln, Neb., and judges vocal competitions for Ft. Wor th Opera and Opera Birmingham.

Laine Berry Miller (’79 BFA Musical Theater) is a musical theater educator and director at Alexandria Countr y Day School (La.). With a cast of students in grades K–8, his production of Annie was voted “Best Live Performance” in Central Louisiana last year. He also founded a highly successful educational theater company, Family Playhouse, which celebrates its tenth anniversar y this year. Helene Schneiderman (’79 MM Voice, ’81 AD Opera) has been singing internationally and is a tenured soloist with the State Opera of Stuttgar t (Germany). In October 2007, she became professor of solo voice at the Salzburg Mozar teum (Austria).

1980s

Diane Earle (’80 BM Piano) performed Grieg’s Piano Concer to with the Owensboro Symphony Orchestra (Ky.) in September 2007. This season she has performances at the Kennedy Center, in Asheville, N.C ., Canton, Ohio, and Memphis, Tenn., and a ten-day performance tour of China.

Bryan Landrine (’82 BM Voice) stage managed the highly acclaimed Grey Gardens on Broadway with Tony Award winners Christine Ebersole and Mar y Louise Wilson. He is currently stage managing the 2007 Tony Award-winning Broadway production of Spring Awakening and working with Stephen Schwar tz and fellow alum Kristy Cates on auditions for the Broadway production of Children of Eden.

Kelly Sanderbeck (’82 BFA Musical Theater, ’91 MA Ar ts Administration) has been appointed to the position of

communications and development director with the PCC Farmland Trust (Seattle).

Julie Smith Weindel (’82 BFA Broadcasting) recently retired from 30 years in television news and news management to star t a media consulting business.

Stephen Franklin Zdzinski (’82 BM Horn/Music Education) ser ves on the editorial boards of the Journal of Research in Music Education and Psychology of Music. Recently awarded tenure, he was the recipient of a $114,000 grant from the NAMM Foundation’s Sounds of Learning Research Initiative, where he is conducting a nationwide study of parental involvement in music. Lynne Ann Mahony (’83 BFA Broadcasting, ’85 MA Ar ts Administration) recently was appointed vice president of strategy and marketing at Mercy Health Par tners (Cincinnati).

Marilyn Meier-Kapavale (’83 BM, ’85 AD Piano) is a lecturer in piano and accompaniment at the University of Southern Queensland (Australia).

Philip Amalong (’84 BM Piano, ’96 MM Accompanying) released the recording Twentieth Centur y Romantic on Titanic Records with Gerald Itzkoff, violinist, featuring works of Elgar, Busoni and Prokofiev. The album was produced by Damon Sink (’92 BM Theor y; ’95 MM, ’07 DMA Composition). Amalong also received a grant from the Aaron Copland Foundation for recording Touch– The Toccata Project, the first in a series of recordings for Albany Records of piano toccatas composed since 1900.

Jewel Smith (’86 MM Music Education, ’03 PhD Musicology) has been awarded a National Endowment for the Humanities grant to write a second book on the women trained in the Moravian music schools in the mid-19th centur y. Her first book, Music, Women, and Pianos in Antebellum Bethlehem, Pennsylvania: The

Moravian Young Ladies’ Seminar y, is listed by Lehigh University Press. Her second book, Music Education and the Liberal Arts in NineteenthCentur y American Female Seminaries: A Neglected Histor y, a sequel to the first, discusses six other prominent female seminaries of this time period and compares their music and liberal ar ts curricula with that offered at the Moravian Young Ladies’ Seminar y. Robert Bode (’87 DMA Choral Conducting), professor of music and director of choral and vocal studies at Whitman College (Walla Walla, Wash.), has been named the ar tistic director of Choral Ar ts, a professional chamber choir based in Seattle. Jean Koller Watson (’87 BM Violin), now living in Michigan, has been using her skills as a violinist, vocalist, songwriter and arranger to create and record contemporar y gospel music. In 2006, she recorded a CD with British producer Joni McCabe and the City of Prague Philharmonic, which garnered positive reviews in the U.S. and abroad. Watson recently took a two-week tour of England, during which she performed 11 concer ts in 12 days.

John K. Boyle, Jr. (’89 DMA Composition) married violinist Annie Chalex in August 2006. Boyle is the coordinator of music composition and theor y at the Interlochen Center for the Ar ts. His piano quar tet Angelicus was premiered in March 2007 by Quar tet-a-tete at a Chamber Music Amarill concer t, later performed in Chicago and Milwaukee.

David Weaver (’89 MM Choral Conducting) is the music depar tment head at H.B. Beal Secondar y School (Ontario, Canada), where he recently produced a large-scale festival of holiday carols. In summer 2006, Weaver was par t of a choral tour through Austria and the Czech Republic.

1990s Jeffrey Gress (’91 MFA Theater Design and Production) teaches theater technology at Capital University (Columbus, Ohio). He joined the faculty after several years running a successful theatrical consulting firm and production company. He is also the resident lighting designer for the dance depar tment at Denison University (Granville, Ohio) and was recently chosen as a Vail Ar tist for their theater depar tment. Greg Kostraba (’91 MM, ’03 DMA Piano) established Chamber Music Toledo, a not-for-profit agency that made its debut in November 2007. Kostraba works as classical music director and senior radio host at Toledo’s WGTE-FM 91.3. Timothy Schwarz (’91 BM Violin) became head of the string depar tment and full-time violin professor at Lehigh University (Bethlehem, Penn.).

Christopher Knight (’92 BFA Electronic Media) celebrated his 14th year as a photojournalist at WLWT-TV Channel 5 in Cincinnati. During summer 2007, he received a prestigious Edward R. Murrow award and two Emmy Awards.

Dain Paige (’92 BFA Drama) played Bellomy in The Fantasticks and Teen Angel in Grease, both at the Carnegie Visual + Peforming Ar ts Center (Covington, Ky.) with Jersey Productions. Last season he performed with Children’s Theatre of Cincinnati, appearing as Doc Robinson in Tom Sawyer, Jafar in Aladdin, Japheth in Noah’s Ark and Disco Blue Jay in Peter Rabbit.

Jeff Buettner (’95 MM Choral Conducting) is director of choral activities at Middlebur y College (Vt.). Buettner’s previous conducting appointments include Earlham College (Richmond, Ind.), Brevard Music Center, Collegiate Choir of Michigan State University, Hope College (Holland, Mich.) and Simpson College (Indianola, Iowa).

Kurt Gerard Heinlein (’95 MFA Drama) completed his PhD at Louisiana State University and received a publication agreement for his book Green Theatre. Recently he ser ved as stunt coordinator on the feature film Albino Farm, to be released in 2008.

Chris Lastovicka’s (’95 BM Composition) opera, Crossing the Horizon, was selected by New York City Opera to be one of twelve works featured at their annual festival, VOX: Showcasing American Composers, in May 2007. Annie Randall (’95 PhD Musicology), associate professor at Bucknell University (Lewisburg, Pa.), saw the release of her book Puccini and The Girl: Histor y and Reception of The Girl of the Golden West (University of Chicago Press, 2007).

Alex Sale (’95 MA Ar ts Administration) is an interior designer at Closson’s (Montgomer y, Ohio). When not rehabbing her 1875 condominium, she travels around the countr y to dance, primarily West Coast Swing. She ser ves on the board of Renaissance Covington.

C. Ashleigh Caldwell (’96 BFA Drama) finished an independent film, Searching for Heda. She is soon to release her third CD.

Mary Fessner-Tarjanyi (’97 BM Clarinet) and Ryan Tarjanyi (’00 BM Jazz Studies) welcomed their first child in May 2007. Mar y and Ryan received masters degrees from Indiana University. Mar y performs as a clarinetist with the Air Force Band of Flight at WrightPatterson AFB. Ryan ser ves on the faculty of Wright State University (Dayton, Ohio) and is an active performer and trumpet teacher.

Elizabeth Saunders (’97 AD Opera) traveled to Japan, where she gave master classes and private lessons to singers in the New National Theatre Tokyo’s Young Ar tist Training Program. This invitation resulted from her recent performance there as Florence Pike in Albert Herring. Upcoming engagements include a return to Tokyo and concer ts around New England of the complete songs of Charles Ives. Aaron Serotsky (’97 BFA Drama) was par t of the workshop for a new musical adaptation of Frankenstein in fall 2006. He also performed in Visiting Mr. Green and Neil LaBute’s This Is How It Goes at the Ensemble Theatre Company (Santa Barbara, Calif.) and in Vienna’s English Theatre production of Crimes of the Heart.

April Brumfield (’93 MA Ar ts Administration) is director of the music industr y program at Eastern Kentucky University and owner of Brumfield and Associates, a professional booking and touring agency that handles the careers of ar tists specializing in world, classical, bluegrass and jazz music.

Renee Bergeron (’94 MM Voice) is currently performing in the national touring company of Andrew Lloyd Webber’s Whistle Down the Wind.

Preparing for the Triumphal March at Cincinnati Opera’s 2007 production of Aida: Dave Thomas (MM Trumpet); Alan Siebert (professor of trumpet); Daniel Zehringer (DMA trumpet); Bryan Crisp (’05 MM Trumpet); Jeff Shaffer (’94 BM, ’98 MM Trumpet); Charles Johnson (’82 BM Trumpet).

PAGE 25

Jeffrey Treganza (’97 MM Voice) has been living and singing in Germany since 2001, where he is ar tist-in-residence and tenor soloist with the State Theater in Darmstadt. He completed a PhD in vocal pedagogy through Mar tin Luther University (Halle, Germany) after the successful defense of his disser tation, “Professional Training of Singers and Teachers of Singing: A Comparative Study of Selected Vocal Performance and Pedagogy Programs in the United States of America and the Federal Republic of Germany.”

Edward Kingfield, Jr. (’98 MM Clarinet) is professor of clarinet at The Indian River Community College (For t Pierce, Fla.). The college recently was approved to conver t to a four-year baccalaureate degree conferring institution, to be renamed Indian River College in Januar y 2008. Kingfield par ticipates in a visiting ar tist residency program at Duke University during the 2007–2008 academic year. He is also the author of his educational web site, Musically Academic Web Sites. Kelly McCormick (’98 BFA Drama) performed as Fantine in Les Misérables at the Pioneer Theatre Company (Salt Lake City, Utah) in May 2007. Craig Phillips (’98 MM Voice) is a member of the male vocal quar tet New York Polyphony. In October 2007, the ensemble released their debut CD on Avie Records, I sing the birth.

Kara Kirkendoll Welch (’98 BM Flute) has been second flutist in the Dallas Symphony since 2000 and joined the faculty at Southern Methodist University as adjunct assistant professor of flute. During the 2006–2007 season, she was

PAGE 26

guest assistant principal flute with the Saint Louis Symphony Orchestra. She will perform in concer t and ser ve on a panel featuring second flutists in major orchestras at the National Flute Association Convention in 2008.

Amy Melinda Wilson (’98 BM Clarinet) recently par ticipated in the Eduardo Mata Conducting Workshop with Gunther Schuller. She graduated from the University of Nor th Texas with her master of music in orchestral conducting and has upcoming conducting engagements in Mexico City and Cuba.

Lance Flisowski (’99 MM Trumpet) directed The Colony High School Band to a fifth place award in the 2007 Texas Music Educators Association State Honor Band Competition.

Gregg Thaller (’99 DME Music Education) has been appointed director of bands and associate professor of music at McPherson College (McPherson, Kans.).

Jennifer Thomas (’99 PhD Music Theor y) has been promoted to associate professor at the University of Florida. She is a specialist on Renaissance music, and the database of the Renaissance motet that she has created and continues to super vise is consulted by Renaissance specialists all over the world.

2000s

Jose Maria Condemi (’00 MFA Directing) continues directing opera nationally and internationally. He directed La Cenerentola to mark the 50th anniversar y of San Francisco Opera’s Merola Opera Program, as well as La Bohème for Seattle Opera, Così fan tutte for Lyric Opera of Chicago, and Luisa Miller for Canadian Opera Company. He will return to Chicago in upcoming seasons to direct Tristan und Isolde (with soprano Deborah Voigt) as well as a new production of Ernani. Other future engagements include Il Trovatore for Seattle Opera and The Magic Flute for Opera San José. He continues teaching work with young ar tists and has star ted a class on audition technique along with mezzo-soprano Cathy Cook. He will direct the Adler Fellows of San Francisco Opera in a gala concer t later this year.

Rebecca Maloy (’00 MM Flute, ’01 PhD Musicology) is assistant professor of musicology at the University of Colorado–Boulder. Her work includes an edition of the Tonar y of Frutolf of Michelsberg. Her book on the Offer tor y of the Roman mass is now listed by Oxford University Press as imminent. Maloy gives a guest lecture for CCM’s Thinking About Music lecture series in spring 2008.

Mark Terrence Ortwein (’00 MM Bassoon) is the assistant principal bassoonist and contrabassoonist of the Indianapolis Symphony Orchestra. He was a soloist with the Dayton Philharmonic and Indianapolis Symphony Orchestra in 2007, playing John Williams’ Escapades for Alto Saxophone and Orchestra. He is also an active studio musician and records regularly for Hal Leonard Publishing Company and Disney. A Yamaha ar tist, Or twein plays with several jazz groups in Indianapolis and is a founding member of the group Icarus.

Kelli Sawyer (’00 BFA Musical Theater) plays Kate Monster and Lucy the Slut in the first national tour of Avenue Q, which opened in San Diego in July 2007.

Tricia Thelen (’00 MFA Theater Design and Production) was awarded tenure at the College of Charleston (S.C .), where she teaches scenic design. Thelen spends her summers working at Chautauqua Opera (N.Y.), where she is the props master and scenic ar tist.

PHOTOS: GEORGE MOTT

Kristen Smith Stoner (’97 MM, ’00 DMA Flute) earned tenure and has been promoted to the rank of associate professor of flute at the University of Florida. Her first solo CD, Images for Solo Flute, will be released this year on the Meyer Media label. She has been active with the National Flute Association, performing at seven of nine recent conventions, as well as with the Florida Flute Association, with whom she ser ves on the board of directors. In 2005, she was invited to perform at the Festival Internacional de Flautistas in Quito, Ecuador.

CCM alums dazzled at Glimmerglass Opera during summer 2007, both as guest ar tists on the mainstage and as par ticipants in the Young American Ar tists Program. Guest ar tists included Meghan Monaghan (pictured left), Michael Slattery (’99 BM Voice, pictured center) and Michael Maniaci (’99 BM Voice). YAAPs included Ellen Wieser (’07 MM Voice, pictured right), Will Compton (DMA Voice), Corey Crider, Joélle Harvey (MM Voice), Susan Hellman (’04 MM Voice), Caitlin Lynch (’06 MM Voice) and Katrina Thurman (’99 MM Voice).

Heather Ann Turner (’00 BFA Electronic Media) became an audio production manager for InfoHold, a Cincinnati-based company that provides on-hold message systems, in March 2007. She produces, records, edits, mixes, and masters custom on-hold/ overhead messages for companies throughout the United States. Steven Wasson (’00 DMA Composition) ser ved and was acknowledged as one of four readers in Dr. Gear y Larrick’s newest book, The Late-Life Reflections of a Retired Professor on Just About Ever ything in the World (Edwin Mellen Press, 2007).

Michael Balke (’01 BM Piano) celebrated his debut as conductor of the Hamburg Symphony Orchestra (Germany) in a Februar y 2007 gala event, featuring soloist Xavier Moreno, leading tenor of the Mannheim National Theater. He is now in his third year as ar tistic director of the Hamburger Opernsalon. He was invited to conduct the Budapest MAV Symphony Orchestra and to work as vocal coach at the Opera House of Bonn. Future plans include concer ts in Venice and Milan. He was also named Richard-WagnerScholar for Bayreuth in 2007. Lloyd Bone (’01 MM Euphonium) took par t in a major national tuba and euphonium recording project, performed with the world’s only professional euphonium ensemble at the International Tuba and Euphonium Conference in Denver, Colo., and was selected as the head judge for the International Euphonium Solo Competition Young Ar tist Division. His collegiate tuba and euphonium ensemble was the only one from West Virginia to perform at the United States Army Band Tuba and Euphonium Conference (Washington, D.C .). Marianne Leitch Breneman (’01 AD Clarinet) is a founding member of Conundrum, a quar tet of soprano, flute, clarinet and piano, with fellow CCM alums Phil Amalong and Mar y Elizabeth Southwor th. She is the second clarinetist with the Kentucky Symphony and teaches at the College of Mount St. Joseph (Cincinnati).

Nikki Renee Daniels (’01 BFA Musical Theater) played Della B in the premiere of the new musical, Ray Charles Live!, at the Pasadena Playhouse under the direction of Sheldon Epps.

Matt Kraus (’01 BFA Theater Design and Production) became a member of Local 1 IATSE (N.Y.) in October 2007.

Franny Silverman (’01 BFA Drama) appeared in The Curse of the Horned Babby in the Manhattan Theatre Source’s Estrogenius Festival in fall 2007.

Leon W. Couch III (’02 DMA Organ, ’03 PhD Music Theor y) has released Hamburger Rhetorik on the label ProOrgano. The recording celebrates organ music from Hamburg, Germany, with performances of free and chorale-based works by Dietrich Buxtude, his contemporaries and his successors.

Annie Hendy’s (’02 BFA Drama) play, The Catholic Girl’s Guide to Losing Your Virginity, has been optioned by Quasiworld Enter tainment in Los Angeles. They produced a new production of the play in Januar y 2008 in Los Angeles and hired Hendy to write the screenplay for and to star in a film version of the script.

David A. McConnell (’02 DMA Choral Conducting) led three performances of composer Peter Massian’s Poverty Requiem during the Global Week of Action Against Pover ty. The work, setting words by Sylvia Borren, is meant to empower people to become actively involved in the battle against world pover ty. Performances involved over 250 musicians and dancers from the Lehigh Valley Char ter High School for the Performing Ar ts (Bethlehem, Pa.), where McConnell is ar tistic director of the vocal depar tment. The first performance at the United Nations began a global chain of 43 performances in at least 23 countries. The same performers sang and danced the work under the composer’s direction in front of the World Bank in Washington, D.C .

Paul Sakalas (’02 BFA Electronic Media) was honored by the Virginia Association of Broadcasters on behalf of Clear Channel Radio for Virginia’s best large market commercial of 2006. Sakalas is the production/creative ser vices director for WOWI-FM 102.9, WJCD-FM 92.1, WKUS-FM 105.3 and WJCD-FM 107.7. He previously held production positions at Clear Channel’s WTUE-FM (Dayton, Ohio) and WOFX-FM (Cincinnati).

Karen Lynn O'Brien (’02 BFA Theater Design and Production) is an attorney in Chicago. O’Brien spent two years as an assistant state’s attorney working on criminal prosecutions in the sex crimes division, as well as prosecuting domestic violence and child suppor t enforcement matters. Now an associate at Patton & Ryan LLC, she specializes in insurance defense concentrating on catastrophic injur y, par ticular y in commercial transpor tation and construction. Katie Stuckey (’02 BFA Drama) released her debut CD, recorded last year in Los Angeles with the band Check in the Dark. It is available for purchase at http://cdbaby.com/cd/katiestuckey. Stephanie Youell (’02 BFA Musical Theater) performed with the Broadway tour of Mamma Mia! and is currently performing on Broadway in Curtains, with Tony Award winner David Hyde Pierce.

Torie Wiggins (’02 BFA Drama) appeared in Kathy Wilson’s onewoman show, Your Negro Tour Guide, at the Hudson Guild Theater (New York City). Leanna Booze (’03 DMA Oboe) won the principal oboe position in the Indianapolis Chamber Orchestra.

Andrew Duncan (’03 MM Piano/Choral Conducting) received a commission from the Nashville Opera Company to compose The Ugly Duckling for their educational outreach tour program.

Ian Loeppky (’03 DMA Conducting) is an assistant professor and director of choral activities at the University of Nor th Alabama. He directs the vocal ensembles and teaches choral conducting, choral techniques, graduate choral conducting and graduate choral literature. Under his direction, the UNA Collegiate Singers presented a program of modern choral works at the 2006 AMEA Annual Conference and were invited to par ticipate in a performance of Beethoven’s Ninth Symphony with the Huntsville Symphony Orchestra (Ala.) in fall 2007. He also directs the choir at St. Bar tholomew’s Episcopal Church, is founder and ar tistic director of Florence Camerata, a Shoals-based community chorus, and is in demand as a clinician and adjudicator throughout the region and internationally. His ar ticles have appeared in Choral Journal and Alabama Reprise.

Samuel Stricklen (’03 BFA Drama) appeared in bobrauschenbergamerica with Anne Bogar t and the SITI Co. at the Dublin Theatre Festival. Ethan Wickman (’03 DMA Composition) received a commission from the Barlow Endowment for Musical Composition.

Grant M. Anderson (’04 BM Music Education), band and orchestra director at Rapid Run Middle School (Cincinnati), was named Outstanding Educator of the 2006–2007 Year by the Parent Teachers Association.

Jennifer Bernard Merkowitz’s (’04 MM, ’07 DMA Composition) thesis composition, The Cardiac Dance: The Spirals of Life, was heard at the CCM Spring Dance Concer t in May 2007. It was a collaborative piece inspired by the work of cardiac surgeon Gerald Buckberg, involving faculty members Shellie Cash, Richard Cawood, Jakyung Seo and DAAP faculty member Jacqueline Burris. Merkowitz began a position as visiting assistant professor of music at the College of William and Mar y (Williamsburg, Va.), where she is teaching electronic music and theor y.

PAGE 27

Lauren Pastorek (’04 MM Voice) is a member of the ensemble in the touring company of My Fair Lady.

Tamara Wilson (’04 BM Voice) starred in Houston Grand Opera’s 2007–2008 season opening production of Verdi’s A Masked Ball, singing opposite worldrenowned tenor Ramón Vargas.

Joan Blazich (’05 DMA Clarinet) has been contracted by Mellen Press to publish her thesis, “Amand Vanderhagen’s Méthode nouvelle et raisonnée pour la clarinette (1785) and Nouvelle méthode de clarinette (1796): Complete Translations and Analyses of the First Classical Clarinet Treatises.”

Kevin Ebert (’05 MM Classical Guitar) ser ves on the faculty of Xavier University (Cincinnati) and the CCM Preparator y depar tment.

Jonathan Kay (’05 BFA Drama) appeared in Gemini: The Musical in fall 2007 as par t of the New York Musical Theatre Festival, and in the York Theatre Company’s “Musicals in Mufti” production of The Body Beautiful, with Cady Huffman, Megan Lawrence, Brad Oscar and Capathia Jenkins.

Michael John Mollo (’05 BM Composition) graduated from the University of Southern California with an advanced cer tificate in scoring for motion pictures and television. Mollo now ser ves as CEO of Q6 Studios Inc. He has been par t of the music team on a number of projects including The Simpsons Movie and Alvin and the Chipmunks for 20th Centur y FOX, as well as The Simpsons Game and Tiberium video games for EA. Mollo lives in Los Angeles with his wife.

Catherine Cochran (’06 MA Ar ts Administration) relocated to Dallas, Texas, to work as an account executive with TracyLocke.

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Dan Davidson (’06 BFA Drama) appeared in a new piece titled Men Loving Men at the Hollywood Fight Club Theater (Los Angeles). David Groom (’06 BFA Drama) directed at the Walnut Hill Conser vator y in Massachusetts during summer 2006.

Tomoko Kanamaru (’06 DMA Piano) performed in the Frances Johnson Tribute Concer t presented by the West Philadelphia Cultural Alliance, including a collaboration with saxophonist Branford Marsalis. She also presented a chamber music recital for the grand opening series of the Bechstein Piano Centre in New York City, which included Eric Ewazen’s Trio.

Robert Lamb (’06 DMA Choral Conducting) won the American Choral Directors Association (ACDA) Julius Herford Prize for the outstanding doctoral terminal research project in choral music in 2006. The title of his prizewinning disser tation was “Michel-Richard de Lalande’s In convertendo Dominus: A Performance Edition with Performing Commentar y.”

David Martin (’06 MM Classical Guitar) is a member of the faculty at Hope College (Holland, Mich.).

Russell Nebelung (’06 MM Classical Guitar) is a member of the faculty at Adrian College (Mich.).

Seth Rettberg (’06 BFA Musical Theater) is touring nationally with Avenue Q. He previously played Bobby Strong in Wichita City Reper tor y Theater’s production of Urinetown: The Musical and Perchik in Oklahoma City Lyric Theater’s production of Fiddler on the Roof.

Natalie Bradshaw (’07 BFA Musical Theater) appeared as Joanie in the new musical, Happy Days, which recently played at the Goodspeed Opera House. She also joined the ensemble for a special holiday production of Jersey Boys at the Curran Theatre (San Francisco, Calif.). Joshua Breckenridge (’07 BFA Musical Theater) recently performed in Terrence McNally’s The Ritz for Roundabout Theatre (New York City.).

Evan Mack (’07 DMA Piano) joined Concord University (Athens, W.Va.) as adjunct professor to teach music histor y, where he also has two private students in organ. Diana Miller (’07 BM Trumpet) has accepted a teaching assistantship at Western Illinois University, where she will work on her master of music degree.

Dave Yergin (’07 BFA Theater Design and Production) joined On Location Lighting Systems (Cincinnati) as shop manager in May 2007.

In Memoriam

Lorenzo Malfatti

1 92 3 –2 00 7 Lorenzo “Larr y” Malfatti, a former member of the CCM opera faculty, was an operatic baritone and longtime teacher and vocal coach. The son of Italian immigrants from Lucca, Italy, Malfatti was born and raised in Pittsburgh, Pa. As a young man, he ser ved in the army in India and Burma, where his duties included organizing enter tainment for the troops. He often par ticipated as a baritone soloist, and during one of his performances, he met the famous soprano Lily Pons and her husband, the conductor André Kostelanetz, who invited him on tour. After the war, Malfatti attended The Juilliard School, where he studied with Metropolitan Opera baritone Mack Herrell and baritone Giuseppe de Luca. Subsequently he was one of the first recipients of a Fulbright grant, which allowed him to continue his studies in Italy. While in Rome he befriended fellow Fulbright recipient Aaron Copland. He gave the first, impromptu performances of Copland’s Old American Songs, reading from the composer’s manuscript. He was engaged by the Swiss Radio in Lugano, where he was a regular soloist for several years. He also appeared on Italian television, including the title role of Don Giovanni, and worked in films, dubbing Italian soundtracks onto American films. Returning to New York, Malfatti was a regular performer and occasional host of The Aldo Aldi Show, a daily live television variety show. Malfatti then returned home to Pittsburgh to take a faculty position at Chatham College in 1956. He helped to found Opera Theatre of Pittsburgh and sang with the Pittsburgh Symphony Orchestra. In the late 1960s, he helped found the Opera Barga Festival, near Lucca, where he began his association with Italo Tajo, operatic bass, stage director and former CCM opera faculty member.

Lorenzo Malfatti at Celle dei Puccini (Lucca, Italy) with his Solisti students, July 2007

In 1975, Malfatti was appointed to the ar tistic staff of Lyric Opera of Chicago as principal vocal coach for the their apprentice program. In 1978, he joined Tajo at CCM, where he taught until 1985. Upon retirement he returned to Pittsburgh, where he remained active as a private teacher, on the board of Pittsburgh Opera Theatre, and guest master class teacher. He continued teaching in Lucca during the summer months, and in 1996 he co-founded the Opera Theatre of Lucca, sponsored by CCM. Malfatti continued his association with this program until his passing.

John W. Leman

1 9 40 –2 0 07 John Leman taught at CCM from 1969 through 2006 as a professor of music in choral conducting and music education. He was known not only as an outstanding conductor internationally, but also for his wit, kindness and skill as a teacher, earning him UC’s Ernest L. Glover Award for teaching excellence. John Leman

Born in Peoria, Ill., Leman received his BS, MEd and EdD at the University of Illinois–Champaign. After his arrival at CCM, he became conductor of the Chorale, leading several distinguished performances of choral/orchestral masterworks (most notably Mendelssohn’s Elijah). Leman also ser ved as director of the May Festival Chorus from 1978 to 1988, for which he received a Post-Corbett Award. Beyond Cincinnati, he ser ved as conductor of the Middletown Civic Chorus (1988–1992) and ar tistic director and advisor of Musica of Dayton, Ohio. Leman ser ved as national chairman of male choruses of the American Choral Directors Association (1981–1983). In 1989, he founded the Cincinnati International Chorale and ser ved as its director, leading 41 performances in Spain, Germany, Italy, Yugoslavia, Hungar y, Austria, Poland, England, Czechoslovakia, Russia, the Netherlands, Greece, Sweden, Norway, and Estonia, and conducting the Leningrad Symphony, Moscow Radio and Television Orchestra, Brno Philharmonic and Dubrovnik Philharmonic Orchestras. Though diagnosed with multiple sclerosis in 1979, Leman maintained a positive attitude as well as his trademark sense of humor. Elmer Thomas, CCM professor emeritus and Leman’s friend, reflected, “John demonstrated to all of us that he would not give in to illness, and to the ver y end he was positive, humorous, considerate of others, and a joy to be in his company.” Faculty member Earl Rivers remembered, “Throughout his illness, John was ever present at rehearsals and concer ts of Cincinnati ar ts organizations. John remained a dedicated teacher of and mentor to conductors and singers.” PAGE 29

Student Salutes Students Kevin Burke (PhD Musicology) and James Massol (MM Bassoon) received Fulbright U.S. Student scholarships in 2007.

Brandon Burton (BFA Drama) appeared as Hal in The Village Players (Cincinnati) production of Proof in Februar y 2008. Adrienne Clark (BFA Drama) appeared in Christmas.To.Come. during December 2007 with the KNOW Theatre of Cincinnati.

Javier Clavere (DMA Piano) presented a paper titled “The Paradigm Shift Theor y, the Sacred Sign and Worship Systems” at the National Conference of the Semiotic Society of America in New Orleans in October 2007. Bryan Crisp (DMA Trumpet) has been appointed adjunct instructor of trumpet at Wittenberg University (Springfield, Ohio).

Nathan Elam (BFA Drama) par ticipated in rehearsals in December 2007 with THEATRE MITU (New York City) as par t of a workshop for the new piece, DRC (Or How I Learned to Act in Eight Steps).

Joélle Harvey (MM Voice) received the Richard F. Gold Career Grant from the Shoshana Foundation, which provides funding and career suppor t to young, emerging American opera singers.

Adam Hayes (DMA Trumpet) has accepted a position as visiting assistant professor at Berr y College (Rome, Ga.). He teaches trumpet, horn and music theor y, and directs the Jazz Ensemble.

Kendall Karg (BFA Drama), Jonathan Silver (BFA Drama), David Ryan Speer (BFA Drama) and Kellen York (BFA Drama) appeared in The Lion in Winter with Clear Stage Cincinnati in December 2007.

Vassiliki Koutsobina (PhD Musicology) presented a paper, “Le Brung’s Six-Voice Si vous n’avez aultre desir: A Musical ‘Response’ to a Poetic Practice,” at the Medieval & Renaissance Music Conference in Vienna, Austria, in August 2007.

Pianist Dan Martinez (BM Jazz Studies) and guitarist Karl Kerfoot (BM Double Bass) par ticipated in the annual conference of the International Association of Schools of Jazz, Siena, Italy, in July 2007. They were selected to perform concer ts and attend workshops with an elite group of 45 students from 17 countries. Rory Powell (MM Trumpet) received a full scholarship to Bar Harbor Brass Week (Maine).

Mikhail Roberts (BFA Drama) appeared in Striking 12 with New Stage Collective (Cincinnati) during the 2007 holiday season, playing drums, singing and acting. Margaret Schedel (DMA Composition) is assistant professor at Stony Brook University’s Consor tium for Digital Ar ts, Culture and Technology in New York.

Jeff Silva (MM Composition) attended the June in Buffalo New Music Festival (New York) with invited guests Steve Reich, Roger Reynolds, Charles Wuorinen, Arditti

In Memoriam

The Opera Guild of Dayton named Michael Krzankowski (MM Voice, right) one of two first-place winners at its Tri-State College Vocal Competition in April 2007. Andrea Shokery (MM Voice, left) captured the Fran Michael Audience Favorite award. String Quar tet and Steve Schick. In July 2007, he par ticipated in the Orford Sound Workshop (Quebec, Montreal), which was a two-week session in electroacoustic music with faculty from the Montreal Conser vatoire, Paul Koonce and Alain Savouret

Sarah Stephens (BFA Drama) appeared in a staged reading of Keith Josef Adkins’ The Safe House at Ensemble Theatre of Cincinnati, as well as the Satori Group’s production of Investigation of the Murder in El Salvador at the Carnegie Visual + Performing Ar ts Center (Covington, Ky.). She accepted an internship with the Cincinnati Shakespeare Theatre and worked on their productions of A Midsummer Night’s Dream and King Lear.

Danielle Walker (MM Voice), Gretchen Windt (MM Voice), Will Compton (MM Voice), Daniel O’Dea (MM Voice), Matthew Lake (DMA Voice), along with Joshua Moe (’07 MM Voice), were featured soloists in “Spring” and “Autumn” from F.J. Haydn’s The Seasons on Cincinnati’s Knox Presbyterian Church Knox Music Series in April 2007.

Daniel Zehringer (DMA Trumpet) joined the faculty of Wright State University (Dayton, Ohio) as a teacher of trumpet and music theor y.

CCM wishes to remember the following individuals and to express our condolences to their loved ones: David L. Bunce (’68 BA Communications), August 2007

Ruth Kasselman (former CCM staff member), Januar y 2008

Rowland Dietz (CCM suppor ter), Januar y 2008

Marian Mayerson Schuster (Piano), July 2007

Arthur Darack (former adjunct professor of music), June 2007 Anne Marie Spaeth Hanson (’52 AD Piano), Februar y 2007

Joni Herschede (CCM suppor ter and volunteer), November 2007

Carol Alexander Hockenberger (’64 BM Music Education), Januar y 2007 PAGE 30

Ellsworth L. Milburn (’70 DMA Composition), May 2007 Charlene Shanker (’75 BFA, ’77 MFA Theater Ar ts)

Budd A. Udell (’72 DMA Composition and former assistant dean), Februar y 2006 Richard Westenburg (former visiting professor), Februar y 2008

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Mailing address: Commu niqué Public Relations Office University of Cincinnati College-Conser vator y of Music P.O. Box 210003 Cincinnati, OH 45221-0003

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College-Conservatory of Music University of Cincinnati P.O. Box 210003 Cincinnati, OH 45221-0003